R.E.M. released its first single—"Radio Free Europe"—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.
By the early 1990s, when alternative rock began to enter the mainstream, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound and catapulted it to international fame. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members.
In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world's best-selling music artists. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. R.E.M. disbanded amicably in September 2011, announcing the split on its website.
In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting the Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an initialism for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.
The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.
R.E.M. was pivotal in the creation and development of the alternative rock genre. AllMusic stated, "R.E.M. mark the point when post-punk turned into alternative rock." In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and new wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s "had taken whole swaths of music off the menu", particularly that of the 1960s, and that "After postpunk's demystification and New Pop's schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender." Reynolds declared R.E.M., a band that recalled the music of the 1960s with its "plangent guitar chimes and folk-styled vocals" and who "wistfully and abstractly conjured visions and new frontiers for America", one of "the two most important alt-rock bands of the day." With the release of Murmur, R.E.M. had the most impact musically and commercially of the developing alternative genre's early groups, leaving in its wake a number of jangle pop followers.
R.E.M.'s early breakthrough success served as an inspiration for other alternative bands. Spin referred to the "R.E.M. model"—career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spin's Charles Aaron wrote that by 1985, "They'd shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They'd figured out how to buy in, not sellout-in other words, they'd achieved the American Bohemian Dream." Steve Wynn of Dream Syndicate said, "They invented a whole new ballgame for all of the other bands to follow whether it was Sonic Youth or the Replacements or Nirvana or Butthole Surfers. R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool." Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. "asserted themselves as rivals to U2 for the title of biggest rock band in the world." Over the course of its career, the band has sold over 85 million records worldwide.
Alternative bands such as Nirvana, Pavement, Radiohead, Coldplay, Pearl Jam (the band's vocalist Eddie Vedder inducted R.E.M. into the Rock and Roll Hall of Fame), and Live, have drawn inspiration from R.E.M.'s music. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life," Pavement's Bob Nastanovich said, "as they were for all the members of our band." Pavement's contribution to the No Alternative compilation (1993) was "Unseen Power of the Picket Fence", a song about R.E.M.'s early days. Local H, according to the band's Twitter account, created their name by combining two R.E.M. songs: "Oddfellows Local 151" and "Swan Swan H". Kurt Cobain of Nirvana was a fan of R.E.M., and had unfulfilled plans to collaborate on a musical project with Stipe. Cobain told Rolling Stone in an interview earlier that year, "I don’t know how that band does what they do. God, they’re the greatest. They've dealt with their success like saints, and they keep delivering great music."
During his show at the 40 Watt Club in October 2018, Johnny Marr said: "As a British musician coming out of the indie scene in the early '80s, which I definitely am and am proud to have been, I can't miss this opportunity to acknowledge and pay my respects and honor the guys who put this town on the map for us in England. I'm talking about my comrades in guitar music, R.E.M. The Smiths really respected R.E.M. We had to keep an eye on what those guys were up to. It's an interesting thing for me, as a British musician, and all those guys as British musicians, to come to this place and play for you guys, knowing that it's the roots of Mike Mills and Bill Berry and Michael Stipe and my good friend Peter Buck."
9
R.E.M. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Now what does that mean?
Is there a just contradiction?
Nothing much
Now I lay me down to sleep
I pray the Lord my soul to keep
If I should die before I wake
I pray the Lord, hesitate
Got to punch
Right on target
Twisting tongues
Got a stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Got to punch
Right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
What is in my mind?
What is in my mind?
Steady repetition is a compulsion mutually reinforced
Now what does that mean? Is there a just contradiction?
Nothing much, now I lay me down to sleep
Hesitate, hesitate
Got to punch
Right on target
Twisting tongues
Got a stripe down her back
All nine yards down his back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Conversation fear, conversation fear, conversation fear
The lyrics of R.E.M.'s "9-9" focus on a sense of compulsion and repetition that is reinforced both internally and externally. The repetition is highlighted in the phrase "steady repetition is a compulsion mutually reinforced," indicating that the need to repeat actions or thoughts is both personal and societal. The lyrics then ask whether this contradiction is justifiable, and ultimately conclude that there is "nothing much" to be done about it. This could be interpreted as a commentary on the entrenched nature of societal norms and expectations, and the difficulty of breaking free from them.
The rest of the lyrics are more enigmatic, with violent imagery and references to prayer juxtaposed with conversations and lies. The repeated lines about "punching" and "twisting tongues" suggest a sense of aggression or even sadism. The image of stripes down someone's back could be interpreted as a physical manifestation of this aggression. The phrase "all nine yards" also suggests a sense of excess or over-the-top behavior.
The lyrics then return to the theme of conversation and fear, with the repeated line "turn to lies and conversation fear." This phrase could be interpreted as a warning about the dangers of dishonesty and the fear that can be generated by failing to communicate honestly and openly.
Overall, the lyrics to "9-9" are somewhat cryptic and open to interpretation. They seem to explore themes of repetition, societal expectations, and aggression, as well as the importance of honesty in communication.
Line by Line Meaning
Steady repetition is a compulsion mutually reinforced
Repeating actions and thoughts has become like an irresistible addiction for everyone involved in it.
Now what does that mean?
The singer is questioning the significance of the previous line.
Is there a just contradiction?
The singer is curious if there is a fair opposition to repeating things continuously.
Nothing much
The singer concludes that there is no valid contradiction to repetition.
Now I lay me down to sleep,
The singer is reciting a nighttime prayer before going to bed.
I pray the Lord my soul to keep
The singer is asking God to protect them while they sleep.
If I should die before I wake,
The singer is acknowledging the possibility of dying in their sleep.
I pray the Lord, hesitate
The singer is uncertain about what to ask God for if they die in their sleep.
Got to punch
The singer must hit someone.
Right on target
The singer successfully hits their intended target.
Twisting tongues
The singer has to manipulate their words when speaking to somebody.
Gotta stripe down his back
The singer has a desire to hurt someone physically by injuring their back.
All nine yards down her back
The singer wants to hurt a woman by attacking her back, using everything they have.
Give me a couple,
The singer wants a few of something.
Don't give me a couple of pointers,
The singer is not interested in tips or advice.
Turn to lies and conversation fear
The singer has an inclination to lie and is fearful of certain conversations.
What is in my mind?
The singer is wondering about the thoughts in their head at the moment.
Conversation fear, conversation fear, conversation fear
The singer is repeatedly mentioning their fear of certain discussions.
Lyrics © Universal Music Publishing Group
Written by: Bill Berry, Peter Buck, Michael Mills, Michael Stipe
Lyrics Licensed & Provided by LyricFind
@Oliviacaptain
Got to punch, right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Got to punch, right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation
What is in my mind?
What is in my mind?
Got to punch, right on target
Twisting tongues
Gotta stripe down his back
All nine yards down his back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Conversation fear, conversation fear, conversation fear
@Rabmcm32
9 – 9
R.E.M.
Steady repetition is a compulsion mutually reinforced
Now what does that mean?
Is there a just contradiction?
Nothing much
Now I lay me down to sleep
I pray the Lord my soul to keep
If I should die before I wake
I pray the Lord, hesitate
Got to punch
Right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Got to punch
Right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
What is in my mind?
What is in my mind?
Steady repetition is a compulsion mutually reinforced
Now what does that mean?
Is there a just contradiction?
Nothing much
Now I lay me down to sleep
I pray the Lord my soul to keep
If I should die before I wake
I pray the Lord, hesitate
Got to punch
Right on target
Twisting tongues
Gotta stripe down his back
All nine yards down her back
Give me a couple
Don't give me a couple of pointers
Turn to lies and conversation fear
Conversation fear, conversation fear, conversation fear
@samnicholson5051
This is a seriously underrated track.
@avidrocker
i wanted to hit the "like" thumbs up but it is on 9 and i dont want to change that
@joycehall4866
It's my favorite on the album
@warrenschwartz5653
Dreamy, dissonant, and driven. The greatest era for REM. Happy 9/9.
@mdresendes
Murmur is the greatest debut album ever. It changed college radio, alternative, rock, music.
@sexobscura
it also upset F. Krueger enough to start haunting kids' dreams
@wildmercuryfilms
Amen brother
@bamajesse4608
Spot on
@vsander09
Ties with The Smiths debut.... and maybe Black Sabbath
@seattlesaints3535
R.E.M. is one of my Fav Bands but The Cars 1st Album is a ABSOLUTE Masterpiece