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."
I Took Your Name
R.E.M. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I took your name
If there is some confusion, who's to blame?
I signed your living will
I smiled your face
I'm ready to close the book on NASA in outer space
Who's to blame?
Who's to blame?
I sequenced your arrival
I sealed your fate
I pushed the button and erased your master tape
I wrote the sales pitch
I threw the brake switch
I dragged your big-ass Daddy Roth car out of that ditch
If there is some confusion
Who's to blame?
Who's to blame?
I crossed your great divide
I stirred your ocean's tide
I called your bluff until I blew your circuits wide
I'll be your albatross
Devil, dog, Jesus, God
I don't wanna be Iggy Pop but if that's what it takes, hey
If there is some confusion
If there is some confusion
If there is some confusion
Who's to blame?
Who's to blame?
Who's to blame?
R.E.M.'s song "I Took Your Name" is a song about identity and the lengths one will go to take on another's identity. The lyrics suggest that the singer of the song has taken on another's name, clothes, and even signed their living will. The repeated line of "If there is some confusion, who's to blame?" implies that the singer may not fully understand the repercussions of their actions, and is unsure if they or the person who they have taken the identity of is to blame for any confusion that may arise.
The lyrics also suggest that the singer has taken on this identity in order to escape from something - perhaps their own life or past experiences. The lines "I'm ready to close the book on NASA in outer space" and "I dragged your big-ass Daddy Roth car out of that ditch" suggest a desire to leave behind the past and move on to a new identity.
The chorus of the song - "I'll be your albatross, devil, dog, Jesus, God" - suggests that the singer is willing to take on any identity, no matter how extreme, in order to escape their own reality. The line "I don't wanna be Iggy Pop but if that's what it takes, hey" reinforces this idea.
Overall, "I Took Your Name" is a song about the lengths one will go to escape their own identity and the confusion that may arise from taking on someone else's.
Line by Line Meaning
I wore the clothes you wanted
I conformed to your wishes and desires
I took your name
I adopted your identity
If there is some confusion, who's to blame?
If there is any uncertainty or misunderstanding, who is responsible?
I signed your living will
I legally approved the document that outlines your wishes in the event of incapacity or death
I smiled your face
I acted with the same demeanor and appearance as you
I'm ready to close the book on NASA in outer space
I am prepared to abandon the exploration of space by NASA
I sequenced your arrival
I orchestrated your entrance into a situation or environment
I sealed your fate
I determined the outcome of your future
I pushed the button and erased your master tape
I deleted the recording of your work from the original source
I wrote the sales pitch
I composed the persuasive message to promote a product or service
I threw the brake switch
I activated the mechanism that stops or slows down a process
I dragged your big-ass Daddy Roth car out of that ditch
I literally or metaphorically salvaged and retrieved your valuable possession
I crossed your great divide
I overcame a significant obstacle or boundary
I stirred your ocean's tide
I affected something powerful and massive, like a metaphorical ocean
I called your bluff until I blew your circuits wide
I challenged your insincere behavior until you revealed your true self
I'll be your albatross, Devil, dog, Jesus, God
I am willing to be your burden or metaphorical obstacle, or take on different roles and moralities
I don't wanna be Iggy Pop but if that's what it takes, hey
I am reluctant to adopt a radical or eccentric identity, but I will if necessary
If there is some confusion, Who's to blame?
If there is any uncertainty or misunderstanding, who is responsible?
If there is some confusion
If there is any uncertainty or misunderstanding
Who's to blame?
Who is responsible?
Who's to blame?
Who is responsible?
Who's to blame?
Who is responsible?
Lyrics © Universal Music Publishing Group
Written by: Bill Berry, Peter Buck, Michael Mills, Michael Stipe
Lyrics Licensed & Provided by LyricFind
Jaco Roux
I wore the clothes you wanted
I took your name
If there is some confusion, who's to blame?
I signed your living will
I smiled your face
I'm ready to close the book on NASA in outer space
If there is some confusion
Who's to blame?
Who's to blame?
I sequenced your arrival
I sealed your fate
I pushed the button and erased your master tape
I wrote the sales pitch
I threw the brake switch
I dragged your big-ass Daddy Roth car out of that ditch
If there is some confusion
Who's to blame?
Who's to blame?
I crossed your great divide
I stirred your ocean's tide
I called your bluff until I blew your circuits wide
I'll be your albatross
Devil, dog, Jesus, God
I don't wanna be Iggy Pop but if that's what it takes, hey
If there is some confusion
If there is some confusion
If there is some confusion
Who's to blame?
Who's to blame?
Who's to blame?
Cristiano Bernardo de souza
R.E.M é Show, top demais.
Raisa Cherry's Universe 🍒
The guitar riff is lit 💕💕💕💕💕😍
Albert Einstein
Wonderful music from that incredible band.
David Bowman
One of their best five albums. Love it.
Sean Bannon
This seems to be everyone's favorite track, I do hear why , but this whole album was a risk for REM all heavy electric guitars and a sound that was new to them , a whole different way of playing
Deathkampdrone
@Sean Bannon I see what you mean, and I agree.
Even though Monster was sort of catering to the popular music at the time of its release (the late grunge movement, but also bands like Oasis obviously), it was a big risk for this particular band. Because R.E.M. was always sort of leftfield and analog, opposed to the music scene in the 80s and 90s. Would they be able to pull of a loud rock album like that? Would they really sell out? The answer is yes, they pulled off a great, sexy rockalbum, and nope they never ever sold out. Always went with their hearts. One of the finest bands ever.
Hakki Laurenson
That guitar riff tho 👌👌👌
Albert Einstein
I love this track.
Jim Brennan
Very underrated track
Enrico Rigon
The best piece of the album