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."
Old Man Kensey
R.E.M. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wants to be a sign painter
First, he's got to learn to read
He's going to be a clown on TV
Flexes his elbow, taut and free
(That's my folly) I believe
Drink up the lake
(If that's my folly)
That's my mistake
Old man Kensey
Wants to be a goalie
First, he's got to learn to count
He's going to be a clown on a circus mount
Letters to me signed in sopped up tar
(That's my folly) Kensey's going far
John, Bill and Ed
Stand on your head
(If that's my folly)
I'm ready to go
Old man Kensey
Wants to be a dog catcher
First, he's got to learn to stand
He's gonna be a clown in a marching band
Letters to me signed, ransom, greed
(If that's my folly) I believe
Drink up the lake
John, Bill and Ed
(If that's my folly)
That's my mistake
Kensey's awake
Stand on your head
(If that's my folly)
I'm ready to go
Drink up the lake
Stand on your head
(If that's my folly)
I'm ready to go
The song "Old Man Kensey" by R.E.M. is a unique vantage point into the mind of an eccentric and ambitious old man with unrealistic dreams. The song cuts through a wide range of the old man's ambitions from wanting to be a sign painter, to a goalie, to a dog catcher, before eventually settling on wanting to be a clown in a marching band. The lyrics have a whimsical sense of humor while also portraying the old man's persistence and determination to realize his dreams.
The line "First, he's got to learn to read" reflects the irony of the old man's aspirations, as all the jobs he wants to have require very basic fundamental skills. However, he is driven by a deep-seated passion for what he believes is his calling. The line "Letters to me signed in sopped up tar" suggests the futility of his efforts, that no matter what he writes or how hard he tries, he ultimately is not taken seriously. Despite this potential outcome being highlighted, the old man still keeps pushing and striving towards his dreams.
Overall, "Old Man Kensey" is a celebration of dreams, ambition and determination, even as it explores the idea of unrealistic dreams, and the possibility of failure.
Line by Line Meaning
Old man Kensey
The singer of the song is Old man Kensey.
Wants to be a sign painter
He aspires to be a sign painter, but he has to learn to read first.
First, he's got to learn to read
Before he can become a sign painter, he needs to learn how to read.
He's going to be a clown on TV
His ultimate goal is to be a clown on TV.
Flexes his elbow, taut and free
Old man Kensey is seen flexing his elbow, indicating his determination and passion for his goal.
(That's my folly) I believe
The singer admits that believing in Kensey's dream may be a mistake or a foolish act.
Drink up the lake
This line may symbolize taking advantage of whatever resources available for the sake of Kensey's dream.
Kensey's awake
Perhaps an indication that Kensey is not giving up and remains steadfast in pursuing his goals.
(If that's my folly) That's my mistake
The artist reiterates that supporting Kensey's dream may be a mistake, but he is willing to take that responsibility.
Wants to be a goalie
Kensey's aspirations change and he now wants to be a goalie but needs to learn how to count first.
He's going to be a clown on a circus mount
His new goal is to be a clown in a circus.
Letters to me signed in sopped up tar
Kensey sends letters which may have been damaged, possibly a sign of his effort and determination to reach his goals.
Kensey's going far
The singer believes that Kensey's dreams may have potential, but it remains to be seen if he will succeed.
John, Bill and Ed
The presence of these characters is unclear, but they may be a reference to people Kensey knows.
Stand on your head
This line may indicate performing unconventional actions to achieve one's goals.
I'm ready to go
The artist seems to be supportive of Kensey's aspirations and is willing to help him achieve them.
Wants to be a dog catcher
Kensey changes his dream again – now he wants to be a dog catcher and has to learn how to stand.
He's gonna be a clown in a marching band
Kensey's new dream is to be a clown in a marching band.
Letters to me signed, ransom, greed
Kensey sends letters that may be perceived as demanding, revealing his hunger to succeed.
Lyrics © Universal Music Publishing Group
Written by: Jerry Ayers, Bill Berry, Peter Buck, Michael Mills, Michael Stipe
Lyrics Licensed & Provided by LyricFind