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."
The Wrong Child
R.E.M. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A late, long march into spring
I sit and watch those children
Jump in the tall grass
Leap the sprinkler
Walk in the ground
Bicycle clothespin spokes
The sound, the smell of swingset hands
I will try to sing a happy song
I'll try and make a happy game to play
"Come play with me" I whispered to my newfound friend
Tell me what it's like to go outside
I've never been
Tell me what it's like to just go outside
I've never been
And I never will
I'm not supposed to be like this
I'm not supposed to be like this, but it's okay
Hey, hey, hey, those kids are looking at me
I told my friend myself, those kids are looking at me
They're laughing and they're running over here
They're laughing and they're running over here
What do I do, what should I do?
What do I say?
What can I say?
I said I'm not supposed to be like this
Let's try to find a happy game to play
Let's try to find a happy game to play
I'm not supposed to be like this
But it's okay, okay
The song "The Wrong Child" by R.E.M. is a poignant reflection on the struggles of someone who feels like an outcast in their own skin, unable to connect with others or feel a sense of belonging in the world around them. The opening verse sets the scene with images of childhood innocence and joy, as the singer watches other children play and enjoy the simple pleasures of life. However, there is a sense of detachment and longing in the way the singer observes these activities from a distance, unable to fully participate or understand what it feels like to be carefree and happy.
The second verse introduces the singer's own feelings of alienation and isolation, as they reveal that they have never experienced the simple pleasure of going outside and playing with friends. This stark contrast between the singer's own experiences and those of the other children is striking, highlighting the sense of disconnection and difference that they feel. The chorus repeats the refrain "I'm not supposed to be like this, but it's okay", which seems to suggest a resigned acceptance of their own outsider status, even though this is something they struggle with every day.
The final verse returns to the present moment, as the singer's attempts to connect with someone else are met with laughter and ridicule from the other children. The sense of vulnerability and fear is palpable, as the singer frantically tries to figure out what to do or say to make the situation better. The song ends on a bittersweet note of acceptance, as the singer acknowledges that they are not like the others, but that this is okay - a sentiment that is both deeply sad and truly inspiring.
Line by Line Meaning
I've watched the children come and go
I have observed the constant rotation of children in and out of this place
A late, long march into spring
The arrival of spring has been slow and delayed this year
I sit and watch those children
I remain seated and keenly observe those kids
Jump in the tall grass
They take turns jumping into the tall bushes and shrubs
Leap the sprinkler
They take turns jumping over the water sprinkler
Walk in the ground
They walk around, stomping on the ground
Bicycle clothespin spokes
Their bicycles are decorated with clothespins and spokes
The sound, the smell of swingset hands
I can hear and smell the rusty metallic swingset
I will try to sing a happy song
I will attempt to sing a cheerful tune
I'll try and make a happy game to play
I'll endeavor to create an enjoyable game for us to play
"Come play with me" I whispered to my newfound friend
I invited my newly found friend to play with me in a hushed tone
Tell me what it's like to go outside
I'm curious about how it feels to be outside
I've never been
I have never stepped outside
And I never will
I have resigned myself to a life indoors
I'm not supposed to be like this
I feel like I'm not supposed to be different from other kids
I'm not supposed to be like this, but it's okay
I'm not supposed to be this way, but I'm gradually accepting it
Hey, hey, hey, those kids are looking at me
I've noticed the kids are staring at me
I told my friend myself, those kids are looking at me
I confided in my friend that the kids were looking at me
They're laughing and they're running over here
They're giggling and running towards me
What do I do, what should I do?
I'm panicking and don't know how to react
What do I say?
I don't know what to say
I said I'm not supposed to be like this
I reiterated that I'm not supposed to be different from them
Let's try to find a happy game to play
I suggested we find a fun game to play together
I'm not supposed to be like this
I feel like I shouldn't be different from them
But it's okay, okay
I'm gradually accepting my situation as it is
Lyrics © Universal Music Publishing Group
Written by: Michael Stipe, Michael E. Mills, Peter Lawrence Buck, William Thomas Berry
Lyrics Licensed & Provided by LyricFind