#89 R.E.M.

September 2007. The trying shooting of Beirut’s movie had just finished in NYC, and the band’s evening show was about to start at Brooklyn’s Masonic Temple, when Bertis Down, the quirky and hilarious guy who serves as as manager for REM, called. “The band is OK for a Take Away Show tomorrow night in Athens.” A few months later, during a projection of his films, Jem Cohen had great pleasure telling that when he showed Stipe the movie he had just shot with Elliot Smith (Stipe and Cohen used to work together), the latter laughed and said “who would want to watch a musicien play an instrument ?”

The whole thing started on May, at the end of Arcade Fire’s tour, with a phonecall from the Low Lows’ drummer. He talked about “a huge band he couldn’t reveal the name of”, and a few days after, there was another phone call ("Hello, this is Michael Stipe, from REM"), late on a drunken night. Then, the meeting in Dublin, on the purpose of a 5-show tour - for the preparation of the new album – and the rehearsal of some new songs at the Olympia Theatre. The meeting ended between London, New York, and Athens, Georgia.

Flying to Athens, a little town near Atlanta, a city known for its rich musical landscape - B-52’s, Of Montreal, Vic Chesnutt, Olivia Tremor Control, and REM above all. The chauffeur drove directly to Michael Stipe’s place. A huge gate opened slowly to an estate full of art pieces of every kind: Koudelka’s photos on the walls, various sculptures (made by Stipe himself), puzzling elements creating a rich and complex world, which is rare for an artist as famous as he is. He never disclaimed his artistic taste and curiosity, and he even produced some of his friends’ movies (Spike Jonze, Todd Haynes...).

On that September evening, while the rest of the band was waiting for him at the studio in the famous Seney-Stovall chapel, a few minutes away, Mister Stipe knew very well that he had the opportunity to take revenge in the most amazing way: ten years had passed since drummer Bill Berry left. Ten years through the wringer fro REM, between dud albums and doubts, and some wonderful songs here and there. But he believes in this new album more than ever, for him, it’s a return to the roots, the feeling to be heading to the right direction with producer Jacknife Lee (Bloc Party, Editors, U2), and a regained inspiration. Everyone showed so much enthusiasm, although the album was still recording, that it might have looked suspicious. A few months after, however, history proved them right.

Languid on the sofa, Stipe brought up the Take Aways Shows. He showed some to his band mates, thought it over and even suggested ideas for the direction. He said he thinks he can do one a cappella, with the tape recorder he’s using all the time to record his voice over Buck and Mills’ instrumentals. He showed interest in The National and the videos for “Boxer”, and for the Arcade Fire movie that was never released. This represented a “challenge” for him and his band - an acoustic session with new songs – but “challenge” has always been guiding him, even and especially in his artistic collaborations.

Doing a Take Away Show with REM could be seen as a way to rejuvenate their image. Obviously, it’s part of the whole thing; letting aside the huge venues and ultra-sophisticated recording studios to play in the street, that is said to be highly fashionable. But when you push REC for the first time, doubts assail: what if it didn’t work ? What if the band looked ridiculous, old-fashioned, too much used to playing songs perfectly, in front of cameras you’re expected to be looking at ? Most of the bands filmed for the Take Away Shows are young and almost beginners, they participate in acoustic sessions often with great pleasure and curiosity – as it also represents a very welcome promo. So, what with such an “old” band, so experienced in the classical media stuff...?

That night, on the 7 songs played in only two hours, it had to get to the third song, “Living Well”, crammed in the car, to finally see the doubts fade away. It happened when Stipe burst into laughter, finding sincere pleasure in taking part into this little game. After that moment, everything seemed to be floating, dreamlike elements like when “Born To Be Wild” came right after “Living Well”, but no one will be able to see that – record companies stuff. A night in Athens which (almost) changed into a trip between old friends.

“On The Fly” is not on the album “Accelerate”. Still, it’s a beautiful song only heard live but who, in the end, didn’t made the cut to the album. Thus, it could exist only as this acoustic version, played in one of the many little houses you can find in Stipe’s garden. The songs that night were played only once, everything went perfectly, without any mistake or the need to rehearse – and this, this broke the weird feeling the witness of a million-spectator show with confusing scenography can experience (take a look at the live REM DVD realeased recently). He would assimilate the musicians to puppets pretending to play. Regaining this intimate relationship with REM most likely results from the fascination for these images shot during that night, on September 21st.

It was very, very late, but Michael insisted on shooting a last song, "Sing for the Submarine", in the weird silo near the swimming pool.

Of all the acoustic versions of songs still being recorded, the most beautiful thing that could come out would be changing their shape, make them evolve by havinf them confront with a unique situation. The echo of Michael’s elbow against the silo’s walls and the energy given off by the performance, both made this not only the session’s climax, but also the turning-point for the Take Away Shows project. The album version will be strongly influenced by all of this, that is for sure. It was not about documenting the creative process as mere witnesses anymore, but almost participating in it. But still, these underlying questions: where are we talking from (to provoke or to document, to testify or to try and change the course of things), and to whom.

March 24th, 2008, Royal Albert Hall, London. More than a year after the first phonecall, REM is back, a week before “Accelerate” comes out. Furious first notes, first arm movements from Stipe, some exulted words, a spit blowing on the first row. The audience screamed, REM was REALLY back and this was an amazing surprise. On a long time expected “Losing My Religion”, Michael cast an eye, and waved discretly. A last sign marking the end of a beautiful adventure, which had given me a crazy freedom for experimenting ideas and develop new formats. Still, I can’t remember well how nor why it all started. Smirking, Mister Stipe, a glass in his hand, bent over and whispered “ I think we’ve done something quite unique together”.

Vincent Moon, March 2008 - Translated by Nora