April 5 – Thanks For Stealing That Keg Dudes

It was a party for the ages on this night in 1980 in Georgia. But I doubt many realized it at the time – they were too busy getting drunk and just having a good time!

Some hit bands are put together by committees (think the Monkees); others are built to be super-groups from the best of other bands (Asia, Led Zeppelin). Many get there by a group of people determined to be stars who studiously practice and write together for years. Then there’s R.E.M.

The most successful American alt rock band, and the pride of Athens, Georgia came together by accident on this day 44 years ago. The four knew each other somewhat; Michael Stipe hung out at Peter Buck’s workplace (Wuxtry Records); Mike Mills and Bill Berry were friends at the University Of Georgia there. Presumably they all knew one another and had some level of common musical interest and as we now know, some musical talent. However, they really didn’t come together with an aim to change the face of the musical landscape. They just decided to jam together a little to add some background noise to a friend’s party!

So it was that on an unseasonably cold spring night, what would become R.E.M. and about 300 others, mainly from the UofG, jammed into an abandoned Episcopal church on Oconee Street in Athens to throw a party for Kathleen O’Brien, who was celebrating her birthday. O’Brien worked at the campus radio station which no doubt endeared her to the boys in R.E.M. Even though it was in the words of Michael Stipe “a place that only students could have loved”, a good time was had by all by the few accounts, and the quartet played a handful of rather unmemorable covers of artists from Jonathan Richman to the Sex Pistols to the Stones. They played a couple of originals, rough versions of tracks that could eventually make the Murmur album or it’s indie predecessor, Chronic Town, though the exact tracklist appears lost in time, memory and beer suds. Songs like “Wolves, Lower” and “Gardening At Night” seemed among the first of theirs to become regular parts of their shows then.

And that might have been the end of the story if not for some unknown person’s greed. Or thirst. In true college form, the party was a “kegger”, with beer aplenty. Someone actually stole several kegs from the party. Poor student O’Brien had put down a deposit on the metal kegs and was on the hook for quite a few dollars. The musicians felt bad for her, and arranged to play a local bar – Tyrone’s OC – on May 6 to raise funds to pay her beer losses. In the meantime, they practised a bit and haphazardly settled on the name that would take them into the Rock & Roll Hall of Fame some 25 years later!

Tyrone’s burned down a couple of years later, but the music tourist can still see the steeple and part of the ruined church to this day.

While the band broke up some nine years ago, various members have at times worked together since and they seem on amicable terms. When “It’s the End Of The World As We Know It” made it back onto the charts in 2020 – nine years after they split up -, Mike Mills said  “we certainly never saw that coming with this song…you just never know how it’s going to work out.” Same goes for starting a new band, or any other venture, but in R.E.M.’s case, that kegger turned out pretty well!

January 20 – Gals ‘Roam’ed A Bit From Band’s Usual Sound

If you’re quirky and unusual, it pays to change things up once in awhile and surprise people. That’s what the B-52s did on this day in 1990 with their single “Roam”, which made it into the American top 40 then. It was the third single off their most successful album, Cosmic Thing, but their first well-known song to just have the ladies of the band – Kate Pierson and Cindy Wilson – singing. The result was a fun, upbeat song that many thought didn’t sound much like the B-52s…which no doubt pleased the group known for not doing things the conventional way!

Cosmic Thing was their fifth album, coming after the critically-maligned and commercially-disappointing Bouncing off the Satellites, and also coming three years after the AIDS-related death of founding member Ricky Wilson. It was their first record with no input from Ricky. Kate Pierson said putting it together was a “healing process” for the four remaining B-52s. Another difference was that though they’d been synonymous with the Athens, Georgia scene they came out from, by the late-’80s they’d relocated to New York State (with some living in the city and others in the hills around Woodstock). They recorded Cosmic Thing in that state, some upstate with producer Don Was and other parts, including this, in New York City with hit-maker Nile Rodgers producing. Unlike the rest of the album, which was written by the group itself, “Roam” was from Robert Waldrop, a songwriter they’d recorded before with songs like “Dirty Back Road” and “Mesopotamia”. While their regular guitarist Keith Strickland gave the song a bit of edge, he was joined by ex-Gang of Four bassist Sara Lee, as well as drummer LeRoy Clouden and keyboardist Richard Hilton.

The song with the soaring vocals seemed exuberant, appropriate since allmusic declared the album “a first class return to form” from the “flamboyant and campy” band of musical misfits. The album, which also contained the hit “Love Shack”, was especially well-received Down Under, with it going to #1 in both Australia and New Zealand. At home, it went 4X platinum, by far their best-seller. “Roam” made it to #3 in the U.S. (tying “Love Shack” for their highest position), #4 in Canada where it was their biggest hit since “Rock Lobster” had topped the charts a decade earlier, and #2 in New Zealand. It got them their second gold single at home, and also got them their first Grammy nomination. It was nominated for “Best Pop Vocal, Duo or Group”, but they lost to Aaron Neville with Linda Ronstadt’s “All My Life.” (Maybe the Grammys like that title; the Foo Fighters won one for their song “All My Life” in 2003!).

The B-52s are still going, albeit in a diminished way. Although they announced they’d no longer tour and haven’t put out new records since 2008 , they do have four Las Vegas shows in April. If you’re in “Sin City” this spring, you could probably find worse ways to spend an entertaining night.

October 23 – Out With The Wife, In With The Girlfriend?

On the one hand, breaking up with your beloved wife. On the other hand, creating possibly your best music and an album called “a masterpiece” because of it. That was the world of Matthew Sweet in 1991. The result was his third, and best-reviewed album, Girlfriend, which came out on this day that year.

Sweet grew up in Nebraska and was in a couple of bands there when he saw R.E.M. play in the early-’80s. He met Michael Stipe of that band and Stipe essentially invited him to go down to Athens, Georgia to be a part of that city’s fast-growing music scene. He soon was in a band, Oh OK, with a lesser-known Stipe, Michael’s sister Lynda. By the late-’80s, he’d signed to A&M and put out a couple of albums which got middling reviews and less-than-that sales. As the ’90s began, he and his wife split up and he and A&M did too. The resultant 15 song album was largely influenced by those things and put out on the new Zoo label, a subsidiary of BMG at the time.

Sweet wrote all the tracks, which were recorded in New York. Fred Maher produced it, and played drums on most tracks; Maher had been a member of Lou Reed’s touring band and produced records for Reed and the Information Society. And even though he was a good guitarist himself, Matthew got in a couple of apparently better ones to play on Girlfriend, Robert Quine and former Television man Richard Lloyd. Sweet himself plays on the record, but only does lead on two tracks, “Your Sweet Voice” and “Thought I Knew You”. For good measure, he brought in Greg Leisz, who’d most recently been with k.d. lang’s band, to play steel guitar on four tracks.

The songs were guitar-based, driving but melodic ones several reviewers compared to the likes of R.E.M., middle-era Beatles and Big Star. Lyrically, most dealt with sadness and breakups, as titles like “Nothing Lasts” and “You Don’t Love Me” suggest. Then there’s “Winona”, written for or inspired by Ms. Ryder… possibly Sweet’s dream girlfriend ? Ryder wasn’t the only actress that got a bit of a reference; 1950s star Tuesday Weld is the woman on the album cover. As for the good album but bad mindset, he joked with Entertainment Weekly, “(they say) this is your big breakup record – will you still be able to write good songs? (I say) I’m sure I’ll be just as depressed at some other points in my life.”

Reviews were far from depressing for Matthew. The Village Voice gave it an “A” and ranked it as the seventh best album of the year. Q and Rolling Stone both enthused and gave it 4-stars, the latter suggesting “the spirit of his songs suggests a grown-up Everly Brothers” resulting in “popcraft raised to the level of artistry.” EW gave it an “A” and gave it an unusually long (by their standards) review, calling it “a spare and emotional stunner” with “strikingly consistent songwriting… a masterpiece of spare, post-modern pop.” Later on, Paste put it as the 61^st best record of the ’90s and allmusic would give it 5-stars, his best rating. Like others, they compared it to R.E.M., Beatles, and Neil Young but noted somehow he “never sounds derivative” despite that.

For all the accolades, one might expect it was a blockbuster retail juggernaut. But one would be wrong. The album scratched up to #100 in the U.S. (his best showing to that point), and eventually did go gold, one of two albums to do so for him, but was hardly a big hit. The song “Divine Intervention” managed to get some rock radio play and the title track did fairly well, getting to #4 on Billboard‘s Alternative rock chart (one of three he’s had) and #10 on the mainstream rock chart, all the while helped along by the catchy video which was big on MTV.

Sweet put out his 15^th solo album (18^th if you include his excellent covers collaborations with Susanna Hoffs) two years back.

April 9 – Ingrid Was Reckoning She Might Go Back To Rockville

“Sophomore slump be damned!” That was Entertainment Weekly‘s summation of R.E.M.’s impressive second album, Reckoning, which came out this day in 1984. It was almost a year to the day after their promising, and glowingly-reviewed, debut Murmur and picked up where that one left off. If your preferred version of R.E.M. is one of brightly jangly guitar-based pop-rock songs, this is your album.

They’d recorded it in North Carolina again, with Don Dixon and Mitch Easter sharing the production duties and while it was similar to the debut, many noticed it was a crisper, more hook-laden record and Michael Stipe’s vocals, while still lyrically opaque at times, sounded much clearer. Rolling Stone gave it 4-stars and complimented its “crisper” sound and liked “R.E.M.’s considerable strengths – (Peter) Buck’s ceaselessly inventive strumming, Mike Mills’ exceptional bass-playing and (Michael) Stipe’s evocatively gloomy baritone.” Entertainment Weekly gave it an “A-” and loved how they incorporated “country and southern psychedelia” this time around, even if they found it a bit incohesive. The Washington Post simply stated at the time “there isn’t an American band worth following more than R.E.M.”

The sound was catchy and all ten of the songs quite capable of becoming earworms, and that endeared itself to college crowds and a few others in the day. However, that was back when “alternative rock” was still indeed, alternative. Reckoning topped college radio charts around the continent, but the album itself hit #27 in the States, better than their first one, and barely nicked the top 100 in Britain. It would get them a gold record, but only years later when more fans knew them and picked it up retroactively.

The album was chock-full of good tunes, many of which would become fan favorites and regulars in live sets they played for years to come – “Pretty Persuasion”, “7 Chinese Brothers” (inspired by a 1930s childrens’ book entitled Five Chinese Brothers...probably not readily stocked in bookshops these days!) and more than any of the others, “So. Central Rain”, subtitled “I’m Sorry”. That, the first single, squeezed into the singles chart, but gave no indication then of how it would become an alt-rock radio staple and one of their concert highlights for the rest of their career. The video actually has Stipe singing on it – he refused to lip sync for it, so it didn’t match the album entirely. However, maybe the most intriguing song on Reckoning was the second single – “(Don’t Go Back To) Rockville”.

While Stipe’s vocals are more decipherable on the other tracks than many of the Murmur ones, the lyrics tended to be pretty artistic and open to interpretation – “7 Chinese Brothers swallowing the ocean”? “If I’m to be your camera, who will be your face”? But not only did the distinctly country-ish twang separate “Rockville”, the lyrics were pretty straight-forward : “Don’t go back to Rockville,and waste another year/ at night I drink myself to sleep, pretend I don’t care if you’re not here with me…”.Easy to decipher that.

The reason it seems different is that while all four members share writing credits on all the R.E.M. songs, Michael Stipe normally wrote the lyrics. This one however, was from Mike Mills and it drew directly from his life. He wrote it when the band was only starting to really make itself known in their hometown of Athens, Georgia. He had a girlfriend at school there, Ingrid Schorr. They were hitting it off quite well when summer rolled around and her parents were concerned about how much partying might go on with her living at a university for a reputation for being a bit wild. So they ordered her home for the summer, bumming out Mills.

“I’m a footnote to rock history,” Schorr would later remark. She did return to Athens, eventually and got her degree before becoming a successful journalist, but it would seem she never rekindled the flames with Mills. But she remembers the genesis of the song, when she was hanging out with him at Tyrone’s, the city’s second most famous bar. He said to her “I finally meet a girl I like, and she’s got to go back to Rockville!” (And yes, Rockville is real, a city in Maryland). She wasn’t chuffed at going back north, since “everything in Athens was so fresh and exciting.” While she said “the lyrics, like the author are endearingly straight-forward”  she was mad at a couple of things about it. First, she didn’t like the idea that Rockville, which Mills hadn’t visited, was a grimy factory town and she would “end up in some factory” – lines actually suggested by drummer Bill Berry. Rockville, she said was “a charmless mix of medium-swanky subdivisions, tract houses named after World War I battles and a real rednecky chain of donut shops. But factories? There were none!’ She also didn’t like that several books were written about the band and referred to her by name but never tried to get in touch with her to ask her side of the story. She says many stories even had her in a band with Lynda Stipe, Michael’s sister, which wasn’t at all true even though she did try her hand at drumming while in Athens.

The country-ish sound which worked so well, by the way was basically a joke that worked. Buck said they used to play it in an almost thrash-rock style before manager Bertis Downs suggested they slowed it down. So they did, and added the twang since Downs was a country fan. The joke worked. Although it didn’t chart as a single (it did make college rock ones) it also was a popular one in their live sets afterwards and after a few years, Mills himself took over the lead vocals for it. It was also apparently a favorite of one of the few girlfriends of Stipe – Natalie Merchant. She recorded a cover version of it with 10 000 Maniacs.

“Rockville”- a song about a destination and the trip not wanted. That song is going places – which coincidentally is the topic that will be discussed on Turntable Talk starting here tomorrow.

July 20 – Forgotten Gems : Guadalcanal Diary

For many of us, it’s been one of those kinds of year, hasn’t it? Covid, heatwaves, inflation, a war in Europe…it all can get you down a little. But, let’s keep the chin up, and remember “life goes on”. Which brings us to this month’s Forgotten Gem, “Litany”, parenthetically called “Life Goes On” by Guadalcanal Diary.

Guadalcanal Diary were an under-rated little four-piece band lumped in with the “Athens Scene” of the ’80s. Which was not absolutely correct…but isn’t far off. Technically they were based in the Atlanta suburb of Marietta, but they tended to play a lot of shows in, and hang out with a lot of musicians from Athens, Georgia, about 100 miles to the east during their run in the ’80s. They shared a little of the jangle sound of R.E.M. (whom they sometimes hung out with) and at times a bit of the quirky humor of the B-52s. Formed in 1981 by guitarist and singer Murray Attaway and guitarist/keyboardist Jeff Walls who’d played together in a few other bands at the tail-end of the ’70s, they added in drummer John Poe and Walls’ girlfriend (later wife) Rhett Crowe – whose brother was in the then-rising Athens band Pylon – on bass. They put out a well-reviewed indie EP in ’83 then signed to Elektra Records. Although they got decent airplay on college radio across the land and at times on MTV, the albums weren’t big-sellers.

“Litany” was the lead single off their third Elektra album, 1987‘s 2X4. They went to producer Don Dixon for help with it, a good choice in the South during that decade. He’d co-produced the first two R.E.M. albums . It was a bit cleaner and more robust sound than the preceding record. This one for example features a big, ’80s beat from Poe, who played, as the record liner notes put it “drums and more drums”, as well as a tastefully restrained guitar solo. Not to mention a catchy chorus and jangle very reminiscent of their more successful friends who were at the time riding high with Document. As with most of their songs, Attaway wrote it; the only song on the original edition of 2X4 not by him was a cover of the Beatles “And Your Bird Can Sing.”

The single sounded timely, upbeat and hook-y, but didn’t do much unfortunately. Elektra didn’t seem to push it (oddly they put it out as a 12” vinyl single…with the same version of the song on both sides!) and despite a good reception at college stations and the odd pioneering Alt Rock station like CFNY in Toronto, it failed to chart.

They had a wee bit of chart success with their next album, Flip Flop and the single “Always Saturday” which made it onto Billboard‘s Alternative Rock chart, but with Crowe being a new mom and all of them tiring of the stereotypical driving from gig to gig across the land in an old van, they called it quits around the end of the decade. Rowe and Attaway have both suggested to A Sound Day that if they had persevered a few more years, they might possibly have had a chance to take advantage of the changing tastes of the ’90s and do better, but neither seem to regret the experience of being in an underground band in the ’80s… or of calling it quits when they did. After all…”Life Goes On.”

May 24 – When We Found Out What Yoko Sings Like?

The 1970s had Ray Stevens “The Streak” and disco. Put the two together loosely perhaps and you might come up with something like a big hit from 42 years ago. The B-52s were surfin’ to the top in Canada this day in 1980, with “Rock Lobster” going to #1 there in 1980. It was a novelty song inspired by a disco.

The band was an odd one from the start, which for them was 1976 at the University of Georgia in Athens. Brother and sister Cindy and Ricky Wilson formed an avante garde band with their friends, poet Fred Schneider, as well as Kate Pierson and Ricky Strickland. Rather like another famous Athens band, R.E.M., their first show was a somewhat impromptu set at a friend’s party. For them that was on Valentine’s Day, ’77.

They developed what they termed a “thrift shop aesthetic”, with a mix of old – early rock and roll influences – and campiness, as shown in their hairdos and lyrics. They got popular around the university town and put out “Rock Lobster” as an indie single in 1978; it did well enough that Warner Brothers signed them and it was re-recorded for their debut, self-titled album. Schneider says the idea came to him while at a disco called “2001” in Atlanta. “I was at a disco that had pictures of lobsters and children playing ball,” he recalls. “’Rock Lobster’ sounded like a good title for a song.”

The quirky song runs nearly seven minutes on the album, but was edited as a single, to just under, or just over four minutes depending on which release you had. Fred sang lead, and worked in some of his cowbell; Cindy and Kate sang backup and Kate added the bass via a synthesizer. While it was a big success on college radio at home, overall it failed to quickly find a spot on hit radio in the U.S., getting to only #56. However, to the north in Canada, radio was quickly opening up to new wave sounds (mostly from Britain at that point) and it became a smash on Toronto’s CFNY in 1979. In fact the album was that station’s #2 of the year and its prominent DJ Alan Cross would later rank it as the ninth best “classic alternative” song in a book he wrote on the subject. The popularity on that station led other Toronto ones to begin playing it, the band to get a headline gig at the huge Heatwave Festival near there in the summer of ’80 and eventually stations all over the country to play it. It managed to usurp Blondie’s “Call Me” from the top spot for one week (Blondie would be #1 for three weeks before, and three weeks after “Rock Lobster.”)

Although it wasn’t a big hit in the States, it did very well “Down Under”, getting to #3 in Australia and helping the album go platinum in New Zealand. Over time though it became elevated to something of “classic” status in the U.S. as well, with Rolling Stone listing it among the 200 greatest songs of all-time. That mag says “the B-52s invented new wave weirdness with this slice of buoffant pop (with) Yoko Ono-ish vocals.”

They weren’t the only ones who thought that. John Lennon is said to have loved the song and also commented it sounded like his wife’s music and in fact it’s one of the things which inspired him to get working on Double Fantasy with Yoko. She returned the favor, singing it with them onstage once in 2002.

April 27 – Kate’s Wild Cosmic Ride

OK, let’s all feel old now- old but shiny and happy! But not before wishing Kate Pierson a very happy 74th birthday! The lovely beehived voice (as well as at times keyboardist and bassist) of the B-52s was born in New Jersey way back in 1948 but of course is best known for her part in the great Athens, Georgia scene of the late-20th Century.

Kate was friends with Cindy and Ricky Wilson down in Athens in the ’70s, and much like fellow Athenians, R.E.M., their band (the B-52s) came together rather spontaneously, playing an impromptu show for a friend’s party on Valentine’s Day, 1977. Their quirky, humorous lyrics and unique sound, as well as their passion for retro clothing (not to mention the over-the-top beehives hairdos on the gals) got them noticed and soon, a record deal. The 1979 debut album went platinum in the U.S. and gave us the memorable single (which was a surprise #1 hit in Canada),”Rock Lobster”. The band endured the death of Ricky Wilson from AIDS and actually had their greatest success after his passing, with 1989’s Cosmic Thing – an album where Kate shone doing the lead vocals on “Roam”, their last top 10 single in North America, although they got to #3 in the UK in ’94 with the suitably jovial “Flintstones” theme.

Kate made friends with R.E.M. along the way and is front and center in their single (and video) “Shiny Happy People.” She’s worked with other Athens’ musicians like Matthew Sweet as well as non-Georgians like David Byrne and Iggy Pop (with whom she had the major alt rock hit with “Candy” in 1990). Pierson’s not showing signs of slowing down, putting out a solo album, Guitars and Microphones in 2015, an album produced by current sensation Sia. The record didn’t sell much but got decent enough reviews, such as Rolling Stone‘s which pointed out she didn’t veer much off the B-52s formula but liked “the feisty Jersey girl (and her) private Idaho … a collection of brassy manifestations about independence and naturally, outer space!” the next year she put her take on the ’60s & ’80s hit, “Venus”, which is about the last new material we’ve heard from her.

Kate’s a well-known LGBT advocate and finally in 2015 she got to marry her girlfriend Monica Coleman. Together the pair run a B&B in upstate New York these days. We hope they’re having a terrific party by the fireplace there today! And getting ready for an even bigger party… or parties.

The B-52s are back in the news with word of a tour this fall – “the final tour ever of planet Earth!”. It is set to kick off in Seattle in August. Pierson says of it “it’s going to be one hell of a farewell party at these concerts…who knew what started out as a way to have some fun and play music for our friends in house parties in Athens in 1977 would evolve into over 45 years of making music and touring the world? It’s been cosmic.”

April 5 – The Kegger That Reverberated For 30 Years

It was a party for the ages on this night in 1980 in Georgia. But I doubt many realized it at the time – they were too busy getting drunk and just having a good time!

Some hit bands are put together by committees (think the Monkees); others are built to be super-groups from the best of other bands (Asia, Led Zeppelin). Many get there by a group of people determined to be stars who studiously practice and write together for years (maybe Toto, for instance). Then there’s R.E.M.

The most successful American alt rock band, and the pride of Athens, Georgia came together by accident on this day 42 years ago. The four knew each other somewhat; Michael Stipe hung out at Peter Buck’s workplace (Wuxtry Records); Mike Mills and Bill Berry were friends at the University of Georgia there. Presumably they all knew one another and had some level of common musical interest and as we now know, some musical talent. However, they really didn’t come together with an aim to change the face of the musical landscape. They just decided to jam together a little to add some background noise to a friend’s party!

So it was that on an unseasonably cold spring night, what would become R.E.M. and about 300 others, mainly from the UofG, jammed into an abandoned Episcopal church on Oconee Street in Athens to throw a party for Kathleen O’Brien, who was celebrating her birthday. O’Brien worked at the campus radio station which no doubt endeared her to the boys in R.E.M. A good time was had by all by the few accounts, and the quartet played a handful of rather unmemorable covers of artists from Jonathan Richman to the Sex Pistols to the Stones. They played a couple of originals, rough versions of tracks that could eventually make the Murmur album like “Perfect Circle“.

And that might have been the end of the story if not for some unknown person’s greed. Or thirst. In true college form, the party was a “kegger”, with beer aplenty. Someone actually stole several kegs from the party. Poor student O’Brien had put down a deposit on the metal kegs and was on the hook for quite a few dollars. The musicians felt bad for her, and arranged to play a local bar – Tyrone’s OC – on May 6 to raise funds to pay her beer losses. In the meantime, they practiced a bit and haphazardly settled on the name that would take them into the Rock & Roll Hall of Fame some 25 years later!

Tyrone’s bar burned down a couple of years later, but the music tourist can still see the steeple and part of the ruined church to this day.

While the band broke up after 31 years, various members have at times worked together since and they seem on amicable terms. Ironically, they saw a sudden resurgence in popularity of their ’80s single “It’s The End Of The World As We Know It (And I Feel Fine)” in the early days of the pandemic  (it hit recharted on iTunes in early 2020). Mike Mills said of that, “we certainly never saw that coming with this song…you just never know how it’s going to work out.” Same goes for starting a new band, or any other venture, but in R.E.M.’s case, that kegger turned out pretty well!

February 26 – R.E.M. Helped Alt Rock Take A ‘Stand’ On Mainstream Radio

They’d already crossed over to a major, worldwide powerhouse label (Warner Bros.), now R.E.M. were ready to cross over to major worldwide radio play. They took a step towards that on this day 33 years ago when “Stand” hit the U.S. top 40 on this week in 1989.

They’d long been the darlings of American college radio, and not surprisingly, “Stand” had already hit #1 on Billboard‘s then young Alternative Rock charts, as had the album Green‘s first single, “Orange Crush”. In fact, between the two they dominated that particular chart for 10 weeks in the ’80s, more than any other artist. Add in their friends the B-52s and you had the top spot for 17 weeks in less than a year between late-’88 and mid-’89, showing how vital the Athens, Georgia scene was to modern rock back then.

However, that hadn’t always meant huge mainstream recognition. The then quartet had one prior top 10 hit (“The One I Love”) but “Stand” took it to the next level, going to #6 in the U.S. and #8 in Canada and becoming the first one of their songs to garner extensive airplay on mainstream rock and pop stations and be played in supermarkets. It helped Green go double platinum in North America, their best showing to that point (but only a hint of the success they’d score over the following three or four years.)

Love it or hate it – this writer loves it, but a recent poll of R.E.M. fans suggests it’s one of their least popular singles – “Stand” was a fun single with an offbeat fun video. Who among us of a certain age haven’t spent time trying to perfect that stand/jump/turn dance? It was an offbeat sound the band wasn’t known for. Guitarist Peter Buck says of it “it’s the stupidest song we’ve ever written. That’s not necessarily a bad thing,” he points out and compares it to “Louie Louie” or the simplicity of songs by The Ramones, whom he says write “the best songs.” Singer Michael Stipe agreed, more or less. He says the song was an homage to “bubblegum” acts they all liked growing up like The Monkees and Archies.

“They threw these super bubble-gummy songs at me. I said ‘I’ll raise you and see you one’ and wrote the most inane lyrics I could.” To add to the effect, Buck pulled out a wah-wah pedal for the solo, which Rolling Stone call “ridiculously wanky.” For all that, there is an added depth to the song, and video. Stipe says it’s “about making decisions and actually living your life rather than letting it happen.” Buck at the time, arguably the least socially-active of the band, told Rolling Stone it, and the album in general, reflected that idea of standing to make a difference. “We have curbside paper recycling (in Athens),” he notes, “which is pretty cool…we go to city council meetings and vote on things.”

So, today’s a good day to make a “stand” and do something worthwhile. Including maybe listening to one of the ’80s great bubblegum pop tunes!

October 31 – 40 Watt Shone Brightly In Georgia Music History

Great art doesn’t always come forth out of lovely, or state-of-the-art places. In fact, in music sometimes the opposite is the case. And case in point, the musical “hub” of new rock in The South flipped on the lights for the first time 42 years ago… perhaps not bright lights though. In fact, possibly just a 40 Watt bulb. Athens, Georgia’s 40 Watt Club came into existence this day in 1979. Just as the grubby CBGB club in New York City was essential to the creation of the vibrant new wave/punk scene in that city in the late-’70s, the 40 Watt Club was the place that got things going in Athens great ’80s scene.

University of Georgia is located in Athens, and while its sometimes known for its college football, UG is also a major arts school. But in the late-’70s, there were only four clubs in the city that had live music. Two offered only rock cover bands, and another was usually limited to folk music, so really kids wanting to hear anything different, or bands wanting to play, had to go to Tyrone’s OC. Tyrone’s had a decent reputation, but presumably competition was stiff to get booked there and there’s only so much one bar can do.

Come Halloween ’79, Curtis Crowe decided to have a party. Crowe would become the drummer to popular underground band Pylon, his sister Rhett would join Guadalcanal Diary soon also. So Crowe found an empty space in an attic above a sandwich shop on College Ave. and held the party there, with some friends in a short-lived band being the entertainment.

“Our band was called Strictly American,” Murray Attaway told me. “Myself, Jeff Walls (later in Guadalcanal Diary), Curtis Crowe from Pylon and a couple of other friends. The venue wasn’t an official club yet, but it was named the ’40 Watt Club’ for that specific night and they continued to use the name ever after.” A few months later it moved to a different spot about a block away and opened officially.

“There was so much music coming out at that time, how could you not start a band?”, Randy Bewley of Pylon queried. The 40 Watt soon became the place to be seen if you were a new band, or to hang out to hear what’s new and cool if you were an ordinary student. By 1982 it had moved to a bigger, but still somewhat dingy, location, and several other moves happened through the years until settling into its current location in an empty grocery store on West Washington St. in 1991. No less a publication than the New York Times included it in an article on “must see” entertainment spots in Atlanta – 75 miles to the west! They describe it as the place which turned Athens into a “rock vanguard” and say “its street door opens directly into a simple, squarish room with a bar along one wall, a cigarette machine on the other, and quilts hanging from the ceiling.”

The 40 Watt Club became the center of the music scene in the city (and inspired others to open similar clubs, adding momentum to it) and was the “home base” of a number of that city’s famous, and not so, acts of the ’80s including Pylon, the B-52s, and a band that really put the city on the music map, R.E.M. They were regulars in there in the ’80s and then popped in somewhat regularly for surprise shows after they gained international fame. Helpfully, it was bought in 1987 by Barrie Buck, at the time the band’s guitarist, Peter Buck’s wife. Peter and her have since split, but Barrie still runs the club to this day. Later on, newer bands like Of Montreal and the Drive-by Truckers have carried on the club’s reputation. Outside of the hometown artists, it became a de rigeur place to play for touring alternative rock acts ranging from Nirvana to Iggy Pop to the Kings of Leon.

The 40 Watt Club is still operates in the old grocery store. They’re advertising a Halloween party tonight and shows by various new bands, plus Drive-by Truckers on the bill soon.

It’s too late to get a look at CBGB, but those wanting to see a true American alt rock breeding ground can still do that, have a pint or two and hear some music a few hours to the south, in that quaint college town of Athens.