Bearsville sound studio4/11/2023 ![]() ![]() ![]() “We had already recorded an album’s worth of material and I had run dry. “I was under immense pressure to finish this one piece of music that the band loved,” Stipe remembered in Reveal: The Story of R.E.M. The band thought the track was too good to leave off the album, but it wasn’t going to happen as an instrumental. ![]() The instrumental components were done and dusted, but Stipe was still humming his part. recorded in Miami and Atlanta and then traveled to Seattle to finish the record in the summer, in time for an October album release. He also played the mandolin-like bouzouki on the track – the same instrument that had served as the foundation for another Automatic selection, “ Monty Got a Raw Deal.” Along with the drums, Berry played claves, which Buck felt brought “a nice little Brazilian accent” to the finished recording.Īfter time spent at Bearsville, R.E.M. piled layers and layers of sound onto the track.īuck recorded acoustic guitar as the main element, then added a Rickenbacker electric (for the chorus), a Les Paul ( for the “loud chords”), another Rickenbacker (“doing backwards strums” on the bridge) and a Telecaster (doing the slippery slide parts). In multiple recording sessions with producer Scott Litt in March and April at Bearsville Sound Studios in Woodstock, N.Y., R.E.M. Buck and Berry presented it to Mills and Stipe before it was recorded as a demo in February 1992 at John Keane’s studio in the band’s hometown of Athens, Ga. (with the singer humming in place of a lead vocal). progressed in their work on their eighth album, the song was built up, too. … I think Bill played bass and I played guitar we kept going around with it.”Īs R.E.M. I sat down and came up with the chorus, the bridges, and so forth. he would come up with the riffs, but I would be the finish guy for that. “Bill had this one chord change that he came in with, which was C to D like the verse of the song, and he said, ‘I don’t know what to do with that,’” Buck wrote in the liner notes of Part Lies, Part Heart, Part Truth, Part Garbage 1982-2011. In this instance, Berry – the drummer – had brought a melodic idea. Although Buck, Mills and Berry all had defined roles in the band, they each played multiple instruments and in these formative gatherings, ideas could come from anywhere. As it was, the track that carried a working title of “C to D Slide” had endured a long process, beginning with practice/demo sessions that included the instrumental members of R.E.M. ![]()
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