R.E.M. at the Olympia Theatre, Dublin – July 5th, 2007

“Celebration of your teenage nation.”

Thanks, Remdublin!

It’s hardly news (well, to obsessives), but the band’s stand in Dublin’s tiny Olympia Theatre has been marked by a profound “return to roots” aesthetic. The songs are much more straight-forward rock numbers, and the electronics found on the previous three albums are absent. One can only hope that the band will keep this focused, stripped-down approach when they return to finish the record, as this material is some of the most profoundly interesting – and energetic – of the band’s past decade.

On July 5th, I got to see the final “live rehearsal” with my friend Charles. What follows is a blow-by-blow record of the evening that features both R.E.M. and the opener – Mundy. I hope you’ll find it interesting, and that it will help to hold together the thin fabric that is memory. Please forgive any mistakes, as this review is largely the product of sleeplessness, air travel (and copious air delays), and a horrible, horrible day of missed appointments, missing documents, and travel complications. I would, of course, love to hear from anyone with a recording, or a clearer memory. Thank you!

(Note: Skip on down to 8.06 for the start of Mundy, and 9.23 for R.E.M. I’ll ramble a bit about the pre-show while you do…)

6.40 – We begin queuing in a back-alley entrance. There are about a dozen people here by the time we arrive. I fear that ninjas might use this opportunity to steal my ticket, and resolve to sacrifice my friend’s life to keep it.

7.00 – The doors to the alleyway open. Charles and I run up the ten sets of stairs to the top of the theatre (general admission). We’re sitting in the front-row (center) of the upper circle. We are informed that there will be no standing – at any cost! (We’re up here.)

7.06 – There are a handful of tour cases on stage. A keyboard/organ, array of pedals, drums, stack of amps, and, of course, plastic dinosaurs. I love these dinosaurs. Honestly, I wish I knew more about them…

7.16 – Suspense! What obscure song would you like to hear R.E.M. perform? For me, I’d have to go with either “Perfect Circle” or “Time after Time (annelise).” Charles, at first, wants “Falls to Climb,” but says that he’d rather “Disturbance at the Heron House.” It’s wonderful to know that you’re in for something special, isn’t it?

7.21 – It would seem that there’s a kit making the rounds, these days. It reads: “In Case of Pre-Show…” – Obscure pseudo-psychedelia seems to be the order of the evening. Do they really think they need to lower expectations?

7.28 – Flashes everywhere (why do I follow the rules?!), and I’m sad. Charles heads off to hunt beverages while I watch the sound engineer at work… interestingly, you can see into the backstage area. It looks like any old backstage. Weird.

7.52 – Someone seems to be editing the setlist. Interesting.

8.06 – The opening act – Mundy – begins his set. The first song is “Drive,” (not that one!) and it has a chimey, cabaret sort of a sound. He points out that it has been a long time since he “did support and the place was full when he got there.” He is dressed in a vest, blue jeans, chucks, and a t-shirt. All standard issue.

8.09 – I am bored, and so I take the time to notice that all of the road cases say “Athens, GA.” This is nice.

8.10 – “Head of the heels.” (N.B. All Mundy titles may be a bit off, as I couldn’t be bothered. Sorry, Mundy fans!) – Is Mundy the Pete Best of Deep Blue Something? He could be.

8.14 – There are seventy-four dinosaurs and a hydra, by my count.

8.15 – “Gin and Tonic Sky” – Some members of the crowd seem to know this one. What color would such a sky be, do you reckon?

8.17 – I have just noticed that there are two megaphones next to the drum kit. My geek heart swoons.

8.20 – Mundy, like most people, seems to be enamored of Bob Dylan. He also points out that he first got a cassette copy of Green when he was 14. The song is “90,000 miles away from harm.” Mundy has committed more egregious offences to rhyming than Dave Pirner. Consider: “The air it tickles… have a breakfast of ham and pickles.” Ouch.

8.24 – Who knows the title? It has the lyric: “Love is a casino, and only God knows the winners.” He’s earnest, but he should stop rhyming. For the next four minutes, I will dream of Al Pacino and Moses shooting the breeze.

8.28 – This song can be had for free on MySpace. It’s called “Crazy World.” The crowd sings along a bit, and this is Mundy’s high point.

8.30 – His chucks are very clean. Does it make me a dork that I think that means he’s inauthentic? I think it might. He has just informed us that he “wish[es] there was more words.” (This, after repeating “oh my my my my July” about six times.) So do we, Mundy – so do we.

8.32 – “Lynchpin.” It’s a ballad for “Irish boys who have no one to talk to…” I think it’s a complicated system of innuendos. I have studied English for too long.

8.36 – I wake up as the song bridges to “There She Goes Again.”

8.37 – Mundy is honored to be here, and this is his last song.

8.42 – Mundy goes all Pete Townshend on us. In hindsight, I suppose that he has conceived of many of his songs as sing-a-longs. He might have said.

8.43 – The backdrop changes to read “This is not a show.”

8.45 – A stagehand sets a case on its side at the front, and brings out Michael’s music stand.

8.57 – A roadie has just gone past wearing a miner’s helmet. They may well be going spelunking. (I’ll avoid the obvious reference to diving in the band’s back catalog. You are welcome.)

9.12 – Setup for Michael’s laptop commences.

9.23 – “Hello, Good evening!” Michael’s laptop and its familiar “Impeach” sticker are the first things I see. He’s wearing glasses, and looks youthful and casual. (Indeed, his glasses, tie, and coat combine to create an adorable portrait.) The band launch into a new song: “Living Well’s the Best Revenge” (1) – WOW! It rocks like Document. I am already full of encouragement.

The song contains the lyrics “Like a lamb to slaughter” and “The Gospel according to Who?” This will be the first of many subtle (and not so subtle) complaints about the American right-wing. It’s been said before, by many, but this band really is best when things are at their worst. Mike Mills is singing backup, and it’s wonderful. Of all the things the band have changed, in the past few years, I’ve always been least happy about the absence of Mr. Mills. The song moves on to the lyric: “History will set me free.” Awesome.


9.27 – Another new one – “Staring Down the Barrel of the Middle Distance”- that sounds a little bit like something by Creedence Clearwater Revival. The guitar part, at any rate. More lovely backing from Mike Mills. Michael sings about a “call from the future” before telling us he “doesn’t care.” Incidentally, he keeps checking his laptop. This sounds considerably like vintage R.E.M. (Document meets Monster).

9.31 – Michael raises a pint to us. “Thank you so much for participating in our grand experiment… in the event that you’ve wandered in off the street… This is R.E.M., and this is what we do…when you’re not looking! (A clip plays a computerized voice that informs us “This is not a show.”)” Michael explains that coming to Dublin was an alternative to the band sequestering itself in Athens, GA. “The benefit to you is that you get to sit through random material…thank you for not leaving.” (HA!) Michael then goes on to explain that he promised the band a twelfth new song for tonight, but that it’s just not ready. This is song number four on the setlist found on the back of the t-shirt. (2)

9.34 – “Are there any questions at this point?” “We want to hear that song!” – one audience member exclaims. “Trust me: no you don’t.” Michael also points out that he had unwittingly written part of the song from “the popular American show Friends.” After some fiddling, the band manage to reproduce this. Much laughter, all around. He also informs us that he finished the song “Houston” five days ago, and that we’ll hear it later. He says it’s a beautiful song at 1:54.

9.38 – He’s still talking! Awesome! Michael doles out thanks to Bertis and all of the Office Staff (who are here, tonight).

9.40 – Michael offers us “olive branch #1.” It is “Welcome to the Occupation.” Encouragingly for fans of older material, you can really hear the similarity between this and the new stuff. The band has stopped running away from its past, and the effect is stunning. Digressing slightly, I already have a feeling that the new album might be their best in a decade. They seem whole again, after trying so hard to move away from themselves after New Adventures. This isn’t repetition: it’s evolution. Finally.

Michael goes on to explain after the song that it had to do with the Iran-Contra affair, and that he says “to this administration… and to that one… take your Iran-Contra affair and stick it where…”

9.45 – “Mr. Richards.” The vocal rhythm really reminds me of “Hope” from Up, but the sound is considerably more full than anything from that time. Mike Mills is on backup, again. It has a heavy groove with lots of distortion, a steady, insistent bass… but it’s bright overall. The song is, Michael says, about an “anonymous” member of the Bush administration. “Mr. Richards your decision… pay attention… pay attention…” He also offers: “You’re mistaken if you think we’ll just forget…” Again, I love that the band is going for it. Controversy be damned (or, indeed, encouraged).

9.50 – Mike Mills asks a member of the audience to hand up the Georgia State Flag that they’ve brought. He points out that its incorporation of the Confederate Flag is hopelessly out-of-date, and that they’ve since corrected the mistake. The audience member hands it up, and Mike puts it away. Awesome.

9.51 – Michael points out that “some early songs had words that repeated a lot,” because he “wasn’t much of a lyricist.” The band then launch into “Pretty Persuasion.” It’s awesome, and sounds as sharp and vital as ever. Michael seems to recognize this, as he has a very happy, confident look about him.

9.55 – “Houston.” A bit of a switch. Mike moves over to the piano/keys, Scott takes over the bass, and Peter grabs an acoustic. Some lyrical snippets: “It’s a new day today, and the coffee is strong,” and “Galveston seems like that song that I love.” It’s a bit like an Automatic for the People track. The writing seems a bit like Michael’s later style, and privileges a more narrative, third-person tone.

9.57 – “The Worst Joke Ever.” Michael explains that he’s the worst at telling jokes, and that he and Pete love the same terrible joke. After some prodding, he starts to tell it: “Did you hear the one about the agnostic insomniac dyslexic?” An audience member spoils the joke, and Michael doesn’t move on. He tells us, instead, that the joke in the song was purposefully designed to be an “incredibly bad horrible joke.” After a touch more prodding, we finally get the punch line: “He stayed up all night wondering “Is there a dog?” “Is there a dog?””

Michael sips his pint, and explains that he needs to drink before this one as “it’s fucking hard to sing.” He also mentions that they’ve only ever done it twice. Shivers, people.

10.05 – Michael explains that the next song started life as a B-side, and that after making that pronouncement earlier in the week he had a chat with his good friend Bono who helped him to conclude that there’s no such thing as B-sides any more, and that they’re all A-sides. Therefore, this is an A-side. It’s called “Man-Sized Wreath,” and it’s a bit rock, glam, funk number. It features more backup from Mike Mills.

Somewhere during this song, Michael made a variety of hand signals. One of them was Mr. Spock’s. I’m sure of it. It was hot up by those lights, but not that hot! It’s got a very catchy refrain: “Throw it on the fire, throw it in the air. Kick it out on the dance floor like you just don’t care.” It’s a really light-hearted track on first listen, and it reminds me of “I’m Gonna DJ.”

10.09 – “West of the Fields.” And it hasn’t lost a touch. This is R.E.M., folks, and this is what they’ve always done.

10.12 – “Any Questions?” Someone asks about the impeach sticker: “What’s it mean? Are you kidding?” Michael poses with his laptop and invites us to take a picture and print it large. He then goes on to explain that he remembered during the process of these rehearsals that you don’t have to rhyme every line. (Hear that, Mundy?) He then goes on to critique an Internet transcription of the lyrics – “The animals, how strange. Try, try to stick it in.” – and points out that there’s no way that his drug-addled teenage brain could have ever conceived of such a ridiculous line.

10.16 – “On The Fly.” – Michael tells us that it’s one of the first new songs that they wrote after Around the Sun. It features the return of the steel guitar (as played by Scott), and is a slow, jangly piece. Lots of introspection: “You said that loving me is falling off a log. You always had a way with words.” – “It’s easy to laugh off, it’s easy to brush aside. We’re living our lives on the fly… and I just happened by.”

The first verse yields to a massive burst of feedback, and this is one of the few moments where the lack of polish seems to show. The second verse kicks in, and Peter’s arpeggios remind me of Neil Young. “God knows what I’m looking for, God knows what I am… even Jesus had his reservations… I won’t be doubting you again.” There are some positively beautiful harmonies in this song, and I’m so in love with the band for returning to multi-vocalic orchestration.

10.21 – “I think that was the best one yet…” – The band launch into “Romance,” which sounds really beefy. Afterwards, he goes on to discuss how Peter thought, for twenty-five years, that the song contained the line “Pasolini pays the bills.”

10.26 – Of course, the band haven’t performed it in twenty-five years, so…

10.28 – Another new one. Michael informs us that there’s no real chorus, and that the one they’re using will likely end up being the middle six. The song makes me think simultaneously of Green and Monster.. It’s like a fuzzy, green monster, I guess. (Hm.) It invites us to “enjoy yourself with no regrets!” And it also tells us that it’s a “celebration of your teenage nation.”

10.31 – Michael informs us that “this is a song from 1986, I believe.” (Was that an intentional pun?) “It pulls together a couple American themes and slams them into one word…Cuyahoga.” I notice that like many in the audience, Mike Mills is singing along to himself (in-between his parts, of course!). Cool. On “Saving face,” Michael briefly gives a middle finger. Heh.

10.36 – “Accelerate” – Another one that sounds like a beefy Green track. “No time to question the choices I made…” A fitting lyric for a band that seems to be rushing forward, without worrying about its age or definition. Indeed, as I write this, the refrain “Accelerate!” kicks in. The song uses a tempo similar to the band’s earlier days – it’s very post-punk. Scott has a backing vocal part that reminds me of “Animal.”

10.40 – “Horse to Water” It’s hard and fast with a three-part vocal. The frenetic pace urged on by the jangling guitar. The song is an endurance run for Michael, but recalls the band at its most urgent. Awesome.

10.43 – The encore watch begins.

10.45 – Michael raises a drink to us, again. Another new song. (Notes have been lost to time and the carelessness that some exhibit with beverages. I’m the worst reporter ever.)

10.49 – Did some jackass just yell “Freebird?!” Yes, yes they did. Thanks, ingrate. People: stop yelling out requests. This isn’t a show, remember? Also, it’s kind of rude to do when Michael is talking to you. You’re here at a very special gig, and you’re acting like it’s Reel Big Fish. For the love of God, no one will ever play “Freebird” just because you asked. Seriously. Thank you.

Actually, the beautiful thing was that everyone kept “sshhh”-ing the people who did these things. En masse, and simultaneously. Very cute.

10.50 – “Auctioneer” is vital and intense, just like all of the other early material.

10.54 – Michael informs us that the band is going to do a request… and, no, they’ve already chosen the request. An audience member asks whose request it is, and we’re told that it’s Bertis’ request. “And he better not be on his fucking cell phone, because we’re about to do it…” But before that, there’s a bit of an exposition about songwriting. Michael tells us that this is the first song they ever wrote that he felt like he’d become a songwriter. (How’s that for syntax?) He apologizes for saying it lots in interviews, but “the first thirty songs they ever did were more exercises in songwriting than anything else.” He says he’s telling us this because he prefers talk shows to magazines, as we can see all the nuances.

And, with that, an awesome, by the numbers, “Gardening at Night.”

11.00 – I think someone just stepped on a smurf, as a high-pitched warble has just come from the lower balcony. We are all confused.

11.01 – Michael thanks all of us, and then the band begin “Until the Day is Done.” The song is very much like something from Automatic – acoustic and with subdued percussion, the song tell us that “The country’s in ruins…” Getting a little further in, it has the spaciousness of something from New Adventues in Hi-Fi. There’s a soaring, introspective chorus tied to accusatory, wry verses. Interestingly, Michael doesn’t refer to his lyrics at all. He has for every other song, but not this one. Either he’s inventing some, or this one is quite dear to him. He even has his eyes closed tight. Beautiful.


11.08 – Last call for questions. Many people ask after the dinosaurs, but are drowned out by some bonehead who has failed to realize the weight of his decision. The question we get is: “What are you doing, tonight?” Michael answers, but notes that it’s not a very interesting question. It wasn’t. Thanks, creep. If anyone tells me about the dinosaurs, I’ll buy them a cookie.

11.10 – “I’m Gonna DJ.” It’s intense and energetic. The vocals seem to have filled out a bit since the last tour, as they now feature three-part harmonies. Very cool.

11.12 – A bow, and then the band are off. Mike returns, and raises a pint, closing the evening with a simple: “SlÑinte.”

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For more, check out: R.E.M. in Dublin. And hey: if you see better videos/recordings, let me know! That offer of a cookie stands!


  1. A note about these: I could easily go dig them up on Remdublin.com, or YouTube, but I wanted to keep a sense of memory and authenticity. While I’m inserting audio clips, I’m going to rely on other people’s memories of the titles. Quirky, but that’s why no one pays me to do this! (Oh, wait…) [Back]
  2. A related introduction from night two can be found here. [Back]

22 thoughts on “R.E.M. at the Olympia Theatre, Dublin – July 5th, 2007

  1. This is a great reminder of the night, we too were sat right next to you – an amazing show, absolutely fantastic. What was going on with the Smurf sounds??? On a previous night Peter apparently said about the dinosaurs ‘they’ve always been here, and they always will’ mysterious! Don’t remember spotting them at Hyde Park in 2005…. Do I get the cookie? :-p

  2. Yay! New material sounds great. Can’t wait. I’m going to play the part of the idiot here and ask if there’s a new album coming and, if so, when’s it coming?

  3. The dinasours have been part of every REM concert since they first started performing. I’m so surprised that so many people (who indeed seem to be such huge REM fans) have never noticed them. If you look back at Tourfilm or other old tour footage, you’ll see them usually somewhere behind Peter on top of equipment. I think it’s just a tradition. What started out as a band joke has grown. I believe they even have the dinasours in their office/rehearsal space in Athens.
    Hope this helps! And thanks for the great review.

  4. Thanks, 2dogmom. That’s a nice overview, indeed! Actually, it was old tour footage (along with my first concert) that made me start watching for them. I’ve liked seeing them evolve as time goes by – and, even though I never will know, I’d love to know the inspiration behind the first combination of dinosaur and amp. Ah well. In any case, I’m really glad that you liked the review. I know it’s in scattered form, but I figure that impressions are sometimes as useful as more concrete narrative. πŸ™‚

  5. Thanks, Steve! Nice to hear from some fellow upper circle folk! I really can’t account for the Smurf sounds, although I wonder if they may have gotten into a bit of a tussle with some leprechauns. One never knows… thank you, also, for the dinosaur tips. πŸ™‚ I do believe you win the cookie! I did see them at Hyde Park, actually. It was a bit tricky, but we were right near the barrier that separated the riff-raff from the “gold circle.”

  6. Hey Chris,

    The new material is absolutely brilliant. I’ve gone on a limb, just now, and said that I think it might be the best album in more than a decade. We’ll see! Michael mentioned that they were heading back into the studio for three weeks.

    My hope is that we’ll see it in the early part of next year – anyone know anything differently? I’m behind in my music news, as I’ve been working on my dissertation…

  7. hey – fantastic review and a very accurate account of night 5. Were you taking notes all night? I was downstairs towards the back, near the bonehead who kept shouting stupid things at REM towards the end of the night. I don’t understand people who go to a concert and just talk amongst themselves the whole way through, and this particular bonehead seems to have had a pint too many.
    anyway, fantastic night- love it ALOT! looking forward to browsing the rest of your site!
    N:-)

  8. Thanks, Niamh! I’m embarrassed to admit that I was, in fact, taking notes. Eleven pages of notes. Fortunately, I can write without looking at the page. Unfortunately, this act of note-taking firmly establishes me as “one who will never possess street cred.” Alas! Sorry you ended up in the shouting section. I was really surprised by how rowdy the crowd was… which, on the one hand, seems to suggest that they were taking the “not a show” spirit to heart. On the other hand, it does also suggest that some folks just can’t handle their liquor. Ah well.

    I’m glad you’re interested in the rest of the site, too. I hope it won’t be too much of a jarring change in direction… there are one or two R.E.M. entries up here, but one can always hope for more. πŸ™‚

  9. My friend was over here last night before we went out and I asked her (well made her) read the review you write so that she could comprehend exactly how amazing the show was! she turned around to me about every 2 minutes saying ‘you wrote this, didn’t you!’. I was very honoured that someone could think i wrote it! At the end, she just sighed and said ‘ah you REM fans are all the same, there’s just a special gene in ye!’ ha ha… it is a very elite club alright
    N:-)

  10. The “Smurf squeal” was from this girl who had wings with her (do I need to clarify that they were fake wings just in case those who also believe in leprechauns might get confused?). I was told that at a previous show she kept shouting stuff at the band. At least this Smurfette only had one outburst on Thursday, but I don’t think it was English she was speaking. Maybe she was speaking in tongues and the wings were real.

    The band that fascinated me back in the mid-eighties are back, and I can’t wait for the new album.

  11. That’s terribly sweet, Niamh – thanks! If only more people would compel others to read my page…I might one day realize my plans to take over the world! Or, well, my high school reunions. One of those.

    Begin Tangent:

    I think it is sort of interesting to consider the possibility that there’s an “R.E.M. gene” that helps to shape our experience with this music. While it’s likely not genetic, as much as it is cognitive, I do find that there are a lot of similarities between what I think and what I read from other fans – people I’ve never met. I’m only partly awake, today, but I think that’s something that’s particular to the experience of being a fan/advocate of some aesthetic construction (painting, music, sculpture, Johnny Depp, etc.) – that there might be a similar response that’s triggered in the minds of “fans.”

    End Tangent.

    Of course, that sounds a bit too much like criticism that I spend long hours (and dissertations) railing against. Hm. Anyway, random thinking aside, I’m glad that you’re enjoying the site. πŸ™‚

  12. That explains a lot, baldgent. We should all pray that she finds her way to heaven before they close the door… or, at the very least, that she finds her way to a speech therapist. Poor dear. Anyway, I’m really excited to see the return of the “old” R.E.M., as well. It’s not so much that I didn’t like the last two albums, but I missed the energy and intensity of the band’s earlier years. Having seen them about seven or eight times since Up, it was hard to imagine that they were just mellowing out. The live performances were so intense – so awesome – that it was somewhat confusing. I think (and you can sort of see this in that RTE Interview) that they just needed to come to terms with being a different band. It really seems that they have, now, and I am just as eager for the new album. Thank goodness they’re back in the studio – I hear that late this year might be a possibility. πŸ™‚

  13. Oh, it was, mez! I feel so remarkably honored to have been a part of the event, and to have seen the band being so open and playful. (Whew! Nearly typed: “…at their most beautiful.” Thank goodness that’s over with!) There are some audio clips in the torrents section of Murmurs, and plenty of YouTube clips are showing up. You should definitely have a look.

    Incidentally, I really like your blog! I’ve been enjoying reading it, instead of working on my dissertation. πŸ˜‰

  14. I’m told it’s one of the most noble things a person can do for another. Of course, I’m being told this by the super-ego, but that’s no reason to be suspicious, right? πŸ™‚

  15. two things- first more on the dinosaurs. they are peter’s which is why they are on his amps and if you throw one onto the stage as someone did earlier in the week peter probably will pick up, kiss it on the head and add it to the collection, as he did earlier in the week.
    second- “a chip plays a computerized voice that informs us this is not a show”? huh? that was mills with the bullhorn! at least it was every other show that i saw. i suppose i might not have been paying attention and it wasn’t mike, but i doubt it.

  16. Hey Brodie,

    As ever – thank you for the dinosaur information. The three-year old in me that seems unable (or just unwilling) to let go of his dinosaur fixation is greatly pleased. As for the Mike v. Computer debate: I’m perfectly willing to concede that my vantage-point wasn’t the best. I do, however, seem to have a reasonably clear memory of Mike standing by himself off to the side while this “warning” was heard.

    Like I said, I could be dead wrong – and I’m perfectly willing to fess up to that. The first few moments were full of lots of things to look at, and my eye tends to gravitate to the shiniest (Michael’s head, of course. πŸ˜‰ ). Anyway, I appreciate the eye for detail… it’s what we all need, I think!

  17. Many thanks for the review! A welcome flashback. Your style of writing is fun to read (as a compliment, of course), and interesting, too. I could manage to participate in the 3rd night (July 3rd). I caught a plane to be in Dublin for 20 hours – time enough to take some showers in Irish rain, have a first look around in Dublin and watch the all-time favorite band again.

    I agree with you concerning the REM gene. Or at least some obvious things REM fans generally might have in common…

    Now “Bod Dylan, Offenbach” hits me in the eye – so did you see the shows live that provide the posters which form the background of this website? Just wondering. Offenbach is 30 km from here.

    And now I have to search for the other REM-concerned articles on this website I could read about in the other comments to this entry.

    Greetings from Mainz/Germany,
    Sven Svensson

  18. Vielen Dank, Sven! I’m really glad that you enjoyed the entry, and that it provided for a pleasant flashback. I’m glad also that you were able to catch the show on the third night. My memory is fuzzy, but wasn’t that the night they played “Driver 8?” I would have loved to have heard that live, as it remains the one R.E.M. song I truly love that I’ve not heard in person. One day, I hope.

    Actually, the posters in the background are largely from shows that I haven’t seen. Sadly, the majority of shows I’ve attended were in the U.S., and the making of show posters has been a dying art for some time. I hope to one day collect more posters and redesign the background to be more personal. Ah well. Wish I had caught Dylan in Offenbach… or anywhere, really. πŸ™‚

    If you’re looking for a good way to dig around the site, I’d recommend the archives link at the top. One day, I hope to enable “related entries,” but this is best. In any case, thanks very much for your kind words and for visiting! πŸ™‚

  19. Great review- I’ve been listening to the 39 Songs album that was just released- I googled “Romance REM Pasolini” and found your site, by the way- it’s curious- that explanation was edited out of the recording, but he’s clearly singing “Pasolini” on Romance, and almost laughing each time… but without the story, it sounds like the lyric is correct and he almost forgets it or screws it up.

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