Revisiting REM's "Airportman"
The opening track on any record holds a lot of gravity- it’s of course the first thing most listeners hear on the new album. But it also sets the tone for the rest of the record. Hearing those first few notes sets the expectations for the balance of the tracks.
Throughout their career, REM has been no different. 1983’s Murmur kicked off with “Radio Free Europe.” The intro to Document is “Finest Worksong,” (which ironically has the best outro ever, thankyouverymuch).
Pop Song ‘89, and Radio Song set very clear agendas on Green and Out Of Time respectively.
15 years, and 11 albums later, “Airportman” was the lead track on 1998’s Up— the first album minus drummer Bill Berry.
Besides the obvious change in personnel dynamics, it’s clear the group is ready to go in a new direction altogether. It’s a liminal song about a liminal place. The album does not open with the usual bang previous records did. Instead, it’s a fuzzier, more subdued track.
If Radiohead made lullabies, they might sound like this. It also has the feel almost of an unfinished song- maybe an idea Michael Stipe was noodling around with and just decided to ship it anyway. But it works, and works beautifully.
As someone that works for an airline, I’m aware of the irony here. I’m an Airportman too, I guess? That aside, it does well to describe the sort of calm before the storm of a pre-dawn terminal, right down to the washed-out fluorescent lights and white noise(s). Unlike an airport, the song signals that this record is going to venture into the electric and be quieter than previous efforts.
For the fans that only play the hits on repeat, this pivot must’ve been disconcerting, but that was the band’s secret weapon- after all, they’d already used a mandolin and it became their biggest hit, so why not?
Have any thoughts on the track (or anything else)? Comment below!
Thanks for being here,
Kevin—
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