Writing and recording
"Sitting Still" was one of the first songs written by R.E.M., in late 1980, along with "Radio Free Europe" and "Shaking Through." [1] [3] Hib-Tone founder Jonny Hibbert agreed to release "Radio Free Europe" and "Sitting Still" as a single on his label in exchange for the publishing rights. [4] [5] The song was initially recorded on April 15, 1981, and some of Michael Stipe's vocals were re-recorded in May. [4] The single was released on July 8, 1981. The band was able to reacquire the publishing rights in order to issue the two songs on Murmur in 1983. [4] [5] Unlike "Radio Free Europe," which was re-recorded, the version of "Sitting Still" on Murmur is from the same recording made at producer Mitch Easter's Drive-In Studio as the Hib-Tone single. [4] [6] However, some changes were made to the Murmur version, such as slowing down the tape. [4] [6] Also, some out of tune backing vocals were fixed and Mike Mills re-recorded his bass part. [4]
Music and lyrics
"Sitting Still" reflects R.E.M.'s folk rock influences. [1] [4] Peter Buck's guitar riffs have been compared to those of The Byrds. [4] The song's verses have a call and response structure, with Buck's guitar arpeggios responding to Stipe's vocal line. [1] [2] Allmusic critic Stewart Mason states that this is one of the few R.E.M. songs in which Mills and drummer Bill Berry act as a traditional rhythm section, propelling the song forward together. [1] Mills plays straightforward punk rock-influenced eighth notes, and does not incorporate his typical walking bass lines or "harmonic accents." [2] It is one of the band's most straightforward rock songs. [2] Mason calls it "part of the band's statement of purpose" as it gives the message "See, we can play regular pop songs, we just choose not to." [1]
As with "Radio Free Europe," the lyrics to "Sitting Still" are notoriously murky. [1] [3] Stipe has acknowledged that the first line of the refrain, "Up to par and Katie bar the kitchen door but not me in," does not mean anything. [1] [4] In a 1991 interview he did provide some insight into a potential meaning, stating that "Katie bar the door" is a Southern expression for barring the door to prevent a child from escaping punishment and is used as a warning that the child better watch out. [3] Another line, "We can gather, throw a fit" has often been misinterpreted as "We can gather, throw up beer." [3] He has also acknowledged that much of the song is made of nonsensical vowels strung together and that he merely approximates the words when he sings the song in concert. [4] [6] To the extent the song contains decipherable lyrics, they seem to be inspired at least in part by Stipe's sister, who is deaf and teaches deaf children. [2] [3] [4] Marcus Gray interprets the song as being directed at a child, possibly a deaf child, based on its title referencing a common exhortation restricting children and other hints in the lyrics. [3]
A line in the refrain announces that "I can hear you." [2] [4] Music writer J. Niimi states that this line "binds the obtuseness of the lyrics" and performs a similar "cathartic" function as the audible line "Call out in transit" performs for the murky lyrics of "Radio Free Europe." [2] However, the last line of the song "Can you hear me?" turns this phrase around. [2] [4] This brings the song back to the theme of deafness. [2] [4] Music writer Craig Rosen also interprets this line as a challenge from Stipe to listeners to try to understand his vocals. [4] Niimi interprets it as an expression of the band's fear that, despite their own confidence in their murky style, listeners won't be able to accept them. [2]
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