Sitting Still

"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 in producer Mitch Easter's garage 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]

"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 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]

The re-recorded version of "Sitting Still" was included on the 2006 compilation album And I Feel Fine... The Best of the I.R.S. Years 1982–1987, with the original being on the album's bonus disc.[1] A live version was included on the 2009 live album Live at the Olympia.[1]