"One For Me One For You" Act I (1983)

About R.E.M.

R.E.M. was an American rock band formed in Athens, Georgia, in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist Mike Mills, and lead vocalist Michael Stipe, who were students at the University of Georgia. R.E.M. was noted for Buck's arpeggiated "jangle" guitar playing; Stipe's distinctive vocal style, unique stage presence, and cryptic lyrics; Mills's countermelodic bass lines and backing vocals; and Berry's tight, economical drumming. In the early 1990s, other alternative rock acts suc...

About This Footage

The recently unearthed footage of R.E.M.'s "One For Me One For You" Act I, recorded in 1983, is a fascinating addition to the band's already extensive discography. While not directly related to the iconic American rock band R.E.M., this clip showcases Mayon Weeks' original music and features an intriguing collaboration with Josh White Jr.

The rare footage, which clocks in at 40:51 minutes, was staged and directed by Lee Yopp for the Ft. Bragg Play House. The show's unique format, described as a "cabaret" with an extended stage and interactive audience experience, adds to its charm. The video features Mayon Weeks joined by Vicki Carter & John Spala, Josh White Jr., Judy Gibson, and Martha Alexander.

The set design, courtesy of Jim Lollis, is notable for its minimalist approach, which allows the performers to take center stage. The use of slides projected onto the stage during each act, showcasing pictures of the audience members taken by Bobby Moody, was a pioneering technique in live performance enhancement. This innovative aspect of the show highlights the creative experimentation that took place in the early 1980s.

The tracklist for "One For Me One For You" Act I includes an eclectic mix of songs, ranging from "Chilly Out Tonight" to "Noir Blues Medley." The medley itself is a three-part composition, divided into "Last Cigarette," "Does It Matter?," and "Stop That Ringing." This format allows for a dynamic exploration of different musical styles and moods.

The video's transfer quality may be somewhat compromised due to the poor conversion from 4:3 aspect ratio, but the audio restoration by Hypodoche has helped to salvage the original recording. The clip provides an interesting glimpse into the lesser-known aspects of live music performance in the early 1980s.

While not a direct R.E.M. performance, this footage is notable for its unique blend of musical styles and experimental approach to live shows. Mayon Weeks' collaboration with Josh White Jr. adds another layer of interest to the clip. The fact that no original recordings remain highlights the importance of preserving such rare performances through digital means.

The inclusion of links to purchase Mayon Weeks' music, visit Josh White Jr.'s website, and follow the Facebook page dedicated to the artist underscores the effort to promote and preserve this lesser-known talent. As we continue to explore the archives, it is clear that there are many hidden gems waiting to be discovered.

Curated from public records and music databases.