I have no idea where all the rambling conspiracy theories above come from, but you're clearly overthinking things. It is true, however, that this is one of R.E.M.'s darker songs, along with much of the Fables album, which is a criminally underrated masterpiece, by the way. I feel that R.E.M.'s strongest, most haunting, detailed and atmospheric songs are present on this album. It is a true Southern Gothic masterpiece, that paints some of the most vivid portraits in my head of any music. The songs are all connected with similar themes and musical styles as well, to the point of being just short of a concept album. The most brilliant part is that the music fits perfectly with the lyrics. I'm not sure whether it's my favorite of theirs, however, as you have to be in a certain mood to truly appreciate it, whereas you can enjoy stuff like "Murmur" and "Lifes Rich Pageant" at any time, anywhere. Anyway, I always envisioned this song as being about a train conductor whose life is basically going from one destination to another, with a break in between every now and then, but he never truly reaches his destination. His life is like an endless train ride to nowhere. Naturally, a life like that can get lonely and depressing at times, and the music and Stipe's imagery in the lyrics portray this perfectly. The music only gets darker as it goes along. I absolutely love that moment during the "Way to shield the hated heat" bridge where the harmonica comes in. It's so hauntingly beautiful. Then there's that riff - wow. There's no question that Fables was Peter Buck's finest hour as a guitarist. At least, it has his greatest and most memorable riffs of any album. This song and "Life and How to Live It" have particularly outstanding riffs. Songs like these remind me just why Buck is one of the most underrated guitarists of all-time. He may not be technically brilliant, but he sure knows how to get a mood across. This goes without even mentioning the solo he plays in live renditions of "Country Feedback." If anything could convince me that guitars feel emotion, it's that. Back on topic, Stipe's voice kills throughout the whole song as well. Fables was the first album where you could actually understand over 50% of the lyrics, though Stipe was still employing his trademark "murmur" style vocals. He wouldn't drop that until the next album, Lifes Rich Pageant. On this song in particular, you can hear Stipe's voice come alive, as he switches from slurring off "destination" at the end of the chorus to muttering "But we're still aways away" to unleashing his full potential during the incredible bridge. Mike Mills' haunting background vocals are amazing as always, providing a perfect counterpoint to Stipe's lead. The unfairly overlooked rhythm section of Mills and Bill Berry is rocking on this song as well, backing up Buck's riffs and Stipe's vocals flawlessly. In short, this is the quintessential R.E.M. song, and an alternative rock standard. It is the one that provides the most perfect examples of what made this band so great during their 80's IRS years. It is also the one I play to any of the uninitiated who are unaware of how brilliant a band R.E.M. were back in the day. It converts most of those poor souls only aware of "Losing My Religion" and "Everybody Hurts" (or worse, "Stand" and "Shiny Happy People") immediately, and leaves them hungry for more. I point them first to the classic compilation album "Eponymous," and if they like that, I next point them to the IRS albums (including Chronic Town) in order of release. I envy the musical joys they have left for them waiting to be discovered. It makes me remember the days when I heard these songs for the first time, and how absolutely blown away I was. Nothing was ever the same for me, musically. This band was my gateway to a world of musical magic just waiting for me to find it. It started with The Velvet Underground, whom R.E.M. covered several songs by, and I haven't looked back since. If you have only a casual or passing interest and R.E.M. and have found yourself stumbling upon this page for some reason, I strongly encourage you to not stop here. Don't just download this song on iTunes or whatever and be done with it. You will regret if you do, as you have no idea just what you're missing out on.
I have no idea where all the rambling conspiracy theories above come from, but you're clearly overthinking things. It is true, however, that this is one of R.E.M.'s darker songs, along with much of the Fables album, which is a criminally underrated masterpiece, by the way. I feel that R.E.M.'s strongest, most haunting, detailed and atmospheric songs are present on this album. It is a true Southern Gothic masterpiece, that paints some of the most vivid portraits in my head of any music. The songs are all connected with similar themes and musical styles as well, to the point of being just short of a concept album. The most brilliant part is that the music fits perfectly with the lyrics. I'm not sure whether it's my favorite of theirs, however, as you have to be in a certain mood to truly appreciate it, whereas you can enjoy stuff like "Murmur" and "Lifes Rich Pageant" at any time, anywhere. Anyway, I always envisioned this song as being about a train conductor whose life is basically going from one destination to another, with a break in between every now and then, but he never truly reaches his destination. His life is like an endless train ride to nowhere. Naturally, a life like that can get lonely and depressing at times, and the music and Stipe's imagery in the lyrics portray this perfectly. The music only gets darker as it goes along. I absolutely love that moment during the "Way to shield the hated heat" bridge where the harmonica comes in. It's so hauntingly beautiful. Then there's that riff - wow. There's no question that Fables was Peter Buck's finest hour as a guitarist. At least, it has his greatest and most memorable riffs of any album. This song and "Life and How to Live It" have particularly outstanding riffs. Songs like these remind me just why Buck is one of the most underrated guitarists of all-time. He may not be technically brilliant, but he sure knows how to get a mood across. This goes without even mentioning the solo he plays in live renditions of "Country Feedback." If anything could convince me that guitars feel emotion, it's that. Back on topic, Stipe's voice kills throughout the whole song as well. Fables was the first album where you could actually understand over 50% of the lyrics, though Stipe was still employing his trademark "murmur" style vocals. He wouldn't drop that until the next album, Lifes Rich Pageant. On this song in particular, you can hear Stipe's voice come alive, as he switches from slurring off "destination" at the end of the chorus to muttering "But we're still aways away" to unleashing his full potential during the incredible bridge. Mike Mills' haunting background vocals are amazing as always, providing a perfect counterpoint to Stipe's lead. The unfairly overlooked rhythm section of Mills and Bill Berry is rocking on this song as well, backing up Buck's riffs and Stipe's vocals flawlessly. In short, this is the quintessential R.E.M. song, and an alternative rock standard. It is the one that provides the most perfect examples of what made this band so great during their 80's IRS years. It is also the one I play to any of the uninitiated who are unaware of how brilliant a band R.E.M. were back in the day. It converts most of those poor souls only aware of "Losing My Religion" and "Everybody Hurts" (or worse, "Stand" and "Shiny Happy People") immediately, and leaves them hungry for more. I point them first to the classic compilation album "Eponymous," and if they like that, I next point them to the IRS albums (including Chronic Town) in order of release. I envy the musical joys they have left for them waiting to be discovered. It makes me remember the days when I heard these songs for the first time, and how absolutely blown away I was. Nothing was ever the same for me, musically. This band was my gateway to a world of musical magic just waiting for me to find it. It started with The Velvet Underground, whom R.E.M. covered several songs by, and I haven't looked back since. If you have only a casual or passing interest and R.E.M. and have found yourself stumbling upon this page for some reason, I strongly encourage you to not stop here. Don't just download this song on iTunes or whatever and be done with it. You will regret if you do, as you have no idea just what you're missing out on.