In the conclusion of this 1987 documentary, the members of R.E.M. give a rendition of the Everly Brothers ballad 'All I Do is Dream' at the Lucy Cobb Chapel in Athens, Georgia. At the time of the taping, the historic Victorian chapel was barely standing before it gradually went through its triumphant rehabilitation in 1997. Just like the desirous Athens scene, its architecture was full of promise but abandoned by negligence. The historic Morton Theater also went through a similar fate, in which local bands such as the aforementioned, The B-52s and Dreams So Real would use it as a rehearsal space before they went on to become universally recognized.
Amusingly, the old, grey landmarks purely contradict the fervent spirit of the local Athens scene in the mid-'80s. Recorded at a time when magnetic tape was the norm, Athens, GA. Inside/Out humbly presents a time period in which local Athens bands were starting to taste the idea of superstardom. Instead of wallowing in what could be or what could’ve been, the commentary presented is meant to shed some light on the city’s soul; it’s scenery is mainly a backdrop of how musicians became inspired by a blooming scene that wholly believed in being creative under their own terms, rather than taking it elsewhere. It also gives insight about the town’s cults heroes, dedicating a hefty chunk of time to prolific folk Reverend Howard Stinger, who recounts his transition from garbage man to renowned artist.
The segments in Inside/Out look like spliced collages that coalesce between wistful remembrance and kinetic movement. These perspectives converge between how the band presented was doing at the time – some, like the just relocated to New York B-52s, briefly reminisce at a local diner about their frenzied performances before cutting into an archived performance. Others, like the retro-rockabilly surging Flat Duo Jets, hog most of the film’s spotlight with stories about how they met whilst desperately pitching themselves in hopes of a major label to take notice. At times, it seems as if Gayton is mostly cashing in on the town’s bustling attention – is there any need to show Michael Stipe doing an impersonation of how Popeye would exercise? Or Peter Buck’s cribs tour of his Elvis-inspired bathroom circa 1983? Probably not, but it doesn’t hurt to display Athens’ finest being their idiosyncratic selves between the pre-ordained interviews.
While most of the artists featured are mostly caught in a dream haze, the wittiest segment comes from the complacent remarks of accidentally seminal post-punk outfit Pylon. Though a somewhat regretful Randall Bewley speaks about almost blowing up due to their manager suggesting them opening for U2, a bashful Vanessa Briscoe contrasts this thought with how she never had the intention of becoming a musician. Though the chronology in Inside/Out is sketchy, it is meant to idealize a scene in all its confounded glory by way of jumbled recollection – twenty fives years later, bands continue to employ the same grassroots movements by performing at half-empty clubs and working together to bring attention to their respective territories, all in the name of keeping art alive. Inevitably, some will bands will be bigger than others, but the mutual respect is always there.