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Fables of the Reconstruction

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Template:Short description {{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |Template:Short description|noreplace}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=Reckoning1984Lifes Rich Pageant1986studioFables of the ReconstructionR.E.M. - Fables of the Reconstruction.jpgR.E.M.June 10, 1985February–April 1985<ref name="udiscover"/>Template:EfnLivingston (London)*Jangle pop

Fables of the Reconstruction (or Reconstruction of the Fables) is the third studio album by American alternative rock band R.E.M. It was released on June 10, 1985, through I.R.S. Records. It was the band's first album recorded outside of the U.S., with sessions taking place at Livingston Studios in London with producer Joe Boyd. The record displays a darker, murkier sound than its predecessors, with lyrics drawing from Southern Gothic themes and characters. The album also utilizes more varied instrumentation, including string and brass arrangements and banjo.

Critical reception to Fables of the Reconstruction was positive, with many reviews noting its folk elements and murky tone. Retrospectively, it has also been viewed as a transitional album, retaining the sound and obscure themes of the band's early work while hinting at the experimentation with acoustic instrumentation that would be present on their later albums. The album's sales reflected R.E.M.'s growing popularity, with it becoming their second album to reach the top 30 in the US and first to make the top 40 in the UK. It was later certified Gold by the RIAA in 1991. While none of its singles achieved mainstream chart success, "Driver 8" has since become one of R.E.M.'s best-known and most-covered songs from their early period.

ProductionEdit

File:Joe Boyd, AB Café (2008).jpg
Joe Boyd (pictured in 2008) was hired as the album's producer thanks to his prior work with folk rock artists.

After working with Don Dixon and Mitch Easter on their first two albums, Murmur (1983) and Reckoning (1984),Template:Efn R.E.M. decided to work with a different producer for their next album. Those considered to produce the album included Van Dyke Parks, Hugh Padgham (who had been achieving great success with his work with acts such as the Police and Genesis), Elliot Mazer (known for working with Neil Young), and Elvis Costello.<ref name="uncut"/> Parks was lead vocalist Michael Stipe's first choice; Parks had recently released the album Jump! (1984), which was based on the Uncle Remus folk tales which had been popular in the Southern United States during the post-Reconstruction era, and thus Stipe felt that Parks would be the right fit for the Southern Gothic-influenced material he was writing at the time.<ref name="uncut"/>

The band ultimately chose to work with London-based producer Joe Boyd. Guitarist Peter Buck, particularly, wanted to work with Boyd, known for his work with folk rock acts such as Nick Drake, Fairport Convention, and Richard and Linda Thompson.<ref name="udiscover">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After having recorded their first two albums in North Carolina,<ref name="parke">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the band instead flew to England to record the album at Livingston Studios in Wood Green, London.<ref name="udiscover"/> Conditions were less than ideal, as the band had a long commute from their lodging in Mayfair to the studio and London was at the tail end of a rough winter; Buck recalled that "It rained every day it wasn't snowing".<ref name="uncut">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Boyd's work ethic reportedly caused tensions with the band, as his precise attention to detail contrasted with the more spontaneous approach the band had utilized on the previous two albums.<ref name="udiscover"/> Dixon and Easter had worked quickly and encouraged the band to experiment; in contrast, Boyd spent hours mixing and remixing songs, which the band felt removed some of the energy and spontaneity of their performances.<ref name="udiscover"/>

Boyd would later describe the recording period as "not the best time in my life", but recalled that "[the band] seemed to get along better than most groups I’ve worked with" even though their relationships were somewhat strained at the time.<ref name="real"/> He described them as "the most well-organized, professional group of people I’ve ever encountered."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He felt that R.E.M.'s approach to mixing was unique in comparison to other acts: "When you mix a record, traditionally the singer wants his voice louder, and the guitar player says, 'Turn up the guitar,' and the bass player says, 'Can’t you make the bass parts punchier?' With R.E.M., everyone wanted themselves turned down".<ref name="real"/>

Music and lyricsEdit

File:Man Ray 1934.jpg
The lyrics of "Feeling Gravitys Pull" make reference to Dadaist/surrealist artist Man Ray.

Fables of the Reconstruction mixes the band's established style with folk elements and a darker sound.<ref name="allmusic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Writers have labeled the album as jangle pop,<ref name="pitchfork"/> folk rock,<ref name="chase">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="dis">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> alternative country,<ref name="chase"/> and Southern rock.<ref name="Molanphy 2018">Template:Cite podcast</ref> Described by AllMusic's Stephen Thomas Erlewine as "creepy, rustic psychedelic folk", the album introduced new instrumentation for the band, including strings, brass, and banjo.<ref name="parke"/><ref name="allmusic"/> Prior to the recording of the album, Stipe studied Appalachian music and took an interest in oral storytelling, both of which influenced the material.<ref name="udiscover"/> The combination of the album's sound and the Southern focus of its lyrics have many critics to declare Fables R.E.M.'s most "Southern" album,<ref name="pitchfork">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="slant">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as an example of Southern Gothic.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Many of its songs describe eccentric, unusual characters; Matthew Perpetua of Pitchfork described the album's aesthetic as "evok[ing] images of railroads, small towns, eccentric locals, oppressive humidity, and a vague sense of time slowing to a crawl."<ref name="pitchfork"/>

Opening track "Feeling Gravitys Pull" starts with a dark, chromatic guitar riff played by Buck.<ref name="pitchfork"/> The song's lyrics reference artist Man Ray and include imagery relating to lucid dreaming.<ref name="pitchfork"/><ref name="slant"/> The dreary tone of the song is augmented by the use of a string trio; in a review for Rolling Stone, Parke Puterbaugh described the song's cello part as "seem[ing] to drag down and halt time" and adding to its "unnerving" and "dirgelike" feel.<ref name="parke"/> Like many of R.E.M.'s songs, "Maps and Legends" uses bassist Mike Mills' backing vocals as counterpoint to Stipe during the chorus.<ref name="pitchfork"/> Its lyrics were inspired by Howard Finster, a Baptist minister and outsider artist who had created the album art for Reckoning the previous year.<ref name="far out">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Tyler Golsen of Far Out described "Driver 8" as a "classic railroad song" and a showcase for Buck's playing as both an "intricate picker" and a "folky rock star".<ref name="driver8">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

"Life and How to Live It" takes inspiration from a book entitled Life: How to Live by eccentric Athens–based author Brivs Mekis.<ref name="top">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Mekis split his house into two distinct halves and alternated between living in the two until he died.<ref name="line">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After his death, copies of the book were found; despite these copies being made none had ever been sold or given away.<ref name="line"/> "Old Man Kensey" likewise "celebrate[s] an eccentric individual living in the Deep South."<ref name="udiscover"/> Writing for Drowned in Sound, Andrzej Lukowski describes the song as "a nightmarish tale of a crazed old guy."<ref name="dis"/> Lead single "Cant Get There from Here" incorporates soul and funk influences and a horn section.<ref name="pitchfork"/><ref name="av"/> Perpetua described the song as "approximated Southern funk", while Puterbaugh felt it "sets a tone of dislocation that pervades the entire record".<ref name="pitchfork"/><ref name="parke"/> "Green Grow the Rushes" was written as part of a pact between Stipe and 10,000 Maniacs frontwoman Natalie Merchant that both would write a song about the genocide of Native Americans; the 10,000 Maniacs song "Among the Americans", from their 1985 album The Wishing Chair, was Merchant's contribution.<ref name="udiscover"/>

"Kohoutek" features Stipe's falsetto singing.<ref name="ucr">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Lukowski, Stipe's lyrics on this song are more personal, and associate himself with the other outcast characters on the record.<ref name="dis"/> Tim Peacock of uDiscoverMusic describes "Auctioneer (Another Engine)" as "atypically jagged and aggressive" for the band, with its "urgent, anthemic sound" hinting at the direction the band would take with Lifes Rich Pageant the following year.<ref name="udiscover"/> Parke has described "Good Advices" (as well as "Green Grow the Rushes") as "Byrds-like balladry."<ref name="parke"/> Lukowski refers to its lyrics as "paranoid but strangely reassuring old time wisdom."<ref name="dis"/> Closing track "Wendell Gee" features Buck playing banjo; continuing the album's theme of eccentric characters, Puterbaugh considers its lyrics to be a "surreal, lachrymose fable about some back-country oddball."<ref name="udiscover" /><ref name="parke"/>

ReleaseEdit

Work on Fables of the Reconstruction finished in early April, and the album was released on June 10, 1985.<ref name="udiscover"/> The album's packaging leaves it unclear as to whether its true title is Fables of the Reconstruction or Reconstruction of the Fables, with the sleeve featuring two "front covers" each displaying one of the two titles.<ref name="liner notes"/><ref name="dis"/> This extends to the record label, where side one is referred to as "a side" and displays the album name as Fables of the Reconstruction whilst side two is labeled "another side" and displays Reconstruction of the Fables.<ref name="liner notes"/>

In the US, Fables peaked at number 28 on the Billboard 200 (one spot lower than Reckoning).<ref name="billboard">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album would be certified Gold by the RIAA for sales in excess of 500,000 copies on June 24, 1991.<ref name="riaa">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album reached number 35 on the UK Albums Chart, making it the band's first to reach the top 40 of that chart.<ref name="uk">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was also the band's first record to chart in Canada, reaching number 40,<ref name="canada">Template:Cite journal</ref> while in New Zealand it peaked at number 29.<ref name="nz">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

"Cant Get There from Here" was released as the album's lead single.<ref name="pitchfork"/> While it failed to chart on the Billboard Hot 100, it did reach number 10 on the Bubbling Under Hot 100.<ref name="Whitburn">Template:Cite book</ref> The song achieved more success on the Billboard Top Rock Tracks chart, peaking at number 14: their highest placement on that chart at the time.<ref name="billboard"/> Cash Box magazine described the single as having "a fully rocking chorus and a typically steady and murky verse [which gives] this cut superior pop character as well as giving mainstream listeners a taste of what college radio has known about for years."<ref name=cb>Template:Cite magazine</ref> Both 7" and 12" versions of the single were released; the 7" was backed with the non-album track "Bandwagon", while the 12" version included both "Bandwagon" and another previously unreleased song, "Burning Hell", on its B-side.<ref name="single1">Template:Cite AV media notes</ref><ref name="single1b">Template:Cite AV media notes</ref>

"Driver 8", the album's second single, also charted on the Top Rock Tracks chart, reaching a peak of number 22.<ref name="billboard"/> The B-side of the single included a cover of "Crazy" by fellow Athens band Pylon.<ref name="single2">Template:Cite AV media notes</ref> "Driver 8" has become one of R.E.M.'s most-covered songs, with versions being recorded by acts including Hootie & the Blowfish and Jason Isbell.<ref name="rhino">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="isbell">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Wendell Gee" was released as the third and final single in Europe only and became the first R.E.M. song to reach the UK Singles Chart, peaking at number 91.<ref name="uk"/>

Critical receptionEdit

Template:Album ratings

Contemporary critical reception for Fables of the Reconstruction was generally positive. In a review for Rolling Stone, Parke Puterbaugh awarded the album four stars out of five, referring to it as "unretouched R.E.M. in all their rough-cut glory", and felt the band sounded "surer than they did on Reckoning".<ref name="parke"/> He likened the album's style to the "insular mood weaving" of Murmur.<ref name="parke"/> Robert Christgau declared that Boyd's production confirmed that the band's "formal frame of reference is folk rock" but that the band was able to "defeat folk rock's crippling stasis: they have a good beat, and you can boogie to them".<ref name="village"/>

Retrospective reviews have also been positive. In a review for AllMusic, Erlewine states that despite finding the album to be less consistent than the band's first two, it does "demonstrate musical growth, particularly in how perfectly it evokes the strange rural legends of the South."<ref name="allmusic"/> He goes on to list "Feeling Gravitys Pull", "Maps and Legends", "Green Grow the Rushes", "Auctioneer (Another Engine)", and the first two singles as "among the group's best" songs.<ref name="allmusic"/> Scott Gordon of The A.V. Club feels that Fables is the record where R.E.M. "mastered the art of effortlessly mismatching itself from album to album, and even song to song."<ref name="av"/> He also highlights the eerie atmosphere of the album, stating that songs such as "Green Grow the Rushes" and "Good Advices" "might have otherwise fit beautifully" on the band's first two records, but instead, in the context of Fables, "trade some of the band's early understatement for suspense."<ref name="av"/>

Matthew Perpetua's review for Pitchfork describes the album as "overlooked and transitional", and considers it to be a "dark and murky set with a textural palette close to the muted earth tones of its packaging."<ref name="pitchfork"/> Like Erlewine, he finds the album to be less consistent than its two predecessors, but still praises it as "great" and "inspired".<ref name="pitchfork"/> In a review for Drowned in Sound, Lukowski refers to Fables as a "Southern Gothic masterpiece".<ref name="dis"/> She considers it an "infinitely detailed" album which "rewards patience", while describing it as a "dark, dissonant record".<ref name="dis"/> Jonathan Keefe of Slant feels that Fables is R.E.M.'s most thematically cohesive album.<ref name="slant"/> He considers its lyrics to not be "simply a retelling of [its] myths or a hagiography for these men", referring to the characters featured throughout the album's songs.<ref name="slant"/> Rather, he feels they display "pointed, thoughtful consideration of what these stories mean and, specifically, of how Stipe perceives them."<ref name="slant"/>

Band opinionsEdit

The members of R.E.M. have expressed varying opinions on Fables since its release. In 1987, drummer Bill Berry bluntly stated that Fables "sucked".<ref name="real">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In a Rolling Stone interview from 1991, Buck was dismissive of "Driver 8", saying, "I can write that kind of stuff in my sleep. We all can."<ref name="attitude">Template:Cite magazine</ref> However, Stipe, who once infamously compared the album's sound to "two oranges being nailed together", stated in the same 1991 interview that he believed Fables contained the band's strongest set of songs up to that point.<ref name="attitude"/> Buck has since spoken positively about Fables, stating in the liner notes of the album's 25th anniversary reissue: "Over the years, a certain misapprehension about Fables of the Reconstruction has built up. For some reason, people have the impression that the members of R.E.M. don't like the record. Nothing could be further from the truth. [...] It's a personal favorite, and I'm really proud of how strange it is. Nobody but R.E.M. could have made that record."<ref name="Box">Fables of the Reconstruction 25th Anniversary Deluxe Edition, liner notes, p. 5, 2010.</ref>

Track listingEdit

All songs written by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe, except "Old Man Kensey" by Berry, Buck, Mills, Stipe, and Jeremy Ayers.

A side

  1. "Feeling Gravitys Pull" – 4:48
  2. "Maps and Legends" – 3:10
  3. "Driver 8" – 3:23
  4. "Life and How to Live It" – 4:06
  5. "Old Man Kensey" – 4:08

Another side

  1. "Cant Get There from Here" – 3:39
  2. "Green Grow the Rushes" – 3:46
  3. "Kohoutek" – 3:18
  4. "Auctioneer (Another Engine)" – 2:44
  5. "Good Advices" – 3:30
  6. "Wendell Gee" – 3:01

PersonnelEdit

Template:More sources needed Personnel taken from Fables of the Reconstruction liner notes.<ref>Template:Cite AV media notes</ref>

R.E.M.

  • Bill Berry (credited as "WT Berry – Best Boy") – drums, percussion, backing vocals
  • Peter Buck (credited as "PL Buck – Ministry of Music") – electric guitar, acoustic guitar, banjo
  • Mike Mills (credited as "ME Mills – Consolate Mediator") – bass guitar, backing vocals, organ, piano
  • Michael Stipe (credited as "JM Stipe – Gaffer Interpreter") – lead vocals

Additional musicians

  • Camilla Brunt – violin
  • Philippa Ibbotson – violin
  • David Newby – cello
  • Pete Thomas – tenor saxophone
  • David Bitelli – tenor and baritone saxophones
  • Jim Dvorak – trumpet

Production

  • Joe Boyd – production
  • Jerry Boys – engineering
  • Berry Clempson – audio engineering
  • Tony Harris – engineering
  • M. K. Johnston – photography and art

Charts and certificationsEdit

Weekly chart performance for Fables of the Reconstruction
Chart (1985) Position
US Billboard 200<ref name="billboard"/> 28
UK Albums Chart<ref name="uk"/> 35
Certifications
Organization Level Date
RIAA (US) Gold June 24, 1991<ref name="riaa"/>

Release historyEdit

Region Date Label Format Catalog
United Kingdom Template:Dts I.R.S. LP MIRF1003
United States Template:Dts I.R.S. LP IRS-5592
cassette tape IRSC-5592
compact disc IRSD-5592
Greece Template:Dts Illegal LP 26525
Australia Template:Dts I.R.S./Epic LP ELPS 4495
The Netherlands Template:Dts I.R.S. LP 26525
Worldwide Template:Dts MCA Compact Disc 5592
I.R.S. cassette tape IRSC-5592
The Netherlands Template:Dts EMI Compact Disc 7 13160 2 9†
United Kingdom Template:Dts Simply Vinyl 180-gram LP SVLP151
Worldwide Template:Dts Capitol Compact Disc 93479
Europe Template:Dts EMI Compact Disc 13160†
Worldwide Template:Dts I.R.S. Compact Disc 19016
United States Template:Dts Simply Vinyl LP 0000151
Europe Template:Dts I.R.S. Compact Disc 7131602†
United States Template:Dts I.R.S. Compact Disc 509996 46071 22††

Notes

  • † I.R.S. Vintage Years edition, with bonus tracks
  • †† 25th Anniversary edition, with bonus disc

NotesEdit

Template:Notelist

ReferencesEdit

Template:Reflist

External linksEdit

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