"Fables of the Reconstruction"

We jump ahead now to REM's third studio LP, "Fables of the Reconstruction" (once again, the chronology is screwy because I'm going in order of when I became familiar with the albums - next we'll do "Document", then everything will be in line). “Fables”, for some reason, gets a lot of crap. This started in the early 90s when members of the band were quoted on a number of occasions making less than enthusiastic remarks about the album as a whole. “Fables sucks,” Bill Berry put it bluntly. One wonders if there was some dynamic among the band during the songwriting, recording, or mixing process that tarnished the whole experience for them, because many of us really enjoy this album, and it’s one I go back to time and time again.

“Fables” may be REM’s most overtly southern-themed work, even though it was recorded in the UK (I wonder if this detachment is responsible for any of the ill will later on). Making a big shift in production, the band enlisted the help of Nick Drake producer, Joe Boyd. The result is a collection of really well-crafted songs presented with a certain tension. Part of the tension comes by way of darker tones coaxed from the band matched with vocals that stand out in front more so than in earlier recordings. The REM traits are all still present: Michael’s odd and heart-felt lyrics, Pete’s ups-and-downsy guitar, Mike’s reliable bass and piano, Bill’s poppy drums, but there’s something unique going on – something uncommon.

So I like it as is, but here’s my crazy fan fantasy: If the band were ever to reconsider and re-visit “Fables”, why not mix it up a bit? How about “Life and How to Live It” as a traditional bluegrass number? Let’s hear “Can’t Get There From Here” with the full Brian Setzer swing band treatment. Or can we get some help from Broadway for a show-stopping version of “Good Advices”?

You think I’m kidding...