My Top Albums Of 2016

Sorry this post is so late – I typically try to get it out sometime in late December… but between shopping, other holiday stuff, and being sick as a dog for a couple weeks, I just didn’t have it in me to write this until now.

So… I called 2014 a “down year for music”, then called 2015 “even worse”. Well, it seems like 2016 was a bit of a “recovery year”. While it wasn’t one for the ages, I actually did have trouble picking out just ten albums for this list. And, as always, there are Last.fm stats after the list.

 My Top Albums of 2016

10) Xiu Xui – Xui Xui Plays the Music of Twin Peaks – When I was a teen, I went though a “noise music” phase. Current 93, Einstürzende Neubauten, Nurse With Wound… that sort of thing. Xui Xui is just as “challenging” as those bands. They’re certainly not everyone’s cup of tea, and I certainly wouldn’t blame you for any “WTF?” comments. But while Xui Xui is “just okay” in my book, I really liked this album. The constraints of having to cover Angelo Badalamenti’s Twin Peaks soundtrack not only kept them from going totally off the rails, it actually adds something to the music to hear Xui Xui cover it. This is almost like a David Lynch fever dream. Again, I won’t fault you for not liking it, but this is certainly one of the most “innovative” albums of the year.

9) David Bowie – Blackstar – Honesty time: I love Bowie’s 70s music. He was indeed an innovator and challenger of the status quo, not just in music, but also, in his own way, of culture itself. Yet, I just couldn’t get in to any of Bowie’s work after Let’s Dance. He’s just “not my thing”. I only include this album on the list: a) to pacify any of my friends who might read this list and go nuts at its omission; and b) as an overall tribute to all the great musicians who died in 2016.

8) Memoryhouse – Soft Hate – Memoryhouse is one of those bands I really should like. After all, they kinda sound like Beach House, and I like Beach House, right? Yet, despite several honest attempts to listen to their music, it just never “clicked” with me… that is, until this year’s Soft Hate. I can’t quite put my finger on why that is, though. This album is self-released, so maybe someone at SubPop tried pushing them in a direction they didn’t want to go. I dunno. All I know is, I like this.

7) Julianna Barwick – Will – Man, Julianna Barwick hits it out of the park.. again! I can’t be arsed to check, but I’m pretty certain that all three of her albums – The Magic Place, Nepenthe and now Will – have made it to my “best of” lists in their respective release years. I could try to come up with a million adjectives to describe her music – “dreamy”, “atmospheric”, “ethereal”, “unearthly”, “angelic”, “elegiac”… but if you’ve never heard her before all you need to know is this: ya know those beautiful (but tiny) snippets of music that you used to hear between This Mortal Coil songs? She has albums full of the stuff, and it’s fantastic.

6) Warpaint – Heads Up – The ladies from L.A. are back, and with a bang, too. Heads Up is a terrific album, but most of the hype on this disc comes from the lead-off single, “New Song” which is just… ON FIRE! The rest of the album holds its own, but nothing else even approaches the awesomeness of “New Song”. Not that it could. Still, it’s a solid effort all around, rather than one of those “one great song and 10 filler songs” albums. Good job, ladies! Can’t wait to hear what’s next!

5) Ladyhawke – Wild Things – New Zealand’s Pip Brown is back! And although she’s back to her synth-heavy sound after a brief detour with the somewhat guitar-heavy Anxiety, she still has the same problem: the singles off Wild Things are fantastic songs you can listen to over and over again… but the rest of the album is pretty weak. “A Love Song” and “Sweet Fascination” are easily two of my favorite songs of the year… yet “Let It Roll”, “Hillside Avenue”, “Wild Things” and the rest of the album is just… fine, I guess. Like a good dinner at Applebee’s.

4) Still Corners – Dead Blue – Man, where did these guys come from? I know, I know: the UK. But their music is almost… addictive. This is one of those albums you can listen to and think “yeah, this is OK”. But 20 minutes later, you’ve got this song or that song in your head. So you listen again. And the next thing you know, you’ve listened to the album 14 times in a row! While a song like “Down with Heaven and Hell” showcases what this band can do, there really isn’t a bad song on this disc. I’ve been a fan since 2013’s Strange Pleasures – and I’m STILL kicking myself for not paying $8 to see them at Snug Harbor because it was on a Tuesday and I’m lame. I won’t make that mistake again. This album is totally its own thing, yet I can hear echoes of the best of Cocteau Twins and other 4AD bands. It makes me happy and nostalgic at the same time.

3) Postiljonen – Reverie – I loved Postiljonen’s debut album, Skyer, so much so that it was #6 on my “best of 2013” list. But Skyer was a mix of upbeat synthpop tunes and slow, dreamy songs. I much preferred the former over the latter. Yet this Swedish band seemed to do the opposite on this disc. “Go!” is an almost-dancable tune, but the rest of the album – while eminently listenable and beautiful – is just a bit too sedate for my tastes. That’s not a knock, exactly. It just means that this disc is something you have to be in a chill-out mood for, instead of something you can do chores to.

2) Mint Julep – Broken Devotion – I’ve “been into” music for 30 years, and yet I’m still surprised how a band can appear out of nowhere and just wedge their way into the #2 spot on your “best of” list. I’d never even heard of this band, until that fateful night when Spotify recommended it to me. Wow! Thanks, Spotify! This disc is just… intricately-layered electronic nirvana with some lovely vocals thrown in to boot! It’s even one of those albums where a song starts and you think “oh, I’m not going to like this at all”… yet you do. The album has 9 lovely original songs, but I think their cover of When in Rome’s “The Promise” is the best introduction to the band one could possibly have:

1) Marsheaux – Ath.Lon – Surprise, surprise: my favorite band of the 2010s got their second #1 album of the year! Guys, I wish I could explain my love for this band to you, but the best analogy I’ve yet come up with is a teenage crush. Remember that? When your heart was so full you thought it was going to burst, and all you could think about in any given moment was her (or him)? I have that same exact feeling when I listen to this band. Hell, I even feel that way when talking about them: “yeah I never woulda thought The One would be a synthpop band from Greece, but… here we are”! And this album… well, it just might be their best one yet. I’m not 100% sold on the opening track – “Burning” – but I can listen to the rest of the album over and over and over again (and, according to Last.fm, I did just that this year). This band just has… that sound, man, that certain “it”. There are a ton of electronic bands out there that sound exactly like something from the 80s. Hell, many of them even go so far as to have 80s style cover art, complete with album names written in “laser beams” above computer-generated checkerboards. But somehow, Marsheaux manages to sound so much like those early 80s electronic bands, yet fully modern at the same time. How they manage to do it I’ll never know… I just hope they never stop doing it! This is a band I’m helplessly, hopelessly deeply in love with.

“Safe Tonight”, the first single off the album:

“Like a Movie”, a split-screen video with one band member in Athens, the other in London (hence the album’s name, Ath.Lon):

My favorite song on the album, the totally dreamy “Mediterranean”:

Honorable Mentions

Chromatics – Just Like You EP
The Colorist & Emiliana Torrini – The Colorist & Emiliana Torrini
Montmartre – Hope
Nice as Fuck – Nice as Fuck
Nite Jewel – Liquid Cool
Pylon – Live
Shura – Nothing’s Real

Continue reading My Top Albums Of 2016

The True Story of “A Forest”

If you’re a fan of The Cure, you might have had the pleasure of seeing the over-the-top live version of “A Forest”. The original version – from the band’s second album, Seventeen Seconds – clocks in at 5:55. Live versions can run as long as 15 minutes. And why not? It’s one of the band’s most popular tunes, and the song’s moody, spartan atmosphere makes it ripe to extend by several minutes.

But unless you’re a hardcore Cure fan, you might not know that the extended version of the song was neither accident nor artistic decision. It was to flip a finger at Robert Palmer.

The Cure played a festival called Rock Werchter in Werchter, Belgium on July 5, 1981. A couple of local acts opened, followed by The Undertones, Toots and the Maytals, then Elvis Costello. The Cure played, to be followed by Robert Palmer and Dire Straits.

As it sometimes happens at festivals, the bands started running behind. Before The Cure even went on, Robert Palmer’s road crew started hassling The Cure about keeping their set short. During the set, various members of Palmer’s crew kept motioning to the band to speed it up or, later on, end it already. After The Cure finished the penultimate song of their set – “A Play for Today” – a member of Palmer’s crew rushed on stage and threatened to cut the power if The Cure didn’t leave.

The Cure, of course, didn’t take too kindly to this. Robert Smith introduced their final song thusly:

“This is the final song because we’re not allowed to carry on anymore, ‘cos everybody wants to see Robert Palmer… I think. It’s called ‘A Forest’.”

Just to be dicks, The Cure improvised an almost 10 minute version of the song:

At the end of the song, you can hear Cure member Simon Gallup scream “Fuck Robert Palmer! Fuck rock n’ roll!” Palmer’s people had the last laugh, though, tossing all The Cure’s equipment off the back of the stage.

Over the years, the band has refined the live version of the song. Where the Werchter version is raw and improvised, later versions were much more cohesive, like this version from 1992:

MYSTERY SOLVED!

In this post from 2013, I talked about a mysterious record called “Ready ‘n’ Steady” by a band called “D.A.”. What made the record so mysterious was that it hit Billboard magazine’s “Bubbling Under” chart on June 16, 1979… but no one had ever even seen a copy of the record, much less owned one. Even Joel Whitburn – a music historian who has worked with Billboard for decades, making a career out of publishing Bilboard-based reference books – didn’t have a copy. And Whitburn owns a copy of every other record that’s ever appeared on the Billboard charts!

Billboard Chart
Blatantly stolen from mix931fm.com

Well, consider the mystery solved. According to this post, the Lost Media Wiki posted the following information a few weeks ago:

The artists of the song turned out to be Dennis Armand “D. A.” Lucchesi (1945-2005), a California-based mortgage broker and amateur musician, and Jim Franks. Franks is still alive, and willingly gave Paul Haney (on behalf of Whitburn) a recording of the song. It was played on July 8, 2016, on the Crap from the Past radio show on KFAI in Minneapolis-St. Paul, Minnesota.

According to Haney (who appeared on Crap from the Past, explaining the history behind the song), he had spoken with Franks, who told him that the song (as well as three or four other songs) was recorded in 1979 after a major label representative witnessed the band play live. He offered the band studio time and promised that he would help the band get a song on the Billboard charts. Despite its appearance on the charts, the song was never pressed onto vinyl. Because of this, it is unknown if the song even received radio play at the time of its recording.

This kind of raises new questions, though. If it was never pressed into vinyl, how did radio stations play it, and if they didn’t, how did it reach the Billboard charts?

Someone uploaded the song to YouTube. I can’t even begin to describe how disappointing the song is… but here it is, if you wanna listen:

Spotify, Marshmallow and SD Cards

One of the main selling points of Spotify Premium is the ability to download albums and playlists for offline listening. If you’re taking a long plane flight or going on a road trip, for example, you can download the music so you don’t have to worry about having access to Wi-Fi or LTE to listen to your tunes.

On previous versions of Android, Spotify would look for the storage device on your phone\tablet with the most free space, and save your offline music there. For most folks, this would be a microSD card. Hell, apps like Spotify Premium are one of the main reasons Android users install 32GB (or larger) SD cards in their devices in the first place.

If you’re using Marshmallow – Android 6.0, currently the latest version – you may have noticed Spotify storing music on your device’s internal storage instead of the SD card. This is especially worrying for people who don’t have a lot of spare space on their phones… but even if you do have space, it’s kind of annoying to spend money on an SD card, only to have Spotify ignore it.

What’s happening is that Marshmallow, by default, does not allow apps to access the SD card. The app may request permission, but if you accidentally click “no”, or if the app installer doesn’t ask (or somehow fudges it up during install), it won’t use external storage at all.

So… what to do about Spotify and offline music?

If you DO NOT have Spotify installed, go ahead and install it from Google Play, but don’t open it yet. Instead go to Settings > Apps > Spotify and look for the “Permissions” section:

Spotify Permissions 01

The section will probably say “No permissions granted”. If so, tap it and move the “Storage” slider to the ON position:

Spotify Permissions 02

Exit out of all that, then start Spotify and log in. The app should now save offline music to the SD card. You might want to verify this by tapping Settings > Storage and checking the available space on your SD card before and after downloading some music.

If you ALREADY HAVE Spotify installed on your device, tap Settings > Apps > Spotify > Force stop. Wait for the app to close, then tap “Storage” then “Clear data”. Then go back a page and tap “Permissions” and enable “Storage”, as shown above. When you restart Spotify, you will need to log in again. You’ll also have to download all your offline music again, but this time it should be saved to your SD card instead of internal storage.

My Top Albums Of 2015

If 2014 was “something of a down year for music”, then 2015 was even worse. I listened to as much music as ever… but most of it was from years past. My second most played album of the year was CHVRCHES’ The Bones of What You Believe, from 2013, while other albums from 2013, 2006, 2012 and 1983 rounded out my overall top 10. In recent years, I could easily come with at least 15-18 candidates for this list; this year I struggled – mightily – to come up with 10. I even briefly considered making this a “Top 8” or “Top 6” instead of the traditional 10!

Below are my Top 10 albums of the year. After that you’ll find selected stats from my Last.fm page.

My Top Albums of 2015

10) New Order – Music Complete – I didn’t love this album, but you know what? It didn’t totally suck, which is more than I can say for New Order’s last two (or three) albums. I think the band struck a pretty good balance on this album: sounding like the old New Order I loved so much, but not sounding like a retread of all those old songs from the 80s. They didn’t do anything wild and crazy or unconventional on this album… but that’s OK. It’s good enough as it is.

9) Priest – Priest – Priest is a synthpoppy band from Orlando made up of singer Madeline Priest and producer David Kazyk. Priest herself shows promise, and could be one of the up-and-comers on the synthpop scene. However, while this album shows flashes of brilliance, it also shows signs of being overproduced and worryingly mainstream. It’s one of those discs that starts off great, and you want to hear more. But by track 5 you’re like “OK, I’ve heard this. Time for something else”. Still, it’s worth a listen… and it’s worth keeping your eye on Madeline in the future.

8) (tie) Sarah Cracknell – Red Kite and Pete Wiggs – How We Used to Live – It’s a Saint Etienne two-fer! Just the other day I realized I’ve been listening to Saint Etienne for almost 18 years… which made me feel really old. Sure, there are a lot of bands I’ve listened to longer – I’ve been a Duran Duran fan for 33 years, for example. But I only discovered Saint Etienne after I graduated from college… which somehow seems so much longer ago than liking Duran Duran since elementary school. So yeah, the band took a hiatus this year, allowing lead singer Sarah Cracknell to release her third solo album – Red Kite – and fellow bandmate Pete Wiggs to release How We Used to Live, the soundtrack to Paul Kelly’s 2013 film of the same name, which celebrates life in London from 1950 to 1980. Like most of Cracknell’s solo efforts, the album starts out well, and kind of ends with a whimper. Plus, there’s something that’s just so… girly about her solo stuff. I don’t know how else to describe it, but that’s how I feel. I love Sarah and her music, but bandmates Pete Wiggs and Bob Stanley give the band’s music an “edge” (or maybe an “oomph”) Sarah’s music lacks on its own. As for Wiggs’ soundtrack, it’s interesting stuff. It’s not something you’d throw on for the hell of it – I can’t picture myself doing household chores to it – but it’s great “thinking music”. Tune in, space out.

7) Marsheaux – A Broken Frame – If you’ve spent any time at all following my music tastes, you’ll know that this Greek synthpop duo are one of my faves from the past couple years. Even though I didn’t listen to them nearly as much this year as I have in the recent past, they still hold a very comfortable lead in my “most scrobbled band ever” stats on Last.fm. If the title of their newest album sounds familiar, it should: the girls decided to cover Depeche Mode’s 1982 classic… like, the whole thing. And it’s good. Quite good, actually. The girls pay a beautiful homage to one of their most influential artists, yet make it their own at the same time. The only reason it doesn’t rank higher this year is because it’s a cover. As nice as this album is, I want original content from these ladies, and maybe we’ll get that in 2016.

6) Beach House – Depression Cherry – I like Beach House as much as the next guy, and I think this is a solid effort. But lemme toss this out at ya: my girl just bought a new (used) car that came with a free trial of SiriusXM. I really like the SiriusXMU station, but one day I noticed that I really couldn’t tell one Beach House song from another. I’m only partially joking. So listen to this album; it’s good stuff, but it all runs together after a while.

5) Pale Blue – The Past We Leave Behind – Pale Blue is mainly Mike Simonetti, a man who started his own record label in 1993. While the label initially focused on hardcore punk stuff, it later expanded to include many other genres. He became interested in synthpop, and formed a label called Italians Do It Better with Johnny Jewel, producer for Chromatics and Glass Candy. Pale Blue is Simonetti, with help from vocalists Elizabeth Wight and Jana Hunter. The Past We Leave Behind kind of tells you everything you need to know about the album: it’s bittersweet, airy, lonely, and downright elegiac at times. It’s not life changing, but then, one gets the notion that’s it’s not supposed to be. I’m not entirely sure it works as a full album, though. I get the feeling that, had Simonetti pared it down to six tracks and called it an EP, it’d be in the running for record of the year. But this disc never wears out its welcome… it just hangs around a bit too long for comfort. I do, however, look forward to a follow-up. Should the stars align just right, these folks could be magic.

4) Best Coast – California Nights – Bethany Cosentino finally got her hit! Best Coast have been rocking their special blend of jangle pop and surf rock since 2009, and while they were instantly popular with the in-crowd, they seemed to just miss hitting the mainstream. Until now. As soon as this album came out, the band started appearing everywhere, especially the late night talk show circuit. And why not? The album is full of fun fuzz rock, running the gambit from “stuff you can work out to” to “slow and wistful”. The problem with this band, however, is what Pitchfork called “diminishing returns”. Bethany and Bobb appear to be very nice people, but one wonders how many more albums they can crank out in their current configuration. You ever listen to Bob Dylan or Pink Floyd and wonder what the message behind the lyrics is, as if they were speaking almost totally in allegories? Yeah, that’s not a problem with Best Coast. Cosentino is as straightforward a lyricist as it gets, and she often makes Katy Perry’s lyrics seem like Keats in comparison. And when I wonder if their music alone can carry them, I’m inclined to say no. Still, California Nights just might be the high water mark of their careers.

3)  Gliss – Pale Reflections – It’s hard to pin down this Danish-American band. Their early albums were a lot of damn noise. But then they went and made Langstrom Dans in 2013, an album I really, really loved. It wasn’t quite as heavy, repetitive and “stuck in the mud” as most shoegaze stuff. It was almost like some kind soul took the best parts of shoegaze, knocked the cruft off the rest and made it much more accessible. Pale Reflections seems to be a compromise between the band’s early sound and that of Langstrom Dans. It’s not nearly as… “dreamy” as Dans, but it’s not the “in your face” sound from their earlier discs, either. At times, you’d almost think you were listening to their fellow countrymen, The Raveonettes… and that’s not necessarily a bad thing.

2) CHVRCHES – Every Open Eye – Confession time: I didn’t like CHVRCHES the first few times I heard them. The rest of the synthpop subreddit went nuts over them, but I just didn’t get it. Until one day, when I did get it. And CHVRCHES have been my most listened-to band since. I’ve played the hell out of The Bones of What You Believe, and spent much of the summer hyperventilating over their next album. And then it came and… it was pretty good. The tracks I love on this disc, I really love. But the ones I don’t like so much.. I really don’t like. So while I can’t seem to tire of “Leave a Trace” or “Clearest Blue”, I hit always hit the skip button on “High Enough to Carry You Over”, which is something I didn’t do with any of the tracks on Bones. According to Last.fm, I played tracks off Every Open Eye 114 times since September, but that’s mostly just 3 or 4 songs. I don’t think CHVRCHES are in some kind of sophomore slump… I guess I just expected too much. Hype can do that.

1) Purity Ring – Another Eternity – Holy shit… where have you guys been all my life? Purity Ring are Canadians Megan James and Corin Roddick, and their music is… sublime. Beautiful. Transcendent. It’s every damn thing you could want in electronic music. I’ve traditionally been one of those people who has to listen to an album 2-3 times before I like it, but Another Eternity sucked me in from the very first instant, and never let go. Much like the premiere of Mad Men, I felt inexplicably drawn into this universe, only in this case it’s a world of shimmering synthesizers and drum machines. It was only after the first 2-3 listens that I realized that the band are on 4AD Records, and that explained it all. If Purity Ring aren’t “Cocteau Twins you can dance to”, they are certainly the spiritual successors of the name, and they are worthy of such praise. And unlike Every Open Eye, every damn track on Another Eternity is good. I certainly have my favorites, but I won’t skip over any tracks on this disc, and often just listen all the way through… one of the only discs released this year I do that with. As a bonus, their live show is amazing: James makes all the costumes herself, and both she and Roddick play custom-built synths, including one that looks a bit like a minimalist Christmas tree that lights up when struck with a drumstick. Even if it wasn’t the only concert I’ve been to this year, it would certainly be the best.

Raw Data from Last.fm

All playcounts are in parenthesis

Most Played Artists

1) CHVRCHES (352)
2) Purity Ring (286)
3) Orchestral Manoeuvers in the Dark (148)
4) Marsheaux (119)
5) Postiljonen (106)
6) 10,000 Maniacs (105)
7) The Sounds (102)
8) Gliss (87)
9) The Raveonettes (78)
10) Saint Etienne (73)

Most Played Albums Overall

1) Purity Ring – Another Eternity (2015) (230)
2) CHVRCHES – The Bones of What You Believe (2013) (131)
3) CHVRCHES – Every Open Eye (2015) (114)
4) Postiljonen – Skyer (2013) (98)
5) Pale Blue – The Past We Leave Behind (2015) (65)
6) The Sounds – Dying to Say This to You (2006) (64)
7) Best Coast – California Nights (2015) (62)
8) Purity Ring – Shrines (2012) (55)
9) Sarah Cracknell – Red Kite (2015) (47)
10) Orchestral Manoeuvers in the Dark – Dazzle Ships (1983) (46)

Most Played 2015 Albums

1) Purity Ring – Another Eternity (230)
2) CHVRCHES – Every Open Eye (114)
3) Pale Blue – The Past We Leave Behind (65)
4) Best Coast – California Nights (62)
5) Sarah Cracknell – Red Kite (47)
6) Gliss – Pale Reflections (43)
7) Pete Wiggs – Saint Etienne Presents: How We Used to Live (37)
8) Soko – My Dreams Dictate My Reality (28)
9) Say Lou Lou – Lucid Dreaming (22)
10) Marsheaux – A Broken Frame (21)

Most Played Tracks

1) Purity Ring — “Begin Again” (75)
2) Postiljonen — “We Raise Our Hearts” (63)
3) CHVRCHES — “Leave a Trace” (49)
4) The Sounds — “Painted By Numbers” (46)
5) CHVRCHES — “Get Away” (42)
6) Owl Eyes — “Nightswim” (41)
7) CHVRCHES — “Recover” (37)
8) Purity Ring — “Bodyache” (36)
9) The Sounds — “Living in America” (33)
10) CHVRCHES — “Clearest Blue” (32)

SONGS I LOVE: “Painted By Numbers”

Man, it’s been forever since I’ve done one of these, yes?

The Sounds are a Swedish band with a really cool New Wave-ish sound. They’ve got this “Missing Persons meets The Cars” vibe that I really like.

I discovered them thanks to the NBC sitcom Welcome to Sweden. Their song “Living in America” was used as the theme, and during a binge of season 2, the song got stuck in my head. So I went online to find more. I still like that song, but I like this one even more:

Cant (or Can’t) Figure It Out

“Can’t get there from here” is a colloquialism from the American South referring to directions too complex to easily give. If a traveler stopped and asked a local for directions, and the proper response would be “go two miles and take a right and it’s on the left”, the local would probably just say so. But if it was significantly more complex than that, the local would dismiss the traveler by saying “you can’t get there from here”.

It’s also the name of a popular R.E.M. song off the band’s 1985 album Fables of the Reconstruction. But it would seem that the band can’t agree on how to punctuate the title.

R.E.M. traditionally ignored apostrophes, as seen in the song titles like “Feeling Gravitys Pull” and album titles like Lifes Rich Pageant. According to guitarist Pete Buck:

“We all hate apostrophes. Michael insisted and I agreed that there’s never been a good rock album that’s had an apostrophe in the title.”

And “Cant Get There From Here” is punctuated as such on the album’s outer sleeve. However, on the album itself the song is listed with the apostrophe. The same goes for the CD: no apostrophe on the sleeve, apostrophe on the disc. There are two versions of the song’s single, one with and the other without the apostrophe:

REM-Cant-01

REM-Cant-02

On their early greatest hits album Eponymous, the track listing lacks an apostrophe, but the liner notes include it. And the apostrophe appears once again on the back cover of the And I Feel Fine… The Best of the I.R.S. Years 1982–1987 box set.

So who knows. It would seem the band enjoys the ambiguity. The A side of the album and cassette versions lists the album as Fables of the Reconstruction, but the B side is listed as Reconstruction of the Fables. Both have meaning, first as tales about the Reconstruction Era of the American South following the Civil War, the second as the literary deconstruction of fairy tales. But the album art doesn’t help: the front cover says Fables of the Reconstruction, but the back says Reconstruction of the Fables. Most CD versions of the disc say Fables of the Reconstruction on the cover, but Reconstruction of the Fables on the spine.

If all that wasn’t confusing enough, Fable’s liner notes include references to a song called “When I Was Young”, which isn’t included on the album. The song exists – it was played on a 1985 tour before Fables was released, and appears in demo form as “Throw Those Trolls Away” on the 25th anniversary edition of Fables. But if you have a CD player capable of reading CD-Text data from a music disc, you’ll find the song is listed as “When I Was Young”. And if the title sounds familiar, it’s the opening line of “I Believe” from Lifes Rich Pageant… which is the song “When I Was Young” eventually became.