R.E.M.: Fables Of The Reconstruction CD Track Listing

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R.E.M. Fables Of The Reconstruction (1985)
Originally Released June 1985\nCD Edition Released 1988 ??\n\nAMG EXPERT REVIEW: For their third album, R.E.M. made a conscious effort to break from the traditions Murmur and Reckoning established, electing to record in England with legendary folk-rock producer Joe Boyd. For a variety of reasons, the sessions were difficult, and that tension is apparent throughout Fables of the Reconstruction. A dark, moody rumination on American folk -- not only the music, but its myths -- Fables is creepy, rustic psychedelic folk, filled with eerie sonic textures. Some light breaks through occasionally, such as the ridiculous collegiate blue-eyed soul of "Can't Get There From Here," but the group's trademark ringing guitars and cryptic lyrics have grown sinister, giving even sing-alongs like "Driver 8" an ominous edge. Fables is more inconsistent than its two predecessors, but the group does demonstrate considerable musical growth, particularly in how perfectly it evokes the strange rural legends of the South. And many of the songs on the record -- including "Feeling Gravitys Pull," "Maps and Legends," "Green Grow the Rushes," "Auctioneer (Another Engine)," and the previously mentioned pair -- rank among the group's best. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review\nR.E.M.'s third full-length recording, Fables of the Reconstruction delivers the purest distillation of the band's early sound. With the exception of the horn-laden, radio-friendly "Can't Get There from Here," the songs form a connected soundscape. Nearly transparent production highlights the glittering guitar arpeggios, active bass, and the disciplined, patterned drum lines, with organ and spare string arrangements adding texture to several pieces. And then there are the vocals: dense harmonies of voices calling out to each other, a rich humming and howling around Michael Stipe's central mumble. A careful listener can discern most of the lyrics, though what exactly they signify remains unclear. The album is best contemplated in its entirety, and the songs reward careful, repeated listening. This is a seminal alternative album, its material evocative, its ultimate meanings elusive. If your CD collection has room for only a few R.E.M. albums, Fables should be one of them. --Albert Massa \n\nAMAZON.COM CUSTOMER REVIEW\nAlbum has withstood test of two decades., March 10, 2005\nReviewer: Y. Carrington (Raleigh, NC)\nListening to this album today, I have a hard time understanding what critics were disappointed about in 1985. Now Fables may have not continued the fierce momentum of Murmur and Reckoning, but it is still a solid, moving album. Some of the old Rolling Stone reviews complained of sections of the record (especially the second half) as being "boring." Where did that idea come from? \n\nWith three superb joints opening the record ("Feeling Gravity's Pull," "Maps and Legends," "Driver 8") and satisfying numbers carrying it through, I say that Fables of the Reconstruction is one of the best albums in rock and roll in the past twenty-five years. It is surely among the best of R.E.M's career. The solid running streak of their first eight albums is a milestone that is nearly impossible for the average recording artist to achieve. \n\nTo be fair though, music listeners today have the benefit of hindsight with regards to assessing R.E.M's career. It was tough indeed to say just where the band was going to go in 1985, or the rest of rock and roll for that manner. What I know is this: Fables is as fresh today as it was twenty years ago.\n\nAMAZON.COM CUSTOMER REVIEW\nFirst half is excellent, second half is lame, January 31, 2005\nReviewer: Clare Alison Durina "Prabhupadanuga" (Detroit MI USA)\nFor their third album REM travelled to England to record in the damp and dreary atmosphere of the British isles. That mood definitely comes across on the first half of the record. Where their first two records were lighthearted, Fables reaks of the despair and darkness that the group felt as they recorded it. Depression often makes for great records, and this record is no exception. "Old Man Kennsey" and "Feeling Gravity's Pull" are harrowing. Unfotunately, the momentum begun on side one is lost on side two. The second side goes back to more of their lighter and open sound but unfortunately the songwriting is not up to par, with the exception of "Kohotek". Sorry, I have always found "Can't Get There From Here" to be one of their most annoying songs, and Stipe's vocals don't help any on it either. Yet if the songs on side two would have been stronger this could have been their best record. Despite the three star rating I gave this, I seriously recommend this record based on the strength of the first half. Those songs alone are masterpieces worth the price of the album. \n\nAMAZON.COM CUSTOMER REVIEW\nClassic Indie, November 19, 2004\nReviewer: George a Pletz "ger353" (Central PA, USA)\nProduced in stressful times with an unfamiliar producer, this is the start of the three album plateau (starts here and ends with Document). All the familiar elements are here and in perfect balance. The band realizes what it has to offer and delivers. Obtuse and arcanely catchy. For me, it all goes downhill with the questionable Green. I know that admitting that I actually liked REM, albeit for short period of time, will tag me as a fan but this album holds a certain fondness. Like an early ex-girlfriend. \n\nAMAZON.COM CUSTOMER REVIEW\n"Michael built a bridge, Michael tore it down", July 6, 2004\nReviewer: "driver_eight" (Buenos Aires, Argentina)\nI must confess I was somewhat shocked at learning that the band didn't think much of this record. I know all their albums almost by heart now, and I always considered "Fables..." as one of REM's finest. I suppose this shows just how a work of art, once it is finished, becomes something that no longer belongs to its creators, and gains a life of its own. More than any other REM album, this is one to listen to from beginning to end, as one single story with several changes of mood. \nIn a way, the general mood of "Fables..." is quite similar to that of "Automatic for the people", somewhat dark and sad overall, but with a tiny light at the end of the tunnel. Personally, I think this record shows REM at their best: great songwriting, with exquisite melodies and cryptic lyrics that can mean almost anything (the title of this review, for example, is taken from "Kohoutek", and can be used to illustrate the band's disapproval of their own work). \nIt is quite difficult to point out the highlights of this album, but "Maps and legends", "Driver 8" and "Life and how to live it" are short masterpieces, and "Wendell Gee" is a little gem that shows just how much can be achieved with few materials: a fine example of Peter Buck's opinion of how simple songwriting should be. Granted, it might not be the perfect place to start, but it sure is one of the greatest to revisit again and again.\n\nAMAZON.COM CUSTOMER REVIEW\nAs Close to Perfection as R.E.M. Ever Got, May 10, 2004\nReviewer: Kerry S. Hale "Kerry S. Hale" (Hughes, AR United States)\nThis is one of the first R.E.M. records I ever owned (I think I had Life's Rich Pageant first). Being a teenager at the time (1986), it was a very hard record to "get into". I liked a few of the songs, such as "Feeling Gravity's Pull", "Driver 8", and "Kohoutek", but really didn't get most of it. During the 1990's, as R.E.M. became just another band gone awry, I forgot about the record, and grew up. I pulled this record out of one of my boxes a couple of years ago, put it on, and "got it". \nI think it is impossible to rate this record as a standalone effort. This record has to be considered in a context of R.E.M.'s first five albums, ending with Document. After that, I didn't leave the music, it just left me. This album, falling smack-dab in the middle of R.E.M.'s creative high point, just nails what they were trying to do on every front. There is probably no album that better combines melody, tune, songcraft, storytelling, musicianship, and absolute creativity. The only thing I would change would be to remove "Old Man Kensey", and "Can't Get There From Here". I find myself pushing the forward button on the iPod every time they roll around. The high point of this album, as with "Reckoning", is the songwriting, insrumentation, and arrangement of the first four songs. "Feeling Gravity's Pull" is probably R.E.M.'s most avant-garde composition of all time (until they just really weirded out in the late 90's). "Maps and Legends" is one of their best, in terms of songwriting and performance. "Driver 8" captures a general feeling of nostalgia like no other song in rock that I know of. "Life and How to Live it" goes at a frantic pace that is a lot of fun, and has some of the best lyrics to any R.E.M. song. With the exception of the afore-mentioned throwaways, the rest of the album is excellent, too. I can listen to "Kohoutek" repeatedly, and "Wendell Gee" is about as touching a song as they ever wrote. \n\nIt is really sad, after listening to R.E.M.'s first five albums, to see the bloated, tuneless, greatest hits spectacle that R.E.M. have become. If I hear "What's the Frequency, Kenneth?" or "Imitation of Life" one more time, I'm going to jump, and songs like "All the Way to Reno" are so bad that you can't help but listen. If you want to know why R.E.M. was the best band in the world twenty years ago, pick up this record, along with "Reckoning" and "Life's Rich Pageant" right now. Together, they make even the best rock music of the last twenty years seem silly by comparison.\n\nAMAZON.COM CUSTOMER REVIEW\nWrapped up in their mystery, February 26, 2004\nReviewer: Michael Kluge (San Jose, CA United States)\nWhile records like Murmur, Automatic for the People, and New Adventures are more obvious masterpieces in their catalogue, Fables of the Reconstruction definitely shows up as the odd child out. Despite being overlooked and generally shunned by the band, it proves in the end to be a dark masterpiece all its own.\nIt's shadowy, somber, muted and seemingly simplistic in production, probably even more lyrically obtuse and obscure than Murmur or Reckoning (to this day I still am not clear on half of this record's lyrics), appears to tell a story while at the same time appearing oblivious to the world, feels like an undercurrent while static at the same time. It's wrought with contradiction and can't be easily pegged, yet it's probably one of the most insidious albums in their catalogue. One listen to the song "Life and How to Live It" proves this: a muted guitar strum leads into a rollicking drum and jangle-guitar movement, and Stipe's infectious mumbles (apparently recorded in a stairwell that he liked for the acoustics) that reveal a story in snippets, and you can't help but be dragged along. Darkly sinister songs like "Feeling Gravity's Pull" and "Old Man Kensey" give an ominous vibe that's hard to resist, while more driving tunes like "Maps and Legends" and "Can't Get There From Here" show a lyrical fascination with movement and space that oddly suits the record. Regarded by Mike Mills as Stipe's "storytelling record," you get the impression of poring over a dusty text, getting glimpses and fragments of lives long forgotten. \n\nThe mystery of this record, more than any other in their canon, is what makes it so addictive. It may not be like anything else they've done (rarely have they remained truly consistent, though), but that's what leads it the majority of its charm. It's a tale well told.\n\nAMAZON.COM CUSTOMER REVIEW\nSouthern Gothic, June 24, 2003\nReviewer: Martin Dawson (preston, lancashire United Kingdom)\nBy the time this album was released REM were about to eclipse Joy Division as my favourite band. Which is sort of ironic because for years I've referred to this album as REM's 'Joy Division Album'. Don't get me wrong, musically there is no comparison whatsoever - I'm talking about spirit, I'm talking about heart. And soul. An overwhelming and inspiring feeling of melancholy which if it's gothic, is Southern Gothic and feels just fine by me.\n" Michael built a bridge/ Michael tore it down..."\nAfter the effortless Byrdsian-jangle of 'Reckoning', this was a different matter entirely. " Time and distance are out of place here...". Exactly. 'Feeling Gravity's Pull' is all angular sharpness and a perfect jarring opening.Until Stipe croons/coos that chorus beginning " I felt gravity pull onto my eye..." in that sweet falsetto and the whole thing just washes over you in an unexpected way which after so many listens shouldn't really happen. The magic and the mystery of this band. And this album.\n\n" It's a Man Ray kind-of sky/ Let me show you what I can do with it..."\nThe moments of beauty here are sublime. ' Maps And Legends' moves along under its own dynamic purpose, Michael Stipe's enigmatic lyrics colliding with Mike Mills' infectious harmonies by the time you reach the chorus.' Driver 8' is classic REM. Those rollicking guitar riffs and lines like " The children look up/ All they hear is sky-blue bells ring...". I really admire the way this band have developed, have moved on and established themselves both critically and commercially but surely I can't be the only one that feels that something was lost in the translation; surely I can't be the only one to mourn the loss of the enigmatic, the sense that untold truths were in there, if only we could decipher them...\n\n" My pockets are out and running about/ Walking in the street to tell what I have hidden there..."\nWell, lines like that for starters. This is ' Life And How To Live It' in the greatest possible sense : with a wide-eyed wonder and a sense of the impossible. If the band were miserable and homesick during the recording of this masterpiece, then maybe more bands should go through that; I love the feeling of displacement here, the sense of alienation...but it's all tempered, even if the band didn't realise it themselves at the time, by that feeling of wonder. \n\n" Pay for your freedom...Guilt by associate..."\nAnd by turns it's political. ' Green Grow The Rushes Grow' is - obliquely - about US foreign policy and migrant labour. And set to a beautiful, nagging tune. With a beautiful Stipe vocal.\n\n" If you're needing inspiration..."\nThis is the place to come. When the world is a monster. Or just anytime. 'Wendell Gee' is the stunning, lilting ballad which closes the collection but it is before then that you have the priceless moment : 'Good Advices'. Still probably my favourite REM song as Stipe dispenses other-worldy advice like " When you greet a stranger look at their shoes/ Keep your memories in your shoes/ Put your travel behind..." and the heartbreaking chorus of " I'd like it here if I could leave and see you from a long way away..." \n\nSo...\n\n" Paint me the places you have seen..."\nWhich is what, at the end of the day, this album effectively does. It is mysterious. And lets you in whilst retaining its mysteries. In the most beautiful and uplifting way possible...\n\nAMAZON.COM CUSTOMER REVIEW\nWhen Life Give You Lemons..., September 24, 2002\nReviewer: benshlomo "benshlomo" (Los Angeles, CA USA)\nEven if one didn't know much about R.E.M.'s history, "Fables of the Reconstruction" would still sound like the work of some very homesick men.\nIt's hardly traditional folk music or anything like that. The band was too individualistic to produce such sounds. On the other hand, there's a dark cloud of loneliness and despair hanging over this music, even the softer songs. It's as though the guys produced "Fables of the Reconstruction" in a land where it rained every day and nothing was familiar - which happens to be the case.\n\nLyrically, the songs are even more desperate. "Fables of the Reconstruction" starts off with the destruction of the world, kicked off by the most threatening guitar riff Peter Buck ever tore into, and spends the next 35 minutes trying to put things back together, mostly by inventing stories about the landscape and people of the American South. The results are mixed.\n\nThen again, when an album begins with Michael Stipe groaning "Oceans fall, mountains drift" over the closest thing to heavy metal that R.E.M. can produce, there's really nowhere to go but back in time. Sometimes the band tries to find its way back by main force, as on "Maps and Legends" and "Auctioneer (Another Engine)". Sometimes they try pastoral reflection, as on "Green Grow the Rushes" and "Good Advices". Regardless of the musical style, these songs feel like a group of successful dead ends - they function adequately, but leave nothing to build on. It's not an accident that the single off this album was called "Can't Get There From Here" - the band apparently realized that they could not, in fact, and called off the historical mining right away.\n\nThat leaves us with R.E.M.'s least consistent album, at least until their drummer retired. "Fables of the Reconstruction" has some of their best material, and some of their worst. When this stuff works, it's exciting and propulsive - there are a lot of interesting additions to their basic musical structure, like the nightmare strings on "Feeling Gravitys Pull" and the discordant harmonica on "Driver 8". On the best songs, too, the band's well-known mysterious aura is very much intact - the maxims on "Good Advices" ("When you greet a stranger, look at his shoes"?) make sense only as dreams do, and the grotesques described in "Old Man Kensey" and "Wendell Gee" remain as curious at song's end as at the beginning. On the other hand, when this stuff doesn't work, the results are musically boring and lyrically confusing. I'd say the ratio of good songs to poor ones is about 7.5 to 3.5, with "Can't Get There from Here" falling somewhere in the middle. This would be a very good score for any average band, but in 1985 I had come to expect better from R.E.M.\n\nWhich brings us to the circumstances surrounding this album's recording. I said it sounds like the work of homesick people, watching the world around them wash away in the rain and dreaming of the people and landscapes they had known. That seems to be exactly what these guys were going through. Looking for a fresh sound, they moved to London for "Fables of the Reconstruction" and hired Joe Boyd, a well-known folk producer who has turned out masterpieces for people like Steeleye Span and the Incredible String Band. This band, however, couldn't seem to get along with him. It was cold and rainy the whole time they were there, they had nowhere to go and nothing to do after work each day, and the results of the sessions displeased them so much that all these songs disappeared from their concert list as soon as possible.\n\nI remember reading about this in 1985. I decided that although this album wasn't up to my favorite band's usual standard, I was willing to give it a pass and wait to see if the guys got their act together the next year. After all, who could expect top quality music in working conditions like that?\n\nThese days, at a time when so many top acts produce the same damn thing whether they're in London or Laos or the bottom of the sea, I'm grateful for any music - or any art, for that matter - that has any awareness of its surroundings. That doesn't make me like the filler on "Fables of the Reconstruction" any better, but it makes me feel a little more generous toward the men who recorded it. After all, if these songs are successful dead ends as I said before, at least these guys let themselves see the dead ends for what they were. The next year they turned around and tried something entirely new, and a couple of years later they were one of the world's top concert draws. If the American Idols had the sense to attend to that, they'd get down on their knees and ask for the strength that allowed R.E.M. to confront the ruin they saw in London.\n\nBenshlomo says, You can learn from whatever upheaval life throws at you if you pay attention.\n\nAMAZON.COM CUSTOMER REVIEW\nTHE DEFINITIVE "NEW SOUTHERN ROCK", July 10, 2002\nReviewer: J. C. Bailey (East Sussex United Kingdom)\nNon-American readers (and Americans who have forgotten their school history) may appreciate a little help in understanding the title and theme of this landmark album.\nThe "Reconstruction" to which the title refers was a Union plan to rebuild the economy and society of the former Confederate states following the end of the American Civil War (1861-1865) and the abolition of the slavery on which the Old Southern plantation economy had depended. Tragically, following the assassination of the visionary president Abraham Lincoln, the so-called "reconstruction" quickly degenerated into a period of intense exploitation. Over the ensuing decades, millions found that little had really changed, and the ground was laid for some of modern America's most stubborn political issues. Even now in some areas the old divisions still run deep, and it is only really since World War II that the kind of New South that Lincoln envisaged has been realised. \n\nOf course whether you like the fact or not, rock'n'roll was a Southern invention, the first fruits of the New South. This is significant because it represented the sort of cross-fertilisation between black and white musical cultures that would have been unthinkable in the Old South (remember that the earlier jazz crossovers established themselves in the northern cities rather than in their spiritual homeland of the Delta). And it was Lynyrd Skynyrd who first had the cultural confidence to respond to Neil Young's abrasive "Southern Man" and "Alabama" with the stirring affirmation of "Sweet Home Alabama". But by the end of the 1970's a "New Southern Rock" had grown up, a generation of bands that blended exploration with traditionalism and Southern identity with cosmopolitan influences. \n\nR.E.M. quickly developed into the most creative and successful unit in this whole movement, and from the outset they were the purest representation of its substance. They were college boys from the provincial university town of Athens, Georgia, itself a hybrid of industrialism and old world classicism. They were the product of a new industrial middle class that had the capital to educate its kids and the confidence to explore its own cultural identity. And they were obsessive rock fans who even in stardom never attempt to conceal the homage they still pay to their own heroes.\n\nHeated debate over the quality of R.E.M.'s last few albums has tended to eclipse what used to be one of the key disputes among the Athens band's hardcore fanbase: Was Fables a flop? Or was it a masterpiece? "Fables rocks" and "Fables sucks" were two of the competing slogans around at the time. Stories began to circulate about civil war in the London studio where the album was cut, between the band and the established folk-rock producer overseeing the project. Comments in the media gave fans the impression (justified or not) that the band had virtually disowned "Fables", and this in turn put many of their most loyal fans off the album.\n\nIn fact at least one member of the band has more recently admitted that it was a "great" album, and this later assessment is much fairer than any of the dismissive remarks made back in the eighties when tempers were still running high. This truly is a great album, the most perfect distillation of the lyrical, musical and sonic approach that first earned R.E.M. a global cult following.\n\nThat's not to say it's easy. The sound is murky. The vocals are indistinct. There is a mixture of clashing compositional styles ranging from the sweetest pop to the most jarring angry garage rock. And yet there is so much magic, and there isn't a single song on here that doesn't worm its way into the affections (even the less than universally acclaimed 'Wendell Gee'). Such of the lyrics you can make out are among Stipe's most obliquely deep and meaningful. Many of them revolve round his long-term fascination with the myths, legends and stereotypes of the American South (that's were the above historical intro comes in). The fact that the album title is printed in such a way that it can alternatively be read as "Reconstruction of the Fables" speaks volumes about the spirit in which this has been undertaken.\n\n"Fables" may not grab you on first hearing, but it is the definitive early R.E.M. album. Like all truly classic releases it amply repays the commitment involved in getting to know it well. And I would say that of all R.E.M.'s dozen or so albums, it is the one I am least likely ever to get tired of.\n\nAMAZON.COM CUSTOMER REVIEW\nThe Band Hated It, But You Don't Have To, March 8, 2002\nReviewer: "thrackamazog" (Austin, TX)\nThis is one of those album's that it's hard to feel ambivalent about. Even the band doesn't really like this one, and lots of people agree with them. From reading other reviews though, you can see that this opinion is not universal. I personally like this one a lot--better than Green, Out of Time, Murmur, and in some ways better than Life's Rich Pagent. \nI'll say right now, though, don't be fooled by all the 5 star ratings you see here. It's not the place to start if you're new to REM, and plenty of dedicated fans don't like it either. It's something of a departure for them, and it doesn't really sound like any of the others. Start with Life's Rich Pagent, work up to Fables. (Incidentally, I heard this one after seven count 'em SEVEN of the others. I liked it instantly.)\n\nThe first song from Fables I ever heard was 'Can't Get There from Here', which I heard on Eponymous--where it sounds totally different. If you've done the same, you'll be surprised when you hear the rest of the album. Fables kicks off with 'Feeling Gravity's Pull', which is a truly tremendous song. It's low and dark and irresistable, and it sets the tone for the whole album, a tone reinforced by two other great songs early on in the lineup, 'Maps and Legends' and 'Old Man Kensey'. Despite peppier songs like 'Can't Get There From Here' and 'Life And How To Live It', the whole thing just feels dark.\n\nFables represents an REM with fewer political pretensions than you hear in the others, which is good if you think (as I do) that good music need not have a political cause. (As the author of "Bloom County" once observed, political bands have a hard time of it--nothing rhymes with Nicaragua.) This album is far more human than activist, and that may be why REM doesn't like it much.\n\nAMAZON.COM CUSTOMER REVIEW\nSouthern dreamscape, musical immortality, December 19, 2000\nReviewer: Sean S McVity (North White Plains, NY USA)\nI'm usually long-winded but in this case I feel my peers have done a more than adequate job of imparting the feel of this great classic. To me, it's like being in a David Lynch dream sequence, floating through the small towns of the South, seeing what's before you and fascinated, even if you don't quite understand it. What a great album.\n\nHalf.com Album Notes\nR.E.M.: Michael Stipe (vocals); Peter Buck (guitar); Mike Mills (bass, vocals); Bill Berry (drums).\n\nAdditional personnel: Camilla Brunt, Phillipa Ibbotson (violin); David Newby (cello); Pete Thomas (tenor saxophone); David Bitelli (tenor & baritone saxophones); Jim Dvorak (trumpet).\n\nEngineers: Jerry Boys, Tony Harris, Barry Clempson.\nRecorded at Livingston Studios, London, England in March 1985.\n\nFABLES OF THE RECONSTRUCTION finds R.E.M.'s star rising fast. With major label world domination still comfortably off in the future, the band was still experimenting; their jangly frenetic sound was deepening by fathoms, and Michael Stipe's formless rants were solidifying (his diction was improving, too, which only served to clarify his prodigious poetic gift). The album featured some of the group's most solid pop songcraft to date, as well as some pretty heady meandering ("Feeling Gravity's Pull").\nFABLES produced some important hits for the group at this crucial juncture of its career. Radio staples like "Driver 8" kept them popular with the increasingly important college crowd (heretofore their bread and butter), while the crisp, jumpy and irresistibly catchy "Can't Get There From Here" brought them to a new level on the now-essential music video playlists. Diehard fans, however, were drawn to some quintessential R.E.M. moments--the overlapping vocals of "Maps And Legends" and the wistful, soaring "Wendel Gee," the album's real gem, a disarming, dreamy, instant classic.\n\nIndustry Reviews\n...FABLES... is both REM's most impenetrable and fulfilling release to date....FABLES... is...etched with paranoia, slooooowly-strangled guitars and...the sound of four young Athenians who were neither shiny nor happy.\nNME (09/06/1997)\n\nRanked #88 in AP's list of the `Top 99 Of '85-'95' - ...FABLES OF THE RECONSTRUCTION follow[s] the also moody and sublime RECKONING with its dark, backwoods wanderlust and a labyrinth of lyrics woven through banjo, cello and violin....FABLES [is] like a dark cloud in the band's discography: Full of stormy rhythm, trademark guitar jangling and box-car philosophy...\nAlternative Press (07/01/1995)\n\nRanked #4 in CMJ's Top 20 Most-Played Albums of 1985\nCMJ (01/05/2004)
This rock cd contains 11 tracks and runs 39min 46sec.
Freedb: a2094e0b
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