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R.E.M.: Document

 A l b u m   D e t a i l s


Label: IRS Records
Released: 1987.02.03
Time:
 67:35
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.remhq.com
Appears with:
Purchase date: 2002.02.09
Price in €: 6,99





 S o n g s ,   T r a c k s


[1] Finest Worksong (Berry/Buck/Mills/Stipe) - 3:50
[2] Welcome to the Occupation (Berry/Buck/Mills/Stripe) - 2:48
[3] Exhuming McCarthy (Berry/Buck/Mills/Stripe) - 3:19
[4] Disturbance at the Heron House (Berry/Buck/Mills/Stripe) - 3:33
[5] Strange (Berry/Buck/Mills/Stripe) - 2:32
[6] It's the End of the World as We Know It... (Berry/Buck/Mills/Stripe) - 4:07
[7] The One I Love (Berry/Buck/Mills/Stipe) - 3:17
[8] Fireplace (Berry/Buck/Mills/Stipe) - 3:24
[9] Lightnin' Hopkins (Berry/Buck/Mills/Stripe) - 3:18
[10] King of Birds (Berry/Buck/Mills/Stripe) - 4:07
[11] Oddfellows Local 151 (Berry/Buck/Mills/Stripe) - 5:21

Bonus Tracks:
[12] Finest Worksong [Other Mix] (Berry/Buck/Mills/Stipe) - 3:47
[13] Last Date [A cover of the instrumental track by Floyd Cramer] - 2:16
[14] The One I Love [Live] - 4:06
[15] Time After Time etc. [Live] - 8:22
[16] Disturbance at the Heron House [Live] - 3:26
[17] Finest Worksong [Lenghtly Club Mix] - 5:52

 A r t i s t s ,   P e r s o n n e l


PETER BUCK - Guitar, Producer
MIKE MILLS - Bass, Producer
MICHAEL STIPE - Vocals, Producer
BILL BERRY - Drums, Producer

STEVE BERLIN - Horn

SCOTT LITT - Producer, Engineer
GARY LANEY - Engineer
CARL MARSH - Engineer, Fairlight
TONI GREENE - Engineer, Assistant Engineer
STEVE CATANIA - Engineer, Assistant Engineer
TODD SHOLAR - Engineer, Assistant Engineer
TED PATTISON - Engineer, Assistant Engineer
TOM DER - Engineer, Assistant Engineer
BOB LUDWIG - Mastering, Remastering
JIM MCKAY - Sleeve Design
MICHAEL MEISTER - Photography

 C o m m e n t s ,   N o t e s


1990 CD MCA 42059
1993 CD IRS IRSD-42059
1993 CS IRS IRSC-42059
1998 CD Capitol 93480
1999 CD Capitol 21276
2000 LP EMI 499466



R.E.M. began to move toward mainstream record production on Lifes Rich Pageant, but they didn't have a commercial breakthrough until the following year's Document. Ironically, Document is a stranger, more varied album than its predecessor, but co-producer Scott Litt — who would go on to produce every R.E.M. album in the following decade — is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. "Finest Worksong," the stream-of-conscious rant "It's the End of the World As We Know It (And I Feel Fine)" and the surprise Top Ten single "The One I Love" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the midtempo jangle-pop of "Welcome to the Occupation," "Disturbance At the Heron House" and "King of Birds" is. Where Lifes Rich Pageant sounded a bit like a party record, Document is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger. In other words, it's not only a commercial breakthrough, but a creative breakthrough as well, offering evidence of R.E.M.'s growing depth and maturity, and helping usher in the P.C. era in the process.

Stephen Thomas Erlewine - All Music Guide
© 1992 - 2001 AEC One Stop Group, Inc.



Singer Michael Stipe finally confesses that even he doesn't know what he's trying to say--among the lines flying by are "tryin' to tell you something we don't know" and "there's something going on that's not quite right." But R.E.M.'s roar is at its sharpest, as Peter Buck's guitars twist up surf riffs and the Bill Berry-Mike Mills rhythm section captures the force of forebears Big Star and the Byrds. After half a decade of college-rock heroism, R.E.M. achieved its first hit album thanks to the rambling "It's the End of the World As We Know It (And I Feel Fine)" and the gentle (but subtly barbed) "The One I Love."

Steve Knopper - Amazon.com essential recording



Der Sänger Michael Stipe gesteht letztlich ein, dass er nicht weiß, was er sagen will -- zwischen den Zeilen, die da so an einem vorbei fliegen, hört man "tryin' to tell you something we don't know" ("versuchen etwas zu erzählen, was wir nicht wissen") und "there's something going on that's not quite right" ("da spielt sich etwas ab, das nicht ganz richtig ist"). Aber der volle Sound von R.E.M. erreicht seinen Höhepunkt, wenn Peter Bucks Gitarre Surf-Riffs liefert, und die Bill-Berry-Mike-Mills-Rhythmusgruppe die ganze Power der Vorgänger Big Star und The Byrds einfängt. Nach einem halben Jahrzehnt als erfolgreiche College-Rock Band, erzielte R.E.M. den ersten Hit-Erfolg mit diesem Album, mit dem weit ausschweifenden Song "It's The End Of The World As We Know It (And I Feel Fine)" und dem sanften (aber unterschwellig kritischen) "The One I Love".

Steve Knopper - Amazon.de



REM's fifth LP is, as usual, a mess of contradictions. It's both their roughest album since Murmur (or even Chronic Town) full of nasty vocals and nastier guitars, and it's also their most refined. On the advance single, "The One I Love," it's immediately apparent: you can hear every word Michael Stipe says, but Peter Buck's guitar undercuts the song sharply, stinging at just the right moments. The LP is much the same, hitting all the extremes of R.E.M.'s personality and most of the ranges between. Scott Litt co-produces with the band; his work with the dB's and Katrina & The Waves has given him a touch with guitars and vocals that is used here to great advantage. The enigmas that are integral to R.E.M.'s appeal are, thankfully, still there, most obviously in the lyrics - we've listened to the album a dozen times and are still hearing new things each time. The biggest contradition of all: Document is all over the place (soft yet hard, precise yet elusive) but it's the perfect record to take their commerical success up one more step Top cuts: "It's The End Of The World As We Know It (And I Feel Fine)" (the British single), "Exhuming McCarthy," "King Of Birds," "Finest Worksong," "Strange" (a popped-up cover of a Wire tune), "Lightnin' Hopkins."

CMJ New Music Report Issue: 125 - Aug 28, 1987
© 1978-1999 © 2001 CMJ Network, Inc. All rights reserved.



It is no accident that R.E.M.'s finest album to date opens with the anthemic reveille "Finest Worksong," a muscular funky-metal wake-up call that is an unmistakable declaration of intent. "The time to rise/Has been engaged," bleats singer Michael Stipe over the industrial scrape of Peter Buck's guitar and the martial locomotion of bassist Mike Mills and drummer Bill Berry. "We're better/Best to rearrange." Document, the fifth in a series of singular state-of-our-union addresses by America's most successful fringe band, positively ripples with the confidence, courage and good, swift kick of a rock & roll band at the top of its form.

For R.E.M.'s latest step forward is actually the result of a key step backward. Stipe and company are hardly strangers to change. Without exception, their records combine a spirit of willful perversity with a healthy restlessness and a steadfast refusal to acknowledge either commercial or critical expectations. But in the beginning – before the enigmatic electric folk of Murmur, the exploratory smorgasbord of Fables of the Reconstruction and the consummate outlaw pop of Lifes Rich Pageant – there was the Beat, and R.E.M. knew how to use it. It was the band's incomparable stage rage, Buck's Who-like slice-and-dice guitar, Stipe's steely vibrato and Mills and Berry's rhythmic tug that wowed Deep South barflies and East Coast in crowds in the early days.

Document captures those thrills and chills in tight, vivid focus. Coproduced by the band and engineer Scott Litt with a striking technical clarity and a diligent respect for bar-band basics, it is the closest to the band's live sound that R.E.M. has come on record since its '82 EP Chronic Town and its 1981 indie single debut, "Radio Free Europe." Despite a few splashes of extra texture (the occasional faint keyboard, Steve Berlin's loco-Trane sax in "Fireplace"), the band assumes a tough instrumental stance, a reduction of possibilities into a spiked-fist thrust that in fact heightens the strange compound of telegraphic imagery and haunting vulnerability in Stipe's lyric transmissions. Indeed, his vocals, which are up front in the mix, are as crisp and distinct as they've ever been, full of emotional portent and physical insistence.

In "The One I Love," a straightforward expression of regret ("This one goes out to the one I left behind") becomes a cry of guilt and pain; Stipe wails, "Fire!" with 3-D torment as Buck's storm-cloud guitars open up with bassy thunder and stabs of lightning twang. "Fireplace" is more abstract in tone; for lyrics, Stipe used extracts from a speech by Mother Ann Lee, the leader of the American Shaker sect in the eighteenth century. But it too crackles with uncommon tension, the product of a fractured waltz rhythm, a weird circular chord structure and the clarion Stipe-Lee call to celebrate life amid hellish chaos – "Crazy crazy world/Crazy crazy times/Hang up your chairs/To better sweep/Clear the floor to dance/Shake the rug into the fireplace."

It is a theme that pervades and animates Document. "Disturbance at the Heron House," an otherwise sunny folk-pop number, has bitter lyrics that describe liberty gone amuck, free expression co-opted by the mob that shouts the loudest ("the followers of chaos/Out of control"). Two songs later, in the jangly, churning "It's the End of the World As We Know It (and I Feel Fine)," a joyous hymn to self-as-sertion and self-preservation, Stipe turns all of that rhetoric into a brilliant Gatling-gun litany of cheap clichés and TV newspeak, delivered in a frenzied Dylanesque monotone. It is his own "Subterranean Homesick Blues." It is also probably the only rock song ever written that mentions Leonard Bernstein, Leonid Brezhnev, Lenny Bruce and the late rock critic Lester Bangs all in the same line.

Document has its more placid, though no less disquieting, moments. "Welcome to the Occupation" is a blistering indictment of U.S. interference in Central America. In the eerie "King of Birds," Stipe's subtle debunking of his own mystique ("I am the king of all I see/My kingdom for a voice") is aptly framed by bittersweet sleigh bells and a John Fahey-like raga guitar. But where previous records by R.E.M. have essentially been selective refractions of the band's whole, concentrating on a particular spirit or mood, Document balls them all up into a clenched-fist manifesto of rebel bravado. Even the album's lone cover, "Strange," by the English post-punk band Wire, is worked into the script; the original's robot stomp is pumped up into an AC/DC-does-"Sister Ray" boogie as Stipe dryly intones, "There's something strange going on tonight ... something going down that wasn't here before."

Those words date back to 1977, long before the members of R.E.M. played their first note together. But they suit the album perfectly. A vibrant summary of past tangents and current strengths, Document is the sound of R.E.M. on the move, the roar of a band that prides itself on the measure of achievement and the element of surprise. The end of rock & roll as R.E.M. knows it is a long way off.

DAVID FRICKE - RS 511
© Copyright 2002 RollingStone.com
 

 L y r i c s


FINEST WORKSONG

The time to rise has been engaged
You're better best to rearrange
I'm talking here to me alone
I listen to the finest worksong
Your finest hour
Your finest hour

Another chance has been engaged
To throw Thoreau and rearrange
You are following this time
I beg you not beg to rhyme (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your song)
Your finest hour (blow your horn)
Your finest hour (blow your song)
Your finest hour

Welcome to the Occupation
Hang your collar up inside
Hang your dollar on me
Listen to the water still
Listen to the causeway
You are mad and educated
Primitive and wild
Welcome to the occupation

Here we stand and here we fight
All your fallen heroes
held and dyed and skinned alive
Listen to the Congress fire
Offering the educated
Primitive and loyal
Welcome to the occupation

Hang your collar up inside
Hang your freedom higher
Listen to the buyer still
Listen to the Congress
Where we propagate confusion
Primitive and wild
Fire on the hemisphere below

Sugar cane and coffee cup
Copper, steel and cattle
An annotated history
The forest for the fire
Where we open up the floodgates
Freedom reigns supreme
Fire on the hemisphere below
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me


EXHUMING MCCARTHY

You're beautiful more beautiful than me
You're honorable more honorable than me
Loyal to the Bank of America

It's a sign of the times
It's a sign of the times

You're sharpening stones, walking on coals
To improve your business acumen.
Sharpening stones, walking on coals
To improve your business acumen.

Vested interest united ties, landed gentry rationalize
Look who bought the myth, by jingo, buy America (look who bought the myth)

It's a sign of the times
It's a sign of the times

You're sharpening stones, walking on coals
To improve your business acumen.
Sharpening stones, walking on coals
To improve your business acumen.

Enemy sighted, enemy met, I'm addressing the realpolitik
Look who bought the myth, by jingo, buy America (look who bought the myth)

"Let us not assassinate this man further Senator,
you've done enough. Have you no sense of decency, sir?
At long last, have you left no sense of decency?"

We're sharpening stones, walking on coals
To improve your business acumen.
Sharpening stones, walking on coals
To improve your business acumen.

Enemy sighted, enemy met, I'm addressing the realpolitik
You've seen start and you've seen quit
(I'm addressing the table of content)
I always thought of you as quick
Exhuming McCarthy
(Meet me at the book burning)
Exhuming McCarthy
(Meet me at the book burning)
Exhuming McCarthy
(Meet me at the book burning)
Exhuming McCarthy
(Meet me at the book burning)


DISTURBANCE AT THE HERON HOUSE

"They're going wild," the call came in
At early morning pre-dawn, then
"The followers of chaos out of control
They're numbering the monkeys
The monkeys and the monkeys,"
The followers of chaos out of control

The call came in to Party Central
"Meeting of the green and simple,"
Try to tell us something we don't know

"They're meeting at the monument,"
The call came in the monument
To liberty and honor under the honor roll
"They've gathered up the cages the cages and courageous,"
The followers of chaos out of control

The call came in to Party Central
"Meeting of the green and simple,"
Try to tell us something we don't know

"Disturbance at the Heron House"
A stampede at the monument
To liberty and honor under the honor roll
The gathering of grunts and greens
Cogs and grunts and hirelings
A meeting of a mean idea to hold
"When feeding time has come and gone
They'll lose the heart and head for home
Try to tell us something we don't know,
we don't know"

Everyone allowed,
Everyone allowed,
Everyone allowed


STRANGE (WIRE)

There's something strange going on tonight
There's something going on that's not quite right
Michael's nervous and the lights are bright
There's something going on that's not quite right

There's something going on that wasn't here before
Keep your eyes glued to the floor
There's something strange going on tonight
There's something going on that's not quite right, uh-huh

There's something strange going on tonight
There's something going on that's not quite right
Michael's nervous and the lights are bright
There's something going on that's not quite right

There's something going on that wasn't here before
Keep your eyes glued to the floor
No one's going to say goodnight
There's something going on that's not quite right, uh-huh

There's something going on that wasn't here before
Keep your eyes glued to the floor
No one's going to say goodnight
There's something going on that's not quite right, uh-huh


ITS THE END OF THE WORLD AS WE KNOW IT (AND I FEEL FINE)

That's great, it starts with an earthquake, birds and snakes,
an aeroplane - Lenny Bruce is not afraid.
Eye of a hurricane, listen to yourself churn,
world serves its own needs, don’t misserve your own needs.
Feed it up a knock, speed, grunt, no strength,
The ladder starts to clatter with fear of height down height.
Wire in a fire, represent the seven games in a government for hire and a combat site.
Left her, wasn’t coming in a hurry with the furies breathing down your neck.
Team by team reporters baffled, trump, tethered cropped.
Look at that low plane!
Fine, then.
Uh oh, overflow, population, common group, but it'll do.
Save yourself, serve yourself. World serves its own needs, listen to your heart bleed.
Tell me with the rapture and the reverent in the right - right.
You vitriolic, patriotic, slam, fight, bright light, feeling pretty psyched.

It's the end of the world as we know it.
It's the end of the world as we know it.
It's the end of the world as we know it and I feel fine.

Six o'clock - TV hour. Don't get caught in a foreign tower.
Slash and burn, return, listen to yourself churn.
Lock him in uniform and book burning, blood letting.
Every motive escalate. Automotive incinerate.
Light a candle, light a motive. Step down, step down.
Watch a heel crush, crush. Uh-oh, this means no fear - cavalier.
Renegade and steer clear! A tournament, a tournament, a tournament of lies.
Offer me solutions, offer me alternatives and I decline.

It's the end of the world as we know it.
It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone) and I feel fine.
(I feel fine)

It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone) and I feel fine.

The other night I tripped a nice continental drift divide. Mount St. Edelite.
Leonard Bernstein. Leonid Brezhnev. Lenny Bruce and Lester Bangs.
Birthday party, cheesecake, jelly bean, boom!
You symbiotic, patriotic, slam, but neck, right? Right.

It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone) and I feel fine.

It's the end of the world as we know it.
It's the end of the world as we know it.
It's the end of the world as we know it (It's time I had some time alone) and I feel fine.

It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone) and I feel fine.

It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it. (It's time I had some time alone)
It's the end of the world as we know it (It's time I had some time alone) and I feel fine...


THE ONE I LOVE

This one goes out to the one I love
This one goes out to the one I've left behind
A simple prop to occupy my time
This one goes out to the one I love

Fire
Fire

This one goes out to the one I love
This one goes out to the one I've left behind
A simple prop to occupy my time
This one goes out to the one I love

Fire (she's comin' down on her own, now)
Fire (she's comin' down on her own, now)

This one goes out to the one I love
This one goes out to the one I've left…behind
Another prop has occupied my time
This one goes out to the one I love

Fire (she's comin' down on her own, now)
Fire (she's comin' down on her own, now)
Fire (she's comin' down on her own, now)
Fire (she's comin' down on her own, now)


FIREPLACE

Crazy crazy world crazy crazy times
Crazy crazy world crazy crazy times
Hang up your chairs to better sweep
Clear the floor to dance
Shake the rug into the fireplace

Crazy crazy world crazy crazy times
Crazy crazy world crazy crazy times
Hang up your chairs to better sweep
Clear the floor to dance
Sweep the floor into the fireplace

Hang up your chairs to better sweep
Clear the floor to dance
Throw the chairs into the fireplace

Hang up your chairs to better sweep
Clear the floor to dance
Throw the walls into the fireplace


LIGHTNIN' HOPKINS

When I lay myself to sleep pray that I don't go too deep
Lightnin' won Lightnin' won
Because it's cold down gold down there, crow!

Flat lands low lands on the track
Shows the water pan the track
Lightnin' won lightnin' won
Close up hands to silhouette, crow!

Lightnin' won, lightnin' won

Hound bark on the track
Hound crow hold onto your hat
Lightnin' won lightnin' won
Low lands timberlands bad lands bird lands


KING OF BIRDS

A thumbnail sketch, a jeweler's stone
A mean idea to call my own
Old man don't lay so still you're not yet young
There's time to teach, point to point,
Point observation, children carry reservations
Standing on the shoulders of giants leaves me cold, leaves me cold.
A mean idea to call my own, a hundred million birds fly

Singer sing me a given, singer sing me a song
Standing on the shoulders of giants everybody's looking on
(Old man don't lay so still you're not yet young,
there's time to teach, point to point,
point observation, children carry reservations).
Standing on the shoulders of giants leaves me cold
A mean idea to call my own, a hundred million birds fly away, away, away.

I am the king of all I see, my kingdom for a voice
Old man don't lay so still, you're not yet young
There's time to teach, point to point
Point observation, children carry reservations
Standing on the shoulders of giants leaves me cold, leaves me cold
A mean idea to call my own, a hundred million birds fly away, away, away.

(Everybody hit the ground. Everybody hit the ground.)
(Everybody hit the ground. Everybody hit the ground.)
(Everybody hit the ground. Everybody hit the ground.)


ODDFELLOWS LOCAL 151

Oddfellows Local 151 behind the firehouse
Where Peewee sits to prove a sage to teach
Peewee gathered up his proof
Reached up and scratched his head
Fell down and hit the ground again

Firehouse. Firehouse.

Why do the heathens rage behind the firehouse
Where Peewee sits upon the wall to preach?
This boy and girl that gather pearls
Of wisdom falling from his mouth
Wash off the blood, wash off the rum

Firehouse. Firehouse.

Oddfellows Local 151 behind the firehouse
Where Peewee sits upon the wall to preach.
This boy and girl that gather pearls
Of wisdom falling from his mouth
Wash off the blood, wash off the 151.

Firehouse. Firehouse.
Firehouse. Firehouse.
(Firehouse.)


FINEST WORKSONG

The time to rise has been engaged
You're better best to rearrange
I'm talking here to me alone
I listen to the finest worksong
Your finest hour
Your finest hour

Another chance has been engaged
To throw Thoreau and rearrange
You are following this time
I beg you not beg to rhyme (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your song)
Your finest hour (blow your horn)
Your finest hour (blow your song)
Your finest hour

Welcome to the Occupation
Hang your collar up inside
Hang your dollar on me
Listen to the water still
Listen to the causeway
You are mad and educated
Primitive and wild
Welcome to the occupation

Here we stand and here we fight
All your fallen heroes
held and dyed and skinned alive
Listen to the Congress fire
Offering the educated
Primitive and loyal
Welcome to the occupation

Hang your collar up inside
Hang your freedom higher
Listen to the buyer still
Listen to the Congress
Where we propagate confusion
Primitive and wild
Fire on the hemisphere below

Sugar cane and coffee cup
Copper, steel and cattle
An annotated history
The forest for the fire
Where we open up the floodgates
Freedom reigns supreme
Fire on the hemisphere below
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me


LAST DATE

Instrumental


THE ONE I LOVE 

This one goes out to the one I love
This one goes out to the one I've left behind
A simple prop to occupy my time
This one goes out to the one I love

Fire (she's comin' down on her own, now)

This one goes out to the one I love
This one goes out to the one I've left behind
A simple prop to occupy my time
This one goes out to the one I love

Fire (she's comin' down on her own, now)

This one goes out to the one I love
This one goes out to the one I've left behind
Another prop has occupied my time
This one goes out to the one I love

Fire (she's comin' down on her own, now)


TIME AFTER TIME (ANNELISE) 

Ask the girl of the hour by the water tower's watch
If your friends took a fall, are you obligated to follow

Time after time after time

when the bull's on his hooves, when you gather friends by the tower
If you try to refuse, will they judge your worth by the hour?

If your tired and you're tried you can find me in my room
You can stay if you want and the third time you can't lose

Ask the girl of the hour, by the water tower's watch
We can fight if you want but who will turn out the light


DISTURBANCE AT THE HERON HOUSE 

"They're going wild," the call came in
At early morning pre-dawn, then
"The followers of chaos out of control
They're numbering the monkeys
The monkeys and the monkeys,"
The followers of chaos out of control

"They're meeting at the monument,"
The call came in the monument
To liberty and honor under the honor roll
"They've gathered up the cages the cages and courageous,"
The followers of chaos out of control

The call came in to Party Central
"Meeting of the green and simple,"
Try to tell us something we don't know

"Disturbance at the Heron House"
A stampede at the monument
To liberty and honor under the honor roll
The gathering of grunts and greens
Cogs and grunts and hirelings
A meeting of a mean idea to hold
"When feeding time has come and gone
They'll lose the heart and head for home
Try to tell us something we don't know"

Everyone allowed, Everyone allowed


FINEST WORKSONG

The time to rise has been engaged
You're better best to rearrange
I'm talking here to me alone
I listen to the finest worksong
Your finest hour
Your finest hour

Another chance has been engaged
To throw Thoreau and rearrange
You are following this time
I beg you not beg to rhyme (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your horn)
Your finest hour

Take your instinct by the reins
Your better best to rearrange
What we want and what we need
Has been confused been confused (blow your horn)
Your finest hour (blow your song)
Your finest hour (blow your horn)
Your finest hour (blow your song)
Your finest hour

Welcome to the Occupation
Hang your collar up inside
Hang your dollar on me
Listen to the water still
Listen to the causeway
You are mad and educated
Primitive and wild
Welcome to the occupation

Here we stand and here we fight
All your fallen heroes
held and dyed and skinned alive
Listen to the Congress fire
Offering the educated
Primitive and loyal
Welcome to the occupation

Hang your collar up inside
Hang your freedom higher
Listen to the buyer still
Listen to the Congress
Where we propagate confusion
Primitive and wild
Fire on the hemisphere below

Sugar cane and coffee cup
Copper, steel and cattle
An annotated history
The forest for the fire
Where we open up the floodgates
Freedom reigns supreme
Fire on the hemisphere below
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me
Listen to me

 M P 3   S a m p l e s


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