Bruce Cockburn: Mummy Dust (1982)

This compilation contains four previously unreleased tracks. For me, the price if this record is justified by the new song, The Coldest Night of the Year. It has some Toronto references and in winter, some days feel like the coldest day ever. I don't like the cover.

Bruce Cockburn: Inner City Front (1981)

In contrast to Humans, I like the photo on the jacket of Inner City Front. It gives Cockburn a tough guy look, surrounded with military men. He's smoking a cigarette and one wonders if he is a mercenary rather than a missionary. Despite the positive reviews, this album is one that did very little for me. I like it, but I think that there are far better Cockburn records.

Craig Finn: All These Perfect Crosses (2020)

The cover sticker states: Featuring b sides and alternate takes from Faith In The Future (2015), We All Want The Same Things (2017), and I Need A New War (2019).

1750 copies of this record were pressed for Record Store Day 2020. I got one after the fact, from overseas for a really excellent price. It'a r cnet arrival, so I have only listened to it once. I am fan, so I like it, of course. 

Bruce Cockburn: Humans (1980)

 
Humans stands as one of Cockburn's most well-regarded records. What strikes me most about reading the review on Allmusic.com is this sentence: "Cockburn's marriage had fallen apart, he'd moved from the country to a gritty inner-city section of Toronto called Cabbagetown..." Perhaps "gritty" was once the proper adjective, but, like most areas of Toronto, things have changed. According to the latest Toronto Life Real Estate guide, the average house prices in Cabbagetown are:

- detached houses: $1,300,000
- semi-detached houses: $719,750

The area is not gritty. In fact, this area is one of the most desirable locations in downtown Toronto. I did not live in Tdot in 1980, so I have no way of knowing if Cabbagetown was once gritty. The area I currently live in was not so long ago inhabited by drug dealers and street prostitutes. Much has changed. But, back to Humans.

The record is really fabulous, but I spend most of my time wondering why on earth they chose that photo for the cover. Was that the best they had? It's not quite as bad as the recent Tony Blair Christmas card, but it is close.

It was around the time that this record was released that I consciously became aware of Cockburn. I knew who he was before then, of course, and had surely heard some songs. But, I remember watching the New Music and there was a clip of him signing Tokyo. Bruce was wearing army fatigues and maybe a beret.

Bruce Cockburn: Dancing in the Dragon's Jaws (1979)

Just when I thought that Bruce had really dumped the religion, out he comes with Dancing in the Dragon's Jaws. The truth is that this album is my favourite Cockburn record, by far. I think it is extraordinarily good, even if I have to ignore nonsense lyrics like:

Love the Lord
And in Him love me too
And in Him go your way
And I'll be right there with you

Of course, the song that everyone knows is Wondering Where the Lions Are. That's a great song, but there are other equally awesome songs on this record. Here's a live version of Lions.

Bruce Cockburn: Resume (1981)

The title of this record should really be Résumé. In any case, Resume is a collection of tracks that would probably only appeal to Cockburn completionists. If you have the other records, you don't need this one, becuase you already have all of the tracks. But, I am more than happy to have it in my collection.

The album cover is pretty good.

Bruce Cockburn: Further Adventures of (1978)

I like this record, but I would consider it to be less interesting than the records that precede and follow it. But, I still like it very much. Highlights for me are A Montreal Song, Rainfall, Laughter, and Outside a Broken Phone Booth with Money in my Hand. I bought this record some place, though I forget where.

Bruce Cockburn: Circles in the Stream (1977)

 
Circles in the Stream is a live double album. Speaking of live music and concerts, I should say that I have seen Bruce in concert several times. I can't remember how many times, but it includes shows with a full band and some solo shows. Once, I went with two friends, one of whom fell asleep at the show, I think during Peggy's Kitchen Wall. That was a very strange thing to see. There are some clips --of varying quality--of Bruce performing on Youtube. You should have a look. Here's an audio only version of Free to Be from this record.

Bruce Cockburn: In the Falling Dark (1976)

 
In the Falling Dark is probably Cockburn's best album up to 1976. It is more sophisticated and satisfying. Also, he seemed to have made some effort to curb the overt Christianity of earlier songs. Well, that's apart from the rather peaceful opening number, Lord of the Starfields, which is an obvious prayer to a fictitious supreme being.

Lord of the starfields
Ancient of Days
Universe Maker
Here's a song in your praise

For me, the best song on this piece of vinyl is Silver Wheels. Here are the first two verses:

High speed drift on a prairie road
Hot tires sing like a string being bowed
Sudden town rears up then explodes
Fragments resolve into white line code
Whirl on silver wheels

Black earth energy receptor fields
Undulate under a grey cloud shield
We outrun a river colour brick red mud
That cleaves apart hills soil rich as blood

By the way, if you like Cockburn, you should really check out the Cockburn Project, where you can find all of the lyrics and some notes about the songs.

Bruce Cockburn: Joy Will Find a Way (1975)

My favourite Bruce Cockburn song is probably Arrows of Light, with Joy Will Find a Way finding its way into the top ten, or so. It's odd, because both are overtly religious and decidedly spiritual. The music appeals to me very much, even though the lyrical content of both songs is kind of stupid. Burn, an early political song, appears here, in the midst of songs of praise and a couple of songs that might better appeal to the non-converted. As time passed, Cockburn shed some of the religious sentiments and started to make some more obvious political statements. Still, that the two could live in harmony in his brain is surely a sign of cognitive dissonance. I think this album cover is a bit weird.

Bruce Cockburn: Salt, Sun and Time (1974)

Of course, the title should really be Salt, Sun, and Time. The Oxford comma is a good thing. I say, use it. In 1974, Cockburn evidently discovered or "found" Jesus. Despite the creeping Christian sentiment, I still think these are fantastic songs. All the Diamonds in the World is one of my favourite Cockburn songs, despite the line: "Dying trees still grow greener when you pray." That's simply delusional thinking. In fact, there have been peer-reviewed studies that analyzed the efficacy of praying for the sick, and there was zero effect, because god does not exist.

Bruce Cockburn: Night Vision (1973)

In case you didn't already know, Cockburn is generally regarded as being a folk singer. I guess that's right, though this record has some jazz influences on it. The sound is fuller, darker, and perhaps a little more complex than the previous albums. Already, there are signs of Cockburn's rebirth as a Christian. In God Bless the Children, he sings:

With pain the world paves us over
Lord let us not betray
God bless the children with visions of the Day

I have never been able to reconcile Cockburn's obvious interest in social justice with the stupidity of religion.

Bruce Cockburn: Sunwheel Dance (1972)

 
They're losing their pawns in Asia
There's slaughter in every square

My favourite song from this record is It's Going Down Slow, though I realize that Dialogue With the Devil (or Why Don't We Celebrate) is a big fan favourite. I like that song, but I am now sure I understand it. I also love the track Up on the Hillside. Sunwheel Dance is a really solid record. Did I mention that I have all of Bruce's releases on CD? That includes some promotional items, live releases, and some CD singles.

Bruce Cockburn: High Winds, White Sky (1971)

I've always loved this jacket photo, which wraps around the gate-fold. It says Canada in winter.

Years ago, I used to be a "human." In other words, I was a member (on various occasions for varying lengths of time) of the Humans mailing list, which is evidently one of the earliest mailing lists created to discuss a specific recording artist. I no longer have time for this chit chat, but it was interesting for a while. I don't even know if the list still exists.

High Winds, White Sky is a fabulous record, with lots of great tracks to choose from.

Bruce Cockburn: Bruce Cockburn (1970)

My copy of this record is a reissue, probably from the early 1980s. The original was a gate-fold. This, alas, is not. I am a big Bruce Cockburn fan, but I have to admit that this is probably his weakest album. I think he has said as much in interviews. The two tracks that received attention are Musical Friends and Going to the Country, on which you can already hear his unique guitar style. I do enjoy the other tracks, but I find that this is not a record that I play very often.

Patsy Cline: Live At The Opry (1988)

A friend gave me a copy of this record, but I have never listened to it. I am sot sure if I will keep it.

Classix Nouveaux: La Verité (1982)

The electric drums are a mistake, the production is very dated, and the look is oh so very 80s. But, it's what one would expect from a New Romantic group. I certainly did not buy this record in 1982. I stumbled up it later, probably for a good price. I was never a big fan. The best comment I saw on one of these Youtube videos was: "This band was very popular in Poland in the 1980's."

Clarence Clemons: Hero (1985)

When the change was made uptown
And the big man joined the band

Imagine being able to wear a red leather suit and get away with it. I could not do it.

I own this record because I went through a major Springsteen phase (more on that later). Sadly, this record did nothing for me. Sure, there are backing vocal from Daryl Hannah, who was dating the Big Man at the time. Who knew she could sing? I had no idea she was dating CC. The best track is probably You're a Friend of Mine, a duet with Jackson Browne. Sadly, the official video on Youtube is totally distorted.

Sadly, Clarence passed away in 2011. I think it is awesome that his nephew, Jake, has joined the E Street Band.

[The] Clash vs. Madonna: Well Hung Casbah (2005)

I remember diving into a bin of records and saw this for $2. It was difficult to resist. I am not a Madonna fan, but I wondered what this crazy mashup would sound like. It turns out that the track is an offence to the memory of The Clash.

The disc is a single-sided promotional copy. 

???

The Clash: The Story of the Clash, Volume 1 (1988)

The most curious thing about The Story of the Clash, Volume 1 is that there was no Volume 2. Evidently, volume 2 was to include some live material, but that never happened, and perhaps it never will.

So, The Story of the Clash, Volume 1 contains 28 tracks spread over 2 LPs. I have it, just to be a completist. Note that nothing from Cut the Crap made the cut, because they did, in fact, cut the crap.

The Clash: Should I Stay Or Should I Go / Straight To Hell (1982)

From Discogs: Reportedly "Should I Stay or Should I Go" by Mick Jones is about his relation to singer/actress Ellen Foley." Interesting Also from Discogs: "The initial copies came with a yellow card 10" stencil featuring the skull and cards design." OI picked up a used copy, so I don't have that stencil. That is sad.

The Clash: This is Radio Clash (1981)

The Clash sort of does hip hop. Collected here are 4 versions of This is Radio Clash. It's an awesome song.

The Clash: Combat Rock (1982)

OK, I will admit it: I was disappointed when this album came out. It seemed overtly commercial to me. Both Rock the Casbah and Should I stay or Should I Go struck me as average tracks and so I did not buy the record right away. When I finally obtained a copy of this record I noted, as so often happens, that there are much stronger tracks than the singles. I think I have made my peace with this record, but it does give me pause to note that this is the only Clash studio recording that I do not own on CD.

But, here is a funny story.

I remember listening to the song Rock the Casbah, either on the radio or on cassette (I often taped records to play on my portable cassette player, much like the one in the video below), and my dad said: "Are they saying what I think they are saying?" I was confounded for a moment, but then I said, the song is called Rock the Casbah. I realized that my dad had thought that they were singing "F%@# the Casbah. That should be listed on one of those misheard lyrics sites.

The Clash: Rock The Casbah (1982)

Side A is Rock the Casbah, a lesser Clash tune. Side two has Mustapha Dance. Side two might be better.

The song gives a fabulist account of a ban on Western rock music by an Arab king. The lyrics describe the king's efforts to stop his population from listening to this music, such as ordering his military's jet fighters to bomb any people in violation of the ban. The pilots ignore the orders, and instead play rock music on their cockpit radios. The population then proceed to "rock the casbah" by dancing to the music. This scenario was inspired by the ban on Western music in Iran after the 1979 Islamic Revolution. [source]

The Clash: Return To Brixton (Extended Mixes) (1990)

The original Guns of Brixton appeared on London Calling, of course, which is perhaps the best record ever made. I know, sometimes, I give that credit to a different record. But, most of the time, London Calling is my favourite record of all time.

The Clash: Cut the Crap (1985)

It's tragic when a favourite band falls apart. I have never come to terms with this record. It fails on almost every level. It's a true mixed bag. The big problem is that Mick Jones and Topper Headon are missing from the lineup. Why would any band fire Mick Jones?It really killed them. On top of that, the production choices on this LP are mystifying.

The only way to describe track 1 -- Dictator -- is total chaos. The production makes no sense. How did the band allow this track to leave the studio.

Dirty Punk is mostly excellent, and one of the better tracks on this record. I like the guitars.

We are the Clash is wildly inaccurate. It's, like, half the Clash. The track suffers from bad production. It could have been saved.

Are You Red..Y: Hmm, I'm not sure. It's not awful, but I think it could have been better. Again, some of the production choices are suspect.

Cool Under Heat starts off well enough and manages to stand out as one of the better tracks. One begins to wonder if this is a contractual-obligation record.

Movers and Shakers: At this point, I began to wonder why so many tracks have what sounds like soccer chants in the background.

This is England is the best track on the record, and possibly the only track anyone needs to know. this is top-shelf Clash. Did they build an entire record around only one good track? It's a bit surprising that this track wasn't the first track on side A.

Three Card Trick: Damn those drum machines. Topper would have improved this record, but I would rank this as one of the better tracks.

Play to Win: Evidently, even Joe Strummer hated this record, apart from This is England. That's probably accurate. This track is more chaos. It makes little sense.

Fingerpoppin': Is this what happens when you let a punk back have access to synths and a drum machine? I say that this song is not only a disaster, it's embarrassing.

North and South: This track sounds like bad 80s music. There may be a good song beneath the production mess.

Life is Wild has more soccer chanting. I suppose if someone gave me this record and said that it was a post-Clash record by Joe, I may have liked it better. As a Clash record, it fails. I really wish the music would have matched the cover image. That image suggests something that isn't there.

I don't see this record very often in the bins. I have a minty fresh copy from Europe.

The Clash: This Is England (1984)

This is the only song that matters from Cut the Crap. Well, We Are the Clash is just OK. The b-sides are Do it Now and Sex Mad Roar, which are not on Cut the Crap.

The Clash: Sandinista! (1980)

When Sandinista! was released, some of the reviewers made the point that had this record been pruned to make it a single or maybe even a double album, it would have been much stronger. I am in that camp. It would have made a really great single record and I think it could easily have been stretched to a double. Evidently, the band asked for fewer royalties to help fund a triple album.

Despite the fact that it might have been better with either 12 or 24 songs, rather than 36, there is something to be said for the vision of a really diverse three record set. They did what they wanted and it works.

The Clash: Black Market Clash (1980)

I wish I had the 10" version of Black Market Clash, but I don't. I do have Super Black Market Clash on CD. This record is a compilation of some tracks that were not released in the USA (and Canada, by extension). Speaking of expensive records, I once saw a copy of Super Black Market Clash on 3 10" discs on sale for well over $100. It might have be more than $150. As much as I would like to have it, I didn't hand over the cash for The Clash.

The Clash: London Calling (1979)

It's difficult choosing a favourite singer or favourite band or song or album. But, if I were forced to choose, London Calling would make the list of my favourite albums of all time. Thirty Five years later, this record still sounds amazing. This record has always been in my top 5, mostly sitting comfortably at #1. It also happens to be the first Clash record I ever bought.

London Calling has a truly fantastic cover, featuring what has to be one of the best rock and roll photos ever taken. The graphic for the album name recalls Elvis Presley's debut record. I think this has to be one of the greatest covers ever made. The power of the cover is diminished on the compact disc version, which I also have. It needs to be seen as intended.

Initially, I was drawn to this album on the strength of Train in Vain and the title track, but I quickly realized that the record is packed with excellent songs, an amazing feat for a double album. I mentioned this album previously, when this used to be a real blog. I wrote:

This here music mash up the nation
This here music cause a sensation

The Legacy Edition - 25 Years after London Calling (instead of a Juno rant)

I bought London Calling in 1979, which was a good year for music, at least for me. I know, dear readers, that some of you were too young to remember much of 1979, but that was the year I found XTC, The Clash, Pink Floyd, and a host of others, some of whom have not aged well (but I won't mention those). London Calling, I believe, was the best album to come out that year (followed closely by Leonard Cohen's Recent Songs). After all of these years, I would rank London Calling as one of the top five rock records of all time. It is, beyond any doubt, a rock and roll masterpiece.

The cover picture screams punk - Paul Simonon about to smash his Fender bass. But even on first listen, most Clash fans could recognize the astonishing musical maturation that this album represented. The album opens with the apocalyptic pop title track, London Calling, and moves quickly into reggae, rockabilly, folk rock, more straight up pop and even a hint of the blues. The Clash had moved on to the new territory of postpunk, and they did it fantastically well.

Here's a good quote from Amanda Petrusich:

"The Clash are a rock band, and 1979's London Calling is their creative apex, a booming, infallible tribute to throbbing guitars and spacious ideology. " link

And another, from Adrien Begrand:

"The influence of London Calling on rock music is immeasurable. Not only did it break down barriers for punk rock, achieving mainstream success, in both the UK and North America, but it also proved that it was okay for a punk band to be great musicians, adventurous even." link


So, maybe I should stop rambling and get to some music.

The Clash: Give 'em Enough Rope (1978)

The second Clash record might well be described as more of the same, which is a good thing, if you ask me. The band is somehow a bit more polished on this release.

But, look at that price! $6.99 marked down to $4.99! If you have ever shopped for new vinyl, you will know that the prices are generally insane. While you can pick up a new copy of this record for about $20, a new pressing of the Tragically Hip's Up to Here will run you $43.99 at HMV. The good news is that many new pressings are 180 grams or more. That really helps, but it takes a lot of cash to support a vinyl habit these days.

The Clash: The Clash (1977)

My Dutch copy has 14 tracks; this US copy, from the very late 90s or very early 2000s, has 15 tracks. It's difficult to keep track of which tracks are different and the sequencing. But, this pressing seems to match the track listing of the fist US pressing.

The Clash: The Clash (1977)

"Raise a toast to St. Joe Strummer.
I think he might've been our only decent teacher."

- Constructive Summer, The Hold Steady

This copy of The Clash's debut record is a pressing from Holland. I'm not sure why I ended up with an import, but it reminds me that I should have said that all of these records are Canadian pressings unless stated otherwise. But, I may have forgotten to mention the origin of a few records. Today, as far as I know, any new record pressing sold in Canada is an import, but that could chnage. My understanding is that there are only three pressing plants in the United States at present and none in Canada. That is a major change from 25 years ago. I also understand that there are no efforts to add capacity in this area any time soon. After all, even though they has been a huge resurgence in vinyl sales (something like 6 million new vinyl sales last year and who knows the number of vintage sales?), vinyl only counts for about 2% of total music sales.

The Clash is, without question, one of my favourite bands of all time. This album received quite a lot of critical acclaim upon its release, with good reason. It has been called the greatest rock album of all time, though I might dispute that claim. Of course, there is more than one version of this record. The UK and US versions differ in track selection, which is a bit confusing.

So, here are some live clips:

Eric Clapton: Behind the Sun (1985)

In hindsight, bringing in Phil Collins to produce and contribute to an Eric Clapton record seems really dumb. The two approaches to music seem fundamentally antithetical. But, who am I to say?

The history of this record first being rejected by the label is well-known. I think Allmusic aptly called the resulting record schizophrenic. In any case, there is one good track, Forever Man. The rest of the album is OK and reasonably inoffensive, but I have to challenge the wisdom of using synthesizers and drum machines. It was the 80s, I suppose, but Eric was supposed to be a guitar god, right?

I remember that I paid $2 for this record.

Eric Clapton: At His Best (1973)

This is a double LP with solo Clapton, stuff from Derek and the Dominoes, and Blind Faith. I guess the biggest hits here are Layla and After Midnight.

Circulatory System: Signal Morning (2009)

I picked this up because of the price and the fact that I like the band. I guess you'd call Circulatory System something like Athens Indie Pop. That's all I'll say. Here's what appears to be a fan video of a short track on the record.

Chysalis [Various]: For Promo Only (1987)

This is a strange promo record. I can tell from the scribbling on the label that it passed through the hands of the Vinyl Museum, but I don't think I bought it there. I suspect that it was something that fell into my hands at some point.

It has a couple of tracks--one a cover of the Star Spangled Banner--from Vinnie Vincent, who replaced Ace Frehley in KISS. Those two tracks are forgettable. In fact Ashes to Ashes is horrendous. On the other hand, there is a Housemartins song, which is a god thing. But, Dweezil Zappa covering his dad's My Guitar Wants to Kill Your Mama is stupid. I just have to ask why? The Divinyls should probably only be remembered for I Touch Myself. Instead, this record includes the boring Back to the Wall. This is a really schizophrenic record, with Sinead O'Connor and Paul Carrack providing some other songs, but then there is an Icehouse song. Oy vey. I should probably expunge this from the collection.

Update: I have removed this record from my collection.

The Church: The Church (1982)

It's strange that I never knew that The Church was an Australian band until I looked up this record. For some reason, I thought they were British. I think there are better records from the Church, but this is OK.

China Crisis: Black Man Ray b/w Animalistic (1985)

 
Black Man Ray might be my favourite China Crisis song, though I have no idea what the song means. I've always assumed that the Man Ray part comes from Man Ray the photographer, especially since the image on this 12" single looks like it was solarized. But, who knows?

China Crisis: Flaunt the Imperfection (1985)

Somewhat surprisingly, Walter Becker (of Steely Dan) produced this record. Becker even gets credit as being a band member. I think he did a good job, though if you preferred the earlier heavier China Crisis sound, you might not like this album as much. Two really fantastic songs stand out on this record: King in a Catholic Style (Wake Up) and the sublime Black Man Ray. I have a second copy of this record, but it is warped and unplayable. I guess I should chuck it in the trash.

China Crisis: Working with Fire and Steel (1983)

This 12" single contains two mixes of the terrific Working with Fire and Steel. I think Allmusic's assessment of the song is right on: "With its percolating beat, Daly's hiccupping vocals, and a smashing chorus, it was the perfect modern pop song." [source] Side B has two instrumental and somewhat ambient tracks, Dockland and Forever I and I. I still haven't figured out what the name of the band means.

China Crisis: Working with Fire and Steel: Possible Pop Songs, Vol. 2 (1983)

Although Working with Fire and Steel is the big song from this record, there are other cool tracks, like Hanna Hanna. I think China Crisis is unfairly categorized as an 80s synth band. I think they are more than that. There are lots of cool rhythms and interesting approaches in the music. I can't remember where or when I bought this record.

China Crisis: Wishful Thinking (1983)

This is a UK 12" single, containing: 

Wishful Thinking
Some People I Know To Lead Fantastic Lives
This Occupation (Extended Mix)
Some People I Know To Lead Fantastic Lives (Extended Mix)

Chilliwack: Lights From The Valley (1978)

I have no idea where this came from. I am not a an of this band. If you are not Canadian, it's likely that you will never have heard of them. The band takes its name from the town of Chilliwack, British Columbia. From Wikipedia: "Chilliwack being a Salish term meaning "valley of many streams" and the name of a city east of Vancouver in the Fraser River valley." Arms of Mary is likely the only track that anyone know, and only if you are Canadian. Or, maybe you might know other versions since the band did not write this one. 

Chicago: Chicago XI (1977)

This album opens on an impressive note with Mississippi Delta City Blues, but then gets bogged down in self-indulgent commercial garbage on track 2: Baby, What a Big Surprise. But, there area few other good tracks, like Takin' it Uptown. On balance, I would say that this might be the band's last partly good album.

Chicago: Chicago IX, Chicago's Greatest Hits (1975)

Chicago used to be a good band, but they meandered into mediocrity in later years. This record collects some of their better known tunes, before releasing unimpressive stuff like Baby, What a Big Surprise only two years later. The following is a killer live version of 25 or 6 to 4 with some impressive guitar work.

Benny Andersson, Tim Rice, Björn Ulvaeus: Chess (1986)

This is perhaps an oddity in my collection, because I tend to hate musicals. I have one other musical on CD, and if you are a Leonard Cohen fan, you will know which one it is. Of course, Benny Andersson and Björn Ulvaeus are best known for having been the two Bs in ABBA. I don't think I have to tell you who Tim Rice is. The above jacket photo comes with a bonus pseudo self-portrait.

I think I was drawn to this record on the strength of the single, One Night in Bangkok, sung (spoken?) by Murray Head. I still like that song, but the balance of the album is not really for me.

Neneh Cherry: Buffalo Stance (Cosmic Re-Edits) (2004)

This is an unofficial single-sided 12" single on white vinyl containing a cosmic re-edit of Buffalo Stance. I have heard that some were released on red vinyl. I saw one on white vinyl for sale on the web for $23.40. I think that is a little high. I'm not that impressed with the re-edit.

Neneh Cherry: Raw Like Sushi (1988)

In 1988, I was friends with a British chap who was really into rap music and Billy Bragg. I know, it's a strange combination. Raw Like Sushi was one of the records I picked up. Neneh is more like rap-dance or club music, I guess. On another note, it looks like seat belts weren't yet invented in 1988:

Neneh Cherry: Buffalo Stance (1988)

Yippee, five versions of Buffalo Stance all on one 12" disc! No matter your musical tastes, you have to agree that Neneh has a fantastic voice. In fact, the first time I heard her voice was on the duet Slow Train to Dawn with Matt Johnson (The The) in 1986 and I was, like, wow, who's that? (but more on that later).

Buffalo Stance (12'' Mix) 5:43
Buffalo Stance (Sukka Mix) 5:20
Buffalo Stance (1/2 Way 2 House Remix) 7:21
Buffalo Stance (Techno Stance Remix) 6:40
Buffalo Stance (Scratchapella)

Cheap Trick: Lap of Luxury (1988)

I'd call Lap of Luxury a mediocre affair. It isn't horrible. It isn't great and it's largely forgettable. Cheap Trick's cover of Don't be Cruel is competent, but it is not ground-breaking. I should probably add this record to the pile that I should remove from my collection.

Cheap Trick: Found All the Parts (1980)

Years before Cheap Trick decided that they wanted to be the Beatles, they released this live EP which included a cover of Day Tripper. The cover is not bad. The EP highlights for me the reality that Cheap Trick is better live than in the studio, though it is widely known that the cover of Day Tripper on this release was not really recorded live. This was originally a 10" release, but I ended up with the 12" version from 1983. Can't Hold On is from the Budokan concert. The screaming fans give it away.

Cheap Trick: In Color (1977)

"Had a moment in the middle of In Color
And in Black And White.
Sing along to the Southern Girls,
Rip me out of my little world"

- Rock Problems, The Hold Steady

In Color, Cheap Trick's second album, is at least as good as their self-titled debut. It's a great album. Of course, some of these tracks appear on the Budokan album, and those live versions are much better known, but the originals are great too.

Johnny Cash: American Recordings (1994)

In addition to the CD, I have a 2014 vinyl repressing. As I have said before, the last six records recored by Cash are incredible. 

Cheap Trick: Cheap Trick at Budokan (1979)

Once upon a time, I owned a copy of this record on cassette. In fact, that cassette was my first Cheap Trick album. Later, I picked up a used copy on vinyl. I Want You to Want Me is probably the most famous Cheap Trick song, and one that most people know only from this live recording. I can't say anything bad about this record. It's great from beginning to end. I've never heard Budokan II or At Budokan: The Complete Concert, but someday I should do so.

Who would have thought that a concert in Japan in front of 12,000 screaming fans would make these guys big stars, at least for a while.

Cheap Trick: The Doctor (1986)

Pretty much everything is wrong with this record, especially it's nightmarish cover. But, I can't really sum it up better than Allmusic:

"If any one record sums up all the ludicrous indulgence of ‘80s record-making it’s The Doctor, Cheap Trick’s ninth album. Cluttered with cacophonic electronic drums and clanking with cheap overdriven synths, the record is cavernous and hollow, every instrument echoing endlessly in a fathomless digital stage. As sonic archaeology, this holds some interest, as it contains every bad record production idea of the mid-‘80s -- it’s as garish as its record cover." [source]

Having said that, I imagine that some of these songs could have been salvaged with better production and a strategic reduction in synthesizers and computerized drumming. The title track, for example is really not that bad. But, maybe they forgot who their audience was.

Cheap Trick: All Shook Up (1980)

Cheap Trick brought in famed Beatles producer, George Martin, for All Shook Up. It's definitely a change of direction, and probably at least a little misguided. Stop this Game, for example, is rather horrible. Overall, I think the negative reviews were a bit unjust, because there are some good songs here, and the album seems like something of a masterpiece when compared with The Doctor. But, it's clearly no where as good as the Cheap Trick of yesterday. I wonder how the album would have fared with a different producer?

Cheap Trick: Heaven Tonight (1978)

"Didn't want to go out but I felt really light.
When someone put on Heaven Tonight."

- Rock Problems, The Hold Steady

When I woke up, mom and dad were rolling on the couch
Rolling numbers, rock and rolling, got my KISS records out

Whenever I hear the song Surrender, I can't help but be reminded of Alice Cooper's song Dance Yourself to Death, and vice versa.

My parents would never listen to my KISS records. In fact, I think they hated most of my music, though probably with a few exceptions that I can't remember right now. Fortunately, that didn't stop my parents from buying records for my birthday and Christmas. I would always have a list of records I wanted to get on hand, just in case, though my dad improvised a couple of times, to my despair, but more on that later.

Heaven Tonight is one of Cheap Trick's best records, though not the first one I owned. Surrender is probably the band's best song. I recall being surprised by Cheap Trick's appearance in the film Daddy Daycare. My daughter was engrossed in the film and I was kind of half watching, when all of a sudden, there was Cheap Trick.

Cheap Trick: Cheap Trick (1977)

Cheap Trick's debut record is very good. There are Beatlesque moments and lots of energy. Check out a live version of ELO Kiddies:

Tracy Chapman: Crossroadds (1989)

Crossroads is a bit of a let down after the debut album. It pales in comparison, but that doesn't mean it's bad. The first record was simply a hard act to follow.