The Suburbs / Credit In Heaven
Artist The Suburbs
Album Title: Credit In Heaven
Album Cover:
Primary Genre Rock: New Wave
Format Vinyl (2)
Released 08/00/1981
Label Twin Tone Records Inc.
Catalog No TTR 8125/6
Bar Code No none
Packaging LP Sleeve
Tracks
Credit In Heaven (LP 1)
A1. Tired Of My Plans (3:35)
A2. Faith (3:54)
A3. Tape Your Wife To The Ceiling (1:53)
A4. Macho Drunk (1:42)
A5. Ghoul Of Goodwill (5:42)
B1. Dish It Up (3:40)
B2. Mommy (2:49)
B3. Cigarette In Backwards (3:44)
B4. Girl Ache (5:02)
Credit In Heaven (LP 2)
A1. Drinking With An Angel (5:29)
A2. Spring Came (3:19)
A3. Girlfriend (4:53)
A4. Postcard (4:12)
B1. Music For Boys (6:47)
B2. Idiot Voodoo (2:26)
B3. Pipsqueak Millionaire (4:06)
B4. Credit In Heaven (2:58)
Date Acquired 00/00/1982
Personal Rating
Acquired from Stolen from KFAI ;)

Web Links

All Music Guide entry:
Discogs entry:
MusicBrainz entry:

Notes

Notes:
Issued in non-gatefold jacket with custom printed inner sleeves with lyrics, credits, photos and artwork.
Track title variations on labels:
A4 Mocho Drunk
B4 Girlache
© ℗ 1981 Suburban Music, BMI
Recorded entirely on location - location services provided by the Stark/ Mudge 24 track Mobile Unit
Basic tracks recorded at the Suburbs rehearsal studio, April through June 1981
Percussion recorded semi-nude at Blackberry Way, Mpls.
Piano recorded at Paul Stark's home on his grandmother's Steinway
Synthesizer recorded at Rodger Dodger's on Lake Street, Mpls.
Bass and saxophone recorded in the mobile unit, various locations
Most guitar and vocal overdubs recorded in the basement of Lathrop Paints on Hennepin Avenue in Minneapolis
Snare, cymbal, and woodblock overdubs recorded in some moist groto beneath Hennepin Avenue
Party sounds for B1 recorded live during a Jerry Falwell rally June 7, 1981
Last minute additions recorded in the basement/workshop of Sound 80, Mpls.
All songs mixed at Sound 80 June 29 through July 10, 1981
Mastered at Sound 80

Credits:
Art Direction – Bruce C. Allen
Artwork [Cover Collage] – Duncan Hannah
Bass – Michael Halliday
Congas – Hearn Gadbois
Congas [Tumba], Shekere [Chekere] – Fred Weber
Drums – Hugo Klaers
Guitar [Beejtar], Vocals – Blaine John Chaney
Guitar [Echo Guitar] – Kurt Nelson (tracks: A5)
Guitar, Vocals – Bruce C. Allen
Keyboards, Vocals – Chan Poling
Lacquer Cut By – BB
Percussion [Aux] – Henry Johnson, John Runge
Photography By [Back Cover And Sleeve Photos] – Laurie S. Allen
Producer – Paul Stark, The Suburbs
Recorded By – Paul Stark
Saxophone – Max Ray
Songwriter – The Suburbs
Vocals – Maggie MacPherson, Terri Paul

Companies, etc.:
Recorded By – Stark Mudge Mobile Studio
Recorded At – Blackberry Way Studios
Recorded At – Sound 80 Studios
Mixed At – Sound 80 Studios
Mastered At – Sound 80 Studios
Pressed By – Rainbo Records – S-8671
Pressed By – Rainbo Records – S-8672
Pressed By – Rainbo Records – S-8673
Pressed By – Rainbo Records – S-8674
Phonographic Copyright ℗ – Suburban Music
Copyright © – Suburban Music

Barcode and other Identifiers:
Rights Society: BMI
Matrix / Runout (Side A label): TTR8125a
Matrix / Runout (Side B label): TTR8125b
Matrix / Runout (Side C label): TTR8126a
Matrix / Runout (Side D label): TTR8126b
Matrix / Runout (Side A runout): TTR-8125-A BB S-8671 S-1
Matrix / Runout (Side B runout): TTR-8125-B BB S-8672 S-2
Matrix / Runout (Side C runout): TTR-8126-A BB S-8673 S-3
Matrix / Runout (Side D runout): TTR-8126-B BB S-8674 S-4

Reviews
All Music Guide Review by Mark Deming:

History hasn't been especially kind to most of the bands that came out of the more danceable wing of the American new wave scene of the 1980s, but the Suburbs are certainly an exception; brittle, angular, more than a bit smart, and successfully walking a fine line between sounding arty and pretentious, the Suburbs suggested a mildly sinister mixture of Talking Heads, Roxy Music, and Pere Ubu with an undertow that was at once funky and muscularly aggressive. 1981's Credit in Heaven was the group's most ambitious project, a two-record set which presents the band's musical ideas and lyrical eccentricities writ large, running the gamut from the nervy wit of "Tape Your Wife to the Ceiling," the alcoholic self-deception of "Drinking With an Angel," the class-conscious paranoia of "Dish It Up," and the title cut, which not only manages to sum up New Testament vs. Old Testament approaches toward sin and forgiveness in less then four minutes, but manages to make it funny and danceable at the same time. If Credit in Heaven has a flaw, it's that its reach sometimes exceeds its grasp; while none of the songs are bad, some are a more immediately memorable than others, and while the album certainly rallies on side four (which features the album's two most striking numbers, the title cut and the danceclub hit "Music for Boys"), it seems to meander a bit in the middle. And while the production by Paul Stark is imaginative, it also sometimes betrays the album's low budget, and the engineering doesn't always have the sharp snap this material needs (and which the group received on their best album, Love Is the Law). But even the weakest songs are interesting and well-executed, the band plays with finesse and power (while Chan Poling's piano often dominates the arrangements, Bruce C. Allen and Blaine John Chaney's guitars show plenty of backbone), and the Suburbs' arch wit and instrumental agility are obvious on every cut. Credit in Heaven is an under-appreciated milestone of the Midwestern new wave that awaits rediscovery.
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