She Did the Things That We All Did Before Now

586. Cramps: Gravest Hits 587. Cramps: Songs the Lord Taught Us 588. Cramps: Psychedelic Jungle 589. Cramps: "The Crusher" 12-inch 590. Cramps: Smell of Female 591. Cramps: A Date With Elvis 592. Cramps: Rockinnreelininaucklandnewzealandxxx 593. Stations of the Crass 594. Crawdaddys: Crawdaddy Express 595. Randy Crawford: Abstract Emotions 596. Crazy Cavan 'n' the Rhythm Rockers: Crazy Rhythm 597. Crazy Horse 598. Fresh Cream 599. Heavy Cream 600. Creedence Clearwater Revival: Green River 601. Creedence Clearwater Revival: Willy and the Poor Boys 602. Creedence Clearwater Revival: Cosmo's Factory 603. Creedence Clearwater Revival: The Royal Albert Hall Concert Mixworthy: "Sunglasses After Dark," #587; "New Kind of Kick," #589; "I Don't Want to Talk About It" and "Downtown," #597; "White Room," "Badge," "Passing the Time," "I'm So Glad," and "Sunshine of Your Love," #599; "Bad Moon Rising," #600; "Fortunate Son," #601; "Ramble Tamble," "Up Around the Band," and "Who'll Stop the Rain," #602. Don't have "Born on the Bayou"--not good. Seeing the Cramps, Crazy Cavan, the Crawdaddys, and Creedence in the same batch is instructive as to the paths available to anyone whose worship of the past becomes a guiding principle: you're either a novelty act from the outset (Crazy Cavan and the Crawdaddys); an inspired imitation for an album or two, until your lack of a second idea reduces you to a novelty act (Cramps); or you reinvent what you love and re- flect your times in complicated ways that are still difficult to get a handle on 35 years later--that would be Creedence Clearwater Revival. I think that among people in my general demographic--rather than give an age bracket, I'll just say anyone who remembers hearing "Up Around the Bend" while it was still on the charts--there's more goodwill towards Creedence than virtually anyone from the era. Maybe anyone, period--you'll see the Beatles get knocked around now and again, but I don't know that I've ever come across a truly negative word said or written about Creedence Clearwater Revival. They were brilliant, they owned Top 40, and they came and went in the blink of an eye...Cream, on the other hand, has become one of the default villians in assigning blame for all the bloated pretensions of the late '60s. May- be--I've never owned Disraeli Gears or Wheels on Fire, so I guess I managed to duck that side of them. Stick with the first album (from which I could list another song or two) and the compilation, and I think they're often pretty great...I should say more about the Cramps, who were my favourite group on the planet in the wake of Songs the Lord Taught Us (it all started with Robot A. Hull's Creem review), but those couple of years are as inaccessbile to me right now as my high-school infatu- ation with Wishbone Ash's Argus (!). I will say that Lux Interior and Ivy Rorschach are excellent archivists: the three-volume Songs the Cramps Taught Us, which I assume they had a hand in compiling, is an impressive catalogue of all-around weirdness. ________________________________________________________________________________ 604. Marshall Crenshaw 605. Marshall Crenshaw: Field Day 606. Marshall Crenshaw: Downtown 607. Marshall Crenshaw: Mary Jean & 9 Others 608. Crests: Greatest Hits 609. The Crickets 610. Crime & the City Solution: Trust 611. Sonny Criss/Kenny Dorham: The Dedication Series, Vol. 1: The Bopmasters 612. Roz Croney: How Low Can You Go? 613. Bing Crosby: Merry Christmas 614. The Best of Bob Crosby 615. Crosby, Stills & Nash 616. Crosby, Stills, Nash & Young: Déjà Vu 617. Crowded House 618. Cruzados 619. The Cry Mixworthy: "Cynical Girl," #604; "Whenever You're on My Mind," #605; "Blues Is King," #606; "This Is Easy," #607; "Suite: Judy Blue Eyes" and "Marrakesh Express," #615; "Helpless" and "Country Girl," #616. "Sixteen Candles" (#608) is used really well in American Graffiti, so I'm tempted to list that too, but I've made a lot of doo-wop tapes for a lot of people and never included it on any of them. The record that follows the Crests is not Buddy Holly's Crickets but early '50s doo-wop out of New York. Same situation as the Capris/Capris: obscure black group first, more famous white group later (in this instance, considerably more famous). I wanted to set up a joke here predicated upon an obscure hip-hop group who'll one day have their name stolen, but I can't think of anyone sufficiently current--doesn't every new hip-hop artist enter the charts at #1 now? I'm sure there must be two or three more Marshall Crenshaw songs worth listing; I've got one per album. I'd never really taken notice of how bizarre the cover of Field Day is. Not only does Marshall look to be about nine years old, he's been airbrushed into a state of almost total artificiality. I've hardly made mention of anything that post-dates vinyl thus far, but there's a great cover of Grant Hart's "Twenty-Five Forty-One" on one of Crenshaw's mid-90s CDs...I've twice been surprised to learn of an almost visceral hatred of my two favorite Crosby, Stills & Nash songs harbored by friends. I don't know--"Marrakesh Express" is about as intricate and as playful as acoustic folk-pop ever gets for me, and I still get caught up in all the twists, turns, and detours of "Suite: Judy Blue Eyes," especially the ecstatic final minute. Neil Young brings something much gloomier and more foreboding to Déjà Vu--"Country Girl"'s one of my all-time favourite Neil songs--but for all of Nash's simpiness and the megalomania of the other two, I think they were on to something even before Neil arrived...With no expectation at all of anything turning up, I did an image search on the Roz Croney ("Queen of the Limbo") album--great cover. Not only did I locate an excellent scan that I'll post when I archive this section, I found out that the LP's a big deal because she's backed by Sun Ra (it came out in '63). I don't have a single Sun Ra album. I mean, I didn't have a single Sun Ra album until today; now I have his hard-to-find limbo record. ________________________________________________________________________________ 620. The Crystals Sing Their Greatest Hits! 621. Cult: Love 622. Cult: Live at the Lyceum - London - 20th May 1984 623. Cult: "Love Removal Machine" [double!] 12-inch 624. Culture: Two Sevens Clash 625. Culture Club: Kissing to Be Clever 626. Culture Club: Colour By Numbers 627. Culture Club: Waking Up With the House on Fire 628. Culture Club: From Luxury to Heartache 629. Cure: Standing on the Beach: The Singles 630. Curtie and the Boombox: Black Kisses 631. The Best of King Curtis 632. dB's: Stands for deciBels 633. dB's: Repercussion 634. dB's: The Sound of Music Mixworthy: "He's a Rebel," "There's No Other (Like My Baby)," "He's Sure the Boy I Love," and "Then He Kissed Me," #620; "Boys Don't Cry," #629; "Black and White," #632; "Neverland," #633. Culture Club and the early '80s wave of British MTV bands is another one of my blind spots. I know that for some people of a certain age, that period is viewed with the same deep nostalgia as the early '70s are with me. I like "Do You Really Want to Hurt Me?" and "Church of the Poison Mind" and "The War Song," but my general antipathy to anything identified with that moment gets in the way...I love the gravity and sense of momentousness the Cult bring to #622's title. I don't recall any major 20th-anni- versary commemorations last May 20th, but I'm going to begin lobbying the Canadian government immediately to make sure this year's "Lyceum Day" does not pass by unrec- ognized. We can't quite claim Ian Astbury as our own, but he did spend part of his adolescence down the road a piece from me in Hamilton, the two of us transfixed by the majesty of Crime of the Century right around the same time.

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