Rosanne Cash: King's Record Shop (Remastered + Expanded) CD Track Listing

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Rosanne Cash King's Record Shop (Remastered + Expanded) (1987)
King's Record Shop (Remastered + Expanded)\n2005 Columbia/Legacy\n\nOriginally Released August 3, 1987\nRemastered + Expanded CD Edition Released November 1, 2005\n\nAMG EXPERT REVIEW: Rosanne Cash's catalog on Columbia is nothing if not formidable. Her pioneering meld of country, rock & roll (with an emphasis on "rock"), folk, and even blues, her topical concerns (which went deeper than most songwriters who came before her in taking on the tough topics of life), and her insistence on working outside the Nashville box scored her a number of hits and blazed the trail for many women who came later. King's Record Shop followed by two years her flirtation with the kind of pop coming out of England in droves, the radically underappreciated Rhythm & Romance. King's Record Shop -- produced by her then-husband and longtime collaborator Rodney Crowell -- is a granite-solid collection of covers and originals that delve deeply into the traditions that informed her life and created her as an artist, while revealing the trouble in her marriage to Crowell. The opening track, Eliza Gilkyson's "Rosie Strike Back," is a real feminist country anthem, and contain killer backing vocals from Patty Smyth (of Scandal) and Steve Winwood. Her read of John Hiatt's "The Way We Make a Broken Heart" is the kind of torch and tang ballad that will stand the test of time simply for its gender-bending take on relationships. Her collaboration with Hank DeVito, "If You Change Your Mind," is a jangly folk-rock ballad that expresses romantic longing in the face of a wayward lover; in its choruses one hears need as well as generosity. "The Real Me," a song that offers the vulnerability, truth, and flaws of a life in the process of transformation, is a preview of the type of material that would appear on the nakedly revealing Interiors. And it just goes deeper, from her rollicking and rebellious rocker "Somewhere Sometime" to the stellar cover of John Stewart's heart-wrenching "Runaway Train" to the straight-ahead country of her father Johnny's "Tennessee Flat Top Box." With its faux soul R&B chorus, Crowell's "I Don't Have to Crawl" is as full of want, cracked-heart honesty, and determination to keep standing as anything in country music. Ultimately, King's Record Shop is Rosanne Cash's classic, a work that transcends production and songwriting styles and the pop and country music of the time. This is a must. [The 2005 remastered edition on CD includes three bonus cuts, "707," which was issued on her 1995 retrospective, and live versions of "Runaway Train" and "Green, Yellow and Red." It also contains great liner notes by Geoffrey Himes that include interviews with Cash and Crowell along with rare photos.] -- Thom Jurek\n\nAMG EXPERT REVIEW: After writing most of 1985's Rhythm & Romance, Cash returned to largely interpretive work on this powerful collection highlighted by Eliza Gilkyson's feminist anthem "Rosie Strike Back" and her father Johnny Cash's "Tennessee Flat Top Box." -- William Ruhlmann\n\nAMG EXPERT REVIEW: King's Record Shop takes Rosanne Cash closer to rock and pop than any of her past albums, but she still manages to infuse enough of her country charm in a few of the tracks to keep it from evolving into a complete crossover. Both her and Rodney Crowell fall precisely into place as a team even though their relationship was suffering. Cash's proficiency can be heard best on the exuberant "Rosie Strikes Back" and to a bit of lesser extent on "The Real Me." The album itself reached the number six spot, and once again the hits just kept on coming. Four number one singles emerged from the album, with the two best being a cover of John Hiatt's "The Way We Make a Broken Heart" and a jangly rendition of her father's "Tennessee Flat Top Box." John Stewart's "Runaway Train" is yet another standout, as is the earnest "If You Change Your Mind." Cash's sound is at its fullest, and even on the slower tracks she has more focus and appetence than ever before. She's also a bit more revealing and personal, especially on "I Don't Have to Crawl," where the lyrics she sings are deep-cutting and foretelling. Not only do the songs sound strong on their own, but the entire album exudes a pinpointed direction and a "complete package" feel which enabled fans to feel closer to Cash and her work than ever before. In 1990, Cash released Interiors, an album in which she exposed all of her feelings and pains about her relationship (which had just deteriorated ) with Rodney Crowell. King's Record Shop isn't exactly a full-fledged precursor to their breakup, but there are enough hints between the lines to indicate their marital troubles. -- Mike DeGagne\n\nCMJ New Music Report Exclusive Review\nHaving stretched the limits of country music into a decidedly pop context on her last album, it now seems like success has caused Rosanne Cash to rethink entirely her approach to the music in her blood. King's Record Shop is destined to repeat and expand her commercial inroads, but with an entirely different vision and purpose. She and husband/producer Rodney Crowell have opted for an uncluttered country-rock purity without synthesizers or multi-layered tracks, enlisting some fine but untraditional songwriting talent, including John Hiatt and Benmont Tench. Supported throughout by superb musicianship, Cash's voice has never sounded better, whether she's rocking out on "Green, Yellow And Red" or crooning on "The Way We Make A Broken Heart." Especially jukebox-worthy is the Tench composition, "Why Don't You Quit Leaving Me Alone," ready for "instant classic" recognition in Nashville and beyond. The anti-cliche lyrics and sheer quality of the arrangements make King's Record Shop Rosanne Cash's most confident and consistent album. Check out the aforementioned cuts, as well as "Rosie Strikes Back" and "Tennessee Flat Top Box." Great cover, too!!!!! \n

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