Blaine John "Beej" Chaney - guitar & vocals / Chan Poling - keyboards & vocals / Michael Halliday - bass / Hugo Klaers - drums / Max Ray - saxophone
Recorded various locations in Minneapolis; 1981
Released: Twin/Tone Records
Okay, so I don't really know how this ended up here. I was planning on selling this record and was giving it one last farewell listen at the shop, but it suddenly became a favorite of everyone in the store. I did not see that coming. For me, The Suburbs remind me of concerts at Roy Wilkins Auditorium as a youth and the role they played in my angsty middle school years along side other Minneapolis bands like Hüsker Dü and the Replacements (and Prince & The Time of course too, I mean, c'mon). A few Suburbs LPs have lingered in my record collection over the years, mostly for nostalgia's sake... pulling them out from time to time to see if "Love is the Law" is as good as you remembered (the song is... the album is not) or to feel deeply sentimental over "Spring Came" (on this album... an absolutely lovely angsty-pop song). I was always told that "Love is the Law" was their best album, and at the time, because I was too cool for school and aggressively contrarian, I would have argued for "In Combo" until I was blue in the face, but it turns out that "Credit in Heaven" is the one (those three, plus the EP "Dream Hog" are the only possible choices... sorry).
Their music is a witty mix of 80s pop, new wave, funky polka (I always assumed due to their interactions with The Wallets?)... the tongue-in-cheek silliness masking serious musical ability in a wonderfully midwestern manner. Almost a musical equivalent to the Coen Brothers goofy-but-serious stylings. Well, that might be a stretch, but it's a thought. What Credit in Heaven has provided recently is plenty of fun, upbeat music - bringing positive energy into the shop and taking it out of my pile of records destined to resell.