 
| 
 | ||||||||||||||||||
| slug line | ||||||||||||||||||
| 1979 MCA | LP. MCA 3088 | |||||||||||||||||
| 
 | CAS. MCAC 748 | |||||||||||||||||
| 
 | CD. MCAD 31358 | |||||||||||||||||
| 1993 BGO records (2 on 1 CD) | CD. BGO CD 176 | |||||||||||||||||
| 2002 Universal | CD. 31358 | |||||||||||||||||
| ???? rainbow music group (australia) | CD. MFPCD 047 | |||||||||||||||||
| 1 | You used to kiss the girls | 2:32 |  | |||||||||||||||
| 2 | The negroes were dancing | 2:43 |   | |||||||||||||||
| 3 | Slug line | 2:58 |   | |||||||||||||||
| 4 | Madonna road | 4:18 |   | |||||||||||||||
| 5 | (No more) Dancing in the streets | 2:21 |   | |||||||||||||||
| 6 | Long night | 5:17 |   | |||||||||||||||
| 7 | The night that Kenny died | 2:33 |   | |||||||||||||||
| 8 | Radio girl | 2:54 |   | |||||||||||||||
| 9 | You're my love interest | 3:14 |   | |||||||||||||||
| 10 | Take off your uniform | 4:06 |   | |||||||||||||||
| 11 | Sharon's got a drugstore | 2:11 |  | |||||||||||||||
| 12 | Washable ink | 3:15 |  | |||||||||||||||
| Total running time: | 38:22 | |||||||||||||||||
| Musicians | |
| John Hiatt: | Guitar Vocals | 
| Jerry Conway: | Drums | 
| Bruce Gary | Drums | 
| Thom Mooney | Drums | 
| B.J. Wilson | Drums | 
| Doug Yankus | Guitar | 
| Veyler Hildebrand: | Bass | 
| Jon Paris: | Guitar Bass | 
| Todd Cochran: | Organ Piano Keyboards | 
| Etan McElroy: | Piano Vocals Background Vocals | 
| Credits | |
| Produced: | Denny Bruce | 
| Engineer: | Russ Gary | 
| Second Engineer: | Michael Carnevale | 
| original art direction: | john van hamersveld | 
| photographer: | nick rozsa | 
| management: | denny bruce havana moon, hollywood | 
| 
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| Note | |
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 press photo 
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| allmusic.com | |
| Conventional wisdom at the time was that MCA Records had signed John Hiatt (who had languished without a record contract for four years) with the idea that he would be their Elvis Costello — a singer/songwriter in the fashionable punk/new wave style. Certainly, Hiatt has stripped down and roughed up from his Epic records here, fronting a straight-ahead guitar rock band (that was capable, of course, of playing the obligatory reggae number), eschewing the stylistic diversity he reveled in before, and throwing out snappy, aphoristic lyrics in a highly processed voice. None of this quite turns him into Elvis Costello, although the mean streak he reveals would serve him well later. | |