All The Best Cowboys Have Chinese Eyes (Remaster) Pete Townshend

Album info

Album-Release:
1982

HRA-Release:
29.09.2016

Label: Universal Music

Genre: Rock

Subgenre: Classic Rock

Album including Album cover

I`m sorry!

Dear HIGHRESAUDIO Visitor,

due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.

We suggest, that you bookmark the album and use our Short List function.

Thank you for your understanding and patience.

Yours sincerely, HIGHRESAUDIO

  • 1Stop Hurting People03:55
  • 2The Sea Refuses No River05:54
  • 3Prelude01:32
  • 4Face Dances03:24
  • 5Exquisitely Bored03:41
  • 6Communication03:19
  • 7Stardom In Action03:42
  • 8Uniforms (Corp D'Esprit)03:43
  • 9North Country Girl02:27
  • 10Somebody Saved Me04:52
  • 11Slit Skirts04:53
  • Total Runtime41:22

Info for All The Best Cowboys Have Chinese Eyes (Remaster)

While Pete Townshend's 1982 solo release, „All The Best Cowboys Have Chinese Eyes“, wasn't as stellar as its predecessor (1980's „Empty Glass“), several tracks easily stand among his best solo work. Townshend had just successfully conquered his life-threatening alcoholism and drug addiction, so „Chinese Eyes“ was the first album in a long time that he did completely sober. Again, Townshend worked with producers Chris Thomas and Bill Price (known for their work with the Sex Pistols and the Pretenders), who give the songs more pop flavor than an expected punk edge. Highlights include the quirky "Face Dances Part Two" (an early MTV favorite), the beautiful yet haunting album-closing "Slit Skirts," "The Sea Refuses No River," and "Somebody Saved Me."

„If Empty Glass, an album filled with songs that could have been performed by the Who, was a solo album because it was too revealing and personal, All the Best Cowboys Have Chinese Eyes was a solo record since it's impossible to hear anyone but Townshend wanting to indulge in this deliberately arty, awkwardly poetic bullsh*t. Where his other albums showed an inclination toward classical-influenced art rock, this is defiantly modern art, filled with stagey prose, synthesizers, drum machines, angular song structures, and a heavy debt to new wave -- in short, Townshend's vision of what modern music should sound like in 1982. This kind of record taunts cynics and critics, being nearly impenetrable in its content even if the production and the music itself aren't all that inaccessible. The problem is, this is Arty with a capital A and Pretentious with a capital P, yet Townshend never seems embarrassed, never shies away from indulging himself in his own ego. While autobiographical to a certain extent (how else to read "Somebody Saved Me" or "Stardom in Acton," which drops the Who's home borough?), it's hard to tell exactly what he's on about. So it's easy to see why many listeners are exasperated instead of intrigued (or even admire its damn impenetrability), but it's also easy to get fascinated by the album's very obtuseness. This is very much of a piece and, apart from the gems "North Country Girl" and "Slit Skirts," it's hard to separate individual songs and see them as their own works. Indeed, separating All the Best Cowboys from its era is even difficult, since the album's surface glistens with new wave synths and guitars; this is clearly a record Townshend could only have made in 1982, emboldened by new wave, the reaction to Empty Glass, new sobriety, and general hubris. For these reasons, this is very much loved by a certain portion of Townsend's fan base -- and for the same reasons many, many people despise it. And any record that fractures an audience so considerably is worth a spin.“ (Stephen Thomas Erlewine, AMG)

Pete Townshend, vocals, guitars, keyboards, Synthesizer, Synclavier
Virginia Astley, piano
Tony Butler, bass
Peter Hope-Evans, harmonica
Mark Brzezicki, drums
Simon Phillips, drums
Jody Linscott, percussion
Chris Stainton, additional keyboards
Poli Palmer, tuned percussion
John Lewis, Fairlight CMI synthesizer programming

Recorded 1981-1982 at Eel Pie Studios; A.I.R. Studios and Wessex Sound Studios, London
Engineered by Bill Price
Produced by Chris Thomas

Digitally remastered

No biography found.

This album contains no booklet.

© 2010-2019 HIGHRESAUDIO