Side A
Artist	Song
The Cars	Dangerous Type
Cracker	Low
The Cure	Purple Haze
The Isley Brothers	That Lady [Parts 1 & 2]
Deep Purple	Smoke On The Water
The Lemonheads	Into Your Arms
XTC	The Mayor Of Simpleton
The Gin Blossoms	Found Out About You
Stone Temple Pilots	Creep
The Bob Seger System	Ramblin' Gamblin' Man
Side B
Artist	Song	Buy
The Jerry Garcia Band	Waiting For A Miracle [live]
Bruce Hornsby & The Range	Barren Ground
Dire Straits	So Far Away
The Sweet	The Ballroom Blitz
Stars On	Rolling Stones medley [edit]
Men Without Hats	The Safety Dance [remix]
John Davis & The Monster Orchestra	Up Jumped The Devil

Comment:

The original intent of these mix tapes had changed slightly. The National Professional Soccer League was now operating the franchise through its distressed team corporation. Somewhere, some people whom I did not yet know were assembling to make an attempt to buy the franchise. Just about everybody who had been involved in the off-field activities of the POWER had been let go. (There wasn't enough money to retain them.)
Now, the idea was to have a cassette which could be played and|or paused during an entire POWER home game at the Rosemont Hospice. By then, it was obvious that the facility did not want us there any more. A minor-league ice hockey team, in which the facility was a part-owner, was its *new* top draw. This new team got all our weekend dates, necessitating that we move eight out of our twenty League home games to the Rockford Metro Centre.
More crippling, everything which we used to get with the facility was now an extra-cost option. A second food stand, extra. Any additional concession stands (from which the facility got 100% of the take!) were extra. Opening additional entrances & exits was extra. (This is Rosemont. Fire safety regulations cost us additional revenue.) The facility even wanted additional money to turn the lights off and on for player introductions! I was not drawing a salary, so I wasn't let go. The League had told me to do whatever I could to instill people to buy tickets to our home matches, _as long as I did not spend any money!_
So then, part of the idea of the mix tapes was that if things weren't going too well on the field, maybe people would notice the musical selections we were playing in the background. They were definitely not the same selections you would hear in the other buildings in the League. Plus, as one C-90 tape, it would only require that our public address announcer, Mr. Chris Clark, would move over to the cassette deck, and hit pause or stop; or turn down the volume when he had an announcement to make. We were not going to hire somebody extra to be the DJ.
For a C-90 cassette, there wouldn't need to be somebody standing guard over it continuously. Besides, in some other League cities, home town players got to program the music played there.
I had noticed that my mix tapes had been all over the musical spectrum, with some predilections for my favorite songs and styles, mainly R & B.
So for this tape, I deliberately identified tracks from rock-oriented cassettes. I did not have as large a library of this. So I turned to some of my more recent purchases, which was on the last day of the ALS Mammoth Music Mart in Skokie, IL. I filled up a couple of boxes of cassettes under its last-day close-out offer. The newer tracks came from promotional cassettes compounded by Jeff McCluskey & Associates. Unlike some other promotional cassettes I had bought, these were free of introductory patter, and had no cautionable language [i.e. These were the clean versions.] Even then, there weren't enough rock tracks to fill up a C-90. So I backfilled Side 2 with some rock-oriented dance tracks.
This is the one mix tape I made where I did some editing. I have already indicated that the Rosemont Hospice was keen to charge us for everything. When I decided to include Stars On's Rolling Stones medley, there is an abrupt crash edit which left unrecorded the seconds where the Dutch lads decided to include the chorus from 'Star Star'. Yes, I absolutely believe in complete artistic freedom. But I did not want to give the Hospice any reason which could mandate us having to hire somebody else to do the music. This was compounded on 7 October 1994.

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