Los Angeles Post-Punk


The Cramps

So this collection has been getting quite a few hits lately, thanks to an appearance on BoingBoing and a lot of tweeting and shouting. Thanks to everyone who has forwarded the link and downloaded the tunes. Various band members have been appreciative in comments an in emails as well — it’s been great fun hearing from them.

Like the past collections, this one has a few oddities. On a whim, I decided to include a track from Neil Young’s “electronic” album Trans, a sweet one written, purportedly, for his autistic son who apparently responded more directly to the vocoder voice than to an unmodified human one. Also a little strange will be the two tracks by Peter Ivers, the first from one of his solo efforts and the latter the ditty he wrote for David Lynch’s first feature Eraserhead. Ivers was, of course, the host of LA’s New Wave Theatre on which many post-punk bands appeared. He was murdered in his apartment in 1983 in a still unsolved case. One occasionally hears about a Peter Ivers’ cult revival, and I must say I find much of Terminal Love, from which this track is taken, pretty great.

The Shadow Minstrels

The track from Aurora Pushups might sound anachronistic — some of the members of this band played in Zolar X — but I find it really catchy. The B-side, “Victims of Terrorism,” was included on Jon Savage’s Black Hole Califironian Punk 1977-1980, and they are if anything more out of place there than here.

There’s also a cameo by ex-Dead Boys singer Stiv Bators, who moved to LA in an effort to become a punk-pop singer. Well, it’s part of the history! Seemingly out of place will be Phranc, the self-described “All-American Jewish Lesbian Folksinger,” but I thought to include her due to her previous membership in Nervous Gender (included in the first volume) and because I saw her open for The Smiths at Jones Beach back in the day.

David Lynch and Peter Ivers

Several bands have appeared in earlier volumes of this collection: Gleaming Spires (who, by the way, formed as the backing band of Sparks in the mid-70s) with their most famous tune “Are You Read For the Sex Girls,” whose video is incredibly boring and well worth watching; 17 Pygmies with another catchy tune with a female vocal; two tracks from the art collective Monitor, the second sounding like a cover of an ancient African ritual, and Outer Circle, the A-side from their second, final EP which could have been a hit if it were more professionally produced (and didn’t have such odd, misogynistic lyrics). The singer of Outer Circle, Steve “Spit” Spingola, went on to sing for the Fontanelles, who are best known for a track featured in the movie Hobgoblins; I prefer the track here over that one.

Also included are a few tracks from the ever-resourceful Steaming Coils and Freshly Wrapped Candies, another funk rap by Rand Kennedy, one final track from Null and Void (members of whom, by the way, worked on the first Berlin album), a bouncy one by Human Hands, a dark one by the Shadow Minstrels, and Cipher, this one with a strong, Siouxsie-ish vocal track. This collection starts with a very concrète Kommunity FK, who I’m beginning to think were terribly underrated — they only managed two LPs before last year’s La Santisima Muerte which I hear is very good.

Marnie Weber (of Party Boys)

While it’s never quite clear where the Cramps should be placed, geographically, they were originally from California and did record most of their records here, hence their inclusion. I never listened to them when I was younger but am now a huge fan. 45 Grave are often credited with starting the deathrock movement with their cover of “Riboflavin-Flavored, Non-Carbonated, Polyunsaturated Blood,” and I prefer the earlier, Darker Skratcher version to the glossier one from their LP. Pompeii 99 is kind of an earlier manifestation of Christian Death, joinging Rozz Williams after Rikk Agnew departed; this is one of their goofier tracks.

Running through this collection are a number of tracks by woman performance artists — Marina La Palma (is this title really Esperanto?), Marnie Weber, and most infamously Johanna Went. Marnie Weber (whose earlier band, the excellent Party Boys, are twice represented here) has sporadically recorded several LPs over the years, as well as having gained a reputation as a sculptor, film and video artist, costume designer, painter, etc. You can visit her website to find out more.

The Gun Club

Partly Cloudy could almost be called a female performance act, as most of their tracks involve a sort of spoken comedy routine by vocalist-musician Aliz over some very compelling, industrial-ish backing tracks. Not unlike many LA bands included here, they seem not to have recorded anything past this first LP. I can’t find much else about them on the net.

The Gun Club are a well-known band that I wasn’t going to include since they seem a bit “roots” rock to me, but there’s no way to hear these tracks without thinking they are a bit too spastic to be traditional. Pop Art are the only “jangly” pop band that I know of from LA that cannot be associated with the Paisley Underground (outside of the Three O’Clock, most of that genre’s music leaves me a bit cold, but I’m trying…). The very psychedelic Drowning Pool recorded a handful of LPs and EPs, and I’m looking forward to hearing more of them as I love the weird, seemingly Yes-inspired “Festival of Healing.”

Kommunity FK

What I know about the rest of the bands here — Blissed Out Fatalists (who seem to have stolen a page from Jesus and Marychain’s playbook), Infantry (I really wish I had a better version of this track), Puppies (from San Diego), Cathedral of Tears, Shiva Burlesque (who actually have a substantial catalogue), Mnemonic Devices, Subjects (who I think might be from San Francisco…), Transport, Bone Cabal, Readymades and Burning Image is so pathetically little, I’ll just let you hear the songs and Google them if you want to learn more. I can tell you that if-then-else is basically The Weirdos doing an all synth album, and there is a nice post about Wog over at A Viable Commercial. Their LP sounds like it was recorded in a bedroom with a Casio keyboard, but actually many of the tracks are pretty compelling.

I’ll be slowly working on a volume 4, most likely the last one, over the next couple of months — new bands appear all the time the more I dig — so please stay tuned.

Disk 1
1 Kommunity FK — Incompatible Disposition (1983) 2:48
2 Neil Young — Transformer Man (1982) 3:23
3 Party Boys — Nora (1986) 3:53
4 Drowning Pool — Festival of Healing (1987) 2:56
5 Peter Ivers — Sweet enemy (1974) 2:46
6 17 Pygmies — Suit Of Nails (1985) 3:35
7 Gleaming Spires — Are You Ready for the Sex Girls? (1981) 3:59
8 Marina La Palma — Mi Ni Parolas (1984) 2:51
9 Blissed Out Fatalists — Everything & Nothing At All (1987) 3:03
10 Phranc — One O’ The Girls (1985) 4:58
11 The Cramps — Green Fuz (1981) 2:08
12 Infantry — The Call (1987) 3:50
13 Monitor — Amphibious (1981) 3:10
14 Wog — I Had a Notion (1988) 5:54
15 The Gun Club — Devil In The Woods (1982) 3:05
16 Outer Circle — My Mona Lisa (1984) 3:53
17 Pop Art — Never No (1987) 2:31
18 45 Grave — Riboflavin-Flavored, Non-Carbonated, Polyunsaturated Blood (1980) 2:38
19 Stiv Bators — Evil Boy (1979) 3:17
20 Puppies — Mechanical Beat (1981) 2:45
21 Human Hands — Jubilee (1981) 3:59
22 Cathedral of Tears — Calm Storm (1984) 3:00
23 Mnemonic Devices — Marriage Of Convenience (1982) 3:42
24 Freshly Wrapped Candies — Cherry Tomato (1989) 2:22

Disk 2
25 Shiva Burlesque — Arabesque (1990) 5:14
26 Pompeii 99 — Android Police (1982) 3:00
27 The Fontanelles — Passion Kills (1987) 2:57
28 Steaming Coils — Carne De Sol (1991) 2:59
29 Drowning Pool — The Italian Pop Song (1990) 5:37
30 Rand Kennedy — Smith’s Room (1983) 2:24
31 Null And Void — Un Sedatif Ce Soir (1980) 4:34
32 Cipher — Body Chemistry (1981) 2:09
33 Marnie — Everyone Loves Olga (1988) 3:09
34 Monitor — Mokele-Mbembe (1981) 3:23
35 The Gun Club — Preaching the Blues (1981) 3:59
36 Subjects — Augie (1982) 2:36
37 Transport — Body Buildings (1982) 3:49
38 Bone Cabal — I O Betulah (1983) 4:34
39 Shadow Minstrels — The Guest (1983) 2:30
40 Partly Cloudy — Bus Ride (1987) 3:16
41 Aurora Pushups — Angels on Runway (1978) 2:54
42 Readymades — Terry Is A Space Cadet (1977) 4:18
43 Burning Image — Time Is Running Out (1984) 4:09
44 Party Boys — I Love You (1986) 3:22
45 if-then-else — Sidewalker (1981) 5:23
46 Johanna Went — Slave Beyond The Grave (1981) 2:50
47 Peter Ivers — In Heaven (1977) 1:46

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Tito Larriva and the Plugz

This new set starts with a track well out of my date range from the great band Steaming Coils, but I though starting with some carnival sounds would give some symmetry to the collection, pointing back to the Wild Kingdom track from the first group. We then move into The Plugz, one of the great first-generation punk bands of LA, from their mellower second album Better Luck. A Mexican-American band, the Plugz incorporated a variety of musical styles into their work, one of the rare LA bands that seemed to want to do that, Tito Larriva being an excellent and ambitious songwriter whose since moved on to score a few films.

Geza X is something of an LA legend, perhaps best known as a producer, though his early band The Deadbeats recorded some classic tracks (one included here), and he himself was a pretty compelling, if very strange, performer with his band The Mommymen. Rikk Agnew is another legend of sorts, being a member of Adolescents and recording with the first incarnation of Christian Death. These two tracks are taken from his first solo album, All By Myself, on which he played all the instruments. These might seem out of place in a “post-punk” collection being largely rock music — the second, slower track could have been a b-side from an early Kinks single — but in fact I think this LP is a bit uncategorizable and somehow bridges punk with something more melodic, even a bit grandiose.

The Gleaming Spires

Acts that appeared on the first collection include Suburban Lawns (one seemingly inspired by the percussion of Eno-era Talking Heads), Null and Void, Life After Death (where the Roland Butler really comes out), Trotsky Icepick (formerly known as Danny & The Doorman — sucks when you hit on a great name for your band just after the first album release), Abecedarians (including their Bernard Sumner-produced first single, released by Factory), the Fibonaccis, Atila (again, not sure if this is a great track or pointless), Human Hands, Green on Red (sounding more Lou Reed-ish than ever), Savage Republic, Gleaming Spires, Shadow Minstrel and Freshly Wrapped Candies. My choices from the Kommunity FK and Christian Death catalogues haven’t been terribly inventive, but so there.

The Outer Circle track here starts a bit slow but leads into a killer slide guitar solo and ends with 4-minutes of synthesizer bliss. The second track I’ve included is, I believe, in 5/8 time, which I’m only guessing based on the drummer’s countdown at the beginning. There’s also another BPeople track, and a sweet, sincere bit by Passionel, Alex Gibson’s project after BPeople folded. I’ve also included another unreleased track by Perfect Imperfect Circular, Bill Shifflett’s project after BPeople.

Geza X

So that leaves the newcomers, who include the Earwigs (I’ve only been able to locate 4 tracks by them, two of which are actual songs), Cipher (an instrumental that is pretty haunting, though most of their work involves Siouxsie-ish vocals), and Primal Danse, who only managed an EP with Enigma Records (and doesn’t even appear on Discogs). The track from Knife Lust appears on a collection of Devo covers created by radio station KROQ which appeared (I believe) even before or in the same year as the release of the Q: Are We Not Men? A: We Are Devo!

IQ Zero managed to release a single (can’t find much else about this band) whereas the synth- and vocoder-drenched Android (full name: Android A 21st Century Band), most of whose tracks border on kitsch, managed a single and an LP. Boxboys were the first ska band in LA, and inspired a mini-movement here leading to the more prolific Untouchables.

Zoogz Rift

That leaves the track from the inimitable Zoogz Rift, mostly known for wild, often beautiful, often profane Beefheart-ish work. Fourwaycross are little late in the chronology, and most of their work seems to edge toward prog-rock, with a few tracks sounding like mid-career Pink Floyd.

I’ve also included a track from Bad Religion’s often maligned (even by the band itself), but often hotly-defended second LP, which introduced synthesizers into the equation. The track from The Screamers is from a series of demo sessions, and might best be heard in conjunction with the video. The Child Molesters were really an LAFMS-based conceptual band, a fake punk-band led by a bunch of guys who didn’t much like punk (hence the Nazi garb in the photo below). They’re kind of like a cross between the Fugs, witch their obscene humor, and The Homosexuals, at least in inspired offensiveness of their band name.

That leaves the folk singer Cindy Lee Berryhill with a track taken from on of the Radio Tokyo compilations, and which I think is weird enough (and not quite as retro as might first seem) to include in this collection. The Weirdos are usually associated with the first wave of punk acts though they mostly considered themselves an “art” band (their if-then-else project of industrial instrumentals would seem to bear that out). The Egyptian Lover is a DJ coming out of the electro-funk scene in LA and is often considered a forerunner of hip-hop.

Rikk Agnew

The set closes with an anachronistic cameo by Jobriath, the ill-starred solo artist whose first album was so over-hyped and glammed out (a little late in the day) that it completely bombed. He released another LP (which his label practically refused to promote) and eventually succumbed to AIDS in 1983. I kind of think of him as the forebear of vulnerable, histrionic acts like Antony and the Johnsons and (from a skewed angle) Kiki & Herb. Morrissey label Sanctuary released a best of, Lonely Planet Boy, in 2004.

The Child Molesters

 

Disk 1
1 Steaming Coils — Singing Notice (1991) 3:12
2 The Plugz — El Calvo Y La Cruz (1981) 2:57
3 Cipher — Harmonic 33 (1981) 3:07
4 Geza X And The Mommymen — The Paranoids Are Coming (1982) 3:11
5 Bad Religion — Chasing the Wild Goose (1983) 2:50
6 Null And Void — All The Old Humans (1980) 3:36
7 Life After Death — Isn’t It Time (1985) 2:57
8 Suburban Lawns — Baby (1983) 3:59
9 Rikk Agnew — 10 (1982) 2:58
10 Atila — De-pre-ssion (1985) 4:38
11 Trotsky Icepick — Mar Vista Bus Stop (1988) 3:03
12 Abecedarians — Smiling Monarchs (1985) 6:47
13 Android — Perpetual Motion (1982) 5:28
14 IQ Zero — Zero Gravity (1981) 3:09
15 Outer Circle — Broken Children (1982) 7:02
16 Primal Danse — Insomnia (1982) 5:00
17 Perfect Imperfect Circular — From The Ocean Above (1986) 4:09
18 The Plugz — Touch For Cash (1981) 2:40
19 Fibonaccis — Crickets (1987) 4:32
20 Knife Lust — Shrivel Up (1979) 3:10
21 The Screamers — 122 Hours of Fear (1978) 3:32
22 The Child Molesters — Brenda Spencer (1981) 1:44

Disk 2
23 Christian Death — Cervix Couch (1984) 3:10
24 Shadow Minstrels — Popular Song Of The Hour (1983) 4:23
25 Suburban Lawns — Not Allowed (1981) 2:20
26 Green on Red — A Tragedy (1981) 4:20
27 Kommunity FK — The Vision And The Voice (1985) 3:48
28 Human Hands — New Look (1982) 2:44
29 Boxboys — Separate Rooms (1980) 3:12
30 Savage Republic — Mobilization (1982) 3:21
31 Abecedarians — Soil (1986) 6:08
32 Gleaming Spires — How To Get Girls Thru Hypnotism (1982) 3:56
33 Outer Circle — Blind Venetians (1982) 1:39
34 Zoogz Rift — The Breather (1986) 4:22
35 BPeople — Give Up (1980) 2:02
36 Freshly Wrapped Candies — Fa Fa Fa (1987) 3:11
37 Deadbeats — Brainless (1979) 2:31
38 Fourwaycross — Apologize (1985) 4:18
39 Rikk Agnew — Everyday (1982) 4:30
40 Cindy Lee Berryhill — Headin’ For The Border Line (1987) 3:56
41 Earwigs – Freedom (1981) 2:47
41 The Weirdos — Helium Bar (1991) 3:22
42 Passionel — I Found You Crying (1984) 3:25
43 The Egyptian Lover — I Cry (Night After Night) (1984) 5:04
44 Jobriath — Heartbeat (1974) 2:45

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The Fibonaccis circa 1982

So here’s the distillation of my “post-punk” anthology of Southern California bands. I’m having a hard time finding a truly accurate title for the comp, since many of the bands are from the county but from places with very particular scenes, like Pasadena and Long Beach, and a few are from outside of the city altogether (but within a two-hour drive). And to call these “post-punk” bands is not entirely accurate; many of them are “new wave,” “darkwave,” “deathrock,” “art rock,” even something like “freak folk.” Oh well.

Some older bands are included, like Zolar X and Sparks, since they might be the strongest native influences (outside of Zappa or Beefheart and local groups like LAFMS and COMA) and seemed somehow to respond the post-punk/new wave phenomenon. I’ve included early tracks by bands that have gone on to produce hits, like Oingo Boingo and Wall of Voodoo, since they just seemed part of the scene back then and are certainly strange enough (and also more original than a lot of the Devo/Cure/U2 etc imitators that I’ve come across). Some acts, like Missing Persons, Berlin and the Motels, for all their presence on the scene, were quite commercial from the start and are so well known that I’ve skipped them.

Of special note is the first track, by Wild Kingdom, since this is their only studio track and was released as a flexi-disk insert in a short-lived music magazine called No Mag. It’s pretty amazing — I can’t find anything else by them except an appearance on Peter Ivers’ New Wave Theatre which isn’t very good (but you get an introduction to their eccentric drum kit). The band was almost entirely Chicano, and one of the guys even sports an exaggerated Elvis-pompadour.

Su Tissue (Sue McLane) and Suburban Lawns

Other bands I could only find single studio tracks for are Dogma Probe (who also has a great video), the Beat-E-O’s (who kind of remind me of the Homosexuals), and Animal Dance, whose track was retrieved from the Radio Tokyo compilations that appeared in the 80’s. Other live, more dissonant, tracks by Dogma Probe appear on their website.

The groups that managed to record and A and a B-side include the Nu-beams (though an entire live bootleg appears on the net) and the Squad (or “S Squad”) which I retrieved from the CD of the Keats Rides a Harley compilation. Bands that have 4-8 song EPs to their credit include Shadow Minstrels (this is their slowest, most conventional track but give it time), Plebs (forgive me for this one), In Living Color (a bit of an imitation “Madchester” band in my mind, right down to fake, Richard-Butler-esque English accents), Standard Living (whose track here seems to anticipate that George Michael single I can’t remember the name of), Wet Picnic (fronted by the well-known Argentine film composer Gustavo Santaolalla) and Human Hands (though they’ve put out posthumous LP compilations and have started recording again).

Perfect Imperfect Circular, Bill Shifflette’s project after Null and Void, didn’t release anything, and though these tracks seem rough, the songs veer from hook to hook, with no looking back, much like the earlier band, if with a little more soul. Rand Kennedy has a lot of comp appearances and a cassette only collection, “Scenes from Redemption,” all of which sound roughly like this one — spoken word over background beats. League of Nations put out a single EP that sounds something like a stripped down Another Green World (an earlier project was titled Oblique Strategy), that is, sans Phil Collins and Robert Fripp. Afterimage, probably one of the more conventionally “post-punk” bands here, only managed an EP and a few singles as well, though their tracks can be found on all sorts of comps.

I’m not sure I can take Atila all that seriously — their records are terribly under-produced, but they managed to put out two full-length LPs, the first of which, International Sandwich, featured lo-fi imitations of music styles from around the world. Monitor was a weird, Throbbing Gristle-like art collective called World Imitation Productions that decided to become a musical act. A nicely designed .pdf outlining the history of the band appeared somewhere on the web but I can’t find it, so you’ll have to settle for this. They also have a strange appearance on New Wave Theatre.

Freshly Wrapped Candies

One of my favorite acts here, Outer Circle, who managed 2 EPs, was fronted by Steve “Spit” Spingola, who appeared on New Wave Theatre as part of an act called Heroic Struggles, which was quite hilarious (it’s since been deleted). All of their tracks are really great but for some reason I’ve only included one. Martyr Complex used to include the “All-American Jewish lesbian folksinger” Phranc, but she doesn’t appear on their album; the band also went by the name of Nervous Gender, and featured Paul Roessler of the legendary LA synth-punk band the Screamers, whose videos for “122 Hours of Fear” and “Vertigo,” are priceless. Fronted by the legendary, late Tomata Du Plenty, The Screamers never recorded an LP, possibly due to unrealistic ambitions (an interview with Jon Savage).

Danny and the Doorknobs, something of an underground super-band (composed of members of 100 Flowers, The Last, Leaving Trains, etc.), transformed into Trotsky Icepick and a had a career well into the nineties. I’m sure many readers are already familiar with Christian Death, first fronted by Rozz Williams, who then left only to form a band called “Christian Death” several years later while the first one was (and still is, fronted by Valor Kand) active. Kommunity FK only recorded 2 LPs in the 80s but seem to have reformed; they also belong to the “deathrock” category though I’m really suspicious of these taxonomies.

Iron Curtain, a band that can mix leaden drum tracks with depressing lyrics and So-cal harmonies, was an act from Santa Barbara, fronted by Steven Fields who is still active with an act called Cosmic Love Child. “Legalize Heroin,” the only track to break the 1987 cut-off date, was a solo track but really feels like Iron Curtain’s swan song, and is I think the most accomplished (and enigmatic) thing they released. Null and Void, another one of my favorite acts, released a smattering of LPs, cassettes, singles, etc. of varying quality. I’m still trying purchase a copy of their first LP, which I’ll soon snatch off of Ebay. I think some members of this act went on to play with Berlin.

Savage Republic

Savage Republic has a substantial discography, mostly long, percussive-heavy, unchanging but atmospheric, Middle Eastern or African tinged instrumentals that must have been amazing live. Their cover designs, titles and general iconography are really great. The poppier, more synth-heavy side of some of their members appeared as 17 Pygmies; this track reminds me of a long-lost 80s band Torch Song who were featured in the same issue of Debut as The Smiths. Green on Red is known as a “Paisley Underground” band, but this track, from their first EP, seems to me strange enough to belong on a post-punk compilation.

The Fibonaccis has a fairly substantial discography and seems to vary between somewhat campy but virtuoso, Casio-keyboard send-ups of traditional music styles and really elegant art-rock songs; with a little more edge, they would have been perfect for John Zorn’s Tzadik label or onstage at the Knitting Factory back in the 90s. Another “art rock” act is BPeople, who were among the more visible on the LA scene; Alex Gibson went on to form Passionel and then record as a solo artist. On the fringes are the most “arty” projects, Steaming Coils and Freshly Wrapped Candies, the majority of whose output resembles LAFMS improvs with tape effects. I’ve considered including more of this type of material but some of it seems so aggressively anti-song that it broke the spirit of the collection.

The Abecedarians were known well enough to catch the attention of Bernard Sumner (of Joy Division) who produced their first single “Smiling Monarchs” for Factory, the flipside of which is “Benway’s Carnival” (included here) and neither of which are very emblematic of their work. More typical is the brilliant “I Glide,” with its minimal lyrics and subtle transitions in the guitar lines. Chris Manecke used more delay than the Edge, but unlike the latter’s band, the Abecedarians thrived on their apsergersy stoicism.

The Screamers

The Suburban Lawns were probably the first post-punk, or New Wave act, from LA to get national attention when the Jonathan Demme-directed video for “Gidget Goes to Hell” was played on Saturday Night Live in 1979. Their first LP spawned “Janitor,” which has a pair of appearances on Youtube, the first a proper video and the second an appearance on New Wave Theatre, in which Su Tissue is practically catatonic behind the microphone. The band split as they were recording their second LP for IRS, which is too bad since the released tracks demonstrated substantial growth in song-writing and production. This band had everything, a legitimate sound, lots of chops, stage presence (Su Tissue was early on the Grey Gardens bandwagon), etc; it’s surprising to me the work hasn’t been remastered for CD.

Ok, that’s it for my “liner notes.” Time to get back to my day job as a cub reporter for the Sun. More band names, but not the tracks, appear in my “rough draft” in the previous post.

Disk 1
1 Roma / Destiny — Wild Kingdom (1981) 5:51
2 Words Never Said — 17 Pygmies (1984) 2:28
3 Benway’s carnival — Abecedarians (1985) 5:9
4 Great Expectations — Shadow Minstrels (1983) 4:3
5 Monsters — Martyr Complex (1981) 3:30
6 A Party Filled With Thieves — Null And Void (1982) 3:33
7 Diamond Pillow — Steaming Coils (1987) 3:43
8 Janitor — Suburban Lawns (1981) 2:31
9 Science — Zolar X (1982) 1:25
10 Can Can’t — B People (1981) 2:27
11 Scene Of The Crime — The Squad (1981) 2:36
12 In Living Color — Life After Death (1985) 1:54
13 Hands of Another — Choir Invisible (1981) 3:49
14 Something Inside Me Has Died — Kommunity FK (1985) 3:45
15 When I Was Bed — Christian Death (1985) 7:57
16 China Sleeping — Beat-E-O’s (1981) 2:12
17 He Believes — Wet Picnic (1982) 5:33
18 Thirteen — Dogma Probe (1982) 4:30
19 Only A Lad — Oingo Boingo (1979) 4:16
20 Legalize Heroin — Iron Curtian / Steven Fields (1988) 5:7
21 The Motorcycle Song — Null And Void (1982) 2:27

Disk 2
22 Next To Nothing — Savage Republic (1982) 3:24
23 Gidget Goes to Hell — Suburban Lawns (1979) 2:1
24 Blue Eel — Human Hands (1981) 2:51
25 While We Can — Gleaming Spires (1982) 4:19
26 One Step For What? — Nu Beams (1981) 3:9
27 I Glide — Abecedarians (1986) 7:31
28 So Hard — Standard Of Living (1982) 1:53
29 The Passenger — Wall Of Voodoo (1980) 4:9
30 BEAK — Monitor (1979) 1:50
31 Some Men — Fibonaccis (1987) 2:42
32 Tarantula Scream — Iron Curtain (1984) 4:18
33 Judas — Freshly Wrapped Candies (1987) 3:41
34 Two Bibles — Green on Red (1981) 3:29
35 A Mighty Feeling — Perfect Imperfect Circular (1986) 2:33
36 Thin Ice — League of Nations (1984) 3:42
37 Mr. Kritik — Atila (1981) 1:12
38 Angst In My Pants — Sparks (1982) 3:28
39 Another Moon — Outer Circle (1982) 3:25
40 Relapse — Afterimage (1981) 3:8
41 Enorma Jones — Rand Kennedy (1983) 1:3
42 Under Pulse — Animal Dance (1984) 3:21
43 Redhead — Plebs (1982) 1:44
44 I Can See What’s Happening — Null And Void (1980) 2:43
45 Flavor Crystals — Suburban Lawns (1983) 3:47
46 In Exile — Danny & the Doorknobs (1985) 2:40

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