What to name a mixtape you truly enjoy, but can’t come up with a decent one? By this time I had Walk in Silence, Listen in Silence, The Last Home Year, Cimmerian Candlelight, and so on…names for themed series. But what about a chaotic mix that was essentially my favorite indie tunes at that point in time?
And so the Untitled series was born. Cheeky, but it worked.
This is a mix of songs I’d heard on Amherst College’s WAMH, WMDK out of Peterborough, recent 120 Minutes episodes, with a sprinkle of deep cuts, records borrowed from Chris, and to top it off, promo singles he and I had “borrowed” from the local radio station that they were obviously never going to play. The original mix features versions taped from the radio or off the TV speaker as well as actual source material.
Like Listen in Silence II, it was a mix primarily made as a catch-all for songs I liked but didn’t necessarily have in my collection. This would explain the strong beginning and the somewhat meandering end…but yet it works and still stands up so many years later. Also like LiS II, it was a mix to be listened to while mowing the cemeteries for my summer DPW job. Since my favorite college radio station was off the air for the season, this was my mix to fill that gap.
[Missing from the Spotify mix due to unavailability: The Feelies’ “Away” (after “Makes No Sense at All”) and Robyn Hitchcock & the Egyptians’ “Swirling” (after “Charlotte Anne”).]
Thanks to KEXP, this little bit of silliness has been stuck in my head for the last several days. Cheekface comes from Los Angeles but definitely has that same slacker vibe that Pavement had, especially in the “Cut Your Hair” 90s, only much goofier. [Come to think of it, I think it also fits in with some of the late 80s humorous college rock as well, such as The Strawberry Zots, Beat Happening and King Missile. It’s just retro-sounding enough that I definitely would have included it on the mixtapes I made back then. It also helps that the covers to all their releases thus far are hand-drawn in that wonderful did-it-during-study-period style.] It’s not often that a song both perfectly embodies the decidedly Gen-X “we’re fucked but what can we really do anyway” vibe of Covid these last few years and contains a shout-out reminiscent of the Gunshow “this is fine” comic/meme.
One of my favorite Sparks songs is “My Baby’s Taking Me Home”, in which said title is the near-entirety of its lyrics, barring a short spoken word passage near the end. The Mael brothers comment on it in The Sparks Brothers documentary, where the dynamics of the song are purely in its construction rather than its lyrics. Because of this, they find it one of their all-time favorite songs to play live.
Back in the 80s and early 90s I wrote a handful of Flying Bohemians songs that were similar in construction, and they were always my favorite to play because of that. One song, “She Sang to Me”, had three lines that were repeated in different ways while Chris and I played its three chords in various ways — fingerpicking, muted, augmented, and so on — until it sounded like a wondrous release of sound.
I don’t often hear that many songs like this, but when I do, quite often they’re my favorites of the band’s entire discography.
I’ve been thinking about revisiting some discographies lately, mainly the ones of bands I used to listen to obsessively back in my youth. One of the inspirations for this was the reissue of REM’s Chronic Town EP a few weeks ago, their first release on the IRS label.
I’ve always been an early-era fan of the band up to and including 1988’s Green, and it’s been ages since I’ve listened to those first albums other than hearing the occasional single on the radio (usually “The One I Love” or “It’s the End of the World As We Know It”, but occasionally I’ll hear “Superman” as well). Me and my high school friends were big fans of the band and taped each other’s copies of their albums into our own collections. But I haven’t listened to Lifes Rich Pageant in ages, and I used to play that one a ton in my college years.
So how is this different from any other time I obsess over 80s alternative rock? Well, instead of slinking back into the memory banks to relive those times or attempting to work on the Walk in Silence book, this is just…for fun, just like before.
I think part of it is tied into what I was talking about in the previous post, in which I find myself so constantly wrapped up in New Releases every week that few songs are actually sticking in my head. Which leads to the question: how is it that these REM songs (and Smiths songs, and Love and Rockets songs, and so on) stick like Gorilla Glue where the new songs don’t?
I think it’s partly because I’m not allowing those new songs to anchor themselves in the first place. It’s like I’ve forgotten how to do that somehow. The focus has gone from the music to the procurement of it. Which of course feeds into my obsessive tendencies, but doesn’t really move me emotionally, does it?
I’ve been trying to figure out how to change that these last few months. How do I let these songs into my psyche when I’ve forgotten how to do that? What do they have to anchor to? Moments in time, memories in the making? So many of those songs are fleeting, great to listen to but never quite moving me emotionally. Produced too clean, given airplay to a station that smothers us with its constant repetition. Caught in a race with millions of other songs, all trying to enter my subconscious at the same time.
It’s time to revisit how I made them stick in the first place. Allowing the song to percolate and simmer for a while in my mind, to allow it to latch onto a moment in my life. Keeping myself from getting constantly distracted by yet another song that sneaks up behind it. Allow the song to become a part of my own personal and private world rather than chasing after several songs at once as they go by.
I mentioned a few weeks back on my Twitter feed that I’d finally found a song that had been eluding me for nigh on THIRTY years. This is by far the oldest and most elusive song I’ve been looking for to add to my collection, and now it has pride of place in my mp3 library.
What is this song, you ask? Well, after the band’s self-titled second album that dropped in the summer of 1989 (which featured the great underrated single “Accidentally 4th Street (Gloria)” and a fun cover of BTO’s “You Ain’t Seen Nothing Yet”), they recorded a track that sounded quite different from their usual poppier style: darker, moodier and heavier.
“Evil” seems to be about An American Werewolf in London from the werewolf’s point of view, though it’s never quite made clear, other than passing references and a “waah-hoooo yeah” near the end hinting at the ubiquitous Warren Zevon song. It also samples a few lines of dialogue from Hitchcock’s The Birds which, per vocalist Anthony Kaczynski in a brief email chat I had with him back in the mid 90s (!!) was the reason it was never commercially released as they could not get the clearance.
I’d only heard this song on WFNX, its demo delivered personally by the band to the Boston area alternative rock station, and I never had the chance to tape it when it came on. I’d also heard it once live when they played for free at the Hatch Shell in the summer of 1991 as a double bill with The JudyBats. (Kaczynski was shocked that I remembered that show when I mentioned it to him.) Other than that, it showed up once as a track on a cassette-only “unsigned bands” promo. I distinctly remember seeing it once at Nuggets in Kenmore Square and stupidly never picked it up.
…and for thirty years, I looked everywhere for it. On Discogs, where that promo tape was for sale at a ridiculous price. On YouTube, where no one had posted it. On questionable mp3 download sites, none of which had it. Every now and again I’d do a passive sweep, never expecting to hear it again.
Until a few weeks ago, when I found that someone named Dave Stawecki had ‘remastered’ it with the band’s permission back in 2021. I played the video, and the memories came flooding back: listening to it in early 1991 while at Emerson, living in the Charlesgate dorm and trying in vain to record it and missing it every single time. Sitting on the grass on the Charles River Esplanade, handheld cassette recorder in hand in an attempt to get a live recording. Going to a few record conventions and none of the vendors knowing anything about it.
And now, thanks to a quick visit to a site that rips audio from video into mp3, I now have it in my music library, where I can hear it any time I want.
I still have a list of songs and albums that have eluded me over the years, but I have to say this one was high on that list and I still can’t believe it took me three decades to locate it. That’s one song to finally cross off my bucket list!
After a somewhat disastrous first semester at Emerson, I came back from Christmas break with a clearer mind and a better idea of what I needed to do to avoid repeating the same mistakes. I reconnected with the new friends I’d made near the end of the first semester and started hanging out with them more, realizing I had a hell of a lot more in common with them than I did with my roommate, who I pretty much avoided and ignored from there on in. I may have been a bit let down that I didn’t connect with them on a musical and intellectual level like I had with the Vanishing Misfits gang, but really — who was I fooling, anyway? Try as I might to hide it, I was a blue-collar dweeb that had no further plans to attempt nonconformist hipness. Better to be myself than try to fit in, yeah? [To date, I am still in contact with two of those friends from then, and the only two from my college years that I still speak with. As for everyone else I’d meet those five years I was there…? For a college that focuses on mass media, I’ve somehow found it ironically impossible to locate any of them on today’s social media.]
I was still broke most of the time and could barely pay our phone bill whenever I wanted to talk with my long-distance girlfriend, yet somehow I did manage to find the pocket change to buy the occasional cassette at Tower Records up the street (or used at Nuggets in Kenmore!) as well as stock up on blanks to record tunes off the radio. I may have still been in a bit of a grumpy mood, but things were looking up. During this second semester I’d finally get my radio show: the 12AM to 3AM shift on WECB AM, and who the hell knew if anyone actually listened, but it was experience!
Peter Murphy, Deep, released 1 January 1990. Murphy’s third album dusts off a lot of the post-punk of his first album and the darkness of his second, leaving an extremely bright sheen. But it was also his breakthrough, with single “Cut You Up” hitting all the major radio stations and even getting airplay on daytime MTV. In my opinion it’s his most commercial, but also his most cohesive record, and it’s a joyful listen.
Inspiral Carpets, Cool As **** EP, released 1 January 1990. Another Mancunian band shuffles out of the club scene and onto American alternative radio, this one leaning heavily on a sixties garage band vibe complete with Farfisa organ. Not as sleek and groovy as The Charlatans UK, but just as danceable and fun.
The Telescopes, To Kill a Slow Girl Walking EP, released 1 January 1990. This British band took the burgeoning noise-rock sound that was gaining a following in the UK and went in all sorts of weird places with it, becoming one of the most loved yet least heard bands of the decade. Each release went in unexpected directions, so one never knew if they’d have a blissed-out groovy dance song, a J&MC-like wall of feedback or some spaced out jam.
John Wesley Harding, Here Comes the Groom, released 5 January 1990. Wesley Stace, under his JWH stage name, burst onto the scene in late 1989 with a few singles and an EP (which featured a quirky acoustic rendition of Madonna’s “Like a Prayer”, which got some airplay). His early songwriting was smart, funny, and intelligent and damn catchy, gaining a considerable fanbase in Boston. I’d see him play live twice, both times for free, while I lived in the city. He still records now and again, and is currently an author of four books. His 2014 novel Wonderkid was an inspiration for my own novel Meet the Lidwells.
Big Audio Dynamite, “Free” single, 5 January 1990. As the original BAD lineup began to splinter, Mick Jones recorded and released a final single for the soundtrack of the Keifer Sutherland/Dennis Hopper film Flashback. The movie itself got mixed reviews, but the song did get airplay on WFNX at the time.
They Might Be Giants, Flood, released 5 January 1990. TMBG’s third album literally bursts onto the scene with a bright and sunshiney opening theme (“Theme from Flood”, natch) before haphazardly switching to yet another fantastic earworm they’re known for, “Birdhouse in Your Soul”. Like 1988’s Lincoln, this album does feel a bit overlong and straining in places, but it also contains some of their absolute classics, including the ridiculous “Istanbul (Not Constantinople)”, the goofy “Particle Man” and more.
Various Artists, Super Hits of the 70’s: Have a Nice Day, Volumes 1 – 5, released 5 January 1990. And just like that, listening to cheesy AM classic radio is hip again. This series, which would stretch to a staggering twenty-five volumes, made it hip to hear those same songs you thought were corny and cringey just a few years previous. A few years later, Quentin Tarantino would take a page from this and insert 70s hits into his breakthrough movie Reservoir Dogs.
The The, “Jealous of Youth” single, released 19 January 1990. Before it showed up on the Solitude mini-LP in 1994, this outtake from the Mind Bomb album sessions had a standalone single release that couldn’t have come at a better time. Matt Johnson’s desperation to recapture a youth that’s not so much out of his grasp but perhaps already tainted by the pain of adulthood is stark, painful, and an absolute stunner. A perfect song for a Gen-Xer entering the last decade of the century.
The Black Crowes, Shake Your Money Maker, released 24 January 1990. The Crowes were always bluesy and gospely and they wore their influences for everyone to see. They did sound a bit 80s in their production but that didn’t stop them from becoming wildly popular for nearly the entire decade, always churning out great songs.
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Next up: The year moves on, Britpop starts encroaching on US alternative radio, and something about the coolness of a certain deity.
Every now and again we have a year with a lot of great albums, some immediate personal favorites…but for some reason, little of it resonates to the extent that they’re going to be all-time favorites I’d be listening for years to come. That’s not to say that they’re bad albums, or even forgetful ones! It could be due to Just How Life Has Been As Of Late (after all, this pandemic thing is still putting the kibosh on a lot of uplifting celebration), or it could be a personal thing (my mind has been focusing on numerous things other than my ever-expanding musical tastes).
I spent more time this year listening to KEXP streaming online than actually listening to any of the music I might have acquired during the past year. In a way it felt like those high school days of yore when I went through a spell of listening to WAMH on a daily basis and only listening to albums at night (except that my nights these days are watching TV with A in the living room). And just like that era, I’m (hopefully) making some personal changes to my life in the new year that might necessitate me not listening to John In the Morning every weekday. [Unlike those high school days of yore, KEXP archives their shows for a few days so I should be able to listen in at a later time.]
Next year is a ‘2’ year, which means that I’m expecting some mind-bogglingly stellar albums that will become all-time favorites. I know, I know…it’s only a pet theory of mine, but it hasn’t steered me wrong yet. There have been hints of it in the preview singles being dropped over the last couple of months, and the few new release news bites that have slipped out. Whatever comes, I’m looking forward to it!
That said, here is my list of favorite albums, songs, and other releases in 2021. These are in no particular order this time, other than that my top favorites are in boldface. I highly suggest checking them all out, as they’re all great and worth a listen or five!
TOP ALBUMS Roosevelt, Polydans Nation of Language, A Way Forward Grandbrothers, All the Unknown Flock of Dimes, Head of Roses Dry Cleaning, New Long Leg Hooverphonic, Hidden Stories Wolf Alice, Blue Weekend Japanese Breakfast, Jubilee Quivers, Golden Doubt CHVRCHES, Screen Violence Sleigh Bells, Texis Low, HEY WHAT Film School, We Weren’t Here Coldplay, Music of the Spheres Elbow, Flying Dream 1 Failure, Wild Type Droid Miss Gritt, Impostor EP The Beatles, Let It Be [Super Deluxe] Snoh Aalegra, Temporary Highs in the Violet Skies Foo Fighters, Medicine at Midnight
TOP SINGLES Imagine Dragons feat. JID, “Enemy” The Clockworks, “Throw It All Away” Miss Grit, “Blonde” Sleigh Bells, “Locust Laced” Nation of Language, “Across That Fine Line” Roosevelt, “Echoes” Teenage Sequence, “All This Art” Ambar Lucid, “Space Cowgirl” CHVRCHES, “Cry Little Sister” Girlfriends and Boyfriends, “Your Touch” Dry Cleaning, “Scratchcard Lanyard” Seatbelts, “TANK! [Flix Mix]” Wet Leg, “Chaise Longue” Jose Gonzalez, “El Invento” Flock of Dimes, “Price of Blue” Yola, “Stand for Myself” Parquet Courts, “Walking at a Downtown Pace” Jack White, “Taking Me Back” Yard Act, “Dark Days” Breeze, “Come Around”
…and more Best-Ofs…
Box Sets, Compilations, Reissues and Remasters The Beatles, Let It Be [Super Deluxe] George Harrison, All Things Must Pass 50th Anniversary Super Deluxe Edition John Lennon, John Lennon/Plastic Ono Band (Ultimate Collection) Various Artists, Bills & Aches & Blues (40 Years of 4AD) Various Artists, Caught Beneath the Landslide: The Other Side of Britpop and the 90s Supergrass, In It for the Money [Deluxe Expanded Edition] POD, Satellite [Expanded Edition] Death Cab for Cutie, The Photo Album [Deluxe Edition] Radiohead, KID A MNESIA Seatbelts, Cowboy Bebop (Soundtrack from the Netflix Series) David Bowie, Brilliant Adventure (1992-2001) U2, Achtung Baby [30th Anniversary Edition]
EPs and Singles Ambar Lucid, Get Lost in the Music EP Miss Grit, Impostor EP Thom Yorke, “Creep [Very 2021 RMX]” Wet Leg, “Chaise Longue” Working Men’s Club, “X” Bowling for Soup, “Growing Old Sucks (But Everybody’s Doing It)” Teenage Sequence, “All This Art” Imagine Dragons feat. JID, “Enemy”” Big Wreck, Big Wreck 7.1 EP The Clockworks, “Throw It All Away”
Keepin’ It Local (Bands from My Hood) The Reds, Pinks & Purples, Uncommon Weather Chime School, Chime School The Umbrellas, The Umbrellas Cindy, 1:2
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…and that’s it for Walk in Silence for 2021! I’ll be taking the first week of January off just to enjoy the remainder of the holiday season and prep myself for the plans I have for the new year. Here’s to hoping everyone’s 2022 is stellar!
Here we are, as promised — my end of year mixtape! As with the last few years, my listening habits have pretty much been listening to KEXP online or whatever tunage I happened to download. And this time out I’ve created a Spotify playlist out of it for your listening enjoyment!
This past year has been kind of a strange one musically — a lot of records made during lockdown, incomplete sessions rejiggered as EPs and standalone singles, and songs that have been kicking around in the vaults for a bit — so while there may not be as much coherence or intensity behind some of it, the gems that are out there were pretty flippin’ phenomenal. Stay tuned for my best-of-year lists on Thursday!
SIDE A 1. Imagine Dragons feat. JID, “Enemy [from the League of Legends series ‘Arcane’]” 2. Roosevelt, “Echoes” 3. The Clockworks, “Throw It All Away” 4. Girlfriends and Boyfriends, “Your Touch” 5. Miss Grit, “Blonde” 6. Grandbrothers, “What We See” 7. Celeste, “Stop This Flame” 8. Arlo Parks, “Hurt” 9. Flock of Dimes, “Price of Blue” 10. Yola, “Stand for Myself”
SIDE B 1. Yard Act, “Dark Days” 2. Parquet Courts, “Walking at a Downtown Pace” 3. Siamese Youth, “So Far from Home” 4. Flyying Colours, “White Knuckles” 5. Sleigh Bells, “Locust Laced” 6. Dry Cleaning, “Scratchcard Lanyard” 7. K/DA, “Villain” 8. Jungle, “Keep Moving” 9. Wolf Alice, “The Last Man On Earth” 10. Teenage Sequence, “All This Art” 11. Nation of Language, “A Word & a Wave”
SIDE C 1. Seatbelts, “TANK! [Flix Mix] 2. The Beatles, “I’ve Got a Feeling [2021 Mix]” 3. Nation of Language, “Across That Fine Line” 4. Bachelor, “Stay in the Car” 5. Breeze, “Come Around” 6. Coldplay, “Higher Power” 7. CHVRCHES, “Cry Little Sister” 8. Snoh Aalegra, “In Your Eyes” 9. New Candys, “Twin Mime” 10. They Might Be Giants, “Super Cool” 11. Geese, “Low Era” 12. Duran Duran, “Invisible”
SIDE D 1. Goat Girl, “Sad Cowboy” 2. Hooverphonic, “The Wrong Place” 3. Sleaford Mods, “Nudge It” 4. Jack White, “Taking Me Back” 5. Fotoform, “Running” 6. Hatchie, “This Enchanted” 7. Amyl and the Sniffers, “Guided By Angels” 8. Film School, “Superperfection” 9. Public Service Broadcasting, “People, Let’s Dance” 10. ABBA, “I Still Have Faith in You” 11. Ambar Lucid, “Space Cowgirl”
SIDE E 1. Foo Fighters, “Waiting On a War” 2. Bill Janovitz, “Coming Up Close”* 3. Ora the Molecule, “Die to Be a Butterfly” 4. IDLES, “The Beachland Ballroom” 5. Thom Yorke, “Creep [Very 2021 RMX]” 6. Sleaford Mods, “Mork ‘n Mindy” 7. Wet Leg, “Chaise Longue” 8. tUnE-yArDs, “nowhere, man” 9. Grandbrothers, “Silver” 10. Roosevelt, “See You Again”
SIDE F 1. Field Music, “Orion from the Street” 2. Danny Elfman, “True” 3. Ambar Lucid, “Get Lost in the Music” 4. Low, “Days Like These” 5. The Goon Sax, “In the Stone” 6. Makthaverskan, “Maktologen” 7. Anna Schulze, “A New Way” 8. Ghost of Vroom, “Rona Pollona” 9. Shame, “Human, for a Minute” 10. Jane Weaver, “The Revolution of Super Visions” 11. The Verve Pipe, “Forever Reaching”
SIDE G 1. RUFUS DU SOL, “Alive” 2. Big Wreck, “Beano” 3. Goat Girl, “Badibaba” 4. Jose Gonzalez, “El Invento” 5. Delvon Lamarr, Organ Trio, “Call Your Mom” 6. Lucy Dacus, “Hot & Heavy” 7. Dropkick Murphys, “Mick Jones Nicked My Pudding” 8. Lost Horizons, “Every Beat That Passed” 9. Pond, “America’s Cup” 10. Porcupine Tree, “Harridan”
SIDE H 1. Garbage, “No Gods No Monsters” 2. Django Django, “Glowing in the Dark” 3. Billy Bragg, “Mid-Century Modern” 4. Nation of Language, “This Fractured Mind” 5. Sneaker Pimps, “Alibis” 6. Matt Nathanson, “Even Better Than the Real Thing” 7. Japanese Breakfast, “Be Sweet” 8. Mr Twin Sister, “Fantasy” 9. Elbow, “Flying Dream 1” 10. CHVRCHES, “How Not to Drown” 11. The Beatles, “Get Back [2021 Mix]”
The Bay Area is finally getting some precipitation! It’s kind of making me nervous about some of our plans over the next couple of weeks, but I can’t really complain all that much considering that it’s been very DRY these last few years. I remember when we first moved out here the winter months were always wet — when we moved out of our old place in October of 2009 the ground floor had suffered a bit of flooding from bad drainage — but after a few years it lessened. Here’s to hoping that we can turn that around in the future, yeah?
I’ve definitely talked and written a lot about 1988, considering it was a high point in my teen years socially and emotionally, as well as creatively. Everything just fell into place in a positive way. I knew this feeling wouldn’t last, but I chose to embrace it and let it lift me up while it lasted, and I’m glad I did. I used to return to those memories sometimes out of desperation, especially during my mid-90s slump, but nowadays I can return to them with fondness and maybe a bit of amazement. I really did have a lot more personal clarity then than I thought I did, and I sometimes use that as a reminder of how to live in the present.
I’d been making proto-mixtapes for years taping stuff off the radio, but 1988 was when I made the deep dive into the alchemical science of creating personal mixes. And since 1988 had been not just a personal high but a musical high as well, I was determined to celebrate that with a year-end mix. This was my first attempt at a multi-tape (non-radio tape) mix of this kind.
DTDDTS: The Singles 1988 is admittedly not my best mix work, as I was still feeling my way in making these things. It sort of rambles halfway through and drifts to a close with a sigh rather than a cheer…my mistake was overloading the first tape with so many great songs! (Whenever I listened to it I usually stuck with that first tape.) It does kind of redeem itself near the end, though, and in retrospect, I think it mirrors my mood at the time: once my friends left for college, the last couple of months of the year weren’t nearly as exciting or positive for me. Still: I do like this mix, and it contains so many songs that have remained personal favorites for years.
Side Notes: –Most of these songs were sourced from original albums or singles, but several on Sides E and F were lifted from recent 120 Minutes episodes or taped off WAMH or WMDK. There are a lot of album cuts on this one, which really shows how closely I was listening to a lot of these albums. –I made several “reissue” versions of this over the years, partly to fix the flow but also to add more songs that I’d left off or replace songs I no longer had in my collection. (I have in fact created digital versions of all of them.) This playlist is the original created 27 December 1988 during Christmas vacation. –The title comes from the last song on Side B, “A Public Place” by Wire. Years later in 2013 I named a year-end mix ‘We Sing and Dance as We Go: The Singles’ after another Wire then-current lyric. Sort of a personal 25th anniversary thing, I suppose. –This contains exactly one Flying Bohemians song which is thankfully not on Spotify as it is embarrassing as it is hilarious. Why I didn’t use “Night” or one of our better tracks, I’m not sure. “Nothing Spectacular” was me and Chris fucking around on guitars and making a hash out of a moody 80s riff, with Jim H scratching one of Natan’s Van Halen records while he was in the other room. Chris provides an amazingly torturous guitar solo. –I put my favorite song ever at the time, The Church’s ‘Under the Milky Way’, on Side A Track 5. When I revived the year-end mixes in the 45-minutes-a-side format in 2013, I also revived that as well. My favorite song of that particular year will always have that spot.
SIDE A:
1. Morrissey, “Will Never Marry” 2. Nick Cave & the Bad Seeds, “The Mercy Seat” 3. Jane’s Addiction, “Jane Says” 4. Front 242, “Headhunter (Version 1.0)” 5. The Church, “Under the Milky Way” 6. The Primitives, “Crash” 7. The Godfathers, “When Am I Coming Down” 8. The Timelords, “Doctorin’ the Tardis” 9. The Smithereens, “Only a Memory” 10. Peter Murphy, “All Night Long”
SIDE B:
1. Siouxsie & the Banshees, “Peek-a-Boo” 2. The Sugarcubes, “Coldsweat” 3. Cocteau Twins, “Carolyn’s Fingers” 4. ‘Til Tuesday, “(Believed You Were) Lucky” 5. They Might Be Giants, “Ana Ng” 6. Camouflage, “The Great Commandment” 7. Erasure, “Chains of Love” 8. The Art of Noise feat. Tom Jones, “Kiss” 9. Information Society, “Running” 10. Wire, “A Public Place”
SIDE C:
1. Ministry, “Stigmata” 2. Grace Pool, “Out of the Wild” 3. The Jesus and Mary Chain, “Sidewalking” 4. Morrissey, “Everyday Is Like Sunday” 5. Shriekback, “Dust and a Shadow” 6. The Flying Bohemians, “Nothing Spectacular” * 7. A House, “Call Me Blue” 8. Information Society, “What’s On Your Mind (Pure Energy)” 9. REM, “Orange Crush” 10. Cocteau Twins, “Blue Bell Knoll” 11. Pet Shop Boys, “Always On My Mind”
SIDE D:
1. Edie Brickell & New Bohemians, “What I Am” 2. Big Pig, “Breakaway” 3. The Mighty Lemon Drops, “Inside Out” * 4. In-D, “Virgin In-D Sky’s” 5. Peter Murphy, “Time Has Got Nothing to Do with It” 6. The Psychedelic Furs, “All That Money Wants” 7. Midnight Oil, “The Dead Heart” 8. Stump, “Charlton Heston” 9. Dr Calculus, “Full of Love” * 10. Sinéad O’Connor, “Never Get Old” 11. Shriekback, “Go Bang”
SIDE E:
1. Pixies, “Gigantic” 2. Graham Parker, “Get Started, Start a Fire” 3. Camper Van Beethoven, “Turquoise Jewelry” * 4. Crowded House, “Mansion in the Slums” 5. Living Colour, “Cult of Personality” 6. The Godfathers, “Birth, School, Work, Death” 7. Sonic Youth, “Within You, Without You” 8. The Church, “Reptile” 9. Joy Division, “Atmosphere” 10. The Primitives, “I’ll Stick with You” 11. Wire, “Kidney Bingos”
SIDE F:
1. New Order, “Fine Time” 2. Marc Almond, “Tears Run Rings” 3. The Fall, “New Big Prinz” 4. Cowboy Junkies, “Sweet Jane” 5. Lloyd Cole & the Commotions, “My Bag” 6. The Feelies, “Away” * 7. Hunters & Collectors, “Back On the Breadline” 8. Sparks, “So Important” 9. Hugh Cornwell, “Another Kind of Love” * 10. Ministry, “Flashback” 11. Morrissey, “Suedehead” 12. Information Society, “Make It Funky”
* — Not available on Spotify, but I’ve added the YouTube link if it’s available.
Walk In Silence 