Back To The Outside World

In April, I wrote about Propaganda's debut album A Secret Wish for the inspirational blog No Badger Required (thanks again, SWC, it was a privilege)

In a kind of timey wimey contrivance that Doctor Who would consider tenuous at best, I've uncovered a review of 2002 CD/DVD compilation Outside World, that I wrote in 2006, which I thought I'd share with you here. You can find the tracklist on Discogs.

As part of Zang Tuum Tumb's bid for music (world?) domination in the first half of the 1980s, alongside Frankie Goes To Hollywood and The Art Of Noise, Propaganda were fully immersed in remix culture from the outset. My first purchase was the p:Machinery 12" single that, characteristically for ZTT, segued the instrumental and vocal versions to provide an epic slab of Germanic alt. pop. 

I subsequently sought out their other releases, including the classic album A Secret Wish and it's accompanying remix set - at a time when remix albums were still few and far between - Wishful Thinking. 

Like all ZTT acts, the music was just part of Propaganda's appeal, taking into account the striking sleeve art and the ever-photogenic Claudia Brücken and Susanne Freytag. In an odd sense, Propaganda were my ABBA (Suzanne was my favourite, in case you're wondering), though their story pretty much ended with these few releases. 

Ignoring the short-lived and largely forgettable Propaganda Mk II at the start of the 1990s, the band and their music seemed consigned to the vaults of history. However, with music's obsessive need to reevaluate and reclaim it's past, Propaganda are back with a collection of their finest moments committed to single. 

Of course, times have changed: remix albums are now ten-a-penny and, as the flood of recent 1980s 12" compilations demonstrates, much material from this period now sounds horribly dated. Fortunately, the innovative approach of Trevor Horn, Stephen Lipson and Robert Kraushaar, combined with the quality of Propaganda's songs, means that Outside World neatly avoids this problem. 

The versions of signature tune Dr. Mabuse build on the original's strengths and never feel repetitive. Likewise, p:Machinery (beta), which originally appeared on the rare ZTT sampler album IQ6, replaces the song's killer synth hooks with the squalling guitar of Magazine/Siouxsie & The Banshees legend John McGeoch (RIP). 

The 12" mixes of Duel and it's aggressive sibling Jewel are little more than extended workouts, but lose none of their impact. However, the cassette-only mix of p:Machinery (connected) is a less successful segue of the original and 12" versions, seeming heavy handed by comparison. 

Of the B-sides, Frozen Faces - here in two versions - is the standout, whilst the take on The Velvet Underground's Femme Fatale retains it's curiosity value. 

A limited edition bonus DVD compiles the three single promo videos, plus alternate versions and TV commercials, which reinforce Propaganda's innate sense of style and are a treat for those like me who missed them the first time around. 

Despite original members Michael Mertens and Suzanne Freytag reactivating Propaganda and releasing a 12" single at the end of 2005, the prospect of a full reformation seems unlikely. Still, Germany's arguably greatest 80s pop act have left a formidable legacy that loses none of it's appeal with the passing of time.

Footnote: fast forward to 2025 and in time-honoured tradition, there now exist two active versions of the band. Propaganda, with Michael Mertens, Ralf Dörper and Thunder Bae, sound not unlike the Mk. II version if I'm honest. xPropaganda, reuniting Claudia Brücken and Susanne Freytag with Stephen Lipson are perhaps closer to the spirit of thie ZTT-era music that I love so much.

1) p: Machinery (The Beta Wraparound (Remix) ft. John McGeoch) (1985)

2) Frozen Faces (Live) (1985)

3) Tipping Point (2024)

4) Only Human (Album Version) (2022)

 

 

 

How To Fall From Grace And Slide With Elegance From A Pedestal

Celebrating Marianne Faithfull, 29th December 1946 to 30th January 2025.

I was talking to Mrs. K, when Marianne's passing was announced on BBC News, so I was admittedly only half-listening as the prepared obituary was delivered, but the snippets I caught made me increasingly upset.

I know obituaries by their very nature frequently celebrate and devalue a life in a few paragraphs or minutes. Even so, the fragments that penetrated my consciousness seemed to focus on Marianne's achievements in the 1960s, living in the shadow of men (including several Rolling Stones) and the drugs. Of course, the drugs.

What I wasn't picking up was Marianne's incredible achievements beyond the 1970s and 1980s and well into the 21st Century, in the face of prejudice, preconception, misogyny, debilitating and near-fatal health challenges (not least COVID) and inevitably the ravages of time from life lived increasingly on her own terms.

I don't have a huge amount of Marianne's music in my collection, but it charts an incredible journey and a fearless confrontation and defiance of convention. Not just as a singer, but a songwriter (for Grace Jones), a collaborator (Bowie, Sly & Robbie, Patrick Wolf) and an interpreter of other's songs (everyone from Sonny & Cher to The Decemberists). 

Marianne released a single written by Serge Gainsbourg in 1967; forty years later, she revisited another of his songs to celebrate his life. Both are very special interpretations by a unique artist.

I've included a version of As Tears Go By, transmitted as part of a David Bowie special on US TV in 1973. The Rolling Stones regretted passing on the song when Marianne had a hit and belatedly recorded their own version. It's good, but not as good.

I've omitted Sister Morphine, the song Marianne subsequently co-wrote with and for the Stones. Likewise, I've not included the original version of Broken English, the title track of Marianne's 1979 album, opting instead for a remix and a cover version, both from the 2000s.

I bought a secondhand CD of Patrick Wolf's 2007 album The Magic Position (which is brilliant, by the way) and discovered halfway through the song Magpie, featuring a surprising and delightful appearance from Marianne. It's a highlight among highlights and just one example of her continuing relevance and inspiration to future generations of musicians.

Sliding Through Life On Charm, written with Jarvis Cocker, Mark Webber, Steve Mackey and Nick Banks from Pulp, is a semi-autobiographical rollercoaster and provides the title of today's post and tribute selection. To quote the full verse,

I wonder why the schools don't teach anything useful nowadays 

Like how to fall from grace 

and slide with elegance from a pedestal 

I never asked to be on in the first place

You can read much about Marianne, including much in her own words, but we'll never know the whole story, really know Marianne. But what a legacy she leaves.

Rest in power, Marianne.

1) Broken English (Baron Von Luxxury Light Touch Remix By Blake Robin) (Downtempo): Marianne Faithfull (2008)

2) I Got You Babe (Live @ The Marquee, London) (Cover of Sonny & Cher): David Bowie ft. Marianne Faithfull (1973)

3) I've Done It Again (Album Version): Grace Jones (1981)

4) The Crane Wife 3 (Cover of The Decemberists): Marianne Faithfull ft. Nick Cave (2008)

5) Guilt (Album Version): Marianne Faithfull (1979)

6) As Tears Go By (Live @ The Marquee, London): Marianne Faithfull (1973)

7) Hier Ou Demain: Marianne Faithfull (1967)

8) Lola R. For Ever (Lola Rastaquouère) (Cover of Serge Gainsbourg): Marianne Faithfull & Sly And Robbie (2006)

9) If I Never Get To Love You (Cover of Lou Johnson): Marianne Faithfull (1965)

10) Broken English (Cover of Marianne Faithfull): Claudia Brücken & Andrew Poppy (2004)

11) Magpie: Patrick Wolf ft. Marianne Faithfull (2007)

12) Sliding Through Life On Charm (Album Version): Marianne Faithfull (2002)

1965: Marianne Faithfull: 9

1979: Broken English: 5

1981: Nightclubbing: 3

2002: Kissin Time: 12

2004: Another Language: 10

2006: Monsieur Gainsbourg Revisited: 8

2007: The Magic Position: 11

2008: Easy Come Easy Go: 4

2016: Love Hit Me! Decca Beat Girls 1962-1970: 7

2017: The 1980 Floorshow: 2, 6

2021: Luxxury Edits Vol. 3: 1

How To Fall From Grace And Slide With Elegance From A Pedestal (46:05) (KF) (Mega)

There's Only One Way To Find Out...

Propaganda release their third album of all-new material in four decades in October. Founder members Michael Mertens and Ralf Dörper have teamed up with British singer/songwriter - and fellow Düsseldorf resident - Thunder Bae. 

The self-titled album contains eight songs, thirteen if you go for the limited double vinyl or CD editions. Purveyor Of Pleasure emerged as a lead single in May, with album opener They Call Me Nocebo following a few days ago.

More reminiscent of 1234, their 1990 album for Virgin, but with a harder sonic edge the songs are good...but are they great? 

If you're looking for something inspired more by the ZTT-era iteration of Propaganda, then Claudia Brücken and Susanne Freytag have you covered. They teamed up with original co-producer Stephen Lipson as xPropaganda to release The Heart Is Strange in 2022.

Not simply an attempt to recreate the past, there's an exciting dramatic tension to the music. And hearing Claudia and Susanne's voices together again? Wonderful.

But which is better?

Propaganda with Michael Mertens, Ralf Dörper and Thunder Bae?

Or xPropaganda featuring Claudia Brücken, Susanne Freytag and Stephen Lipson?

There's only one way to find out...

...or you can just buy either or both, as you please.

One Evening And Another Morning

I think of many of the albums on today's selection as recent, but they're all from 2004. Hard to believe that they - and the ears listening to them - are twenty years older.

One of the things I love about posting a daily blog is that it inspires me to seek out new music as well as diving back into my collection, dusting off and (re)discovering albums, EPs and songs that I haven't heard in a long while. All of the selections today have been languishing too long and their parent albums and singles will be added to the Casa K playlist where I can enjoy them all over again.

 

1) This Is That New Song: Badly Drawn Boy (One Plus One Is One)

2) Hummingbird: Wilco (A Ghost Is Born)

3) Another Morning: American Music Club (Love Songs For Patriots)

4) Knees: Pony Club (Family Business)

5) Nimrod's Son (Cover of Pixies): Frank Black ft. Two Pale Boys (Frank Black Francis)

6) You Do (Cover of McAlmont & Butler): Claudia Brücken & Andrew Poppy (Another Language)

7) One Evening: Feist (Let It Die)

8) Stay Out Of Trouble: Kings Of Convenience (Riot On An Empty Street)

9) Cherry Blossom Girl (Cover of Air): Hope Sandoval (Cherry Blossom Girl EP)

10) Stop, Look & Listen: Belle & Sebastian (I'm A Cuckoo EP)

11) Sleepy California (Super Furry Animals Remix): Her Space Holiday (The Young Machines Remixed)

12) He Gave Us The Wine To Taste: Jonathan Richman (Not So Much To Be Loved As To Love)

One Evening And Another Morning (44:56) (KF) (Mega)

I Am Damo Suzuki

Celebrating Damo Suzuki, 16th January 1950 to 9th February 2024.

 

This one damn near broke me. And I don't mean on an emotional level, but physically trying to get today's selection and post up here. I like to think that in some other plane of existence, Damo is aware of my amateurish efforts and chain of mishaps this morning and is having a belly laugh at my expense, before turning his attention to things of greater cosmic import.

 

I had another post lined up for today, but I woke this morning to the news of Damo's passing and decided that I wanted to post a tribute to him instead.

 

To be honest, I didn't expect it to be a very big job: I have relatively little by Can to begin with and Damo was with them from 1970 to 1973 which narrowed the selection further. I have absolutely nothing of Damo's post-Can career. 

 

And the news that I could have seen Damo play a gig with Fuzz Against Junk in the intimate surrounds of Fiddlers Club in south Bristol in March 2004 is a non-story as I decided not to get a ticket. In retrospect, I should have gone and taken the following day off work.

I then got it into my head that, in the spirit of Damo's improvisational style, I should actually try and cut-and-paste collage of all of the entire longlist, throwing in cover versions and remixes of Damo-era Can songs to boot. So I suddenly had about 20-odd songs and about 3+ hours of material to work with. Okay, so it was going to take a big longer than usual, but I was game...

I was about 3 songs in and thinking that it had got off to a reasonably good start when the Apple Music app which holds my digital music collection starting acting weirdly, shortly followed by the on-screen announcement that the wireless mouse has 1% charge left. Closing down and re-opening the app completely wiped the working playlist that I'd created. No problem, I said through gritted teeth (okay, I did swear a bit too), I'll start over again.

I do have a 'backup' wireless mouse. Unfortunately, it's the 'original' one whose increasingly impaired performance resulted in the purchase of the 'current' one, which had less than 1% at this point and promptly lost connection. The 'backup' had 20% charge which would be fine. However, one it's quirks is unpredictable cursor action, usually resulting in you getting the complete opposite of what you're trying to achieve. Cue lots of examples in the Audacity app of highlighting, moving, editing and cutting  anything but the bit of the music that I was actually working on. 

I could see the job doubling and trebling in length. Thankfully, after an hour there was sufficient charge on the 'current' mouse to abandon the 'backup' and have some hope of completing and posting this selection before Sunday is over.

Another 'improvised' decision as a result of my tech woes, but which may be a blessing to you dear readers, is that the selection is a mere 14 songs. I decided to cut my losses after Halleluhwah and tacked the intended closing song Turtles Have Short Legs at the end. 

So you are denied/spared (delete as applicable) Future Days, Moonshake, Paperhouse, Sing Swan Song, Mighty Girl*, Vitamin C and Yoo Do Right. What you do get is two hours of music edited down to roughly 66 minutes, all giving a nod to Damo's brilliance.

Mother Sky switches between the Can original and the Pilooski edit. On Mushroom, you'll hear Damo duetting with Jim Reid for the first and last time. Mark E. Smith inevitably gets in on the act with The Fall's own tribute from 1985. 

 

Oh Yeah appears in three increasingly shorter sections, courtesy of Can, Kris Needs and Mute label maestro Daniel Miller. There's the wonderfully titled Tape Kebab from a John Peel session* and three versions of Can's masterwork Halleluhwah.

 

First up is the 1995 version by Spirit Feel, featuring Claudia Brücken and Susanne Freytag formerly of Propaganda. This is followed by Damo fronting the original album version. Both of these push beyond 18 minutes; you get much less here, but the addition of a third, closing section from - who else? - The Orb, released a couple of years after the Spirit Feel cover version.

The closer, Turtles Have Short Leg, is incredibly short by Can standards, but one of many examples of their lighter, poppier moments. Well, relatively speaking.

Neither the words nor the selection really do justice to Damo the man, the musician, the uniquely talented individual and front person, be it Can, Damo Suzuki's Network or the numerous collaborations and improvisations that he's been responsible for. 

 

But in reading about my amateurish efforts and chain of mishaps to get this out here today, I hope you'll join Damo in a chuckle, a laugh or a full-on belly laugh. And then go and play some more of his music, long and loud.

See you, Damo.

 

1) I'm So Green: Can (1973)

2) Mother Sky (Album Version): Can (1970)

3) Mother Sky (Pilooski Edit By Cédric Marszewski): Can (2007)

4) Mushroom (Album Version): Can (1971)

5) Mushroom (Live In Nuremburg): The Jesus & Mary Chain (1986)

6) I Am Damo Suzuki: The Fall (1985)

7) Oh Yeah (Album Version): Can (1971)

8) Oh Yeah (Secret Knowledge Mix By Kris Needs & Henry Cullen ft. Jah Wobble): Can (1997)

9) Oh Yeah (Sunroof! Mix By Daniel Miller & Gareth Jones): Can (1997)

10) Tape Kebab (John Peel Session): Can (1974) 

11) Halleluhwah: Spirit Feel ft. Claudia Brücken & Susanne Freytag (1995)

12) Halleluhwah (Album Version): (1971)

13) Halleluhwah (Halleluwa Orbus II) (Remix By The Orb aka Alex Paterson & Andy Hughes) (1997)

14) Turtles Have Short Legs: Can (1971)

 

I Am Damo Suzuki (1:06:16) (KF) (Mega)

Another Teenage Remix

Side 1 of a 1980s 12" mix cassette compilation, recorded 24th April 2000. According to my sleevenotes on the reverse, "these 12" singles kept me going even when my hairstyle just couldn't keep pace". It's fair to say that in the mid to late 1980s, I went through an environmentally unfriendly amount of hairspray and gel, rarely to impressive effect.

The selection starts off with Act, who featured here in their own right last year. A short-lived but oh-so-wonderful collaboration between Claudia Brücken and Thomas Leer. Unfortunately for them, Act was launched just as label ZTT experienced a dip in popularity, post-Frankie Goes to Hollywood and pre-808 State and Seal. A shame as Brücken and Leer looked and sounded great, with satirical lyrics and none-more-80s production. 

 

Snobbery & Decay was Act's opening statement and deserved a far better UK chart placing than #60, which would sadly prove to be their biggest 'hit'. As with most ZTT releases, there were multiple formats and remixes. As this mix title suggests, this limited edition 12" was housed in a beautiful sleeve with a photo of Quentin Crisp by Anton Corbijn on the reverse. What's less obvious is that the remix heavily samples Cybil Shepherd and Bruce Willis from US TV series Moonlighting, which was hugely popular at the time. In fact, the song proper doesn't kick in until five and a half minutes into a remix just shy of nine minutes. All good fun, but you had to buy the other formats to get more Claudia and Thomas.

Visage arguably made one good album (their debut) and it was all downhill from there. Personally, I also have a lot of love for second album The Anvil and, singles-wise, everything up to Pleasure Boys. Night Train is one of their best and the record-buying public seemed largely to agree as it proved to be their fourth UK Top 20 hit, pipping Mind Of A Toy by one place to peak at #12. I first got the dance mix of Night Train on vinyl courtesy of the Old Gold series, which would usually slap two extended mixes on a 12" single in a hideously generic sleeve for a bargain price. I tracked down the original 12" single years later in Replay Records in Bristol. I still love it.

 

What can I say about Associates? Well, other than whether to use the definite article in their name or not. Billy MacKenzie and Alan Rankine created some of the finest pop music of the 1980s, managing both perfect and off-kilter often in the same song. Club Country had a tough gig, being the follow up to Party Fears Two, but it managed #13 in the UK and matched it's predecessor's 10-week run in the charts. I love the song, whether the 7" single, slightly longer album cut or here in it's extended version. And, for my money, the best phrasing of the word 'pseudonym' in a song, ever. 

 

It's only occurred to me whilst writing this that there's a Scottish theme running though this selection: Thomas Leer, Midge Ure, Billy MacKenzie and Alan Rankine. Zeke Manyika was born in Zimbabwe, but moved to (and I think still lives in) Scotland, joining Orange Juice in 1982, so that's good enough for me. 

 

Runaway Freedom Train was released in 1989 as the follow up to Bible Belt and sadly also seems to have had little impact on the charts. It carries a similar political heft to Bible Belt, albeit with a slightly more oblique comment on apartheid in South Africa:

"No matter how hard you try
To break this motion,
It's a one way ticket,
Only one destination,
You can't break the wheels of history" 

 

I still have the 12" single of Runaway Freedom Train, but I haven't digitised the songs or currently have the means to do so. The original 12" version is about eight minutes long and a fairly straightforward extended mix by Keith Cohen. The only version available online is the "U.S.A. Extended Club Version", which appears to be a re-edit of the Cohen mix, initially by The Latin Rascals and re-edited in 2009 by Mixmaster DJ Heavy M aka Malik Jefferson. The tracks runs to nearly ten minutes and is a veritable frenzy of scratches and edits. I tried cutting it down for use in this selection, but it just sounded way out of place with the rest of the tracks. I also didn't want to use different mixes of any of the other tracks to maintain the original running time.

 

So, what you've got here is my own re-edit of the re-edit of the, er, re-edit. Largely the album version from Zeke's second album Mastercrime, I've spliced a chunk of edits a little way into the intro and dropped in a further slab of edits at the end. It still runs a little short at just over seven and a half minutes, but (I think) it just about works. As ever, you'll be the judge of that. The mix title says it all.

 

Grace Jones next, with Living My Life. I first heard the song in 1983 on The Master Tape, a freebie compilation with Record Mirror which I think was a sampler of forthcoming releases. The irony with Living My Life was that it didn't appear on either her album of the same name or as a single in the UK, although a limited 12" was released in Portugal. I could have used the Long Version from the latter to solve the issue with Runaway Freedom Train, but true to the original mixtape, I've stuck with the 1986 remix by Steven Stanley, which is much closer to the version that I originally heard on the Record Mirror compilation. Neither Grace Jones nor Steven Stanley were born in Scotland and regretfully, I can't find any evidence that either have lived there, so my Scottish theme ends there.

 

But only briefly, as Aberdeen's own Annie Lennox leaps to the rescue with, er, Sunderland native David A. Stewart as Eurythmics. Would I lie to you? No, siree. This was the lead mix (of two) from the 12" single, with Eric 'ET' Thorngren bringing his customary BIG drums in and pushing everything bar Annie's vocals back in the mix. He likes his drums, does ET. I did buy the accompanying album, Be Yourself Tonight, but this was pretty much the point that I started checking out on Eurythmics. I like this single but it was all getting a bit slick and aimed squarely at global domination for my liking. Fair play to Eurythmics, they achieved it, but it's the first three albums that I return to time and again.

 

And blowing the Scottish theme once and for all (well, it was good while it lasted), Side 1 ends with Scarlet Fantastic, who both hail from the West Midlands, and are remixed here by Australian Karen Hewitt. The wonderfully named Maggie De Monde and Rick Phylip-Jones were previously in Swans Way, who had a Top 20 hit with the avant-garde pop of Soul Train. Scarlet Fantastic were more out-and-out pop and No Memory is a fantastic example, although it sadly didn't quite find an audience, reaching #24 in 1987. The pick of the bunch is the Extra Sensory Mix but the Ecstacy Mix is also a corker. The version here was ripped several years ago from my copy of the limited edition 12" single in  - what else? - "scarlet fantastic" red vinyl.

 

Have a fun Saturday, everyone!

 

1) (The Naked Civil) Snobbery & Decay (Remix By Stephen Lipson): Act (1987)

2) Night Train (Dance Mix By Visage & John Luongo): Visage (1982)

3) Club Country (Extended Version By Associates & Mike Hedges): Associates (1982)

4) Runaway Freedom Train ('All This Scratching Is Making Me Itch' Re-Edit By Khayem): Zeke Manyika (1989/2022)

5) Living My Life (Remix By Steven Stanley): Grace Jones (1986)

6) Would I Lie To You? (An Eric 'ET' Thorngren Mix): Eurythmics (1985)

7) No Memory (Ecstacy Mix By Karen Hewitt): Scarlet Fantastic (1987)

 

Side One (45:49) (KF) (Mega)

Side Two here

In A Discotheque At Dawn Is When It Came To Me

Nothing clever or fancy about today's selection: 7 randomly selected 12" mixes, sequenced in alphabetical order by artist. Some unexpected and welcome treats, though: a welcome return to this blog for Act aka Claudia Brücken & Thomas Leer; Bryan Ferry goes clubbing*; an early remix by Justin Robertson; François K taking on The Cure; and disco and dub classics from Grace Jones and Gregory Isaacs. To close, a track from modern dub colossi Youth and Gaudi, remixed by Cambridge DJ/producer Kuba, which has introduced me to a couple of new genres, psychill and broken beat. Every day an education. And a reason to keep moving.

1) Chance (Throbbin' Mix By Stephen Lipson): Act (1988)

2) You Can Dance (John Monkman Remix): Bryan Ferry (2010)

3) Redhills Road (Most Excellent Mix By Justin Robertson): Candy Flip (1991)

4) Hey You!!! (Extended Remix By François Kevorkian & Alan Gregorie): The Cure (1988)

5) La Vie En Rose (A Tom Moulton Mix): Grace Jones (1977)

6) Cool Down The Pace (10" Mix By Godwin Logie & Paul 'Groucho' Smykle): Gregory Isaacs (1982)

7) Empress Of The Tarot (Kuba Remix By Laurence Harvey): Youth & Gaudi (2020) 

 

* This is very good, but the original version by DJ Hell is the best.

In A Discotheque At Dawn Is When It Came To Me (44:12)

Extended, For Stephanie Beacham

On record, Act were a going concern for little over a year, from their debut single Snobbery And Decay in May 1987 to their sole album, Laughter, Tears And Rage in June 1988. However, being on ZTT, there were a plethora of remixes, album tracks that were unique to each format and unreleased songs and alternative versions. This has continued with a number of reissues, compilations and anthologies over the years.

 

I'd got in on the act (excuse the pun) because of Claudia Brücken's involvement - I was a big fan of Propaganda - but it's had the lasting impact of introducing me to Thomas Leer's solo work, before and after. Act was not a commercial success but they've remained a go to if you like your 80s pop with a dash of commentary on, as Wikipedia puts it, "decadence and moral bankruptcy".

 

1)  Absolutely Immune II (Remix By Stephen Lipson & Trevor Horn) (1987)

2) Strong Poison (Remix By Stephen Lipson) (1987)

3) I Can't Escape From You (Razormaid Mix) (1992)

4) (Alternative) Gestures (Remix By Stephen Lipson) (1988)

5) Body Electric (1987)

6) Snobbery And Decay (Extended, For Stephanie Beecham) (1987)

7) Heaven Knows I'm Miserable Now (Lucky's Skank 2) (ft. Casbah aka Aloysius 'Lucky' Gordon) (Cover of The Smiths) (1988)

8) White Rabbit (Cover of The Great Society with Grace Slick) (1987)

9) I'd Be Surprisingly Good For You (Cover of Julie Covington) (1987)

10) Chance (Throbbin' Mix By Stephen Lipson) (1988)

11) Under The Nights Of Germany (Trial Edit By Stephen Lipson) (1988)

12) Laughter (Seven Inch Mix By Greg Walsh) (1988)

13) Winner '88 (12" Mix By Stephen Lipson) (1988)

 

Extended, For Stephanie Beacham (1:05:15)