Tag Archives: Hip-hop

Sole – Live From Rome

Live From Rome

SoleLive From Rome anticon. ABR 0048 CD (2005)


Righteous indignation.

This is a much more overtly political album than Sole’s previous — and probably best — album Selling Live Water.  It isn’t nearly as successful.  Though there are good intentions everywhere on this disc, the music/beats aren’t always compelling.  I saw Sole live touring on this album, and he had a live band with him.  Frankly, many of the songs sounded better with the live band (the title “Live From Rome” alludes to the fall of the Roman Empire as a parallel to or hope for the fall of the American Empire; this is not a live recording).  The thundering “Dumb This Down” is probably the best here, but “Cheap Entertainment” is sort of subtly infectious.  Almost everything here is decent, but newcomers should start elsewhere.

Sole – Selling Live Water

Selling Live Water

SoleSelling Live Water anticon. ABR 0026 CD (2003)


Selling Live Water is hip-hop that can’t take for granted that it is hip-hop at all.  It is music made to engage an audience and provoke critical thought.  Hip-hop is just a convenient form that it adopts.  Sole pursues his music with a fervor that concedes nothing but complete, honest commitment to his agenda.  The most appealing part of this is the self-reflexive aspect. Hip-hop has been around long enough now that a more complex look at the genre itself is due. Sole contorts traditions with no hesitation.

On “Da Baddest Poet,” Sole admits how he isn’t smart enough for any techniques other than hip-hop. The necessity of his place amidst hip-hop culture means he really is making some sort of contribution to it. Sole is just trying to keep hip-hop as good as it was, and promised to be, in the age of “conscious hip-hop”, just… different. He says, “in the immortal words of Ice-T/ shoulda killed me last year/ but in the mere mortal words of me . . . ”  There is humility here that is quite the opposite of the materialistic, misogynistic, violent subject matter promoted most heavily in the genre, combined with an awareness that Sole is tilting toward something else.

“Shoot the Messenger” goes off with “I never learned to kill for oil/ but then again I never learned to sit still/ and probably never will.” “Respect pt. 3” even seems to be a little anarchistic.  There are politics all over this album — not in the sense of passing news, but in the sense of a commitment to bottom-up social transformation away from corruption and domination (Sole has noted that material on the album was inspired by Howard Zinn‘s A People’s History of the United States).

Sole is a good lyricist though he has only a passable delivery, something still impressive given what Sole does. His lyrics are very busy, giving him the difficult task of fitting it all in. He is either silent or in vocal bombardment mode. What turns out to make it work is the jokey attitude — full of gags and purposeful contradictions. By some manner of calculation he is aware of precisely how much ferocity separates his mind and his voice. Even though his rhythms don’t stretch and his dynamics are flat, deadly words still ooze from each of Selling Live Water’s cuts.  Nonetheless, he steps up for some more impressive vocal rhythms, shifts and drawls on “Salt on Everything.”

The anticon collective producers on board (Alias, Odd Nosdam, Telephone Jim Jesus) cultivate a sort of blurred, hazy melange of oversaturated sounds, while keeping to a sense of syncopated rhythm.  The beats contribute to the bleary feeling of being overwhelmed by media and the numbing spectacle of mass culture.  This complements Sole’s way of rapping that often seems like shouting out as many words as possible without planning his delivery beforehand.

Sole makes good on the idea of personal hip-hop. He may not have expansive vocal talents to rely on, but he has still made some great music here.  To appreciate Selling Live Water, a listener must accept that important statements can be made without access to large resources or authorization by the powerful, without being a supplicant or sycophant, by anybody who puts in the effort.  If you reject those premises, then realize that this is an album made against what you believe.

“Weird Al” Yankovic – The Essential “Weird Al” Yankovic

The Essential "Weird Al" Yankovic

“Weird Al” YankovicThe Essential “Weird Al” Yankovic Legacy 88697-58543-2 (2009)


Weird Al has forged a career much longer than anyone would have guessed when he first started making parody songs in conjunction with the Dr. Demento radio show.  The essential character of his music has been to appeal to individuals, mostly young men, whose aspirations and expectations extend beyond their realistic chances for social advancement in life.  He appeals to people with more time and (pop) cultural interests than money, whose lives tend to be dominated by people and forces outside their control — his career tracks pretty closely a time when a gap expanded between worker productivity and real compensation and his popularity came when the gap proved to be a real long-term trend (plus his biggest commercial successes were after the 2007-08 financial crash around the time this collection was released).  His humor tends to play on an awareness of the base and trifling nature of consumer pop culture.  It kind of stops there though.  He winks with his audience in making fun of trashy mass media artifacts, all the while resigning himself to the dictates of that mass media and all its whims.  Al’s music kind of resigns itself to the pop culture ghetto, and in many respects breeds dependency on it.

He performed parody songs but also wrote original comedy songs.  Those who like Weird Al best always express a fondness for his originals.  Some of this songs are more medleys of popular songs, done in a novelty manner.  Take “Polka on 45”  (from his second album In 3D).  He does a medley of mostly pop/rock songs played as polkas with his accordion.  This sort of mashup of the “hip”, contemporary pop with passé and all-to-ethnic polka might be compared to some of Robert Mapplethorpe‘s photography, or other such “high” art, but no one does.  Al gets a laugh from the incongruity of throwing the different styles together that normally appeal to mutually exclusive audiences who listen to certain genres of music to separate themselves from the other genres, obliterating those attempts at social distinction.  “One More Minute” (from his third, and maybe best album Dare to Be Stupid) is a retro rock/doo-wop romantic put-down tune in the style of The Mothers of Invention (like “Go Cry on Somebody Else’s Shoulder” from Freak Out!), but pushed to absurdist extremes in its lyrical exaggerations.

Over time, Al kind of got formulaic.  That isn’t to say his music ever got bad.  But the early material was something a little new.  There were no guarantees that it would be popular, any more than a passing fad.  Al’s kind of self-aware musical irony was a way to normalize and humanize the vacuousness of pop culture.  Over time, that seemed less daring and more of a favor to the institutions of the music industry.  There are many stories of celebrity musicians being proud that Weird Al parodied one of their songs.  That sort of confirms Al’s insider status.  This was the same problem the pop/punk band DEVO faced.

Weird Al is kind of a great musician for kids to listen to, because his self-awareness provides good lessons for young people.  Yet adults should, in theory, kind of move on to deeper, more informed critiques of pop culture.  That isn’t to say this music can’t be enjoyed by grown-ups.  It can.  This collection, which was selected by Al himself, if nothing else proves how good Al’s band was, how astute his awareness of the nuances of pop culture was (including which songs were worth parodying), and how his broad humor managed to avoid quickly dated jokes based on easily-forgotten current events.  This particular collection isn’t exhaustive, and it omits multiple albums.  But it still makes a decent introduction to his career.

Don’t Believe the Hype: A Guide to Public Enemy

Don't Believe the HypeWelcome to a humble guide to the music of Public Enemy, one of the most iconic, innovative, and long-running hip-hop groups in history.  This guide focuses on albums, rather than singles.  Links to other resources are provided at the end.  Credits listed below are accurate to a point; the band tended to skip attribution — and often intentionally obfuscate — who contributed to producing individual tracks and entire albums.  Information on available releases is current for the United States as of early 2016, and focuses on physical formats.


A Brief History

Public Enemy (PE), formed in “Strong Island” [Long Island], NY, in 1982, emerged at the forefront of “conscious” or “positive” hip-hop.  Biographer Tim Grierson wrote, they had “little interest in the materialism and bloodshed that had quickly become two of [hip-hop’s] major selling points.”  Instead, PE wrote songs mostly about political and social topics.  At the same time their music earned a reputation for being dense and hard, as in the most densely layered in all of hip-hop.  At the peak of their fame in the late 1980s and early 1990s, they were deemed controversial by some — partly a conscious strategy —  and became embroiled in quite a few scandals — some deserved and some not.  As much as they tried to make intelligent music, sometimes looking back it doesn’t seem as intelligent as it aims to be (though usually it is).  They have survived for decades, innovated hip-hop music and various music production and distribution techniques, and fallen off from widespread public consciousness in later years.  Chuck D has engaged in various other projects, from speaking at conferences to TV hosting and more, and Flavor Flav starred in a number of “reality” TV shows (“The Surreal Life,” “Strange Love,” and “Flavor of Love”), a short-lived sitcom (“Under One Roof”) and launched some restaurants (he is a trained chef) that quickly closed.  Chuck D has maintained an anti-drugs (including anti-alcohol) approach, though Flavor Flav has had many drug abuse problems and his TV appearances are rather at odds with the core of Public Enemy’s artistic stance.  And yet, given that Chuck D has said that Flavor Flav “is the street,” the group’s willingness to include someone from a different sort of background faced with attendant challenges is worthy of respect.  The group was (and is) more than just Chuck (the MC) and Flavor (the hype man), though a self-serving (unaccountable and even hypocritical) opacity falls across much of their work as to who is involved (or not involved) in actually making the music on recordings — the credits that follow are accordingly incomplete.  There have been falling-outs, bitter rivalries, members ejected then later brought back, new members absorbed — accounts of those happenings vary widely and former members disagree with a few of the “official” accounts.  Technically, Chuck D and Flavor Flav are the band, in terms of who signs the contracts, and the others are their employees.  Professor Griff was forced out in the early 1990s, but he returned seven years later.  Hank Shocklee was perhaps the major innovator in terms of producing the beats on records from the band’s peak, though a combination of legal issues related to sampling, theft of the vinyl the band used for samples, and differences of opinion about whose contributions made the band successful, he left in the early 1990s.  Whether directly related or not, the band only briefly maintained both commercial and critical appeal following that split.  And despite all this PE has made good music decades after they formed.  Most interestingly, they have taken bold steps to maintain independence from the corporate, major-label music world while still touring and recording.  There are few hip-hop acts as long-lived or as deeply beloved by fans.



Legend:

⊕⊕⊕ = top-tier; an essential
⊕⊕ = second-tier; enjoyable but more for the confirmed fan; worthwhile after you’ve explored the essentials and still want more
⊕ = third-tier; a lesser album, for completists, with perhaps only one or so notable songs


Continue reading Don’t Believe the Hype: A Guide to Public Enemy

Public Enemy – Fear of a Black Planet

Fear of a Black Planet

Public EnemyFear of a Black Planet Def Jam CK 45413 (1990)


Fear of a Black Planet is still considered a watershed hip-hop album.  It was meticulously sequenced.  At a time when cassette tapes were a common format for releasing commercial musical recordings, this album was put together so that each side was essentially the same length (down to a matter of mere seconds), so that there was minimal silent runout at the end of one side of the tape (a byproduct of having sides of unequal length).  The use of non-musical recordings also took a big leap here.  Public Enemy had already done some of this on It Takes a Nation of Millions to Hold Us Back, but now the skits were more elaborate and the excepts from mainstream media commenting on Public Enemy (“Incident at 66.6 FM”) were extended and clearly positioned to coincide with the provocative messages of the new songs.  These weren’t just isolated songs thrown together haphazardly, like in the early days of LP records when 45 RPM singles still held commercial dominance.  This was a cohesive album-length statement.

The band’s popularity was at an all-time high when Fear of a Black Planet dropped, thanks in large part to a hit song, “Fight the Power,” used in the Spike Lee movie Do the Right Thing and released as a single and soundtrack cut during the prior year.  Lee also directed a music video for the song — this also still being the height of popularity for MTV and music videos as promotional (and artistic) devices.  It is one of the most blunt statements of what the band’s music is about.  The thundering, irregular bass line, like a modern Bo Dilddley beat, is set against a metallic wash of noise, and an array of disjointed drum beats.  There is scratching and little snippets of vocals and keyboards too.  The lyrics go a little overboard, but they make a point that is not to far off from what the #blacklivesmatter movement would be about decades later.

Just to give a sense of what Public Enemy’s music meant around this time, here’s a story from Boots Riley of The Coup in Tell Homeland Security — We Are the Bomb (2015):

“A woman named Rossy Hawkins and her two twin sons who were eight years old got beat down, bloodied by the police in the Double Rock projects [of San Francisco].  The neighborhood immediately came out, hundreds of people, and surrounded the police.  What had happened a week or two before was a guy had gotten beaten up by the police and been taken in the police car and driven around until he died — because they didn’t take him to the hospital.  So people wanted to get Rossy and her kids away from the police and take her to the hospital because they feared for her life.  So they surrounded the police, and the police got scared and started shooting up in the air.  ***  And everybody ran away.  But at a certain point everybody turned around.  They turned around and came back, got Rossy and her kids away from the police, and sent those police out without their car.  The car was turned over.

“So two things.  One, none of this was put in any mainstream newspapers or anything like that the next day.  ***  And the other thing that happened is that what made everyone turn around was this:  It was the summer of 1989, and the number-one song on the radio was ‘Fight the Power’ by Public Enemy.  And somebody started chanting ‘Fight the power, fight the power, fight the power.’  And everyone said that then is when they knew that they all had a job to do.

“When that story was being told to me that day is when I realized the power that music could have, that hip-hop could be a rallying cry that consolidates our ideas into action.”

As inspiring as this was to Boots Riley, Public Enemy were (rightly) perceived as a threat to an established system of oppression.  Touring in late 1990 in support of the album, PE appeared at Chicago’s Aragon Ballroom in late December with rock band Sonic Youth opening.  Following the show a police riot erupted.

Public Enemy was, for the most part, still a large collective at the time that Fear of a Black Planet was recorded and released.  Hank Shocklee had helped work up a lot of the songs on the album, some of which had percolated for years before being recorded, but he wasn’t directly involved in the production for the album.  It is still an album made in his style, with some constraints and omissions with regard to his predilections for unconstrained raw noise and atonality.  But given his lack of involvement, the name “The Bomb Squad” was coined as the production credit for PE recordings.  Calling the production team by that name obscured — quite intentionally — who was really involved.  Although a conscious strategy by Chuck D, this became kind of a contradiction in Public Enemy’s message.  They seemed like hypocrites by deceiving fans this way.  Yet, they still delivered some amazing songs.  Hank’s brother Keith stepped up.  He wrote “Brothers Gonna Work It Out,” one of the band’s best songs anywhere.  Professor Griff had also been booted from the band after a media dust-up about anti-semitic comments (despite his lack of involvement, his photo appears in the liner notes).  He would return in the late 1990s though. This was another semi-hypocritical move by the band.  Rather than stand together, and assert that Griff was not anti-semitic but rather made a mistake when caught off-guard as the result of typical anti-black “gotcha” journalism — during the black power movement journalists would often quote only the one extremist statement made in passing during hour-long speeches, to try to discredit black leaders with much to say.

The departures of Hank Shocklee and Professor Griff would have a big impact on the band in the coming years.  But for a time, inertia (and the efforts of the remaining crew) kept the band going full speed.

This may not be It Takes a National of Millions to Hold Us Back, but nothing is, and this comes as close as anything.  Well, truthfully, albums like this didn’t come along much in later years for one glaring reason.  A legal crackdown on sampling arrived just after Fear of a Black Planet, which effectively ended hip-hop of this sort — for instance, by some calculations, the cost of royalties (a contested topic by itself) for the samples on It Takes a Nation of Millions to Hold Us Back would have meant the band (and its label) would lose over $4 (US) on every copy sold.  There was nothing inevitable about the sampling crackdown, which could have been ruled a “transformative” fair use, and therefore not copyright infringement.  In the end, the legal battle was political.  The courts sided with the “vested interests” (to use economist Thorstein Veblen‘s term), meaning that what was effectively a new and unprecedented artist form would be subordinated to the interests of self-important has-beens, greedy absentee owners of intellectual property rights who own large back catalogs of recordings, and lazy heirs and estate trustees.

“911 Is a Joke” was the song Flavor Flav delivered for the album.  It might be his very best.  His rhythm is impeccable.  He delivers his lines with his usual prankster humor, though the subject matter is actually incisive social commentary (about public emergency services being withheld from or limited in black neighborhoods for racist reasons).  Flav delivers “Can’t Do Nuttin’ for Ya Man,” which is a good song that occasionally shows up on compilations but lacks the benefits of the social commentary of “911 Is a Joke.”

“Welcome to the Terrordome” (probably a reference to the 1985 film Mad Max Beyond the Thunderdome) is one of the harder-hitting tunes.  A looping, siren-like wail drones on through much of the song, setting a kind of baseline level of aggression.  Chuck D sounds absolutely fierce on the mic.

Fear of a Black Planet comes across as a very premeditated sort of album.  There is nothing that happens on this record that isn’t planned and then executed precisely.  It can be a bit exhausting, but it is just as exhilarating.

Public Enemy – Live From Metropolis Studios

Live From Metropolis Studios

Public EnemyLive From Metropolis Studios Universal 00602547228819 (2015)


If Public Enemy seemed to shun major labels in their later years, then Live From Metropolis Studios is an about-face.  Still, it’s a pretty strong album, recorded live in a studio before an audience of about 125, and is helped by a “greatest hits live” format (like, ahem, Fight the Power! Greatest Hits Live!; there is nothing from their recent studio album Man Plans God Laughs) and hi-fidelity made possible by the “studio” setting.  If live hip-hop usually only makes sense in person, with the energy of the interaction between the performers and the crowd fueling the experience, then live hip-hop recordings are often simply weak approximations of studio counterparts.  Of course, DJ scratching can take on a bigger, or at least different, role in a live setting.  But the real promise of recordings of live hip-hop is the use of a live backing band.  With Public Enemy, that means The baNNed, featuring Khari Wynn on guitar, Davy DMX on bass, and T-Bone Motta on drums.  Those guys lend some pretty tough punk/metal shadings to renditions of classics like “Black Steel in the Hour [of Chaos]” (which is performed sort of as a medley with snippets of songs like “MKLVFKWR” and “Do You Wanna Go Our Way???” worked in), “Shut Em Down” and “Harder Than You Think.”

Recorded in London in 2014, only part of the PE group is present.  Professor Griff is absent, and only Pop Diesel and James Bomb from S1Ws made the trip.  Although Terminator X reappeared on Man Plans God Laughs (his first recordings with the group in over 15 years), only DJ Lord appears here.

London is a special place for PE.  In the late 1980s they toured there, before they really broke to wide audiences, and snippets from London concerts were prominently featured on their classic It Takes a Nation of Millions to Hold Us Back.

This album is a nice opportunity for old PW fans to catch up with the band, and hear a select few of their newer tunes of the last decade or so that they may have missed, and maybe there’s an off chance that younger listeners might tune in to one of hip-hop’s greatest acts for the first time.

Public Enemy – Revolverlution

Revolverlution

Public EnemyRevolverlution SLAMjamz/Koch 238 388-2 (2002)


The year 1999 was pivotal for Public Enemy.  That was when they committed themselves to being an independent act, releasing music on Chuck D‘s own SLAMjamz label (distributed by Koch).  Yet, the price paid for independence from corporate media is the near total critical/radio/etc. indifference that goes with a minuscule marketing budget.  Their sound changed a bit too, gravitating toward more live instrumentation — they had done that before but now it was a leaner, guitar-driven approach — and using rhythm rather than shrieking noise to create a sense of aggression and urgency.

This starts off strong.  “Revolverlution” and “Gotta Give the Peeps What They Need” are some of the best offerings of the new material.  But the nagging thing about this album is that it isn’t all new material, exactly.  There are live tracks, old interviews and radio announcements, and remixes.  All these things are intermingled.  Now, some of the miscellaneous live and remix material is quite decent. (“Welcome to the Terrordome (LIVE Winterthur Switzerland 1992),” “B Side Wins Again (Scattershot Remix)”).  But there are only a handful of really compelling cuts across the whole album, and there is plenty of rather dubious filler.

Revolverlution is perhaps the group’s album with the most input from “minister of information” Professor Griff.  He is the lead MC on “Now A’Daze” and the rather good metal/hip-hop hybrid “What Good Is a Bomb” with 7th Octave.  In the past it was somewhat hard to tell what Griff contributed to recordings, specifically, but here his contributions are unmistakable.

Neil Young gave an interview talking about Living With War, his album indicting war in Iraq and President George W. Bush’s global “war on terror”.  He said he wondered where people like Bob Dylan were on those issues and felt like he had to do it himself.  Well, if old Neil was listening (he probably wasn’t) he might have noticed that Public Enemy was already making songs about just those topics (“Son of a Bush”).  The philosopher Hannah Arendt famously wrote about the trial of a Nazi officer Adolph Eichmann after WWII by coining the phrase “the banality of evil.”  As Judith Butler summed up Arendt’s concept, “that for which she faulted Eichmann was his failure to be critical of positive law, that is, a failure to take distance from the requirements that law and policy imposed upon him; in other words, she faults him for his obedience, his lack of critical distance, or his failure to think.”  If there is one characteristic that would define Public Enemy in their later years, it was that they tried harder than before to be the band that didn’t let things go, but did what they could to step outside the machinations of a music industry that they felt was going in the wrong direction, despite the commercial price they paid for their integrity.

The Chuck D has been a vocal proponent of remixes, emphasizing how it is part of an ongoing process of reinterpretation that is really an extension of sampling in hip-hop.  He has claimed that the album format was declining in relevance as digital downloads shifted interest to individual songs — something the group took seriously as the first major act to release an album (There’s a Poison Goin On….) for download online.  Yet, the cynical might take another view and say that the way old raps remain over new beats in these remixes could be a way for Chuck to lionize his own contributions while undermining the legacy of classic beats from producer Hank Shocklee, who acrimoniously split from the group years earlier and was at the center of a disastrous reunion attempt making a soundtrack album.  Anyway, the group had a contest for fans to remix classic PE tracks and the six “winners” are here on this album.  No one will confuse them with classic PE material, though there is at least one successful remix (“B Side Wins Again (Scattershot Remix)”).

Greatest Misses was a kind of precedent for an album like this, with a blend of unreleased material plus remixes and such.  But the former was a much stronger set of remixes, still coming from the band’s peak and involving some of the original (and now legendary) producers.  Revolverlution is one of the band’s weakest albums.  Now, if the group had taken the best new material here used it in place of the weakest stuff on New Whirl Odor or How You Sell Soul to a Soulless People Who Sold Their Soul??? (or merging the best selections from all three albums), now that would have been a killer album.  But it is still a good idea to check out a few of the best individual songs here, because they are great.

Power to the People and Beats: The Best of Public Enemy Mix

Public EnemyA virtual playlist of the best of Public Enemy, configured to fit on four CDs.  These aren’t just the obvious choices, though most of those are here too.

 

 

Disc 1

It Takes a Nation of Millions to Hold Us Back (1988) (the album in its entirety)

Disc 2

Fear of a Black Planet (1990) (the album in its entirety)

Disc 3
  1. “Can’t Truss It” from Apocalypse 91…The Enemy Strikes Black (1991)
  2. “Hazy Shade of Criminal” from Greatest Misses (1992)
  3. “By the Time I Get to Arizona” from Apocalypse 91…The Enemy Strikes Black (1991)
  4. “I Don’t Wanna Be Called Yo Niga” from Apocalypse 91…The Enemy Strikes Black (1991)
  5. “Nighttrain” from Apocalypse 91…The Enemy Strikes Black (1991)
  6. “Whole Lotta Love Goin on in the Middle of Hell” from Muse Sick-n-Hour Mess Age (1994)
  7. “Live and Undrugged Part 1 & 2” from Muse Sick-n-Hour Mess Age (1994)
  8. “Bedlam 13:13” from Muse Sick-n-Hour Mess Age (1994)
  9. “Revolverlution” from Revolverlution (2002)
  10. “Say It Like It Really Is” from The Evil Empire of Everything (2012)
  11. “World Tour Sessions” from There’s a Poison Goin On…. (1998)
  12. “Shut Em Down (Pe-te Rock Mixx)” (1991) (single)
  13. “He Got Game” from He Got Game (1998)
  14. “Give It Up” from Muse Sick-n-Hour Mess Age (1994)
  15. “Harder Than You Think” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  16. “I Shall Not Be Moved” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  17. “Don’t Give Up the Fight” from The Evil Empire of Everything (2012)
  18. “Electric Slave” from Beats and Places (2006)
Disc 4
  1. “Me to We” from Man Plans God Laughs
    (2015)
  2. “Gotta Do What I Gotta Do” from Greatest Misses (1992)
  3. “I” from There’s a Poison Goin On…. (1998)
  4. “Escapism” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  5. “See Something, Say Something” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  6. “… Everything” from The Evil Empire of Everything (2012)
  7. “Watch the Door (Warhammer on Watch Mixx)” from Bring That Beat Back: The Public Enemy Remix Project (2006)
  8. “As Long As the People Got Something to Say” from New Whirl Odor (2005)
  9. “Yo! Bum Rush the Show” from Yo! Bum Rush the Show (1987)
  10. “Public Enemy No. 1” from Yo! Bum Rush the Show (1987)
  11. “Catch the Thrown” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  12. “Truth Decay” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  13. “Hoovermusic” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  14. “Black Steel in the Hour” from Live From Metropolis Studios (2015)
  15. “What Good Is a Bomb” from Revolverlution (2002)
  16. “Honky Talk Rules” from Man Plans God Laughs
    (2015)
  17. “Like It Is” from Beats and Places (2006)