Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

31 May 2016

Mind Control to Make You Dumb

I had a dream the other night & David Bowie was in it. So I woke up, fell out of bed, dragged a comb across my head, made my way downstairs & put on the bootleg David Bowie at the Aylesbury Friars Club from 1971 (kinda an extended Hunky Dory set).

Then I fell back asleep & re-imagined this…

Fill Your Heart – Tiny Tim
Buzz the Fuzz – Biff Rose
Space Oddity – Adrian Sherwood
(Dans le Port d’) Amsterdam – Jacques Brel
The Supermen – Doctor & the Remix
Oh! You Pretty Things – Seu Jorge
Eight Line Poem – Luiz Marcondes
Changes – Cybernauts
Song for Bob Dylan – Robyn Hitchcock
Andy Warhol – John Frusciante
Queen Bitch – The Tragically Hip (featuring Bob Rock)
Looking for a Friend – The Arnold Corns
Around & Around – The Rolling Stones
(I’m) Waiting for the Man – David Bowie


27 May 2016

Saving Herself

Just thought I'd let everyone know. I'm suffering RAM death. The Blue Screen of Doom is now my constant companion. Saving herself...I hope I can save myself. So I'm hoping I'll see you all on the other side. Until then, here's a little something (I know jonder said shakeitrecords.com had their stuff, but I couldn't find it???) to tide you over. Hope it's won't be too long.

I wrote the post below before I knew I was dying.


When Jonder hosted Barefoot on the Accelerator here, he included "Dead on 2 Legs Luncheonette" by Dayton, Ohio band Dementia Precox. I had let this great band slip my mind (not a hard thing to do these days). I intend to remedy that right here right now.

Dementia Precox – SCHP 12" 45, Prehensile Records 211003X, 1982.

Side 1 –
Maladie d’Esprit
Untitled as of Yet
Fla(w) Girls

Side 2 –
Coppola 13
She’s Just / Lord Have Mercy Dance Music


24 May 2016

Esoterica, Exotica, & Underneathica

1980 was my Year Zero.  I was a Midwest high school freshman (class of 1984).   AC/DC and REO seemed inescapable.  It was driving me up The Wall.  I had to go in through the out door, and seek out scary monsters and super creeps.

It was a year of impressive debuts, by the Cramps, X, Pylon, Feelies, Wipers, Pretenders, Young Marble Giants, Killing Joke...  It was also a time of reinvention:  Off the Wall, Remain in Light, and Doc at the Radar Station.  There were endings, too.  In 1980, video killed the radio star.  Chapman shot Lennon.  Ian Curtis cancelled his US tour, and Darby Crash didn't make it to his big screen premiere.   

I started trading tapes and sending away for strange records.  Made a fanzine and got some high weirdness by mail.  I was underage but got into a few clubs where I caught glimpses of hidden places and forbidden rites.

Barefoot on the Accelerator is a soundtrack to my early 80s forays into the American post-punk underground.  These songs still haunt me three decades later.   One is a recording from an Ama-Dots show at the Starship, Milwaukee's mini Masque.  I wish the voice of the incomparable Boolah was more audible, or that you could see Gary scraping his guitar with primitive tools.  But you can sense the Ama-Dots' feral energy and floor-pounding rhythms.

Post-punk is a term that has lost significance with repetition.  In the early 80s, it seemed that anyone could invent all manner of ways to conjure up the unheard music.   The significance of PiL, Wire, the Slits, and the Gang of Four was easy to see from across the pond, and not hard to emulate.  But back then, as now, no one could be certain who would be recognized by future listeners as our own visionaries and pioneers.  We couldn't see our forest; too dizzy swinging from the trees.

Some of our pioneers blazed trails, while others glimmered in dark corners.  Some were lured out into the open by whispers of fame, or were tricked by reflections in the underwater moonlight.  A few carved secret tunnels discovered years after they were abandoned by the archaeologists of post-punk.  Here is a sample extricated from that era's esoterica, exotica, and underneathica.

Various - Barefoot on the Accelerator: Soundtrack to an 80s Foray 
into the American Post-Punk Underground

Chrome - New Age
Plasticland - Office Skills
Pre-Fix - Underneathica
Slovenly - Squeaky Clean
Ike Yard - M. Kurtz
Blackouts - Dead Man's Curve
Pere Ubu - Misery Goats
Ama-Dots - Qualms
Minimal Man - Now I Want it All
Your Food - Leave
Dementia Precox - Dead on 2 Legs Luncheonette
Wounds - Grey
Kommunity FX - Tribulations
Savage Republic - Next to Nothing
Dangerous Birds - Smile on Your Face
Los Nuns - Walking the Beat
Half Japanese - Rosemary's Baby
Mission of Burma - Trem Two
100 Flowers - Strip Club
Raymilland - Tronada (edit)
Factrix - Ballad of the Grim Rider
Flesh Eaters - Divine Horseman


22 May 2016

More (Billy) Bang for Your Buck

Ronald Shannon Jackson & the Decoding Society – Eye on You,
About Time Records AT-1003, 1980.
decryption code in comments

Side A –
Apache Love Cry
Eastern Voices/ Western Dreams

Side B –
Dancers of Joy
Orange Birthday
Theme from a Prince
Eye on You
Ballet de Omphalos

Ronald Shannon Jackson – composer, arranger, & drums; Vernon Reid – electric & acoustic guitar; Bern Nix – guitar; Billy Bang – violin; Charles Brackeen – alto & soprano saxophones; Byard Lancaster – tenor & soprano saxophones; Melvin Gibbs – bass, & Erasto Vasconcelos – percussion.


If Memory Serves…

I’ve never posted this Bill Laswell Material before this.

Material – Memory Serves, Island Records ILPS9693, 1981.
decryption code in comments

Side One –
Memory Serves
Metal Test

Side Two –
Conform to the Rhythm
Square Dance
Silent Land

Material witnesses here are: Bill Laswell – 4, 6 & 8 string basses; Michael Beinhorn – synthesizers, tapes, radio, guitar, drums, & voice with Fred Maher – drums, percussion, & guitar (except "Silent Land"); Sonny Sharrock – guitar (except "Square Dance" & "Silent Land"); Fred Frith – guitar, violin, & xylophone (1,4,5,7);  Olu Dara – cornet ("Disappearing" & "Upriver"); Henry Threadgill – alto sax ("Disappearing", "Unauthorized", & "Square Dance"); George Lewis – trombone ("Memory Serves", "Square Dance", & "Silent Land"); Billy Bang – violin ("Upriver" & "Unauthorized"); & Charles K. Noyes – drums, percussion, & bells ("Memory Serves" & "Silent Land").

Recorded at OAO Studio, Brooklyn, New York.

The land is never silent while we have Bill’s bass,

21 May 2016

Boureima Excited!

Recently buttdart requested Tamikrest – Toumastin over at exystence.net. When I was digging it out to post up a link, I started listening to a bunch of Tuareg & associated Desert Blues T-bands: Tamikrest; Tinariwen; Toumast; Tartit; Terakaft; even Tommy T (The Prester John Sessions); & all the great Tourés---from the 'Originator' Ali Farka Touré, through Samba Touré, & Vieux Farka Touré.

VFT really struck a chord (or many chords) with me.

Here is a remix release of some of his great earliest tunes (I’ve included the original songs by Vieux for your added pleasure).

Ma Hine Cocore
Courage (featuring Issa Bamba)
– all from Vieux Farka Touré - Vieux Farka Touré, World Village WVU710, 2006.

Vieux Farka Touré – Remixed: UFOs over Bamako, Modiba MP005, 2007.
decryption code in comments

Ma Hine Cocore (Yossi Fine’s 3rd Bass remix)
Wosoubour (Chris Annibell remix)
Sangaré (DJ Center remix)
Ana (Goonda Tribal Dub)
Ana (Captain Planet remix)
Sangaré (Nickodemus remix)
Dounia (Cheb i Sabbah’s Africa Unite remix)
Wosoubour (Eccodek remix)
Ana (Hisboyelroy’s Smooth Dub)
Courage (Fabian Alsutany’s UFOs over Bamako remix)
Ma Hine Cocore (Karsh Kale remix)


18 May 2016

"If You Want to Cut Your Throat, Don’t come to Me for a Bandage."

I’m currently wading through Downriver by Iain Sinclair. Sinclair is a British writer & filmmaker. Much of his work is rooted in London, most recently within the influences of psychogeography.

It’s kind of a tough go for a Yank such as I. It’s a surreal/poetic view of the Thames & surrounding environs during the time of M. Thatcher. That was a mighty scary time for the world, but specifically for the Democratic Socialism that was the U.K. prior to that time. Maggie was known as the "Iron Lady". She was great chums with Ronnie Regan, as their economic policies meshed well.

Thatcher pursued a strongly principled (& incredibly fiscally conservative) economic policy, now known as "Thatcherism." (Whether you agree or disagree with her, you have to admit that having an "ism" named after you is an impressive accomplishment. Thatcherism was essentially a free market approach. She stood for:
  • Tax cuts
  • Small government
  • Private enterprise
  • Anti-socialism & anti-communism
  • Anti-unions
Thatcher's disdain toward labor unions & social programs won her a lot of enemies. Margaret Thatcher famously dismissed the idea of a "society." In her view, nations are composed of individuals with no duties to one other

This recording is a companion piece to the book, made of extracts from Downriver read by the author. Recorded at The Instrument, London - 8th May 1998. Thanks to Bruce Gilbert (of Wire & solo fame) for intersperced audio atmospherics.

Iain Sinclair – Downriver, King Mob KMOB 1, 1998.
decryption code in comments

Tracklist –

The Case of the Premature Mourners
Riverside Opportunities
Premature Mourners II
The Solemn Mystery of the Disappearing Room
Premature Mourners III
Art of the Stage
Sexing of Stones
Premature Mourners IV


Who Killed Edward Felix Tudor-Pole? It Was Bambi!

Tenpole Tudor - Real Fun 7", Korova Recording KOW4, 1980.

Side A - 
Real Fun

Side B -
What's in a Word?


15 May 2016

Recorded at Channel One…Atlanta?

The Fans were no more. Kevin had done Rock Lobster. He'd done Pylon. Now he had a regiment of Women. Who was καλλίστῃ, the fairest one?

decryption code in comments

Other Side –
Tootsie 2
20,000 Years in Sing Sing

This Side –
Private Sector
Somewhere Over the Rainbow


More Swiss Cheese - The Dawn of the Firefly

from the mouth of Fizzè hisself:

"The idea for Peeni Waali was born out of a series of chain-reactions, coincidences, luck - I guess - and fast moves discovering Jamaica. "

"Embryo of the project were isolated compositions for a short movie (Paper Mensch) and TV-work I've done in Saudi Arabia in 1981."

"I went to Jamaica in '87. When I arrived in Jamaica, I was fortunate enough to meet a 'tourist guide', who prevented me from much hassle, hustle and bustle - Bruce Harris - a raggamuffin' - the usual 'Jamaican tourist routine'. However, Bruce was sly and not really the prototype of ‘rent a dread’. We roamed in a di bush a wholleepa time and I fell in love at first sight with those 'Peeni Waalis' (fireflies also eekamouse)."

"Bruce introduced me (the first day!) to the late producer W. 'Jack Ruby' Lindo (e.g. Steel Pulse). We went to a rehearsal of three guys up in a di hills and experience a triggering encounter, propelling out a concept for an extraordinary journey into differences within cultures. It was my first encounter with real roots reggae. A day later I went back and talked with the boys. We decided to work together if possible and I enrolled 4 month of an intense 'reggae-crash-course' in Jamaica before going back to Switzerland to record some riddim tracks. "

"... eventually I met Rico Rodriguez. (R.I.P. - he passed away at my birthday in 2015!) and arranged the logistics for him to come to Switzerland to front a local band and record some music and went back to Jamaica in early '88."

"I met my three friends from the hills again but learned, that in the meantime they had signed with a major label. Our initial plan couldn't work. So I went to Kingston to meet Rico again. "

"Rico introduced me to percussion player Leon 'Scully' Simms. With Robbie Shakespeare we built up that riddim track at Gussy's studio down Slipe Road 56! By coincidence, Dean 'Big D' Frazer was just finishing a session there and hung around a bit after. He joined the party and blew us all away with his trademark sax playing: a song was born from out of everybody, free like an impro, original like nothing was premeditated, hence the title "A Noh Nottn' "..."

"Rico also introduced me to Leroy 'Horsemouth' Wallace with whom I was to become very good friends. Hassy and I would roam Kingston in the wickedest places and enjoyed a great time. Obviously, later on Hassy kicked in some wonderful drums for me. Another good friend of Rico was Felix 'Deadly' Headly who played his soulful sax for me on more than one occasion. "

"Back in Switzerland, I moved from Neuchâtel to Jenins (in eastern Switzerland). One day, Jerome Van Jones would come over for Rico's birthday and played my old C-3 Hammond making everybody feel real close to genuine jazz; a vivid déjà-vu for me since I used to run a little record shop inside a jazz club back in Neuchâtel (Jazzland) with the late drummer Denis Progin. "

"Knowing Rico had played on most of Linton Kwesi Johnson's albums - I've contacted Linton. At the same time, Swiss TV approached me for a "Legalize It" show where they wanted to include some Swiss/Jamaican music connection. Rico was to play with a little local band from Neuchâtel but Rico went back to Jamaica two days before the show (being tired of shoe-lacing said local band), so we arranged for L.K.J. and his own band to play the show. Eventually, after a soulful meeting with Linton and his incredible associate Dennis Bovell, "Beacon of Hope" fell off the cradle..."

"Privileged to feature an abundance of craftsmanship, it was a big treat to relate to all these genuine people. The challenge of making an album by coloring, flavoring and assembling all sorts of elements in one concept was an incredible task, yet unconventional and gratifiying; demanding love for detail, humbleness and courtesy."
"Naturally, when you come to Jamaica and mention you're into music you'll be quickly introduced to musicians. Hence, Jack Ruby introduced me to Jackie Mittoo and many others." 

Peeni Waali – A Magic Meeting with…, Blue Moon Productions BM151, 1991.
decryption code in comments

Tracklist –

Beacon of Hope – (lyrics by Linton Kwesi Johnson, music by Fizzè & Dizzi) snaredrum: Gilles 'Dizzi' Rieder / bass: Dennis Bovell / trombone: Rico Rodriguez accordion: Alig / ukulele: Cérdric Vuille / guitar: Lorenz Vuille / milkpots: Pascal Cuche / percussion: Dizzi, D. Bovell & Fizzè / keyboards: Fizzè

Skarab (Fizzè)  – percussion: Dizzi, P. Cuche, Fizzè & Scully / bass: Robbie Shakespeare / choir: Catherine Broillet-Mathey, Anne Lehmann, Françoise Borioli / keyboards: Fizzè

Ricochet (Rico)  – snare drum: Dizzi / trombone: Rico / programming, bass & keyboards: Fizzè

Licht & Stein (words by Rainford Perry, music by Fizzè & Dizzi)  – vocal: Lee 'Scratch' Perry / balafones: Dizzi, Christion Addor & Olivier Meury / horns of Liechtenstein: Hans Hämmerle (trumpet) & Gerhard Lampert (trombone) / bass, guitar & perc.: D. Bovell / drums: Bazz Smith / timbales: Dizzi / keyboards: Peter Weber & Fizzè

Peeni Waali version (Fizzè /  Dizzi)   – trombone: Rico / clarinet: C. Vuille / balafon, sanza & percussion: Dizzi / bass, accordion, kalimba, percussion & sax: Fizzè
Paper Mensch (Fizzè)  voice: Rams / trombone: Rico / drums & percussion: Dizzi / bass: D. Bovell / guitars: Momo Rossel & C. Vuille / keyboards, blown bottles, zither & perc.: Fizzè

A Noh Nottn ( Fizzè)  – sax: Dean Frazer / brass: Rico & Felix 'Deadly' Headley Bennet / bass: Robbie Shakespeare / ukulele & accoustic guitar: C. Vuille / el. guitar: L. Viennet / percussion: Scully / drums: Dizzi / keyboards: Fizzè

Irish Irie [Pub Dub] (Fizzè)  – trombone & funda: Rico / sax: Deadly Headley / violin: Christoph Habegger / ukulele: C. Vuille / harp: Asita / accordion: Alig / cabassa: Scully / drums & spoons: Dizzi / keyboards & flute: Fizzè

Rockaman Soul (Fizzè)  – trombone & percussion: Rico / guitar: Martin Millar / drums: Phil Santschi / bass, keyboards & flute: Fizzè

Satin Doll (Duke Ellington)  – trombone: Rico / Hammond C3: Jerôme Van Jones / bass & guitar: Dennis Bovell / drums: Bazz Smith / keyboards: Fizzè

Mini Mali (Dennis Bovell)  – drums: Dizzi / bass & guitar: D. Bovell / keyboards: Fizzè

bonus tracks –

Version of Hope (lyrics by Linton Kwesi Johnson, music by Fizzè & Dizzi)  – snaredrum: Gilles 'Dizzi Rieder / bass: Dennis Bovell / trombone: Rico Rodriguez accordion: Alig / ukulele: Cérdric Vuille / guitar: Lorenz Vuille / milkpots: Pascal Cuche / percussion: Dizzi, D. Bovell & Fizzè / keyboards: Fizzè

Rockaman Dub 1 (Fizzè)  – trombone & percussion: Rico / guitar: Martin Millar / drums: Phil Santschi / bass, keyboards & flute: Fizzè

A Noh Nottn Dub ( Fizzè)  – sax: Dean Frazer / brass: Rico & Felix 'Deadly' Headley Bennet / bass: Robbie Shakespeare / ukulele & accoustic guitar: C. Vuille / el. guitar: L. Viennet / percussion: Scully / drums: Dizzi / keyboards: Fizzè

Peeni Waali (Fizzè /  Dizzi)  – voice: Antonio 'Bruce' Harris / trombone: Rico / clarinet: C. Vuille / balafon, sanza & percussion: Dizzi / bass, accordion, kalimba, percussion & sax: Fizzè


14 May 2016

Fuckin’ A, Head

The Fuckin' Flyin' A-Heads were a band from Hawaii most commonly construed as "punk", though white noise this pure takes a lot of work to perfect.

Both songs were recorded live in concert at the Leeward Theatre, Pearl City, Honolulu, HI. USA on Jan, 25, 1980. According to Dan Garret (drummer), it was the bands only Hawaii show. They moved to San Francisco shortly thereafter. They were soon banned from Sound of Music & The Mab. One of the most radically mixed recordings, ever.

"Somewhere far away there is a 60s endless guitar solo, a bass playing 2 notes, a cymbal being hit at a constant 2 / 4 beat, & a distorted voice talking. But mostly there is white noise, simultaneously complex & simple. It's quite disturbing when cranked up."

Re-issued by DeStijl Records, De Stijl IND 083 7", 2010 but it is once again OOP! A crying shame, to be remedied here.

Side A –
Swiss Cheese Back

Side B –
Watching T.V.

I hope there’s somethin’ good on tonight,

Didn’t Forget the Dub, Just Had to Disassemble It

Just received word from Google, DMCA, & pdxindubting that the Pale Rider material is available from http://pdxindub.com/. I have removed the violating links.

I’ve been wanting to post up Phase Selector Sound for some time, but then I thought…just one album (& one single) & then ??? So I thought I’d include a bit of Craig Allen’s post PSS output as Pale Rider.

In 1999 Disassemble Dub sprang forth from Nashville, TN. From the minds & musical instruments of: Craig Allen – bass; & Joshua Elrod – drums. Recorded between August 1996 & April 199 at Brent’s Forest Park & 14' 7" by 8' Studios in Nashville. Dedicated to Horace Swaby, better known around these parts as Augustus Pablo.

Phase Selector Sound – Disassemble Dub, ROIR RUSDD8254, 1999.
decryption code in comments
Tracklist –

MSP 2004
Sci Fi Dub
Ik Pryr
Lefty’s Choice
Factory Preset
Subpart J
Honey Dub
Jackson Park
Moving Coil
Halo & Snake

Phase Selector Sound released a 7" 45 in 2003 & that’s all, folks.

Side A –
the Sound of Tblclths

Side AA –
Sound of an Aquarium

After PSS, Craig Allen went on to perform under the moniker of Pale Rider.

Listen keenly,

08 May 2016

Dean & Mark get Bizarre in Stafford

Bizarre Inc – Technological, Blue Chip BLUE TEC. 1, 1989.
decryption code in comments

Side 1 –
Movement of Sound
Let it Go

Side 2 –
Juice Trax
Bizarre Inc.
To the Rhythm


Buy or Die

Various – Buy or Die Number #14 7", Ralph Records RR8714, 1987.
decryption code in comments

Side One –
Various – Mashed Potatoes DJ mix (Side Dish prepared by Mark Hosler of Negativland)
from Various - Potatoes (A Collection of Folk Songs from Ralph Records - Vol. 1)
The Residents – Jambalaya
from The Residents - Stars & Hank Forever! (The American Composer's Series - Volume II)

Side Two –
Snakefinger – Bless Me for I have Sinned / Jesus Gave Me Water
from Snakefinger's Vestal Virgins - Night of Desirable Objects
Renaldo & the Loaf – Boule
From Renaldo & The Loaf - The Elbow is Taboo

Released in a picture sleeve that folds open into a small poster (included).


06 May 2016

Poverty Kills

In the United States today, the wealthiest country in the history of the world, 47 million Americans are living in poverty.

Almost 22 percent of American children are poor and we have the highest child poverty rate of almost any major country on earth.

Let’s be clear. Living in poverty doesn’t just mean you don’t have enough money to buy a big screen TV, a fancy laptop, or the latest iPhone. It goes much deeper than that.

Living in poverty means you are less likely to have a good grocery store in your community selling healthy food. Far too often it means you don’t know where your next meal is going to come from. Living in poverty means you are less likely to have access to a doctor, dentist or mental health care provider. It means you have less access to public transportation, which makes it harder to find a job. It means you are less likely to have access to child care.

In the United States of America, poverty is often a death sentence.

Yesterday, I spoke about poverty in McDowell County, West Virginia — one of the poorest counties in one of the poorest states in America. In 2014, over 35 percent of the residents in McDowell lived in poverty, including nearly half of the children. The roads are crumbling and only 6 percent of adults have a college education. Less than two-thirds have graduated high school. It has the lowest life expectancy for men in the entire nation. I hope you’ll watch part of my speech on poverty and share it with friends and family on social media.

Poverty is an issue we must address. In 2011, the American Journal of Public Health found that 130,000 people died in just one year alone as a result of poverty.

This is not an issue we can just sweep under the rug and hope it will go away. Because it won’t.

And when I talk about it being too late for establishment politics and economics, this is what I mean. When I talk about thinking big and outside the box, about rejecting incremental change, I am talking about the millions of Americans who live in poverty who have been tossed out, left behind, and abandoned by the rich and powerful. We need to create an economy that works for all of us, not just the 1 percent.

Here’s what we need to do:
  1. Rebuild our country’s crumbling infrastructure. A $1 trillion investment in our infrastructure will create at least 13 million jobs all over America - jobs that cannot be outsourced.
  2. We must rewrite our disastrous trade policies that enable corporate America to shut down plants in places like West Virginia and move them to Mexico, China, and other low-wage countries.
  3. We can create 1 million jobs for disadvantaged youths through legislation I introduced with Rep. John Conyers of Michigan.
  4. We need to increase the wages of at least 53 million American workers by raising the minimum wage from a starvation wage of $7.25 an hour to $15 an hour.
  5. At a time when women workers earn 79 cents for every dollar a man earns, we need to sign the Paycheck Fairness Act into law. Equal pay for equal work.
  6. We need to make health care a right for every man, woman, and child through a Medicare for All single-payer system.
  7. We need to treat drug addiction like a mental health issue, not a criminal issue.
  8. We need to ensure every worker in this country has at least 12 weeks of paid family and medical leave, two weeks of paid vacation, and one week of paid sick days.
  9. We need to impose a tax on Wall Street to make public colleges and universities tuition free while substantially reducing student debt.
  10. At a time when half of older workers have no retirement savings, we’re not going to cut Social Security, we’re going to expand it so people can retire with dignity and respect.
No president can do all of these things alone. We need millions of Americans to begin to stand up and fight back and demand a government that represents all of us. That is the political revolution.

In solidarity,
Bernie Sanders

01 May 2016

I’m on a Collision Course with Rhythm

Lately I’ve been stuck in a Rut.

Ruts DC kind. Rhythm Collision, Rhythm Collision Remix, Rhythm Collision Re>Loaded.

Some of it is still available, some of it has been re-released, much of it is around if you want to search. I just thought I throw together some of the various versions, see how it worked out…

Ruts DC – When Rhythms Collide  
decryption code in comments


Whatever We Do
Rhythm Collision
Weak Heart Dub
Love & Fire – from Present Rhythm Collision 1982
(Bohemian BOLP4, 1982)

Whatever We Do
Rhythm Collision
Love & Fire
Whatever We Dub
Militant Base
Dub Accusation – from Rhythm Collision Remix: Ruts DC vs. Zion Train 1999
(Echo Beach EB021, 1999)

Whatever We Do (RSD aka Rob Smith remix)
Militant (Ruts DC & Steve Dub remix)
Rhythm Collision (RSD aka Rob Smith remix)
Accusation (Dreadzone remix)
Weak Heart (RSD aka Rob Smith remix)
Love & Fire (Dreadzone remix)
Whatever We Do (Salz remix)
Militant (Boz Boorer remix)
Accusation (Ruts DC & Steve Dub remix)
Weak Heart Dub (RSD aka Rob Smith remix)
Love & Fire (Go Home Productions remix)
Whatever We Dub (RSD aka Rob Smith remix)
Accusation vs Rhythm Collision (Salz remix) – from Rhythm Collision Reloaded 2009
(Echo Beach ECHO BEACH 077, 2009)