AntiCurrent.com Archives Vol 14: Piss N' Blood- Treason EP

This is the fourteenth edition of the "AntiCurrent.com Archives", a collection of rare or bootleg-albums I'm releasing through this blog. Click here to view all past AntiCurrent.com Archive Albums.

Live at the Anarchy Library

I moved to California in 2005 under the guise of attending college, while in reality, all my ambitions were pointed towards starting a Punk band. Throughout the next few years, I auditioned or even briefly joined bands such as Terezodu, The Clampdown, and too many others to count. Sometimes we didn't jive, sometimes I hated their manager, and sometimes they were apeshit crazy, but ultimately, it never worked out. Around mid-2008 I responded to a Craigslist ad from two guys named Cam Mosavian and Ron Anger. They seemed to know their stuff and had just recently acquired a drummer, Brad Hicks. I auditioned on bass for Piss N' Blood* and they loved me, so I joined. What I didn't know at that moment was that by doing so, Brad and Cam's group of friends would ultimately become my family.

*The name came from Cam and Ron watching a war documentary. A soldier said something to the tune of, "We were laying there, covered only in piss and blood."

We practiced about 2-3 times a week for months before we played our first gig at The Anarchy Library on February 21st, 2009 in Downey, CA. We must have not fucked it up too badly because we were immediately asked to play a nine show residency there from April to December. We didn't just keep to Downey though, during that time we also played places such as Chain Reaction, The Palmer Room, and Alex's Bar in Long Beach. We even played the local Hot Topic for our record release show. We were having such a good time at these shows that when we were asked to play The Double Down Saloon in Las Vegas, we said yes immediately.

Flyer Collection

If you've never been to The Double Down, it is a perfect shit-hole. No barricade, no stage, and a house drink made up of the last night's leavings entitled "Assjuice". When we arrived, drunk of course, we were greeted by the bouncer who, at 7pm was already smashing bottles against the door and screaming about something of which we eventually deemed to be racially derogatory.

We opened up for a a buddy of mine's band, Wake The Dead. When we went on and the place erupted. Not only were our friends raising hell in the pit, but for the first time so was everyone else in the venue. Brad and I, being complete deviants, were having a blast while the more professional duo of Ron and Cam were upset about getting elbowed by dozens of people during our performance. The night culminated with my jumping into the pit with my bass, still connected to my dual 4x12 cabinets, and having drinks poured down my throat. It was a moment of pure beauty I will likely never experience again.

Front cover art by Ray

About the time that we got back from Vegas was just about the time everything started to fall apart. As with every band that has ever existed, factions began to form and friendships broke down. Out of respect for my friends and former bandmates I'm not going to publicly give a play by play as to what happened. Eventually I was told the band was disbanded and about a month later I was told they got back together without inviting Brad and I. Cam and Ron continued the band for another few years, eventually releasing a full album on a label and even playing Punk Rock Bowling. One hell of an accomplishment. Cam even went on to write/record the entire score for our film The Mission (which is available as a free download here).

My time in the band was everything Punk Rock was meant to be: Fast, angry, and really fucking loud. Even at it's worst, it was one of the best experiences I've had.

About The Recording:

Back Cover

In January 2009, we entered Tru-One Studios in Anaheim, CA on a Friday and by Sunday we left not only having recorded the Treason EP, but mastered it as well. That's the charm of this recording, it was recorded fast and dirty with no time for polish. We recorded it in one take as a band and then each had about 3-4 takes to get our overdub correct for the final version. Listen to the second bass note on the song Treason. It's about a 1/4 second late. That one note is totally indicative of how fast paced this entire process was. This EP consists of two songs that Ron had written previous to the band's inception, one that he had written with Cam, and one that we came up with at practice.

Right-click, download here:
Treason-MP3 ZIP File
Treason FLAC ZIP File

The Tracklist is:
01: 24 Hour Machine
02: Rebel Radio
03: Treason
04: Old Boring Rebel
05: Piss N' Blood (Demo)

AntiCurrent Video Archives Vol 2- Urban Struggle: The Battle for the Cuckoos Nest

This is the second edition of the "AntiCurrent.com Video Archives" a collection of rare, out of print, or unreleased videos that I've chose to release through my blog. Click here to view a list of all past releases.

Urban Struggle:

Article On Cuckoo's Nest

Believe it or not, once upon a time, Punk Rock was as dangerous as it was interesting.

This release covers one of the best Punk Rock documentaries ever released: "Urban Struggle: The Battle for the Cuckoos Nest". This 1981 film is an unabashed look into the dawn of West Coast American Hardcore Punk-Rock and how the "powers-that-be" fought so hard against it. It chronicles the Costa-Mesa based club "The Cuckoos Nest" and it's owner Jerry Roach during his long-going fight with local authorities trying to shut his club down. Unfortunately, he fought the law, and the law won.

Featured throughout this are performances and interviews from quintessential punk bands such as Black Flag (in my personal favorite era with Henry Rollins), The Vandals (Stevo years), T.S.O.L., The Circle Jerks, and more.

Bootleg History:

Bootleg VHS cover

Legend has it that this documentary was aired on a local cable access channel at the time, and someone recorded it from TV. This sole recording is what birthed the generations and generations of bootlegs that came from it. Despite a lack of official release, "Urban Struggle" has long been traded in West-Coast based record stores, and that's where I had my first interaction with it. I found my VHS copy while working at Black Hole Records in Fullerton CA, and immediately fell in love with it. Not only is it an amazing document of music history, it also serves as an amazingly executed "us versus them" tale of authority meeting counter-culture. Coming in at only 38 minutes, this flick has as much heart, soul, and fight as anything Alex Gibney is putting out today, and that's saying a hell of a lot. My extreme compliments to director Paul Young.

Why It Hasn't Been Released:

The reason for the film never being professionally released is due to a long-ongoing conflict between Jerry Roach (who insists it's his product because he paid for and produced the movie) and Paul Young (a then local-area film student who insists it is his body of work and that Roach didn't actually contribute anything other than time and access). Which of these two is correct? Well, I sure as hell wasn't there so I won't begin to speculate* other than to say that they both are very passionate about the other being full of shit. For what incredibly little it's worth on the subject, Roach was nothing but extremely kind to me on Facebook and Young didn't accept my friend-request :-( or email (though I likely had the wrong email address). If you care to read more on the subject of Roach Vs. Young, OCWeekly did a great write-up of it HERE.

* What I will speculate on is the fact that the release could potentially be held up due to Black Flag's Greg Ginn having the reputation of being an enormously greedy dick. I'm told that's a big reason that the amazing "Decline of Western Civilization Vol 1" has never been released. Never met the guy personally, but that film needs a professional re-release and fuck him IF that is true.

Docs that pull from Urban Struggle

Unfortunately for us, this battle has led to the documentary never getting a full, professional release. Even so, extensive segments of it have been used for other punk-rock documentaries such as:

Clockwork Orange County: an insightful documentary that is extremely hard to watch due to the incredibly poor production-value that went into it.
&
American Hardcore: a documentary that I cannot recommend highly enough. Amazing interviews, amazing production value, done with much love and knowledge of the genre.

This Release:

Newspaper Clipping

As I stated, I recently I got in touch with Jerry Roach (who was incredibly kind to me in response to my long-winded questions) to attempt to get the best quality version of this possible. He was willing to give me access to an original print, so I immediately got to work about researching the prices to telecine the documentary into HD. I was extremely excited and was just about to pull the trigger when the local scanning companies got back to me with a $1200 figure to scan the 16mm film. As much as I would LOVE to spend the money on this, at the moment I cannot justify spending that kind of loot to post something for free on my blog. Perhaps one day.

After trading and re-trading various digital, DVD, and video versions of this, I finally found the cleanest copy I've seen off of a documentary torrent-based trading forum. However, this still had VHS color artifacts, tracking lines, was interlaced, and the black and white levels were all over the place. So I ingested the flick into After Effects, up-res'd it to 720p, de-interlaced the footage, desaturated it, added a slight sharpening filter, fixed the wrong aspect ratio native to the DVD, and adjusted the black and white levels to where to where I felt the footage shined. Every version I've ever seen of this (other than the trailer) is in stark, high-contrast black and white, so I made the blacks deep, and popped the whites out just as much as I could.

Final Word:
I wish this film would be professionally cleaned up and re-released. The second it does I'll happily delete the video (and if it's monetized that's because of a copyright claim by Black Flag, not me) and purchase a proper copy. But at the moment? This flick needs to be seen by anyone with interest, so please, enjoy.

AntiCurrent Booze & Grub Review #1: The Record Crate Bar & Grill - Sydney

In an effort to diversify this blog beyond the occasional insane story about my life, how-to's, bootleg releases, and general absurdity, I am going to branch out and blog about my drinking/dining experiences as well. Now, for those of you that don't know me personally, I have quite diverse taste. For instance, last night I was at a hole in the wall pub with graffiti on the walls where the overwhelming stench of of feces was permeating the room, and tomorrow I am taking the love of my life for a 10 course meal with matching wines at an upscale French restaurant. So these posts will range from everything between gutter-punk places that may be completely and totally unsafe to visit, to upscale eateries I shouldn't be able to afford and everything in between.

With that said, The Record Crate, located in beautiful Sydney, Australia (specifically Glebe) is basically Disneyland for seasoned music affectionados such as myself. Under one roof you can watch amazing live music, stand up comedy, view experimental live art performances, browse amazing quality hard to find records, eat great food and drink amazing beer. I've visited there only a handful of times and have already added amazing condition, original pressings of Tom Waits, The Pogues, The Clash, and Nick Cave, just to name a few. Basically this is my favorite place in the world.

Neville & I

Now, every record store worth its salt usually has one amazingly well-rounded owner/operator in charge of the ship and this place is no different. His name is Neville, and like all record store owners, he is a wealth of knowledge. This dude can school even the best informed record collector and teach him a thing or two about what pressing was made where and how it differs to other pressings at the time.

First two Clash Albums in One Set

For instance, I recently was in the market to purchase an original pressing of The Clash's self-titled record. He asked me whether I was purchasing it to collect, or if i was just wanting to spin some amazing sounding vinyl. I answered that I wasn't overly in need of collectability, and he pulled out a gatefold  2-for-1 pressing released by CBS records in the mid 1980's that contained their first two records. The cover was beat, but the discs were in fine condition. He informed me that these were not very collectible but for the price, you couldn't beat the value as both records were struck from the same source as the original pressings. So instead of purchasing an OG copy of the first album that I was just going to spin and ruin for $100 or more dollars, I got the same quality recording, plus their second album "Give Em' Enough Rope" for $15. These are the kind of deals/experience that only a few people have access to.

Brekky Sandwich

Not only is this an amazing wealth of knowledge and records, the food too is quite spectacular, in particular the breakfast. I've had a nasty habit as of late of closing down the bar and upon waking up, stumbling back down the road to have The Record Crate's amazing Eggs Benedict (although this particular morning I had the breakfast sandwich). For under $20 you get a full two eggs poached, toast, and bacon (which is actually known as Canadian Bacon to this State-side guy). This and a little hair of the dog is my usual order and I can not overstate it's ability to battle even the worst hangovers you've encountered.

Speaking of hair of the dog, the booze here is great. They have liquor available to make any cocktail you desire, but what's even better than that is that they have Kingpin on tap for a reasonable price. Matter of fact, Kingpin is so popular here that they named their houseband The Kingpins after it (more on them later). There are also a selection of other taps and bottled beverages as well, but in my typical fashion, I found the one I like and refuse to touch anything else.... unless it's a extra-dry, dirty, uncouth, martini.;-)

As for the entertainment, it is quite diverse. They recently removed the majority of the CD's (which is sort of a shame as I hate to see CDs fall out of fashion) and put them behind the main counter. This opened up an area to have small bands play and every Thursday night they utilize this space to let their personal houseband The Kingpins play. The band is quite good, verging on a funk almost reggae beat with a wide assortment of sounds. If you're in Glebe on a Thursday night, they are not to be missed for at least a half hour of performing. Past this, Neville has recently began utilizing his top floor to all kinds of different acts. Some of these are comedians, but many of these are avant-garde live performances bordering on the insane. It's well worth looking into anyone he would book, but even if they are not your cup of tea, there is still the downstairs main are and the outdoor courtyard where you don't have to partake in the experience.

All in all I cannot say more positive things about The Record Crate. Everything from the building, to the staff, to the food, to the drink, and most importantly, the records, are of the highest caliber. When visiting Sydney, Glebe is a must-visit area. It is very art-centric, containing indie bookstores, art galleries, eateries, and most importantly, The Record Crate which is a must-visit when anywhere near the area. A+++

AntiCurrent Archive Vol 5: Rancid- Life Won't Wait Demos

For the fifth edition of the "AntiCurrent.com Archives", a collection of rare albums I'm releasing through this blog, I'm releasing the demos for my FAVORITE album of all time.  Click here to view all past AntiCurrent.com Archive Albums.

This is an exciting post for me as Rancid is one of my all time favorite bands and LWW is hands down my favorite album of all time. In 1997, I was 13 years old and living in my hometown of Middletown, Ohio where there was fuck all going on. I was still figuring out exactly who I was as a person and looking for some kind of direction to take my life. It was that January that the movie "Beavis and Butt-Head: Do America" was released, and forever altered the course of my life. In it was a sequence where they used the song "I Wanna Riot" by Rancid W/The Stubborn All-Stars and I was immediately breath-taken. "What the fuck is this music" I wondered. It was loud, angry, talked about rioting.... but it was fast paced and had horns.... it was like nothing I'd ever heard and it was just what a pissed-off little 13 year old me needed.

This being the days before the internet, I immediately went out to CD Connection at the mall and guilt-tripped my father (with what a shit parent he was) into buying it for me. The soundtrack was mostly amazing, but I really just kept "I Wanna Riot" on a constant loop. It wasn't long before I went off in search of more material by this band, Rancid.... Unfortunately, living in a one horse town didn't lend to there being any sort of diverse taste available at your local store and I couldn't get my hands on ANY of their material without special ordering it for a 15% up charge on the product, and being 13, I had zero money.

I kept on a steady diet of readily available music at the time, got huge into Nirvana, huge into the Seattle scene, but was always alluded by the inability to track down any Californian based punk rock... at least that was until Rancid dropped a little album titled "Life Won't Wait" in 1998. I walked by the FYE in our mall and spotted the LWW album, not only in stock, but on the "listening machine" where you could demo the album. I was broke, but I stood in front of the machine for a solid hour and a half listening to every track of this genius piece of music. I returned a few days later with money I had either begged for or stole, purchased the album, declared my self a punk-rocker, and have yet to look back.

Fast forward to years later, I started to get heavily into the bootleg scene. Not bootlegged, readily available albums, that is just fucked up, but I became a huge collector of B-Sides, rarities, and demos. I read on some forum that a guy who's username I will not publish had not only the demos for the album that got me into punkrock, but also an exclusive acoustic show by Rancid that I was able to lie my ass off and attend. At this time, the Life Won't Wait Demos were not readily available and only 3 people claimed to have access to them. Of those 3, two were full of shit. I got the rip of this from the man who himself got it directly from Matt Freeman via a cassette tape in the early 2000's. For this, I traded him 2 bootleg Rancid vinyls, and an original pressing of their debut album.

The demos have since leaked much more aggressively and aren't quite as hard to get ahold of anymore (I may have purposefully played a role in this as I think that everyone should have access to them, not just a select few). This demo was originally accompanied with an additional 6 tracks by the band The Silencers which was Rancid with Vic and Dave from The Slackers. I decided against publishing them with these as I believe the two are best listened to independently of one another.

These demos are great quality and are sure to be enjoyed by any fan of the album. As with any demo, this is a much more stripped down very raw version of these songs. In particular, the song "Brad Logan" that ended up on the South Park soundtrack I feel is a much stronger version of the song, and actually contains female backing vocals (of whom I am only assuming to be by Brody at the time).

If you enjoy LWW as much as I do, I suggest you check out the newly remastered 45 set that just came out. The records were completely remastered to utilize the 45 sound, and although I wouldn't say they sound superior to the original record by any means, I would say that it is an entirely new experience with an all time classic punkrock album. As a side note, i own every incarnation of this album from the CD I had Lars sign in 2002, to the vinyl, to the picture vinyl (which isn't suggested for anymore other than wall-artwork, which mine is, and is signed by the entire band). See folks, I don't just put out free bootlegs in place of buying their music, get out there and support your favorite independent musicians goddammit.

Download The Entire Album and Cover Art Here:
MP3 Zip Archive

The tracklist is:
1: Who Would've Thought
2: The Wolf
3: Backslide
4: Cash, Culture & Violence
5: Things To Come
6: Brad Logan
7: Hoover Street

A Brief Synopsis of The J's (AKA: The Kafeteria Kids of America)

I was going to do this post on a story about my trading of a working car for 15 loose cans of Schlitz Malt Liquor at age 16, but I realized that to understand such a thing would require the knowledge of who the the key characters involved were. Matter of fact, for many of these posts, you would need to know who the key members of miscellaneous groups, bands, and gangs I've hung out with throughout the years are. Otherwise our actions might be wrongly interpreted as random, senseless acts of violence.... well many of them were, but that is not the point. This is the story of the group of friends I hung out with throughout high school, The J’s.

Kuban J and Drunk J

Back  then I always hung out with the older kids because most people in my grade weren't into music the same as I. Particularly, aggressive music. As it stood, none of the J’'s were into the same genre of music. We all came from different backgrounds. I listened to punk, Jay #1 listened to metal Jay #2 listened to experimental Residents type stuff, and JZ listened was a Juggalo. There wasn't anyone else in our bumfuck country town that listened to anything other than top-40 and new-country, so because we didn't have the luxury of hanging out with people of similar taste due to there being zero scene in Madison Township, we were all banded together as the group of weird outcasts.

In retrospect, it was kinda cool to hang out with people that didn’t listen to your particular genre of music. I introduced them to Social Distortion, they introduced me to Gwar, and before many years our tastes contained enough bleed-over that we discovered music that all of us could tolerate while riding in one anothers cars... although we all agreed that JZ was retarded as all hell  for enjoying the “stylings” of Insane Clown Posse.

Kaf Kids and The Kick A Cunts

So this is the story (or at the least a brief synopsis) of the J's. The J's consisted of myself, JZ, and two other members named Jay.... get it? The J's? Well we didn't come up with it, that was a nickname that stuck, given to us by a punk band in the neighboring scene of Middletown. They were the Kick A Cunts... and I’ll be covering them in my next blog.

Looking back, for being friends we were all cruel as shit to each other as our nicknames arose from the worst or most shameful attribute each of us had. We always joked at one another's expense and we were always picking on one member or the other.

Jay #1 was nicknamed Fat J for potentially obvious reasons, he was a big fucking dude... but he didn’t mind the nickname. Fat J was sort of the ringleader of the group, not that he was any more in charge than the rest of us, we just tended to mainly hang out at his place and ride in his car. He was the sort of guy who called you a faggot for having a conversation where you displayed any sort of emotion, but then would drive you to fight a guy and back you up during it if someone tried to jump you.

Jay #2 was nicknamed Krazy J. Krazy was good people, damn good infact. The kind of guy who would give you the shirt off his back without you asking for it. He came from good stock too, his parents were solid human beings, a rarity in this life. A few years  prior to his hanging out with us, Jay had hung with the popular crowd, and it is my estimation that they used his good naturedness to hang at his amazing house and play with his amazing toys. I suspect he either grew too smart to deal with this or was for some reason ostracized from the group. He could be a bit strange some days, but then again, who of us fucking aren't. But his demeanor toward others and their reception to him is why we dubbed him Krazy J.

JZ was nicknamed Kuban J. Why? Because we were fucking cruel to each other and he obviously came from sort of hispanic descent... even though both his "mother and father" were as white as a klansman's hood. Kuban was a Juggalo... and if you don't know what that is, do a google search and prepare yourself for the weirdest sub-genre/cult of music in the fucking world. A brief synopsis of the movement would read like this: They dress up like hell-spawned clowns in black and white makeup, drink Faygo, and are proud to be the whitest of white trash. Its fucking strange to say the lease, and to them, that would be a compliment.

Me at 18

Me? Oh I was known far and wide (and would continue to be for years) as Drunk J. Why? Go fucking figure, even at 16 I was a committed (albeit functioning) alcoholic. I was so known for my alcoholism at this early age that even Fat J's parents didn't have a problem with my drinking in their house (though no one else could) because as they said it, "He's got issues". My issues? Getting kicked out of my fucking parents house every two weeks. I'd bounce back and forth between my mother and fathers house until occasionally they ganged up on me and both kicked me out simultaneously.

My solution? No problem, I'll just go live at Fat’s house. It never lasted more than a few weeks or a month, but there were many, many nights I stayed there due to a lack of other options, and much as Krazy's parents were solid humans, so were Fat J's. They fed me, allowed me to sleep on their floor, and never raised issue one with it. Looking back, I'm incredibly grateful about that, and for Fat J allowing me to do it as well. As I said, he WAS a cocksucker, but he was my cocksucker... though not literally.

We all even had a band called the Kafeteria Kids Of Amerika (noticing a trend with the K's? Not even I am sure about that). What did we do? Well not much, we all played instruments to varying degrees, but we never played one show because we didn't make any goddamn music. We were the only band that did not practice or play. There are a handful of 5-6 demos that we recorded, but they are as low-fi as it gets and no more than us screaming into a mic with a few instruments accompanying.

Our lyrics made fun of ourselves, and handicapped children (told you we were cruel). We were nicknamed the Kaf Kids and got our name from the fact that the "helpers" in our schools cafeteria were mentally handicapped.... Just being honest here, judge all you want, but in our defense, most of our songs made fun of ourselves, songs like "Roush is a Penis", "I Am A Piece Of Shit", or "JZ fucked a goat" are overly apparent of this. You can expect this to be included as a future part of my AntiCurrent.com Archive series.

So that's us. Now I can tell you stories of the mischief, mayhem, and disorder that we caused and don't have to re-explain who the fuck we were.

AntiCurrent Archive Volume 1: Lux Interior: The Purple Knif Show

From 2005-2007 I lived in Fullerton California and worked at Black Hole Records, owned by local punk-rock legend (don't tell him he is though, don't want to over-inflate that ego of his) Bill Evans. During that time I was a broke as shit college student who basically worked for him in return for store credit, something that I am eternally grateful for and led to alot of the amazing records in my collection today.

But working for $15 an hour store credit soon was not enough to fulfill my musical obsession, so I struck a deal with him: I'll research, locate, create artwork, and print you one copy of the rarest of rare bootlegs for $40 a piece store credit (he would then reproduce the album and sell it to consumers). He agreed and I got to work. During this time I pulled demos from bands such as Rancid, Street Dogs, compilations such as the nearly impossible to find "The Bat Cave, Young Limbs & Numb Hymns", live and deleted albums, etc.

So what I'm doing here is the first in a series of hard to find recordings I am titling "The AntiCurrent Archive", in it I will post a series of the rare records that I tracked down back in my days at Black Hole. Now, some of these recordings are able to be found on other websites, but most of the time the encoding is shit, or the artwork sucks, or even worse, the website is old and the link is broken. I will post THE best version of the recording and artwork I can find, and feel free to contact me if a better one is available and I will be happy to replace it.

So without further ado, the first release up is the AMAZING "The Purple Knif Show" by Lux Interior. 

This was a one off radio show by half of The Cramps recorded in Hollywood in 1984. In it, Lux DJ's 24 of his favorite 45's for the listener while providing Horror-Host style commentary. The show play's like and old episode of Cleveland TV's famous Ghoulardi show. Even the name "Knif" is a tribute to the late TV horror host, in Ghoulardi's show's he would refer to his legion of fan's as Knif's (Knif being the backwards spelling of Fink"). This show is arguably the BIGGEST non-musical source of inspiration for The Cramps, seeing as how Lux grew up near Cleveland watching Ghoulardi in his youth. 

This compilation is the best, most strange, and epically genius piece of live radio I have ever came across. It perfectly showcases Lux's amazing and strange taste in rock and roll, music, theatricality, and radio all at once. These are definitely NOT the highest quality recordings of the songs available, this was played from Lux's personal 45's, broadcast over the airwaves, taped on cassette, and finally digitally encoded, but it's worth dealing with the quality degradation to experience this as Lux intended it, with his genius intro/outros and insightful commentary. For a great, high quality example of songs The Cramps drew on for inspiration, research the compilation "Songs The Cramps Taught Us", or the 11 disc set "Lux and Ivy's Favorites".

Download The Entire Album and Cover Art Here:

MP3 Zip Archive

The tracklist is:

  1. One Way Streets, The - Jack the Ripper
  2. Swamp Rats, The - Louie Louie
  3. J.J. Jackson - Oma Liddy
  4. Trashmen, The - Bird '65
  5. Sparkles, The - Oh, Girls, Girls
  6. Link Wray - The Fuss
  7. Bill Carter And The Rovin' Gamblers - Baby Brother
  8. Tides - Midnight Limbo
  9. Earl Hagan & The Interns - New Interns Watusi
10. Mad Mike And The Maniacs - The Hunch
11. Billy Strange - 007 Theme
12. Ted Weems & His Orchestra - Heartaches
13. Ray Anthony - Dragnet
14. Grady O'Neal & The Bellatones - Turkey Neck Stretch
15. Enchanters - Cafe Bohemian
16. Jam Space & The Cadets - Take Me To Your Leader Chachacha
17. Archie Bleyer - Fernandos Hideaway
18. Spark Plugs - Chicken
19. Frantics - The Whip
20. 5 Blobs - The Blob
21. Unknown Artist - Miller Beer Commercial
22. Ward Darby And The Raves - Safari
23. Cozy Cole - Topsy Pt. II
24. Deadly Ones - It's Monster Surfing Time