Thank you Wemp for sharing. This is great stuff.
What was the song writing process like back then? Did you guys jam in the studio to find things that worked? Or did Al work up some demos on his own, and then bring the material to the rest of the band? (apologies if I’ve asked this one before)
LOL. I’m sorry brother! that is pretty funny though
They did indeed, I checked the Trax Box contents and the name credit is the same. Not sure why they decided to make that change. Also, when they started the promotion with “The Game Is Over” they decided to call it “Game Over”, maybe to make it sound edgy, who knows. At least it was named correctly on release. But-on the next release it was called “Game Is Over”??
As far as the live shows go, they should have speed corrected versions, but again, no idea.
On one hand I’m glad these songs were officially released, on the other I’m a little disappointed. I would have recommended dropping “Work For Love” in favor of “The Urge To Runaway”, but that’s just me.
It’s not like nobody ever called me “Bob” but I’ve never used that name professionally or officially. I suppose any press is good press.
Al showed up with 2 or 3 songs complete with lyrics, arrangements and impeccably scored, arranged and written out on sheet music which he passed out to everyone and they played it. Everyday. 
After spending time on the phone with Clive Davis, of course…
The honest answer is either Al or I would have a bass sequence or bass pattern and we’d jam it out as a band at rehearsal. Sometimes we’d come up with patterns or sketches on the road, in the bus, on a Casio PT20. After kinda molding it together at rehearsal Al would take a cassette recording of it home and write the lyrics. But just about everything started with a bass pattern, then some kind of loose arrangement, then the lyrics, then a bit of refinement.
I don’t think any of us had much access to instruments unless we were at rehearsal or on the road. I don’t think Al even played guitar at home at the time. But Casios were plentiful and we did spend a lot of time at the rehearsal space so we were always at least trying to create. Stevo was really helpful as an arranger too.
Thanks Wemp. That is so cool to know. When I hear many of these early live recordings, it’s the bass synth lines and Stevo’s drumming that really stand out. 
Just had to say how much I’m enjoying this
All the new material is excellent but I particularly have to single out WFL
This is my favorite version ever
It rocks like a beast!
It reminds me of peak live Clash 81/early 82 - the good nights when Topper wasn’t messed up!
The Perfect post-punk/Punk-Funk band
@wempathos Sorry they screwed your name up, but so glad there’s now some easily available evidence of what a great live band you were that can be enjoyed by people who don’t know about bootlegs or tape trading
And glad to have the opportunity of telling you that
The progression and development between the gigs is pretty astounding but it’s still a coherent cohesive CD
You guys were on fire
Also nice to have on broadway on cd - sometimes I’m tired and I don’t want to have to get up and flip the record over
Overkill remains creepy as hell even after a million listens
Stevo’s drumming is still like no one else I’ve ever heard, funky, driving
I love this period of Al’s guitar playing
The synth sounds have aged well, dancing alone reminds me of Eddie Rayners work in split enz around the same time crossed with a bit of kraftwerk
If you didn’t know about the speed issues you wouldn’t notice a problem imo
Completely agree!! It really enhances the overall composition, and I hear it better in some of the live recordings. Has anyone approached Stevo for an interview? I’m sure he would have some great stories, and he has the unique perspective of being in the early version of the band all the way through the 1984 tour.