Tracklist Hide Credits
|A||The Magnetic Spine Review
Featuring – Alva Svoboda, Face Cancer, Love Stumps, Max & Mel*, Randy Greif, Screaming Dukduks, Seizure Boys
|B||The Wireless Spine Review
Featuring – 1714 Broadway, Al Margolis, Alva Svoboda, Architects Office, Blackhouse, Bob Morris (5), Boy Dirt Car, Crawling With Tarts, Croiners, D. Casun, Das, Dreamhouse (6), Face Cancer, Ferocious Frank, H C Poole, Here To Go, Industrial Sponge, Kissed At The Small-Time Down, The Love Stumps*, Max & Mel*, Peter Cathem, Port Said, Psycodrama*, QWA Digs Under Paris's, Radio Rabbit Suit, Randy Greif, Randy Koppang, Reverend Paul, Richard Franecki, Richie Unterberger, Running Deer And The Coyotes*, Schlafengarten, Scott Becker, Screaming Dukduks, Seizure Boys, Steve Suski, Stratis, Tentatively, A Convenience, Arms Of Someone New*, The Dave, Psychological Warfare Branch*, The Unnatural Logarithm, Tom Recchion
- Liner Notes – Randy Greif
THE MAGNETIC SPINE REVIEW is a composite of raw, or unfinished material that was sent to me in 1984 by the people and groups that were distributed on the Swinging Axe Productions label. I mixed this material together with some of my own, usually overlapping at least two different submissions by different groups. From its inception, this was considered a collaborative work.
THE WIRELESS SPINE REVIEW, likewise, is a collaborative effort, bur, rather than mail, uses the telephone as the means to collaboration. One hundred invitations were sent out to people involved in the arts underground, both nationally and internationally. Most of these people are involved with music, however the participants included a variety of artistic disciplines. During the 24 hour period between midnight of May 31 and midnight of June 1, participants phoned in their contributions which were taped directly onto my answering machine and were limited to 30 seconds. The calls were amplified and monitored by an audience in Los Angeles. This tape represents an international collaboration, an "instant" document, and a live performance (or performances) attendedf by an audience thousands of miles away.
As both of these pieces are collaborative, this is not a compilation tape. Therefore I feel it would not only be unnecessary but detractive to list exactly who contributed what. In any case, here is an alphabetical list of those who contributed: [see credits]