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Morning Obituaries”; regularly fighting for the mike with such motormouth comics as Bob Goldthwait, Steven Pearl, and Bobby Slayton, he runs the only wake-up show to carry an “Adults Only” disclaimer. Here, deferring to therandom-drug-testing rules announced by Peters Ueberroth and Rozelle (“Commissioners of Urine”), Bennett inaugurated a new feature: a daily spin of the Peter Wheel to select a candidate from the world of pop. First winner, no surprise: Boy George.
    9 Paul Brady, “Steel Claw,” from
True for You
(21/Atco) Brady made his name with traditional Irish music; now, with a tune that had a tepid debut on Tina Turner’s
Private Dancer
, he rocks out. It’s irresistible guitar-based traditional late-’60s music; the rest of the LP is traditional sub-Van Morrison music.
    10 Anonymous,
The International Battle of the Century—The Beatles vs the Third Reich
(VE) In the spirit of
Elvis’ Greatest Shit!!
, an impeccably designed and produced bootleg parody of Vee-Jay’s 1964
The Beatles vs the Four Seasons
. Back then, “scoring by rounds,” you were invited to rate “I Saw Her Standing There” against “Sherry”; now, you judge a muddy, previously unreleased 1962 Hamburg Star-Club tape against crowd noise. That is, “The Beatles Perform,” “Till There Was You,” “Where Have You Been All My Life,” and “To Know Her Is to Love Her,” and “The Audience Responds”: “Ach Du Leiber,” “Mach Shau,” and “Arbeit Macht Frei”—the latter being the slogan that once adorned the gates of Auschwitz. Sharp.
    SEPTEMBER 9, 1986
    1 Terry Clement & the Tune Tones, “She’s My Baby Doll,” from
Sin Alley
(Big Daddy) Crammed with 1955–61 obscurities that make Carl Perkins sound like an accountant and Hasil Adkins seem like a craftsman, this is the most demented rockabilly compilation since
Juke Box at Eric’s
. Clement leaps out of the pack, possessed by a thought the urgency of which stands undimmed by the passage of time: “Well, rich girl wears expensive perfume/Poor girl does the same/My girl don’t wear none at all/But you can smell her just the same.”
    2
Forced Exposure
#10 Operating on the premise that “Extremism in the defense of liberty is no vice—and fun, too,” this thick punk-
maudit
quarterly has become the crucial music magazine in the U.S. That may be mainly due to Steve Albini, whose long “December Diary” is the high point of #10; his subject is candor, how it turns life into a war, and why it’s worth fighting—at home, at work, in print, on stage. Albini’s premise might be found in something the late Alexander Trocchi wrote: “We must do everything to attack the ‘enemy’ at his base, within ourselves.”
    3 Charlatans,
Alabama Bound
(Eva, France/Performance Distributors, New Brunswick, NJ) Killed by MGM in 1966, these addled folk-blues tracks by the first exemplars of the “San Francisco Sound” are historic; they’re also a curio. But the last number—nine minutes 50 seconds of the title song, the band’s signature tune—remains as rough and luminous as it was on the day it was performed: June 13, 1969, at the Charlatans’ final show.
    4 Matt Mahurin, Sleeve photo for
The Lover Speaks
(Geffen) Forget the record, which offers a U.K. translation of some of Phil Spector’s pomposities with none of his desire; the cover portrait, a woman naked visible from her shoulders up, shot in the Victorian style of Julia Margaret Cameron and posed in a corrosive moment of (since
The Lover Speaks
claims influence by Barthes, we’ll call it) “jouissance,” is one of the sexiest things you’ll ever see.
    5 Jamie Reid, (
please wash your hands before) Leaving the 20th Century
(Josh Baer Gallery, 270 Lafayette St., New York, September 12 through