POP-A-LOOZA: Superpulp Paperbacks!

Each week, the pop culture website Pop-A-Looza shares some posts from my vast 'n' captivating Boppin' (Like The Hip Folks Do) archives. The latest shared post is my reminiscence about discovering pulp and superhero paperback novels as a teenager in the '70s: Superpulp Paperbacks!

It's within the realm of plausible possibility that I love books even more than I love records. Do not even try to make me choose between them. I'll be sharing a few other tales of my affection for pulps, fiction, and books in general over at Pop-A-Looza in the near future. In the mean time, you can have a look back at my introductions to Doc Savage and The Shadow, and my history of reading movie tie-in novelizations.

I've also tried my hand at writing superhero pulp, and I've been pleased with the results. For this blog, I wrote a fanfic Batman pulp short called "The Undersea World Of Mr. Freeze," and began a tentative (and uncompleted) next chapter called "Paradise Does Not Believe In Tears." I wrote and sold a Western called "The Last Ride Of The Copperhead Kid" and a 1930s masked vigilante adventure called "The Copperhead Strikes!" (which repurposed part of the opening from my Batman story). I also wrote and sold a 1965-set secret agent story called "The Copperhead Affair," which has not yet posted here (but may still be available at your local comic book store, in the pages of AHOY Comics' Second Coming: Only Begotten Son # 1). 

Straying a bit more afield of classic pulp, I started writing another Copperhead-connected short story set at a punk rock club in the early '80s ("Chaos At The Copperhead Club") and a rock 'n' roll time travel superhero novel called Eternity Man! Both of those projects remain unfinished and abandoned...for the time being.

But right now, we go back to where a lot of this began for me. My superpulp paperbacks are the subject of the latest Boppin' Pop-A-Looza.

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This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock 'n' Roll Radio compilation albums are still available, each full of that rockin' pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset--Benefit For This Is Rock 'n' Roll Radio:  CD or download

Carl's writin' a book! The Greatest Record Ever Made! (Volume 1)will contain 165 essays about 165 tracks, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1). My weekly Greatest Record Ever Made! video rants can be seen in my GREM! YouTube playlist. And I'm on Twitter @CafarelliCarl.

Comic Book Cover Cavalcade # 1

As the music portion of my former series Comics And LP Cover Cavalcade already split off into its own separate LP Cover Cavalcade, the comics portion also needs its own space. This inaugural entry of Comic Book Cover Cavalcade shares five DC Comics covers from the 1970s.

ALL-STAR COMICS # 58 (January-February 1976)

When writer Gerry Conway left Marvel Comics for DC in the mid 1970s, one of his highest-profile assignments was this opportunity to revive All-Star Comics, which had been the home of comics’ original 1940s super-team, The Justice Society of America. Continuing its numbering from the final JSA issue of All Star Comics in 1951 (pretending All-Star Western # 58 and onward never happened), the new series initially soft-pedaled the old '40s JSAers to focus on the three younger heroes--Batman's former partner Robin, former Seven Soldiers of Victory member The Star-Spangled Kid, and a buxom new character called Power Girl--who comprised the team-within-a-team referred to as The Super Squad. Conway script, Mike Grell cover, Ric Estrada pencils, and inks by the legendary Wally Wood helped get the new All-Star Comics off to a solid start. Conway returned to Marvel before long, but the series continued with style and distinction.

BATMAN # 253 (November 1973)



I was thirteen years old in 1973, and I was a big, big DC fan. The Batman was my favorite character, and you bet I insisted on calling him THE Batman. The Batman was a creature of the night, a dark avenger, not the campy crusader whose TV show hooked me on superheroes when I was a mere child of six. No! The Batman was serious stuff! You can look back now and smirk at my sanctimonious nerdiness, but I say to hell with you. I was having a grand old time, and I remember the comics of this period with great fondness. Writer Denny O'Neil was on a roll, having already given The Dark Knight a new classic adversary in Ra's al Ghul; penciler Neal Adams and inker Dick Giordano provided sleek visuals that were as integral to the mood, setting, and storytelling as any word within the captions and balloons, and alternate penciler Irv Novick (also inked by Giordano) deserves credit for maintaining that style in the many issues Adams didn't have time to draw. In Batman # 251, O'Neil, Adams, and Giordano had reintroduced The Joker in "The Joker's Five-Way Revenge!," returning the character to the murderous roots of his debut in 1940's Batman # 1. It is not an exaggeration to say that "The Joker's Five-Way Revenge" influenced every single Joker story published since 1973.

And, a mere two issues later, The Batman got to meet his greatest inspiration, The Shadow. DC had licensed the character of The Shadow in hope of tapping into '70s-era nostalgia for the pop culture playthings of the '30s and '40s. I was all in, as I read my Doc Savage paperbacks, watched The Marx Brothers on Saturday night TV late shows, listened to old adventure radio shows (including The Shadow) on the public station's Radio Rides Again presentations, and devoured histories of comics, histories that taught me about the Golden Age of Comics in the '40s, and even about the blood 'n' thunder pulp magazines that helped to sire those comics. Pulp magazines like The Shadow.

The Shadow was the biggest single influence on Bill Finger and Bob Kane when they created the character of The Batman in 1939. I knew that, so I was more than primed for The Shadow's DC's series (written by O'Neil), and absolutely psyched to see The Shadow finally meet his disciple in the pages of Batman # 253. Beneath an atmospheric cover by Mike Kaluta (regular artist on DC's The Shadow), the actual story by O'Neil, Novick, and Giordano could be viewed as anti-climactic, or even a cheat. The Shadow is an off-stage player in most of the tale, stepping out from the shadows only near its end. I didn't care. I loved it without reservation, and I still do.

DC SPECIAL # 10 (January-February 1971)



If I had to pick my all-time favorite comics artist, I would acknowledge the above-mentioned Neal Adams and Wally Wood, plus (of course) Jack Kirby, and a long, long list that would include Dick Sprang, Carl Barks, Jack Cole, Alex Toth, Jim Aparo, and...listen, we're gonna be here all night, and I haven't even mentioned Marshall Rogers yet. But when I have to name just one, I usually say Nick Cardy.

And I don't pick Cardy on the basis of most of the covers he cranked out as DC's go-to cover guy in the early to mid '70s. Those were fine, obviously, but his best work was his brief stint as the regular artist on the Batman team-up title The Brave And The Bold, his Teen Titans (especially his later issues), and his exquisitely-rendered Western series Bat Lash. Oh, and the gorgeous covers he drew for Aquaman.

And there's also this gloriously atmospheric cover for DC Special # 10, dressing up a basic collection of 1950s cop and fireman stories, reprinted from old issues of Gang Busters and Showcase. Calling them basic isn't meant as a put-down--I read this damned thing over and over when I was 11--but there's nothing inside that could hope to match that dynamic Cardy cover. 

SHAZAM! # 8 (December 1973)



The same pursuit of the nostalgia market that prompted DC to license The Shadow also led to the company licensing Superman's biggest sales rival from back in the '40s, the original Captain Marvel. DC had effectively sued Fawcett Comics' Captain Marvel out of existence in the early '50s. When licensing and attempting to revive Cap in 1973, DC Publisher Carmine Infantino's intent to restart the World's Mightiest Mortal's former comic book Captain Marvel Adventures was immediately thwarted by another, more powerful rival. Marvel Comics had trademarked the Captain Marvel name for its own unrelated use during the original Cap's decades-long dormancy, and wasn't about to allow DC to use it. DC went with the alternate title Shazam! instead. Each issue of DC's Shazam! series featured vintage Cap reprints backing up the new adventures, and the reprints were...well, better. A lot better. The eighth issue was a 100-Page Super Spectacular collection containing only the old stuff, and I felt like it was a gift given to me directly from the Rock of Eternity. This was just magnificent.

SHOWCASE # 100 (May 1978)



DC's original try-out book Showcase survived on newsstands from 1956 to 1970. It was a series that offered readers an opportunity to sample potential new series, with sales presumably determining which concepts would graduate to ongoing series and which would, y'know...not. Some point to Showcase # 4 (which introduced a brand-new superhero called The Flash, inspired by the 1940s character of the same name, but reimagined as something minty-fresh) as the beginning of comics' Silver Age, and I would agree. Showcase produced a lengthy list of, well, showcases for both new characters introduced in its pages and already-existing characters given a shot at joining DC's A-list. The series was revived briefly in the late '70s, and that revival brought us Showcase # 100.





For this celebration, writers Paul Kupperberg and Paul Levitz teamed with artist Joe Staton in an attempt to craft a new adventure that would feature at least a cameo by each and every one of Showcase's stars and woulda-beens. Well, almost; Showcase # 43 had featured a reprint of a British adaptation of the James Bond novel and film Dr. No, and DC's license to thrill with 007 had never been renewed. And I'm not positive, but I don't think The Doom Patrol or Power Girl--the stars of the Showcase revival issues that preceded # 100--made it into the big party either.

But yeah, everyone else is represented, from Fireman Farrell through Manhunter 2070. Even Archie ripoff Binky, even Dobie Gillis and Maynard G. Krebs stand-ins Windy and Willy. We've got Bat Lash, Aquaman, Green Lantern, Lois Lane, The Creeper, The Atom, Sgt. Rock, Enemy Ace, The Teen Titans, Dr. Fate and Hourman, The Challengers of the Unknown, The Inferior Five, The Phantom Stranger, Jonny Double, Angel and the Ape, Tommy Tomorrow, The Hawk and The Dove, The Spectre, Anthro, Adam Strange, The Sea Devils, The Metal Men, Space Ranger, the pop group The Maniaks, Nightmaster, Cave Carson, Rip Hunter, B'wana Beast, Dolphin, Firehair, Johnny Thunder, and Jason's Quest protagonist Jason. Maybe someone else I missed. Hell, maybe 007 is in there somewhere, hidden behind the rest of this large cast.

And it's a blast. It's goofy in all the right ways, serious where it needs to be, and never so serious that it gets in its own way. Forgive the comparison, but it's like a Marvel movie in comics form, a lighthearted superhero epic that satisfies. It's fun.

Quick! Someone go back to 1973 and tell my 13-year-old self that's it's okay for superheroes to be fun. Lighten up already, young man.






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You can support this blog by becoming a patron on Patreon: Fund me, baby! 

This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock 'n' Roll Radio compilation albums are still available, each full of that rockin' pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download

Volume 2: CD or download

Volume 3: download

Volume 4: CD or download

Waterloo Sunset--Benefit For This Is Rock 'n' Roll Radio:  CD or download

Carl's writin' a book! The Greatest Record Ever Made! (Volume 1) will contain 134 essays about 134 tracks, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

THE EVERLASTING FIRST: The Shadow

Continuing a look back at my first exposure to a number of rock 'n' roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it's the subsequent visits--the second time, the fourth time, the twentieth time, the hundredth time--that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every story still needs to begin with that first kiss.

THE EVERLASTING FIRST: The Shadow

Who knows what evil lurks in the hearts of men?
THE SHADOW knows!

The laughter that follows seems threatening, sinister. Its implied menace is daunting and intimidating, but only the wicked need ever fear it. The innocent will be protected. The guilty will be punished. Vengeance is swift and just. The Shadow knows.

My peripheral introduction to The Shadow came via the most incongruous means: Mad magazine and a comic book based on a television sitcom. Yeah, I'd say my path to The Shadow was unique. More conventional exposure would follow soon enough.


The great cartoonist Sergio Aragones was a regular contributor to Mad magazine. One of Aragones's recurring features in Mad was called "The Shadow Knows," a series of single-panel gags imagining the comic results if a person's shadow could reveal the unchecked impulses of his or her id. Mad's "The Shadow Knows" had nothing whatsoever to do with the pulp and radio hero that inspired its title, but it did nick its tag line from that inspiration: "Who knows what evil lurks in the hearts of men? THE SHADOW KNOWS."

And that was my outta-left-field, second-hand introduction to The Shadow.

It was probably in the very early '70s. I don't remember if I was reading an issue of Mad or thumbing through one of the many Mad paperback collections. It may have even been The Ridiculously Expensive Mad, a hardcover anthology that I received as a gift from my parents (who inscribed it, "Happy Birthday, Carl E. Neuman." My parents were pretty cool).

By whichever means I first encountered Sergio's Shadow gags, I do remember sharing the experience with Mom and Dad, who responded that those "Who knows what evil?" and "The Shadow Knows" lines came from a popular old radio show. They added their recollection of a fill-in Shadow announcer who once screwed up the introduction: Who knows what evil lurks in the hearts of men? The Shadow do! I laughed (I think), and said it should have been The Shadow does. 

Eh. Close enough.

This gave me only the barest, broadest strokes of The Shadow. And as weird a beginning as that was, my path to The Shadow gets even weirder after that, as it passes by one Reuben Kincaid, the fictional manager of TV's fictional family band The Partridge Family.



I told you it was weird.

In the early '70s, Charlton Comics had the license to produce a comic book based on the hit ABC-TV sitcom The Partridge Family. I was a fan of the show, and I was a fan of comic books, but the only one of those Partridge Family comic books I ever read was The Partridge Family # 5 from 1971. One of the stories in that issue found ol' Reuben reminiscing about the old-time radio shows that thrilled him when he was a mere lad and a beardless youth. Reuben described each of his radio faves without actually naming them (because, in the words of The Beatles' Christmas Album, Copyright, John!), and artist Dan Sherwood gave us pictures to go with the words: The Lone Ranger. Fibber McGee and Molly. Jack, Doc, and Reggie from I Love A Mystery. And, of course, the hidden face of the mysterious stranger who knew what and where evil lurked.

And that was my first conscious glimpse of The Shadow.

As I look back upon the subsequent expansion of my awareness of The Shadow in the early '70s, the timeline gets a little jumbled. My Dad liked to quote a line he remembered from The Shadow's radio adventures: He said he didn't remember; The Shadow knows! I heard my first radio adventure of The Shadow courtesy of a weekly program called Radio Rides Again, which I managed to catch on WDDS-FM in Syracuse. That specific episode provided me with another catchphrase for this (apparently sloganeering) Dark Knight: when frightened criminals stammered their question of where that spooky, disembodied voice was coming from, The Shadow sneered his response: HERE! In the SHADOWS!

Yeah. Yeah!

A couple of books at the library--Steranko's History Of The Comics and Jim Harmon's The Great Radio Heroes--offered more background information. I fell hard for the allure of pulp magazines, starting with Doc Savage. The mail-order ads in the back of Vampirella prompted me to buy an LP featuring two original radio broadcasts of The Shadow, and a Shadow jigsaw puzzle. Somewhere in there, I may have seen one of Archie Comics' ill-advised attempts to turn The Shadow into a traditional superhero in the '60s. And it all shifted into overdrive for me when DC Comics announced it would be publishing its Shadow comic book.




Berni Wrightson drew the ad, but it was Michael Kaluta who handled the exquisite artwork for DC's The Shadow # 1. The book was cover-dated October-November 1973, but it was on the racks during the summer of '73. I bought it at a bus station in Springfield, Missouri, and read it and re-read it, oh, a billion times or thereabouts. Writer Denny O'Neil captured the bloodthirsty noir zeitgeist of the pseudonymous Maxwell Grant's original pulp novels of the '30s and '40s. I was fully, hopelessly hooked. I never missed an issue, not even when Frank Robbins took over for Kaluta (and I like Robbins's work much more now than I did then). And when The Shadow met his protégé The Batman in Batman # 253 and 259, I was in my heaven. The weed of crime bears bitter fruit. Crime does not pay! The Shadow knows!





(Although it was well-known that The Shadow was the single biggest influence on the creation of Batman, it wasn't until decades later that we discovered that Batman co-creator Bill Finger's script for the first Batman story, "The Case Of The Chemical Syndicate" from 1939's Detective Comics # 27, was, um...inspired by a Shadow novel called "Partners Of Peril." Even without that bit of literary larceny, there would be no Batman without The Shadow coming first. It's fitting that Walter Gibson, the prolific writer responsible for most of the Shadow novels credited to the fictitious Maxwell Grant, would finish his long career with a Batman prose short story, "Batman Encounters Gray Face," in Detective Comics # 500 in 1981.)



Radio, comics, and history. That left only the pulp novels themselves for me to discover. Pyramid Books began a series of paperback reprints of The Shadow's pulp adventures, usually with a gorgeous Steranko painting on the cover. I also picked up a trade paperback reprinting two Shadow pulp novels (complete with the original pulp magazine illustrations) on a flea-market mission in the mid '70s. And I joined The Shadow Secret Society. I still have my membership button.



I thought enough of The Shadow to try to write some of my own Shadow adventures. My first attempt was an awful Justice Society of America story guest-starring The Shadow. In 1975, I wrote two Shadow short-shorts for my high school newspaper The NorthCaster.

Maxwell Grant wasn't worried about competition from me. But at least North Syracuse Central High School was safe, thanks to The Shadow.

DC's The Shadow was cancelled with its twelfth issue, also in 1975. The paperback novels got harder and harder to find: I bought them when I could, but missed most of them. Nostalgia moved on. The Shadow faded away.

He would be back. I confess that I've never enjoyed latter-day attempts to revive the character, whether in comic books or on film. But the original pulp novels continue to be available in lovely two-in-one softcover editions curated by Anthony Tollin, The Shadow's # 1 fan. The weed of crime still bears bitter fruit. And there's no question where we can find the one who knows:

Here. In the shadows!

WHEN THE EVERLASTING FIRST RETURNS: T is for

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Fans of pop music will want to check out Waterloo Sunset--Benefit For This Is Rock 'n' Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock 'n' Roll Radio with Dana & Carl. TIR'N'RR Allstars--Steve Stoeckel, Bruce Gordon, Joel Tinnel, Stacy Carson, Eytan Mirsky, Teresa Cowles, Dan Pavelich, Irene Peña, Keith Klingensmith, and Rich Firestone--offer a fantastic new version of The Kinks' classic "Waterloo Sunset." That's supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click Beetles, Eytan Mirsky, Pop Co-Op, Irene Peña, Michael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of "Infinite Soul" by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With Randolph, Gretchen's Wheel, The Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It's exquisite. You need this. You're buying it from Futureman.

Hey, Carl's writin' a book! The Greatest Record Ever Made! (Volume 1) will contain 100 essays (and then some) about 100 tracks, plus two bonus instrumentals, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

Our most recent compilation CD This Is Rock 'n' Roll Radio, Volume 4 is still available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes, Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens' track) is also available from Futureman Records.

The Pulps

I'm not 100% certain how I first became aware of pulp magazines, but the book pictured above was certainly an early clue. I recall seeing the hardcover collection The Pulps at World Of Books in North Syracuse in the early '70s, maybe as early as 1971, but probably '72 or so. It was one of a number of books that caught my eye all at the same time, right alongside comic book celebrations All In Color For A Dime, Jules Feiffer's The Great Comic Book Heroes, and Crown Books' Superman From The 30's To The 70's and Batman From The 30's To The 70's. Edited by Tony Goodstone, The Pulps was the only one of these books that I didn't acquire in that early time frame. I was certainly intrigued by it nonetheless.



My real indoctrination into the world of pulp magazines came via Steranko's History Of Comics, I'd say around 1974. My high school library had both volumes of Steranko's captivating account of the Golden Age of comics, and I spent a lot of time immersing myself in those books. Steranko's chapter on "The Bloody Pulps" fascinated me, and fanned the flames of my nascent interest in The Shadow, Doc Savage, The Avenger, The Spider, Operator 5, The Phantom Detective, The Black Bat, and G-8 And His Battle Aces. 

(What's that? I should have been studying when I was in the school library? Ahem. Just move along.)



I read my first pulp adventure--The Land Of Terror, a Doc Savage paperback--before reading Steranko's account of the pulps, and possibly/probably before spying The Pulps at World Of Books. I told my story of discovering Doc Savage here--a sequel describing my discovery of The Shadow is forthcoming--and of my teenage fascination with superpulp paperbacks here. 



Somewhere in there, I picked up my first pulp anthology, The Fantastic Pulps (edited by Peter Haining), plus my very first actual pulp magazine, a flea market purchase of a forgotten random issue of Dime Detective. The flea market also provided me with a copy of The Crime Oracle And The Teeth Of The Dragon, a trade paperback reprint of two vintage Shadow pulp novels, reprints which included the illustrations from the original pulps (something the paperback reprints lacked). 





In the '80s, when I was living in Buffalo, I snagged a few more ragged pulps at the flea market. In later years I also bought some of Anthony Tollins' exquisite pulp reprints starring The Shadow and Doc Savage, and some Black Bat and Spider books, too.

And I finally did buy a copy of Tony Goodstone's The Pulps. Some time early in this newfangled new millennium, I saw a used copy on display (in very good shape) at Metropolis Books, one of the best little book shops that ever was. Metropolis was also in North Syracuse, pretty much kitty-corner across the street from where World Of Books used to be. I told Metropolis owner Mike Paduana about seeing The Pulps on the shelf when I was eleven or twelve, and gestured in the direction of the cafe that now occupied the hallowed ground that had once been World Of Books. And I mentioned to Mike how I always wanted that book when I was a kid, but never got around to getting it.

Mike kinda looked at me for a second before saying, "What are you waiting for? You know you're gonna buy it today."



Yep. Mike was right. Years later, it's on my bookshelf next to The Great Comic Book Heroes. Some things just take time.

Back cover of my Amazing Stories pulp, offered here for my friends in The Charlton Arrow Facebook group, a fine bunch of folks who have a thing about Uranus. And who wouldn't have a thing about Uranus?

TIP THE BLOGGER: CC's Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey, Carl's writin' a book! The Greatest Record Ever Made will contain 100 essays (and then some) about 100 tracks, plus two bonus instrumentals, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: https://carlcafarelli.blogspot.com/2019/06/the-greatest-record-ever-made-updated.html

Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes, Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens' track) is also available from Futureman Records.