Tracklist:
01. Take This Job And Shove It [1:24]
02. Hop With The Jet Set [2:06]
03. Dear Abby [1:09]
04. Rambozo The Clown [2:24]
05. Fleshdunce [1:29]
06. The Great Wall [1:32]
07. Shrink [1:44]
08. Triumph Of The Swill [2:16]
09. Macho Insecurity [1:29]
10. I Spy [2:29]
11. Cesspools In Eden [5:54]
12. One-Way Ticket To Pluto [1:38]
13. Do The Slag [1:36]
14. A Commercial [1:32]
15. Gone With My Wind [1:42]
16. Anarchy For Sale [1:18]
17. Chickenshit Conformist [5:58]
18. Where Do Ya Draw The Line [2:38]
19. Potshot Heard Round The World [2:10]
20. D.M.S.O. [2:09]
21. Lie Detector [3:41]

Produced by Jello Biafra
A Maim That Tune production
Engineered by John Cuniberti
Mixed by Cuniberti and Biafra
Mastered by Bernie Grundman
Recorded at City Sound Recording and Hyde Street Studios, San Francisco
Sleeve art and drawings: Winston Smith / Fallout Productions
From a concept by Biafra
Cover layout: P. O'Pillage

Personnel:
Ray - guitar
Klaus - bass
Peligro - drums
Biafra - vocals

QUOTE

The Dead Kennedys go out in a blaze of snarling, defiant glory in their final studio release. They drub a bushel basket's worth of entrenched interests, including scientists, the military, the power hungry, macho attitudes, classicism, lie detectors, Reagan and his economic policies, the press, the entertainment industry, and the commercialization of rock and revolutionary attitudes. The album's manic speed punk style recalls In God We Trust Inc., particularly on the frenetic cover of Johnny Paycheck's hit "Take This Job and Shove It." When the tempo slows, a few songs resemble frantic rockabilly; of these, "Hop With the Jetset" lampoons the privileged classes, "I Spy" savages government agents, and "Where Do Ya Draw the Line" is a plea in favor of anarchy. The quiet, furtive "D.M.S.O." is a highly atypical number strongly resembling the theme to The Pink Panther. The lengthy, anthemic "Cesspools in Eden" is a hard rock number with unusual chord changes and lyrics railing against toxic waste; similarly, "Chickenshit Conformist" alternates slow and hyperfast sections and sports wide-ranging verses that constitute a scathing indictment of the rock music industry. As usual, the rushed hardcore numbers often garble or swallow up the well-written lyrics (if you want people to follow you into revolution, your ideas need to be intelligible). The album cover sports witheringly disparaging artwork; also included in this release are two muckraking newspapers, one containing clip art, and the other written articles about the obscenity trial embroiling the band at that point. While it's not totally successful, at least the Dead Kennedys had the satisfaction of going out on their own terms. It's all well worth hearing. (by David Cleary, AMG) Sometimes it takes adversity to bring out the best in people; something akin to the "grace under pressure" Hemingway wrote about. This album is anything but graceful. It is also the DKs at their best. Being assaulted on all sides by the forces of goon repressionism, the DKs have counterattacked in the only way possible a musical leap for the jugular. The result is an album bristling with venom, wit and astounding energy. Make no doubt about it, this thing rages from start to finish. In fact, this 20-song (plus one hilarious MTV "commercial") attack barely leaves one with breathing space. No sooner does one thrasher end then you're knocked against the wall by another sonic punch. Familiar subjects are tackled: right-wing inspired war hysteria ("Rambozo the clown"), racism ("The Great Wall'), and toxic waste poisoning ("Cesspools in Eden"). Biafra at his snarling best, directing much of his rage at the decrepit state of punk today with songs like "Anarchy for Sale", "Do the Slag", and "Chickenshit Conformist". Thankfully, Jello hasn't lost his sense of humor amongst all the shit he's embroiled in. Just listen to the whining "Dear Abby", which details the heart-wrenching dilemma of a coroner trying to keep secret from his family the special ingredient in the tuna helper. The biggest surprise is to learn that Jello doesn't claim to have all the answers. To wit: "Seems like the more I think I know-The more I find I don't-Every answer opens up so many questions." (from "Where Do Ya Draw the Line".) The band is as tight as ever with Ray's voodoo/surf guitar, Fluoride's thumping bass and Peligro's skin-bashing providing the perfect sturm and drang for Biafra's words. I don't know if this will prove to be the band's finale but I sure hope not. They're loud, fierce, snotty and brilliant. In short, the best band going, bar none. We need them now more than ever. (Brian Greenlee, B-Side - March 1986)

SPOILER!

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Extractor: Exact Audio Copy v0.99pb5
Codec: Free Lossless Audio Codec v1.2.1
Scans: HQCovers JPG 600dpi
Total Time: 48:28
Ripper: SurowyTato