Burning The Ground Exclusive
A Strange and Brilliant 12-Inch Experiment From L.A.’s Most Eccentric New Wavers
Before Wall of Voodoo became synonymous with their cult breakthrough “Mexican Radio,” the L.A. art-punk outfit had already built a reputation for creating quirky, cinematic, and sharply experimental new wave. Their 1982 12-inch “Two Songs By Wall of Voodoo” captures the band at a fascinating moment—caught between underground obscurity and the sudden visibility that MTV would soon bring them. More than just a maxi-single, this release plays like a compact sonic experiment.
The A-Side: Mexican Radio – From Underground Curiosity to MTV Staple
The 12″ opens with the familiar 3:56 version of “Mexican Radio,” later released as a single from Call of the West in early 1983. Even in this earlier context, the track stands out: Stan Ridgway’s wry, deadpan vocals, Marc Moreland’s spaghetti-western guitar twang, and the band’s fascination with shortwave transmissions all combine into something both catchy and wonderfully eccentric.
Although “Mexican Radio” wasn’t a massive chart hit, it made a notable impact. It broke into the Billboard Hot 100, performed particularly well in Canada and New Zealand, and even in countries where it didn’t chart—like the UK—it quickly became a cult favorite. Much of that success came from its surreal, low-budget music video, a quirky, dusty fever dream that became an early MTV staple. The video’s DIY charm and oddball imagery ensured Wall of Voodoo stood out in the rapidly expanding landscape of ’80s music television.
The B-Side: A Continuous Sound Collage
The creative heart of this 12″ lives on the B-side.
“There’s Nothing on This Side” begins as an atmospheric instrumental built on echoing percussion, pulsing synth lines, and disembodied bursts of radio chatter. It unfolds slowly, like a transmission drifting in from another world—moody, immersive, and distinctly Wall of Voodoo.
What makes this side particularly compelling is the seamless transition that follows. Without a break, the piece gradually bends and reshapes itself until it emerges as the unlisted “Mexican Radio (Limited Edition Special Dub Mix).”
This mix isn’t a standard dance-floor dub. Instead, it deconstructs the original track into:
- warped and echo-soaked vocal fragments
- sparse drum-machine rhythms
- swirling pockets of reverb and space
- manipulated bits of the A-side stitched into new patterns
Because the segue is continuous, the B-side plays as a single extended sound collage—a compact nearly 11-minute suite that highlights the band’s experimental instincts and studio playfulness. It’s a fascinating contrast to the more structured A-side and a reminder of how adventurous the early lineup truly was.
Why This 12″ Still Matters
This release captures Wall of Voodoo standing at the crossroads of cult experimentation and unexpected mainstream attention. The unlisted dub mix, the conceptual flow of the B-side, and the presence of what would become their signature song all make this 12″ a standout in the band’s catalog. For collectors and fans of early ’80s new wave, it remains one of the most intriguing—and rewarding—artifacts from the era.
Music Video
The music video for “Mexican Radio” became a regular fixture on MTV shortly after the single’s release, giving Wall of Voodoo a level of visibility they’d never had before. It was the first music video directed by filmmaker Frank Delia—formerly the frontman of the Bruthers and a longtime friend of the band. His work on the clip made an immediate impression; the Ramones were so taken with it that they hired Delia to direct several of their videos soon after.
The video itself is packed with strange, memorable imagery: Stan Ridgway’s face rising out of a bowl of beans, disorienting close-ups, and sun-baked desert scenes. Some of the footage was filmed on location in Tijuana, including sequences shot at the bullfights. Actor Carel Struycken even makes a brief appearance, playing the role of the video’s director amid the organized chaos.
Final Thoughts
Two Songs By Wall of Voodoo is much more than a simple promotional single. It’s a compact statement of the band’s idiosyncratic vision: part new wave, part soundtrack, part art-punk collage. While “Mexican Radio” would soon carry them into the MTV spotlight, this 12″ shows the deeper, stranger ideas bubbling underneath.
For fans, collectors, and anyone fascinated by the left-of-center edges of early MTV-era new wave, this release is absolutely worth revisiting.
For fans, collectors, and anyone fascinated by the left-of-center edges of early MTV-era new wave, this release is absolutely worth revisiting.
SIDE A:
Mexican Radio 3:56
SIDE B:
There’s Nothing On This Side /
Mexican Radio (Limited Edition Special Dub Mix) 10:46
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
| Chart | Peak Position | Date |
|---|---|---|
| US Billboard Hot 100 | #58 | 1982 |
| UK Singles (OCC) | #64 | 1982 |
| Canada Top Singles (RPM) | #16 | 1982 |
| Australia (ARIA) | #33 | 1982 |
| New Zealand (Recorded Music) | #21 | 1982 |
RELEASE INFORMATION:
Label: I.R.S. Records – SP 70407
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1982
Genre: Rock
Style: New Wave, Experimental
CREDITS:
- Design – Carl Grasso
- Engineer – Jess Sutcliffe, Robert Battaglia
- Guitar – Marc Moreland
- Keyboards, Bass – Chas T. Gray
- Lacquer Cut By [Runout Etching ⚇] – Frank DeLuna
- Percussion – Joe Nanini
- Photography By [Back] – Scott Lindgren
- Photography By [Front] – Jules Bates
- Producer – Richard Mazda
- Vocals, Keyboards – Stannard Ridgway*
- Written-By – WOV*
NOTES:
Pressed at Columbia Records Pressing Plant, Terre Haute as indicated by 1T etched in both runouts.
Lacquer cut by Frank DeLuna as indicated by ⚇ symbol etched in runouts.
Side B is only credited as one song, “There’s Nothing On This Side,” at a duration of 10:08, but there is a split between B1 and B2; the tracks segue into each other.
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
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As October draws to a close and the cobwebs grow thick across the turntable, it’s only fitting to summon one of the most iconic ghouls of the small screen — Elvira, Mistress of the Dark. This week’s Spooky Season Spin dusts off a wonderfully campy slice of early ’80s novelty pop: “3D TV” by Elvira and The Vi-Tones, released in 1982 on Rhino Records.
