I Do Like To Be B-Side The A-Side (Volume Two)

Madness, the North London ska-pop juggernauts, have long been masters of the catchy A-side, but their B-sides hold a special allure for fans craving the band’s quirkier edges. Enter I Do Like to Be B-Side the A-Side, Volume Two, their 2021 Record Store Day (RSD) release, dropped on June 12 as part of RSD Drop 1. This 180g black vinyl LP, limited to 2,500 copies worldwide (2,000 in the UK), compiles 11 B-sides from 1982 to 1986, offering a treasure trove of hidden gems pressed by BMG and Union Square Music. With new artwork by Paul Agar crafted alongside the band, it’s a collector’s dream and a testament to Madness’s enduring charm.

This LP is the second in a trilogy celebrating Madness’s B-side legacy, following Volume One (2018, 1979–1982) and preceding Volume Three (2023, 1999–2009). Spanning singles from “Driving In My Car” to “(Waiting For) The Ghost Train,” it captures the band in a mid-’80s sweet spot—post-Two-Tone peak, pre-hiatus experimentation. Available first at UK indie stores from 8:00 AM, with leftovers online by 6:00 PM, its RSD exclusivity fueled a frenzy among vinyl hounds and diehards alike.

Side A kicks off with “Animal Farm (Tomorrow’s Dream Warp Mix),” a moody, warped B-side to “Driving In My Car” that hints at untapped ambition. “Walking With Mr. Wheeze” (from “Grey Day”) shuffles in with jazzy oddity, while “Madness (Is All In The Mind)” (from “Wings of a Dove”) stands out—a breezy, philosophical gem that could’ve flipped to A-side status. “Behind The 8 Ball” and “Fireball XL5” (both from “The Sun and the Rain”) deliver cinematic flair and retro sci-fi bounce, respectively, and “If You Think There’s Something” (from “One Better Day”) offers a tender close.

Side B opens with “Guns” (from “Yesterday’s Men”), a dark, percussive detour from ska norms. “All I Knew” (from “Sweetest Girl”) simmers with soulful warmth, “Please Don’t Go” (from “Uncle Sam”) brings bittersweet pep, and “Jennie (A Portrait Of)” and “Maybe In Another Life” (both from “(Waiting For) The Ghost Train”) wrap it with wistful depth—signs of a band stretching beyond their nutty roots.

These aren’t polished chart-toppers but raw, playful cuts where Madness’s versatility shines—ska, pop, jazz, and weirdness collide. The vinyl’s crisp warmth highlights Lee Thompson’s sax and Mike Barson’s keys, making every eccentricity pop. It’s not a cohesive album, but that’s its strength: a glimpse into the band’s creative sandbox, unburdened by commercial pressure.

Fans, from each corner of the world to record shop queues, devoured it—sold out fast, lauded for curation and quality. Collectors prize its rarity and Agar’s retro-modern sleeve, a visual nod to the band’s aesthetic. It bridges Volume One’s youthful spark and Volume Three’s later polish, catching Madness in a transitional, mischievous phase. I Do Like to Be B-Side the A-Side, Volume Two isn’t for casual listeners—tracks like “Guns” lean more curious than classic. But for fans and vinyl buffs, it’s a 40-minute romp through Madness’s weirder side, brimming with character.