From: owner-fegmaniax-digest@ecto.org To: fegmaniax-digest@ecto.org Reply-To: fegmaniax@ecto.org Errors-To: owner-fegmaniax-digest@ecto.org Subject: Feg Digest V5 #54 Fegmaniax Digest Volume 5 Number 54 Wednesday March 19 1997 To post, send mail to fegmaniax@ecto.org To unsubscribe, send mail to majordomo@ecto.org with the words "unsubscribe fegmaniax-digest" in the message body. Send comments, etc. to the listowner at owner-fegmaniax@ecto.org FegMANIAX! Web Page: http://remus.rutgers.edu/~woj/fegmaniax/index.html Archives are available at ftp://www.ecto.org/pub/lists/fegmaniax/ ---------------------------------------------------------------------------- Today's Topics: ------- ------- Re: Taping legality/ethics Re: Pit of souls robyn at the keyboard More Film Stuff Re: taping legality/ethics lengthy and good Robyn interview available at gridmagazine.com Re: Gravy, Yawn copyright Deni Rarities/Rhino Comp/A&M Re: Gravy, Yawn Re: copyright Lost a trade here... fun, sun, and disappointment re:copyright Re: copyright Re: Fun, sun, and disappointment on this matter of copyright... Re: HELP!!! gluttony in two spheres calling rob zarzecki! "Dance, dance, dance, dance, dance to the radio" Robyn Hitchcock guitar tabs Visions of Johanna (fwd) Visions of Johanna To feg who wrote me re: analog trade, and others Re: Gravy, Yawn Re: Rarities/Rhino Comp/A&M ------------------------------ From: Ross Overbury Date: Tue, 18 Mar 97 23:17:33 EST Subject: Re: Taping legality/ethics Bayard said: > > in my view, the ethics are more important, and I think trading is > perfectly morally sound. (though it's not right to trade stuff that > is, or will probably be, released.) > > those who sell this stuff, on the other hand, deserve to get hammered. Too bad those of us who participate from corporate accounts could stand to get hammered, too. Legality can matter so much more than morality to ones employers. -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca (cn as in CN Rail corporate account) ------------------------------ From: Ross Overbury Date: Tue, 18 Mar 97 23:21:19 EST Subject: Re: Pit of souls Bayard said: > > tracy "five letters, starts with "t" sez: > > > > "The Pit Of Souls" (country version) > > > >From Brenda's Iron Sledge 12". Midnight Music Dong 17 (1985) > > > > > This is the EP with the comic strip adaptation of "Brenda's Iron > > Sledge" on the cover, right? To my ear the full-length "Pit of Souls" > > there isn't any different from the one on the Rhino _Fegmania!_ reissue. > > Am I missing something? > > the rarer one (rereleased on _feg!_) has four movements, a la "a saucerful > of secrets" (sorta.) "terribly self indulgent," says robyn. > {snip} I've got the EP, and it's got the 4 movement version. -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca ------------------------------ Date: Tue, 18 Mar 1997 23:40:04 -0500 (EST) From: Bayard Subject: robyn at the keyboard >I thought he hated computers. I forgot to mention a friend of his (who prefers to remain anonymous) acted as proxy to pass the world along. Tis true- RH is anti-computer. Deni's online, though. BTW, Ross, I'm using Pegasus Mail now, so I guess if you can encrypt, we can trade tapes! (either in or out of the crypt..) ------------------------------ From: RxBroome@aol.com Date: Tue, 18 Mar 1997 22:51:55 -0500 (EST) Subject: More Film Stuff In response to a couple of (mostly offlist) questions re: my early viewing access to "Storefront": I dunno if it's done yet, but I am sure that my company will be one of the first to see it when it is. Hopefully we'll get an actual print to screen; if not, we'll get an advance VHS screener. I can also tell ya that the distribution is gonna be pretty limited. I know way too much about the handling and exhibition of indie- style film, and can already predict the release pattern on "Storefront": A series of one-week locks at upscale repertory theatres in urban areas. In LA, that's the Nuart (one of ours), the venue for all performance and music documentary- type films (cf. any Spalding Gray monologue film, the Sonic Youth film, the recent grunge and grrrrl band docs, the Theremin film, etc...), followed by possible weekend matinee and midnight moveovers to other indie theatres (the Sunset 5 in LA, etc). Look for it at the Castro (SF), the UC (Berkeley), the Ken (SD), the Varsity (Seattle), and places like that, usually with names like "Music Box" or something along those lines... usually old movie palaces converted into rep houses with built-in audiences. Don't even bother to check the listings at your local multiplex... This all bodes well for me... I should be able to lay hands on any and all promotional material for "Storefront", including one-sheet posters, soundtracks, etc... I knew there had to be a reason for not quitting this dumb-ass job... See you at the Oscars, Rex ------------------------------ Date: Tue, 18 Mar 1997 21:49:03 -0600 (CST) From: Truman Peyote Subject: Re: taping legality/ethics On Tue, 18 Mar 1997, Bayard wrote: > as well they should, imho. last i heard though, RH himself had no problem > with fans taping and trading. he even emailed me after the last gig at > the old 9:30 so he could get a clone (his DAT tape ran out.) You got an email from Robyn Hitchcock? Did I read that correctly? I thought he hated computers...... > if RH gives > permission for us to trade his unreleased stuff, i know of nothing his > management co. would (or could) do to us (the different countries' laws > could come into play, i suppose.) Well, it may not actually be up to him to decide, legally speaking, as Tracey explained. Matters of copyrights, performance rights, recording rights, and all that rubbish can get quite complicated. Still, I should think as long as there are no plans to release the material in the future, no one is going to get seriously upset. After all, Warner's might regard it as good publicity :). I wonder how bands like Phish work this out with their labels? Love on ya, Susan ------------------------------ From: "A. David Wright" Subject: lengthy and good Robyn interview available at gridmagazine.com Date: Wed, 19 Mar 1997 00:56:52 -0700 For those fellow fegs that don't know me (which I guess would be all of you), I live in a smallish town called Provo, Utah, home of Brigham Young University and about an hour south of Salt LakeCity. Not much happens around here Robyn-wise. I think someone posted a year or two ago that they went to a Robyn show here, either with the Egyptians in the late eighties, or solo circa _eye_. I don't really remember, but I do know that I haven't heard of any other Robyn shows in the area ever. I do know that he's never been here as long as I've lived here. The one Hitchcock show I did get to see was in Phoenix with the Egyptians. So, I'm always pleasantly surprised to find other Robyn related things around here. Today when I picked up a copy of the local independent magazine, _grid_, I was pleasantly shocked to find our boy on the cover. I've met most of the _grid_ folk over the years, and I knew they were pretty big Robyn fans, but this is great! I'd really like to know the circumstances under which the interview took place, because I know Robyn wasn't in Salt Lake. I like the interview a lot , as Robyn discusses the movie, the upcoming book of short stories, his writing music for Microsoft(?) (actually a whole multimedia project really), and calls _Can of Bees_ indigestible. I didn't realize that Robyn read Gabriel Garcia Marquez... Everyone should read the article, but first go to to look at the cover photo. When you're done gazing, go to to read the whole article. Maybe with this local publicity we can got Robyn over here on the West coast tour? Probably not... While we're on the topic, does anyone here know anything about Robyn shows in Salt Lake? Like have you ever been to one? -David ------------------------------ Date: Wed, 19 Mar 1997 01:32:29 -0800 From: Eb Subject: Re: Gravy, Yawn >From: Hedblade@aol.com >This is all well and understood (and I'm not attacking the posting party), >but didn't Uncle Bobby feel the same way about Groovy Decay? Seems >re-releasing *that* after years of fans clamoring for it didn't "hurt" so >much. I'd venture a guess that Gravy Deco fell behind only You and Oblivion >in the sales department as applied to the Rhino re-issues (in other words, >second best seller of the lot). What would make you think that? I would think something like Fegmania! or Element of Light would be #2. >From: mr bean jeans > >ps. it's been a while since the last bootleg thread, huh? ;) I would've been happy to wait a while longer. ;) Eb ------------------------------ From: tanter@econs.umass.edu Date: Wed, 19 Mar 1997 06:20:13 -0500 Subject: copyright The artist or whoever holds the copyright no matter what, but I seem to remember a court case when walkmans became big in which an artist tried to sue because people were taping tapes or albums or whatever and fair use law prevailed--as long as no one is making money off the copies, taping cannot be stopped. That said, taping shows can be an illegal activity, even if the artist says its OK. It depends on who owns the rights to the songs. You know that blurb that comes at the start of videos that talks about illegal use? It applies to audio, too. Marcy ------------------------------ From: tanter@econs.umass.edu Date: Wed, 19 Mar 1997 06:25:06 -0500 Subject: Deni Forgot to say that I had an email from Deni yesterday and she's going to be in Boston in May. Marcy ------------------------------ Date: Wed, 19 Mar 1997 07:04:50 -0500 From: "David C. Olstein" Subject: Rarities/Rhino Comp/A&M >It seems to me that there are still a lot of Robyn rarities worth hearing, >but I think the 1981-1987 is pretty well taped-out. . . . there have >already >been two (long) CD's of rarities from this period, plus bonus >tracks on each of >the Rhino reissues.There may be a couple of good songs >left, but I can't >imagine it's more than a couple. I'm not sure where it was -- perhaps it was ICE or Goldmine -- but somewhere I read about how much unreleased material Robyn had available for inclusion on Y&O and it was clearly more than one discs's worth. And that doesn't include demos. Again, I don't recall the precise facts (I'm sure Bayard or woj could fill them in) but I think Rhino at one point considered including a bonus CD with one of the reissues (IODOT?) that would have contained the demos for all of the songs on the album, in the same running order. I don't think it would be tough to come up with another disc's worth of rarities, and I'd expect it to sell as well as Y&O, since anyone who bought that would likely buy yet another rarities disc. As for the compilation disc, I'm just as unhappy as everyone else about the exclusion of rare material. From a marketing standpoint, it would have been smart to include at least one or two unique tracks, just to insure that all the completists out there would buy it. As for me, I'm not quite ready to shell out $15 just to get some new liner notes from Robyn. And is there really a market for a single disc compilation? It's a shame Rhino didn't bite the bullet and put together a more comprehensive double disc anthology, which is something they're especially good at. >That said, it seems that the A&M period (1988-1993) still has a variety of >riches to offer. . . . I realize that there's not much chance of this >stuff >ever getting released >officially by A&M, since I'm sure Robyn is a dead issue to them. . . . I remember that at the time Rhino announce their RH reissue series, there was some talk about also licensing the A&M material and producing expanded reissues of those albums as well. I guess nothing ever came of that (sigh). ------------------------------ Date: Wed, 19 Mar 97 11:10:25 EST From: kenster@MIT.EDU (Ken Ostrander) Subject: Re: Gravy, Yawn >>This is all well and understood (and I'm not attacking the posting party), >>but didn't Uncle Bobby feel the same way about Groovy Decay? Seems >>re-releasing *that* after years of fans clamoring for it didn't "hurt" so >>much. I'd venture a guess that Gravy Deco fell behind only You and Oblivion >>in the sales department as applied to the Rhino re-issues (in other words, >>second best seller of the lot). > >What would make you think that? I would think something like Fegmania! or >Element of Light would be #2. well, _you & oblivion_ , _gravy deco_ , and _gotta let this hen out!_ were the only rhinos i bought. i got gravy because it combined the two different versions of the album and hen because it had extra tracks mixed in, or rather not edited out like on my vinyl. yowsa! the disks of _fegmania!_ and _element of light_ already had lots of extra tracks. KEN ------------------------------ Date: Wed, 19 Mar 1997 11:38:30 -0500 (EST) From: Tracy Aileen Copeland Subject: Re: copyright [Note for international readers: the following probably only applies to US law.] On Wed, 19 Mar 1997 tanter@econs.umass.edu wrote: > but I seem to > remember a court case when walkmans became big in which an artist tried > to sue because people were taping tapes or albums or whatever and fair > use law prevailed--as long as no one is making money off the copies, > taping cannot be stopped. "Fair use" doesn't mean "no one's making money". It most commonly applies to brief quoting. If I write a review of a work and quote from it, that's fair use *even if I get paid for the review*. If I photocopy the same work in its entirety and hand it around to my friends so they don't have to buy it, it's not fair use even if I don't get paid. Taping a CD you own for your personal use, like making backup copies of store-bought software, is OK; taping for your friends isn't. No one's likely to stop you, but it's still a violation of law. I'm not saying this to pick fights with anyone, and I personally think that tape trading is essentially free publicity, hurts no one, and is the same category as taking a shortcut through the park at midnight even though the signs say to keep out after sunset - technically illegal but there's no point in caring. (The counterargument would be that sometimes what's taped *does* compete with official product; I seem to recall a few people saying they wouldn't bother with _You and Oblivion_ because so much of the material had been circulating on bootlegs for years, but for the life of me I can't remember if that was here, or in the _Positive Vibrations_ mailbag, or what.) I'm not criticizing the people who put together tape trees; on the contrary, I think they're performing a service for other fans. And I'm not a copyright lawyer. What I am is a freelance writer, so I have to have some knowledge of how these things work, and I do know enough to know that most people's understanding of copyright doesn't match up to the real thing. The FAQ I mentioned last time is posted regularly to new.announce.newusers; a copy should be easily available there (it's posted frequently and n.a.n has a long expire time at most sites.) If you have specific questions about the US law you can call the Copyright Public Information Office at (202) 707-3000 weekdays between 8:30 A.M. and 5:00 P.M. eastern standard time. The Library of Congress website at http://lcweb.loc.gov/copyright also has general information and links to related sites. There are also things like _Writer's Market_, _The Copyright Hnadbook: How to Protect and Use Written Works_, and _Every Writer's Guide to Copyright and Publishing Law_, but they're all specific to written material and may not be entirely applicable. Tracy "willing to argue that a slice of toast is an 'original work of authorship' that is fixed in a tangible form of expression" Copeland ------------------------------ Date: Wed, 19 Mar 1997 11:34:07 -0600 From: LSDiamond Subject: Lost a trade here... been doing quite a bit of (legal!?!?) trading here and i need to know who wanted the Live at McCabes & Live at Tramps NYC tapes... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Okay Okay i updated my page again (7 March, 1997) I don't beg! Sign the book or live to regret it! *eg* http://www.geocities.com/SoHo/1542 ------------------------------ Date: Wed, 19 Mar 1997 08:00:24 -1000 From: jojones@mailbox.syr.edu (John B. Jones) Subject: fun, sun, and disappointment hi fegs. in honolulu right now, at one of them "internet cafe" things. anyway, i read alot of mail just now, and i must say that: a) i am pissed about the rhino compilation. jim emailed me about the time he sent out those free posters, and said that they were going to track down something good in the way of a rarity to throw on there. b) i just accidentally deleted some of my e-mail i think. i have way too much mail on my account (over my disk space limit). if anyone has reviews saved of the friday and saturday knitting shows, can you let me know?? we won't be home for another 5 days, but when i get home i can get rid of all the mail sitting on my server and make room for the good stuff---those reviews!!! c) dat this dat that.....blah blah....did any analog tapers tape the friday and sat knitting factory shows?? did green storm lantern get played AT ALL??? bye now. miss you guys. we brought our laptop so's we could keep up with all things "internet", but it has been acting up in a big way. john b. jones ------------------------------ From: tanter@econs.umass.edu Date: Wed, 19 Mar 1997 12:42:26 -0500 Subject: re:copyright I'm not arguing with Tracy but I want to know if the copyright law that applies to written material is the same as the law as applied to audio. WBCN in Boston is always telling listeners to have their tape recorders ready when they broadcast live concerts and surely they wouldn't do that if it's illegal. (of course, they might...!) Marcy ------------------------------ From: Hackinaway@aol.com Date: Wed, 19 Mar 1997 12:53:40 -0500 (EST) Subject: Re: copyright In a message dated 97-03-19 12:47:48 EST, you write: << fegmaniax@ecto.org >> I personally, will continue doing what I want until the cops bust down my door. (laughing) :) ------------------------------ From: tanter@econs.umass.edu Date: Wed, 19 Mar 1997 12:58:18 -0500 I just read a judgement made by Sandra Day O'Connor in 1995. It's to do with electronic media (as opposed to print media). Copying material for personal use is fine as long as it's for research, comment, criticism or education. In a 1973 convention of the U.N., they say that you can't copy phonograms (and by now that includes tape and CDs) for distribution to the general public, but they don't say that you can't distribute to a limited group. So I suppose to expand on what Tracy said, it doesn't seem to be explicitly spelled out but it's not sanctioned, either. Remember all that hassle with Kinko's a few years ago? Profs were having them make booklets that included whole articles and chapters for class purposes but because Kinko's sold the booklets, it was copyright infringement because they were making a profit. Now you have to get permission to do it. However, I can copy a whole article or chapter to distribute to my students if they don't have to pay for it. (You can argue they pay for it through their fees but the publishing companies have agreed to this.) Marcy ------------------------------ From: Ross Overbury Date: Wed, 19 Mar 97 13:15:40 EST Subject: Re: Fun, sun, and disappointment john b. jones wrote: > > hi fegs. > > in honolulu right now, at one of them "internet cafe" things. > My God -- what's happening to us? -- Ross "have slide rule, will travel" Overbury Montreal, Quebec, Canada email: rosso@cn.ca ------------------------------ Date: Wed, 19 Mar 1997 10:47:58 -0800 (PST) From: "Infinity's Ragged Shore" Subject: on this matter of copyright... i agree with tracy, a piece of toast is an original work in any form. although, anything with sprinkles raises questions in my mind. the question here is...will people be digging through my trash to find "original works of burnt toast" once they find out my toaster has serious functional problems. and, do i have any legal recourse to prevent someone from profiting off this? from where toast has to be bootlegged, even for personal use, .chris (oh, i would have problems trading toast, as well. i would much rather have it for my self, but if it were really good i would trade. I just would hate to trade two pieces of toast and postage for only one piece in return.) ------------------------------ Subject: Re: HELP!!! Date: Wed, 19 Mar 97 10:48:52 -0800 From: Tom Clark Jay pleaded: >A while back I ordered this from a store in New York at which a list member >works (sorry- forgot who you were). There were several in stock as reported >at the time, but I never received mine. My order was phoned in and my credit >card number was given. If the kind member of the list could contact me, I'd >appreciate it! > ><<"Deck Of Cards" (performed by The Soft Boys) b/w "Flesh Number One" >(performed by Robyn Hitchcock) From Bucketfull Of Brains magazine (1988) >flexi.>> I sent an order also and still have not heard anything. I believe the list member's name was Tom, but I'm pretty sure it wasn't me. -t "still happily employed" c ******************************************* Tom Clark Apple Computer, Inc. tclark@apple.com http://www.netgate.net/~tclark "Knowledge Is Good" - Emile Faber ------------------------------ Date: Wed, 19 Mar 97 14:02:49 EST From: Jeff Rosedale Subject: gluttony in two spheres Eight is a nice number. So I did the unlikely and drove up to Tivoli to see one last show on this tour. I was not disappointed, though only I only heard one song that I hadn't before. Description follows. The cones were really terrific, nice and detailed. I had to buy a second one (!), a telephone changing to a man and finally into a shark emerging through a cone. Lots of other good ones on sale, though I couldn't afford a shrine (4 cones). Tivoli is an adorable little village about 5 miles north of Bard College. Lots of little artsy places and small old houses. Santa Fe is a bar/restaurant serving very good mexican food... there was no stage, just a couple of monitors segregating a tiny floor space for performer(s). The Janes were crowded in but put in a good performance, including a song I hadn't heard, "doormat". Ginny wasn't feeling well but you couldn't tell from her singing. Before the show some fan gave Robyn a rattling replica of a pirhana- he looked amused and mock-swam it through the air. The crowd was small, perhaps 50-60 people, and unfortunately did not generate the kind of energy a receptive small crowd can. Anyway, RH opened with the gene hackman song, and folllowed with about 45 min. acoustic including 1974, Beautiful Girl (great), I something you (with an intro about a finnish person helping Robyn court the dark princess by supplying finnish chocolate), I don't remember Guildford, Heartful of leaves and Autumn is your last chance; then electric stuff partially marred by out of tune guitar (to Robyn's great annoyance): I am not me, Madonna of the wasps (preceded by an anecdote involving a battle between "the artist" and "schrapnel man", a man made entirely of holes); there really was no break, and he launched directly into "encores" with Dechirico St (the song he was singing when they took the picture on the ME poster), the best version so far of Arnold Lane, a ringing Daisy Bomb wih the janes, and a still-sounding-unrehearsed beatles covers with the Janes also. he concluded with Are you experienced (a blast) and wind cries mary. Talk was brisk at the beginning, including tales of a child who grew into a 200 foot tall frozen god, and the expandable man, a DC comics character named George Dibble (I think), trying to climb his way out of a cognac glass (Robyn drank cognac at the end of the set, sharing it with the Janes to their appreciation). Igor was rocking to the set, and Robyn and Michele looked really close and happy together before it all started. One thing I've really appreciated about the tour is the intimacy- it's like being in Robyn's living room (except more smoky!), and getting a signed cone soothes the autograph fever. He's also so damn nice- he seemed a bit embarrassed to have written "trash" because it's such an angy and mean song. Anyway, I hope the Mass. people have a blast with the last few shows! --Jeff ------------------------------ Date: Wed, 19 Mar 1997 16:03:34 -0500 From: Hal Brandt Subject: calling rob zarzecki! Sorry to post to the list on a personal matter, but my email keeps getting kicked back to me when I try to contact my branch on the 3/3/97 Tape Tree. His address is listed as: rob zarzecki (cagedrat@sprynet.com) If this is you, please email me direct so we can work out a trade. Thanks! hal hbrandt@centralnet.net ------------------------------ From: HAMISH_SIMPSON@HP-Sonoma-om1.om.hp.com Date: Wed, 19 Mar 97 11:51:11 -0800 Subject: "Dance, dance, dance, dance, dance to the radio" Item Subject: cc:Mail Text UK Feglets all, Someone from my work back in the good ol' UK tells me RH's new single was played on Radio 1 this morning (the 19th). Anyone have any info on a "new single" or hear the broadcast? I didn't think "regular" radio 1 DJs would be interested. (H) ------------------------------ Date: Wed, 19 Mar 1997 18:18:34 +0000 From: The Snames Subject: Robyn Hitchcock guitar tabs Has anyone worked out the tabs for Man with a Woman's Shadow yet? I'd be really grateful if they could send it to me. I'm really struggling with this one. Cheers. James Oswald. Edinburgh Scotland ------------------------------ Date: Wed, 19 Mar 1997 18:49:14 -0600 (CST) From: Truman Peyote Subject: Visions of Johanna (fwd) Just thought I'd pass this along to you scrummy people. Anyone have the full article? Love on ya, Susan ---------- Forwarded message ---------- Date: Wed, 19 Mar 1997 16:01:56 -0800 From: Malcolm Lawrence Subject: Visions of Johanna Hey Susan I just saw the new Musician magazine which may be of interest to you. It's silver, and the cover story is The Greatest Songs Ever Written, and some famous musicians give their top picks. Robyn Hitchcock's pick is Visions of Johanna and he has a really nice few paragraphs where he explains why and his words could have come from my mouth. I've also *lived* in that song before and can play it backwards and forwards on the guitar. Anyway, since I'm not on the Fegmaniax list I thought it could be an interesting item for you to toss out: "So Mr. Feg thinks VOJ is real gear. Anyone else going to salute it?" ------------------------------ Date: Wed, 19 Mar 1997 20:58:53 -0500 (EST) From: Rob Gronotte Subject: To feg who wrote me re: analog trade, and others Oops, I lost your message! I'm not really interested in trading analog right now, as I have about 100 analogs I have never even listened to, plus a lot of DATs I haven't either. However, I do have a lot of analog blanks and I would like to help people out. You're welcome to send me the cost of blanks and return postage ans I'll send you analog copies of my recent masters, last winter in DC, and just a few weeks ago in DC. Also willing to do the same for a few other fegs who are relative newbies to the tape trading scene (less than 30 or so shows to trade)or people who were at one of the afore mentioned show. Be honest, and I really don't have time to do this for more than 5 or so people, and I can't promise rush jobs to them. If more people reply, I'll refer them to the people I do get copies to. Rob ------------------------------ From: Hedblade@aol.com Date: Wed, 19 Mar 1997 21:26:30 -0500 (EST) Subject: Re: Gravy, Yawn First I opened my big mouth and said: << I'd venture a guess that Gravy Deco fell behind only You and Oblivion in the sales department as applied to the Rhino re-issues (in other words, second best seller of the lot).>> It was then questioned: <> Ken had this to say: <> Our fellow Feg Ken supports my theory. This is exactly why I guessed, or was willing to bet, that Gravy Deco was second after You & Oblivion. Groovy Decay was, up until the re-issue, one of the harder (or at least more expensive) Robyn collectibles. Putting it on the disc with Groovy Decoy PLUS the addition of the Disco Mixes, made it near essential. At the very least, it made it appealing even to those who already owned an import copy of Groovy Decoy on CD. If you follow my logic to the end (and the reason for bringing it up in the first place), the same could be said for Two Halves and Portland Arms. They are currently a couple of the harder (or at least more expensive) Robyn items to find. Whoever suggested putting them both on one disc deserves a cookie! Sincerely, Jay ------------------------------ Date: Wed, 19 Mar 1997 21:22:32 -0500 From: mr bean jeans Subject: Re: Rarities/Rhino Comp/A&M also sprach "David C. Olstein" : >I'm not sure where it was -- perhaps it was ICE or Goldmine -- but >somewhere I read about how much unreleased material Robyn had available for >inclusion on Y&O and it was clearly more than one discs's worth. taken from an article by erik flannagan (whose name i can never remember how to spell properly) that appeared in ice when the news of the rhino re-issues surfaced: >You & Oblivion looks to be a sequel to Invisible Hitchcock, the 1986 >collection of unreleased tracks recorded over the previous six years. >"It's almost Volume Two," says Neill, who faces the unenviable task of >whittling some 30 unissued songs to a single CD. "He foreshadowed You >& Oblivion in the liner notes to Invisible Hitchcock. When we signed the >deal with Robyn, he wrote in the original proposal, 'What excites me is >the opportunity to assemble another outtakes album. In the attic I have >over 20 good-quality, mostly unreleased tapes from 1981-1987. These >are great songs that just didn't fit at the time. I defy the collector to even >suspect their existence, let alone have them already.' There are some >beautiful, spaced-out songs there. Some are demos, some are fully >realized songs; others are completely produced with the band, but a lot >of it is just him and guitar. For people who are big fans, this is going to >be a holy grail of sorts." woj ---------------------------------------------------------------------------- The End of this Fegmaniax Digest. *sob* .