From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V10 #103 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Monday, April 2 2001 Volume 10 : Number 103 Today's Subjects: ----------------- maximilian Lang- and fuck pres shrub ! [the minister of misinformation <] Re: NYC Fegs [Kate Kwiatkowski ] [QuailEbiax!] Rock-n-Feg Toilet, Part 2 [Johnathan Vail ] RE: the long thing ["Yudt.Matthew" ] chicago sun-times interview w/ k.rew [recount chocula ] Re: Pulse magazine article [recount chocula ] Re: Don't look back [Michael R Godwin ] Minneapolis taper? [david.skoglund@att.net] goes a thousand miles an hour... ["Poole, R. Edward" ] Re: [QuailEbiax!] Rock-n-Feg Toilet, Part 2 [Ken Weingold Underwater Moonlight ["Jason R. Thornton" ] minneapolis city pages article [recount chocula ] Re: Underwater Moonlight ["Mike wells" ] RE: Underwater Moonlight ["Poole, R. Edward" ] ---------------------------------------------------------------------- Date: Mon, 02 Apr 2001 21:11:41 +0930 From: the minister of misinformation Subject: maximilian Lang- and fuck pres shrub ! This is not good enough , Another Lang on the list !, the bastard is bound to be an impostor with a name like that , its too frigging improbable to be true, obviously the Quail is up to his tricks again . ( and if , by some unlikely chance the Max , is Kosher then g'day Maxy - - welcome to the list !) I just e-mailed the Whitehouse about President shrubs fucking disgusting environmental record, whatd'ya know the bastards bounced me back - the service is not available ... I wonder why ?. disgustedly commodore lang ------------------------------ Date: Mon, 2 Apr 2001 04:50:08 -0700 (PDT) From: Kate Kwiatkowski Subject: Re: NYC Fegs Better yet...check out Time Out New York. They have a website but everything is listed in the magazine by day...you don't need to rely on club ads. http://www.timeoutny.com/ Kate ===== "Savor the moment right now. You can't have a better tomorrow if you are thinking about yesterday all day today." Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/?.refer=text ------------------------------ Date: Mon, 02 Apr 2001 09:08:42 -0400 From: Johnathan Vail Subject: [QuailEbiax!] Rock-n-Feg Toilet, Part 2 Date: Fri, 30 Mar 2001 15:35:42 -0500 From: "ross taylor" Subject: [QuailEbiax!] Rock-n-Feg Toilet, Part 2 >From: The Great Quail >I couldn't point out Jonathan Richman in a >police line-up.) He's the tall one w/ his shirt unbuttoned who looks like a dark-haired Harpo Marx. You can see a somewhat more recent (last couple years) version of him singing between every other scene in the movie There's Something About Mary (and on the soundtrack of said movie). Does anyone know if Hitchcock & Richman ever met, or even mentioned each other? Not sure. Did anyone anyone already mention that J Richman was the front for the Modern Lovers? Yet another of those influential yet not too commercially successful bands. For a whle in the 80's it seemed like every band had to have a cover of "Road Runner" although I can only think of Greg Kihn right now. They're both pioneering 60s-oriented combiners of punk & folk who always have something to say between songs. Their forms of humor are almost diametrically opposite, & if I knew why or how better to describe that, other than that Robyn is "surreal," I would know more about humor. Last time I saw Richman was at the Channel in Boston (which says how long ago *that* was...) and they were having sound and lighting problems. The bass player was pissed he couldn't hear hismonitor and kept walking off stage. There wasn't much humor that night. jv ------------------------------ Date: Mon, 2 Apr 2001 09:23:59 -0400 From: "Yudt.Matthew" Subject: RE: the long thing > From: Capuchin > Subject: Correction to the long thing: > ... that long missive > about technology and biology and whatnot. > > SO I spent several hours over the weekend reading and writing a response to the 'long thing'. Unfortunately I feel it is too long to post to the entire group. Shame, because I think it is quite good, and a useful discussion I am having with Jeme and Vivien. If anyone is interested, I'd LOVE to forward it to you. Perhaps later today I will write a summary of my arguments and views, rather than a 5 page point-by-point diatribe on the gross points of environmental science and activism. This place is just too Hitchcock now, and its not my place to mess with that! Cheers, Matt (always trying to 'make the secretaries feel better, at the government center'...) ------------------------------ Date: Mon, 02 Apr 2001 09:34:52 -0400 From: recount chocula Subject: chicago sun-times interview w/ k.rew The Soft Touch March 23, 2001 BY JIM DeROGATIS POP MUSIC CRITIC From the current vantage point a little more than two decades after the release of 1980's classic "Underwater Moonlight," it's clear that England's Soft Boys were not only one of the all-time great psychedelic pop bands, but also a post-punk supergroup, with each member being integral to the wonderful weirdness of the music. The inimitable Robyn Hitchcock was the front man, of course, and songs such as the hippie-punk anthems "Positive Vibrations," "Kingdom of Love" and "I Wanna Destroy You" rank among his finest. His flair for Lennonesque melodies is in ample evidence on the album, as is the witty, surrealistic cast of lyrics that explore old perverts, jealous madmen, ghosts that emerge from the sea and all manner of disturbing insect imagery. Matthew Seligman's liquid bass and Morris Windsor's sensitive drumming propel the music in unexpected directions. After the Soft Boys, Seligman would go on to play with the Thompson Twins, Thomas Dolby (on "Blinded by Science"), David Bowie (at Live Aid) and Morrissey, while Windsor would remain at Hitchcock's side through the next 15 years, playing on his solo albums and as a member of the Egyptians. Then there was mop-topped Kimberly Rew. His serpentine guitar parts inspired Hitchcock to rock harder than at any other point in his career, and the two seemed to be fighting one long, psychedelic six-string duel--as if Television were covering Pink Floyd's "The Piper at the Gates of Dawn" or the Beatles' "Revolver." Hitchcock said the Soft Boys "just sort of petered out" in 1981, after "Underwater Moonlight" failed to knock Haircut 100 and its ilk off the pop charts. The band's leader began a consistently fascinating solo career, but Rew wasn't idle: After recording 1982's "Bible of Bop" with the backing of the dB's, he formed Katrina & the Waves and scored two major hits with "Walking on Sunshine" and "Going Down to Liverpool," which was covered by the Bangles. Last year, Rew released his long-awaited second solo album, "Tunnel Into Summer," and he once again toured with Hitchcock, paving the way for the current Soft Boys reunion. I spoke with him from his home in England before the start of the U.S. tour celebrating the reissue of "Underwater Moonlight" on Matador Records. Q.It was great to see you coming back last year with your solo album. What had you been up to after Katrina & the Waves? A. Let's see, Katrina & the Waves formed in 1981, and then more or less broke up in 1999. It was obviously not operating on the level of "Walking on Sunshine," but as the sort of band that tours and makes records in Germany and places like that. Everybody in America thought we'd disappeared completely, but it just ran its natural course until Katrina [Leskanich] got a very good opportunity to go solo. We won the Eurovision song contest in 1997, which is a sort of mainstream pop thing, and that gave Katrina the opportunity to become a DJ and then to star in "Leader of the Pack," a musical based on the songs of Ellie Greenwich. That kind of put the end to the band. Q. "Walking on Sunshine" peaked at No. 9 in 1985. I've read of songwriters being set for life after a hit like that. A. [Laughs.] I can't retire. I can't say, "Oh, good, I don't have to do this anymore. I don't have to tour with Robyn." But the thing is, I want to do that anyway. Having said that, it's nice to feel as if you've really communicated. It's nice to be like the Soft Boys--"Here we are, and we're appealing to the people who like us." But it's also nice to know that the only real difference between that and appealing to the world generally is just a question of pressing a very small button. I think "Walking on Sunshine" spoke to the Motown fans more than anything else. Technically, that's where I got my ideas. Then again, nobody would dispute that that was all-time, first-league, classic rock 'n' roll territory to be borrowing from. Q. For all of the wonderful songs he's written, Robyn never scored a hit like that. Was there a sense of competition between him and the Waves after the Soft Boys? A. I don't know. The thing is, I wasn't around in 1985 with Robyn, so I don't really know if he thought much about it. I'd expect probably not because he was really just getting his first sort of chance then with the Egyptians. I suspect he was a bit too busy playing gigs and making records to really think about it. And of course he has been extremely consistent; his record speaks for itself. Q. When you toured with Robyn last year, there seemed to be some of that old tension that powered the Soft Boys, as if you were pushing him to rock harder. A. I think there is a natural cycle happening with Robyn. He had the Egyptians, and they were a rocking band, though they kind of went acoustic in about 1991. Morris started using a reduced kit and brushes, and Andy [Metcalfe] had his sort of acoustic bass. Then there was Robyn completely solo--that's always been a sidelight, but it became central. Then I think there was more of a kind of upward phase of the cycle, back toward the electric sound. He was adding more stuff, first with Tim [Keegan], then with me and then finally the "Underwater Moonlight" revival. Having the album reissued does kind of come into it. People seem to be saying to me, "What about this tension?" more than I'm actually feeling tension now or that I felt it 20 years ago. Q. Well, Robyn has been giving interviews for the last two decades talking about how you two were always wrestling musically! A. I suspect it was more because he wasn't doing the Soft Boys at that time. People expect an explanation. But I'd like to think there was a chemistry. You have a writer and a front person who's also a guitarist, and then another guitarist comes along, and it's just a case of my doing the right thing. It can vary from being very unobtrusive in the background to sort of suddenly jumping into the spotlight. But that's the beauty of the electric guitar--it's a very versatile instrument that way. Q. What do you remember about recording "Underwater Moonlight"? A. It was mostly eight-track; it wasn't like top-notch studios at the time. It had to be made with the money that there was. Q. Still, the album has a sort of consistency that many of your favorite records have, whether it's "Revolver" or Captain Beefheart's "Trout Mask Replica." It takes the listener on a voyage. A. Good, yes! Yes! My favorite records are like that. It's nice to be able to sit down at the beginning and just go to the end and get a kind of complete journey. Those are the sort of albums that I like to listen to myself. Q. How do you see the Soft Boys fitting into the continuum of psychedelic rock? A. I think because of the age we are and the nationality, that's really where we're coming from--pretty much the late '60s. I suspect it's more in the mainstream than people think. Obviously, not becoming a hugely successful commercial group at the time, the Soft Boys had to go into one of these subcategories, and people have had trouble with that. You've had things like the ska revival and what have you, and that's very simple; you belong to that and then you stay there. The psychedelic revival was mentioned in 1979--that was actually just when the first things were starting to be revived; up until then everything had been happening for the first time. But as far as we were concerned, what we were doing was very much in the present. Q. Is there a future for the Soft Boys? A. We have actually recorded a song for a tribute to Paul McCartney. Robyn was originally asked to do it, and because the Soft Boys were rehearsing at the time, we ended up doing the recording. Long term--dig it, as you've probably gathered, it depends on what's right for Robyn. He may feel it will be time to do something different, or he may want to continue. From the evidence that he's still here, he tends to have an instinctive nose for making the right move. Pop music critic Jim DeRogatis co-hosts "Sound Opinions," from 10 p.m. to midnight Tuesday on WXRT-FM (93.1). *** The Soft Boys; John Wesley Harding * 8 p.m. March 30 * Metro, 3730 N. Clark * Cover, $20 * (773) 549-0203 ------------------------------ Date: Mon, 02 Apr 2001 10:00:16 -0400 From: recount chocula Subject: Re: Pulse magazine article when we last left our heroes, Marc Holden exclaimed: >There's another short article about the Soft Boys (one page) in the April 2001 >Pulse magazine--the free handout from Tower Records. They have an on-line >version, but the print version has a nice photo of the guys included. I >couldn't get a straight link, but found the article here: >http://pulse.towerrecords.com/redirect-flash.asp?exec=contents%2Ehtml you can get to the article directly by intoning "i hate flash" three times and pointing your browser at here's the text for those of you sans flash: Soft Boys Weigh In Again Luckily for Soft Boys fans, Robyn Hitchcock's mom tends not to throw things out. "You'd know that if you saw the inside of her fridge," says Hitchcock, adding a bit of unwanted insight into the Soft Boys' penchant for catchy pop tunes about hatching larvae. "I knew somewhere there was this box of tapes, and suddenly there it was, underneath the very bed where I had slept as a lad, with my old copies of Rolling Stone and Melody Maker." The object of Hitchcock's quest-recordings of the Soft Boys rehearsing in a Cambridge boathouse-are included on Underwater Moonlight (Matador), a two-CD reissue of the band's acclaimed 1980 album that coincides with this year's most anticipated reunion tour. For those who missed them the first time around, the Soft Boys were a kind of reverse supergroup led by Hitchcock and guitarist Kimberley Rew, who later found commercial success with Katrina %26 the Waves' "Walking on Sunshine." More Syd Barrett than Sid Vicious, the Soft Boys' psychedelic predilections set them apart from the era's prevailing punk scene. So was the acid-damaged Pink Floyd founder's spirit still hovering over Cambridge by the time the Soft Boys showed up? "Probably in my imagination it was," says Hitchcock, who moved there from London in 1974. "I mean, Barrett was very much a one-off, although Cambridge does have its casualties. I think it's one of those places where, if you spend long enough there, it's hard to obtain escape velocity and get away from it. You know, we all left in 1980, except for Kimberley Rew. And Kim's still there, in fact." So what better place for a Soft Boys reunion to get started? "Every time I played in Cambridge, Kim would be there and he'd play on the encores," explains Hitchcock. "And then he started playing on the encores in London. And pretty soon there we were in the studio." After guesting on each others' 1999 solo albums, the duo went on tour together. "It sounded great with just the two guitars, and obviously it wasn't such a big leap from that to re-forming the Underwater &page02=Moonlight Soft Boys." With bassist Matthew Seligman and drummer Morris Windsor onboard, the reunited Soft Boys are finally doing their first proper American tour, making it only as far as New York the first time. They've even recorded a cover of Paul McCartney's "Let Me Roll It" for a breast cancer charity album. So what are the chances of a new Soft Boys album? "The organism is definitely intact," allows Hitchcock. "But I think with things like that, you don't want to put all your weight on the floorboard in one day, in case the floorboards still aren't strong enough to take the weight. And we've definitely put on a bit of weight since 20 years ago." BILL FORMAN ------------------------------ Date: Mon, 2 Apr 2001 15:28:03 +0100 (BST) From: Michael R Godwin Subject: Re: Don't look back > on 3/28/01 3:52 AM, Michael R Godwin at hssmrg@bath.ac.uk wrote: > > And his gofer, Neuwirth, comes across as pretty snide too. On Wed, 28 Mar 2001, Tom Clark wrote: > Was he the young Brit who drank a lot? Or the American who looked like > Sterling Morrison? The latter, I think: he was the one that Dylan sent out to buy harmonicas. The hard-drinking Brit was almost certainly Alan Price, former ace keyboard-player (and rip-off merchant) with the Animals. - - Mike Godwin ------------------------------ Date: Mon, 02 Apr 2001 14:35:16 +0000 From: david.skoglund@att.net Subject: Minneapolis taper? Here's a shot in the dark... Any chance the taper who set up a mic stand next to the soundboard at the First Ave gig is on this list? If so, please contact me. ========= david.skoglund@att.net ------------------------------ Date: Mon, 2 Apr 2001 11:28:07 -0400 From: "Poole, R. Edward" Subject: goes a thousand miles an hour... >For a whle in the 80's it seemed like every band had to have a cover of "Road Runner" although >I can only think of Greg Kihn right now. The Sex Pistols did an amazing cover of Road Runner; amazing both because Johnny Rotten sounds almost *exactly* like Jonathon on the track, and because it sounds (at the same time) just like the Sex Pistols and like the Modern Lovers. These bands share little in common, yet, somehow, the cover "works." (see Julien Temple's superb documentary "The Filth and the Fury" for a great version of the Sex Pistols' Road Runner cover, and also because it is a great film (and a great slice of history circa 1976-78). - -ed p.s. while off-topic, but in keeping (loosely) with this nparticular tangent, has anyone seen the "underground" (i.e. non-sanctioned by the original studio or creators) Roadrunner & Wile E. Coyote cartoon in which the Coyote *finally* catches the Roadrunner and eats him (her?)? I understand that the RR creators never made a cartoon where the Coyote "wins," though they did make one where he is shrunken to a tiny size and then catched the RR's enormous (to him) leg. Coyote then holds up a sign to the audience reading "You always wanted me to catch him -- now what do I do?" ============================================================================This e-mail message and any attached files are confidential and are intended solely for the use of the addressee(s) named above. This communication may contain material protected by attorney-client, work product, or other privileges. If you are not the intended recipient or person responsible for delivering this confidential communication to the intended recipient, you have received this communication in error, and any review, use, dissemination, forwarding, printing, copying, or other distribution of this e-mail message and any attached files is strictly prohibited. If you have received this confidential communication in error, please notify the sender immediately by reply e-mail message and permanently delete the original message. To reply to our email administrator directly, send an email to postmaster@dsmo.com Dickstein Shapiro Morin & Oshinsky LLP http://www.legalinnovators.com ------------------------------ Date: Mon, 2 Apr 2001 11:44:59 -0400 From: Ken Weingold Subject: Re: [QuailEbiax!] Rock-n-Feg Toilet, Part 2 On Mon, Apr 2, 2001, Johnathan Vail wrote: > Not sure. Did anyone anyone already mention that J Richman was the > front for the Modern Lovers? Yet another of those influential yet not > too commercially successful bands. For a whle in the 80's it seemed > like every band had to have a cover of "Road Runner" although I can > only think of Greg Kihn right now. Sex Pistols also covered it. :-/ - -Ken ------------------------------ Date: Mon, 02 Apr 2001 09:00:32 -0700 From: "Jason R. Thornton" Subject: Underwater Moonlight How much have they been selling the Underwater Moonlight 2-CD reissue for at the Soft Boys gigs? - --Jason "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ Date: Mon, 02 Apr 2001 12:03:27 -0400 From: recount chocula Subject: minneapolis city pages article [thanks to Jason Koffman for this one...] Soft and Dry Music - Vol 22 - Issue 1060 - 3/28/01 By Cecile Cloutier The Soft Boys revisit their classic Underwater Moonlight with sardonic good cheer and a reunion tour Washed-up one-hit wonders of the world: Don't let untimely deaths and pesky feuds keep you from milking your Behind the Music show for all it's worth. Is your lead singer's self-regard bigger than his stack of amps? Hire one from a tribute band, like Judas Priest did! Are your original members sick of touring? Do what Styx did, and tell your Dennis DeYoung to stay home while you hit the state fairs! Or, if your band plans to have any staying power whatsoever, maybe it's better just to do what the Soft Boys did: Walk away while you're at your artistic peak and stay away until fans actually want you back again. With the onslaught of their reunion tour, the Soft Boys are reaping a paradoxical reward: The lack of popularity that killed them in the first place has turned them into cult icons, shielding them from becoming a parody of their former selves. When songwriter/guitarist Robyn Hitchcock, guitarist Kimberley Rew, bassist Matthew Seligman, and drummer Morris Windsor play First Ave. together this week for the first time ever--reconvening in support of Matador's newly expanded, double-CD reissue of 1980's Underwater Moonlight--they'll probably be playing for a bigger crowd than they gathered in all the London pub gigs of their "glory years" (a term used loosely here). Back when Moonlight was first released, the Soft Boys were unfashionably middle-class rockers, stuck in between the Swinging London of the Sixties and the Clash's "London's Burning." Their biggest legacy was felt in America, where Reagan-era college radio and indie bands like R.E.M. admired how Moonlight merged influences ranging from Syd Barrett to Brian Wilson into an accessible yet idiosyncratic sound. Musical cohesion and popularity were not always a priority for the Boys. In fact, Moonlight's predecessor, 1979's debut A Can of Bees, flailed with startlingly warped lyrics (on "Leppo and the Jooves": "A farmer and his diary might conspire to freeze a widow"), Brit Invasion hooks, and spiky guitars that revealed the band's impending identity crisis. Bees' approach of fitting a surfeit of musical styles into a structured form did not fare as well with the public or the press as Moonlight's easier listening did. "If you take that Beefheart approach, you have to put everything together quite carefully," Robyn Hitchcock explained recently during a phone call from his home in England. "You might come up with a jamming rhythm, but the way the music is actually played takes a lot of arrangement. And I think by Underwater Moonlight we didn't have the heart to do that." Frustrated by public indifference to Bees, the Soft Boys recruited pop-rooted bassist Matthew Seligman to replace the departing Andy Metcalfe and help gear the band toward simpler songs. The addition of Seligman seemed to shift the Boys into new-wave mode, tempering their lyrical irreverence with catchy pop hooks. Yet Hitchcock insists, "At the heart, that lineup of the Soft Boys was, and still is, a great sort of pop-dance band. A really good bar band in the most complimentary sense of the word. Psychedelic pub rock." If Moonlight was created to appeal to a bar crowd, those lending ears while drinking beers must have been an eclectic group. "I Wanna Destroy You" has staggered harmonies over a keening bed of guitars somewhere in between where the Byrds and the 13th Floor Elevators intersect, with Hitchcock jabbing the hip U.K. journalists who declined to cover them ("A pox upon the media and everything you read"). "Old Pervert" is the biggest holdover from their early, Beefheartian sound: Rew and Hitchcock's guitars wrestle over rumbling drums and heavy bass. And the record's title track tells a surreal tale of statues who come to life, fall in love, and then drown themselves--to a climax of sunny surfing harmonies and descending Ventures guitar. Beyond such sonic marvels, the album's reissue has been beefed up with seven new outtakes and an entire separate disc of 1979 rehearsals. Moonlight could have been the Soft Boys' first step into mainstream popularity. Instead, since the band was out of step with the early-Eighties U.K. postpunk scene, it quickly faded away. The Soft Boys decided to quit while they were still a respectable outfit and broke up quietly. "If the ship was going to sink," remembers Hitchcock, "we might as well not be out at sea." In hindsight, it looks like a prescient decision--the band members all managed to keep making music as cult heroes (Hitchcock's work as a solo artist and with Windsor in the Egyptians), chart toppers (Rew's Katrina and the Waves) or sidemen (Seligman worked with Thomas Dolby, Bowie, and Morrissey before retiring to study law). So if the bandmates are happy performing independently, why talk reunion now? The firmest response either Windsor or Hitchcock will concede is, "It's the right time." Still, the fact that Hitchcock and Rew appear on each other's recent releases (Rew's Tunnel into Summer, Hitchcock's Jewels for Sophia) and that Seligman is currently taking a break from his day job as a lawyer ("He wanted to hang up his badge and his six-gun and pick up the Fender Precision" says Hitchcock) were important catalysts for the reunion. Notes Hitchcock dryly, "We've never drifted completely apart, so it's not like having to swallow masses of humble pie or nasty medicine or wade up to our knees in dirt to get back to that place." He even dangles out a possibility of new music if the tour works out, but warns against too much optimism before the concert dates have even started. "We're far too old to be traveling around in packs," the singer says. Still, the irony of reenacting the roles of their former selves tickles him. As Hitchcock puts it: "You can be what you like as long as it's in inverted commas." ------------------------------ Date: Mon, 2 Apr 2001 11:34:39 -0500 From: "Mike wells" Subject: Re: Underwater Moonlight Thought it was $15 in Chicago (Amazon's still @ $14 + shipping), a bargain by any stretch. The "limited edition" vinyl release touted on the UM website was going for $30, as were Cones if you were fast enough to get one. Thoth badges were $1 each. I only partially heard the dude's rap about the vinyl, supposedly it also included a 7" and a poster. Anyone buy it? What was really in there? FYI largest shirts they had were XL, which in reality looked like Mediums (quite short). - ----- Original Message ----- From: "Jason R. Thornton" To: "Shut Up Little" Sent: Monday, April 02, 2001 11:00 AM Subject: Underwater Moonlight > How much have they been selling the Underwater Moonlight 2-CD reissue for > at the Soft Boys gigs? > > --Jason > > "Only the few know the sweetness of the twisted apples." > - Sherwood Anderson ------------------------------ Date: Mon, 2 Apr 2001 12:40:58 -0400 From: "Poole, R. Edward" Subject: RE: Underwater Moonlight >The "limited edition" vinyl release touted on the UM website was going for >$30, as were Cones if you were fast enough to get one. Thoth badges were $1 >each. I only partially heard the dude's rap about the vinyl, supposedly it >also included a 7" and a poster. Anyone buy it? What was really in there? It's true, there is a 7" in there with an unreleased studio track (I can't remember the name), plus two live tracks from Maxwell's in 1980 (including Astronomy Domine). I also got the poster, touting the re-release and 2001 tour, but it supposedly is limited to the first 1500 copies (I have no idea how many they actually pressed). The album is really wonderful, particularly if you are a vinyl fetishist, like me. The jacket is a three-fold, Robyn drawing inside, so nice to have the cover artwork in a large format, and the "liner notes" (also in the CD package) are included in a full-size (that is, LP size) booklet -- big pictures. The vinyl itself is thick, high quality audiophile pressing. I got it at a record store that had it listed at $22.99 (but I got a discount, so it was even less (thanks, Mel!)). Pick it up if you can find it. - -ed ============================================================================This e-mail message and any attached files are confidential and are intended solely for the use of the addressee(s) named above. This communication may contain material protected by attorney-client, work product, or other privileges. If you are not the intended recipient or person responsible for delivering this confidential communication to the intended recipient, you have received this communication in error, and any review, use, dissemination, forwarding, printing, copying, or other distribution of this e-mail message and any attached files is strictly prohibited. If you have received this confidential communication in error, please notify the sender immediately by reply e-mail message and permanently delete the original message. To reply to our email administrator directly, send an email to postmaster@dsmo.com Dickstein Shapiro Morin & Oshinsky LLP http://www.legalinnovators.com ------------------------------ End of fegmaniax-digest V10 #103 ********************************