the unique structure of the recent 'art of noise' boxed set is less a compilation of thoroughly realised tracks and more a collection of just those kind of paths-not-taken tracks and fragments. as a whole it is quite enlightening as to thier working methods... any such DAT box of jimmy's sounds like its crying out for just this sort of curatorial approach.

also...not to sound like a curmudgeon but it sounds like the best parts of johns idea are going by the wayside... i really liked the idea that this was going to be distributed in places where people who might never normally listen to the klf might pick it up by accident and experience it through a completely different context. no droplift/bansky catering to musos sort of thing but really unorthodox distribution channels like the truckstops and 99cent stores etc... not unlike J&A appearing on the tammy wynette greatest hits boxed set... that was brilliant!!

btw- has anyone had the opportunity to have a conversation with a hardcore country music fan about J&A on that boxed set and just what it was they thought of the song?

I think I've said this before, but I'm sure there's hours and hours of unreleased mixes, new tracks, demos, DJ sets, half-formed samples for mixing, and musical false starts, ALL on Jimmy's DAT tapes (which, according to Bill in "45" anyway, he has a complete collection of, right back to the JAMs days, kept in a box). From "Mommy Don't" and the flamenco "3 AM Eternal" demo with Graham Lee, to "The Sheriff of Mu Mu County" and the original "E-Train to Trancentral", these DATs presumably are a goldmine for KLF fans. Maybe this "Evil Edit" is from one of these DATs too.

What we really need is a Mark Lewisohn type "Complete Sessions" book, detailing everything Jimmy and Bill did in the studio from January 1987 right through to their last collaborations together ten years later. Then the "wilderness years" of 1989 and 1990 may turn up a few surprises and settle a few arguments!