artwork [tiger lady figurita] Byron Werner
booklet editor [text editing] Holly Small
booklet editor [text editing] Norman Igma
creative director [project director] John Oswald
interviewee John Oswald
interviewer Norman Igma
liner notes [quote] Robert Everett-Green
music by [audio], graphics, design John Oswald
photography by [7 non-contiguous moments from janead o'jackriel after geroge platt-lynes] George Platt Lynes
photography by [image captured by] Bob Jackson
photography by [revision of photomontage] George E. Mahlberg
producer [assistance by] Alma Orland-Clue
producer [assistance by] G. Ray Brain
producer [assistance by] Jim Paterson
producer [assistance by] Phil Strong
producer [outside aid from] Bruce Tennant
producer [outside aid from] Lawrence Stevenson
producer [outside aid from] Mark Hosler
producer [outside aid from] Peter Conheim
remastered by [re-mastered], remix [re-mixed], edited by [re-edited] John Oswald
Produced At Mystery Tape Laboratory
Produced At Sonambulab
Produced At fony
• This release compiles most of John Oswald's infamous Plunderphonics recordings, including the 1989 [m=341431] album, and the Rubáiyát EP, which was never released. Tracks 1-13, 1-16 and 1-20 are from the Plexure album.
• All main artist credits are one-shot fake musician anagrams used by composer John Oswald for a plunderphonic electroquoting of their respective real-artist original source recordings.
• 69/96 derives from the fact that John Oswald originally created the recordings between 1969 and 1996. These numbers are also used in the package design to stand in for quote marks around John Oswald's plunderphonics neologism.
• Discs inserted in a 47-page hardcover book.
• Track 1-21 duration is listed as 2:45 on release, but is actually 3:35.
• Track 1-28 is listed as 1-28a on the tracklist.
• Disc 2 is mastered so that it begins with track number 27, rather than track 1. Tracks 1 to 26 are unplayable. This technical variation makes it impossible for some players to read the disc (not recognized by Apple computers unless particular software is used under special conditions). Disc 2 properly begins with Track 2-28.

Liner notes:
Track 1-1 initial chord is the ultimate sound from the [m=23934] album, a well known collection of songs which is equally well known as a unified and inter-referential aggregate, also known as a concept album.
Track 1-2 incorporates the opening of great plunderphonic epic from the mid-sixties, [m=60763], which electroquotes national anthems of the world.
Tracks 1-3 to 1-7 constitute the entirety of an EP commissioned by Elektra Entertainment in 1990 which was never released. A few thousand were pressed for radio. (This radio release was coordinated with the opening of Oliver Stone's Doors movie in April of 1991 but the connection was never publicly mentioned.) Except for a fix-up in O'hell and remastering in Mother, which was bass-shy in the original, that is more or less an exact replica of the Elektrax CD-EP. Elektra gave the title Rubáiyat. The Elektrax project (released as Plunderphonics / Elektra's 40th Anniversary [PRCD 8247-2]) ensued serendipitously from Elektra president Bob Krasnow and [l652] president Bob Hurwitz. The Elektrax sequence was: hit song / rave / ballad / ambitious production number / rant.
Tracks 1-9 and 1-12 created for a show that Hal Willner was creating for [l162979] to celebrate Phil Spector's fiftieth birthday. They both use a function in a computer sequence conducting program, called M, which enables an adjustable amount of randomness in the sequence, so loops of a rhythmic group of sounds can repeat exactly, or change a little, or change a lot. In the original version of Track 1-12 there's an extended Nina Rota arrangement (from Fellini's Clowns movie) following the Unchained Melody insert, hacked off in this version.
Tracks 1-10 and 1-11 were listed as one track on the original Plunderphonic disc. Both are from an abandoned early eighties project to make a more-or-less backwards Beatles album.
Track 1-11: Never-before-released version here also includes a synchronized quote of the word 'forever' from the [m=73013] album.
Track 1-13, “madMod”, the verses are constructed by first dividing up the source song “Like A Prayer” into its smallest rhythmic units. These several hundered pieces were loosely recorded according to a pattern.
Track 1-15: The version of this song that [l194] released is the wrong one; they had an instrumental bedtrack which they pressed instead of the finished song. So here it is for the first time.
Tracks 1-17, 2-42: Spoken word track from [m=463963]. Recorded at Henry Kaiser's studio in Oakland. Programmed synclavier, one word from the poem on each of the notes of the keyboard. Proceeded to play 'Les Barricades Mysterieuses', and this is what came out.
Track 1-18: Jon Spencer asked [John Oswald] to create something. It was a couple of years before [he] sent him this track.
Track 1-21: The last chorus features Dolly singing a duet with himself.
Track 1-27 isn't a song - it's a story of the sort you might hear on the radio or in a talking book. Think of the remainder of the disc, following Dab, as a transition to Tunes, with Case Of Death as [a] respite which bridges the discs.
Track 1-28 was originally on the Tunes disc before [running] out of room. [It is a] transitional piece. It's the intermission. It is the only piece where one of the original performers had some editorial input. It's a bridge. The Tunes disc properly begins with Andy.
Track 2-29 created for a Flemish television director who wanted something Straussian. In 1993 [John Oswald] bought every version of 'Also sprach Zarathustra' available on CD. There were two dozen of them, lined up on a multi-track so the horn entry begins at the same point for all tracks.
Track 2-30 is compiled from the various tracks on one of Metallica's albums.
Track 2-32 consisted of two wild-synced versions of the tune 'In A Mist'.
Tracks 2-33, 2-37 to 2-40 is the beginning of a Chuck Berry tune attached immediately to the end of the same tune.
Track 2-36e refers to the inadvertent quote of 'Quartet For The End Of Time' which is embedded in it.
Track 2-44 has been transcribed for orchestra as a movement from a German ballet called Die Offnüng.
Tracks 2-49, 2-56, 2-57 from a suite of pieces: Lieu dWig Wand/Bay/Tow v&, pronounced 'Ludwig van Beethoven'.
Track 2-45 from a half inch co-master reproduced in a tube deck prepared by Sheffield.
Track 2-46 is stretched to be about a half minute longer than the one on Plunderphonics.
Track 2-48 consists of a five minute excerpt from a solo concert by each performer. The concerts occurred over a span of 10 years. [John Oswald] combined them without editing to create a free jazz ensemble with all sorts of interplay, but its all fake.
Track 2-55 didn't have a title on the Plunderphonic CD. A completely different arrangement, on the same instrument. Four music boxes; with the boxes removed, (so it's just the mechanisms).
Track 2-58: This is the same track that has been released a couple times on ЯēR with the title 'Parade.' Which can be pronounced the same, as 'pear-aid', or, in Erik Satie's French, it's closer to 'Par-odd'.
Track 2-59: The version of Rainbow is quite different from the one on the Plunderphonic CD. This is that track in reverse. Both Rainbow and 1001 are from the same source material.
Track 2-60: 24-track tape playback and mixer arrangement where each of the stereo tunes was assigned a volume slider on the mixer, called the Schlockotron, played by adjusting the sliders.
G.Ray Brain (Mlab), Phil Strong (Sonamulab), Jim Paterson (Fony)

Date of recreation, from tracklist:
Tracks 1-1, 1-23 to 1-26, 2-30, 2-31, 2-41, 2-52, 2-55, 2-59: 1989
Track 1-2: 1975
Tracks 1-3 to 1-9, 1-12, 2-25: 1990
Tracks 1-10, 2-32, 2-45: 1987
Tracks 1-11, 2-53: 1980
Tracks 1-13, 2-29, 2-36, 2-60: 1993
Tracks 1-14, 1-15, 1-18, 2-54: 1996
Tracks 1-16, 1-20: 1992
Tracks 1-17, 1-21, 1-22, 2-42, 2-46, 2-48, 2-50: 1988
Track 1-19: 1994
Tracks 1-27, 2-27, 2-44, 2-49, 2-56, 2-57: 1991
Track 1-28: 1983
Track 2-28: 1977
Tracks 2-33, 2-34, 2-37 to 2-40: 1969
Tracks 2-43, 2-58: 1986
Tracks 2-47, 2-51: 1995

Anagrams & wordplay, etc., throughout liner notes:
Adolf Hitler: Harold Filet
Alex Varty: Valery Tax
Andy Griffith: Dang Fishy Rift
Annie Lennox: Neal Oxen-Inn
Barre Phillips: Sire Ralph Blip
Beatles: Let As Be, Sable Teeth
Bill Burrows: Boris Hullburg
Bill Frisell: Sir Bellfill
Bill T. Jones: Jon Be Still, Ill Bon Jest
Bing Crosby: Cry Big Snob
Bob Hurwitz: Burt Whobiz
Bob Ostertag: Abbot Gorse
“Blue Jay Way”: Yule Jaw Bay
Bob Wiseman: Bambi Owens
“[m=26701]”: Burnish A Tone
Brian Robertson, president of the [l140139]: Rabbi Nero Snort, Iron Barb Sterno, Abner Rotor-Nibs, Born Sober Train, Stern Boor Brain
Brian Wilson: Blown Raisin
Brother J.C. Crawford: Mother Brashrock
Bruce Springsteen: Princess Bent Urge
Carl Stallings: Lars Clintslag
Carly Simon: Slim Crayon
Cecil Taylor: Ace Icy Troll
Charlie Parker: Rachel Airperk
Christian Marclay: Anarchy Scar Limit
Christopher Butterfield: Ditch Filbert Proust Here
Claude Debussy: Lucy Dee Dubass
Claude Vivier: Vivaldi Eucre
Count Basie: Botanic Sue, Casino Tube, Bacon Suite, Tonic Abuse, Tuba Cosine
David Gans: Dang Davis
Dick Hyman: Micky Hand
Dolly Parton: Lloyd Patron, Lola Don’t Pry
Duke Ellington: Elton Luke Ding, Godlike Tunnel
“Ebb Tide”: Bed Bite
Edgard Varèse: Adverse Grade
Edie Brickell: Billie Decker
Elvin Jones: Nelson Jive
Elvis Presley: Sleepy Sliver
Erik Satie: Ike Satire
Ernest Cholakis: Rachel Kisstone
Faster Pussycat: Tasty Surf Space, Faust Spray Sect
Fine Young Cannibals: One Fin Guy In Lab Scan
George Martin: Matron Geiger
Glenn Gould: Golden Lung
Grandmaster Flash: Manfred Slagtrash
Grateful Dead: Late Drug Fade
Great Bob Scott: Barb Togs Octet
Gregory Kozak: Ozark Gyro Keg
Hal Willner: Allen Whirl
Harry James: Rash Rye Jam, Raja Myers
Henry Kaiser: Herr Easy Ink, Yearn Shriek
Holly Small: All Shy Moll
Jennifer Mascall: Jensen Clamflair
Jerry Lee Lewis: Sir Jewelry Eel
Jim O’Rourke: Joe Murk-Rio
John Cage: Enoch Jag
John Oswald: Don Ashjowl
John Zorn: Horn Joz
Jon Spencer Blues Explosion: Jensen Cool Unisex Slob Prep
“[m=64011]”: Atom Thick Jukes
Kim Gordon: Dog Kin ROM
Kronos Quartet: Squeek Nor Trot, Quart Toe Snort
Kurt Schwitters: Struck The Wrist
Larry Dubin: Burly Nadir
Laurence Lemieux: Emcee Unix Allure
“[m=34627]”: Leaky Rapier
Ludwig van Beethoven: Vaughn von Lewdbite, The Gun-View Love Band, New Evolving Butthead, We Love Big Nude Hat, One Velvet Windbag Hun
Madonna Ciccone: Edna Comic-Cannon
Marvin Green: Rev. Grin Amen
Metallica: Tame Lilac
Michael Jackson: Calm Nose Hijack, Nasal Chime Jock, Slick Macho Jean
Michael Snow: Wilma Schoen
Naked City: Candy Kite
Nina Rota: Anna Riot
Nomiya Maki: Amy Mini-Oak
Pablo Picasso: Lisa Poopscab
Pascale Landry: Andy Lapel-Scar
Paul McCartney: Uncle Arty Camp
Paul Plimley: Lily Pealump
Philip Strong: Sling Triphop, Lingo Thripps
Phil Lesh: Hip Shell
Pizzicato Five: Vito Pizza Cafe
Public Enemy: Eye Climb Pun
The Rolling Stones: Lens Groin Slot
Rubáiyát: Airy Tuba
Salvador Dalí: Dada Visa Roll
“Sgt. Pepper’s Lonely Hearts Club Band”: Tally Ho Peppergrass Teen Dub Blanc
Sinéad O’Conner: Edna Icon Snore
Steve Lacy: Yves Cleat
“Strawberry Fields Forever”: Refer For Very Weird Blast
Tape Beatles: Basalt Tepee, Bee Ate Splat
Thelonious Monk: Eskimo Hunt Loon
“[m=86074]”: Hindu Money Decal
Van Dyke Parks: Dave Skyprank
Yamatsuka Eye: Sue May Eat Yak
“[m=117180]”: You’re So Warren’
-
Aretha Vanilli
Bing Stingspreen
Bo No Ma
Sam & Deee-Lite
Engelbert Costello
Ice Garfunkle
Bolton Chili Overdire
Moody Crüe
XTZ Top
John Lennoncamp
Bee Jesus
B.T.O’Conner
Sinéad O’Connick Jr,
Twisted Steely
Axl Galas
9 Inch Monkees
Sam & Dead
Percy Ann Faithful
Joni Cocker
Superloaf
Elton Newton Juice
Lynrd Lovett
Twisted Kross
Madonna & Englishmen
Fats Bono
Spinal Top
Captain Beefheart & Tenille
Don O’Van Morrison
Debbie Idol
Dire No More
Frank Sinappa
Allman Dominoes
They Might Be Grateful
Anthrax Squeeze Factory
Van Halen Fudge & Oates
U-52s
Depeche Mould
Emerson Lake & Pumpkins
Marianne Faith No Morrisey
Blondie Sabbath
Little Keith Richard
Ozzy Osmond
Cheap Pixie Peppers
Beastie Shop Beach
Cream Styx
Jerry Harry
Jello Bellafonte
Loaf Puppets
The Captian & Terrence
Joni Shithead
Spiro Giants
Steven Ray Vangelis
Jethro Byrne
Mariah Cocker
Sound Garth
Yo Yo McCartney
T.L.C.&C. Meat Factor
Whitney REMTV Hammercamp
Bonnie Ratt
Alannarama
10,000 Nine Inch Megasmiths
Bobby Bon Jackson
Julian Lennox
Paula McCarey
Kool Mo Chuck
Elton Boone
Vanilla Mould
Matrix / Runout: 40331AM-01 SEELAND-515-D1 012002-26 (Disc 1)
Matrix / Runout: 40332AM-03 SEELAND-515-D2 011303-10 (Disc 2)
Barcode: 753762051529