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DuckDuckGo has a few thousand shortcuts for site:example.com domains.

Not quite correct. They have shortcuts to the built-in search of various web sites. If you use these shortcuts, it'll redirect you to the site (which will perform the search itself.)

So if I enter !discogs foo, DDG will redirect me to https://www.discogs.com/search...

They're exactly like Mozilla keywords: https://www-archive.mozilla.or...

Hahaha, creimer reminds me of Capitaine Bonhomme, he'll probably the same way, while telling lies...

https://www.discogs.com/artist...

Tulip mania https://en.wikipedia.org/wiki/...

Oddly, not what I was expecting when I read "Tulip mania". I thought of the Japanese band Tulip. I have their album Tulip Best (vinyl LP) given to me by a CISV (Children's International Summer Villages) exchange student from Japan in 1979 - when I was 16. (I was suppose to visit Japan the next summer, but was unable as my parents were divorced and I moved from living with my father to with my mother and my father wouldn't pay and my mother couldn't afford it.)

Touching story, thanks for sharing!

Tulip mania https://en.wikipedia.org/wiki/...

Oddly, not what I was expecting when I read "Tulip mania". I thought of the Japanese band Tulip. I have their album Tulip Best (vinyl LP) given to me by a CISV (Children's International Summer Villages) exchange student from Japan in 1979 - when I was 16. (I was suppose to visit Japan the next summer, but was unable as my parents were divorced and I moved from living with my father to with my mother and my father wouldn't pay and my mother couldn't afford it.)

Personally, I moved from piracy to a premium Spotify subscription. Don't get me wrong, I've bought a lot of CDs and a lot of LPs, in fact here's my collection on Discogs: https://www.discogs.com/user/H... (I'm only ~halfway through scanning my CDs, and I haven't started on the LPs yet).

But I pirated a hell of a lot more than I bought legitimately. At one point, I just reasoned with myself "am I really so fucking cheap, that $10 is enough to make me keep downloading illegally?"

Once a good enough legal option comes along, you can at least win over the "casual pirates", and people like me who could never keep up with all the music they like, in a legal way.

Injection moulding is a real step change compared to this

There's four links in the summary and no actual link to Discogs itself.

//Gotta wonder... would Pepsi, Coke and other "name brands" really lose much business if they stopped advertising? Or would their net profit increase by not wasting $$ on ads?//

There's an album about this, from the group Negativland, called Dispepsi: http://www.discogs.com/Negativ...

The liner notes make mention of their premise that everyone on the planet already knows everything that they will ever need to know about Coke or Pepsi, yet their advertising has utterly permeated our culture.

Spotify link: https://play.spotify.com/album...

While "Hipsters" is the go-to answer to why vinyl records are all the rage, DJs are another part. Some songs are still pressed on 12" singles (most commonly EDM and hip-hop; frequently with instrumental versions as well), but the best selling vinyl pressing for quite some time now has been the Serato Timecode record. It allows DJs to use standard Technics 1200s (and newer models, like the Numark TTX and the Reloop 7000s) to still spin and scratch records, but without being limited by what's actually being pressed because it manipulates MP3 playback on a computer.

Amongst the reasons these records sell so well is because instead of having hundreds of records that get 1-2 plays a night, the same pair of records are played all night, so it's entirely realistic to go through a pair a month, depending on how much pressure is put on the needle. Serato is (or was-for-a-very-long-time depending on who's numbers you believe) the most popular DVS platform, with Traktor in second place, though it's more popular with DJs who use (MIDI) Controllers instead of vinyl. Serato and several other DJ software titles now support the vast number of controllers that have been released, so overall interest in DJing with timecode vinyl isn't quite as popular as it once was. Still, while Jack White’s Lazaretto sold over 75,000 copies this year, it pales in comparison to the number of club jocks who buy timecode records, in pairs, monthly.

https://www.youtube.com/watch?...

(there's always been more interesting music out there too, but most people just buy rock music in all it's tediously repetitive minor variations)

Rock music is not boring or repetitive.

I was really looking forward to hearing "One World" in Chinese http://www.discogs.com/Rare-Earth-One-World/master/142807

I, too, find trance, classical, and house to be very good work music. I highly recommend the following CDs:

Electric Daisy Carnival (my favorite track on it)

Forbidden Paradise 4

Forbidden Paradise 6

A State Of Trance 2004

Nude Tempo One

I, too, find trance, classical, and house to be very good work music. I highly recommend the following CDs:

Electric Daisy Carnival (my favorite track on it)

Forbidden Paradise 4

Forbidden Paradise 6

A State Of Trance 2004

Nude Tempo One

I, too, find trance, classical, and house to be very good work music. I highly recommend the following CDs:

Electric Daisy Carnival (my favorite track on it)

Forbidden Paradise 4

Forbidden Paradise 6

A State Of Trance 2004

Nude Tempo One

I, too, find trance, classical, and house to be very good work music. I highly recommend the following CDs:

Electric Daisy Carnival (my favorite track on it)

Forbidden Paradise 4

Forbidden Paradise 6

A State Of Trance 2004

Nude Tempo One

I, too, find trance, classical, and house to be very good work music. I highly recommend the following CDs:

Electric Daisy Carnival (my favorite track on it)

Forbidden Paradise 4

Forbidden Paradise 6

A State Of Trance 2004

Nude Tempo One

Or, for one of the albums, you can get the MFSL version.
The gold plated CDs and ultra-heavy LPs may be a gimmick, but they do know how to mix masters.

http://www.discogs.com/Boyzone-All-That-I-Need-Remix/release/1323688

I don't know who this Pete Moss guy is. He seems to be either a DJ or a rock musician depending on which guy you're referring to. He doesn't seem to be into heavy metals. I'd say it would be far easier to use peat moss

http://www.discogs.com/

By Ad Visser:

http://nl.wikipedia.org/wiki/Ad_Visser

http://www.headheritage.co.uk/unsung/thebookofseth/1256

http://www.advisser.nl/
(with sound :)

http://www.discogs.com/artist/Ad+Visser

True, the Internet is great because now a lot of people can listen to Tone Float. Great for distributing music. But what if it was released only on some format unreliable for archiving? My point about vinyl was that the music is printed, it can be stored somewhere for a very long time (and I mean decades, or even centuries), and can be retrieved. Of course, Tone Float was difficult to find, but given enough time, it was rediscovered.

To elaborate on the dork webmasters thing, Fucked Company's webmaster and AdBrite founder "pud" used to be in two bands, "The Spel" and "Beef Savage" from ~2002. Some funny, some bad music. I thought it'd be funny to revisit some of those songs and possibly make fun of him, but a lot of them are gone. Only pud has access to those songs now (if he even still has them), despite it being released on the Internet when he had a lot more fame than he has now. It was never even released on CD.

I think it is huge misconception that "if it's on the Internet, it's on there forever." Hell, most of Fucked Company itself is gone now and it used to be popular. Another anecdote is my cousin's band demo used to be on a recording studio's MySpace page. Now that the studio is gone, so is the MySpace page, and even the song. Not even his band has the recording! Tons of more obscure stuff is destined to be gone.

P.S., I'm pretty sure you were referring to Infinite Zero, which had some releases. Also, my argument could've included CDs, but at least a CD has at least 20 years of empirical longevity. I wonder if there would be an archival crisis 40 years from now.

Had "Tone Float" by Organisation (an early Kraftwerk band) been released in digital format, then I strongly doubt that it would've ever been heard. I can't even find MP3s that were released by some dork webmasters a couple years ago (e.g., Something Awful, Fucked Company, and others).

2008

(If you define "notable" as "even I have heard and/or bought it"...)

np: Zarah Leander - Davon Geht Die Welt Nicht Unter (Quentin Tarantino's Inglourious Basterds Motion Picture Soundtrack)

There were even SST sticker books for the kids.

SST stickers for the kids? Cool!

The easiest way is to get the soundtrack for My Best Friend's Wedding.

Some more: Kid Koala, Kut Master Kurt, Afrika Bambaataa, DJ Spooky, The X-Ecutioners, Nightmares on Wax, The BPA. Man if I had my iTunes with me I could probably type a whole screen of tight shit.

They're very much not exceptions my friend. Obviously, there are a ton of crappy DJs out there just like any other kind of performers. I posted some a couple posts up in this thread, but I mean I can even remember more now besides those: Kid Koala, Kut Master Kurt, Afrika Bambaataa, DJ Spooky, The X-Ecutioners, Nightmares on Wax, The BPA. Man if I had my iTunes with me I could probably type a whole screen of sick shit.

No shit, my buddy continues to produce new ones to this day. Vinyl is still a favorite of many many DJs, due to familiarity and ease of production. Sure, it's easier to burn a CD, but for short mass-produced runs, vinyl is still king. It can also deliver much greater fidelity than CD, but only if it is specially produced to do so. Vinyl isn't magic, contrary to what many seem to believe.

I still have a working belt-drive, and I treasure my modest collection of records - most particularly my copy of Slayer's Diabolus In Musica... yeah, thrash on vinyl! It's one of the many albums that yield better quality than CD, owing to the specific compounds used in the material itself, as well as the extra care applied in the cutting process. Another album that sounds noticeably better than the CD release is Metallica's Master of Puppets.

You've got a great point. Toshiba wouldn't ever push restrictive DRM on consumers, own an RIAA member company, or pay a major studio to adopt their technology after it couldn't gain adoption on its own merits. They've actually got a squeaky-clean corporate reputation. Hugely ethical...

Labels have been doing this for years...
http://www.discogs.com/release/324766

That one was released in 2004

You're a fucktard.

put out a remix album awhile back

i found some info on it

those tracks blew me away, and i would have NEVER have found that music had i played "legit" and not pirated

i didn't even know what the armin van buuren/ ayumi hamasaki album was until i looked for it just now, even though i've playing songs from it for years and i deeply dig those remixes. i'm utterly beyond the notion of albums. i haven't bought a cd since 1999, and i never will again

i don't think i'll ever go to itunes either, because i'm too into the idea of "following my nose": start with a track i like, find out what else is related to that song/ what else is hosted by whomever is sharing it, and download hundreds of those songs, throwing out 98% of them. this shotgun search approach gets very expensive on itunes, but not on emule. after a few rounds of "following your nose", starting with a song very familiar to you that you love, you "fall down the rabbit hole" as the original poster says, and you wind up in a universe of foreign recorded/ underground music you hadn't the foggiest idea existed, and yet you absolutely are ecstatic about

however, i recently found a "legit" way of the shotgun approach i've mentioned above: http://pandora.com. i read an article about them and they apparently hire people to listen to music all day, categorizing it. besides being notable as what sounds like a dream job for a music lover, it's kind of sad that pandora has to do manually what the internet can do automatically, as i've already discovered, years ago

say what you want about piracy, but in terms of a music lover's experience, it is the garden of eden compared to being "legit". i don't know how to be legit anymore, i don't think i ever will again. the experience as a music lover renders it impossible for me to consider something so stone age as the itunes paradigm of buying individual tracks. i want to inhale 1000s of tracks based on search words, throw out 900 of them in rapid succession, and find bizarre gems of world music/ underground music there is no way in a million years i would ever have found through any legit copyright addled mode

i'm a lifer, there's no way i'll ever buy music again, and before you holier than thou a@@holes lecture me on stealing from starving third world musicians, consider the fact that if it weren't for piracy, i wouldn't have been listening to them in the first place. solve that paradox, then get back to me with your attitude. i'm not downloading justin timberlake and beyonce knowles. i'm going after esoteric (to me in new york city) tracks i can't get my hands on any other way. i'd like the music industry or copyright wankers to address what i really am interested in (foreign and underground esoteric and exotic tracks) before they find some way to consider me an enemy. they can't

i wrote an article about it a long time ago, in 2003, that, bizarrely, i keep find being cited around the web

But axial trifurcation, on a dog, well that's called a Hades special

This is just about the perfect sound to run through MP3 compression.

And this would be the perfect album to run through MP3 compression, if only players could play it back gapless.

My copy of the oldskool hardcore tune pacman - powerpill begs to differ.

The musicians deserve credit too! My favourite is Finnish producer Tero who has done live PA's with nothing but 2 Commodore 64s!

Winamp + MP3Tag + discogs.com + a lot of spare time = perfectly organized collection.

I absolutely agree! The Apple iPod hi-fi looks like a Bose product or something (aka clean looking but not good sounding) Thats not what I normally associate with the term "Ghetto-Blaster" Instead, I think of these three things:

The first is the cover art for the L.L. Cool J album "Radio" as seen here:

http://www.discogs.com/release/123019

And I mean right down to the analog VU meters and the cassette tape that is supposed to look like open reel. If you don't know what open reel tape is, think big recording studios of the past or try these visual aids:

http://www.otari.com/product/audio/mx_5050b/index. html

http://www.studer.ch/index.aspx?menu_id=3&sub_menu _id=13&locale=en&url=includes%2Fproduct_sheet_incl ude.aspx%3Fproduct_id%3D21

The second thing I think of is probably breakdancing and the various movies from the 80s that involved breakdancing (as in the Motown creation "The Last Dragon" You know: Bruce Leroy, Soul Glow, catching bullets in your teeth and all that nonsense :)

And (of course) the third thing I think of is the "Ghetto-Blaster" rocket launcher as demonstrated by Q "Something we're working on for the Americans!" from "The Living Daylights" (James Bond movie with the A-Ha title song.)

love that armin van buuren and ayumi hamasaki

Then you will love the Armin Van Buuren remixes of Ayu's "Appears":
http://www.discogs.com/release/443393

If you had said 900 Ft Jesus, you might be right.

Tango Project is also the title of this super rare and awesome old skool hardcore record:

http://www.discogs.com/release/157655 :)

Electric Universe's "Love Is Not A Crime" is an all time classic, found on the Logic EP (http://www.discogs.com/release/95965) and Divine Design album (http://www.discogs.com/release/66751). There's a 2.5 minute clip at (http://www.saikosounds.com/english/display_releas e.asp?id=1034).

Electric Universe's "Love Is Not A Crime" is an all time classic, found on the Logic EP (http://www.discogs.com/release/95965) and Divine Design album (http://www.discogs.com/release/66751). There's a 2.5 minute clip at (http://www.saikosounds.com/english/display_releas e.asp?id=1034).

Just a quick FYI, Paul van Dyk uses my friends from BMG to publish
That's publishing - a whole different thing. Pretty much everyone I know who makes music in europe publishes through BMG, but that doesn't really tie you to the majors, you can still manufacturer & distribute yourself, and you're not in any way tied to BMG. They essentially provide a service in this case.

for example Nothing But You has them listed as the publisher and he is under license to Universal Music
I don't think HE is - that specific track is.

Most dance artists (like Paul, I imagine) work this way:

1. Write & record track
2. Publish (usually through BMG) - this is publishing the music, not the recording
3. Release the recording through an indy label (in the case of Paul, his own)
4. If track is succesful and would benefit from wider commercial distribution, the small label will usually enter into a licensing deal with a major, for just that one track. This is because the indy label doesn't have the marketing/manufacturer/distro contacts to do it themselves. This licensing deal will usually be on pretty good terms for the indy.
5. Profit!

As an example, look at Armin's "As The Rush Comes". Originally released on his own label Armada, it was then licensed to Positiva (part of EMI). In fact, your example (Nothing But You) was originally released on Vandit (Paul's label) before getting licensed all over the place (ID&T, Positiva, Mute, and Urban).

Just a quick FYI, Paul van Dyk uses my friends from BMG to publish
That's publishing - a whole different thing. Pretty much everyone I know who makes music in europe publishes through BMG, but that doesn't really tie you to the majors, you can still manufacturer & distribute yourself, and you're not in any way tied to BMG. They essentially provide a service in this case.

for example Nothing But You has them listed as the publisher and he is under license to Universal Music
I don't think HE is - that specific track is.

Most dance artists (like Paul, I imagine) work this way:

1. Write & record track
2. Publish (usually through BMG) - this is publishing the music, not the recording
3. Release the recording through an indy label (in the case of Paul, his own)
4. If track is succesful and would benefit from wider commercial distribution, the small label will usually enter into a licensing deal with a major, for just that one track. This is because the indy label doesn't have the marketing/manufacturer/distro contacts to do it themselves. This licensing deal will usually be on pretty good terms for the indy.
5. Profit!

As an example, look at Armin's "As The Rush Comes". Originally released on his own label Armada, it was then licensed to Positiva (part of EMI). In fact, your example (Nothing But You) was originally released on Vandit (Paul's label) before getting licensed all over the place (ID&T, Positiva, Mute, and Urban).

Rubbish. I personally know a number of people who make a very decent living without going near the majors.

Just a quick FYI, Paul van Dyk uses my friends from BMG to publish, for example Nothing But You has them listed as the publisher and he is under license to Universal Music. Seen him play live loads of times, stopped buying his records in 2001.

But to echo mcc's comment it looks like these artists are caught in the crossfire over hardware music players (between Apple and Sony).

From TFA:

The two companies have emerged as major rivals in the portable music player business. Apple's iPod music player, which stores music on a hard drive, has hurt Sony, which its own Network Walkman, some of which have hard drives.

So, you as an artist put your guts into producing the best music you can, your fanbase loves you and looks forward to your next release..... And your release is put on ice over politics between diferent divisions of the major you signed to.

Fuck that!

The artists have been screwed, and so have the fans.

If the labels get all pissy and whine over contracts then they should be countersued for restraint of trade.

The remix in question is by Mighty Dub Katz, a collaboration between Norman Cook (you probably know him as Fatboy Slim) and a certain G Money (who I haven't personally heard of).

And while I'm pretty darn sure that Steppenwolf is well-credited all over the releases, the artist is listed as Mighty Dub Katz for their version, so it might be more accurate to call it a sample-heavy cover rather than a remix.

It would be nicer if people would quote sources instead of looking at the random files they grab off of KaZaA or Grokster (does anyone actually use Grokster?)

Back on their Infotainment disc: the last two tracks were all 123 samples used in making the album. Of course this was 1996 so there wasn't ProTools, GarageBand, or Reflex out there in the common market. Still, it was open-hooded music.

I'm happy Trent did this. Too bad the disc is pretty underwhelming.

Talking about the beginning of Wikipedia, I realized that this was posted on slashdot. Not long ago, I discovered that a moderator on slashdot was named Samzenpus, who is the second cousin twice removed of Snagglepus

Well Snagglepus is famous for saying "Heavens to Mergatroid

Mergatroid was the sister of a guy in a band called Newcleus

The guy just happens to say, and I quote:

• "(Yeah, that's how you do it Cozmo) (You were right, kid, that's the way you do it) (Yeah, like did you see when he went in the corner) (And he started doin' this) (Wikki-wikki-wikki-wikki) (Wikki-wikki-wikki-wikki)"

this song came out in the early eighties - a Paradox (how could a wiki exist in the eighties before wikis existed?). Cosmos, nucleus, wikis, it all makes sense now. Slashdot may look like an innocent little blog which slashdots servers from time to time, but they are in actuality trying to slashdot the universe