Hello there and a warm welcome to lovers of all things electronic and discographical!<br> <!--
<hr><big><b>It's in!</b></big> My attempts to get the balearic remix of Chris Rea's "Josephine" into the database have finally borne fruit! Thanks to Jooles, and of course to those mods who voted (I could have, but I didn't). See...
<a href="http://www.discogs.com/info/queue/details.php?tag=a7e15da05925a58172f5817abc69a34f">The submission.</a><br><a href="http://www.discogs.com/release/224421">The Discogs entry.</a><hr><br>

<b>What I've been up to lately on Discogs:</b>
Submitting cassettes, mainly. Lots of gaps to be filled.

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<b>Some milestones</b>:
I think my first accepted release was this. Though it might not have been. I should have been paying more attention, really.

I reached...
1000 Points with this release.
2000 points with an update, moving a "The" from the beginning to the end of this artist name.
3000 Points with another update, renaming the redundant J & D (2) to this.
400 releases with this.
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My fastest accepted release was <a href="http://www.discogs.com/release/162821">this Canadian single by New Order</a> which took less than two hours from submission to its appearance in the database. Though <a href="http://www.discogs.com/release/174624">this Yazoo promo</a> is not far behind. I hadn't even heard of this CD until I found it in a charity shop. I purchased it immediately, submitted it to Discogs within an hour, and it appeared in the database within another three hours. From being completely unaware of a record's existence to having it accepted into Discogs in under four hours is pretty good going, I reckon.

My slowest accepted releases were <a href="http://www.discogs.com/release/214329">two</a> <a href="http://www.discogs.com/release/214328">12"s</a> by moderately obscure 80s synthpop duo Care (2), which sat in the queue for 50 days from October 27 to December 16 2003. At the time, the queue stats were showing a "longest time" of 51 days so I was a bit miffed that they didn't hang on until the 17th.
<br>
And I became a moderator on January 9, 2004.

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As for who I am and why... I always have a problem thinking of anything interesting to say about myself. However, I suppose the important thing as far as Discogs is concerned is that I do love music but hate musical snobbery. If I had a radio show, I'd bung on some classic electro, old crooners, trance, avant-garde stuff and punk, all sitting next to each other, and nobody would listen. Which is one of the many reasons why I don't have a radio show, I guess.

<!-- Here on discogs, I find that the more obscure a record in my collection is, the more likely it is to be in the database already, so I like to hang around on the edges instead, submitting oddities, items of historical interest, high energy stuff and "one-off" electronic dabblings by principally non-electronic artists. As a fan of lots of different sorts of music and a long-standing collector (or maybe I should say accumulator) of records, I'm aware of instances where principally non-electronic artists have dabbled in the field before going back to their usual style, records that the more "underground" members of this site might not be aware of. This confuses (and no doubt annoys) the mods no end, but I think it's interesting to know that, for example,
<a href="http://www.discogs.com/artist/Elvis_Costello">Elvis Costello</a> or <a href="http://www.discogs.com/artist/Paul_McCartney">Paul McCartney</a> experimented with electronics. And anyway, who wants to submit endless Basement Jaxx records when there's all sorts of weird and (sometimes) wonderful stuff out there? A filler of gaps, that's me. And why not? It's an interesting and not especially dirty job but someone's got to do it. Well, not <u>got</u> to do it, obviously, but I happen to think it's worthwhile. Though quite often frustrating. We'll come to that...
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My motto is: "What would Eric_T_H do?". Anyone who submits Chicory Tip and Nena is to be admired and cherished. <!-- It was his example as much as anything which gave me the courage to submit a lot of the leftfield stuff that I do. Oh, and speaking of which... --><!--The reason I'm here is that I think a definitive database of electronic music is a splendid idea. Unfortunately, the practice doesn't always match the theory. Oddly, though, it's never the stuff I think is going to be rejected, that gets thrown back. I was sure I would have to fight for the BBC Radiophonic Workshop stuff, Aneka's "Japanese Boy" and the Field Mice, but they all went through without a murmur of dissent. While things I'm certain are going to pass without comment (see below) get chucked back. True, I've only had a handful of outright rejections, a few of which I even agreed with on reflection. In fact, out of more than 350 contributions, I've only had two really annoying rejections. (Less than 1%, that's not bad even if I say so myself!) But in the interests of completeness, here they are:--> <!--
<font size=+1><b><a href="http://www.discogs.com/artist/Chris_Rea">Chris Rea</a></b> The Road To Hell / Josephine <u>(<a href="http://www.discogs.com/label/EastWest_Records_UK">EastWest Records UK</a>)</u></font>
<b>Format:</b> 12"
<b>Catalog#:</b> YZ 431T
<b>Released:</b> October 02 1989
<b>Country:</b> UK
<b>Style:</b> Downtempo
<b>Notes: </b>Both tracks written and produced by Chris Rea.<br>
<b>Tracklisting:</b>
A1 The Road To Hell (Parts 1 & 2)
<small>co-produced by <a href="http://www.discogs.com/artist/Jon_Kelly">Jon Kelly</a></small>
B1 Josephine (La Version Francaise)
<small>co-produced by Stuart Eales</small>

The B-side is a balearic classic and appears on a couple of compilation albums already in the database. My guess is that if it had been the A-side with the non-classic on the flip, it would probably have gone in, but the record just wasn't released that way. (It says a lot for the eclecticism of Ibiza DJs back then that they would actually play a Chris Rea B-side!)

<hr>
--><!--
<big><b><a href="http://www.discogs.com/artist/Chumbawamba">Chumbawamba</a></b> Amnesia (<a href="http://www.discogs.com/label/Universal">Universal</a>)</big>
<b>Format:</b> CD5"
<b>Catalog#:</b> U5P-1253
<b>Released:</b> 1997
<b>Country:</b> US
<b>Style:</b> Synth-pop
<b>Notes:</b> Promo release.

<b>Tracklisting:</b>
1 Amnesia (Album Version) (3:22)
<small>co-produced by Neil Ferguson</small>
2 Amnesia (Radio Remix) (3:10)
3 Amnesia (Philip's Milk Of Amnesia Mix) (3:44)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>
4 Amnesia (Random Access Memory Loss Mix) (8:50)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>

The odd thing about this being rejected is that very similar records are actually in the database, <a href="http://www.discogs.com/release/128297">this Chumbawamba release</a> for instance, which contains two dance mixes out of five tracks, and <a href="http://www.discogs.com/release/174489">this cassette</a>, which got into the database while the mods were no-voting my submission. It makes no sense whatsoever to me.

<hr>

<big><b><a href="http://www.discogs.com/artist/Who-_The">Who, The</a> - Won't Get Fooled Again (<a href="http://www.discogs.com/label/Track">Track</a>)</b></big>

Format: 7"
Catalog#: 2094 009
Released: 1971
Country: UK
Style: Synth-pop
Notes: The synths used are the Lowrey Berkshire Deluxe TBO-1 and EMS VCS3 Mk1.

Tracklisting:
A Won't Get Fooled Again (3:55)
<small>co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>
B I Don't Even Know Myself (5:03)
<small> co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>

<hr>

The third rejection was Liverpool FC's "Anfield Rap" on Virgin Records. This has little interest now (though it's quite funny, especially the scousers' response to John Barnes' rap) but was certainly electronic, a demonstration of how much synthpop had entered the mainstream by 1988. (Incidentally, has anyone got that Huddersfield Town single that samples the K Foundation? I'd love to get my hands on that.*) I'll add the proper details when I can be bothered to dig the record out again, but from memory the tracks were

A. Anfield Rap (Red Machine In Full Effect) (Full Time Mix)
B1. Anfield Rap (Red Machine In Full Effect)
B2. Anfield Rap (Red Machine Dub)

Produced by Tuff Audio and mixed by Howard Gray, who sure paid his dues in the pre-Apollo 440 days. Assuming it's the same Howard Gray, that is. (Actually, it is. I checked.)

*<small>I'm not joking. Such a record really does exist, and I genuinely would like a copy. Anyone?</small>
<hr><br>
I might get around to doing a load of Enya and Rick Wakeman at some point. I'm baffled by the "prove it's electronic" policy that seems to apply to Enya, an almost 100% electronic artist. And Rick Wakeman? Just a glam version of Mike Oldfield, and nobody objects to <i>his</i> stuff getting in (honestly, have you read the list of instruments on "Tubular Bells"? You'd hardly think there was room for a synth in the mix as well, I mean it's only a 16-track desk, right?). Still, I gather Teo's planning some new spin-off databases, so an uncool.discogs.com site must be a possibility. I'm rather looking forward to that...
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"It's BACON!"

<hr>

JJ_Amblin uses Firefox 1.0, downloadable from http://getfirefox.org. It's the browser that works really well, like.

<hr><a href="http://www.discogs.com/mod/releases/view.php?tag=000c3072ed50b2b6c6f6480754c72a1d">Yay!!!</a>
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