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:_ _ ____ ____ ____ _______ ___ | | ________ ______ ___ _______ _:
|// / ( ) \\_ /(___)_ _\\_ //_ / \\|
| \ / / /. | | /____/ / / |
: \_________/_____| | |______________\ o
| |_____|____| :
| |
| ## U N i T E D b Y E N C O D i N G ## |
| q u a l i t y r e l e a s i n g s i n c e 1 9 9 8 |
| _______ ______ ____ _____ _______ ___ _______ _____ |
| __\_ //_ // _// \\_ /(___))_ // __/__ |
| _/ /___/ / / / | / /. / / \_ \_ |
|\_ _\\__________/_____\_________________\| /_______________//_ _/|
cDr|_____|m's
o
: |__ ___
|(__)|__)(__/_, _____________________________________________________
| \.
| [ Various Artists - Illegal Art ] |
| |
| SUPPLiER: x GRAbbER: EAC |
| RELEASER: x ENCOdER: LAME |
| STYLE: Other QUALiTY: 192kbps/44.1khz |
| dATE: 01-09-2003 SoNGS: 21 |
| |
| ____/\_\_ __ |
| _ __ /\___\/_/___/\ __ _ |
| _ ___ _\\___\\/___/\_\___\//___//_ ___ _ |
| \/_/ |
| |
| - R E L E A S E i N F O - |
| |
| Music has always been a craft of borrowing. In traditional, or |
| folk, music, melodies and lyrics were handed down from generation |
| to generation. At every stage, musicians would change the tune or |
| substitute words at will, adapting songs to their own situations. |
| |
| |
| Like their predecessors, the artists featured here have drawn |
| from the music around them--whether by borrowing a guitar riff or |
| taking a digital sample--to create something new. But unlike |
| their folk ancestors, they all run the risk of getting sued. |
| |
| Two technologies, separated by centuries, have brought us to this |
| point. First, writing and printing gave birth to the composer and |
| the idea that a single person could own a piece of music. Second, |
| sound recording allowed music performances to be stored and |
| replayed--again, permitting an individual (or a company) to claim |
| it as property. |
| |
| These two kinds of musical property are reflected in present-day |
| copyright law: "publishing rights" apply to the ownership of |
| written music and "master rights" apply to the ownership of a |
| recording of that music. When you use a portion of someone else's |
| recording of a song, you need permission from the publisher and |
| "clearance" from the owner of that recording. When you record |
| without these permissions--and the exorbitant fees that go with |
| them--you're in trouble. Not surprisingly, only a few musicians, |
| like Puff Daddy and Fatboy Slim, can afford to sample legally. |
| |
| For our culture to be a space for free expression and for |
| creativity to flourish, audio artists must be able to build on |
| bits and pieces of preexisting music. While the "fair use" |
| doctrine allows artists to appropriate other works, it does so |
| only in cases of commentary or parody. Fair use doesn't apply to |
| the majority of "second-takers," those artists who reuse sounds |
| without directly referring to the original. |
| |
| Most of these tracks would never have existed if the artists had |
| adhered to copyright law. Many other works might never be heard |
| unless we act soon to grant artists the right to create them. |
| |
| Negativland |
| "U2: Special Edit Radio Mix" |
| The story behind this track and why it is officially |
| "unavailable" is perhaps one of the best-known cases of a |
| corporate giant record company crushing obscure artists in the |
| name of intellectual property. In summary, U2Æs label, Island |
| Records, sued Negativland and SST Records for trademark and |
| copyright infringement. The resulting fiasco inspired Negativland |
| to publish a book, Fair Use, which meticulously documents the |
| entire affair. Negativland is now a tireless advocate of relaxing |
| copyright laws and has often helped other artists fight off |
| litigation; many major labels now understand that messing with |
| Negativland will almost certainly result in bad publicity. |
| |
| Biz Markie |
| "Alone Again" |
| Gilbert OÆSullivanÆs 1991 lawsuit against Biz Markie for the |
| uncleared use of 20 seconds from OÆSullivanÆs "Alone Again |
| (Naturally)" was a major turning point in the evolution of |
| hip-hop. Markie lost the case; the judge told him, verbatim, |
| "Thou shalt not steal." With that, the era of carefree sampling |
| was over. Sample-heavy albums in the vein of Public EnemyÆs It |
| Takes a Nation of Millions to Hold Us Back or the Beastie BoysÆ |
| PaulÆs Boutique became impossibly expensive and difficult to |
| release. Many artists continued to sample but retreated into |
| using more and more obscure source material. |
| |
| People Like Us |
| "Swinglargo" |
| EnglandÆs People Like Us (a.k.a. Vicki Bennett) hasnÆt been sued |
| yet, perhaps because most of her source materials are obscure. |
| Her work is almost 100% uncleared samples. |
| |
| Culturcide |
| "They ArenÆt the World" |
| In 1987 a group of artists based in Houston took the name |
| Culturcide and released a record called Tacky Souvenirs of |
| Pre-Revolutionary America. The album had no information about who |
| was in Culturcide or how to contact them perhaps because what |
| they had done could have gotten them into legal trouble. Each |
| track on the record is a pop hit with new lyrics recorded crudely |
| over the top, sometimes with bits of noisy guitar added on. The |
| new words are extremely pointed criticisms of the music industry. |
| |
| The Evolution Control Committee |
| "Rocked by Rape" |
| Built from AC/DCÆs "Back in Black" and snippets from Dan Rather |
| newscasts, this piece was released as a single in 1999 by Eerie |
| Materials but then withdrawn under threat of litigation from CBS. |
| |
| |
| Beastie Boys |
| "Rock Hard" |
| The Beastie Boys released this as a single in 1985, and it |
| quickly went out of print. The song was to reappear on their 1999 |
| The Sounds of Science anthology, but they had to cut it after |
| AC/DC refused permission for the use of "Back in Black." Beasties |
| member Mike D reportedly talked to the band personally on the |
| phone: "AC/DC could not get with the sample concept. They were |
| just like, æNothing against you guys, but we just donÆt endorse |
| sampling.Æ" |
| |
| Dummy Run |
| "f.d" |
| British collagists Dummy Run make their music almost completely |
| from other music. Taken from their 1996 album Pink Rocket, this |
| piece is a self-reflective glimpse at some of the issues involved |
| in sampling. |
| |
| John Oswald |
| "black" |
| Oswald constructed this piece out of a dizzying array of James |
| Brown samples, partially as a commentary on just how often |
| BrownÆs work has been reused by others. The track originally |
| appeared on his 1989 CD Plunderphonic, which brought Oswald |
| threats of legal action from the Canadian Recording Industry |
| Association. He eventually was forced to relinquish all remaining |
| copies of the disc, which were then physically destroyed. Despite |
| all this, the album has become a cult classic in the genre of |
| sample-based music. |
| |
| Corporal Blossom |
| "White Christmas" |
| This track, which originally appeared on A Mutated Christmas |
| (Illegal Art, 2001), combines various recordings of the classic |
| Christmas carol. None of the samples have been cleared. If |
| Corporal Blossom were forced to pay for all of them, the track |
| would have to disappear. |
| |
| Tape-beatles |
| "Reality of Matter" |
| The Tape-beatlesÆ goal since their inception in 1987 has been to |
| explore the potential of making music without musical |
| instruments, using only recording technology. They also believe |
| that "recontextualization of previously æfinishedÆ works can be |
| done ethically and can in itself constitute authorship." This |
| example of their work comes from their 1999 disc Good Times. |
| |
| Public Enemy |
| "Psycho of Greed" |
| This unreleased track was recorded for PEÆs latest CD, |
| Revolverution. It contains a sample of the BeatlesÆ song |
| "Tomorrow Never Knows." The clearance fee demanded by Capitol |
| Records and the surviving Beatles was so high that PE decided to |
| pull the track from the album. |
| |
| The Verve |
| "Bittersweet Symphony" |
| This hit pop song uses a sample from a string arrangement of "The |
| Last Time" by the Rolling Stones. The Verve had trouble getting a |
| licensing agreement from the StonesÆ publisher, Alan Klein, who |
| said, "I donÆt agree with sampling as a matter of principle, and |
| certainly not on a Stones song." (This is a strange stance, given |
| that the Stones launched their career with covers of blues songs |
| without compensating the original artists.) Eventually Klein gave |
| in, but only after the Verve agreed to sign over all royalties to |
| "Bittersweet Symphony" to the Stones. Later, when Nike approached |
| the Verve about using the song in a commercial, the band refused. |
| Nike then approached Klein about recording a cover version, since |
| he owned the publishing rights. When members of the Verve found |
| out about this, they agreed to let Nike use their version and |
| donated their fee to charity. "The last thing in the world I |
| wanted was for one of my songs to be used in a commercial," said |
| Richard Ashcroft of the Verve. "IÆm still sick about it. But it |
| could have been worse. If we didnÆt fight for the song, |
| æSymphonyÆ would have ended up in a cheeseburger ad and no one |
| could ever have taken our record seriously again." |
| |
| Wobbly |
| "Clawing Your Eyes Out Down to Your Throat" |
| From WobblyÆs Playlist (Illegal Art, 2001), this song contains |
| samples from a variety of sources, including several Johnny Cash |
| songs. Like many sample-based works that donÆt explicitly |
| criticize the source material, this track would probably not be |
| defendable in court as Fair Use. |
| |
| De La Soul |
| "Transmitting Live from Mars" |
| This track, from the album 3 Feet High and Rising, samples a song |
| by the 1960s band The Turtles, which sued De La Soul in 1989 and |
| won a judgment of $1.7 million. For its next album, De La Soul |
| made sure to clear all samples, which cost a total of $100,000. |
| |
| Buchanan and Goodman* |
| "The Flying Saucer" |
| Released in 1956, this record is probably the first successful |
| use of "sampling" in popular music. It was done with magnetic |
| tape, as digital technology did not yet exist. Dickie Goodman and |
| Bill Buchanan edited together this alien invasion skit out of |
| popular songs, for which they were sued for multiple copyright |
| infringements. Their record label came to an agreement with the |
| publishers of the original songs, and the record went on to sell |
| close to a million copies, spawning a whole genre of "break-in" |
| or "snippet" records. The hit record also served to boost sales |
| of the sampled songs, and spurred interest in their creators, |
| many of whom were African-American singers whose original |
| renditions had never been heard by a mainstream (white) audience. |
| Ironically, a recently released retrospective CD of GoodmanÆs |
| work substitutes an alternative version of "Flying Saucer" (with |
| reworked snippets) for the original, most likely due to licensing |
| problems. |
| |
| The JAMs |
| "The Queen and I" |
| The iconoclastic Justified Ancients of Mu Mu released their first |
| album in 1987, called 1987: What the FuckÆs Going On? It included |
| many tracks that contained uncleared samples of popular music, |
| but this one got them into particular trouble when they were sued |
| by the Swedish group Abba for using almost all of "Dancing |
| Queen." The album was deleted and remaining copies destroyed. The |
| recordÆs original label read: "All sounds on this recording have |
| been captured by The JAMs in the name of Mu. We hereby liberate |
| these sounds from all copyright restrictions, without prejudice." |
| (The JAMs are also known as the KLF, which stands for Kopyright |
| Liberation Front.) |
| |
| Elastica |
| "Connection" |
| The British punk band Wire thought the main guitar riff from this |
| song sounded too similar to its "Three Girl Rhumba," released in |
| the 70s. In 1995, Wire threatened Elastica with legal action, and |
| the matter was settled out of court. |
| |
| Steinski & Mass Media |
| "The Motorcade Sped On" |
| Steven Stein created this cut-up of Kennedy assassination |
| coverage. His label, Tommy Boy, was unable to officially release |
| it because CBS refused to grant clearance for the use of Walter |
| CronkiteÆs voice. It was instead released as a white label |
| 12-inch single in 1986. |
| |
| Invisibl Skratch Piklz |
| white label edit |
| The Piklz are a special sort of band composed of a rotating |
| lineup of hip-hop DJs, including Q-bert, Mixmaster Mike, and |
| Shortcut. These highly skilled turntablists scratch out songs |
| together live, each using a record and a record player as an |
| instrument, each contributing, in real time, a different part |
| (like drums, bass line, or horn stabs) to the music. This track |
| comes from a 12-inch record pressed and circulated in 1996 with |
| no information (a "white label"). Hip-hop and dance records often |
| appear in this limited, underground manner and then vanish |
| forever, never to be officially released due to copyright issues. |
| |
| Xper.Xr |
| "Wu-chu-tung" |
| Originally from Hong Kong and now based in London, Xper.Xr adds |
| his own personal accompaniment to EMFÆs pop hit "Unbelievable." |
| From his album Lun Hsiao Shai (Vaseline). |
| |
| Boone Bischoff |
| "Happy Birthday To You" |
| Yes, the song the entire Western world sings at birthday parties |
| is actually owned by a large corporation, and every time someone |
| sings it in public without permission, it is an infringement of |
| copyright. The songÆs tune was published by schoolteachers |
| Mildred and Patty Hill in 1893 as "Good Morning to All" in their |
| book Song Stories for the Kindergarten. Children began singing it |
| at birthday parties but with words they came up with themselves, |
| which is how folk music typically develops. Nevertheless, the |
| song lyrics and all is now owned by AOL Time Warner, the largest |
| entertainment company on earth, and the corporation aggressively |
| defends its property. |
| |
| http://www.illegal-art.org/ |
| |
| |
|______________ ___ ___ ________________|
|________ ____ \_/ \_/ ____ __________|
|________ \___\ _\ /_ /___/ __________|
|________ _\ _\(__\ T R A C K S /__)/_ /_ _________|
|________(__\(__\ /__)/__)__________|
| |
| 01 Negativland - U2: Special Edit Radio Mix 05:49 |
| 02 Biz Markie - Alone Again 02:57 |
| 03 People Like Us - Swinglargo 05:24 |
| 04 Culturecide - They Aren't The World 04:35 |
| 05 The Evolution Control Commit.. - Rocked By Rape 04:32 |
| 06 Beastie Boys - Rock Hard 04:58 |
| 07 Dummy Run - f.d 01:28 |
| 08 John Oswald - Black 02:07 |
| 09 Corporal Blossom - White Christmas 03:25 |
| 10 Tape-beatles - Reality Of Matter 02:43 |
| 11 Public Enemy - Psycho Of Greed 03:15 |
| 12 The Verve - Bittersweet Symphony 04:40 |
| 13 Wobbly - Clawing Your Eyes Out Down T.. 01:27 |
| 14 De La Soul - Transmitting Live Ffrom Mars 01:12 |
| 15 Buchanan And Goodman - The Flying Saucer 04:23 |
| 16 The JAMs - The Queen And I 04:55 |
| 17 Elastica - Connection 02:26 |
| 18 Steinski & Mass Media - The Motorcade Sped On 04:31 |
| 19 Invisibl Skratch Piklz - White Label Edit 05:35 |
| 20 Xper.Xr - Wu-chu-tung 01:49 |
| 21 Boone Bischoff - Happy Birthday To You 00:29 |
| :
| o
| _______ _______ ___.:___ _______ |
| ___\_ // ____// || \\ __/__ |
|_ _/ / / ___/ || /____ \_ _|
//_ _______ _\\____/__________________/\______________//_ _______ _\\
/ \
/. - G R O U P N E W S - .\
| |
| happy third birthday UBE ! |
| |
| special greetings go out to: |
| |
| larry wall for making all of this possible |
| |
|__ _ ____ _ __|
(__))_ ______ _ _ __________((_)\ /(_))__________ _ _ _____ _((__)
|( \/ )|
|/ \|
: Founded in 1998 by a bunch of german geeks, UBE was one of the :
| first groups in the mp3 scene, when only a dirty dozen of them |
| were there. Ever since we did quality releases, instead of |
| focusing on quantity like it is done by most groups today. |
| |
| UBE is a group of friends, friendly and open-minded, and so we |
| seek for new friends, not just ripping machines. And we are |
| probably the group doing the most parties ;) |
| When you apply you have to be a little bit patient, |
| we need some time to get to know you. |
| |
| Over time we have grown to a quite big group with nearly 50 |
| Members, scattered all over the world, but most of them from |
| Germany. |
| In UBE there is no duty to release something, we don't force our |
| members into releasing a specific amount, since this only leads |
| to crappy releases. Stuff you can buy at some gas station is not |
| really worth ripping. |
| |
| Besides releasing you can help us in many ways, we seek for |
| programming experts, linux gurus,security experts and (legit) |
| shell providers as well, just to name some examples. |
| |
| In addition, UBE membership doesn't expire, we don't kick idle |
| friends. If you can behave you will stay with us forever, so |
| don't ever try to take advantage of our friendly attitude. |
| And, in UBE is no place for racism or other kinds of extremists, |
| and if you are some ego please go somewhere else. |
| |
| Even though we are friendly, we don't fill requests for security |
| reasons, so don't come requesting files in our public channel, |
| if we don't know you - youre very likely not to be heard. |
| |
| People should care a lot more about their and other people's |
| security. |
| Get educated and think before you start to talk or even act. |
| There is a growing gap between the ones that do think about |
| security and the ones that don't, try to avoid a split. |
| |
| - UBE - We're the dot in .mp3 - UBE - |
| |
|_ _|
//_ http://www.is.of.no.use.for.us _\\
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//_____ :::::: ...... .::::: :::::: :::::: _____\\
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[ U B E ] U n i t e d B y E n c o d i n g (C) 2 0 0 1 [ U B E ]
nfo header+layout by CRUSADER/M'S _\|/_ updated by gork @ 09/03/2k+1
Files
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[BMW]-[Other-2002]-(99.8 MB in 21 files of kbps Stereo)-[bender@record