Jul 23, 2014

RhoDeo 1429 Aetix

Hello, US intelligence officials accused Moscow of "creating the conditions" that resulted in the death of 298 people aboard the Malaysian Airlines jet shot down last week over a part of Ukraine controlled by Russia-backed separatists. We're all so short on memory who created the conditions for the downfall of the legaly elected Ukranian president ? Yes it was the US and those nincompoop EU politicians promising plenty of money to those nasty neo nazis and other rightwing trash to create chaos and chase out the president, and now all this political powerplay has resulted in the death of innocents. Let's not forget there's a war going on there many more die, all for the bloodlust of the US demons that consider themselves beyond good and evil. Yes so blaming Russia is a sick joke, alas many in the west can't see through this propaganda.

Today at Aetix a conjuring a fiendish witches' brew of primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex, and the detritus and effluvia of 50 years of American pop culture, the Cramps are a truly American creation much in the manner of the Cadillac, the White Castle hamburger, the Fender Stratocaster, and Jayne Mansfield. Often imitated, but never with the same psychic resonance as the original, the Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, not unlike an enchanted gingerbread house on the Las Vegas strip. The entire psychobilly scene would be unthinkable without them, and their prescient celebration of the echoey menace of first-generation rock & roll had a primal (if little acknowledged) influence on the rockabilly revival and the later roots rock movement.....N'joy !

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The Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex. They have influenced countless subsequent bands in the garage, punk and rockabilly revival subgenres, and helped create the psychobilly genre, a term coined by The Cramps, although Lux Interior maintained that the term did not describe their own style.

Lux Interior (Erick Lee Purkhiser) and Poison Ivy (hitchiking Kristy Marlana Wallace) met in Sacramento, California in 1972. Shared common artistic interests and devotion to record collecting, had them pair up and decide to form The Cramps. Lux took his stage name from a car ad, and Ivy claimed to have received hers in a dream (initially Poison Ivy Rorschach). In 1973, they moved to Akron, Ohio, and then to New York in 1975, soon entering into CBGB's early punk scene. The lineup in 1976 was Poison Ivy Rorschach, Lux Interior, Bryan Gregory (guitar), and his sister Pam "Ballam" Gregory (drums). In a short period of time, the Cramps changed drummers twice, something that would follow the bands path..the rhythm section (bass,drums) changed ever so often 7 times each in fact over their 33 years as a band.

In June 1978 they gave a landmark free concert for patients at the California State Mental Hospital in Napa, recorded on a Sony Portapak video camera by the San Francisco collective Target Video and later released as Live at Napa State Mental Hospital. They released the two singles again on their 1979 Gravest Hits EP, before Chilton brought them back that year to Memphis to record their first full length album, Songs The Lord Taught Us.

The Cramps relocated to Los Angeles in 1980 and hired guitarist Kid Congo Powers of The Gun Club. While recording their second LP, Psychedelic Jungle, the band and Miles Copeland began to dispute royalties and creative rights. The ensuing court case prevented them from releasing anything until 1983, when they recorded Smell of Female live at New York's Peppermint Lounge; Kid Congo Powers subsequently departed. Their first European tour, after having veen cancelled twice, was a success.

With the release of 1986's A Date With Elvis, the Cramps permanently added a bass guitar to the mix, but had trouble finding a suitable player, so Ivy temporarily filled in as the band's bassist. Fur joined them on the world tour to promote the album. Their popularity in the UK was at its peak (many sell out dates throughout the UK) . It was not until late 86 that the Cramps found a suitable permanent bass player: Candy del Mar, who made her recorded debut on the raw live album "RockinnReelininAucklandNewZealandxxx", which was followed by the studio album Stay Sick in 1990.

The Cramps hit the top 40 singles chart in the UK for the first and only time with "Bikini Girls with Machine Guns"; Ivy posed as such both on the cover of the single and in the promotional video for the song. The Cramps went on to record more albums and singles through the 1990s Look Mom, No Head! (91), Flame Job (94), Big Beat From Badsville (97) for various labels.

In honor of the excess of The Cramps, the Rock and Roll Hall of Fame has on display a shattered bass drum head that Lux's head went through during a live show. On January 10, 2001, Bryan Gregory died at of complications following a heart attack. He was 47. In 2002, The Cramps released their final studio album, "Fiends of Dope Island" on their own label, Vengeance Records. Two years later followed by a compilation, How to Make a Monster.

On February 4, 2009 at 4:40 AM PST, Lux Interior died at the Glendale Memorial Hospital after suffering an aortic dissection (rupture) which, contrary to initial reports about a pre-existing condition, was "sudden, shocking and unexpected, leaving his partner of 37 years (Poison Ivy) behind.

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After Psychedelic Jungle, the Cramps experienced personnel and record label difficulties; they would not release another studio album until this one, four years later. Gone here are the tinny sound quality and horror-flick-based lyrics of prior releases, replaced by clearer sonics and an often hilarious obsession with sex (examples of the latter can be found on "What's Inside a Girl?," "The Hot Pearl Snatch," "Cornfed Dames," "(Hot Pool of) Womanneed," "How Far Can Too Far Go?," and the uproarious single "Can Your Pussy Do the Dog?"). There are numerous sly references in the verses to high and low cultural icons, including "Shake it one time for me" (a line from Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On"), "I'll be dancing through the flames/Like a devil in disguise" (a nod to the Elvis Presley hit), and "Now there's more things in Tennessee/Than is dreamed of in your philosophy" (a paraphrase of a line from Shakespeare's Hamlet). Most of the songs here are in various rockabilly-derived styles featuring either garage rock fuzz or Duane Eddy twanging guitar from Poison Ivy. Vocalist Lux Interior is in excellent form here, exhibiting a fair bit of variety within his usual 1950s-derived approach. "Kizmiaz" is unique in the band's oeuvre, being a smarmy parody of 1960s hippie feel-good music; Ivy joins Interior on vocals here. Intonation is off in a few numbers (notably on "Kizmiaz," "The Hot Pearl Snatch," and "Can Your Pussy Do the Dog?"), but this is not enough to detract from the overall excellence. This rollicking and energetic platter in particular is the equal of any in their canon, and an essential listen.

The Cramps - A Date With Elvis ( flac 269mb)

01 How Far Can Too Far Go? 4:10
02 The Hot Pearl Snatch 3:19
03 People Ain't No Good 3:46
04 What's Inside A Girl? 3:22
05 Can Your Pussy Do The Dog? 3:21
06 Kizmiaz 3:00
07 Cornfed Dames 5:27
08 Chicken 1:40
09 (Hot Pool Of) Womanneed 3:09
10 Aloha From Hell 2:35
11 It's Just That Song 2:34

The Cramps - A Date With Elvis  (ogg 110mb)

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This British compilation includes the entirety of the Cramps' first release, the Gravest Hits EP, along with selections that cover the years 1979-1983, a formative period in the band's long career. Ten of the tracks can also be found on the domestic compilation Bad Music for Bad People, which was released the following year. Although the bulk of the material consists of covers, you can hardly tell (barring an intimacy with any of the originals). Once the Cramps get hold of a song, they always make it their own -- even the more recognizable numbers like "Surfin' Bird," "Lonesome Town," and "Fever." All benefit from Lux Interior's vocal prowess. He's a proto-punk screamer like Screamin' Jay Hawkins or the Sonics' Gerry Roslie on the rockin' numbers, but can caress a ballad like mid-period Elvis when the need arises. None of the songs sound as if they could possibly have been written anytime after the '60s. Alex Chilton produced the first ten tracks, the Cramps the remaining seven. [The cover art for ...Off the Bone has varied over the years; the 1987 Illegal edition is rendered -- appropriately enough -- in 3-D.

The Cramps - Off The Bone  (flac 316mb)

01 Human Fly 2:16
02 The Way I Walk 2:40
03 Domino 3:08
04 Surfin' Bird 5:07
05 Lonesome Town 3:03
06 Garbageman 3:30
07 Fever 4:19
08 Drug Train 2:37
09 Love Me 2:02
10 I Can't Hardly Stand It 2:43
11 Goo Goo Muck 3:06
12 She Said 3:17
13 The Crusher 1:48
14 Save It 2:57
15 New Kind Of Kick 3:31
16 Uranium Rock 2:28
17 Good Taste (Live) 3:31

The Cramps - Off The Bone (ogg 125mb)

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The Cramps waited four years after their top-notch A Date with Elvis before releasing their next studio album. The result is, unfortunately, one of the weakest platters in their canon. Most all the songs here follow the same rockabilly-based formula of previous releases; unfortunately, much of the group's usual fire is missing. Too many of the selections (such as "Daisys Up Your Butterfly," "Everything Goes," "All Women Are Bad," and a cover of "Muleskinner Blues") are cast in a moderate jogging tempo, and the instrumental playing shows minimal song-to-song contrast, lacking the manic craziness of their best work. Lux Interior's vocals are comparatively reserved (though there are some exceptions, such as the snarling cover of "Shortnin' Bread") and are often somewhat submerged in the sound mix. Lyrics, too, are a bit tame by Cramps standards, the major exception being "Mama Oo Pow Pow," which has gleefully tacky verses about spanking and discipline that rival their most tasteless. "God Damned Rock 'N' Roll" is, for all practical purposes, a middling parody of Bob Seger's "Old Time Rock and Roll." The biggest surprise is the atypically soaring vocal on the better-than-average song "Journey to the Center of a Girl."

The Cramps - Stay, Sick!  (flac 401mb)

01 Bop Pills 2:26
02 God Damn Rock 'N' Roll 2:38
03 Bikini Girls With Machine Guns 3:18
04 All Women Are Bad 3:08
05 The Creature From The Black Leather Lagoon 3:10
06 Shortnin' Bread 2:45
07 Daisys Up Your Butterfly 2:28
08 Everything Goes 3:46
09 Journey To The Center Of A Girl 4:49
10 Mama Oo Pow Pow 2:28
11 Saddle Up A Buzz Buzz 2:40
12 Muleskinner Blues 2:45
Bonus Tracks
13 Her Love Rubbed Off 2:58
14 Her Love Rubbed Off (Live) 5:04
15 Bikini Girls With Machine Guns (Live) 3:30
16 Beat Out My Love 2:15
17 Jailhouse Rock 2:28
18 Jackyard Backoff 3:18

The Cramps - Stay, Sick!  (ogg 138mb)

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Jul 22, 2014

RhoDeo 1429 Roots


Lagos, Nigeria, in a lengthy 2006 New Yorker article, is depicted as a post-industrial wasteland, an environmental, economic, and social disaster, fueled by corruption, crime, and the entropy of over eight million people (and counting) vying for limited space and resources. Lagos is considered a 21st century "megacity" teetering on the brink of total chaos when it's not already embroiled in it. "As a picture of the urban future, Lagos is fascinating only if you're able to leave it."

Lagos wasn't always like this, nor was Nigeria as a whole. In fact, just about 40 years ago, following the end of the Biafran War, Nigeria briefly experienced a huge economic and cultural boom, its oil revenues generating billions, the nation thriving, and the country producing an impressive number of artists, writers, and musicians. As far as the musicians go, many still only know Nigeria for Afrobeat pioneer Fela Kuti. Some are also familiar with some combination of juju masters King Sunny Adé and Ebenezer Obey, the perfectly nicknamed highlife star Christogonus Ezebuiro "Sir Warrior" Obinna of the nebulous Oriental Brothers International Band, but they still represent just the tip of a vast West African iceberg.

Proof of this creative seventies explosion here to N'joy

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Get ready to discover a whole new realm of African Funk – because this collection digs deeper than any we've ever had before! The mighty Soundway Records have come up with a blistering batch of grooves that push way past the bigger hits on the global scene – to the real roots of the Afro Funk sound of the 70s, an assortment of Nigerian recordings that have an undeniable combination of African rhythms and American funk! Percussion is at the forefront of the set – and most tracks feature lots of skittish drum work, topped off by hard riffing on sax, guitar, and keyboards. The whole thing's very much in the best tradition of our favorite grooves by Fela – and titles include "Asa Sa" by Fred Fisher, "No Wrong Show" by Thony Shorby Nyenwi, "Omelebele" by Dr Victor Olaiya's International All Stars, "Afro Baby" by Stephen Osita Amaechi & His Afro Rhythm Skies, "Ochonma" by Martins Brothers Dance Band, "Alikali Adajo" by Sahara All Stars, "Lagos Sisi" by Bola Johnson, "Ire" by Don Isaac Ezekiel Combination, and "Son Of Mr Bull Dog" by The Mebusas.

VA - Afro Baby  (flac  380mb)

01 Sahara All Stars - Alikali Adajo 8:56
02 Bola Johnson - Lagos Sisi 3:19
03 Mebusas - Son Of Mr Bull Dog 5:20
04 Fela Ransome Kuti & Africa 70 - Fogo Fogo 8:55
05 Don Isaac Ezekiel Combination - Ire 3:18
06 Tunji Oyelana & The Benders - Ipasan 5:18
07 Fred Fisher - Asa-Sa 8:06
08 Orlando Julius & His Afro Sounders - Mura Sise 6:58
09 Thony Shorby Nyenwi - No Wrong Show 5:39
10 Victor Olaiya & His International All Stars - Omelebele 5:50
11 Stephen Osita Amaechi & His Afro-Rhythm-Skies - Afro Baby 3:05
12 Martins Brothers Dance Band - Ochonma 2:55

VA - Afro Baby   (ogg 161mb)

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..The Sound of the Underground Lagos Dancefloor 1974-79. Lagos, Nigeria, 1974-1979: the funk & disco capital of West Africa. More nightclubs, bars, spots and dancefloors than any place along the coast from Dakar all the way to Kinshasa. Nigeria Disco Funk Special is an amazing collection of heavy dancefloor grooves from urban Lagos in the '70s -- hot and driving slices of funk, disco and boogie that show just how vibrant the music scene was in one of West Africa's most populous and culturally diverse cities. In the '70s, it wasn't just James Brown who influenced the musicians playing in the nightspots of Lagos -- the loose-structured and elongated jams that he was pioneering in America had been a part of Nigerian music much longer than that. This album is the sound of Cuban-heeled and micro-minied Lagos youth soaking up the sound of the American discotheque and putting their own inimitable twist on the proceedings. The CD and double gatefold vinyl include rare tracks from famous musicians like Bongos Ikwue & The Groovies and Mono Mono's Joni Haastrup, as well as selections from cult bands like Asiko Rock Group, SJOB Movement and Jay-U Experience. Other artists include: The Sahara All Stars, T-Fire, Voices Of Darkness and Dr. Adolf Aonotu. If you're already a fan of funky West African music, I recommend these sets to you without reservation. Go get them. More broadly, anyone into funk in general or the subtle permutations of vintage global pop music would be well-advised to dig this as well. From the royalty structure to the sound to the packaging to the research and of course the music, Afrofunk fans could hardly have asked for more.

VA - Nigeria Disco Funk Special  (flac  346mb)

01 Sahara All Stars - Take Your Soul 7:07
02 T-Fire - Will Of The People 5:48
03 Asiko Rock Group - Lagos City 3:57
04 Johnny Haastrup - Greetings 6:12
05 Bongos Ikwue & The Groovies - You've Gotta Help Yourself 4:10
06 Jay-U Experience - Some More 7:08
07 Voices Of Darkness - Mota Ginya 6:59
08 Dr. Adolf Aonotu - Ijere 3:59
09 S-Job Movement - Love Affair 6:45

VA - Nigeria Disco Funk Special    (ogg 108mb)

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Last year was a disorienting, somewhat disconnected time if you were looking for any kind of lucid pop music narrative, but one thing was for sure in 2008: All you had to do was wait a month or so, and you'd get the chance to hear yet another entry in an incredible influx of compilations, reissues, and revivals of the music of West Africa in the 1970s. There was Soundway's (so far) three-part Nigeria Special series, which gathered a bountiful collection of highlife, Afrobeat, funk, rock, and disco, and they followed it up with the eye-opening Sir Victor Uwaifo compilation Guitar Boy Superstar. Germany's freshly-minted Analog Africa label assembled a number of incredible highlife/funk/psych songs from Togo and Benin under the title African Scream Contest, then put together the staggering Orchestre Poly-Rhythmo de Cotonou highlight reel The Vodoun Effect: Funk and Sato from Benin's Obscure Label. And amidst all of this, Fela Kuti's son Seun reunited with his father's band Egypt 80 to record his debut full-length Many Things, taking the Afrobeat revival one step further by creating one of the genre's best new records of the last 25 years. All that, and Strut's ceaselessly entertaining Nigeria 70: Lagos Jump, too-- that's a ridiculously bountiful collection of music.

But even amidst all those releases,  Nigeria 70: Lagos Jump isn't an afterthought-- it is, after all, the followup to one of the most crucial Afrobeat comps, 2001's  Nigeria 70: The Definitive Story of 1970's Funky Lagos. The original  Nigeria 70 was released four years after Fela Kuti's death and in the midst of a renewed interest in Afrobeat-- Femi Kuti's Fight to Win enlisted Mos Def and Common in a hip hop crossover bid, and Antibalas was really starting to pick up steam-- so it served as one of the most contextually important collections of the genre as it stood in its original heyday. With this reissue, it still holds that status:  Nigeria 70 assembles a potent collection of names that were already famous among aficionados of African music (Fela; Tony Allen; King Sunny Ade), augments them with lesser-known musicians that those aficionados would also likely enjoy, and subsequently captures a cross-section of Nigerian culture that covers that country's adaptations of nearly everything that was going on in black music at the time.

Nigeria 70 starts with Monomono's "Loma Da Nigbehin", where the groove is stepped up, the rhythm guitar emphasized, the percussion denser yet livelier, the horn and organ solos heavier-- all developments created in the wake of Fela's revolution in militant funk. Afrobeat in that familiar vein is widely covered here, both inside and outside of the Kalakuta Republic. Two of Fela's greatest Africa '70-era recordings appear in "Upside Down" and "Jeun Ko Ku (Chop 'n' Quench)",  while Afrobeat's rhythmic architect and Africa '70 alumnus Tony Allen is represented by his glimmering 1980 recording "No Discrimination".  And many of the highlights from less-famous musicians-- Peter King's "Shango"; Orlando Julius Ekemode's "Alo Mi Alo"; Afro Cult Foundation's "The Quest"-- take Kuti's sounds and tweak them playfully until they become a bit more concise or abstract.

But what makes Nigeria 70  particularly compelling is its sonic diversity. Anyone expecting two and a half hours of music that sounds directly informed by Fela might be surprised to find out just how many musicians saw his music as a starting point than the sum of their sound. There's nods to psychedelic rock, both heavily fuzzed-out (Ofo & the Black Company's stomping, wailing "Allah Wakbarr") and Deadhead-friendly mellow (BLO's eerily beautiful reverie "Chant to Mother Earth"). A few forays into the late 1970s and early 80s note a disco influence that informs cuts like Joni Haastrup's 1977 song "Greetings" and Shina Williams & His African Percussionists' 1984 electro-funk workout "Agboju Logun" without removing their Afrobeat backbone. And if you're wondering how Parliament-Funkadelic was received in Nigeria, William Onyeabor's 1978 anti-imperialist synthesizer opus "Better Change Your Mind" is an intriguing hint. You could while away some time trying to figure out just how much or how little of it came from black music in America, and how much of black music in America actually owed to these sounds in the first place-- as cross-cultural development of pop music goes, the Nigerian sound is fascinatingly tangled. And now, even after the West African reissue glut of 2008, Nigeria 70 still sounds illuminating.

VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 1  (flac  288mb)

01 Monomono Tire - Loma Da Nigbehin
02 Blo - Chant To Mother Earth
03 Fela Ransome Kuti & The Africa 70 - Jeun Ko Ku (Chop 'N' Quench)
04 Tunji Oyelana & The Benders - Ifa
05 Bala Miller & The Great Music Pyrameeds Of Afrika - Ikon Allah
06 Segun Bucknor & His Revolution - La La La
07 Peter King - Shango
08 Tony Allen & His African Messengers - No Discrimination
09 Sir Victor Uwaifo & His Melody Maestroes - Akayan Ekassa
10 William Onyeabor - Better Change Your Mind
11 Bongos Ikwue - Woman Made The Devil

VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 1  (ogg 138mb)


VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 2 (flac

01 Orlando Julius & The Afro Sounders - Alo Mi Alo
02 Ofo The Black Company - Allah Wakbarr
03 Sahara All Stars Band Jos - Enjoy Yourself
04 Funkees - Dancing Time
05 Afro Cult Foundation - The Quest
06 Joni Haastrup - Greetings
07 Gasper Lawal - Kita Kita
08 Lijadu Sisters - Orere Elejigbo
09 Anikulapo Kuti & The Africa 70* with Sandra Akanke Isidore - Upside Down
10 Shina Williams & His African Percussionists - Agboju Logun
11 Sunny Ade & His African Beats - Ja Fun Mi (Instrumental)

VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 2 (ogg

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Jul 21, 2014

RhoDeo 1429 Cabin P 15

Hello, the F1 saw some close racing today Rosberg could cruise to victory behind him Hamilton showed his true colours-no respect for those that refuse to move over for his superior car, the man is a menace, oh well his fans love it. Alonso had a good race as he managed to split the Red Bulls at 5th spot. Meanwhile the TDF breakaway duo that had led the race for 220km were caught 25 meters before the finish, ah yes the drama...

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Cabin Pressure is a radio situation comedy series written by John Finnemore. Its first series was broadcast on BBC Radio 4 in 2008. The show follows the exploits of the oddball crew of the single aeroplane owned by "MJN Air" as they are chartered to take all manner of items, people or animals across the world. The show stars Stephanie Cole, Roger Allam, Benedict Cumberbatch and John Finnemore.

The principal cast, the 4-person crew, is the following:

As part of her last divorce settlement, Carolyn Knapp-Shappey (Stephanie Cole) received a mid-size (16 seat) jet aeroplane named "GERTI" (a "Lockheed McDonnell 312", registration G-ERTI). As a result, she founds her very own single plane charter airline, "MJN Air" ("My Jet Now"), which is crewed by an oddball mixture of characters who fly to various cities around the world, encountering a variety of situations.

The airline's only Captain, Martin Crieff (Benedict Cumberbatch), has wanted to be a pilot since he was six years old (before which he wanted to be an aeroplane). He suffers, however, from a distinct lack of natural ability in that department. He was rejected by at least one flight school, and had to put himself through the required coursework, barely qualifying for his certification – on his seventh attempt. He took the job with MJN for no salary at all, as long as he could be Captain. He appears to have no outside interests beyond flying. He is a stickler for procedures and regulations, but is more prissy than pompous. At the end of series two he tells Douglas that he survives financially by running a delivery service using the van he inherited from his father (running two different jobs largely explaining the lack of hobbies). This was his only inheritance (apart from a tool kit and multimeter) because his father believed he would waste any money he received trying to become a pilot. He has two siblings, Caitlin, now a traffic warden and Simon, a council administrator who often frustrates Martin with his annoying superiority. This isn't helped by his Mother's constant admiration of Simon, often saying that "Simon knows best".

First Officer Douglas Richardson (Roger Allam) is, on the other hand, a quite competent pilot who worked for Air England – until he was fired for smuggling. He chafes at his subordinate position to Martin, and misses no opportunity to flaunt his superiority in the younger pilot's face. In later episodes, it is revealed that Douglas, ashamed of his second-rate job, dresses in Captain's uniform for his wife Helena's benefit, changing to First Officer's uniform before he gets to work. Douglas is, however, something of a smooth operator who knows all of the dodges available to airline officers, and enjoys taking part in all of them.

Carolyn's son Arthur Shappey (John Finnemore) is an eager and cheery dimwit aged 29, who is supposed to be the flight attendant but usually manages to get in everyone's way. He is half-English and half-Australian; Carolyn is his English mother, and Gordon, Carolyn's ex-husband, his Australian father (original owner of Gertie). Arthur is a relentless optimist, whose biggest claim to fame is being the inventor (or at least discoverer) of fizzy yoghurt (the recipe for which is yoghurt plus time). He also celebrates Birling day, Birling day eve, Gertie's birthday and Summer Christmas, and is a definite polar bear enthusiast and expert. He is very allergic to dragon fruit and strawberries, but frequently forgets, having eaten strawberry mousse on occasion.

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Cabin Pressure - 303 Newcastle (ogg 25mb)

303 - Newcastle 28:02

Martin has a soft spot for a Scottish first officer who is travelling with MJN for the day. However, Martin gets in a muddle and it all becomes a bit awkward. Carolyn meets a captain called Herc and everyone immerses themselves in exciting games whilst Martin applies a navigation-tail light onto the back of the plane.

previously, alas those mediafirelinks are down but i compiled season 1 and 2

Cabin Pressure - 301 Qikiqtarjuaq (ogg 25mb)
Cabin Pressure - 302 Paris (ogg 25mb)

Cabin Pressure - Season 1 (ogg 153mb)

Cabin Pressure - Season 2 (+Xmas bonus) (ogg 179mb)

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