Oct 9, 2015

RhoDeo 1540 Goldy Rhox 230

Hello, today the 230th post of GoldyRhox, classic pop rock in the darklight is an English musician (born 30 March 1945), singer and songwriter. He is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and Cream. He has been referred to as one of the most important and influential guitarists of all time. He ranked second in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time" and fourth in Gibson's "Top 50 Guitarists of All Time"

For most of the 1970's, his output bore the influence of the mellow style of JJ Cale and the reggae of Bob Marley. His version of Marley's "I Shot the Sheriff" helped reggae reach a mass market. Two of his most popular recordings were "Layla", recorded by Derek and the Dominos, another band he formed, and Robert Johnson's "Crossroads", recorded by Cream. He has been the recipient of 17 Grammy Awards, and the Brit Award for Outstanding Contribution to Music. In 2004, he was awarded a CBE at Buckingham Palace for services to music.

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album was released 11th of March 1985, the ninth studio album by todays artist. The title of the album comes from a line from Muddy Waters's "Louisiana Blues". His troubled marriage with Pattie Boyd became the subject matter for most of his original material: She's Waiting, Same Old Blues and Just Like a Prisoner all contain extended guitar solos by Clapton. It was during this period that Pattie left him "and it was eventually decided that we should have a trial separation." our man assuaged his pain by writing the song Behind the Sun featuring only his guitar & vocals and Phil Collins' synthesizer, which became the final song on the album.

Nearly a decade of his guitar playing taking a back seat to his singing/songwriting, this album featured more guitar work by our man since the Cream era of the 1960s. The album features synthesizers and drum machines played by Phil Collins, Ted Templeman, Peter Robinson, Michael Omartian, James Newton Howard, Chris Stainton and Greg Phillinganes, as well as Clapton's Roland guitar synthesizer on the 9th track, Never Make You Cry. Bassists Donald Duck Dunn from Booker T. & the MG's and Nathan East from the smooth jazz quartet Fourplay also played on the sessions.

In 2014, a remastered "Audio Fidelty hybrid SACD edition" of today's mystery album was released. Here today

Goldy Rhox 230   (flac 334mb)

Goldy Rhox 230   (ogg 152mb)

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Oct 7, 2015

RhoDeo 1540 Aetix

Hello, Post-industrial music is a collection of related music genres that emerged in the early 1980s, all of which blended elements of varying styles with the then new genre of industrial music. "Industrial" had first been applied to music in the mid-1970's by the Industrial Records label artists. Since then, a number of labels and artists have come to be called "industrial". These offshoots include fusions with noise music, ambient music, folk music, and electronic dance music, as well as other mutations

Today we're back in the 'old' continent with an Industrial music, Post-Punk and EBM group from Sheffield, England. The group was formed in 1978, with two members, Adolphus "Adi" Newton and Steven "Judd" Turner. Along with contemporaries Heaven 17, Clock DVA's name was inspired by the Russian-influenced Nadsat of Anthony Burgess' A Clockwork Orange; "dva" is the Russian word for "two". Possibly one of the most enigmatic groups in the history of English post punk, they underwent several dramatic metamorphoses throughout their career. With the exception of vocalist/frontman Adi Newton’s gruff, menacing voice, each of Clock DVA’s albums has a completely different sound: The angular, jagged post punk/mutant disco of their first album, White Souls in Black suit; the new wave sensibilities of their second album, Thirst; the smoky, jazz-inflected undertones of the third album, Advantage; and finally, the dark, throbbing industrial sound of their fourth proper album, Buried Dreams, which would permeate Clock DVA’s subsequent offerings. Evidently a difficult man to work with, Newton completely altered Clock DVA’s lineup on every album, which accounts for the wide disparity of styles from one record to another ... N'Joy

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Clock DVA are an industrial, post-punk and EBM group from Sheffield, England. The group was formed in 1978 by Adolphus "Adi" Newton and Steven "Judd" Turner. Along with contemporaries Heaven 17, Clock DVA's name was inspired by the Russian-influenced Nadsat of Anthony Burgess' A Clockwork Orange; Dva is the Russian word for "two".

Newton had previously worked with members of Cabaret Voltaire in a collective called The Studs and with Ian Craig Marsh and Martyn Ware in a band called The Future. He formed the first lineup of Clock DVA in 1978 with Judd Turner (bass), David J. Hammond (guitar), Roger Quail (drums) and Charlie Collins (saxophone, clarinet) (born 26 September 1952, Sheffield). Clock DVA was originally known for making a form of experimental electronic music involving treated tape loops and synthesizers such as the EMS Synthi E. Clock DVA became associated with industrial music with the 1980 release of their cassette album White Souls in Black Suits on Throbbing Gristle's Industrial Records.

Paul Widger joined on guitar. The LP Thirst, released on Fetish Records, followed in 1981 to a favourable critical reaction, knocking Adam and the Ants' Dirk Wears White Sox from the top of the NME Indie Charts, by which time the band had combined musique concrète techniques with standard rock instrumentation. "4 Hours", the single from Thirst, was later covered by former Bauhaus bassist David J on his 1985 solo EP Blue Moods Turning Tail.

The band split up in 1981, with the non-original members of the band going on to form The Box. Turner died in September 1981 due to an accidental drug overdose. In 1982, Newton formed a new version of the band. First releasing the single "High Holy Disco Mass" on the major label Polydor Records under the name DVA, the band then released the album Advantage (with singles "Resistance" and "Breakdown") under the name Clock DVA. After a European tour in 1983, however, the band split acrimoniously. Adi Newton went on to form The Anti-Group or T.A.G.C. They released several albums continuing in a similar vein to the early Clock DVA, yet more experimental.

In 1987, Newton reactivated DVA and invited Dean Dennis and Paul Browse back into the fold to aid Newton's use of computer aided sampling techniques which he had been developing in The Anti Group. They released Buried Dreams (1989), an electronic album which (along with its single "The Hacker") received critical acclaim as a pioneering work in the cyberpunk genre. It is also rumored to have been the CD found in Jeffrey Dahmer's stereo at the time of his arrest, according to a 1990s piece published by Alternative Press. Browse left the group in 1989 and was replaced by Robert E. Baker. The album Man-Amplified (1992), an exploration of cybernetics, was the next release. Digital Soundtracks (1992), an instrumental album, followed.

Following Dennis's departure from the group, Newton and Baker produced the album Sign (1993). After the release of Sign and related singles, Clock DVA toured Europe (line-up: Newton & Baker with Andrew McKenzie and Ari Newton) and Newton relocated to Italy. However, their Italian record label at the time, Contempo, folded which caused a number of problems. Collective, an anthology album and a box set was released in 1994. Newton began working on new material with Brian Williams, Graeme Revell (from SPK) and Paul Haslinger but continued problems with record labels eventually caused Newton and Clock DVA take a long break from the music scene.

In 1998, Czech record label Nextera released a reissue of Buried Dreams, sanctioned by Dean Dennis and Paul Browse but not by Newton. Adi Newton reactivated Clock DVA along with his creative partner Jane Radion Newton in 2008. Since 2011 Clock DVA has performed at several electronic music festivals and venues throughout Europe [6][7][8] with a new line-up consisting of Newton, Maurizio "TeZ" Martinucci and Shara Vasilenko. In November 2011, a new Clock DVA track "Phase IV" was featured on Wroclaw Industrial Festival compilation album. In January 2012, German record label Vinyl on Demand announced Horology, a vinyl box set compilation of early (1978–1980) Clock DVA material.

A historical overview exhibition of Clock DVA (photographs, video and audio) took place at the Melkweg cultural centre, Amsterdam, Netherlands in February/March 2012. In July 2013, a new Clock DVA album called Post-Sign was released on Anterior Research. It was produced and composed by Adi Newton in 1994–95 as an instrumental companion album to Sign, though it remained unreleased at that time due to problems with record labels. According to Adi Newton, Mute Records were set to re-release the eight Clock DVA albums remastered in a box set in 2012.

In 2014, Clock DVA released the album Clock 2 on a USB drive through their label Anterior Research. This limited edition release consists of 3 new studio tracks and various remixes of them, in addition to 4 video files. A 12" called Re-Konstructor / Re-Kabaret 13 was released shortly after. Another EP, Neo Post Sign, containing tracks recorded 1995-96 but omitted from the Post-Sign album, was released early 2015.

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White Souls in Black Suits was released by the invitation of Throbbing Gristle on their own label, the long-defunct Industrial Records. Furthermore, the record was recorded in Cabaret Voltaire’s Western Works studio. The early industrial/noise influence of these two Sheffield bands has a distinct presence on White Souls in Black Suits. Structurally, the album is the most experimental and “un-structured” of all Clock DVA’s albums.

Raw and unpolished, White Souls in Black Suits is a primarily improvised album, ostensibly a piss-take on the English “white soul” groups of the time. The combination of repetitive, distorted guitars, squawking saxophones, and sub-funk, almost dub-influenced bass lines give the music a distinctly post punk/mutant disco sound. The noisy, improvisational element on White Souls in Black Suits, however, betrays Clock DVA’s affiliation with the Industrial Records groups Throbbing Gristle and Cabaret Voltaire. The heavy use of delay, guitar feedback, rhythmic, pounding percussion, and all-out collages of pure noise aligns Clock DVA with the early industrial movement more than any other genre (although that would change after this record).

The world Newton evokes through his music is populated with sinister, shadowy figures, stalkers, serial killers, and imagery of torture straight from the Marquis de Sade. This began, to some degree, on White Souls in Black Suits, and would eventually dominate later Clock DVA records, basically concept albums dedicated to depraved historical figures such as Countess Elizabeth Bathory, who bathed in the blood of virgins.

 Repetitive, droning, and eerie, White Souls in Black Suits can be disturbing and difficult to listen to. The album, now near impossible to find copies of, is almost anachronistic and archaic, so far removed are we from the early Eighties Sheffield scene. The poor mastering from the original tapes has rendered the album more of a novelty than anything else. Nevertheless, White Souls in Black Suits is an interesting, albeit unsettling, introduction to an important and overlooked post punk group from the '80s.
A satiric look at British soul through the unblinking eye of the group's slant toward noise and stark drum machines, Clock DVA's debut album radiates a curious energy, a vibe that ironically guarantees more power than their targets ever managed.

Clock DVA - White Souls In Black Suits  (flac 386mb)

01 Consent 5:07
02 Disconsentment 6:04
03 Disconsentment 4:48
04 Still / Silent 2:36
05 Non 10:49
06 Relentless 5:29
07 Contradict 5:21
08 Film Soundtrack (Keyboards Assemble Themselves At Dawn) 8:16
09 Anti-Chance 5:50

bonus Black Words On White Paper EP (All material was recorded on 4 track 1/4" machines by Clock DVA in 1978 in the Dvation Studio England.)

10 1.23 1:23
11 7 DC 3:44
12 Otto M 13:20
13 Alien Tapes 3:28

Clock DVA - White Souls In Black Suits   (ogg  174mb )

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Thirst is the second studio album by English post-punk band Clock DVA. It was released on 24 January 1981, through record label Fetish. Soon after the album's release, this incarnation of the band would split up, with several members going on to form The Box with singer Peter Hope. Thirst is one of the group's more experimental efforts, showcasing a mix of post-punk, jazz, musique concrète and avant-garde industrial experimentation. Thirst pitched the machine effects to overdrive with a set of obtuse noise-makers from all kinds of unlikely sources.

There's two key factors that hold this album together: the rhythm section, and Adi Newtons' sonorous tones.  Most of the tracks are held together by some fantastic percussion, Roger Quail's off-kilter drumming providing a column for the others to build around.  Take "White Cell" for instance.  The drumline sound simplistic till you actually try to tap along, somehow, there's never a beat when you expect it, it adds a nervous energy.  Steven Turner's bass resounds deeply in the spaces left, as guitar and clarinet flitter around the rhythmic backbone. Then Adi Newton's vocals enter the mix, an echo-laden bass profundo, hypnotic and otherworldly, not some much heard as transmitted directly to your cerebral cortex.  His tones carry a cadence of their own, a counterpoint to the Quail/Turner spine, as he recites his lyrics of intellectual freedom.

The album as a whole follows a similar musical theme.  There's a blues-pop melody or guitar hook, underpinned by unexpected rhythm patterns, a towering lyrical performance, and a distinctly unusual quirky overall sound.  Another stand-out to highlight is "4 Hours".  Undoubtedly the most straight-ahead pop-song of the album, with an unusually melodic vocal line, it still manages to fit in an out of tune flute as the centrepiece of the song.

Clock DVA - Thirst  (flac 284mb)

01 Uncertain 7:58
02 Sensorium 3:22
03 White Cell 4:33
04 Piano Pain 3:46
05 Blue Tone 4:59
06 North Loop 4:54
07 4 Hours 4:36
08 Moments 7:36
09 Impressions Of African Winter 6:23
10 4 Hours (Original Single Mix) 4:48
11 Sensorium (Original Single Mix) 3:21

Clock DVA - Thirst (ogg  122mb)

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Tortured heroine....beautiful losers...breakdown...black suit...all these song titles taken out of Clock DVA's advantage, are reminiscent of the so called "film noir" genre, and like the masterpieces of this movie kind, this album is timeless.
the music, somewhat different from the "Thirst album", is more accesible than earlier clock dva works, and is played by very talented musicians: it presents a wide pannel of different atmospheres... from the ultra speed funk (black suits) which will shake your body , to the sinister jazzy mood (dark encounter), passing thru the catchy "beautiful losers", Advantage reinvented the concept of alternative music in the early eighties. Unfortunately, adi Newton split the band for the second time , during the concert tour , intended to promote this album.

Clock DVA - Advantage  (flac 339mb)

01 Tortured Heroine 5:10
02 Beautiful Losers 4:26
03 Resistance 3:50
04 Eternity In Paris 5:49
05 The Secret Life Of The Big Black Suit 3:36
06 Breakdown 4:25
07 Dark Encounter 7:26
08 Poem 6:05
09 Noises In Limbo 5:21
10 Black Angels Death Song 3:29
11 Resistance (12" Mix) 5:51
12 Breakdown (12" Mix) 5:44

Clock DVA - Advantage   (ogg 140mb)

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Oct 6, 2015

RhoDeo 1540 Re-Up 34

Hello, there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. To those visotors who wanted an ogg version, please it's easy enough to convert a flac to an ogg, in this light you might have noticed that i don't post ogg versions for flacs below 200mb.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of re-ups .. ...N' Joy

Something for the Plaid fans today

3x Plaid NOW In Flac (Rest Proof Clockwork, Double Figures, Parts In The Post 1 and 2)

Rootsman NOW In Flac (In Dub We Trust)

Ghetto Priest NOW in Flac (Vulture Culture)

3x Plaid ( Mbuki Mvuki, Not For The Trees, Rest Proof Clockwork)

3x Plaid NOW In Flac (Trainer I and II, Spokes, Tekkonkinkreet Remix)

3x Gary Numan Black In Flac (Tubeway Arny, Telekon Dance)

Ryuichi Sakamoto Back In Flac (Ryuichi Sakamoto - Raw Life Osaka)

3x Midnight Syndicate Back In Flac (Vampyre Symphonies, Dungeons & Dragons, The 13th Hour)

3x 808 State NOW in Flac (New Build, Quadrastate, Archives Part I)

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