RhoDeo 1205 Grooves

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

xxxxx xxxxx xxxxx

Obviously the P funk continued into the eighties and nineties, one of the most visible artists was Bootsy Collins who span off at the height of the Parliament/Funkadelic era..

Bootsy (born William Collins, October 26, 1951, Cincinnati) is a funk/R&B bassist/singer/bandleader. He formed his first group, the Pacesetters, in 1968, featuring Phelps "Catfish" Collins (his brother; guitar), Frankie "Kash" Waddy (drums), and Philippe Wynne. In March 1970, after most of the members of James Brown's band quit over a pay dispute, The Pacemakers were hired as Brown's backing band and they became known as The J.B.'s. (They are often referred to as the "original" J.B.'s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.'s played on some of Brown's most intense funk recordings, including "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power", and "Talkin' Loud and Sayin' Nothing".

After parting ways with James Brown, Bootsy returned to Cincinnati and formed House Guests with his brother Phelps Collins, Rufus Allen, Clayton "Chicken" Gunnels, Frank Waddy, Ronnie Greenaway and Robert McCullough. The House Guests released two singles on the House Guests label as well as a third as The Sound of Vision on the House Guests label. Collins next moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin. Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played bass on most of Funkadelic and Parliament's albums through 1980, garnering several songwriting credits as well.

Collins launched Bootsy's Rubber Band as a spinoff of P-Funk in 1976, the band including his brother Phelps, Waddy, Joel "Razor Sharp" Johnson (keyboards), Gary "Mudbone" Cooper (drums), and Robert "P-Nut" Johnson (vocals), along with "the Horny Horns." (He was sometimes billed alone as Bootsy, and sometimes as William "Bootsy" Collins.) Signing to Warner Bros., he enjoyed the first of his 15 R&B singles chart entries in 1976 with "Stretchin' Out (In a Rubber Band)." His most successful singles were "The Pinocchio Theory" (1977) and the chart-topping "Bootzilla" (1978). He also released six albums on Warners through 1982, including the gold-sellers Ahh...The Name Is Bootsy, Baby! (1977) and Bootsy? Player of the Year (1978), then took a six-year recording hiatus, and returned on Columbia in 1988 with the appropriately named What's Bootsy Doin'? In 1989, Bootsy was a member of the Bootzilla Orchestra on Malcolm McLaren's album Waltz Dancing. In 1990, Bootsy was a featured guitarist and bassist with the dance music trio Deee-Lite. In 1992, Bootsy joined with guitarist Stevie Salas and drummer Buddy Miles to form the funk-metal fusion group Hardware. The trio released one album, Third Eye Open, before disbanding. Bootsy's New Rubber Band released Blasters of the Universe on August 2, 1994.

In 1995, Bootsy played in the remake of Jimi Hendrix's "If 6 Was 9," for Axiom Funk, a Funkadelic-like one-off supergroup produced by Bill Laswell and featuring (Funkadelic members) George Clinton, Bernie Worrell, Bootsy Collins, (the guitar of the late) Eddie Hazel, Gary Shider and Bill Laswell. The group released only one album

Fresh Outta 'P' University followed four years later. Numerous Collins live shows and reissues appeared as the 21st century opened, and in 2006, the bassist actually released a Christmas album, Christmas Is 4 Ever, on Shout Records. In 2011, the conceptual album, The Funk Capital of the World, landed with everyone from Ice Cube to Samuel L. Jackson on the guest list.

xxxxx xxxxx xxxxx

Bootsy Collins' debut solo album, Stretchin' Out in Bootsy's Rubber Band, was an extremely tough act to follow, but thankfully, there are no signs of a sophomore slump (either creatively or commercially) on his second album, Ahh...The Name Is Bootsy, Baby! Most P-funk addicts consider this 1977 LP essential listening, and it isn't hard to see why they feel that way. Everything on the album is excellent; that is true of up-tempo smokers like "The Pinocchio Theory" and the title song as well as slow, moody, eerie offerings such as "What's a Telephone Bill?" and "Munchies for Your Love." The lyrics are consistently humorous and clever, the grooves are consistently infectious. You can think of Ahh...The Name Is Bootsy, Baby! as a meeting of the funk minds -- Collins produced this record with his mentor, George Clinton, who co-wrote all of the material. So Clinton has a lot of input and gives Ahh...The Name Is Bootsy, Baby! the distinctive P-funk sound that Parliament/Funkadelic was known for. But at the same time, he encourages Collins' originality -- Bootsy's Rubber Band sounds like a Parliament/Funkadelic spin-off (which is exactly what it was), but not a Parliament/Funkadelic clone. Without question, Ahh...The Name Is Bootsy, Baby! is essential listening for lovers of hard 1970s funk.

Bootsy Collins - Aah...The Name Is Bootsy, Baby! (211mb)

01 Aah ... The Name Is Bootsy, Baby 6:51
02 The Pinocchio Theory 6:11
03 Rubber Duckie 3:21
04 Preview Side Too 1:00
05 What's A Telephone Bill? 6:00
06 Munchies For Your Love 9:38
07 Can't Stay Away 5:28
08 Reprise: We Want Bootsy 0:22

Bootsy Collins - Aah...The Name Is Bootsy, Baby! (84mb)

xxxxx xxxxx xxxxx

Released in 1978 at the height of Parliament-Funkadelic mania, Bootsy? Player of the Year finds Bootsy far from short of quality material despite his affiliation with the numerous P-Funk-affiliated projects being churned out at this time. In fact, this album finds Bootsy at his peak; his previous two albums may have their share of brilliant moments and were no doubt filled with great ideas, melodies, and funk, but here he seems to have perfected his songwriting. There really isn't a dull song on Bootsy? Player of the Year. The up-tempo songs -- "Bootsy?," "Bootzilla," "Roto-Rooter" -- rate as some of the most exciting P-Funk material ever released, each song clocking in over five minutes and chock-full of elastic basslines. On the other hand, the abundance of slow jams -- "May the Force Be With You," "Very Yes," and "As In (I Love You)" -- helps maintain a good balance, providing a breather from the sweatier moments. Then there is "Hollywood Squares," a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut. Bootsy? Player of the Year rates among the most enjoyable P-Funk albums ever. Unfortunately, it also marks the end of a glorious run. By the following year, 1979, it was clear that the P-Funk army was running out of fresh ideas, and Bootsy was no exception, as he'd struggle creatively for a couple years to come. This makes Bootsy? Player of the Year seem all the more special in retrospect, because it was among the last of the great P-Funk releases.

Bootsy's Rubber Band - Bootsy Player of the Year ( 268mb)

01 Bootsy? (What's The Name Of This Town) 7:03
02 May The Force Be With You 6:06
03 Very Yes 8:30
04 Bootzilla 5:41
05 Hollywood Squares 6:16
06 Roto Rooter 6:41
07 As In (I Love You) 5:10

Bootsy's Rubber Band - Bootsy Player of the Year ( 110mb)

xxxxx xxxxx xxxxx

While certainly not among his greatest efforts, Bootsy Collins' Ultra Wave (1980) is still infinitely better than most of the disco dregs. Although Collins (bass/vocals) had not formally split up the Rubber Band -- as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni -- he takes sole (and quite possibly soul) credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins (guitar), Robert "P-Nut" Johnson (vocals), and the superbad dynamic horny horns of Fred Wesley (trombone) and Maceo Parker (sax). Not missing from these -- or any other Bootsy affairs for that matter -- is the unapologetic party atmosphere Collins' infuses within every pulsation of his full-bodied and self-proclaimed "Space Bass". The catchy and sexually tweaked opener "Mug Push" quickly became a dancefloor favorite and garnered a short but significant run on the R&B charts. Collins, influenced by Sly & the Family Stone and especially funk-bass originator Larry Graham, gives it a respectable degree of listenability.The slinky and rubbery backbeat on "Fat Cat" hearkens to the loose booty of former Bootsy's Rubber Band tracks with Johnson's falsetto likened to the shrill warbling often utilized on Prince's seminal sides. The pseudo-novelty closer "Sound Crack" would probably have more going for it had Collins ditched the dated opening dialogue. Once it gets up to full steam, it roars with an intensity fuelled by the same bounce behind such P-Funk staples as "Up for the Downstroke." .

Bootsy Collins - Ultra Wave (260mb)

01 Mug Push 3:49
02 F-Encounter 7:35
03 Is That My Song? 3:42
04 It's A Musical 4:47
05 Fat Cat 7:03
06 Sacred Flower 6:48
07 Sound Crack 7:06

Bootsy Collins - Ultra Wave (ogg 100mb)

xxxxx xxxxx xxxxx

RhoDeo 1205 Goldy Rhox 57

Hello, today the 57th post of GoldyRhox, classic pop rock. In the darklight an English band, formed in 1996 by lead vocalist Chris Martin and lead guitarist Jonny Buckland at University College London. After they formed Guy Berryman joined the group as a bassist and they changed their name to Starfish. Will Champion joined as a drummer, backing vocalist, and multi-instrumentalist, completing the line-up. The band renamed themselves in 1998. After the release of 2 Ep's they got picked up by Parlophone. Their first single immediately hit the sweet spot and their 2000 debut album has sold 8 million copies not a bad start and things went crescendo ever since. Their discography consists of five studio albums, five extended plays, twenty-five singles, two live albums, twenty-seven music videos, and one compilation album. As of 2009, they've sold over 50 million records, making them one of the best-selling music artists worldwide.

***** ***** ***** ***** *****
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.

Todays mystery debut album was released by the record label Parlophone on 10 July 2000 in the United Kingdom. The album was produced by the band and British record producer Ken Nelson. It was met with positive reviews. Upon release, the album quickly reached number one in the United Kingdom, and has since been certified 7x platinum. In the United States, the album peaked at number 51 on the Billboard 200, and has since been certified 2x platinum. It won the Grammy Award for Best Alternative Music Album in 2002, and has earned the band various accolades since its release. The album is number 12 on the list of the 20 biggest-selling albums of the 21st century in the United Kingdom, and was the winner of the Best British Album award at the 2001 Brit Awards. As of 2011, it has sold around 8.5 million copies worldwide.

Called one of the most-impressive debut albums ever, the band themselves with hindsight seem somewhat embaressed over their naivity and metromanlyness but then all this was pre 9/11 when the evilmindedness of those in power came before our eyes. The album's cover features a photograph of a globe taken with a disposable Kodak camera. The globe had been purchased from W H Smith for £10; it was featured in the music videos and also accompanied the band on their tours. The album was dedicated to drummer Will Champion's mother, Dr Sara Champion, who died of cancer in 2000


Goldy Rhox 57 (flac 264mb)

Goldy Rhox 57 (ogg 96mb)


***** ***** ***** ***** *****

RhoDeo 1205 Aetix

Hello, good news i've finished re-upping the Megaupload links (37gig), and now it turns out yesterdays Roots smashuploads didn't link, sure hope the rest did, anyway currently re uploading yesterdays blanks hopefully with more success this time. Still no news or respons from multiupload but the old links still work ok.

Todays Aetix band was rather shortlived in what was a rather turbulent time, late seventies early eighties, still their efforts clearly rose above the playing field at the time. I've posted my favourite (keyboard dominated) album by them on the wavetrain 3, Secondhand Daylight the other 3 studioalbums are here for the taking. That said 3 months ago after 30 years of silence there was a new album No Thyself...go figure

xxxxx xxxxx xxxxx


After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. One of the first post-punk bands, Magazine kept the edgy, nervous energy of punk, adding elements of art rock, particularly with their theatrical live shows and shards of keyboards. Devoto's lyrics were combinations of social commentary and poetic fragments, while the band alternated between cold, jagged chords and gloomy, atmospheric sonic landscapes.

Magazine performed its first concert in the fall of 1977 and were signed to Virgin Records by the end of the year; by that point, Dickinson had left the group. The band recorded their first single, "Shot by Both Sides," as a quartet; Devoto had written the song with his former Buzzcocks partner, Pete Shelley. Appearing in early 1978, the single gathered good reviews on both sides of the Atlantic and charted in the U.K., peaking at number 41. Before they recorded their debut album, keyboardist Dave Formula joined the lineup. Real Life, released later in 1978, continued the confrontational, arty pop-punk of "Shot by Both Sides." Following their first tour, Jackson left the group and was replaced by John Doyle. The new lineup recorded the band's second album, Secondhand Daylight (1979). Secondhand Daylight was somewhat of a departure from the debut, featuring more keyboards, smoother rhythms, and streamlined lyrics from Devoto. Despite its ambitiousness, the record was poorly received by the guitarlicker press. During this time, McGeoch played with Siouxsie & the Banshees and Adamson, Formula, and McGeoch were part of Visage, along with Steve Strange. At the beginning of 1980, the band released their third album, The Correct Use of Soap.

In the summer of 1980, Magazine released "Sweetheart Contract," which became their second and last British chart hit, peaking at number 54. After it hit the charts, McGeoch left the band to become a full-time member of Siouxsie & the Banshees; he was replaced by Robin Simon. Magazine toured America and Australia, recording a live album called Play, which was released at the end of 1980. Simon left at the end of the tour, with former Amazorblades guitarist Bob Mandelson taking his place. Magic, Murder and the Weather was released in the spring of 1981; it proved to be Magazine's last album. Shortly after it became clear the spirit had gone and Devoto left/disbanded Magazine to release two more soloalbums before leaving the music industry altogether.

The post-punk revival of the last decade finally saw the inevitable Magazine reunion in 2009. Although John McGeoch’s death in 2004 ensured that the classic line-up could not get onstage and beguile old fans and new with a show based around their Real Life debut, Devoto, Dave Formula (keyboards), John Doyle (drums) and Barry Adamson were joined by Devoto’s Luxuria guitarist Noko. The success of the shows ensured the arrival of No Thyself, the first new Magazine album in 30 years and a powerful reminder of why the Devoto cult has endured.

xxxxx xxxxx xxxxx

Howard Devoto left Buzzcocks possibly sensing the festering of punk's clichés and limitations, and resurfaced with Magazine. Initially, the departure from punk was not complete. "Shot by Both Sides," the band's first single, was based off an old riff given by Devoto's Buzzcocks partner Pete Shelley, and the guts of follow-up single "Touch and Go" were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However -- this point is crucial -- the band was inspired by the much more adventurous which is the driving force behind Real Life's status as one of the post-punk era's major jump-off points. Punk's untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic. The rapidly careening "Shot by Both Sides" (up there with PiL's "Public Image" as an indelible post-punk single. The dynamism is all the more perceptible when Dave Formula's alternately flighty and assaultive keyboards are present: the opening "Definitive Gaze," for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in "The Light Pours out of Me," a song that defines Magazine and the closest the band got to making an anthem.

Magazine - Real Life (369mb)

01 Definitive Gaze 4:29
02 My Tulpa 4:51
03 Shot By Both Sides 4:04
04 Recoil 2:52
05 Burst 5:02
06 Motorcade 5:44
07 The Great Beautician In The Sky 5:00
08 The Light Pours Out Of Me 4:36
09 Parade 5:21
Bonus Tracks
10 Shot By Both Sides (Single Version) 4:01
11 My Mind Ain't So Open 2:19
12 Touch And Go 2:58
13 Goldfinger 3:51

Magazine - Real Life (ogg 126mb)

xxxxx xxxxx xxxxx

This is something of a return to standard operational form for Magazine, who thawed after recording Secondhand Daylight to throw together an energetic batch of colorful and rhythmically intricate songs. It's an unexpected move considering that they enlisted Martin Hannett, master of the gray hues, as the producer. A looser, poppier album than its predecessors -- somewhat ironically, a cover of Sly & the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" is the most subdued song -- it features the rhythm section of John Doyle and Barry Adamson at their taut, flexible best and guitarist John McGeoch at his most cunningly percussive. Save for the called-for razzle-dazzle on "Sweetheart Contract," keyboardist Dave Formula takes more of a back seat, using piano more frequently and no longer driving the songs to the point of detracting from the greatness of his mates. Howard Devoto's lyrics are also a little less depressive, though they're no less biting. The closing "A Song from Under the Floorboards" -- another near-anthem, an unofficial sequel to "The Light Pours Out of Me" -- includes sticking Devoto-isms like "My irritability keeps me alive and kicking" and "I know the meaning of life, it doesn't help me a bit." His themes of distrust and romantic turbulence remain focal, evident in "You Never Knew Me"."Because You're Frightened" is the closest they came to making a new wave hit, zipping along with as much unstoppable buoyancy yet it's all fraught nerves and paranoia: "Look what fear's done to my body!" Song for song, the album isn't quite on the level of Real Life, but it is more effective as a point of entry.

Magazine - The Correct Use Of Soap (257mb)

01 Because You're Frightened 3:54
02 Model Worker 2:51
03 I'm A Party 3:01
04 You Never Knew Me 5:23
05 Philadelphia 3:54
06 I Want To Burn Again 5:16
07 Thank You (Falettinme Be Mice Elf Agin)3:48
08 Sweetheart Contract 3:18
09 Stuck 4:04
10 A Song From Under The Floorboards 4:07

Magazine - The Correct Use Of Soap (ogg 94mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Magazine's final studio album, Magic, Murder and the Weather, finds Dave Formula's washes of cold, brittle keyboards dominating the bitter and cynical music. Occasionally, Howard Devoto's weary lyrics surface through the icy mix, but it's clear that Devoto and Magazine have both had better days. It's not a graceful way to bow out, but the album has enough strong moments to prevent it from being an embarrassment as well.

Magazine - Magic, Murder & The Weather (255mb)

01 About The Weather 4:04
02 So Lucky 4:09
03 The Honeymoon Killers 3:37
04 Vigilance 5:13
05 Come Alive 3:42
06 The Great Man's Secrets 4:55
07 This Poison 4:20
08 Naked Eye 3:28
09 Suburban Rhonda 3:29
10 The Garden 2:38

Magazine - Magic, Murder & The Weather (ogg 98mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

elsewhere

Magazine - Secondhand Daylight (79 ^ 143mb)

xxxxx xxxxx xxxxx xxxxx xxxxx