Around The World (48)

Hello, no bail out yet for the Wallstreet crooks, and now the jewish Haneka holiday takes precedence, by the time the congress returns a couple of additional trillion dollars may have left the virtual books. Those banksters created a real mess and to keep talking about bad morgages is an outrage, these account-with the house value not taken into account just a draction of the costs, no its these CDO's and the virtual value of these go into the tens of trillions..hot air..but good enough to get those banksters their cash bonusses. And now the cat is out of the bag, and as the wallstreet banks have deseased banks and insurance companies all over the world with their poison deals, the banks have quarantined themselves..ergo the moneyflow has been arrested.

Ok, you're here today for Around the Worldmusic, well last week we were in the desert..of sand, this week we crossed over to the snow desert of Northern Canada where Tanya Tagaq Gillis was born and her grandmother provided her the genes to become a throat singer-songwriter. She came into contact with Bjork, these two clicked and Tanya got the chance to expose her skills to the world, this resulted in world tours with Bjork and the Kronow Quartet and the recording of an award winning album..Sinaa...

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Tagaq - Sinaa ( 05 ^ 95 mb)

Animalistic grunts, growls and gasps. Earth-rumbling groans. Ethereal whispers and euphoric wails. A lot of provocative things come out of Tagaq’s mouth. But something you won’t hear escape from the Inuk throat singer’s lips is any talk of representing her native traditions. Tanya Tagaq Gillis (Tagaq) is from Cambridge Bay (Ikaluktuutiak), Nunavut, Canada, on the south coast of Victoria Island. After attending school in Cambridge Bay she went, at age 15, to Yellowknife, Northwest Territories to attend high school where she first began to practice throat singing. She later studied visual arts at the Nova Scotia College of Art and Design University and while there developed her own solo form of Inuit throat singing, which is normally done by two women.

As Tagaq is quick to remind newcomers to the genre, Inuit throat singing is more of a competition than a musical practice. Two participants, usually women, stand face to face and produce a complex series of vocal sounds and rhythms, repeating motifs that often imitate the sounds of nature and wildlife. Each tries to trip up the other, and the game ends when one either cracks up or is out of breath. The songs that have evolved from it are some of Canada’s oldest compositions. Meanwhile, the material on Tagaq’s award-winning debut CD, Sinaa, qualifies easily as some of the freshest, featuring intense vocalizations in both English and Inuk, at times mixed with tribal beats.

Somewhat surprisingly, Tagaq’s exposure to throat singing came not in her hometown but while she was away at art school in Halifax. “When I was growing up in Cambridge Bay, it wasn’t happening,” she recalls. “Nobody spoke the language any more either.” But one day, a care package arrived at her college apartment from her mom, stuffed with “socks, Mr. Noodles and some cassette tapes and CDs of throat singing she had tucked away.” Suddenly, the girl whose first record purchase was Michael Jackson’s Thriller, who grew to love alternative rock and rave music, was grooving to a whole new sound. “I didn’t realize how homesick I was until I got those tapes,” she explains. “Those songs I had never heard, but I knew them, I understood them. It was the sound of home.”

Tagaq, whose grandmother was a singer-songwriter and who had always loved performing, was immediately inspired. She trained her singing voice, that quickly developed into a forceful tool for Tagaq to compose her own material. Eight of the 12 tracks on Sinaa are originals, improvisations based on throat-singing techniques but leaping forward into unknown territory, like the first spring step off the ice floe.

A fortuitous connection had Tagaq's singing at an art festival in Inuvik taped and land on Björk's desk. She enlisted Tagaq as part of a Northern chorus for her 2000 world tour, which brought the Canadian singer her first worldwide exposure. But the pairing may have had an even greater impact on Björk, whose 2004 disc Medulla was made (almost) entirely from vocalizations. She even brought Tagaq into the studio for back-ups, where the pair accidentally co-wrote the experimental lullaby “Ancestors.” The track appears on Sinaa, an album that was recorded in Spain over three days in 2004 and on which she attempted to produce and capture every noise she could imagine.

The disc, features txalaparta drumming by duo Ugarte Anaiak and has won three Aboriginal Music Awards, but, as Tagaq stresses, it is not traditional music. What I’m doing is following an emotion that drives me. I am not trying to represent the North. This is a completely selfish expression. I’m from Nunavut, so it’s a big part of me. But I’m also a very sexual person, I’m hedonistic, I like spicy food, hot baths, sweaty, intense sex. Her innovative, solo style of throat singing seeks to push the boundaries of emotion and to express the primitive instincts she believes still reside deep within our flesh. She describes her evolution over the past six years as a process of going deeper and deeper into her performance to the point where she virtually “leaves her body” and lets the expression take over.

In 2005, her CD entitled Sinaa (Inuktitut for "edge") was nominated for five awards at the Canadian Aboriginal Music Awards. At the ceremony on 25 October 2005, the CD won awards for Best Producer/Engineer, Best Album Design and Tagaq herself won the Best Female Artist award. Sinaa was nominated for the 2006 Juno Awards as the Best Aboriginal Recording.

She appeared live with the Kronos quartet at New York City’s famed Carnegie Hall and joined them this fall in Austria. Sadly, while she has toured across Europe and much of Canada, she rarely gets to perform in the North. Between gigs, plans for the follow-up to Sinaa are well on their way. The singer wants to take much more time with it, going “deeper in all directions” and incorporating new sounds, instruments and vocal styles along with the throat singing. Her upcoming album, Auk/Blood will feature collaborations with Mike Patton, among others.



01 - Sila (3:28)
02 - Still (3:11)
03 - Qimiruluapik (2:02)
04 - Qiujaviit (3:04)
05 - Surge (3:24)
06 - Ancestors (4:08)
07 - Uvinik (2:54)
08 - Ilunikavi (3:02)
09 - Seamless (3:01)
10 - Origin (2:42)
11- Suluk (3:50)
12 - Breather (5:27)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Canadia 2056

Hello, still busy updating..looks like ill be finished with that before the end of the week, next update post, Japan Series is in comments as have been previous updates this last week. Check them out or just surf my blog...

but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there..

Episode 7:

The Canadia receives word that their budget is being cut and the Captain has to decide what to trim. Doc Gaffney isn't happy with his decision and takes drastic action.

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Canadia 2056 - 07 (20mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (48)

Hello time for another Sundaze, unfortunately pages keep disappearing , why ? if i only knew. Just reposted an old Eight X (42)aswell,, as an add on to the previous day..sigh with all the re-uploading going on i can really do without this mess. Coming up some mid-nineties ambient from the creative duo behind Global Communication who set their first foot under this moniker with this remixalbum. ....Higher Intelligence Agency went north and recorded Polar Sequences in sync with nature and Biosphere ...finally a 94 compilation showing where Global Technological Innovations in electronic music went at the time....

Note in comments you'll find a listing of the Wavetrain series updates

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Global Communication - Pentamerous Metamorphosis (93 ^ 132 mb)

Time flies, it's eleven months ago i had a Mark Pritchard and Tom Middleton weekend @ Rhotation 3 with Jedi Knights , their Theory of Evolution Sampler, Reload and Global Communication 
In the summer of 1994 Dedicated finally released Global Communication's 76:14 a rhythmic, warm, and spacious, with graphics and song titles that reflect Pritchard and Middleton's intent of making music that transcends language, border, and preconception. It was voted by the Guardian as the best ambient album of the nineties, and it has clearly influence a lot of musicians since its release. The months before they had used the moniker for the first time as they "retranslated from Blood Music by label mates Chapterhouse." Pentamerous was not available for some years as a true Global Communication stand-alone release, for the very reason that it was never intended to be that in the first place. Instead, this five-track effort was in fact nothing less than a complete makeover. The Global Communication remix job originally appeared as a bonus second disc with the U.K. CD version., until it got a standalone release in 1998.

 

1 - Alpha Phase (16:39)
2 - Beta Phase (10:49)
3 - Gamma Phase (11:45)
4 - Delta Phase (10:41)
5 - Epsilon Phase (11:18)

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H. I . A. & Biosphere - Polar Sequences (96 ^ 98mb)

Higher Intelligence Agency mastermind Bobby Bird started the project back in 1992 in Birmingham, England as a live experimental electronic project. Soon he and other members of the Oscillate Collective, a group of artists and musicians involved with the local club Oscillate Sound System, were taking their experimentation to unexpected musical and geographic locations. The sound falls somewhere between ambient and techno, with a healthy experimental streak running throughout. Breakbeats fall like manna from heaven as celestial melodies sky through the group's compositions. Truly a sensual, satisfying listen. 

Since releasing their first '92 single, "Ketamine Entity" (which would later appear on the genre-defining compilation Ambient Dub Volume One), The Higher Intelligence Agency has emerged as a full-fledged creative force. The group has released a half-dozen albums, and has participated in a number of collaborative ventures. (1993) Colourform, (1995) Freefloater, (1996) Polar Sequences - with Biosphere (live), (1997) S.H.A.D.O. - with Pete Namlook, (1997) Nothing, (1999) S.H.A.D.O. Vol 2 - with Pete Namlook, (1999) Birmingham Frequencies - with Biosphere (live).

Tromso, 70 degrees north, in the Arctic region, in the middle of the most active northern lights zone. In summer time, land of the midnight sun. In winter, total darkness. In October 1995, as part of the annual Polar Music Festival, Geir Jenssen of Biosphere and Bobby Bird of The Higher Intelligence Agency, were commissioned by Nor Concerts to collaborate together on a musical project to take place in Geir's home town of Tromso, Norway. The brief was for them to perform three concerts, using sounds sourced from the area as the basis of the music - the machinery of the local mountain cable lift, the snow, the ice etc...

The performances from which this recording is taken, took place on top of a mountain above Tromso, in a cabin reached by the cable car, in which the audience were transported up the mountain in turn. This is a live recording from the 1995 Polar Music Festival, in Tromø Geir Jenssen's hometown. Recorded on the top of a mountain above the town, the music uses only samples sourced locally - people speaking at the festival, the cable car which brought people to the performance, the melting snow and ice, et cetera. The result is a stunningly accomplished and balanced piece, musically, technically, emotionally. It bridges uplifting, glacial sounds with a dark moodiness without ever becoming tired and clichéd, neither natural nor electronic, but somewhere out on its own. An absolute essential for all ambient heads and discerning listeners out there.



1 - Cimmerian Shaft (13:11)
2 - Snapshot Survey (8:21)
3 - White Lightning (10:13)
4 - Countdown To Darkness (6:21)
5 - Corona (9:55)
6 - Meltwater (9:18)

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VA - Global Technological Innovations (unreleased 1) ( 94 ^ 142mb)



01 - Sandoz - Ocean Reflection (8:50)
02 - Infinity - Think Quick (Remodel) (9:45)
03 - 2000 & One - Sensitive Space (5:05)
04 - Geep, The - The Geep (Goddess Of My Soul Mix) (5:46)
05 - Clip Talk - A.M.D. (8:29)
06 - max 404 - 6am In Eindhoven (7:14)
07 - As One - Asa Nisi Masa (6:39)
08 - Quadrant - Dytiq (6:52)
09 - Underground Resistance - A Moment In Time (3:08)
10 - Underground Resistance - Mindpower (2:44)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (48) Into BPM

Hello, Im not sure what is going on, but lately pages have gone missing from my blog, 2 weeks ago it was Alphabet Soup (T) , this week Updatepage 3 and last weeks Into BPM (47). Now i dont know if these are a blogger faults or someone has found a way to attack blogs this way, and has decided this is a fulfilling mission in life. I sure hope not.

As for todays BPM post we're in Electro territory again..starting with Fischerspooner which sounds better then Spoonerfischer ..the names of the duo behind the moniker that have featured many more performers in their life shows. They're sensational shows on the New York scene became the talk of the town from which they emerged assurely and with a well recieved # 1 album....Adult took the hard touring road aswell to build a name, here's their official debut Anxiety Always.....Over the big pond we find a former gamedesigner that turned his attention to music and is meanwhile working on his fourth album in 5 years. Vector Lovers is likely a term from his old game designdays, however it's a one man show....across the channel we find a trio Sex In Dallas, not quite electropop or electroclash yet with some trashy discoid bounce, the French like to be differente...

NOTE the rest of the Rhotation updates are found in comments page Canadia - 6 as the Update (3) page itself has dissapeared..google is silent about how that is possible..my guess too much traffic...well i will be posting the updates in comments now so check them out....today you'll find the sunshine series updates in comments...tomorrow the wavetrain updates .if you see a ^ at the end of the file it means its been upgraded aswell.

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Fischerspooner - #1 (01 ^110mb)

The new wave/electro-pop troupe Fischerspooner was formed in New York City in 1998 and has come to incorporate multimedia, strange handmade costumes, dancing, and performance art. Originally a duo formed by classically trained musician Warren Fischer and video-artist and experimental theater performer Casey Spooner for an impromptu rendition of their makeshift track "Indian Cab Driver" at the Astor Place Starbucks, the group grew to over 20 performers, most of whom are dancers and guest vocalists. The group uses the stage antics of David Bowie and traditional mainstream pop vocalists, along with the campy electronics of Giorgio Moroder or Depeche Mode and vocoders of Trans Am. By the time of their 2000 eponymous debut, Fischerspooner was a certifiable sensation in downtown New York City art galleries and clubs. The single "Emerge" topped European charts, invited a six-song remix EP, and won Fischer and Spooner invitations to international fashion, art, and society happenings. Their debut album, #1, originally titled Best Album Ever, has been released on several record labels

In 2005, Odyssey, the band's second album, was released to critical acclaim. The album featured more structured songs that weren't really electroclash, but more accurately electropop. Hitmaker Linda Perry, intellectual Susan Sontag, and Madonna producer Mirwais all made appearances.The lead single, "Just Let Go", featured live drums and guitars, a very different sound than heard on their first album.



01 - Invisible (5:13)
02 - The 15th (3:56)
03 - Emerge (4:46)
04 - Fucker (4:53)
05 - Turn On (4:23)
06 - Tone Poem (4:13)
07 - Ersatz (3:55)
08 - Horizon (5:06)
09 - Natural Disaster (4:47)
xs
10 - Emerge (Adult mix) (4:52

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ADULT. - Anxiety Always (03 ^ 98mb)

ADULT. began releasing albums in 1998 under the pseudonym "Plasma Co." Initially, the band members were uncredited and not publicized, but by the time Anxiety Always was released, ADULT. was listed as husband-and-wife team Adam Lee Miller and Nicola Kuperus. Both btw have art degrees, Miller has a painting degree, and Kuperus a photography degree. Miller and Kuperus are also the founders of the Ersatz Audio record label. The two debuted their Adult. project in November 1998 with the Dispassionate Furniture EP, Entertainment, followed a year later, while their song "Lost Love" appeared on the Ersatz Audio various-artists 12" Oral-Olio a few months earlier, in June 1999. After another 12" EP, Nausea, and compilation appearance, The Forgotten Sounds of Tomorrow ("Silent Property," "Human Wreck"), both in 2000. Ersatz Audio released the debut Adult album Resuscitation, in 2001. Most of the 14 songs on Resuscitation were culled from previous releases, primarily the 12" EPs, many are versions or mixes exclusive to the CD. By this point, Adult. had become widely known and were quite renown within the techno underground. ADULT. gained popularity while touring constantly in the United States and releasing all of their material independently. They toured with Trans Am in 2002, and in May 2003, the band made its first headlining tour in the United States; gigs across Europe followed soon after.

Adult.'s first full-length of all-new material, Anxiety Always (2003), was very well recieved. Miller and Kuperus promoted Anxiety Always with tours of Europe and the U.S. throughout 2003 before withdrawing from the spotlight for much of 2004. Then, rather surprisingly, Adult. moved to the Chicago label Thrill Jockey, via which they released an EP, D.U.M.E. (2005), and full-length, Gimmie Trouble (2005). When launching their tour in support, ADULT. announced that they had become a trio with the addition of guitarist Samuel Consiglio. The trio was short-lived—Consiglio left the band at the start of 2006.

Miller and Kuperus took some time off before returning in 2007 with another Thrill Jockey release, Why Bother? Adult. returned to their original husband-and-wife membership for the noisy album, and they commenced widespread touring almost immediately
As of 2007, Miller and Kuperus have focused their attention more on recording and touring, and less on their own label; the last few ADULT. releases have been distributed by Thrill Jockey Records rather than Ersatz Audio.
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01 - The Cold Call (2:50)
02 - Shake Your Head (4:23)
03 - Glue Your Eyelids Together (4:10)
04 - Blank-Eyed, Nose Bleed (3:28)
05 - Turn Your Back (3:01)
06 - People, You Can Confuse (4:58)
07 - Nothing Of The Kind (4:38)
08 - Nervous (Wreck) (4:15)
09 - We Know How To Have Fun (5:23)
10 - Kick In The Shin (5:29)

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Vector Lovers - Vector Lovers (04 * 99mb)

Born in 69 in Reading(UK) Martin Wheeler started recording in his teens , influenced by the likes of Kraftwerk, Depeche mode and Suicide. He became a computergame designer at the age of 16 developping some 25 games for the ZX spectrum, Ataro Nintendo and Gameboy before returning to music with the release of his first single (Electrobotik Disco / Girl + Robot) as Vector Lovers in 2003. The following 7", featuring the now classic 'Tokyo Glitterati' on Static Caravan Records won support from leftfield DJs worldwide, including John Peel and Mute Records founder Daniel Miller. A self-released 12" that summer, 'Roboto Ashido Funk EP' featured on the covers of DJ magazine and Jockey Slut, prompting offers from both major and indie labels, and finally seeing Vector Lovers signing to seminal Glasgow techno label, Soma Records.

Three albums later, Vector Lovers production work has seen collaborations with artists including Tracey Thorn, Ladytron, Husky Rescue, Alex Smoke, Diefenbach, Tim Wright, The Black Dog, Slam, Funk D'void, Transparent Sound, and My Robot Friend.
Whether rocking thousands of partygoers at T in The Park or improvising a silent film soundtrack at the National Film Theatre, Vector Lovers continues to create beautifully crafted electronica, quirky techno, and emotionally resonant synth pop.Currently working on his fourth album Martin spends most of his time recording at home in Berlin, where he lives with his wife and two children.



01 - Girl + Robot (5:13)
02 - Tokyo Glitterati (4:18)
03 - Telecom Meltdown (4:32)
04 - Electrobotik Disco (4:51)
05 - Funk & Droid (5:10)
06 - Electrosuite (7:46)
07 - Yamanote Sundown (6:16)
08 - Futures In Plastic (5:02)
09 - Kissed You By The Fountain (2:35)
10 - Lake Nocturne (3:31)
11 - Metrolux Forever (4:39)
12 - Solitaire (4:17)

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Sex In Dallas - Around The War ( 04 ^ 95mb)

Sex In Dallas (Adrienne Walter, Jean Marc Soulat & Mohini Gesiweiller) are French born electro slackers. They formed in 2003 in Paris and combine elements of Punk, House, Hip Hop, Detroit Techno and turn it into a dark but fashionable electronic longplayer. Not quite electropop or electroclash, their influences come from a more refined corner of the pop globe and, despite dipping at times into a trashy discoid bounce, there are some ace moments here - like the grimey, filthy bassline driven 'Lost In LA Playa' or the Barbara Morgenstern-esque cutesy of '5 O Clock'.

Founded 2003 in Paris and driven by the idea to make a different sound compared to Daft Punk, Air, Phoenix and typical french house music that made french electronic music so popular. Following their highly recommend (John Peel, Laurent Garnier, Andrew Weatherall, Miss Kittin to name a few) 12 inches Everybody Deserves To Be Fucked and Berlin Rocks 1 +2 here is the debut full lenth album Around the War. S.I.D. combine Punk, House, Hip Hop, Detroit Techno and turn it into a dark but groovy electronic longplayer.

A second album featuring Biladoll . Toured the world, from Turkey (Indigo Music Hall, Istanbul) to Ukrainia (Kaif Club, Kiev), from Sao Paulo (Vivo Festival) to London (The End), from Stavanger (NU Music Festival) to Bucarest. Played live in Berghain-Ostgut, Berlin. SID is although a dj team. Realized recently a dj mix for the UK mag "Dazed & Confused".



01 - Crazy Dogs (3:52)
02 - Berlin Rocks (5:42)
03 - 5 O' Clock (5:44)
04 - Around The War (2:54)
05 - Lost In La Playa (5:22)
06 - Everybody Deserves To Be Fucked (4:02)
07 - Song Of The Beach (3:27)
08 - Georgio (4:15)
09 - Golden Chains (4:04)
10 - Clerk Work (4:52)

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Rhotation (47) Into BPM reposte
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well as mentioned , the third page in 2 weeks goes missing. Google hasnt got a clue or helpdesk of use...so here's last weeks Into BPM (47) ..without covers

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The Prodigy - Music For The Jilted Generation (94 ^ 181MB)

Howlett, the prodigy behind the group's name, was trained on the piano while growing up in Braintree, Essex. He began listening to hip-hop in the mid-'80s and later DJ'd with the British rap act Cut to Kill before moving on to acid house later in the decade. The fledgling hardcore breakbeat sound was perfect for an old hip-hop fan fluent in up-tempo dance music, and Howlett began producing tracks in his bedroom studio during 1988. The Prodigy's name was a moniker Liam had chosen as a tribute to his first analogue synthesiser, the Moog Prodigy. An initial 10-track demo by Liam Howlett, put together on a Roland W-30 sequencer keyboard. It was picked up by XL Recordings after Howlett played several tracks to XL boss Nick Halkes in a meeting, and an initial 12" pressing of "What Evil Lurks" was released in February 1991. It became a major mover on the fledgling rave scene in 1990. After Howlett met up with Keith Flint and Leeroy Thornhill (both Essex natives as well) in the growing British rave scene, the trio formed the Prodigy later that year.

Six months later, Howlett issued his second single "Charly," built around a sample from a children's public-service announcement. It hit number one on the British dance charts, then crossed over to the pop charts, stalling only at number three. Two additional Prodigy singles, "Everybody in the Place" and "Fire/Jericho," charted in the U.K. during late 1991 and early 1992. these were soon followed by the band's first full length album, Experience, a landmark release in the history of British rave music. Howlett released an anonymous white label, bearing only the title "Earthbound I". Its hypnotic, hard-edged sound won wide underground approval. Many former critics of the band were astounded when Howlett finally acknowledged responsibility for the record He had released the white-label single to fool image-conscious DJs who had written off the Prodigy as hopelessly commercial.

After several months of working on tracks, Howlett issued the next Prodigy single, "No Good (Start the Dance)." In 1994, the Prodigy's second album, Music for the Jilted Generation, was released entering the UK album charts at #1. album displayed a wider spectrum of musical style with heavy techno and breakbeat-based tracks complemented by the concept sequence The Narcotic Suite, and rock-oriented inclinations ("Their Law", featuring Pop Will Eat Itself). The album also continued Prodigy's allegiance to breakbeat drum'n'bass; though the style had only recently become commercially viable (after a long gestation period in the dance underground), Howlett had been incorporating it from the beginning of his career. It was nominated for a Mercury Music Prize although Howlett had reaffirmed his dedication to making The Prodigy a 'hard dance band', commercially successful but without compromise.

The Prodigy spent much of 1994 and 1995 touring around the world, and made a splashy appearance at the 1995 Glastonbury Festival, proving that electronica could make it in a live venue. The group had already made a transition from the club/rave circuit to more traditional rock venues. Flint's newly emerged persona -- the consummate in-your-face punk showman and master of ceremonies for the digital-age crowd -- Meanwhile the band had augmented their line-up with guitarist Jim Davies ( later Pitchshifter)

March 1996 the Prodigy released "Firestarter" it entered the British charts at number one, the video was almost banned due to complaints about arson fixation; many Top of the Pops viewers also complained that Keith Flint had scared their children. In the middle of the electronica buzz, the Prodigy dropped their third album, The Fat of the Land. Despite rather obvious attempts to court mainstream rock fans, the album entered both British and American charts at number one, shifting several million units worldwide. The Prodigy were getting considerable airplay on rock stations with their track "Smack My Bitch Up," and were getting even more negative backlash for the song. Time-Warner, Prodigy's parent company, was feeling the heat from the National Organization for Women (NOW) over the track. To top it all a rather graphic video was produced that made it to the no1 spot as the most controversial videos ever to air on MTV..duh, meanwhile Wal-Mart and Kmart took the album of the shelves as they didnt want their female customers reminded of how they get smacked up at home..(presumably )..

1999 saw the release of The Prodigy's Dirtchamber Sessions Volume 1, a DJ mix album by Howlett, produced as an official record of a successful guest appearance on the British Radio 1.The Prodigy's fourth studio album, Always Outnumbered, Never Outgunned was released on 23 August 2004 (14 September 2004 in the USA.) A precursory and experimental single, "Memphis Bells", was released in very limited numbers, followed by the traditional release of the single "Girls". The U.S. version of the studio album contained a bonus track; a remix of "Girls" entitled, "More Girls". Maxim and Keith Flint were still in the band but they weren't to be found on the album. Instead it featured guest spots from Oasis' Liam Gallagher, Kool Keith, Twista, and actress Juliette Lewis. Flint and Maxim did join Howlett for a worldwide tour to support the album that launched in October 2004. In 2005, the band released a compilation album, Their Law: The Singles 1990-2005, which included a remix of their 1994 single "Voodoo People". According to the band's website, the band is currently at work on their fifth album.



The Prodigy - Music For The Jilted Generation (^ 94mb)

01 - Intro (0:46)
02 - Break & Enter (8:24)
03 - Their Law (6:41)
04 - Full Throttle (5:03)
05 - Voodoo People (6:27)
06 - Speedway (Theme From Fastlane) (8:56)
07 - The Heat (The Energy) (4:28)

The Prodigy - Music For The Jilted Generation ( ^ 87mb)

08 - Poison (6:42)
09 - No Good (Start The Dance) (6:18)
10 - One Love (Edit) (3:53)
------The Narcotic Suite-----
11 - 3 Kilos (7:26)
12 - Skylined (5:58)
13 - Claustrophobic Sting (7:12)

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The Crystal Method - Vegas ( 97 ^ 151mb)

Although Jordan and Kirkland are both from Las Vegas, Nevada, the band was formed in Los Angeles, California, in 1993.to the early-'90s L.A. rave scene. Drawn in by its youthful idealism, Jordan and Kirkland became absorbed by L.A.'s underground club culture and began knocking out tracks inspired by their experiences. On the strength of one of their demos, Crystal Method signed to Steve Melrose and Justin King's City of Angels imprint in 1994, and their debut single, "Keep Hope Alive," appeared soon after. It became something of an anthem due to the endless barrage of remixes and alternate versions that appeared. The pair's demand to be taken seriously as a band (as opposed to the enforced anonymity of most techno acts) extended to incessant live performances. Crystal Method's increasing popularity both in the clubs and among radio jocks led to a deal with Geffen affiliate Outpost Recordings in 1996. The group's debut LP, Vegas -- an unabashed party record bathed in acid, funk, rock, and big beat hip-hop -- appeared in mid-1997 and sold very well. There was some discussion as to whether the band took their name from methamphetamine (the street name of which is "crystal meth"). In the 1999 documentary Better Living Through Circuitry, it was made clear during the interview the name was a drug reference.

The Crystal Method did most of their earlier production work in an underground shelter referred to as "The Bomb Shelter" in the front yard of a rented house they once shared as roommates. Before production began on Legion of Boom in 2004, they moved the studio into the garage of the rented house. The follow-up to Vegas, Tweekend, was released four years later, and the duo inaugurated a series of mix albums (Community Service) in 2002. In 2005, their third studio album, Legion of Boom, was nominated for a Grammy Award for "Best Electronic Music/Dance Album". This marked the first time the Grammys offered such an award. It was followed by their soundtrack to the film "London Landing" a year later. Meanwhile their music has appeared in several tv shows, adds and in videogames, reaking plenty of dosh i would think. In June 2006, the duo released Drive: Nike + Original Run, the mix was made to accompany any aspiring athlete's workout session . The album was only available on the iTunes Music Store until June 26, 2007, when it was given a physical release to Best Buy stores, and was re-released on CD in 2008 with four bonus tracks. Jordan and Kirkland currently host a radio show called Community Service which airs Friday nights on Los Angeles' Indie 103.1, featuring electronic music.



01 - Trip Like I Do (7:34)
02 - Busy Child (7:25)
03 - Cherry Twist (4:25)
04 - High Roller (5:29)
05 - Comin' Back (Voc.Trixie Reiss) (5:39)
06 - Keep Hope Alive (6:12)
07 - Vapor Trail (6:31)
08 - She's My Pusher (5:41)
09 - Jaded (Voc.Trixie Reiss) (7:05)
10 - Bad Stone (5:09)

diet version
The Crystal Method - Vegas ( * 99mb)

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The Youngsters - Lemonorange ( 01 ^ 158mb)

Hailing from Montpellier the dynamic, electronic duo The Youngsters consist of Gil le Gamin and Olivier M; Mr Gamin a DJ, record shop owner and founder of the G-Funk label and Olivier a passionate music composer. Gamin juggles a busy DJ schedule with his store Z'appies and his label G-Funk. As a band, perhaps they hold the world record for the shortest 'how we came to be' story which goes something like...Olivier took a demo tape in to Gil's shop and er...a fortnight later they were working together. That was way back when at the beginning of 1999. Initially releasing their music through Gamin's label before signing to Laurent Garnier's infamous F Communications imprint. With the backing of a major independent label, the duo was set share with the world their infectious techno rhythms.

Motivated by a solo maxim, 'Make people dance', The Youngsters with Lemonorange have composed an album full of authority and affection for anything that might fall into the arena of techno. Whilst the sounds on this record are familiar, it's unlikely you've heard them combined with such understanding and aplomb.Chunky, deep piano grooves on the excellent "Choose" nestle comfortably along side the rougher, more acidic cuts such as "Friperie Connection" and "Abusive Melody" in a album inspired by a love of the music from Detroit. With the likes of Laurent Garnier, Alex Kid and Aqua Bassino, the F Comm stable is rearing nothing but pedigree acts. With Lemonorange The Youngsters can feel right at home there.



01 - Slow (6:35)
02 - Illogique (7:06)
03 - Spanish Harlem (4:30)
04 - Flightcase Pour Criquets (5:54)
05 - Lost In Palavas (5:23)
06 - Choose (6:40)
07 - Anxious Boy (5:00)
08 - Doutes Et Certitudes (5:27)
09 - Friperie Connection (5:56)
10 - Abusive Melody (5:37)
11 - Dub Cham Mé (4:36)
12 - Smile (5:14)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into the Groove (47)

Hello, the weekend is ahead and that means getting into some early eighties dance grooves today. First up, a woman born on the same day, in the same small town and with the same surname as one of america's famous folksingers, Woody Guthrie, still ..no family. Gwen however was into music aswell, singing and composing. Friends Sly & Robbie are all over Padlock as is the presence of the stardance producer Larry Levan, who also appears as one of the remixers on the next vinyl, Night Dubbing. Imagination crashed on the scene, scored a series of big hits and then dissappeared again, but they left us some memorable tracks...Finally another then starproducer Jellybean he quickly went from DJíng to remixing and along the way scored some major hits for others ..and himself..though he didnt sing himself...he did have the looks...must have been a real heartbreaker, one of his flames he remixes , she sings her mainly selfpenned songs about her and their experiences..i added that album ..just for fun...

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Gwen Guthrie - Padlock (82 ^ 83mb)

Guthrie was born in Okemah, Oklahoma and raised in Newark, New Jersey. In school, she studied classical music, and her father began teaching her piano when she was eight years old. By the early 1970s, she had joined vocal groups such as the Ebonettes and the Matchmakers, meanwhile working as an elementary school teacher. When a backup singer scheduled to sing on Aretha Franklin's 1974 single "I'm in Love" fell ill, Guthrie took the vocalist's place beside Cissy Houston; thus Guthrie would happily state that her career on record began "at the top".

Guthrie soon began moonlighting as a singer of commercial jingles, sometimes with her friend Valerie Simpson (of Ashford & Simpson fame). A songwriting partnership with Patrick Grant resulted in Ben E. King's comeback single, "Supernatural Thing", and "This Time I'll Be Sweeter", covered by numerous artists. Together they wrote seven tracks on the Sister Sledge's 1975 album Circle Of Love: Guthrie continued to write with a variety of partners, and supplied backing vocals to many recording sessions. Working with Peter Tosh in the late '70s, Guthrie befriended reggae stars Sly Dunbar and Robbie Shakespeare, who invited her to Nassau to record vocals for an album they were producing. Hearing her unique voice in the studio, Island Records founder Chris Blackwell inked her to a contract, and the Dunbar/Shakespeare project, assisted by David Conley of Surface, became her first solo release, a self-titled LP. . She was dubbed "The First Lady of the Paradise Garage" as several of her songs became anthems at the venue, helped by the frequent and dynamic performances she gave there. She soon teamed musically with famed Paradise Garage DJ Larry Levan. Who produced her third album Padlock (85)

Guthrie is probably best known for her 1986 dance anthem "Ain't Nothin' Goin' on But the Rent", a self-written and -produced track which garnered some controversy for lyrics such as: Her single "Can't Love You Tonight" boldly addressed AIDS at a time when the disease was a taboo subject, and she was an ally to the gay community, and people with AIDS long before the masses caught up. Proceeds from the single went to the AIDS Coalition. Guthrie was more involved in the writing and production. Hot Times was Guthrie's final LP release, hitting the streets in 1990. Like the previous LP, she wrote nearly everything, except for a moving remake of Stephanie Mills' "Never Knew Love Like This Before." Guthrie died on February 4, 1999, of uterine cancer in Orange, NJ



01 - Peanut Butter Prelude (0:12)
02 - Hopscotch (8:14)
03 - Seventh Heaven (7:22)
04 - Getting Hot (4:34)
05 - Peanut Butter (6:05)
06 - Padlock (6:54)

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Imagination - Night Dubbing ( 83 ^ 96mb)

Imagination were a trio from the U.K. that put a synthesized and often clubby spin on soul groups from the '70s. In fact, a couple of '70s groups have direct ties to Imagination; Leee John and Ashley Ingram spent time during that decade playing supportive roles in the Delfonics and Chairmen of the Board, prior to Imagination's formation. Along with drummer Errol Kennedy, vocalist John and bassist Ingram formed the group in 1981. By the end of that year, they already had their first album released and a minor hit in the form of that album's title track, "Body Talk." The group's second album, 1982's In the Heat of the Night, was their most successful, spawning a trio of U.S. R&B chart hits in the form of "Just an Illusion" (number 27), "Music and Lights" (number 52), and "Changes" (number 46). Those singles were even more popular in their home country, with the first pair reaching the Top Five.

The remix collection Night Dubbing appeared the following year, as did the group's third proper album, Scandalous. Following this the success of the group in the UK waned, but they continued to perform, tour and record until the early 1990s. John went back to acting and recently re-surfaced in the reality TV show Reborn in the USA. Ingram also enjoyed success as a songwriter for Des'ree. John remained active in the entertainment industry, continuing his recording career as a solo artist and collaborator. Since the group's split, several compilations have been released.



01 - Flashback (4:47)
02 - Just An Illusion (6:34)
03 - Music & Lights (5:31)
04 - So Good, So Right (4:25)

05 - Body Talk (4:41)
06 - Heart 'N' Soul (4:00)
07 - Changes (Rmx Larry Levan) (6:23)
08 - Burnin' Up (4:53)

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Jellybean - Wotupski!?! ( 84 ^ 90mb)

John Benitez's mother emigrated from Puerto Rico in the early 1950s and settled in the South Bronx ( N Y). She raised three children as a single mother, Benitez being the second child. Born in New York City, he grew up enjoying listening to music, his sister, Debbie, nicknamed him Jellybean as his initials are J.B. and from the saying "Do you know what I mean, Jellybean?"
When he relocated to Manhattan in 1975, he became immersed in the growing disco scene and soon became one its best DJs as well as an early producer with his own reel-to-reel machine. After appearances at the clubs Experiment 4 and Xenon, Benitez moved on to such prestigious showplaces as Studio 54 and the Electric Circus. With the dawn of the '80s (and the death of disco), he continued DJing with a residency at Manhattan's Fun House (beginning in 1981), and also hosted a dance show on New York's WKTU..

Benitez started to remix singles, Stephen Bray of the group Breakfast Club went to Benitez for a remix. This led to Benitez being introduced to Bray's girlfriend and band mate at the time, Louise Ciccone. A romantic relationship developed between the two that lasted about two years. Benitez became involved with producing and remixing a bulk of the tracks on Louise Ciccone's debut album in 1983. After this fruitful partnership, both went their seperate ways, eventually Benitez remixed songs for such artists as La India, Whitney Houston, George Benson, Shalamar, Jocelyn Brown, Patti Austin, Sheena Easton, Talking Heads, James Ingram, Hall & Oates, Billy Joel, The Pointer Sisters, Michael Jackson and Paul McCartney. In 84 he released Wotupski!!?! from his album "Sidewalk Talk" became a hit and the Bside showed the classic electro..the mexican. His 1987 debut album Just Visiting This Planet featured Jellybean in his usual production role though his name appeared on the sleeve; despite the mainly unknown guest vocalists, the single "Who Found Who" with Elisa Fiorillo became another Top 20 hit. His second album, 1988's Jellybean Rocks the House, was a much tighter affair though it featured no hits.

Benitez produced and released music under the Jellybean moniker; in total he has placed nine songs in the Top 10 of the Hot Dance Music/Club Play chart, including three number ones. He has employed many vocalists to sing on his productions including Madonna, Elisa Fiorillo, Steven Dante, Adele Bertei, Richard Darbyshire and Niki Haris. His 1984 cover of Babe Ruth's "The Mexican" (for which he recruited the vocals of its original singer, Janita Haan) is regarded as a pivotal moment in the electro-hip hop underground scene. He had solo hits with "The Real Thing" (UK #13 in 1987), "Who Found Who" (UK #10 in 1988), and "Just A Mirage" (UK #13 in 1988). Currently, Benitez owns Jellybean Productions, JB Recording and JB Publishing. On September 19, 2005, Benitez was inducted into the Dance Music Hall of Fame for his achievements as a DJ.



01 - Compromise (Voc. Vernon Smith) (6:30)
02 - Sidewalk Talk (Voc.Madonna) (6:07)
03 - Dancing On The Fire (Voc. Audrey Wheeler) (6:47)

04 - Was Dog A Doughnut (7:50)
05 - The Mexican (8:42)

Louise Ciccone - I

01 - Lucky Star (5:37)
02 - Borderline (5:17)
03 - Burning Up (4:48)
04 - I Know It (3:40)

05 - Holiday (6:08)
06 - Think Of Me (4:53)
07 - Physical Attraction (6:37)
08 - Everybody (4:48)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (47)

Oops, it's Eight-X again, must be midweek.Well the re-upping went smoothly today, Wavetrain looks to be all live again by thursday even a slight makeover and extending here and there..Today we start with a band from the netherlands that got off to a good start with their debut album, ran into trouble with the recordcompanies with their second and when the third only garnered critical acclaim they threw in the towel, made on a next to nothing budget Just Can't Sleep brings across the nervous consequences that can bring and its clear the guys had been exposed like their peers to the jittery first two albums of the Talking Heads .....The Jam had eighteen consecutive Top 40 singles in the UK, from their debut in 1977 to their breakup in 1982, including four number one hits need i say more..this is a 02 compilation of their sound...that's entertainment.....The rain Parade looked to be going places but then when you're from LA it's hard to stick together with everything thats going on there, so in the end it was just three albums and the live album here..Beyond The Sunset though you'd hardly notice it was live, recorded in the land of the setting sun (obviously) ....

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The Tapes - You Just Can't Sleep (79 ^ 95)

Late 77 (ex-)students Fred Hermsen (voc), Rolf Hermsen (gitar), Michiel Brandes (gitar), Igor Roovers (bass) and Dick van der Vaart (drums) founded The Tapes. After it turns out Fred ain't a singer his brother Rolf takes over and Fred concentrates on the management and writing lyrics. they get labelled as the Dutch Talking Heads, but the bands musical interests extend well beyond to funk, jazzrock and pop. In 78 they record "You Just Can't Sleep" with a minimal budget on a 8-track recorder. Despite the demo quality the album is well recieved and sells well. This gets them noticed by major label Vertigo that take over the distribution from the Plurex label.

After the support tour Dick van der Vaart quits as drummer, and returns to studying medicine. Peter Meuris takes over. That summer (79) the follow-up album "Party" is recorded under guidance of the american producer Don Willard. The assumption was that the same deal as the last album would be made but Phonogram (Vertigo parent) but the major is nolonger interested. In the months that follow The tapes try to sell the ready made album to record companies home and abroad without result. Finally the american Passport label offers them a contract. Spring 1980 Party is finally released, the sound is obviously much better, the tracks have gained more depth. 

The third album, On A Clear Day, is recorded spring 81 and produced by John Leckie (Human League, XTC, Magazine) members of the Nits are in support. The album gets a worldwide release but the despite good reviews it sinks as first hour fans no longer recognise the Tapes from the previous albums and it fails to find a niche. The On A Clear Day promotion tour sees Mathilde Santing(Eleveld) as vocal support aswell as support show. 1982 sees the end for the Tapes as they've become desillusioned from the lack of success..in a reversal of fortune bandmembers become Mathilde Santing's backing band.
 
 

01 - A Little Trick We All Know (3:37)
02 - Live Girls / Dead Girls (3:56)
03 - Scars (3:18)
04 - At The Wheel (4:49)
05 - Voices Of Time (3:53)

06 - Call Me (4:02)
07 - Who's Responsible (3:27)
08 - Dancing On A Red Carpet (3:27)
09 -You Just Can't Sleep (5:11)
10 - The Best Of My Fate (3:52)

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The Jam - The Sound Of The Jam ( ^ 188mb))

The Jam formed in Surrey, England in 1972 in Woking. The line-ups were fluid at this stage, consisting of Weller on guitar and lead vocals together with various friends, the line-up began to solidify in the mid 1970s with Weller, Foxton, guitarist Steve Brookes and drummer Rick Buckler. In their early years, their sets consisted of early American rock and roll covers. They continued in this vein until Weller became fascinated with mod music and lifestyle. They went out and bought black suits and started playing Motown, Stax and Atlantic covers. Eventually Brookes left the band, and was not replaced, inviting Weller to develop a combined lead/rhythm guitar style. 

In the following two years, The Jam gained a small following around London, becoming one of the new lights on the nascent punk scene. Though they shared an "angry young men" outlook, short hair, crushing volume and lightning-fast tempos, The Jam wore neatly tailored suits where others wore ripped clothes, played professionally where others were defiantly amateurish. They really stood out from their punk peers. They were signed to Polydor Records by Chris Parry in early 1977. On 29 April 1977, Polydor released The Jam's debut single,"In the City", which charted in the Top 40 in England. In early May, the band released their epinomous debut album. Like those of The Clash and the Sex Pistols, the album featured fast, loud and pointed songs.

After the non-LP single "All Around the World" nearly reached the UK Top 10, The Jam, having achieved a notable following in such a short time, was pressed to produce more material quickly. Their second album, This Is the Modern World, was released later in 1977. Despite displaying more stylistic variety than before, including some ventures into introspective pop, This Is The Modern World was not widely praised. However, when John Peel first heard the album, he played it in its entirety on one show

In March 1978, the band released "News of the World", a non-album single that was both written and sung by Foxton. It charted at #27 in the UK, and was the band's second biggest hit to date. The Jam released their next single, the double A-side "David Watts" b/w "'A' Bomb In Wardour Street". "David Watts" was a cover of the bouncy Kinks classic; Weller and Foxton traded lead vocals throughout the song. It wasn't until their next single, "Down in the Tube Station at Midnight", that The Jam really regained their former critical acclaim. The song was a dramatic account of being mugged by thugs who "smelled of pubs and Wormwood Scrubs and too many right-wing meetings." Around this time, The Jam slimmed their team of two producers to one, Vic Coppersmith-Heaven, who helped develop the group's sound with harmonised guitars and acoustic textures. The Jam released their third LP, All Mod Cons in 1978.

The Jam released "The Eton Rifles" in advance of their new album. It became their first top 10, rising to #3 on the UK charts. November of 1979 saw the release of the Setting Sons album, another massive UK hit, and their first chart entry in the U.S. The album began life as a concept album about three childhood friends, though in the end many of the songs had political overtones.
The band's first single of 1980 was intended to be "Dreams of Children," due to a labelling error, however, the a- and b-sides of the single were reversed, resulting in the more conventional "Going Underground", the single's planned flipside, getting much more airplay and attention than "Dreams of Children". As a result, only "Going Underground" was initially listed on the charts, although the single was eventually officially recognised (and listed) as a double A-side by the time the release reached #1 in the UK.

Sound Affects was released in 1980. It was influenced by current post-punk bands such as Joy Division and Wire. Paul Weller said that he was influenced by The Beatles' Revolver and Michael Jackson's Off the Wall also. Weller allegedly wrote "That's Entertainment", in around 15 minutes upon returning (under the influence) from the pub. Despite being only available as an import single, it peaked at #21 on the UK charts, an unprecedented feat. It is now arguably The Jam's most celebrated song and despite the group's lack of commercial success in America, it even made Rolling Stone's list of the 500 greatest songs of all time. The album was a #2 hit in the UK and peaked at #72 on the US Billboard charts, their most successful American album. 

The 1982 release The Gift — the band's final LP — was a massive commercial success, peaking at #1 on the UK charts. It featured several soul, funk, and R&B-stylized songs; most notably the #1 hit "Town Called Malice," which boasts a Motown-style bassline somewhat reminiscent of The Supremes' "You Can't Hurry Love". The song included organ work by Steve Nichol, who later became well known as a member the R&B group Loose Ends. When "Town Called Malice" reached number one the group had the honour of performing both it and its double A-side, "Precious" on TOTP - the only other band to be accorded this honour being the Beatles. After the string-laden soul ballad "The Bitterest Pill (I Ever Had to Swallow)" peaked at #2, the band followed with their finale and another #1, "Beat Surrender". The Beat Surrender EP had success in the British charts, and both its graphic design and music resembles early Style Council releases. After a farewell tour of the UK Weller disbanded the group.

Weller, who felt he had done all he could with The Jam, then formed The Style Council with Mick Talbot of The Merton Parkas. After they split up in 1989, Weller went on to pursue a solo career.



The Jam - The Sound Of ( ^ 91mb)

01 - In The City (2:19)
02 - Away From The Numbers (4:03)
03 - The Modern World (2:31)
04 - David Watts (2:56)
05 - Down In The Tube Station At Midnight (4:01)
06 - It's Too Bad (2:37)
07 - To Be Someone (2:30)
08 - Mr. Clean (3:29)
09 - English Rose (2:50)
10 - The Butterfly Collector (3:09)
11 - The Eton Rifles (3:59)
12 - Private Hell (3:51)

The Jam - The Sound Of 2 ( ^ 97mb)

13 - Thick As Thieves (3:40)
14 - Smithers-Jones (3:01)
15 - Saturdays Kids (2:53)
16 - Going Underground (2:56)
17 - Start! (2:31)
18 - Liza Radley (2:32)
19 - Pretty Green (2:37)
20 - Boy About Town (2:00)
21 - That's Entertainment (3:34)
22 - Tales From The Riverbank (3:26)
23 - Town Called Malice (2:54)
24 - Ghosts (2:10)
25 - Carnation (3:29)
26 - Beat Surrender (3:25)

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Rain Parade - Beyond The Sunset ( 85 ^ 87mb)

Among the L.A. groups dubbed Paisley Underground (Dream Syndicate, the Bangles, Three O'Clock), Rain Parade were the closest to being the real deal for their use of psychedelic flourishes thoroughout their first album. The band was founded by college roommates Matt Piucci (guitar, vocals) and David Roback (guitar, vocals) in 1981, originally as The Sidewalks. David's brother Steven Roback (bass, vocals) joined the band shortly thereafter. David and Steven had been in a band called The Unconscious with neighbor Susanna Hoffs ( Bangles.) The band soon added Will Glenn (keyboards and violin) and later Eddie Kalwa (drums). 

Their first single, "What She's Done to Your Mind," was a certifiable hit on college radio, and the band quickly followed with their debutalbum, Emergency Third Rail Power Trip. For 1984's Explosions in the Glass Palace, the band lost David Roback to Opal, but John Thoman took over and Mark Marcum filled in for the departed Eddie Kalwa. The re-formed band recorded the live album Beyond the Sunset (1985) and Crashing Dream ( 1985). This album was supported by a European tour, underwritten by Island Records, and garnered good support in smaller club venues, yet the band would disband in 86, with Piucci forming Gone Fishin' and later joining Crazy Horse. The band reformed in 1988 to finish off a double album they had started, but it was never released. The rest of the band formed Viva Saturn. After Rainy Day, David Roback formed Opal, and later Mazzy Star.

Recorded Live at Shibuya Hall, Tokio (12-16-84)



01 - Night Shade (2:49)
02 - Prisoners (3:32)
03 - This Can't Be Today (4:00)
04 - Blue (2:32)
05 - Eyes Closed (2:37)
06 - Ain't That Nothing (4:05)

07 - Don't Feel Bad (3:21)
08 - 1,5 Hours Ago (4:10)
09 - No Easy Way Down (6:27)
10 - Cheap Wine (5:03)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (47)

Hello, Around the Worldmusic crosses over from the desert with a crossover artist Rachid Taha, he's been on the music scene for more then 25 years now so this collection is just a small part of his oevre..a teaser....btw the Sunshine posts are all live again.
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Rachid Taha - The Collection( ^ 180mb)

Rachid taha was born in Oran, western Algeria, and spent the first ten years in the town of Sig. The war and corruption had his father decide to move the family to France in 1968. After a village adolescence Rachid moved to Lyon, where he met likeminded and formed "Carte De Séjour". In 1981, while living in Lyon, France, Taha met Mohammed and Mokhtar Amini. The three of them, Rachid, Djamel Dif and Eric Vaquer would later form the band "Carte De séjour" (Green Card) and record their first album Rhorhomanie in 1984. Their second and last LP entitled Ramsa (Five) was released in 1986 and included their famous and ironic cover of Douce France, originally sung by Charles Trenet. The band dissolved in 1989.

A trip to Los Angeles has him record a demo with Don Was but it didnt get hime a recording contract. Undeterred by this setback, Rachid decided to take a break from the music scene and go back to his Algerian roots in Oran. He had not given up the idea of launching a solo career, however, and continued to work on a new demo tape - which would finally result in his debut solo album. Named after a famous immigrant area in Paris, the album "Barbès" was released in 1991. But, unfortunately for Rachid, the Gulf War broke out shortly after the release of "Barbès" and French radio stations judged his Arabic songs too 'sensitive' to play during the war with Saddam Hussein.

In spite of this second setback Rachid Taha persevered with his solo career, returning to the studio in 1993 to record a second album, entitled simply "Rachid Taha". Produced by Steve Hillage, Rachid's new album featured a fusion of African and European music and a series of lyrics which were more sharply ironic than ever. Much to everyone's surprise the dance-oriented single "Voilà Voilà", proved a major hit . Two years later Rachid flew to London to record his third solo album with his old friend Steve Hillage. Released in 1995, the new album "Olé Olé" proved to be even more of a musical cross-over than Rachid's previous album, fusing Western techno beats and electric guitars with Algerian chaâbi, Mexican mariachis and the traditional Arab zither

The following year (98) Taha returned to the studio to record a brand new album entitled "Diwan". This fascinating album, produced by Steve Hillage, was made up entirely of covers, featuring Taha's innovative new versions of Middle Eastern classics. Taha returned to the music news in October 2000 with a critically acclaimed album entitled "Made in Medina". Recorded between studios in Paris, London, Marrakech and New Orleans, Taha's new album featured an infectious mix of rock, electro, voodoo trance and Arab sounds. Taha invited his old friend, guitarist Steve Hillage, to join him in recording "Made in Medina and assembled an eclectic list of guest stars, ranging from the all-women Moroccan group B'net Marrakech to Galactic, a band from Louisiana.

The next years saw himon a world tour Taha, he managed to get back into the studio in 2004 to work on a new album, "Tékitoi?" released in September 2004. Recorded between Paris, London and Cairo, the album featured Taha’s long-term collaborator, UK producer Steve Hillage, at the studio helm. As far as lyrics go, "Tékitoi?" found the Algerian-born rocker tackling highly topical themes such as corruption, war and racism. Taha, the musician who appears to be torn between traditional and modern sounds, took another trip down memory lane on "Diwan 2", a second album featuring covers of classics from his native Maghreb. The album, released in October 2006 and sung in a mixture of French, Arabic and “Francarabe”, conjured up evocative images of smoky cafés in Barbès, Oran and Cairo. It was produced by his old friend and collaborator Steve Hillage again and featured contributions from the Cairo String Ensemble. Last year saw the release of this compilation..




Rachid Taha - The Collection ( ^ 91mb)

01 - Ya Rayah (Party) (6:17)
02 - Rock El Casbah (Rock The Casbah) (4:36)
03 - Nokta (Point) (5:13)
04 - Voila Voila (5:16)
05 - Habina (We Love) (7:28)
06 - Kelma (Thoughts) (4:50)
07 - Bent Sahra (The Girl Of The Sahara) (7:13)

Rachid Taha - The Collection 2 ( ^ 89mb)

08 - Douce France (Sweet France) (3:40)
09 - Indie (India) (4:21)
10 - Jungle Fiction (4:04)
11 - Ida (If...) (5:58)
12 - Hey Anta (Hey You) (4:32)
13 - Barbes (4:26)
14 - Barra Barra (Outside) (5:48)
15 - Menfi (The Exile) (5:05)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Canadia 2056 (6)

Hello, still busy updating..next update post coming up later, but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there..

Episode 6:

Anderson pines for Connie, his first love. The crew loses the ability to navigate the ship when they are controlled by a cloud. The up side is that the cloud grants them wishes, the down side is that the cloud grants them wishes.


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Canadia 2056 - 06 (20mb)

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Sundaze (47)

Hello, Sundaze is up and today the tone is earthly ambient, besides that there's two limited editions...O Yuki Conjugate 's releases are all limited editions though these days they can be had at the limitless ITunes. Sunchemical was released as mini album with remixes of previous work, nevertheless the 50min disk has plenty of album qualities....Second Nature's disk is even more limited and the trio that made it never got together again , unfortunately as this should rank amongst the best ambient work they produced....Doug Wimbish has had a rollercoaster career, musically that is.When he finally got to releasing a soloalbum it reflected his more contemplative moods as the title says it all " Trippy Notes For Bass"

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O Yuki Conjugate - Sunchemical (95 ^ 99mb)

O Yuki Conjugate is an organic ambient musical group, instruments used include tongue drums, roto-toms, bongos, congas, "big bean," "found percussion," drum machine, wind chimes, loops, frying pan, bass guitar, samples, keyboards, fractal guitar, e-bow, flutes, chants, radio, wildlife, tablas, berimbau, nose-singing, and vocals. Their music, as apparent from this list, is percussive and inventive, but it is also atmospheric.

O Yuki Conjugate was formed in Nottingham in 1982 by multi-instrumentalists Andrew Hulme, Tim and Roger Horberry and Claire Elliot; inspired by the atmospheric guitar instrumentals of the Durutti Column, they began experimenting with keyboards and tape loops, adding percussion to the mix before debuting with the soundscapes of 1984's Scene in Mirage( lim. ed 500 copies). A three-year gap preceded the release of the follow-up, Into the Dark Water, good reviews limeted edition, 1000 copies the first of many extended absences from the contemporary music scene; only in 1991 did O Yuki Conjugate again resurface, issuing Peyote on the Projekt label. Undercurrents (re-issued In Dark Water), which assembled both older material and latter-day recordings, appeared a year later. The band split up with marriage and study taking presedence, Andrew and Roger continue.

When asked to do a show in the netherlands Tim returns Malcolm McGeorge, Dan Mudford and Peter Woodhead join and after some serious repetitionwork, the concert is a success and O Yuki is reborn a homestudio is build. Support slots for Biosphere and Higher Intelligence Agency bring them ahead and 1994's Equator is deemed superb. The group released Sunchemical, a collection of remixes,just 2000 copies nevertheless it got them a cease and desist notice from the american printing giant with te same name..duh. They release Primitive on Staalplaat. Roger Horberry moves the Amsterdam where he pursues solo projects Andrew Hulme meanwhile does his own á small good thing". Oh Yuki dissappears to the back ground.Hulme and Horberry additionally collaborated on dance music under the name Symetrics, with the former also heading the groups A Small Good Thing and Sons of Silence as well as recording Fell with Paul Schütze.

By 2004 Oh Yuki is revived as Hume and Jenkins finish recording a dirty ambient album and decide to use the Oh Yuki moniker, the album is finally released in 2006 as "The Euphoria Of Disobedience". The band described the new album as ''dirty ambient - multi layered, hyper textural and distinctly gritty''. Meanwhile the backcatallogue has been uploaded to Itunes aswell.



01 - Sulphur (S) (8:24)
02 - Niobium (NB) (6:59)
03 - Californium (CA) (10:27)
04 - Carbon (C) (7:00)
05 - Polonium (Po) (10:00)
06 - Bismuth (Bi) (7:04)

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Second Nature - Second Nature (95 ^ 152mb)

This is a rarety, just 1000 pressed, the names getting together here are well known enough, Bill Laswell, Atom Heart and Tetsu Inoue, latter two had released an album together shortly before, Flowerhead. Second Nature is... A series of sound environments that depict the world at micro level...", The trio have composed a work which is immediately original, invigorating, and captivating. This is true ambient music played by people who played long before you could buy a computer that would sequence everything for you. The album comprises of both electronic pulses and sampled sounds of nature. True to the title of the album, each of the tracks creates a "second nature". "Synthetic Forest", "Green Paste", and "Artificial Seaside" each reflect a mirrored world that Heart, Inoue, and Laswell have created. The worlds in Second Nature are vivid and lush. The colors of the foliage bleed in vibrant hues and the landscapes are massive and majestic...nevertheless the three never worked again as Atom Heart emigrated to Chili and went Coconuts , Bill has always something cooking and Tetsu



01 - Synthetic Forest (28:42)
02 - Green Paste (16:59)
03 - Artificial Seaside (16:29)
04 - Landing Cycle (6:25)

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Doug Wimbish - Trippy Notes For Bass (99 ^ 139mb)

Doug Wimbish was one of the 1980s' most versatile bassists, able to move from pop and mainstream rock session work to heavy metal, funk, and experimental music over the course of the decade; he continued in this vein through the 1990s before finally releasing his first solo album, Trippy Notes for Bass, in 1999.

Doug Wimbish made his first splash as the bassist in the house band of the legendary rap label Sugar Hill, backing Grandmaster Flash and the Furious Five on their epochal Message album, among many others. As the ' 80s wore on, Sugar Hill found itself overtaken by hip-hop innovations outside its stable of artists, and its house band had already formed a productive relationship with British dub reggae experimentalist Adrian Sherwood. Wimbish, guitarist Skip McDonald, and drummer Keith LeBlanc began working on a variety of projects with Sherwood, including backing ex-Pop Group member Mark Stewart on his solo recordings and issuing their own 12" singles under the name Fats Comet. Major Malfunction was released in 1986 under Keith LeBlanc's name, although it was essentially a group collaboration; that group dynamic became official when the trio christened themselves Tackhead and began recording full-length works with Sherwood. However, their two albums -- 1989's Friendly as a Hand Grenade and 1990's Strange Things -- didn't quite capture the avant-garde Funkadelic-meets-Lee Perry experiments of their earlier work.

When Living Colour bassist Muzz Skillings departed his band in 1992, Wimbish was tapped as his replacement. However, after 1993's Stain, the group disbanded, and Wimbish returned to session work.. Wimbish also reunited with Living Colour drummer Will Calhoun in the experimental funk/electronica trio Jungle Funk. In 1999, Sherwood's On-U Sound label issued Wimbish's first solo album, Trippy Notes for Bass. Where his playing in most previous contexts has been wild, funky, and sometimes anarchic, drawing freely on jazz, dub, and punk influences, here he's in an almost contemplative mood. It's not that there are no beats -- . But the prevailing mood here is gently atmospheric, almost spiritual. "Glory" sounds like a field recording from an electronic rain forest; "Glorification Chant" sounds like a sort of North African qawwali. Those hoping for bone-shaking grooves and crazier-than-thou Adrian Sherwood mixes may be disappointed, but they shouldn't be -- this is a very beautiful piece of work.



01 - Quasimodo (1:32)
02 - Perplex (5:11)
03 - Bedwood (5:19)
04 - Gangster (5:39)
05 - Just Another Minute (1:14)
06 - Arabic (Voc.Sussan Deyhim) Cat (4:38)
07 - Leave It Alone (4:56)
08 - Veneered (5:43)
09 - Glorification Chant (Voc.Sussan Deyhim) (5:54)
10 - Logdrum (4:11)
11 - Splash (3:38)
12 - Will & Skip (2:09)
13 - Glory (3:16)
14 - Daze (3:22)
15 - Pass It Around (1:20)

diet version
Doug Wimbish - Trippy Notes For Bass (* 99mb)

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Into The Groove (46)

Hello, Fridaynight disco coming up, after last weeks funk, time for someof the dance floor attacks of the seventies/early eighties...some say she invented disco, maybe not as such but her album Never Can Say Goodbye made a big statement in 1975 , side one mixed for the dancefloor and subsequently all three tracks became hits in their own right, amazing feat. Sadly 7 years later she fell victim to a religious fever, meanwhile she kept on singing i will survive and becoming a gay icon nonetheless...strange...Niteflyte was more of symbolic why by the end of the seventies there was this anti disco backlash..mainly in the states..producers, real musicians had taken over the format..not that it wasnt good music..as you can convince yourself here, but somehow too establishment ..and formulised....finally the last big discobang no one could resist, Lipsync better known as Lipps Inc., in fact they led in a new kind of disco..even though they never got over their megahit and thus became a one hit wonder..Funkytown...simple and catchy, in a way the answer to the big hit the year before, M's PopMuzik.

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Gloria Gaynor - Never Can Say Goodbye (75 ^ 80mb)

Gaynor was a singer with the Soul Satisfiers, a jazz/pop band, in the 1960s. Her first solo single was "She'll Be Sorry/Let Me Go Baby" (1965).Her first real success came in 1975 with the release of her album Never Can Say Goodbye, which established her as a disco artist. The first side of this album consisted of three disco songs ("Honey Bee", "Never Can Say Goodbye" and "Reach Out, I'll Be There"), with no breaks in between the songs. This 19-minute dance marathon proved to be enormously popular, especially at dance clubs. All three songs were released as singles via radio edits, and all of them became hits. This album was so instrumental in introducing disco music to the public, that many later believed that Gloria Gaynor had been the first artist to record disco music. "Never Can Say Goodbye" became the first song to top Billboard magazine's dance chart. So, in that sense, she was the first. Capitalizing on the success of her first album, Gloria Gaynor quickly released her second album Experience Gloria Gaynor later that same year. While this album was also successful, it was not quite as popular as her previous album in the mainstream.

For the next few years, Gloria Gaynor would only enjoy a few moderate hits. However, in late 1978, with the release of her album Love Tracks, she climbed the pop charts again because of her song "I Will Survive". Interestingly, it was originally the B-side when Polydor Records released it in late 1978. The A-side, a song called "Substitute", was considered to be more "radio friendly." Boston Radio DJ Jack King turned the record over and recalls being stunned by what he heard. "I couldn't believe they were burying this monster hit on the B-side", says King. "I played it and played it and my listeners went nuts." This audience response forced the record company to flip the songs, so that subsequent copies of the single listed the more popular song on the A-side. "I Will Survive". was awarded the first and only Grammy Award for Best Disco Recording in 1980

In 1980 and again in 1981, Gaynor released two disco albums which were virtually ignored in the US due to the backlash against disco, which began late in 1979. Surprisingly, neither albums' singles registered on Urban contemporary radio, where disco music remained popular. In 1982, she became a Christian and began to distance herself from a past she considered to be sinful. She would not release an album in 1982. In 1983, she released an album entitled Gloria Gaynor, in which she rejected disco for mid-tempo R&B and Pop style songs.

Gaynor would achieve her final success in the '80s with the release of her album I Am Gloria Gaynor in 1984. This was mainly due to the song "I Am What I Am", which became a hit at dance clubs, it made Gaynor a gay icon. However, her career went into sharp decline following this hit. She returned to the recording studio in 2002, releasing her first album in over 15 years, entitled, I Wish You Love. The two singles released from the album, "Just Keep Thinking About You" and "I Never Knew", both topped Billboard's Hot Dance Music/Club Play. After almost 30 years of its release, Gaynor continues to ride the success of "I Will Survive", touring the country and the world over and performing her signature song on dozens of TV shows.



01 - Honey Bee (6:01)
02 - Never Can Say Goodbye (6:20)
03 - Reach Out, I'll Be There (6:14)

04 - All I Need Is Your Sweet Lovin' (2:47)
05 - Searchin' (2:54)
06 - We Belong Together (2:51)
07 - False Alarm (3:41)
08 - Real Good People (3:03)

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Niteflyte - Niteflyte ( 80 ^ 98mb)

Sandy Torano spotted Howard Johnson singing in a local Miami Bar , they hit it off and together they formed Niteflyte in 1977. Niteflyte became an American disco group, but with the pretension of making real music with quality musicians and so on their debut album, co produced by 'Styx (!) producer Barry Mraz, you find among others David Sanborn and the Brecker Brothers doing their thing. They released an album on Ariola Records in 1979, which peaked at #59 on the Billboard Black Albums chart, and a single, "If You Want It", which hit #37 on the U.S. Billboard Hot 100. Howard stayed with the group until the early '80's when he signed with A & M Records as a solo artist. His debut solo album, 'Keepin' Love New'



01 - All About Love (4:35)
02 - If You Want It (4:23)
03 - Sunshine (5:44)
04 - Make It Right (5:01)

05 - Get On The Fun (4:14)
06 - Tryin' To Find (5:13)
07 - I Wonder (3:12)
08 - Easy Come (6:06)
09 - No Two Alike (3:51)

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Lipps Inc..- Mouth To Mouth ( 80 ^ 82mb)

Lipps Inc (pronounced like "lip sync") was a studio band that achieved one significant hit, "Funkytown" in 1980. The song is considered, by some, the last disco song to hit #1 in the U.S.

The group was formed in Minneapolis by Steven Greenberg, who wrote and produced all of the group's music, and who also played several musical instruments. Multi instrumentalist Greeenberg had played in several bands and had been trying to secure a production deal. He finally caught the interest of casablanca Records with a disco track called "Rock It".Casablanca asked Greenberg for a full album and he gathered a cast of sessionplayers that initially included David Rifkin, guitarist Tom Riopelle and Terry Grant on bass. Most importantly, he recruited lead vocalist Cynthia Johnson, former miss Black Minnasota. Mouth to Mouth was released in 1980, when Funkytown was released as the second single it became an instant hit. It spent 4 weeks at no 1 in the US and a major hit around the world.

Their further singles failed to match their initial success (their only other Hot 100 entry was "Rock It", which peaked at #64), The six-song release Pucker Up followed, featuring a disco remake of the British pub rock group Ace's hit ballad "How Long." which reached #4 on the U.S. dance chart. The album however didn't attract too much attention, and neither did the next Lipps Inc. full-length, Designer Music. The group released their final full-length album, 4 in 1983 it didn't cause a stir and Cynthia Johnson left for good that year. subsequently Lipps Inc. threw in the towel. Greenberg eventually moved into web design, and owns a profitable company still based in Minneapolis.



01 - Funkytown (7:49)
02 - All Night Dancing (8:16)

03 - Rock It (5:38)
04 - Power (8:10)

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Alphabet Soup II ( U)

Hello, time for another Alphabet Soup II, we say hello to U ..from the mists of time we see rising Uriah Heep, still touring i might add. Over the years they have released 21 studio albums, 12 live albums, 13 compilation albums and 27 singles and still touring to this day, althought there's just one original member left, Mick Box, that said some of the current line up have been part almost 3 decades now. Way to go....With our next band, their first strike took them almost all the way, set up as an open project The Unknown Cases just released the one album, Cuba a decade after their megahit Masimbabele..it's German re;ease hasnt reached Discogs...whats in a name i'd say ? Do you really think Usain Bolt would be the worlds topsprinter, if his father's name had been Snail ? I dont think so.. but i drift off ..The guys behind The Unknown Cases got distracted and entered the dance scene as Trance Groove, as such they released a considerable body of work.....finally Unkle , i was unpleasently surprised when my disk of Psyence Fiction showed damage which rendered the last 3 tracks unusable. Now i do have their other work so i switched to Never, Neverland. It didnt get the DJ Shadow status obviously, but it did produce a face, one that got numerous surgeries in the years following...i almost forgot..being a good customer i got slipped a CDR copy from the Revisited album..really dislike that strategy, very disrespectful to fans and early adopters to release the same album with a bonus remix disk one year later ..Well its here now, btw many many remixes followed, it was as if Unkle intentionally tries to push fans away. If not, they should have set up a website where there body of work is available for download and at reasonable prices....


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Uriah Heep - Live (73, 77min ^ 180mb)

Uriah Heep's by-the-books progressive heavy metal made the British band one of the most popular hard rock groups of the early '70s. Formed by vocalist David Byron and guitarist Mick Box in the late '60s, the group went through an astonishing number of members over the next two decades -- nearly 30 different musicians passed through the band over the years. When Ken Hensley (guitar, keyboards, vocals) , bassist Paul Newton joined the pair and drummer Nigel Olsson got together with the duo Uriah Heep had taken shape.

Uriah Heep released their debut album Very 'eavy...Very 'umble (called Uriah Heep in the U.S.) in 1970. It introduced a heavy organ and guitar-driven sound, with David Byron's theatrical, dynamic vocals soaring above thunderous sonic backgrounds, although acoustic and jazz elements also featured in the mix. The album's title references the signature phrase of the Dickens character Uriah Heep ("very 'umble") from the novel David Copperfield from which the band took its name. After its release, Keith Baker became the group's drummer; he recorded Salisbury, the group's second album, before deciding he couldn't keep up with the band's extensive touring and was replaced by Ian Clarke. Their second album, Salisbury, was more squarely in the progressive rock genre, with its 16-minute title track featuring a 24-piece orchestra; it also included Lady in Black. Later that year, Ian Clarke was replaced by Lee Kerslake and Gary Thain replaced Newton to became the group's bassist. This lineup of Uriah Heep was its most stable and popular; beginning with 1972's Demons and Wizards, they released five albums between 1972 and 1975. Including the live album at hand here.

Their third album, "Look at Yourself", released at the end of 1971, included the single "July Morning". Subsequent releases would find the group's ever-shifting lineup (between 1969 and 1980, the band changed drummers five times, bassists four times, and lead singers twice) frequently exploring fantasy-oriented lyrical themes, often in lengthy, multi-part compositions, largely penned by Hensley, who would eventually come to dominate the band during his tenure. On December 8th 1975, New Zealand-born former bassist, Gary Thain, was found dead in his Norwood Green home, aged 27, having overdosed on heroin.

After David Byron left (replaced by John Lawton), Uriah Heep turned away from fantasy-oriented lyrics and multi-part compositions back toward a more straightforward hard rock sound typical of the era. The replacement of Lawton with vocalist John Sloman for the 1980 album Conquest didnt go down well, Ken Hensley departured in fury and left the group in a state of collapse. That would have been it were it not for Mick Box he soldiered on took aboard new members and Uriah Heep continued to tour and release both (occasional) studio and (frequent) live albums. The lineup was unchanged from 1986 until early 2007, being veteran Mick Box at the helm, Trevor Bolder on bass, Lee Kerslake on drums, vocalist Bernie Shaw and Phil Lanzon on keyboards. In early 2007 drummer Lee Kerslake had to leave the group due to ill health. In March 2007, the band recruited Russell Gilbrook as their new drummer, and immediately started recording a new studio album entitled Wake the Sleeper. Universal Music finally released Wake the Sleeper on June 2, 2008.



01 - Introduction (1:02)
02 - Sunrise (4:13)
03 - Sweet Lorraine (4:39)
04 - Traveller In Time (3:27)
05 - Easy Livin' (2:55)

06 - July Morning (12:03)
07 - Tears In My Eyes (4:41)

08 - Gypsy (13:59)
09 - Circle Of Hands (8:55)

10 - Look At Yourself (7:53)
11 - Magician's Birthday (1:14)
12 - Love Machine (3:26)
13 - Rock n Roll Medley (8:29)
-------Roll Over Beethoven
-------Blue Suede Shoes
-------Mean Woman Blues
-------Hound Dog
-------At The Hop
-------Whole Lotta Shakin' Going On
-------Blue Suede Shoes

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The Unknown Cases - Cuba ( 95 ^ 161mb)

The Unknown Cases developed out of DUNKELZIFFER back then. The band name is the translation of the German word "DUNKELZIFFER" into English: We simply wanted to make music that was fun, without having to discuss and agree with five other band-members first. We wanted to take things in our own hands. This means being in charge and not shifting the responsibility to another band-member or like a guest-performer, but being responsible, and producing Helmut Zerlett and Stefan Krachten initially planned The Unknown Cases as a loose project, where new people could join at any time. New musicians from song to song. One day, they had the idea to call Jaki Liebezeit of Can to ask him if he'd join us in the rehearsal-room. Thats how the Can-members became our teachers, and that's why groove's always a priority in our projects. Through Can we got to know Reebop Kwaku Baah, former percussionist of Ginger Baker as well as bassist Rosko Gee (Traffic). The first time they were mentined was with the release of "Masimbabele" in 1983, trendsetter for ethno-dancefloor.

One of the biggest fans of the record was the legendary radio DJ John Peel - over several weeks, he played Masimbabele almost daily in his radio show on BBC Radio1. "A record you wish would never end" he moderated the single. The 12" made history as no other remained available in their original version and original packaging for a full decade as did Masimbabele. Meanwhile it's an expensive collector traded on eBay It influenced clearly tracks of other artists, be it in MARRS ( "Pump Up The Volume"), Ofra Haza ( "In Nin Alu"), Art Of Noise or Massive Attack. Peter Gabriel to released Masimbabele introducing Africa, a very successful World Music compilation on his Real World label, contributing significantly to global dissemination of the track.

Zerlett and Krachten didn't really plan to go onstage with The Unknown Cases at first it was a pure studio-project. Only later, in 1991, did we put together a band to tour with, which included Alex Heilhecker. In 1995 The Unknown Cases released their only album "Cuba". The title was inspired by the cover by Walter Dahn, which reminded us of pictures of Cuba. Besides others, Rosko Gee, former bassist of TRAFFIC and CAN (vocals in "She knows it"), as well as Dj Heli joined us and the rapper XL Singleton, whose single "Tequila" was a hit in France collaborated on it. The album includes tracks from over 10 years of work. Most of it hadn't been released until then. When will the next album be released - I don't know. By the way, The Unknown Cases also produced the music for the movie "5-Uhr-Schatten".

The cover of the Unknown Cases album "Cuba" was made by Walter Dahn (a student of Josef Beuys). Collaborations on several projects connected me to Walter Dahn, besides others the project #9 Dream. I've been a fan of his art for a long time, especially of his photography. The hyenas, by the way, are a picture of a piece in the Museum of Modern Art in New York." Another project of Zerlett / Krachten is Trance Groove one could say it's their main activity as they recenly released a sixth album, Orange.



01 - The Traveller (4:15)
02 - Stop the madness (4:27)
03 - Masinmabele (5:50)
04 - Mountains (6:04)
05 - (i'm an) Unknown case (5:27)
06 - Memowalk (3:54)
07 - If you want me to stay (5:50)
08 - Nenem auryn (7:01)
09 - T.M.Y.S (3:22)
10 - She knows it (4:00)
11 - Bogota boogie (dub) (7:01)
12 - Travel to the center of paradise (3:41)
13 - Monkey chant (3:22)
14 - Dal martino (2:54)


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UNKLE - Never, Never, Land (03 ^146 mb)

Unkle (also written as UNKLE and U.N.K.L.E.) were founded in 1994 by school friends James Lavelle and Tim Goldsworthy. They were joined by Masayuki Kudo and Toshio Nakanishi of the Japanese hip hop crew Major Force. They also brought on board a host of collaborating artists, including Money Mark ( Beastie Boys), and the Scratch Perverts. Their first release in 1994 was the EP The Time Has Come, on Lavelle's recording label Mo' Wax.In 1995, while working on their debut album, Lavelle and Goldsworthy disagreed over the direction the music was taking. Goldsworthy wanted to continue with the Mo' Wax house style of earlier tracks, while Lavelle wanted to bring in singers, hip hop and rock artists. Goldsworthy left the group and went on to work with Belfast DJ and producer David Holmes. From these early sessions, Berry Meditation and several tracks with Money Mark and Beastie Boys producer Mario Caldato Jr. were subsequently released as singles, and several without Lavelle surfaced on the album Major Force West in 1997.

Lavelle drafted in DJ Shadow to work on the debut album, and essentially discarded all previously recorded material. Lavelle and Shadow released Psyence Fiction in 1998 to critical acclaim. The album included collaborations with an all-star lineup including Thom Yorke, Mike D (Beastie Boys), Kool G. Rap, Jason Newsted (Metallica), Badly Drawn Boy and Richard Ashcroft (The Verve). Shadow left the group after touring Psyence Fiction and was replaced by turntablist group the Scratch Perverts, who deconstructed the album and performed it live on turntables in 1999.

In 2001, Lavelle, amid much work as a DJ, recruited singer/songwriter Richard File together they resurfaced as Unklesounds, with a DJ mix created for Japanese radio entitled Do Androids Dream of Electric Beats? This highlighted a new, more electronic direction the group had taken, and featured a number of tracks from Psyence Fiction, remixed in an ambient style. Richard File co-produced, played and sang on the second album, Never, Never, Land, released in 2003. The album again featured a number of high-profile contributors, including Ian Brown, Josh Homme (Queens of the Stone Age), Robert Del Naja (Massive Attack) and Mani (The Stone Roses, Primal Scream) among others. Due in part to label changes (the album was variously released by Mo' Wax, Universal Island Records and Global Underground) and Lavelle's trademark insistence on multiple formats, it was not a major success.

Lavelle and File continued releasing mixes as Unklesounds. The mix album Edit Music for a Film: Original Motion Picture Soundtrack Reconstruction, featuring movie samples and tracks from film soundtracks, was created for the After Dark 2004 event at the ICA London. A single CD version was handed out at the event, and it was released officially as an extended two disc set in 2005. In September 2006, Global Underground released Self Defence: Never, Never, Land Reconstructed and Bonus Beats, a CD box set of remixes and bonus tracks from the Never, Never, Land sessions, including tracks previously only available on the original DVD release of the album. It also contained remixes of a track mooted for their next album, featuring Ian Astbury of The Cult, titled "Burn My Shadow".

War Stories, the third album from Unkle, was released in summer 2007. The album again featured a number of guests including Josh Homme, Gavin Clarke, Robert Del Naja, Ian Astbury, The Duke Spirit, Autolux and Neil Davidge. Following the release of the single "Hold My Hand", Pablo Clements (of The Psychonauts) became an Unkle member. In January 2008 Unkle released More Stories, containing a mix of B-sides, remixes, unreleased War Stories session tracks, and music composed for the film Odyssey In Rome. The same month, Richard File announced he was leaving Unkle after 10 years' collaboration to pursue work with his new band, We Fell to Earth. Unkle's fourth full album titled End Titles... Stories for Film was released in July 2008. It includes collaborations from Chris Goss, Black Mountain, Philip Sheppard, Dave Bateman, Joel Cadbury, and James Petralli (White Denim). The album is described in the sleeve notes by Lavelle as "not a new album in the usual sense, but new music that has been inspired by the moving image."



01 - Back And Forth (0:54)
02 - Eye For An Eye (5:45)
03 - In A State ( Feat Jarvis Cocker ) (6:59)
04 - Safe In Mind (Please Get This Gun From Out My Face) (Voc.Josh Homme ) (6:21)
05 - I Need Something Stronger (4:08)
06 - What Are You To Me? (6:52)
07 - Panic Attack (5:13)
08 - Invasion (Voc.Robert Del Naja) (5:15)
09 - Reign (Voc.Ian Brown) (5:32)
10 - Glow (4:18)
11 - Inside (7:21)
12 - Awake The Unkind (Bonus Track) (4:34)

UNKLE - Never, Never, Land (* 97mb)

On October 24, 2004 an expanded edition entitled Never, Never, Land Revisited was released.

UNKLE - Never, Never, Land Revisited (04 ^ 156mb)

01 - Blackout (6:51)
02 - Tracier (2:09)
03 - Panic Attack (Ape Sounds remix) (6:08)
04 - Reign (Psychonauts remix) (9:44)
05 - In A State (DFA remix) (11:59)
06 - Invasion (Medway Vs Eva Coast To Coast remix) (8:41)
07 - Have You Passed Through This Night (9:35)
08 - Glow (Hybrid remix) (7:58)
09 - In A State (Sasha remix) (11:04)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (46)

Hello, Eight-X again somehow i always note yet another week here. Ok vinyl rules today and for starters Killing Joke, their debut album made a big impact..though sales at the time were moderate, a real rollercoaster career was to follow, one that tonight has them on stage in a worldtour...Allez Allez on the other hand didnt last too long on account of their producers Heaven 17 's collegue marrying their singer and that was basicly that for them. Still specially the preceding minialbum here was Belgiums answer to Pig Bag....C Cat Trance come forth from Medium Medium and turned out to become another trendsetting and intense band that never really got past the incrowds eye..they should have.

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Killing Joke - Killing Joke (80 ^ 88mb)

Paul Ferguson was drumming for the Matt Stagger Band when he met Jaz Coleman (vocals, keyboards) in the late '70s. Coleman joined the band briefly, but soon he and Ferguson split to form Killing Joke in late 1978. The duo recruited bassist Youth (born Martin Glover Youth), who had previously played with the punk group the Rage, and guitarist Geordie (born Kevin Walker) to complete the Killing Joke's lineup.

They recorded their debut EP, Almost Red, with money borrowed from Coleman's girlfriend of the time. John Peel was impressed by the EP and offered the group a session on his show. In late 1979, they began the Malicious Damage record label with graphic artist Mike Coles as a way to press and sell their music, Island Records distributed the records, until Malicious Damage switched to E.G. Records in 1980. The songs on Killing Joke's early singles were primitive punk rock sometimes mixed with electronic ("Nervous System") and ("Turn to Red"). They quickly progressed this sound into something denser, more aggressive, and more akin to heavy metal, as heard on their first two albums, Killing Joke (1980) and the more abrasive What's THIS For...! (1981) The group began playing shows regularly throughout England and gained a reputation for being controversial. Their artwork often featured repulsive or inflammatory images, and after one of their concert posters pictured the Pope blessing legions of Nazis, the group was banned from performing a concert in Glasgow. Despite the controversy, the group began amassing a following of both punk and disco fans with hard-edged but danceable singles like "Psyche" and "Follow the Leader." The band released its second album, What's THIS For...!, in 1981.

After recording and releasing the group's third album, 1982's Revelations, Jaz Coleman -- who had developed an obsession with the occult -- decided that the apocalypse was near, so he left the group and ran away to Iceland with Geordie. Youth followed Coleman to Iceland shortly after his departure. After a few months with no sign of the end of the world, Youth returned to England and formed Brilliant with Ferguson. However, Ferguson left shortly after the group's formation and moved to Iceland with Killing Joke's new bassist, Paul Raven. Killing Joke's new lineup -- featuring Coleman, Geordie, Ferguson, and Raven -- worked in Iceland for a brief period. Soon, the group returned to England and recorded Fire Dances, which was released in 1983. It demonstrated a calmer, more straightforward band than the one showcased on the group's earlier records.

Killing Joke had developed a variation of new wave on their fifth album, Night Time (1985). They achieved mainstream success with the single "Love Like Blood", which peaked at #16 in the UK. The album itself reached #11 in the UK The music on Killing Joke's sixth album, Brighter than a Thousand Suns (1986), was mostly similar in sound and mood to "Love like Blood". While no less aggressive and heavy than their older work, Brighter than a Thousand Suns diverged musically in ways that lead to controversy among the public. In 1987, Coleman began plans for a solo record of unusual music, and he made demos of his songs, on which he performed with Geordie's assistance. The project ran way over budget and so, despite Coleman's objections, the record company decided that the music would be released under the name "Killing Joke" in order to best recoup the costs. The resulting album, Outside the Gate (1988), is Killing Joke's most controversial album, with opinion ranging from admiration to total disgust, owing to its synth-led sonics (experimentally, and disagreement over the quality of the material. It is not signature-sound Killing Joke, being built around Coleman's orchestral keyboards instead of Geordie's distinctive guitar riffs.

With Martin Atkins (drums ex PIL) and Paul Raven aboard Coleman/Geordie recorded Killing Joke's eighth album, the ferocious Extremities, Dirt & Various Repressed Emotions, released on the German Noise International label in 1990. It included some of the heaviest, noisiest and harshest music ever to appear on a Killing Joke record, although the progressive musical spirit of the previous two albums remained as well. Once again, the band toured Europe and North America, but by the middle of 1991 this promising new line up had imploded. Coleman emigrated to New Zealand to live on a remote Pacific island, and it looked as though Killing Joke was over for good.

3 years later...The reactivated Killing Joke released two strong and well-received albums on Youth's Butterfly Recordings label, Pandemonium and Democracy, which saw the band shift back to the simpler arrangements of their early albums. Pandemonium (1994) wove a metallesque ritualistic sound with mosh beats and loops After the Democracy tour, the band went on an extended hiatus. Coleman became Composer-in-Residence for New Zealand and Czech symphony orchestras. He starred in a czechfilm Rok ďábla (Year of the Devil). Coleman, Geordie and Youth reformed Killing Joke in 2002, and recorded their second self-titled album with producer Andy Gill, released to much acclaim in 2003 . Opting for simplicity and raw energy, the band recorded the new album in its basement rehearsal studio, going for live takes with the minimum of overdubs. The result was Hosannas from the Basements of Hell, released in April 2006 on Cooking Vinyl.

In October 2006, it was announced that Coleman had been chosen as Composer in Residence for the European Union. As Composer in Residence he will be commissioned to write music for special occasions. On October 20th 2007, Paul Raven died of heart failure prior to a recording session in Geneva, Switzerland. Killing Joke have announced a world tour commencing in September 2008. The band will be reuniting with their original lineup and they will be playing two nights per venue. The first night they will play their first two albums 'Killing Joke' and 'What's THIS For...!' in their entirety. The second night will feature the whole of 'Pandemonium' plus their early singles released on Island records. The tour will begin on September 11 in Tokyo and conclude in Chicago on October 14

At the time the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians That such a bleak and furious album could have such a widespread influence is a testament to its importance, and becoming an underground classic



01 - Requiem (3:46)
02 - Wardance (3:48)
03 - Tomorrow's World (5:30)
04 - Bloodsport (4:46)

05 - The Wait (3:42)
06 - Complications (3:07)
07 - S.O.36 (6:51)
08 - Primitive (3:32)


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Allez Allez - African Queen (81 ^ 58mb)

Allez Allez is the funky follow-up of the Brussels-based collective Marine. The more experimental part of Marine also continued to make music, under the flag of the wild and wonderful La Muerte (see La Muerte). Although Allez Allez (which means "well, well" or, with a different intonation "Go! Go!") was very successful, it - unfortunately - lasted only a few years. Only from 1982 to 1983 in fact. The trademark of Allez Allez were highly danceable and catchy rhythms, African influences and high quality singing. Together, this formed a powerful and funky mixture. Their motto was "wrap your legs around your head".

The group was headed by the American singer Sarah Osbourne, who came to Belgium with her group Repetition that was signed by the Belgian record label "Les Disques du Crépuscule", where Marine also had their contract. In the slipstream of the successful debut-single "She's stirring up", the mini-album "African Queen" arouses a lot of interest and becomes a gold record. It even earns them a place at the famous Torhout-Werchter festival that year. The song "African Queen (pour la grâce)" is a tribute to Grace Jones.


In November they record a full album in the Garden-studio of John Foxx in a production of Heaven17-mastermind Martin Ware. This time it's a more refined funk-album with some soul-influences. The road for an international breakthrough seemed open, but then singer Sarah Osbourne left the groups and married the singer of Heaven 17, Glenn Gregory (they divorced three years later). A replacement was found in the Afro-American Jackie Irwin of New York. She never managed to truly replace the sensual and flexible Sarah. The 12 '' "Boom boom" flopped, although it was produced by the discoverer of Madonna, Mark Kamins. That sealed the fate, no more Allez Allez



01 - Turn Up The Meter (4:45)
02 - Marathon Dance (3:09)
03 - She's Stirring Up (3:35)

04 - Allez Allez (5:32)
05 - African Queen (Pour La Grace) (7:16)

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C Cat Trance - Zouave (86 ^ 86mb)

In the mid eighties, after the release of anthem 'Hungry, So Angry' and album 'The Glitterhouse', Rees Lewis, the distinctive element (voice and sax) of currently obscure but hip funksters Medium Medium, left and with drummer Nigel Stone started C-Cat Trance to extend the avant dance forms of Medium Medium in a more art-pop-world direction, diminishing guitar noise, using anxious synth layers, dark pop atmospheres, traditional instruments, middle eastern influences. They were ahead of their time & albums like Khamu(1985) & Zouve(1986) presage the ethno/dance/electronic styles that was to dominate the music planet late 80`s & beyond. C Cat Trance songs express a nocturnal evocation, an anxiety proceeding from the different, the unexplored.

C-Cat Trance produced world and dance sounds ahead of their time and, with a floating membership varying between two and eight, they played infrequent gigs, beginning at Pandora's Musicbox in Rotterdam in September 1984, and more often in Europe (Germany, Switzerland, Austria, Belgium, Holland) than the UK. They released a series of records through the late eighties, and received consistent acclaim. Lewis' sax playing was described in the press as "lung emptying sax", "striking sax", "sax breaks that wail like a maitresse in nipple clamps", "and many more creative descrptions. In 2005 Cherry red released a compilation on CD, Karadara.



01 - Wind Howl (3:39)
02 - Betty (2:59)
03 - He's Crazy (4:25)
04 - Taksim (4:53)
05 - Ishta Bil Habul (4:04)

06 - If You Steal (3:43)
07 - Take Me To The Beach (3:48)
08 - You've Lost That Loving Feeling (4:07)
09 - Shake The Mind (5:26)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around the World (46)

Hello, Around the Worldmusics climbed 5000 ft but stays on the desert bandwidth, and that means we're in Ethiopia, a country steeped in religion, the ten commandments (supposedly) are guarded there. Well since the militairy dictatorship that has run the country have faded, musicians are once again alowed to do their thing and inspired by this Abyssinia Infinite bridges the 20 year gap by bringing the old Ethiopian musicculture into the 21st century with this album..

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Abyssinia Infinite - Zion Roots (03 ^ 99mb)

The overthrow of Ethiopia's Emperor Haile Selassie in a “creeping coup” organized by his own military began two decades of chaotic rule. Under the Derg regime, a curfew was imposed which drove live musicians to prison and unemployment. This album brings back live instrumentation and experimentation to Ethiopian music. This album with acoustic instruments and traditional songs is a return to a classic sound—it picks up right where music left off in the mid-’60s through mid-’70s.

“Ethiopians believe that when Zion is mentioned in the bible they are speaking about Ethiopia,” Gigi explains. With that in mind, the album, Zion Roots, is exactly what the name implies: music rooted deep in Ethiopian culture. On this latest concept project, Gigi was able to realize her longstanding dream of melding elements of East and West African elements into the music of her home country. "This traditional project is something that I wanted to do to keep in touch with the music of Ehtiopia. This does not represent me as a solo artist but more me introducing Ethiopian traditional music in different settings, as a concept project.

Abyssinia Infinite chose the songs for this album to convey a traditional spirit. Though quite sparsely furnished, this music is deep and powerful - a state-of-the-art marriage of ancient (handclaps, flute, harp) and modern technology that aims to transcend both. They use traditional instruments such as the kirar—which is referred to as King David’s harp in the Bible and is perhaps one of the oldest surviving East African instruments—and the washint—a simple bamboo flute. The band is composed of prominent players in the world music community including the magical Senegalese percussionist Aiyb Dieng, the virtuoso tabla-player Karsh Kale, the guitarist/accordionist Tony Cedras (known for his work on Paul Simon's Graceland project), the Ethiopian saxophonist Moges Habte, and world music producer/musician Bill Laswell, with a rare performance on acoustic guitar.



01 - Bati Bati (3:45)
02 - Gela (6:08)
03 - Alesema (7:26)
04 - Monew Natana (5:12)
05 - Embe Ashafergne (4:27)
06 - Gole (6:03)
07 - Aba Alem Lemenea (4:15)
08 - Gedawo (4:42)
09 - Lebaye (4:47)
10 - Ethiopia (6:15)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Re-Updatepage (2)

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Hello, one week on, and i've been able to update 9 more Rhotations or 112 dead links , still more then a hundred to go unfortunately. Oh well, its not for the first time. You can click on the link it will lead you directly to the downloadpage, or navigate to the Rhotationpage for further backgrounds

Rhotation 19

(19) VA - Esta Loca (N Y Freestyle House)
(19) Qntal - Tristan und Isolde
(19) Stone Roses - The Stone Roses
(19) Sneaker Pimps - Becoming X
(19) KC & The Sunshine Band - Greatest Hits
(19) Joe Tex - He Who Is Without Funk
(19) VA - Disco Planet

Rhotation 20

(20) Plump DJs - Eargasm
(20) Freeform Five - Misch Masch
(20) Freeform Five - Misch Masch 2
(20) Tuxedomoon - Holy wars
(20) Tuxedomoon - You
(20) Tuxedomoon - Ten years in one night
(20) VA - Middleages Special II
(20) Landscape - From Tea-Rooms Of Mars
(20) China Crisis - Working With Fire And Steel
(20) Thin White Rope - Sack Full Of Silver
(20) Tool - Ænima
(20) Parliament - Clones Of Dr. Funkenstein
(20) Clinton, George - Computer Games

Rhotation 21

(21) Peaches - The Teaches Of Peaches
(21) Sylvie Marks & Hal9000 - Krazeee
(21) Kitaro - Cirque Ingenieux
(21) Faun - Renaissance
(21) VA - Mystica Antiqua Vol. 1
(21) Siouxsie & The Banshees - Kaleidoscope
(21) Interview - Snakes & Lovers
(21) The Fun Boy Three - FB3
(21) U.K. - U.K.
(21) Uncle Green - Book of Bad Thoughts
(21) Urban Dance Squad - Persona Non Grata
(21) Blow, Kurtis- The Breaks
(21) Blowfly - Best of

Rhotation 22

(22) Goldie - Timeless
(22) V A - Jungle Heat
(22) THHGTTG - Fit 22
(22) L'ham de Foc - Cor de Porc
(22) VA - Mystica Antiqua Vol. 2
(22) Buggles - The Age Of Plastic
(22) The Passions - Michael & Miranda
(22) Van Der Graaf Generator - Still Life
(22) Die VKE - In Darkness Let Me Dwell
(22) André Cymone - Survivin' In The 80's
(22) Jill Jones - Jill Jones
(22) Madhouse - 8

(23) Rhotation 23

(23) Dirty Beatniks - 1-1-7 In The Shade
(23) Propellerheads - DecksandrumsandR&R
(23) Omnia - Pagan Folk
(23) VA - Wall Of Sound Essentials
(23) Polygon Window - Surfing Sine Waves
(23) Architect - I Went Out Shopping To Get Some Noise
(23) A Flock Of Seagulls - I
(23) Freeez - Gonna Get You
(23) Who - Story Of The Who
(23) Wolfgang Press, The - Queer
(23) Wolf, Patrick - Lycantrophy
(23) Curtis Mayfield - Curtis

Rhotation 24

(24) Soul II Soul - Club Classics Vol. One
(24) Soul II Soul - Bonus Beats
(24) Tricky - Maxinquaye
(24) Brain Sync - Retrieve Your Destiny
(24) De Courson, Hugh - Lux Obscura
(24) Modern English - After The Snow
(24) General Public - All The Rage
(24) Xploding Plastix-Amateur Girlfriends
(24) Stevie Wonder - Songs In The Key Of Life

Rhotation 25

(25) Pills - Electrocaïne
(25) VA - Cassius Present... French Disco
(25) Micus, Stephan - Koan
(25) Byrne, David - The Catherine Wheel
(25) Millenium Classics - Baroque Treasures
(25) Jerry Harrison - The Red And The Black
(25) Silencers - Blues For Buddah
(25) Neil Young - Decade I
(25) Neil Young - Decade II
(25) Neil Young - Decade III
(25) Marvin Gaye - I Heard It Through
(25) Marvin Gaye - Here, My Dear

Rhotation 26

(26) Jam & Spoon - Tripomatic Fairytales
(26) Jam & Spoon - BeatTrax
(26) Dance 2 Trance - Revival
(26) DJ Tiësto - In Search Of Sunrise
(26) Funki Porcini - Hed Phone Sex
(26) Millenium Classics - Sacred Treasures
(26) Au Pairs - Playing With A Different Sex
(26) The Mighty Wah! - A Word To The Wise Guy
(26) Zita Swoon - Music Inspired By Sunrise
(26) The Zutons - Who Killed The Zutons
(26) O.S.T. - Shaft ( Isaac Hayes)
(26) Isaac Hayes - Groove-A-Thon

Rhotation 27

(27) Way Out West - Intensify
(27) MuzikMag VA - Best Of 2002
(27) Plaid - Rest Proof Clockwork
(27) Plaid - Parts In The Post 1
(27) Plaid - Parts In The Post 2
(27) O.S.T - VA - THHGTTG (Joby Talbot)
(27) Prefab Sprout - Steve McQueen
(27) Kevin Ayers - ODD Ditties
(27) A C R - Looking For A Certain Ratio
(27) Archive - Londinium
(27) Jr. Walker & The All Stars - Road Runner
(27) Jr. Walker - Blow The House Down

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note the rest of the Rhotation updates are found in comments page Canadia -6 as the page itself has dissapeared..google is silent about how that is possible..my guess too much traffic...well i will be posting the updates in comments now so check them out.

Canadia 2056 (05)

Hello, still busy updating..next post coming up later but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there

Episode 5:

The Captain and Anderson are away from the ship when disaster strikes. There is a fluctuation in the engine core that threatens to destroy the ship. The crew has to resort to alternative methods of travel aboard the ship.

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Canadia 2056 - 05( 21mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (46)

Hello, time for another Sundazer and two new names to my posted list..First Talk Talk, hugely succesfull in the mideighties with great wave-pop , they went evermore off the beaten track until they became trendsetters , which btw was only established way after the fact and when the band had folded years before, ironically they named their last album Laughing Stock and even if it wasnt that bad they did feel misunderstood, and abused by their old recordcompany EMI, but as they say "he who laughs last laughs best and their last albums have risenconsiderably in stature this last decade.... Now i did post Jóhann Jóhannsson before on my Icelandic stopover during the Eurotrip, it got plenty of interest and Englaborn is still live after last years big re-up ...his second album is kept in even higher regard by some well you can be the judge of that yourself if you want...finally Susumu Yokota & Rothko, latter btw has shown up here before (Rhotation 2) and as i was struck by the opt title as the summer is moving out and like the others has a classical ambient , it finalises todays offering...

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Talk Talk - Laughing Stock ( 91 ^9 8mb)

Talk Talk began as a quartet consisting of Mark Hollis (vocals), Simon Brenner (keyboards), Lee Harris (drums) and Paul Webb (bass). Hollis was the brother of Ed Hollis, manager of Eddie and the Hot Rods, and had started out in a punk band called The Reaction. They were generally associated with the New Wave movement; more specifically, in their early years, they were often compared with Duran Duran, as both bands not only featured a double-barrelled name and a Roxy Music-inspired musical direction, but also a record label (EMI) and producer (Colin Thurston). Talk Talk's first line-up released a self-titled debut EP in 1982 which was quickly expanded into a full-length album entitled The Party's Over. The band charted in the UK Top 40 with the singles "Talk Talk" and "Today", both produced by Thurston.

Brenner left after the 1983 non-LP single "My Foolish Friend", which was produced by frequent Roxy Music collaborator Rhett Davies. At this point, the band added unofficial fourth member Tim Friese-Greene, who became Talk Talk's keyboard player, producer, and Hollis' frequent writing partner. Although a major contributor to the band's studio output, Friese-Greene did not generally play with the band during live shows or appear in publicity material. Talk Talk stopped playing live in 1986.

Talk Talk had a huge success in 1984/85 internationally (and particularly in continental Europe) with the album It's My Life, the single "Such a Shame" became a major hit . Strangely, this album and its singles were largely ignored in their native UK
They shed the New Wave style completely with The Colour of Spring in 1986. This became their biggest studio album success in the UK, partly thanks to the Top 20 single "Life's What You Make It", and was again a hit album in Europe.By this time, all Talk Talk songs were being written by Hollis and Friese-Greene.

The success of The Colour of Spring got the band an open budget and schedule for the recording of their next album. Spirit of Eden was released in 1988, on EMI's Parlophone label., it was assembled from many hours of improvised instrumentation that Hollis and Friese-Greene had edited and arranged using digital equipment. The result was a mix of rock, jazz, classical, and ambient music. While critically praised, the album was not as commercially viable as its predecessors, and the band declared they would not tour in support of it.

Talk Talk released Laughing Stock in 1991, by this time, Webb had left the group and Talk Talk had morphed into a brand name for the studio recordings of Hollis and Friese-Greene, along with a bevy of session studio players. Laughing Stock crystallised the experimental sound the band started with Spirit of Eden (which has been retroactively categorised as "post-rock" by some critics). Laughing Stock adopted an even more minimalist style than its predecessor, but this did not stop it achieving a respectable Top 30 showing in the UK Albums Chart. Like Spirit of Eden, the lyrical themes are often religious, and album is widely considered (along with Spirit of Eden) as one of the first records to be classed - retroactively - as within the post-rock genre. Laughing Stock has consistently risen in critical opinion as a result of post-rock's rise to relative popularity during the late 90s. After Laughing Stock, Talk Talk disbanded. Paul Webb rejoined Lee Harris, and the two went on to form the band .O.rang, while Tim Friese-Greene started recording under the name Heligoland. In 1998, Mark Hollis released his self-titled solo début Mark Hollis, which was very much in keeping with the minimalist post-rock sound of Spirit of Eden and Laughing Stock.



01 - Myrrhman (5:14)
02 - Ascention Man (6:01)
03 - After The Flood (9:28)

04 - Taphead (7:02)
05 - New Grass (9:40)
06 - Runeii (4:58)

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Jóhann Jóhannsson - Virðulegu Forsetar (04 ^ 152mb)

Jóhann Jóhannsson (born 1969) is an Icelandic-born musician, composer and producer. He also runs the record label Kitchen Motors in Reykjavík, the art organization/think tank/record label which specializes in instigating collaborations, promoting concerts and exhibitions, performances, chamber operas, producing films, books and radio shows based on the ideals of experimentation, collaboration and the search for new art forms. His stately, slow-building and hauntingly melodic music has been quietly bewitching listeners for the last few years - and IBM 1401, a User´s Manual, his most ambitiously-orchestrated and appealing composition to date, is sure to expand his audience still further.

Johann Johannssons first two solo records Englabörn (2002) and Virthulegu Forsetar (2004) were released by the singular British independent Touch label. Despite limited promotional resources, both found plenty of fans, receiving glowing reviews in music media around the world; Virthulegu Forsetar found its way onto many critics end-of-year lists.The Englabörn album was derived from music that Johann wrote for an Icelandic play of the same name, written for string quartet, piano, organ, glockenspiel and percussion. These elements were processed and manipulated, adding delicate electronic accents to the otherwise entirely acoustic recordings. One song, "Odi et Amo", is a setting of the famous poem by Catullus.

Johannsson’s many other projects include membership of the group Apparat Organ Quartet - hailed by Neil Strauss in the New York Times as being “as innovative and meticulous as Sigur Ros, but who sound nothing like it”. Although Apparat Organ Quartet formed as far back as 1999, they only released their debut album internationally in 2006. Johann has also produced and written music with other artists; he’s worked with Marc Almond (on the Stranger Things album), Barry Adamson, Pan Sonic, The Hafler Trio, Jaki Liebezeit and many others. After the success of IBM 1401, A User’s Manual, Johann’s collaboration with the internationally renowned choreographer and dancer Erna Omarsdottir continued in 2005 with a new piece entitled Mysteries Of Love.

Music for films and theatre figure prominently in Johann’s work. Johann has composed music for no fewer than 5 feature films in his native Iceland. His most recent, for the film Blodbond (2006) by Arni Olafur Asgeirsson, features (like IBM 1401, A User’s Manual) a symphonic score for a 60 piece string orchestra. Johann´s soundtrack album for the film Dis was released in 2005 in the US and in 2006 in Japan.In addition to the feature films, Johann has written music for numerous documentaries, theatre productions and several contemporary dance works.



01 - Part 1 (14:51)
02 - Part 2 (14:14)
03 - Part 3 (14:45)
04 - Part 4 (21:45)

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Susumu Yokota & Rothko - Distant Sounds Of Summer (05 ^ 99mb)

Susumu Yokota is a leading Japanese techno composer who began his international career at Berlin's Love Parade in 1993. The German albums Frankfurt - Tokyo Connection (Harthouse, 1993) and Zen ( 1994) were followed by the Japanese album Acid Mount Fuji (1994). He was also active as Ringo, with the album Plantation ( 1995), as Prism, with the albums Metronome Melody (1995) and Fallen Angel ( 1997), as Anima Mundi, with the album Anima Beat ( 1996), and as Stevia, with the album Greenpeace ( 1997). So far Yokota's career had been merely a commercial summary of the trendy dance genres, an activity that continued successfully with the albums 1998 (1998), 1999 (1999), Zero ( 2000), which are repetitive at best.

But Cat Mouse And Me (Harthouse, 1996) was his first experimental album, and it established Yokota as more than a beat generator. The album's intricate grooves, that quoted from acid jazz and hip hop, were elegantly woven in a continuum of sonic bliss. Yokota turned to ambient house on Magic Thread (1998 - Leaf, 2000). Images ( 1999), a collection of old recordings in the ambient/trance vein (Counterfeit Song) was coherent with the new direction. By the time Sakura (2000) was released, Yokota had become a disciple of Brian Eno's impressionistic music (Saku, Gekkoh). Unlike most of his competitors, his foray in this genre is articulate and eclectic thanks mainly to his background in techno (Genshi) and jazz (Naminote).

Continuing in his evolution towards more and more abstract structures, Grinning Cat ( 2001) nods at the minimalism of Terry Riley, Steve Reich and Philip Glass (Lapis Lazuli) and at his old passion, acid-jazz (So Red). The mostly piano-driven tracks employ simple melodies the way a falling feather employs the friction of the air. The Boy And The Tree ( 2002) uses ambient house to create an impressionistic journey which could also be the soundtrack to an anime movie. But Sound Of Sky (2002) is soft melodic muzak pretending to be avantgarde dance music. Symbol ( 2005) is built around samples of classical music:

Distant Sounds Of Summer ( 2005) collects the EP Waters Edge (2002) and new collaborations with bassist/composer Mark Beazley (once of Rothko, by this point he was Rothko) -- with occasional vocal contributions from Caroline Ross of Delicate AWOL, who has also worked with each of the collaborators individually -- Distant Sounds of Summer tends to favor the eclectic, layered, sometimes overly busy sample-based approach of the former's mid-2000s work, but the latter's ever-graceful playing helps create a welcome point of continuity and calmness. Exploring an expansive array of textures and sounds (temple bells, harmonicas, bamboo flutes, droning synths) on top of Beazley's soothing bass tones, without always resorting to Yokota's familiar but somewhat intrusive percussion loops.



01 - Deep In Mist (4:33)
02 - Waters Edge (4:30)
03 - Path Fades Into Forest (5:59)
04 - Lit By Moonlight (5:40)
05 - Brook And Burn (5:12)
06 - Sentiero (5:17)
07 - Clear Space (5:23)
08 - Reflections And Shadows (5:00)
09 - Distant Sounds Of Summer (5:20)
10 - Floating Moon (2:29)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (46) Into BPM

Hello, it's been a busy week, with almost 1400 unique visits per day, and poor me having to get through all that re-uploading besides posting. Well the show must go on, and so here we are at the start of another Rhotation, and that means going into BPM . Todays post is all about a big favorite of mine, Richie Hawtin, some of you will remember this is not the first time i'm plugging him, i did so months ago here. Three more monikers and titles which show you what he can do, coming up. The range is 12 years, but if anything, he sounds even more essential in 2005 then during his early nineties breakthrough days. A true artist being DJ...

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While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in Banbury 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases -- by Kenny Larkin, Jochem Paap (aka Speedy J) and Mark Gage (aka Vapourspace) in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s.

His style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, Richie Hawtin became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well. While even his early recordings were quite minimalistic, he streamlined the sound increasingly over the course of his recording career; from the early '90s to the end of the decade, Hawtin's material moved from the verge of the techno mainstream into a yawning abyss of dubbed-out echo-chamber isolationism, often jettisoning any semblance of a bass line or steady beat. Hawtin released material on his own +8 Records under several aliases -- some in tandem with co-founder John Acquaviva -- and made the label one of the best styled in Detroit techno of the 1990s. He earned his pedigrees from worldwide fans of techno for his best-known releases, as Plastikman (for NovaMute) and F.U.S.E. (for Warp/TVT).

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One. Hawtin's first wide release, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman (but not by much), F.U.S.E. released the album Dimension Intrusion for the British Warp Records in late 1993. As part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

That impressive schedule was shattered in 1995, when Hawtin was entangled in a silly U.S.labor law that denied him access with his tools.Refused entrance for more than a year, he lost his inspirational grounding with the Detroit scene and found it difficult to continue recording for his third Plastikman album, Klinik. While he waited for re-entry, Hawtin spent time setting up the sub-label Definitive, and continued to DJ around the world. Though he recorded scattered singles for +8 and related imprints, his only full-length release that year was a killer entry in the Mixmag Live! series, taken from a DJ set recorded at the Building in Windsor. By the time he was able to return to America, he had changed his musical direction and eventually abandoned the Klinik album.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. 99;s , Decks, EFX & 909, defacto the first in what has become his DE9 series, is the next step for Richie Hawtin after his Mixmag live album and the increasing minimalism of Consumed .Hawtin displays not only his talents as a mixer but also as a producer, using turntables, an effects processor, and a Roland pedal, plus a TR-909 drum machine for added beats. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

He spent part of 2002 and 2003 living in New York City, and has since moved to Berlin, Germany.. Hawtin collaborated with choreographer Enzo Cosimi to create a composition called "9.20" for the 2006 Winter Olympics opening ceremony. In 2007, Slices DVD magazine launched a series of biographies called "Pioneers of Electronic Music", with the first issue being a roughly 60 minute documentary dedicated to the life of Richie Hawtin. The film follows his career from his early days crossing the border to Detroit to his current life in Berlin, interviewing many colleagues and family members.

Hawtin has recorded music under the aliases Plastikman, F.U.S.E, Concept 1, Circuit Breaker, The Hard Brothers, Hard Trax, Jack Master, and UP!. He also recorded and performed, in combination with other artists, under group names such as 0733, Cybersonik, Final Exposure, Spawn and States Of Mind.


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FUSE - Dimension Intrusion ( 93 ^ 166mb)

A Richie Hawtin pseudonym which predated even the more famed Plastikman, F.U.S.E. debuted in 1991 with the fourth single on Hawtin's +8 Records, "Approach & Identify." Given wider issue later that year on the +8 compilation From Our Minds to Yours, F.U.S.E. released several more singles during 1992, then the album Dimension Intrusion in 1993. Released on Warp Records, the album gained Hawtin many converts, especially when it was released in America as well, by TVT Records. While Hawtin increasingly concentrated on his Plastikman project, new F.U.S.E. releases became more and more rare. Dimension Intrusion alternates minimalist stompers with more melodic, contemplative material. The latter made Hawtin a perfect match for the other producers in Warp's Artificial Intelligence series (B12, Black Dog, Polygon Window).



01 - A New Day (3:53)
02 - F.U. (7:45)
03 - Slac (3:17)
04 - Dimension Intrusion (4:04)
05 - Substance Abuse (5:09)
06 - Train-Trac.1 (6:42)
07 - Another Time (Revisited) (6:22)
08 - Theychx (13:27)
09 - UVA (8:07)
10 - Mantrax (8:01)
11 - Nitedrive (3:28)
12 - Into The Space (5:30)
13 - Logikal Nonsense (1:13)

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Plastikman - Musik (94 ^164mb)

For Musik, the second full-length album in the Plastikman series, he powers each track with minimal yet harsh 909 percussion and adds plenty of crazed 303 acid lines, wonderfully re-creating the acid techno motifs of Sheet One. This time, however, Hawtin veers away from the pervading ambience of that album, giving Musik a much livelier feel instead, particularly toward the beginning and end of the album, where the tempos reach dancefloor intensity. While the opening 20 minutes had been lively and energetic, the closing 20 minutes are foreboding and dark, even downright chilling at times. Musik masterfully covers all aspects of the minimal techno spectrum, from acidic anthems to ultra-minimal explorations and back, in the process showcasing Hawtin's staggering command of the Roland 303 and 909 drum machines as well as his brilliant grasp of album-level continuity.



01 - Konception (8:11)
02 - Plastique (13:03)
03 - Kriket (5:38)
04 - Fuk (5:05)
05 - Outbak (5:10)
06 - Ethnik (9:05)
07 - Plasmatik (5:23)
08 - Goo (2:00)
09 - Marbles (11:07)
10 - Lasttrak (8:22)

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Richie Hawtin - DE9 | Transitions ( 05 ^162mb)

the tunnel video



Extending the concept behind 2001's DE9: Closer to the Edit, Transitions takes advantage of the increased possibilities brought forth by the software Ableton Live. Richie Hawtin further distorts the notion of a standard selection, combining often-treated elements from several tracks at once, to such an extent that he gives the amalgams his own titles. The Detroit Grand Pubahs' "Dr. Bootygrabber," False's "River Camping," Galoppierende Zuversicht's "Linguini al Denta," Heartthrob's "Golum," Ricardo Villalobos' "A5," Sleep Archive's "Elephant Island," and three of Hawtin's own productions are swept into this brand-new vortex and come out as "Minimission," throwing off the common response to hearing a track on a mix and desiring to hunt it down on its original state.

In other words, you won't be able to obtain any of the commercially available tracks within that track and hear them the same way. Villalobos, who shows up over 20 times and probably wouldn't be able to identify all of his appearances, because a lot of sources are used for a single note or blip. But the real testament to Hawtin's vision is that the mix is more linear than any other released in 2005, riding a steady gradient that could fool non-geeks into thinking that this is a standard-form techno mix with no obvious inclusions, even though dozens of up-to-date favorites and a few decades-old classics factor in. Stripped of all context and background information, Transitions remains a thoroughly thrilling, multi-functional disc that places early-2000s minimal techno in the best possible light.



01 - Welcomm(In) (3:48)
02 - TZ Entry Point (2:46)
03 - Adding And (1:07)
04 - Subtracting (2:00)
05 - Prebuild (1:45)
06 - Seiltänzer (3:00)
07 - Visioning (6:52)
08 - We (All) Search (2:45)
09 - Jupiter Lander (0:30)
10 - Reduction And (3:00)
11 - Seduction (1:22)
12 - Minimal Master (4:00)
13 - All 4 Du*** (3:00)
14 - Tonarzt (5:01)
15 - The Tunnel (8:26)
16 - Minimission (5:14)
17 - Noch Nah(r) (4:11)
18 - Weiter Noch (5:44)
19 - Where is Mayday (4:00)
20 - The Hole (2:11)
21 - (D)ecaying Beauty (4:39)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (45)

Hello, it's time to get back Into The Groove with some great soul /funk acts from the seventies, thats to say that had their formative hey days then..my first band is still on the road, after all these are musicians making music for love and a living. Tower of Power, what a great name i'm sure plenty of hardrock acts would have like to take that one, but then these guys claimed it back in 68. My vinyl had become unusable, so here's the Power from a 98 concert....Slave ..another remarkable name btw was yet another funk band from Ohio that didnt emphasize the horns as much as they did the guitar and keyboards this certainly created their own funk niche...Slide has remained a favourite of mine over the years..finally Rose Royce, guided by the top producer of the decade, Norman Whitfield they were thrown in the spotlights in more ways then one with what was to be their debut album but largely became the soundtrack of the movie Carwash, a real anachronism these days as machines have taken over..anyway they werent a one hit wonder as they scored several more as Wishing on a star here proves..they faded from the spotlights by themideighties still like Tower of Power they're still around and making music....

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Tower Of Power - Live ( 99 ^ 176mb)

In the mid-1960s, 17-year-old tenor saxophonist Emilio Castillo moved from Detroit, Michigan, to Fremont, California. He started a band called 'The Gotham City Crime Fighters' which evolved into 'The Motowns', including bassist Francis 'Rocco' Prestia, specializing in soul music covers. During 1968, Castillo teamed up with baritone saxophonist Stephen Kupka (later to be dubbed 'The Funky Doctor') and trumpet/trombone player Mic Gillette, moved to Oakland, and together began writing and performing original material. One of their early influences was the now late great Soul Pioneer artist James Brown. They changed the band's name to 'Tower of Power' and began playing frequently in the Bay Area. In 1970, Tower of Power (by then including trumpeter/arranger Greg Adams, and drummer David Garibaldi) signed a recording contract and released the debut album, East Bay Grease.

Next, augmented by percussionist/conga/bongo player Brent Byars, they moved to Warner Bros. Records and 1972's Bump City and 1973's self-titled release, Tower of Power, were breakout albums for the band. The former album included "You're Still a Young Man", which peaked at #29 on the Billboard Hot 100 in 1972. The latter album contained possibly their most enduring song, "What is Hip?" The latter album peaked at #15 on the Billboard Pop Albums chart in 1973 and received a gold record award for sales in excess of 500,000. 1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)," On some of their releases in the mid-1970s, such as Urban Renewal (1974), the band moved more towards funk from soul; however, they continued recording ballads as well. After vocalist Lenny Williams moved on, the band's days of chart radio airplay declined. During the later 1970s, they briefly tried recording somewhat disco-sounding material.

ToP's horn section has become well-known as a backing unit for other artists. The ToP horn section has appeared on many artists' recordings, including Little Feat, the Monkees, Santana, Elton John, Linda Lewis, RAD. (Rose Ann Dimalanta), John Lee Hooker, Rod Stewart, Jefferson Starship, Heart, Huey Lewis and the News, Spyro Gyra, Lyle Lovett, Poison, Phish, Toto, Pharoahe Monch, and Aerosmith. Tower's early song, 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God.

Tower of Power has remained active throughout the years, and still tours extensively and worldwide today. Inevitably, there have been personnel changes, and at least 60 musicians have been touring and/or recording members of the group through its now nearly 40 year tenure (2008) as a funk and soul institution. Tower of Power has released 18 albums over the years (Compilations and regional variations not included). The recordings on Soul Vaccination: Live were made during Tower of Power's 1998 tour. It wasn't a reunion tour, since ToP never really went away, but they nevertheless hauled such staples as "What Is Hip," along with selection from latter-day albums.



01 - Soul With A Capital S (5:04)
02 - I Like Your Style (3:43)
03 - Soul Vaccination (4:56)
04 - Down To The Night Club (Bump City) (3:14)
05 - Willin' To Learn (6:06)
06 - Souled Out (4:58)
07 - Diggin' On James Brown (4:51)
08 - To Say The Least You're The Most (4:35)
09 - You Strike My Main Nerve (3:55)
10 - Can't You See (You Doin' Wrong) (3:26)
11 - You Got To Funkifize (4:46)
12 - So Very Hard To Go (3:49)
13 - What Is Hip (6:01)
14 - You're Still A Young Man (5:59)
15 - So I Got To Groove (6:08)
16 - Way Down Low To The Ground (4:34)

diet version
Tower Of Power - Live ( 99 * 99mb)

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Slave - Slide (77 ^ 99mb)

Slave was an Ohio funk band popular in the 1970s and early 1980s. Trumpeter Steve Washington and Mark Hicks (Drac) formed the group in Dayton, Ohio in 1975. Trombonist Floyd Miller teamed with Tom Lockett Jr. (sax, keyboards), Carter Bradley (keyboards), Mark Adams (bass), Mark Hicks (lead and rhythm guitar, lead and background vocals), Danny Webster (rhythm guitar, lead and background vocals), Orion Wilhoite (sax), and Tim Dozier (drums). Vocalists Steve Arrington, Starleana Young, then Curt Jones came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the single "Slide" in 1977 for Cotillion Records, where they remained until 1984. Their best work was usually based on bass licks and the band's general arrangements emphasis on the rhythm section and soaring lead vocals.

Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. They added Charles Carter on sax and brother William P Carter on keyboards. Young, Washington, Jones and Lockett departed to form Aurra in 1981. Slave added Roger Parker, Sam Carter, Delburt Taylor, and Kevin Johnson as replacements. Arrington himself left in 1982 after the Showtime album. They continued on, though much less successfully, into the late 1980s. They moved to Atlantic Records for one LP in 1984, then switched to the Atlanta-based Ichiban Records in 1986. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Fungk: The Best of Slave Featuring Steve Arrington, an anthology of their finest cuts, in 1994.



01 - Slide (6:50)
02 - Screw Your Wig On Tite (5:25)
03 - Party Hardy (3:44)
04 - Son Of Slide (5:24)

05 - You And Me (6:41)
06 - Love Me (4:37)
07 - The Happiest Days (5:17)
08 - Separated (5:30)

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Rose Royce - Wishing on a Star ( ^ 152mb)

Formed by trumpeter/vocalist Kenny Copeland, drummer Henry Garner, trumpeter Freddie Dunn and saxman Michael Moore in the early 70s, the group first served as a backup band for Edwin Starr, who introduced them to his "War" producer, Whitfield. This led to regular work with many of Whitfield's other Motown acts, including the Undisputed Truth. In 1977 Whitfield helped the band, which had swelled to nine members (including featured vocalist Gwen Dickey), to get a gig as the lead act on the Whitfield-produced MCA soundtrack to the Richard Pryor movie Car Wash. Whitfield convinced the MCA executives that Rosw Roycw was more than competent for the job. So the material that Whitfield had assembled for the group's debut album became the soundtrack's material. The movie Car Wash and the soundtrack title song with its hand-clapping, funky intro, Dickey's exciting lead vocals and the band's great performance, the title track became one of the biggest dance songs ever, leaping to #1 on the pop and soul charts and taking Rose Royce with it.

To offset any negative rhetoric regarding their legitimacy, the group released its follow-up album, Rose Royce II: In Full Bloom, and bloom it did. The group returned to the Top Ten with "Do Your Dance" and "Ooh Boy," silencing all critics. In 1978, they released their third album, entitled Rose Royce III: Strikes Again!, and it featued "I'm in Love (And I Love the Feeling)" and "Love Don't Live Here Anymore." Both singles cracked the Billboard R&B Top Five. The group followed with a string of hits that roamed the charts, but never gained the chart status that their previous songs did. Unfortunately, Rose Royce's descent on the charts was as quick as its rise, and while the group continued to record, it never again had a substantial hit album or single, despite a 1982 move to Epic Records and subsequent releases on a series of smaller labels. Rose Royce experienced a number of personnel changes over the next two decades, but continues to this day with the foundation of Copeland, Garner and Dunn, who self-released the album Live In Hollywood in 2003.



01 - Wishing on a star (4:01)
02 - R. R. express (12:04)
03 - Do you dance (5:24)
04 - Tell me that i'm dreaming (4:24)
05 - Do it, do it (4:13)
06 - Help yourself (4:01)
07 - Is it love you're after (3:50)
08 - It makes you feel like dancin (4:27)
09 - Help (3:55)
10 - Ooh Boy (3:51)
11 - I wonder where you are tonight (3:40)
12 - I'm in love (3:44)
13 - Love is in the air (3:37)
14 - Love don't live here anymore (3:55)

diet version
Rose Royce - Wishing on a Star (* 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (45)

Hello, midweek and that means Eight-X , and another mixed bag aswell..First a quote "There're enough happy assholes out there, why should I be another one in the line..." She made a career out of her nihilistic attitude, where elese as in New York where lack of pretence is deadly..Being a muse to the 'boys' set her on a path , build her a name and lunch.... Dutch industrial jazz band KIEM took the scene by storm with their unique sound around a (garbage) metal drum-kit accompanied by a squeaking saxophone sort of got you initially thinking what the f ck whats this but then it turns out it's music after all..the album Keam even contained a hit, moneyman.....finally a great band that didnt want to be happy assholes either, but when their second album failed to produce hit, and despite good reviews,their labels moneyman saidwe can't have that..go away..they did , still they left us with a rare gem..."Song" ...

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Lydia Lunch - Queen Of Siam (80 ^ 77mb)

After arriving in New York City at the age of 16, Lydia Lunch (born Lydia Koch) moved into a large communal household of artists and musicians in NYC, including Kitty Bruce, daughter of Lenny Bruce. Soon after she earned the surname "Lunch" by regularly stealing lunches for her (often starving) artist friends. After befriending the 'godfathers of punk' Suicide at Max's Kansas City, she founded the short-lived but influential No Wave band Teenage Jesus & the Jerks in 1976 with her artistic partner, No Wave punk-funk-jazz musician James Chance. Both appeared on the seminal No Wave compilation No New York. Lunch later appeared on two songs on Chance's album Off White (credited to James White and the Blacks; Lunch used the pseudonym "Stella Rico") in 1978.

She appeared in two films directed by the husband and wife film-making team of Scott B and Beth B; In the short film Black Box (1978) she played an unnamed torturer, and in the feature length, neo-noir thriller Vortex (1983) she played a private detective named "Angel Powers". During this time, she also appeared in a number of films by Vivienne Dick, including She Had her Gun All Ready (1978) and Beauty Becomes The Beast (1979), co starring with Pat Place. In the mid-'80s she formed her own recording and publishing company called "Widowspeak" on which she continues to release a slew of her own material from songs to spoken word.

Her attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter. After leaving Teenage Jesus, Lunch first formed Beirut Slump, but departed after one single. Her solo debut, 1980's Queen of Siam, proved to be one of her most acclaimed efforts, as was her next band, the funk-inflected 8 Eyed Spy. However, that band broke up due to the death of bassist George Scott, and Lunch went back out on her own. After 1982's 13.13, which featured former members of the Weirdos, Lunch began a rash of collaborations. Such as J. G. Thirlwell, Kim Gordon, Thurston Moore, Nick Cave, Marc Almond, Billy Ver Plank, Steven Severin, Robert Quine, Sadie Mae, Rowland S. Howard, Michael Gira, The Birthday Party, Einstürzende Neubauten, Sonic Youth, Die Haut, Omar Rodriguez-Lopez, Black Sun Productions and french band Sibyl Vane who put one of her spoken words into music..

Aside from an EP with ex-Birthday Party guitarist Rowland S. Howard in 1991, Shotgun Wedding, plus her acting career in underground films, Lunch has concentrated on the spoken word arena into the '90s; a three-CD retrospective of this aspect of her career, Crimes Against Nature, was issued in 1993, and Lunch has continued her activities throughout the decade. She also acted in, wrote, and directed underground films, sometimes collaborating with underground filmmaker and photographer Richard Kern (including several films such as Fingered in which she performed unsimulated sex acts), and more recently has recorded and performed as a spoken word artist, as well as authoring both traditional books and comix (with award-winning graphic novel artist Ted McKeever). In 1997 she released Paradoxia, a loosely-based autobiography, in which she candidly documented her bisexual dalliances, substance abuse and flirtation with insanity.

"I would be humiliated if I found out that anything I did actually became a commercial success."



01 - Mechanical Flattery (2:46)
02 - Gloomy Sunday (2:57)
03 - Tied And Twist (2:55)
04 - Spooky (2:40)
05 - Los Banditos (3:10)

06 - Atomic Bongos (2:17)
07 - Lady Scarface (3:12)
08 - A Cruise To The Moon (3:54)
09 - Carnival Fat Man (2:11)
10 - Knives In The Drain (4:00)
11 - Blood Of Tin (1:09)

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Kiem - Keam ( 85 ^ 89mb)

Formed 1982 (Rotterdam, The Netherlands), initially as "Pleasant Time Trio" to the occasion of raising the curtain for a performance of jazz artist "George Adams And The Don Pullen Quartet". It inspired them to further the collaboration and start a regular band. "K.I.E.M." is an abbreviation of "Klank Improvisatie Elektronische Muziek" (Sound Improvisation Electronic Music). Their immediate success led to performances on jazz, rock and experimental stages and festivals (Tegentonen, North Sea Jazz, Pandora's Music Box) and modest dance-hits in the Netherlands.

Most remarkable about Kiem is Cees Meurs' metal drum-kit consisting of oil-drums, garbage bin, anvil, anchor-chains and other remains from the wrecked tow-boat "Corrie". This drum-kit –played like normal drums– accompanied by a squeaking saxophone (Ger Van Voorden), a synthetic keyboard and proclaiming vocals (Huub Kentie) result a sound that might be type-casted as industrial, but also has jazz and experimental charactarisics.

Ger Van Voorden leaves the band in 1986 to play with poet/drummer Jules Deelder. He is replaced by Jos Valster.
Growing into a more popular sound, bigger succes followed in Southern Europe (The Moneyman, 1987). After releasing their third album , the slightly poppier "You Should Try" Interest and true appreciation in the Netherlands remained modest, resulting disbandment in 1987.



01 - Moneyman (6:15)
02 - The Real It (5:37)
03 - Bahami (1:36)
04 - Short Memories (5:12)

05 - Clear It Up (4:28)
06 - Pili Pili (Sauce) (5:59)
07 - Just A Song (4:39)
08 - Oej Joej (3:24)

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It's Immaterial - Song (90 ^ 90mb)

It's Immaterial were formed by three former members of Yachts - John Campbell, vocals, Martin Dempsey, guitar, and Henry Priestman, keyboards - in addition to Paul Barlow, drums. By 1984, the band had been reduced to a duo - Campbell and Jarvis Whitehead, guitar and keyboards, who joined in 1982.

It's Immaterial has qualities that can't be discerned from one listen, Musically, their first album, Life's Hard And Then You Die , is all over the place -- new wave, country, blues, folk, and synth pop. Somehow the smorgasbord of styles works, because the bandmembers aren't being eclectic just for the sake of it; they simply have a wide canvas, keeping the album fresh from beginning to end. When Campbell talks, it isn't because he can't sing; the man has a lovely voice, especially during the transcendent chorus of "Space. It's Immaterial manages to stay focused, never allowing its genre-bending to veer out of control, it grows on the listener.

Video for "New Brighton", the first track on "Song"



Well if you liked the 1st album, likely you would enjoy "Song" too. Same wit, fine heart, human touch. But then "Song" is not as diverse, not as pop-oriented as "Life is...". "Song" is dark, brooding, atmospheric, a collection of ten "stories" that take place in the North of England, ten stories of isolation and polite despair: "Song" was to be engineered by Calum Malcolm who, the year before, had produced the surprise million-seller album "Hats" for Scottish indie cult heroes The Blue Nile.. "Song" was released in late August 1990 and commercially, it was a dismal failure, selling less than 7,000 copies in the UK. Why? The reviews were more than positive but Joe Public was startled, there was no hit single in sight and the real point was: who was going to buy that album? Campbell and Whitehead were seen as too old for teenyboppers, too clean for the indie rock scene, too smart for Blue Nile fans, too gloomy for Northerners, etc... Campbell and Whitehead disappeared and were never to be seen in the music business again. Rumour says that at the time Virgin told them to take a walk, they had just completed another album, the 3rd one, that has remained unreleased to this day....



01 - New Brighton (5:51)
02 - Endless Holiday (5:35)
03 - An Ordinary Life (5:04)
04 - Heaven Knows (4:29)
05 - In The Neighborhood (5:20)
06 - Missing (5:20)
07 - Homecoming (4:36)
08 - Summer Winds (4:40)
09 - Luife On The Hill (6:12)
10 - Your Voice (5:18)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (45)

Hello, Around the Worldmusic stays in the desert, this time with the (last week)Touareg neighbours the Malinese . Ali Farka Touré plays his guitar in sync with desert life and when he recorded this album he was already getting on . for a sixtyfour year old life holds holds little surprises save that what nature displays for enjoyment. His In The Heart Of The Moon, reached the other side of the world that honoured the man. who played his guitar whilst mesmerising, with another Grammy....been on a boat like that (cover) sailing lake Assouan (Egypt Nile reservoir)..wonderful day that was....

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Ali Farka Touré & Toumani Diabaté - In The Heart Of The Moon (05 * 99mb)

Ali Farka Toure was born in 1939 on the banks of the Niger River in northwestern Malian region of Tombouctou. He was the tenth son of his mother but the only one to survive past infancy. His nickname, “Farka”, chosen by his parents, means “donkey” - an animal admired for its tenacity and stubbornness.

As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages. His international breakthrough album, Ali Farka Touré (88), established his reputation in the world music community. His 6th World Circuit album 1994’s Talking Timbuktu, a collaboration with Ry Cooder, sold well in western markets and got him his first Grammy Award. After a hiatus from releases in America and Europe Touré reappeared in 1999 with the release of Niafunké.

In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award. On 7 March 2006 the Ministry of Culture of Mali announced Touré 's death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category “Best Contemporary World Music Album”



01 - Debe (4:55)
02 - Kala (5:06)
03 - Mamadou Boutiquier (5:04)
04 - Monsieur Le Maire De Niafunké (3:58)
05 - Kaira (6:24)
06 - Simbo (4:00)
07 - Ai Ga Bani (4:34)
08 - Soumbou Ya Ya (3:30)
09 - Naweye Toro (4:23)
10 - Kadi Kadi (3:21)
11 - Gomni (4:17)
12 - Hawa Dolo (5:00)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Canadia 2056 (04)

Hello, the saga continues and the story unfolds more hilarious reasonings ..be vareful what you wish for..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there.

Episode 4 , The Fleet answers a distress call from an alien ship. Faverau tries to figure out what the Canadia can do to help the aliens. Anderson and Skip get to know each other a little better but the Captain has a problem with their relationship.

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Canadia 2056 - 04 (20mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (45)

Hello, Sundaze again, and whilst i was working on todays post, i changed my mind and persued a different avenue. I filed two of the planned titles for later use and went with one and drew connections from there...The one left was Tim Story, who's brilliant 84 album Untiteld connects to Roedelius, not just because Story's latest album is a coproduction with Roedelius..It goes much deeper then that, Tim was strongly inspired by the Cluster /Roedelius work of the early seventies, he even went for an audience (wink) when he was in Europe....so with that connection established and having still one ripped Roedelius vinyl on file, Selbstportrait Vol. III ...What's next ?.Coming up with a third connenction was easy, Eno..it seems he's connected to everyone, in this ambient context however, i took the opportunity to post my favorite...On Land a real "Out There" album, true music of the (atmo)spheres....

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Roedelius - Selbstportrait Vol. III - "Reise Durch Arcadien" ( 80 ^ 96mb)

Hans Joachim is one of the pioneers at the field of the exploitation of electrically generated tones, sounds and noises and belongs to the founders of contemporary popular electronic music. His discografie listes about 80 releases and there are more than 10 productions ready to be released in the next future.

Roedelius was born 1934 in Berlin and lives since 1978 in Baden, south of Vienna. He started to be a professional composer, musician, texter in the late sixties with sound-experiments respectively a sort of "anarchic musical actionism".
He worked with Choreografer Caroline Carlsen for the "Theatro e Danza la Fenice" in Venice, with Esther Linley, Mark Lintern-Harris and Joao de Bruco for the "Wiener Festwochen", the "Donaufestival", the "Eurokaz" in Zagreb, the "Szene Salzburg" and other Festivals. In 1968 Roedelius co-founded the music commune known as "Human Being" and co-formed Zodiak Free Arts Lab, the center of Berlin's Underground Culture at the time, with conceptual artist Conrad Schnitzler. He met Dieter Moebius at the Zodiak. In 1970 Roedelius, Schnitzler and Moebius formed Kluster (later known as Cluster). While he played as a member of Cluster, Roedelius worked in various projects like Geräusche, Plus/minus, Per Sonare, Harmonia, Meeting Point Vienna, Friendly Game, Aquarello and Tempus Transit. He has collaborated with many other composers and performers including Brian Eno.

In the interim, after Cluster went on hiatus in the wake of 1981's Curiosum, he plunged fully into solo work, regularly releasing several new LPs each year. Although most of these projects pursued ambient paths -- the multi-chapter Selbstportrait series, 1981's Lustwandel, 1987's Momenti Felici and 1992's Friendly Game all being good examples -- others like 1982's Offene Türen and 1992's Sinfonia Contempora I explored more dissonant electronic soundscapes. Additionally, Roedelius worked in a series of mediums including theatre, dance and film, collaborating with everyone from Holger Czukay to Peter Baumann; in 1990, he and Moebius also reunited for Apropos Cluster, and the duo continued working together throughout the decade to follow. Roedelius has written poems in English and German, some of which he recites on his albums. His solo albums are collections of quiet atmospheric piano pieces, including solos Momenti Felici (1987), duos Pink, Blue and Amber (1996) or groups of up to four performers Bastionen Der Liebe - Fortress of Love (1989).



01 - Sonntags (3:45)
02 - Geburtstag (1:50)
03 - Fieber (6:06)
04 - Hochzeit (3:05)
05 - Geradewohl (3:50)
06 - Erinnerung (3:25)

07 - Zuversicht (11:05)
08 - Stimmung (9:50)

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Brian Eno - On Land (Ambient 4) (82 ^ 99mb)

Determining his creative pathways with the aid of a deck of instructional, tarot-like cards called Oblique Strategies, Eno championed theory over practice, serendipity over forethought, and texture over craft; in the process, he forever altered the ways in which music is approached, composed, performed, and perceived. Born, May 15, 1948, Brian Peter George St. Jean le Baptiste de la Salle Eno, sometimes simply Eno, started his musical career with Roxy Music. He then went on to produce a number of highly eclectic and increasingly ambient electronic and acoustic albums. He is widely cited as coining the term "ambient music" in his Ambient series (Music for Airports, The Plateaux of Mirror, Day of Radiance and On Land). He collaborated with David Byrne, formerly of Talking Heads, on My Life in the Bush of Ghosts which was one of the first albums not in the rap or hip hop genres to extensively feature sampling. Eno collaborated with David Bowie as a writer and musician on Bowie's influential "Berlin trilogy" of albums, Low, Heroes and Lodger, on Bowie's later album 1. Outside, and on the song "I'm Afraid of Americans". Eno has also collaborated with Robert Fripp of King Crimson, Robert Wyatt on his Shleep CD, with Jon Hassell and with German Cluster. Eno has acted as a producer for a number of bands, including U2 and Devo. He won the best producer award at the 1994 and 1996 BRIT awards. He is an innovator across many fields of music and recently he has collaborated on the development of the Koan algorithmic music generator. He has also been involved in the field of visual arts. In 1996 Brian Eno, and others, started the Long Now Foundation to educate the public into thinking about the very long term future of society. Brian Eno is also a columnist for the British newspaper, The Observer.

On Land represented a significant move away from the strategies Brian Eno had employed in earlier ambient releases such as Discreet Music and Music for Airports. Here he uses a more intuitive approach, creating dreamy pictures of some specific geographical points or evocative memories of them. It's quite easy to imagine these works as soundtracks to mysterious footage of imprecisely glimpsed landscapes. The music is unobtrusive, warm, relaxed, shining, earthy. The first piece, "Lizard Point," includes an early recorded performance of Bill Laswell on bass, and one imagines that his association with Eno was a crucial factor in the ambient directions his later work would sometimes take. On Land remains a landmark event in the genre, as well as one of its high-water marks, and sounds entirely up to date 25 years after its initial release... Daze away



01 - Lizard Point (4:34)
02 - The Lost Day (9:13)
03 - Tal Coat (5:30)
04 - Shadow (3:00)
05 - Lantern Marsh (5:33)
06 - Unfamiliar Wind (Leeks Hills) (5:23)
07 - A Clearing (4:09)
08 - Dunwich Beach, Autumn, 1960 (7:13)

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Tim Story - Untitled (84 ^ 99mb )

Tim Story was born in 1957 in Philadelphia, and currently lives in the small river town of Maumee, in northwest Ohio.
In the mid 70's he landed a record store job, the holy grail, and into contact with the really exciting, if obscure, European music of the time. Robert Wyatt, Can and he gobbled up everything he could afford: King Crimson, Terje Rypdal, Roxy Music, Brian Eno, Klaus Schulze, Tangerine Dream, Hatfield and the North, Mahavishnu Orchestra, Miles Davis.." I remember Cluster and Roedelius' records were revelations to me, as was Robert Wyatt's "Rock Bottom". Here were these very iconoclastic, very personal, very individual recordings coming from small European labels, and it was incredible to discover there were people actually making this kind of music, and, possibly, an audience for it as well. So it was probably this period which had a significant impact on my own music, even if it was hopefully more an ideological than stylistic one".

Tim's intensely personal style as a composer, synthesist and pianist evolved from years of experimentation in his home studio, and a love of composition. Along with his self-taught, idiosyncratic approach to the piano, Story saw the great potential of the new breed of electronic music instruments that were appearing in the early 70's. This affinity for synthesizers, as well as electric guitars, tape loops and kitchen utensils, is evident in the early recordings. The careful juxtaposition of acoustic instruments with electronic textures, and an inventive approach to composition are common threads running through most of Story's work.

Tim Story's work has garnered an international reputation for its haunting elegance and meticulous compositional detail. When writing and recording, he often spends months carefully working and refining the shape of each composition until he achieves the desired emotional and intellectual effect. His seemingly effortless pieces distill harmonic and melodic ideas that are often quite complex.

"I like to work with a finite palette of sounds and keep paring things down to a pure, though often ambiguous, expression. Simplicity without simplemindedness. Like the deceptively unadorned, ironic pieces of Erik Satie, or the lovely yet challenging piano music of Debussy. The work of these guys appears so effortless and perfect that the pieces seem as if they've existed forever - they've created this unique, timeless world..." Story also cites a diverse range of musical touchstones including Bartok, Arvo Part, Miles Davis, Coltrane, Steve Reich, Dwight Ashley, Can, Cluster and Robert Wyatt.

" ...a goal of mine is to get the listeners to put something of themselves into the music. I want to prod the listener to find his or her own feelings about a piece, even if those feelings are sometimes uncomfortable. As Charles Ives said, 'Beauty in music is too often confused with something that lets the ears lie back in an easy chair.' I like to think of good music as a sculpture or a Japanese garden, where you can never experience the whole from any one point. Music that insinuates, you must move through it, live with it for a while, before it yields its secrets." As Philadelphia's City Paper described it, "Story’s unsentimental blend of still-life piano and eerie synthetics conjures without explaining. His instrumental music comes at the listener subtly yet subversively...."

In addition to nine solo albums and dozens of compilation appearances, Story's work has appeared on numerous television and film soundtracks, including the original score for the popular NPR documentary “In Search of Angels” (1994), and “Caravan” (2005) , a feature-length documentary from the production company of acclaimed Spanish film director Pedro Almodovar. Story's music has been nominated for a Grammy award (for 1988's "Legend of Sleepy Hollow", a children's recording with Glenn Close), and a NAIRD "Best Album" award (for "Beguiled"). Notable collaborations include three acclaimed cd's with Hans-Joachim Roedelius (including "Lunz", named by the editors at Amazon.com as one of the year's "Top 5"), and 3 with Dwight Ashley. Tim's music has consistently landed on critics' annual "Best Of" lists, and his 3 most recent solo releases were called "one of the finest trilogies in contemporary instrumental music" (Wind and Wire, USA)
Latest 2008 release is Ínlandish"a another collaboration with Roedelius, music that makes you stop and listen. Tim Story, has received worldwide acclaim for his haunting compositions which blend orchestral acoustic instruments and elegant electronics.



01 - The Hold (4:08)
02 - A Promise And A Plea (3:38)
03 - In This Small Spot (4:07)
04 - Shadows In The Cracks (2:23)
05 - Sargasso (5:09)
06 - City Of Scaffolds (3:42)
07 - November's Eve (3:12)
08 - Untitled (4:01)
09 - Her Lost Fleet (3:39)
10 - Plucking Islands From The Sea (4:18)
11 - Out Like A Whisper (4:52)
12 - The Seventh Chance (3:37)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (45) Into BPM

Hello again and it's Rhotation 45 this week, last week Rho-Xs got hit 13,000 times, and just one comment, auch ! Looks i got to do all the writing here. It was republicans week too, Cain & Pain the latter, what i've read about her, is a very vindictive bitch, who went thru no less then 5 different highschools, flew supposedly 8 months pregnant (no one noticed) around the country, and had her daughter isolated the 5 months before. I guess the gullibility of the american electorate knows no limit. The way things are going at the moment, the electronic voting riggers will be able too steal a third consecutive presidential election. Those rednecks and deluded creationists might very well set the world ablaze this time next year with the motto if i cant have it ..no one else will. Armageddon here we come, and the Lord will set us free and more of that pathetic nonsense.

Into BPM goes into trance again and some of Gods priests come by first up DJ Darude which certainly looks better then Da Rude, anyway they love to get together and dance in Finland too-despite Nokia- and he became Finlands star Dj when he scored a big hit with, oh irony ...Sandstorm i wonder if any Fin ever saw one up there.....that brings me to the current highpriest The no uno after several years on no 3 ..he is of cause Armin van Buuren ..what is it with those trance dj's from the Netherlands ? Is it because their homepublic is so opened up by MDMA , mushrooms or weeds that they soak up that spirit and mood and later transform it into music and then spin it back to us....Finally Jam & Spoon the godfathers of trance, Spoon is no longer with us unfortunately...Remixes & Club Classics was released as a testament and celebration of their work and you will find some real jewels on the 143 min compilation..enjoy..... Hmm thats 1 gig i uploaded for todays post, i wonder ...

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Darude - Before The Storm (00 ^ 155mb)

Darude is none other than Finnish wonder boy Ville Virtanen, which doesn't sound half so hard. His career in music started back in school when he used his PC, using his PC's tracker software to wile away his hours making happy hardcore tunes, however the limits of the PC [and happy hardcore] soon started to frustrate Ville and he moved onto creating sounds in the studio. All this time he was DJ-ing at school parties, and it was here that he got his artist name, simply by playing one track rather a lot. 'Rude Boy', by Leila K, was a big track in Sweden at the time and it became an early signature tune in Ville's crowd-pleasing sets. After repeated playings, friends started calling him 'Rude Boy', then 'The Rude' and finally 'Da Rude' - which of course became Darude.

Although Darude might well have been in demand at the school disco, his musical career really took off when he sent Finnish producer Jaakko Salovaara (JS16) a demo tape with Sandstorm on it. Jaakko liked what he heard and signed Darude up to 16 Inch Records. The single Sandstorm was the first release on the label and was a massive hit in Finland - going directly to number one in the dance chart and staying in the charts for 16 weeks. .

Darude started to conquer the dance world with two hit singles, after "Sandstorm" he released "Feel the Beat." Those songs might be very attractive and rhythmic, but unfortunately Darude's debut full-length lacks variation. This monotony may be due to Jaakko Salovaara's presence -- JS16's house is also monotonous; with no diversity whatsoever. Whether this is a good thing or not just depends on the context in which one hears the music. Darude's debut album Before the Storm may work well on the dancefloor, or rallying thru the country side but less so at home.

Two years later Darude returned with Rush, building upon the dynamics of Before the Storm, he raises the pressure, and fuels the flame for an electrifying dozen-track set. Darude's talent in keeping the energy at an elevated level without losing touch with the album's overall ambience is what makes him a star and an integral part of the new-millennium dance scene. His classy of mix of techno and trance is perfected into a fashionably slick spiral of synthesized heat. In 2007 he released his thusfar last album, Label This !



01 - Sandstorm (3:45)
02 - Burning (7:09)
03 - Feel The Beat (4:19)
04 - Out Of Control (5:01)
05 - Touch Me Feel Me (6:14)
06 - Calm Before The Storm (4:53)
07 - Let The Music Take Control (5:46)
08 - Drums Of New York (6:05)
09 - The Flow (3:51)
10 - Sandstorm (JS16 Remix) (7:21)
11 - Feel The Beat (JS16 Dark Mix) (7:06)

diet version
Darude - Before The Storm (* 99mb)

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Armin Van Buuren - Shivers (05 ^ 169mb)

Armin van Buuren pursued his career as a professional musician despite the promise of a career in law in his native country, the Netherlands, where he completed his law degree in 2004. Armin started working as a DJ in a local night club called Nexus, finished high school in 1995 and went on to university to study law. Meanwhile, he moved his studio equipment from his bedroom to a 'real' studio. The first tracks he produced in his new studio were, among others, tracks like "Touch Me" and "Communication".He has described his musical style as "liberating, euphoric, uplifting, melodic and energetic."

He hosts a weekly radio show A State of Trance, which mostly consist of trance and other genres . The show completed its 350th episode in May 2008, running for over 7 years. In October 2002, van Buuren was voted Number 5 in the DJ Magazine 100 top DJs. The following year, he jumped up to the #3 spot, and held 3rd place for the next 3 years. His work left him at the #2 spot, just below Paul van Dyk in the 2006 polls, and in 2007 Armin reached Number 1, heading the 2007 DJ Mag Top 100.

Since 1995, van Buuren has released many tracks on different labels with increasing success. His first big success was "Blue Fear" on Cyber Records at the age of 19. This 'Euro Trance blueprint' made it into the UK Chart. "Communication" was released on the same label, and had a huge impact on Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Chart at #18 in 2000.

In the beginning of 1999, van Buuren started his label Armind together with United Recordings. The first release, Gig - "One", was well received. The second release "Touch Me", under the name Rising Star was signed to Ministry Of Sound in the UK, before the record was released. By the time of his third release, Gimmick - "Free" was signed to R&S Records, van Buuren had managed to make his label popular very quickly. Under the surname Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers. Teaming up with DJ Tiësto, two new projects were born: Major League - "Wonder Where You Are?" was released on Black Hole Recordings and Alibi - "Eternity" was released on Armind. "Eternity" received club and chart success and was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, van Buuren recorded a riff-classic titled "Exhale" for the System F. album. Released as a single, this track reached gold status in less than a month.

In 2000 van Buuren started his own AVB compilation series. He managed to find a balance between progressive, techno and trance music styles. AVB001 - "A State of Trance" (not to be confused with his weekly ASOT radio shows) sold more than 10,000 copies and contains van Buuren's well known remix of Moogwai - "Viola." AVB002 "Basic Instinct" featured a new track: Perpetuous Dreamer - "The Sound Of Goodbye". This track entered the Dutch charts in June 2001 at number 26. Later in the year the track hit #1 on the Hot Dance Music/Club Play chart. AVB003 - "In Motion" was released August 6th 2001. This album contained the real trance sound and was very popular in the US. AVB004 - "Transparence" followed in 2002.

In March 2001 van Buuren started his own radio show on ID&T Radio. In this weekly two-hour show, entitled 'A State of Trance', he plays the latest popular trance music tracks. His show and the artists he features are popularized by publishing the artists and track titles on his website. This radio-show/website combination has proven popular internationally. When ID&T Radio changed genres in 2004, van Buuren left and took A State of Trance with him. The show then moved to Fresh FM, a Dutch radio station. A complete list of stations that broadcast ASOT can be found at the ASOT section of Armin's website. Also in 2004, van Buuren remixed the 24 Theme into a trance hit.

Van Buuren has played a record-breaking nine-hour set for Dancetheater in The Hague (Holland). In the United Kingdom one can see him perform regularly at Passion (resident 2002), Godskitchen, Gatecrasher, Slinky, Peach and Golden.In 2002 he had a residency at Glow in Washington D.C., and he has played in Houston, Boston, Chicago, Atlanta, Austin, Denver, New York City, Los Angeles, Istanbul, and St. Louis. He has also regularly appeared at Amnesia on the island of Ibiza. On November 11, 2006 he had a live performance called Armin Only in Ahoy Rotterdam for the second time (after Nov 12, 2005) with a 9 hour solo set, where he performed to over 11,000 fans.

In the summer of 2007, van Buuren recorded and released a live set at Amnesia, Ibiza. "Universal Religion Chapter 3, Live from Amnesia at Ibiza" was released on September 28th 2007 as a mix compilation on Armada Records and in the US as "Universal Religion 2008" on Ultra Records on December 4th 2007. April 19 2008 saw the 3rd edition of Armin Only, this time in the Jaarbeurs in Utrecht Holland. The event was visited 16.000 fans and (partly) broadcast live on Dutch National TV. During the second half of 2008 van Buuren will take this show abroad, with planned visits to Australia and Romania and expected editions in Poland, Canada, Mexico and Czech Republic.



01 - Wall Of Sound (Feat. Justine Suissa) (6:25)
02 - Empty State (Feat. Mic Burns) (7:29)
03 - Shivers (Voc.Susana) (7:32)
04 - Golddigger (Feat. Martijn Hagens) (4:46)
05 - Zocalo (Feat. Gabriel & Dresden) (8:39)
06 - Gypsy (Feat. Ray Wilson) (5:24)
07 - Who Is Watching (Feat. Nadia Ali) (5:08)
08 - Bounce Back (Feat. DJ Remy & Roland Klinkenberg) (7:33)
09 - Control Freak (8:07)
10 - Serenity (Feat. Jan Vayne) (8:25)
11 - Hymne (Feat. Jan Vayne) (2:40)

diet version
Armin Van Buuren - Shivers (* 99mb)

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Jam & Spoon - Remixes & Club Classics ( 06, 143min ^ 339mb)

Heralded among the pioneers of trance, Jam & Spoon (Rolf Ellmer, classically trained composer) and Markus Löffel ( aka DJ Mark Spoon) are a duo from Frankfurt, Germany. They also worked under the pseudonyms Tokyo Ghetto Pussy, Storm and Big Room. Their first album, BreaksUnit1, was released in 1991.They made an enormous impact in 1992 with their groundbreaking remix of the self-titled single by Age of Love. After the Jam and Spoon EP, Tales from a Danceographic Ocean -- which contained their influential hit "Stella" -- the duo unleashed a barrage of remixed material for Moby ("Go"), Frankie Goes to Hollywood ("Relax"), Deep Forest and others, all to massive club play; the single "Right in the Night (Fall in Love with Music)" followed in 1993, the first of several of the duo's recordings to feature the American-born vocalist Plavka.

The first of Jam & Spoon's separately released but thematically linked Tripomatic Fairytales focuses on uptempo eco-techno and trance. The albums Tripomatic Fairytales 2001 and Tripomatic Fairytales 2002 , a landmark in tech-ambient, were released in 1994, followed by Disco 2001 (1995) as Tokyo Ghetto Pussy, Kaleidoscope (1997), Stormjunkie (2000) as Storm, and finally Tripomatic Fairytales 3003 (2005). In 2000 they remixed "The Chase," a 1979 Giorgio Moroder track. Credited to "Giorgio Moroder vs. Jam & Spoon", the song hit number 1 on the U.S. Hot Dance Music/Club Play chart. In June 2002 "Be.Angeled" hit number 4 on this chart. Markus Löffel died of a heart attack in his Berlin flat on 11 January 2006 at the age of 39. September, 2006, a two compact disc set titled Remixes & Club Classics was released to celebrate Mark Spoon. It is the first compilation of the duo's collected works, and features an exclusive track Be.Angeled - Tribute to Mark Spoon, performed live at the 2006 Love Parade in Berlin.



Jam & Spoon - Remixes ( ^ 166mb)

1-01 - Age Of Love - The Age Of Love (Watch Out For Stella Club Mix) (6:48)
1-02 - Moby - Go (Jam & Spoon's Delirium Mix) (6:08)
1-03 - Dr. Alban Feat. Leila K - Hello Afrika (Tech-Makossa Mix) (7:42)
1-04 - Giorgio Moroder - The Chase (Jam & Spoon Club Mix) (8:46)
1-05 - Quincy Jones - Back On The Block (Club Trip Part One) (9:11)
1-06 - Pet Shop Boys - Yesterday, When I Was Mad (Jam & Spoon Mix) (9:21)*
1-07 - Frankie Goes To Hollywood - Relax (Jam & Spoon Trip-O-Matic Fairytale Mix) (7:50)
1-08 - Enigma - Age Of Loneliness (Jam & Spoon Remix) (6:30)
1-09 - Marilyn Manson - The Nobodies (Burn 36 Mix) (5:41)
1-10 - Jam & Spoon 's Hands On Yello - You Gotta Say Yes To Another Excess (Great Mission) (3:57)

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Jam & Spoon - Club Classics ( ^173mb)

2-01 - Follow Me! (12:29)
2-02 - Odyssey To Anyoona (10:00)
2-03 - Can You Feel It (9:22)
2-04 - My First Fantastic F.F. (7:23)
2-05 - I Pull My Gun Once (5:04)
2-06 - I Pull My Gun Twice (4:18)
2-07 - Stella (Original Mix) (6:19)
2-08 - Be.Angeled (Tribute To Mark Spoon) (Loveparade-Mix 2006) (7:55)
2-09 - Hispanos In Space (8:16)

diet versions
Jam & Spoon - Remixes ( * 99mb)
Jam & Spoon - Club Classics ( * 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (44)

Hello, Into the Groove funks on with Texas-born bassist Larry Graham. He changed the face of funk forever when he pioneered the thumb-slapping electric bass technique during his late-'60s tenure with Sly & the Family Stone. Subsequently, he set off on his own, starting Graham Central Station. Larry Graham renamed Hot Chocolate (not the British group) Graham Central Station after he moved from producing the group to playing with it. The group included Graham, guitarist David Vega, keyboardists Robert Sam and Hershall Kennedy, percussionist Patrice Banks, and drummer Willie Sparks. They utilized the identical funk cum rock and soul formula of Sly, they also integrated gospel music into their repertoire, and played with the dichotomy between the funk/rock star image and the "sanctified" gospel group image. Some of their recordings feature the Tower of Power horn section.. They recorded as Graham Central Station from 1974 to 1977, then as Larry Graham & Graham Central Station in 1978, and during their final year (79) were called Larry Graham with Graham Central Station.

In the early eighties he released five soloalbums and scored some minor hits. In 1999 he hooked up with former Family Stone-members Cynthia Robinson en Jerry Martinirelaunched and released Graham Central Station 2000 on the Prince NPG label. In those years (98-01) he was touring with Prince as a member of the New Power Generation...In 1975 Graham had become a Jehova's witness.i guess it's save to say he converted Prince to the Jehova's Witness clan around that time.




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Graham Central Station - Release Yourself ( 74 ^ 84mb)

After a tentative but promising 1973 debut album, Graham Central Station returned the next year with a head-spinning blend of R&B styles that realized their promise in a truly impressive fashion. Release Yourself touches on everything from gospel music to psychedelia, as the band puts forth an impressive set of songs that strike an effective balance between accessibility and complexity. The album's most impressive achievements are the title track, a pulse-pounding tribute to the joys of self expression that combines churchy organ riffs and stately horns over a furiously-paced bass/clavinet rhythm, and "Tis Your Kind of Music," a psychedelic-funk masterpiece that has Patryce "Chocolate" Banks and Graham trading sultry lead vocals over an otherworldly blend of keyboard and Mellotron riffs with a fluid bassline. Although it lacks an overtly pop-flavored classic like "Can You Handle It?" or "Your Love," nothing on this album is less than interesting thanks to stellar arrangements and the group's obvious love for what they do . The result is a true gem that is a treat for funk fanatics .



01 - G.C.S. (3:22)
02 - Release Yourself (4:39)
03 - Got To Go Through It To Get To It (3:43)
04 - I Believe In You (4:52)

05 - 'Tis Your Kind Of Music (5:37)
06 - Hey Mr. Writer (4:03)
07 - Feel The Need (3:53)
08 - Today (6:35)

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Graham Central Station - Ain't No 'Bout-A-Doubt It (75 ^ 98mb)

On their third album, Graham Central Station created an album full of trademark infectious pop-soul grooves, but not consistent enough to define it a true classic. The album's all-time funk classic is the opening track "The Jam," a "Dance to the Music"-styled funk workout that intersperses a dazzling group groove with individual solos for each player. "Water" is another strong funk tune, an insistently rhythmic song that blends thump-popping basslines with backwards tape loops to create an intriguing blend of funk and psychedelia. Ain't No 'Bout-A-Doubt It also produced a number one R&B smash in "Your Love," which marries the group's talent for funky grooves to an old-fashioned love song with a melody that harkens back to doo wop.



01 - The Jam (8:13)
02 - Your Love (3:21)
03 - It's Alright (3:49)
04 - I Can't Stand The Rain (6:05)

05 - It Ain't Nothing But A Warner Brother Party (6:01)
06 - Ole Smokey (3:18)
07 - Easy Rider (2:56)
08 - Water (4:24)
09 - Luckiest People (3:45)

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Graham Central Station - My Radio Sure Sounds Good to Me (78 ^ 93mb)

Benny Golson of Art Blakey's Jazz Messengers fame -- and his name continues to be synonymous with hard bop. Still he's co producing "My Radio Sure Sounds Good to Me" with Larry Graham. This record marked the first time that Graham called his band Larry Graham & Graham Central Station (as opposed to simply Graham Central Station). But despite the name change and despite Golson's presence, Radio is state-of-the-art GCS -- gritty 1970s funk jams ("Pow," "Boogie Witcha, Baby," "It's the Engine in Me") are right at home with sentimental soul ballads ("Is It Love?") and gospel-influenced message songs ("Mr. Friend"). Golson handles most of the LP's horn and string arrangements, but his jazz background doesn't make its presence felt . My Radio Sure Sounds Good to Me is a solid effort with gutsy, horn-powered 1970s funk.



01 - Pow (4:42)
02 - My Radio Sure Sounds Good To Me (3:56)
03 - Is It Love? (6:38)
04 - Boogie Witcha, Baby (3:44)

05 - It's The Engine In Me (5:17)
06 - Turn It Out (4:37)
07 - Mr. Friend (3:35)
08 - Are You Happy? (4:53)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup II (S)

Hello, Alphabet Soup serves up S's today. As i was standing for my cabinet looking at the S-seventies vinyl, i passed by a number of established candidates, then towards the end i felt a burst of nostalgia as i held an album i've rarely (if ever) had played before, but which epitomized part of my teens...indeed nostaligic neurotoxins flooded my brain....The Sweet fused bubblegum melodies with crunching, fuzzy guitars, they racked up a number of hits in both the U.K. and the U.S Most of those hits were written by Chinn/Chapman, they were smart enough to latch on to the British glam rock fad of the early seventies, whilst building a safer, radio-friendly and teen-oriented image. Their hit singles lived on not only as cultural artifacts, but also as the predecessors for the pop-metal of the '80s....Disavowing the punk rock roots shared by many of their alt-rock contemporaries, the Smashing Pumpkins have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, arena rock, shoegazer-style production and, in later recordings, electronica. They broke into the musical mainstream with Siamese Dream , after nearly completely braking down recording it Yet somehow the anguished, bruised reports from Billy Corgan's nightmare-land linked up to the outside world and the rest as they say..is history....finally a double bill of a band that has released under 2 hours of original material but has build a big reputation on their 3 albums none the less. The Shins's retro pop nuggets blend the finer aspects of classic acid rock with surrealistic lyrics, independently melodic basslines, jangly guitars, echo laden vocals, minimalist keyboard motifs, and a myriad of cosmic sound effects. They excel at sounding happy, sad, frustrated, and vulnerable at the same time, and bursting with nervous energy. How contemporary is that..very i would say..i had some fun merging the two covers into an 'original'...

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The Sweet - Sweet 16 ( ^ 99mb)

Originally, the Sweet were called the Sweetshop and consisted of Brian Connolly (vocals), Mick Tucker (vocals, drums), Frank Torpey (guitar), and Steve Priest (bass). In 1970, the group truncated their name to Sweet and signed a record contract with Fontana/EMI, releasing four unsuccessful singles. Following the failure of the four singles, Torpey left the group and was replaced by Andy Scott. The new lineup of Sweet signed to RCA Records in 1971, where they were placed under the direction of songwriters Nicky Chinn and Mike Chapman. Chinn and Chapman wrote a number of light bubblegum pop songs for the group, the first of which, "Funny Funny," reached number 13 on the U.K. charts. Following "Funny Funny," the duo wrote five more Top 40 hits for the group -- including "Little Willy" and "Wig-Wam Bam" -- which were all lightweight bubblegum numbers loaded with double entendres. During this time, Sweet were writing their own B-sides and album tracks. All of the group's compositions were harder than Chinn and Chapman's songs, featuring crunching hard rock guitars. Consequently, the duo decided to write tougher songs for the group. "Blockbuster," the first result of Chinn and Chapman's neo-glam rock approach, was the biggest hit Sweet ever had in the U.K., reaching number one on the charts in early 1973 and eventually going platinum. For the next two years, Sweet continued to chart with Chinn and Chapman compositions, including the Top Ten hits "Hell Raiser," "Ballroom Blitz," "Teenage Rampage," and "The Six Teens."

By the summer of 1974, the members of Sweet had grown tired of the control Chinn and Chapman exerted over their career and decided to record without the duo. The resulting album, Sweet Fanny Adams, reached number 27 in the U.K., but it yielded no hits. In the spring of 1975, Sweet had their first self-penned hit with "Fox on the Run," which reached the Top Ten in both the U.K. and the U.S. "Fox on the Run" appeared on the collection Desolation Boulevard; in America, it's release helped "Ballroom Blitz" reach the Top Ten in the summer of 1975. Strung Up, released in the fall of 1975, continued the group's move toward album-oriented rock. For the rest of the decade, the group continued to churn out albums, which were all less successful than their predecessor. Sweet bounced back into the charts in 1978 with "Love Is Like Oxygen," but the single proved to be their last gasp; they never reached the Top Ten again, neither in the U.S. or the U.K.

Connolly left the band after "Love Is Like Oxygen" and the group replaced him with keyboardist Gary Moberley. The group carried on for three more years, releasing three more albums that all achieved little success. After several years of little success or attention, Sweet broke up in 1982. In the decade following their breakup, Sweet reunited on various occasions. In 1985, a dance club medley of their hits called "It's the Sweet Mix" became a British Top 50 hit and, following the single's success, the group re-formed for a tour.

Incredibly, it took until 1984 for the Sweet to be gifted with the all-consuming greatest-hits collection they truly deserved, but the wait was surely worthwhile. Literally a journey from alpha to omega, Sweet 16 was precisely that -- 16 of the biggest hits the band ever scored, with a couple of puzzling omissions (the debut smash "Funny Funny" and its follow-up, "Co Co") more than remedied by the inclusion of some lesser-known goodies (1971's under-performing "Alexander Graham Bell," 1974's LP track "Rebel Rouser"). Even more rewardingly, listeners actually get to enjoy a happy ending the masterful "Love Is Like Oxygen" .



01 - Alexander Graham Bell (2:54)
02 - Poppa Joe (3:08)
03 - Little Willy (3:13)
04 - Wigwam Bam (3:00)
05 - Blockbuster (3:11)
06 - Hell Raiser ! (3:16)
07 - Ballroom Blitz (3:59)
08 - Teenage Rampage (3:34)

09 - Rebel Rouser (3:23)
10 - The Sixteens (3:59)
11 - Fox On The Run (3:24)
12 - Action (3:35)
13 - Lies In Your Eyes (3:14)
14 - Stairway To The Stars (2:43)
15 - Lost Angels (3:11)
16 - Love Is Like Oxygen (3:42)

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Smashing Pumpkins - Siamese Dream ( 93 ^ 134mb)

The Smashing Pumpkins formed in Chicago in 1988. Their debut album, Gish, was released on Caroline Records in 1991 to unexpected success and acclaim. After the release of Nevermind later that year, the Smashing Pumpkins were hyped as "the next Nirvana". Siamese Dream was recorded mainly between December 1992 and March 1993. The band relocated to Triclops Studios in Marietta, Georgia for the album sessions, so they could avoid local friends and distractions. Butch Vig reprised his role as producer after working on their debut album Gish. Corgan's desire for musical perfection put further strain on the already frayed relationships between the band members. By the time recording was completed, Corgan and Vig were emotionally exhausted. Siamese Dream was released on July 27, 1993. The following week it debuted at number ten on the Billboard charts. In 2003, the album was ranked number 360 on Rolling Stone magazine's list of the 500 greatest albums of all time.

After they broke into the musical mainstream with Siamese Dream. The Pumpkins built their audience with extensive touring and their follow-up, the double album Mellon Collie and the Infinite Sadness (1995), debuted at number one on the Billboard charts. The Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing sales hampered the band and led to a 2000 break-up. In April 2006, the band officially announced that it was reuniting and recording a new album. Returning members Billy Corgan and Jimmy Chamberlin replaced original members James Iha (guitar/vocals), D'arcy Wretzky (bass guitar/vocals) with Jeff Schroeder (guitar/vocals), Ginger Reyes (bass/vocals), and Lisa Harriton (keyboard/vocals) who joined in 2007 to tour in support of their new release, Zeitgeist.



01 - Cherub Rock (4:57)
02 - Quiet (3:42)
03 - Today (3:19)
04 - Hummer (6:57)
05 - Rocket (4:06)
06 - Disarm (3:17)
07 - Soma (6:39)
08 - Geek U.S.A. (5:13)
09 - Mayonaise (5:49)
10 - Spaceboy (4:28)
11 - Silverfuck (8:43)
12 - Sweet Sweet (1:38)
13 - Luna (3:20)

diet version
Smashing Pumpkins - Siamese Dream ( * 99mb)

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Shins - Oh Inverted World, Chutes Too Narrow (01, 03 67min

A classic guitar pop group almost nine years in the making, Albuquerque, NM's the Shins began in 1997 as the side project of singer/songwriter and guitarist James Mercer's primary band, Flake. Mercer formed Flake in 1992 with drummer Jesse Sandoval, keyboardist Marty Crandall, and bassist Neal Langford; they eventually changed their name to Flake Music, releasing several singles, a well-received album, When You Land Here, It's Time to Return, and touring with friends like Modest Mouse and Califone. By 1999, Flake (now Flake Music) had disbanded and its former members became The Shins. The Shins embarked on a tour with Modest Mouse, during the tour, they were met in San Francisco by a Sub Pop representative, who asked the Shins to contribute a single to the label's Single of the Month Club, which eventually became an offer to release their 2001 single New Slang and their debut album, Oh, Inverted World. The group spent the rest of the year touring with acts such as Preston School of Industry and Red House Painters. The release of singles such as "Know Yr Onion!" and "The Past and the Pending" kept the Shins' success going into 2002, cementing Oh, Inverted World as one of the definitive indie rock albums of the early 2000s and the Shins as one of the style's definitive bands.

By the time the band recorded their second album, Chutes Too Narrow, Langford was replaced on bass by Dave Hernandez (ex-Scared of Chaka). Chutes Too Narrow followed in 2003 to much fanfare in indie music circles, featuring even more multi-layered lyrics, as well as a musical approach that explored new genres, song structures, and levels of production fidelity. During live shows, the band members (particularly Crandall and Hernandez) are known to frequently swap instruments. The follow-up, Wincing the Night Away, appeared in January 2007 and sold over a staggering 100,000 copies in its first week. The Shins had never before hit higher than number 86 on the Billboard charts, but the album's sales snagged the guys a debut spot of number two. Despite having been leaked to the Internet on October 20, 2006. It was nominated for a 2008 Grammy award in the category of best alternative music album.



Shins - Oh Inverted World (^78mb)

The Shins present a collection of retro pop nuggets that distill the finer aspects of classic acid rock with surrealistic lyrics, independently melodic basslines, jangly guitars, echo laden vocals, minimalist keyboard motifs, and a myriad of cosmic sound effects. Lead singer James Mercer's lazy, hazy phrasing and vocal timbre, which often echoes a young Brian Wilson, drifts in and out of the subtle tempo changes,all of which illustrate this New Mexico-based quartet's adept knowledge of the progressive/art rock genre which they so lovingly pay homage to.

01 - Caring Is Creepy (3:20)
02 - One By One All Day (4:09)
03 - Weird Divide (1:58)
04 - Know Your Onion! (2:29)
05 - Girl Inform Me (2:21)
06 - New Slang (3:51)
07 - The Celibate Life (1:51)
08 - Girl On The Wing (2:50)
09 - Your Algebra (2:23)
10 - Pressed In A Book (2:55)
11 - The Past And Pending (5:24)

Shins - Chutes Too Narrow ( ^ 79mb)

Expectations for their second album were high, especially since fans had to wait two and a half years for Chutes Too Narrow. Restrictions and reversals abound in the Shins' music, from the names of their albums to their short-yet-circular songs and the often contradictory feelings they pack into them. They excel at sounding happy, sad, frustrated, and vulnerable at the same time, and their best songs, whether they're fast or slow, feel like they're bursting with nervous energy. The carefully crafted words and melodies keep the listener wanting, and coming back for, more.

12 - Kissing The Lipless (3:20)
13 - Mines's Not A High Horse (3:20)
14 - So Says I (2:49)
15 - Young Pilgrims (2:49)
16 - Saint Simon (4:23)
17 - Fighting In A Sack (2:49)
18 - Pink Bullets (3:53)
19 - Turn A Square (3:12)
20 - Gone For Good (3:12)
21 - Those To Come (4:24)

diet version
Shins - Oh Inverted World, Chutes Too Narrow (01, 03 67min * 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (44)

Hello, Eight-X is still coughing up the goods here, but if you really need it all check the P5 blog (on my linkslist). Anyway first up is Johnny Thunders, who's suspicious death was shrugged off by the New Orleans police as sowhat just another junkie. He did have his problems with that, but he could have been a 56 year old content grandad now aswell..Anyway his best solo effort is up for grabs here....The Tubes have been around here aswell, with Todd Rungren at the helm they and the critics liked their concept album Telecide..the already well indoctrinated US public didnt like it...always the same dare no to tell the truth, people hate you for it...the cover still stands, however these days some VR goggles might be used....... Last up Blobdie..oops typo though shes known to have had big weightproblems...i mean Blondie of cause what i had left on vinyl was unusable but i bought a nice compilation with all the vids..seen that one just once..but the Sounds compilation does the job......btw im still re-upping the massmirror disaster Rhotation 1-9 are all live again...

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Johnny Thunders - So Alone ( 78 ^ 80mb)

Johnny Thunders, (John Anthony Genzale, Jr) was born July 15, 1952, and raised in Jackson Heights, Queens, NY, in a second generation Italian family. Under the name "Johnny Volume", Genzale began performing music at Quintano High School with "Johnny and the Jaywalkers". In 1968 he started going to the Fillmore East on weekends. He got a job as a salesclerk at Da Nazz leather shop on Bleecker. It was there that he met future Dolls Arthur Kane and Billy Murcia. He joined their band, "Actress", which eventually became the New York Dolls when David Johannsen and Sylvain Sylvain joined in 1971. At this time John Genzale renamed himself Johnny Thunders, after a comic book of the same name.

They recorded two critically acclaimed but commercially unsuccessful albums, The New York Dolls and Too Much Too Soon. The band was managed, for a short time, by Malcolm McLaren and was an inspiration for the Sex Pistols. In 1975 the original line-up for the Dolls broke up. Their early recordings are still in print today and continue to influence young bands with their trash/glam/punk attitude.

Thereupon Thunders formed The Heartbreakers with Dolls drummer Jerry Nolan, and Television bassist Richard Hell. Ex-Demons guitarist Walter Lure was soon added. After Hell unsuccessfully tried to usurp Johnny's place as lead singer, he left to form Richard Hell and the Voidoids. Hell was replaced by Billy Rath. With Thunders leading the band, the Heartbreakers toured America and Britain, releasing one official album, L.A.M.F., in 1977. The group relocated to the UK, where their popularity was significantly greater than it was in the U.S., particularly among punk bands. After several months, the group returned to America, where they played a series of farewell gigs in New York.

Following the drug-fueled implosion of the Heartbreakers, Johnny Thunders bounced back with his first solo outing, So Alone. Featuring a veritable who's who of '70s punk and hard rock -- Chrissie Hynde, Phil Lynott, Peter Perrett, Steve Marriott, Paul Cook, and Steve Jones, among others -- the record was a testament to what the former New York Dolls guitarist could accomplish with a little focus. Much like Thunders' best work with the Dolls and Heartbreakers, So Alone is a gloriously sloppy amalgam of R&B, doo wop, and three-chord rock & roll. Despite the inevitable excesses that plagued every Thunders recording session, Steve Lillywhite's solid engineering job and a superb set of songs hold everything together. Johnny Thunders never followed up on the promise of his solo debut. His subsequent records were a frustrating mix of drug-addled mediocrity and downright laziness. But for one brief moment, he seemed to put it all together. That moment is So Alone.

During the early '80s, Thunders re-formed the Heartbreakers for various tours; the group recorded their final album in 1984. For most of the '80s, the only Johnny Thunders product available was haphazard compilations of live tracks and demos. In 1985, he released Que Sera Sera, a collection of new songs that showed he could still perform convincingly. Three years later, the guitarist recorded an album of rock and R&B covers with vocalist Patti Palladin, Copy Cats. Thunders kept performing and recording until his death in 1991, but problems with heroin addiction kept his output and song writing sporadic during the 1980s. These bands would be formed ad hoc, using Jerry Nolan as a mainstay.

Many rumors surround Thunders' death at the St. Peter House in New Orleans, 23 rd of April 1991. What is known for certain is that Johnny's room (no. 37) was ransacked and most of his possessions were missing (passport, makeup, clothes). Rigor mortis had set in with his body positioned in an unnatural state. His big suply of methadon was gone too and the coroner didnt find a deadly dose of drugs. Nevertheless the New Orleans police wasnt interested in the death of a junkie, and didnt bother to investigate. He was survived by his ex-wife Julie and four children, John, Vito, Dino, and daughter Jamie.



01 - Pipeline (2:20)
02 - You Can't Put Your Arms Round A Memory (3:45)
03 - Great Big Kiss (Voc.Patti Palladin) (3:19)
04 - Ask Me No Questions (3:30)
05 - Leave Me Alone (2:45)

06 - Daddy Rollin' Stone (3:16)
07 - London Boys (2:46)
08 - (She's So) Untouchable (2:52)
09 - Subway Train (Voc.Patti Palladin, Chrissie Hynde)(4:07)
10 - Downtown (3:03)

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The Tubes - Remote Control (79 ^ 99mb)


The beginnings of the group originate in Phoenix, Arizona in the late '60s, where guitarist Bill Spooner, keyboardist Vince Welnick and bassist Rick Anderson formed as the Beans. After moving to San Francisco in 1972, the Beans recruited guitarist Roger Steen and drummer Prairie Prince, and later became the Tubes with the addition of Michael Cotten on keyboards and former roadie Fee Waybill on lead vocals. Over the course of the next few years, the Tubes earned a devoted cult following on the strength of Spooner's parodic songs and the group's surreal live shows, which featured Waybill adopting a variety of personas including the "crippled Nazi" Dr. Strangekiss, country singer Hugh Heifer and Quay Lewd, a drug-addled British pop star.

After signing to A&M in 1975, they released their self-titled debut, produced by Al Kooper, this album by the notorious San Francisco group is best known for the blazing anthem "White Punks on Dope." Although the Tubes' raison d'être was their shock-rock stage dynamic, Bill Spooner, Fee Waybill, and company could, on occasion, deliver some offbeat pop splendor. A good example is the song "Haloes," co-written with Kooper, a tough power pop jewel that sounds like Todd Rundgren colliding with Roxy Music. Also of note is "Boy Crazy," which shows off Spooner's guitar skills. Kooper's production is faultless, as are the horn and string arrangements by Dominic Frontiere. In the end transferring the manic energy and theatrical complexity of their live set onto record didn't come off, however, the single "White Punks on Dope" became a minor hit and a radio staple. The 76 follow up album , Young And Rich, suffered much the same fate. The Tubes were ahead of their time..the videoformat would undoubtely have done their presence much good.

After 1977's failed concept record The Tubes Now, the group toured England, where a series of banned performances made them a media sensation. However, during the recording of the concert LP What Do You Want From Live? Waybill broke his leg onstage while acting out his punk character Johnny Bugger; the remainder of the tour was cancelled, and with it died the band's chart momentum. After returning to the U.S., they recruited producer Todd Rundgren and recorded 1979's Remote Control, a concept album exploring the influence of television, good reviews but it met a similar commercial fate as its predecessors. The Tubes choreographed stage productions were expensive to produce, however, and while they earned the band a reputation for being one of the most entertaining live acts of all time, by the early 1980s they found themselves short of money. Their proposed fifth album, the self-produced Suffer for Sound, was rejected by A&M Records, who dumped the band instead, finishing out its contract with the oddities collection T.R.A.S.H. (Tubes Rarities and Smash Hits).

After signing to Capitol, they recorded 1981's Completion Backwards Principle, an album based on an actual sales training instruction manual; both "Talk to You Later" and "Don't Want to Wait Anymore" earned significant radio play, and the LP became the Tubes' first Top 40 hit. Thanks to its provocative video, the single "She's a Beauty" reached the Top Ten, and pushed the 1983 LP Outside/Inside into the Top 20 Albums chart. The band teamed up with Rundgren once again for 1985's Love Bomb, a flop that led Capitol to drop the band just as it was going on tour in support of the album, a tour that would leave the band a half million dollars in debt, forcing them to play low-budget gigs for a year to pay off their debts. After which the Tubes disbanded, and Welnick later joined the Grateful Dead. In 1993, the Tubes reunited; consisting of Waybill, Steen, Anderson, Prince and new keyboardist Gary Cambra, they toured the U.S. and Europe before releasing a new LP, Genius of America, in 1996. In 2000, the Tubes embarked on another extensive tour, issuing the greatest-hits-live album Tubes World Tour to commemorate the event. Rhotation 20 The Tubes - The Tubes



01 - Turn Me On (4:06)
02 - TV Is King (3:08)
03 - Prime Time (3:15)
04 - I Want It All Now (4:20)
05 - No Way Out (3:21)

06 - Getoverture (3:26)
07 - No Mercy (3:22)
08 - Only The Strong Survive (3:52)
09 - Be Mine Tonight (3:29)
10 - Love's A Mystery (I Don't Understand) (3:27)
11 - Telecide (5:40)


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Blondie - Greatest Hits, Sound ( ^ 166mb)

In the early 1970s, Chris Stein moved to New York City and, inspired by the New York Dolls, aimed to join a similar band. He joined The Stilettos in 1973 as their guitarist and formed a romantic relationship with the band's vocalist, Deborah Harry. A former waitress and Playboy Bunny. Stein and Harry formed a new band with drummer Billy O'Connor and bassist Fred Smith. By 1975, Smith and O'Connor had left, and the line-up was Stein and Harry plus drummer Clem Burke, keyboard player Jimmy Destri and bass player Gary Valentine. Originally billed as Angel and the Snake the band renamed themselves Blondie in late 1975. They became regulars at New York's Club 51, Max's Kansas City and CBGB. Blondie got their first record deal with Private Stock Records in the mid-'70s and released their debut album Blondie in 1976

In August 77, Chrysalis Records bought their contract from Private Stock and in October reissued Blondie and released the second album, Plastic Letters. Blondie expanded to a sextet in November with the addition of bassist Nigel Harrison (born in Princes Risborough, Buckinghamshire, England), as Infante switched to guitar. Plastic Letters was promoted extensively throughout Europe and Asia by Chrysalis Records. The album's first single, "Denis", was a cover version of Randy and the Rainbows' 1963 hit. It reached number two on the British singles charts, while both the album and its second single, "(I'm Always Touched by Your) Presence, Dear", reached the British top ten. That chart success, along with a successful 1978 UK tour, made Blondie one of the first American new wave bands to achieve mainstream success in the United Kingdom.

Parallel Lines, Blondie's third album, was produced by Mike Chapman. Its first two singles were "Picture This" and "Hanging on the Telephone". "Heart of Glass" was their first U.S. hit. It was a reworking of a rock song that the group had performed since its formation, but updated with strong elements of disco music. Clem Burke later said the revamped version was inspired partly by Kraftwerk and partly by the Bee Gee's "Stayin' Alive". Heart of Glass became a popular worldwide success. Selling more than one million copies and garnering major airplay, the single reached number one in many countries including the U.S., where, for the most part, Blondie had previously been considered an "underground" band. The song was accompanied by a music video that showcased Deborah Harry's hard-edged and playfully sexual persona, and she began to attain a celebrity status that set her apart from the other band members, who were largely ignored by the media, and thereby laid the groundwork for Blondie's demise......

Their fourth album, Eat to the Beat, was well received by critics as a suitable follow-up to Parallel Lines, but in the U.S. it failed to achieve the same level of success. In the UK, the single "Atomic" reached number one, "Dreaming" number two, and "Union City Blue" was another top 20 hit, while in the U.S. their singles did not chart as strongly.


Meanwhile, Harry was collaborating with German disco producer Giorgio Moroder on "Call Me," the theme from the movie American Gigolo. It became Blondie's second transatlantic chart-topper. Blondie's fifth album, Autoamerican, was released in November 1980, and its first single was the reggae-cover "The Tide Is High," which went to number one in the U.S. and U.K. The second single was the rap-oriented "Rapture," which topped the U.S. pop charts and went Top Ten in the U.K. But the band's eclectic style reflected a diminished participation by its members -- Infante sued, charging that he wasn't being used on the records, though he settled and stayed in the lineup. But in 1981, the members of Blondie worked on individual projects, notably Harry's gold-selling solo album, KooKoo. The Best of Blondie was released in the fall of the year. The Hunter, Blondie's sixth album, was released in May 1982, preceded by the single "Island of Lost Souls," a Top 40 hit in the U.S. and U.K. "War Child" also became a Top 40 hit in the U.K., but The Hunter was a commercial disappointment.

At the same time, Stein became seriously ill with the genetic disease pemphigus. As a result, Blondie broke up in October 1982, with Deborah Harry launching a part-time solo career while caring for Stein, who eventually recovered.

In the nineties EMI and Chrysalis Records cashed in some more and released several compilations and collections of remixed versions of some of their biggest hits. One of which is Beautiful, a rather ironic title when at the time 95, Debbie was rather volumunous. The remixes on the album which was e- released in a slightly different order and tracklisting are rather inconsistant , Blondie deserved better i think.

In 1998, the original lineup of Harry, Stein, Destri, and Burke reunited to tour Europe, their first series of dates in 16 years; a new LP, No Exit, followed early the next year. After more touring, this was followed by another album the dissapointing, The Curse of Blondie, in 2003, and a DVD of the Live by Request program from A&E was released in 2004. In 2006, Blondie celebrated their 30th anniversary with induction into the Rock & Roll Hall of Fame and the release of Greatest Hits: Sound & Vision, a best-of collection that contained all their classic videos as well. This set here remains one of the best (and best looking) Blondie compilations, even without considering the videos. "Rapture Riders," a very silly and perverse mash-up of "Rapture" with the Doors' "Riders on the Storm," is included as a bonus track.



01 - Heart Of Glass (Single Edit) (4:12)
02 - Blondie Sunday Girl (3:15)
03 - Atomic (Single Edit) (3:49)
04 - Call Me (Single Edit) (3:32)
05 - The Tide Is High (Single Edit) (3:52)
06 - Rapture (Single Edit) (4:59)
07 - Maria (Single Edit) (4:10)
08 - In The Flesh (Remix) (3:07)
09 - Rip Her To Shreds (3:21)
10 - Denis (2:19)
11 - Picture This (2:55)
12 - Fade Away And Radiate (3:59)
13 - Hanging On The Telephone (2:22)
14 - One Way Or Another (3:28)
15 - Dreaming (3:06)
16 - Union City Blue (3:20)
17 - Island Of Lost Souls (3:50)
18 - Good Boys (Blow-Up Mix) (6:05)
19 - End To End (4:01)
20 - Rapture Riders (Single Edit) (3:52)

diet version
Blondie - Greatest Hits, Sound ( * 99mb)

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Around The World (44)

Hello, Around the Worldmusics is back in the desert, this time hanging out with the Touareg, these ancient and proud people that made the desert their home. Misunderstood and derided by the 'gloval warmers' they suffered plenty, certainly this last century, leader and singer/guitarist Ibrahim Ag Alhabib started Tinariwen in 79 , from very humble beginnings but making music and writing contemporary texts helped him and the other bandmembers,all from the same region, to overcome the anger and sadness and sublimate it into music. This their third album is a mesmeric evocation of the mood of yearning inculcated through years of exile, all nourished by the vast emptiness of the desert... "Aman Iman is filled with exotic, mesmerising sounds, a glorious celebration of the collective's homeland.

This 17 min clip gives some background and interviews aswell as music, recorded at their homeland (the desert)




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Tinariwen - Aman Iman (Water Is Life) (^99mb)

Tinariwen (Tamashek "empty places") is a musical band formed in 1979 in Moammar al-Qadhafi's camps of Tuareg rebels. They play in the Tishoumaren ("music of the unemployed") style, and sing mostly in the French and Tamashek languages. Their songs mostly cover the subject of independence for their people from the government of Mali. They are said to be the first Tuareg band to use electric guitars. Having recorded many albums available on cassette over their eighteen years, the group recorded their first album for the CD format in December of 2000; the album was known as The Radio Tisdas Sessions and was their first recording available outside of Africa.

The Western world first took great notice of Tinariwen due to their performance at Le Festival au Désert, a musical festival held in Tin-Essako, Mali, a remote region of the Sahara Desert, in January of 2001. The band released a second album, Amassakoul ("Traveller") in 2004, and played concerts in Europe (where they performed one of the highlights of the 2004 Womad Reading ) and the United States to support the album. Tinariwen's new album entitled Aman Iman, meaning "Water is Life", was released in January 2007. A 52 minute documentary called Teshumara, or the guitars of the revolution recently played in movie theaters in Europe. It tells the history of the Tuareg rebellion and the role played by Tinariwen in this struggle for freedom. Combined with Amassakoul, it's been released as the CD/DVD combo The Soul Rebel Of African Desert. They’ve met great resistance from rock radio and press unable to embrace a non-English speaking act, but have forged a career playing world music festivals.



01 - Cler Achel (4:25)
02 - Mano Dayak (5:41)
03 - Matadjem Yinmixan (5:43)
04 - Ahimana (5:43)
05 - Soixante Trois (4:56)
06 - Toumast (4:25)
07 - Imidiwan Winakalin (4:25)
08 - Awa Didjen (4:11)
09 - Ikyadarh Dim (3:35)
10 - Tamatant Tilay (3:19)
11 - Assouf (3:56)
12 - Izarharh Tenere (5:02)

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Canadia (03)

Hello, the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there.

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episode part 3
There has been a nuclear spill on a ship in the American fleet. The Captain feels that the "spill" is the Canadia's jurisdiction (they do clean up spills). A battle of wills begins when the American elite nuclear cleanup crew arrives to do the cleanup. Meanwhile, Anderson does his best to be useful and new security measures are implemented on the ship.

Canadia 2056-3 20mb


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !