Feb 28, 2013

RhoDeo 1308 Goldy Rhox 97


Hello, today the 97th post of GoldyRhox, classic pop rock, in the darklight  an American rock band formed in San Francisco in 1965. A pioneer of the psychedelic rock movement, they were the first band from the San Francisco scene to achieve mainstream commercial and critical success. The band performed at the three most famous American rock festivals of the 1960s—Monterey (1967), Woodstock (1969) and Altamont (1969)—as well as headlining the first Isle of Wight Festival. Their recordings were internationally successful, and they scored two US Top 10 hit singles and a string of Top 20 albums.

The group's founder was 23-year-old vocalist Marty Balin. With a group of investors, Balin purchased a former pizza parlor on Fillmore Street, which he transformed into a music club, The Matrix, and began searching for members for his group. Balin met folk musician Paul Kantner a native San Franciscan. The duo then set about recruiting other musicians to form the house band at the Matrix. After hearing female vocalist Signe Toly Anderson Balin invited her to be the group's co-lead singer. Anderson sang with the band for a year and performed on their first album, departing in October 1966 after the birth of her first child and being replaced with Grace Slick. Kantner next recruited an old friend, blues guitarist Jorma Kaukonen. Drummer Jerry Peloquin and acoustic bassist Bob Harvey completed the original lineup.

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

Today's mystery album is the second album by the American psychedelic rock band, released in April 1967 in either mono or stereo. It is the first album by the band with vocalist Grace Slick and drummer Spencer Dryden. The album peaked at #3 on the Billboard album chart, and has been certified a gold album by the RIAA. Slick and Dryden in place on this album and its attendant singles completed the best-known line-up of the group, which would remain stable until Dryden's departure in early 1970. The fusion of folk rock and psychedelia was original at the time. Two singles released from the album later in the year, "Somebody to Love" and "White Rabbit," peaked respectively at #5 and #8 on the Billboard Hot 100 chart.

Today's mystery was the first blockbuster psychedelic album by a band from San Francisco, announcing to the world the active bohemian scene that had developed there starting with The Beats during the 1950s, extending and changing through the 1960s into the Haight-Ashbury counterculture. Subsequent exposure generated by the band and others wrought great changes to that counterculture, and by 1968 the ensuing national media attention had precipitated a very different San Francisco scene than had existed in 1966. San Francisco photographer Herb Greene photographed the band for the album's cover art. It's considered to be one of the quintessential albums of the 1960s hippie movement, hence no surprise then the album was ranked number 146 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time. Now extended and in glorious 21st century digits.


Goldy Rhox 97   (flac 332mb)

Goldy Rhox 97   (ogg 134mb)

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Feb 27, 2013

RhoDeo 1308 Aetix


Hello,  Aetix continues with females in the lead, todays post is on an artist that got overlooked by her homepress lacking sex appeal or scandal and generally too serious the UK once more displayed it's superficial music culture, had she been born in New York things would have been very different. Well the continent as the UK likes to call the rest of Europe (mostly in a derogatery way) came to the rescue of Anne Clark and did like what she had to offer ......  N'Joy

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Anne Clark was born the daughter of an Irishwoman and a Scotsman. At the age of 16, she left school. She took various jobs, one of which was as a nurse in a psychiatric hospital. Clark then got a job at the local record store (and label), Bonaparte Records. Punk rock was finding its way into London's music scene and totally matched Anne Clark's emotions.Clark soon became involved with the Warehouse Theatre, an independently-financed stage for bands, that was always low on cash. Although the theater's owners initially objected to the strange, pierced punk scene characters and their leather outfits. Anne managed to fill the theatre with artists like Paul Weller, Linton Kwesi-Johnson, French & Saunders, The Durutti Column, Ben Watt, and many others. She experimented with music and lyrics herself and first appeared on stage in Richard Strange's Cabaret Futura with Depeche Mode.

In 1982, Anne Clark published her first album, The Sitting Room, with songs written by herself. On the following albums, Changing Places (1983), Joined up Writing (1984)) and Hopeless Cases (1987), Anne benefited from an acquaintance from the Warehouse: keyboardist David Harrow, their curiosity with keyboards, synths and samplers led them to create songs and sounds that would provide blueprints for the electronic music of the 80s and 90s - Sleeper In Metropolis........Our Darkness...
1985 saw the release of Pressure Points and a collaboration with John Foxx, the founder of Ultravox. In 1986 she began working and writing with classically trained pianist Charlie Morgan and as well as joining her on her first US tour he also co-wrote material for the Hopeless Cases album. At the end of 1987 Anne moved to Norway which was to be her home for 3 years. The move to Scandinavia opened up further experiments with sound and music and she began working with Norwegian musicians Tov Ramstad and Ida Baalsrud. Along with Charlie Morgan the album Unstill Life was released in 1991.

Anne began working with Paul Downing, Martyn Bates and Andy Bell. With all the many co-writers, the various styles and experiments that have occured during her career, something immediately recognisable and consistent lies at the centre of Anne's work - a uniqueness present in every project which, whilst making Anne never completely acceptable to the mainstream music industry, offers a wholly original artist to the most important element of her work - her audience.In 1994 Anne decided to take the risk of touring with a purely acoustic band and the successful result of this can be heard on the live recording Psychometry made at the Passionskirche in Berlin in that year. In 1995 she released To Love And Be Loved, another magical blending of electronics and acoustics featuring collaborations with Martyn Bates, Paul Downing, Andy Bell and Chris Ellio.In 1998 Anne returned once again to the acoustic and folk/classical influences that have become increasingly important to her expression and, much to the disdain of the major record labels, but the acclaim of her audience and critics alike, she released Just After Sunset - a collaboration with Martyn Bates featuring translations of the poetry of Rainer Maria Rilke

Along the way Anne was introduced to Belgian act Implant who remixed Sleeper in Metropolis in 2003. It came to a new collaboration when Anne asked Implant to remix a couple of tracks which were performed  in the Summer of 2004. New live performances with Implant and the acoustic project are ongoing resulting in the album Self-inflicted, on which she delivered guest vocals. The album was released via Alfa Matrix Records, which in the meantime had become her home label outside of Germany. She also appeared on the Implant EP Too Many Puppies.

2006 saw Clark back again in the recording studio with Implant for the EP Fade Away, on which she delivered guest vocals and performed a duet with Leæther Strip's Claus Larsen. And she also appeared on the album Audioblender by Implant, again released via the Alfa Matrix record label. In 2008 Clark was in Germany to record her next album The Smallest Act of Kindness, which was released in September 2008. At the end of 2010, Anne Clark released the first chapter of an on-going project Past & Future Tense, the first release on her own label, After Hours Productions.

In January 2011 Anne contributed an arrangement of the Charles Baudelaire poem Enivrez-Vous (Be Drunk) to the audio book and radio play Die künstlichen Paradiese ("The artificial paradises").

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With backing provided by the local band A Cruel Memory, she made her spoken-word performance debut at Richard Strange’s Cabaret Futura in London with Depeche Mode and gained a respectable following for subsequent shows. These early poetry recitations, according to Chris Lark in Rock: The Rough Guide, were "as gripping as the work of earlier punk-scene spoken-word stars Patti Smith and John Cooper Clarke."

Clark’s tales about urban decay and everyday problems set to the moody drums and keyboards of A Cruel Memory resulted in a record deal with the Virgin label Schallplatten GmbH, which issued her debut recording, The Sitting Room, in 1982. For this solid, haunt-ingly atmospheric EP, Clark collaborated with the first of numerous songwriting partners, A Cruel Memory’s Dominic Appleton, formerly of This Mortal Coil and Breathless.

Combining the solemness of The Sitting Room with the pre-techno stylings of Changing Places, Clark, aided by Harrow as well as pianist Virginia Astley, returned in 1984 with the six-song EP Joined Up Writing. Although it became one of Clark’s most notable records, featured her well-known song "Our Darkness," and helped to establish her music outside of England, Virgin, insisting on bigger sales, moved the artist to the more commercial 10 Records label.



Anne Clark - Joined Up Writing + The Sitting Room (flac 230mb)

Joined Up Writing
01 Nothing At All 2:27
02 Weltschmerz 3:33
03 Killing Time 4:44
04 True Love Tales 5:02
05 Self Destruct 4:54
06 Our Darkness 5:21
The Sitting Room
07 The Sitting Room 2:22
08 Swimming 1:39
09 An Ordinary Life 2:34
10 Shades 2:00
11 Short Story (Party Mix!) 1:53
12 The Power Game 0:46
13 All We Have To Be Thankful For 4:16

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Pressure Points was created in collaboration with John Foxx, who wrote/produced the music and plays on the first five tracks. It didn't deliver the record company's expected synergy in sales. Nevertheless Anne delivers a solid album here.



Anne Clark - Pressure Points   ( flac 183mb)

01 Heaven 4:02
02 Red Sands 3:16
03 Alarm Call 3:55
04 Tide 2:26
05 The Interruption 2:34
06 The Power Game 3:06
07 World Without Warning 4:00
08 Bursting 4:14
09 Lovers Retreat 3:41

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Clark returned to working with Harrow and a new keyboardist, Charlie Morgan, who helped her produce Hopeless Cases released in 1987. Here, Clark made observations about life ranging from sexual healing ("Homecoming") to romantic frustration ("Hope Road"), again setting her words to spacious synth arrangements. Hopeless Cases remains a favorite among Clark’s fans.

Clark's apparent hopeless frailty and wanderlust in that picture are deceitful enough to prevent the less wary from a second glance at this piece. However, as time and her further works have shown us, these notions couldn't be less accurate - Clark pours forth a coherent, solid concept which, when properly absorbed by the listener, will cause an upwelling of emotions ranging from empathy and dark humor(Armchair Theatre) to outright tribal frenzy (Homecoming).



Anne Clark - Hopeless Cases  (flac 181mb)

01 Poem Without Words I - The Third Meeting 4:15
02 Homecoming 4:39
03 Up 2:53
04 Cane Hill 4:20
05 This Be The Verse 1:12
06 Now 4:28
07 Hope Road 4:41
08 Armchair Theatre 2:40
09 Leaving 3:06
10 Poem Without Words II - Journey By Night 3:35
 
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previously Wavetrain, Women's Wagon

Anne Clark - Changing Rooms (83/84 * 194mb)

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Feb 26, 2013

RhoDeo 1308 Roots


Hello, now that we find ourselves at the end of this UK reggae/dub scene tour we're left with two of the commercially most succesful acts. Oddly both are not really happy stories. One of the bands saw it's original members declared bankrupt despite selling 70 million records-go figure. The other band saw it's young members succumb to pressures and split acrimoniously. Surprisingly they wrote most of their work themselves something the former band never managed beyond their first albums.  .... N'joy

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The band members began as friends who knew each other from various colleges and schools across Birmingham. The name "UB40" was selected in reference to a paper form  it stood for Unemployment Benefit, Form 40.Before any of them could play their instruments, Ali Campbell and Brian Travers travelled around Birmingham promoting the band, putting up UB40 posters. The band purchased its first instruments from Woodroffe's Musical Instruments with £4,000 in compensation money that Campbell, who would become the lead singer, received after a bar fight during his 17th birthday celebration.

UB40 caught their first break when Chrissie Hynde noticed them at a pub and gave them an opportunity as a support act to her band, The Pretenders. UB40's first single, "King"/"Food for Thought" was released on Graduate Records, a local independent label run by David Virr. It reached No. 4 on the UK Singles Chart. Their first album was titled Signing Off, as the band were signing off from or closing their claim on the unemployment benefit. It was recorded in a bedsit in Birmingham and was produced by Bob Lamb. Norman Hassan said of the recording: "if you stripped my track down, you could hear the birds in the background." This is because his tracks were recorded outside in the garden. Signing Off was released on September 6, 1980, and entered the UK Albums Chart on October 2, 1980. It reached as high as No. 2 in the UK and spent 72 weeks in total on the chart.

Signing Off  features a mix of reggae and dub material which was lyrically politically charged and socially conscious, while musically was reverb-heavy, doom-laden yet mellifluous, best exemplified in the hits "King" and "Food For Thought" as well as the searing "Burden of Shame". "King" was a song written about the late Martin Luther King, questioning the lost direction of the deceased leader's followers and the state of mourning of a nation after his death. Signing Off is considered by many to be by far UB40's best album, as well as one of the finest reggae albums by a British group. In 2000 Q magazine placed it at number 83 in its list of the 100 Greatest British Albums Ever.

UB40 went on to become one of the most successful reggae acts of all time in terms of record sales (over 70 million), chart positions and touring schedule. During their three-decade long career, they have been performing sell-out shows worldwide and headlining the Reggae Sunsplash music festival in Jamaica, as well as spreading reggae to Russia and South America, among others. Much of UB40's commercial appeal came from their releases of classic cover songs. In fact, all three of their UK number one hits and four of their five U.S. top ten hits were cover versions. 2008 saw the departure of singer Ali Campbell , he's been replaced by Maxi Priest and Duncan Campbell.

In 2009 the band released the first new album with their new lead singer Duncan Campbell – it was another in the Labour of Love cover series entitled Labour of Love 4. On 12 June 2010, UB40 played a one-off concert to motor racing fans at the Le Mans 24-hour race. UB40 announced that after completing a coast to coast 2010 American tour they would be playing a nationwide UK tour of theatres in October/November 2010 performing their seminal album 'Signing Off', in full, along with a second set of popular UB40 songs. To coincide, on 1 Nov 2010 a remastered 2CD+DVD of 'Signing Off' is released as a '30th Anniversary Special Edition.

Despite selling 70 million records and touring for 30 years, in 2011 five founder members of the group and directors of their DEP International label, had bankruptcy proceedings started against them relating to debts of the record label. The five named were Robin Campbell, Brian Travers, Terence Wilson, Norman Hassan and James Brown, in October 2011 they were all declared bankrupt. Another what's in a name then..

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Present Arms is the second album by UB40 and was released in 1981. It spent 38 weeks on the UK album charts, reaching number 2. An album of original songs, it spawned two top 20 hits in 'One In Ten' (number 7) and 'Don't Let It Pass You By/Don't Slow Down'.
Like their first album Signing Off, Present Arms contained many socially and politically charged lyrics, from the anti-militant title track to 'Sardonicus' which was about Risus sardonicus, the ironic smile on tetanus victims' faces. The UK top-ten hit "One In Ten" was an attack on Thatcherism. The album also touches on a subject very dear to UB40's heart: 'Lamb's Bread' and 'Don't Walk On The Grass' are written as part of the band's longstanding campaign for the legalization of cannabis. Musically, the album continued in the heavy, reverb-drenched, mellifluous style of the debut. The title track has been used to open UB40 concerts from the mid 90s onwards, usually with the blasting horn section beginning the concert.

As with Signing Off, Present Arms was critically acclaimed and commercially successful in the UK.



UB40 - Present Arms (flac  289mb)

01 Present Arms 4:08
02 Sardonicus 4:29
03 Don't Let It Pass You By 7:45
04 Wild Cat 3:02
05 One In Ten 4:33
06 Don't Slow Down 4:28
07 Silent Witness 4:15
08 Lambs Bread 4:49
09 Don't Walk On The Grass 5:07
10 Doctor X 5:20

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Releasing dub versions of recent hits (if not whole albums) is, of course, a Jamaican tradition. And being the students of reggae that UB40 were, they dutifully followed that tradition with their second album. The results were middling, though you had to admire the group's approach: Rather than merely lift out the vocals and tinker with the bass, they rewrote vast tracts of the album. Ultimately, there's enough excruciatingly bad Jamaican dub out there already, and UB40's contribution to the pile, however well intentioned, did nobody any favors. However, it was a sign of their huge U.K. popularity that even the dub version of Present Arms became a Top 40 hit.



UB40 - Present Arms In Dub (flac  188mb)

01 Present Arms In Dub 3:04
02 Smoke It (Dr X) 3:22
03 B Line (Lamb's Bread)  4:35
04 Kings Row (Sardonicus) 5:01
05 Return Of Dr. X (Don't Walk on the Grass) 5:24
06 Walk Out (Wildcat) 3:14
07 One In Ten 4:14
08 Neon Haze (Silent Witness)  4:04

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Musical Youth originally formed in 1979 when the fathers of Kelvin Grant and Patrick and Junior Waite put together an original band, and featured two sets of brothers, Kelvin and Michael Grant, plus Junior and Patrick Waite. The latter pair's father, Frederick Waite, was a former member of the jamaican reggae group, The Techniques. Frederick sang lead with Junior at the start of Musical Youth's career. Although schoolboys, the group managed to secure gigs at certain Birmingham pubs and released a double single in 1981. During the autumn of 1982, the group issued one of the fastest-selling singles of the year, "Pass the Dutchie". Based on the Mighty Diamonds' "Pass the Koucthie". The title had been subtly altered to feature the patois "dutchie", referring to a type of pot used for cooking. This idea was reinforced throughout the political and economic overtones of the song about extreme poverty and Musical Youth asking the question "How does it feel when ya got no food?". The record went to number 1 in the UK Singles Chart in October 1982. It went on to sell over four million copies, and was nominated for a Grammy Award. A Top 10 placing also followed in the Billboard Hot 100 chart. The accompanying video made them the first black artists to be played on MTV.

Their debut album The Youth of Today was certified Gold in the UK. Their second album, Different Style!, was released in 1983 and showcased more R&B-influenced repertoire to make the band more accessible in the North America, but flopped on both British and American market. With their career going downhill, the band members became embroiled in legal, financial, and personal problems. The Waite brothers struggled with drug addiction, and Junior Waite began to show signs of mental illness. In 1985, Dennis Seaton departed the band, leading to its dissolution. Plans for a reunion of Musical Youth were initially halted when Patrick Waite, who had gone on to a career of juvenile crime, died in Birmingham in February 1993. Only 24 years old, he collapsed from a hereditary heart condition while awaiting a court appearance on drug charges.

This compilation actually consists of the two Musical Youth album, it leaves out "Gone Straight" and "Rub 'N Dub" from their debut 'The Youth Of Today'



Musical Youth - Musical Youth Anthology (flac 435mb)

01 Pass The Dutchie 3:23
02 Heartbreaker 3:45
03 Blind Boy 3:50
04 Rockers 3:00
05 Youth Of Today 2:56
06 Young Generation 3:20
07 Mirror Mirror 3:50
08 Children Of Zion 3:00
09 Never Gonna Give You Up 3:00
10 Schoolgirl 3:20
11 Shanty Town 3:21
12 She's Trouble 3:06
13 Whatcha Talking 'Bout 5:06
14 Incommunicado 3:22
15 No Strings 3:01
16 Tell Me Why 3:09
17 Sixteen 3:49
18 Yard Stylee 3:39
19 Air Taxi 3:50
20 Mash It The Youth Man, Mash It 4:22

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previously, new rip

UB40 - Signing Off ( 80 ^ 419mb)

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Feb 25, 2013

RhoDeo 1308 The Ring 04


Hello,  not feeling very well currently, nasty cough so it's some extra vit C and an early night in for me.

The coming months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Ring Goes South ( 56:03  63mb)

401 The Company of Nine
402 The Climb to Caradhras
403 Gandalf is Here!
404 The Mines of Moria
405 Gimli's poem on Moria
406 Drums in the Deep

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previously

The Shadow Of The Past ( 56:23  64mb)
The Black Riders ( 56:23  64mb)
The Knife In The Dark ( 56:23  65mb)

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Feb 24, 2013

Sundaze 1308


Hello, as spring keeps it's distance we will have to generate our own inner heat, music that envelops us like a warm bath would surely help. Assisting us today is a German who some consider to have stood at the cradle of New Age music, that's before the label was invented and before it got ' abused'. He's really been there and still shares his visions, 43 years after a near death experience stung his lazy ass in motion..

Like many artists in the contemporary instrumental realm, today's artist mixes acoustic and electronic instruments, ethnic influences, and sounds from nature -- only he's been doing it since the early '70s. His style is characterized by gentle melodies and joyful rhythms that render his music accessible even as he presents an intriguing blend of Eastern and Western styles. ..N'joy..

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Born Georg Deuter in 1945 in post-war Germany in the town of Falkenhagen, he taught himself the guitar, flute, harmonica and "just about every instrument I could get my hands on," though it wasn’t until after a near-fatal car crash in his early twenties that he decided to pursue a career in music. His first release in 1970, entitled D, is widely acknowledged as a Krautrock classic. D marked the beginning of Deuter’s spiritual and musical journey, ostensibly paving the way for a new genre of music known as New Age, which combined acoustic and electronic elements with ethnic instrumentation and nature sounds, such as whale and bird song, the open sea, wind in the trees, etc.

During the 1970s and 1980s Deuter, after travelling extensively in Asia in search of spiritual and creative inspiration, settled for a long time in Pune, India, where under the name Chaitanya Hari he became a neo-sannyasin — a disciple of Bhagwan Shree Rajneesh, who later changed his name to Osho. With the aid of a multitrack tape machine, living in the neo-sannyas ashram, he produced a series of music tapes to be used in "active meditations", consisting of several "stages" of ten or fifteen minutes each, which range between, and often merge, Indian classical motifs, fiery drums, loops, synthesisers, bells, musique concrète and pastoral acoustic passages. These works, constructed to the master's instructions in consultation with a team of disciples testing the meditation methods, deserve recognition for their purely functional or objective origination as well as for their originality, power and sometimes beauty.

In the early 1990s, Deuter — who always retained his professional name — ended his long standing relationship with Kuckuck, the small record label that had released nearly 20 original Deuter albums in as many years, and relocated to Santa Fe, New Mexico where he signed a deal with New Earth Records, an independent label founded by fellow sannyasin Bhikkhu Schober and Waduda Paradiso. This proved to be a lucrative move for all involved, as Deuter's New Earth Records releases, the majority of them intended to accompany various healing and spiritual practices such as Reiki, massage and meditation or, in the case of Earth Blue (2003), a collaboration with the Autostadt Volkswagen factory in Wolfsburg, Germany, have sold well over half a million copies.

Deuter continues to learn and master an ever-expanding array of instruments, including the drums, the shakuhachi flute, the koto, sitar, Tibetan singing bowls, santoor, bouzouki, piano and keyboard. He has recorded and released over 60 albums and claims to have sold more than he can count during the course of his career.

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Beginning with moody bass and guitar plucking that wouldn't be a fraction out of place on albums by fellow German musicians like Ash Ra Tempel, D finds Deuter as both an accomplished composer and self-producer. It's not about simply technical virtuosity, of course, as the music throughout D demonstrates. At once epic in scope and with a sly, careful sense of entrancement, this is psychedelic music in the immediately post-psych world. The multi-part "Babylon," which takes up most of the album's first half, exhibits as much metallic flash and snarl on guitar as it does drowsy, dreamy studio treatment; keyboards are mixed with an endless amount of backwards taping. It could make for one heck of a soundtrack to an avant-garde documentary film of the time, but works quite well as its own creation. To his credit, Deuter doesn't repeat the performance on the other tracks, instead adding other elements to mix with ones already introduced. Thus, there are rolling percussion jams and (for the first time) wordless vocals on the insistent slow build and burn of "Der Turm/Fluchtpunkt," while other songs include the presence of numerous overdubbed sitars or the use of flowing water as a rhythmic element. The haunting, cyclical synth parts on "Gammastrahlen-Lamm," which closes D, provide an appropriately beautiful coda to a strange and quite lovely album. Hints of wiggy Krautrock humor with song titles crop up: "Babylon" in its various parts is described with classical terms such as "andante," while another long piece (the one consisting of sitars and nothing else) gets the bemusing appellation "Krishna Eating Fish and Chips." The cover art is enjoyable as well, with the back featuring Deuter crouched over some bongos in front of his home stereo/crash pad setup. Not quite prog-age bachelor pad music, but still....



Deuter - D (flac  217mb)

01 Babylon (14:59)
-1 Andantino
-2 Allegro 138 A
-3 Andante
-4 Allegro 138 B
02 Der Turm / Fluchtpunkt 4:30
03 Krishna Eating Fish And Chips 10:16
04 Atlantis 6:06
05 Gammastrahlen-Lamm 5:04

Deuter - D  (ogg  100mb)

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This album is one of the best examples of Deuter's music. It makes listener blow away his earthly problems and sink into the music. On Ecstasy he combines simple acoustics with deep electronics and smooth samples to create intricate atmospheres. The coolest thing about them is that they do not sound intricate. They sound easy and delicate. That quality makes the sound design a success. This album is absolutely gorgeous. It is warm in its embrace of deep listeners. The soundscapes are psychoactive and Deuter's appeal is universal.



Deuter - Ecstasy (flac 251mb)

01 Wings Of Love 7:00
02 Ecstacy 11:40
03 Night Rain 2:40
04 Blue Waves Gold 3:40
05 Back To A Planet 7:00
06 Brazilian Love 6:30
07 La Ilaha Il Allah 4:56

Deuter - Ecstasy (ogg 100mb)

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Deuter is one of the world's most prominent new age musicians and has been so since about five years before he was born. His music has always been more than just music. There is always another purpose.
Land of Enchantment, Deuter's tenth album, is a glimpse of the magic found in life. Deuter combines acoustic instruments and synthesizers in his customarily skillful fashion. an overt exploration of idyllic places and spaces beyond listeners' imaginations. Deuter's deft approach and musical acumen take this set to new heights and more. The atmospheres are gentle and spacious, with organic textures. The tracks on this album were recorded in various geographical areas, from France and Hawaii to Santa Fe, and they represent different scenes and experiences. Characteristics from Eastern and Western musical cultures are blended to portray the light-hearted and mystical qualities of each location.

"The message in the music is Light," says Deuter. "Light as opposed to heavy, and light as opposed to darkness. The music is derived from an understanding that life is a gift and from an acceptance of the miracle that it is, that all things exist."



Deuter - Land of Enchantment (flac 258mb)

01 Pierrot 10:17
02 Maui Morning 6:01
03 Silver Air 5:50
04 Waves And Dolphins 4:21
05 Santa Fe 3:27
06 Celestial Harmony 6:22
07 Silver Air 1:42
08 Petite Fleur 6:51
09 Wind Of Dawn 2:42
10 Peru Le Peru 7:11

Deuter - Land of Enchantment (ogg 121mb)

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Feb 23, 2013

RhoDeo 1307 Beats


Hello, the beats go on....   You probably noticed a slight change in the appearance of this blog, bit of an accident really as i changed the screen resolution of my monitor i noticed how awful my blog looked. Naivly i assumed that it would look basicly the same whatever the resolution was, hell it didn't, no dynamic change of width-at least with me. Poor design if you ask me, anyway I couldn't revert to the lay out i have used these past 6 years (more poor design). So here we are something that looks like it.

A British electronic music outfit, formed in 1987 in Manchester, taking their name from the Roland TR-808 drum machine and their common state of mind. .... NJoy

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Martin Price was the owner of a record store, Eastern Bloc, and was also the founder of the independent record label, Creed. Customers Graham Massey and Gerald Simpson joined with Price to form a hip-hop group called Hit Squad Manchester. Soon after the band shifted to an acid house sound, and recorded their debut Newbuild in 1988, naming themselves 808 State honoring the impact the Roland TR-808 drummachine had on them. The album was released on Price's own record label. Simpson left the group in 1989 to form his own solo project, A Guy Called Gerald. Martin . Graham enlisted DJs. Andrew Barker and Darren Partington, known as the Spinmasters, to record the EP Quadrastate and their next album, Ninety, which put them right in the rave culture. In the US, Tommy Boy got its version of the 90 album almost exactly right. While the track order was drastically changed (and the 60-second concluding track, "The Fat Shadow," removed), there was no real disruption of flow, and seven bonus tracks were added to create a full CD's worth of early 808 in one easy package . The new tracks come from a variety of sources, most being earlier (or later) singles or remixes done exclusively for this release.

For 1991 Ex:el , they brought in Bernard Sumner (New Order) and ex-Sugarcubes Björk for lyrics and vocals. In 1992, Price left the group to perform solo producing, eventually forming his own label, Sun Text. The remaining members released a fourth album called Gorgeous, and after that, did some remix work for David Bowie, Soundgarden, and other performers, before returning with the album entitled Don Solaris in 1996. This album marked a change for the band who wanted to shake off their rave moniker and, with 'Don Solaris', they aimed to create a more beautiful, cinemascopic sound. They released a greatest-hits compilation named 808:88:98 in 1998-their last on record label ZTT and a 1998 remix of Pacific soared high in the charts. In 2000, their pioneering 1988 acid house album 'Newbuild' was re-released. In 2003, they released Outpost Transmission which featured guest collaborations from the Alabama 3 and Guy Garvey from Elbow.

In May 2008, the extended re-issue of the album Quadrastate completed a trilogy of pre-ZTT releases on CD for the first time. It was followed by the release of their 4 ZTT albums, remastered and each with an Archives bonus album filled with remixes and rareties The band is still active, touring and performing DJ sets.

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Newbuild was originally issued in 1988 on the band's own Creed label and now Aphex Twin's Rephlex label has saved this masterpiece from becoming just a trace memory in the cerebella of the 12 people who bought it back when acid house wasn't luv'd up, blissed up and neutered. 808 State were once avatars for the MDMA set. The band's key ingredient was Gerald Simpson (later known as A Guy Called Gerald, and creator of the truly awe- inspiring Voodoo Ray and Black Science Technology records).

Newbuild is a testament to the band's stop- at- nothing enthusiasm for their music, and is also the guts and determination of fiercely independent music. And it's with this spirit that 808 State imbued their debut record. The instruments were crappy and severely dated (remember, this was 1988, and the vogue for the Roland TB303 was five years in the future). Simpson, Massey, and Price recognized that the acidic spikes and snarls of the 303 and the synthetic percussion of the Roland 808 were exact replicas of the sounds they heard in their mindspaces. The trio then recorded an album that, after more than ten years of technological progression, still kicks away every other attempt at the definitive acid house album. And I mean "album," not just a collection of individual tracks sequenced together. The mid-'90s generation of techno progressives (including Aphex Twin) saluted this album's raw edge as a major influence. In 1999, Aphex Twin reissued Newbuild on his Rephlex label.



808 State - New Build ( flac 265mb)

01 Sync/Swim 6:20
02 Flow Coma 6:01
03 Dr. Lowfruit (4 A.M. Mix) 7:36
04 Headhunters 5:02
05 Narcossa 5:17
06 E Talk 4:01
07 Compulsion 5:22

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Merely an EP at the time of its release, cut-offs and alternative mixes are thrown into the equation here to bring us a spatchcock album that many will now be hearing for the first time. Its most obvious claim to fame, of course, is album opener Pacific State, one of the defining tracks of eighties house and probably the stand-out track of 808’s long reign in the field of electronics. But this is merely the starting point for a bracing journey around the formulas of the house sound. Quadrastate’s interest to us is a good chance to look again at an era of English house music that is all too easily forgotten.

What made the album vexing last time around was its brevity, so the addition of more tracks to fill out the mix is welcome. But exercises offer us a fresh look at the state of mind of the band at what was effectively their creative peak. Let Yourself Go, the band’s first single, is a mish-mash of 303 bass and wild orchestral screechings, and serves well as a picture of two musics – disco and house – on a virtual collision course. With its clicking, plucking rhythms, it has an urgency. The magic of the early records is almost reliant on their rudimentary sound, built around 808s and 303s – instruments that themselves are the musical embodiment of that era. And this affection for the early work is clearly the reason behind Rephlex’s decision to re-release 808’s early back catalogue again now. After Newbuild and Prebuild, Quadrastate sees the completion of the triptych, and perhaps the completion of Richard D. James’ mission to get the band heard by a new audience.



808 State - Quadrastate ( flac 434mb)

01 Pacific State 6:28
02 106 0:43
03 State Ritual 6:09
04 Disco State 5:12
05 Fire Cracker 4:51
06 State To State 5:45
07 Let Yourself Go (303 Mix) 6:03
08 Deepville 7:26
09 Got It Huh 4:18
10 Techclock 2:17
11 In Yolk 6:56
12 State Ritual Scam 6:00
13 Let Yourself Go (D50 Mix) 4:50

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Archives I is the 808:90 bonus album filled with remixes and rareties, noteworthy the superb mix of ‘Donkey Doctor’.



808 State - Archives Part I ( flac 270mb)

01 Pacific (Britmix) 4:23
02 Cobra Bora (Call The Cops Mix) 4:53
03 Donkey Doctor (Gmex Mix) 4:45
04 Boneyween 6:12
05 Kinky National 4:01
06 State To State 5:56
07 Revenge Of The Girlie Men 4:13
08 Magical Dream (Instrumental) 5:09


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Previously (Rhotation 2 and 33), re-ups

808 State - ex:el (91 ^ 133mb)
808 State - Utd. State 90 ( 90 174mb)

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Feb 21, 2013

RhoDeo 1307 Goldy Rhox 96


Hello, today the 96th post of GoldyRhox, classic pop rock, in the darklight an English singer-songwriter who died in his sleep earlier this week age 68, he was a major influential force in the English psychedelic movement. BBC DJ John Peel wrote in his autobiography that "his talent is so acute you could perform major eye surgery with it."

He was a founding member of the pioneering psychedelic band Soft Machine in the late 1960s, and was closely associated with the Canterbury scene. He recorded a series of albums as a solo artist and over the years worked with Brian Eno, Syd Barrett, John Cale, Elton John, Robert Wyatt, Andy Summers, Mike Oldfield, Nico and Ollie Halsall, among others. After living for many years in Deià, Majorca, he returned to the United Kingdom in the mid-1990s before moving to the south of France. His last album was The Unfairground, which was recorded in New York City, Tucson, Arizona, and London in 2006.

Our man spent most of his childhood in Malaysia.The tropical atmosphere and unpressured lifestyle had an impact, and one of the frustrating and endearing aspects of Ayers' career is that every time he seemed on the point of success, he would take off for some sunny spot where good wine and food were easily found. His final years he spent in the south of France. Apparently a neighbour found him (he lived alone) and there was a note next to his bed which said 'You can't shine if you don't burn'...

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


In 1971, today's star started recording what would become his third and most acclaimed solo album, accompanied by members of Gong and his previous backing band The Whole World. Praised by NME, Record Mirror and Rolling Stone, the album realised all the musical aspirations he had harboured since the inception of Soft Machine. As with most of his albums, a collision of disparate styles confronts the listener but in this instance they work to extremely powerful effect. The title track with Mike Oldfield's guitar accompaniment and Robert Wyatt’s wracked harmonies would become a template for his subsequent 70s output.

Many critics and fans have cited todays mystery album as their favourite album and it remains to this day a best seller in his catalogue. This here from the Harvest years box with 8 bonus tracks.

here an example of his off beat humor and philosphy

I walked into this bar and the man refused.
He said, "We don't serve strangers in blue suede shoes.
We don't give credit, and we don't give way--
We have to think about what the people might say.
You know what I mean..." I said, "Sure, man"
He gave me a smile that was sickly and wet.
And I offered him one of my cigarettes.
He took it, afraid that he might appear rude,
And proceeded to sell me some second class food.
Nice guy You meet 'em everywhere.. .

He said, "My oh my, I have suffered too long,
And this cigarette seems to be very strong;
I don't make the rules, I just get what I take
And I guess every rule was made to break.
You can take what you like, it won't hurt me
Cause I’m just working for the company."
From his green cigarette he took a long drag,
And said, "I think I'll pick my travelling bag.
I’m tired of cheating, and wasting my head
And filling the boss's bags with bread.
I want to get out in the sun and rain,
And feel the wind on on skin again;
The world is large, and I've got time yet.
And, by the way, thanks for that cigarette..

Thank you very much.


Goldy Rhox 96   (flac 368mb)

Goldy Rhox 96   (ogg 149mb)

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Feb 20, 2013

RhoDeo 1307 Aetix


Hello,  Aetix continues with females in the lead, todays post almost became self evident after yesterdays post on Dennis Bovell, afterall he produced most of today's artists work. They didn't release much, in fact their discography is rather limited. When after 23 years they resurfaced again and toured globally as well as released another album the future for a second life for the band looked rather promising, unfortunately the big C put a stop to all that. What is left is the memory of a vibrant collective that did their own thing and didn't bother with expectations. ......  N'Joy

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Along with the Raincoats and Liliput, the Slits are one of the most significant female punk rock bands of the late '70s. Not only did they bravely leap into the fray with little, if any, musical ability, but through sheer emotion and desire created some great music. This was especially true when they worked with veteran reggae producer Dennis Bovell, setting the stage for a future generation of riot grrrls. Though much derided in their short existence, what the Slits achieved and what they meant to succeeding generations of young female rockers cannot be underestimated.

The Slits were a British punk rock band. The quartet was formed in 1976 by members of the bands The Flowers of Romance and The Castrators. The members were Ari Up (Ariane Forster), and Palmolive (Paloma Romero, who later left to join The Raincoats), with Viv Albertine and Tessa Pollitt replacing founding members, Kate Korus and Suzy Gutsy. Palmolive was replaced by the drummer Budgie (later of Siouxsie and the Banshees).

The group supported The Clash on their 1977 White Riot tour along with the Buzzcocks and the Subway Sect. Club performances of The Slits during this period are included in The Punk Rock Movie (1978). In November 1978, The Slits toured with the Clash again on the "Sort it Out Tour". Captured on a Peel Session, the Slits' originally raw and raucous live sound was cleaned up and polished by the time of their debut album. It wasn't until 1979 that they made their first proper record under the watchful, supportive eyes and ears of reggae vet Dennis Bovell. A mixture of reggae rhythms, scratchy guitars, anger and mischief, the debut album Cut was released in September 1979 on Island Records with Neneh Cherry joining as additional vocalist. The album's sleeve art depicted the band naked, except for mud and loincloths.

It was two years before a second album was released (Return of the Giant Slits), which was denser, darker, and full of surprises. But the Slits, due primarily to their interest in incorporating other forms of ethnic music into their mix, were leaping beyond what was commonly accepted as punk rock and, as a result, were no longer seen as a punk band. This probably didn't distress them in the least, as they were more interested in expanding the barriers of punk rock rather than simply adhering to "rules" that claimed all punk bands must bash out simplistic guitar rant.

The Slits' sound and attitude became increasingly experimental and avant-garde during the early 1980s, when they formed an alliance with Bristol post-punk band The Pop Group, sharing a drummer (Bruce Smith) and releasing a joint single, "In The Beginning There was Rhythm" / "Where There's A Will" (Y Records), followed by a bizarre, uncommercial, untitled album of mostly homemade demo recordings, and a few more singles. It was two years before a second album was released (Return of the Giant Slits), which was denser, darker, and full of surprises. But the Slits, due primarily to their interest in incorporating other forms of ethnic music into their mix, were leaping beyond what was commonly accepted as punk rock and, as a result, were no longer seen as a punk band. This probably didn't distress them in the least, as they were more interested in expanding the barriers of punk rock rather than simply adhering to "rules" that claimed all punk bands must bash out simplistic guitar rant.By the close of 1981, Up was singing in Adrian Sherwood's dub/funk aggregation the New Age Steppers, and the Slits had folded become both legendary and somewhat notorious.

Ari Up and Tessa Pollitt reformed the band with new members in 2005, and in 2006 released the EP Revenge of the Killer Slits. The EP featured former Sex Pistols member Paul Cook and Marco Pirroni as both musicians and co-producers. In fact, Cook's daughter Hollie is a member of the current line-up, singing and playing keyboards. Other members of the reformed band were No on guitar, German drummer Anna Schulte, and Adele Wilson on guitar. The band toured the United States for the first time in twenty-five years during 2006's 'States of Mind' tour. In 2007, they toured Australia as well as returning to the US. In their first ever visit to that country, the band undertook a short tour of Japan in October 2007.

In January 2009, the Los Angeles based Narnack Records announced they had signed the band to a recording contract. A biography - Typical Girls? The Story Of The Slits by Zoe Street Howe was published in the UK by Omnibus Press in July 2009. A full-length album entitled Trapped Animal was released October 2009, and the band continued to perform live.

Group founder Ari Up died aged 48 from cancer in Los Angeles on 20 October 2010. Her death that morning was initially announced on her stepfather John Lydon's homepage. A tribute Punky Reggae Birthday Party was held in at the Music Hall of Williamsburg by Dunia Best, Aram Sinnreich and Vivien Goldman on Brooklyn on 16 January 2011. Neneh Cherry, Tessa Pollitt, and Hollie Cook and other former members of the Slits performed as well as members of the True Warriors, New Age Steppers, and friends from all over the world. A tribute 'A punky reggae tribute to Ari Up' was held in Bristol on 30 July 2011. The evening included performances by Tessa Pollitt, Hollie Cook, Adrian Sherwood, Mark Stewart (Maffia, the Pop Group), Viv Albertine, and included a screening of the Slits' last video "Lazy Slam" and other Slits footage and a special video presentation 'A Tribute To Ari' (featuring rare and unseen stills and video).

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Almost as well-known for its cover (the three Slits are half-naked and covered in mud) as for its music, Cut is an ebullient piece of post-punk mastery that finds the Slits' interest in Caribbean and African rhythms smoothly incorporated into their harsher punk rock stylings. Ari Up's wandering voice (a touch like Yoko Ono) might be initially off-putting, but not so much so that it makes listening to the record difficult. Six tracks are revamped from earlier Peel Sessions and sound better for the extra effort (especially "New Town" and "Love und Romance"). With its goofy charm, gleeful swing and sway, and subtle yet compelling libertarian feminism, this is one of the best records of the era. Although it only made a brief impact on the UK top 30 at the time, in 2004 it was voted at no 58 in the Observer's list, The 100 Greatest British Albums.



The Slits - Cut (flac 401mb)

01 Instant Hit 2:43
02 So Tough 2:41
03 Spend, Spend, Spend 3:18
04 Shoplifting 1:39
05 FM 3:35
06 Newtown 3:48
07 Ping Pong Affair 4:16
08 Love Und Romance 2:27
09 Typical Girls 3:57
10 Adventures Close To Home 3:28
Bonus tracks
11 I Heard It Through The Grapevine 3:59
12 Liebe And Romanze (Slow Version) 4:44
13 Typical Girls (Brink Style)
14 Love And Romance (John Peel Session 1977)
15 Vindictive (John Peel Session 1977)
16 New Town (John Peel Session 1977)
17 Shoplifting (John Peel Session 1977)
18 So Tough (John Peel Session 1978)
19 Instant Hit (John Peel Session 1978)
20 Fm (John Peel Session 1978)

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The Slits - unCut   ( flac 433mb)

01 I Heard It Through The Grapevine (Demo)
02 Instant Hit (8-Track Demo)
03 Spend, Spend, Spend (8-Track Demo)
04 Newtown (8-Track Demo)
05 Adventures Close To Home (8-Track Demo)
06 Instant Hit (Rough Mix)
07 So Tough (Rough Mix)
08 Spend, Spend, Spend (Toast Version)
09 Shoplifting (Rough Mix)
10 Fm (Rough Mix)
11 Newtown (Rough Mix)
12 Ping Pong Affair (Rough Mix)
13 Love Und Romance (Rough Mix)
14 Typical Girls (Rough Mix)
15 Adventures Close To Home (Rough Mix)
16 So Tough (Outtake)
17 Instant Hit (Instrumental Outtake)
18 Typical Girls (Instrumental Outtake)
19 Spend, Spend, Spend (Dub Version)
20 In The Beginning, There Was Rhythm (Early Version)

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Never released in America, the Slits' second and final record found them pushing the envelope rhythmically. Although designed to be more commercial than Cut, it's actually less so, sounding more like the innovative work a young Adrian Sherwood was doing with Creation Rebel. Fans of the early Slits, who were put off by the reggae of Cut, were no doubt further alienated by this record's comfortable use of Afro-pop tempos and style. Which was a shame, because this music was interesting, daring and exciting. In comparison with its widely acclaimed predecessor, Cut, released in 1979, it showcases a softer, more experimental sound, inspired by African music. Several months after its release The Slits disbanded.



The Slits - Return Of The Giant Slits I  (flac 269mb)

01 Earthbeat 3:51
02 Or What It Is? 4:24
03 Face Place 4:23
04 Walk About 4:44
05 Difficult Fun 4:06
06 Animal Space / Spacier 6:42
07 Improperly Dressed 4:28
08 Life On Earth 6:34
 
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The Slits - Return Of The Giant Slits II (flac 308mb)

Dub-ble Discuss

01 Earthbeat Japan 5:01
02 Deutsche Earthbeat 4:57
03 Dub Beat 4:59
04 Face Dub 4:24
05 Begin Again Rhythm 5:45
06 Earthbeat 12" 7:17
07 Earthbeat Extra 3:51
08 WORT FM USA Interview 12:03

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Feb 19, 2013

RhoDeo 1307 Roots


Hello, These past months we traversed the UK dubscene, but before all that there were a few UK bands bringing reggae to the island, obviously they found their lead in Jamaica who's first big stars came to the british shores in the mid seventies. As we near the end of our tour of the UK reggae scene one man has thusfar been absent, well not any more. Dennis Bovell's influence on '70s U.K. music goes far beyond his punk-related production liaisons, or his role as Linton Kwesi Johnson's producer/bandleader with Dennis Bovell and Dub Band. He was central to the development of British reggae as a distinct sound, both with his group Matumbi, and as a producer, and the kind of dub and instrumental excursions on Decibel: More Cuts From Dennis Bovell 1976-1983 laid the foundation for Adrian Maxwell Sherwood and Mad Professor to emerge in the '80s. .  .... N'joy

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Born in Barbados in 1953, reggae guitarist Dennis Bovell (sometimes known simply as Blackbeard) was one of the key figures on the London reggae scene of the late '70s and early '80s, not only as a solo artist but also as a producer.

Bovell moved with his family to South London at the age of twelve. He became immersed in Jamaican culture, particularly dub music, and set up his own Jah Sufferer sound system. Running the sound system brought trouble from the police and Bovell was imprisoned for six months on remand, but was later released on appeal. Bovell was friends at school with future rock musicians including keyboardist Nick Straker and record producer Tony Mansfield(New Musik), both of whom later worked with Bovell.

Bovell also worked as an engineer at Dip Records, the precursor to the Lovers Rock label, and he was a key figure in the early days of the lovers rock genre. He is also known for attempting to fuse disco rhythms with reggae, most notably with the hit song "Silly Games" by Janet Kay.

The band Bovell co-founded in the mid-'70s, Matumbi, was one of England's first self-contained reggae bands, and also one of the best,  in addition, Bovell released several albums of solo dub experiments, which often featured jazz-pop keyboardist Nick Straker and producer Tony Mansfield (Captain Sensible, New Musik), both old school chums. As Blackbeard, Bovell released Strictly Dub Wize in 1978; he quickly became involved in production work for experimental post-punkers like the Slits and the Pop Group. I Wah Dub appeared in 1980, carrying on Bovell's eclectic sensibilities; Bovell reverted to his real name for 1981's Brain Damage, which began to move away from dub towards rock, R&B, boogie-woogie, etc. Bovell spent the early '80s working with artists like Linton Kwesi Johnson and Alpha Blondy; he returned with a mostly straight reggae album in 1986, Audio Active, recorded with a group tagged the Dub Band.

Meanwhile most of his work has been remastered and re released as well as Dennis Bovell Presents The 4th Street Orchestra - Ah Who Seh? Go Deh! / Leggo! Ah-Fi-We-Dis ‎and Scientific-Higher-Ranking-Dubb/Yuh-Learn. In 2011 he released Ghosts Outside a Dub Version of the Steve Mason "Boys Outside" album. Then a year later out of the blue came the well recieved "Mek It Run"

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Matumbi formed in 1971 in South London, with a line-up of Ted Dixon (vocals), Euton Jones (drums), Dennis Bovell (guitar), Errol Pottinger (guitar), Eaton "Jah" Blake (bass guitar), Bevin Fagan (vocals), and Nicholas Bailey (vocals, later better known as Nick Straker). In the early 1970s they acted as a backing band to touring Jamaican musicians. In 1973, they opened for The Wailers at the Ethiopian famine relief concert in Edmonton, where much to their emabarrassment they went down better than the headliners, Bovell later saying "The press thought we were much better, and we felt terrible because they were our heroes." They signed to Trojan Records, and had a major breakthrough in 1976, when their version of Bob Dylan's "Man in Me" became the biggest-selling UK reggae single that year. Success brought problems for the band, with their record label unhappy about some band members other musical activities, and Bailey and Dixon left, to be replaced by Webster Johnson (keyboards). Pottinger and Jones also left the band, with Glaister Fagan and Lloyd "Jah Bunny" Donaldson joining. The new line-up signed a deal with Harvest Records, and toured with Ian Dury & the Blockheads. Matumbi recorded two sessions for John Peel's BBC Radio 1 show in 1978. The group's debut album, Seven Seals, was issued in 1978, but their second album, Point of View, was a greater success, with the title track giving the band a top 40 hit in 1979. Further albums followed between 1980 and 1982, but these did not match their earlier success. The band split up, with members moving on to various other projects; Bovell released solo material and became renowned as a producer, Donaldson joined The Cimarons, and Fagan and Blake recorded as The Squad.



Matumbi - Seven Seals (flac  278mb)

01 Guide Us Jah 4:08
02 Hook Deh 4:11
03 Hypocrite 3:40
04 Bluebeat & Ska 3:07
05 Empire Road 3:25
06 Music In The Air 4:48
07 Allover This World (Money) 2:57
08 Rock 11:28
09 Break Down 7:47

Matumbi - Seven Seals (ogg 108mb)

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Digitally remastered version of this 1981 album by one of the masters of Dub and Reggae. The album contains a blistering array of styles, including afro beat, Skataliteish rhythm and blues, jazz and straight up soul. 16 tracks including 'Bettah' and the very popular title track. Nice transfer, but not a "digital remaster". The source material on this CD comes from an LP, not the original master tapes. There are fragments of this album available on various collections and those are taken from the original tapes. In all, a landmark recording of Bovell and a good example of genuine reggae. The tracks “Living In Babylon”, “Runnin’ Away”, and “Chief inspector” can all be found, slightly re-mixed, on Bovell’s “Babylon Soundtrack” . Brain Damage really lives up to its name for mind-boggling dub wizardry.



Dennis Bovell - Brain Damage (flac  305mb)

01 Brain Damage 2:04
02 Bettah 3:09
03 After Tonight 2:55
04 Our Tune 3:03
05 Run Away 2:22
06 Heaven 5:20
07 Bah Be Lon 2:57
08 Bertie 3:26
09 Aqua Dub 2:03
10 Frea Stoil 3:03
11 Smouche 3:00
12 El Passoah 3:39
13 Chief Inspector 2:28
14 Ehying 4:25
15 Dutty 2:48
16 Cabbage 3:22

Dennis Bovell - Brain Damage (ogg 122mb)

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Decibel is a strong example of British reggae emerging as a distinct form -- it's not the Channel One or Studio One rhythm cops with a new melody or instruments flung on top, but a parallel roots sound from a different place and space. It's denser, with full basslines and the band playing longer melody lines than the 'Ja' norm that reflects the influence of U.K. pop. "The Grunwick Affair" and "Harmonizer Dub" show this isn't strip-down-and-drop-out dub so much as flesh-out and fill-in the middle with lots of little details floating through, and dub-wise studio tricks applied to the instruments (and the latter doesn't even work that well because the recording is so static).

"Dominion Dub" works off a melodic guitar hook and effects overkill on top before going to skipping-along-in-the-park reggae -- it gets down to bass and drums in a different way, while "Rowing" is pretty classic in its use of space and heavy reverb over a skeletal riff hook. Many tracks, like "Zombie Zones," are well-developed instrumentals with some dub touches (more than dub per se), and even "Zion Dub" is both fuller and edgier than the 'Ja' norm.

"Higher Ranking" starts with jazz-tinged guitar, and develops a sunny afternoon, easy skanking feel as sax trades off with the guitar -- it's a reminder of Bovell's finely honed pop sensibility. "Shi-cago" works harmonica into that sunny afternoon feel, and it makes for a very smooth transition into the strong melodica driving "None Jah Jah Children."

"Entebbe" works off phat skanks before a nice horn line adds the missing melodic link and a trombone solo takes over to carry it home, but then "Scientific" is all drums and dub-sonic weirdness. "Ah Fi Wi Dis" is classic dub with militant, triumphant horn surges, and ragged-but-right punctuation blats with Bovell's bass at the fore, while "Blood Ah Go Run" features vocals and plenty of effects on a pretty striking repatriation anthem.



Dennis Bovell - Decibel (More Cuts And Dubs 1976-1983) (flac 330mb)

01 The Grunwick Affair 4:02
02 Harmoniser Dub 4:25
03 Dominion Dub 3:30
04 Rowing 12" Version 6:59
05 Zombie Zones 3:58
06 Zion Dub 2:44
07 Higher Ranking
08 Ranking High 2:41
09 Scientific 2:56
10 Shi-cago 2:49
11 None Jah Jah Children (Melodica Version) 3:09
12 Uganda Crisis 2:23
13 Ah Fi Wi Dis 2:50
14 Entebbe 2:58
15 Blood Ah Go Run 3:35
16 Dub'er 2:52

Dennis Bovell - Decibel (More Cuts And Dubs 1976-1983) (ogg 128mb)

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Feb 18, 2013

RhoDeo 1307 The Rings 03


Hello,  I just want to say after watching a bunch of moonies marry eachother on the whimp of the widow of the deceased leader, how bizar. Reality made in consensus by the faithfully ignorant. What an odd species we are, any alien scientist would have his work cut out to rapport on our many hard to comprehend ways I really think there are not that many planets out there with consciousneses as crazy as ours. Then again it maybe a sign of our infancy...

The coming months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Knife In The Dark ( 56:23  65mb)

301 At Weathertop
302 Sam's Songa
303 Aragorn Tells the Story of the
304 The Lord of the Nazgul
305 The Precious
306 Boromir's Dream

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previously

The Shadow Of The Past ( 56:23  64mb)
The Black Riders ( 56:23  64mb)

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Feb 17, 2013

Sundaze 1307


Hello, are you as bored with winter as i am? Watching those Brazilian Samba Schools parade by felt like why the hell am i not living there ? Wonderful country. So winter continuous here with unfortunately little sun.

Founder of Ultimae, composer, sound designer / audio mastering, Vincent Villuis aka AES Dana is also DJ for 20 years now.
 His marked liking for ambient music led him to mix in chill out all around the world (Ozora Festival, Glastonbury, Sonica, Fairy Tales, Synergy Project, Labyrinth, Boom Festival, Zoom, USA tour, No Man's Land, Cosmo Festival, Artmospheric Festival...)  Influenced by 70's floating music as well as deep Electronica & Trance, he offers two kind of dj sets: hypnotic and cinematic Ambient Music or Progressive Psy Techno. He always constructs his sets as stories, the chapters are opened and closed one by one. ..N'joy..

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AES Dana aka Vincent Villuis, composer and sound designer, Dj and co-owner of Ultimae records. Electronic activist since teenagehood, he was also one of the founding members of Asura. Bass player and singer in several coldwave and industrial bands, he then moved on to composing with machines. Specialised in sampling and layering of acoustic sounds digitally transmuted, Vincent Villuis creates a music which offers multiple listening possibilities. AES Dana brings a fusion between the British Progressive feel and the traditional American Space Music; with sounds anchored in the psychedelic realm freely flowing into a morning downtempo trance, IDM or smashed rhythms.

So far he has produced 5 solo albums, participated to about 3 dozen compilations and collaborated on three albums with Swedish artist Magnus Birgersson under moniker H.UV.A.Network.  After leaving Asura in 2001 Vincent released his debut Aes Dana album,Season 5 (02), followed by Aftermath (03) and Memory Shell (04) there was a twelve inch Manifold in 2007. He's been busy expanding his horizons and he's been rather busy these last years. He is the artistic director of Fahrenheit Project serie (Ultimae) In 2009, Vincent Villuis composed soundtracks for Science Fiction movie "The Passport" (Amund Lie) and "Atrophy Bank" (Sam Asaert) which should come out late 2009.

In June 2009 Aes Dana released Leylines which received many excellent feedbacks from the electronic scene. The album was ranked top 10 sales electronic music on Itunes USA and Top 5 on emusic. In 2009, Vincent Villuis becomes sponsored artist by TC Electronic. Vincent Villuis has been Official Resident for the Dominicains of Haute Alsace for 2009-2011 and currently works on compositions for a multi-diffusion installation. In 2011, he released Perimeters, rated as one of the best electronic music album of the year on various medias. Meanwhile his latest album, Pollen is out.

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Downtempo 'morning' trance with ambient passages and smooth textures among the beats. Packed with interesting ephemera such as ethnic hits, whales, whispering voices and electronic flutterings - Season 5 is at its best when straying farthest from its trance roots. Warbling analog cycles and bubbling sequences weave in and out among programmed grooves that are alternately as light as a feather and then throbbing with dance floor intensity.

Season 5, we are told is the "in-between season, the one which does not exist but can at times be perceived. It could be the Indian summer or the beginning of Spring, something contrasted and filled with unusual lights." Aes Dana evokes this 'season' with a fluid montage of waves slightly tribal beats and breezy atmospheres. Starting gently, this album grows slowly into a montage of mild pumping basses and downtempo sequences strung with samples and colourful seams until once again the tide ebbs away and the beats subside into a meandering ambience.



Aes Dana - Season 5 (flac  368mb)

01 Natti Natti 7:01
02 Peripherics 7:15
03 Season 5 8:46
04 Undertow 6:54
05 Gatewick (Vinyl Airport Delay) 7:37
06 Dew (Herbal Version) 6:18
07 Chrysalis 6:48
08 Onset Data (Ethereal Version) 7:23
09 Forest Fish 5:15
10 Suspended Grounds 5:37

Aes Dana - Season 5 (ogg  168mb)

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The expansive opening of the CD Aftermath - Archives of Peace (42'09") by AES Dana (aka Vincent Villuis) enshrouds the listener in a primordial atmosphere. With the air resonating from sustained synthetic choir, night sounds and the cloudlike drifting tones of native flute, the aural drama sets us up for the ensuing round of head bobbing and swaying as we happily keep in time with the distended and disconnected throbs of rhythm. And so goes this album, rising strongly and falling away easily - in a new tradition of tension and release. Throughout Aftermath, intelligent body beats yield to shifting synthscapes as commanding bass pulses ride beneath arpeggiated triads that twinkle on-and-off, in-and-out, like star's in the night sky and ultimately cascade back down to concentrated moments of sonic density where tonality speaks to a deeper intentionality. Loaded with arcane symbolism, intricate aural tricks and dense layers of meaning, Aftermath manages to retain a harmonic warmth and rhythmic sensibility. Unapologetically optimistic in parts, this album also leads the listener into more meditative and darker spaces as well - exploring the philosphical interplay between reality and artifice.



Aes Dana - Aftermath (flac 206mb)

1 Aftermath # 01 7:53
2 Aftermath # 02 6:32
3 Aftermath # 03 8:01
4 Aftermath # 04 4:04
5 Aftermath # 05 5:27
6 Aftermath # 06 6:12
7 Aftermath # 07 3:55

Aes Dana - Aftermath (ogg 93mb)

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Passionate, dreamy, ultra-modern, atmospheric downtempo. Memory Shell has a fragile beauty that is unmatched in this genre - delicate, relaxing ambience threaded through with organic warmth. Whispering voices tell enigmatic stories, heartbeats, shells, the sounds of the sea swirl like scented mists in the air, whilst gentle electronic structures breathe in and out alongside evolving beats and warbling synths. There is a cinematic space created across this album, unfolding imaginary landscapes that feel at the same time as intimate as your own body sounds yet hauntingly desolate and unfamiliar.

Light, breezy and ephemeral yet rooted and solid, Memory Shell has all the melancholy, wistfulness of a deserted beach. Undulating soundscapes and flickering, skittering beats are adorned with hanging shells, electronic hisses, radio interference and lonely voices. There are plenty of beatless interludes and chilled airy grooves among passages where pulsing basses and bright beats pump with occasional tribal hits and sampled noise.

This album was a year in the making – and it shows! Or sounds rather: Everything just oozes quality – from the rich, extremely well-polished production to the beautiful packaging and the very impressive booklet… Every track has its own page with credits and stunning, art-photo's… If you’re looking for some of the finest, most well-produced and soothing ambient and subtle downbeat morning trance – look no further… This is an ambient/downbeat journey, that will stick …



Aes Dana - Memory Shell (flac 384mb)

01 Chernozem  (Vc Mahiane) 3:24
02 Iris Rotation (Vc Mahiane) 6:20
03 Dusts 7:15
04 Opalin 7:12
05 Memory Shell (Vc Mahiane) (Lost Radio E-dit) 8:50
06 Haze 7:42
07 Shouting Valley 4:52
08 Cities Update 5:53
09 Sub Morphing 5:50
10 Grounds Around 4:10
11 Aural Planet - Exposure (Aes Dana Rmx) 6:28
12 Chernozem (Closing) 3:08

Aes Dana - Memory Shell (ogg 174mb)

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previously with re-upped flacs

Asura – Code Eternity (flac 383mb)
Asura – Code Eternity (ogg 154mb)

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