Oct 31, 2013

RhoDeo 1343 Goldy Rhox 132

Hello, today the 132nd post of GoldyRhox, classic pop rock, in the darklight an American rock musician, songwriter, and photographer (born March 2, 1942) who already made a name for himself in. He is best known as guitarist, vocalist, and principal songwriter of Andy Warhol's Factory band, and for his solo career, which has spanned several decades. Though the Velvet Underground were a commercial failure in the late 1960s, they gained a considerable cult following in the years since its demise and has gone on to become one of the most widely cited and influential bands of the era. After his departure from the group, he began a solo career in 1971. His first solo effort went south somewhat, but his second hit the sweet spot, thanks to the hit "Walk on the Wild Side" (Goldy Rhox 11) . Subsequently he largely lacked the mainstream commercial success his status seemed to indicate. In 2008, celebrating their 10 year partnership, he married performance artist Laurie Anderson. Last sunday he died age 71 after complications with his livertransplant (a consequence of Hepatitus C illness), He's not known to have had any children, instead he left us plenty of music and sharp observations.....

Sunday morning, praise the dawning It's just a restless feeling by my side Early dawning, sunday morning It's just the wasted years so close behind

Watch out, the world's behind you There's always someone around you who will call It's nothing at all

Sunday morning and I'm falling I've got a feeling I don't want to know Early dawning, sunday morning It's all the streets you crossed, not so long ago

This is how he introduced himself to the world, and this is how he said his final goodbye this sundaymorning

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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 sixth studio album by the artist released December 1975.  Here the songwriting began to move into warmer, more compassionate territory, and the result was his most approachable album since Loaded. On most of the tracks, the band back down to guitar, bass, and drums, and the results were both leaner and a lot more comfortable. "Crazy Feeling," "She's My Best Friend," and "Coney Island Baby" found him actually writing recognizable love songs for a change, and while he pursued his traditional interest in the underside of the hipster's life on "Charlie's Girl" and "Nobody's Business," he did so with a breezy, freewheeling air that was truly a relief after the lethargic tone of Sally Can't Dance. "Kicks" used an audio-tape collage to generate atmospheric tension that gave its tale of drugs and death a chilling quality that was far more effective than his usual blasé take on the subject, and the title song was the polar opposite, a song about love and regret that was as sincere and heart-tugging as anything the man has ever recorded. The album sounds casual on the surface, but emotionally it's as compelling as anything our artist released in the 1970s, and proved he could write about real people with recognizable emotions. No wonder then i heard two writers praise this album this album this week, in their reflections on his work.This has been a favorite of mine and the remastering here really makes the album stand out, on top of that 6 extra tracks 3 of which brand new, go and get your kicks....



Goldy Rhox 132   (flac 394mb)

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Oct 30, 2013

RhoDeo 1343 Aetix

Hello,  as the storm past through N.W Europe it knocked out powerlines, railconnections, thousands of trees, a dozen lives. Quiet a breeze then, most interesting aspect was that for many a metropolitan dweller nature came calling in a way that rarely happens any more. but then in a few days we'll have forgotten all about it.  In the US the security mob had their godfathers proclaim how their total spying had prevented another 9/11, come again ? They were instrumental in 9/11 and i'm sure they could easily create another. The questioning members of congress showed their complicitness or mindboggling naivity. The US is spying not for security but to keep their multinational gangsters on top be that in industry, computer soft /hardware, the banking sector and Wallstreet and that's why their 'friends' feel shafted big time and if the US didn't have such a ridiculously large militairy industrial complex, these acts would have led to war. I still think a total boycott of the US should be the appropriate respons.

As we continue the females in the eighties, today one more time for the grandma of rock chics , she's just 2 years younger than grandpa Jagger, but she's been touring plenty this last decade (far more than the grandpa) supported by a band that have been close over the decades. She's a good soul in a world of make believe, before the pain struck her band they produced 6 succesful albums  N'joy

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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. That year, Jimmy Destri left the group in order to deal with drug addiction, leaving Harry, Stein and Burke as the only members of the original line-up still with the band. Though Destri's stint in rehab was successful, he was not invited back into the band. 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.

October 2009, the band began recording sessions for their ninth studio album with producer Jeff Saltzman in Woodstock, New York. After playing with the band for over a decade, both Leigh Foxx (bass) and Paul Carbonara (guitar) were elevated to official membership status with Blondie; keyboard player Matt Katz-Bohen, who had replaced Destri, was also made on official member, making Blondie a six-piece band. The new album, titled Panic of Girls was finally released May 2011, after  the support "Endangered Species Tour" of 2010 had finished their label Sony clearly lacked faith and or money to push them back into the limelight. The band continued to tour regularly into 2012. A concert in New York City was streamed live on YouTube on October 11, 2012. The same week, the band listed three previously unreleased songs recorded during the Panic of Girls sessions ("Bride of Infinity", "Rock On", and "Dead Air") were made available for free download

In June and July 2013, the band held a Blast Off Tour of Europe, with their tenth album Ghosts of Download to follow in Autumn 2013, accompanied by a US tour, the No Principals Tour. The first single from Ghosts of Download was released June 24 2013 as A Rose by Any Name. It was reported on 28 July 2013 that Blondie were to disband after a 2014 World Tour, due to Debbie Harry's age and health, this was later denied by the band and Debbie Harry. Meanwhile the release of their tenth album Ghosts of Download has been postponed to 2014.

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Just as Blondie's second album, Plastic Letters, was a pale imitation of their self-titled debut, Eat to the Beat, their fourth album, was a secondhand version of their breakthrough third album, Parallel Lines: one step forward, half a step back. There was an attempt, on such songs as "The Hardest Part" and "Atomic," to recreate the rock/disco fusion of the group's one major U.S. hit, "Heart of Glass," without similar success, and, elsewhere, the band just tried to cover too many stylistic bases. "Die Young Stay Pretty," for example, dipped into an island sound complete with modified reggae beat (a foreshadowing of the upcoming hit "The Tide Is High"), and "Sound-a-Sleep" was a lullaby that dragged too much to be a good change of pace. The British, who had long since been converted, made Eat to the Beat another chart-topper, with three major hits, including a number one ranking for "Atomic" and almost the same success for "Dreaming," but in the U.S., which still saw Blondie as a slightly comic one-hit wonder.



Blondie - Eat To The Beat  (flac 401mb)

01 Dreaming 3:06
02 The Hardest Part 3:41
03 Union City Blue 3:21
04 Shayla 3:58
05 Eat To The Beat 2:40
06 Accidents Never Happen 4:13
07 Die Young Stay Pretty 3:34
08 Slow Motion 3:28
09 Atomic 4:39
10 Sound-A-Sleep 4:16
11 Victor 3:17
12 Living In The Real World 2:44
Bonus
13 Die Young Stay Pretty (Live BBC) 3:25
14 Seven Rooms Of Gloom (Live BBC) 2:46
15 Heroes (Live) 6:16
16 Ring Of Fire (Live) 3:30
 
Blondie - Eat To The Beat  (ogg 135mb)

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The basic Blondie sextet was augmented, or replaced, by numerous session musicians (including lots of uncredited horn and string players) for the group's fifth album, Autoamerican, on which they continued to expand their stylistic range, with greater success, at least on certain tracks, than they had on Eat to the Beat. A cover of Jamaican group the Paragons' "The Tide Is High," released in advance of the album, became a gold-selling number one single, as did the rap pastiche "Rapture," but, despite their presence, the album stalled in the lower half of the Top Ten and spent fewer weeks in the charts than either of its predecessors. One reason for that, admittedly, was that Chrysalis Records pulled promotion of the disc in favor of pushing lead singer Debbie Harry's debut solo album, KooKoo, not even bothering to release a third single after scoring two chart-topping hits.



Blondie - AutoAmerican  (flac 483mb)

01 Europa 3:31
02 Live It Up 4:08
03 Here's Looking At You 2:58
04 The Tide Is High 4:40
05 Angels On The Balcony 3:47
06 Go Through It 2:40
07 Do The Dark 3:50
08 Rapture 6:29
09 Faces 3:48
10 T-Birds 3:57
11 Walk Like Me 3:45
12 Follow Me 3:01
Bonus
13 Call Me (Original Long Version) 8:05
14 Suzy & Jeffrey 4:07
15 Rapture (Special Disco Mix) 9:59

Blondie - AutoAmerican   (ogg 166mb)

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Autoamerican was Blondie's last real album (until their 1999 reunion with No Exit), after which the band collapsed in legal problems and solo aspirations. The Hunter was only made because they still owed Chrysalis an album on their contract, and it sounds like the obligatory record it was. "Island of Lost Souls" (the album's only U.S. singles chart entry and, in fact, the only song released as a single in the U.S.) was a try at remaking "The Tide Is High," while "The Beast" tried to re-create at least the rap section of "Rapture." "War Child," which made the U.K. Top 40, was a dance rock effort in the style of "Call Me," and one of two somewhat autobiographical Debbie Harry lyrics, along with "English Boys." (Harry wrote all the album's words except for those to keyboard player Jimmy Destri's "Danceway" and the cover of the Marvelettes' 1967 hit "The Hunter Gets Captured by the Game," which was written by Smokey Robinson.) "For Your Eyes Only" had been intended as the theme song for the 1981 James Bond film, but rejected (rightly) in favor of a competing entry that went on to become a Top Five hit for Sheena Easton. Blondie was always a band with ideas -- musical, lyrical, and visual -- but The Hunter found them running short conceptually as well practically. It would be the end for the next 17 years.



Blondie - The Hunter  (flac 344mb)

01 Orchid Club 5:45
02 Island Of Lost Souls 4:43
03 Dragonfly 6:01
04 For Your Eyes Only 3:07
05 The Beast 4:54
06 War Child 4:01
07 Little Caesar 3:01
08 Danceway 3:19
09 (Can I) Find The Right Words (To Say) 3:07
10 English Boys 3:49
11 The Hunter Gets Captured By The Game 3:45
Bonus
12 War Child (Extended Version) 7:59

Blondie - The Hunter (ogg 130mb)

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Oct 29, 2013

RhoDeo 1343 Roots

Hello, we still find ourselves in an environment that gave rise to the worlds monotheistic religions be that on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water useally tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes. And the moon became their God.

Today more from Mali, after all it has one of the most intensely musical cultures in all Africa. Today's artist   " ... Never really breaks into a sweat, in fact barely shifting his gentle grin for a moment, he will break out these terrifyingly complex solos somehow conjuring notes from God knows where. The ngoni he plays only has three strings, how he does what he does remains a total mystery." "Kouyate" translates (more or less) "There's only one like you!" and here today we've got two of them, yeh! ......N'joy

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Bassekou Kouyaté is seen as the world's best n'goni player. He was born in Garana, Barouéli Cercle, 60 kilometres from Ségou in 1966. He grew up in a traditional family of musicians, his mother Yagaré Damba was a praise singer, his father Moustapha Kouyaté and his brothers were n'goni players. When he was 12 years old, he was already mastering the n'goni lute, and in 1979, when his father was ill, Bassekou accompanied his mother on n'goni during her tour in Côte d'Ivoire and Burkina Faso. From 1983, he worked with Nainy Diabaté's husband and guitar player Cheick Oumar Diabaté. Together, they accompanied, besides Nainy, also other singers such as Tata Bambo Kouyaté.  In the late 80's he moved to the capital Bamako, he met Toumani Diabaté with whom he recorded on two albums and toured extensively in West Africa.

After a Banjo Festival in Tenessee, Bassekou got acquainted with Taj Mahal with whom he recorded together. His name was rising and increasingly he is invited to play with numerous artists, in Mali, for instance with Keletigui Diabaté, Ali Farka Touré, Cheick Tidiane Seck, but also on an international level: Bassekou has played and/or recorded with Carlos Santana, Jackson Brown, Bonnie Raitt...

In 2003, he created his own group, Samagéra, together with his wife Amy Sacko, balafon player Lassana Diabaté, Adama Diarra (djembé) and Fousseyni Kouyaté (bass n'goni). He performed in Holland and Belgium in 2005. With his current band, renamed into Ngoni ba, he recorded a long awaited first album, « Segu Blue », out in March 2007. The album features guest musicians Zoumana Tereta, Lobi Traoré and Kassemady Diabaté and is already a classic.

The follow up, the 2009 « I Speak Fula », was nominated for a Grammy Award and in 2013 he released a new album, Jama Ko,  recorded in March 2012, just when the military putsch took place in Mali, an event which was the beginning of a period of crisis in the country, Jama ko (‘big gathering of people’) is a call for unity, peace and tolerance in a time of crisis.. The political situation gives the album a sense of urgency that was felt. On the album he is accompanied by his two sons Madou and Moustafa Kouyaté, and with featurings by Khaira Arby, Zoumana Tereta and Taj Mahal.

Kouyaté's wife, Amy Sacko, is also a successful solo artist and sings lead in his band. Earlier this year Kouyate, together with wife Sacko and Ngoni Ba, appeared at The 2013 Proms.

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The West African lute called the ngoni is a little akin to its descendent, the banjo. In music from the region, it is often employed as part of groups with additional instrumentation. Bassekou Kouyate, who's worked with many Malian greats, takes it out of this context by leading a band with no less than four ngonis and producing some of the loveliest music to come from the area in recent years. Some of it is quite dramatic, like the opener, "Tabali Te," but for the most part there is a gorgeous, lulling gentility to everything. The material is all original, but with a traditional spirit and with much derived from the repertoire of the griots. The big exception is "Lament for Ali Farka," an elegy to Kouyate's late employer, the great Malian guitarist Ali Farka Touré. Another local guitar player, Lobi Traoré, is featured on "Banani," and singer Zoumana Tereta is a guest on several cuts, showing off a very impressive voice. Put it all together and you have a disc that's nothing short of stunning.



Bassekou Kouyate & Ngoni Ba - Segu Blue (flac  372mb)

01 Tabali Te 1:46
02 Bassekou 3:21
03 Jonkoloni 5:05
04 Jura Nani 5:41
05 Mbowdi 5:19
06 The River Tune (Instr.) 3:15
07 Andra's Song 4:20
08 Ngoni Fola 4:15
09 Banani 3:39
10 Bala 5:56
11 Segu Tonjon 3:55
12 Sinsani 5:57
13 Lament For Ali Farka 5:52
14 Segu Blue (Poyi) 4:16

Bassekou Kouyate & Ngoni Ba - Segu Blue (ogg 153mb)

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The ngoni, a four- or seven-stringed lute, is transformed by Kouyate's techniques. He has added strings, introduced new picking techniques and is unafraid to break out a wah pedal with surprisingly noisy results.

Drawing from Bamana folklore, Kouyate and his band Ngoni Ba supercharge their rhythms: even with a calabash as the main percussive force, theirs is a deep and commanding groove. The disc is even more irresistible thanks to the contributions of fellow experimentalists Toumani Diabate on kora, and Vieux Farka Toure on guitar, who both produce spellbinding melodic statements.

Though Kouyate is a griot (oral historian/musician), his unconventional approach pleases older generations. "In fact, I've never heard criticism or any reaction that was less than positive about these innovations!" he exclaims. "The old griots, guardians of the ngoni musical tradition, have congratulated me for bringing attention to this music, which was starting to die out." Kouyate is excited by the giant step up in exposure this new album represents: "I Speak Fula was a huge challenge, and I definitely felt it. But we're all professionals who have played this music since childhood, so the challenge was also a pleasure. I look forward to meeting open-minded audiences who have a real taste for African music."



Bassekou Kouyate & Ngoni Ba - I Speak Fula (flac 321mb)

01 I Speak Fula 3:37
02 Jamana Be Diya 4:56
03 Musow - For Our Women 5:23
04 Torin Torin 4:45
05 Bambugu Blues 5:03
06 Amy 4:29
07 Saro 3:46
08 Ladon 5:27
09 Tineni 4:52
10 Falani 5:42
11 Moustapha 5:06

Bassekou Kouyate & Ngoni Ba - I Speak Fula (ogg 150mb)

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Affectionately known as "President", Diely Moussa Kouyaté prefers his claim to being a "Griot", and as longtime guitarist for Salif Keita he steps out for his scond vibrant solo album.

Belonging to the cast of troubadours and story-tellers from the Mandingo region Senegal, Gambia, Guinea, Burkina, Mali, parts of the Ivory Coast, Ghana, Liberia and Sierra Leone, (in other words the former Mali empire), a cast who were the heirs to the collective memory, and who shared a single mission: going from village to village, and spreading the idealised, romanced story of the thousand and one exploits of their masters, who were nobles, princes and warriors."I come from the great Kouyaté family from Kouroussa in Guinea. For eighty generations we have represented the most famous Griot dynasty in the entire Mande region. Oral traditions and music are overflowing in our daily life. My father, Sidiki Kouyaté, and my mother, Kankou Kouyaté, contributed to the foundation of the Mali Instrumental Ensemble."

"I came to music naturally, I didn't have to chase it. It's been in my veins since I was conceived. When I was 16 I decided to make it my career." Diely, who had already mastered the sitar and the balafon, took up the guitar. He was extremely gifted, and had been born with an astounding ear; he rapidly became one of the finest musicians in western Africa, and was sought-after for his unique propensity in reproducing a huge number of disparate sounds on his instrument. His technique was amazing, and he had an extraordinary gift for rhythm: he could align triplets and sevenths so quickly that they gave him a second nickname, the "Mandingo pressure-cooker".

His playing was limpid, and stunning in its virtuosity, with loose, fluid fingering - sometimes reminiscent of a Carlos Santana or George Benson (whom he incidentally admires enormously, as much as James Brown) - and Diely visited most of the capitals in western Africa, appearing on more than a hundred recordings. He has also left his mark on at least three-quarters of the African music recorded in Paris over the past decade.

Guitarist Diely Moussa Kouyaté began his career at Bamako, Mali, first with the 'Messagers' of Madane Sanaké (1969-1972), and then with the great singer Kassé Mady Diabaté (1972-73). For the next seven years he set fire to the rhythm section of the Bamako Rail Band, which used to be the star-attraction at the 'Hotel de la Gare' (in those days, each hotel in the Mali capital had its own house-band).

From 1987 to 1989, Diely Moussa lived in Abidjan in the Ivory Coast, playing in the group of his friend Babadjan Kaba and participating in dozens of recordings with his brothers Diely Mory Kouyaté (called the "old man"), Motou Kouyaté and Fodé Djiguiba Kouyaté.

In 1988 he landed in Paris. The occasion was a studio recording with Nahawa Doumbia (for Africando Productions, a pan-African/salsa collective). His incomparable mastery of Mandingo rhythms subjugated everyone who heard him, and word-of-mouth soon led to offers from studios around Paris, producers such as Camara Kall, and many other artists. So much so that he decided to settle in the French capital. His first record, "Kankou Moussa", was released in 1994. Produced by Diapy Diawara for Bokibana Productions, it was a traditional recording and as such, it had great success in the specialist sector. In 1999, Diely, who also accompanied (at last) Mory Kanté on record for several years, inherited the official title (a heavy role and none the less honourable for it) of "rhythm guitarist" (the real pivot of the orchestra) with Salif Keita.

Recorded in ten days at the 'Studios de la Seine', Sebe Ayale in 2002 his first solo record is jubilant and festive, and was conceived as an anthology of the multiple talents of Diely Moussa Kouyaté - skilled composer, inspired arranger, accomplished instrumentalist, modernist steeped in tradition, first-rate swing-artist and such a glorious promoter of groove.... Sebe Ayale is a multicoloured, powerfully federative album that can only make today's morals more beautiful. They sorely need it.

There was a sizeable gap before his second album, Le Temps arrived, as he toured relentlessly around the world, also recording with many artists. This all took much of Kouyaté’s time before he was able to compose and record new songs. This is where we can find his ‘goodfellas’ – those of Salif Keita, Kante Manfila, Kemo Kouyaté, Abdoulaye Diabaté, Amadou Sodia, Mamani Keita, Manian Demba, Ousmane Kouyaté, Ibrahim Somano.





Diely Moussa Kouyate - Le Temps   (flac  362mb)

01 Iden 4:16
02 Je Sais 5:05
03 Na Kankou 6:51
04 Ketow 4:29
05 Tugna 4:37
06 Siguiri 4:22
07 Na Fonié 4:33
08 Kenani Foli 3:47
09 Le Temps 2:46
10 Na Toma 3:53
11 Doukouren Mousso 4:09
12 Siya 6:47

Diely Moussa Kouyate - Le Temps    (ogg 143mb)

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Oct 28, 2013

RhoDeo 1343 Aliens 4

Hello, well I hope you enjoyed the sunday, Vettel in the end cruised to victory once more, non of the other hotshots (Alonso, Hamilton, Raikonnen) wanted to be near the podium, having to shoulder the new World Champion. That task fell to Rosberg and Grosjean whom i feel will be Vettel's main opponents next season. The hotshots reckon too much the complete mechanical haulover for next season's car will favor them. Sad news today, one of the grand old men of rock has died, he sat at the cradle of The Velvet Underground, he's released 22 solo albums, kept looking for the edge of things, was married to Laurie Anderson and drew his last breath today. How better to honour the man with an almost 2 hour long live album from his 69 heyday, Velvet Underground Live With Lou Reed or In Ogg . Rest in peace Lou, and thank you for your words and the music.


The coming weeks a six-part BBC radio drama starring none other than Peter Cushing and Vincent Prince, who between them became two of the most famous horror film stars of the 1950s and 1960s. "Aliens in the Mind" is based on a story by the then-foremost "Doctor Who" script editor Robert Holmes. It centres around the discovery, on a remote Scottish island, of a community of 'human mutants' capable of telepathy. A plan is in place to use them to control the British Government, and friends Curtis Lark (Vincent Price) and Hugh Baxter (Peter Cushing) join forces to combat them.  ... NJoy

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Aliens in the Mind began life as a submission for Doctor Who in the late 1960s by the now legendary Robert Holmes.  Initially titled Aliens in the Blood, it would have featured the second Doctor, Jamie, and presumably Zoe. For various reasons,  the script was never  picked up, but several years later its outline was, and used  to form the basis of this radio serial. Holmes was apparently unable to write the script himself, and it was instead handled by one Rene Basilico - although, having been unable to find any further information on this individual, he may be a pseudonym for all I know.

Rewritten in its entirety, the story is centred  around two academics, Professor Curtis Lark and  John Cornelius,  who are  played by two absolute legends of horror and sci-fi. The more stoic and mild-mannered Cornelius is played by movie Doctor Peter Cushing, while  his witty American parapsychologist  foil  is voiced by Vincent Price. Cushing is, of course, perfect in his role as a gentlemanly surgeon, while Price is as wonderfully fruity and sardonic as ever. The duo are old acquaintances, reunited when their friend, Dr Hugh Dexter, is killed under mysterious circumstances.

Travelling to the remote Hebridean island of Lerwigh, the doctorish duo find that Dexter’s death is just one part of a far greater mystery. For the Lerwigh is plagued by something known as ‘island sickness’ - a strange affliction that affects the locals minds in their teens. Further investigation reveals that this is merely the maturation stage for a race of mutants - human anomalies with telepathic tendencies. Tendencies that even they, for the most part, are unaware of. They’d be harmless were it not for the occasional second-stage mutation, the so-called Controllers or Masters, who have the ability to psychically control the main mutant populace.

Uncovering the signs of a conspiracy, the pair take the young Flora (Sandra Clarke) away for examination. To all appearances, she is nothing more than a mentally-disabled young adult, but is, in fact, a budding Controller, able to call her fellow mutants from anywhere within a mile radius to obey her every command. In London, they discover that the emigration from Lerwigh has created a greater threat to humanity than they could ever have realised.

It’s a slow-paced drama, concerned with gently racking up the tension rather than providing action and thrills. It’s perhaps  too slow at times, dragging in the middle episodes, although continual revelations and plot developments maintain interest. Cushing and Price dominate a fair-sized cast, their voices always distinct against the array of Scots accents. Scenes which have them simply sitting down to dinner are used to summarise the plot, with  just  a smattering of banter to  help  keep it diverting. There are flashes of Holmesian wit, but the dialogue does sometimes slip into dry exposition. Nonetheless, the tension gradually mounts to a chilling finale, which manages to tie up the immediate threat, while leaving the ending open to the greater consequences. Who fans will enjoy hearing Richard Hurndall in the cast, bringing two substitute first Doctors together. There’s some subtle but effective sound work, including some very restrained gunshots, but the main strength of the play lies in Price and Cushing’s earnest depiction of the concepts, which take in telepathy; hypnotism; slavery; politics; and eugenics.

This renowned production from 1976 is sure to delight fans of science fiction, archive radio, horror films and "Doctor Who." Six episodes of 30 minutes each - First broadcast in 1977.

With:
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Peter Cushing
Vincent Price
Sandra Clarke

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Aliens in the Mind - 04 Official Intercessions (25mb)

04  Official Intercessions 27:24

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Previously

Aliens In The Mind 01 Island Genesis (25mb)
Aliens in the Mind - 02 Hurried Exodus (25mb)
Aliens in the Mind - 03 Unexpected Visitations (25mb)
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Oct 27, 2013

Sundaze 1343 Halloween

Hello, so Vettel starts on pole again, but has opened the door to Webber as he's got the longer run start upfront, Vettel rode an unnecessary laprecord he'd certainly been front row on the slower hard tire, could be an interesting race tomorrow. Last week i promised some Guthrie Budd but i forgot about Halloween this week, i will get to them later. Halloween what started out as a time to honour the departed and forefathers has been transformed by the US into a feast of fear. Fear and greed, the words that have defined the US these last decades.

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Today's artist's specialty is making scary, atmospheric Halloween/gothic horror music that they call "soundtracks for the imagination" or "soundtracks to imaginary films", where the listener can picture a haunted world of their own creation by using their imagination.... ... N'Joy

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Composer/filmmaker Edward Douglas formed Midnight Syndicate in 1996 shortly after releasing a micro-budget, direct-to-video horror film called The Dead Matter (1996) which he directed and scored and would later remake.[2] Midnight Syndicate's self-titled debut album was released the following year. A majority of music on the album was written, arranged, and performed by Edward Douglas. Contributors included Scott Angus, Mark Rakocy, Dennis Carleton, Jamie Barbour, Ray Portler, the rap act Dark Side, and Christopher Robichaud. Douglas coined the term cine-fusion to describe the album. Cine-fusion is described in the album's liner notes as "a blending of movie soundtrack music and pop music... a compilation of soundtracks to movies that do not exist. The goal of the music is to stimulate the imaginations of listeners so that they are able to transport themselves to worlds or movies of their own creation."

In 1998, Douglas teamed up with gothic fantasy artist Joseph Vargo, and the two decided to create an exclusively dark-themed instrumental Midnight Syndicate album. Vargo developed the storyline and concept of a musical journey through a haunted castle, with the music reflecting his gothic artwork. Composer Gavin Goszka, formerly a solo artist in a project called Lore, also joined Douglas and Vargo in the new Midnight Syndicate line-up. Together, they created Born of the Night, a groundbreaking album that appealed to fans of gothic music, the horror genre, and haunted attractions. Douglas and Goszka wrote and performed the music on the album while Vargo served as executive producer and creative director of the project, as well as writing and performing the vocals and narrations, and designing the cover art and packaging. The album and songs were also titled after several of Vargo's most popular paintings. Born of the Night was independently released in September 1998 through Vargo's Monolith Graphics and Douglas' Entity Productions, hitting the horror market just in time for the Halloween season. It was Midnight Syndicate's first critically acclaimed gothic-horror soundtrack and proved to be an instant success, establishing Midnight Syndicate's trademark sound.

In March 2000, Realm of Shadows followed suit with the same flavor of dark instrumental music and another gothic setting. Douglas and Goszka wrote all of the music for this album while Vargo wrote and performed the opening narration and theme story. Again, the songs were titled after Vargo's artworks. Both albums were featured as official soundtracks for Universal Studios' Halloween Horror Nights, and used in several other major theme parks during Halloween, such as Busch Gardens, Cedar Point and Thorpe Park's Fright Nights event.

Midnight Syndicate's third gothic horror soundtrack, Gates of Delirium, was released in 2001. This time Douglas and Goszka teamed up with two members who worked on the first Midnight Syndicate CD, Mark Rakocy (graphic design) and Christopher Robichaud (vocals). Set in a Victorian haunted mental institution called Haverghast Asylum, Gates of Delirium was the first Midnight Syndicate disc to feature the fictitious Haverghast family, a theme the band would revisit on future discs such as The 13th Hour. Gavin Goszka has since called Gates of Delirium "a personal favorite" from the Midnight Syndicate library.

During the 2001 Halloween weekend, six of the band's mp3 singles were in the Top 20 for all of MP3.com (#1, No. 2, No. 7, No. 10, No. 12, and No. 19) registering over 100,000 listens in three days. The title track from Born of the Night remained at No. 1 for over a week with two tracks from Gates of Delirium maintaining their positions in the Top 40 as well.

In August 2002, the band released their fifth studio album Vampyre. The vampire-themed disc was the first Midnight Syndicate disc to feature a cover designed by fantasy artist Keith Parkinson. By this time, the band's popularity with role-playing gamers who used their discs as background for their sessions had grown to where they were exhibiting at gaming conventions. It was at one of these conventions that the band was approached by designers from Wizards of the Coast. The result was 2003's Dungeons & Dragons: Official Role-playing Soundtrack, the first officially-licensed soundtrack to the classic roleplaying game of the same name. The album (whose fantasy themes were a departure from previous releases) was generally well received by music critics and the gaming community and helped the band build their following in Europe.

In August 2005, the band returned to darker themes with their seventh CD entitled The 13th Hour. Featuring vocal effects by Lily Lane of the horror-rock band Lazy Lane and cover art by Keith Parkinson the disc is set in a haunted Victorian mansion and features tracks like: Fallen Grandeur, Grisly Reminder, and Family Secrets. Out of the Darkness (Retrospective: 1994–1999) was released in 2006 and featured re-recorded versions of tracks from Midnight Syndicate, Born of the Night, and Realm of Shadows, along with some of Edward Douglas’ early horror film scores including The Dead Matter (1995)

In early 2007, the band temporarily shifted from creating "soundtracks to imaginary films" to composing music for actual projects when they completed the score to Robert Kurtzman's, The Rage and wrote music for Universal Orlando's Halloween Horror Nights 17's Carnival of Carnage. The Rage: Original Motion Picture Soundtrack was released in February 2008. In September 2007, Douglas had returned to filmmaking as director, co-producer, and composer of an updated remake of his 1995 horror film, The Dead Matter. During this time, Gavin Goszka started a solo project called Parlormuse which featured Victorian era songs re-recorded in a modern folk rock style.

In August 2008, the band released The Dead Matter: Cemetery Gates, a CD of music inspired by the themes from the new The Dead Matter movie. Midnight Syndicate's first two music videos were made for the songs Dark Legacy and Lost from the disc. In the finale of the music video for Dark Legacy, Edward Douglas and Gavin Goszka are shown playing on stage at the historic Phantasy Theatre in Cleveland, Ohio. It marked the first time they had played together live.

On July 30, 2010 The Dead Matter movie was released on DVD along with a Midnight Syndicate "greatest hits-style" compilation CD called Halloween Music Collection and an EP entitled The Dark Masquerade featuring gothic artist Destini Beard performing operatic vocals and lyrics to various Midnight Syndicate recordings. The Dead Matter: Original Motion Picture Soundtrack was also released on July 30. The CD featured the score by Edward Douglas, other music that appeared in the film, and several remixes of Midnight Syndicate tracks by other artists.

In August 2011, the band released its fourteenth studio album, entitled Carnival Arcane. The theme of the album surrounds a fictional turn of the century traveling circus called The Lancaster Rigby Carnival. It was inspired by research into carnivals of that time period and Ray Bradbury's Something Wicked This Way Comes. In 2012, the album won the Best CD category in the 2012 Rondo Hatton Classic Horror Awards.

In February 2013, the band's song Into The Abyss from Out of the Darkness was featured as an outtro on the Misfits live album, DEA.D Alive. In 2012, the band scored the horror creature feature film, Axe Giant: The Revenge of Paul Bunyan. The film is a dark contemporary take on the legend of Paul Bunyan and premiered on the Syfy Channel in June of 2013. In July of 2013 the band released a new studio album entitled Monsters of Legend. Featuring images from Bride of Frankenstein and Werewolf of London on the cover, the album was influenced by classic Universal Monsters, Hammer Films, Amicus Productions, and Euro Horror films from the 60's and 70's as well as composers like James Bernard, Bernard Herrmann, and Max Steiner.

On September 11, 2009, AOL Radio released a list of the Top 10 Best Halloween Music CDs as ranked by AOL/CBS Radio listeners. Three of the ten CDs were Midnight Syndicate discs (Born of the Night No. 8, Realm of Shadows No. 4, and Vampyre No. 3), ranking behind Danny Elfman's The Nightmare Before Christmas and John Carpenter's Halloween soundtrack.

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fter the 1997 lack-luster release of their multi-genre self-titled first CD, Midnight Syndicate and founding member Ed Douglas added the talents of Gavin Goszka and Joseph Vargo. The trio "turned to the dark side," and concentrated their efforts toward nurturing the sound that has made the group what it is today- the premier purveyor of gothic atmosphere music. The result was the wonderful "Born of the Night."

You either love the genre, or hate it. And call it what you will- Nightmare Soundtracks, Gothic Soundscapes, or Halloween Haunt Music, all describe Midnight Syndicate's work. It is both richly orchestrated and roughly dynamic, soothing and chilling, a sweet sorrow and a terrible foreboding. It is a living, breathing entity that can be a fond memory of a departed friend, or a demonic serpent coiled to strike. This album doesn't support a movie, but the music certainly can spur your imagination to create scenes and characters to go along with it!



Midnight Syndicate - Born Of The Night (flac  209mb)

01 Premonition 2:35
02 Darkness Descends 2:00
03 Born Of The Night 3:15
04 Lost Souls 1:21
05 Dark Tower 3:17
06 The Apparition 1:07
07 Gargoyles 2:49
08 Lurking Fear 1:02
09 Shadows ("Dark Folk '98") 3:06
10 Whispers 0:27
11 Solemn Reflections 2:51
12 Haunted Nursery 2:48
13 Woe 1:35
14 Masque Of Sorrow 2:08
15 Requiem 2:58
16 Dungeon 0:58
17 Something Wicked 3:13
18 Vampires Kiss (Theme To "The Dead Matter") 2:20
19 Nightstalker 2:44
20 Midnight 1:26
21 Forbidden Crypts 2:12

Midnight Syndicate - Born Of The Night (ogg 95mb)

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Venture to the Realm of Shadows where restless spirits arise from unknown depths to wander the shores of night. Midnight Syndicate blends haunting orchestrations and sinister sound effects to create a dark, gothic soundscape. Dim the lights, but take heed... What darkness conjures, the night harbors.

"Realm of Shadows" is an eerie soundscape set in a desolate village beyond the coast of Raven's Hollow. It was said that centuries ago, all of the occupants suddenly vanished during a thunderstorm, and that a curse (indicated by a murder of squawking black birds) condemned the missing inhabitants to forever stay in the crumbling dwellings. With this synopsis in mind, composers Gavin Goszka and Edward Douglas composed an original score for a movie yet to be made, one where the listener's mind is free to decide the action. Dominated by droning cellos, moaning choirs, trolling trumpets, and fragile piano keys, "Realm of Shadows" emits sepulchral melodies that crawl through the muddy earth and dive in the crashing waves.



Midnight Syndicate - Realm of Shadows (flac  257mb)

01 Prophecy 1:49
02 Into The Abyss 5:00
03 Noctem Aeturnus 2:32
04 Tempest 1:19
05 Eye Of The Storm 2:35
06 Sanctuary 2:32
07 Among The Ruins 1:47
08 Realm Of Shadows 2:57
09 Raven's Hollow 1:11
10 Beyond The Gates 2:02
11 The Summoning 3:13
12 Spectral Mist 2:13
13 Soliloquy 3:04
14 Twilight 2:43
15 Serpent's Lair 0:59
16 Black Woods 2:48
17 The Night Beckons 2:25
18 Legions Of The Dead 2:45
19 Witching Hour 2:50
20 Harbored Souls 1:44
21 Eclipse 3:25

Midnight Syndicate - Realm of Shadows (ogg 104mb)

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"Gates of Delirium takes listeners on a journey into the haunting world of Haverghast Asylum. The "plot,", is one patients epic into the depths of insanity, tortured by merciless wardens,and locked for eternity in Haverghast (as the head worden is heard indistinctly in the final two tracks) as "a worthwhile experiment."

Musically this album expands from where the duo's last album left off. With a slightly higher production value, composers Edward Douglas and Gavin Goszka have created a much more expressive and spastic score for the horror genre. While 2000's "Realm of Shadows" conjures an imaginative adventure endured by one hero, "Gates of Delirium" is seen through the eyes of many characters at once. Dominated by agitated violins, a grim piano, and a few cellos, this album is a one-way trip through a Victorian hell.



Midnight Syndicate - Gates of Delirium (flac  262mb)

01 Never Enough 2:52
02 Quelque Jour 3:00
03 (My Baby Was A) Cheat 2:46
04 New Girl 2:59
05 The Visit 4:32
06 You 4:59
07 Touch Me 3:57
08 Innocent 4:48
09 Beyond The Furr 3:10
10 Close The World 6:47
Beyond The Furr EP
11 Beyond The Furr 3:06
12 Crystal Mountain 3:25
13 Perfect Day 4:14

Midnight Syndicate - Gates of Delirium (ogg 110mb)

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Oct 26, 2013

RhoDeo 1342 Beats

Hello, as Snowden's revelations draw in more and more attention,  now European heads of state are being snooped upon 24/7 by the NSA, making sure the playingfield is thoroughly skewed in favor of the US. Terrorism is just a sideshow compared to the use of total awareness spy systems , it's mostly used for economic spionage but don't expect all the dirty bank deals ever showing up one day. Expect the heart of the NSA being surrounded by the biggest scum of this planet, ruthless psychopaths sucking the teets of the NSA to grow their power. On a totally insignifican't side note Vettel looks all set to take his 4th worldtitle this weekend.


These months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well.  It takes a lot to preside over the pinnacle of Parisian chic, yet today's artists, lounge guru to the A-list, has been spinning his unique brand of seductive chillout for the past decade. Effortlessly hip, the French king of cool paints aural pictures with global sounds, layering them to create his laid-back beats. His masterful mixes strike the perfect balance between soul and chic; his eclectic influences range from nostalgic film music to dub to house. As i have his complete 21 album discography at hand a second helping here makes sense. ....... N'joy

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Pompougnac was born in Paris to a psychotherapist and a dental surgeon. He spent his early life in Bordeaux. His first job was as a waiter at the courtyard café of Hôtel Costes in Paris' Les Halles district, but his DJ debut occurred when he was 18, at such Bordeaux discothèques as Ubu, The Colony, and The Dream.

After finishing his studies and national service, Pompougnac spent six months in London before returning to Paris in 1992. In Paris he mixed at such discothèques as Queen, Folies Pigalle, The Locomotive, Diable des Lombards, and Privilège. One year later, he became the resident DJ at Les Bains et Douche, where he met Claude Challe. Reportedly, in 1997 Albert de Paname introduced Pompougnac to Jean-Louis Costes, co-owner of Hôtel Costes, where Pompougnac had worked as a waiter some ten years prior. This time, Costes hired Pompougnac to be the hotel's resident DJ. Hotel Costes, located at the very trendy heart of Paris at 239 rue St-Honoré, is one of France's most famous hot spots, and regularly attracts stars of the film and fashion world.

 In 1999, Pompougnac published his first studio mix, Costes: France et Choiseul. Pompougnac's second studio mix, Costes: La Suite outsold his previous release. After the mix's third track, "Sympatique" by Pink Martini, was used for an auto advertisement in France, Costes: La Suite sold more than 100,000 copies. Although Pompougnac published first two albums in France via Barclay Universal, his mounting success led to a contract with MSI, who published his third studio mix, Etage 3 (October 2000). His first three mixes collectively sold nearly half a million copies.

Since then, Pompougnac's reach has grown. He has worked with Madonna, danced with Nicole Kidman and played movie premieres, catwalk shows and celebrity parties hosted by the likes of Cameron Diaz, Mick Jagger and Christy Turlington. The Hotel Costes CD series has continued to grow, and Pompougnac has also mixed a CD for Saks Fifth Avenue, while his 2003 solo album, "Living on the Edge," which featured REM's Michael Stipe, was hailed for its fresh, intelligent mixes.

The eighth part of the Hôtel Costes compilation released in 2005. In May 2007, DJ delivers his second solo album, Hello Mademoiselle. Pompougnac has published more than 20 studio mixes, and also DJs for the fashion award show Les Venues de la Mode. He has also performed for fashion shows by Gucci and Yves Saint-Laurent.

Stephane is also the A List’s choice of DJ; performing at Cameron Diaz’s restaurant in Miami, the Bamboo Bar as well as playing at the London premier of Ali. In between you might find him playing at Estella Warren's birthday party in New York, at Club Indochine in Zurich for Christy Turlington. Or at his global residences: the Lotus in New York, Jet Set in Moscow, Royal Mirage (Dubai), and still Hotel Costes in Paris.

Discography

Solo albums
Living on the Edge (2003)
Hello Mademoiselle (2007)
Mix albums
Hôtel Costes, Vol. 1: Café Costes (1999)
Hôtel Costes, Vol. 2: La suite (1999)
Hôtel Costes, Vol. 3: Étage 3 (2000)
Hôtel Costes, Vol. 4: Quatre (2001)
Hôtel Costes, Vol. 5: Cinq (2002)
Hôtel Costes, Vol. 6 (2003)
Hôtel Costes, Vol. 7: Sept (2004)
Hôtel Costes, Best of Costes (2005)
Hôtel Costes, Vol. 8 (2005)
Hôtel Costes, Vol. 9 (2006)
Hôtel Costes, Vol. 10 (2007)
Hôtel Costes, Vol. 11 (2008)
Hôtel Costes, Vol. 12 (2009)
Hôtel Costes, A Decade: 1999–2009 (2009)
Hôtel Costes, Vol. 14 (2010)
Hôtel Costes, Vol. 15 (2011)
Night & Day (2011)

Other mixes
Saks Fifth Avenue (2002), mixed for Saks Fifth Avenue
The Concorde Lounge: Supersonic Jet Set Love (2003), mixed for Japanese magazine Casa Brutus
Sparkling Moments: Tokyo/Paris (2005), mixed for Perrier
StarFlyer (2007), mixed for StarFlyer

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The Hotel Costes series continues to compile darkly attractive lounge music for listeners with an ear open to the sounds of percussive drum'n'bass. Many of Stéphane Pompougnac's picks revolve around the Thievery Corporation sound (Imada, Gotan Project, Dublex Inc.), serrated breakbeats quietly slamming into intelligible jazz and emphasis-free house music. Early on, there's little beating the Method's "I've Got a Cat." A taut production and cheerful, simplistic female vocals -- the title includes every piece of lyric -- float over what can realistically be described as a slide guitar gurgling salt water. With its adaptable selection, Hotel Costes, Vol. 4 rolls over much of its competition; it's never too stern and it's compiled with a light, often unmixed touch.



Stephane Pompougnac - Hotel Costes,  Quatre (flac 496mb)

01 Variety Lab - London In The Rain 3:34
02 The Method - I've Got A Cat 3:15
03 Thunderball - Solar 4:24
04 Dublex Inc. - Tango Forte 4:52
05 Scott Grooves -  Organ Nights Pt. 2 5:50
06 Slow Supreme - Granada 5:55
07 Stéphane Pompougnac - Closer To Julie 7:32
08 Jon Cutler - It's Yours (Jon's B-Side Breakdown Mix) 4:24
09 Imada - Playground Do Brasil 6:01
10 Major Boys - Sous Le Soleil (Cuba Acoustic Mix) 7:02
11 Doctor Rockit - Café De Flore (Charles Webster's Latin Lovers Mix) 5:35
12 Gotan Project - Época 4:23
13 Shantel - Whatever 4:38
14 Orbient - Boarding (Doubleseat Mix) 5:57

Stephane Pompougnac - Hotel Costes,  Quatre (ogg 177mb)

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Living on the Edge is the first studio album by French DJ Stéphane Pompougnac. In Thailand, Pompougnac held a launch party for both the album and Hôtel Costes, Vol. 6 on March 2, 2004 at the Si Lom Road Sofitel in Bangkok. The mixer of the illustious Hotel Costes series has finally released his own album with some very good stuff! And for those of you expecting this to be a doppelganger of the series, you're absolutely right! "Living on the Edge" has that Pompougnac flavor that has been on Hotel Costes for years. There's bossa nova (Morenito), hiphop (the title track), pop (the cute and clumsy,"Clumsy"), jazz (Loulou de Pomérane), funk (Pour Faire le Portrait d'Un Oiseau), ambient (Fog) and house (every other song in between). Of course, there are a few songs here that you may have heard on previous stuff by Pompougnac, but, OK, so what? It is his material--the fact remains that SP has proven that he is just as skilled as an artist as he is a mixer!



Stephane Pompougnac - Living On The Edge ( 415mb)

01 Pour Faire Le Portrait D'Un Oiseau 7:45
02 Clumsy 5:04
03 Double Beat 4:56
04 Morenito 5:40
05 Living On The Edge 4:37
06 Loulou De Poméranie 3:31
07 PNC Aux Portes 5:04
08 Fog 2:17
09 Fast And Loud 4:17
10 Petit Pompoupou 3:15
11 One Soul Rising 6:58
12 Closer To Julie 5:30
13 Morenito (Bossa Mix) 5:13

Stephane Pompougnac - Living On The Edge   (ogg 146mb)

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Alif Tree's “Belle,” Soundstream’s remix of Rhythm & Sound's “Free for All,” Freedom Dub's hushed cover of the Rolling Stones' “Emotional Rescue,” Gotan Project's “Diferente,” and Status IV's “You Ain’t Really Down” highlight Stéphane Pompougnac's ninth commercial mix for Paris’ Hôtel Costes. Pompougnac opens the disc with his version of Ennio Morricone's “The Ballad of Sacco and Vanzetti” and gently settles into another assortment of contemporary dance tracks that mirrors his lush, downtempo aesthetic.



Stephane Pompougnac - Hotel Costes, Neuf ( flac 471mb)

01Stéphane Pompougnac - The Ballad Of Sacco And Vanzetti 4:51
02 Neobe, Adani & Wolf - No One In This World 4:15
03 Jehro - All I Want 3:08
04 Ohm-G & Bruno - One 4:48
05 Freedom Dub - Emotional Rescue (2 Many Beats Remix) 3:09
06 Gotan Project - Diferente 4:39
07 S-Tone INC - Con Mi Sombra 4:55
08 Parov Stelar - Kiss Me Twice 4:44
09 Status IV - You Ain't Really Down (Jazzanova's Hey Baby Remix) 6:46
10 Paul & Price With Todd Ivy - Little White Roses 6:08
11 Rhythm & Sound With Paul St. Hilaire - Free For All (Soundstream Remix) 4:58
12 One Self - Bluebird 3:42
13 Rouge Rouge Feat. Karin Viard - Et Toutes Ces Choses... 4:45
14 Djako - Paris...Demain Matin... 3:35
15 Niko - Womb 3:43
16 Alif Tree - Belle 3:30

Stephane Pompougnac - Hotel Costes, Neuf  (ogg 173mb)

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Oct 24, 2013

RhoDeo 1342 Goldy Rhox 131

Hello, today the 131th post of GoldyRhox, classic pop rock, in the darklight a British progressive rock band, active between 1975 and 1990, consisting of Eric Woolfson and Alan Parsons surrounded by a varying number of session musicians and some relatively consistent band members such as guitarist Ian Bairnson. Behind the revolving line-up and the regular sidemen, the true core of the Project was the duo of Parsons and Woolfson. Woolfson was a songwriter by profession, but also a composer and pianist. Parsons was a successful producer and accomplished engineer. Almost all songs on the band's albums are credited to "Woolfson/Parsons".

Through the late 1970s and early 1980s, the group's popularity continued to grow (although they were always more popular in North America and Continental Europe than in their home country, never achieving a UK Top 40 single or Top 20 album).
Most of the Project's titles, especially the early work, share common traits, they were concept albums, and typically began with an instrumental introduction which faded into the first song. The group was notable for using several vocal performers instead of having a single lead vocalist. Lead vocal duties were shared by guest vocalists chosen by their vocal style to complement each song. Woolfson sang lead on many of the group's hits (including "Time" and "Eye in the Sky") and the record company pressured Parsons to use him more, but Parsons preferred "real" singers, which Woolfson admitted he was not. The band sold over 50 million albums world-wide. Woolfsen died (age 64) from kidney cancer in London on 2 December 2009. He was survived by his wife, daughters Sally Seddon and Lorna Covington and three grandchildren

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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 fourth studio album by the band released 27 August 1979. The album's concept deals with the female's overpowering effect on man. Each song touches on her ability to dissect the male ego, especially through sexual means, originating with Eve's tempting Adam in the beginning of time. Not only does this idea gain strength as the album progresses, but a musical battle of the sexes begins to arise through each song. The gorgeous "You Won't Be There" spotlights man's insecurity. Sung by Dave Townsend, its melodramatic feel sets a perfect tone. Other gems include the bitter but forceful "Damned If I Do" sung by Lenny Zakatek, and the dominating fury of "Lucifer," a powerful instrumental. The female vocalists, Lesley Duncan and Clare Torry do a splendid job of representing the females point of view throughout the album. Not only does it solidify its main idea, but the songs are highly entertaining with catchy rhythms and intelligent lyrics. Musically, the tempo appealingly switches back and forth from slow to quick, as does the temperament of the album. It's one of their finest marriages of both concept and music. The cover art for the album by Hipgnosis features three women wearing veils, with their faces partially in shadow. The image wraps around from left side of the front cover to the back. Two of the women are shown on the front cover, with the third on the back. On the shaded part of each woman's face, the shadows and veils partially conceal disfiguring scars and sores. Here in the remastered and extended 07 version.



Goldy Rhox 131   (flac 397mb)

Goldy Rhox 130   (ogg 147mb)

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Oct 23, 2013

RhoDeo 1342 Aetix

Hello,  the silvery carcasses of two giant oarfish were discovered along the Southern California coast last week, baffling scientists and gaining a growing online following who gawked at the bony, snake-like creatures. The rarely seen deep sea-dwelling creatures, which can grow to more than 50 feet, may be the inspiration of sea monsters found in literature and throughout history, to the Japanese they are the harbingers of earthquake doom. Ooops but then the Japanese face lot's of impending doom, Fukushima could still blow up and it's youth is no longer interested in the opposite sex a third of the girls prefer a career and that means..no kids, at the same time young men prefer virtual worlds where status is more tied to skill. There i was that all that Hentai, obsessed with big breasts and rape and tediously demure or extremely talkative girls was to blame. Whatever, Japan is already a very old society but it looks it will get much worse.

As we continue the females in the eighties, today time for the grandma of rock chics , she's just 2 years younger than grandpa Jagger, but she's been touring plenty this last decade (far more than the grandpa) supported by a band that have been close over the decades. She's a good soul in a world of make believe, before the pain struck her band they produced 6 succesful albums  N'joy

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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. That year, Jimmy Destri left the group in order to deal with drug addiction, leaving Harry, Stein and Burke as the only members of the original line-up still with the band. Though Destri's stint in rehab was successful, he was not invited back into the band. 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.

October 2009, the band began recording sessions for their ninth studio album with producer Jeff Saltzman in Woodstock, New York. After playing with the band for over a decade, both Leigh Foxx (bass) and Paul Carbonara (guitar) were elevated to official membership status with Blondie; keyboard player Matt Katz-Bohen, who had replaced Destri, was also made on official member, making Blondie a six-piece band. The new album, titled Panic of Girls was finally released May 2011, after  the support "Endangered Species Tour" of 2010 had finished their label Sony clearly lacked faith and or money to push them back into the limelight. The band continued to tour regularly into 2012. A concert in New York City was streamed live on YouTube on October 11, 2012. The same week, the band listed three previously unreleased songs recorded during the Panic of Girls sessions ("Bride of Infinity", "Rock On", and "Dead Air") were made available for free download

In June and July 2013, the band held a Blast Off Tour of Europe, with their tenth album Ghosts of Download to follow in Autumn 2013, accompanied by a US tour, the No Principals Tour. The first single from Ghosts of Download was released June 24 2013 as A Rose by Any Name. It was reported on 28 July 2013 that Blondie were to disband after a 2014 World Tour, due to Debbie Harry's age and health, this was later denied by the band and Debbie Harry. Meanwhile the release of their tenth album Ghosts of Download has been postponed to 2014.

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If new wave was about reconfiguring and recontextualizing simple pop/rock forms of the '50s and '60s in new, ironic, and aggressive ways, then Blondie, which took the girl group style of the early and mid-'60s and added a '70s archness, fit right in. Blondie's secret weapon, which was deployed increasingly over their career, was a canny pop straddle -- they sent the music up and celebrated it at the same time. So, for instance, songs like "X Offender" (their first single) and "In the Flesh" (their first hit, in Australia) had the tough-girl-with-a-tender-heart tone, while going one step too far into hard-edged decadence  The whole point was that you could take Blondie either way, and lead singer Deborah Harry's vocals, which combined rock fervor with a kiss-off quality, reinforced that, as did the band's energetic, trashy sound. This album, released on independent label Private Sound, was not a major hit, but it provided a template for the future.



Blondie - Blondie  (flac 309mb)

01 X Offender 3:15
02 Little Girl Lies 2:08
03 In The Flesh 2:33
04 Look Good In Blue 2:56
05 In The Sun 2:40
06 A Shark In Jets Clothing 3:40
07 Man Overboard 3:22
08 Rip Her To Shreads 3:23
09 Rifle Range 3:42
10 Kung Fu Girls 2:33
11 The Attack Of The Giant Ants 3:34
Bonus Tracks:
12 Out In The Streets (Original Instant Records Demo) 2:21
13 The Thin Line (Original Instant Records Demo) 2:17
14 Platinum Blonde (Original Instant Records Demo) 2:12
15 X Offender (Original Private Stock Single Version) 3:14
16 In The Sun (Original Private Stock Single Version) 2:39
 

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In artistic terms, Plastic Letters, Blondie's second album, was a classic example of the sophomore slump. If their debut, Blondie, was a precise update of the early-'60s girl group sound, delivered with an ironic, '70s sensibility, its follow-up seemed to consist of leftovers. The production (again courtesy of Richard Gottehrer) was once again bright and sharp, but in the service of lesser material it alone couldn't save the collection. The two exceptions to the general mediocrity were "Denis," a revival of Randy & the Rainbows' 1963 hit "Denise," for which Deborah Harry sang a verse in French to justify the name and gender change, and "(I'm Always Touched by Your) Presence, Dear," written by Gary Valentine, who had left Blondie shortly before the recording of the album. Due to these two songs, the album became a commercial success, at least overseas. British-based Chrysalis Records had bought out Private Stock, giving Blondie greater distribution and more of an international marketing focus. The result was that "Denis" broke them in Europe, nearly topping the U.K. charts and followed into the Top Ten by "(I'm Always Touched by Your) Presence, Dear," with the album also peaking in the Top Ten. In the U.S., Blondie finally charted, making the Top 100.



Blondie - Plastic Letters  (flac 315mb)

01 Fan Mail 2:38
02 Denis 2:19
03 Bermuda Triangle Blues (Flight 45) 2:48
04 Youth Nabbed As Sniper 3:03
05 Contact In Red Square 2:02
06 (I'm Always Touched By Your) Presence, Dear 2:43
07 I'm On E 2:18
08 I Didn't Have The Nerve To Say No 2:52
09 Love At The Pier 2:28
10 No Imaginations 2:55
11 Kidnapper 2:37
12 Detroit 442 2:29
13 Cautious Lip 4:32
Bonus Tracks
14 Once I Had A Love (AKA The Disco Song) (1975 Version) 3:58
15 Scenery 3:10
16 Poets Problem 2:20
17 Detroit 442 (Live) 2:33

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Blondie turned to British pop producer Mike Chapman for their third album, on which they abandoned any pretensions to new wave legitimacy (just in time, given the decline of the new wave) and emerged as a pure pop band. But it wasn't just Chapman that made Parallel Lines Blondie's best album; it was the band's own songwriting, including Deborah Harry, Chris Stein, and James Destri's "Picture This," and Harry and Stein's "Heart of Glass," and Harry and new bass player Nigel Harrison's "One Way or Another," plus two contributions from nonbandmember Jack Lee, "Will Anything Happen?" and "Hanging on the Telephone." That was enough to give Blondie a number one on both sides of the Atlantic with "Heart of Glass" and three more U.K. hits, but what impresses is the album's depth and consistency -- album tracks like "Fade Away and Radiate" and "Just Go Away" are as impressive as the songs pulled for singles. The result is state-of-the-art pop/rock circa 1978, with Harry's tough-girl glamour setting the pattern that would be exploited over the next decade by a host of successors. Parallel Lines was ranked at number 140 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, as of 2012, the album has sold over 20 million copies worldwide.



Blondie - Parallel Lines  (flac 401mb)

01 Hanging On The Telephone 2:22
02 One Way Or Another 3:35
03 Picture This 2:56
04 Fade Away And Radiate 4:02
05 Pretty Baby 3:18
06 I Know But I Don't Know 3:56
07 11:59 3:20
08 Will Anything Happen? 3:00
09 Sunday Girl 3:05
10 Heart Of Glass 5:50
11 I'm Gonna Love You Too 2:06
12 Just Go Away 3:33
Bonus Tracks
13 Once I Had A Love (aka The Disco Song) (1978 Version) 3:18
14 Bang A Gong (Get It On) (Live) 5:30
15 I Know But I Don't Know (Live) 4:35
16 Hanging On The Telephone (Live) 2:21

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