Nov 30, 2013

RhoDeo 1347 Beats

Hello, some of you have survived another 'black friday', the day that cynically follows the familyholiday for Thanksgiving and Praise to our beneficent Father who dwelleth in the Heavens. Clearly it's back to unfeathered greed for Americans the next day, bargains and total anarchy for the rat race schmucks. O.M.G if only I had more, more, more stuff i would be happy, as happy as that millionaire kitchen goddess who could snort as much coke as she wanted, ah yes Nigella's looks are deceiving. Meanwhile some dickhead econometrist has calculated optimal happiness isn't that expensive an average income will do, i'm sure he is on the NSA watchlist now for this unamerican propaganda. The Beatles said it 45 years ago, "happiness is a warm gun" kill baby kill.

The coming 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 industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artists formed by two psychologists, Jean-Philippe Freu and Patou Carrié, the project originally intended to produce house music entirely based on a traditional rock set up made up of guitars/bass/percussions. It however quickly became clear that a touch of technology was needed, and Johnny Palumbo became the third member of this unusual combo. Their disco house sound based on guitars and electronic wizardry has never been embraced by the very Parisian ‘French Touch’. . ....... N'joy

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Guitarist Jean- Philippe Freu and bass-player Patou Carrié, the two halves of Rinôçérôse, launched their respective careers in the early 80's, playing with a band called Les Maracas. Together with groups like Shériff and OTH, Les Maracas - a 60s-influenced pop combo - were one of the leading lights on the sparse Montpellier rock scene. After Les Maracas went their separate ways in 1993, Freu and Carrié re-invented themselves as a duo, locking themselves away in the studio to begin experimenting with electronic sounds. The duo of musicians also work as psychologists, calling themselves, "Psychologists by day, musicians by night". As for the group's strange new name, Freu and Carrié sought inspiration in the work of Gaston Duf, the famous artist and founder of the 'art brut' movement who was interned in a psychiatric hospital. (Rinôçérôse was the title of one of Duf's best known paintings).

They compose music in English, French, and German. They are based in Montpellier. The self-proclaimed house-with-guitars unit formed in 1995 around the French duo of Jean-Philippe Freu and Patrice "Patou" Carrié, from the ashes of two indie bands. Recording for the Spanish label Elefant, the pair released an eponymous debut soon after coming together (recorded with help from programmer Johnny Palumbo), then assembled a seven-piece band to tour the country. Soon, the French major label PIAS signed the duo and released the EP Le Mobilier in 1998. A support gig for Underworld in Paris cemented the group's rather tenuous credentials in the dance world, and released their album debut, Installation Sonore, on V2 in mid-1999. Music Kills Me followed in 2002, but its lack of success caused the group to lose global distribution.

Schizophonia followed in a limited release during 2005, it marked a new turning point in the band's music, with a more mainstream rock groove rather than a more ambient electronic sound. Schizophonia also contains an unprecedented amount of vocals compared to previous albums, in which lyrics are used extremely sparingly, or not at all. The band soon ended the dry spell when Apple decided to use the album's song "Cubicle" for an iPod advertisement. V2 re-engaged them on a worldwide basis, and released an eponymous collection -- spanning 1997 through 2005 -- to help newcomers catch up, titled Rinôçérôse (only differentiated from their first album by the diacritics). Rinôçérôse contains hit singles such as "Bitch", "Cubicle", "Music Kills Me", and "My Demons". After promoting their greatest-hits album with an international tour, the duo took a short break before regrouping and releasing Futurino in 2009.

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Culling inspirations from only the most stylish of late-'90s dance acts (Daft Punk, Basement Jaxx, Underworld), Rinôçérôse focuses in on lush, filtered disco (with the requisite clipped beats and streamlined sound) as a pad for frontmen Jean-Philippe Freu and Patrice "Patou" Carrié to layer their accomplished guitar work. While the guitar lines occasionally sound gimmicky or muzaky -- closer to Steely Dan than Underworld -- the duo often succeed in transcending the boundaries of house-with-guitars. Though the opener, "La Guitaristic House Organisation," begins with a few clichés, the interstellar-overdrive effects near the end of the track rescue it from oblivion. And on several other tracks, added flute and Latin percussion make for some solid pan-global vibes. For all the lap steel, talkbox, bottleneck, wah-wah, fuzz guitar, whammy bars, E-Bow, and Spanish guitar in evidence, the programming work of Johnny Palumbo bears much of the burden. Thankfully, he's at least slightly ahead of the curve.

From the trippy atmospherics of "La Guitaristic House Organisation" to the weird lounge core of "Mes Vacances ê Rio," the duo recombines routine dance devices into a mix that defies classification. Like the rhino painting by a mental patient that lent Rinocerose their name, Installation Sonore is a lesson in exuberant schizophrenia, full of hallucinatory bravado.



Rinôçérôse - Installation Sonore ( flac 510mb)

01 La Guitaristic House Organisation 7:09
02 Radiocapte 5:30
03 Sublimior 5:33
04 Le Mobilier 4:21
05 323 Secondes De Musique Répétitive Avec Guitare Espagnole 5:23
06 Mes Vacances À Rio 6:30
07 Popular Mechanics 4:45
08 I Love Ma Guitare 5:18
09 «Rock Classics» Volume I 5:21
10 Le Triangle 5:20

11 Le Mobilier (Raygun Remix) 3:15
12 La Guitaristic House Organisation (Terry Farley Remix) 6:50
13 Mes Vacances A Rio (Francois Kevorkian Mix) 11:30

Rinôçérôse - Installation Sonore  (ogg 184mb)

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For these house hedonistic aristocrats, confronting their dance floor bonanza sound with the harsher realm of rock music has always been a mean to characterise their music. Their recent In Rock EP, which included the opening track of Music Kills Me, Le Rock Summer, was a condensed version of what this new album has to offer: incisive riffs, groovy bass lines and powerful beats. Le Rock Summer and Music Kills Me both set the standards for the most unusual journey into club music, with pulsating aggression and runaway beats. It’s Time To Go Now!, Resurrection D’Une Idole Pop and Brian Jones: Last Pictures denote a more laidback side of the <> sound, stuck between Daft Punk and St Germain, with their almost jazz influences, mainly translated through the omnipresent flute, which, if used elsewhere in the album, never has more impact than here, and soulful guitars. The trio clean up their attractive atmospheric ambiences on the slightly more melancholic Professeur Suicide and No, We Are Not Experienced!, reaching the realms of deep house in style with elegant seventies pianos and guitar gimmicks. The live <> sound is truly alive and palpable here. The last few tracks of Music Kills Me emphasise on the near chill-out incarnation of the band, with the bossa inspired Dead Can Dance and the acoustic Highway To Heaven. 
The references made to legends of rock through song titles - Hendix (No, We Are Not Experienced!), Brian Jones (Brian Jones: Last Pictures), or Led Zeppelin and AC/DC in the conjoined Highway To Heaven – as well as some Motown touches here and there clearly demonstrate that, if the <> soundscapes have a modern feel, their roots are firmly set in the past, between rock and funk. The trio's music is reverent enough to dissipate any accusation of shameless pillage though, and proves to be more intrinsically modern, inspired and clever than most of their Parisian contemporaries.



Rinôçérôse - Music Kills Me  (flac 438mb)

01 Le Rock Summer (Edit) 4:00
02 Music Kills Me 6:04
03 It's Time To Go Now! 5:30
04 Lost Love 4:30
05 Dead Flowers 5:55
06 Resurrection D'une Idole Pop 4:04
07 Professeur Suicide 6:55
08 No, We Are Not Experienced! 5:43
09 Brian Jones: Last Picture 5:34
10 Obseques D'un Guitar Hero 4:23
11 Dead Can Dance 3:50
12 Highway To Heaven 4:06

Rinôçérôse - Music Kills Me  (ogg 140mb)

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On their 2005 album, Schizophonia, Rinôçérôse broke their habit of producing purely instrumental tracks and invited half-a-dozen vocalists into the studio. The collaborative experiment produced such satisfying results that the duo have used the same formula again on their new album, FutuRINO. But this time round Montpellier's foremost electro-rock act have gone upbeat, replacing dark brooding atmospheres with hedonistic pop anthems. Patrice "Patou" Carrié and Jean-Philippe Freu, the two complementary halves of Rinôçérose, have never believed that music is a question of hitting upon the right notes and the right beats. To them, making an album involves a meeting of minds and a quasi-visceral bonding between singers, producers and themselves. The duo's fourth studio album, FutuRINO, involves more vocals than ever before, singers guesting on all tracks apart from the instrumental Mind City. But while Rinôçérose have adopted a classic pop format on FutuRINO they have kept their distinctive electro-rock flavour.

Following his impressive performance on Bitch on Rinôçérose's previous album, Jessie Chaton (the glam-rock frontman of Fancy) lends his vocals to two tracks on FutuRINO (the dance-driven Touch Me and My Cadillac). Rinôçérose also tried out a bunch of newcomers on their fourth studio offering, the stand-out star among the new talents being Luke Paterson who puts in a show-stopping performance on Panic Attack. While the Montpellier-based duo have remained loyal to their usual producer John Palumbo (who masterminded half of FutuRINO), Patou and Jean-Philippe have branched out on their new album to work with the 'crème de la crème' of producer talent all the way from London to Lausanne.

Despite the fact that Patou and Jean-Philippe upped the number of collaborators this time round, FutuRINO remains a surprisingly coherent work. However, this does not mean that the duo made any effort to stick within one genre - one minute they're going full-blown electro with Ninja (from the GO Team) on Time Machine, the next they're belting out rock guitars on Head Like a Volcano! Rinôçérose's fourth album, mixed by Alex Gopher, is a resounding success - largely because beyond the gizmos, the technology and the special effects all the songs on FutuRINO revolve around brilliant melodies!



Rinôçérôse - Futurinô (flac 282mb)

01 Panic Attack 4:02
02 Time Machine 3:28
03 Where You From 3:37
04 Head Like A Volcano 3:15
05 Mind City 4:39
06 Touch Me 3:50
07 The Heroic Structure Of Rinôçérôse 5:17
08 Tomorrow 4:06
09 My Cadilliac 2:56
10 Week-End Of Sin 4:12

Rinôçérôse - Futurinô  (ogg 96mb)

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Nov 28, 2013

RhoDeo 1347 Goldy Rhox 136

Hello, today the 136th post of Goldy Rhox, classic pop rock in the darklight was an an English musician, singer and songwriter. Best known as the lead vocalist and lyricist of the rock band Led Zeppelin, he has also had a successful solo career. With a career spanning more than 40 years and possessing a powerful wide vocal range.  After the break-up of Led Zeppelin in December 1980 (following the death of John Bonham), Plant briefly considered abandoning music to pursue a career as a teacher in the Rudolph Steiner education system; going so far as to be accepted for teacher-training. He nevertheless embarked on a successful solo career.

Todays artist married Maureen Wilson on 9 November 1968. The couple had three children: daughter Carmen Jane (1968) (married to Charlie Jones, Plant's bass player for solo tours); and sons Karac Pendragon (1972–1977), and Logan Romero (1979). The couple divorced in August 1983. Later, he had a another son, Jesse Lee (1991), with Shirley Wilson, sister of Maureen.

Todays artist is one of the most significant singers in rock music and has influenced the style of many of his contemporaries, including Geddy Lee, Ann Wilson, Sammy Hagar, and later rock vocalists such as Jeff Buckley and Jack White who imitated his performing style extensively. Freddie Mercury of Queen, and Axl Rose of Guns N' Roses were also influenced by him. Encyclopædia Britannica notes "Exaggerating the vocal style and expressive palette of blues singers such as Howlin' Wolf and Muddy Waters, Todays artist created the sound that has defined much hard rock and heavy metal singing: a high range, an abundance of distortion, loud volume, and emotional excess.

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

Today's mystery album was released on 28th of June 1982 and it is his debut solo album by former Led Zeppelin singer. Genesis drummer Phil Collins played drums for six of the album's eight songs. Ex-Rainbow drummer Cozy Powell handled drums on "Slow Dancer" and "Like I've Never Been Gone". The title is an often-heard phrase in U.S. television news[citation needed] that would follow a brief announcement of a story of interest to be shown later during a station's 11 p.m. news program.

Today's mystery album is the only one of his solo albums to appear on Led Zeppelin's record label Swan Song. By the time of his next release,  Swan Song had ceased to function and he had started his own label titled Es Paranza, which would also be distributed by Atlantic Records. Platinum in the States and Canada, silver in the UK. In 2008, Rolling Stone named him the 15th greatest singer of all time on their list of 100 Greatest Singers of All Time. In 2009, he was voted the "greatest voice in rock" in a poll conducted by Planet Rock.Rhino Entertainment released a remastered edition of the album, with bonus tracks, on 20 March 2007. N'Joy



Goldy Rhox 136   (flac 386mb)

Goldy Rhox 136   (ogg 126mb)

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Nov 27, 2013

RhoDeo 1347 Aetix

Hello, Barcelona slept through a Champions League game, consequently they lost to Ajax, not to worrie they'll still win their group. Dortmund did the business but still needs to win it's last away game to qualify. Some great action at tonights games.

Ok so the time that women were in the spotlight comes to an end here but we stay in the States, anyway women remain playing an important role in the music scene as inspiration or in despair. Time for another Aetix episode and an example of how drug abuse in combination with strong emotions can bring about art, be it accompanied by lots of pain, never so extremely felt by the apperently not so macho frontman of the band who saw his lover leave with his bassplayer. Ah yes those bassblayers, always quietly moving their hips....and their lips. Anyway it was the final straw, long before he made some great albums, the first three are up for grabs here. ....N'Joy

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The Gun Club was formed by Jeffrey Lee Pierce, former head of the Blondie fan club in Los Angeles. Joining him was Brian Tristan, who was later renamed Kid Congo Powers during his stint with The Cramps, Don Snowden and Brad Dunning. Pierce played guitar and lead vocals, while Tristan took on lead guitar, Snowden on bass, and Dunning rounding out the quartet on drums. The band was originally a rockabilly band called The Cyclones led by Pleasant Gehman on lead vocals, but Gehman departed after only one show. Adopting the name "The Creeping Ritual", Pierce moved to vocals and they spent some time gigging at local venues. Snowden and Dunning departed around this time, being replaced by two ex-members of The Bags, Rob Ritter and Terry Graham, respectively. Eventually, the group grew dissatisfied with their name and switched to "The Gun Club", suggested by Pierce's roommate, Black Flag and Circle Jerks singer Keith Morris. Pierce was already a notorious drunk, exhibitionist, poet and fanboy and The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture.

Kid Congo left before the recording of the first album to join The Cramps. He was replaced by Ward Dotson, who would play lead and slide guitar on the band's debut album. Securing a record deal on Slash Records division Ruby, the group released their debut album, Fire of Love in 1981. The album was produced by Tito Larriva of The Plugz and The Flesh Eaters frontman Chris D. Critic this debut LP was hotly anticipated throughout lowbrow Los Angeles upon its release, as the band had acquired an early reputation for cathartic, tear-'em-up live performances. Main Flesh Eater Chris D. took to releasing this fine platter on his own vanity subsidiary of Slash, Ruby Records.

1982 and the band had signed to Blondie guitarist Chris Stein's Animal Records. The band temporarily relocated to New York to record their follow-up album, 1982's Miami. This album would feature not only Stein as producer, but also Debbie Harry on backup vocals on select tracks. Upon release, the album received good reviews but was widely criticized for Stein's production, which was said to have a thin mix. Rob Ritter left shortly after the album, changing his name to Rob Graves and forming the band 45 Grave. Before leaving, Ritter taught all of his bass parts to his former Bags bandmate Patricia Morrison and trained her as his replacement. Due to increasingly common arguments, Pierce dismissed Graham and Dotson also.

Pierce returned to guitar playing during this new line-up, and both he and Powers are credited with guitar on their third album, 1984's The Las Vegas Story. This album marked a significant change for the band; it represented a shift away from the punk rock of Fire of Love and Miami and a step towards a more polished, alternative rock sound. After gigs supporting Siouxsie and the Banshees, the band decided to call it quits and played their farewell shows in the winter of 1984.

During the break-up, Powers, Morrison, and Desperate formed a band called Fur Bible, while Jeffrey Lee Pierce embarked on a solo career. Pierce assembled a band consisting of former members of The Cure and Roxy Music and released Wildweed in 1985. He organized a new band to tour in support of the album, including Nick Sanderson of Clock DVA and Pierce's then-girlfriend Romi Mori. Sanderson played drums while Mori played guitar.

After a short stint doing spoken word performances, Pierce decided to reform a new version of the band in 1986. Powers, who had also been recruited into Nick Cave & The Bad Seeds at this time, resumed his place at guitar, with Mori switching to bass, and Sanderson retaining his place on drums. Under this line-up, The Gun Club would record a handful of albums, including 1987's Mother Juno. This album, produced by Robin Guthrie of The Cocteau Twins, was met with positive critical reception and was a successful comeback for the band. After the release of Nick Cave's 1990 album The Good Son, Kid Congo Powers departed The Bad Seeds to focus more on The Gun Club.

1990 saw the release of the band's fifth studio effort, Pastoral Hide and Seek, which Pierce produced himself. Nick Sanderson departed after the release of 1991's mini-album Divinity to focus on his other project, World of Twist. He was replaced with Simon Fish, who had previously played with Pierce on one of his solo albums. In 1992, Powers left the band to focus on his solo project Congo Norvell, without their lead guitarist, Pierce decided to handle both lead and rhythm guitar parts on what would be their final album, 1993's Lucky Jim. Pierce and Romi Mori had, at this point, been dating since the mid-eighties. However, Sanderson and Mori grew increasingly close until finally the two eloped in 1994, leaving The Gun Club without a rhythm section. Pierce, by his own account, had been off of drugs for several years but soon switched back to drug and alcohol abuse after the departure of his longtime girlfriend.

Jeffrey Lee Pierce - reggae fan, heroin addict, and former president of the Blondie fan club - upheld the confident predictions of many by dying a lonely and fairly depressing death over fourteen years ago, on March 31st, 1997. Pierce's Johnny Thunders-esque holdout in the face of self-wrought bodily deterioration was oddly admirable, yet in no way was the man mistaken for a hero for it. He expired of a brain hemorrhage at a relative's house in Utah, HIV-positive and sick with hepatitis after untold years of drug use, alcoholism and the usual other suspects.

Morrison went on to play with the Sisters of Mercy, Powers in his own lounge group, and Dotson formed the Pontiac Brothers. An album featuring the Gun Club in concert, Larger Than Live!, appeared from Last Call Records in 2008.

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What makes Fire Of Love such a brilliant listen long after its time is the fact that this blatant homage to the blues was amplified, energized and kicked into overdrive - yet not in the way that, say, The Yardbirds or Led Zeppelin did it, but in a
new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The band had a studio magic that was tight & controlled in all the right places, yet loose and wild as a general rule. Ward Dotson joined Greg Ginn and Karl Precoda as one of LA's early '80's gutter-circuit guitar heroes, with each man bringing a totally unique slant to his instrument. Dotson attacked the guitar with each rise in tempo, all the while keeping the sound harmonious with the desired mood. Usually this mood was pretty bleak (but crazed), and harkened to moonlit, fevered nights that spoke of sex, voodoo and imminent violence. Jeffrey Lee Pierce was far from a visionary or even a particularly outstanding musician, but he had the cajones to lead this fantastic band through the recording of an album of timelessly roughshod and unruly punk-blues, perhaps the first -- and easily the best -- of its kind. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey



The Gun Club - Fire of Love (flac 276mb)

01 Sex Beat 2:45
02 Preaching The Blues 3:58
03 Promise Me 2:35
04 She's Like Heroin To Me 2:33
05 For The Love Of Ivy 5:34
06 Fire Spirit 2:52
07 Ghost On The Highway 2:43
08 Jack On Fire 4:40
09 Black Train 2:44
10 Cool Drink Of Water 6:40
11 Goodbye Johnny 3:41

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The sophomore record by the Gun Club bore the curse of having to follow a monolith of their own making. Fire of Love sold extremely well for an independent; it was a favorite of virtually every critic who heard it in 1981. Miami showcased a different lineup as well. Ward Dotson replaced Congo Powers (temporarily, at least) on guitar, and there were a ton of guest performances, including Debbie Harry and Chris Stein. Stein produced the album.

Going for a higher, more desolate sound, frontman and slide player Jeffrey Lee Pierce and his band were literally on fire. The songs here centered themselves on a mutant form of country music that met the post-punk ethos in the desert, fought and bloodied each other, and decided to stay together. Pierce and company pull out all the roots and reveal them for what they are: "John Hardy," is a squalling punk-blues, with the heart of the country in cardiac arrest. Dotson proved to be a fine replacement for Congo Powers, in that his style was pure Telecaster country revved by the Rolling Stones and Johnny Thunders. Miami was given a rough go when it was issued for its production. But in the bird's-eye view of history its songs stack up, track for track, with Fire of Love and continue to echo well .



The Gun Club - Miami ( flac 292mb)

01 Carry Home (3:15)
02 Like Calling Up Thunder (2:30)
03 Brother And Sister (3:00)
04 Run Through The Jungle (4:11)
05 A Devil In The Woods (3:07)
06 Texas Serenade (4:45)
07 Watermelon Man (4:08)
08 Bad Indian (2:38)
09 John Hardy (3:25)
10 The Fire Of Love (2:10)
11 Sleeping In Blood City (3:30)
12 Mother Of Earth (3:23)

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The tragedy of the Gun Club's third album, The Las Vegas Story, is that it was largely ignored by both critics and fans due to the mixing and mastering disaster that marred its predecessor, Miami -- an album that was full of great songs and performances but was so marred by poor sound that it sounded lifeless. Both records were issued by Chris Stein's Animal label. The Las Vegas Story was produced by Jeff Eyrich who was just coming off T-Bone Burnett's Proof Through the Night project and was about to enter the studio with both the Plimsouls and Thin White Rope. Its lineup features the return of original guitarist Kid Congo Powers, as well as drummer Terry Graham and new bassist Patricia Morrison (aka Pat Bag) from L.A. punk outfit the Bags. Late frontman /guitarist Jeffrey Lee Pierce was writing feverish rock & roll songs that took their inspiration from Southern blues and West Texas country music all framed by an angular, jagged post-punk energy. The screaming rawness at the heart of the band's debut, Fire of Love, had been replaced by a dry, moaning lonesome, percussion heavy desert sound, space and echo float through the mix like a ghost through Pierce's slide guitar playing. Bass drum and tom-toms fuel the attack with a basic, primitive nocturnal energy. The Las Vegas Story is a provocative record that reveals the Gun Club was pulled in many directions at once, and though the tension is in evidence on every track, it nonetheless holds together. After Fire of Love, The Las Vegas Story is their most satisfying album and is, perhaps, the band's most visionary offering.



The Gun Club - The Las Vegas Story ( flac 228mb)

01 The Las Vegas Story 0:23
02 Walkin' With The Beast 4:34
03 Eternally Is Here 3:01
04 Stranger In Our Town 5:12
05 My Dreams 4:03
06 Master Plan 1:49
07 My Man's Gone Now 3:19
08 Bad America 4:59
09 Moonlight Motel 3:11
10 Give Up The Sun 6:04
11 Secret Fires 2:37

The Gun Club - The Las Vegas Story ( ogg 83mb)

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Nov 26, 2013

RhoDeo 1347 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 usually 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 we find ourselves in the the North African nation of Morocco, it possesses a diverse music scene, where traditional and popular styles collide and collude. Sacred and secular concerns are omnipresent. Gutty strings and nasal, resonant singers wend their way through sweet-sour scales, hypnotic rhythms, and knife-sharp harmonies.  .....N'joy

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The North African nation of Morocco possesses a diverse music scene, where traditional and popular styles collide and collude. Sacred and secular concerns are omnipresent. Gutty strings and nasal, resonant singers wend their way through sweet-sour scales, hypnotic rhythms, and knife-sharp harmonies. Morocco is still a major power house in the Arabic-speaking world. In fact, pop singer Samira Said is Moroccan. But this CD goes further into Morocco's musical roots, revealing everything from the trance music of the Gnawa brotherhood to cutting edge Arabic electronica to the rootsy urban chaabi. Really, as far as samplers go, this is a pretty good mix of Moroccan music.

The selections definitely lean more towards the traditional (or at least, neo-traditional) and less toward the pop, and the compilers seem to have knowledge of REAL Moroccan music. A definite plus there. The tracks include big names like Nass Marrakech, Nass el Ghiwane, Jil Jilala and Bnet Marrakech. Contemporary Gnawa trance music is very well represented by the great Hassan Hakmoun, as well as remix artist U-Cef. Jewish folk singer Emil Zrihan showcases the country's lesser known minority. And theres a wonderful track by Fatna bent el Houcine as well. All in all, this is a very authentic taste of Maghrebi music, and one thats readily available to boot! So pull up your bornous and grab a cup of mint tea and bowl of couscous - this is the next best thing to actually visiting Rabat, Casablanca or Fes



VA - The Rough Guide To The Music Of Morocco (flac  361mb)

01 Fnaïre Feat. Salah Edin - Sah Raoui 4:17
02 Compagnies Musicales Du Tafilalet - Compagnie El Hamri/Ya Rijal L'bled 8:26
03 Amira Saqati - El Aloua 5:19
04 Les Imazighen - Iberdane 6:48
05 U-Cef - Boolandrix 5:17
06 Lemchaheb - Moulana (Notre Chant) 5:21
07 Maalem Said Damir & Gnawa Allstars - Bania Bambara 7:20
08 H-Kayne - Jil Jdid 4:34
09 Samy Elmaghribi - Mal Hbibi Malou 6:06
10 Mazagan - Ya Labess 3:55
11 Master Musicians Of Joujouka - Mali Mal Hal M'Halmaz 5:47

VA - The Rough Guide To The Music Of Morocco (ogg 148mb)

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Established in 1998, Mazagan became an important figure in the international music scene with its many shows in Morocco, Africa , in Europe and Canada . The History of Mazagan was in 1997 when Issam Kamal found his teenage friends Hammouda, Abdelhak Younes and to share musical moments over coffee under the stars. Do not have a rehearsal, the quartet, inseparable invested throughout the summer of 1997 one of the streets of the city and made those early songs under the eyes of the whole neighborhood. In January 1998, Issam Kamal proposes to create a group in good and due form. Among the suggested names ( Mazagan , Beep Sonor Nour ...) " Mazagan "was chosen because it represents faithfully belonging and cultural orientation of the group. Some months later, Issam Kamal 15 years old, goes to meet the delegate of the Ministry of Culture in El Jadida to propose to support the group, and Mazagan rises for the first time on stage on 3  July  1998 in the park Mohammed V before an audience of 10,000 people.

The group sang occasions only ( rai and Gnawa ) and won the sympathy of the audience. After this small success, the group is highly motivated and decides to participate in the " Boulevard of Young Musicians ", the unique platform of youth groups in Morocco which takes place annually in Casablanca in the hall of the FOL (federation works secular ). With no drummer or bassist, Mazagan failed to presets 1999, nor those of the following years. In 2004, Mazagan borrows the projection room of the Franco-Moroccan of El Jadida to record their first demo includes three compositions (Allah Allah, Mina, La casa of España ) and 1 recovery (laâbou Bik) of ' Orchestre National de Barbès . The demo plays his game and Mazagan is finally agreed to play Boulevard of Young Musicians . Meanwhile, Issam Kamal Ramzi and Younes depart April 3, 2004 in France on tour with the "Afouss" group. After months of touring, and following a disagreement with the group's leader, Younes Ramzi went to live in Italy and Issam Kamal decides to leave "Afouss" and returned to Morocco with one goal in mind, the Boulevard of Young Musicians .

Joined by "Noureddine Tarda" on bass and "Adnan Lebbar" on drums, and deprived of his singer "Younes Ramzi" Mazagan , led by its new singer Issam Kamal did not convince the jury headed by virtuoso drummer Algerian Karim Ziad, but at least he had the chance to speak before an audience of over 20,000 people. The group is joined backstage by the Boulevard "Khalid El hariry", originally from politician El Jadida who claims to have enjoyed the show and offers his help. Using his well-placed contacts, Khalid el Hariry comes to program two concerts Mazagan to 2 e edition of the El Jadida Summer music festival organized by the Ministry of Culture, and to the surprise of everyone, the group offers two energetic concerts and won the crowds of his city. In June 2004, Issam Kamal moved to Casablanca to work in a call center and tries to find new musicians, and he meets "Nabil Andalous" and "Ali Tahiri aît" which respectively join the group as drummer and bassist. Operating in a rock universe, both bring a new rhythmic energy: the formula is ideal Mazagan self-produced its first model in 2005 which then gives birth to their first album homemade "tradition flowing."

Lack of resources, their first album was self-produced in 2005 by Issam Kamal in his apartment in Casablanca , which explains the quality of its very medium which reduced the reaction of the press texts of encouragement. However with this album, Mazagan continues to rotate in the festivals, surprised by the strength of live, réinvitaient still group and again. Mazagan building very quickly a reputation for live band and toured several festivals (nights Mediterranean Tanjazz , Alegria ...) and exports for the first time in Senegal to participate in the festival " Dakar hip-hop Awards "in October 2006. In February 2007, the quintet was invited to Dakhla Festival (in the extreme south of Morocco), where he met his future violinist "Bouhssine Foulane" accompanying the "Amarg Fusion" group.

Through the Doukkala Air Lines album, Mazagan stands out as the only artist to have given an international dimension to the Moroccan popular music. A new style is born: "Chaabi-Groove" "A Labess" flagship title of this album, became a national tube that runs every hour in Moroccan radio and especially on the air very quickly 2M radio . Pleased with the success of "A Labess", the latter is interested in other titles from the same album as "Dada Hyani", "Mohammed" ... The album was quickly disseminated by "Radio Aswat  "," Chada FM , "" Casa FM "," Radio Hit "," Rabat Chaine inter "

In late 2010, Mazagan advantage of moments of respite to produce a new single "Ayli Ayli", this time in duet with the Danish group " Outlandish ". Registration is between Casablanca and Copenhagen and the title was born on 10/10/2010. It is a fusion Electro Rock Chaabi , sound avant-garde in the history of popular music Moroccan. Like its predecessors, "Ayli Ayli" runs regularly on radio waves Moroccan but also French, particularly on " Beur FM ".

Released in July 2011, is somewhere Tajine Electrik Album maturity Mazagan . Many traditional and modern influences are merged successfully. Very quickly, titles like Ayli Ayli, Vignette, Atay, or become Abdelillah tubes that run in a loop on the Moroccan waves, but also elsewhere in Europe Beur FM , RTVE . The group began as of July 2011 his new tour (Tajine Electrik Tour) which leads in Italy and Canada and in Morocco. Revenue from the Moroccan tour (September-December) were devoted to a program of fight against HIV in collaboration with the ALCS (Association of fight against AIDS).

Their latest single, released in early December 2012, a call for peace, tolerance and dialogue between different religions and ideologies. Written by Issam Kamal, this title marks a new intellectual point of departure for Mazagan while preserving its musical line that combines tradition and modernity.



Groupe Mazagan - Tajine Electrik   (flac  252mb)

01 Abdelillah 3:55
02 Ayli Ayli (Feat. Outlandish) 4:24
03 La Vignette 4:19
04 Atay 3:48
05 Yah Sidi Chafi (with Hamid El Kasri) 4:08
06 Allah Allah 3:07
07 Sogui Belati 4:12
08 Salamo Salam 3:36
09 Asmae Allah 2:15
10 Instrumental 3:06
11 Ayli Ayli (Solo) 4:14

Groupe Mazagan - Tajine Electrik     (ogg 90mb)

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There is a great variety in rai, which this album shows, but there are unifying features in most of the music. A very Arabic style of singing, with mostly Arabic sounding melodies, but with modern instruments (and from time to time some traditional ones mixed in) and a decidedly distinct rhythm, which has been said to be simialer to reggae or something. But more important than the influences and simialerities is the highly original nature of the music itself. It's clearly a whole genre of its own.

This compilation showcases the incredible variety of the modern Algerian sound, stretching back to the earliest pioneers of Rai music like Cheikha Remitti and going up to modern day legends like Khaled, Cheb Mami and the late Cheb Hasni (who was a hit across North Africa, despite not being as well known in the west as Khaled or Cheb Mami). All the big names are featured here. Theres the driving rhythms of Fadela and Sahraoui on "La Verite". The cross dressing pop star Abdou contributes a track, "Ana Aachki Bahloul". And even "Shab el Baroud," a song by Cheba Zahouania praising the Algerian mujahideen freedom fighters. The fact that lyrics are in a language other than one’s own will never stop people from growing to love music that originates from other cultures, still an essential guide for understanding Rai music, the very heart and soul of Algeria.



VA - The Rough Guide to Rai (flac 413mb)

01 Abdou - Ana Aachki Bahloul 5:34
02 Cheb Mami - Lazrag Saâni 4:33
03 Malik - N'Touma 4:12
04 Cheb Zahouani - Moul El Bar 6:48
05 Cheb Anouar - Moulay Ibrahim 5:59
06 Cheikha Remitti - Guendouzi Mama 5:51
07 Bellemou - Nediha Gaouria 5:36
08 Cheba Nouria - Consulat 5:33
09 Cheba Zahouania - Shab El Baroud 6:04
10 Cheb Hasni - Menghirek Entia Fi Dounia 6:00
11 Cheb Khaled - Ya Loualid 5:33
12 Fadela* & Sahraoui - La Verité 4:19

VA - The Rough Guide to Rai (ogg 157mb)

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Nov 25, 2013

RhoDeo 1347 Hobbit 2

Hello, well I hope you enjoyed the sunday, Vettel took his last chance to win in the 2013 Grand Prix, 9th in a row and his 13th all season. All Hail the young master, I think he's just started his reign, despair you Hamilton fans, but then rumours have it Mercedes allready has a real contender engine for next years turbofest. Let's hope those that keep claiming Vettel can't race will finally see the light he is.


Well in a few weeks time part 2 of the Hobbit trilogy is coming to the screens to get you started the coming 8 weeks a 1968 BBC Radio adaptation of J. R. R. Tolkien's 1937 children's fantasy novel The Hobbit is here. The series was adapted by Michael Kilgarriff and produced by John Powell in eight half-hour mono episodes for BBC Radio 4 ... NJoy

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The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator.

Bilbo is approached by the wizard Gandalf to undertake a dangerous adventure, and despite his initial reluctance he soon finds himself accompanying Thorin Oakenshield and his party of dwarves on a long and difficult quest to recover the dwarves' treasure from Smaug the dragon. On the way, he encounters trolls, goblins, and giant spiders, and finds a magic ring with the power of invisibility. The show's production was complicated by the inclusion of multiple sound effects (often inserted live while recording the actors' performances), songs from the novel, and special sounds and electronic voice treatments created by the BBC Radiophonic Workshop. All of the trolls, goblins, elves, wargs and eagles have treated voices, as does Gandalf when imitating the trolls.

With:
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The Tale Bearer – Anthony Jackson
Bilbo Baggins – Paul Daneman
Gandalf – Heron Carvic
Gollum – Wolfe Morris
Thorin Oakenshield – John Justin
Elrond – John Pullen
The Elvenking – Leonard Fenton
Beorn – Denys Hawthorne
Bard the Bowman – Peter Williams
Balin – Peter Pratt
Smaug – Francis de Wolff
Other parts are not individually credited

Music – composed by David Cain, performed by David Munrow with The Early Music Consort
Special sound effects and voice treatments – David Cain and Dick Mills, BBC Radiophonic Workshop
Producer – John Powell
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The Hobbit 02 Out of the Frying-Pan into the Fire (25mb)

02 Out of the Frying-Pan into the Fire 27:18

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previously

The Hobbit 01 An Unexpected Party (25mb)

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Nov 24, 2013

Sundaze 1347

Hello,  Vettel took another pole today in a wet Brazil, he was 0.5 sec faster as no 2 Rosberg, his team mate Webber is fourth and a full second back. Yes he ain't the worldchampion for nothing, most dangerous at the start tomorrow is undoubtedly Alonso who once more got the best from his Ferrari and starts on third. If Vettel gets away cleanly at the start tomorrow he should win his 9th consecutive race but who knows the Lagos circuit is known to throw up surprises..

Today's artist is an American avant-garde composer and poet. He was born May 24, 1936 (age 77) in Los Angeles, and raised in the Mojave Desert. He has developed a style of playing piano he terms "Soft Pedal.". His pieces are composed and open-ended; they have never been based on a "system," and they are usually delicate, impressionistic, and, more often than not, mysterious and melodic. Always, his elliptical piano sets the course, following various muses through a gauzy labyrinth and conveying great poetry, emotion, and spirituality -- without ever becoming excessive or overly sentimental.  ..... N'Joy

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The American ambient/neo-classical composer who has most closely allied himself with the increasingly sympathetic independent rock underground -- through his collaborations with the Cocteau Twins' Robin Guthrie -- Harold Budd is also one of the very few who can very rightly be called an ambient composer. His music, a sparse and tonal wash of keyboard treatments, was inspired by a boyhood spent listening to the buzz of telephone wires near his home in the Mojave Desert town of Victorville, CA (though he was born in nearby Los Angeles). Though interested in music from an early age, Budd was 30, already married, and with children of his own by the time he graduated from the University of Southern California with a degree in musical composition in 1966. He became a respected name in the circle of minimalist and avant-garde composers based in Southern California during the late '60s, premiering his works "The Candy-Apple Revision" and "Unspecified D-Flat Major Chord and Lirio" around the area. In 1970, he began a teaching career at the California Institute of Arts, but continued to compose while there, writing "Madrigals of the Rose Angel" in 1972.

After leaving the Institute in 1976, Budd gained a recording contract with the Brian Eno-affiliated EG Records, and released his debut album, The Pavilion of Dreams, in 1978. Two years later, he collaborated with Eno on one of the landmark albums of the ambient style, Ambient 2: The Plateaux of Mirrors. After recording two albums for Cantil in 1981 (The Serpent [In Quicksilver]) and 1984 (Abandoned Cities), Budd again worked with Eno on 1984's The Pearl. A contract with Eno's Opal Records resulted in one of Budd's most glorious albums, The White Arcades, recorded in Edinburgh with Robin Guthrie of the Cocteau Twins. Budd left Opal after 1991's By the Dawn's Early Light, and recorded two albums for Gyroscope: Music for 3 Pianos (with Ruben Garcia and Daniel Lentz) and the lauded Through the Hill, a collaboration with Andy Partridge of XTC. In the mid-'90s, he recorded albums for New Albion and All Saints before signing to Atlantic for the release of The Room in mid-2000.

In 2004, Budd decided to retire, claiming he had said all he wanted to, and that he "didn't mind disappearing." His "final" outing, Avalon Sutra/As Long as I Can See My Breath, appeared on David Sylvian's Samhadi Sound imprint as a double disc. The album featured 14 new pieces, some recorded solo, some recorded with saxophonist Jon Gibson, and some with a string quartet. Budd apparently changed his mind about retirement and his collaboration with Eraldo Bernocchi, Fragments from the Inside, issued on Sub Rosa, arrived in the spring of 2005. Back to composing and recording, Budd signed to Darla in late 2007. He began working with producer Clive Wright that same year. In October 2008, a collaboration with Clive Wright entitled Song for Lost Blossoms was released by Darla Records. It includes recordings that were done live and in-studio at different locations, including both artists' homes. The album features some of their work done together between 2004 and 2006. A second collaborative effort with Wright, Candylion followed in 2009, again on Darla Records.

Darla Records released a CD album by Robin Guthrie and Harold Budd in February 2011 entitled Bordeaux, recorded in the summer of 2010 in Bordeaux, France and mixed in Guthrie's studio, in Rennes, France. Rare Noise Records released a CD album by Eraldo Bernocchi, Harold Budd, Robin Guthrie in November 2011 entitled Winter Garden, recorded in the summer of 2010 in Tuscany, Italy and mixed in Guthrie's studio, in Rennes, France. It was announced that Harold Budd will appear as one of the featured composer/performers at San Francisco's Other Minds festival in March, 2012. Bandits of Stature was released that same year, in 2013 Budd came through with Jane 1-11 both released on Darla Records

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Budd's first solo release since 1991, this is proof that Budd's talent remains consistent: always maintaining that delicate balance between pretty ambient music and something darker in mood that seeps into the corners of his melodies. Divided into four sections, Luxa features six piano-led pieces, a trio of miniatures, five more ambient drones, and a duo of covers from Marion Brown and Steven Brown respectively. The titles suggest homages to some of Budd's favorite 20th century artists though you'd be hard pressed to hear much of Chet Baker, Serge Poliakoff, and Agnes Martin in these works unless you stretched your brain. Relaxing, warm music, like sun on a red tile floor.



Harold Budd - Luxa (flac  264mb)

Butterflies With Tits
01 Niki D. 6:33
02 A Sidelong Glance From My Round Nefertiti 3:12
03 Agnes Martin 3:47
04 Anish Kapoor 2:55
05 Paul McCarthy 7:07
06 Serge Poliakoff 3:03
Inexact Shadows
07 Djinn 0:49
08 Porphyry 0:45
09 How Dark The Response To Our Slipping Away 0:42
Smoke Trees
10 Nove Alberi 5:56
11 Chet 7:09
12 Mandan 3:55
13 Feral 4:07
14 Grace 5:14
Laughing Innuendos
15 Sweet Earth Flying 2:46
16 Pleasure 3:56

Harold Budd - Luxa (ogg 128mb)

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With The Room, Harold Budd makes his major-label debut. Expanding on a track from The White Arcades, he crafts 13 pieces with a simple, childlike innocence that also contain rich textures beneath, inducing a calm, meditative state -- perfect for relaxation therapy or cloud watching. As he has been a longtime master of ambient atmospherics, Budd is able to create a benign, peaceful aural gallery as each piece slowly, quietly unfolds into a different "room," heard in the shimmering bells of "The Room Alight," the chanted voices of "The Candied Room," and the somber "Room of Forgotten Children" (note the wonderfully evocative titles). Though some of the synthesizer textures verge on a little too much new age sweetness, his piano is always a thing of tranquil beauty, veiled in layers of eerie echo, evoking a half-remembered dream. After many interesting collaborative records, this is an impressive return to form to Budd's early to mid-'80s heyday.



Harold Budd - The Room (flac  213mb)

01 The Room Of Ancillary Dreams 6:04
02 The Room Of Oracles 4:43
03 The Room Of Stairs 5:19
04 The Room Of Corners 5:03
05 The Room Alight 4:37
06 The Candied Room 3:37
07 The Room Of Mirrors 7:03
08 The Room Obscured 0:59
09 The Room Of Forgotten Children 2:12
10 The Room Of Accidental Geometry 3:21
11 The Room Of Secondary Light 4:35
12 The Flowered Room 4:24
13 The Room 2:15

Harold Budd - The Room (ogg 109mb)

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After nearly three decades of recording, pianist and composer Harold Budd is calling it quits, explaining he has said all he wants to and does not mind disappearing. If this indeed turns out to be the case, Avalon Sutra proves that Budd has saved the very best for last. Budd has walked the no man's land ground between minimalism and ambient music and forged his own territory.  The 14 tracks on Avalon Sutra are elegant, contemplative (not speculative), and poignant; the grace and tenderness that they impart so readily are tempered with emotional depth and dimension by notions of memory, loss, and even grief.

The three "Arabesque" pieces here -- in reverse numerical order -- feature Budd's piano, whispering softly and purposefully over a delicate wash of electronics, contrasted sharply by Jon Gibson's nearly insistent soprano saxophone lines (sopranino on "Arabesque 3") through the center. Elsewhere, Budd employs strings and electronic drones on four titles, including the ever-so-brief "It's Steeper Near the Roses," written for David Sylvian. There are also four solo titles that are layered in a very stark painterly way with other gauzy sonic elements.  "As Long As I Can Hold My Breath," the set's final cut, is given a 70-plus minute remix treatment by electronic composer Akira Rabelais on disc two with additional production from Sylvian. Here, the theme from the original track is cut into a compelling, artfully rendered whole, with string loops, meandering piano that drifts in and out of the mix -- yet appears at all the right moments to add poignancy and dimension -- and a gentle wash of noise. It is utterly hypnotic and engaging throughout its long duration. Budd may not have been the most prolific composer or recording artist, but his consistency was remarkable and his economy of musical language always pointed to more just beyond the veil of sound. He will be missed.



Harold Budd - Avalon Sutra (flac  496mb)

01 Arabesque III 2:40
02 It's Steeper Near The Roses (For David Sylvian) 1:02
03 L'Enfant Perdu 2:14
04 Chrysalis Nu (To Barney's Memory) 1:59
05 Three Faces West (Billy Al Bengston's) 2:49
06 Arabesque II 3:02
07 Little Heart 7:40
08 How Vacantly You Stare At Me 4:01
09 A Walk In The Park With Nancy (In Memory) 5:55
10 Rue Casimir Delavigne (For Daniel Lentz) 5:28
11 Arabesque I 1:56
12 Porcelain Ginger 2:01
13 Faraon 1:23
14 As Long As I Can Hold My Breath 3:47

15 As Long As I Can Hold My Breath 69:28

Harold Budd - Avalon Sutra  (ogg 209mb)

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Nov 23, 2013

RhoDeo 1346 Beats

Hello, well Kennedy was murdered 5 decades ago today, plenty of rememberance yet it leaves me with a bad taste in my mouth. Because his murder is still unsolved, yes there is a patsy who survived less then two days, but it has been established more people were involved. Who ? Clearly very powerful people who were able to keep a lid on, they likely had a hand in the murder of his presedential candidate brother as he would have re-opened the investigations. All water under the bridge, but then a decade ago (9/11) another big blow, with more devious cover up, the same dark forces having their way. If only the last stone had been unturned the first time, i'm sure these psychopaths had thought twice before blowing up two skyscrapers with 3,000 people in it, as well as dispersing a deadly amount of asbestos.... Where is Dr Who when you need him ? Reveling in his current cult-status, and today birth date for the good doctor ? Never

The coming 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 industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artists are a legend and a colossus of a Goa Trance band. Their sound epitomized the peak of the Goa scene in the 90's. Colorful, hypnotic, trippy and yet melodic. The original goal of the music was to assist the dancers in experiencing a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms. ....... N'joy

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Transwave is a Goa trance act composed of Christof Drouillet (known as Absolum) and Frederic Holyszewski (known as Deedrah).

Christof was raised in a classical musician family, though he never had training in music or electronic. First, he got involved in various New Wave bands where he was the singer and the programmer. One day, he discovered the Techno music sound, and that changed his musical orientation. Also raised in a family of musicians, Frederic Holyszewski began his musical studies at the age of five, learning Transverse flute and piano. During his teenage years, he found inspiration in the electronic music of the day, including Jean Michel Jarre, Depeche Mode, Frankie Goes to Hollywood and Simple Minds. He bought his first synthesizer funded by working at night in bars as a pianist. After the split of his first rock band Vision Quest, in 1990, he started to work on his own with the help of computers.

Christof and Frederic met at a French Rave party and subsequently formed the psychedelic trance act Transwave in September 1994. Three months later, the first Transwave release (Datura EP) was launched on the small French label, Transpact. Over the following two years, Transwave released three albums (Hypnorhythm, 1995, Helium, 1996, Phototropic, 1996) and toured around the world, experiencing great success in the psychedelic trance underground and scoring an international trance hit with their track, "Land of Freedom." The group split after the D-mention party in Paris in May 1997. Christof and Frederic also released an EP called "Anjuna" under the name Kaledoid in 1996.

Transwave is known for its heavy use of TB-303 based effects.

Christof launched his record label 3D Vision Recordings in Paris in 1998, releasing artists as dancefloor oriented as possible, which became one of Psytrance most demanded labels. Also in 2010, he launched iBZ Recordings, more dedicated to Techno and Tech-House. Both are based in Ibiza....

Frederic ventured out and started his own record label and production studio, Questionmark RDS. In 1997, the label released his first solo album Self Oscillation under the name Deedrah which marked Frederic’s first break from the original psychedelic Goa trance sound he was producing before. Since then, label is closed down, but Dado focused since that on collaborating with his friends Dino & Shanti under the name of Krome Angels.

Transwave have reunited to perform again at the Boom Festival 2006 in Portugal and in the beginning of 2007 they have released "Backfire", a compilation of hits and unreleased tracks that have made Transwave. They have chosen the tracks after asking their Fans through forums and internet.

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Their sound epitomized the peak of the Goa scene in the 90's. Colorful, hypnotic, trippy and yet melodic. Transwave will be remembered by most serious fans of Goa Trance for the innovation and emotion they brought to their music. Here the first CD Transwave did. Even though it's labeled as an EP, it's around 63 minutes long, making it longer than many full-lenght albums. The Hypnorhythm EP sound brings you back, no surprise then it's still my favorite Transwave release.



Transwave - Hypnorhythm ( flac 464mb)

01 Adoration To The Aum 7:18
02 Axonal 7:40
03 Goacore 9:20
04 Hypersphere 6:55
05 Robostyx 7:44
06 Aural Perception 7:52
07 Fortune Teller 7:07
08 Kalimantan 8:53
Bonus
09 Ulysse Voyage no 2 5:29

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Helium is quite a strange album to experience. It has more to do with a long mystical journey rather than a collection of goa hits. In fact, the whole album sounds like a musical act separated in several chapters ; it is way more enjoyable at home in the good conditions (I won't tell you more about those as I don't want any policemen to break into my flat) rather than in any outdoor party.

As for me, the first chapter embraces tracks 2 to 6 after the chilling prologue. It tells a lot about shamanic rituals but also about spiritual aesthetics - don't forget that trance will ever remain something sensuous and evocative while the real mystical experience using functional music (such as Voice of Eye or Halo Manash) can be way more frightening. Anyway, it's a kind of safe and pulsating path that is offered here, from excellent acid assault like 'Trashish' to Etnica-like melodic stompers ('Zero Density') . Climax often bursts two minutes before the end of each tracks, which is very erotic to my opinion as it works just like those steps in male ascension to orgasm.

Second chapter : slower, heavier, more dense. 'Hypnorhythm' begins with a nightmarish sub-bass intro, then drives you into a spiraling state you won't forget that easily. 'Biolab (Epilogue)' is my favourite here : a very long and meditative trip with incredible chorus lines and a finale to die for. It sounds just as if Biosphere would have tiptoed into psychedelic trance.



Transwave - Helium (flac 543mb)

01 Prologue 2:31
02 My Dear Medical Assurance 8:01
03 A Journey In The Outerspace (Remix) 7:02
04 Trashish 5:58
05 Zero Density 9:04
06 The Rezwalker 8:23
07 Hypnorhythm 10:42
08 Helium 8:04
09 Biolab (Epilogue) 8:23
10 The Rezwalker (London Live Remix) 7:08

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A masterpiece that you never get tired of, it´s energetic and the melodies are genious. The speed is most off the time fast and also heavy and will give you a kick without using drugs. This album is a must have if you have the desire to get your hands on some fantastic old goa trance. The title track (Phototropic) possibly one of the greatest trance songs ever written, everything just seems to be perfectly in place, no cheese, just pure hypnosis and beauty. A highly accomplished piece musically and technically - definitely an artist on top form. More hypnotic than energetic, with intricate, seductive melodies and subtle underlays.



Transwave - Phototropic (flac 518mb)

01 Phototropic 7:36
02 Byron Bay 7:06
03 Sonica Dream 8:23
04 Vision Quest 5:42
05 Land Of Freedom 'Tribute To MWNN' 7:25
06 Voyager 7:14
07 Absolum 7:20
08 Malaka Dance 8:04
09 Snow Drop 8:36
10 Ulysse Voyage no 3 8:35

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Nov 21, 2013

RhoDeo 1346 Goldy Rhox 135

Hello, today the 135th post of GoldyRhox, classic pop rock in the darklight was an English singer-songwriter and musician. He was known for his distinctive voice and the eclectic mix of musical styles on his albums, combining soul, jazz, rock, pop, reggae and blues. He found success both in his solo career and with Power Station, and had Top 10 songs in both the UK and the US. His involvement in the music industry commenced in the 1960s, covered five decades and included a spell with Vinegar Joe.

He received a number of awards throughout his career, including two Grammy Awards for Best Male Rock Vocal Performance, an MTV Video Music Award, and was twice nominated for the Brit Award for Best British Male.

He was married in 1974 to Shelly Putman; they had three children together - Anthony, Anna and Martin; they divorced in 1978. In 1979 he married Susan Eileen Thatcher; they had two children together - James and Jane; they divorced in 1999. In 1993 he permanently relocated from the Bahamas to a converted mill-house in Lugano, Switzerland, after he found that the islands had become overrun with drugs and guns, and no longer were safe.

He died in Paris at the Hôtel Warwick Champs-Elysées, rue de Berri, from a heart attack on 26 September 2003 at the age of 54. He had been in the French capital after recording a television appearance for Yorkshire TV in the UK. He was on holiday with his close friend Jack Bruce and conducting publicity appearances for his most recent release Drive prior to his death.

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

Today's mystery album was released on November, 1985 and it is his eighth solo album. He recorded the album at Compass Point Studios in 1985, recruiting Thompson and Andy Taylor to play on some tracks plus Power Station record producer Bernard Edwards, who worked with Thompson in Chic, to helm the production. The album featured the US No. 1 and UK No. 5 single "Addicted to Love". The single was accompanied by a memorable and much-imitated music video, directed by Terence Donovan, in which Palmer is surrounded by a bevy of near-identically clad, heavily made-up (and appropriately pouty) female "musicians," either mimicking or mocking the painting of Patrick Nagel.

The track "Hyperactive" was used in the 1987 film The Bedroom Window. The song "I Didn't Mean to Turn You On", originally performed by R&B singer Cherrelle, reached No. 2 on the Hot 100. The album charted at No. 8 in the US and No. 5 in the UK. It was certified double platinum in the US by the RIAA in March 1996 and certified gold in the UK by BPI in August 1986.



Goldy Rhox 135   (flac 208mb)

Goldy Rhox 135   (ogg 79mb)

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Nov 20, 2013

RhoDeo 1346 Aetix

Hello,  so tonight saw Ronaldo finish off 3 Portugese counters in style, he really is worldclass. Yet it's doubtful Portugal will go beyond the final 16 the rest of his team is too weak. France escaped humiliation, they did well even if their second goal was clearly off side, 5 min before a clearly legal goal was dismissed. Obviously the referees thought that two wrongs would make it right, well it will stop the Oekrainians from feeling too sorry for themselves. Unfortunately Iceland didn't make it, Kroatia was way to strong for them. The Greek proved to themselves that they are superior to Romanians, they needed that boost of their selfesteem after the economic disaster that has befallen them.

Today we reach the end of Aetix' females in the eighties, when i started out in Aetix 1304 I didn't expect it would go on for 42 weeks, obviously these days there's a much bigger share of females in music, but clearly they were already making their mark back in the eighties. Today another post of the most successful rock chics of the eighties, only surpassed in sales by Madonna, yet she's hardly a household name. Her first 6 albums all went platinum in the States, her artist name must have hurt, it was her already ex husbands surname that was on her first album, she's carried that name for decades to come, despite having been happily married with her band leader guitarist Neil Geraldo since Februari 1982.

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Pat Benatar's polished mainstream pop/rock made her one of the more popular female vocalists of the early '80s. Although she came on like an arena rocker with her power chords, tough sexuality, and powerful vocals, her music was straight pop/rock underneath all the bluster. Born Patricia Andrzejewski on January 10, 1953, in Greenpoint, Brooklyn, the singer was raised in the nearby town of Lindenhurst on Long Island, NY.

She pursued health education at the State University of New York at Stony Brook. At 19, after one year at Stony Brook, she dropped out to marry her high school sweetheart Dennis Benatar, who was stationed at Fort Lee, Virginia. there for three years, and Pat worked as a bank teller outside Richmond, Virginia. In 1973, Benatar quit her job as a bank teller to pursue a singing career after being inspired by a Liza Minnelli concert she saw in Richmond. She got a job as a singing waitress at a flapper-esque nightclub named The Roaring Twenties and got a gig singing in lounge band Coxon's Army, a regular at Sam Miller's basement club. The band's bassist Roger Capps also would go on to be the original bass player for the Pat Benatar Band. Her big break came in 1975 at an amateur night at the comedy club Catch a Rising Star in New York. Her rousing rendition of Judy Garland's "Rock-a-Bye Your Baby With a Dixie Melody" earned her a call back by club owner Rick Newman, who would become her manager.

The couple headed back to New York following Dennis' discharge from the army, and Benatar went on to be a regular member at Catch a Rising Star for close to three years, until signing a record contract. She would eventually divorce Dennis Benatar in 1979.
Between appearances at Catch a Rising Star and recording commercial jingles for Pepsi Cola and a number of regional concerns, she headlined New York City’s Tramps nightclub from March 29 - April 1, 1978, where her performance impressed representatives from several record companies. She was signed to Chrysalis Records by co-founder Terry Ellis the following week.

Backed by a stellar band led by guitarist Neil Geraldo that provided the perfect accompaniment that was able to effortlessly alternate between rockers and ballads. Benatar quickly established herself as one of rock's top vocalists, scoring a hit right of the bat with her debut album, 1979's In the Heat of the Night, which spawned such radio favorites as "Heartbreaker" and "I Need a Lover" (the latter of which was written by a then-unknown John Mellencamp).

Pat married guitarist and producer Neil Giraldo on 20 February 1982 at Hana, Hawaii. The couple first met in 1979 when he arrived at her rehearsal building to audition, prompting Pat to think to herself Girl you have just seen the father of your children Benatar was separated from her first husband at the time, and once the divorce was finalized later in 1979 the relationship with Giraldo began in earnest. They have two daughters.

She won an unprecedented four consecutive Grammy Awards for Best Female Rock Performance for her LP Crimes of Passion (1980) and the songs "Fire and Ice" (1981), "Shadows of the Night" (1982), and "Love Is a Battlefield" (1983).[citation needed] Of the ten Grammy seasons of the 1980s, Benatar was nominated for Best Female Rock Performance eight times, including "Invincible" in 1985, "Sex as a Weapon" in 1985, "All Fired Up" in 1988 and "Let's Stay Together" in 1991But by the end of the decade, it appeared as though Benatar had fallen of the face of the Earth as the hits seemed to dry up.

Benatar opted to shift musical gears and issue an album of blues and R&B, 1991's True Love, which failed to return the singer back to the top of the charts. Benatar returned back to her patented arena rock sound with such further studio releases as 1993's Gravity's Rainbow and 1997's Innamorata (although the latter of which was largely acoustic-based) and while the albums didn't exactly measure up to her earlier releases, both were solid efforts. The late '90s saw a pair of live archival releases hit record store shelves, 1998's 8-15-80 and 1999's The King Biscuit Flower Hour Live, in addition to countless hits collections (although the best of the bunch proved to be 1989's Best Shots, which remains a steady seller to this day).

The singer began touring again by the middle of the decade (after taking a five-year hiatus from the road), co-headlining shows with REO Speedwagon, Fleetwood Mac, the Steve Miller Band, and Styx. She also continued to dabble in acting, appearing in the ABC Afterschool Special Torn Between Two Fathers and on various sitcoms. In August 2003, Benatar returned to recording with Go (Vanguard), her first studio LP since 1997's Innamorata. The LP revisited the arena rock/MOR sound that had defined Benatar's career, and was accompanied by an extensive tour.

In June 2010, Benatar's memoir, Between a Heart and a Rock Place was released. her memoir touches on her battles with her record company Chrysalis, the difficulties her career caused in her personal life, and feminism. In the memoir, she is quoted as saying, "For every day since I was old enough to think, I've considered myself a feminist … It's empowering to watch and to know that, perhaps in some way, I made the hard path [women] have to walk just a little bit easier." The book went on to become a New York Times Bestseller. Initially reluctant to undertake the project, she found the actual writing process so enjoyable that it inspired her with plans to write a novel. In summer 2011, Benatar announced she was working on a Christmas album and a novel about the second coming of Christ.

Although billed as a solo artist, Benatar recorded and toured with a consistent set of band members over most of her career, who contributed greatly to the writing and producing of songs and are recognizable characters on album photos and in many of her music videos.

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By 1983, Benatar had established a reputation for singing about "tough" subject matters, best exemplified by one of the biggest hits of her career, "Love Is a Battlefield" (penned by noted hit songwriter Holly Knight with Mike Chapman), released in December 1983. By then, her sound had mellowed from hard rock to more atmospheric pop/new-wave and the story-based video clip for "Love Is a Battlefield" was aimed squarely at MTV, even featuring Benatar in a Michael Jackson-inspired group dance number.

One of Pat Benatar's most famed attributes is that she performs extremely well to an audience, and no album solidifies this more than Live From Earth, with tracks taken from her 1982-1983 American and European tour at the height of Benatar's career. Not only does Benatar sound amazingly intense and vibrant, but the choice of songs for the album couldn't have been better. Starting off with the explosive chorus of "Fire and Ice" and leading fluidly into the seductive "Looking for a Stranger," Pat Benatar ignites quickly and effectively before going into a well-constructed medley of "I Want Out," "We Live for Love," and the darkened "Hell Is for Children." Benatar's musicians are sharp as well, especially on the faster-than-usual tempo of "Hit Me With Your Best Shot," while "Heartbreaker" finishes off her live material with the allure of her voice enticing the chorus. Although Benatar's unsurpassed energy drapes the album with a strong rock & roll atmosphere, the last two studio tracks end Live From Earth on an equable note, especially the number five hit "Love Is a Battlefield," with "Lipstick Lies" a close second. While there could have been more tracks added, Live From Earth still does a good job at showing off Pat Benatar's aggressive yet tamed vocal style outside of the studio. The album peaked at US #13 and became her fifth consecutive RIAA and CRIA platinum winner.



Pat Benatar - Live from Earth  (flac 274mb)

01 Fire And Ice 3:45
02 Lookin' For A Stranger 3:29
03 I Want Out 4:04
04 We Live For Love 3:22
05 Hell Is For Children 6:00
06 Hit Me With Your Best Shot 3:09
07 Promises In The Dark 5:13
08 Heartbreaker 4:21
09 Love Is A Battlefield 5:24
10 Lipstick Lies 3:49

Pat Benatar - Live from Earth  (ogg 106mb)

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In November 1984, Benatar released her fifth studio album, Tropico (US #14, AUS #9, UK #31). The single "We Belong", released in October 1984, a month prior to the album release, became another top 10 hit in the US peaking at #5 and #7 in Australia. It was also Benatar's first ever UK top 40 hit, where it peaked at #22. A second single release, "Ooh Ooh Song", reached US #36. It is also said by Benatar and Giraldo that this album is the first where they moved away from Benatar's famed "hard rock" sound and start experimenting with new, sometimes "gentler", styles and sounds. Despite not quite making the US Top 10, it immediately earned her a sixth consecutive RIAA and CRIA platinum-certified album. In Canada, the album peaked at 21 on the album charts.

"We Belong" was also nominated for Best Female Pop Vocal Performance in 1986. Benatar's first nomination in that category. In 2006, the song was part of a $20 million ad campaign for Sheraton hotels, although the version used in the commercial was not Benatar's. Her version of the song is featured in the 2006 comedy film Talladega Nights.



Pat Benatar - Tropico  (flac 269mb)

01 Diamond Field 3:20
02 We Belong 3:40
03 Painted Desert 5:22
04 Temporary Heroes 4:22
05 Love In The Ice Age 4:08
06 Ooh Ooh Song 4:06
07 The Outlaw Blues 3:47
08 Suburban King 1:45
09 A Crazy World Like This 4:02
10 Takin' It Back 4:02
 
Pat Benatar - Tropico  (ogg 94mb)

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In November 1985, she released her sixth studio album, Seven the Hard Way. Benatar would hit the US Top 10 with the Grammy nominated single, "Invincible" (the theme from the movie The Legend of Billie Jean) which was written by Holly Knight (Love Is a Battlefield) and Simon Climie in 1985, three full months before the album was released. Her other Grammy nominated single, "Sex As a Weapon" would climb as high as #28 in January 1986, and "Le Bel Age" (#54) in February. The album Seven the Hard Way peaked at #26, earning an RIAA Gold certification (import cd). In Canada, it was her seventh consecutive platinum certified album



Pat Benatar - Seven the Hard Way  (flac 271mb)

01 Sex As A Weapon 4:20
02 Le Bel Age 5:11
03 Walking In The Underground 4:42
04 Big Life 2:41
05 Red Vision 3:53
06 7 Rooms Of Gloom 3:35
07 Run Between The Raindrops 4:29
08 Invincible (Theme From The Legend Of Billie Jean) 4:29
09 The Art Of Letting Go 4:00

Pat Benatar - Seven the Hard Way   (ogg 90mb)

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Bit of an after thought..
Until the release of 2005's Greatest Hits, 1989's Best Shots was the finest Pat Benatar collection, largely because it was the most concise. True, there may be a few lesser hits missing in favor of a couple newly recorded songs -- "Sex as a Weapon," "Treat Me Right," "I Need a Lover," "Little Too Late," and "Looking for a Stranger" all could have made the cut instead of "Painted Desert" and "Outlaw Blues" -- but the remainder of the disc is nearly flawless, delivering arena rock staples such as "Hit Me With Your Best Shot," "Fire and Ice," "Heartbreaker," "We Belong," "Invincible," and "All Fired Up" one after another. It may not be perfect, but it delivers enough thrills to make it all worthwhile.



Pat Benatar - Best Shots  (flac 446mb)

01 Love Is A Battlefield 5:24
02 Promises In The Dark 4:48
03 One Love 5:12
04 All Fired Up 4:27
05 We Live For Love 3:22
06 Hell Is For Children 4:48
07 Shadows Of The Night 4:20
08 Hit Me With Your Best Shot 2:51
09 We Belong 3:40
10 Invincible (Theme From "The Legend Of Billie Jean") 4:28
11 Fire And Ice 3:20
12 Heartbreaker 3:26
13 Suffer The Little Children / Hell Is For Children (Live) 6:45
14 Painted Desert 5:24
15 Outlaw Blues 4:19

Pat Benatar - Best Shots   (ogg 158mb)

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Re-Ups

Aetix 1205

Magazine - Real Life (369mb)
Magazine - The Correct Use Of Soap (349mb)
Magazine - Magic, Murder & The Weather (255mb)
Magazine - Secondhand Daylight (flac 390mb)

Aetix 1325

The Passions - Thirty Thousand Feet Over China  (flac 335mb)

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