Mar 31, 2015

RhoDeo 1513 Re-Up 8

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

More new updates here

3x Ellen Allien (back in flac)


3x On U Sound On The Wire (Back in flac)


2x Undisputed Truth (back in ogg 9 234mb)

Sixties Sunshine, Joe Higgs now in flac (224mb)


Joe Gibbs Discomix Showcase 2+4  back in flac 266mb

Joe Gibbs Discomix Showcase 1+3  back in flac (975mb)


King Tubby - Dub From The Roots back in flac (258mb)



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Mar 30, 2015

RhoDeo 1513 Empire Strikes Back 03

Hello, Hamilton fans got a big shock today...Vettel is back backed by a great Ferrari once again world's fastest cruiser took the flag first. Circumstances in Malaysia were special as in extremely hot apparently this suited Ferrari better then Mercedes but hey it was good see these getting passed once more. Rookie Verstappen had a great race and scored his first points. In all there was plenty of action today.. Lets hope this will continue


Tomorrow a new re-up posting, get your request in....


This week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country.
Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.


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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)

203 A Question Of Survival 03 25:07


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previously

The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Mar 29, 2015

Sundaze 1513

Hello,

Today's Sundazers are pointed to Europe's creative heart, Berlin . N'joy

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Lars Fenin started to make music as a guitarist end of the 80ties in random post-wave/reggae band projects in his hometown Hamburg.  After several visits to Berlin in 1993 he decided to move there, and found himself back in raisin east-berlin with its fresh and unconvential potential of new arts, clubs, and squatted house-partys. After continuing the post-rock-stuff in a 3 member band fenin went more and more into dub/reggae type o music, and founded 1996 his own reggae–band “Tribal Notes”, musically ranging from dub/experimental to straight roots orientated songs.  In 1996 all changed of a sudden after the first outdoor rave and visits of drum’n’bass partys in Berlin. In 1997 Fenin bought his first synthesizer, and an atari 1040 st sequencer, producing little dub/bass/electro pieces in his small homestudio. Fenins first release soon followed on a compilation, done by friends in Hamburg. After that he played his first live-sets with a friend and an 808 bouncing in the back.  In 1999 contact was made to at that time unkown label Shitkatapult, and in 2000 fenins first release followed under alias “Herr Pitzelberger”.

Since then Fenin has released serveral Eps and albums for his homies Shitkatapult as well as 12" s and remixes for labels like Echocord, Revolver, Eintakt and Mitek among others. Along the years he could boast collaborations with artists such as Deadbeat, Mikael Stavöstrand, D-meteo, k.j.gibbs, der dritte raum, Eraldo Bernocchi and Jeff Milligan. In 2005 Shitkatapult released his debut album "Grounded" Since 2008 he runs also his own label called "Dock-records"..Never the less his albums are still released thru Shitkatapult 2008 Been Through and 2 years later Mixes and Maxes is last album thusfar was 1013's Heartware.

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Lars Fenin is one of those people whose past musical heritage reads like a succession of events that were pre-ordained in order to get him from his mid-90's reggae days in Berlin's Tribal Notes, through the cities electronic renaissance and his first 12" in 2000, to now and the release of debut album 'Grounded'.

Longtime Shitkatapult and Meteosound crew member Lars Fenin delivers his second album since 2005's 'Grounded' with 'Been through'. Alongside Daniel Meteo, Anders Ilar and Pole amongst others Fenin has consistently foraged in the dub undergrowth to roughly define the Berlin dub-tech aesthetic, aiming for a calculated post-dub-techno approach that still clings to the basic tenets of dub minimalism but enhanced by updated production processes and open to incorporating new rhythms and styles from hiphop to electronica. With vocal assistance from reggae singer Gorbi, Fenin moves through dubbed mutations on discoid electro on 'breakin', tricky shufflers on 'colourfields', moody melodic steppers on 'Complain' feat Scorcha and ace dub tech on album highlight 'Red wine'. There's a wonderfully inviting early evening dub haze about the whole album which definitely makes it worth a look in, give it a crack like.



Fenin - Been Through  (flac 254mb)

01 Dub Eraldo - Intro 3:17
02 A Try 5:02
03 Breakin 5:31
04 Colourfields 6:26
05 Miles And More 4:34
06 So Weit So Gut 2:08
07 Complain 4:47
08 Elephants 3:56
09 Red Wine 5:30
10 I Guess 5:03
11 Years Ago 3:25

Fenin - Been Through (ogg  112mb)

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Fenin showcases a selection of some of his finest deep and dubby techno with a collection of previously unreleased and vinyl-only tracks for Berlin's Shitkatapult. While showcasing a good understanding of the minimal dub sound, it's interesting to hear traces of UK garage and dubstep incorporated into Fenin's sound. Fenin seems to have found the knack of creating a counterbalance to the flow and texture of each track, often playing off smooth with rough, or dreamy with alert, thereby building a dynamic tension that is perfect for repeat listening or losing it on the dance floor. The highlight has to be "Seems Like" whose combination of pulsing electro, rugged dubstep rhythms and carnivalesque synths is simply sublime. The slow, but insistent bass-weight thuggery of "Done," the restless percussive detail of "Romeo Kalimba" and "Driven" with its lusty, but patient kick drum, sparking snares and chiselled Jamaican guitar run a close second.

 Fenin's long-term collaborator Gobi also rises to the challenge with two driven performances, the first on the minimal styled "None of Them" and, most tellingly, on the closing track "Sound and Power" whose refrain "Sound and power is coming your way" is delivered with venom and freshness. Perhaps the only surprise here is that it tails off so quickly, ending the album on a lurch, when so much effort had been made to build a cohesive set out of a collection of released and unreleased tracks. That he does so is just one more reason to want to know more.



Fenin - Mixes and Maxis  (flac  243mb)

01 Done (Edit) 5:20
02 Divison El Norte 6:08
03 Seems Like 5:37
04 None Of Them (Voc.Gorbi) (Robags Wokksikon Remikks) 6:30
05 Romeo Kalimba 6:17
06 Driven 5:43
07 Adeto 2:52
08 And Again 4:06
09 Sound And Power 5:37

Fenin - Mixes and Maxis  (ogg 108mb)

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Onmutu Mechanicks is Arne Weinberg, who has been creating Detroit- and dub-inspired techno for ten years on quality labels such as Down Low Music, Styrax Records, Matrix Records, Frantic Flowers, Dpress Industries, and his own AW-Recordings. Onmutu Mechanicks supposedly represents Weinberg at his most abstract. This is his second full-length release under the alias, after a CD-R earlier this year on Diametric.

From the dub stasis of 'Catatonic' he guides us on an inward trajectory with the heavy breathing shuffle of 'Aspiring To Aspire' and continues an internal spiral with the soundtracky space of 'Lupos Moon', recalling the bleakness of Demdike Stare's spare grooves. Down the line and the sleep-techno of 'Neutrino' only keeps consciousness because of its metronomic woodblock, before 'When You Return' inhabits the blue zones of Signer or Fluxion and 'Across The Styx' pulls the rhythmic anchor to drift in placid dub lagoon. With 'Nocturne' Arne proves he knows how to sooth and salve heads with elegance and substance, resulting in a sumptuous listen from start to finish.



Onmutu Mechanicks - Nocturne  (flac  410mb)

01 Catatonic 6:32
02 Aspiring To Aspire 9:29
03 Lupus Moon 10:27
04 Neutrino 6:12
05 Constant X 6:50
06 When You Return 8:57
07 Across The Styx 11:07
08 Your Touch Is So Electric 5:32
09 On Silent Wings 9:10

Onmutu Mechanicks - Nocturne   (ogg 143mb)

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Mar 28, 2015

RhoDeo 1512 Grooves

Hello, confused person get's told by his doctor he's not suited to work, yet afraid too loose his job he loves, he still goes. Then when his collogue leaves for a nature break confused person gets full control of the machine and thinking -as the doictor told him earlier he was not suited- he will never be alowed back, he wants to die.. Being a confused person his ego has superinflated..there are no others. He dies taking 149 others with him ...


Today.an American music group from Chicago, originally formed in 1958. Their repertoire includes doo-wop, gospel, soul, and R&B. The group was founded as The Roosters by Chattanooga, Tennessee natives Sam Gooden, Richard Brooks and Arthur Brooks, who moved to Chicago and added Jerry Butler and Curtis Mayfield to their line-up to become Jerry Butler & the Impressions. By 1962, Butler and the Brookses had departed, and after switching to ABC-Paramount Records, Mayfield, Gooden, and new Impression Fred Cash collectively became a top-selling soul act. ........N'joy

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The quintessential Chicago soul group, the Impressions' place in R&B history would be secure if they'd done nothing but launch the careers of soul legends Jerry Butler and Curtis Mayfield. But far more than that, the Impressions recorded some of the most distinctive vocal-group R&B of the '60s under Mayfield's guidance. Their style was marked by airy, feather-light harmonies and Mayfield's influentially sparse guitar work, plus, at times, understated Latin rhythms. If their sound was sweet and lilting, it remained richly soulful thanks to the group's firm grounding in gospel tradition; they popularized the three-part vocal trade-offs common in gospel but rare in R&B at the time, and recorded their fair share of songs with spiritual themes, both subtle and overt. Furthermore, Mayfield's interest in the civil rights movement led to some of the first socially conscious R&B songs ever recorded, and his messages grew more explicit as the '60s wore on, culminating in the streak of brilliance that was his early-'70s solo work. the Impressions carried on without Mayfield, but only matched their earlier achievements in isolated instances, and finally disbanded in the early '80s.

the Impressions were formed in Chicago in 1957 as a doo wop group called the Roosters, a group of Chattanooga, TN, transplants that included vocalists Sam Gooden and brothers Richard and Arthur Brooks. Lead singer Jerry Butler joined up and soon brought in his friend Curtis Mayfield as guitarist; the two had previously sung together in a church choir and a couple of local gospel groups as youths. Renamed the Impressions by their manager, the group scored a major hit in 1958 with the classic ballad "For Your Precious Love," which hit the pop Top 20 and the R&B Top Five. Butler's gospel-inflected lead vocal was a departure from the norm, and the fact that the single billed him in front of the rest of the group foreshadowed his quick exit for a solo career, after just one more single ("Come Back My Love"). With new vocalist Fred Cash in tow, Mayfield took over the lead tenor role, eventually becoming the group's chief composer as well. First, though, he hit the road as guitarist and musical director for Butler's backing band, and also co-wrote some of Butler's earliest singles, including the R&B number one "He Will Break Your Heart" in late 1960.

Mayfield's success as a songwriter encouraged him to form his own publishing company. With the money he earned by working with Butler, he reconvened the Impressions and brought them to New York to record for ABC-Paramount in 1961. Their first single, the Latin-inflected "Gypsy Woman," was a number two R&B smash, also reaching the pop Top 20. Several follow-ups failed to duplicate its chart success, and the Brooks brothers left the group in 1962; now down to a trio, the Impressions returned to Chicago and began recording with arranger Johnny Pate, whose horn and string embellishments added a bit more heft to their sound. They struck gold in 1963 with "It's All Right," whose gospel-style lead-swapping helped make it not only their first R&B number one, but their biggest pop hit as well, with a peak of number four. The same year, they issued their eponymous first LP, which many critics still consider one of their finest. 1964 brought the hit single "Keep on Pushing," the first of Mayfield's numerous black pride anthems (though at this stage, his sentiments were much less explicit than they would later become). The album of the same name also featured a marching-beat cover of the gospel standard "Amen," inspired by the song's inclusion in the Sidney Poitier film Lilies of the Field. Gospel also informed what became perhaps the best-known Impressions hit, 1965's "People Get Ready"; if its lyrics weren't overtly political, Mayfield's intent was clear, as the song became an anthem of transcendence for the civil rights movement and an oft-covered soul standard.

The mid-'60s saw Mayfield trying to keep pace with the Motown hit factory by incorporating elements of its style into his own writing. The group recorded prolifically in 1965, but their commercial fortunes dropped off over the next couple of years. When the Impressions returned to the upper reaches of the R&B charts, it was with 1968's "We're a Winner," the most straightforward celebration of black pride Mayfield had yet composed. That summer, the group left ABC to record for Mayfield's newly formed Curtom imprint, which allowed them greater freedom in terms of the lyrical content Mayfield wanted to pursue. More aggressive message tracks like "This Is My Country," "Choice of Colors," and "Check Out Your Mind" followed over the next couple of years, as did some of the group's most consistent albums, particularly The Young Mods' Forgotten Story (1969). 1970's Check Out Your Mind was Mayfield's final album with the Impressions, but the group remained on Curtom after his departure, and he continued to write and produce some of their material.

Mayfield was replaced on lead vocals by Leroy Hutson, who debuted on LP with 1972's Times Have Changed. At this point, the Impressions were still overshadowed by their ex-leader, who was riding high with brilliant works like Superfly. But Mayfield's solo momentum cooled down a bit, and after Hutson departed in 1973, new singers Ralph Johnson and Reggie Torian joined Cash and Gooden for the R&B chart-topper "Finally Got Myself Together (I'm a Changed Man)," cut with ex-Motown producer Ed Townsend in 1974. Townsend continued to work with the group for the next couple of years with some success, but in 1976 Johnson left to join the unsuccessful Mystique. Around that point, the Impressions parted ways with Curtom; Nate Evans replaced Johnson, and the group recorded for Cotillion and 20th Century/Chi-Sound with little chart success. Evans eventually departed, leaving the group a trio again. They recorded their final album, Fan the Fire, in 1981; Gooden and Cash occasionally reunited with Mayfield and sometimes Butler for touring commitments. Mayfield was paralyzed in a heartbreaking stage accident in 1990, when a lighting scaffold toppled over on him; he passed away in 1999.

In July 2013, The Impressions released "Rhythm!," their first single in over thirty years, on Daptone Records. The 7" record featured original members Fred Cash, Sam Gooden, and Reggie Torrian and was produced by Binky Griptite, guitarist for The Dap Kings. "Rhythm!" was originally penned by Curtis Mayfield in the mid-sixties. The B-Side, "Star Bright," was written by Binky Griptite.


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A reissue that combines 1967's The Fabulous Impressions and 1968's We're a Winner onto one CD. Although The Fabulous Impressions was a solid enough soul record on its own merits, it's not one of the more notable entries in the Impressions' catalog. There aren't any big hits, although a couple cuts, "You Always Hurt Me" and "I Can't Stay Away From You," were modest R&B charters. At times it seemed that Mayfield was trying to follow in Motown's footsteps, as on "You Always Hurt Me" and "You Ought to Be in Heaven." "It's All Over" is the Impressions' version of a song that had already been a hit for Walter Jackson, and the cover of Gene McDaniels' "One Hundred Pounds of Clay" (the only selection not written by Mayfield) is filler. The above comments might lead you to believe this album is worse than it actually is; it's dependable, enjoyable, quality soul, with "Isle of Sirens" recalling earlier efforts like "Gypsy Woman" and "She Don't Love Me" offering a chunkier and tougher approach than their typical heartfelt optimism. While the title track of We're a Winner was one of Mayfield's classic civil rights-conscious anthems, most of this album was actually dedicated to standard romantic themes. Almost every cut was a quality Mayfield original, and the harmonies and vocal interplay among the group were outstanding. "Nothing Can Stop Me," which had been a hit in 1965 for Gene Chandler, was an up-tempo highlight, and "Little Brown Boy" showed more of the African-American pride that had been explored in "We're a Winner," albeit in a more tender ballad mode. The closing cover of "Up Up and Away" is misplaced, but overall this is one of the better Impressions albums to pick up if you want more than what's found on the greatest-hits collections..



The Impressions - The Fabulous Impressions + We're A Winner  (flac  325mb)

The Fabulous Impressions

01 You Always Hurt Me 2:17
02 It's All Over 3:07
03 Little Girl 2:27
04 100 Lbs. Of Clay 2:22
05 Love's A Comin' 2:30
06 You Ought To Be In Heaven 2:39
07 I Can't Stay Away From You 2:35
08 Aware Of Love 2:30
09 Isle Of Sirens 2:58
10 I'm Still Waitin' 2:35
11 She Don't Love Me 2:40

We're A Winner

12 We're A Winner  2:22
13 Moonlight Shadows 3:08
14 Let Me Tell The World 3:10
15 I'm Getting Ready 2:30
16 Nothing Can Stop Me 2:40
17 No One To Love Me 2:30
18 Little Brown Boy 2:35
19 I Loved And I Lost 3:10
20 Romancing To The Folk Song 2:35
21 Up Up And Away 2:55

The Impressions - The Fabulous Impressions + We're A Winner  (ogg  133mb)

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Despite a few indications to the contrary, the Impressions' first record for Curtis Mayfield's new label, Curtom, didn't make for a large leap from their most recent work at ABC (1968's We're a Winner). The cover photo was radical enough, featuring the trio standing in front of a decrepit building (which shifted the meaning of the title from pride to accusation). Most of the arrangements were tight late-'60s soul rather than '50s doo wop, and the group spent less time harmonizing than before. Still, there were only two message tracks: the title track, which stood up for blacks' place in America, and an impassioned plea for education titled "They Don't Know." For the most part, Curtis Mayfield continued to investigate the vagaries of love and relationships, with the bombastic hit "Fool for You" leading the way. "Stay Close to Me" is a bright, bouncy track, more Motown than Chicago soul but as tight and joyous as some of the Impressions' other great material. The chugging ballad "Love's Happening" is another solid performance, while "I'm Loving Nothing" is utter heartbreak. Two of the minor songs featured writing co-credits from Donny Hathaway, then recording for Curtom with the Mayfield Singers.

The title read like a concept album (and the opener seemed to introduce a larger idea at work), but The Young Mods' Forgotten Story hung together only as the usual (read: brilliant) late-'60s LP from the Impressions: a few solid songs with a social or inspirational viewpoint and the rest featuring Curtis Mayfield's continuing exploration of love in all its forms. Two of the message songs were among the best of the group's history; "Choice of Colors" tenderly investigated black feelings about race, while the party song "Mighty Mighty (Spade & Whitey)" gave blacks and whites a rare chance to celebrate empowerment together. Mayfield's romantic songs ranged farther than usual, from the innocent, delicate "The Girl I Find" (complete with turtledove cries) to a deconstruction of the end of a long affair ("Seven Years") to the overbearing "Jealous Man," all with great arrangements provided by veteran Johnny Pate and newcomer Donny Hathaway. (Hathaway's addition didn't alter the Impressions' sound significantly, though his harmonic expertise and affinity for the church do find their way into a couple of tracks.) Only one song, "Wherever You Leadeth Me," found the group treading water (it could just as easily have appeared five years earlier). The rest was intriguing late-'60s soul from one of the best acts in the business.



The Impressions - This Is My Country/The Young Mod's Forgotten Story (flac 327mb)

This Is My Country

01 They Don't Know 2:48
02 Stay Close To Me 2:02
03 I'm Loving Nothing 2:28
04 Love's Happening 3:07
05 Gone Away 3:45
06 You Want Somebody Else 3:12
07 So Unusual 2:57
08 My Woman's Love 3:01
09 Fool For You 2:54
10 This Is My Country 2:49

The Young Mod's Forgotten Story

11 The Young Mods' Forgotten Story 2:02
12 Choice Of Colors 3:21
13 The Girl I Find 2:40
14 Wherever You Leadeth Me 2:36
15 My Deceiving Heart 2:53
16 Seven Years 2:25
17 Love's Miracle 2:27
18 Jealous Man 2:39
19 Soulful Love 2:34
20 Mighty Mighty (Spade & Whitey) 2:22

The Impressions - This Is My Country/The Young Mod's Forgotten Story  (ogg 127mb)

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Mar 27, 2015

RhoDeo 1512 Re-Ups 7

Hello, the horror, the horror when i first heard of the crash i found the way it happened an airplane that descended en route until it crashed within a ten minute frame very strange and now we know not a technical issue but these are late victims of the 911 Cheney terrortricks. Ok so this German co-pilot was unhinged, clearly something dramatic from a previous life bled through and he enacted a revenge act against fellow humans, or he became possesed but such is usually noticed though i know personally of a case not even close family noticed. Whatever led to this guy murdering 149 people in this most heinous way it clearly was insane even though and alas that still makes it human.



Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...


Updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

More new updates here

Trojan Dub Massive Chapter One and Two (backin flac 778mb)


Mr Fingers - Classic Fingers 2cd (Now in flac 793mb)


Stax 50th Anniversary Collection 3  back in flac 266mb


Sixties Sunshine, Marley and Drummond now in flac



Undisputed Truth - Face To Face With (now in Flac 234mb)


4x Auntie Aubrey's Excursions Beyond The Call Of Duty back in flac


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Mar 26, 2015

RhoDeo 1512 Goldy Rhox 202

Hello, so the BBC decided political correctness is an essentiel trait of their overpaid (no PC there) midmanegement class and the public will have to shell out another 3 pounds a year for their licence fee so that these gits can howl with their friends. Yes the UK is a country with a bizarre bully culture. That said how these BBC gits didn't recognize Lord Clarksen Blackadder and his halfwit servent Baldrick who's real life version Tymon looks amazingly like Baldrick. Anyway we all laughed how halfwit Baldrick was treated by Lord Blackadder. But now in this day and age the hypocrites all fall over themselves to oust the Lord of Top Gear. Should Cameronn win the upcoming election i hope he will enoble Clarkson just to spite the BBC...

Today the 201st post of Goldy Rhox, classic pop rock. Todays artist in the blacklight is an American musician, actor and singer-songwriter. His fame, influence, and commercial success began as part of the duo formed in 1964 with musical partner Art Garfunkel. our mystery man wrote nearly all of the pair's songs, including three that reached No. 1 on the U.S. singles charts: "The Sound of Silence", "Mrs. Robinson", and "Bridge Over Troubled Water". The duo split up in 1970 at the height of their popularity, and our mystery man began a successful solo career as a guitarist and singer-songwriter, recording three highly acclaimed albums over the next five years. In 1986, he released Graceland, an album inspired by South African township music. Our mystery man also wrote and starred in the film One-Trick Pony (1980) and co-wrote the Broadway musical The Capeman (1998) with the poet Derek Walcott.

Our mystery man has earned 12 Grammys for his solo and collaborative work, including the Lifetime Achievement Award. In 2001, he was inducted into the Rock and Roll Hall of Fame and in 2006 was selected as one of the "100 People Who Shaped the World" by Time magazine. In 2011, Rolling Stone magazine named him as one of the 100 Greatest Guitarists. Among many other honors, our mystery man was the first recipient of the Library of Congress's Gershwin Prize for Popular Song in 2007. Our man is one of a small number of performers who are named as the copyright owner on their recordings (most records have the recording company as the named owner of the recording).

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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 is the fourth studio album by our mystery man. Recorded in 1975, the album produced four US Top 40 hits, "Gone at Last" (#23), "My Little Town" , "50 Ways To Leave Your Lover" (#1) and the title track (#40). It won two Grammy Awards for Album of the Year and Best Male Pop Vocal Performance in 1976. Most critics agree that today's mystery album is one of today's mystery man's finest albums.  Here to get from its 2013 box set extended remaster..N'Joy



Goldy Rhox 202 (flac 238mb)

Goldy Rhox 202 (ogg 97mb)

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Mar 25, 2015

RhoDeo 1512 Aetix

Hello, it was a clear day, the german airplane checked, the model the most popular and reliable in the world, the captain with 10 years experience, the direction as it should be until the end, the result a mysterious crash after an 8 minutes descent towards death...it must have been awful..

Today in the spotlight, a band often cited as the first band to define the punk rock sound. Despite achieving only limited commercial success, the band was a major influence on the 1970s punk movement in both the United States and United Kingdom. All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were related. The coming weeks here to N'Joy
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The original members of the band met in and around the middle-class neighborhood of Forest Hills in the New York City borough of Queens. John Cummings and Thomas Erdelyi had both been in a high-school garage band from 1966 to 1967. They became friends with Douglas Colvin, who had recently moved to the area from Germany. The Ramones began taking shape in early 1974, when Cummings and Colvin invited Hyman to join them in a band. The initial lineup featured Colvin on lead vocals and rhythm guitar, Cummings on lead guitar, and Hyman on drums. Colvin, who soon switched from rhythm guitar to bass, was the first to adopt the name "Ramone", calling himself Dee Dee Ramone. He convinced the other members to take on the name and came up with the idea of calling the band the Ramones. Hyman and Cummings became Joey Ramone and Johnny Ramone, respectively.

Johnny's former bandmate Erdelyi was set to become their manager. Soon after the band was formed, Dee Dee realized that he could not sing and play his bass guitar simultaneously, thus Joey became the band's new lead singer. Dee Dee would continue, however, to count off each song's tempo with his signature rapid-fire shout of "1-2-3-4!" Joey soon similarly realized that he could not sing and play drums simultaneously and left the position of the drummer. While auditioning prospective replacements, Erdelyi would often take to the drums and demonstrate how to play the songs. It became apparent that he was able to perform the group's music better than anyone else, and he joined the band as Tommy Ramone.

Around this time, a new music scene was emerging in New York centered around two clubs in downtown Manhattan—Max's Kansas city and, more famously, CBGB (usually referred to as CBGB's). The Ramones made their CBGB debut on August 16 74. The band swiftly became regulars at the club, playing there seventy-four times by the end of the year. After garnering considerable attention for their performances—which averaged about seventeen minutes from beginning to end—the group was signed to a recording contract in late 1975 by Seymour Stein of Sire Records. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as "punk".

The Ramones recorded their debut album, Ramones, in February 1976. While the songwriting credits were shared by the entire band, Dee Dee was the primary writer. Ramones was co-produced by Tommy and Craig Leon on an extremely low budget of about $6,400 and released in April. Ramones was not a commercial success, reaching only number 111 on the Billboard album chart. The two singles released from the album, "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend", failed to chart. At the band's first major performance outside of New York, approximately ten people showed up. It wasn't until they made a brief tour of England that they began to see the fruits of their labor; a performance at The Roundhouse in London on July 4, 1976 was a resounding success.

Their next two albums, Leave Home and Rocket to Russia, were released in 1977. Both were coproduced by Tommy and Tony Bongiovi. Leave Home met with even less chart success than Ramones. Rocket to Russia was the band's highest-charting album to date, reaching number 49 on the Billboard 200. The Ramones recorded It's Alive, a live concert double album, at the Rainbow Theatre, London, which was released in April 1979.

Tommy, tired of touring, left the band in early 1978. He continued as the Ramones' record producer under his birth name of Erdelyi. His position as drummer was filled by Marc Bell, He became Marky Ramone. Later that year, the band released their fourth studio album, Road to Ruin. The album, co-produced by Tommy with Ed Stasium, included some new sounds such as acoustic guitar, several ballads, and the band's first two recorded songs longer than three minutes. It failed to reach the Billboard Top 100.

After the band's movie debut in Roger Corman's Rock 'n' Roll High School (1979), renowned producer Phil Spector became interested in the Ramones and produced their 1980 album End of the Century. Though it was to be the highest-charting album in the band's history—reaching number 44 in the United States and number 14 in Great Britain—Johnny made clear that he favored the band's more aggressive punk material. Pleasant Dreams, the band's sixth album, was released in 1981. It continued the trend established by End of the Century, diluting the rawer punk sound showcased on the band's initial three albums. Slick production was again featured, this time provided by Graham Gouldman (10cc). Another futile attempt to get airplay on American radio. Subterranean Jungle, produced by Ritchie Cordell and Glen Kolotkin, was released in 1983. The album peaked at number 83 in the United States, it would be the last album by the band to crack the Billboard Top 100.

One would expect the band to collapse and in a sense it did several drummers went and came (back) by 1989 founder member Dee Dee left the band after the recording of their tenth studio album, Brain Drain, co-produced by Beauvoir, Rey, and Bill Laswell.He was replaced by Christopher Joseph Ward (C.J. Ramone), who performed with the band until they disbanded.

After more than a decade and a half at Sire Records, the Ramones moved to a new label, Radioactive Records. Their first album for the label was 1992's Mondo Bizarro, which reunited them with producer Ed Stasium. Acid Eaters, consisting entirely of cover songs, came out the following year. In 1995, the Ramones released ¡Adios Amigos!, their fourteenth studio album, and announced that they planned to disband if it was not successful. Its sales were unremarkable, garnering it just two weeks on the lower end of the Billboard chart. The band spent late 1995 on what was promoted as a farewell tour. However, they accepted an offer to appear in the sixth Lollapalooza festival, which toured around the United States during the following summer. After the Lollapalooza tour's conclusion, the Ramones played their final show on August 6, 1996, at the Palace in Hollywood. A recording of the concert was later released on video and CD as We're Outta Here !

Joey, who had been diagnosed with lymphoma in 1995, died of the illness on April 15, 2001, in New York. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, which specifically named Dee Dee, Johnny, Joey, Tommy, and Marky. The ceremony was one of Dee Dee's last public appearances; on June 5, 2002, two months later, he was found at his Hollywood home, dead from a heroin overdose. End of the Century: The Story of the Ramones, a Ramones documentary, came out in 2004. Johnny, who had been privately battling prostate cancer, died on September 15, 2004, in Los Angeles, shortly after the film's release. Remaining are the Ramones who played drums over the years, Tommy, Marky, Richie and Elvis,meanwhile Tommy (Tom Erdelyi, born January 29, 1952, died July 11th, 2014).

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With the three-chord assault of "Blitzkrieg Bop," The Ramones begins at a blinding speed and never once over the course of its 14 songs does it let up. The Ramones is all about speed, hooks, stupidity, and simplicity. The songs are imaginative reductions of early rock & roll, girl group pop, and surf rock. Not only is the music boiled down to its essentials, but the Ramones offer a twisted, comical take on pop culture with their lyrics, whether it's the horror schlock of "I Don't Wanna Go Down to the Basement," the gleeful violence of "Beat on the Brat," or the maniacal stupidity of "Now I Wanna Sniff Some Glue." And the cover of Chris Montez's "Let's Dance" isn't a throwaway -- with its single-minded beat and lyrics, it encapsulates everything the group loves about pre-Beatles rock & roll. They don't alter the structure, or the intent, of the song, they simply make it louder and faster. And that's the key to all of the Ramones' music -- it's simple rock & roll, played simply, loud, and very, very fast. None of the songs clock in at any longer than two and half minutes, and most are considerably shorter. In comparison to some of the music the album inspired, The Ramones sounds a little tame -- it's a little too clean, and compared to their insanely fast live albums, it even sounds a little slow -- but there's no denying that it still sounds brilliantly fresh and intoxicatingly fun.



Ramones - Ramones  (flac 310mb)

01 Blitzkrieg Bop 2:13
02 Beat On The Brat 2:32
03 Judy Is A Punk 1:32
04 I Wanna Be Your Boyfriend 2:24
05 Chain Saw 1:56
06 Now I Wanna Sniff Some Glue 1:36
07 I Don't Want To Go Down To The Basement 2:40
08 Loudmouth 2:15
09 Havana Affair 1:57
10 Listen To My Heart 1:58
11 53rd & 3rd 2:21
12 Let's Dance1:52
13 I Don't Want To Walk Around With You 1:43
14 Today Your Love, Tomorrow The World 2:17
Bonus Tracks
15 I Wanna Be Your Boyfriend (Demo) 3:02
16 Judy Is A Punk (Demo) 1:36
17 I Don't Care (Demo) 1:55
18 I Can't Be (Demo) 1:56
19 Now I Wanna Sniff Some Glue (Demo) 1:42
20 I Don't Wanna Be Learned / I Don't Wanna Be Tamed (Demo) 1:05
21 You Should Never Have Opened That Door (Demo) 1:54
22 Blitzkreig Bop (Single Version) 2:12

Ramones - Ramones  (ogg 110mb)

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Of course the Ramones' second album, Leave Home, is simply more of the same -- 14 songs, including one oldie ("California Sun"), delivered at breakneck speed and concluding in under a half-hour. the Ramones have gotten slightly poppier, occasionally delivering songs like "I Remember You" that are cloaked neither in irony nor seedy rock & roll chic. Still, the biggest impressions are made by the cuts that strongly recall the debut, whether it's the ersatz Beach Boys of "Sheena Is a Punk Rocker," the singalong of "Pinhead," or the warped anthems "Gimme Gimme Shock Treatment" and "Commando." Song for song, it's slightly weaker than its predecessor, but the handful of mediocre cuts speed by so fast that you don't really notice its weaknesses until after it's all over.



Ramones - Leave Home  (flac 248mb)

01 Glad To See You Go 2:13
02 Gimme Gimme Shock Treatment 1:44
03 I Remember You 2:21
04 Oh Oh I Love Her So 2:09
05 Carbona Not Glue 1:55
06 Suzy Is A Headbanger 2:14
07 Pinhead 2:45
08 Now I Wanna Be A Good Boy 2:16
09 Swallow My Pride 2:10
10 What's Your Game 2:41
11 California Sun 2:07
12 Commando 1:53
13 You're Gonna Kill That Girl 2:44
14 You Should Never Have Opened That Door 1:58
15 Babysitter 2:49

Ramones - Leave Home (ogg 80mb)

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The Ramones provided the blueprint and Leave Home duplicated it with lesser results, but the Ramones' third album, Rocket to Russia, perfected it. Rocket to Russia boasts a cleaner production than its predecessors, which only gives the Ramones' music more force. It helps that the group wrote its finest set of songs for the album. From the mindless, bopping opening of "Cretin Hop" and "Rockaway Beach" to the urban surf rock of "Sheena Is a Punk Rocker" and the ridiculous anthem "Teenage Lobotomy," the songs are teeming with irresistibly catchy hooks; even their choice of covers, "Do You Want to Dance?" and "Surfin' Bird," provide more hooks than usual. the Ramones also branch out slightly, adding ballads to the mix. Even with these (relatively) slower songs, the speed of the album never decreases. However, the abundance of hooks and slight variety in tempos makes Rocket to Russia the Ramones' most listenable and enjoyable album -- it doesn't have the revolutionary impact of The Ramones, but it's a better album and one of the finest records of the late '70s.



Ramones - Rocket To Russia (flac 311mb)

01 Cretin Hop 1:56
02 Rockaway Beach 2:06
03 Here Today, Gone Tomorrow 2:49
04 Locket Love 2:11
05 I Don't Care 1:39
06 Sheena Is A Punk Rocker 2:49
07 We're A Happy Family 2:40
08 Teenage Lobotomy 2:01
09 Do You Wanna Dance? 1:55
10 I Wanna Be Well 2:28
11 I Can't Give You Anything 2:01
12 Ramona 2:38
13 Surfin' Bird 2:37
14 Why Is It Always This Way? 2:22
Bonus Tracks
15 Needles & Pins (Early Version) 2:24
16 Slug (Demo) 2:23
17 It's A Long Way Back To Germany (U.K. B-Side) 2:22
18 I Don't Care (Single Version) 1:40
19 Sheena Is A Punk Rocker (Single Version) 2:48

Ramones - Rocket To Russia  (ogg 101mb)

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Mar 24, 2015

RhoDeo 1512 Re-Up 6

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

That's another 27 new updates here

Transglobal Underground - International Times (now in flac 392mb)

Transglobal Underground - Dream Of 100 Nations (now in flac 434mb)


3x Cabaret Voltaire in flac

4x Cabaret Voltaire in flac




6x complete upgrade on Au 07 Sunshine UK Post



2x Frankie Paul back in flac



Ok Pius this is an odd general re-up request when 2 from 3 are still live, well the remaining Franco is live again
Franco


3x Higher Intelligence + System Error


a long time ago on this blog
1x Primal Scream now in Flac 481mb

Gd De Luxe 363mb



Two Lone Swordsmen - Tiny Reminders Back in Flac

The Aloof - Cover The Crime, The Grid - Evolver & Eat Static all in flac now


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Mar 23, 2015

RhoDeo 1512 Empire 02

Hello,
Tomorrow a new re-up posting, get your request in....


The Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country.
Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.



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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 02 The Coming Storm (mp3  24mb)

202 The Coming Storm 26:08


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previously


The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Mar 22, 2015

Sundaze 1512

Hello,

Today's Sundazers are pointed to the North this time, to Sweden, Anders Ilar hails from the classic swedish country side of trees and lakes . N'joy

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From his website Some quotes about Anders Ilar:

"Those who try to pigeonhole Swedish producer Anders Ilar into any one genre are guaranteed to find him much too slippery. Since getting his start around the turn of the century, Iar has investigated everything from open air ambient and chilly dub textures to more thumping techno and languid deep-house. The depth of his sonic abilities has made him attractive to a wide range of labels including Shitkatapult, Level Records, and recently the hotly tipped Further Records..."
- Little White Earbuds

"The first thing that strikes home about Ilar is the variety of styles he draws upon. Electronica is meshed with minimal techno and deep house. He takes warm analogue elements and mixes them with the steely chill of digital sounds. The traditional borders of hardware and software are blurred in this diverse aural dip."
- Igloo Magazine

"There's a techno dimension present, but Ilar's clearly hunting bigger game than stripped-down club bangers with the recording's focus as much on deep tracks heavy on mystical atmosphere. His originals are polished astral-travelers that sometimes meld the finer elements of electronic dance and listening forms into a single, personalized style."
- Textura.org

"Anders Ilar is one of the most underrated producers working in electronic music today. His sound blurs the lines between techno, IDM and ambient, creating a style all his own."
- Big Shot Magazine

"Anders Ilar makes the kind of warm, dreamy, melodic techno that evokes the wintry landscapes of his homeland. His love of the genre stems from his early interest in ambient pioneers such as Tangerine Dream and Jean Michel Jarre, by way of the dark (Skinny Puppy, Front 242), the moody (Cocteau Twins, Lush) and the tech-obsessed (Aphex Twin, early Cologne records)."
- Resident Advisor



Born in Ludvika, Ilar grew up in the little town that is surrounded by woods and lakes, and started playing the piano when he was six. However, he gradually lost interest after he started taking lessons. Instead, he became fascinated with electronic sounds and science fiction, and grew up listening to Depeche Mode, Kraftwerk and Tangerine Dream.

By the time Ilar was a teenager, he spent most of his time playing with synthesizers, sequencers and drum machines, resulting in an almost endless amount of tracks recorded on tape. Never feeling really satisfied with the quality of his productions, he decided to take a break in 1997.

After some time, Ilar was introduced to a new way of producing music — computer software. After making a few tracks, he decided to start producing again. He got in contact with the German label, Plong!, and was able to make his first official release. Since then, his output has spanned over many electronic styles — from the dubwise techno explorations for "Echochord", via the blissful ambience of "Everdom", through to the deeper abstractions of his "Audio.nl" pieces, and on to the recent darkside acid techno on DSP and Narita.

Ilar now lives in Gothenburg on the Swedish west coast.

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The swede Ilar has been a somewhat shadowy, but readily consistent in the minimal dubbed out scene for the last few years – some serious deep business on Echochord, Shitkatapult and whispers of some forthcoming dancefloor science on a favourite american label of ours in the none too distant future. Audio.nl has always been something of an ascetic imprint – the stripped down cover aesthetic, minimal package requirements and diversions into the underworld of oceans deep sub-bass. Almost entirely otherworldly sounds, non-linear experiments like this may not transmit perfectly on small computer speakers, but set them loose on headphones or through some tasty speakers and a whole different universe of limpid sounds opens up to you – deep drift, deadly disorientating four four manouevres, and even more beside outside these familiar envelopes – fans of the whole raster axis as well as those after a deeper shade of click will find much to admire here.



Anders Ilar - Enkel  (flac 213mb)

01 Paragraf 6:55
02 Endast 7:33
03 Diagram 5:35
04 Tenfold 6:25
05 Mother 5:56
06 Kondensator 8:17
07 Centimeter 6:00
08 Motljus 7:15
09 Final 6:14

Anders Ilar - Enkel (ogg  117mb)

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Originally released on 12" on the now defunct Merck label, 'Ludwijka' has now been extended into a full album for the German-based Shitkatapult imprint. This is by no means a simple re-release, as Anders Ilar has reworked and improved the tracks. The music does not fit one specific genre, because it perfectly merges various styles into powerful sonic experience. Clicky, dubby, IDM-influenced pieces are filled with sounds culled from old tapes of little Anders himself singing, playing instruments and making various noises, artist's father on trumpet, meowing cat and birds, resulting with haunting, mysterious journey through childhood memories (the title Ludwijka relates to Ilar's hometown).What sets this apart from the IDM of yesteryear I suppose though is Ilar's extraordinary attention to detail, a skill he has clearly refined while making tunes to caress the mind while tear up the dancefloor. It might be nothing new, but it's done very well indeed, and the final track 'Ludwijka IX' is fifteen minute chunk of noisy ambience Tim Hecker fans would do well to look closer at. A fantastic, unforgettable record, check it.



Anders Ilar - Ludwijka (Extended Visit)  (flac  330mb)

01 Ludwijka I 7:09
02 Ludwijka II 2:56
03 Ludwijka III 6:27
04 Ludwijka IV 2:55
05 Ludwijka V 8:52
06 Ludwijka VI 3:56
07 Ludwijka VII 4:22
08 Ludwijka VIII 5:29
09 Ludwijka IX 14:57

Anders Ilar - Ludwijka (Extended Visit)  (ogg 132mb)

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Sworn is an intelligent minimal techno album, full of ambient and glitch elements that compliment the ongoing groove in every single way. For this latest album, Ilar goes far beyond the ordinary parameters of music formatted around techno beats and delves into a far more involved electronica sound. Although tracks like opener 'Hillside' and the electroacoustically slanted 'Colours Of Rain' are keen to slap a kick sound on every crotchet, it could almost be an arbitrary gesture to signpost this music towards a comfortable genre classification. As with much of Vladislav Delay's more beat-driven work, there's a lot more to this than whatever's suggested by the drum programming, and some of Ilar's music shifts between adventurous abstraction and the kind of melodic elaboration most techno producers would consider to be surplus to requirements. 'September Nights' could be an old Arovane production but for its stringent 4/4 backbone. Otherwise the ornate, experimental approach to melodic development is straight out of the post-Autechre mindset. Importantly though, none of this sounds dated or out of place, instead carving out a rather unique corner of the electronic music universe that's all its own.



Anders Ilar - Sworn  (flac  371mb)

01 Hillside 8:10
02 Colors Of Rain 6:04
03 Icarus & Pegasus 5:44
04 September Nights Feat. Fredrik Hedvall) 8:36
05 Made For Us To Love 6:49
06 Imaginary Trees With Silver Leaves 7:14
07 Tomorrow Never Came 4:32
08 Can't Force A Tree To Grow 6:20
09 Path To The Sky 6:03
10 Brokenhearted 9:05
11 Lakeside 9:53

Anders Ilar - Sworn   (ogg 173mb)


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Mar 21, 2015

Rhodeo 1511 Grooves

Hello, ah that solar somewhat eclipse, another big media hype, well the children should now understand how it is that the sun hides behind the moon for a few minutes. As to why this moon fits perfectly our scientists have no idea better then pure chance... Well i saw a complete one in 1999, it was ok but i'm afraid those that chase these events have a screw or two loose..


Today.an American music group from Chicago, originally formed in 1958. Their repertoire includes doo-wop, gospel, soul, and R&B.
The group was founded as The Roosters by Chattanooga, Tennessee natives Sam Gooden, Richard Brooks and Arthur Brooks, who moved to Chicago and added Jerry Butler and Curtis Mayfield to their line-up to become Jerry Butler & the Impressions. By 1962, Butler and the Brookses had departed, and after switching to ABC-Paramount Records, Mayfield, Gooden, and new Impression Fred Cash collectively became a top-selling soul act. ........N'joy

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The quintessential Chicago soul group, the Impressions' place in R&B history would be secure if they'd done nothing but launch the careers of soul legends Jerry Butler and Curtis Mayfield. But far more than that, the Impressions recorded some of the most distinctive vocal-group R&B of the '60s under Mayfield's guidance. Their style was marked by airy, feather-light harmonies and Mayfield's influentially sparse guitar work, plus, at times, understated Latin rhythms. If their sound was sweet and lilting, it remained richly soulful thanks to the group's firm grounding in gospel tradition; they popularized the three-part vocal trade-offs common in gospel but rare in R&B at the time, and recorded their fair share of songs with spiritual themes, both subtle and overt. Furthermore, Mayfield's interest in the civil rights movement led to some of the first socially conscious R&B songs ever recorded, and his messages grew more explicit as the '60s wore on, culminating in the streak of brilliance that was his early-'70s solo work. the Impressions carried on without Mayfield, but only matched their earlier achievements in isolated instances, and finally disbanded in the early '80s.

the Impressions were formed in Chicago in 1957 as a doo wop group called the Roosters, a group of Chattanooga, TN, transplants that included vocalists Sam Gooden and brothers Richard and Arthur Brooks. Lead singer Jerry Butler joined up and soon brought in his friend Curtis Mayfield as guitarist; the two had previously sung together in a church choir and a couple of local gospel groups as youths. Renamed the Impressions by their manager, the group scored a major hit in 1958 with the classic ballad "For Your Precious Love," which hit the pop Top 20 and the R&B Top Five. Butler's gospel-inflected lead vocal was a departure from the norm, and the fact that the single billed him in front of the rest of the group foreshadowed his quick exit for a solo career, after just one more single ("Come Back My Love"). With new vocalist Fred Cash in tow, Mayfield took over the lead tenor role, eventually becoming the group's chief composer as well. First, though, he hit the road as guitarist and musical director for Butler's backing band, and also co-wrote some of Butler's earliest singles, including the R&B number one "He Will Break Your Heart" in late 1960.

Mayfield's success as a songwriter encouraged him to form his own publishing company. With the money he earned by working with Butler, he reconvened the Impressions and brought them to New York to record for ABC-Paramount in 1961. Their first single, the Latin-inflected "Gypsy Woman," was a number two R&B smash, also reaching the pop Top 20. Several follow-ups failed to duplicate its chart success, and the Brooks brothers left the group in 1962; now down to a trio, the Impressions returned to Chicago and began recording with arranger Johnny Pate, whose horn and string embellishments added a bit more heft to their sound. They struck gold in 1963 with "It's All Right," whose gospel-style lead-swapping helped make it not only their first R&B number one, but their biggest pop hit as well, with a peak of number four. The same year, they issued their eponymous first LP, which many critics still consider one of their finest. 1964 brought the hit single "Keep on Pushing," the first of Mayfield's numerous black pride anthems (though at this stage, his sentiments were much less explicit than they would later become). The album of the same name also featured a marching-beat cover of the gospel standard "Amen," inspired by the song's inclusion in the Sidney Poitier film Lilies of the Field. Gospel also informed what became perhaps the best-known Impressions hit, 1965's "People Get Ready"; if its lyrics weren't overtly political, Mayfield's intent was clear, as the song became an anthem of transcendence for the civil rights movement and an oft-covered soul standard.

The mid-'60s saw Mayfield trying to keep pace with the Motown hit factory by incorporating elements of its style into his own writing. The group recorded prolifically in 1965, but their commercial fortunes dropped off over the next couple of years. When the Impressions returned to the upper reaches of the R&B charts, it was with 1968's "We're a Winner," the most straightforward celebration of black pride Mayfield had yet composed. That summer, the group left ABC to record for Mayfield's newly formed Curtom imprint, which allowed them greater freedom in terms of the lyrical content Mayfield wanted to pursue. More aggressive message tracks like "This Is My Country," "Choice of Colors," and "Check Out Your Mind" followed over the next couple of years, as did some of the group's most consistent albums, particularly The Young Mods' Forgotten Story (1969). 1970's Check Out Your Mind was Mayfield's final album with the Impressions, but the group remained on Curtom after his departure, and he continued to write and produce some of their material.

Mayfield was replaced on lead vocals by Leroy Hutson, who debuted on LP with 1972's Times Have Changed. At this point, the Impressions were still overshadowed by their ex-leader, who was riding high with brilliant works like Superfly. But Mayfield's solo momentum cooled down a bit, and after Hutson departed in 1973, new singers Ralph Johnson and Reggie Torian joined Cash and Gooden for the R&B chart-topper "Finally Got Myself Together (I'm a Changed Man)," cut with ex-Motown producer Ed Townsend in 1974. Townsend continued to work with the group for the next couple of years with some success, but in 1976 Johnson left to join the unsuccessful Mystique. Around that point, the Impressions parted ways with Curtom; Nate Evans replaced Johnson, and the group recorded for Cotillion and 20th Century/Chi-Sound with little chart success. Evans eventually departed, leaving the group a trio again. They recorded their final album, Fan the Fire, in 1981; Gooden and Cash occasionally reunited with Mayfield and sometimes Butler for touring commitments. Mayfield was paralyzed in a heartbreaking stage accident in 1990, when a lighting scaffold toppled over on him; he passed away in 1999.

In July 2013, The Impressions released "Rhythm!," their first single in over thirty years, on Daptone Records. The 7" record featured original members Fred Cash, Sam Gooden, and Reggie Torrian and was produced by Binky Griptite, guitarist for The Dap Kings. "Rhythm!" was originally penned by Curtis Mayfield in the mid-sixties. The B-Side, "Star Bright," was written by Binky Griptite.


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The Impressions/The Never Ending Impressions is a kind of odd pairing of two LPs on one CD, covering four years of releases by the group in completely different idioms and with partly different lineups -- it's also a good overview of their early history on ABC Records. The contents of The Impressions mostly consisted of their 1961-1963 singles, by the five-man lineup of Curtis Mayfield, Arthur Brooks, Richard Brooks, Sam Gooden, and Fred Cash -- these tend toward the elegant side of soul music (especially on "You've Come Home," "Minstrel and Queen," and "Sad, Sad Girl and Boy"), an attribute that is only enhanced by Ace Records' superb remastering of this material, which brings out all of the subtleties in the singing and playing. The Never Ending Impressions, made by Mayfield, Gooden, and Cash, was the group's first attempt at doing an actual LP, rather than just assembling previously issued singles and it alternates between some superb single-style tracks, such as "Sister Love," "Girl You Don't Know Me," and "I Gotta Keep On Moving," and more sophisticated standards such as "Satin Doll" and "You Always Hurt the One You Love." The latter are a somewhat mixed bag, at their weakest recalling the Mills Brothers to know special purpose but occasionally throwing out an interesting angle, in the beat or chorus. It's not quite as uniformly strong as the albums that preceded it, but the best songs -- half of what's here -- are as good as anything the group recorded in their previous three years, and the repertory experiment has its good moments.



The Impressions - I / Never Ending Impressions  (flac  326mb)

The Impressions

01 It's All Right 2:49
02 Gypsy Woman 2:19
03 Grow Closer Together 2:12
04 Little Young Lover 2:13
05 You've Come Home 2:45
06 Never Let Me Go 2:30
07 Minstrel And Queen 2:21
08 I Need Your Love 2:22
09 I'm The One Who Loves You 2:27
10 Sad, Sad Girl And Boy 2:41
11 As Long As You Love Me 2:27
12 Twist And Limbo 2:30

Never Ending Impressions

13 Sister Love 2:18
14 Little Boy Blue 2:17
15 Satin Doll 2:19
16 Girl You Don't Know Me 2:15
17 I Gotta Keep On Moving 3:43
18 You Always Hurt The One You Love 2:05
19 That's What Love Will Do 1:57
20 I'm So Proud 2:47
21 September Song 2:13
22 Lemon Tree 4:11
23 Ten To One 2:17
24 A Woman Who Loves Me 2:20

The Impressions - I / Never Ending Impressions (ogg  143mb)

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Already a celebrated songwriter by the time of the third Impressions album, Curtis Mayfield introduced a political element to his material with the Top Ten hit "Keep on Pushing." An anthem of the burgeoning civil-rights movement (the 1964 Civil Rights Act was signed several weeks after its release), "Keep on Pushing" cemented his blend of gospel optimism with a relentless spirit of self-improvement. Though it was the only message song present, the album featured all the hallmarks of an Impressions set: impeccably smooth harmonies, the dynamic horn charts of Johnny Pate, and many more of Mayfield's irresistible songs (each with a clever spin on the usual love lyric as well as a strong sense of melody). "Talking About My Baby," the album's other big hit, was an adoring love song driven by a simple chorus and delivered by soul music's greatest harmonists. The simple ballad "I've Been Trying" was one of the most delicate and powerful the group had ever delivered, and the gospel march "Amen" became a Top Ten pop hit in early 1965 after its use in the Sidney Poitier film Lilies of the Field (for which Poitier became the first African-American to receive an Academy award). Keep on Pushing was the Impressions' first Top Ten album hit, and an excellent introduction for pop audiences just waking up to the inspirational power of soul music's finest group.

As with the previous year's Keep on Pushing, People Get Ready featured another big Curtis Mayfield hit, one that made as strong an impact on the civil-rights movement as on the charts. One of the most beautiful songs of the '60s, "People Get Ready" set the oft-used "gospel train" as its theme, with Mayfield speaking of faith for the present and deliverance in the future, while Sam Gooden and Fred Cash contributed beautiful harmony vocals (and a few lines of their own). That career touchstone aside, the rest of the material on the LP wasn't as strong as Keep on Pushing or the Impressions' marvelous debut. The two winners were "Woman's Got Soul" and "You Must Believe Me," both in a similar brassy, uptown mode as expected from the Chicago soul kingpins. A few of the songs were hauled out from as long as three years ago, like Mayfield's own version of "Can't Work No Longer," a Billy Butler hit he'd produced (also in 1965). The exceptional harmonies and arrangements were still in place, but for a few songs it was clear that Mayfield had tired of concocting novelties that looked back to the age of doo wop.

Two good Impressions albums from the mid-'60s, combined onto one CD, making them handier to collect in this fashion than hunting down good-quality copies of the rare original vinyl editions. As usual, the singles ("Keep on Pushing," "People Get Ready," "Amen," "I've Been Trying," "Woman's Got Soul," "You Must Believe Me") overshadow the LP-only cuts. But the Impressions made a higher standard of albums than most '60s soul groups, investing a lot of care in the songwriting and production, making this a decent pickup for those who want to go beyond the greatest-hits anthologies.



The Impressions - Keep On Pushing / People Get Ready (flac 390mb)

Keep On Pushing

01 Keep On Pushing 2:30
02 I've Been Trying 2:45
03 I Ain't Supposed To 2:28
04 Dedicate My Song To You 1:52
05 Long, Long Winter 2:48
06 Somebody Help Me 3:15
07 Amen 3:25
08 I Thank Heaven 2:30
09 Talking About My Baby 2:33
10 Don't Let It Hide 2:20
11 I Love You (Yeah) 2:07
12 I Made A Mistake 2:31

People Get Ready 

13 Woman's Got Soul 2:23
14 Emotions 2:47
15 Sometimes I Wonder 2:59
16 We're In Love 2:30
17 Just Another Dance 2:49
18 Can't Work No Longer 2:21
19 People Get Ready 2:37
20 I've Found That I've Lost 2:50
21 Hard To Believe 2:26
22 See The Real Me 2:25
23 Get Up And Move 2:14
24 You Must Believe Me 2:30

The Impressions - Keep On Pushing / People Get Ready  (ogg 153mb)

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Mar 20, 2015

RhoDeo 1511 Re-Up 5

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died.

That's 21 new updates here

Ghetto Priest - Vulture Culture (now in flac 402mb)

Michael Smith - Mi C-Yaan Believe It (now in flac 202mb)

Steve Hillage - Rainbow Dome Musick (now in flac 219mb)

Steve Hillage - L (now in flac 315mb)


2x2x Fela Kuti now in Flac



Theorem - Ion now in Flac 321mb
Terre Thaemlitz - Soil now in Flac 222mb


ok there's this almost complete rebuild and re up and extended in Flac post at the Wire
8x Wire now in Flac !


3x Sabres Of Paradise now in Flac


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Mar 19, 2015

RhoDeo 1511 Goldy Rhox 201

Hello, today the 201st post of Goldy Rhox, classic pop rock. Todays artist in the blacklight is an Irish blues-rock multi-instrumentalist, songwriter, and bandleader. Born in Ballyshannon, County Donegal, and raised in Cork, he recorded solo albums throughout the 1970s and 1980s, after forming the band Taste during the late 1960s. He was a talented guitarist known for his charismatic performances and dedication to his craft. His albums have sold in excess of 30 million copies worldwide. Our man received a liver transplant in 1995, but died of complications later that year in London, UK at the age of 47.

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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 first live album by today's mystery artist and was released on 14 May 1972, by Polydor Records. It is a series of live recordings made by mystery man earlier that year during his European tour. Unusual for a live album it contains only two previously released songs ("Laundromat" and "In Your Town"). All the other songs are either new songs or interpretations of traditional blues songs. The album starts with what was to become a signature song for today's mystery man, Junior Wells' "Messin' With the Kid". The song "I Could've Had Religion" was our man's salute to what he called the "redemption style blues" of Reverends Robert Wilkins and Gary Davis. After hearing the song on this album Bob Dylan expressed interest in recording it and assumed it was a traditional blues number rather than an original song by mystery man. Blind Boy Fuller's "Pistol Slapper Blues" is next. Today's mystery man then shows his versatility, swapping his Stratocaster for a mandolin and performing the song "Going to My Home Town" with the audience stomping their feet and cheering in response as our man sings "do you want to go?". The finale is the straight ahead hard rocking "Bullfrog Blues" written by William Harris.

Most critics agree that today's mystery album is one of today's mystery man's finest albums. It was his highest charting album to date reaching 101 in the Billboard 200 for 1972. The album was his first major commercial success and provided his first solo top ten album. It won him his first Gold Disc. In the same year of 1972 he was Melody Maker's Guitarist/Musician of the Year, winning out over Eric Clapton. Here to get in its 1999 extended remaster..N'Joy



Goldy Rhox 201 (flac 388mb)

Goldy Rhox 201 (ogg 148mb)

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Mar 18, 2015

RhoDeo 1511 Aetix

Hello, the Irish had another party today, Saint Patrick's Day was made an official Christian feast day in the early 17th century. The day commemorates Saint Patrick and the arrival of Christianity in Ireland, and celebrates the heritage and culture of the Irish in general Celebrations generally involve public parades and festivals, céilithe, and the wearing of green attire or shamrocks. The Irish have seen the nasty side of the nuns and priests (all going straight to hell) and concentrate once again on their pagan joys (That's straight to heaven boys and girls..)

Today in the spotlight an innovator of punk music and fashion. He was one of the first to spike his hair and wear torn, cut and drawn-on shirts, often held together with safety pins. Malcolm McLaren, manager of the Sex Pistols, has credited him as a source of inspiration for the Sex Pistols' look and attitude, as well as the safety-pin and graphics accessorized clothing that McLaren sold in his London shop, Sex. Hell was in several important, early punk bands, including Neon Boys, Television, and The Heartbreakers, after which he formed Richard Hell & The Voidoids. Their 1977 album Blank Generation influenced many other punk bands. Its title song was named "One of the 500 Songs That Shaped Rock" Time to check him out and ...N'Joy

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Richard Hell was one of the original punk rockers to emerge from New York City in the early to mid-'70s, and is often pointed to as a major influence by other subsequent punk bands -- whether it be with his music, poetry, or even fashion sense (he was one of the first punks to wear ripped clothing). Born Richard Meyers in October 2, 1949, and raised in Lexington, KY, Meyers discovered rock & roll via the usual suspects (Rolling Stones, etc.), and befriended another local music fan, Tom Miller. Miller and Meyers embarked on an unsuccessful hitchhiking journey down south before being picked up by police and sent back to their families, but the taste of life on the road was enough for Meyers to realize that he wanted to relocate to New York. During the late '60s/early '70s, Meyers worked on original poetry and picked up the bass guitar, as he was soon joined in New York by his old pal Miller (who had become quite an accomplished guitarist by this time).

The pair promptly changed their names (Miller -- Verlaine, Meyers -- Hell) and formed the Neon Boys in 1974, changing their name shortly thereafter to Television. Influenced by such proto-punks as the Velvet Underground and the New York Dolls, the new group (which also includes second guitarist Richard Lloyd and drummer Billy Ficca) began playing regularly in the downtown Bowery area of N.Y.C., and slowly built a following playing regularly at places like CBGB's. Along with Blondie, Talking Heads, Patti Smith, and Ramones, Television lent a major hand in putting New York's punk scene on the map, but Hell grew frustrated with his role in the group (the group's leader was unmistakably Verlaine, while few of Hell's compositions were used) and left in 1975. Hell wasn't band-less for long -- it was right at this time that Johnny Thunders and Jerry Nolan left the New York Dolls, and immediately asked Hell if he was interested in playing bass for their new outfit, the Heartbreakers.

But, like his previous band, it quickly became established that Hell would not be the leader (Thunders was), and despite rave reviews, Hell jumped ship just a few months later. Undeterred, Hell decided to form his own band, Richard Hell & the Voidoids. Putting together a stellar lineup (including one of the genre's finest guitarists, Robert Quine, as well as second guitarist Ivan Julian and drummer Marc Bell). The quartet was an immediate hit with the CBGB's crowd, as Hell was finally able to utilize the backlog of compositions that he had compiled over the past few years. After a self-titled, three-track EP was issued independently in 1976, the group inked a recording contract with Sire.

Their 1977 debut, Blank Generation, has gone on to become one of punk's all-time classics, spawning such standards as the title track and "Love Comes in Spurts," as the band toured the world, including a tumultuous stint opening for the Clash in England. Despite a promising career ahead of them, little was heard from the group subsequently (Hell's substance use around this time may have had something to do with the delay, as well as his dissatisfaction with touring). With most assuming that the group had broken up, Hell decided to revive the Voidoids in 1982, although Hell and Quine were the only members remaining from their previous incarnation. The resulting album, Destiny Street, was another exceptional set of punk-pop, spawning another quirky classic with "The Kid With the Replaceable Head." Yet once again, the group failed to follow the record-tour-record-tour pattern, as the Voidoids sunk from sight (although Quine around this time was doing double duty -- lending his six-string talents to Lou Reed's solo band, including the albums The Blue Mask, Legendary Hearts, and New Sensations).

Hell kept himself busy in the '80s with his poetry and bit parts in movies, his best-known role being Madonna's boyfriend in 1985's Desperately Seeking Susan, while a 14-track collection of Voidoids outtakes and live material, R.I.P., was issued on the ROIR label (another collection, this one a set of live tracks, followed a few years later, titled Funhunt). Just as it appeared as though Hell had turned his back on music for good, he reappeared in 1992 as part of the group Dim Stars (which featured Sonic Youth's Thurston Moore and Steve Shelley, as well as Gumball's Don Fleming, and, once again, Robert Quine on guitar), issuing a self-titled release the same year. The group proved to be a nonpermanent project, however, as the '90s saw several archival releases that featured Hell circa the '70s -- the Heartbreakers' What Goes Around and Live at Mothers, plus a CD single on the U.K. label Overground which featured a few rare tracks from the Neon Boys.

Hell has authored several books over the years, including such titles as Wanna Go Out? (a collection of poems collaborated on with Verlaine), I Was a Spiral on the Floor, Artifact, and Across the Years, plus the short novel The Voidoid. Hell has also served as editor for New York literary magazine CUZ for the Poetry Project at St. Mark's Church, and, in 1996, issued his first full-length novel, Go Now (which was also released as a spoken word CD under the same name, with Robert Quine laying down some splendid noisy licks under the text). Hell and the former Voidoids were interviewed around this time for the excellent book Please Kill Me: The Uncensored Oral History of Punk, which offered interesting insight into Hell's early years. In the late '90s, Hell began doing readings at clubs, universities, bookstores, plus other venues across the U.S. and also Europe, and also found the time to put together a gallery show of his drawings at the Rupert Goldsworthy Gallery in New York. In 2000, Hell reunited the original lineup of the Voidoids to record a new composition, "Oh," which initially appeared as a free download on a website, before being included on the 2001 compilation Beyond Cyberpunk.

He released a collection of short pieces (poems, essays and drawings) called Hot and Cold in 2001. His second novel, Godlike, was published in 2005 by Akashic Books as part of Dennis Cooper's Little House on the Bowery Series. All three books were highly praised[citation needed]. Also published in 2005 was Rabbit Duck, a book of 13 poems written in collaboration with David Shapiro. Hell's nonfiction has been widely anthologized as well, including a number of appearances in "best music writing collections". Hell's archive of his manuscripts, tapes, correspondence (written and email), journals, and other documents of his life was purchased for $50,000 by New York University's Fales Library in 2003.

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Richard Hell was one of the first men on the scene when punk rock first began to emerge in New York City as an early member of both Television and the Heartbreakers (he left both groups before they could record), but his own version of punk wasn't much like anyone else's, and while Hell's debut album, Blank Generation, remains one of the most powerful to come from punk's first wave, anyone expecting a Ramones/Dead Boys-style frontal assault from this set had better readjust their expectations. "Love Comes in Spurts" and "Liar's Beware" proved the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that; guitarists Robert Quine and Ivan Julian bounced sharp, edgy patterns off each other that were more about psychological tension than brute force (though Quine's solos suggest a fragile grace beneath the surface of their neo-Beefheart chaos), and while most punk nihilism was of the simplistic "Everything Sucks" variety, Hell was (with the exception of Patti Smith) the most literate and consciously poetic figure in the New York punk scene. While there's little on the album that's friendly or life-affirming, there's a crackling intelligence to songs like "New Pleasure," "Betrayal Takes Two," and "Another World" that confirmed Hell has a truly unique lyrical voice, at once supremely self-confident and dismissive of nearly everything around him (sometimes including himself). Brittle and troubling, but brimming with ideas and musical intelligence, Blank Generation was groundbreaking punk rock that followed no one's template, and today it sounds just as fresh -- and nearly as abrasive -- as it did when it first hit the racks.



Richard Hell & The Voidoids - Blank Generation  (flac 257mb)

01 Love Comes In Spurts 2:00
02 Liars Beware 2:50
03 New Pleasure 1:53
04 Betrayal Takes Two 3:34
05 Down At The Rock And Roll Club (Alternate Version) 4:04
06 Who Says? 2:06
07 Blank Generation 2:42
08 Walking On The Water 2:15
09 The Plan 3:53
10 Another World 8:11
11 I'm Your Man 2:53
12 All The Way 3:23

Richard Hell & The Voidoids - Blank Generation  (ogg 106mb)

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No one ever accused Richard Hell of being the hardest working man in rock & roll, and not only did it take him five years to get around to making a follow-up to his first album, the remarkable Blank Generation, but he didn't even bother to come up with a full LP's worth of new material for 1982's Destiny Street; the opening song, "The Kid With the Replaceable Head," first appeared as a B-side to a single in 1979, and three of the album's ten tunes are covers, which hardly speaks well of his productivity. But if it's hard to imagine why it took five years to come up with Destiny Street, there's little arguing that Hell's second album is nearly as strong as his first. While the covers might seem like padding, the interpretations of the Kinks' "You Gotta Move" and Them's "I Can Only Give You Everything" are wildly passionate and overflowing with ideas and energy, and Hell's dour, jagged take on Dylan's "Going, Going, Gone" nearly surpasses the original. Robert Quine's guitar work on Blank Generation staked his claim as one of the most interesting and intelligent guitarists to emerge from the New York underground scene, and if anything, he was in even stronger form on Destiny Street, while new members Naux (on guitar) and Fred Maher (on drums) give him all the support he needs. And though Blank Generation made it clear Hell was among the brainiest members of punk's first graduating class, the handful of new originals here show he'd actually grown since his debut; on "Downtown at Dawn" and "Ignore That Door," Hell subtly but implicitly rejects the dead end of night-life decadence, "Time" is a meditation on mortality that's unexpectedly compassionate, and the title cut proved Hell had not only begun to recognize his own faults, but had even learned to laugh at them. Destiny Street sounds looser and more spontaneous than Hell's debut, but it's just as smart and every bit as powerful, and it's a more than worthy follow-up.



Richard Hell & The Voidoids - Destiny Street Repaired  (flac 292mb)

01 The Kid With The Replaceable Head 2:17
02 I Gotta Move 2:39
03 Going Going Gone 2:36
04 Lowest Common Dominator 2:27
05 Downtown At Dawn 4:28
06 Time 3:15
07 I Can Only Give You Everything 4:00
08 Ignore That Door 3:07
09 Staring In Her Eyes 4:19
10 Destiny Street 7:13
Bonus Tracks
11 Smitten 2:10
12 Funhunt 3:16

Richard Hell & The Voidoids - Destiny Street Repaired (ogg 98mb)

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Richard Hell has produced a rather small body of work as a musician -- two albums as a frontman -- Blank Generation and Destiny Street -- and one in collaboration with a handful of downtown-New York all-stars, released under the handle Dim Stars. But the work casts a very long shadow; Hell has more than earned his reputation as one of the groundbreaking figures of the New York new wave/punk scene, not just for being there at the right place and time but for creating some powerful and startling records with a handful of gifted collaborators (most significantly, guitarist Robert Quine), and the literacy and force of his songwriting has stood the test of time better than many of his peers' work (with the exception of Patti Smith). But for a man with such a small legacy, Richard Hell certainly seems fond of anthologizing his work, and Spurts: The Best of Richard Hell marks the third time he has attempted to sum up his life in rock & roll in one convenient package. Spurts focuses a bit harder on the more recognizable facets of the Hell canon than either 1984's R.I.P. or 2002's expanded and revised version, Time -- since Spurts draws from a variety of sources rather than just unreleased material, it includes the most familiar versions of "Love Comes in Spurts" and "Blank Generation," as well as cuts from Destiny Street (in newly remixed form) and the latter-day Dim Stars sessions. There are a few historically important rarities on-board as well, most notably a live recording of "Blank Generation," from Hell's brief tenure with Television, a radically different version of "Love Comes in Spurts" recorded with the Neon Boys (Hell's pre-Television collaboration with Tom Verlaine), and a one-off, one-song reunion with the original Voidoids from 2001 ("Oh," which stands as a potent reminder of how great that band was). To look at the pieces, this is certainly the most career-inclusive Hell collection of the three, and serves as a vivid testament to his talents. But despite the fact this set gets a ringing endorsement from Hell himself (who compiled it), as a whole it isn't quite as satisfying as his two albums with the Voidoids, and doesn't flow with the same jagged grace as R.I.P. or Time. (Spurts also lacks Time's witty and revealing liner notes, though the enclosed interview with Robert Christgau and Carola Dibbell certainly has its moments). As an introduction to Hell's music, Spurts is an appropriately intelligent, absorbing, and challenging anthology, but no one who is at all intrigued with his work should stop here.



Richard Hell - Spurts (The Richard Hell Story) (flac 431mb)

01 The Neon Boys - Love Comes In Spurts (Preliminary Version) 3:04
02 The Neon Boys - That's All I Know (Right Now) 2:34
03 The Heartbreakers - Chinese Rocks 2:41
04 Richard Hell & The Voidoids - Blank Generation 2:45
05 Richard Hell & The Voidoids - Liars Beware 2:53
06 Richard Hell & The Voidoids - Walking On The Water 2:16
07 Richard Hell & The Voidoids - Love Comes In Spurts 2:03
08 Richard Hell & The Voidoids - The Kid With The Replaceable Head 2:21
09 Richard Hell & The Voidoids - Crack Of Dawn 2:11
10 Richard Hell & The Voidoids - Time 3:05
11 Richard Hell & The Voidoids - Ignore That Door 3:13
12 Richard Hell & The Voidoids - Lowest Common Dominator 2:23
13 Richard Hell & The Voidoids - Downtown At Dawn 4:09
14 Dim Stars - Dim Star Theme 3:39
15 Dim Stars - Baby Huey (Do You Wanna Dance?) 2:33
16 Dim Stars - Monkey 3:38
17 Dim Stars - The Night Is Coming On 3:50
18 Richard Hell & The Voidoids - Oh 4:11
19 Richard Hell - She'll Be Coming (For Dennis Cooper) 4:30
20 Dim Stars - Rip Off 5:41
21 Television - Blank Generation (Live At CBGB's) 2:38

Richard Hell - Spurts (The Richard Hell Story)  (ogg 158mb)

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