Rho-Xs

RhoDeo 1205 Roots

2012-01-31T04:42:00.001+01:00

Maya Dread – Kaya Dub (flac 175mb)

01 Yard Man Dub 3:15
02 Meaning Dub 2:21
03 Another Lion Special 2:51
04 Conquering Dub Of Africa 3:22
05 Kaya Dub Song 3:16
06 Tribute To The King 2:55
07 Rattle Snake Echoe 2:55
08 Dub A Natty Dub 2:42
09 Tracking To Africa 2:35
10 Dread A Rikers Island 2:55

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Harry Mudie attended the St Jago High School. In the mid fifties, he launched his own sound system "Mudies Hi-Fi", before going to the UK to study electronics and photography. Back in Jamaica in the late 1950s, Mudie began producing, mainly Jamaican R&B records; His first production was "Babylon Gone" (1962) by rasta drummer Count Ossie and saxophonist Wilton Gaynair, released in the UK in 1962 on Blue Beat.He moved away from production in the 1960s, operating his Scaramouch Garden Amusement Center in Spanishtown, opened in 1962. He returned to production in the late 1960s, launching his Moodisc label and working with artists such as Winston Wright, Winston Shand, Lloyd Jones, Count Ossie and was the first producer to put I Roy on record. In the early 1970s, Mudie was the first to record the deejay Big Joe. He was the first producer to use string sections in reggae, starting with (John Holt's 1973 album Time is the Master. He also produced the Heptones on the classic "Love Without Feeling", DJ tunes by Count Sticky, Big Joe ("Set Your Face At Ease" on the "Rome" rhythm), and Jah Lloyd, and a number of "Drifter" cuts by Bongo Herman and others. During the mid-70s Mudie issued three classic dub albums mixed by King Tubby, instrumental sets by Gladstone Anderson and Ossie Scott, vocal albums by Dennis Walks and Bunny Maloney, for whom he produced the popular Jamaican lovers favourite "Baby I've Been Missing You", and two excellent various artists collections. During the 80s and 90s he concentrated on his back catalogue with re-presses and some excellent new compilations such as Reggae History Volume One and Reggae Bible, the latter being a whole album based on the "Drifter" rhythm. This prolific period produced over 100 singles and several 12-inch "discomix" singles as the decade closed.

Harry Mudie - In Dub Confrence Vol.1 (flac 181mb)

01 Full Dose Of Dub 3:14
02 Madhouse Dub 2:55
03 Dub For The Dread 3:05
04 Dub With A Difference 2:52
05 Caught You Dubbing 3:37
06 Roman Dub 2:57
07 Dub Conference 3:03
08 Heavy Duty Dub 3:02
09 Striptease Dub 3:14
10 String Dub In Rema 2:53

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Born Overton Brown, Jamaica, West Indies. Scientist burst onto the reggae scene in the early 80s with a reckless mixing style that seemed to outdo even King Tubby's wildest extravaganzas. He began his career as an engineer at Studio One in 1978, mixing the dub to Sugar Minott's "Oh Mr DC", among others. Shortly afterwards he became a prot‚g‚ of King Tubby, and swiftly gained a reputation with his fresh mixing style. In 1980 the UK-based record company Greensleeves began to release the productions of top Jamaican producer Henry "Junjo" Lawes. Lawes, finding success with new singing sensation Barrington Levy, used Tubby's studio for his voicing and final mix-downs and offered Greensleeves a couple of dub albums mixed by Tubby's sensational young engineer. Scientist v Prince Jammy (1980), mostly consisting of dub mixes of Barrington Levy tracks, was presented as a "Big Showdown" between the two dubmasters, with the first track mixed by Scientist, the second by King Jammy (as he was later known), and so on. The combination of heavyweight Roots Radics rhythms pitted against one another (the cover depicted the two protagonists in a cartoon style, sitting at their mixing desks in a boxing ring surrounded by a crowd of dreads) made for exciting listening, and gave the dub idiom a much needed shot in the arm.

Greensleeves followed this with an album proclaiming Scientist to be the Heavyweight Dub Champion, a similar brew of Roots Radics/Barrington Levy rhythms. Dub albums mixed by Scientist soon began to appear with bewildering regularity from various sources. Greensleeves, in particular, continued to issue album after album which, despite their increasingly unlikely titles and garish covers, remain essential listening. Scientist moved from Tubby's four-track studio to Joseph "Joe Joe" Hookim's 16-track Channel One studio in 1982, where he also learned to record live. His popularity resurrected dub's fading fortunes for a few years, but the form had lost ground in the Jamaican dancehalls to the new breed of dancehall DJs and vocalists, and by the mid-80s few Jamaican producers felt it prudent to spend money on producing dub albums. He continued as resident engineer at Channel One until the mid-80s, when he moved to New York to continue his production career.

Scientist v. Prince Jammy - Big Showdown (flac 183mb)

01 Scientist – Round 1 3:44
02 Prince Jammy – Round 2 3:36
03 Scientist – Round 3 4:01
04 Prince Jammy – Round 4 4:08
05 Scientist – Round 5 4:17
06 Prince Jammy – Round 6 4:00
07 Scientist – Round 7 3:47
08 Prince Jammy – Round 8 3:21
09 Scientist – Round 9 4:34
10 Prince Jammy – Round 10 2:48

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RhoDeo 1205 AC Clark

2012-01-30T04:53:00.000+01:00

Hello, hope you'll had a good weekend, I missed the marathon tennismatch but just from some watching some of it later I do wonder how come Azarenka playing 3 hours (semi+final) gets the same price money as Djokovic who had to work his socks of for 11 hours, after all the money is generated by tv airtime and that's not sexist. Besides these females seem to be playing a different game, be it under the same rules. Girls just want to have fun..

Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

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Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth. But it is perhaps as author of the novel 2001: A Space Odyssey that he is best known.

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Childhood's End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their space ships, governing through indirect rule. Decades later, the Overlords eventually show themselves, and their impact on human culture leads to a Golden Age. However, the last generation of children on Earth begins to display powerful psychic abilities, heralding their evolution into a group mind, a transcendent form of life.

In 1996, a script from Tony Mulholland was commissioned, resulting in a new, two-part adaptation. The BBC produced the two-hour radio dramatization of the novel, broadcasting it on BBC Radio 4 in November 1997. The recording was released on cassette in 1998 and on CD by BBC Audiobooks in 2007 Clarke's novel was nominated for the Retro Hugo Award for Best Novel in 2004.

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Arthur C. Clarke - Childhoods End ( 26mb)

01 Childhoods End pt 1 57:21

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Sundaze 1205

2012-01-29T04:50:00.000+01:00

Hello, been busy re-upping the Megaupload links, once again i underestimated how much there were, 268 to be precise. Which in the grand scheme of this blog is indeed not that much, less then 10%, but a lot of work nevertheless. I hope to finish within a few days (3/4 done already).

Today Sundaze gives way to evolutionary concept artists, from Norway, who've exaggerated and blurred the lines between every musical form they've been enveloped. As unconventional as their approach to music has always been the results have been consistently adherent and profound. In larval form they torqued the genre of black metal with folk, jazz, minimalism and soundscape offering this generally conservative design liberties it was once afraid to embrace. Ulver have altered the way form can join and function in ways rarely sought. Retaining elements of their past, they now manipulate and extend the possibilities with a comprehensive understanding of the developing aural technologies.

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Ulver took their name from the Norwegian word for wolf, snce their first, folklore-influenced black metal release entitled Bergtatt - Et eeventyr i 5 capitler (1993), Ulver’s musical style has been fluid and increasingly eclectic, blending genres such as avant-garde rock, trip hop, symphonic and chamber traditions, noise and experimental music, with heavy reliance on electronic recording techniques.

Led by vocalist Garm, Ulver recorded two concept albums, Bergtatt detailed a Norse legend in which maidens are abducted by denizens of the underworld to live in their mountain halls, and the following year's Kveldssanger ("Twilight Songs") was an all-acoustic collection of melancholy dirges. Ulver made their international debut in 1997 with Nattens Madrigal (Madrigal of the Night), a concept album about wolves performed in the traditional Norwegian black metal style; it was recorded for Century Black with a lineup of Garm, lead/acoustic guitarist Haavard, rhythm guitarist Aismal, bassist Skoll, and drummer AiwarikiaR.

Themes from William Blake's The Marriage of Heaven and Hell, released in 1998, was different from what Ulver had made before. Tore Ylwizaker, a new composer and sound architect, added to Garm’s expanding artistic visions, and together they stepped over the boundaries of black metal aesthetics, creating a genre-defying work. In this album, the musicians blended electronics, industrial music elements, progressive metal and avant-garde rock, adding ambient passages. Lyrically, the album incorporates the entire text of William Blake’s poem The Marriage of Heaven and Hell, and relies on guest vocals

The band followed up these two releases with two minimalist/ambient/glitch works Silence Teaches You How to Sing and Silencing the Singing. These works featured minimal melodies and often had subtle, weird and unnatural noises within the song structures. Due to their individual rarity, they were later amalgamated as Teachings in Silence. Having proved their proficiency at making atmospheric music, Ulver were hired to make music for cinema films like Lyckantropen (see Lyckantropen Themes), Svidd neger (see Svidd neger (soundtrack)), and Uno.

In July 2004, the band had recorded their sixth album, Blood Inside, which was released on June 6, 2005. Bringing back more traditional rock instruments like guitar and acoustic drums, combining them with classical instruments, brass horns, and their rich electronic inventory. Shadows of the Sun is the seventh studio album by Ulver. . In an interview with Music Information Centre Norway, Ulver member Tore Ylwizaker commented on the album. He said it would be downplayed and inspired by chamber music in both style and crew. Ylwizaker also took a year off to study classical composers and composition techniques. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade. In February 2008 Shadows Of the Sun won the Oslo Awards for album of the year 2007.

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Perdition City (Music To An Interior Film) is an album of moody, atmospheric electronica, built up around basic down-tempo beats and noir-ish electronic piano harmonies, and then fleshed out with various blips and bleeps, static noises, samples, and occasional vocals. Surprising moments include the lonely soprano saxophone solo on the opener, "Lost in Moments" ; the gravel-voiced Ken Nordine-sound-alike reciting what sounds like a voiceover from a '60s detective show during "Dead City Centres"; and frontman Christophorus Rygg's slick blue-eyed soul (!) singing on "Porn Piece or the Scars of Cold Kisses." Still, the highlight is the album's closing track, "Nowhere/Catastrophe," with its climactic vocal harmonies and purring, liquid-like electronic accents. There are questionable moments, such as the arguably pretentious narration during "We Are the Dead," but, on the whole, Perdition City evokes just the sort of desolate, rainy-night-in-the-city atmosphere it sets out to create.

Ulver – Perdition City (flac 284mb)

01 Lost In Moments 7:16
02 Porn Piece Or The Scars Of Cold Kisses 7:09
Piece One 3:58
Piece Two 3:11
03 Hallways Of Always 6:35
04 Tomorrow Never Knows 7:59
05 The Future Sound Of Music 6:39
06 We Are The Dead 3:40
07 Dead City Centres 7:10
08 Catalept 2:17
09 Nowhere/Catastrophe 4:48

Ulver – Perdition City (ogg 125mb)

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Lyckantropen Themes is Ulver's first foray into film soundtrack music, although musically it picks up right where their previous two EPs, Silence Teaches You How to Sing and Silencing the Singing, left off. That makes sense, considering how those two EPs often resembled soundtracks themselves, with their ambiguous moods and lurking-in-the-shadows electronic ambiance. Once again, there are no lead vocals and no typically structured songs. Instead, the keyboards (especially the piano synth) dominate, setting the alternately suspenseful and melancholy mood of the soundtrack, with occasional down-tempo drum-machine beat, distant saxophone call, or rainstorm sample added to the mix. Unlike many soundtrack recordings, the album's tracks do flow nicely together as a whole. Lyckantropen is still a solid, respectable album of semi-dark ambient-electronic music, and at 37 minutes long, it doesn't wear out its welcome.

Ulver – Lyckantropen Themes (flac 146mb)

01 Theme 1 1:21
02 Theme 2 1:37
03 Theme 3 7:13
04 Theme 4 2:14
05 Theme 5 4:48
06 Theme 6 2:41
07 Theme 7 2:38
08 Theme 8 4:17
09 Theme 9 5:50
10 Theme 10 3:44
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The album is not something you'll grasp at first, though it's not to say you won't enjoy it right from the get-go. While the ambience it creates serves as an excellent backdrop (it is a soundtrack, after all), true appreciation for it might not come until you dive right in. With the right listening climate, Svidd Neger possesses the ability to take the listener on a twisted journey. Lending itself to the quasi-formal tone you're currently reading, the album is highly sophisticated in its presentation. Strings cascade between methodical drumming, contradicting the occasional blips, bloops and sound clips from the film. While the compositions are separated into tracks, Svidd Neger is best taken when you're hard-pressed to notice the separation. Absorbing the album as a whole ensures that the aptly titled "Waltz of King Karl" wont contrast harshly with swooping percussion found in Sadface. The melancholic strings rarely seem out of place with the electronic backdrops, and while the music is increasingly textured, it never becomes invasive.

Ulver - Svidd Neger ( O.S.T.) (flac 170mb)

01 Preface 1:41
02 Ante Andante 0:54
03 Comedown 2:19
04 Surface 3:17
05 Somnam 2:42
06 Wild Cat 2:32
07 Rock Massif Pt. I 1:42
08 Rock Massif Pt. II 2:05
09 Poltermagda 0:28
10 Mummy 1:03
11 Burn The Bitch 0:52
12 Sick Soliloquy 0:22
13 Waltz Of King Karl 3:17
14 Sadface 2:43
15 Fuck Fast 0:21
16 Wheel Of Conclusion 6:27

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Shadows of the Sun offers a new slant on the sort of electronic art pop sound that Ulver have been developing off and on since 1999‘s Metamorphosis EP. Along with 2005's return-to-form Blood Inside, it is one of their stronger efforts this decade, following several years of experimentation with instrumental electronic music. Those experiments have informed both of these albums, but they have been incorporated into more or less songlike structures. That is a good thing, given that leader Kristoffer Rygg's vocals have always been a strong point of their music. Shadows begins with a tranquil, almost ambient organ figure, followed by the entry of Rygg's close-up vocals, which later float off into the distance. Standout "All the Love" follows, beginning in similar near-ambient fashion before percussion enters for the first time on the album near the one-minute mark. This song has a fantastic arrangement that includes a dense carpet of keyboard tones along with some well-placed trumpet flourishes, electronic glitches, and piano melodies toward the end. Subsequent songs maintain this blend of electronics, intermittent (and very subdued) percussion, and other "real" instruments, including some nice cello and string-section touches. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade.

Ulver - Shadows Of The Sun ( 180mb)

01 Eos (5:05)
02 All The Love (3:42)
03 Like Music (3:30)
04 Vigil (4:27)
05 Shadows Of The Sun (4:36)
06 Let The Children Go (3:50)
07 Solitude (3:53)
08 Funebre (4:26)
09 What Happened? (6:25)

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RhoDeo 1204 Grooves

2012-01-27T04:38:00.001+01:00

Parliament - Trombipulation (299mb)

01 Crush It 3:51
02 Trombipulation 4:34
03 Long Way Around 5:40
04 Agony Of Defeet 6:23
05 New Doo Review 5:55
06 Let's Play House 3:39
07 Body Language 5:57
08 Peek-A-Groove 7:48

Parliament - Trombipulation(108mb)

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Don't mistake 12" Collection & More for a best-of collection. It features some of Parliament's best moments, such as "Flashlight" and "Up for the Down Stroke," but it also includes songs such as "Ridin' High-Parlet" and "Oh I," which weren't technically even Parliament songs. In terms of what's worth seeking out on this album, look towards the 12" versions of "Flashlight" and "Aqua Boogie." these extended versions approach the ten-minute mark, making them P-funk jams on par with "(Not Just) Knee Deep" -- jams that just don't stop, jams that you don't ever want to stop! The extended versions of "Agony of Defeet" and "Theme From the Black Hole/The Big Bang Theory" are also epic jams. Elsewhere, the string-laden seven-minute version of "Oh I" is amazing, even if it was actually a Funkadelic song, not a Parliament recording. The five-minute version of "Up for the Down Stroke" also ranks up there with some of Parliament's best work ever, adding about two minutes to the original version. Unfortunately, Parliament only released a handful of 12" mixes, these songs keep the funk flowing for epic lengths, long enough for you to totally succumb to the rhythm just as you would at one of the group's jam-laden concerts.

Parliament - The 12 inch Collection and More ( 488mb)

01 Aqua Boogie (Original 12" Version) 9:22
02 Flash Light (Original 12" Version) 10:42
03 Agony Of Defeet (Original Promotion-Only 12" Version) 9:05
04 Ridin' High (Original Promotion-Only 12" Version) 9:41
05 Oh I (Original Parliament Version) 7:11
06 Up For The Down Stroke (Alternate Version) 5:39
07 Testify (Original Group Vocal Version) 4:03
08 Theme From The Black Hole / The Big Band Theory (Original 12" Disco Edit) 11:46

Parliament - The 12 inch Collection and More ( 168mb)

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First released on LP in 1981 as Connections & Disconnections and reissued on CD in 1992 as Who's a Funkadelic?, this album went down in history as the only Funkadelic project that George Clinton had nothing whatsoever to do with. Many funksters were quick to dismiss this album, questioning its authenticity and arguing that the band had no right to call itself Funkadelic without "President Clinton" on board. True, Clinton's input is missed, but in fact, this is far from a bad album. While Who's a Funkadelic? isn't in a class with One Nation Under a Groove or Uncle Jam Wants You, hard funk offerings like "Phunklords," "You'll Like It Too" and "The Witch" are fairly enjoyable. Colleagues like Fuzzy Haskins and Grady Thomas had learned from the master himself, and this very underrated offering shows that they also had some worthwhile things to say.

Who's A Funkadelic (277mb)

01 Phunklords 5:32
02 You'll Like It Too 4:27
03 The Witch 9:29
Shade I: The Proclafunktion
Shade II: The Infunktation
Shade III: The Celefunktion
04 Connections And Disconnections 5:00
05 Come Back 4:44
06 Call The Doctor 5:12
07 Who's A Funkadelic 5:47

Who's A Funkadelic (ogg 102mb)

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RhoDeo 1204 Goldy Rhox 56

2012-01-26T04:58:00.000+01:00

Hello, today the 56th post of GoldyRhox, classic pop rock, but first something to consider..

Why was MegaUpload really shut down?

In December of 2011, just weeks before the takedown, Digital Music News reported on something new that the creators of #Megaupload were about to unroll. Something that would rock the music industry to its core. (http://goo.gl/A7wUZ)

I present to you... MegaBox. MegaBox was going to be an alternative music store that was entirely cloud-based and offered artists a better money-making opportunity than they would get with any record label.

"UMG knows that we are going to compete with them via our own music venture called Megabox.com, a site that will soon allow artists to sell their creations directly to consumers while allowing artists to keep 90 percent of earnings," MegaUpload founder Kim 'Dotcom' Schmitz told Torrentfreak

Not only did they plan on allowing artists to keep 90% of their earnings on songs that they sold, they wanted to pay them for songs they let users download for free.

"We have a solution called the Megakey that will allow artists to earn income from users who download music for free," Dotcom outlined. "Yes that's right, we will pay artists even for free downloads. The Megakey business model has been tested with over a million users and it works."

Clearly this caused a big panic in the music industry and within weeks they managed to have their goons ..the FBI.. kill Megaupload....

In the darklight an English heavy metal band, formed in Aston, Birmingham in 1969, the band has since experienced multiple line-up changes. A total of 22 musicians have at one time been members with the guitarist as the only constant presence in the band through the years. The band has released 18 albums and dissolved sort of after their lead singer became an icon thanks to an MTV reality show.in 2001. The band are one of the most influential heavy metal bands of all time. They helped to create the genre with ground breaking releases. On 11 November 2011, the original band members announced that they were reuniting and recording a new album.The band are scheduled to perform a headlining slot at the Download Festival on 10 June 2012, followed by a world tour.

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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.

Todays mystery album which Rolling Stone magazine noted "changed music forever", and called the band "The Beatles of heavy metal". Time Magazine called todays mystery album "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time. The mystery album is the second studio album by todays mystery band. Released in September 1970, the album was the only one by the band to top the UK Albums Chart, and as a result is commonly identified as the band's magnum opus. It's been certified four times platinum by the RIAA and contains some of the band's best-known signature songs, The album was originally titled War Pigs, but allegedly the record company changed it, fearing backlash from supporters of the ongoing Vietnam War (!!!). In the decades succeeding its initial distribution, todays mystery album has been regarded by many as the bands best album, and by some the best heavy metal album of all time, defining the sound and style of metal, more than any other record in history. In 2003, the album was ranked number 130 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Goldy Rhox 56 (flac 255mb)

Goldy Rhox 56 (ogg 102mb)

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RhoDeo 1204 Aetix

2012-01-25T04:19:00.000+01:00

Hello, as the Oscar nominations today show, nostalgia rules in Hollywood ah yes they must be longing for those good old days before the internet, before blockbuster accounting. Those days when they released movies for the general public and not like today for limited attention span youths. Let's face it there's not much left of the status and regard Hollywood once held. Their demise is imminent expect Google or Apple to buy them out....

The Clash released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past. Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1.6 gig package over two weeks in chunks that should be agreeable for most... today part 2 Njoy!

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The Clash - Singles 12-13 (178mb)

The Call Up
1201 The Call Up 5:25
1202 Stop The World 2:32
Hitsville UK
1301 Hitsville UK 4:21
1302 Radio One (Feat.Mikey Dread) 6:17
1303 Police On My Back (US 7") 3:15
1304 Somebody Got Murdered (Spanish 7") 3:33

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The Clash - Singles 14 (228mb)

The Magnificent Seven
1401 The Magnificent Seven (Edit) 3:37
1402 The Magnificent Dance (Edit) 3:35
1403 Lightning Strikes (Not Once But Twice) 4:51
1404 One More Time (US Promo 12") 3:31
1405 One More Dub (US Promo 12") 3:34
1406 The Cool Out (US 12") 3:53
1407 The Magnificent Seven (12" Version) 4:27
1408 The Magnificent Dance (12" Version) 5:36

Note
The Clash - Singles 12-14 (ogg 138mb)

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The Clash - Singles 15-16 (177mb)

Radio Clash
1501 This Is Radio Clash 4:10
1502 Radio Clash 4:10
1503 Outside Broadcast (UK 12") 7:22
1504 Radio 5 (UK 12") 3:38
Know Your Rights
1601 Know Your Rights 3:40
1602 First Night Back In London 2:59

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The Clash - Singles 17 (148mb)

Rock The Casbah
1701 Rock The Casbah 3:41
1702 Long Time Jerk 5:08
1703 Mustapha Dance (UK 12") 4:26
1704 Red Angel Dragnet (Canadian 7") 3:45
1705 Overpowered By Funk (Argentinian 7" Promo) 4:53

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The Clash - Singles 18-19 ( 148mb)

Should I Stay Or Should I Go
1801 Should I Stay Or Should I Go 3:07
1802 Straight To Hell (Edited Version) 3:51
1803 Innoculated City (US 7") 2:41
1804 Cool Confusion (US 7") 3:14
This Is England
1901 This Is England 3:35
1902 Do It Now 3:06
1903 Sex Mad Roar (UK 12") 3:03

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The Clash - Singles 15-19 (ogg 174mb)

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elsewhere

The Clash - Sandinista ! 1 (80 112mb)
The Clash - Sandinista ! 2 (80 125mb)
The Clash - Sandinista ! 3 (80 114mb)

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RhoDeo1204 Roots

2012-01-24T05:21:00.001+01:00

King Tubby – Dub From The Roots (flac 256mb)

01 Dub From The Roots
02 Iyahta
03 Mine Field
04 Hijack The Barber
05 African Roots
06 Double Cross
07 East Of (Arrows Hi-Fi)
08 Invasion
09 Dub Of A Woman
10 Dub On My Mind
11 Steeling
12 Dub Experience
13 Declaration Of Dub
14 A Truthful Dub

King Tubby – Dub From The Roots (ogg 112mb)

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While there's certainly no shortage of King Tubby compilations out there, it's often a straining venture to find the best ones. Tubby churned out so much music during the mid-'70s (with the help of co-engineers Phillip Smart, Pat Kelly, and Lloyd "Prince Jammy" James, of course) that throughout the '90s innumerable fly-by-night labels were able to assemble cheap comps of cut-rate recordings. Really, if all you ever wanted was one and only one Tubby disc, In Fine Style would be a wise choice (though given the depths and riches of the Dub Inventor's catalog, you could easily pick up a couple of these comps and still have just the cream of the crop). This double disc compiles 46 dubs mixed at King Tubby's Studio (aka his modest home in Waterhouse, West Kingston, Jamaica) and does so chronologically, ranging from 1972-1977. These are the best of the best -- amazing dubs of such '70s reggae legends as the Upsetters (produced by Lee Perry), Niney the Observer, Augustus Pablo, Cornel Campbell, Horace Andy, Wayne Jarrett, and the Aggrovators, including such classics as "King Tubby's Meets Rockers Uptown" and "King Tubby's in Fine Style" among many, many others.

King Tubby's – In Fine Style (The Dub Inventor ) (flac 396mb)

101 The Crystalites – Concentration Version 3
102 The Crystalites – Blacula Version
103 Glen Brown – Tel Aviv Drums
104 The Upsetters – Chapter 2 (French Connection)
105 The Upsetters – IPA Skank
106 The Upsetters – Freak Out Skank
107 The Upsetters – Washroom Skank
108 The Upsetters (feat Dillinger) – Dub Organiser
109 The Upsetters – V/S Panta Rock
110 The Upsetters – Elephant Rock
111 The Upsetters – Drum Rock
112 The Upsetters – Lovers Skank (aka Spanglers Clap)
113 Rupie Edwards – Dr. Satan's Echo Chamber
114 Rupie Edwards – Buckshot Dub
115 Techniques All Stars – Stalag 17 Version
116 Techniques All Stars – Nothing Is Impossible Version
117 The Observer – New Style
118 The Observer – Fire From The Observer
119 Dennis Brown & The Observer – Coming Home (Version To No More Will I Roam)
120 The Observer & King Tubby – Dubbing With The Observer
121 The Observer & King Tubby – Youth Man
122 Augustus Pablo – King Tubby's Meets Rockers Uptown
123 Augustus Pablo – Tubby's Dub Song

King Tubby's – In Fine Style (The Dub Inventor ) (ogg 156mb)

King Tubby's – In Fine Style (The Dub Master) (flac 371mb)

201 Ronnie Davis – The Power Of Love
202 King Tubby – King Tubby's In Fine Stile
203 Augustus Pablo & King Tubby – The Big Rip Off
204 The Talent Crew – King Tubby's Version (Please Officer)
205 The Mafia All Stars & King Tubby – Don't Think About Me (I'm Alright) Version
206 Dillinger, King Tubby & The Aggrovators – Jah Jah Dub
207 Vin Gordon – Magnum Force
208 Cornell Campbell & The Aggrovators – A Dance Roots Version
209 Tommy McCook & The Aggrovators – Dancing Version
210 Linval Thompson & The Aggrovators – Conqueroring Version
211 Linval Thompson & The Aggrovators – Sukumaka Version
212 Ronnie Davis, Lloydie Slim & The Aggrovators – Jah Jah Dub
213 B.B. Seaton & The Aggrovators – I Am Lost Dub
214 Cornell Campbell & The Aggrovators – Gorgon Version
215 King Tubbys – A Noisy Place (aka A Quiet Place)
216 Jackie Edwards & The Aggrovators – The Invasion (Version)
217 Johnny Clarke & The Aggrovators – A Harder Version
218 Johnny Clarke & The Aggrovators – A Ruffer Version
219 Wayne Jarrett – Satta Dread
220 King Tubbys – (Dread) Satta Version
221 Prince Jammy – A Useful Version
222 Leroy Smart & The Aggrovators – Channel One Feel It
223 Tommy McCook & The Aggrovators – African World Wide

King Tubby's – In Fine Style (The Dub Master) (ogg 150mb)

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RhoDeo 1204 AC Clark

2012-01-23T04:31:00.000+01:00

Hello, hope you'll had a good weekend but likely you've come across a lot of anger and frustration over the taking out of Megaupload without any legal notice or verdict, and if I were a New Zea-lander i would be deeply ashamed of my groveling government. Earlier i came across Filesonic shutting down pre-emptivly, cowardly perhaps, but it seems the rule of law no longer applies for US government(corporate fascists) and being threatened with ruin and decades of jail sentences for running a filehoster in the western (New World Order) world makes the owners fearful. Meanwhile i still am unable to upload to multi upload you'll have to make do with Mediafire today.

The story behind one of the most famous films of the last century 2001: A Space Odyssey how a sci-fi writer and a filmdirector knocked out this great story- check Clarks diary entries, the man himself reads the final book chapters for you to enjoy.

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About Arthur C. Clarke and 2001:

Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth (1976, Harcourt Brace Jovanovich). But it is perhaps as author of the novel 2001: A Space Odyssey and co-author with Stanley Kubrick of the screenplay of that memorable film that he is best known.

The film "2001: A Space Odyssey" is by considered judgement one of the three or four most memorable films that this era has produced. It owes as much to the flaming Clarke imagination and mystique as it does to the Kubrick passion for poetry and perfection in detailed design. It was an author and director truly well met.

So how did it come about ?

EXCERPTS FROM A DIARY by ARTHUR C. CLARKE

May 28, 1964. Suggested to Stanley that "they" might be machines who regard organic life as a hideous disease. Stanley thinks this is cute and feels we've got something.

June 20. Finished the opening chapter, "View from the Year 2000," and started on the robot sequence.

July 2-8. Averaging one or two thousand words a day. Stanley reads first five chapters and says "We've got a best seller here."

July 9. Spent much of afternoon teaching Stanley how to use the slide rule - he's fascinated.

July 11. Joined Stanley to discuss plot development, but spent almost all the time arguing about Cantor's Theory of Transfinite Groups. Stanley tries to refute the "part equals the whole" paradox by arguing that a perfect square is not necessarily identical with the integer of the same value. I decide that he is a latent mathematical genius.

July 12. Now have everything - except the plot.

July 13. Got to work again on the novel and made good progress despite the distraction of the Republican Convention.

July 26. Stanley's birthday. Went to the Village and found a card showing the earth coming apart at the seams and bearing the inscription: "How can you have a Happy Birthday when the whole world may blow up any minute?"

July 28. Stanley: "What we want is a smashing theme of mythic grandeur."

August 6. Stanley suggests that we make the computer female and call her Athena.

August 17. We've also got the name of our hero at last - Alex Bowman. Hurrah!

August 19. Writing all day. Two thousand words exploring Jupiter's satellites. Dull work.

September 8. Upset stomach last night. Dreamed I was a robot being rebuilt. In a great burst of energy managed to redo two chapters. Took them to Stanley, who was very pleased and cooked me a fine steak, remarking: "Joe Levine doesn't do this for his writers."

September 29. Dreamed that shooting had started. Lots of actors standing around, but I still didn't know the story line.

December 10. Stanley calls after screening H.G. Wells' Things to Come, and says he'll never see another movie I recommend.

December 25. Stanley delighted with the last chapters, and convinced that we've extended the range of science fiction.

February 9, 1965. Caught Dali on TV, painting in a Fifth Avenue store window to promote Fantastic Voyage. Reported this to Stanley, who replied: "Don't worry - we've already reserved a window for you."

March 8. Fighting hard to stop Stan from bringing Dr. Poole back from the dead. I'm afraid his obsession with immortality has overcome his artistic instincts.

April 12. Much excitement when Stanley phones to say that the Russians claim to have detected radio signals from space. Rang Walter Sullivan at the New York Times and got the real story - merely fluctuations in Quasar CTA 102.

April 19. Went up to the office with about three thousand words Stanley hasn't read. The place is really humming now - about ten people working there, including two production staff from England. The walls are getting covered with impressive pictures and I already feel quite a minor cog in the works.

August 25. Suddenly realized how the novel should end, with Bowman standing beside the alien ship.

October 1. Stanley phoned with another ending. I find I left his treatment at his house last night - unconscious objection?

October 3. Stanley on phone, worried about ending ... gave him my latest ideas, and one of them suddenly clicked - Bowman will regress to infancy and we'll see him at the end as a baby in orbit. Stanley called again later, still very enthusiastic. Hope this isn't a false optimism: I feel cautiously encouraged myself.

October 5. Back to brood over the novel. Suddenly (I think!) found a logical reason why Bowman should appear at the end as a baby. It's his image of himself at this stage of his development. And perhaps the Cosmic Consciousness has a sense of humor. Phoned these ideas to Stan, who wasn't too impressed, but I'm happy now.

October 15. Stan has decided to kill off all the crew of Discovery and leave Bowman only. Drastic, but it seems right. After all, Odysseus was the sole survivor....

December 29, 1965. The TMA 1 set is huge - the stage is the second largest in Europe, and very impressive. A 150 x 50 x 20-foot hole, with equipment scattered around it. (E.g. neat little electric-powered excavator, bulldozers, etc. which could really work on the Moon!) About a hundred technicians were milling around. I spent some time with Stanley, reworking the script -- in fact we continued through lunch together. I also met the actors, and felt quite the proper expert when they started asking me astronomical questions. I stayed until 4 p.m. -- no actual shooting by then, but they were getting near it. The spacesuits, back-packs, etc. are beautifully done, and TMA 1 is quite impressive -- though someone had smeared the black finish and Stanley went on a rampage when I pointed it out to him.

January 7, 1966. Realized last night that the Star Gate had to be lapetus with its six-to-one brightness ratio. Got off a memo to Stan about that.

January 8. Record day -- three thousand words, including some of the most exciting in the book. I got quite scared when the computer started going nuts, being alone in the house with my electric typewriter....

January 14. Completed the Inferno chapter and have got Bowman into the hotel room. Now to get him out of it.

January 16. Long talk with Stan and managed to resolve most of the outstanding plot points. Got straight to work and by the time I staggered to bed stupefied had at last almost completed the first draft of the final sequence. Now I really feel the end's in sight -- but I've felt that twice before.

January 17. About midday got a first draft of the last chapters completed. Have had a headache ever since and my brain's still spinning around. Too exhausted to feel much pleasure -- only relief. Trying to unwind all day; luckily I'm off to the studio tomorrow, which will be a break.

February 4. Saw a screening of a demonstration film in which Stan has spliced together a few scenes to give the studio heads some idea of what's going on. He'd used Mendelssohn's Midsummer Night's Dream for the weightless scenes, and Vaughan Williams' Antarctica Symphony for the lunar sequence and the Star Gate special effects, with stunning results. I reeled out convinced that we have a masterpiece on our hands -- if Stan can keep it up.

May 29. Soviet Air Attache visited set. He looked at all the little instruction plaques on the spaceship panels and said, with a straight face, "You realize of course, that these should all be in Russian."

July 19. Almost all memory of the weeks of work at the Hotel Chelsea seems to have been obliterated, and there are versions of the book that I can hardly remember. I've lost count (fortunately) of the revisions and blind alleys. It's all rather depressing -- I only hope the ultimate result is worth it.

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Arthur C. Clarke reads 2001: A Space Odyssey (ogg 68mb)

01 The Moons Of Saturn (15:00)
Experiment
The Sentinel
Into The Eye
Exit
02 Through The Star Gate (12:43)
Grand Central
The Alien Sky (Beginning)
03 Through The Star Gate (30:10)
The Alien Sky (Conclusion)
Inferno
Reception
Recapitulation
Transformation
Star-Child

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Sundaze 1204 Inside Out

2012-01-22T04:49:00.000+01:00

Hello, our world is still in shock after the lawless seizure of Megaupload by the US corporate fascists and their FBI goons, I've re upped the seized links pre-Rhotation the remainder will be done next week, that is to say , I can't get thru to multiupload today, could be because handling the increase in clients after the biggest hoster got killed. Besides my connection looks substandard today aswell, therefore i improvise with smashupload and rapidshare today.

It's been 7 months since my last Inside Out..sorry about that.. so today a spacious binaural recording of a cave jam of a trio of top musicians, and something to don't loose any sleep over Dr. Jeffrey Thompson’s Delta Sleep System.

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These days a lot of people loose sleep over their future; economically , socially, the environment and what will happen december 2012 ? But losing sleep is making live miserable and certainly doesn't solve anything, in fact chances are you 'll get more answers from a good night sleep. Yet many of you seem to have trouble with that, you should take the opportunity to grab the Delta Sleep System files..for yourself or others you know to have sleeping trouble...it's all about sharing.

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There are several stages of sleep which people pass through in the course of a good restful night. In each stage our sleep gets deeper, our bodies gets more relaxed and our brainwave patterns slow down. The deepest and most rejuvenating levels of sleep are associated with Delta brainwave patterns. Delta sleep is the most physically relaxed stage of sleep and is the time when the body recuperates and rebalances itself for the new day. Getting enough sleep, but more specifically enough Delta Sleep, is essential for healthy, productive living.

Dr. Jeffrey Thompson’s breakthrough audio techniques, developed over 20 years of clinical research, are proven to increase levels of Delta brainwave activity. He has helped thousands of people to achieve regular, restful, revitalizing sleep. How This Program Can Work For You Play Delta Sleep System on any ordinary stereo or through headphones. Pulses of sound embedded into an ambient musical soundtrack, combining rich orchestration and "3-dimensional" sounds of nature will coax your own brainwaves toward their natural pattern of deep Delta Sleep.

In the enclosed notes you will learn: About the natural cycles of sleep and how they effect you How to use Delta Sleep System to fall asleep, stay asleep and wake up rejuvenated Special relaxation techniques which you can use to enhance your experience

Dr.Thompson - Delta Sleep System 2-1 (flac 182mb)

01 Delta Sleep System 2 Part 1 30:20
02 Delta Sleep System 2 Part 2 30:19
inc. info/instruction booklet
-
Dr.Thompson - Delta Sleep System 2-1 gg (ogg 120mb)

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Dr.Thompson - Delta Sleep System 2-2 (flac 179mb)

01 Dreamtime 30:21
02 Peaceful Slumber 30:11

Dr.Thompson - Delta Sleep System 2-2 (ogg 121mb)

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From the Caves of the Iron Mountain is an album recorded inside the Widow Jane Mine in the Catskill Mountains. The artists featured on the album are Tony Levin (King Crimson, Peter Gabriel), Jerry Marotta (Peter Gabriel, The Indigo Girls), and Steve Gorn (Glen Velez and Jerome Robbins' New York City Ballet). The recording is binaural, which means that when you hear it over the headphones, you will be listening to exactly what was heard in the caves.

Pure atmosphere throughout, this one was recorded in an underground lake, in a cave in the Woodstock area of NY where the three musicians live. Simple musical ideas, played on custom-made instruments, develop naturally and tap into a primal feel, yet never overstay their welcome. Engineer Tchad Blake acts like a fourth band member, transporting the listener to the recording session and the ambience of the surroundings.

The music was recorded using a unique technique of puttin microphones in the ear of the Recording Engineer, which maskes it the PERFECT record to listen to with headphones.

Steve Gorn, Tony Levin & Jerry Marotta - From The Caves Of The Iron Mountain - (flac 218mb)

01 Approaching The Cavern 1:25
02 Man Walking From A To B 3:39
03 In The Caves Of The Iron Mountain 3:37
04 Drumming On Water 3:29
05 Devil's Kitchen 3:42
06 Shakers In Five 3:53
07 Glass Beads 3:32
08 Joyous Lake 2:41
09 Catskill Gallery: The Abandoned IBM Plant/Woodstock, The Indian Burial 1:52
10 Catskill Gallery: Woodstock,The Indian Burial Ground 1:39
11 Catskill Gallery: Swimming The Shokan Rooftops 1:26
12 Catskill Gallery: Overlook Mountain 3:21
13 Shepherd's Song 3:46
14 Catacombs 4:18
15 Magic Meadow 3:40
16 The Widow Jane Mine 3:14
17 Squeeze Box 1:11

Steve Gorn, Tony Levin & Jerry Marotta - From The Caves Of The Iron Mountain - (ogg 114mb)

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RhoDeo 1203 Grooves

2012-01-20T04:06:00.001+01:00

Hello, Bad news for the people at Megaupload, several have been arrested by the FBI in New Zealand no less, apparently that country falls under American jurisdiction, 20 more are currently rounded up around the world. These guys not only get stripped of all their possessions, but will get lengthy jail sentences as well. Meanwhile to true criminals on Wallstreet get away with defrauding on billions scale ....class justice US style.. Well no more megaupload then, this means a loss of 150 -200 links here, already started re-upping beginning at the oldest onwards.

Today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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As Parliament began achieving significant mainstream success in the 1975-1978 period, Funkadelic recorded and released its most successful and influential album, One Nation Under a Groove in 1978, adding former Ohio Players keyboardist Walter "Junie" Morrison and reflecting a more melodic dance-based sound. The title track spent six weeks at #1 on the R&B charts, around the time that Parliament was enjoying the #1 R&B singles "Flash Light" and "Aqua Boogie". Uncle Jam Wants You in 1979 continued Funkadelic's new more electronic sound production. The album contains the fifteen-minute "(Not Just) Knee Deep" featuring former Spinners lead singer Philippé Wynne, an edited version of which topped the R&B charts. The final official Funkadelic album, The Electric Spanking of War Babies, was released in 1981. The release was originally a double-album project, but it was reduced to a single disc under pressure from Warner Brothers. Some of the deleted tracks would appear on future P-Funk releases, most notably the 1982 hit single "Atomic Dog" which appeared on the first George Clinton solo album.

Meanwhile, the album Connections & Disconnections (re-issued on CD as Who's a Funkadelic) was released under the name Funkadelic in 1981. The album was recorded by former Funkadelic members and original Parliaments Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had left P-Funk in 1977 after disagreements with George Clinton's management practices. . Another rebellious former band member, drummer Jerome Brailey, released the album Mutiny on the Mamaship, by his new band Mutiny. Even Clinton himself found this to be a good album despite containing lyrics that mocked him and his management of the P-Funk enterprise.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Parliament's record label, George Clinton dissolved Parliament and Funkadelic as recording and touring entities. However, many of the musicians in later versions of the two groups remained employed by Clinton. Clinton continued to release new albums regularly, sometimes under his own name and sometimes under the name George Clinton & the P-Funk All-Stars.

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Great collection of leftover jams, songs, and funk pieces from the Funkadelic era. George Clinton was in the midst of moving Funkadelic to another label, and the Westbound folk released a bunch of vault material to get another Funkadelic album on the market. There were still some fine cuts that didn't fit the concept, resulting in a random element which prevented it from being a great album because it lacked the thematic organization and vision Clinton provided for the concept LPs.

Funkadelic – Tales Of Kidd Funkadelic (226mb)

01 Butt-To-Butt Resuscitation 3:51
02 Let's Take It To The People 1:48
03 Undisco Kidd 6:34
04 Take Your Dead Ass Home! (Say Som'n Nasty) 7:16
05 I'm Never Gonna Tell It 3:39
06 Tales Of Kidd Funkadelic (Opusdelite Years) 12:52
07 How Do Yeaw View You? 3:40

Funkadelic – Tales Of Kidd Funkadelic (101mb)

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One Nation Under a Groove was not only Funkadelic's greatest moment, it was their most popular album, bringing them an unprecedented commercial breakthrough by going platinum and spawning a number one R&B smash in the title track. It was a landmark LP for the so-called "black rock" movement, best-typified in the statement of purpose "Who Says a Funk Band Can't Play Rock?!"; more than that, though, the whole album is full of fuzzed-out, Hendrix-style guitar licks, even when the music is clearly meant for the dancefloor. This may not have been a new concept for Funkadelic, but it's executed here with the greatest clarity and accessibility in their catalog. Furthermore, out of George Clinton's many conceptual albums (serious and otherwise), One Nation Under a Groove is the pinnacle of his political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological "P.E. Squad"). The title cut is one of funk's greatest anthems, and "Groovallegiance" and the terrific "Cholly" both dovetail nicely with its concerns. The aforementioned "Who Says a Funk Band Can't Play Rock?!" is a seamless hybrid that perfectly encapsulates the band's musical agenda, while "Into You" is one of their few truly successful slow numbers. The original LP included a three-song bonus EP featuring the heavy riff rock of "Lunchmeataphobia," an unnecessary instrumental version of "P.E. Squad," and a live "Maggot Brain"; these tracks were appended to the CD reissue. In any form, One Nation Under a Groove is the best realization of Funkadelic's ambitions, and one of the best funk albums ever released.

Funkadelic - One Nation Under A Groove (369mb)

01 One Nation Under A Groove 7:28
02 Groovallegiance 7:00
03 Who Says A Funk Band Can't Play Rock? 6:18
04 Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers) 10:45
05 Into You 5:41
06 Cholly (Funk Getting Ready To Roll!) 4:27
07 Lunchmeataphobia ('Think, It Ain't Illegal Yet!) 4:12
08 P.E. Squad/Doo Doo Chasers ("Going All-The-Way Off" Instrumental Version) 4:18
09 Maggot Brain 8:28

Funkadelic - One Nation Under A Groove (ogg 138mb)

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Almost as if Clinton and company wanted to atone for parts of One Nation Under a Groove, Uncle Jam Wants You takes not merely a more daring musical approach but a more forthright political stance. The cover art alone is brilliant, front and back showing Clinton in Huey P. Newton's famous Black Panther pose. The main goal is the cover subtitle's stated claim to "rescue dance music 'from the blahs,'" and "Uncle Jam" itself does a pretty funny job at doing that, starting out like a parody of patriotic recruitment ads before hitting its full, funky stride. It's still very much a disco effort, but one overtly spiking the brew even more than before with P-Funk's own particular recipe, mock drill instructors calling out dance commands and so forth. The absolute winner and most famous track, without question, is the 15-minute deep groove of "(Not Just) Knee Deep." It'd be legend alone for being the musical basis for De La Soul's astonishing breakthrough a decade later with "Me, Myself and I," but on its own it predates the mutation of disco into electro thanks to the stiff beat and Worrell's crazy keyboards.

Funkadelic - Uncle Jam Wants You ( 278mb)

01 Freak Of The Week 5:33
02 (Not Just) Knee Deep 15:21
03 Uncle Jam 10:25
04 Field Maneuvers 2:26
05 Holly Wants To Go To California 4:25
06 Foot Soldiers (Star Spangled Funky) 3:32

Funkadelic - Uncle Jam Wants You ( 105mb)

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RhoDeo 1203 Goldy Rhox 55

2012-01-19T04:52:00.000+01:00

Hello, today the 55th post of GoldyRhox, classic pop rock, in the darklight a US artist, who initially reached a peak in worldwide fame (and sales) as part of a duo, however they split at the height of their success (Goldy Rhox 36). Individually he had some major success during the 40 years that followed-(even made last years Glastonbury), plenty of platinum for the man who doesn't mind you call him Al...

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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.

Todays mystery album was a hit, topping the UK Album Chart, and reaching number three on the US Billboard 200. Reaching 5x platinum in both countries. The album won the 1986 Grammy Award for Album of the Year, while the title song won the 1987 Grammy for Record of the Year. In 2007, the album was added to the United States National Recording Registry. It is #81 on the list of Rolling Stone magazine's 500 Greatest Albums of All Time. In the Albums video, the artist states that he considers the title track the best song he has ever written.

The album features an eclectic mixture of musical styles including pop, a cappella, isicathamiya, rock, and mbaqanga. Much of the album was recorded in South Africa, and it features many South African musicians and groups. The worldwide success of the album introduced some of the musicians, especially the vocal group Ladysmith Black Mambazo, to global audiences of their own. Included were American 'roots' influences with tracks featuring Zydeco and Tex-Mex musicians. You can get your remaster here.

Goldy Rhox 55 (flac 331mb)

Goldy Rhox 55 (ogg 125mb)

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RhoDeo 1203 Aetix

2012-01-18T04:24:00.000+01:00

Hello, well i wear my thermoshirt for the first time this year, as temperatures have neared 0 for the first time this season. Still no ice in sight and those early blooming plants maybe right ..it will be spring soon, which would certainly be on par with an odd seasonal behavior here in 2011. I'm beginning to wonder if we're still tilted at 23 degrees, i suppose they couldn't keep that from us if it were not the case, too many stargazers i suppose.

The Clash had a big reputation in part thanks to the ever hyping lads from the UK music press that kept feeding the telexes with stories about the punk godfathers with a heart and a brain-in contrast to say Sex Pistols. In fact they were a rather chaotic band with a limited attention span, too much good weed i suppose or even harder dope, real Antihero's. It was their destiny to fall apart with a fart. That said they released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past. Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1.6 gig package over two weeks in chunks that should be agreeable for most...Njoy!

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Mick Jones was leading a hard rock group called the London SS, he came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon joined the group as a bassist in 1976 after hearing the Sex Pistols. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon. After witnessing the Sex Pistols in concert, Joe Strummer decided to break up his 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.

The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. The Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon returned as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS (showing of their incompetence once more) decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time.

Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events. The Clash began worked on their second album with producer Sandy Pearlman, who gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the record became an enormous hit in Britain, debuting at number two on the charts.

Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." Following the summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, it boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980. It was followed up by a successfully touring the U.S., the U.K., and Europe in early 1980.

Sandinista! was the Clash's fourth studio album, it was released on 12 December 1980 as a triple album containing 36 tracks, with 6 songs on each side. Anticipating the "world music" trend of the 1980s, it features reggae, jazz, mock gospel, rockabilly, folk, dub, rhythm and blues, calypso, and rap. For the first time, the band's traditional songwriting credits of Strummer/Jones were replaced by a generic credit to "The Clash", and the band cut the album royalties, in order to release the 3-LP at a low price.The title comes from the Nicaraguan socialist political party, the Sandinistas, and its catalogue number, 'FSLN1', refers to the acronym for Frente Sandinista de Liberación Nacional. It's also the only Clash album on which all four members have a lead vocal. Drummer Topper Headon made a unique lead vocal contribution on the disco song "Ivan Meets G.I. Joe", and bassist Paul Simonon sings lead on "The Crooked Beat". Sandinista ! was ranked number 404 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns. Headon left the band shortly after the sessions finished, due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album became the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah."

Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon. Early in 1986, they decided to permanently disband the Clash.

The Clash - Singles 01-05 (261mb)

White Riot
101 White Riot 1:58
102 1977 1:40
Capitol Radio
201 Listen (Edit) 0:27
202 Interview With The Clash On The Circle Line (Part One) 8:50
203 Interview With The Clash On The Circle Line (Part Two) 3:10
204 Capital Radio One 2:09
Remote Control
301 Remote Control 3:01
302 London's Burning (Live) 2:10
303 London's Burning (Dutch 7") 2:10
Complete Control
401 Complete Control 3:13
402 City Of The Dead 2:22
Clash City Rockers
501 Clash City Rockers 3:48
502 Jail Guitar Doors 3:03

The Clash - Singles 01-05 (ogg 92mbmb)

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The Clash - Singles 06-09 (219mb)

(White Man) In Hammersmith Palais
601 (White Man) In Hammersmith Palais 4:00
602 The Prisoner 2:59
Tommy Gun
701 Tommy Gun 3:16
702 1-2 Crush On You 2:59
English Civil War
801 English Civil War (Johnny Comes Marching Home) 2:36
802 Pressure Drop 3:25
Cost Of Living EP
901 I Fought The Law 2:39
902 Groovy Times 3:29
903 Gates Of The West 3:25
904 Capital Radio Two 3:19

The Clash - Singles 06-09 (ogg 75mb)

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The Clash - Singles 10-11 (296mb)

London Calling
1001 London Calling 3:19
1002 Armagideon Time 3:49
1003 Justice Tonight (UK 12") 4:09
1004 Kick It Over (UK 12") 4:44
1005 Clampdown (US Promo 12") 3:48
1006 The Card Cheat (US Promo 12") 3:49
1007 Lost In The Supermarket (US Promo 12") 3:46
Bankrobber
1101 Bankrobber 4:34
1102 Rockers Galore....UK Tour 4:41
1103 Rudie Can't Fail (Dutch 7") 3:28
1104 Train In Vain (Spanish 7") 3:09

The Clash - Singles 10-11 (ogg 104mb)

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elsewhere

The Clash - Sandinista ! 1 (80 112mb)
The Clash - Sandinista ! 2 (80 125mb)
The Clash - Sandinista ! 3 (80 114mb)

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RhoDeo 1203 Roots

2012-01-17T05:07:00.000+01:00

Frankie Paul – Pass The Tu-Sheng-Peng (flac 204mb)

01 Pass The Tu-Sheng-Peng 3:30
02 Jump No Fence 3:33
03 Hot Number 3:06
04 Hooligan 3:21
05 Only You 3:02
06 War Is In The Dance 3:04
07 Don't Worry Yourself 3:19
08 The Prophet 3:23
09 Them A Talk About 3:12
10 If You 3:15

Frankie Paul – Pass The Tu-Sheng-Peng (ogg 84mb)
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Having recorded the Pass the Tu-Sheng-Peng album for Lawes in 1984, the next year, Paul linked with Phang for the follow-up, Tidal Wave. The title track broke over the dancehalls just like a tsunami, with a thumping version of the "Bobby Babylon" riddim. And it was the Taxi Gang's hefty, nigh earth-shattering, backings that gave this set their weight, alongside Paul's superb performances. Indeed the singer leaves one in little doubt that for him "Music Is the Staff of Life," and that he is the "King Champion," so self-confident he's willing to take on the government on "Beat Down the Fence," and Babylon itself on "Dem a Go Feel It." Of course, there's plenty of romance to be found here as well, from the pleading "Baby Come Home" to the gorgeous, rocksteady styled "Hold Me." Only 20, Paul already held the future in his hands, for this set and its predecessor cemented his stardom, and garnered considerable attention abroad. Many more fabulous recordings were to follow, but few artists had set the bar so high for themselves so early in their career.

Frankie Paul – Tidal Wave (flac 209mb)

11 Dem A Go Feel It 3:29
12 Beat Down The Fence 3:14
13 Baby Come Home 3:32
14 Music Is The Staff Of Life 3:49
15 She's Got Style 3:02
16 Tidal Wave 3:17
17 Your Love Is Amazing 3:10
18 King Champion 3:09
19 You Too Greedy 3:25
20 Hold Me 3:20

Frankie Paul – Tidal Wave (ogg 85mb)

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Kamoze made his recording debut in the early '80s with a 12" single "Trouble You a Trouble Me" on Taxi and found immediate success. He then began touring as part of the Taxi Connection International Tour with Yellowman and Half Pint. During this time, Kamoze was 6' tall, reed thin and appeared too frail to contain his powerful stage presence. He followed up his first album success with Pirate, but the recording received mixed reactions and wasn't as successful. Kamoze then retaliated with several hit singles recorded on his Slekta label. One of the biggest hits from this period was "Shocking Out" which was eventually picked up by the RAS label in 1988. In 1985, Kamoze had greater success with Settle with Me, which produced such hits as "C all the Police" and "Taxi with Me." By 1988, Kamoze's successes became intermittent and his career erratic. Kamoze suddenly disappeared from the music scene. He returned with a new, more aggressive image in 1994, signing to Sony and exploded back into the charts with "Here Comes the Hotstepper." The song made its debut on the compilation reggae album Stir It Up from Columbia, and then showed up on the soundtrack of Robert Altman's feature film Pret-A-Porter. Produced by Salaam Remi, it was released as a single in 1995 and spent two weeks at the top of Billboard's Hot Singles Chart, and nearly four months appearing on various other charts. Kamoze made a video for the song and with his beefy, well-muscled physique and long dreadlocks, no longer fit the description of the liner notes on his 1983 debut album that characterized him as a "pencil thin....disentangled....six-foot vegetarian." With the success of his new single, Kamoze was now a gangster and began a series of promotional tours in LA. Kamoze refused to categorize his music and remained open to singing a variety of songs from different sources, but he took a decade long break before surfacing again. When he did, it was with Debut, a 2006 album that featured rerecordings of his early hits.

Ini Kamoze – Ini Kamoze (flac 203mb)

01 Trouble You A Trouble Me 4:49
02 World-A-Music 5:51
03 Them Thing Deh 5:30
04 General 6:21
05 Wings With Me 4:58
06 Hail Mi Idrin 4:38

Ini Kamoze – Ini Kamoze (ogg 81mb)

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RhoDeo 1203 Burroughs

2012-01-16T04:20:00.002+01:00

Hello, hope you'll had a good weekend I enjoyed watching the WK darts and seeing an unknown rookie outscoring and beating everyone and take the title ..one for the underdog. As announced last week, more from that man with the voice that rasps your brain, the man that gave Steely Dan and Soft Machine their name...the one and only William S. Burroughs.

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The elder statesman of literature's Beat Generation -- and, by extension, of the American underground culture -- few figures outside of the musical sphere exerted a greater influence over rock & roll than novelist William S. Burroughs. A provocative, controversial figure famed for his unique cut-up prose aesthetic, Burroughs lived the rock lifestyle years before the music itself was even created; the ultimate outsider, he existed on the dark fringes of society in a haze of drugs, guns, and violence, remaining a patron saint of hipsterdom until his dying day. Ultimately, Burroughs' hold on the popular culture was extraordinary: few artists failed to credit him as an inspiration, and while bands like Steely Dan and the Soft Machine adopted their names from his turns-of-phrase, younger artists like Kurt Cobain and the Disposable Heroes of Hiphoprisy lined up to offer musical support for his occasional excursions into spoken word performing.

William Seward Burroughs was born February 5, 1914 in St. Louis, MO, the grandson of the founder of the Burroughs Adding Machine company. A homosexual bookworm with a fascination for guns and crime, he attended Harvard University, but largely rejected all the restraints of mainstream society, opting instead to pursue a life in New York City's underworld of organized crime. Upon becoming a heroin addict, Burroughs fell in with junkie drifter Herbert Huncke, leading to his introduction to other future Beat paragons like Jack Kerouac, Allen Ginsberg, and Lucien Carr; he also met Joan Vollmer, who became his common-law life. While older than the others, Burroughs had yet to begin writing as Kerouac and Ginsberg had; at first indifferent to literature, he finally completed 1953's Junky, an autobiographical tale of addiction published in pulp novel format by Ace Books. Queer, a similarly upfront examination of homosexuality, was rejected by the publisher and did not surface for several decades.

By the mid-'50s Burroughs, Vollmer, and their children had relocated to East Texas to live on a farm; as his descent into heroin addiction worsened, he found himself hounded by authorities, and eventually the family fled to Mexico. The marriage became the stuff of tabloid headlines when, attempting to impress friends with his shooting skills, Burroughs enlisted Vollmer to participate in a William Tell-like target demonstration; a faulty shot left Vollmer dead and sent Burroughs wandering the globe, finally drifting to Tangier. Following the success of their respective On the Road and Howl, both Kerouac and Ginsberg had become media sensations, with the Beat Generation emerging in full force; they tracked Burroughs down in Africa, finding him hopelessly addicted to heroin yet somehow able to write brilliant and wildly experimental fragments of prose. Kerouac began typing up the material and even gave it a title, Naked Lunch.

Upon its 1959 publication, Burroughs became a celebrity; the novel was the subject of a high-profile obscenity trial, and even today it remains his best-known and most influential book. Beginning with 1961's The Soft Machine, he began experimenting with a "cut-up" method of writing, literally cutting and pasting together various random fragments of text for maximum reader disorientation; in 1965, Burroughs began expanding into other forms of media, recording the LP Call Me Burroughs, a collection of spoken word readings of material culled from Naked Lunch and The Soft Machine. While remaining a prolific literary voice on the strength of work like 1971's The Wild Boys: A Book of the Dead and 1973's Exterminator!, aside from compilation appearances he did not issue another major recording prior to 1975's William S. Burroughs/John Giorno; Nothing Here Now But the Recordings, compiled by Psychic TV's Genesis P. Orridge, followed in 1981, as did another collaboration with Giorno, You're the Guy I Want to Share My Money With.

Always a major cult figure, by the late '80s Burroughs had become something of a pop culture icon, a symbol of decadence and ominous genius; a supporting role in Gus Van Sant's 1989 film Drugstore Cowboy brought him his widest mainstream exposure to date, and virtually every hipster worth his salt name-checked him as an influence. After 1987's Break Through in Grey Room, Burroughs recorded 1990's Dead City Radio, a collection of performances backed by Sonic Youth, John Cale, the NBC Symphony Orchestra, and others. In 1992, he guested on Ministry's "Just One Fix" single, and the following year recorded The 'Priest' They Called Him with Nirvana's Kurt Cobain. In 1993, Burroughs recorded his final LP, Spare Ass Annie and Other Tales, with the members of the Disposable Heroes of Hiphoprisy, and his sampled voice was also heard on recordings from diverse acts including the Jesus and Mary Chain, Laurie Anderson, and Material. With Tom Waits, he also co-wrote The Black Rider. The last major surviving figure of the Beat Generation, Burroughs died of a heart attack on August 2, 1997 in Lawrence, KS.

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A collaboration between Burroughs, producer Hal Willner, and politico-rappers Disposable Heroes of Hiphoprisy. It features Burroughs reading excerpts from seven of his books set to music by the Heroes, mostly a slow, lazy funk that sounds like it was lifted from a '70s blaxploitation soundtrack. Highlights include the 16-minute, decidedly Burroughsian holiday treat "A Junky's Christmas" and "Words of Advice for Young People," which first appeared on the Smack My Crack collection, minus the music.

William S. Burroughs & Disposable Heroes Of Hiphoprisy - Spare Ass Annie (flac 232mb)

01 Interlude 1 (Wrinkled Earlobes Are A Sign Of Impending Heartattacks) 2:30
02 Spare Ass Annie 4:30
03 Interlude 2 (This Is Insane) 0:20
04 The Last Words Of Dutch Schultz (This Is Insane) 2:22
05 Interlude 3 (The Vultures Are Gone And Will Never Come Back) 0:17
06 Mildred Pierce Reporting (Old Sarge) 2:05
07 Dr. Benway Operates 2:45
08 Warning To Young Couples (Huntsmen's Hounds) 2:13
09 Did I Ever Tell You About The Man That Taught His Asshole To Talk? 6:18
10 Last Word 1:02
11 A One God Universe 3:32
12 Interlude 4 (Fletch Is Here) 0:36
13 The Junky's Christmas 15:54
14 Words Of Advice For Young People 4:41
15 Last Words 0:47

William S. Burroughs & Disposable Heroes Of Hiphoprisy - Spare Ass Annie gg (ogg 113mb)

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Although “The “Priest” They Called Him” might be the most obscure thing in Kurt Cobain’s discography, it’s probably the best selling musical collaboration of William S, Burroughs’s recording career. Basically, in 1992, Cobain contacted his hero, Burroughs about doing something together. Burroughs sent him a tape of a reading he’d done of a short story originally published in his Exterminator collection in 1973 and Cobain added some guitar backing based on “Silent Night” and “To Anacreon in Heaven.”

William S. Burroughs & Kurt Cobain- The Priest, They Called Him (flac 51mb)

01 - The 'Priest' They Called Him 9:42

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elsewhere

William Burroughs - Junkie (audiobook) (186 min.89mb)

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Sundaze 1203

2012-01-15T04:29:00.000+01:00

Hello, the world is still spinning despite all the arrested development around, ah yes as if silly humans could make it stop. That said aren't things going faster and faster. A good reason to take some Sundaze...

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My name is Evan. I make sounds. Rivers of music ancient & delicate flow through me....( Bluetech’s website)

"I’m really into plants and living things. Being aware of the currents of life, and acknowledging the intelligence and wisdom of growing things. If you only quiet the mind and listen with the heart, the Natural world has so much to teach. I’m an active dreamer, and gain music knowledge and direction from the dream sphere."

Evan Bartholomew has been one of the most active members in the digital music scene since day one, being a huge proponent of many indie artists' success online, then later going on to world recognition through a myriad of releases through his labels Native State Records and Silent Auction as well as scene stalwarts Waveform and Alpha Zero. Each year finds him getting better and better. His sound continues to develop and blossom and take on new forms as he explores the vast worlds of downtempo, psychill, and pure ambient. Also noteworthy is his Evan Marc project, taking the typically straightforward sounds of tech house and infusing them with equal portions of funk and complexity. Evan pays great attention to his sounds, his ideas, and his presentation, one of the most diverse and capable young producers around today.

Evan produces his unique style of digital downtempo from the West Coast of North America. Classically trained on the piano for public performing, Evan deviated from the traditional structure of classical music and being to relearn the instrument from an energetic and tonal perspective. This resulted in his interpretation of nature's expression of being, establishing a playing style that is dronal ambient, downtempo and improvisational. Explosions in technology and software have enabled him to explore the edges of contemporary music production, and a sound has developed which draws from the psychedelic community as well as the experimental/IDM community.

Evan Bartholomew, under the moniker Bluetech, produces his unique style of experimental noise from San Diego, CA. Classically trained on the piano for public performing, Bartholomew deviated from the traditional sounds and began to express the rhythms that sprouted from within him, and Bluetech was born. This resulted in his interpretation of nature's expression of being, a sound that is dronal ambient, downtempo, improvisational. He devoured the electronic potentials for musical expression and conveyed it in IDM, digidub, and psychedelic trance.

Bartholomew created and runs his own art collective in San Diego and does commercial sound design and production for both national and regional clients. He also writes and produces his own songs. "The Rubicon", "Prayers For Rain", and "Mezzamorphic" originally appeared on an EP released by Truffle Records, and brought the name Bluetech to a larger audience. In September 2003, these songs appeared on Bluetech's first album, Prima Materia, released by Waveform Records. It was followed by Elementary Particles and Sines & Singularities in 2005. Subsequently Evan went all out and released 11 albums 5 under the Bluetech moniker and 6 EP's in 6 years..and there's some great music in there. Without a doubt Bartholomew has become a leading light in the US electronic music scene, showing the way from one of our globes energetic nodes, beautiful Hawaii, his current residence.

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Prima Materia is the full-length debut of Bluetech (aka Evan Bartholomew), who has made a name for himself with performances at the annual Burning Man festival and San Diego's Project Cathedral. For Materia, he builds IDM and ambient-influenced songs with the aid of the instrumental invention afforded by a Reaktor modular sound studio and a host of PC-based synths. This isn't an album of bass; rather, trebly rhythms ping and pong off one another as melodies form out of the ether. It's all very tasteful, but it's initially somewhat opaque, as the opening tracks tend to blend together with no real definition. Fortunately, Materia climbs out of its rut with a remix of Sounds from the Ground's "Triangle" as well as a whirring dub mix of "Prayers for Rain," which appeared in its original form on Bluetech's introductory EP for Truffle. Bluetech might have a ways to go, since his debut full-length's memorable moments are separated by stretches of sound-alike territory that are probably more navigable when one's mind is not as sharp. The edge of sleep, for instance, or after one has "fallen through the cracks of the world" that he references in his liner notes. Nevertheless, Prima Materia should appeal to fans of the Waveform label's famously spacy biorhythms.

Bluetech – Prima Materia (flac 363mb)

01 Leaving Babylon 6:43
02 Prophetic Sines 6:16
03 Triangle (Retriangulated) 7:02
04 Rubicon 5:57
05 Prayers For Rain (Dub Mix) 6:52
06 White Magnesia 5:40
07 7th Phase Dub 6:28
08 Burning Waters 6:23
09 Mezzamorphic 7:58
10 Desperate Ends 5:32
11 Cliffdiving 1:57

Bluetech – Prima Materia (ogg 159mb)

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Elementary Particles sets up a totally relaxed start on this album. Floating vibes, with slow, dubby beats, echoing sounds and some beautiful sounds forming into a melody. Perfect opening on a chill out set. Then some relaxed dubby beats glide into the Alchemie Dub using plenty of ingredients great variation of melodies, sounds and dubby effects. Prayers For Rain goes into a different direction. It's a remix by J. Viewz (Jonathan Dagan) from Israel, who is one half of the famous duo called Violet Vision. Pretty experimental jazzy vibe with a lot of great variation. Overall, Elementary Particles is a relaxing, a rather mystic, psychedelic vibe all the way through, never get a boring moment.

Bluetech – Elementary Particles (flac 230mb)

01 Elementary Particles (Re-Edit) 8:12
02 Alchemie Dub 6:43
03 Cosmologic 7:32
04 Koinonea 6:30
05 Prayers For Rain (J.Viewz Remix) 4:59
06 Oleander 7:08
07 Worthy 3:05
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Bluetech – Elementary Particles (ogg 100mb)

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This release clearly demonstrates the rich maturing of Evan’s style & taste, a ripening of delicious musical fruits so it seems.
Phoenix Rising still retains Bluetech’s intelligent signature sound, but has a slightly more mature and funkier undercurrent to his previous releases. Sophisticated, clean, intricately constructed, meticulous and spacious…with dashes of fat squelchy basslines, cheeky squeaky melodies, flamboyant sound swirls, orchestral treats, and smooth rolling beats. Each track is unique to the next, making this a fine array of diverse examples of Evan’s musical genius. Don't miss it.

Bluetech – Phoenix Rising (flac 271mb)

01 My Dear Friend Kronos 7:22
02 What The Night Reveals 6:19
03 Kingdom Of The Blind (Third I Mix) 5:21
04 A Delicate Mystery (New Life Mix)7:49
05 Riding The Sky Elevator 7:56
06 Phoenix Rising 8:54
07 Invocation (The Fire Within) 7:14

Bluetech – Phoenix Rising (ogg 112mb)

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RhoDeo 1202 Grooves

2012-01-13T04:35:00.000+01:00

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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It's back to the Parliament groove again today. The album Up for the Down Stroke was released in 1974, with Chocolate City following in 1975. Both performed strongly on the Billboard R&B charts and were moderately successful on the Pop charts. Parliament began its period of greatest mainstream success with the concept album Mothership Connection (1975), the lyrics of which launched much of the P-Funk mythology. The subsequent albums The Clones of Dr. Funkenstein (1976), Funkentelechy vs. the Placebo Syndrome (1977), and Motor Booty Affair (1978) all reached high on both the R&B and Pop charts, while Funkadelic was also experiencing significant mainstream success. Parliament scored the #1 R&B singles "Flash Light" in 1977 and "Aqua Boogie" in 1978.

The rapidly expanding ensemble of musicians and singers in the Parliament-Funkadelic enterprise, as well as Clinton's problematic management practices, began to take their toll by the late 1970s. Original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had been with Clinton since the barbershop days in the late 1950s, felt marginalized by the continuous influx of new members and departed acrimoniously in 1977. Other important group members like singer/guitarist Glenn Goins and drummer Jerome Brailey left Parliament-Funkadelic in the late 1970s after disputes over Clinton's management. Two further Parliament albums, Gloryhallastoopid (1979) and Trombipulation (1980) were less successful than the albums from the group's prime 1975-1978 period.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Casablanca Records, George Clinton dissolved Parliament and Funkadelic as recording and touring entities.

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The album is considered to be one of the best in Parliament's catalog. It is a loose concept album warning the listener of falling into the 'Placebo Syndrome', which according to George Clinton is consumerism, and listening to disco music, which he saw as a simplification of funk music in attempt to gain commercial success. They simply poured it on for this amazing album, clearly one of its all-time best. At least one band named itself after a lyric -- Urge Overkill, taken from the song "Funkentelechy" itself -- while the amount of times this album has been sampled for the music is uncountable. Besides having an absolutely wonderful name, it contained at least three of the finest Parliament tunes ever, including arguably its signature song. "Flash Light," which closes Funkentelechy on a riotous high, has it all -- a brilliant fake ending, instant singalong value, a synth-bassline to kill for from Bernie Worrell, and so much more.

As the album ends, so too does it begin, with a stone-cold classic -- "Bop Gun (Endangered Species)." Starting with a brisk little guitar figure and beat, it turns into an instant party on all fronts, with great lead vocals and an addictive chorus, the Horny Horns and company hitting the grooves and blasting hard. Worrell's laser noises and shimmering keyboard leads and Cordell Mosson's monster bass squelches send everything all that much more over the top. "Funkentelechy" and "The Placebo Syndrome" both have plenty of goodness as well, while "Wizards of Finance" is an amusing retro diversion, helping make Funkentelechy the highlight it is. The album became Parliament's fourth consecutive gold album and second platinum album.

Parliament - Funkentelechy vs. the Placebo Syndrome (269mb)

01 Bop Gun (Endangered Species) 8:29
02 Sir Nose D'Voidoffunk (Pay Attention - B3M) 10:04
03 Wizard Of Finance 4:23
04 Funkentelechy 10:56
05 Placebo Syndrome 4:20
06 Flash Light 5:46

Parliament - Funkentelechy vs. the Placebo Syndrome (106mb)

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Motor Booty Affair was released in late 1978, it contains two of the group's most popular tracks, "Rumpofsteelskin" and "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)" which went to number one on the Billboard Black Singles chart. By this point Parliament was one of the most accomplished and intelligent bands in music. George Clinton's druggy and patently eccentric humor often obscured the enviable musicianship throughout. Motor Booty Affair is no doubt another classic album and the perfect follow-up to 1977's Funkentelechy Vs. the Placebo Syndrome. On Motor Booty Affair, Clinton decides to yuck it up more with a great underwater concept and a few of his stronger alter egos, including the rhythmically challenged Sir Nose D' Void of Funk and his friend Rumpofsteelskin.

The deft and airy "Mr. Wiggles" has Clinton taking on the persona of Wiggles, the "DJ of the affair" as he says: "Mr. Wiggles here on roller skates and a yo-yo/Acting a fool." The hypnotic "Rumpofsteelskin" has a great bassline and inventive and infectious background vocals. The closest thing to a ballad here is the astrologically savvy "(You're a Fish and I'm A) Water Sign." The well-produced "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)" with its handclaps and high-pitched basslines basically set the standards for the sound of R&B in the coming decade. Artist Overton Loyd prepared the cover of Motor Booty Affair. The main release consisted of a gate-fold album cover featuring a pop-up rendition of the city of Atlantis, with Loyd's artwork on the front and back covers.

Parliament – Motor Booty Affair ( 280mb)

01 Mr. Wiggles 6:43
02 Rumpofsteelskin 5:34
03 (You're A Fish And I'm A) Water Sign 4:41
04 Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) 6:40
05 One Of Those Funky Things 3:45
06 Liquid Sunshine 4:22
07 The Motor-Booty Affair 5:14
08 Deep 9:09

Parliament – Motor Booty Affair ( 084mb)

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GloryHallaStoopid was their penultimate album on the Casablanca Records label, and is another concept album which tries to explain that Funk was responsible for the creation of the universe ( P Funk mythology). It reuses samples from previous albums, notably the Mothership Connection and Funkentelechy vs. the Placebo Syndrome. Though Gloryhallastoopid boasts a couple great songs, "Big Bang Theory" and "Theme from the Black Hole," it's unfortunately one of the least essential Parliament-Funkadelic albums. In particular, the ten-minute "Party People" and the nine-minute "The Freeze (Sizzaleenmean)" rather plod on Shorter songs like "May We Bang You?" are better, but "Big Bang Theory" and "Theme from the Black Hole" are far and away the chief draw to Gloryhallastoopid.

Parliament – GloryHallaStoopid (Pin The Tale On The Funky) (267mb)

01 Prologue 0:47
02 (Gloryhallastoopid) Pin The Tail On The Funky 4:08
03 Party People 10:10
04 The Big Bang Theory 7:13
05 The Freeze (Sizzaleenmean) 9:01
06 Colour Me Funky 4:53
07 Theme From The Black Hole 4:39
08 May We Bang You? 4:43

Parliament – GloryHallaStoopid (Pin The Tale On The Funky) (ogg 98mb)

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RhoDeo 1202 Goldy Rhox 54

2012-01-12T04:38:00.001+01:00

Hello, today the 54thpost of GoldyRhox, classic pop rock, in the darklight a UK artist, a lad insane, who started of this Goldy Rhox series. In the BBC's 2002 poll of the 100 Greatest Britons, he was ranked at number 29. Throughout his career, he has sold an estimated 140 million albums. In the UK, he has been awarded nine Platinum album certifications, 11 Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. In 2004, Rolling Stone ranked him 39th on their list of the "100 Greatest Artists of All Time". That's not all, his career has also been punctuated by various roles in film and theater productions, earning him some acclaim as an actor in his own right.

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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.

Todays mystery album was released in September 1980 by RCA Records. It was his final studio album for the label and his first following the so-called Berlin Trilogy. With it, however, he achieved what biographer David Buckley called "the perfect balance": as well as earning critical acclaim, the album peaked at #1 in the United Kingdom and restored his commercial standing in the United States. It was highly praised by critics, Record Mirror giving it a rating of seven stars out of five, while Melody Maker called it "an eerily impressive stride into the '80s" and Billboard reported that it "should be the most accessible and commercially successful LP of him in years". With hindsight many commentators consider todays mystery album to be "his last great album", becoming the "benchmark" for each later release.

Goldy Rhox 54 (flac 328mb)

Goldy Rhox 54 (ogg 113mb)

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RhoDeo 1202 Aetix

2012-01-11T04:44:00.000+01:00

Hello, Aetix delves up more sparks from that decade (77-87) that spawned so much new music the world now 25+ years later still loves what was produced in those independent days when the music scene for a short time freed themselves from unimaginative riskfree corporate control. A few years later and the suits once more regained distribution control, which they lost, this time forever, a decade later to a variety of internet channels.

Having lost almost all control it looks the music industry times are changing as the movie and publishing industry have thrown in their weight to stop their fat profits from eroding, and as the US government is controlled by corporate fascists these days, it looks the internet will be losing it's virginity as it's about to be raped by a bunch of fat sociopath bastards.

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The Psychedelic Furs, whose name belies their punk-influenced music, were formed in England in 1977 by brothers Richard Butler (vocals) and Tim Butler (bass), along with saxophone player Duncan Kilburn and guitarist Roger Morris. By the time they released their self-titled debut album in 1980, the group had become a sextet, adding guitarist John Ashton and drummer Vince Ely. The Psychedelic Furs' debut, a self-titled album from 1980, was produced by Steve Lillywhite. The album quickly established the band on radio in Europe and was a #18 hit in the UK Albums Chart. It also found success in Germany, Italy, France, Spain and Australia. The US version of the album was resequenced, but failed to have a strong commercial impact..

Talk Talk Talk (1981) did better, produced two British singles chart entries, one of which was "Pretty in Pink," later also a hit in the U.S. when a new version was used as the title song of a film. Forever Now (1982) saw the band reduced to a quartet with the departure of Kilburn and Morris. The rest moved to the U.S., turned to producer Todd Rundgren, Ely left, and the remaining trio of the two Butlers and Ashton made Mirror Moves (1984), the biggest Psychedelic Furs hit yet.

By the mid 1980s, the band had become a staple on both US college and modern rock radio stations. Simultaneously, they were experiencing consistent mainstream success, placing several singles in the charts on both sides of the Atlantic.

The film Pretty in Pink helped spread their name further before the release of their next album, Midnight to Midnight (1987), which consequently got good sales. Book of Days (1989) marked the return of Vince Ely, but was a considerable commercial disappointment. World Outside (1991) also failed to find an audience. The Psychedelic Furs then folded up shop, and Richard Butler launched a new group, Love Spit Love. The band released two albums, 1994's Love Spit Love and 1997's Trysome Eatone with disapointing results, still Butler kept on. He began writing songs for a supposed solo effort as the '90s came to a close. Those sessions led to new songs with brother Tim and a subsequent Furs reunion in early 2000.

They tested the waters and their audience for a joint summer tour with the Go-Go's, and the reception was warm. A year later, the Psychedelic Furs -- now featuring Love Spit Love guitarist Richard Fortus and drummer Earl Harvin -- headlined their own club gigs across North America. Beautiful Chaos, a live album capturing some of the band's greatest hits from the last tour, was issued in November 2001.

Since then, lead singer Richard Butler has released an eponymous solo album, Richard Butler. The band continues to tour around the world. The current Psychedelic Furs touring line-up is Richard Butler, Tim Butler, Rich Good, Mars Williams, Amanda Kramer and Paul Garisto.

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Emerging from the incipient post-punk London scene with a healthy fascination for late-'70s Bowie, the Furs arrive in a dense cloud on their debut. Richard Butler's Thin-White-Duke-after-smoking vocal rasp has a surprising appeal, serving up a wry, slightly detached series of lyrics on life. Production mainly comes from Steve Lillywhite, who smartly steers away from the soon-to-be-clichéd touches he would bring to U2's early work. "India" is a good example; it has a brooding, quiet beginning with strange telegraphic signals and turns into a brawling rocker. The record comes off as serious without being self-consciously deep, occasional toe-dipping into humorous aside, sometimes with appropriate if sarcastically delivered song quotes. "Wedding Song" is amusingly prescient as one of the first "white rockers go hip-hop" numbers of its kind, along with Blondie's "Rapture," though its inspiration could equally be dub.

The Psychedelic Furs – The Psychedelic Furs (flac 383mb)

01 India 6:21
02 Sister Europe 5:38
03 Imitation Of Christ 5:28
04 Fall 2:40
05 Pulse 2:37
06 We Love You 3:26
07 Wedding Song 4:19
08 Blacks/Radio 6:56
09 Flowers 4:10
Bonus Tracks
10 Susan's Strange 3:13
11 Soap Commercial 2:53
12 Mack The Knife (B-Side) 4:18
13 Flowers (Demo) 5:36

The Psychedelic Furs – The Psychedelic Furs (139mb)

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Furs' third album, Forever Now saw them recording over the pond and under the guidance of Todd Rundgren. Likely exercising the same controlling approach that he was notorious for, from his work with every act from the New York Dolls to XTC, Rundgren brought in legendary backup vocal duo Flo & Eddie as well as a cellist, two horn players, and himself on keyboards. The end result is simply fantastic, fusing the post-punk charge of the first two albums with a new synth-based approach that works wonders. Ashton's guitar often settles back in the mix a bit to allow Rundgren's wall of sound to come together fully, often with great success. The title track is a great example of this, an inspirational anthem where Ashton fully and appropriately lets go right at the end. The most well-known song is one that, for the Furs, was their most atypical single to date: "Love My Way." Butler's very Bowie-like vocals and lyrics slyly celebrate and ponder the triumphant synth rock scene of the time, while Rundgren's often quirky keyboards take the lead in place of Ashton's guitar. "Goodbye" has a brisk, horn-driven punch underscoring Butler's wickedly sour au revoir to a past love; "Sleep Comes Down" mixes Tim Butler's lovely bassline and Rundgren's piano; "President Gas" wryly takes a shot at Reagan while avoiding obvious platitudes.

The Psychedelic Furs - Forever Now ( flac 463mb)

01 Forever Now 5:35
02 Love My Way 3:33
03 Goodbye 3:56
04 Only You And I 4:25
05 Sleep Comes Down 3:51
06 President Gas 5:19
07 Run And Run 3:48
08 Danger 2:37
09 No Easy Street 4:06
Bonus Tracks
10 Yes I Do (Merry-Go-Round) 3:54
11 Alice's House (Early Version) 4:17
12 Aeroplane (b side) 3:25
13 I Don't Want To Be Your Shadow (b side) 3:50
14 Mary Go Round (Previously Unreleased Version Of "Yes I Do") 3:52
15 President Gas (Live/b side) 5:15
16 No Easy Street (Live) 5:37

The Psychedelic Furs - Forever Now ( ogg 151mb)

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Having made tentative inroads toward a wider American audience with Forever Now, the Psychedelic Furs' profile-raising and partial transformation continued with Mirror Moves. Very much a product of its mid-'80s time, Keith Forsey produced, his drum machine providing the beats while synths played an even more prominent role than before. It may not be the classic sound of the band but it is an often rewarding and inspiring listen. It didn't hurt that some of the band's best songs made an appearance here, either. Both "The Ghost in You" and "Heaven" balanced off a warm sound that managed to be radio-friendly on the one hand and surprisingly barbed on the other. Richard Butler's lyrics were some of his slyest and sharpest, a tone maintained throughout the album, while his one of a kind speak/sing clipped rasp kept things from being too lost even at the album's least inspired. Unlike the following Midnight to Midnight album, however -- where everything the Furs had going for them turned into a screeching halt -- Mirror Moves holds up fairly consistently. "Here Come Cowboys," with its combination guitar/string chug (or so it sounds!) and a brilliant slow descending chorus, and the driving, nervous piano and massed vocals on "Alice's House" are two particular winners. The secret highlight of the album is also its closer -- "Highwire Days," as brilliant a meditation on '80s-era political paranoia and fears as was done at the time. Butler's imagery is to the point without moralizing or dumbing down, while the tense arrangement suggests a more synth-based equivalent to the Chameleons, at once scaled for epic heights and almost uncomfortably close.

The Psychedelic Furs - Mirror Moves (flac 263mb)

01 The Ghost In You 4:17
02 Here Come Cowboys 3:57
03 Heaven 3:27
04 Heartbeat 5:17
05 My Time 4:27
06 Like A Stranger 4:00
07 Alice's House 3:53
08 Only A Game 4:13
09 Highwire Days 3:58

The Psychedelic Furs - Mirror Moves (ogg 87mb)

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elsewhere

The Psychedelic Furs - Talk Talk Talk ( 81 ^ 95mb)

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RhoDeo 1202 Roots

2012-01-10T04:27:00.000+01:00

Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

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Jacob Miller was born in Mandeville, Central Jamaica on May 4, 1952 to Joan Ashman and Desmond Elliot. At the age of eight he moved to Kingston, Jamaica where he grew up with his maternal grandparents. In Kingston, Miller began spending time at popular studios including Clement Dodd’s Studio One. There's no doubt though that Miller was a handful, star struck, and desperate to be a star himself. Coxsone Dodd gave him his first shot in 1968, when the youth recorded a few songs for the producer, including the single "Love Is the Message." It barely caused a ripple, but did catch the attention of Augustus Pablo, who gave the song airing at his Rockers Sound System. That wasn't enough to keep Dodd's interest, and Miller's career seemed to be over before it had even begun. However, Miller continued practicing, hanging around the studios, watching the stars, and jovially boasting about his talent to anyone who would listen.

In 1972, Pablo and his brother Garth Swaby launched their own Rockers label, initially a home for Pablo's own instrumentals, but soon branching out to vocal cuts. In 1974, Pablo brought Miller into Dynamic Studios to re-record "Message," resulting in the phenomenal "Keep on Knocking," one of the foundation stones of the new Rockers style. Over the next 18 months, the young singer cut five more songs for Pablo, each one a Rockers classic -- "Baby I Love You So," "False Rasta," "Who Say Jah No Dread," "Each One Teach One," and "Girl Named Pat" -- and all boasting seminal dubs from mixer King Tubby on the flip.

It was with these early singles, most deeply dread in theme, that Miller established his reputation. However, Rockers' finances precluded the constant recording that the young singer craved, and thus when he was approached by Inner Circle, Miller jumped on board. Circle already had a few singles to their credit, and had backed several singers in the past, before folding then rising anew in 1973 as a Top 40 covers band, plying their reggae-lite arrangements around the resort circuit. And then Miller arrived, creating the heaviest frontline in Jamaica's history, and some of the heftiest roots around.

It's difficult to draw a distinct line between Miller's solo career and his work with Inner Circle, virtually all were backed by at least some of Circle, with the lineup enhanced by members of the Revolutionaries. Miller preferred Rockers style, while Circle indulged in experimentation, delving into pop, soul, funk, and even disco.

Across 1975, the singer struck a deep chord with such classics as "Forward Jah Jah Children," "Tired Fe Lick Weed in a Bush," the Gussie Clarke-produced "Girl Don't Come," and "I Am a Natty" (a Joe Gibbs' produced cover of Bob Marley's "Soul Rebel"), even as Miller and Circle worked on their Trojan album Blame It on the Sun. The following year, Miller took second place at the Independence Song Festival with "All Night Till Daylight," and turned the soul masterpiece "Dock of the Bay" into a dread classic, amongst a slew of other fine releases.

Circle signed to Capital Records in 1976, unleashing Reggae Thing, and Ready for the World the following year. Miller's own solo album debut, Dread Dread, also appeared in 1978, showcasing both the lighter and heftier sides of the singer's oeuvre. Miller was featured in the film Rockers, alongside many other musicians including Gregory Isaacs, Big Youth and Burning Spear. In the movie, he plays the singer of a hotel house band, (in reality Inner Circle), who are joined on drums by the film's hero, Leroy "Horsemouth" Wallace and play a live version of Inner Circle's hit "Tenement Yard".

Before '76 was out, Miller had released two further solo albums, the crucial Killer Miller and the festive Natty Christmas. The former included a slew of classics, including "Forward Ever," "80,000 Careless Ethiopians," "Lamb's Bread Collie," and "Shaky Girl," the latter cut for Joe Gibbs. 1979's Wanted included another clutch, including such dread masterpieces as "Standing Firm," "Healing of the Nation," "Sinners," "Peace Treaty Style," and the smoky love song "I've Got the Handle."

Miller was now at the height of his powers, and with his charismatic stage presence, had even supplanted Marley as the island's most popular singer. Circle's phenomenal performance at the One Love concert brought the band a contract with the Island label, who released the hugely popular Everything Is Great, which spun off two British hit singles. In March 1980, Miller accompanied Marley and Island head Chris Blackwell to Brazil, to celebrate the opening of the label's new offices there. Meanwhile, the rest of Circle were preparing for their forthcoming American tour in support of the Wailers. The trio returned to Jamaica on the 21st, two days later on Sunday, March 23, 1980 Miller was killed at age 27 in a car accident on Hope Road in Kingston, Jamaica. Miller and Inner Circle had been preparing for an American tour with Bob Marley and the Wailers, and the next album, Mixed Up Moods, had been recorded before his death. Jamaica had lost one of the greatest singers of the age, long before his time.

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There are those who argue that all reggae sounds the same, and that roots reggae, in particular, consists entirely of minor variations on a very small set of musical (and, Jah knows, lyrical) themes. Who Say Jah No Dread consists of the six songs Jacob Miller recorded with legendary producer Augustus Pablo, and the dub versions of those tunes, all of which were mixed by King Tubby; talk about a triple threat. This album is one of a few hard, compact gems of roots reggae, a classic so inarguable that even the most intransigent reggae skeptic might be won over by its dark, mystical charms. All of the rhythm tracks on this album have become classics, none more deservedly than the one on which "Baby I Love You So" is based, which also forms the basis of "King Tubby Meets Rockers Uptown," a dub version generally considered to be the finest example of dub ever created. Amazingly, every track lives up to that high standard. If your reggae collection consists of only five titles, this should be one of them.

Jacob Miller - Who Say Jah No Dread (flac 181mb)

01 Keep On Knocking + Knocking Version 6:08
02 False Rasta + Hungry Town Scanc 5:22
03 Baby I Love You So + King Tubby Meets Rockers Uptown 5:01
04 Who Say Jah No Dread + Jah Dread Dub 5:19
05 Each One Teach One + Version 5:09
06 Girl Name Pat + Pat Version 5:05

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Released the same year the reggae singer's life was cut short by a car accident, the 1980 set Jacob Miller Lives On is one of those hastily thrown-together compilations that can't help but succeed thanks to the rich source material. At least that's the way the reggae faithful will see it, since almost everything here is pulled from the 12" releases Miller recorded for producer and label owner Joe Gibbs. . classics like "I Am a Natty," "I'm Just a Dread," and "Keep on Knocking" get to stretch their legs and extend their winning grooves.

Jacob Miller - Lives On (flac 160mb)

01 Fly Away 3:44
02 Shakey Girl 3:41
03 I Am A Natty 3:01
04 Keep On Knocking 2:40
05 You'll Live On 3:29
06 Just A Dread 2:56
07 Keep On Running 3:08
08 Back Yard Movements 3:13

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These are the true greatest hits.

J. Miller & Inner Circle - Reggae Greats (flac 227mb)

01 Shaky Girl 3:07
02 Tenement Yard 2:39
03 Suzy Wong 2:21
04 Sinners 3:22
05 Healing The Nation 3:51
06 80,000 Careless Ethiopians 4:11
07 I've Got The Handle 3:11
08 Tired Fe Lick Weed In A Bush 3:04
09 Roman Soldiers Of Babylon 2:36
10 Standing Firm 4:11
11 All Night Till Daylight 3:26
12 Forward Jah Jah Children 3:20

J. Miller & Inner Circle - Reggae Greats (ogg 93mb)

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RhoDeo 1202 Burroughs

2012-01-09T04:41:00.001+01:00

Hello, one of the worlds biggest rockstars turned 65 today, he's semi retired these days, after all it's been 8 years since his latest album, Reality. Then again who's to say he won't delight us some more, Happy Birthday David Bowie ! Gosh i feel a Goldy Rhox coming up..

Ok today and next week not a new series but the attention is turned to that big counter culture poet William Burroughs.

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The elder statesman of literature's Beat Generation -- and, by extension, of the American underground culture -- few figures outside of the musical sphere exerted a greater influence over rock & roll than novelist William S. Burroughs. A provocative, controversial figure famed for his unique cut-up prose aesthetic, Burroughs lived the rock lifestyle years before the music itself was even created; the ultimate outsider, he existed on the dark fringes of society in a haze of drugs, guns, and violence, remaining a patron saint of hipsterdom until his dying day. Ultimately, Burroughs' hold on the popular culture was extraordinary: few artists failed to credit him as an inspiration, and while bands like Steely Dan and the Soft Machine adopted their names from his turns-of-phrase, younger artists like Kurt Cobain and the Disposable Heroes of Hiphoprisy lined up to offer musical support for his occasional excursions into spoken word performing.

William Seward Burroughs was born February 5, 1914 in St. Louis, MO, the grandson of the founder of the Burroughs Adding Machine company. A homosexual bookworm with a fascination for guns and crime, he attended Harvard University, but largely rejected all the restraints of mainstream society, opting instead to pursue a life in New York City's underworld of organized crime. Upon becoming a heroin addict, Burroughs fell in with junkie drifter Herbert Huncke, leading to his introduction to other future Beat paragons like Jack Kerouac, Allen Ginsberg, and Lucien Carr; he also met Joan Vollmer, who became his common-law life. While older than the others, Burroughs had yet to begin writing as Kerouac and Ginsberg had; at first indifferent to literature, he finally completed 1953's Junky, an autobiographical tale of addiction published in pulp novel format by Ace Books. Queer, a similarly upfront examination of homosexuality, was rejected by the publisher and did not surface for several decades.

By the mid-'50s Burroughs, Vollmer, and their children had relocated to East Texas to live on a farm; as his descent into heroin addiction worsened, he found himself hounded by authorities, and eventually the family fled to Mexico. The marriage became the stuff of tabloid headlines when, attempting to impress friends with his shooting skills, Burroughs enlisted Vollmer to participate in a William Tell-like target demonstration; a faulty shot left Vollmer dead and sent Burroughs wandering the globe, finally drifting to Tangier. Following the success of their respective On the Road and Howl, both Kerouac and Ginsberg had become media sensations, with the Beat Generation emerging in full force; they tracked Burroughs down in Africa, finding him hopelessly addicted to heroin yet somehow able to write brilliant and wildly experimental fragments of prose. Kerouac began typing up the material and even gave it a title, Naked Lunch.

Upon its 1959 publication, Burroughs became a celebrity; the novel was the subject of a high-profile obscenity trial, and even today it remains his best-known and most influential book. Beginning with 1961's The Soft Machine, he began experimenting with a "cut-up" method of writing, literally cutting and pasting together various random fragments of text for maximum reader disorientation; in 1965, Burroughs began expanding into other forms of media, recording the LP Call Me Burroughs, a collection of spoken word readings of material culled from Naked Lunch and The Soft Machine. While remaining a prolific literary voice on the strength of work like 1971's The Wild Boys: A Book of the Dead and 1973's Exterminator!, aside from compilation appearances he did not issue another major recording prior to 1975's William S. Burroughs/John Giorno; Nothing Here Now But the Recordings, compiled by Psychic TV's Genesis P. Orridge, followed in 1981, as did another collaboration with Giorno, You're the Guy I Want to Share My Money With.

Always a major cult figure, by the late '80s Burroughs had become something of a pop culture icon, a symbol of decadence and ominous genius; a supporting role in Gus Van Sant's 1989 film Drugstore Cowboy brought him his widest mainstream exposure to date, and virtually every hipster worth his salt name-checked him as an influence. After 1987's Break Through in Grey Room, Burroughs recorded 1990's Dead City Radio, a collection of performances backed by Sonic Youth, John Cale, the NBC Symphony Orchestra, and others. In 1992, he guested on Ministry's "Just One Fix" single, and the following year recorded The 'Priest' They Called Him with Nirvana's Kurt Cobain. In 1993, Burroughs recorded his final LP, Spare Ass Annie and Other Tales, with the members of the Disposable Heroes of Hiphoprisy, and his sampled voice was also heard on recordings from diverse acts including the Jesus and Mary Chain, Laurie Anderson, and Material. With Tom Waits, he also co-wrote The Black Rider. The last major surviving figure of the Beat Generation, Burroughs died of a heart attack on August 2, 1997 in Lawrence, KS.

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Break Through in Grey Room is a collection of William S. Burroughs' speeches and cut-up recordings performed and recorded between 1960 and 1976. Some are actual pieces, and others are discussions of the pieces, such as "Origin and Theory of the Tape Cut-Ups," which he read at Boulder's Naropa University in 1976. Burroughs' incredibly detached voice only sounds better with age. He seems to exist between two worlds, and he constantly jumps back and forth from the conscious to the subconscious. In fact, one can hardly tell at any time which world it is that he inhabits. The bulk of the disc is consumed by one cut-up piece entitled "K-9 Was in Combat With the Alien Mind-Screens," which Burroughs claims was the result of writing as an art form, attempting to catch up to the advanced world of collage painting. This was one of Burroughs' earlier collaborations with Ian Sommerville. The Brion Gysin piece that Burroughs uses as a sample ("Recalling All Active Agents") is a brilliantly textured two-track recording that was made at the BBC studios in 1960 utilizing the drop-in method that Burroughs speaks about. This method entails a tape recorder recording a different player whilst randomly speeding up, slowing down, reversing, and advancing the second player. What occurs is a blubbery and blurry mess of words that surprisingly creates new sentences and phrases. Here Burroughs claims, "When you cut into the present the future leaks out." Other tracks are simply found sound field recordings. One such piece, "Jojouka," features Ornette Coleman playing in the hills of Morocco, recorded in January of 1973. This is a thoroughly interesting record of all of the types of recordings in which Burroughs took part in during his 87-year life, and serves as the perfect introduction to the tape experiments of the most intriguing of all of the beat writers.

William S. Burroughs – Break Through In Grey Room (flac 161mb)

01 K-9 Was In Combat With The Alien Mind-Screens 13:29
02 Origin And Theory Of The Tape Cut-Ups 3:43
03 Recalling All Active Agents 1:25
04 Silver Smoke Of Dreams 4:50
05 Junky Relations 2:56
06 Joujouka (1) 1:30
07 Curse Go Back 1:12
08 Present Time Excersises 2:18
09 Joujouka (2) 0:43
10 Working With The Popular Forces 2:37
11 Interview With Mr. Martin 2:59
12 Joujouka (3) 1:26
13 Sound Piece 2:14
14 Joujouka (4) 2:39
15 Burroughs Called The Law 1:34

William S. Burroughs – Break Through In Grey Room (ogg 91mb)

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One of the best Burroughs recordings, Dead City Radio features the writer reading five previously unreleased pieces, along with selections from several of his books. The acerbic Burroughs wit is at its finest on many of these selections, and he even takes a shot at singing on one track. Musical contributors to this project include Sonic Youth, Donald Fagen, Lenny Pickett, Cheryl Hardwick, Chris Stein, and John Cale.

William S. Burroughs - Dead City Radio (flac 245mb)

01 William's Welcome ("What Are You Here For?") 2:03
02 A Thanksgiving Prayer 2:22
03 Naked Lunch Excerpts ("You Got Any Eggs For Fats?") / Dinner Conversation ("The Snakes") 7:16
04 Ah Pook The Destroyer / Brion Gysin's All-Purpose Bedtime Story 2:46
05 After-Dinner Conversation ("An Atrocious Conceit") / Where He Was Going 11:40
06 Kill The Badger! 2:42
07 A New Standard By Which To Measure Infamy 1:47
08 The Sermon On The Mount 1 ("WSB Reads The Good Book") 1:30
09 No More Stalins, No More Hitlers 1:00
10 The Sermon On The Mount 2 1:22
11 Scandal At The Jungle Hiltons 1:41
12 The Sermon On The Mount 3 1:23
13 Love Your Enemies 1:13
14 Dr. Benway's House 0:40
15 Apocalypse 9:05
16 The Lord's Prayer 0:45
17 Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt ("Falling In Love Again") 2:30

William S. Burroughs - Dead City Radio gg (ogg 125mb)

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elsewhere

William Burroughs - Junkie (audiobook) (186 min.89mb)

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Sundaze 1202

2012-01-08T04:57:00.000+01:00

Hello, after taking a week off thanks to the scheduling, getting started again is always a bit difficult, therefore setting off easy with a pair of 'chilling' samplers. N joy !

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Released by the Aleph Zero label, Natural Born Chillers offers deeply intriguing psychedelic ambient electronic music from a carefully handpicked, and at times lesser-known, set of artists in this genre. In the past, Aleph Zero has hosted acclaimed artists including Bluetech and Shulman. The album opens with "Alaya" by Ishq, an extreme downtempo track of hypnotizing atmospheric moments without any percussion. The album then steps up the pace with "Shakti" by Anahata and "A New Philosophy" by Zen Mechanics. The fourth track, "Disconnect" by Jirah, is an album highlight. Tim McCall (Jirah) created a track similar to the sound he is best known for: energetic and atmospheric music that strolls along the divide between downtempo and brisk styles. The complete album offers rich sound palettes, despite being an electronic ambient album with a plethora of sampling techniques, Natural Born Chillers does not shy away from using traditional sounds, especially from the East. With the remix of "On Air," MIDIval PunditZ demonstrate their early influences and production capabilities that are easily groundbreaking, if at times missing from their latter albums. The album closes with the beautifully ambient "Under Water, Pt. 1" by Eastern Spirit. Compiled by DJ Shahar and Shulman, Natural Born Chillers showcases artists who have taken ambient music a step ahead toward richer, deeper, and cutting-edge sounds.

VA – Natural Born Chillers 1 (flac 489mb)

01 Ishq – Alaya 11:13
02 Anahata – Shakti 7:10
03 Zen Mechanics – A New Philosophy 11:19
04 Jirah – Disconnect 8:28
05 Agalactia – Monochrome Rainbow Pixie 9:10
06 Cosmic Fools – Be Yourself 6:31
07 J.Viewz – Estha 5:09
08 Son Kite – On Air (MIDIval PunditZ Remix) 6:11
09 Omar Faruk Tekbilek & Steve Shehan – Ya Bouy (Shulman Remix) 7:00
10 Eastern Spirit – Under Water (Part One) 6:29

VA – Natural Born Chillers 1 (ogg 195mb)

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The second chapter of the Natural Born Chillers series took a long time to construct...
DJ Shahar and Shulman carefully picked the best tracks in order to bring you again a musical genre-breaking story that journeys through different musical landscapes and geographical territories. Expect hypnotic rhythms, dubby moves, psychedelic adventures and refreshing sounds with ventures into different corners of our globe and into other dimensions. Once again we invite you to come and give your mind the chance to chill out, relax, and project itself to other realms and mental soundscapes with deep powerful emotions and cutting edge sounds.

VA – Natural Born Chillers 2 (flac 490mb)

01 Hibernation – Hibernation 6:58
02 Bluetech – Prayers For Rain (Ott Remix) 8:57
03 3 Wise Monkeys – It's Gonna Rain 6:03
04 Majan – Explore It 7:59
05 Tau Kita – Flying In The Rain 12:00
06 Interlaced – Insologic 6:06
07 Agalactia with MIDIval PunditZ – Aatmatyaag 7:14
08 MIDIval PunditZ – Vande Maataram (Electro Indian Mix) 7:05
09 Outersect – Kali Ma 6:15
10 Pi – Numb 6:21
11 Eitan Reiter – Coffee 4:58
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VA – Natural Born Chillers 2 (ogg 195mb)

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Rhodeo 1201 Grooves

2012-01-06T04:01:00.001+01:00

Funkadelic - Standing on the Verge of Getting It On (226mb)

01 Red Hot Mama 4:54
02 Alice In My Fantasies 2:26
03 I'll Stay 7:16
04 Sexy Ways 3:05
05 Standing On The Verge Of Getting It On 5:07
06 Jimmy's Got A Little Bit Of Bitch In Him 2:30
07 Good Thoughts, Bad Thoughts 12:17

Funkadelic - Standing on the Verge of Getting It On (90mb)

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One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. The targets of the band's good-natured wrath are, in fact, other groups -- "Hey, Fool and the Gang! Let's take it to the stage!" There's no mistaking the track that immediately follows makes it even more intense -- "Get off Your Ass and Jam" kicks in with one bad-ass drum roll and then scorches the damn place down, from guitar solo to the insanely funky bass from Bootsy Collins. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Collins' unmistakable tones is usually enough to get anything on the crazy tip, but "Be My Beach" just makes it all the more fun, as does the overall air of silly romance getting nuttier as it goes. "Good to Your Earhole" sets the outrageous mood just right -- it's one of the band's tightest monsters of funk, guitars sprawling all over the place even as the heavy-hitting rhythm doesn't let one second of groove get lost. Of course, there's also one totally notorious number to go with it, but "No Head No Backstage Pass" has one of the craziest rhythms on the whole album, not to mention lip-smackingly nutty lines delivered with the appropriate leer.

Funkadelic - Let's Take It to the Stage ( 209mb)

01 Good To Your Earhole 4:30
02 Better By The Pound 2:40
03 Be My Beach 2:35
04 No Head No Backstage Pass 2:36
05 Let's Take It To The Stage 3:32
06 Get Off Your Ass And Jam 2:00
07 Baby I Owe You Something Good 5:43
08 Stuffs And Things 2:11
09 The Song Is Familiar 3:05
10 Atmosphere 7:05

Funkadelic - Let's Take It to the Stage ( 084mb)

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Funkadelic's major-label jump brought its version of life more into line with Parliament, though the crucial difference between the two -- Funkadelic's guitars vs. Parliament's horns -- remains intact. Eddie Hazel is missed, as always, but Gary Shider and Mike Hampton do fine work. Whoever peels off the concluding solo at the end of "Comin' Round the Mountain" deserves credit, even if it's sometimes flash for flash's sake. Similar exercises in feedback can be found on the title track and elsewhere, sometimes great, sometimes timekeeping. Still, after all, the album itself is dedicated "to the guitar players of the world," so it can't be said that George Clinton and company aren't keeping the proper focus on things. Generally, things are fairly light on Hardcore Jollies, though a remake of earlier highlight "Cosmic Slop" retains the sharp sentiments, even if it's not quite as strongly delivered as before (musically it's much more centered around the bass and drums, though things get duly crazed all around toward the end). Otherwise, the emphasis is on fairly clean jams and rhythms, with more lower-key goofiness than before but still merrily out there. If it's not truly gone and great like Maggot Brain or Let's Take It to the Stage, it's still good listening at its best moments. "If You Got Fun, You Got Style" makes for a better chat-up dancefloor appreciation than most, while "Soul Mate" balances out obvious "want you bad" sentiments with squirrelly lead vocals that don't quite fit the subject at hand. And who could knock the use of the "there's a place in France/where the ladies wear no pants" melody in "You Scared the Lovin' Outta Me"? Pedro Bell does some of his best work ever for the cover and inside art, while the accompanying short story is hilarious.

Funkadelic - Hardcore Jollies (267mb)

01 Comin' Round The Mountain 5:56
02 Smokey 6:08
03 If You Got Funk, You Got Style 3:07
04 Hardcore Jollies 5:01
05 Soul Mate 2:58
06 Cosmic Slop (Live) 6:30
07 You Scared The Lovin' Outta Me 6:28
08 Adolescent Funk 4:18

Funkadelic - Hardcore Jollies (ogg 98mb)

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RhoDeo 1201 Goldy Rhox

2012-01-05T04:26:00.001+01:00

Hello, today the 53rd post of GoldyRhox, classic pop rock, in the darklight a UK artist who once drummed for a successful symphonic band where he took over as the leadsinger no longer wanted to be part of the show, he once had so brilliantly created..duh To the surprise of the fans the band didn't collapse but found new footing thanks to our mystery artist and went on to score even some hit successes . in part because our mystery man had gone solo and started a series of highly commercial solo albums. According to Atlantic Records, his total worldwide sales as a solo artist, as of 2000, were 150 million. He has won numerous music awards throughout his career, including seven Grammy Awards, five Brit Awards—winning Best British Male three times, an Academy Award, and two Golden Globes for his solo work. In 2008, he was ranked the 22nd most successful artist on the "The Billboard Hot 100 Top All-Time Artists".

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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.

Todays mystery album is his debut solo album, released in February 1981 on the Virgin label internationally and Atlantic Records in North America. The album includes a hit single, whose dark mood was inspired by the fallout of Collins' first marriage, as is most of the album. He decided to incorporate an R&B horn section, hiring the Phenix Horns, who played backup for Earth, Wind & Fire. He refused to listen to friends who had advised him not to use the horns and they would play a major role for most of his solo career.

He also used another then-controversial method in using drum programming rather than just live drum instrumentation despite his reputation as a drummer. Not all doom and gloom though there's a track too written for Jill Tavelman who later became his 2nd wife. Sales of the album reached five million alone in the United States and went five-times platinum in the United Kingdom and ten-times platinum in Canada. No solo tour was produced from this album and he would not perform live as a solo artist until 1982.

Goldy Rhox 53 (flac 249mb)

Goldy Rhox 53 (ogg 109mb)

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RhoDeo 1201 Aetix

2012-01-04T04:22:00.001+01:00

Hello, Aetix starts of this year on a hard edge, recharge those batteries that have been sapped during the holidaze, time to stand up and be counted, although that figure of speech has gotten a somewhat sinister connotation in these digital days. Adapted then for our age into; Stand Up and be anonymous !

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

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

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

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

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

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

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

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

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Since 1980, there have been a hundred bands who sound like this; but before Steve Albini and Al Jourgensen made it hip, the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians. That such a bleak and furious album could have such a widespread influence is a testament to its importance. This is an underground classic and deserves better than its relative unknown status.

Killing Joke - Killing Joke (flac 382mb)

01 Requiem 3:45
02 Wardance 3:47
03 Tomorrow's World 5:30
04 Bloodsport 4:47
05 The Wait 3:42
06 Complications 3:08
07 S.O.36 6:52
08 Primitive 3:39
Bonus Tracks
09 Change 4:01
10 Requiem (Single Version) 3:47
11 Change (Dub) 4:00
12 Primitive (Rough Mix) 3:34
13 Bloodsport (Rough Mix) 4:50

Killing Joke - Killing Joke (132mb)

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Marking the full return from the band's out-of-nowhere hiatus in 1982, Night Time, following after a couple of test-the-waters EPs, finds the reconstituted Killing Joke, with Paul Raven in on bass but otherwise unchanged, caught between their earlier aggression and a calmer, more immediately accessible approach. At this point, however, the tension between the two sides had a perfect balance, and as a result Night Time is arguably the quartet's freshest album since its debut, with a warm, anthemic quality now supplementing the blasting, driving approach that made the band's name, as songs like "Kings and Queens" demonstrate. Geordie Walker pulls off some jaw-dropping solos amid his fierce riffs -- check out his turns on the title track -- while Paul Ferguson mixes and matches electronic beats with his own very well (perhaps a little less intensely than before, but not by much). Jaz Coleman's experimentation with keyboards -- chopped-up vocal samples, calmer and sweet lead melodies -- is paralleled by his own singing, now mostly free of the treatments and echoes familiar from earlier days. He's got a great singing voice as it stands, and it's a treat to hear him let it flow forth without forcing it. "Eighties" turned out to be the retrospectively most well-known song, Love Like Blood was the breakthrough single in the U.K

Killing Joke – Night Time ( flac 519mb)

01 Night Time 4:55
02 Darkness Before Dawn 5:18
03 Love Like Blood 6:48
04 Kings And Queens 4:38
05 Tabazan 4:34
06 Multitudes 4:56
07 Europe 4:35
08 Eighties 3:50
Bonus Tracks
09 Eighties (Kid Jensen Session 17/4/84) 2:51
10 New Culture (Kid Jensen Session 17/4/84) 3:09
11 Blue Feather (Kid Jensen Session 17/4/84) 4:29
12 All Play Rebel (Kid Jensen Session 17/4/84) 3:18
13 A New Day (7") 4:10
14 The Madding Crowd 5:13
15 Blue Feather (Joke Mix) 3:59
16 Love Like Blood (Gestalt Mix) 5:12
17 Kings And Queens (Geordie's Dub Mix) 4:57

Killing Joke – Night Time ( ogg 180mb)

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Brighter Than a Thousand Suns was a definite transformation from the days of "The Wait" and "Complications." The unexpected success of Night Time and new commercial pressures clearly came to bear. Still, the band hadn't changed any from Night Time, and even that lineup was three-quarters of the original incarnation of the group. The emphasis still focused clearly on volume and strong, full-bodied playing -- Geordie Walker, Paul Ferguson, and Paul Raven don't sound like they're holding back at all even if their individual performances are less on the edge. Jaz Coleman's newfound way around inspiring singing, meanwhile, pays off in dividends; though it's impossible to square the results here with his earlier hectoring and cutting rage, the warm, sweet passion that he brings to bear often transforms an OK track into a great one. "Adorations," the killer opening track and easily the album standout, is a perfect example of how this era of the group could make it all connect, Coleman's beautiful performance on the chorus and the overall ensemble effort making it the best anthem neither U2 nor Simple Minds ever wrote.

Killing Joke – Brighter Than A Thousand Suns (flac 516mb)

01 Adorations 4:28
02 Sanity 4:15
03 Chessboards 5:47
04 Twilight Of The Mortal 4:13
05 Love Of The Masses 6:07
06 A Southern Sky 4:38
07 Victory 3:57
08 Wintergardens 5:32
09 Rubicon 6:35
10 Goodbye To The Village 5:17
11 Exile 6:27
Bonus Tracks
12 Ecstasy 4:10
13 Adorations (Supernatural Mix) 6:40
14 Sanity (Insane Mix) 6:16

Killing Joke – Brighter Than A Thousand Suns (ogg 168mb)

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elsewhere

Killing Joke - Killing Joke (80 ^ 88mb)
Killing Joke - Killing Joke 2003 (88mb)

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RhoDeo 1201 Roots

2012-01-03T04:18:00.001+01:00

Hello, we're still on that island with a huge place in the global music catalog, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

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Lee Perry is a towering figure in reggae , some call him a genius, others claim he's a madman. Truth is, he's both, but more importantly, -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- others may have invented dub, many argue that no one experimented with it or took it further than did Lee Perry.

Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Soon he was producing and recording for Dodd at the center of the Jamaican music industry, Studio One. After a falling out with Dodd , Perry went to work at Wirl Records with Joe Gibbs, but not much chemistry there either so in 1968, Perry left to form his own label, called Upsetter. The first release on Upsetter was a single entitled "People Funny Boy," which sold extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the 1970s, Perry released an astonishing amount of work under his name and numerous, pseudonyms he came a major force in reggae music together with his band the upsetters they worked with every performer in Jamaica. He started his own studio the black ark . Where he recorded marley and the wailers who were subsequently pick up bt Island leaving Perry standing. All the hard work in the seventies didnt do his mental state much good and it is said that he burned down the black ark studio himself as he was convinced satan had taken up resedency there..

Despite the considerable lows in his career, Perry remained busy and, so it seemed, reasonably happy. Although he was less in demand as a producer, his solo work remained very strong, and his continuing influence could be felt in the contemporary dub music of the Mad Professor. In 1997, Island (the label started by the vampire Chris Blackwell) released Arkology, a well-received three-disc compilation of Perry recordings. That same year a collaboration with Dieter Meier of the Swiss electronica duo Yello called Technomajikal arrived on the Roir label. The project was made geographically possible by Scratch's move to Switzerland.

A reunion with Trojan label happened in 2002, when the new album Jamaican E.T. was released by the label. Two years later Panic in Babylon was recorded with the European outfit White Belly Rats, while his legendary Super Ape album would receive a limited-edition reissue on the Hip-O Select label. The 1973 release Upsetters 14 Dub Blackboard Jungle -- sometimes referred to as Blackboard Jungle Dub -- saw its definitive reissue appear.

In 2008, Perry reunited with producer Adrian Sherwood on an album called The Mighty Upsetter. Unlike the dancehall/pop oriented Repentance, The Mighty Upsetter returned to the dub/reggae styles for which Perry is known. In 2009, Perry collaborated with Vienna based Dubblestandart on their Return from Planet Dub double album, revisiting some of his material from the 1970s and 80s as well as collaborating on new material with Dubblestandart.

Perry now lives in Switzerland with his wife Mireille and two children. Although he celebrated his 75th birthday in 2011, he continues recording and performing to enthusiastic audiences in Europe and North America. His modern music is a far cry from his reggae days in Jamaica; many now see Perry as more of a performance artist in several respects. Over the years a number of compilations have been released some not so good, and many of Perry's tapes were stolen. Some of these recordings have shown up on poorly mastered, and expensive, anthologies.

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Purportedly the definitive Lee "Scratch" Perry compilation, the three-CD set Arkology is loaded with good intentions and is carefully constructed, but with a back catalog like Perry's -- where it's nearly impossible to find out what's what -- definitive in this case is a dream. Still, the compilers have done a fine job of providing an overview of Perry's career that makes sense musically, historically, and culturally. For those who want to jump headlong into Perry's world, this is the way to go. Arkology's foundation is the 1979 anthology Scratch on the Wire; the compilers took those tracks and added a significant number of remixes and a few previously unreleased dub tracks to give it some weight. So, all that said, is Arkology worth it? Absolutely. it provides a good overview and is an excellent introduction.

Lee Perry - Reel 1 - Dub Organiser (flac 447mb)

101 Lee Perry & The Upsetters – Dub Revolution Part 1 (Alternate Take) 4:44
102 Max Romeo – One Step Forward 3:52
103 The Upsetters – One Step Dub (Extended Mix) 4:06
104 Devon Irons – Vampire 3:17
105 The Upsetters – Vamp A Dub 3:16
106 The Heptones – Sufferer's Time (Alternate Take) 3:55
107 The Upsetters– Sufferers Dub (Extended Mix) 4:17
108 Junior Dread – Sufferers Heights (Alternate Mix) 4:32
109 The Congos – Don't Blame On I 4:05
110 The Meditations – Much Smarter 3:56
111 The Upsetters – Much Smarter Dub 4:42
112 The Meditations – Life Is Not Easy (Alternate Mix) 4:46
113 The Upsetters – Life Is Not Easy Dub (Alternate Mix) 5:07
114 Junior Murvin – Tedious (Extended Mix) 5:04
115 Max Romeo – War in A Babylon 4:51
116 The Upsetters – Revelation Dub 5:01
117 The Heptones – Mr. President 4:13
118 Max Romeo – Chase The Devil 3:28

Lee Perry - Reel 1 - Dub Organiser (ogg 172mb)

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Lee Perry - Reel 2 - Dub Shepherd (flac 451mb)

201 Lee Perry – Dreadlocks In Moonlight 3:46
202 Mikey Dread – Dread At The Mantrols 3:47
203 Errol Walker – In These Times 4:39
204 The Upsetters – In These Times Dub (Previously Unreleased) 3:24
205 Max Romeo – Norman (Extended Domino Mix) 8:42
206 Junior Murvin – Police & Thieves 3:40
207 Glen DaCosta – Magic Touch 4:03
208 Jah Lion – Soldier & Police War 4:09
209 The Upsetters – Grumblin' Dub 3:18
210 Junior Murvin – Bad Weed (Alternate Mix) 4:02
211 Errol Walker – John Public 4:21
212 Errol Walker – John Public (Version) (Previously Unreleased) 4:23
213 Junior Murvin – Roots Train (Extended Mix) 8:59
214 The Meditations – No Peace 3:30
215 The Upsetters – No Peace Dub 4:20
216 Raphael Green – Rasta Train (Alternate Mix) 4:54
217 The Upsetters – Party Time Part 2 4:34

Lee Perry - Reel 2 - Dub Shepherd (ogg 174mb)

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Lee Perry - Reel 3 - Dub Adventurer (flac 428mb)

301 Augustus Pablo – Vibrate On (Alternate Cut) 4:40
302 The Upsetters – Vibrator (Alternate Cut) 4:35
303 The Upsetters – Bird In Hand 3:30
304 The Congos – Congoman (Alternate Vocal Take) 5:52
305 The Upsetters – Dyon Anasawa (Alternate Mix) 3:39
306 The Upsetters – Rastaman Shuffle (Alternate Mix) 5:16
307 The Heptones – Why Must I (Version) (Extended Mix ) 4:57
308 The Heptones – Make Up Your Mind (Previously Unreleased) 3:45
309 The Upsetter Review – Closer Together 6:15
310 Keith Rowe – Groovy Situation 3:26
311 The Upsetters – Groovy Dub 3:33
312 George Faith – To Be A Lover (Have Some Mercy) 7:56
313 Lee Perry – Soul Fire 3:58
314 Lee Perry – Curly Locks 4:09
315 The Congos – Feast Of The Passover (Extended Mix) 3:36
316 Lee Perry – Roast Fish & Cornbred (Extended Mix) 4:26
317 The Upsetters – Corn Fish Dub (Extended Mix) 4:26

Lee Perry - Reel 3 - Dub Adventurer (ogg 169mb)

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elsewhere

Lee Perry - The Upsetter Box (Africa's Blood 72, Rhythm ) ( 85 ^ 98mb )
Lee Perry - The Upsetter Box ( Shower 73 & Double Seven 74) ( 85 ^ 95mb)
Lee Perry - Super Ape (76 flac 154mb)
Roast Fish, Collie Weed & Cornbread ( 78 flac 174mb)
Lee Perry - Return Of The Super Ape ( 78 flac 150mb)
Lee Scratch Perry - Megaton Dub 1 (flac 217mb)
Lee Scratch Perry - Megaton Dub 2 (flac 182mb)
Lee Scratch Perry - Megaton Dub 1+2 (ogg 175mb)
Lee Scratch Perry – History, Mystery & Prophesy (flac 295mb)
Lee Scratch Perry – History, Mystery & Prophesy (ogg 116mb)

RhoDeo 1201 Illuminatus final

2012-01-02T04:25:00.000+01:00

Hello, hope you'll have have a fulfilling New Year, sadly the outlook has been painted grimm, down't let the numbercrunchers get you down, in the end these are just valueless numbers, ultimately we are the ones that determine it's value not the numbercrunchers.

Illuminatus has reached the final Appendix stage, gratulations to those that have stuck with it, you belong to a special group of people now, terrorism explained you should not have had trouble with new years fireworks. Philosophy is a wonderful thing, it should have prevented religious excess, sadly it failed. Other philosophys are called for, Discordian is a worthy candidate...

"The ultimate weapon isn't this plague out in Vegas, or any new super H-bomb. The ultimate weapon has always existed. Every man, every woman, and every child owns it. It's the ability to say No and take the consequences." - Hagbard Celine, Leviathan
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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

Sundaze 1201 Happy New Year

2012-01-01T04:20:00.001+01:00

Hello, Happy New Year everybody, 2012 will not be just another year, it will be a watershed, admittedly it's unclear which end of the shed we will end up, as there's plenty of nasty to grab us. Let's not become downhearted by the big media (corporate) propaganda, their talking heads are basically overpaid nincompoops, awaiting full digitization (Max Headroom 2.0).

Well, Asura is a sanskrit word describing demons or non believers (atheists), they are hyper-competitive and paranoid, driven by a desire to beat their competition, and everyone is competition. They have power and resources and sometimes accomplish good things with them. But, always, their first priority is getting to the top.

"Always desiring to be superior to others, having no patience for inferiors and belittling strangers; like a hawk, flying high above and looking down on others, and yet outwardly displaying justice, worship, wisdom, and faith -- this is raising up the lowest order of good and walking the way of the Asuras." (Chih-i 538-597)

I suspect then this group is part of the new world order drive to global domination, or maybe just two naive French atheists. Musically it's psychedelic chill-out/downtempo, a must for everyone who enjoys good relaxing music and the way to start 2012.

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Asura is Charles Farewell, born in 1975. Originally a duo composed of Charles Farewell, and Vincent Villuis.
Since 1996, the project Asura has polished a personal electronic universe sound, between Trance Psychedelic, Ambient and World music. In 1998, Christopher Maze joins the band and in 2000, the first Asura album, "Code Eternity, is released.
Made by many influences, their music, built around electronic machines and acoustic instruments, does not remain about it less one personal and considered creation, centered on the perpetual search of infinite spaces and multiple origins. Monotonous melancholic lyrics, symphonic waves, fast and slow rhythms, heavy or throbbing, liturgical songs, the project Asura introduces a certain solemn vision of the world. They have created a very distinctive sound which has contributed to making Asura one of the most recognizable bands of the World Electro and Trance Ambient genre.

In 2001, Vincent Villuis left the band to concentrate on his new project Aes Dana and was replaced the same year by Alex Ackerman. The second album, "Lost Eden", was released in 2003. Since July 2005, after the departure of Christopher Maze and Alex Ackerman, Asura became a solo project. exclusively composed of Charles Farewell.In July 2007, he released the third Asura album, "Life²". In 2010 he released "360" with Villius in the background, Music For Awakened Spirits And Open Minds, a musical cloak of many colors, somewhat unlike the previous 3 releases this is sweet, positive, relaxing music. 2011 saw the digital only release of Oxygene.

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This album is history - it was the start of Ultimae's excellent long running chill catalogue, Code Eternity, however, is very slightly out of place with the rest of the record label. It has more of a Goa sound and is more engaging to listen to compared to the lush sound of most of Ultimae's releases. Code Eternity usually has a great synth sound going which holds the tracks together, along with a powerful beat and the old 4/4 kick. Soaring strings add atmosphere and power. This has been labelled as psychill, but I would say that it's closer to Goa trance in most parts.

The tracks face being a little inaccessible due to their lengths, but this truly allows for development. Vincent Villius and Charles Farewell really did something wonderful with this album - it's a great soundscape, ambient with much more of a kick and with more power and perhaps hostility. Excellent album and one of the very best in the Ultimae catalogue.

Code Eternity is an album full of great ideas but sounding a little too digital and sterile sometimes, and occasionally suffering from some poor mixing & mastering. Considering this was their first production effort, it's almost inevitable it was a bit "flat" and lacking the kind of warmth and life that later works contain.

Asura – Code Eternity (flac 383mb)

01 Like A Summer Day (10:16)
02 Trinity (10:05)
03 Simply Blue (10:22)
04 Phoenix (8:05)
05 Code Eternity (9:24)
06 Territories Part One (4:25)
07 XP Continuum (9:10)

Asura – Code Eternity (ogg 154mb)

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Synthesized keyboards and sequencers, provided by group leader and producer Charles Farewell, capture a combination of ambient bliss and infectious groove. Group member Curtis Maze supplies ethereal flute; his presence on the opening of "Land and Freedom" may briefly evoke one of Kitaro's mellow soundscapes, but Asura's music is generally too groove-oriented to fall into the new age category. Bassist/guitarist Alexandra Ackerman deepens the groove, which is also strengthened by electronic percussion of a type and quality that was generally not available for earlier electronic music artists such as Jarre and Schulze. And since Asura's intent is by no means self-consciously retro, they're not shy about the use of contemporary vocal sampling. The eclectic nature of Asura's presentation is further reinforced by the use of a thudding hip-hop beat and sampled female house vocals on "Raindust." Elsewhere, African vocal samples are used on several tracks, this wide-open, indiscriminate appropriation of cultures and ethnic influences could (and has been) criticized as superficial, but since Asura doesn't seem to have any agenda beyond creating elegant, sophisticated ambient trance music with a world music flavor, they should be judged only on the quality of their execution.

Asura - Lost Eden (flac 372mb)

01 Prologue 2:14
02 Lost Eden 5:53
03 From The Abyss 4:16
04 Raindust 4:25
05 Land & Freedom 5:16
06 Fahrenheit 3:55
07 Requiem From Nowhere 9:53
08 Incoming 3:38
09 The Battle Of Devas 10:13
10a Le Vol D'Icare 7:32
10b Untitled 1:00
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Asura - Lost Eden (ogg 140mb)

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Life 2 will mark its time as the return of the original Asura sound. With 10 strong tracks: melodic, echoes, astoundingly composed. Aramean tribal rhythms, ethereal duduks, hypnotic basslines, symphonic orchestrations, fusion of gentleness aqnd strengh bleding into acid themes. The outcome is melodic yet positive, as any renewal would be, a tangible passage, sort of a second life...

Undoubtedly the most mature Asura release to date, Life² is a stunning musical journey from beginning to end. The flow of the album is natural and effortless, starting with the massive Golgotha, then seamlessly flowing through relaxing atmospheres (such as the Galaxies) as well as the more aggressive goa-influenced pieces (the title track, for instance), and ending with the beautiful, contemplative La Chanson De Carla.

Asura - Life² (flac 479mb)

01 Golgotha 6:12
02 Back To Light 7:16
03 Galaxies Part One (Album Edit) 8:15
04 Celestial Tendencies 9:07
05 The Prophecy 7:28
06 Five Lines 9:32
07 Life² 7:49
08 Galaxies Part Two 10:34
09 Butterfly FX 6:27
10 La Chanson De Carla 4:56

Asura - Life² (ogg 192mb)

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RhoDeo 1152 Grooves

2011-12-30T04:14:00.001+01:00

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Friday nght Grooves will be...

"A Parliafunkadelicment Thang"

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The P-Funk story began in 1956 in Plainfield, New Jersey, with a doo-wop group formed by fifteen-year-old George Clinton. This was The Parliaments, a name inspired by Parliament cigarettes. By the early 1960s, the group had solidified into the five-man lineup of Clinton, Ray "Stingray" Davis, Clarence "Fuzzy" Haskins, Calvin Simon and Grady Thomas. Later, the group rehearsed in a barbershop partially owned by Clinton and entertained the customers. The Parliaments finally achieved a hit single in 1967 with "(I Wanna) Testify" while Clinton began commuting to Detroit as a songwriter and producer for Motown Records.

Due to continuing contractual problems and the fact that Funkadelic releases were more successful at the time, Clinton abandoned the name Parliament until 1974. Following Osmium, the lineup of Parliament-Funkadelic began going through many changes and was expanded significantly, with the addition of important members such as keyboardist Bernie Worrell in 1970, singer/guitarist Garry Shider in 1971, and bassist Bootsy Collins (recruited from the James Brown backing band) in 1972. Dozens of singers and musicians would contribute to future Parliament-Funkadelic releases. Clinton relaunched Parliament in 1974 and signed the act to Casablanca Records. Parliament, now augmented by the Horny Horns (also recruited from James Brown's band) was positioned as a smoother R&B-based funk ensemble with intricate horn and vocal arrangements, and as a counterpoint to the guitar-based funk-rock of Funkadelic. By this point, Parliament and Funkadelic were touring as a combined entity known as Parliament-Funkadelic or simply P-Funk .

The album Up for the Down Stroke was released in 1974, with Chocolate City following in 1975. Both performed strongly on the Billboard R&B charts and were moderately successful on the Pop charts. Parliament began its period of greatest mainstream success with the concept album Mothership Connection (1975), the lyrics of which launched much of the P-Funk mythology.

The subsequent albums The Clones of Dr. Funkenstein (1976), Funkentelechy vs. the Placebo Syndrome (1977), and Motor Booty Affair (1978) all reached high on both the R&B and Pop charts, while Funkadelic was also experiencing significant mainstream success. Parliament scored the #1 R&B singles "Flash Light" in 1977 and "Aqua Boogie" in 1978.

The rapidly expanding ensemble of musicians and singers in the Parliament-Funkadelic enterprise, as well as Clinton's problematic management practices, began to take their toll by the late 1970s. Original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had been with Clinton since the barbershop days in the late 1950s, felt marginalized by the continuous influx of new members and departed acrimoniously in 1977. Other important group members like singer/guitarist Glenn Goins and drummer Jerome Brailey left Parliament-Funkadelic in the late 1970s after disputes over Clinton's management. Two further Parliament albums, Gloryhallastoopid (1979) and Trombipulation (1980) were less successful than the albums from the group's prime 1975-1978 period.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Casablanca Records, George Clinton dissolved Parliament and Funkadelic as recording and touring entities. However, many of the musicians in later versions of the two groups remained employed by Clinton. Clinton continued to release new albums regularly, sometimes under his own name and sometimes under the name George Clinton & the P-Funk All-Stars. The P-Funk All-Stars continued to record and tour into the 1990s and 2000s, and regularly perform classic Parliament songs.

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Kicking off with one of prime funk's purest distillations -- the outrageously great title track, with a perfect party chorus line and uncredited horns adding to the monster beat and bass -- Up for the Down Stroke finds Parliament in rude good health. As was more or less the case through the '70s, Parliament took a slightly more listener-friendly turn here than they did as Funkadelic, but often it's a difference by degrees. Just listening to some of Bernie Worrell's insane keyboard parts or Bootsy Collins' bass work here is enough to wake the dead. Slightly more oddball is "All Your Goodies Are Gone," which has a bit more upfront bite and some downright strange lyrics, delivered with a stoned, breathless tone and backed by unearthly choir arrangements. Eddie Hazel is still listed as present and contributing, he co-writes two of the songs; it's a pity "The Goose" runs out of steam toward the midpoint of its nine minutes, but it makes for pleasant background music if not Parliament at its unfettered best. In the meantime, Clinton and various familiar voices like Fuzzy Haskins and Grady Thomas keep the weird wigginess of the lyrics flowing. In a nod to the group's past, "(I Wanna) Testify," here simply called "Testify," gets a 1974-era work over.

Parliament - Up For The Down Stroke ( 242mb)

01 Up For The Down Stroke 5:08
02 Testify 3:46
03 The Goose 9:10
04 I Can Move You (If You Let Me) 2:44
05 I Just Got Back 4:30
06 All Your Goodies Are Gone 5:04
07 Whatever Makes Baby Feel Good 5:57
08 Presence Of A Brain 3:19

Parliament - Up For The Down Stroke ( 92mb)

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Parliament's second album for Casablanca, following Up for the Down Stroke (1974), Chocolate City isn't one of the group's better-known albums. Unlike its predecessor and successive albums such as Mothership Connection (1976), it lacks a signature hit; even though the title track and "Ride On" charted as singles, they're minor in comparison to definitive classics such as "Up for the Down Stroke" and "Give Up the Funk (Tear the Roof Off the Sucker)." Though it's not one of the better-known Parliament albums, Chocolate City is nonetheless one of their best and perhaps most underrated. There's a wealth of musical talent to be heard here -- most notably Bootsy Collins, Bernie Worrell, and Eddie Hazel -- and an emphasis on horns and harmony vocals. Plus, there's no overarching narrative as there would be on successive albums, occasionally to a fault. Instead, this is a collection of stand-alone songs, none topping the six-minute mark. Regardless of its lack of signature hits, Chocolate City is a Parliament album that shouldn't be overlooked.

Parliament - Chocolate City (234mb)

01 Chocolate City 5:37
02 Ride On 3:34
03 Together 4:07
04 Side Effects 3:13
05 What Comes Funky 2:23
06 Let Me Be 5:37
07 If I Don't Fit (Don't Force It) 2:07
08 I Misjudged You 5:14
09 Big Footin' 4:50

Parliament - Chocolate City (084mb)

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The definitive Parliament-Funkadelic album, Mothership Connection is where George Clinton's revolving band lineups, differing musical approaches, and increasingly thematic album statements reached an ideal state, one that resulted in enormous commercial success as well as a timeless legacy that would be compounded by hip-hop postmodernists, most memorably Dr. Dre on his landmark album The Chronic (1992). The musical lineup assembled for Mothership Connection is peerless: in addition to keyboard wizard Bernie Worrell; Bootsy Collins, who plays not only bass but also drums and guitar; the guitar trio of Gary Shider, Michael Hampton, and Glen Goins; and the Becker brothers (Michael

and Randy) on horns; there are former J.B.'s Fred Wesley and Maceo Parker (also on horns), who were the latest additions to the P-Funk stable. Besides the dazzling array of musicians, Mothership Connection boasts a trio of hands-down classics -- "P-Funk (Wants to Get Funked Up)," "Mothership Connection (Star Child)," "Give Up the Funk (Tear the Roof off the Sucker)" -- that are among the best to ever arise from the funk era, each sampled and interpolated time and time again by rap producers; in particular, Dr. Dre pays homage to the former two on The Chronic (on "The Roach" and "Let Me Ride," respectively). The remaining four songs on Mothership Connection are all great also, if less canonical. Lastly, there's the overlapping outer-space theme, which ties the album together into a loose escapist narrative. There's no better starting point in the enormous P-Funk catalog than Mothership Connection, which, like its trio of classic songs, is undoubtedly among the best of the funk era.

Parliament - Mothership Connection (246mb)

01 P. Funk (Wants To Get Funked Up) 7:41
02 Mothership Connection (Star Child) 6:13
03 Unfunky UFO 4:23
04 Supergroovalisticprosifunkstication 5:03
05 Handcuffs 3:51
06 Give Up The Funk (Tear The Roof Off The Sucker) 5:46
07 Night Of The Thumpasorus Peoples 5:10

Parliament - Mothership Connection (ogg 95mb)

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RhoDeo 1152 Goldy Rhox

2011-12-29T04:32:00.001+01:00

Hello, today the 52nd post of Goldy Rhox, classic pop rock, in the darklight a UK artist who once fueled the best-selling band in history with his writings, recordings over four decades after the break-up still in demand. He had a solo career and as of 2010, his solo album sales in the United States exceed 14 million units, and as writer, co-writer or performer, he is responsible for 25 number-one singles on the US Hot 100 chart. In 2002, a BBC poll on the 100 Greatest Britons voted him eighth, and in 2008, Rolling Stone ranked him the fifth-greatest singer of all-time.

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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.

Todays mystery album is a retrospective compilation album of music from his 1970s solo career. The album was released on vinyl in 1982, later being remastered and released on CD in 1989. It was the first album to be issued following the singer's death in 1980. The album includes most of his hit singles and various selections from the majority of his solo albums. The Collection did extremely well, reaching #1 in the UK and peaking at #33 in the US where it would eventually reach triple platinum. The front and back covers for the album were taken by famed photographer Annie Leibovitz on 8 December 1980, the day he was murdered.

Goldy Rhox 52 (flac 386mb)

Goldy Rhox 52 gg (ogg 161mb)

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RhoDeo 1152 Aetix

2011-12-28T04:37:00.000+01:00

Hello, Aetix is on the move today, to get rid of some of those Xmas calories. Then there's the preperation for the new years parties, no sampler of Aetix hits this time but what turned to to become one of the biggest selling dancepop acts of the eighties with one of the silliest names ever concocted, the Pet Shop Boys. Now one of their strenghts was their remixing and as such they have rereleased their remastered albums this past decade, accompanied by a remix disc titled Further Listening..hmm Dancing Dust ( rhymes with lust) would be a more appropiate title then the passive listening. Whatever, what you get here today are the remix addendums to the first 3 highly succesful Pet Shop Boys albums, Please, Actually & Introspective. Party away..

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Pet Shop Boys established themselves among the most commercially and critically successful groups of their era with cheeky, smart, and utterly danceable music. Always remaining one step ahead of their contemporaries, the British duo navigated the constantly shifting landscape of modern dance-pop with rare grace and intelligence, moving easily from disco to house to techno with their own distinctive image remaining completely intact.

Pet Shop Boys have sold over 100 million records worldwide, and are listed as the most successful duo in UK music history by The Guinness Book of Records. Three-time Brit Award winners and six-time Grammy nominees, since 1986 they have achieved 42 Top 30 singles and 22 Top 10 hits in the UK Singles Chart, including four Number Ones

Neil Tennant and Chris Lowe met in an electronics shop on Kings Road in Chelsea, London in August 1981. Recognising a mutual interest in dance music they began to work on material together, first in Tennant's flat in Chelsea and from 1982, in a small studio in Camden Town. Starting out the two called themselves West End, because of their love of London's West End, but later they came up with the name Pet Shop Boys, derived from friends of theirs who worked in a pet shop in Ealing.Their big break came in August 1983, when Tennant was assigned by Smash Hits to interview The Police in New York. The duo were obsessed with a stream of Hi-NRG records, made by New York producer Bobby Orlando, simply known as Bobby 'O'. He suggested making a record with the Pet Shop Boys, after hearing a demo tape that Tennant had taken with him. In April 1984, the Orlando-produced "West End Girls" was released, becoming a club hit in Los Angeles and San Francisco as well as a minor clubhit in the Netherlands, Belgium and France. They were on their way.....

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Pet Shop Boys' 2001 expanded-edition reissue campaign is a model example of how to execute deluxe reissues, and the very first in the six-disc series, their debut album Please, is perhaps the finest example of why. In addition to the remastered album on the first disc, there's a second disc of rare material -- or further listening, as its called here -- including non-LP B-sides, extended mixes, previously unreleased mixes, and three cuts that never have appeared on CD before.

On top of the music, there are the wonderful liner notes, which not only include an overview of the record but also have track-by-track commentary by Neil Tennant and Chris Lowe, plus rare photos.

Pet Shop Boys - Further Listening 1984-1986 (Please) (flac 541mb)

201 A Man Could Get Arrested (12" B-Side) 4:11
202 Opportunities (Let's Make Lots Of Money) (Full Length Original 7") 4:36
203 In The Night 4:51
204 Opportunities (Let's Make Lots Of Money) (Original 12" Mix) 7:00
205 Why Don't We Live Together? (Original New York Mix) 5:14
206 West End Girls (Dance Mix) 6:39
207 A Man Could Get Arrested (7" B-Side) 4:51
208 Love Comes Quickly (Dance Mix) 6:50
209 That's My Impression (Disco Mix) 5:19
210 Was That What It Was? 5:17
211 Suburbia (The Full Horror) 8:58
212 Jack The Lad 4:32
213 Paninaro (Italian Mix) 8:38

Pet Shop Boys - Further Listening 1984-1986 (Please) (189mb)

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Of the 14 tracks on the second disc of the two-disc expanded reissue of Actually, Pet Shop Boys' second album, there are three previously unreleased mixes, highlighted by Shep Pettibone's version of "Heart" and two versions of "Always on My Mind" that never made it to CD prior to this release. Of the mixes that populate much of the rest of the disc, the disco mix of "It's a Sin" is terrific, as are extended mixes of "Always on My Mind" and "What Have I Done to Deserve This." But at the true heart of this disc are songs like "You Know Where You Went Wrong," "A New Life," "I Want a Dog," and "Do I Have To?," all terrific songs (especially "I Want a Dog") that could have comfortably fit on the actual album. It may not have every released mix, but it has the best of them.

Pet Shop Boys - Further Listening 1987-1988 (Actually) ( flac 531mb)

201 I Want To Wake Up (Breakdown Mix) 6:00
202 Heart (Shep Pettibone Version) 4:13
203 You Know Where You Went Wrong 5:52
204 One More Chance (7'' Mix) 3:49
205 It's A Sin (Disco Mix) 7:42
206 What Have I Done To Deserve This? (Extended Mix) 6:50
207 Heart (Disco Mix) 8:40
208 A New Life 4:57
209 Always On My Mind (Demo Version) 4:04
210 Rent (7'' Mix) 3:36
211 I Want A Dog 5:00
212 Always On My Mind (Extended Dance Mix) 8:13
213 Do I Have To? 5:17
214 Always On My Mind (Dub Mix) 2:04

Pet Shop Boys - Further Listening 1987-1988 (Actually) ( ogg 189mb)

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This is where things start to get interesting in Pet Shop Boys' reissue campaign, the bonus disc is fascinating. Not that tilted toward mixes, though there are still a bunch of mixes here, all of them quite good, but there are also several non-LP songs -- including "Don Juan," "Losing My Mind," "What Keeps Mankind Alive?," "The Sound of the Atom Splitting," the Chris Lowe-sung "One of the Crowd," and the terrific "Your Funny Uncle" -- and, best of all, previously unreleased demos recorded for Dusty Springfield ("Nothing Has Been Proved") and Liza Minnelli ("So Sorry, I Said"), along with demos of "Don Juan" and "Domino Dancing." Springfield and Minnelli did record these songs, but it's fascinating to hear PSB's versions.

Pet Shop Boys - Further Listening 1988-1989 (Introspective) (flac 493mb)

201 I Get Excited (You Get Excited Too) 5:36
202 Don Juan (Demo Version) 4:22
203 Domino Dancing (Demo Version) 4:48
204 Domino Dancing (Alternate Version) 4:53
205 The Sound Of The Atom Splitting 5:13
206 What Keeps Mankind Alive? 3:26
207 Don Juan (Disco Mix) 7:35
208 Losing My Mind (Disco Mix) 6:09
209 Nothing Has Been Proved (Demo For Dusty) 4:52
210 So Sorry, I Said (Demo For Liza) 3:26
211 Left To My Own Devices (Seven-Inch Mix) 4:48
212 It's Alright (Ten-Inch Version) 4:47
213 One Of The Crowd 3:56
214 It's Alright (Seven-Inch Version) 4:21
215 Your Funny Uncle 2:18

Pet Shop Boys - Further Listening 1988-1989 (Introspective) (ogg 171mb)

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RhoDeo 1152 Roots

2011-12-27T04:36:00.001+01:00

Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

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Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. The fast growth of the local music scene encouraged him to get more involved in the music business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine, working with Lee Perry who had just ended his association with Clement "Coxsone" Dodd. In 1968, with the help of Bunny Lee, he launched his Amalgamated record label, and had his first success with one of the earliest rocksteady songs, Roy Shirley's "Hold Them"

When Perry decided to leave to start his own record label, Upsetter, Gibbs enrolled the young Winston "Niney" Holness (later known as Niney The Observer) who helped Gibbs maintain his productions at the top of the charts. During the rocksteady period until 1970, he had hit records with numerous artists including The Pioneers, Errol Dunkley, and Ken Parker. He also worked with backing bands such as Lynn Taitt and the Jets (including the organist Ansel Collins, and horns players Tommy McCook, Johnny "Dizzy" Moore, Bobby Ellis and Vin Gordon), or The Hippy Boys (featuring the Barrett brothers as the rhythm section).

He concentrated exclusively on the production of the then new reggae sound after his first international success "Love of the Common People" by Nicky Thomas (#9 in the UK , summer 1970). Gibbs still recorded the rock-steady artists that he had initially worked with; artists like The Ethiopians, Delroy Wilson, and The Heptones. The two volumes of his singles compilations The Heptones and Friends were bestsellers in Jamaica. During this period, he launched three new labels —Jogib, Shock, and Pressure Beat.

In 1972, after having moved his studio in the Duhaney Park district, he set up a new one at Retirement Crescent and started to work with sound engineer Errol Thompson. Together they were known as "The Mighty Two", and along with his studio band The Professionals (including bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith), they produced hundreds of singles, including the hits "Money In My Pocket" by Dennis Brown, "Ah So We Stay" by Big Youth and "Eviction" by Black Uhuru. The duo worked on over 100 Jamaican number one hits.

In 1975, he set up his new 16-track studio and record pressing plant and kept producing Jamaican artists under numerous label names (Crazy Joe, Reflections, Belmont, Town & Country). He had success again with roots reggae, rockers, lovers rock and Dub music artists including: Dennis Brown, Jacob Miller, Sylford Walker, The Mighty Diamonds, Gregory Isaacs, Prince Alla and Junior Byles.

The 1977 Culture album Two Sevens Clash was a major influence on the then emerging punk scene and an internationally acclaimed production. The album was cited by punk rock band The Clash. Other successful artists produced by the Mighty Two during the end of the 1970s include: Marcia Aitken, Althea & Donna, John Holt, Barrington Levy, Cornell Campbell, Dean Fraser, Delroy Wilson, Beres Hammond, Ranking Joe, Prince Jazzbo, Prince Mohammed, Dillinger, Trinity, Prince Far I, Clint Eastwood and I-Roy.

Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits.

In the 1980s, Gibbs had an international hit with J.C. Lodge's "Someone Loves You Honey" and again in the 1990s–2000s teamed up with Errol Thompson, and Sydney "Luddy" Crooks of The Pioneers, to produce some new music way into the new millennium. Before his death, Gibbs also went into business with Chris Chin of VP Records, which was one of his last business ventures.

He was not married when he died of a heart attack on 21 February 2008 and is survived by his 12 children.

This is a 40 track 4cd sampler the Evolution Of Dub Volume 4 - Natural Selection from a thusfar 6 volume series, buying it at Amazon UK wouldn't set you back much, it's just 12 pounds, i suspect buying it per track at I Tunes will be more expensive. As all albums are clearly below 200mb I don't provide OGG rips here.

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Joe Gibbs & The Professionals - State Of Emergency (flac 119mb)

1.01 Joe Gibbs And The Professionals – Bounty Hunter 2:31
1.02 Joe Gibbs And The Professionals – Rawhide Kid 2:49
1.03 Joe Gibbs And The Professionals – Tribute To Donald Quarrie 2:53
1.04 Joe Gibbs And The Professionals – High Noon 2:51
1.05 Joe Gibbs And The Professionals – The Great Escape 3:02
1.06 Joe Gibbs And The Professionals – Walls Of Jericho 2:50
1.07 Joe Gibbs And The Professionals – Wicked And Dreadful 2:30
1.08 Joe Gibbs And The Professionals – Revenge 3:02
1.09 Joe Gibbs And The Professionals – I Shot The President 3:24
1.10 Joe Gibbs And The Professionals – State Of Emergency 3:05

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Joe Gibbs - Majestic Dub (flac 156mb)

2.01 Joe Gibbs And The Professionals – Ten Commandments 3:15
2.02 Joe Gibbs And The Professionals – Majestic Dub 2:59
2.03 Joe Gibbs And The Professionals – Social Justice 3:43
2.04 Joe Gibbs And The Professionals – Kings Of Dub 2:43
2.05 Joe Gibbs And The Professionals – Edward The Eight 3:17
2.06 Joe Gibbs And The Professionals – International Treaty 2:56
2.07 Joe Gibbs And The Professionals – Martial Law 2:54
2.08 Joe Gibbs And The Professionals – Nations Of Dub 3:06
2.09 Joe Gibbs And The Professionals – Embargo 3:49

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Gibbs And The Professionals - African Dub Chapter 5 (flac 144mb)

3.01 Joe Gibbs And The Professionals – The Day After 4:35
3.02 Joe Gibbs And The Professionals – Long Distance Affair 3:39
3.03 Joe Gibbs And The Professionals – Full Moon Ikky 4:41
3.04 Joe Gibbs And The Professionals – Ladies Night Out 4:01
3.05 Joe Gibbs And The Professionals – Chapter Five 4:05
3.06 Joe Gibbs And The Professionals – Bad Verdict 4:07
3.07 Joe Gibbs And The Professionals – Military Intervention 4:46
3.08 Joe Gibbs And The Professionals – Campus Flash Back 2:28

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Sly & Robbie - Syncopation (flac 149mb)

4.01 Sly & Robbie – Syncopation 3:59
4.02 Sly & Robbie – Free Ticket To Ride 4:14
4.03 Sly & Robbie – Earthscan 3:17
4.04 Sly & Robbie – Flirting In Space 3:52
4.05 Sly & Robbie – Space Invaders 3:19
4.06 Sly & Robbie – Nighthawk 3:57
4.07 Sly & Robbie – Laser Eyes 3:28
4.08 Sly & Robbie – Flight To Nowhere 3:19

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RhoDeo 1152 Illuminatus Appendix

2011-12-26T04:32:00.001+01:00

Hello, hope you've have your belly not too full these Xmas days but then will this have been the last one, over at the Maya headquarters the countdown has started, 360 days days until the new sun starts. BTW did you know that the last year zero and the start of the fifth sun 11 August 3114 BC was when ? The builder/guardian of the Gizeh plateau (Thoth) went into exile and moved to South America with a small band of supporters(Sumer--Maya 'myth'). Making room for the first farao dynasty founded by the scorpion king that ruled Egypt(egyptology fact).Very close too to 3102BC the Beginning of Kali Yuga according to Vedic Scriptures. So maybe there's a little more too it then most want to believe.

Illuminatus has reached the penultimate Appendix stage
"The ultimate weapon isn't this plague out in Vegas, or any new super H-bomb. The ultimate weapon has always existed. Every man, every woman, and every child owns it. It's the ability to say No and take the consequences." - Hagbard Celine, Leviathan
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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

Sundaze 1152 Happy Holidaze

2011-12-25T04:04:00.001+01:00

Hello, as X'mas is once more upon us some words of wizzdom are not unusual...but rarely inspiring. Sure, wishing love and peace can be heartfelt but in practice these words have become rather hollow, certainly when connected to a religion that from the moment it coalesced cut all ties with the message it's founder supposedly brought. The Roman Catholic church has been a murderous and later lecherous bunch that have served satan as their absolute power corrupted absolutely, but i digress.

Xmas is an old party, even in the days of the farao's the return of the sun was hailed as a reason to party. Absolutely nothing Christian about Xmas, later identifying the birth of Christ with the rebirth of the sun a purely pagan proposition. Alas too many in this world are still mesmerized by that crap.

The west have developed a new class of priests called scientists, a spin off of those called technocrats are currently grabbing political power in a drive that has been in the making since the 2nd world war. But i digress once more, the scientists so long battling it out with religion have become like them, full of dogma, they are materialist reductionists witchhunting everyone who oppose their ideas, luckily many recognize that scientists' grasp of reality is limited and those moving furthest away from materialism, the theoretical physicists are looking for God these days, that is, Its main particle, with the biggest tool ever build...haha what a sad joke. Meanwhile neuroscientists scanning the brain for the mind or soul, who knows they mind find that materialist ego that has been causing all the troubles in this world, scanning a couple of banksters might shed some light...

Seriously, it will take some time yet before those scientists grasp that everything is consciousness and matter a state of consciousness, as such we maybe the highest form of matter on this planet, but to take it a step further our sun may really be a much more godlike entity we give it credit for..that is in these days, and don't forget our planet mother Earth, Gaia .

Humans, so ignorant it's almost funny...

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To make up for it a little here's a Xmas gift for entertainment and education for those willing to broaden their horizon and stimulate their minds.
2011 Xmas Gift ( 53mb)

Rests me to wish you all Happy Holidaze

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Todays Xmas post was planned months ago and the whole Foxx month evolved from there.

John Foxx is a master of ambience and tone-poetry, like some kind of audio alchemist, he brews electronic atmospheres, ambient washes and meaningful riffs that long ago put him on a par with the likes of Brian Eno. Merging the borders of electronica and ambience, Foxx paints a picture of that lost time before the re-development of London's East end, his passion for places and his sensitivity to everything around him act as sonic brushstrokes providing detail over simplistic and minimal ambient backdrops - his trademark use of dense and extended reverberation comes to the fore here, showing the pathways that would ultimately lead to the "Cathedral Oceans" albums.

“Cathedral Oceans started when I was kid, when I sang in a choir briefly, during that time I became very interested in the way that sound worked in big spaces, churches particularly. I learned a lot of things there but I didn’t understand a lot of what I’d actually learned until later. And when I started recording I’d almost forgotten about all that until I started using echoes and reverberations, and then I realized that I could use some of that to simulate things that happened when I was singing in churches back then – and use that old knowledge of how a single voice in a massive space behaves."

“So I started experimenting, down in the basement of the studio, and when I had some time I used to set up tape-loops and reverberations and I’d sing into them and see what happened, and gradually negotiate my way through it. Over the course of many years Cathedral Oceans began to take shape – it did take a long time. In the meantime I could hear happening, in the stream of things going by, other people who were beginning to work in the same way.”

There was also a significant visual trigger for the work. “I started taking photographs of buildings and statues,” Foxx says, “Beginning when I was on tour with Ultravox. I didn’t know what to do with any of these things. And then one day I picked up two slides and overlaid them – one was of some foliage, and the other was a face from a fountain statue, and you suddenly got this other reality coming through, which was unusual then. Nowadays Photoshop can do it very easily, but back then that kind of montage really wasn’t easy to achieve. It really inspired the musical juxtaposition – of that old-style church music with modern technology and synthesizers and different ways of singing, creating notional space rather than real space. So I started working in parallel with these two things and gradually built up a library of images and pieces of music.”

Following a long period of gestation, the first Cathedral Oceans CD was issued in 1995, Cathedral Oceans II in 2003 and the final part, Cathedral Oceans III, in 2005. October 25 this year sees the release via Edsel Records of the The Complete Cathedral Oceans, the first ever anthology of all three albums. Containing all 33 tracks from the original discs, plus a DVD of films made to accompany Cathedral Oceans III, a selection of full-colour images and excerpts from Foxx’s novel The Quiet Man, it’s presented in handsome hardback book-style packaging. This is some of the most absorbing and transporting music ever made, and you’d do well to get it in your life.

A special Xmas awaits those taking up todays music...

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Cathedral Oceans is a long ongoing project by Foxx, the first recordings that appear on this album were made as early 1983. In 1987 Cathedral Oceans material was played live by Foxx in various buildings, gardens and cathedrals in England and Rome. As a result of the long genesis of the album it does sound somewhat fragmented in places, but the overall effect is soothing, almost pastoral ambience created by extensive usage of reverb and echo coupled with gregorian chanting.

Foxx has built some very serene and peaceful soundscapes that are perfect for relaxation and meditation. The arrangements are flawless. Foxx uses Gregorian chant samples to augment the pastoral ambience. The effect is inspiring and uplifting. It is impossible to ignore the rays of hope and the warm caresses of this music. Deep listeners will achieve rejuvenation and catharsis.

John Foxx – Cathedral Oceans I (flac 229mb)

101 Cathedral Oceans 5:17
102 City As Memory 5:43
103 Through Summer Rooms 6:36
104 Geometry And Coincidence 5:24
105 If Only... 3:21
106 Shifting Perspective 2:33
107 Floating Islands 6:07
108 Infinite In All Directions 5:50
109 Avenham Collonade 6:12
110 Sunset Rising 2:37
111 Invisible Architecture 3:22

John Foxx – Cathedral Oceans I (ogg 116mb)

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John Foxx – Cathedral Oceans II (flac 216mb)

201 Revolving Birdsong 2:13
202 Shimmer Symmetry 5:13
203 Far And Wide 2 6:43
204 Ad Infinitum 6:26
205 Quiet Splendour 5:58
206 Luminous And Gone 5:59
207 Stillness And Wonder 6:23
208 Return To A Place Of Remembered Beauty 7:21
209 Visible And Invisible 6:49
210 Golden Green 7:11
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John Foxx – Cathedral Oceans II (ogg 130mb)

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John Foxx – Cathedral Oceans III (flac 257mb)

301 Oceanic 4:10
302 Through Gardens Overgrown 2:40
303 Spiral Overture 5:48
304 The Shadow Of A Woman's Hand 5:01
305 Radial Harmonics 0:35
306 Serene Velocity 4:31
307 Fog Structures 4:04
308 Eternity Sunrise 4:20
309 Harmonia Mundi 4:45
310 City Of Endless Stairways 4:48
311 In Rising Light 6:54
312 Metanym 6:36

John Foxx – Cathedral Oceans III (ogg 124mb)

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RhoDeo 1151 Grooves

2011-12-23T04:38:00.000+01:00

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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As Parliament was on hold during the first years into the seventies, Funkedelic moved on and released 4 albums during the meantime so today we concentrate on those...

Bernie Worrell was officially credited starting with Funkadelic's second album, 1970s Free Your Mind... and Your Ass Will Follow, thus beginning a long working relationship between Worrell and Clinton. The album Maggot Brain followed in 1971. The first three Funkadelic albums displayed strong psychedelic influences (not least in terms of production) and limited commercial potential, despite containing many songs that stayed in the band's setlist for several years and would influence many future funk, rock, and hip hop artists.

After the release of Maggot Brain, the Funkadelic lineup was expanded greatly. Tawl Ross was unavailable after experiencing either a bad LSD trip or a speed overdose, while Billy Bass Nelson and Eddie Hazel quit due to financial concerns. From this point, many more musicians and singers would be added during Funkadelic's (and Parliament's) history, including the recruitment of several members of the famous James Brown backing band The JB's in 1972 - most notably Bootsy Collins and the Horny Horns. Bootsy and his brother Catfish Collins were recruited by Clinton to replace the departed Nelson and Hazel. Bootsy in particular become a major contributor to the P-Funk sound. In 1972, this new line-up released the politically-charged double album America Eats Its Young. The lineup stabilized a bit with the album Cosmic Slop in 1973, featuring major contributions from recently added singer-guitarist Garry Shider. After first leaving the band, Eddie Hazel spent a year in jail for drug possession and assault, then returned to make major contributions to the 1974 album Standing on the Verge of Getting It On. Hazel only contributed to P-Funk sporadically thereafter.

George Clinton revived Parliament in 1974 and signed that act to Casablanca Records. Parliament and Funkadelic featured mostly the same stable of personnel but operated concurrently under two names. At first, Parliament was designated as a more mainstream funk ensemble dominated by soulful vocals and horn arrangements, while Funkadelic was designated as a more experimental and freestyle guitar-based funk band. The ensemble usually toured under the combined name Parliament-Funkadelic or simply P-Funk (which also became the catch-all term for George Clinton's rapidly growing stable of funk artists).

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Not released until 1996, this was an unusual gig for the band, which was breaking in a new rhythm section (this may have been this lineup's first show) without much or any rehearsal. You can't tell from this 77-minute disc, which offers a typically amorphous, free-floating set of black rock -- which is to say, judged by most standards, it's not typical music at all. Seguing from spaced-out jams to occasional numbers with vocals by George Clinton, and throwing in imaginative improvisations by guitarist Eddie Hazel and keyboardist Bernie Worrell, it sounds something like a combination of Jimi Hendrix, James Brown, and Sun Ra. The 14-minute "Maggot Brain" verges on prog rock/psychedelia (in the good sense), with its almost mystical guitar lines; earthier pleasures are offered with cuts like "I Call My Baby Pussycat" (two versions). The fidelity is pretty good, though the vocals lack the presence of the instruments. Funkadelic are still shown to their best advantage on their studio recordings of the era, but this is certainly a fascinating find for fans.

Funkadelic - Live (Meadowbrook, Rochester, Michigan 9/12/1971) ( 475mb)

01 Alice In My Fantasies 6:26
02 Maggot Brain 14:02
03 I Call My Baby Pussycat (Fast Version) 5:38
04 I Call My Baby Pussycat 8:08
05 Good Old Music 4:31
06 I Got A Thing, You Got A Thing, Everybody Got A Thing 8:38
07 All Your Goodies Are Gone (The Loser's Seat) 15:07
08 I'll Bet You 5:24
09 You & Your Folks, Me & My Folks 5:28
10 Free Your Mind & Your Ass Will Follow 3:37

Funkadelic - Live - Meadowbrook ( 194mb)

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America Eats Its Young makes for a freaky, funky, and aware good time. A double album and worth every minute of it, here Funkadelic brought life, soul, and much more to the party. With George Clinton credited only for arranging and producing, here the mad cast he brought together went all out. Bernie Worrell in particular now had a new importance, credited as co-arranger with Clinton as well as handling string and horn charts on a number of songs. His surging, never-stop keyboards, meanwhile, took control from the start, with his magnificent lead break on the opening "You Hit the Nail on the Head" making for one of the best performances ever on Hammond organ. Bootsy Collins (credited as William) is also somewhere in the crowd on bass and vocals, while old favorites like Eddie Hazel and Tiki Fulwood, among many others, can be found. Perhaps to fill in the time, a few numbers from the first Parliament album, Osmium, two years before cropped up, namely "Loose Booty" and the hilariously sleazy "I Call My Baby Pussycat," here performed with a noticeably slower, dirty groove. The straightforward social call to arms appears throughout, with one song title saying it all -- "If You Don't Like the Effects, Don't Produce the Cause." Other winners include the vicious title track, combining everything from mysterious, doom-laden voices and weeping wails to slow, sad music.

Funkadelic - America Eats Its Young (459mb)

01 You Hit The Nail On The Head 7:11
02 If You Don't Like The Effects, Don't Produce The Cause 3:44
03 Everybody Is Going To Make It This Time 5:55
04 A Joyful Process 6:14
05 We Hurt Too 3:50
06 Loose Booty 4:41
07 Philmore 2:33
08 I Call My Baby Pussycat 5:09
09 America Eats Its Young 5:51
10 Biological Speculation 3:07
11 That Was My Girl 3:46
12 Balance 5:30
13 Miss Lucifer's Love 5:55
14 Wake Up 6:29

Funkadelic - America Eats Its Young (ogg 177mb)

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With a much more stripped-down version of the band, if the credits are to be believed (five regular members total, not counting any vocalists), Funkadelic continued its way through life with Cosmic Slop. A slightly more scattershot album than the group's other early efforts, with generally short tracks, Cosmic Slop still has plenty to like about it, not least because of the monstrous title track. A bitter, heartbreaking portrait of a family on the edge, made all the more haunting and sad by the sweet vocal work, the chorus is a killer, with the devil invited to the dance while the band collectively fires up the funk. Elsewhere, the band sounds like it's more interested in simply hitting a good groove and enjoying it, and why not? If introductory track "Nappy Dugout" relies more on duck calls and whistles than anything else to give it identity, it's still a clap-your-hands/stomp-your-feet experience, speeding up just a little toward the end. As for the bandmembers themselves, Bernie Worrell still takes the general lead thanks to his peerless keyboard work, but the guitar team of Gary Shider and Ron Bykowski and the rhythm duo of Tyrone Lampkin and Cordell Mosson aren't any slouches, either. George Clinton again seems to rely on the role of ringleader more than anything else, but likely that's him behind touches like distorted vocals. Certainly it's a trip to hear the deep, spaced-out spoken word tale on "March to the Witch's Castle," a harrowing picture of vets returning from Vietnam .

Funkadelic - Cosmic Slop (260mb)

01 Nappy Dugout 4:35
02 You Can't Miss What You Can't Measure 3:07
03 March To The Witch's Castle 6:02
04 Let's Make It Last 4:12
05 Cosmic Slop 5:20
06 No Compute 3:05
07 This Broken Heart 3:40
08 Trash A-Go-Go 2:28
09 Can't Stand The Strain 3:27

Funkadelic - Cosmic Slop (102mb)

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elsewhere, last week and..

Funkadelic - Maggot Brain ( 71 ^ 87mb)
Funkadelic - One Nation Under A Groove (78 ^ 95mb)
Funkadelic - One Nation Under A Groove bonus ep ( ^ 38mb)
Funkadelic - The Electric Spanking Of War Babies (81 ^ 99 mb)
Parliament - The Clones Of Dr. Funkenstein ( 76 ^ 99mb)
Parliament - Funked Up ( ^ 94mb)
Parliament - Funked Up 2 ( ^ 98mb)

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RhoDeo 1151 Goldy Rhox 51

2011-12-22T04:23:00.001+01:00

Hello, today the 48th post of GoldyRhox, classic pop rock, in the darklight a UK band, they are the best-selling band in history,and over four decades after their break-up, their recordings are still in demand. They have had more number one albums on the UK charts and have held the top spot longer than any other musical act. According to the RIAA, they have sold more albums in the United States than any other artist, and they topped Billboard magazine's list of all-time Hot 100 artists in 2008.

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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.

Todays mystery album is the eighth studio album by our mystery artists, released on 1 June 1967. The album is widely regarded as one of the greatest of all time, and has since been recognised as one of the most important albums in the history of popular music. The album was a worldwide critical and commercial success, spending a total of 27 weeks at the top of the UK Album Chart and 15 weeks at number one on the US Billboard 200. In 2003, the album was placed at number one on Rolling Stone magazine's list of the "500 Greatest Albums of All Time". Also it is one of the world's best selling albums, having shipped 32 million copies. In time for those family days, music which anyone can relate to and likely sing along to aswell.

Goldy Rhox 51 (flac 270mb)

Goldy Rhox 51 (ogg 109mb)

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RhoDeo 1151 Aetix

2011-12-21T04:19:00.000+01:00

Hello, Aetix is once again featuring an old favorite of mine, underrated as so many really great artists are, John Foxx ( Dennis Leigh). an English singer, artist, photographer and teacher. He was the original lead singer of the band Ultravox and left to embark on a solo career in 1979. Primarily associated with electronic synthesizer music, he has also pursued a parallel career in graphic design and education currently as senior lecturer at The London College of Music and Media TVU in London, working with art, media and music students across a range of courses.

December will be something of a John Foxx month here, splitting into his Aetix work and his Sundaze ambient work. Last week we had a collection of bonus albums too his main eighties releases. Today the prime albums.

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After about five years "living like a ghost in London", Foxx began to find inspiration in the underground House and Acid music scenes in Detroit and London. With Nation 12 in the early 1990s, Foxx released two 12-inch singles, "Remember" and "Electrofear". The first was a collaboration with Tim Simenon, best known for his Bomb the Bass project. The group also wrote the music for the Bitmap Brothers computer games Speedball 2 (1990) and Gods (1991). He also worked with pioneers in this field such as LFO and made the music video for their eponymous debut single. Around this time, Foxx also taught on the Graphic Arts & Design degree course at Leeds Metropolitan University.

On 24 March 1997, John Foxx made a return to the music scene with the simultaneous release of two albums, Shifting City and Cathedral Oceans on Metamatic Records.Shifting City was a collaboration with Manchester's Louis Gordon, an updated stylistic return to Foxx's Metamatic synth pop sound which also displayed the influence of 1990s underground dance music and the 'triphop' style, along with the psychedelic Beatles-esque pop. On 11 October 1997, Foxx played his first public gig since 1982 at The Astoria, London. A limited edition CD (1,000 numbered copies only) entitled Subterranean Omnidelic Exotour was available for purchase by ticket holders.

Cathedral Oceans was a solo John Foxx record, an ambient return to his Catholic youth and his love of the cathedrals of England and Europe. Its roots included traditional evensong, Gregorian Chant, Brian Eno, Harold Budd, and German band Cluster. From his own music Foxx drew on such pieces as "My Sex" from the first self-titled Ultravox! record, "Hiroshima Mon Amour" from Ha!-Ha!-Ha!, "Just For a Moment" from Systems Of Romance, and the title track from The Garden. Cathedral Oceans began as a project during the sessions for "The Garden" and has been a work in progress for 20 years before this release, described by Foxx himself as one of the proudest achievements of his career. An accompanying DVD and book of images was made commercially available for the first time during an installation in Hoxton Square, London, in January 2003.

Foxx and Gordon continued to work together, performing live on the Subterranean Omnnidelic Exotour in 1997 and 1998 and releasing a second album The Pleasures of Electricity, in September 2001. Two years later they toured again, to promote the album Crash and Burn, released in September 2003 on Foxx's own Metamatic Records. This continued the Ballardian themes of urban landscape and automobiles present in Metamatic. 2003 also saw the release of the second volume of Cathedral Oceans as well as another ambient record, the double CD Translucence and Drift Music with Harold Budd. In 2004, from September through October, a collection of Cathedral Oceans images was exhibited at BCB Art, Hudson, New York, and in the following year Cathedral Oceans III was released.

In April 2005 Foxx guested on Finnish DJ Jori Hulkkonen's album Dualizm, where he provided vocals for "Dislocated" which Hulkkonen had written especially for him. A month later, Foxx appeared on stage at the Brighton Pavilion with Harold Budd and Bill Nelson as part of a concert to celebrate the work of the retiring pianist, which led to the announcement in October that year that Foxx would be involved in collaborations with Jah Wobble, Robin Guthrie, Steve Jansen and Nelson. The following month an album's worth of salvaged Nation 12 material was finally issued under the title Electrofear.

In June 2006, Foxx released an instrumental solo album called Tiny Colour Movies consisting of fifteen instrumental tracks inspired by short art films he saw at a private screening. His official website described these as having the "filmic, atmospheric approach" of the Metamatic-era instrumental B-sides. On 18 November 2006, Foxx gave a performance of the work at the Duke of York's cinema in Brighton, where Tiny Colour Movies was premiered as part of the city's Film Festival. Edited versions of the movies were shown on a big screen for the first time with Foxx playing a mix of live and recorded accompaniment from the album.

Three collaborative albums with Louis Gordon were released in late 2006: Live From a Room (As Big as a City), a 'live' studio album from the 2003 tour with an interview CD entitled "The Hidden Man" in October; the studio album From Trash in November; and a further album from the same sessions a few weeks later during the accompanying mini-tour. This two-CD package, entitled Sideways, included ten original tracks plus two extended versions of songs on From Trash. The second disc contained an extensive interview with Foxx describing the making of From Trash which was available only at concerts on the 2006 tour. The album saw a more commercial UK-wide release in April 2007.

A second surround sound DVD of Cathedral Oceans was released in March 2007. This contained his artwork made into a film intended as a "slowly moving, hallucinogenic, digital stained glass window, intended to be projected as big as possible onto architecture and in public places." The work was premiered in November 2006 at the Leeds International Film Festival. In July 2007, Foxx exhibited some of his Cathedral Oceans artwork as large format digital prints at Fulham Palace as part of the RetroFuture exhibition hosted by ArtHertz. On the opening night, Foxx performed a piano piece accompanying a reading from his unpublished novel The Quiet Man in front of an audience for the first time.

On 29 September 2007, a showcase of Foxx's work was held at the Institute of Contemporary Art in London where he performed another version of Tiny Colour Movies . This was followed by the first-ever live performance of the entire Metamatic album, during which Foxx and Louis Gordon were accompanied on stage by Steve D'Agostino. Later in the evening, the DVD of Cathedral Oceans was shown in one of the ICA cinema studios. In October, Foxx and Gordon toured the UK with Metamatic, culminating in a show at Cargo in London. A live album titled A New Kind of Man, culled from the Metamatic performances in 2007, was released on 28 April 2008. A personal compilation of his work, My Lost Citywas released in 2009.

In December 2009 the Metamatic website announced the new musical project John Foxx And The Maths, the name given to the work written and produced by John Foxx and Benge. Latter had already broke the news on his own blog in November calling The Maths "a new album project" An initial single Destination / September Town was released in December 2009 as download.

The duo continued to work in Benge's studio in Shoreditch throughout 2010 , a new album entitled Interplay was announced in January 2011 and released on March 21st. The album gained much critical acclaim with The Quietus calling it "one of the finest electronic records you'll hear in 2011." The Quietus also launched a remix competition to coincide with the release of the album. A live event featuring John Foxx And The Maths, was held in April 2011. Back to the Phuture was billed as a special electronic music event – featuring live sets from John Foxx, Gary Numan, Mirrors and Motor – plus a DJ set by Mute Records founder Daniel Miller

A nine date UK tour by John Foxx And The Maths was announced in July 2011, plus live performances in Poland and Belgium. A second album The Shape of Things was also announced prior to the tour and was initially only available for purchase at tour venues.

Foxx has more recently taken a senior lecturer position at The London College of Music and Media TVU in London, working with art, media and music students across a range of courses. These include a masters degree in Computer Arts, as well as undergraduate courses such as Digital Arts and Audio Technology. In December 2007, Foxx exhibited some of his photographic works in an exhibition called Cinemascope at the Coningsby Gallery in West London. The images were part of three collections, "Grey Suit Music", "Tiny Colour Movies" and "Cathedral Oceans".

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On Metamatic, Foxx cultivates a curious air of disinterest that never seems truly bored, but is much more extreme than even his unarguably distant vocal style for Ultravox!. It holds up as one of the peaks of the early-'80s fascination with emotionless, Kraftwerk-inspired synth pop.

John Foxx - Metamatic (flac 254mb)

101 Plaza 3:56
102 He's A Liquid 3:03
103 Underpass 3:57
104 Metal Beat 3:02
105 No-one Driving 3:48
106 A New Kind Of Man 3:42
107 Blurred Girl 4:19
108 030 3:18
109 Tidal Wave 4:17
110 Touch And Go 5:40

John Foxx - Metamatic (103mb)

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John Foxx's second solo effort is a lovely slice of underrated, early-'80s pop/rock with a decidedly electronic touch. Starting with an absolutely killer track, the steady Krautrock-rhythm pulse and shimmer of "Europe After the Rain," Foxx's elegantly passionate vocal is the icing on the cake .The Garden is polished, epic post-punk of the finest variety. At its hardest rocking, it easily calls up the contemporary work of bands like U2, Simple Minds, and Echo & the Bunnymen in its driving, charging sweep. Foxx himself plays a fine guitar, but Robin Simon gets the lead guitar credits throughout the album and turns out to be an under-appreciated figure of that era, relying on quick, sudden bursts of chords and feedback to carry his work. "Systems of Romance," borrowing its title from the last Foxx-led Ultravox album and possessing a thrilling instrumental coda, and the dramatic charge of "Walk Away" make for two of the strongest standouts, as does the title track, concluding the album with a striking combination of mysterious, haunting moods and keyboard parts.

John Foxx - The Garden ( flac 274mb)

101 Europe After The Rain 4:01
102 Systems Of Romance 4:04
103 When I Was A Man And You Were A Woman 3:39
104 Dancing Like A Gun 4:12
105 Pater Noster 2:35
106 Night Suit 4:26
107 You Were There 3:53
108 Fusion/Fission 3:51
109 Walk Away 3:55
110 The Garden 7:11

John Foxx - The Garden ( ogg 100mb)

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The third solo album by John Foxx focused on fusing the experimental fringe of synth pop with a melodic preoccupation that almost put him into crossover territory. Capped by the superb single "Endlessly," The Golden Section again distanced Foxx from the glut of synth bands on the market.

John Foxx - The Golden Section (flac 304mb)

101 My Wild Love 3:44
102 Someone 3:31
103 Your Dress 4:26
104 Running Across Thin Ice With Tigers 5:37
105 Sitting At The Edge Of The World 4:23
106 Endlessly 4:18
107 Ghosts On Water 3:12
108 Like A Miracle 5:10
109 The Hidden Man 5:44
110 Twilight’s Last Gleaming 4:24

John Foxx - The Golden Section (ogg 113mb)

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RhoDeo 1151 Roots

2011-12-20T04:47:00.000+01:00

This is a 40 track 4cd sampler the Evolution Of Dub Volume 3 - The Descent Of Version from a thusfar 6 volume series, buying it at Amazon UK wouldn't set you back much, it's just 12 pounds, i suspect buying it per track at I Tunes will be more expensive. As all albums are clearly below 200mb I don't provide OGG rips here.

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The Revolutionaries - Negrea Love Dub (flac 173mb)

1.01 Rock Me In Dub 3:28
1.02 Channel One In Dub 3:45
1.03 Thompson In Dub 3:37
1.04 Negrea Love Dub 2:52
1.05 Jah Jah Children Dub 3:33
1.06 Lion Dub 3:04
1.07 Natty Dread Dub 3:08
1.08 Roots Dub 3:24
1.09 Jamaica Colley Dub 3:07
1.10 Africa Love Dub 3:22

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The Revolutionaries - Green Bay Dub (flac 148mb)

2.01 Mafia Dub 2:51
2.02 Jungo In Dub 2:54
2.03 Survival Dub 2:49
2.04 Nagusa Dub 3:36
2.05 Skillful Dub 2:51
2.06 Creation Dub 3:44
2.07 Green Bay Dub 3:33
2.08 Hop Scotch Dub 2:39
2.09 Jerusalem Dub 3:33
2.10 Back A Wall Dub 3:13

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The Revolutionaries - Outlaw Dub (flac 143mb)

3.01 79 Rock 3:21
3.02 Danger Rockers 3:29
3.03 African Free Up 3:35
3.04 Wicked Dub 2:47
3.05 Dub I Dub 2:46
3.06 Roots Man Dub 2:21
3.07 Fisherman Style 2:46
3.08 Freedom Dub 2:20
3.09 Shockin' Rock 2:50
3.10 Thompson Sound Incorporated 3:35

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The Revolutionaries - Goldmine Dub (flac 190mb)

4.01 Calico Jack 4:02
4.02 Big Foot 3:12
4.03 Goldmine 2:51
4.04 Bitter Blood 3:09
4.05 Red River Dub 3:07
4.06 Musketeer Dub 3:02
4.07 Jamintel 3:41
4.08 Heartburn 3:10
4.09 Sore Mouth 2:57
4.10 Pepper Dub 3:41

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Rhodeo 1151 Illuminatus Appendix

2011-12-19T05:08:00.001+01:00

Hello, hope you've had an enjoyable weekend. The North Koreans are having a party as their second immortal leader Kim Jong-Il has left the building and Kim Jong-Sung is now responsible for starving his people, but "hey we've got the bomb so fuk off" problem is of cause there's no telling how deranged these people have become these past 50 years.

What a contrast to that other, really great man that died this weekend, Vaclav Havel. A true humanist , a writer, musiclover and the man that led the Czech Republic thru the difficult days after the fall of communism(velvet revolution) and the split from Slovakia. If only more like him came to the fore..

Illuminatus has reached the Appendix stage 3 more posts including this one..

"The ultimate weapon isn't this plague out in Vegas, or any new super H-bomb. The ultimate weapon has always existed. Every man, every woman, and every child owns it. It's the ability to say No and take the consequences." - Hagbard Celine, Leviathan
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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

Sundaze 1151

2011-12-18T04:47:00.000+01:00

Hello, as X'mas once more closes in on the weakhearted as the world is bombarded with mindnumbing Xmas songs and superficial do gooders not to mention all those tedious yearlists, (i've seen some bullshit in those). Anyway "Imagine" away, whilst the sociopaths play the game last man standing. You might think I'm a pessimist, I'm not more a cynical optimist that one day the people will awake from their amnesiac sleep, after all this really still is an amazing planet.

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As announced lot's of John Foxx this month, expect more biography coming at Aetix.. Foxx has proved a masterful alchemist of minimalism, delicacy and evocation. He may be the quiet man, a ghost in the shadows, but when he steps out, he is Luminous... few can be described as quite so visionary.

John Foxx is a master of ambience and tone-poetry, like some kind of audio alchemist, he brews electronic atmospheres, ambient washes and meaningful riffs that long ago put him on a par with the likes of Brian Eno. This was so ably demonstrated with the sublime "Cathedral Oceans" series and the collabaoration with Harold Budd - within this framework, "My Lost City" is no exception.

Merging the borders of electronica and ambience, Foxx paints a picture of that lost time before the re-development of London's East end, his passion for places and his sensitivity to everything around him act as sonic brushstrokes providing detail over simplistic and minimal ambient backdrops - his trademark use of dense and extended reverberation comes to the fore here, showing the pathways that would ultimately lead to the "Cathedral Oceans" albums.

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This album represents a meeting of two musicians who each work at the boundaries of their respective fields. Budd and Foxx have long been engaged by each others work, and eventually recorded together in the Autumn of 1996. These two CDs, "Translucence" and "Drift Music", are the record of those sessions.

Well, there's a safer alternative for the chronically sleep deprived, thanks to the ambient duo of John Foxx and Harold Budd. Play Translucence or Drift Music at bedtime and you won't be awake for long. Translucence is heavy on minimalist piano melodies - processed, echoed, reverbed, and chorused to the max. Drift Music is all washes of serene synthesizer chords.

What Foxx and Budd have crafted here is a true epic of ambience. Two cd's run the gamut through this genre. There are four types of songs found on this collection - the airy landscape, the sweet memory, the underwater themes, and the dark themes. They are all wonderfully done

John Foxx & Harold Budd – Translucence & Drift Music (flac 287mb)

Translucence
101 Subtext 5:59
102 Spoken Roses 6:20
103 Momentary Architecture 1:40
104 Adult 3:03
105 Long Light 3:54
106 A Change In The Weather 2:41
107 Here And Now 3:59
108 Almost Overlooked 2:30
109 Implicit 5:25
110 Raindust 7:08
111 Missing Person 1:36
112 You Again 3:24
Drift Music
213 Sunlit Silhouette 3:15
214 The Other Room 1:57
215 Some Way Through All The Cities 4:17
216 Stepping Sideways 3:44
217 A Delicate Romance 7:14
218 Linger 1:59
219 Curtains Blowing 3:06
220 Weather Patterns 1:50
221 Coming Into Focus 5:02
222 After All This Time 6:54
223 Someone Almost There 1:34
224 Resonant Frequency 2:45
225 Avenue Of Trees 1:16
226 Underwater Flowers 6:05
227 Arriving 1:25
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John Foxx & Harold Budd – Translucence & Drift Music (ogg 207mb)

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Begun as a collaboration between John Foxx and Steve Jansen (Japan), the original recordings for this album reportedly gathered a little dust while Foxx worked on other projects, and it was Steve D’Agostino who reworked and completed the album. Though it’s the work of three people, this is sparse, quiet music. Jansen played gongs, Foxx played piano, D’Agostino added some electronics. It’s ambient music, sometimes leaning a little closer to the isolationist end of the ambient spectrum , but if it’s not as effortlessly pretty as a Harold Budd album, it’s never as harsh as the more extreme isolationist artists.

Foxx’s piano is reminiscent of both Erik Satie and Harold Budd, but it’s only one part of the mix, often not there at all. Instead, there are sustained drones, chimes, and occasional electronic sounds, against which Foxx occasionally places brief melodic passages. It’s very subtle though at times unsettling music. Jansen’s gongs make this album easily distinguishable from Foxx’s past forays into ambient. Unlike the Cathedral Oceans albums, there’s no singing of any kind, and the feel and texture are very different from those of Translucence/Drift Music, his Harold Budd collaboration.

John Foxx, Steve D'Agostino, Steve Jansen - A Secret Life (flac 164mb)

01 A Secret Life - Part 1 3:03
02 A Secret Life - Part 2 9:35
03 A Secret Life - Part 3 3:58
04 A Secret Life - Part 4 3:30
05 A Secret Life - Part 5 7:15
06 A Secret Life - Part 6 8:49

John Foxx, Steve D'Agostino, Steve Jansen - A Secret Life (ogg 81mb)

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RhoDeo 1150 Grooves

2011-12-16T04:40:00.000+01:00

Hello, today's artists have been up to the downslope and carved out their own niche in the global music mind..PPP FFFunk. From the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

A Parliafunkadelicment Thang

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The P-Funk story began in 1956 in Plainfield, New Jersey, with a doo-wop group formed by fifteen-year-old George Clinton. This was The Parliaments, a name inspired by Parliament cigarettes. By the early 1960s, the group had solidified into the five-man lineup of Clinton, Ray "Stingray" Davis, Clarence "Fuzzy" Haskins, Calvin Simon and Grady Thomas. Later, the group rehearsed in a barbershop partially owned by Clinton and entertained the customers. The Parliaments finally achieved a hit single in 1967 with "(I Wanna) Testify" while Clinton began commuting to Detroit as a songwriter and producer for Motown Records.

By the late 1960s Clinton had assembled a touring band to back up the Parliaments, the first stable lineup of which included Billy Bass Nelson (bass), Eddie Hazel (lead guitarist), Tawl Ross (guitarist), Tiki Fulwood (drums), and Mickey Atkins (keyboards). After a contractual dispute in which Clinton temporarily lost the rights to the name "The Parliaments," Clinton brought the backing musicians forward and christened them Funkadelic,a s Funkadelic, the group signed to Westbound in 1968, and the five Parliaments singers were credited as "guests" while the five musicians were listed as the main group members. Around this time, the group's music evolved from soul and doo wop into a harder guitar-driven mix of psychedelic rock, soul and funk, much influenced by the popular musical (and political) movements of the time. Jimi Hendrix and Sly Stone were major inspirations. This style later evolved into a tighter guitar-based funk (circa 1971-75). The debut album Funkadelic was released in 1970.

Meanwhile, Clinton regained the rights to the name "The Parliaments" and initiated another new entity, now known as Parliament, with the same five singers and five musicians but this time as a smoother R&B-based funk ensemble that Clinton positioned as a counterpoint to the more rock-oriented Funkadelic. By 1970, George Clinton had regained the rights to the Parliaments name: he then signed the entire Funkadelic lineup to Invictus Records as Parliament, as a smoother R&B-based funk ensemble . The group released one album -- 1970's Osmium -- and scored a number 30 hit, "The Breakdown," on the R&B charts in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being. After a hiatus in which Clinton focused on Funkadelic, Parliament was signed to Casablanca Records and released Up for the Down Stroke in 1974. The two bands began to tour together under the collective name "Parliament-Funkadelic.

Though keyboard player Bernie Worrell (b. April 19, 1944, Long Beach, NJ) had played on the original Funkadelic album, his first credit with the conglomeration appeared on Funkadelic's second album, 1970's Free Your Mind...And Your Ass Will Follow. Clinton and Worrell had known each other since the New Jersey barbershop days, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for virtually all later Parliament/Funkadelic releases. His classical training, as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the synth runs and horn arrangements that later trademarked the P-Funk sound.

Two years after the addition of Worrell, P-Funk added its second most famed contributor, Bootsy Collins. The muscular, throbbing bass line of Collins had already been featured in James Brown's backing band (the J.B.'s) along with his brother, guitarist Catfish Collins. Bootsy and Catfish were playing in a Detroit band when George Clinton saw and hired them.
Funkadelic released five albums from 1970 through early 1974, and consistently hit the lower reaches of the R&B charts, but the collective pulled up stakes later in 1974 and began recording as Parliament.

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Funkadelic's self-titled 1970 debut is one of the group's best early- to mid-'70s albums. Not only is it laden with great songs -- "I'll Bet You" and "I Got a Thing..." are obvious highlights -- but it retains perhaps a greater sense of classic '60s soul and R&B than any successive George Clinton-affiliated album. Recording for the Detroit-based Westbound label, at the time Funkadelic were in the same boat as psychedelic soul groups such as the Temptations, who had just recorded their landmark Cloud Nine album across town at Motown, and other similar groups. Yet no group had managed to effectively balance big, gnarly rock guitars with crooning, heartfelt soul at this point in time quite like Funkadelic. Clinton's songs are essentially conventional soul songs in the spirit of Motown or Stax -- steady rhythms, dense arrangements, choruses of vocals -- but with a loud, overdriven, fuzzy guitar lurking high in the mix. And when Clinton's songs went into their chaotic moments of jamming, there was no mistaking the Hendrix influence. Furthermore, Clinton's half-quirky, half-trippy ad libs during "Mommy, What's a Funkadelic?" and "What Is Soul" can be mistaken for no one else -- they're pure-cut P-Funk. . Never again would the band be this attuned to its '60s roots, making self-titled release a revealing and unique record that's certainly not short on significance, clearly marking the crossroads between '60s soul and '70s funk.

Funkadelic - Funkadelic (rem) ( 429mb)

01 Mommy, What's A Funkadelic? 9:06
02 I'll Bet You 6:11
03 Music For My Mother 5:38
04 I Got A Thing, You Got A Thing, Everybody's Got A Thing 3:54
05 Good Old Music 8:04
06 Qualify And Satisfy 6:18
07 What Is Soul 7:40
Bonus Tracks
08 Can't Shake It Loose 2:28
09 I'll Bet You 4:10
10 Music For My Mother 5:17
11 As Good As I Can Feel 2:31
12 Open Our Eyes 3:58
13 Quality And Satisfy 3:00
14 Music For My Mother 6:14

Funkadelic - Funkadelic (rem) ( 175mb)

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Digitally remastered and expanded edition of the legendary Funk band's 1970 debut album including seven bonus tracks. The bonus cuts feature three non-album singles sides and four tracks unissued at the time of recording, including an unedited version of 'Breakdown'. Osmium has a psychedelic soul sound with a spirit of experimentation that is more similar to early Funkadelic than the later R&B-inspired Parliament albums. It was originally released in July 1970 on Invictus Records.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in the U.S., Europe and Japan, sometimes under alternate titles that have included Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were recorded around the same time as Osmium.

The personnel for this album included the five Parliaments singers and the five backing musicians known as Funkadelic. The same personnel also recorded as Funkadelic, releasing that act's self-titled debut album also in 1970. After the release of Osmium, contractual difficulties prevented further recording under the name Parliament until 1974, when Clinton signed that act to Casablanca Records and positioned it as an R&B-inspired counterpoint to the more rock-oriented Funkadelic.

The first Parliament album as such was a mixed-up mess of an affair -- but would anyone expect anything less? The overall sound is much more Funkadelic than later Parliament, if with a somewhat more accessible feel. Things get going with an appropriately leering start, thanks to "I Call My Baby Pussycat," which makes something like "What's New, Pussycat?" seem like innocent, chaste conversation. After a stripped-down start, things explode into a full-on funk strut with heavy-duty guitar and slamming drums setting the way, while the singers sound like they're tripping without losing the soul -- sudden music dropouts, vocal cut-ins, volume level tweaks, and more add to the off-kilter feeling. Osmium's sound progresses from there -- it's funk's fire combined with a studio freedom that feels like a blueprint for the future. Bernie Worrell's keyboard abilities are already clear, whether he's trying for hotel lounge jams or full freakiness.

Parliament - Osmium (rem) (544mb)

01 I Call My Baby Pussycat 4:23
02 Put Love In Your Life 5:01
03 Little Ole Country Boy 3:56
04 Moonshine Heather 4:03
05 Oh Lord, Why Lord/Prayer 4:56
06 My Automobile 4:43
07 Nothing Before Me But Thang 3:53
08 Funky Woman 2:53
09 Livin' The Life 5:50
10 The Silent Boatman 5:44
Bonus Tracks
11 Breakdown (Mono Single Version) 2:30
12 Red Hot Mama 4:26
13 Come In Out Of The Rain 2:56
14 Loose Booty 10:18
15 Fantasy Is Reality 3:56
16 Unfinished Instrumental 5:10
17 Breakdown (Stereo Unedited Version) 3:50

Parliament - Osmium (rem) (ogg 200mb)

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It's one of the best titles in modern musical history, for song and for album, and as a call to arms mentally and physically the promise of funk was never so perfectly stated. It lives up to the title throughout as another example of Funkadelic getting busy and taking everyone with it. The title track itself kicks things off with rumbling industrial noises and space alien sound effects, before a call-and-response chant between deep and chirpy voices brings the concept to full life. As the response voices say, "The kingdom of heaven is within!" The low and dirty groove rumbles along for ten minutes of dark fun, with Bernie Worrell turning in a great keyboard solo toward the end. From there the band makes its way through a total of six songs, ranging from the good to astoundingly great. The amount of drugs going down for these sessions in particular must have been notable, but the end results make it worthy.

Funkadelic - Free Your Mind and Your Ass Will Follow (237mb)

01 Free Your Mind And Your Ass Will Follow 10:04
02 Friday Night, August 14th 5:21
03 Funky Dollar Bill 3:15
04 I Wanna Know If It's Good To You 5:59
05 Some More 2:56
06 Eulogy And Light 3:31

Funkadelic - Free Your Mind and Your Ass Will Follow (142mb)

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elsewhere

Funkadelic - Maggot Brain ( 71 ^ 87mb)
Funkadelic - One Nation Under A Groove (78 ^ 95mb)
Funkadelic - One Nation Under A Groove bonus ep ( ^ 38mb)
Funkadelic - The Electric Spanking Of War Babies (81 ^ 99 mb)
Parliament - The Clones Of Dr. Funkenstein ( 76 ^ 99mb)
Parliament - Funked Up ( ^ 94mb)
Parliament - Funked Up 2 ( ^ 98mb)

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RhoDeo 1150 Goldy Rhox 50

2011-12-15T04:41:00.000+01:00

Hello, today the 48th post of GoldyRhox, classic pop rock, in the darklight a UK band, that have sold about 100 million records, and have charted 27 top forty singles in the United Kingdom and United States, as well as 17 top ten albums, with 18 Gold, 12 Platinum and 5 Multi-Platinum album awards in the United States alone.

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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.

Todays mystery album is the is the fifth studio album by the band, released in August 1971. The album has origins in a rock opera conceived as Lifehouse. The ambitious, complex project did not come to fruition at the time and instead, many of the songs written for the project were compiled here as a collection of unrelated songs. After giving up on recording some of the Lifehouse tracks in New York, the band went back into the studio with new producer Glyn Johns and started over.

Although the Lifehouse concept was abandoned, scraps of the project remained present in the final album. The album was immediately recognised for its dynamic and unique sound. The album fortuitously fell at a time when great advances had been made in sound engineering over the previous decade, and also shortly after the widespread availability of synthesisers. The album was a critical and commercial success when it was released, and has been certified 3× platinum by the RIAA. Todays mystery album has been named one of the best albums of all time by VH1 (#13) and Rolling Stone (#28). Obviously it's also included in the book 1001 Albums You Must Hear Before You Die.

Goldy Rhox 50 (flac 250mb)

Goldy Rhox 50 (ogg 104mb)

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RhoDeo 1150 Aetix

2011-12-14T04:36:00.001+01:00

Hello, Aetix is once again featuring an old favorite of mine, underrated as so many really great artists are, John Foxx ( Dennis Leigh). an English singer, artist, photographer and teacher. He was the original lead singer of the band Ultravox and left to embark on a solo career in 1979. Primarily associated with electronic synthesizer music, he has also pursued a parallel career in graphic design and education currently as senior lecturer at The London College of Music and Media TVU in London, working with art, media and music students across a range of courses.

December will be something of a John Foxx month here, splitting into his Aetix work and his Sundaze ambient work. last week we had the band he founded Ultravox, too underrated at the time he was there. Today a collection of bonus albums too his main eighties releases. Music is never made in isolution, there's a process going on and after enough is condensed an album sees the day of light. What is left are mixes and tracks that didn't fit but ultimately were essential to the creation of the album. So today i present here 3 tasty "leftover dishes"

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Dennis Leigh (Foxx) was born 26 September 1947, in Chorley, Lancashire. His father was a coal miner and boxer, his mother a millworker. He attended St Mary’s Primary and St Augustine’s Secondary schools. During his youth in the 1960s he embraced the lifestyle of a mod and a hippy. Dennis experimented with tape recorders and synthesisers while on a scholarship at the Royal College of Art in London. His first band, formed whilst at art college in Preston, was called Woolly Fish. Prior to 1973, he was singing and playing a 12 string guitar, and occasionally supported Stack Waddy in Manchester, from where he later moved to London in order to escape what he saw as a lack of musical stimulus.

In 1973 he formed a band that would eventually be called Tiger Lily, comprising initially bassist Chris Allen and guitarist Stevie Shears, with Canadian drummer Warren Cann joining shortly afterwards, in early 1974. The band played their first official gig at the Marquee club in August 1974. After the gig Billy Currie was recruited as violinist. Tiger Lily released a single on 14 March 1975 on Gull Records, the A-side of which was a cover of the Fats Waller track "Ain't Misbehavin'". It was commissioned for a soft porn movie of the same name. The B-side of "Ain't Misbehavin'" was the group's own song - "Monkey Jive". The small amount of money they received for recording this single was used to buy Billy Currie an electric piano.

Tiger Lily played frequently in London pubs between 1974 and 1975, however their Bowie-esque glam rock sound was rendered superfluous by the advent of punk. After several name-changes, the band transformed into Ultravox!, with an exclamation mark, in July 1976. The group's style fused punk, glam, electronic, reggae and new wave music. Around this time, Leigh adopted his stage name of John Foxx (while Chris Allen, changed his name to Chris Cross).

Among the elements that set the band apart from their contemporaries were Foxx's lyrics and vocal delivery, and Billy Currie's violin and synthesiser playing. Once the band signed to Island Records, they released three LPs during 1977-1978. The first Ultravox! single, Dangerous Rhythm, was released 19 January 1977. Their first album (the self-titled Ultravox!) was released shortly afterwards, produced by Steve Lillywhite and the band, with assistance from Brian Eno. The album attracted a lot of attention, but did not sell well. It was quickly followed by their second album Ha!-Ha!-Ha!, which featured a more jagged punk sound, and included the single ROckWrok, although both were commercial failures. A notable track from "Ha! Ha! Ha!" was Hiroshima Mon Amour which saw the band's increasing use of synthesisers come to the fore and pointed the way for a new musical direction. The song is also notable for its use of a Roland TR-77 drum machine, possibly the first recorded use of a drum machine by a British band.

On their third album, Systems of Romance, Ultravox adopted a smoother sound, and abandoned the exclamation mark in their name. Also missing was their first guitarist, the punk-oriented Stevie Shears, who was replaced by Robin Simon. The album was co-produced by Conny Plank. The punk sound of the previous records was abandoned in favour of a sleek, electronic production that was a precursor of the synthpop sound. Sales were modest, but the album did gain the band exposure to a wider audience, including the United States. Systems of Romance is often regarded as the first synthpop album and, as such, it strongly influenced bands that were to follow. During the recording of Systems of Romance, a song of the same name was written, but the band had no time to record it. It was later included on Foxx's second solo album The Garden.

Despite being dropped by their record label at the beginning of 1979, Ultravox undertook a self-financed tour of the United States in February, which was successful in terms of crowd enthusiasm and ticket sales. Foxx had informed the band that he wished to leave. The band came to a parting of the ways at the end of the tour on the west coast of the United States, Robin Simon deciding to stay on in New York and Foxx announcing his plan to go solo upon returning to England. Ultravox then built on some of the ideas explored on Systems of Romance, achieving huge worldwide success with the album Vienna in 1980, after which the band released a series of popular albums and singles, overshadowing Foxx's concurrent solo career

After signing to Virgin Records, Foxx achieved minor chart success with his first solo single, "Underpass" (UK #31) and "No-One Driving" (UK #32). Its parent album Metamatic appeared in record shops on 17 January 1980. Foxx played most of the synthesisers and "rhythm machines", as they were listed on the sleeve. The name of one of the album's songs, "Metal Beat", takes its name from a CR-78 drum machine sound used on the record. Virgin released the album under the imprint name "Metal Beat Records", which was used for Foxx releases throughout his contract with them.

In 1982, Foxx set up his own recording studio, designed by Andy Munro, also called The Garden, housed in an artists' collective in Shoreditch, East London, in a former warehouse also occupied by sculptors, painters and film makers. Artists such as Depeche Mode, British Electric Foundation, Brian Eno, Trevor Horn, Bronski Beat, The Cure, Nick Cave and the Bad Seeds, Tina Turner, Siouxsie and the Banshees and Tuxedomoon also recorded in Foxx's studio. In September of 83, his third solo LP The Golden Section was released. A development of the sound of The Garden, Foxx described this album as a "roots check" of his earliest influences such as The Beatles, psychedelia, and other pre-punk sources.

The album In Mysterious Ways was issued in October 1985. Musically it was not considered a significant advance on the sound of his two previous releases, nor was it a commercial success although the album's lyrics are far more romantic than any of his previous albums. After In Mysterious Ways, Foxx gave up a public career in pop music. He sold his recording studio and returned to his earlier career as a graphic artist, working under his original name of Dennis Leigh. He also continued experimenting with reverberation, vocal treatments and echo in ambient music, working on a project he called Cathedral Oceans....more next week

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On Metamatic, Foxx cultivates a curious air of disinterest that never seems truly bored, but is much more extreme than even his unarguably distant vocal style for Ultravox!. It holds up as one of the peaks of the early-'80s fascination with emotionless, Kraftwerk-inspired synth pop.

John Foxx - Metamatic bonus (flac 278mb)

201 Film One 4:03
202 This City 3:08
203 To Be With You 4:24
204 Cinemascope 3:27
205 Burning Car 3:16
206 Glimmer 3:38
207 Mr No 3:19
208 Young Love 3:10
209 20th Century 3:09
210 My Face 3:21
211 Like A Miracle (Alternative Version) 3:56
212 A New Kind Of Man (Alternative Version) 4:32
213 He's A Liquid (Alternative Version) 3:00

John Foxx - Metamatic bonus (115mb)

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John Foxx's second solo effort is a lovely slice of underrated, early-'80s pop/rock with a decidedly electronic touch. The Garden is polished, epic post-punk of the finest variety. Foxx himself plays a fine guitar, but Robin Simon gets the lead guitar credits throughout the album and turns out to be an under-appreciated figure of that era, relying on quick, sudden bursts of chords and feedback to carry his work. The album presents a striking combination of mysterious, haunting moods and keyboard parts.

John Foxx - The Garden bonus ( flac 323mb)

201 Swimmer II 5:16
202 This Jungle 4:44
203 Miles Away 3:19
204 A Long Time 3:51
205 Swimmer I 3:34
206 Fog 5:53
207 Swimmer III 5:27
208 Swimmer IV 3:58
209 Dance With Me (Early Version) 3:52
210 A Woman On A Stairway (Early Version) 5:02
221 Fusion/Fission (Early Version) 3:53
212 Miles Away (Alternative Version) 3:23

John Foxx - The Garden bonus ( ogg 123mb)

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The third solo album by John Foxx focused on fusing the experimental fringe of synth pop with a melodic preoccupation that almost put him into crossover territory. Capped by the superb single "Endlessly," The Golden Section again distanced Foxx from the glut of synth bands on the market.

John Foxx - The Golden Section Bonus (flac 447mb)

201 Endlessly (Single Version) 3:52
202 My Wild Love (Early Version) 2:48
203 A Long Time (Alternative Version) 5:04
204 Annexe 3:10
205 Sitting At The Edge Of The World (Alternative Version) 3:59
206 A Kind Of Wave 3:38
207 Twilight's Last Gleaming (Early Version) 3:51
208 Running Across Thin Ice With Tigers (Extended Mix) 5:50
209 A Woman On A Stairway 4:26
210 The Lifting Sky 4:50
211 Shine On Me 3:46
212 Young Man 2:56
213 Wings And A Wind 5:17
214 The Hidden Man (Alternative Version) 4:41
215 Dance With Me 3:30
216 Endlessly (Extended Mix) 6:03

John Foxx - The Golden Section Bonus (ogg 171mb)

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RhoDeo 1150 Roots

2011-12-13T04:27:00.000+01:00

The Heptones - On Top (flac 193mb)

01 Equal Rights
02 Pure Sorrow
03 Heptones Gonna Fight
04 I Hold The Handle
05 My Baby Is Gone
06 Soul & Power
07 A Change Is Gonna Come
08 When You Are Down
09 Take Me Darling
10 We Are In The Mood
11 Sea Of Love
12 Pretty Looks Isn't All
13 Party Time
14 I Love You
15 Oil In My Lamp

The Heptones - On Top (ogg 91mb)

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In 1972, the great harmony trio the Heptones were helping to usher in the transition from rocksteady to reggae. Having recorded huge rocksteady hits for Coxsone Dodd's Studio One, they now went into Joe Gibbs' studio with the Now Generation band (which included guitarists Mikey Chung and Geoffrey Chung, keyboardist Robbie Lyn, drummer Mikey "Boo" Richards, and other luminaries of the period) and recorded a landmark of early reggae music. The album isn't perfect -- the vocals are a bit weak on the vintage sufferer's anthem "Our Day Will Come,". But the vast bulk of the album is excellent: "Be the One" is a pitch-perfect slice of classic roots and culture, followed by an unusually spacy dub version titled "The Road Is Rough"; "Save the Last Dance" is a gloriously cheesy pop cover in the grand tradition of rocksteady and early reggae; and "Freedom to the People" is nicely paired with a great DJ cut on the same rhythm featuring U-Roy.

The Heptones & Their Friends - Meet The New Generation! (flac 252mb)

01 The Heptones – Hypocrite
02 The Heptones – Save The Last Dance
03 Julie Ann & The Heptones – The Gardener
04 The Heptones – Our Day Will Come
05 Nicky Thomas & The Heptones – Have A Little Faith
06 The Heptones – Freedom To The People
07 The Heptones – Every Day And Every Night
08 Peter Tosh & The Heptones – Maga Dog
09 Nicky Thomas & The Heptones – God Bless The Children
10 The Heptones – Love Has Many Faces
11 The Heptones – Be The One
12 Nicky Thomas & The Heptones – Mama Song

The Heptones & Their Friends - Meet The New Generation! (ogg 105mb)

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More than a band, the Skatalites were and are an institution, an aggregation of top-notch musicians who didn't merely define the sound of Jamaica, they were the sound of Jamaica across the '50s and '60s. Although the group existed in its original incarnation for less than 18 months, members brought their signature styles to hundreds upon hundreds of the island's releases. The Skatalites officially lined up as guitarist Jerome "Jah Jerry" Hinds, bassist Lloyd Brevett, teenaged pianist Donat Roy "Jackie" Mittoo, drummer Lloyd Knibbs, trumpeter Johnnie "Dizzie" Moore, Cuban-born tenor saxophonist Tommy McCook, alto saxophonists Lester Sterling and Cuban born Roland Alphonso, and trombonist Don Drummond. Moore, McCook, Sterling, and Drummond were all alumni of the Alpha Cottage School for Boys

The Skatalites came to fruition in June 1964, according to the members' own reckoning, although they have given conflicting stories about just how it happened. Ranglin credits Moore, Knibbs credits himself, but there's no doubt who came up with the name -- that honor goes to McCook. Drafting in vocalists Jackie Opel, Tony DaCosta, Doreen Schaeffer, and calypso star Joseph "Lord Tanamo" Gordon, the group debuted live on June 27, 1964, at the Hi- Hat club in Rae Town

With the growth of Dodd's Studio One label, the group soon found themselves with almost more gigs than they could handle, touring the island as the backing band for most of the label's artists, whilst also performing on-stage themselves. It must have been grueling, the constant driving to and from venues and playing a minimum of two sets a night, but in truth, the Skatalites were having a whale of a time. And in between the gigs, the band seems to have spent virtually all their waking hours recording. Besides working for Dodd and Reid, the group also played on a multitude of records for Prince Buster and Duke and Justin Yap. The actual number of recordings they performed on is anyone's guess, an approximation made more difficult by the fact that the musicians normally went uncredited on the singles themselves.

The Skatalites - Ska-Boo-Da-Ba (flac 122mb)

01 Ska-Doo-Da-Ba 2:45
02 Confucious 2:55
03 Chinatown 2:38
04 The Reburial 2:45
05 Smiling 3:18
06 Ska-Ra-Van (Caravan( (Take 3) 2:26
07 Ringo Rides (AKA Ringo) 2:12
08 Surftide Seven (In A Mellow Tone) 2:43
09 Lawless Street (Instrumental) 3:19
10 Marcus Junior 2:50
11 Ghost Town (You Can't Sit Down) 2:16
12 China Clipper 3:21
13 Ska-Ra-Van Caravan (Take 1) 2:38
14 Lawless Street (DJ Version) 3:16

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elsewhere

The Heptones - In Love With You (77 ^ 69mb)

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RhoDeo 1150 Illuminatus 10th

2011-12-12T04:08:00.000+01:00

Hello, hope you've had an enjoyable weekend. Here we're nearing the end of the Illuminatus saga with Leviathan the third and final part of the Illuminatus Trilogy. Today the last chapters set 08 till 10 of the 10th and final trip, Malkuth. So is that it for the saga ? No there are 14 Appendices left and these will be posted on the last two mondays of 2011. In 2012 there will be another brother in arms in the spotlight, a natural discordian of sorts, sadly he too has left the building, but he left us his voice and writing..

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

Sundaze 1150

2011-12-11T04:34:00.001+01:00

Hello, as 2011 draws to a close,the EU is awaiting nervously what the Wallstreet and City crooks make of their latest fudge, we 99% can only wonder why these financial terrorists aren't arrested and send off to a hardlabour camp to break stones for the rest of their lives. Their cynical games with the lives of the 99% deserve the harshest of punishments.

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As announced lot's of John Foxx this month, expect his biography coming Aetix..For ten years now, Foxx has proved a masterful alchemist of minimalism, delicacy and evocation. He may be the quiet man, a ghost in the shadows, but when he steps out, he is Luminous... few can be described as quite so visionary.

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John Foxx - Hand Held Skies

John Foxx- Skyscraper

Foxx attended a birthday celebration screening of a friend’s private film collection in Baltimore. The films in the collection were all short pieces collected from various sources, including surveillance agencies and Hollywood cutting room floors. Foxx was transfixed by the strangeness and beauty of the clips. A few weeks later Foxx was working on some new pieces of music when he realized he was writing in the aftermath of the film screening. He gave in to the memories and wrote a small collection of musical pieces relating to his memory of the film clips he had seen. It became an instrumental solo album called Tiny Colour Movies consisting of fifteen instrumental tracks inspired by the short art films he had seen.

His official website described these as having the "filmic, atmospheric approach" of the Metamatic-era instrumental B-sides "Glimmer", "Film One" and "Mr No". On 18 November 2006, Foxx gave a performance of the work at the Duke of York's cinema in Brighton, where Tiny Colour Movies was premiered as part of the city's Film Festival. Edited versions of the movies were shown on a big screen for the first time with Foxx playing a mix of live and recorded accompaniment from the album. This 'film' was shown again at Fulham Palace in July 2007 and then in a slightly revised format at the ICA and as part of the 21st International Film Festival in Leeds during November that year.

John Foxx - Tiny Colour Movies (flac 215mb)

01 Stray Sinatra Neurone 3:35
02 Lost New York 2:54
03 Kurfürstendamm 7:22
04 Skyscraper 4:22
05 The Projectionist 2:50
06 Looped Los Angeles 6:01
07 Points Of Departure 0:56
08 X-Ray Vision 2:58
09 Smokescreen 2:26
10 Underwater Automobiles 2:49
11 A Peripheral Character 2:33
12 Shadow City 2:21
13 Interlude 0:42
14 Thought Experiment 2:17
15 Hand-Held Skies 3:35
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John Foxx - Tiny Colour Movies (ogg 106mb)

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Four years in the making, and his third release of 2009, Mirrorball has its roots back in the Twins Victorialand heyday c1986, synchronising at the point where Foxx (V2) began to dissolve. Robin Guthrie's trademark reverb-soaked guitars create an expansive backdrop that is as beautiful as it is inventive. Mirrorball is a melodically affecting exercise in ethereal ambience -- precisely what you might expect from two artists whose CVs list collaborations with Harold Budd. That's not to set Budd up as an overarching influence, though: Foxx and Guthrie come to this album with their own long-established and distinctive pedigrees, the former as an electronic pioneer and the latter as chief architect of the Cocteau Twins' unique dream pop lullabies.

Mirrorball bears the musical fingerprints of both, combining Guthrie's trademark hypnotic, echo-laden melodies with the kind of otherworldly, cavernous spaces that Foxx mapped on Cathedral Oceans. Like David Bowie on "Warsawa" (and Guthrie's former bandmate Elizabeth Fraser), Foxx sings lyrics that aren't recognizable as English; he favors improvised vocals that suggest a hybrid of Latin and glossolalia. Foxx's sonorous baritone -- often set amid austere synth washes, slow, droplet-like piano notes, and Guthrie's reverberating waves of guitar -- contributes a hauntingly beautiful, almost liturgical gravitas.

Mirrorball is by no means a predominantly abstract endeavor. Far from it. Alongside Another Green World and the instrumental suites on Low and Heroes, Mirrorball shows that ambient music isn't only about epic soundscapes: skillful practitioners can also bring that aesthetic to bear on more compact tunes whose brevity belies their richness. Foxx and Guthrie's work makes that point emphatically. Much like its namesake, Mirrorball is a shimmering, multi-faceted artifact.
For all its self-indulgent opulence, there is nothing grandiose about Mirrorball. It is natural and effortless, ethereal, exultant, tender, luxurious and decadent. .

John Foxx & Robin Guthrie - Mirrorball (flac 180mb)

01 Mirrorball 4:15
02 My Life As An Echo 3:06
03 The Perfect Line 4:55
04 Spectroscope 3:24
05 Estrellita 4:48
06 Luminous 4:32
07 Sunshower 3:53
08 Ultramarine 4:34
09 Empire Skyline 4:11

John Foxx & Robin Guthrie - Mirrorball (ogg 84mb)

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RhoDeo 1149 Grooves

2011-12-09T04:24:00.000+01:00

Hello, today's artists (brothers) have had their hurdles in life yet they released wonderful positive music, initially this didn't make them very popular in the hip hop scene, luckily in the UK their music was appreciated, thus they were enabled to reach out to the world and bless us with their grooves. P.M. Dawn straddled the gap between hip-hop and smooth '70s-style soul, creating an innovative urban R&B that owed as much to pop as it did to rhythm and blues.

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P.M. Dawn formed in 1988 by brothers Attrell Cordes (a.k.a. Prince Be, sometimes credited as Prince Be the Nocturnal) and Jarrett Cordes (a.k.a DJ Minutemix or J.C. the Eternal) in Jersey City, New Jersey. The Cordes brothers' father died of pneumonia when they were children. Further family tragedy saw their baby brother Duncan drown at the age of two. The two elder brothers were raised by their mother and their stepfather George Brown, a founding member of Kool & the Gang.

Prince Be began DJing parties and composing songs in ninth grade. Within a few years, he had determined to make a demo tape of some of those pieces with the $600 he had set aside from his after school job as a security guard at a homeless shelter. By then, he and his brother were putting in studio time as P.M. Dawn. They first approached Tommy Boy Records with their demo, but they were told that they were too much like alternative hip-hoppers De La Soul, and not hardcore enough. Eventually, Warlock, an independent record label, issued a debut single, "Ode to a Forgetful Mind", in 1989, but it went unnoticed.

The record label that released the single in the United Kingdom, Gee Street Records, found greater success. Gee Street mixed and marketed the song so that it earned considerable attention from music reviewers, and P.M. Dawn found themselves courted not just by Gee Street, but also by most of the major UK record labels. Gee Street brought the brothers to London in 1990 to record tracks for an album, however, the label found itself facing bankruptcy during the recording. The entire Gee Street operation, along with P.M. Dawn's recording contract, was sold to the highest bidder, Island Records. Island issued a few more singles in the United Kingdom before releasing their debut album, Of the Heart, of the Soul and of the Cross: The Utopian Experience.

The album featured the hit "Set Adrift on Memory Bliss", which sampled the Spandau Ballet song "True", it hit #1 the week of November 30, 1991, and holds the distinction of being the first #1 song on the Billboard Hot 100 chart following the introduction of Nielsen SoundScan to the chart. The song also reached #3 in the United Kingdom. With the success of their debut album, the band embarked on a world tour.

Before releasing their follow-up album, The Bliss Album… (Vibrations of Love and Anger and the Ponderance of Life and Existence), P.M. Dawn contributed the single "I'd Die Without You" to the 1992 Eddie Murphy comedy Boomerang and its soundtrack. The number one hit was also included on The Bliss Album. It features the Boy George duet "More Than Likely" and a cover of The Beatles' "Norwegian Wood (This Bird Has Flown)". On a less positive note, the album also included "So On and So On," which led to a 1999 sampling lawsuit.

Their 1995 album Jesus Wept was unable to attain the success of their first two albums. The album's highest charting single was "Downtown Venus", which contained a sample of Deep Purple's "Hush", and reached #48 on the Billboard chart. Also, in 1995, P.M. Dawn was credited with the remix of White Zombie's "Blood, Milk and Sky" (Miss September Mix) on the Supersexy Swingin' Sounds compilation album. In 1996, P.M. Dawn contributed "Non-Fiction Burning" to the AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization. 1998 saw the release of P.M. Dawn's fourth album, Dearest Christian, I'm So Very Sorry for Bringing You Here. Love, Dad. It was less successful again, with the album's single, "Being So Not For You (I Had No Right)" being only a minor chart hit. In 2000, they released the compilation, The Best of P.M. Dawn.

Prince Be suffered a massive stroke in early 2005 that left him paralyzed on the left side of his body. Undeterred, P.M. Dawn appeared on NBC's Hit Me, Baby, One More Time, performing "Set Adrift on Memory Bliss", and covered Puddle of Mudd's "Blurry". Following their appearance, Minutemix decided to leave P.M. Dawn to pursue an interest in a solo career. This led to the introduction of The Doc Of The Dawn-Doc.G, also known as 'Dr.Giggles' or 'Blissboy #2', who is the Cordes brothers' paternal first cousin. On May 24, 2011 The Doc Of The Dawn-Doc.G released his first solo album titled The Purr-Script-Shun.

On February 12, 2009, Prince Be had a second stroke and suffered a gangrenous infection in his right leg. As a result of this infection, his leg had to be amputated below the kneecap in December 2009. With Prince Be's blessing, Doc.G continues to tour and perform P.M. Dawn classics and his new material.

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P.M. Dawn's ponderously titled debut Of the Heart, of the Soul and of the Cross: The Utopian Experience was a startling reimagination of the Hip Hop music's possibilities. P.M. Dawn were unabashed hippies whose sound and sensibility held very little street appeal, if any. Of the Heart... is soaked in new age spirituality and philosophical introspection, and a song title like "To Serenade a Rainbow" is likely to raise eyebrows among more than just skeptical b-boys. It's true that there's some occasional sappiness and navel-gazing, but it's also true that the group's outlook is an indispensable part of its musical aesthetic, and that's where Of the Heart... pushes into the realm of transcendence. It still sounds revolutionary today, although you'd have to call it a Velvet Revolution: It's soft and airy, with ethereal vocal harmonies layered over lush backing tracks and danceable beats. The shimmering ballads "Set Adrift on Memory Bliss" (built on an unlikely sample of Spandau Ballet's "True") and "Paper Doll" were the hits, but they aren't quite representative of the album as a whole. Some tracks, like "Comatose" and "A Watcher's Point of View (Don't 'Cha Think)," are surprisingly funky and driving, and there's also an even more explicit nod to the dancefloor in the Todd Terry hip-house collaboration "Shake." The more reflective raps ("Reality Used to Be a Friend of Mine," "Even After I Die," "In the Presence of Mirrors") strike a fascinating balance between those sensibilities, and there's still little else like them. In the end, Of the Heart... is enormously daring in its own way, proving that pop, R&B, and hip-hop could come together for creative, not necessarily commercial, reasons.

P.M. Dawn – Of The Heart, Of The Soul And Of The Cross ( 314mb)

01 Intro 0:58
02 Reality Used To Be A Friend Of Mine 4:44
03 Paper Doll 4:54
04 To Serenade A Rainbow 3:50
05 Comatose 4:56
06 A Watcher's Point Of View (Don't 'Cha Think) 4:17
07 Even After I Die 4:00
08 In The Presence Of Mirrors 4:05
09 Set Adrift On Memory Bliss 4:15
10 Shake 3:20
11 If I Wuz U 4:47
12 On A Clear Day 5:25
13 The Beautiful 5:20

P.M. Dawn – Of The Heart, Of The Soul And Of The Cross ( 121mb)

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The Bliss Album...? (Vibrations of Love and Anger and the Ponderance of Life and Existence) was P.M. Dawn's definitive work. A post-daisy-age album, the psychedelic sound that graced their previous work was to be felt and fused with early 90s hip hop samples. This set them apart from their peers and the album appealed to pop, alternative and hip hop fans. For all of hardcore rap's hysteria over the duo's gentle demeanor and pop influences, Of the Heart, of the Soul, and of the Cross had been a predominantly rap-oriented album. That changes on The Bliss Album...?, which downplays Prince Be's rapping (only on about a third of the tracks) in favor of dreamy melodies throughout the songs, not just on the choruses. It's a logical move, since P.M. Dawn's most unique moments were often also their most reflective, and they had an obvious knack for crafting original hooks. The Bliss Album...?'s approach also provides more opportunities for the ethereal, layered vocal overdubs that had become one of the duo's signatures. The musical landscapes are even more lushly arranged, and the pop numbers positively shimmer thanks to the duo's increasing sense of craft. A couple of the more aggressive rap tracks break up the mood a little, as with "Plastic," a sly rebuttal of the charges leveled by the group's macho detractors. It seems unnecessary, though, since P.M. Dawn's cosmic mysticism and vastly different influences clearly aren't competing on the same turf. Luckily, The Bliss Album...? refuses to acknowledge any artificially imposed purist boundaries, continuing to chart new sonic territory.

P.M.Dawn – The Bliss Album...? (367mb)

01 Intro 0:49
02 When Midnight Sighs 3:55
03 So On And So On 4:04
04 Plastic 3:44
05 The Ways Of The Wind 4:32
06 To Love Me More 4:44
07 About Nothing (For The Love Of Destiny) 4:15
08 Norwegian Wood (This Bird Has Flown) 3:13
09 Beyond Infinite Affections 4:11
10 Looking Through Patient Eyes 4:09
11 Filthy Rich (I Don't Wanna Be) 4:07
12 More Than Likely 4:18
13 The Nocturnal Is In The House 4:20
14 When It's Raining Cats And Dogs 5:36
15 I'd Die Without You 4:11

P.M.Dawn – The Bliss Album..?. (ogg 155mb)

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With their third album, Jesus Wept, P.M. Dawn doesn't necessarily make a great leap forward. Instead, they make some great refinements. Prince Be's lyrics are just as trippy and cryptic as ever, but they appear more focused, offering a poetic, spiritual worldview that is supported by the lovely, layered music. Prince Be creates a unique world assembled equally from soul, pop, hip-hop, and psychedelia. Noteworthy samples from this album include: "4 O'Clock in the Morning" by the Hassles in "My Own Personal Gavity", "Pacific" by 808 State in "I'll be Waiting for You", "Don't Interrupt the Sorrow" by Joni Mitchell in "Forever Damaged (The 96th)", "Nite and Day" by Al B. Sure! in "Sometimes I Miss You So Much" and "Mama Told Me Not to Come" by Eric Burdon & The Animals in "Fantasia's Confidential Ghetto. As individual pieces, the songs might not always make much sense, but taken as a whole, they create a singular world that is rich in lush melodies and sumptuous arrangements.

P.M.Dawn – Jesus Wept (379mb)

01 Intro 1:39
02 Downtown Venus 3:32
03 My Own Personal Gravity 5:26
04 I'll Be Waiting For You 4:26
05 Forever Damaged (The 96th) 3:09
06 Apathy...Superstar!? 4:28
07 The Puppet Show 4:04
08 Silence... 0:21
09 Why God Loves You 4:09
10 Miles From Anything 5:08
11 The 9:45 Wake-Up Dream 4:50
12 Sonchyenne 3:38
13 A Lifetime 3:34
14 Sometimes I Miss You So Much (Dedicated To The Christ Consciousness) 4:42
15 Fantasia's Confidential Ghetto: 1999 / Once In A Lifetime / Coconut 8:15

P.M.Dawn – Jesus Wept (142mb)

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RhoDeo 1149 Goldy Rhox 49

2011-12-08T05:03:00.000+01:00

Hello, today the 48th post of Goldy Rhox, classic pop rock, in the darklight a US star, nicknamed "The Boss," is a singer-songwriter who's widely known for his brand of heartland rock, poetic lyrics, and Americana sentiments. His recordings have included both commercially accessible rock albums and more somber folk-oriented works.

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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.

Todays mystery album is the artist's fifth album released in 1980, originally, the album was going to be a single set . The artist added darker material after he'd written the title track. Indeed, the album became noted for its mix of the frivolous next to the solemn. It delivered him his first top ten hit, interestingly initially written it for The Ramones, go figure. The double album hit number one on the U.S. pop albums chart, a first for him, and sold 1.6 million copies in the U.S. between its release and Christmas. Meanwhile it has been certified quintuple platinum by the RIAA in the U.S., making it one of his best-selling albums. In 2003, the album was ranked number 250 on Rolling Stone's list of the 500 greatest albums of all time.
Artist quote
"The mystery album was a record that was sort of the gateway to a lot of my future writing. It was a record made during a recession - hard times in the States. Its title song is a song I wrote for my brother-in-law and sister. My brother-in-law was in the construction industry, lost his job and had to struggle very hard back in the late 70s, like so many people are doing today. It was a record where I first started to tackle men and women and families and marriage. There were certain songs on it that lead to complete records later on."

Goldy Rhox 49 (flac 488mb)

Goldy Rhox 49 (ogg 206mb)

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RhoDeo 1149 Aetix

2011-12-07T04:42:00.000+01:00

Hello, Aetix is once again featuring an old favourite of mine, underrated as so many really great artists are, John Foxx ( Dennis Leigh). an English singer, artist, photographer and teacher. He was the original lead singer of the band Ultravox before being replaced by Midge Ure, when he left to embark on a solo career in 1979. Primarily associated with electronic synthesiser music, he has also pursued a parallel career in graphic design and education currently as senior lecturer at The London College of Music and Media TVU in London, working with art, media and music students across a range of courses.

December will be something of a John Foxx month here, splitting into his Aetix work and his Sundaze ambient work. We start off with the band he founded Ultravox, underrated at the time he was there, overrated after he left thanks to a fluke hit, Vienna. John Foxx, a one man Kraftwerk....

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Ultravox was formed in 1973 on the initiative of vocalist, songwriter and keyboardist John Foxx ( Dennis Leigh). Originally known as Tiger Lily, the first lineup included Foxx plus Chris Cross (bass guitar), Billy Currie (keyboards/violins), Stevie Shears (guitar) and Warren Cann (percussion). The group released one single in 1974, before changing their name to Ultravox!,On the strength of their live act, they signed to Island Records in 1976, releasing their eponymous debut album in February 1977 produced by Brian Eno and Steve Lillywhite. Sales were disappointing, and neither the album nor the associated single "Dangerous Rhythm" managed to enter the UK charts. Ultravox returned later in 1977 with the punkier Ha!-Ha!-Ha!, sales of both the album and its lead single "ROckwrok" -failed to impress. Whilst the group's first album had been a product of the Brian Eno/David Bowie/Roxy Music-esque side of glam rock, their second was considerably more informed by the burgeoning punk movement, although it also marked the group's first widespread adoption of synthesisers and electronic production techniques. Money from the first album was used to improve the band's equipment, and funded the purchase of an ARP Odyssey and, most notably, a Roland TR-77 drum machine, which appeared on the album's final track, "Hiroshima Mon Amour". This song was the most indicative of the group's later synth-pop direction, and remains both a fan and critical favourite. Their third album, 1978's Systems of Romance, was recorded under the supervision of Conny Plank at his studio and featured new guitarist Robin Simon. It also failed commercially and Island dropped the band. John Foxx left to pursue a solo career whilst Robin Simon left to join the band Magazine.

Midge Ure and Billy Currie had met in the Visage project, a band fronted by Steve Strange. Midge therefore replaced John Foxx for their next album, which would become their most successful to date, produced in Germany by Conny Plank it was called Vienna and the title track turned out to become a mega hit allover Europe. It was soon followed by Rage in Eden (1981), Ultravox teamed up with legendary producer George Martin for 1982's Quartet, which became their most successful album in the U.S..
1984's successful Lament ("Dancing with Tears in My Eyes") was the last to feature the "classic" line-up. Warren Cann left Ultravox at the beginning of sessions for their U-Vox LP in 1986, after that album's mediocre performance in the charts Ure decided to leave, prompting Cross to do the same, Ultravox was no more.

Without any other original members, Currie reformed Ultravox again in 1992 with vocalist Tony Fenelle to record Revelation, and later Sam Blue replaced Fenelle in a new five-piece Ultravox line-up, lending his voice to their final release, Ingenuity (1994). Warren Cann, Chris Cross, Billy Currie and Midge Ure reformed Ultravox again for a UK tour in April 2009, entitled "Return to Eden". A live CD and DVD of Ultravox sell-out Roundhouse show was released on 5 April 2010. The DVD features a documentary filmed on the build up to and during the reunion tour, much of it filmed by Midge Ure. Ultravox returned to performing live with their Return To Eden II tour during the spring and summer of 2010. On 20 January 2011, via their official website, Ultravox.org.uk, the band announced that a new studio album is nearing completion.

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Punks with synthesizers, it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents -- Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Saturday Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. And it was these apposites and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music. Dangerous rhythms indeed.

Ultravox! – Ultravox! (flac 358mb)

01 Satday Night In The City Of The Dead 2:35
02 Life At Rainbow's End (For All The Tax Exiles On Main Street) 3:44
03 Slip Away 4:19
04 I Want To Be A Machine 7:21
05 Wide Boys 3:16
06 Dangerous Rhythm 4:17
07 The Lonely Hunter 3:42
08 The Wild, The Beautiful And The Damned 5:52
09 My Sex 3:09
Bonus Tracks
10 Slip Away (Live) 4:12
11 Modern Love (Live) 2:31
12 The Wild, The Beautiful And The Damned (Live) 5:18
13 My Sex (Live) 3:05

Ultravox! – Ultravox! (124mb)

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Ha!-Ha!-Ha! is a bruising album, a tsunami of a set that epitomized the fire and fury of its age. Icy to its core, producer Steve Lillywhite brilliantly captured both the band's urgency and the brittleness of their sound. Like the implosion of gases that ignited the Big Bang, Ha!-Ha!-Ha! hangs in the millisecond before the ensuing explosion, trembling with ferocious tension and fierce anticipation of the coming storm.

Whilst the group's first album had been a product of the David Bowie/Roxy Music-esque side of glam rock, their second was considerably more informed by the burgeoning punk movement, although it also marked the group's first widespread adoption of synthesisers and electronic production techniques. Money from the first album was used to improve the band's equipment, and funded the purchase of an ARP Odyssey and, most notably, a Roland TR-77 drum machine, which appeared on the album's final track, "Hiroshima Mon Amour". This song was the most indicative of the group's later synth-pop direction, and remains both a fan and critical favourite.

Unlike the celebration of destruction that defined their debut set, Ultravox! now stood staring aghast into the abyss, with the manic exuberance of "Rockwrock" emerging not as the exhilarating dance through the death of civilization that many listeners assumed, but the band's panicked response to its collapse. And as fear took hold in the Western world, the band battered themselves against its crumbling walls, ravaged by the artificiality of the society rising amongst its ruins. Even decades on, the sheer ferocity of this set continues to impress.

This was the last album featuring original guitarist Stevie Shears, who was fired from the band early 1978, after the forthcoming Ha! Ha! Ha! tour.

Ultravox - Ha! Ha! Ha! ( flac 381mb)

01 ROckWrok 3:35
02 The Frozen Ones 4:06
03 Fear In The Western World 4:00
04 Distant Smile 5:21
05 The Man Who Dies Every Day 4:12
06 Artificial Life 5:00
07 While I'm Still Alive 3:16
08 Hiroshima Mon Amour 5:13
Bonus Tracks:
09 Young Savage 2:56
10 The Man Who Dies Every Day (Remix) 4:15
11 Hiroshima Mon Amour (Alt Version) 4:54
12 Quirks 1:40
13 The Man Who Dies Every Day (Live) 3:54
14 Young Savage (Live) 3:25

Ultravox - Ha! Ha! Ha! ( ogg 137mb)

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Systems of Romance, released on 8 September 1978, is the third album by British band Ultravox (an exclamation mark having been dropped from the moniker earlier in the year). It was the final recording for the group with original lead singer, lyricist and co-composer John Foxx, and their first album without guitarist Stevie Shears.
With 1978's Systems of Romance, the band left punk behind and single-handedly blue-printed the entire New Romantic movement to come -- well, with a little help from co-producers Conny Planck and Dave Hutchins. Gone was the brittleness of Ha!-Ha!-Ha!, replaced by a rich lushness of sound that would define the forthcoming genre.

The opening song, "Slow Motion", was indicative of the band's direction on the new album. Though based around conventional rock guitar, bass and percussion instrumentation, it featured a number of rich synthesizer parts throughout the piece rather than simply a discreet solo or special effect. The subject matter of "Quiet Men" grew out of an alternate persona developed by John Foxx, 'The Quiet Man', who embodied detachment and observation.

The album's September 1978 release was book-ended by two singles, "Slow Motion" in August and "Quiet Men" in October. Like Ultravox's previous albums, Systems of Romance received mixed reviews at the time and failed to chart. The band was dropped by their label Island Records just prior to a 1979 tour of the US. During the tour Foxx, tired of rows with other members, and of being in a group, announced his intention to leave Ultravox when he returned to England. Guitarist Robin Simon also left, electing to stay in New York.

Ultravox – Systems Of Romance (flac 288mb)

01 Slow Motion 3:32
02 I Can't Stay Long 4:19
03 Someone Elses Clothes 4:28
04 Blue Light 3:11
05 Some Of Them 2:32
06 Quiet Men 4:11
07 Dislocation 2:58
08 Maximum Acceleration 3:56
09 When You Walk Thru Me 4:18
10 Just For A Moment 3:10
Bonus Tracks:
11 Cross Fade 2:53
12 Quiet Men (Full Version) 3:55

Ultravox – Systems Of Romance (ogg 101mb)

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A late entry here. a live radiostudio recording of one of their last shows with John Foxx, recorded in Philadelphia, PA.
23 February 1979 for FM broadcast WIOQ

Ultravox – Philadelphia (23-2-79) (flac 279mb)

01 The Man Who Dies Every Day 5:16
02 Slipaway 4:16
03 Slow Motion 3:45
04 Hiroshima Mon Amour 4:02
05 Artificial Life 5:10
06 Just For A Moment 4:16
07 He's A Liquid 5:53
08 Quiet Men 4:18
09 I Can't Stay Long 4:10
10 Someone Else's Clothes 4:35
11 Blue Light 3:22
12 My Sex 3:19

Ultravox – Philadelphia (23-2-79) (121mb)

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