RhoDeo 1150 Roots

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.

***** ***** ***** ***** *****

The Heptones were formed in Kingston in 1965, with a lineup of Sibbles, Barry Llewellyn, and Earl Morgan. At first they called themselves the Hep Ones, but a one-word name seemed to make more sense to fans, and the change was made accordingly. Things started to take off for the group in 1966 when they caught on at Clement "Coxsone" Dodd's Studio One, the pre-eminent hit factory of the rocksteady era. Dodd helped train the group in the art of harmony singing, and also guided budding songwriter Sibbles, who developed a sly, sarcastic sense of humor. The Heptones had their first hit later that year with "Fattie Fattie," that was banned from Jamaican radio but thus sold nonetheless. They went on to record vast amounts of material for Dodd over the next five years, including their first-ever LP, On Top, in 1970.

As the hits piled up, Sibbles became a staff songwriter and arranger, played bass with the Studio One house band on a multitude of recordings, and worked as an assistant producer and talent scout as well. In 71 Sibbles decided it was time to move on and started cutting music with a range of producers In 1975 they released their label debut, Night Food, produced by Lee "Scratch" Perry which featured mostly new versions of old Studio One material. The follow-up, 1977's Party Time, followed a similar blueprint, and also included an eye-opening cover of Bob Dylan's "I Shall Be Released." It proved to be the group's biggest-selling album in the international market, but the 1978 follow-up, Better Days, sold disappointingly by comparison, and Sibbles departed for a solo career not long after. The remaining members soldiered on for some time without much success and that was it..until in 95 the original line up reunited and recorded Pressure !

***** ***** ***** ***** *****

The Heptones first drew attention for the singles and albums they cut for Clement "Coxsone" Dodd's Studio One label during the late '60s. Poised on the cusp of a cultural shift, Leroy Sibbles (also a bass-wielding session man for Dodd) and partners Barry Llewellyn and Earl Morgan tackled a combination of the sort of pained love songs then in vogue and fresher "reality" material, a mix arguably heard best on On Top. The album's first side in particular is a stunning example of the Heptones' craft. Backed by the Jackie Mittoo-led Soul Vendors, the group's growing social consciousness is voiced on a handful of pre-roots classics. Propelled by lively drum flourishes that resemble an update of the Rastafarians' nyahbinghi percussion, Sibbles makes direct reference to the lynching of African ancestors on the album-opener "Equal Rights," while one of his finest vocal performances is reserved for the side-one-closer "Soul Power." the album established the Heptones as a reggae act of the highest order and the years have proven its timelessness.

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

***** ***** ***** ***** *****

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 and Their Friends - Meet The New Generation! (flac 211mb)

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


***** ***** ***** ***** *****

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

***** ***** ***** ***** *****

***** ***** ***** ***** *****

RhoDeo 1150 Illuminatus 10th

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..

xxxxx xxxxx xxxxx

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.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

xxxxx xxxxx xxxxx xxxxx xxxxx

Leviathan, Bureaucracy, Malkuth, 10th trip (08-10) (64 min, 23mb)

10-08 Eris Manifest (17:17)
10-09 Meet Leviathan (23:16)
10-10 Wedding (24:02)

xxxxx xxxxx xxxxx xxxxx xxxxx

previously

The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1150

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.

xxxxx xxxxx xxxxx xxxxx xxxxx

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.


xxxxx xxxxx xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx xxxxx xxxxx

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 and 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

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1149 Grooves

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.

xxxxx xxxxx xxxxx

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.

xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx

RhoDeo 1149 Goldy Rhox 49

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.

***** ***** ***** ***** *****
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 199mb)


***** ***** ***** ***** *****

RhoDeo 1149 Aetix

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....

xxxxx xxxxx xxxxx xxxxx xxxxx

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.

xxxxx xxxxx xxxxx xxxxx xxxxx

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 210mb)

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 

 
xxxxx xxxxx xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx xxxxx xxxxx

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

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1149 Roots

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.

Today in the spotlight one of the most influential and prolific producers in reggae history, Bunny "Striker" Lee pioneered the art of the dub -- expanding the parameters of studio technology like no Jamaican producer before him, he and his engineer, the equally legendary King Tubby, maximized the creative possibilities of each and every rhythm to generate a seemingly endless series of mixes spread across literally thousands of recordings.

***** ***** ***** ***** *****

Edward O'Sullivan Lee was born in Jamaica on August 23, 1941; he entered the music industry in 1962 via his brother-in-law, the great reggae singer Derrick Morgan, landing a job as a record plugger for Duke Reid's famed Treasure Isle label. By the mid-'60s, Lee was working with Ken Lack's Caltone imprint, producing his first record, Lloyd Jackson & the Groovers' "Listen to the Beat," in 1967. His first significant hit, Roy Shirley's "Music Field," followed later that year on WIRL, and upon founding his own label, he reeled off a series of well-received sides including Morgan's "Hold You Jack," Slim Smith's "My Conversation," and Pat Kelly's "Little Boy Blue, , establishing him as one of Jamaica's top producers.[1] Between 1969 and 1972 he produced classic hits including Slim Smith's "Everybody Needs Love", Delroy Wilson's "Better Must Come", Eric Donaldson's "Cherry Oh Baby", and John Holt's "Stick By Me".

Meanwhile Lee was a pioneer of the United Kingdom reggae market, licensing his productions to the Palmer Brothers (Pama) and Trojan Records in the early 1970s. Lee was instrumental in producing early dub music, working with his friend and dub pioneer King Tubby in the early 1970s. Lee and Tubby were experimenting with new production techniques, which they called "Implements of sound." Working with equipment that today would be considered primitive and limiting, they produced tracks that consisted of mostly the rhythm parts mixed with distorted or altered versions of a song.

By 1971 he was working side by side with engineer King Tubby, who almost singlehandedly invented dub by taking existing master tapes and -- after cutting out vocals, bringing up the basslines, and adding and subtracting other instruments -- creating new rhythm tracks for sound system DJs to voice over. Later adding delays, fades, and phasing to his sonic arsenal, Tubby was already renowned throughout the Jamaican music industry by the time he began collaborating with Lee, but together, the duo produced the finest music of their respective careers -- unlike most of his producer peers, Lee recorded his celebrated studio band the Aggrovators with Tubby's remixing skills firmly in mind, crafting deep, dense rhythms strong enough to survive even the most strenuous studio reworking, and together they unleashed some of the most enduring dub versions ever cut. At the peak of his career -- essentially the period from 1969 to 1977 -- Lee produced thousands of records, forging a labyrinthine discography of vocal sides, DJ records, and dub versions, each disc seemingly spun off from another.

Among Lee's most influential projects was a 1974 collaboration with singer Johnny Clarke which yielded a series of roots reggae classics including "None Shall Escape the Judgement" and "Move Out of Babylon"; that same year, he also helmed Owen Grey's smash "Bongo Natty," while the 1975 Cornel Campbell hit "The Gorgon" launched a number of like-minded "Gorgon rock" records. At one time or another, Lee also worked with everyone from Jackie Edwards to Alton Ellis to Ken Boothe, and for all of his experimental instincts, he also possessed a commercial flair equal to any of his contemporaries. By the early '80s, however, Tubby was running his own studio and producing his own records, and although they continued to collaborate on occasion, both the quality and quantity of Lee's recordings began to slide; he later purchased producer Joe Gibbs' former Kingston-area studio, making a few half-hearted attempts at working with digital technology but otherwise easing into retirement as the years passed, his place in reggae history assured.


***** ***** ***** ***** *****

Bunny Lee - King Of Dub (flac 174mb)

01 King Zion Dub 4:09
02 Super Star Dub 3:14
03 Graceful Dub 3:14
04 Rubba Dunza (Clock Tower Mix) 3:06
05 Jah Angel Of Dub (Clock Tower Mix) 3:05
06 Blood, Sweat & Dunza Dub 3:09
07 King, Queen & Minstreal Dub 3:33
08 Easy Dread & Check This Dub 2:49
09 Fancy Up A Dub 3:42
10 Stalac 80 Dubwise 3:13


***** ***** ***** ***** *****

Here comes a record of genuine rarities never compiled on album before all were mixed at King Tubby’s. From the opening “Dub Gospel” to the closing “One And Only Dub” even seasoned dubheads will find themselves listening to music they never knew existed. The cornerstone of the album consists of dub versions of 4 little-known Derrick Morgan tracks, “Teach My Daughter”, “Rasta Nah Fear”, “Under Heavy Manners” and “Pick Sense Out Of Nonsense”, plus his duet with Johnny Clarke on “Behold”. Livening up the mix are dubs to a brace of Ronnie Davis tunes (“Good News” and “That’s Life”) along with versions of “Oh Jah Forgive Me” and “One And Only Lover” from Cornell Campbell (who also plays bass on “Under Heavy Manners”). The set is rounded out with versions of tracks by Jackie Edwards, Johnny Clarke, John Holt and Joy White. Whilst the album concentrates heavily on the 1975 ‘flying cymbal’ style of Carlton ‘Santa’ Davis there is also one track from 1974 (“Golden Rule Dub”) plus a handful from the years 1976 to 1978, the highlight of which must be the instrumental workout “Going Home Dub” featuring blistering solos from Tommy McCook and Vin Gordon.

Bunny Lee And The Agrovators - Dub Will Change Your Mind (flac 252mb)

01 Dub Gospel 3:07
02 Golden Rule Dub 2:43
03 Dub Teacher 3:18
04 Idling Dub 2:31
05 Fearless Dub 2:48
06 Forgive Me Dub 3:33
07 Going Home Dub 3:41
08 Under Heavy Dub 3:31
09 Sensible Version 3:13
10 Behold Version 3:37
11 Lifetime Dub 2:53
12 Festival Of Dub 2:57
13 Dub Is Everything 3:13
14 One And Only Dub 3:09

***** ***** ***** ***** *****

When Lloyd A. Chin Loy opened up Aquarius Record Store in 1969 in Half Way Tree, Kingston, he brought on his half brother Herman Chin-Loy who ran the record store end of the business. Herman Chin-Loy then dabbled in producing. His earliest productions were quirky, innovative instrumentals, using musicians such as Lloyd Charmers and The Hippy Boys on tracks such as "African Zulu", "Shang I", "Reggae In The Fields", "Invasion", and "Inner Space". He was the first producer to use the Now Generation band and the first to record Horace Swaby, whose recordings, like those of other keyboard players who recorded for Chin Loy, were released under the name Augustus Pablo, the success of Swaby's releases causing the name to stick.

In the early 1970s, Chin Loy also produced Dennis Brown, Alton Ellis, and Bruce Ruffin, whose "Rain" reached #19 in the UK singles chart. Chin Loy was responsible for one of the first dub albums, Aquarius Dub, released in 1973, and mixed at Dynamic studio by Chin Loy himself (along with Prince Buster's "The Message", Clive Chin's "Java Java Java Java", Joe Gibbs' "Dub Serial" and Lee "Scratch" Perry' "Upsetters 14 Dub Blackboard Jungle") he changed the Jamaican musical history radically. That sound was called Dub! A follow up, Aquarius Dub part 2 was released the following year.

Lloyd A. Chin Loy hired a Welshman, Mr. Rosser in the 1970s to build the first 24-track recording studio in Jamaica and probably the Caribbean. Herman Chin-Loy returned to reggae productions in 1979, scoring several hits in the early dancehall style with artists such as Little Roy, and Ernest Wilson

Herman Chin Loy – Aquarius Dub (flac 131mb)

01 Jah Rock (2:45)
02 Rumbo Malt (2:53)
03 I Man (2:47)
04 Oily (2:53)
05 Rest You Self (3:00)
06 Jumping Jack (2:29)
07 Heavy Duty (3:00)
08 Jah Jah Dub (2:34)
09 Nyah Time (2:53)
10 Jungle Rock (2:56)

***** ***** ***** ***** *****

RhoDeo 1149 Illuminatus 10th

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 penultimate chapters set 04 till 07 of the 10th and final trip, Malkuth.

xxxxx xxxxx xxxxx

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.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

xxxxx xxxxx xxxxx xxxxx xxxxx

Leviathan, Bureaucracy, Malkuth, 10th trip (04-07) (76 min, 27mb)

10-04 Mama Sutra Reading (25:40)
10-05 Hagbard AA (14:58)
10-06 Hagbard Satan (20:05)
10-07 Sea Of Valusia (15:30)

xxxxx xxxxx xxxxx xxxxx xxxxx

previously

The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1149

Hello, as 2011 draws to a close amidst financial turmoil brought to you by the anglo-american banksters operating from Wall Street and The City that keep pointing to Europe as the problem, when back home their valuta is held up by insane amounts of virtual money pumped into the systems to keep them from going under. What these people are doing is pumping up an illusion that will burst as the synapses of the brains behind it will snap, and that would be a fitting punishment for these financial 'wizards' ..have their brains fried. We need a world war is heard from those quarters, more proof of their insanity.

Unfortunately the governments in the US and UK are completely controlled by these moneymen and the 99 % can go and die as far as these are concerned, when will the people wake up, or have they been too drugged with fluoridated water, saturated food and moronic entertainment not to mention the propaganda media and their whores owned by the 1% ? Depressing, specially because it's all so unnecessary...gotta quit here..this is a music blog after all and today in the spotlight the German duo of Tarwater electronic postrock but as you will notice their music is rather filmic not surprisingly as they scored many a movie and documentary as well.

xxxxx xxxxx xxxxx xxxxx xxxxx

Guitarist/bassist/programmer Jestram and drummer/vocalist/programmer Lippok met in an East German punk band, and began recording together even while Lippok recorded with To Rococo Rot and Jestram worked in his Bleibeil studio. First recordings under the name Tarwater (named after C. Tarwater, a musician appearing in the credits for recordings of late 60s psychedelic band "Love".) took place in 95 as did their first concert at the art festival "LBRNTH" at the historical Brühlschen Terassen in Dresden. Their first audio release "John Donne Death's Duell" is an audio / book package where Tarwater provided the music score.

A bit more organic and much more tied to pop than To Rococo Rot, Tarwater debuted with 1996's 11/6 12/10, released on the Berlin based label Kitty-yo. Around the same time that Lippok's other concern (To Rococo Rot) issued their first material. More movie soundtrackwork in 97 . "Rabbit Moon" (CD/EP) is released on Kitty-yo. Remixes and alternative versions of Tarwater tracks by Elektronauten, Bo Kondren, Robert Lippok and Tarwater themselves, it got an extended US release version to support their first tour there (Austin Texas, Chicago, New York , Philadelphia).

Tarwater's second LP, Silur, followed in 1998. Early december they played several radioshows in the UK ( John Peel. Gilles Peterson and Johnathan More) . Two more soundtracks in 99 .The critical praise attendant for Silur earned Tarwater American distribution deal with Mute. Animals, Suns & Atoms appeared in 2000 and Dwellers on the Threshold two years later with a bonus album containing some of their soundtrack work.

Meanwhile they appeared live at many festivals throughout Europe beteen 200 and 2005 when they released a new album "The Needle Was Travelling" at a new label "Morr" followed 2 years later by "Spider Smile" More soundtrackwork and earlier this year they releasedtheir latest album "Inside the Ships" and a 5cd compilationboxset 1996-2002. Considering one half of the duo, Ronald Lippok has released 11 albums with To Rococo Rot in the same timeframe, they have been busy ...Germans...

xxxxx xxxxx xxxxx xxxxx xxxxx

Tarwater's debut is an eclectic mix of post-electronica, heavier on the guitar than many in the German post-rock crowd but also reliant on some very creative sampling. 11|6 12|10 veers from detuned trip-hop damage to twangy Kraut-rock. The production is exquisite, with an excellent balance of organic and artificial sound sources, though the many vocal turns are oddly detached as only the Germans can do it.

Tarwater – 11|6 12|10 (flac 290mb)

01 Theme 2:00
02 Tar 5:30
03 Han Er Den Inne 4:14
04 Euroslut 5:43
05 Rome 4:20
06 Conquer Rome Itself 0:52
07 New Brood 4:29
08 Kleenex 4:21
09 Elbow On The Quilt 3:12
10 Second Arthyr 5:04
11 Inversnaid 4:41

xxxxx xxxxx xxxxx xxxxx xxxxx

Silur advances the focus on broad-ranging electronics from Tarwater's previous work to concentrate on Kraut-inspired mechanistic rhythms as a backdrop to an assortment of atmospherics ranging from scratchy '60s-pop samples, spoken-word passages, understated hip-hop turntablism, and some classic phaseshifter effects. The album combines spartan spoken-word narration with ambient, electronic music.

The album received some criticism for failing to maintain the same tone consistently throughout the album. The first five songs feature a slow, deliberate, almost ethereal tone. The mood is interrupted by the sixth song, "No More Extra Time," an up-tempo synth-pop song. The album's seventh song reverts back to the mood of the first five, however subsequent songs are progressively more pop-like than ambient.

Tarwater – Silur (flac 277mb)

01 Visit 4:16
02 To Moauf 2:31
03 The Watersample 5:13
04 Seafrance Cézanne 5:50
05 Silur 0:59
06 No More Extra Time 4:36
07 Otomo 2:37
08 Ford 3:59
09 The Pomps Of The Subsoil 3:50
10 20 Miles Up 4:01
11 To Describe You 3:54
12 V-AT 4:02

xxxxx xxxxx xxxxx xxxxx xxxxx

Remixes and alternative versions of Tarwater tracks by Elektronauten, Bo Kondren, Robert Lippok and Tarwater themselves, it got an extended US release version to support their first tour there

Tarwater - Rabbit Moon Revisited (flac 298mb)

01 Rabbit Moon 4:42
02 A La N.A.S.A. 4:40
03 Strawberry Shoes 3:25
04 Second Aethyr 4:55
05 Transfrancisco 4:26
06 Inversnaid (Ncc Radio 505 Finder Remix) 3:38
07 Euroslut (Spectral Remix) 4:33
08 Rome 4:05
09 Mobile Home 4:59
10 Snaid 4:56
11 Tar Revisited 4:18
12 Trismin 2:44

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1148 Grooves

This summary is not available. Please click here to view the post.

RhoDeo 1148 Goldy Rhox 48

Hello, today the 48th post of GoldyRhox, classic pop rock, in the darklight a US star first popular in Europe as at the time coloured musicians went largely unnoticed as discrimination was still rife in that socalled Christian nation. The still largely segregated US didn't give him the possibilities to become worlds greatest guitarplayer and so after drifting thru the black music scene for 5 years he was recognised in New York and offered a management and production contract with Chas Chandler and followed him to the UK to do his thing and the rest as they say is history.

***** ***** ***** ***** *****
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 debut album released may 67, initially issued in mono and then 'enhanced stereo' on later issues. Recordings had already begun in late October 1966, with the band producing material that does not appear on the album, but was released as singles leading up to its release. These were included in the August 67 US release, at hand here.
The touring for the album began during the winter of 1966-67, around working man's clubs and little theaters in the north of England. The effort paid off, the album became one of the defining releases of the psychedelic movement, reaching #2 in the UK and remaining on the British charts for eight months behind The Beatles' Sgt. Pepper's Lonely Hearts Club Band. In the US the release came of the back from their sensational US debut show at the Monterey Festival. The album stayed 2 years in the Billboard charts and is regarded as a landmark rockalbum, no wonder then it finds itself at # 15 in the Rolling Stones all times rankings.
The band would release 2 more albums in the next 2 years each A listed, meanwhile our mystery star had become a global phenomena headlining Woodstock , he was to release one more album with a new line up behore his untimely death age 27. It set up decades of exploitation by the music industry with hundreds of albums being released with his name attached, besides the scores of official rereleases. All the while keeping his heirs at bay and even his only though illigemate child without a penny. Is it any wonder then these crooks scream murder if they themselves get pirated, steel from a thief and they go beserk.

Goldy Rhox 48 (flac 248mb)

Goldy Rhox 48 (ogg 96mb)

***** ***** ***** ***** *****

RhoDeo 1148 Aetix

Hello, Aetix is leaving that great southern land towards the 'old' country that was at the center of the Aetix music boom, the UK. For starters an old favourite of mine, underrated as so many really great artists are, Frank Tovey.

As Fad Gadget, his music was characterized by a use of synthesizers in conjunction with sounds of found objects, including drills and electric razors. His bleak, sarcastic, and darkly humorous lyrics, often layered in meaning and discussing subjects such as machinery, building construction, human sexuality, and physical violence, were sung in a droning, often expressionless voice.

xxxxx xxxxx xxxxx xxxxx xxxxx

At school Tovey tried to learn many different musical instruments. He realised he did not have the coordination to be able to play any of them really well.He drifted away from the idea of playing music, and began getting involved in other art forms instead. He later studied visual arts and mime at Leeds Metropolitan University. He felt the need to give his mime act some sort of musical accompaniment so he went back to the idea of recording music. The initial musical pieces were formed of sound manipulation using tape recorders. He spent a lot of time building up sound collages using this method. After finishing full time education Tovey began working at various day jobs and around the mid seventies managed to set up his own home studio. The initial equipment he used consisted mainly of his Grundig tape recorder. At this time he was using no musical instrument at all. He bought a Korg Minipops drum machine and eventually a Korg synthesiser. After the purchase of this equipment he began writing music seriously; it was at this time he sent a demo tape of Back to Nature to Daniel Miller, who had just released his first Mute single as The Normal.

Tovey made his first public appearance as Fad Gadget in July of 1979. Two months after that, Tovey signed as Fad Gadget to Daniel Miller's Mute Records. He was the first artist to sign to Mute. Back to Nature was recorded as the second Mute Records release at RMS Studio in London. Back to Nature was a great success for Mute Records so a follow-up record was produced "Ricky's Hand" Tovey then went on to record an album for Mute Records. Fireside Favourites was recorded at Blackwing Studios in London. He decided to record the album without Daniel Miller’s assistance, as he felt it very important that he made all the decisions about recording the album himself.

Meanwhile Tovey was gaining a reputation for being an exciting, original live act within the electronic music scene. He used visual gimmicks such as playing instruments with his head, usually ending up in personal injury. His live appearances progressed to dressing in stage costumes, reflecting back to his days studying visual arts.

Tovey recorded two more albums for Mute Records at Blackwing Studios which was using more complex recording equipment. Incontinent and Under the Flag showed a progressive change in Tovey’s music; due both to the technological advances and his own growing knowledge of recording techniques. The albums Under the Flag and Gag were released in 1982 and 1984, respectively. The move into dance and soul-influenced territories -- along with relatively traditional production values for the time -- resulted in lighter and less urgent music, but Tovey's lyrics steadfastly refused to approach anything resembling mundane or fantasy-based.

After Gag, Tovey decided to start recording under his own name and released six albums on Mute between 1985 and 1992. More about that later...

xxxxx xxxxx xxxxx xxxxx xxxxx

Realised with an expanded array of collaborators, including a number of notable record producers, Fireside Favourites instrumentation combined the synthesizers, drum machines and found objects of previous releases with conventional guitar, bass and percussion. It was released by the end of 1980. While Tovey did the lion's share of synth work on the album, percussionist John Fryer, bassist/guitarist Eric Radcliffe, drummer Nick Cash, and synthesist Miller chipped in with contributions.The lyrics and subject matter ridiculed various aspects of modern society and featured observations from sometimes bizarre perspectives. Added here his first two singles

Fad Gadget - Fireside Favourites (flac 322mb)

01 Pedestrian 3:20
02 State Of The Nation 3:48
03 Salt Lake City Sunday 2:12
04 Coitus Interruptus 4:40
05 Fireside Favourite 4:31
06 Newsreel 3:42
07 Insecticide 3:09
08 The Box 4:17
09 Arch Of The Aorta 6:20
XS
10 Back To Nature 5:51
11 Ricky's Hand 4:11
12 Handshake 4:21

xxxxx xxxxx xxxxx xxxxx xxxxx

Incontinent, the second Fad Gadget LP, was issued almost exactly a year after the debut. Aside from the return of most of the usual suspects, Wire's Robert Gotobed played some drums, Peter Bahner played some bass and guitar, and David Simmonds provided extra synth and percussion work. Slightly darker than its predecessor, a decrease in the reliance upon electronics made for a wide-eyed, if unfocused, sophomore album. The album's cover featured Tovey made up as the puppet Punch. Its lyrical content was informed by his tour of the US in 1980. Added here the preceding double A side single.

Fad Gadget - Incontinent ( flac 338mb)

01 Blind Eyes 5:04
02 Swallow It 5:42
03 Saturday Night Special 6:39
04 Incontinent 3:27
05 Manual Dexterity 3:35
06 Innocent Bystander 6:32
07 King Of The Flies 4:26
08 Diminished Responsibility 5:53
09 Plain Clothes 4:40
XS
10 Make Room 4:15
11 Ladyshave 5:50

xxxxx xxxxx xxxxx xxxxx xxxxx

Written by Frank Tovey for the most part concerning his fear for the future of the world, in light of having just become a father. As the UK had been whipped into a frenzy by Margaret Thatcher over the Falklands war he recorded Under The Flag. It is a harse indictment of Thatcherism and Britain at the time. Songs about unresponsive leaders, government induced unemployment and rabid, pointless jingoism mixed with the coolest industrial rhythms.He was apparently afraid of the world his son was going to grow up in. Sampling, which was new technology back in the early 1980s is incorporated into the album and sequencing is also heavily used.

"Scapegoat" features a Dutch nursery rhyme (Kortjakje). Some of the ideas on this album were heavily inspired by German band Die Krupps. The album cover and photos throughout are shot by the infamous Anton Corbijn.

Fad Gadget - Under The Flag (flac 254mb)

01 Under The Flag I 3:08
02 Scapegoat 2:53
03 Love Parasite 5:29
04 Plainsong 3:53
05 Wheels Of Fortune 4:55
06 Life On The Line IV 3:56
07 The Sheep Look Up 3:37
08 Cipher 5:39
09 For Whom The Bells Toll 5:16
10 Under The Flag II 2:52

xxxxx xxxxx xxxxx xxxxx xxxxx

elsewhere


Fad Gadget - CoCo (Coitus Compilation) 1 (79-84 * 560mb)

Fad Gadget - CoCo (Coitus Compilation) 1 (79>84 * 133mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1148 Roots

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.

Today in the spotlight one of Jamaica's megastars, Gregory Isaacs, a 140min cross section of his work is up for grabs here, by the singer whose smooth style earned him the nickname "Cool Ruler"and "Lonely Lover'. He died 13 months ago at the age of 59.. Isaacs had been diagnosed with lung cancer a year ago, but continued performing until weeks before his death. The entertainer had 40 years as a recording artist, he has made over 500 albums, and definitely left an impression on reggae music, all while having a turbulent life.

***** ***** ***** ***** *****

One of Jamaica's most beloved vocalists who is as pertinent in dancehalls as he is in bedrooms, Gregory Isaacs' career has stretched over 40 years. From the heady days of reggae through lovers rock, a genre he virtually invented, his talent reached into the modern age. Born in the Fletcher's Land area of Kingston, Jamaica, on July 15, 1951, Isaacs arrived in the music business via the talent show circuit. After 5 years of failing to make an impact and regardless of this poor track record, in 1973 Isaacs set up his own record store and label, African Museum, in partnership with Errol Dunkley, a young singer with a string of hits to his own name. Apparently some of Dunkley's own magic wore off and one of the label's first releases, Isaacs' own self-produced "My Only Lover," was an immediate hit and the floodgates opened wide. Besides African Museums' offerings, Isaacs helped keep the label solvent by recording with virtually every producer on the island for a stream of hits that showed no sign of abating.

By the late seventies, the two polar sides of Isaacs were apparent: the roots singer, whose emotive sufferer's songs and cultural numbers were filled with fire, and the crooning lover, whose passionate declarations of devotion quivered with emotion. Eventually, the latter "Cool Ruler" would come to dominate his image. In 78 Virgins Frontline label signed him and he produced two great albums for the UK market that didnt make a dent and so his first voyage across the pond wasnt succesful. a few years later Isaacs was picked up by Island's Mango and released Night Nurse which became a big hit and launched his international career. Ironically at the time he was serving a six months jail sentence for a drug related crime. Drugs and mainly crack cocaine had become part of his life by that time a decede later his voice and teeth had givin way. This didnt stop him creating many more dancehall classics with many diferent producers and deejees.

The singer showed in the new millennium with aplomb on Father and Son, which true to the title features Isaacs and his son Kevin. The duets are gorgeous, while the younger Isaacs is given plenty of room to prove that his talent is equal to his dad's. The next year, I Found Love marked the second time the two worked together. In between times, the singer continues to impress audiences live.

In 2008, after some 40 years as a recording artist, Isaacs released a new studio album Brand New Me. The album received positive reviews from critics, it was to be his last, the brand new me is singing at the other side now.

Gregory Isaacs - Cool Ruler (The Definitive Collection) 1 (flac 306mb)

101 Dancing Floor 2:15
102 Look Before You Leap 3:08
103 One One Cocoa 3:09
104 Loving Pauper 3:45
105 All I Have Is Love 2:22
106 Ba Da 3:02
107 Sweeter The Victory 2:50
108 Way Of Life 2:25
109 Beautiful Africa 2:48
110 My Religion 3:09
111 Jailer Jailer (Bring Me Water) 2:09
112 Promised Land 2:54
113 Black A Kill Black 3:01
114 Warriors 2:59
115 Dreadlocks Love Affair 3:41
116 Rasta Business 2:45
117 Thief A Man 2:57
118 John Public 3:03
119 Mr Cop 3:57
120 Set The Captives Free 3:05
121 The Border 4:08
122 Slave Master 3:07
123 My Time (12" Mix) 7:16
124 Something Nice 3:19
125 Love Light (Burning) 2:32

***** ***** ***** ***** *****

Gregory Isaacs - Cool Ruler (The Definitive Collection) 2 (flac 466mb)

201 No Speech 4:20
202 Get Ready 4 36
203 Poor And Clean 3:38
204 Tune In 3:40
205 Soon Forward 6:32
206 Universal Tribulation 3:47
207 Rock This Ya Reggae Beat (Aka Going Downtown) (12" Mix) 5:12
208 What A Feeling (12" Mix) 3:47
209 Night Nurse (10" Mix) 7:08
210 Cool Down The Pace 5:09
211 Love Me With Feeling (12" Mix) 5:45
212 Mi Come Again 4:46
213 Tenement Yard 6:42
214 Private Beach Party 4:17
215 Rumours (12" Mix) 6:13
216 Sad Feeling Tonight 4:19

***** ***** ***** ***** *****

RhoDeo 1148 Illuminatus 10th

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 beginning of the 10th and final trip, Malkuth, chapters 01 till 03

xxxxx xxxxx xxxxx

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.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

xxxxx xxxxx xxxxx xxxxx xxxxx

Leviathan, Bureaucracy, Malkuth, 10th trip (01-03) (56 min, 20mb)

10-01 Malkuth - The Fool (15:22)
10-02 Hauptmann (20:17)
10-03 Drake Traps (20:54)

xxxxx xxxxx xxxxx xxxxx xxxxx

previously


The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

xxxxx xxxxx xxxxx xxxxx xxxxx