RhoDeo 1152 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.

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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 and 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 and 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

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.

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!

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Leviathan, Appendix, (05-09) (58 min, 22mb)

Appendix 05 Tzaddi (4:37)
Appendix 06 Vau (7:58)
Appendix 07 Zain (3:28)
Appendix 08 Cheth (0:25)
Appendix 09 Lamed (42:04)

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previously

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

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

Leviathan, Appendix ( 66mb)





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Sundaze 1152 Happy Holidaze

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

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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 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

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RhoDeo 1151 Grooves

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

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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

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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

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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

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

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

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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 

 
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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

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RhoDeo 1151 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.

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Set up in 1975 as the house band of the Channel One Studios owned by Joseph Hoo Kim, The Revolutionaries with Sly Dunbar on drums and Robbie Shakespeare on bass, created the new "rockers" style that would change the whole Jamaican sound (from roots reggae to rockers, and be imitated in all other productions. Beside Sly and Robbie, many musicians played in the band: Bertram McLean, Radcliffe "Dougie" Bryan on guitar, Ossie Hibbert, Errol "Tarzan" Nelson, Robert Lyn or Ansel Collins on keyboards, Uziah "Sticky" Thompson, Noel "Scully" Simms on percussion, Tommy McCook, Herman Marquis on saxophone, Bobby Ellis on trumpet and Vin Gordon on trombone.

Everything fell into place when they backed The Mighty Diamonds classic 1976 set 'Right Time'. The album offered fresh new Rockers rhythms to the reggae world. This militant double drumming style dominated the music scene from 1975-1978.
It's from this period that a set of classic dubs were created by Bunny 'striker' Lee from sessions recorded at Channel 1. The Revolutionaries mark the first time that the legendary duo Sly & Robbie played together.

The band played on numerous dub albums and recorded as a backing band for artists like B. B. Seaton, Black Uhuru, Culture, Prince Alla, Leroy Smart, Gregory Isaacs, John Holt, The Heptones, I-Roy, Tapper Zukie, Trinity, U Brown, Errol Scorcher, Serge Gainsbourg among others.

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

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.

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!

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Leviathan, Appendix, (01-04) (75 min, 26mb)

Appendix 01 Aleph (7:15)
Appendix 02 Beth (12:47)
Appendix 03 Gimmel (39:36)
Appendix 04 Daleth (16:05)

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previously

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

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

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Sundaze 1151

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 and Harold Budd – Translucence and 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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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

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RhoDeo 1150 Grooves

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

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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

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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

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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

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

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

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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

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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

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