RhoDeo1204 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.

We've seen plenty of lee Perry these past months but there was another and probably even more prolific producer of dub music..King Tubby

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King Tubby (Osbourne Ruddock) Born January 28th 1941, he is known primarily for his influence on the development of dub in the 1960s. In the 1950s, King Tubby's musical career began with the sound systems, set up on the streets of Kingston and playing dance music for the people. As a radio repairman, Tubby soon became quite helpful at most of the sound systems around.

Tubby began working with Arthur "Duke" Reid in 1968. At Treasure Isle, a studio, Tubby began making remixes of hit songs, usually by simply removing the vocals. In time, Tubby (and others) began shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes. By 1971, Tubby's soundsystem was one of the most popular in Kingston and he decided to open a studio of his own. King Tubby took remixing to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. His remixes soon proved enormously popular, and he became one of the biggest celebrities in Jamaica.

During the 1970s, Tubby's work in the studio gave rise to modern dub music. He had a long string of hit songs, and worked as a producer for some of Jamaica's most popular artists, including Lee Perry, Bunny Lee, Augustus Pablo and Yabby You. In 1973, he began recording vocals to put along the instrumentals. By the later part of the decade though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on production for Anthony Red Rose, Sugar Minott and other popular musicians. He upgraded his studio again and also launched his own record labels -- Firehouse, Waterhouse, Kingston II, and Taurus.

His best work was now in the production field, working with young DJs and veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman, Gregory Isaacs, and Johnny Clarke were just some of the talent who cut singles for him. King Tubbys Presents Soundclash Dubplate Style arrived in 1989, bundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force. Then, on February 6, 1989, his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery. In the years since, King Tubby's renown has only grown.

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In the early seventies King Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station.

King Tubby – Dub From The Roots (flac 273mb)

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

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

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

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

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

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

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RhoDeo 1204 AC Clark

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

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

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About Arthur C. Clarke and 2001:

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

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

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

So how did it come about ?

EXCERPTS FROM A DIARY by ARTHUR C. CLARKE

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

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

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

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

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

July 12. Now have everything - except the plot.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Sundaze 1204 Inside Out

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

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

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

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

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

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

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

01 Delta Sleep System 2 Part 1 30:20
02 Delta Sleep System 2 Part 2 30:19
inc. info/instruction booklet

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

01 Dreamtime 30:21
02 Peaceful Slumber 30:11

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

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

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

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

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

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RhoDeo 1203 Grooves

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


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

"A Parliafunkadelicment Thang"

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

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

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

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

Funkadelic – Tales Of Kidd Funkadelic (254mb)

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

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

Funkadelic - One Nation Under A Groove (369mb)

01 One Nation Under A Groove 7:28
02 Groovallegiance 7:00
03 Who Says A Funk Band Can't Play Rock? 6:18
04 Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers) 10:45
05 Into You 5:41
06 Cholly (Funk Getting Ready To Roll!) 4:27
07 Lunchmeataphobia ('Think, It Ain't Illegal Yet!) 4:12
08 P.E. Squad/Doo Doo Chasers ("Going All-The-Way Off" Instrumental Version) 4:18
09 Maggot Brain 8:28
bonus
10 One Nation Under A Groove (12 inch) 11:26
11 One Nation Under A Groove (Instrumental) 5:48

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

Funkadelic - Uncle Jam Wants You ( 278mb)

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

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RhoDeo 1203 Goldy Rhox 55

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

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

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

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


Goldy Rhox 55 (flac 331mb)

Goldy Rhox 55 (ogg 125mb)


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RhoDeo 1203 Aetix

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

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

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

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

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

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

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

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

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

The Clash - Singles 01-05 (261mb)

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

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

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The Clash - Singles 06-09 (219mb)

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

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

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The Clash - Singles 10-11 (296mb)

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

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

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elsewhere

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

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RhoDeo 1203 Roots

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.

Oops bit later posting been watching the Golden Globes, amazingly predictable this year and i'm hardly a big follower of the moving images industry, must be a bit psychic then or according to Sheldrake..picked up the results from the human consciousness field as i 'd been watching yesterdays recording.

To the matters at hand ..some great Dancehall stars

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Frankie Paul is often referred to as Jamaica's Stevie Wonder, and not just because of his visual impairment; like Wonder, he was a talented multi-instrumentalist with a tremendous vocal range. He was also extraordinarily prolific; part of the first wave of dancehall artists, he started his recording career in earnest during the early '80s, and has since flooded the market with product, releasing countless singles and well over 30 albums. That's made his career difficult to track for all but the most ardent fans, but it's also ensured that he's never been too far out of the spotlight on a constantly changing reggae scene.

Paul was born Paul Blake in 1965. He was blind at birth, but an operation on a hospital ship succeeded in giving him a small visual capacity; he later went to New York to obtain a pair of high-powered glasses that helped even further. He attended a Salvation Army school for the blind, where he first began singing. When Stevie Wonder visited the school, Paul sang for him, and an impressed Wonder encouraged him to go into music. Paul learned the piano, drums, and guitar while still in school, and was most influenced as a singer by Dennis Brown in his early days. As Frankie Paul, he made his first recording, "African Princess," in 1980, when he was still just 15. In 1983, he appeared on two volumes in Channel One's Showdown series, one with Sugar Minott and the other with Little John. The former LP contained Paul's first major hit, the Henry "Junjo" Lawes-produced "Worries in the Dance," which aligned him with the emerging dancehall sound. Lawes also produced 1984's Pass the Tu-Sheng-Peng, whose title cut -- an ode to ganja -- was a huge, star-making hit in Jamaica.

Paul reached his prime in the mid-'80s, cutting excellent albums like the George Phang-produced Tidal Wave (1985) and Alesha (1987), and the Philip "Fatis" Burrell-produced Warning (1987). His hit singles included "Tidal Wave," "Alesha," "Cassanova," "Sara," "Fire Deh a Mus Mus Tail," "Slow Down," and many others. Paul continued to record for a variety of labels in the '90s, with LP highlights including 1991's Should I and 1994's Hard Work. To keep up his prolific recording pace, he came to depend heavily on covers, whether of reggae classics or contemporary American R&B material. He continued into the new millennium as a tremendously active presence on the reggae scene.

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Henry "Junjo" Lawes, the producer as responsible as anyone for the inexorable rise of the toasters, was also instrumental in reinventing old talent (e.g. Johnny Osbourne) or bringing out new to stardom, like Frankie Paul. Paul linked up with the producer in 1984 for a clutch of stunning hits, culminating in that year's Pass the Tu-Sheng- Peng album, titled after one of his biggest. Although still in his teens, Paul exhibited an amazing vocal maturity, reminiscent, as was his style in places, of Dennis Brown. Lawes handed over a basket of his best riddims for the set, all laid down to perfection by the Roots Radics, many, of course, based on classic Studio One numbers. That includes the fabulous ganja pumping title track, a version of "Darker Shade of Black." That single's flipside, the equally classic "War Is in the Dance," was an original riddim, although it sounds like it came straight out of the rocksteady age. That song is themed around the violence and police raids proliferating through Kingston's sound systems, as is the "Jump No Fence" (aka "Curfew the Dance"). Virtually every track on this set is of almost equal high caliber. Obviously Paul would go on to record more masterpieces over the years, but so powerful was this set, that although he'd often equal it, he seldom surpassed it.

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

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

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

Frankie Paul – Tidal Wave (flac 209mb)

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

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

Ini Kamoze – Ini Kamoze (flac 203mb)

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


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RhoDeo 1203 Burroughs

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

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

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

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

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

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


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

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

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

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

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

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

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elsewhere

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

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Sundaze 1203

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

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

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

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

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

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

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

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

Bluetech – Prima Materia (flac 363mb)

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

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

Bluetech – Elementary Particles (flac 230mb)

01 Elementary Particles (Re-Edit) 8:12
02 Alchemie Dub 6:43
03 Cosmologic 7:32
04 Koinonea 6:30
05 Prayers For Rain (J.Viewz Remix) 4:59
06 Oleander 7:08
07 Worthy 3:05
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This release clearly demonstrates the rich maturing of Evan’s style & taste, a ripening of delicious musical fruits so it seems.
Phoenix Rising still retains Bluetech’s intelligent signature sound, but has a slightly more mature and funkier undercurrent to his previous releases. Sophisticated, clean, intricately constructed, meticulous and spacious…with dashes of fat squelchy basslines, cheeky squeaky melodies, flamboyant sound swirls, orchestral treats, and smooth rolling beats. Each track is unique to the next, making this a fine array of diverse examples of Evan’s musical genius. Don't miss it.

Bluetech – Phoenix Rising (flac 271mb)

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

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RhoDeo 1202 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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It's back to the Parliament groove again today. The album Up for the Down Stroke was released in 1974, with Chocolate City following in 1975. Both performed strongly on the Billboard R&B charts and were moderately successful on the Pop charts. Parliament began its period of greatest mainstream success with the concept album Mothership Connection (1975), the lyrics of which launched much of the P-Funk mythology. The subsequent albums The Clones of Dr. Funkenstein (1976), Funkentelechy vs. the Placebo Syndrome (1977), and Motor Booty Affair (1978) all reached high on both the R&B and Pop charts, while Funkadelic was also experiencing significant mainstream success. Parliament scored the #1 R&B singles "Flash Light" in 1977 and "Aqua Boogie" in 1978.

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

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

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

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

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

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

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

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

Parliament – Motor Booty Affair ( 280mb)

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

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

Parliament – GloryHallaStoopid (Pin The Tale On The Funky) (289mb)

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

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RhoDeo 1202 Goldy Rhox 54

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

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

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


Goldy Rhox 54 (flac 328mb)

Goldy Rhox 54 (ogg 113mb)


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RhoDeo 1202 Aetix

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

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

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

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

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

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

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

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

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

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

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

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

The Psychedelic Furs - Forever Now ( flac 463mb)

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

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

The Psychedelic Furs - Mirror Moves (flac 263mb)

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

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elsewhere re-upped too 17-05-20

The Psychedelic Furs - Talk Talk Talk ( 81 ^393mb)

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