Sundaze 1120

Hello, it was eurovision songcontest night, tonight. I have to say it was reasonbly entertaining, hi performing standards in a giant stadium. Right from the start witha great intro that shaped into the abstract beating heart logo that kept on popping up throughout the show. This subliminal emotive message was enhanced by most of the songs that had some empowerment message within them. Collective men and solo women carried the show but the one couple won in the end with their message to turn to eachother and love. All this under what at times looked like a giant UFO beaming light.

Lots of artists got max points from other countries, i didnt count but I guess more than half of the 25 contestants, which is remarkable. The winner by no means scored the most max numbers, instead it was a steady stream of good points, in that sense the win for Azerbeidjan covered the biggest spread by far. Personally i felt a bit said for the most attractive contestant, she was from Spain , nevertheless she could still be a summer hit at the costas. I liked Denmark and Ireland had a sublime lightshow. In the past I wasn't that interested in this contest but the influx of East european countries has clearly done well for the entertainmentvalue of the show.

Today the spotlight is on Ulrich Schnauss, his last album , an album that clearly bares his mark from Daniel Land and The Modern Painters which i would describe as Sigur Ross meets Ulrich Schnauss and a slection he made from his production work.


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Ulrich Schnauss was born in northern Germany fishing port Kiel in 1977. During his formative years, he grew a love for a broad spectrum of music ranging from My Bloody Valentine to Tangerine Dream, to early bleep & breakbeat tracks. There was not much opportunity to see some of his musical heroes in Kiel, so the inevitable pull of the big city meant a move to Berlin in 1996.

By that time Ulrich's musical output had already become prolific with a variety of pseudonyms (most notably View to the Future and Ethereal 77) veering from ambient to drum and bass via electronica. These earlier works were soon catching the eye of Berlin electronica label CCO (City Centre Offices) who took up the story. Soon these submissions to CCO developed into Ulrich’s first album under his own name entitled Far Away Trains Passing By, which as it slowly seeped into peoples' consciousness became an electronic classic. Listeners were taken with the lush instrumentation and the emotion of the elegant, simple and beautiful music.The album became a critical hit and gained more and more listeners through the next couple years as it seeped into the far East and America.

Place which slowly came together during 2003 into a record that really showed some of Ulrich's youthful indie influences. His debut album under his real name established his pedigree as an outstanding electronic composer, but somehow he managed to take it further by developing his interest in songwriting for electronic music, born of his love for such giants of the independent world as My Bloody Valentine's Kevin Shields and Cocteau Twins' Robin Guthrie.From this humble conception, comes forth a record of surprisingly rare emotional power. A Strangely Isolated Place became a genuinely word-of-mouth record slowly growing in stature. The results are an oddly retro-futurist record.
Since the release of both albums Ulrich has been asked to work with and remix a host of artists, he has done occosional live shows and meanwhile his third album, "Goodbye", was released in 2007. Early 2007 he joined Longview as their keyboardist, maybe less surprising considering he's done many remixes of their work allready.

In the spring of 2008, Ulrich remixed two tracks and engineered/produced for the Manchester based shoegaze band Daniel Land and The Modern Painters. On October 27, 2008, the two tracks, 'Within The Boundaries' and 'Benjamin's Room', were released as a double A-side 7" single by the independent record label Sonic Cathedral - the labels 11th release.

In July 2008, the Stars EP was released to support his June/July US tour. A co-produced/co-written track with A Shoreline Dream titled "neverChanger" was released on an EP of the same name. Ulrich traveled out for a short tour with the band in Texas and Colorado to promote this effort, and performed this track with A Shoreline Dream during his performances.
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On Ulrich Schnauss' third album Goodbye, he gently fades away into a shoegaze slumber that drifts gently into an ethereal realm. Breathy keyboard pads are at the forefront and this results in a more sleepy retro vibe derivative of '80s new age, which might be the trouble with this record. On previous albums, Schnauss seemed to be evolving into his own futuristic style of beat-making, but here the excessive layering seems to be a step backward, with less focus on the rhythmic IDM and electronica aspects, and more on the expansive soundscapes. The epic "Medusa" and "Stars" have swelling vocal lines that swirl slowly with a fuzzy sheen as the soothing wall of sound builds to a climactic wash, and the overall result is a much fuller, dreamier sound, with a massive dosage of ambience.

Ulrich Schnauss - Goodbye (Special Edition) ( 416mb)

01 Never Be The Same 5:30
02 Shine 5:49
03 Stars 6:21
04 Einfeld 5:15
05 Here Today, Gone Tomorrow 5:06
06 A Song About Hope 5:55
07 Medusa 6:27
08 Goodbye 7:55
09 For Good 3:42
10 Love Forever 5:58
11 Look At The Sky 4:29
12 In Between The Years 3:52

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Daniel Land and the Modern Painters make music that is slow and stately, soporific and somnolent, like a sonic cathedral moving majestically through the icy fjörds of the frozen north, or something. Yes, folks, we're in shoegazing territory, with a six-piece band signed to Sonic Cathedral, the label that celebrates itself and the era of effects pedals and gorgeously gauzy noise.

Born in Devon but a student in Manchester, Land is a sensitive soul and, shall we say, not your typical Manc lad. Winter walks on deserted beaches, comfortable silences and glamorous one-night-stands". Although it's never going to win any awards on The X Factor, his voice is a subtly powerful instrument, an androgynous device of no fixed sex that merges with the four-guitar wall of noise only to occasionally soar across the ecclesiastically solemn soundscapes.

Daniel Land and The Modern Painters - Love Songs For The Chemical Generation ( 124mb)

01 Within The Boundaries 4:51
02 Codeine 6:58
03 Benjamin's Room 4:01
04 Glitterball 5:32
05 Locust 7:58
07 Love Lies Bleeding 6:01
08 Off Your Face Again 7:43
09 Smiling In Slow Motion 5:10
10 The Magic In My Head 7:04
11 Good Speed, Good Fun 5:15
12 Lighting Out For The Territories 5:52


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Ulrich Schnauss (Selected Remixes) - Missing Deadlines (now in flac 492mb)

01 Howling Bells – Setting Sun 3:45
02 A Sunny Day In Glasgow – Ghost In The Graveyard 4:20
03 Katharina Franck – Faithful Friend 5:35
04 Madrid – Out To Sea 6:21
05 Asobi Seksu – Strawberries 3:46
06 Dragons – Remembrance 4:35
07 aus – Halo 5:24
08 Mahogany – Supervitesse 5:30
09 Lunz (Roedelius & Tim Story)* – Lunz 5:10
10 Rachel Goswell – Coastline 5:25
11 High Violets* – Chinese Letter 5:42
12 Mark Gardener – Story Of The Eye 4:24
13 I'm Not A Gun – Make Sense And Loose 4:49
14 Mojave 3 – Bluebird Of Happiness 10:02

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RhoDeo 1119 Beats

Hello, last Sundaze i posted 2 EP's from the Massive Attack 11 Single(EP) box, seeing there was considerable interest I've decided to post the whole box, today 5 more beats orientated EP's and in an upcoming Sundaze - likely a week from now the remaining 4-. I wouldn't want to over do it, after all there needs to be some time to enjoy those remixes.

Last Tuesday i noticed some dead links it looks Uploadjockey no longer functions, luckily i hadn't used them much, still because i strive to keep things going as much as possible i've re-upped these, some i've re-ripped aswell. There's two links on deleted pages too as most of those are still life and listed elsewhere on this blog . I ve added the new links here, if there's interest i could put all deleted pages in a RTF file once more up for download.

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Unfinished Sympathy" originally appeared on the group's 1991 debut album Blue Lines, and was the second single released from the album on 11 February 1991. It features Shara Nelson on lead vocals, and is generally recognized as a pioneering song in the trip hop genre. It is also one of the group's most successful singles. It frequently features in critics and popular polls as one of the best songs of all time. British Radio 1 featured it as number 1 in a list of the best songs of all time.

Massive Attack - Unfinished Sympathy EP ( 159 mb)

01 Unfinished Sympathy (Original) 5:14
02 Unfinished Sympathy (Nellee Hooper 7" Mix) 4:33
03 Unfinished Sympathy (Nellee Hooper 12" Mix) 5:49
04 Unfinished Sympathy (Perfecto Mix) 5:17
05 Unfinished Sympathy (Instrumental) 4:08

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Safe from Harm" is the third single from Blue Lines, the 1991 debut from Massive Attack. The bass, guitar, and drums are sampled from the song "Stratus" by Billy Cobham, from his album Spectrum.

Massive Attack - Safe From Harm EP (202 mb)

01 Safe From Harm (Original) 5:18
02 Safe From Harm (7" Version) 4:26
03 Safe From Harm (12" Version) 6:55
04 Safe From Harm (Perfecto Mix) 8:13
05 Safe From Harm (Just A Groove Dub) 3:15
06 Safe From Harm (Just A Dub) 3:13

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Karmacoma was released as a single from their second album Protection in March 1995. It is a rap featuring vocals from band member 3D and guest artist Tricky. Tricky also recorded his own version of "Karmacoma," renamed "Overcome" for his debut studio album, Maxinquaye.

Massive Attack - Karmacoma EP ( 239mb)

01 Karmacoma (Album Version) 5:17
02 Karmacoma (Portishead Experience) 3:58
03 Karmacoma (Napoli Trip) 6:04
04 Karmacoma (U.N.K.L.E. Situation) 5:37
05 Karmacoma (Bumper Ball Dub) 5:57
06 Karmacoma (Ventom Dub Special) 6:04
07 Blacksmith/Daydreaming 5:23

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Massive Attack - Risingson EP ( 188 mb)

01 Risingson (Album Version) 4:59
02 Superpredators 5:46
03 Risingson (Underdog Mix) 6:05
04 Risingson (Otherside) 5:43
05 Risingson (Underworld Mix) 8:40

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Massive Attack - Inertia Creeps EP (247 mb)

01 Inertia Creeps (Album Version) 5:32
02 Inertia Creeps (Radio Edit) 4:09
03 Inertia Creeps (Manic Street Preachers Version) 5:02
04 Inertia Creeps (State Of Bengal Mix) 6:23
05 Inertia Creeps (Alpha Mix) 5:54
06 Back/shecomes 6:07
07 Reflection 4:52

RhoDeo 1119 Aetix

Hello, time for the latest from the past, the King is dead, long live the republic! Alas these lessons are forgotten time and again...there is no noble blood just a noble upbringing and if people are confused about nurture or nature it's because the churchdemons (priests) deny them a true understanding of life.
Ok Echo & the Bunnymen have to say at the time I started to dislike their over the top dramatic sound, why not go Goth straight away, they didnt which was a mistake and with hindsight one can say Ocean Rain was unsurpassed by them in the 25 of and on years that followed....

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The Bunnymen grew out of the Crucial Three, a late-'70s trio featuring vocalist Ian McCulloch, Pete Wylie, and Julian Cope. Cope and Wylie left the group by the end of 1977, forming the Teardrop Explodes and Wah!, respectively. McCulloch met guitarist Will Sergeant in the summer of 1978 and the pair began recording demos with a drum machine that the duo called "Echo." Adding bassist Les Pattinson, the band made its live debut at the Liverpool club Eric's at the end of 1978, calling itself Echo & the Bunnymen. In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas.

Their debut album, Crocodile, was produced by The Chameleons and Ian Broudie. Echo's brilliant, often harrowing debut album beginning with the dramatic, building climb of "Going Up," at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets.

The group's third album, Porcupine, is a solid outing, a noticeably better listen than its predecessor, Heaven Up Here. Songs are intriguing and elaborate, often featuring swooping, howling melodic lines. Arrangements here owe a lot to 1960s psychedelia and feature lots of reverb, washed textures, intricate production touches, and altered guitar sounds. Ian McCulloch's vocals are yearning, soaring, and hyper-expressive here, almost to the point of being histrionic, most notably on "Clay," "Ripeness," and the title track. Driving bass and drums lend the songs urgency and keep the music from collapsing into self-indulgence.

With their 4th album Ocean Rain came not only critical succeess and sales , it started off a rut, big trouble with Warner(label)when they finally did come together again Pete de Freitas had left the band, but later returned and everything was rerecorded. in the end the epynomous album had taken 3 years. It was unsurprisingly not that well recieved, by now it was 1987. A year later McCulloch quit the band in 1988 and de Freitas was killed in a motorcycle accident in mid-1989. The remaining members werent really able to resurrect the band... In 1994 McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson rejoined the duo, meaning the three surviving members of the original Bunnymen lineup were now working together again. Rather than continue as Electrafixion, the trio resurrected the Echo & the Bunnymen name and released the album Evergreen (1997) and since What Are You Going to Do with Your Life? (1999), Flowers (2001) and Siberia (2005). The Fountain is the thusfar latest Echo & the Bunnyman album released in 2008.

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Recorded at Rockfield Studios near Monmouth in Wales, Heaven Up Here was co-produced by Hugh Jones and the band. A generally well received album by fans in the United Kingdom and by critics, Heaven Up Here won the "Best Dressed LP" and "Best Album" awards at the 1981 NME Awards. The album has also been listed at number 471 in Rolling Stone magazine's list of the 500 greatest albums of all time.

Echo and the Bunnymen - Heaven Up Here ( Flac 446mb)

01 Show Of Strength 4:50
02 With A Hip 3:15
03 Over The Wall 5:59
04 It Was A Pleasure 3:15
05 A Promise 4:07
06 Heaven Up Here 3:44
07 The Disease 2:28
08 All My Colours 4:06
09 No Dark Things 4:27
10 Turquoise Days 3:51
11 All I Want 4:16
Bonus Tracks
12 Broke My Neck (Long Version) 7:17
13 Show Of Strength (Live) 4:39
14 The Disease (Live) 1:53
15 All I Want (Live) 3:09
16 Zimbo (Live) 3:52

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The band recorded and self-produced "The Killing Moon" – which was released on 20 January 1984 – at Crescent Studio in Bath, Somerset. After catching a cold, McCulloch completed the recording of the vocals for the song at Amazon Studio in Liverpool, where de Freitas also completed the drumming. The band then went to Paris where they were booked into Les Studios des Dames and Studio Davout. Henri Lonstan, the engineer at des Dames, assisted on the string passages and Adam Peters provided the string arrangements and played cello and piano. McCulloch, not happy with the lead vocals he had recorded in Paris, re-recorded most of the vocals at Amazon Studio in Liverpool.[5] The rest of the band members were happy with their contributions.

Continuing the band's prominent use of strings – which began with the 1982 single "The Back of Love" – they recorded Ocean Rain using a 35-piece orchestra. Lead guitarist Will Sergeant said, "We wanted to make something conceptual with lush orchestration; not Mantovani, something with a twist. It's all pretty dark. 'Thorn of Crowns' is based on an eastern scale. The whole mood is very windswept: During recording De Freitas used xylophones and glockenspiels in addition to his usual percussion, bass player Les Pattinson used an old reverb machine at des Dames and Sergeant's solo on "My Kingdom" was played using a Washburn acoustic guitar which he distorted through a valve radio.

Ocean Rain was remastered and reissued on CD in 2003. Eight bonus tracks were added to the album: "Angels and Devils", which had been recorded at The Automatt in San Francisco, was the B-side to the single "Silver" and was produced by The Bunnymen and Alan Perman; five Life At Brian's – Lean and Hungry tracks which had been recorded for the Channel 4 programme Play At Home; and two live tracks ("My Kingdom" and "Ocean Rain") which were recorded for A Crystal Day, a Channel 4 special for The Tube.

Echo And The Bunnymen - Ocean Rain (03 rem) (flac 391mb)

01 Silver 3:20
02 Nocturnal Me 4:57
03 Crystal Days 2:24
04 The Yo-Yo Man 3:10
05 Thorn Of Crowns 4:55
06 The Killing Moon 5:47
07 Seven Seas 3:20
08 My Kingdom 4:05
09 Ocean Rain 5:24
Bonus Tracks
10 Angels And Devils 4:24
The Life At Brian's Sessions
11 All You Need Is Love 6:45
12 The Killing Moon 3:27
13 Stars Are Stars 3:05
14 Villiers Terrace 6:00
15 Silver 3:25
16 My Kingdom (Live - 12 May 1984) 3:58
17 Ocean Rain (Live - 12 May 1984) 5:18

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 re-upped (30-4-20)

elsewhere on this blog (Rhotation Eight-X 20, 35-deletedpage )  now in Flac !

Echo and The Bunnymen - Crocodiles (80 rem-extd 461mb)

Echo And The Bunnymen - Porcupine (83 rem-extd  511mb)

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RhoDeo 1119 Roots

Hello, bit later as usual soo i keep it short here. Last week's Roots ended with a Pakistani Sufi singer jamming with a western guitarist this week we continue in the same Sundaze fashion with an Indian guitarist and an American one-top jam ! India has been broadcasting it's vibrant muxic/film industry to the world and doing so has developped two major labels... Bhangra and Bollywood which project Indian lust fo life and full colour. Obviously us westerners need a guide into that vibrant world..Rough Guide provides here...enjoy

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A Meeting by the River can best be described as a spontaneous outpouring of music, unhindered by convention or form, brought into being by musicians so supremely capable that the music is never labored, the technique of their craft always subservient to the final product. Cooder and Bhatt are genuine masters of the guitar and mohan vina, respectively. The latter, an instrument created by Bhatt himself, is a sort of hybrid between a guitar and a vichitra vina, and is played with a metal slide. This fact is just one of the many things that connect Bhatt's playing to Cooder's, who plays nothing but bottleneck guitar here. The musical interplay between Cooder and Bhatt is nothing short of astounding, especially so considering that they met for the first time only a half-hour before the recording of this album. They are ably accompanied by a pair of percussionists: tabla player Sukhvinder Singh Namdhari and Cooder's own son, Joachim, on dumbek. A Meeting by the River is one of those few cross-genre albums in which the listener never feels for a second that there is some kind of fusion going on; one does not hear the component parts so much as the integrated whole. The splendor of the music is aided in its transmission by the fact that this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding.

V.M. Bhatt and Ry Cooder - A Meeting by the River (160mb)

1. A Meeting by the River 2:23
2. Longing 11:59
3. Isa Lei 9:59
4. Ganges Delta Blues 7:40

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Bhangra dance began as a folk dance conducted by punjabi farmers in 11th century to celebrate the coming of the harvest season. The specific moves of bhangra reflect the manner in which villagers farmed their land. This hybrid dance became bhangra. The folk dance has been popularised in the Western world by Punjabi and is seen in the West as an expression of South Asian culture as a whole.Today, Bhangra dance survives in different forms and styles all over the globe

Over the last decdes young British Asians have transformed bhangra into a modern and vibrant dance music. Today British Asian bhangra is a huge export to the millions of South Asian expatriates around the globe, and it also has been sent back to India, where it has had a big impact on Indian pop and feedbacks into the many movie soundtracks.

Bhangra has developed as a combination of dances from different parts of the Punjab region. The term Bhangra now refers to several kinds of dances and arts, including Jhumar, Luddi, Giddha, Julli, Daankara, Dhamal, Saami, Kikli, and Gatka.

Various – The Rough Guide To Bhangra Dance ( 442mb)

01 Alaap – Bhabiye Bhabiye 5:14
02 Rama (7) & Bally Sagoo – Mera Laung Gawacha 7:26
03 Bombay Talkie – Chargiye 5:37
04 Sangeeta – Pyar Ka Hai Bairi 4:40
05 Malkit Singh – Boliyan 7:42
06 Mohinder Kaur Bhamra – Gidda Pao Haan Deo 3:38
07 A.S. Kang – Valeti Boliyan 6:21
08 Satwinder Bitti & Bally Sagoo – Pendha Gidda 6:22
09 Ustad Nusrat Fateh Ali Khan* – Piya Re Piya Re 4:33
10 Baldip Jabble – Jani Mahi Ley Aya 5:21
11 Safri Boys – Par Linghade 7:32
12 Saqi – Saqian Da Dhol 4:19
13 Labh Janjua & Panjabi MC – Mundian To Bach Me 3:55

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Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai, Maharashtra, India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the total Indian film industry, which includes several regional film industries sorted by language.

Classical forms of music may have been around longer, but in India it’s contemporary Hindi film music that reigns supreme. The soundtracks accompanying commercial Hindi language, aka Bollywood, films have been entertaining Indian cinema-lovers for almost a century, and their appeal continues to spread around the globe thanks to the Diaspora.

For the millions of ardent Bollywood fans it would be tricky to select only a handful of songs to represent the unique blend of romantic, playful and dramatic music that plays an integral part of their cinematic experience. With hundreds of musical features produced each year, there’s a plethora to choose from. So where would a novice start?

VA – The Rough Guide Bollywood Gold ( 300mb)

01 Jolly Mukherjee & Sridevi - Chandni O Meri Chandni 4:53
02 Kishore Kumar - Zindagi Ek Safar Hai Suhana 4:20
03 Rahul Dev Burman - Mehbooba Mehbooba 3:28
04 Asha Bhosle - In Aankhon Ki Masti 5:42
05 Asha Bhosle & Mohammed Rafi - Aaja Aaja Main Hoon Pyar Tera 6:42
06 Kishore Kumar & Lata Mangeshkar - Tere Chehre Se Nazar Nahin 4:53
07 Mohammed Rafi - Chahe Mujhe Koi Junglee Kahen 3:31
08 Mukesh - Awaara Hoon 3:06
09 No Artist - Nagin (Theme Instrumental) 1:19
10 Lata Mangeshkar & Shailendra Singh - Chabi Kho Jaye 7:07
11 Kishore Kumar - Yeh Sham Mastani 4:46
12 Mahendra Kapoor & Chorus - Mere Desh Ki Dharti 7:05
13 Mukesh - Kehta Hai Joker 6:56
14 Lata Mangeshkar - Chalte Chalte 5:52
15 Kishore Kumar - Mere Sapnon Ki Rani 4:14

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RhoDeo 1119 RAW

Hello, well we're nearing the end of the Robert Anton Wilson series, todays post is the penultimate one, and he's analysing a hot topic today..Religion (or whose phantom is best and biggist).

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

11 Religion for the Hell of it (48min. 24mb)



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Sundaze 1119

Hello, it looks like summer here, hmm nature's been somewhat off course we need rain, I sound like a farmer here..tsss. Well todays guys seem to have taken their time these last years, just two official albums in 12 years, it's harder to decide when you're stoned and those studio's have hundreds of buttons with thousands of settings. Maybe we should be surprised to do as much as they do, after all they tour aswell, seen them twice.
Today i offer a rarety as it stems from a limited edition of Collected slightly extended by yours truly. To keep on the road of limited i've added 2 of the 11 EP's from their great but too expensive 12 " collection. Sundaze on a sunny mothers day.

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When the Wild Bunch folded during the mid-'80s, two of its members -- Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall -- teamed with local graffiti artist 3D (born Robert del Naja) to form Massive Attack in 1987; another Wild Bunch member, Nellee Hooper, split his time between the new group and his other project, Soul II Soul. In 1988 they released their first single "Any Love", their second single "Daydreaming," appeared in 1990; it featured the sultry vocals of singer Shara Nelson and raps by Tricky, another onetime Wild Bunch collaborator. The classic "Unfinished Sympathy" followed. Finally, in 1991 Massive Attack issued their debut LP, Blue Lines; while by no means a huge commercial success, the record was met with major critical praise, and was dubbed an instant classic in many quarters. Nelson, featured on many of the album's most memorable tracks, exited for a solo career soon after,

Generally considered the first trip hop album, though the term wasn't coined until several years later, Blue Lines was a massive success in the United Kingdom, though sales were limited elsewhere. A fusion of electronic music, hip hop and dub music, the album established Massive Attack as one of the innovative British bands of the 1990s and the founder of trip hop's Bristol Sound. In 2000 Q Magazine placed it at number 9 in its list of the 100 Greatest British Albums Ever. In 2003, the album was ranked number 395 on Rolling Stone magazine's list of the 500 greatest albums of all time.

After a three-year hiatus Massive Attack resurfaced with Protection. Never musicians in the conventional sense, the new record would be the result of meticulous studio work. Entirely different in feel and mood to Blue Lines, the band themselves have raised doubts about its quality. However, the gilded layers of Protection said much for craft as an antonym for improvisation, and remains one of the shining achievements for British music of the '90's. With Wild Bunch founder member Nellee Hooper on production duties with master-mixer Mark 'Spike' Stent, Protection's symmetrical structure once again contained Horace Andy and Tricky, but there were some entirely new additions that diversified the Massive sound ever further.

Massive Attack gave Tracey Thorn and Ben Watt's Everything But The Girl star billing on the album's titular opener, and a new afterhours market of post-clubbers opened up to them. They recruited Nicolette too, who's Now Is Early album contained the post-hardcore / early jungle record Waking Up and the off-kilter No Government as released by club favourites Shut Up And Dance. As Thorn and Watt had been an integral part of Protection and Better Things, so Nicolette's ethereal co-compositions Sly and Three extended the album's symmetrical structure, a circle squared by Tricky's hand in Karmacoma and Euro Child, before he found the exit door. But perhaps the most important inclusion amongst Protection's co-credits would be the presence of Scottish jazz / classical composer Craig Armstrong. Armstrong's studiedly pristine contributions to instrumentals Weather Storm and Heat Miser would point most accurately to the future of Massive Attack. A lengthy tour followed, and over the next several years, Massive Attack's solo work was primarily confined to remixes

Massive Attack's third album, Mezzanine, was released in 1998. Mezzanine showed the band moving towards a somewhat dark, tense sound filled with distorted guitars and a combination of drum machines and live percussion that lacked the laid-back, jazzy nature they had occasionally shown in their previous albums. In addition to reggae singer Horace Andy, making his third consecutive LP appearance with the group, vocal chores were handled by the Cocteau Twins' Elizabeth Fraser and newcomer Sara Jay. Original member Vowles, dissatisfied with this change in sound, left the band shortly after the release of the album. He was replaced by Neil Davidge, who worked with Del Naja for much of his material on Mezzanine. The release of Mezzanine also led to a change in Massive Attack's live show. In addition to their previous simple set up of a few mics and turntables, the group began incorporating more and more live instrumentation into their shows. In addition to their usual numerous guest vocalists, the trio were now being joined on stage by a live guitarist, bassist, drummer, and a keyboard player.

With Grant Marshall off on extended paternity leave, 2003's 100th Window was virtually the work of Del Naja alone. To some, 100th Window's barbed wire sound disappointed, some dismissing its similar viscosity as a repeat tour of Mezzanine's less accessible territories. Butterfly Caught's taut arabesque, suffused with Del Naja's pitch-perfect evocation of the track's sombre tension, was also, like elsewhere on the album, arabic in styling. Sinead O'Connor provided 100th Window's now-requisite ethereality - as captured here on the floating What Your Soul Sings. In 2004, the band, now consisting of Del Naja, Davidge, and programmer Alex Swift, released an instrumental soundtrack for the feature film Danny the Dog, the film's title was changed to Unleashed prior to the American release, the album was initially released under the original title as it came out months before the film. 2005 saw the band contribute another soundtrack, this time for the feature film Bullet Boy. EMI/Virgin aannounced that the newest Massive Attack album would be out in February 2007. However, in 2006 a Greatest Hits was released, Collected, in several formats with video and an extra Collected cd.

In 2007, Del Naja and Davidge scored three soundtracks, In Prison My Whole Life (which featured a track called "Calling Mumia" with vocals by American rapper Snoop Dogg), Battle In Seattle and Trouble the Water. All of this soundtrack work was either credited as Neil Davidge and Robert Del Naja or under the guise of 100 Suns, in an effort to differentiate the soundtrack/film scoring work from the brand name of Massive Attack.

Davidge and Del Naja then got back together in 2009 with Daddy G to concertedly finish the fifth album, incorporating bits of the Albarn material. It had been widely suggested that "LP5" (formerly known as Weather Underground) would be released in September 2009. "LP5" was finished on 12 November 2009, according to producer, Neil Davidge. A number of articles fueled rumours that Del Naja will call the album Hell Ego Land. It was in fact called Heligoland, after the German archipelago of Heligoland, and released Februari 2010
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Massive Attack - Collected B Greats ( 489mb)

01 - False Flags 5:40.
02 - Incantations 3:19
03 - Silent Spring 3:07
04 - Bullet Boy 4:04
05 - Black Melt 5:12
06 - Joy Luck Club 4:58
07 - Small Time Shoot 'Em up 6:44
08 - i Against I 5:42
09 - I Want You 6:21
10 - Danny The Dog 6:02
11 - What Your Soul Sings (with Sinead O'Conner) 6:37
12 - Risingson (Otherside) 5:42
13 - Daydreaming (Brixton Bass Mix) 5:21
14 - Sly (remix) 4:56
15 - Live With Me 4:51

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Massive Attack - Protection EP ( 265mb)

0101 Protection (Album Version) 7:51
0602 Protection (7" Edit) 4:53
0603 Protection (Underdog's Angel Dust Mix) 7:35
0604 Protection (Radiation For The Nation) 8:33
0605 Protection (The Eno Mix) 9:10
0606 Protection (J Sw!ft Mix) 7:13

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Massive Attack - Angel EP ( 186mb)

1001 Angel (Album Version) 6:19
1002 Angel (Radio Edit) 5:24
1003 Angel (Blur Remix) 6:21
1004 Angel (Mad Professor Remix) 6:15
1005 Group Four (Mad Professor Remix) 7:51

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elsewhere (Rhotation, Into the BPM 24) note page has been deleted

Massive Attack - Blue Lines (2012 Mix/Master) (flac ^ 265mb)

01 Safe From Harm 5:18
02 One Love 4:48
03 Blue Lines 4:21
04 Be Thankful for What You've Got 4:09
05 Five Man Army 6:04
06 Unfinished Sympathy 5:08
07 Daydreaming 4:14
08 Lately  4:26
09 Hymn of the Big Wheel 6:37


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RhoDeo 1118 Beats

Hello, well still strugling with Windows 7, why can't they offer a true personal version, i'm so fed up with that administrator this and that, i understand they try to make it idiotproof but i don't think treating everyone as an idiot is the way ahead..at least in Europe and Asia. It's rediculous they keep on asking the same questions. Meanwhile i notice some old XP software having trouble despite the emulation. It still refuses my NVIDIA drivers..must be me.
Meanwhile the Brits have refused changing their voting system on the basis of an anti liberal democrat campaign that has gone on in the media ever since they entered a coalition government with the Tories. How sad, and they call it democracy, the next campaign will be fearmongering the Scots as they will get a vote on full independance in the next years. I hope they will remember all those that fought the English for independance and won't let themselves be suckered by the English press's propaganda. Who wants to be ruled by greedy bankers or mindless socialists anyway. Look at Tjecho-Slowakia after they split things went better for both sides and they hadn't a thousand year history of bloodshed like the English and the Scots. With the EU around, the timing has never been better.

To the business at hand, todays Beats are provided by a (wo)man who's appeared before at this blog although in a Sundaze capacity but he's got much more up his long sleeves namely deep house (of the understated kind) something to enjoy behind at your computer aswell with or without headphones..enjoy

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New York-based composer Terre Thaemlitz is one of only a handful of significant American artists working in the new ambient vein. He's released the bulk of his material through the Instinct Ambient label, but has also issued tracks (under his own name and as Chugga) on his own Comatonse label and through others. Although Thaemlitz's entre into electronic came in a somewhat traditional fashion -- as a house DJ -- his explorations in electronic abstraction have been anything but, focusing on themes of abjection, alienation, fracture, and contradiction in his music. Thaemlitz's recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists He's also recorded with Bill Laswell, releasing Web in 1995, and done remix work for Interpieces Organization and the Golden Palaminos, among others.

Born in Minnesota and raised in Missouri, Thaemlitz moved to New York in the mid-'80s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarly a dancefloor DJ, Thaemlitz's insistence upon integrating house music's more simplistic monotony with challenging, complicated breaks and references earned him an uneasy relationship with club promoters looking for DJs whose only commitment was the 4/4 beat. Retiring from club DJing in the early '90s (although he continues to spin experimental electronic music at art galleries, one-offs, and in other marginal contexts), Thaemlitz began making his own tracks, beginning with house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrete, and eventually settling into experimental ambient. One of his earliest works, "Raw from a Straw," in addition to limited release through his own Comatonse label, appeared on an early ambient compilation on Instinct, and earned him an almost instant reputation. He's since fortified that with a pair of full-length releases remarkably free of many of the cliched conventions of club-drived ambient.

Electro-acoustician Thaemlitz took the long road around expectation for his Mille Plateaux debut, opting for a set of solo piano extrapolations of songs by Kraftwerk,, "Roboter Rubato" . Built on a high-clearing deck of post-industrial cultural analysis over the course of its seven-plus pages of liner notes, the music on the disc requires little in the way of explanation. Thaemlitz' sparse, inventive interpretations are pleasing enough on their own. Thaemlitz: " I don't play piano, but I've always been aware of the ability for persistent "unskilled" improvisation to invoke a sense of competency, if not virtuosity. 2 years later he released another tribute , this time to his childhood favourite, Gary Numan, "Replicas Rubato" (Mille Plateaux, 1999), both accompanied by thoughtful, philosophical liner notes.

The theoretical component of the program gets a little out of hand with Means From An End (Mille Plateaux, 1998), Institutional Collaborative (Mille Plateaux, 1998), Love For Sale (Mille Plateaux, 1999), Interstices (Mille Plateaux, 2000), all of them based on computer processing of found sounds. Fagjazz (Comatonse, 2000) is a two-disc monolith. The first disc is an anthology of early, hard to find tracks. The second disc is an hour of improvisation with a jazz ensemble. In 2001 he relocated to Japan. in 2003 Terre released Lovebomb (Mille Plateaux,, yet another exercise in collage of samples and tape manipulation that rarely (Between Empathy and Sympathy is Time, Sintesi Musicale del Linciaggio Futurista) elicits emotions and most often sounds like advertising for the specific devices that he is using.

These past years Terre divided his attention between film/video and music, under his alias DJ Sprinkles he's released a number of 12"as well as an deep house album, Midtown 120 Blues. Under his own name, Transister and the You? Again? cyclus and several releases as the Kami-Sakunobe House Explosion K-S.H.E (how's that for one androgyne's moniker ?),and under the names DJ Sprinkles, Chugga, G.R.R.L, Social Material, Teriko & Terre's Neu Wuss Fusion. He is currently based in Japan. Combining themes of identity politics with an ongoing critique of the socio-economics of commercial media production, his production styles include electroacoustic computer music, club-oriented deep house, digital jazz, ambient and computer composed neo-expressionist piano solos. He is a resident DJ at Club Module in Tokyo, and his writings on music and culture have been published internationally.

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Terre’s also been making deep house for a long time, released on his own Comatonse label, which has languished for a lack of distribution, not quality. Given the ascendancy of Dial, Philpot, Deeply Rooted House and the like over the past year or two, the worldwide release of this 2006 collection on Mule is timely to say the least. If you dig the recent European renovation of deep house, you’re going to enjoy this work immensely. His creativity and highly politicized stance in the music scene has led to many followers of his music. This album best represents Terre Thaemlitz's deeper-than-deep house style. Using his great gift for beautiful ambient music, he makes an album that is both dancefloor friendly and a great home-listening album.

Terre Thaemlitz - You ? Again ? (06 Flac 345mb)

01 Chugga – Theme For The Buck Rogers Light Rope Dance (Deep Space Probe Remix By Terre Thaemlitz) 9:21
02 Terre's Neu Wuss Fusion – A Crippled Left Wing Soars With The Right (Steal This Record Remix By DJ Sprinkles) 8:24
03G.R.R.L. – Banji (Demo Dub) 5:22
04 DJ Sprinkles – Sloppy 42nds (Sprinkles' Deeperama) 6:41
05 Social Material – Class (Mule Edit) 5:22
06 Terre's Neu Wuss Fusion – Thirty Shades Of Grey 4:46
07 G.R.R.L. – Face (Extended Demo Edit) 5:34
08 Terre's Neu Wuss Fusion – A Crippled Left Wing Soars With The Right (1-Step Forward, 2-Step Back) 8:24
09 Terre & Funk Shui – Superbonus (Superedit) 12:24
10 Chugga – Theme For The Buck Rogers Light Rope Dance (500 Year Orbit Remix By Terre Thaemlitz) 6:19

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Terre Thaemlitz has used the handle DJ Sprinkles since his early days behind the decks, but didn’t release a proper full-length until now. And it couldn’t have arrived at a better time. Nested in Thaemlitz’s “hyper-specific” narrative regarding house music’s commercialization and sterilized recontextualization, Midtown 120 Blues speaks to the dead-end some say dance music has reached post minimal. Opener “Midtown 120 Blues Intro” is the disc’s only straight (no pun intended) statement of purpose. A pair of piano chords diffuses like smoke into diaphanous drones, muted arpeggios mumble, and robot fingers snap as an echo-extended snare keeps crackling time. Thaemlitz faintly lays out his case: Instead of the “greeting card” bullshit notion of house that’s most commonly trafficked – “life, love, happiness” – he insists “suffering is in here, with us.” . This album has in spades what many a contemporary dance effort lacks: a greater purpose and its ensuing range of emotions.

DJ Sprinkles – Midtown 120 Blues (08 Flac 370mb)

01 Midtown 120 Intro 2:46
02 Midtown 120 Blues 8:06
03 Ball'r (Madonna-Free Zone) 8:18
04 Brenda's $20 Dilemma 7:47
05 House Music Is Controllable Desire You Can Own 7:09
06 Sisters, I Don't Know What This World Is Coming To 10:46
07 Reverse Rotation 7:19
08 Grand Central, Pt. I (Deep Into The Bowel Of House) 12:08
09 Grand Central, Pt. II (72 hrs. By Rail From Missouri) 8:24
10 The Occasional Feel-Good 6:40

RhoDeo 1118 Goldy Rhox 24

Hello, today the 24 th post of GoldyRhox, classic pop rock. Not sure what was the trouble yesterday and earlier today, but I finally managed to upload Oranges and Lemons and todays mystery album. (a Japanese remaster).

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 accomodate somewhat and produce some cryptic info on the artist and or album.


Last Goldy Rhox's 'Jesus" is the leadsinger of todays band. And yes we're back in the early seventies with a band that was on a roll after two succesful albums. When they rolled into town to record this album they witnessed the location (a casino) go up in flames after a visitor at a Zappa concert ignited a flare and the place burned down. It inspired the band to write their most famous track, extremely simple in its structure but very effective. In fact, all the improve that followed must have relaxed the band so much that out came their biggest and best album, a landmark of seventies hardrock. The album hit the number one spot on the British charts within seven days of its release, remaining there for two weeks before returning in May for a further week. In the US, the album reached number seven, remaining in the charts for two years.




Goldy Rhox 24 (90mb)


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RhoDeo 1118 Aetix

Hello, uploading has been tediously slow today, infact everything seems to have gone slow today. It shows how quickly we've adjusted to instant this or that. I suppose expecting such is a Godgiven right, which it is of cause, if only we weren't so thick and keep on wading thru this material world. I can only imagine the gift of senses, of growth, death and time is an irrisistable lure to the other side, even if there's ways to mess around from both sides. Think of Islam which is asthonishing proof of messing around here by arrogant pretenders from the other side. One could say that at the time Rome (the church) had completely lost it's way and send the rest of Europe into the dark ages, but to send an illiterate cameldriver on it's way to start a new religion, to me is proof that those responsible in no way had the foresight or were on a mission for the Creator, As if It was ever in need of assistance, the structure is set not the path that would make existance futile. It would make the Creator futile. And so the path winds and comes upon blockages, many detours and pretenders from this and the other side to lead us astray. Meanwhile counting on our soul to keep tabs thru our many deaths.

Oops, turned out a bit of a sermon, and here you are expecting some nice eighties stuff. Well got some trippy XTC for ya..not the tablet kind though.....

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Before the band finally settled on a name: XTC, the core duo of Andy Partridge (guitars & vocals) and Colin Moulding (bass & vocals) went through many band names in the previous 5 years, Terry Chambers (drums) joined in 1973 and keyboard player Barry Andrews followed in 1976. By this time (77), the punk rock movement was in full swing, and XTC had found their style, a unique brand of hyperactive pop mixed with funk, punk, ska, reggae, and art rock. That year they signed with Virgin and released their debut LP White Music in January 1978. White Music received favorable reviews and entered the British top 40, but lead single "Statue of Liberty" was banned by the BBC for making allegedly lewd references to the famous statue ("in my fantasy I sail beneath your skirt")...yes 30 years ago those censorists assumed getting a hard on from a copper statue, or maybe it was to prevent young men getting the wrong idea and emigrate to the States..outrageous either way...
Their second effort Go2 came 8 months later, it had a limited edition bonus disc Go + (dub mixes of songs from the album). The title was inspired by the Japanese strategy game GO and the fact that it was their second album. In 1980 Andrews left to become one of Fripps League of gentlemen and afterwards went on to form Shriekback. He was replaced by guitarist and keyboardist Dave Gregory. With his arrival, the band scored their first charting single, Moulding's "Life Begins at the Hop". The loss of Andrews' distinctive keyboard playing started the band on a path towards a more traditional rock sound. The resulting album, Drums and Wires, contained the band's first big hit, "Making Plans for Nigel", the album found the band branching out into more overtly political topics, culminating in the unhinged ranting of "Complicated Game", which became one of the band's most well-known non-hits. During this period, Partridge also further indulged his love of dub, releasing a solo LP in 1980 under the name 'Mr Partridge'. The album, Take Away/The Lure of Salvage, featured radical dub deconstructions of music from the preceding XTC albums.

Their 1980 LP, Black Sea spawned the hit singles "Sgt. Rock (Is Going to Help Me)" and "Generals and Majors". The last major hit of XTC's touring phase was "Senses Working Overtime", the first single from their double album English Settlement and a top 10 hit in 1982. At the peak of their popularity, the band embarked on a major tour, but Partridge suffered a mental breakdown on stage during one of the first concerts of the tour in Paris on March 18, 1982. Andy Partridge's breakdown, caused by the loss of his valium supply on which he become dependant since his teenager years, manifested itself as uncontrollable stage fright. the european and US tours were cancelled and since then, XTC have been exclusively a studio band, although they have given occasional live-to-air performances from radio stations, and a handful of TV appearances. Drummer Chambers was more or less forced to leave, left without the performances income and was never replaced as from then on this role would be taken on by hired session hands.

Mummer (83) saw Partridge cooling his heels with pastoral songs like "Love on a Farmboy's Wages", the band's next album took a noisy left turn. 1984's The Big Express, surprised both their record company and fans alike with its abrasive sound and became XTC's poorest seller to date . XTC responded with a project that was intended as a homage to 1960s pop and psychedelic music by groups such as the Beatles, The Byrds, The Kinks, The Beach Boys, Pink Floyd and the Pretty Things and released 25'o clock a mini album under the name of The Dukes of Stratosphear, 2 years later they had another go and released a full album "Psonic Psunspot". 3 years after a compilation (Anthology) of those 2 albums was released under the colourfull title Chips From The Chocolate Fireball (An Anthology),

In 1986, the band travelled to Todd Rundgren's studio-in-the-woods in Woodstock, New York to record Skylarking. Although the pairing of XTC and Rundgren was highly anticipated by fans, the sessions were less than enjoyable for the band. Rundgren had insisted that the band send him, in advance, demos of all the songs that they thought they might tackle for the record. When the band got to Woodstock, Rundgren had already worked out a running order for both the recording and sequence of the album itself. The two egos of Rundgren and Partridge clashed frequently during the recording of Skylarking . Yet the album earned critical accolades and sold well. The band's follow up, Oranges and Lemons, produced by Paul Fox, was their biggest seller yet, with thanks to the singles getting heavy airplay on MTV.

Their 1992 album, Nonsuch (named after Henry VIII's fabled palace), united them with famed UK producer Gus Dudgeon and drummer Dave Mattacks. In spite of the LP's success, soon after it was released a contractual dispute with their label, Virgin Records, saw XTC go "on strike" from 1992 through 1998, finally resulting in the termination of their contract. After leaving Virgin, Partridge had their accounts audited and it was discovered that the company had withheld substantial royalty payments from them(surprise ). The settlement of the accounts provided the group with much-needed cash flow, allowing Partridge and Moulding to install fully-equipped studios and work comfortably at home. They are now able to record the majority of their work themselves, they formed their own label, Idea Records, and embarked on the recording of the ambitious "Apple Venus" project, a collection of the best material written during the band's dispute with Virgin. This didnt go down as smoothly as expected as long time member, Dave Gregory, left, again because of loosing out financially, it caused some upheavel. The band's next record, Wasp Star (Apple Venus Volume 2) was the guitar-heavy collection Gregory would have preferred. In October 2005, the two albums were reissued together in the 4-CD Apple Box collection.

I n November 2006, Partridge told several interviewers that Moulding no longer had any interest in writing, performing or even listening to music. Partridge has said he would not continue XTC without Moulding, and that therefore he has been forced to regard XTC "in the past tense," with no likelihood of a new project unless Moulding should have a change of heart. Partridge meanwhile jammed with Martin Barker and Barry Andrews (both Shriekback) and released a double CD under the name of Monstrance.

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Arguably XTC's defining album, English Settlement is a significant milestone of the band's ability as musicians and songwriters. Some prevalent lyrical themes include the preservation of buildings, world peace, youthful rebellion, and the frustrations of love. The cover design is based upon the Uffington White Horse, which is about 6 miles east of Swindon, the home town of XTC.

English Settlement marks the change from the jumpy live band that preceded it to the assured studio band that came after. It's all drums and wires-- with some bird-like sax honks that suit the vaguely African expanse of the sound--: the nervous music of the head, and the deep, heavy music of the heart. The songs run longer: the killer beat at the end of "Melt the Guns" takes all the time it needs to play itself out, and "All of a Sudden" lets Partridge wring every nuance from what could be the best lyrics he's ever written, making broad statements about life and love through simple, sharp imagery. Here they change from a young band to a mature one: this is the pivot on which their entire career hangs, and a vantage point from which both ends of it make sense. It's timeless



XTC - English Settlement ( flac 477mb)

01 Runaways 4:51
02 Ball And Chain 4:28
03 Senses Working Overtime 4:45
04 Jason And The Argonauts 6:03
05 No Thugs In Our House 5:16
06 Yacht Dance 3:52
07 All Of A Sudden (It's Too Late) 5:18
08 Melt The Guns 6:31
09 Leisure 5:01
10 It's Nearly Africa 3:54
11 Knuckle Down 4:26
12 Fly On The Wall 3:11
13 Down In The Cockpit 5:35
14 English Rundabout 3:50
15 Snowman 4:26

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During the mid-'80s, XTC developed a deep fascination with '60s psychedelia that manifested itself on their late-1986 masterpiece Skylarking. During this time, they decided to develop their alter egos of the Dukes of Stratosphear, a way to let all of their infatuation with psychedelia flourish. Both the EP 25 O'Clock and the full-length Psonic Psunspot, collected on the single-disc Chips From the Chocolate Fireball, capture the sound of '60s psychedelia remarkably well. All of the sonic details, from the fuzz guitars to the cavernous echoes and sound effects, are in place, as are the self-consciously trippy lyrics. But what makes the Dukes of Stratosphear far more than a comedy band are the songs, which happen to be some of the best pure pop tunes XTC ever wrote: Despite the clever craftsmanship, XTC has never sounded so carefree or effortless, been quite as immediately catchy or consistent -- Chips From the Chocolate Fireball is too good to be overlooked as a side-project folly, because it truly is some of the best music XTC ever made.

Both 25 O'Clock and Psonic Psunspot were produced by John Leckie, whose adopted pseudonym was Swami Anand Nagara. The band morphed into: Sir John Johns (Andy Partridge) - singing, guitar, brain buds, The Red Curtain (Colin Moulding) - electric bass, song stuff, Lord Cornelius Plum (Dave Gregory) - mellotron, piano, organ, fuzz-tone guitar and E.I.E.I. Owen (Ian Gregory) - drum set



Dukes Of Stratosphear - Chips From The Chocolate Fireball (An Anthology) ( flac 389mb)

25 O'Clock
01 25 O'Clock 5:04
02 Bike Ride To The Moon 2:23
03 My Love Explodes 3:49
04 What In The World??... 5:01
05 Your Gold Dress 4:42
06 The Mole From The Ministry 5:59
Psonic Psunspot
07 Vanishing Girl 3:22
08 Have You Seen Jackie? 4:31
09 Little Lighthouse 3:39
10 You're A Good Man Albert Brown 3:23
11 Collideascope 3:19
12 You're My Drug 3:18
13 Shiny Cage 4:00
14 Brainiac's Daughter 2:31
15 The Affiliated 2:17
16 Pale And Precious 4:58

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Orange & Lemons is a psychedelic pop pastiche so powerfully drawn we ought it becomes a tribute. The Yellow Submarine-style cartoon on the sleeve is a dead giveaway. Oranges And Lemons is obsessed with The Beatles, or more precisely Paul McCartney, circa 1967-8.

The various horn arrangements, and particularly the one on President Kill Again, are the most strikingly Sgt. Pepper's Lonely Hearts Club Band quotation. The rolling, upbeat melody of The Loving has an unmistakably Paul McCartney-esque feel too, and a lyric which Andy Partridge himself has called All You Need Is Love in another form. The album's nursery rhyme title, surrealist nonsense ditties such as Poor Skeleton Steps Out and the opener, Garden Of Earthly Delight, all reinforce the tone of madcap naivety which was such a marked feature of British psychedelia in general and The Beatles in particular.

Exuberantly catchy but densely layered and mercifully free of that whiff of self-conscious art school cleverness which has blighted XTC in the past, these songs are thrilling before you catch their sophistication.



XTC - Oranges and Lemons ( flac 400mb)

01 Garden Of Earthly Delights 5:03
02 Mayor Of Simpleton 3:58
03 King For A Day 3:37
04 Here Comes President Kill Again 3:35
05 The Loving 4:11
06 Poor Skeleton Steps Out 3:33
07 One Of The Millions 4:37
08 Scarecrow People 4:13
09 Merely A Man 3:27
10 Cynical Days 3:17
11 Across This Antheap 4:52
12 Hold Me My Daddy 3:48
13 Pink Thing 3:48
14 Miniature Sun 3:57
15 Chalkhills And Children 4:57

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elsewhere on this blog (Rhotation Eight-X 8, 49 ) vinyl rips

XTC - White Music (78 ^ 366mb)
XTC - Go 2 (^ 293mb)

XTC - Wax Works(82 ^ 99mb)
XTC - BeesWax(82 ^ 93mb)
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RhoDeo 1118 Roots

Hello, the news today was totally dominated by the execution of one Osama Bin Laden although never charged with the 9/11 attacks, it were the victims of that dirty attack that got to express their joy, at least only those that got airtime, understandible as more then half of the New Yorkers believe that attack was orchestrated by cynics within their own government aided by foreign intelligence agencies. Interestingly tonight i heard someone recall that he always had a UN meeting there which for once (that day) was rescheduled from 8AM to 10AM, hmm talk of inside job..
Let me state it clearly, those buildings were very professionally demolished, there was no other way to get rid of that asbestos infested outdated landmark, without getting sued for the healthrisk it was. Murdering thousands of people was obviously not a problem for those psychopaths with the cloud. A measly billion or 2 for the building dwarfed by the 2 trillion dollar black hole the Pentagon announced the evening before and whose admins got visited by a cruise missile a few hours later, leaving nobody to testify.
Right from the start Osama Bin Laden was pointed to, as he once was heard saying using airplanes in an attack could be highly effective. Those that listened in sure picked up on that one.
I'm sure many of the US collaborators have met an untimely death or are under surveillance. Obviously the psychopaths between them have had no such trouble, they've risen in the hyarchy and terrorise the general public these days, frightning them into submissiion. It remains to be seen what happens next , the timing is ideal for another false flag attack, presumably to revenge the martyr Osama.

It's not just misery coming from Pakistan today.....

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Nusrat Fateh Ali Khan was a world-renowned Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). Considered one of the greatest singers ever recorded, he possessed a six-octave vocal range and could perform at a high level of intensity for several hours. Extending the 600-year old Qawwali tradition of his family, Nusrat Fateh Ali Khan is widely credited with introducing Sufi music to international audiences.

Nusrat Fateh Ali Khan was born on October 13, 1948 in the city of Lyallpur (now Faisalabad), Pakistan. He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and Qawwal. He began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bol Bandish. He then went on to learn to sing within the classical framework of khayal. Khan's training with his father was cut short when his father died in 1964, leaving Khan's paternal uncles, Mubarak Ali Khan and Salamat Ali Khan, to complete his training. His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death.

In 1971 Nusrat became the official leader of the family Qawwali party.. Khan's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, the song featured restrained use of Nusrat's sargam improvisations.

In 1979, Khan married his first cousin, Naheed (the daughter of Fateh Ali Khan's brother, Salamat Ali Khan); they had one daughter, Nida.

Early in his career, Khan was signed up by Oriental Star Agencies in the U.K. to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material on cassette, CD, videotape and DVD.
In subsequent years, Khan released movie scores and albums for various labels in Pakistan, Europe, Japan and the U.S. He toured extensively, performing in over 40 countries.
Khan contributed songs to, and performed in, many Pakistani films. Real World released 5 albums by him a connection that started when Nusrat teamed up with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985.

Khan was taken ill with kidney and liver failure on August 11, 1997 in London, England while on the way to Los Angeles in order to receive a kidney transplant. He died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48. After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used on the Peter Gabriel song "Signal to Noise" ( Up), and on the soundtrack to the Martin Scorsese film Gangs of New York.

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Mustt Mustt is the first Qawwali fusion album collaboration between singer Nusrat Fateh Ali Khan and guitarist and producer Michael Brook, although the album itself is credited purely to Khan. It was rock musician Peter Gabriel who suggested that Brook and Khan work together. It was released in 1990 on Gabriel's Real World Records label.

Soulful and hypnotic, Khan's passionate singing on these songs of praise underscores the richness and vitality of Sufi culture. While Qawwali music goes back centuries, the use of synthesizers adds a modern edge to the highly absorbing Mustt Mustt.

The song "Mustt Mustt" was remixed by Massive Attack and was a club hit in the United Kingdom, being the first song in Urdu to reach the British charts.It was later used in an advert for Coca Cola.



Nusrat Fateh Ali Khan - Mustt Mustt (115mb)

01 Mustt Mustt (Lost In His Works) 5:15
02 Nothing Without You (Tery Bina) 5:04
03 Tracery 4:48
04 The Game 4:59
05 Taa Dem 4:47
06 Sea Of Vapours 3:55
07 Fault Lines 4:13
08 Tana Dery Na 4:23
09 Shadow 3:04
10 Avenue 4:51
11 Mustt Mustt (Massive Attack Remix) 4:24

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Night Song is an album by qawwal Ustad Nusrat Fateh Ali Khan and guitarist and producer Michael Brook. It was the last album on Real World Records that Khan lived to see finished. It was nominated for a Grammy Award for Best World Music Album in 1996, but lost out to The Chieftains' album Santiago.

With West African kora and electronic backing and Nusrat singing in a relaxed mid-range voice, the opener "My Heart, My Life" sounds almost like a Salif Keita ballad as it works up to its energized closing chant. Not until the fifth of eight tracks, "Longing," do we hear Nusrat's signature scat singing and his singular wail, unmistakable even when lavished with effects. "Sweet Pain" might be the strongest track, beginning deep in dream space with a wandering bassline and a simple backbeat, and then heating up to powerful close with Nusrat delivering spitfire scat. Summing up, this is perhaps the most experimental of Khan's albums, including Senegalese and classically trained musicians.



Nusrat Fateh Ali Khan & Michael Brook - Night Song ( 109mb)

01 My Heart, My Life 5:30
02 Intoxicated 7:34
03 Lament 5:14
04 My Comfort Remains 6:39
05 Longing 5:35
06 Sweet Pain 6:28
07 Night Song 4:47
08 Crest 6:14

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RhoDeo 1118 RAW

Hello, well still getting to grips with windows 7 and all it's "securities". Can't say i like that taskbar either, hardly an improvement, still managed to add a quicklaunch bar. Funny thing, Windows took over and refuses to install NVDIA says its drivers are better, right thats why it set 800x600...hmm got a txt file with everything i posted here (with links) that wont display as it did, will have to adjust the list of 2000 + entries apparently the XP3 editor wasnt compatible.

I'm wondering if it ain't time to overhaul this blog and or start posting flacs, as i'm noticing visitor numbers collapsing since mid march. I've seen the rise of late of collective sites with an open structure, basicly where besides a handful for admins any can post a link, picture with or without any info. Maybe the latter has become less interesting because backgound is available thanks to Google and Wiki. As this blog has always been a one man production who's posts are sourced by his vinyl/cd cabinets, his general knowledge backed up by the previously mentioned, i wonder if this blog is still offering what visitors want. Comments please..

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

10 Raw - The Acceleration of Knowledge 2 (39min. 32mb)



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Sundaze 1118

Hello, looks like i'm still in business , it's been a sunny and windy saturday here, good for the vitamin D production, i'm working on a sunny disposition, one ray at the time..

And Now....Music for the inner cinema..

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Laswell's artistic and commercial breakthrough came via jazz icon Herbie Hancock's Future Shock album (1983); Laswell produced the album, played bass on all the songs, and co-wrote most of the material. Its track "Rockit" has frequently been regarded as a pivotal moment in the influence of hip hop and turntablism (via Grand Mixer D.ST). The track was the first hit song to feature turntable scratching. The remainder of the 80’s saw Laswell produce albums for people like Sly & Robbie (who Laswell continues to work with) Mick Jagger, PiL, The Ramones, Iggy Pop and Yoko Ono. Many of these projects afforded Laswell the opportunity to bring in some of his normal working crew to record on more mainstream records.

The later part of the ‘80s also saw Laswell completely sever ties with the Celluloid label, which has since been sold several times. 1990 marked a watershed year in Laswell’s control and ability to produce high-quality recordings controlled by himself. In addition to purchasing his own studio (the famed Greenpoint Studio in Brooklyn), Chris Blackwell, founder of Island Records and longtime Laswell booster, gave Laswell the opportunity to begin a new label with the backing of Island Records. Thus, Axiom Records was born. Axiom played the ‘Nothing Is True, Everything Is Permitted’ credo to its fullest. With a sizable budget and minimal interference from Island executives, Laswell had the means to make arguably some of the most important music of his career. In addition to albums by Material that featured players ranging from Sly & Robbie, William S. Burroughs, Wayne Shorter, Bootsy Collins and Bernie Worrell, he produced and released albums by drummer and Ornette Coleman acolyte Ronald Shannon Jackson, Sonny Sharrock (featuring Pharoah Sanders and Elvin Jones), Laswell main-stay Nicky Skopelitis, Last Poet Umar Bin Hassan and Ginger Baker.

The most successful project and one of the few still in print on Axiom – where the first release was produced, was Praxis. Originally the moniker that an experimental Celluloid 12” by Laswell was released under in 1984, Praxis now became a full-fledged band, The release, ‘Transmutations (Mutadis Mutandis)’ featured the enigmatic guitarist Buckethead, drummer Brain, Bernie Worrell and Bootsy Collins. The project has spawned other releases, never with the same line-up twice, generally consisting of the core trio of Buckethead, Brain and Laswell supplimented by others. 1994/1995 saw a bit of a slow-down in Axiom’s output, but a number of genre-shattering 2CD compilation sets were released. Axiom Funk’s ‘Funkronomicon’ saw previously released tracks by Praxis and Nicky Skopelitis paired with a host of tracks mainly featuring various members of the Parliament/Funkadelic crew. Axiom Dub was another compilation, Laswell also remixed the whole of the Axiom catalog into a 2 disc ambient mix called Axiom Ambient

The ‘90s also saw a number of other labels associated with Laswell, most prolific of these was Subharmonic. Though not owned by Laswell, the label was essentially a release house for his projects, most of which fell into the ambient or ambient-dub catagories, notably Psychonavigation (with Pete Namlook) and Cymatic Scan (with Tetsu Inoue). The label also released albums from Praxis and Laswell’s new project, Divination, an ambient dub project (umbrella moniker for releases of ambient compilations).

Laswell released two albums of remixes from dead artists – Bob Marley’s Dreams of Freedom on Axiom and Miles Davis’ Panthalassa. The first contained airy, ambient dub translations of some of Marley’s Island catalog, largely sans Marley’s voice. Chris Blackwell requested the album as part of a planned series of remix albums by various producers who were rooted in the reggae/dub tradition. Blackwell’s departure from Island killed any further albums. For Panthalassa, Laswell took the tapes from Miles’ ‘electric period’ and re-imagined (cut-up and remix) them. The impetus for the project being that the original releases were just mixes made by Teo Macero from long in studio sessions. Needless to say, critic and fan responses varied wildly.

The late ‘90s saw two other major changes, Chris Blackwell left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, efforts to obtain master recordings and new distribution has been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of hangout, moved his studio to West Orange, New Jersey, now calling it Orange Music or alternately, Orange Music Sound Studios...... more at Rhotation Sundaze 39

The New York-based producer, bassist and visionary is responsible for some of the most interesting and influential recordings of the last 20 years. But unlike other sonic architects, he has no rulebook or pre-defined codes. The range of Bill Laswell’s music has demanded a new openness from musician and listener alike, and through his work points of congruence between genres have become clearer and we now have new hybrid forms to reckon with. “Hitting people on a real level and trying to lift their awareness up a notch or two, to get them to think beyond the conventionally held beliefs that certain musics only work in certain ways. That’s the driving force behind most of what I do, and if it means sacrificing notoriety and acceptance for freedom, creativity and integrity, I’ll do it every time.”

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Axiom Ambient

Bassist/producer Bill Laswell has long been one of the most important figures in New York's downtown scene, and here his work has been more and more informed by a strange sort of cybermysticism, a mood which has found its perfect manifestation in this album. It includes remixes of tracks previously performed by Material as well as several new compositions. Laswell's sound is warmer than that of many of his electronic compatriots and actually includes sounds found in nature, perfect for Sundaze...



Bill Laswell - Lost In The Translation 1 ( 156mb)

1.01. Eternal Drift 15:52
1.02. Peace 17:04
1.03. Aum 17:33
1.04. Cosmic Trigger 16:18

Bill Laswell - Lost In The Translation 2 ( 123mb)

2.01. Dharmapala 14:33
2.02. Flash of Panic 15:14
2.03. Holy Mountain 16:38
2.04. Ruins 7:56

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elsewhere (Rhotation Sundaze 38,39)

Laswell & Namlook - Psychonavigation ( 137mb)
Jah Wobble • Bill Laswell - Radioaxiom – A Dub Transmission ( 99mb)
The Golden Palominos - Drunk With Passion ( 99mb)
Bill Laswell - Dub Chamber 3 ( 99mb)
Bill Laswell / Sacred System - Book Of Exit : Dub Chamber 4 ( 99mb)
Bill Laswell - Version 2 Version - A Dub Transmission ( 99mb)

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