RhoDeo 1549 Grooves

Hello,

Today's artist had a coloratura soprano vocal range. Aside from her various hits, she is perhaps best remembered today for her ability to sing in the whistle register, in which she had rare facility. Her vocal range spanned five octaves, rare ability to enunciate in the high registers set her apart from most other whistle-register singers. This feature is most notably heard in the song "Here We Go", where she sings "here we go" in the whistle register. Whistle-register enunciation can also be heard in songs such as "Inside My Love", "Adventures in Paradise", "Expecting", "Only When I'm Dreaming", and also in "Teach Me How to Fly" and "Like a Rolling Stone" with the Rotary Connection. She was also noted for her ability to sound almost mechanical or instrumental in the whistle register. In "You Take My Breath Away", she sang a portamento ending two octaves above the staff. She has also been credited for her ability to sustain notes in the sixth and seventh octave for long periods of time, as in "Reasons", "Could It Be I'm in Love", "Adventures in Paradise", and "Inside My Love", and also "Love Me Now" with the Rotary Connection. Having an innate ability to imitate many instruments helped lead to her discovery while she was a secretary at Chess Records. In her recordings, the highest recorded note reached in the whistle register was F7 on the third scale of "You Take My Breath Away". She reached this extremely high note before on an early recording of "Teach Me How to Fly" and "Could It Be I'm in Love". Also in a live performance of the song "Ruby Tuesday" from Rotary Connection, she sang an F#7. In the song "Loving You" she sings a walkdown on the A Major scale from F#6 to A5.. . ... N'joy

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Riperton was born in Chicago to Thelma and Daniel Riperton, a Pullman porter. The youngest of eight children in a musical family, she embraced the arts early. Although she began with ballet and modern dance, her parents recognized her vocal and musical abilities and encouraged her to pursue music and voice. At Chicago's Lincoln Center, she received operatic vocal training from Marion Jeffery. She practiced breathing and phrasing, with particular emphasis on diction. Jeffery also trained Riperton to use her full range. While studying under Jeffery, she sang operettas and show tunes, in preparation for a career in opera. Jeffery was so convinced of her pupil's abilities that she strongly pushed her to further study the classics at Chicago's Junior Lyric Opera. The young Riperton was, however, becoming very interested in soul, rhythm and blues, and rock. After graduating from Hyde Park High School, now Hyde Park Career Academy, she enrolled at Loop College and became a member of Zeta Phi Beta sorority. She dropped out of college to pursue her music career.

Riperton's first professional singing engagement was with The Gems, when she was 15. Raynard Miner, a blind pianist, heard her singing during her stint with Hyde Park's A Cappella Choir and became her musical patron. The Gems had relatively limited commercial success, but proved to be a good outlet for Riperton's talent. Eventually the group became a session group known as Studio Three and it was during this period that they provided the backing vocals on the classic 1965 Fontella Bass hit "Rescue Me".  In 1964, The Gems released a local hit, I Can't Help Myself, and their last single, He Makes Me Feel So Good, was released in 1965. The Gems later released records under numerous names—most notably 1966's Baby I Want You by the Girls Three and 1967's My Baby's Real by the Starlets. The latter has achieved cult status with northern soul fans and remains a favorite. It was a Motown-style song reminiscent of Tammi Terrell. In 1967, Riperton met songwriter Richard Rudolph, whom she married five years later. They have a son named Marc, and their daughter is Maya Rudolph, a successful television and film actress/comedienne. In 1968, Watered Down was released as a follow-up, under the name The Starlets. It was the last release of Riperton's former girl group.

Riperton's first solo album, Come to My Garden, produced, arranged, and orchestrated by Charles Stepney, was released in 1970 by GRT Records. She was presented as a solo artist by Ramsey Lewis on Saturday, December 26, 1970 at Chicago's famed London House. She performed several numbers from the album accompanied by Charles Stepney, the album's producer. Although commercially unsuccessful, Come to My Garden is now considered a masterpiece by music critics and many others in the music industry.

In 1973, a college intern for Epic Records found Riperton in semi-retirement. She had become a housewife and a mother of two in Gainesville, Florida. After he heard a demo of the song "Seeing You This Way", the rep took the tape to Don Ellis, VP of A&R for Epic. Riperton signed with Epic Records, and the family moved to Los Angeles, California. The subsequent record, Perfect Angel, turned out to be one of Riperton's best-selling albums. Included were the rock-soul anthem "Reasons"; the second single, "Take a Little Trip" (written by Stevie Wonder, who also coproduced the album); and the third single, "Seeing You This Way". Sales of the album started out slow. Epic was ready to move on to the next record, but Rudolph convinced them to release another single. With the fourth single, "Lovin' You", the album caught on, and in April 1975, the song went to the top of the charts in the U.S. and 24 other countries. The song reached #2 in the UK, and number three on the U.S. R&B charts. It sold more than one million copies, and was awarded a gold disc by the RIAA in April 1975. Perfect Angel went gold and Riperton was finally revered as the "lady with the high voice and flowers in her hair.

After Perfect Angel, Riperton and Richard Rudolph started on Riperton's third album, Adventures in Paradise (1975). Joe Sample of The Crusaders cowrote the title song, "Adventures in Paradise", and Crusaders producer Stewart Levine co-produced the album. While shooting a promotional clip for the album, she was attacked by a lion, but was not seriously injured. During an appearance on The Sammy Davis, Jr. Show, she played the footage of the incident for Sammy and her fellow guests, including Richard Pryor. The album was a modest success. Despite the R&B hit "Inside My Love" (a #5 U.S. R&B hit, later covered by Trina Broussard, Chanté Moore, and Delilah (musician) ), the album did not match the success of Perfect Angel. Some radio stations refused to play "Inside My Love" due to the lyrics: "Will you come inside me?" Her fourth album for Epic Records entitled Stay in Love featured another collaboration with Stevie Wonder in the funky disco tune "Stick Together". She also sang backup on Wonder's songs "Creepin'" from 1974's Fullfillingness' First Finale and "Ordinary Pain" from 1976's Songs in the Key of Life and was mentioned prominently in his song "Positivity" on A Time to Love. In 1977, Riperton lent her vocal abilities to a track named, "Yesterday and Karma", on Osamu Kitajima's album, "Osamu". In 1978, Riperton's attorney Mike Rosenfeld and her husband, Richard Rudolph, orchestrated a move to Capitol Records for Riperton and her CBS Records catalog. In April 1979, Riperton released her fifth and final album, Minnie. During the recording of the album, her cancer progressed to the point that she was in a great deal of pain.[3] "Memory Lane" was a hit from the album, and was arguably Riperton's greatest work. Riperton incorporated the sadness of the ending of a relationship while suddenly shifting to cries of "I don't want to go," "save me," "now I'm slippin' fast," "thought it was over; here I go again," and "travelin' down, faster than the speed of sound." It is thought that "Memory Lane" was her farewell to her family and to the world. Her last televised performance was on an episode of The Merv Griffin Show (aired July 6, 1979), during which she performed Memory Lane and Lover and Friend.

Riperton had revealed on the The Tonight Show on August 24, 1976, that she had undergone a mastectomy due to breast cancer. At the time of her diagnosis (January 76), Riperton found out her cancer had already spread to the lymphatic system, and was given about six months to live. She continued touring in 1977 and 1978, and became the national spokeswoman for the American Cancer Society's 1978–79 campaign. Extreme lymphedema immobilized her right arm in early 1979. In her final singing appearances on television (most notably on the Mike Douglas Show), her right arm would remain in a fixed position during her performances. By mid-June, she was confined to bed. She entered Cedars-Sinai Medical Center in Los Angeles on July 10. On Thursday, July 12 at 10 am, while lying in her husband's arms, Riperton died while listening to a recording Stevie Wonder had made for her. That Sunday, following a funeral service attended by more than five hundred mourners, Riperton was interred in the Westwood Village Memorial Park Cemetery in Los Angeles. Her epitaph is the opening line of her most famous song: "Lovin' you is easy cause you're beautiful."

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Minnie Riperton's solo debut is in many respects her finest hour -- devoid of the overly syrupy production that hampers her later work, Come to My Garden instead couches her miraculous voice in the elegant arrangements of the great Charles Stepney, striking a perfect balance between romantic melodrama and sensual nuance. Call Stepney's singular approach "chamber soul"--the nimble melodies and insistent grooves swell with orchestral flourishes, while the jazz-inspired rhythms (courtesy of Ramsey Lewis' group) at times evoke Van Morrison's masterpiece Astral Weeks. Stepney creates the ideal backdrop for Riperton's soaring vocals, which reveal a subtlety and restraint absent from the glass-shattering bombast of her subsequent performances -- the opening "Les Fleurs" (covered decades later by 4Hero) crystallizes the entire record, embracing both intimacy and majesty to haunting effect.

Minnie Riperton - Come To My Garden  (flac 225mb)

01 Les Fleur 3:08
02 Completeness 3:27
03 Come To My Garden 3:16
04 Memory Band 4:06
05 Rainy Day In Centerville 5:21
06 Close Your Eyes (And Remember) 3:40
07 Oh By The Way 3:03
08 Expecting 3:54
09 Only When I'm Dreaming 3:26
10 Whenever Wherever 3:31

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Perfect Angel is the best Minnie Riperton album, and still the closest she came to stardom. Stevie Wonder chipped in on drums, keyboards, and other instruments, and also wrote several tracks. "Reasons" was her finest uptempo tune, while the title track was a wonderful change-of-pace number. She also got her biggest hit, "Lovin' You," which became a signature tune. Adventures in Paradise, the follow-up to Perfect Angel -- an album featuring Minnie Riperton's biggest hit, much assistance from Stevie Wonder, and several of his associates, as well as an iconic outer sleeve -- tends to be viewed as a flop, at least by those who disregard Minnie as a novelty one-hit wonder. If the album is a flop on principle because none of its three singles was as big as "Lovin' You," or because Stevie was no longer around, so be it, but it's borderline classic by any other measure. The key collaborators here, outside of Minnie's songwriting husband Richard Rudolph, include keyboardist Joe Sample, guitarist Larry Carlton, saxophonist Tom Scott, and harpist Dorothy Ashby. Hardly poor substitutes. Most importantly, the album's three central songs were co-written with Leon Ware, who had come up with the Jackson 5's "I Wanna Be Where You Are" and was on the brink of writing what would become the entirety of Marvin Gaye's I Want You, along with his own excellent Musical Massage. Each of the Riperton/Rudolph/Ware songs ooze playful sensuality, desire, and lust -- especially "Inside My Love" (a Top 30 R&B single), a swooning slow jam filled with double entendres. If it weren't for the supremely seductive innocence in Minnie's voice, the words would likely fall flat in their directness. The opener, "Baby, This Love I Have," is even more heated, with Minnie's frustrated yearning wrapped around a lithe arrangement. The songs written by Minnie and Rudolph alone match up well with the best of Perfect Angel, and they're deceptively eclectic, mixing and matching soul and rock with touches of country and adult pop. It did not do nearly as well as it deserved.

Minnie Riperton - Perfect Angel + Adventures in Paradise  (flac 458mb)

Perfect Angel (1974)
01 Reasons 3:27
02 It's So Nice (To See Old Friends) 4:45
03 Take A Little Trip 4:09
04 Seeing You This Way 2:45
05 The Edge Of A Dream 4:22
06 Perfect Angel 3:43
07 Every Time He Comes Around 3:55
08 Lovin' You 3:44
09 Our Lives 5:59

Adventures In Paradise (1975)
10 Baby, This Love I Have 4:11
11 Feelin' That Your Feelin's Right 4:22
12 When It Comes Down To It 3:20
13 Minnie's Lament 4:13
14 Love And It's Glory 5:13
15 Adventures In Paradise 3:14
16 Inside My Love 4:49
17 Alone In Brewster Bay 4:26
18 Simple Things 3:41
19 Don't Let Anyone Bring You 3:00

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A well-chosen anthology spanning Minnie Ripperton's most creative and musically satisfying decade from the late sixties onwards. As Lovin' You demonstrates, Minnie was in possession of a breathtaking multi-octave vocal range. However, this collection also testifies to the sheer quality of her songwriting and breadth of musical vision. Minnie's talent clearly included the ability to co-produce her own songs, choose the best producers and musicians to work with and the refusal to waste her vocal talent on throwaway material (a frequent flaw in so many performers in this field). It is true that this is an album of mostly sweet, mid-tempo soul rather than out and out dance floor material but it really does encompass most of the enduring sounds and textures of 1970s Black American music. You could also say the same for the much-sampled soul-jazz of Inside My Love from 1975, which, like so many of Minnie's songs is just incredibly yet understatedly sexy. It was co-written and produced by Minnie and will also be familiar to anybody who has seen Quentin Tarrantino's "Jackie Brown". Memory Lane, from 1979, is very much in the same rich vein as Curtis Mayfield's best `70s output (a big Norman Jay tune). Another highlight is Young, Willing And Able, with its jazzy, Roy Ayers-like feel. This album is a fantastic tribute to her amazing, enduring talent and is ultimately a great collection of top quality soul music.

Minnie Riperton - The Minnie Riperton Anthology  (flac 404mb)

01 I Am The Black Gold Of The Sun (with Rotary Connection) 5:45
02 Reasons 3:27
03 Every Time He Comes Around 3:52
04 Young, Willing And Able 3:46
05 Inside My Love 4:41
06 Memory Lane 4:25
07 Love Hurts 3:38
08 Here We Go (feat Peabo Bryson) 4:05
09 You Take My Breath Away 4:32
10 Strange Affair 7:57
11 Take A Little Trip 4:11
12 I'm A Woman 3:59
13 Lovin' You 3:46
14 Les Fleur 3:16
15 Light My Fire (feat Jose Feliciano) 5:10

 Minnie Riperton - The Minnie Riperton Anthology (ogg 154mb)

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RhoDeo 1549 Goldy Rhox 239

Hello, today the 239th post of GoldyRhox, classic pop rock, in the darklight an English rock band from Wolverhampton/Walsall. They rose to prominence during the glam rock era of the early 1970's with 17 consecutive top 20 hits and six number ones. The British Hit Singles & Albums names them as the most successful British group of the 1970's based on sales of singles. They were the first act to achieve three singles enter at number one; all six of the band's chart-toppers were penned by Noddy Holder and Jim Lea. Total UK sales stand at 6,520,171, and their best-selling single, "Merry Xmas Everybody", has sold in excess of one million copies.

The band members grew-up in the Black Country area of the West Midlands: both the drummer Don Powell, and bass guitarist Jim Lea were born and raised in Wolverhampton, lead vocalist Noddy Holder was born and raised in the nearby town of Walsall, and lead guitarist Dave Hill was born in Devon and moved to Wolverhampton while a child. The band has released over 30 albums, three of which reached No. 1 in the UK Albums Chart. Their releases have spent a total of 531 weeks in the UK charts and they have earned 23 top 30 UK hits as of 2013..

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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.

Today's mystery album is the artist's third album by the British rock group. It was released on 1 November 1972, and reached No. 1 on the UK charts. The album lasted on the UK charts for a total of 34 weeks, and was also their longest-charting album in the United States where it stayed on the charts for half a year. Today's artists might have built fame upon a succession of gut-tearing hit singles, but the band's true rocking credentials were on display elsewhere, in the second to none stage show that had already been preserved on the epochal Alive! earlier in 1972 and across the chain of storming B-sides that had accompanied the smashes so far. Todays mystery album may have been only the band's second studio album in four years, but it reinforced that barrage with enough mighty stompers that the band could have taken the next year off and still not run out of steam. Even if one excises past hits "Gudbuy t' Jane" and "Mama Weer All Crazee Now" from the equation, the album is a nonstop party, from the riotously self-fulfilling prophecy of "The Whole World's Goin' Crazee" to the down-key but still eminently stompalong-able "Look at Last Nite," the latter a reminder that, even at its loudest, the band was still capable of some fetching balladry. Or should that be the other way around? The tomahawk riffing of "I Won't Let It 'Appen Again" is another highlight -- a similar arrangement was later borrowed, to excellent effect, for sometime support band Blue Öyster Cult's version of another Slade favorite, the rocker anthem "Born to Be Wild," while "Gudbuy Gudbuy" lurches like a battalion of tanks and matches a stirring Dave Hill guitar break to one of Noddy Holder's coolest-ever vocals. A couple of covers break the Holder/Lea songwriting domination. A bass-heavy blues boogie through Janis Joplin's "Move Over had graced a BBC session earlier in the year, and provoked such a great response that they had no option but to re-record it, while the closing medley of "Let the Good Times Roll" and "Feel So Fine" was the closest you could come to the mania of a live show without actually going out and buying a ticket. Of course, listeners don't have that option today. But stick on today's mystery albumcrank the volume well up -- and the whole world will be going crazee all over again. Here today the 2006 remaster with 5 bonustracks...N'Joy


Goldy Rhox 239   (flac 485mb)

Goldy Rhox 239   (ogg 131mb)


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RhoDeo 1549 Aetix

Hello, so today NWW presents a soliloquy for Lilith, Lillith a woman that's been 'around' 5000 years, not even Yahweh and his angels could control her, starting out as a second class Deity with the Sumerians 3000BC, a 1000 years later the Babylonians were already tought to fear her as a woman who led men astray 1500 years later the Jews upon leaving Babylon took with them a fear of a demon who killed babies and created an astonishing backstory for her as they wrote the old testament.... Lilith being Adam's first wife who refused to submit to him, she fled from paradise and Yahweh decided to create a more demure version of female, Eve. In the ages that followed she stayed in the Jewish sages thoughts and they kept on demonizing the unruly Lillith, no surprise then that by 1500 AD Christians were thought to fear her and blame her for every childs death. Interestingly the greeks had a version of her called Lamia. In the myth, Lamia is a mistress of the god Zeus, causing Zeus' jealous wife, Hera, to kill all of Lamia's children and transform her into a monster that hunts and devours the children of others. Then there's the famous 1819 poem of John Keats which probably inspired Genesis and their track "The Lamia" which btw was preceded by a track called Lilywhite Lilith opening that trippy side 3 from the 1974 double concept album The Lamb Lies Down on Broadway.. All this is just a limited summary, here's a link to get some in depth background to what looks to have been the worlds first feminist..Lillith Yes the supersticious patriarchy really needed lots of words to describe their fear of her...


Today's act was originally a band, formed in 1978 by Stapleton, John Fothergill and Heman Pathak. The band has performed in many genres such as avant-garde, experimental, industrial, noise, dark ambient, and drone. For the third and final time NWW. ... N'Joy

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A loose experimental project formed in 1978 by Steven Stapleton, Nurse with Wound explored abstract music -- influenced by Krautrock, freewheeling jazz improvisation, and Throbbing Gristle but including a heavy debt to surrealists Dali and Lautréamont -- with an overpowering release schedule of limited-edition albums and EPs. Stapleton worked with an ever-changing list of collaborators during the early years of Nurse with Wound, though Current 93's David Tibet was the only frequent recording companion during the 1980s and '90s.

Nurse with Wound's first three albums (Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, To the Quiet Man from a Tiny Girl, and Merzbild Schwet) reflect a naked, minimalist slant with long periods of quiet suddenly interrupted by guitar chords inspired by the avant-garde wing of psychedelia/jazz-rock, chains, music boxes, and found-sound recordings. By the early '80s, Stapleton had begun to incorporate noisy, abrasive rhythms that put him more in line with contemporary EBM masters like Skinny Puppy and SPK. Though Stapleton continued his surrealist slant, he often moved back to more empty recordings. These works -- beginning with Soliloquy for Lilith in 1988 -- came to light in the context of the growing ambient/electronic movement, however, putting Nurse with Wound squarely in line with music trends for the first time.

Stapleton recorded two split singles with Stereolab during 1995 and continued his hectic, uncompromising release schedule from his base in southern Ireland. In 2005 the double-CD compilation Livin' Fear of James Last offered an overview of their output. That same year the two-CD compilation Judas as Black Moth was released through the Sanctuary label. On May 5, 2005, Stapleton recorded an improvisational live piece in Vienna and released it in 2006 under the title Soundpooling. Tooth, Teeth, Milk, Skin, Teeth was released in mid-2007, while NWW's terrifying 1982 cult classic Homotopy to Marie was reissued on CD just in time for Halloween 2007. Three new albums were issued in 2008: Huffin' Rag Blues, The Bacteria Magnet, and The Continuous Accident. In early 2009, the retrospective Paranoia in Hi-Fi: Earworms 1978-2008 prefaced a slew of new albums including Space Music, The Surveillance Lounge, and May the Fleas of a Thousand Camels Infest Your Armpits.

A collaborative work with krautrock legend Faust was released on CD in 2007 as Disconnected with a vinyl edition carrying additional mixes following in 2008. A NWW album entitled Huffin' Rag Blues, primarily a collaboration with British sound artist Andrew Liles, was issued in 2008 with a companion mini-LP entitled The Bacteria Magnet. A remix of Sunn O)))'s ØØ Void entitled The Iron Soul of Nothing was given a limited release with an expanded reissue of the out-of-print studio album The Man with the Woman Face following. An album of new material entitled The Surveillance Lounge was then released as a CD with a limited triple CD called The Memory Surface. A CD of new material entitled Space Music will be released on 17 November 2009.

A recent collaboration was a result of the chance meeting of Nurse With Wound's Steven Stapleton and Graham Bowers, both artists were appearing at Bangor Sound City's first art/sound event 'Wet Sounds' curated by Joel Cahen located at the Bangor Swimming Pool, North Wales, in January 2011. Both were admirers of each other's past works and felt that a collaboration on a new piece of work could be an interesting and exciting prospect, consequently 'Rupture' is the first full-length work, and is released as a Double Vinyl album/LP, a CD and Download. The Vinyl album and CD have been released through Dirter.

The follow-up to last year's Rupture sees Steven Stapleton and Graham Bowers exploring the inner reaches of the psyche. The thematic work, Parade was released on the interdisciplinary arts group/record label Red Wharf and distributed by Cargo. The third collaboration, ExcitoToxicity was released July 2014, and the fourth, Mutation released March 2015 all through Red Wharf and distributed by Cargo.

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Collecting several Nurse With Wound tracks from various compilations from the early to mid-'80s, the Automating albums are a good place to start for someone who doesn't want to jump into the more conceptual releases with longer tracks. Not all the pieces are the same as the compilation tracks, with some being drastically changed. One example, the opening piece on Vol. 1, "Dueling Banjos," is actually two different compilation pieces superimposed on each other with added sounds for something completely new. Clunky military rhythms, noisy squalls of feedback, and a hilarious comedy bit about becoming a registered nurse add up to a strange and memorable cut. The delightfully titled "Stick That Chick & Feel My Steel Through Your Last Meal" is creepier and more jarring, as mutated sax and bizarre female vocals are collaged with crashes of percussion and abrupt juxtapositions. "Nana" and "Ciconia" offer more in the way of weird collage, while "I Was No Longer His Dominant" has spoken word with a minimalist backdrop of slowly shifting drones and silences. "Fashioned to a Device" is probably the weirdest piece among several very strange tracks, with bizarre chanting loops and a background guitar drone that changes textures, while the claustrophobia of the piece builds and builds. All in all, Automating, Vol. 1, like the companion Vol. 2, offers a great selection of material from this unusual artist.

NWW - Automating Volume One  (flac 328mb)

01 Duelling Banjos 11:20
02 Stick That Chick & Feel My Steel Through Your Last Meal 7:00
03 Nana Or A Thing Of Uncommon Nonsense 5:38
04 Fashioned To A Device Behind A Tree 7:33
05 I Was No Longer His Dominant 9:10
06 Ciconia 10:29
07 Automating (Again) 6:43

Previously included on the following releases:
• Track 1: Hoisting The Black Flag (UD 06), The Ladies Home Tickler (UD 00), The Swinging Reflective (UD 069), Psilotripitaka (UD 0134)
• Track 2: The Fight Is On (LAY 10)
• Track 3: The Elephant Table Album (XX 001)
• Track 4: Fur Ilse Koch (WDC 881021), Mi-Mort (Mi-Mort 3)
• Track 5: An Afflicted Man's Musica Box (UD 012), Mi-Mort (Mi-Mort 3)
• Track 6: Masse Mensch (SLP 001)
• Track 7: Born Out Of Dreams (FRLP 1).

NWW - Automating Volume One  (ogg  137mb )

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Where did this come from? An ambient album from Nurse with Wound in 1988 was an invigorating shock to the system. Soliloquy for Lilith was a complete turnaround from the kosmiche/noise that Steven Stapleton and crew had been coming up with. Six tracks, each roughly 20 minutes, one track per side of a triple-vinyl box set, each piece subtly different from the others, all with a quiet power to completely dominate the environment of wherever it is played. The mystery of the album lay in its unique sound source -- Stapleton merely looped a collection of effects pedals together and then found that by gesturing in the air around them, as if playing a Theremin, he could manipulate the tone generated by the electricity itself. What a wonderful discovery, and put to complete use here, as the possibilities in the setup are fully exploited over the course of two hours. Slow pulses in the lower register, similar to what Alan Lamb came up with in his high-tension wire recordings, complete with annular buzzes and high-end controlled feedback. It isn't far-fetched to see the roots of this album in the drone experiments of La Monte Young's Theatre of Eternal Music, or Tangerine Dream's epic Zeit. Occupying a completely separate corner of the massive Nurse with Wound catalog, Soliloquy stands outside of genre, and in the right frame of mind, outside of time. An absolute classic.

Nurse With Wound - Soliloquy for Lilith  (flac 405mb)

01 I 17:56
02 II 17:06
03 III 17:51
04 IV 17:51
05 V 17:29
06 VI 17:30

Nurse With Wound - Soliloquy for Lilith    (ogg 189mb)

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Like its predecessor, Automating, Vol. 2 gathers up Nurse With Wound tracks from several hard-to-find various-artist compilations, mostly from the mid- to late '80s. One might not think a collection of diverse tracks would be as cohesive as a regular NWW album, but all the material is strong, and with some added studio trickery and even melding two tracks together in the case of "Elderly Man River" and "Dance of Fools," volume two comes together extremely well. "The Strange Play of the Mouth" starts off with a loop of a woman singing, and then after half a minute the electronics kick in to create a surreal sonic collage, even throwing in snatches of show tunes like "My Favorite Things." The NWW take on "Old Man River" goes in a similar direction, as the piece rides on a clunky rhythm while lots of odd sounds rise and fall, ending with the loopy poetry, spoken by Diane Rogerson, on "Dance of Fools." Whereas the first side has similarities to the Sylvia and Babs record, the first track on side two moves in a direction similar to Spiral Insana, with the stabs of organ tones over a constantly changing soundscape, though with a more glacial feel. This is followed by the more spoken-word-oriented "Human Human Human" offering a futuristic vision where pets become food for people, and finally "Lea Tantaaria," based on a painting by insane-asylum inmate Adolf Wolfli. The CD adds as a bonus track "New Dress," another piece with a spoken-word component that also appeared on the NWW/Stereolab CD Crumb Duck.

NWW - Automating vol.2  (flac 271mb)

01 The Strange Play Of The Mouth 8:58
02 Elderly Man River / Dance Of Fools 11:10
03 Lonely Poisonous Mushroom 8:48
04 Wolfi 6:10
05 Human Human Human 5:46
06 New Dress 9:43

All tracks previously released in some form or other on various compilation LPs:
"The Strange Play Of The Mouth" was previously released on From A Trench, Rising From The Red Sand Volume One, In Fractured Silence, and The Pale Plague.
"Elderly Man River" was previously released on Devastate To Liberate.
"Dance Of Fools" was previously released on Could You Walk On The Waters.
"Lonely Poisonous Mushroom" was previously released on Freedom In A Vacuum.
"Wolfi" is based on the painting by Adolf Wölfi, titled "Lea Tantaaria" on the vinyl edition (Necropolis Amphibians & Reptiles).
Bonus track "New Dress" is identical to "A New Dress (Remix)" from Crumb Duck [ UD059 ].

NWW - Automating vol.2   (ogg 121mb)

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RhoDEo !549 Re-Ups 41

Hello, with 31 re-ups today a substantial part of the requests have been fullfilled, however there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. That said ive seen a number of requests for musik i posted earlier this year 2015, these are on the long list simply because most visitors here have already had these choices recently, my priority lies with older posts (i've been posting for 9 years now)

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 31 re-ups, requests fullfilled upto 7th December...N' Joy


3x Aetix NOW In Flac (Duran Duran - Rio, Jona Lewie - Gatecrasher(ogg9), The Style Council - Introducing)

3x Mission Of Birma Back In Flac (Signals, Calls and Marches,  Vs, The Horrible Truth About Burma )

4x Felt Back In Flac (Crumbling The Antiseptic Beauty, The Splendour Of Fear, The Strange Idols Pattern And Other Short Stories , Ignite The Seven Cannons)

4x Sundaze Back in Flac (B.L. Reininger - Colorado Suite/Paris En Automne(ogg9), Steven Brown - Music For Solo Piano, Winston Tong - Theoretically Chinese, Peter Principle - Tone Poems)

3x Bangles Back in Flac ( Medicine Show, Out Of The Grey, The Days Of Wine And Roses)

3x Beats NOW in Flac (Kevin Yost - Hypnotic Progressions, Freeland - Now & Them, Troubleman - The First Phase)

3x Defunkt NOW In Flac (Defunkt, Thermonuclear Sweat, Avoid The Funk)

2x Roots NOW In Flac (Olatunji - Drums of the Passion, African Tribal Music And Dances)

3x Roots NOW In Flac (VA - Next Stop Soweto Vol 2, Mzwakhe Mbuli - Resistance is Defence, Lucky Dube - The Way It Is)


3x Roots Back In Flac (Dark City Sisters And Flyin' Jazz Queens, The Soul Brothers - Born to Jive, The Rough Guide To The Music Of South Africa II)

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RhoDeo 1549 Quest 19

Hello,

Elven Quest... A series that will be running into the new year, 24 episodes of Elvenquest. It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. Today the start of season 4 .. N'Joy

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Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


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Elven Quest 19 Queen Eleanor (mp3  25mb)

19 Queen Eleanor 27:45


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previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)

Elvenquest 13 Love and Babies (mp3  25mb)
Elvenquest 14 Barbarian (mp3  25mb)
Elven Quest 15 The Mines of Grazak'Dun (mp3  25mb)
Elven Quest 16 The Grundel (mp3  25mb)
Elven Quest 17 The White Wizard (mp3  25mb)
Elven Quest 18 Single Combat (mp3  25mb)


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Sundaze 1549

Hello,


In 1998, Youth (Martin Glover) decided to set up, LSD - Liquid Sound Design as Dragonfly's sister label, specialising in chilled out soundscapes, sonic beats and mellow grooves. LSD was as natural progression for Dragonfly keen to create an outlet for more experimental and down-tempo music as well as satisfying the demand for the post club chill out sounds. Since 2007 the name has changed to "Liquid Sound" and is now managed by Pathaan. Today 3 outfits from Youth's LSD stable.... N'joy

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Martin Glover, also known as Youth or Orion, (born 27 December 1960 in Farnworth, Lancashire) is a record producer and a founder member and bassist of Killing Joke.

Glover originally named himself Pig Youth after the reggae chanter Big Youth, who was popular with late 1970s London punk bands. At age 15 he was in a punk band named The Rage, which toured with The Adverts. Later he joined 4" Be 2" - a band formed by John Lydon's brother Jimmy Lydon - and recorded the "One of the Lads" single with them.

Glover is most famous for being the bass player in Killing Joke. He left the band in 1982, together with Ben Watkins he released 2 albums, The Empty Quarter and Delerium, soon after he founded his own commercially orientated dub funk band Brilliant, which recorded one album in 1986 before later disbanding.

In 1989, Youth and Alex Paterson started the WAU! Mr. Modo label. Their early releases of a selection of industrial techno dubs and heavy sound system dubs from artists such as Napthali, Manasseh, Bim Sherman and Jah Warrior are long deleted and fetch high sums in private sales.

Youth's connections with dub continued in the mid-1990s when he was asked by Adrian Sherwood to remix some of Bim Sherman's tracks for a reworking of the Miracle album. He also recently appeared on a Ted Parsons/NIC dub album, contributing a remix which opens with a sample from Glen Brown's "Version '78", a track originally released on the South East label.

In the early nineties, Glover formed techno and house music duo Blue Pearl together with American singer Durga McBroom. They scored a handful of hit singles including their blue vinyl debut "Naked In The Rain", which reached #4 in the UK Singles Chart and was also a #5 dance hit in the U.S. in 1990.

Glover is credited with founding the first psychedelic trance record label, Dragonfly Records, as well as the Liquid Sound Design and Kamaflage Records labels. He is well known on the psychedelic trance scene, collaborating with Simon Posford and Saul Davies as Celtic Cross, with Greg Hunter and Simon Posford as Dub Trees, and on the project Zodiac Youth. He has performed both full-on trance as well as chill-out DJ sets at several Return to the Source parties, and released the Ambient Meditations 3 mix album on their label in 2000. His Butterfly Studios were also home of the Return to the Source offices circa 1999-2002.

Glover is a member of the band Transmission, together with Simon Tong of The Verve, Paul Ferguson of Killing Joke and Tim Bran of Dreadzone. He also played guitar on several tracks on the 2007 Client album "Heartland."

In mid-2010, Glover teamed up with Alex Paterson (The Orb) to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. The album titled "Impossible Oddities" was released on CD and double vinyl on 25 October 2010 via Year Zero records.

On 27 October 2012, during the International Festival of Music Producers and Sound Designers SOUNDEDIT, Glover was awarded The Man with the Golden Ear Award

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Celtic Cross was a musical collaboration of Simon Posford (Hallucinogen, Shpongle), Martin Glover (bassist from Killing Joke) and Saul Davies (violinist from James), produced by Youth and Simon Posford. By taking electronica and mixing it (successfully) with acoustic instruments ranging from the violin, to the guitar, oud, flute and various percussion instruments they've created a kind of world-beat techno-acoustica. Much of the music has a definite celtic flavor such as the violin driven techno of Darshanon. Well Ireland meets Algeria anyway, but other musical influences are also in the mix. There's a bit of Jamaican dub, eastern singing, acoustic guitar, flute etc., all integrated with psychedelic electronica. A distinctly atmospheric trip, a journey of enlightenmeant, the definitive navigational map for inner and outer cosmic exploration....

Celtic Cross - Hicksville (flac 336mb)

01 Nada - Earthgarden 6:20
02 Mantra Man - Shivai 4:43
03 Nada - Raja Mati 7:05
04 Loop Guru - Climax (Youth & Humph's Remix) 8:41
05 Tripswitch - Exiled 7:40
06 Nada - Manakhana 7:47
07 J.Viewz - Into The Mood 5:45
08 Adham Shaikh - Somptin Hapnin (East Shore Mix) 9:44
09 Prometheus - Sweet Tooth 6:37
10 Tripswitch - Silver 8:42

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Dub Trees is the first new material from seminal producer and musician Youth who has garnered a reputation as one of the most eclectic diverse and brilliant producers to emerge in recent years. With huge inspirations from dub sounds this superbly produced album has become a classic in its genre. Youth's compositions are truly mind delving. Imagine digging yourself out of a hole in the ground and appearing in the middle of nowhere with two giant speakers there, like the sleeve illustrates to tell you their message. Samples, nice echo chamber, some tribal beats and those bouncy bass lines all blend together to melt away your conciseness into something quite introspective. no mind altering substances needed to enjoy this one. dub trees is intoxicating on is own

Dub Trees - Nature Never Did Betray The Heart That Loved Her (flac 390mb)

01 Buffalo (Utterly Incredible Too Long Ago Sometimes Mix) 10:37
02 Cobalt Waterfall (Opalescent Dawn Mix) 2:29
03 A Way Of Being Free (Are You Sitting Comfortably Very Smooth, Very Peaceful Mix) 5:33
Butterfly Trilogy I-III (13:27)
04 Butterfly Trilogy I - Technicolour Sun
04 Butterfly Trilogy II - Starship Wadada
04 Butterfly Trilogy III - Sine Wave
05 La Rosa (Live While You Live) (Messianic Dub Mix) 2:35
06 Orpheus (Urban Primitive Dub Mix) 7:11
07 Magnetica (The Love That Moves The Sun And Stars Mix) 8:01
08 Dreamlab (Telescopic Dub Mix) 7:13
09 Concrete Tourist (Chalice Dub Mix) 5:14
10 Freaks Of Nature (Natural Dub Mix) 4:02
11 Return Of The Native (Duir The Oak Dub) 6:08

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Originally created as a soundtrack for a documentary about the Kumba Mela [at times the largest gathering of humans in one place at one time on the entire planet, visible from space as a big brown dot.. This spiritual and melodic piece of art is a unique collection of timeless sounds that manifest and commemorate the holiness of the Kumba Mela gathering, the biggest human gathering on earth. The Mela takes place every four years. Every twelve years is the Maha Kumba Mela, with millions of Sadus and Naga Babas that come to give Puja and bathe in the sacred waters, awaiting The Akara. Youth, who is in charge of this project, has chosen Alex Paterson (The Orb), as well as an impressive lineup of participating guest artists, to create this ‘one of a kind’ project. A collaboration between the credible members of Dub Trees, Suns Of Arqa, Tangerine Dream, Dreadzone and the international psychic Uri Geller. Each one comes with his background and musical direction, each is heard and has a role that thickens and adds an extra dimension to the production. Without any attempt to be flattering, this project is a reliable one.

The Kumba Mela Experiment - East Of The River Ganges  (flac  381mb)

01 East Of The River Ganges (Mango In My Flute Mix) 12:35
02 Elephant Trax (Hammer To The Nail Dub) 10:15
03 Cleaning Fluid (Druids, Dreads & Sadhus Mix) 10:57
04 Spiritual Journey (Mothers Milk Edit) 3:53
05 The Kumba Mela (Himalayan Dub) 7:54
06 Life After Death (Glass Key Dub) 5:20
07 That Which I Could Only Sense (Phoenix Dub) 4:22
08 Interstellar Hiss (Sky Is On Fire Dub) 7:04
09 Be Conscious (On Namai And Shiveye Mix) 4:04
10 Outro (Don't Want To Lose Your Love Dub Edit) 0:29

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RhoDeo 1548 Grooves

Hello,

Today's artists chamber soul continues to sound ambitious and progressive decades after the group's departure. Instantly recognizable from the dramatic string arrangements of Charles Stepney and the five-octave voice of Minnie Riperton, the group released six albums between 1967 and 1971 that combined rock, soul, and psychedelia to theatrical and occasionally transcendental heights. . ... N'joy

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Rotary Connection's psychedelic chamber soul continues to sound ambitious and progressive decades after the group's departure. Instantly recognizable from the dramatic string arrangements of Charles Stepney and the five-octave voice of Minnie Riperton, the group released six albums between 1967 and 1971 that combined rock, soul, and psychedelia to theatrical and occasionally transcendental heights. The racially mixed group never really broke out of the Midwest, a region in which they frequently played out. Their failure to become more than a regional cult act can be partly attributed to their management's decision to spurn a slot at Woodstock in order to play a more lucrative festival in Toronto. Despite some patchy albums and poor management decisions, Rotary Connection's status as an influential cult group has steadily risen since the '70s.

Marshall Chess, son of Leonard Chess, conceived Rotary Connection in 1967 for Cadet Concept -- an upstart subsidiary of his father's Chess label. Chess initially centered the instrumentalists around a trio of musicians from a rock group called the Proper Strangers: drummer Kenny Venegas, bassist Mitch Aliotta, and guitarist Bobby Simms. Sidney Barnes, Minnie Riperton, and Judy Hauf were added as the vocalists. Upon the group's formation, Barnes was already something of a vagabond; his resume as a songwriter, background vocalist, and solo artist was extensive. Riperton was a veteran of the Chess ranks; she worked as a receptionist in the label's Chicago office, had been a member of the Gems, and released material under the name Angela Davis. Chess musical supervisor Charles Stepney -- a legendary composer, arranger, and producer -- was brought in to direct the group. He would also implement the skills of studio musicians from the extended Chess family throughout the group's existence, such as drummer Morris Jennings and guitarists Phil Upchurch, Bobby Christian, and Pete Cosey.

Under Stepney's guidance, Rotary Connection recorded and released their self-titled debut album in late 1967. The group's spacious sound was leavened by Stepney's often gorgeous and lilting string arrangements. The album featured both originals (co-written by Stepney and a number of other songwriters, including Barnes and future Riperton spouse Richard Rudolph) and radical covers of the Rolling Stones' "Ruby Tuesday" and Bob Dylan's "Like a Rolling Stone." This became the blueprint for what would follow from the group and, as a stunning (if flawed) debut, the album falls into that old rock trap of being viewed as the only essential one the group made.

As a result of the success of The Rotary Connection, Chess felt that he could revive the career of bluesmen Muddy Waters and Howlin' Wolf by recording two albums of experimental, psychedelic blues with members of Rotary Connection as the backing band for the singers, producing the albums Electric Mud and The Howlin' Wolf Album. Chess hoped the new albums would sell well among fans of psychedelic rock bands influenced by Muddy Waters and Howlin' Wolf. In place of Muddy Waters and Howlin' Wolf's regular musicians were Gene Barge, Pete Cosey, Roland Faulkner, Morris Jennings, Louis Satterfield, Charles Stepney and Phil Upchurch. Cosey, Upchurch and Jennings joked about calling the group "The Electric Niggers". Marshall Chess liked the suggestion, but Leonard Chess refused to allow the name. Ultimately, blues purists criticized the psychedelic sound of Electric Mud and The Howlin' Wolf Album.

Meanwhile the group's key factor -- the voice of Minnie Riperton -- wasn't truly given a chance to shine until the second album. The albums Aladdin, Peace (a Christmas-themed LP), Songs, Dinner Music, and Hey Love were issued between 1968 and 1971. Though the albums include a fair amount of filler, each has some amazingly inspired moments. "Respect," for instance, was a radical reworking of Otis Redding's original; transformed into a duet between Riperton and Barnes, the song's infamous "r-e-s-p-e-c-t" call-out was left out, and the tempo was slowed down to a sultry crawl. Hey Love, bizarrely credited to the New Rotary Connection, would become the group's last record. By that time, Riperton already had a solo masterpiece under her belt -- 1970s Come to My Garden. After the group split, Riperton continued her solo career and became one of the most beloved soul vocalists of the '70s. Breast cancer took her life in 1979, when she was just 31-years-old. Stepney passed away three years prior, at the age of 43.


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The most inexplicable aspect of Rotary Connection's debut is that its strange and experimental qualities are often referred to as charming but dated, while Love's Forever Changes (released the same year), a record that is just a shade less bizarre and no more psychedelic, is universally viewed as timeless. There's no mistaking that this is hardly a flawless record -- this band, more an experiment than anything else, was only beginning to find its feet. For every cover that radically reshapes the original and either stuns ears or elicits screams of blasphemy ("Like a Rolling Stone"), there's one that falls completely flat in its blandness ("Soul Man"). And for every original that is rife with otherworldly melodies and luscious combinations of countless musical styles ("Memory Band"), there's something like the ghostly "what you've just heard" audio collage/megamix that closes out the album ("Rotary Connection"). The consensus seems to be that this is the only essential record this group released, and that they were such an oddball entity that this is all one can take of them. That's just plain silly, evident from any number of the sparkling moments found on the LPs that followed. Minnie Riperton had yet to take the spotlight she deserved in this group -- so in a sense, this could be seen as the least-representative Rotary Connection record, as fascinating as it is. Some strange force carried it to the Top 40 of the album chart, not that it was undeserving.

Rotary Connection - Rotary Connection  (flac 202mb)

01 Amen 4:03
02 Rapid Transit 0:38
03 Turn Me On 3:19
04 Pink Noise 0:22
05 Lady Jane 5:00
06 Like A Rolling Stone 4:51
07 Soul Man 3:01
08 Sursum Mentes 0:45
09 Didn't Want To Have To Do It 3:11
10 Black Noise 0:22
11 Memory Band 3:20
12 Ruby Tuesday 4:27
13 Rotary Connection 2:51

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Aladdin ushered in a bigger and bolder Rotary Connection. The proper follow-up to their debut is also more streamlined and less scatterbrained without shedding the limitless approach that made its predecessor such an intrepid undertaking. Crisp drum breaks, punching horns, and soaring strings are all a part of Rotary Connection's fusion of rock and soul, which shows a greater degree of focus and a decreased reliance on psychedelic flourishes here. This is all for the better and the worse. With less studio indulgences, some of the songs are lacking in character; however, the developments often make for a more confident and powerful sound, and Charles Stepney's string arrangements -- the group's most valuable asset after the voice of Minnie Riperton -- cut clear through these songs, alternately supporting with luster and leading with dramatic force. The most pleasing development is the more frequent presence of Riperton, whose lead turn during the verses on "I Took a Ride" is so endearingly soft, bewitching, and elegant that the slightly tacky chorus (during which several other voices kick in) does little to diminish her performance. The opening "Life Could" is one of the group's best quasi-Broadway numbers, full of seismic shifts of sound that include everything from squealing guitars to massive drum/horn combinations to trilling flutes to dynamic string tugs. Aladdin might not be as solid as its predecessor, but it's a step forward.

Rotary Connection - Aladdin  (flac 264mb)

01 Life Could 4:10
02 Teach Me How To Fly 3:20
03 V.I.P. 3:04
04 Let Them Talk 4:25
05 I Took A Ride (Caravan) 6:06
06 Aladdin 4:25
07 Magical World 4:23
08 I Must Be There 3:34
09 I Feel Sorry 4:10
10 Paper Castle 4:17

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The daring covers returned for Songs. In fact, the record is nothing but covers, including drastic re-castings of three songs from Cream's Disraeli Gears. So the creative well was surely drying up for Rotary Connection, right? Wrong. Despite the complete absence of original material, this is a proper Rotary Connection album as much as any other. Their version of Otis Redding's "Respect," like many of their covers, is rendered nearly unrecognizable; slowed to a crawl and stripped of its punctuative chorus of "R-E-S-P-E-C-T/I know what it means to me," Charles Stepney's string arrangement is a subdued but effective smear and Minnie Riperton and Sidney Barnes trade lines, emote in tandem, and twist around each other like they've never done before or since. The song has never sounded more steamy. The slightly eerie tone of the strings that encased "Respect" pop up again for "We're Going Wrong," one of the three Cream covers. The foreboding feel is carried forth with wordless co-ed background vocals that combine with escalating strings. But what really puts a cap on it is the moment when Riperton's voice shoots into a pitch that no theremin can approximate. It's moments like this one that make wading through the group's lapses (a dull, bungled look at "I've Got My Mojo Working," for instance) so worth it. As for those who view the group as blasphemers? Let them cringe.

Rotary Connection - Songs  (flac 217mb)

01 Respect 3:05
02 The Weight 3:24
03 Sunshine Of Your Love 5:07
04 I've Got My Mojo Working 2:38
05 Burning Of The Midnight Lamp 4:40
06 Tales Of Brave Ulysses 4:28
07 This Town 3:25
08 We're Going Wrong 3:20
09 Salt Of The Earth 4:55

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As strong as Hey Love is -- it's one of Rotary Connection's best records -- three of its songs are so rich with full-bloom beauty that you can't help but refer to the group's lack of an adequate single-disc best-of as an extremely unfortunate thing. (Minnie Ripperton's Her Chess Years, which is dominated by Rotary Connection material, doesn't qualify for its bonkers lack of a couple key songs.) Too many people point to the group's self-titled debut as its only essential release, which means that albums like this remain overlooked. And that means that too many people go on without hearing "If I Sing My Song," "I Am the Black Gold of the Sun," and "Hey Love." On "If I Sing My Song," Richard Rudolph and Charles Stepney play Burt Bacharach and Hal David, and the result belongs in the ranks of that songwriting team for its degree of hummability and the impeccably designed arrangements. "I Am the Black Gold of the Sun" is the apex, the brightest moment in the group's discography; it's an ineffable package of grace, grit, and life-affirming spirit (if your knees don't quake). Virtually anything would seem like a comedown after it, but the title track of the album sounds at points like a precursor to fellow Chicagoan Terry Callier's "Gotta Get Closer to You" and keeps the quality of the orchestra-spiked soul flowing. The rest of the album ranges from fair to good, with a slight edge to the good. That's almost irrelevant, however, given the essential nature of the three aforementioned diamond

Rotary Connection - Hey Love  (flac 250mb)

01 If I Sing My Song 2:53
02 The Sea & She 3:30
03 I Am The Blackgold Of The Sun 5:20
04 Hanging Round The Bee Tree 3:32
05 Hey, Love 4:00
06 Love Has Fallen On Me 4:10
07 Song For Everyman 5:32
08 Love Is 4:42
09 Vine Of Happiness 4:36

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RhoDeo 1548 Goldy Rhox 238

Hello, today the 238th post of GoldyRhox, classic pop rock, in the darklight a US star, nicknamed "The Boss," is a singer-songwriter who's widely known for his brand of heartland rock, poetic lyrics, and Americana sentiments. His recordings have included both commercially accessible rock albums and more somber folk-oriented works.

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

Todays mystery album is the artist's is the fourth studio album released 2nd of June. The album marked the end of a three-year gap between albums brought on by contractual obligations and legal battling with former manager Mike Appel. Although the album did not produce high-charting singles it nevertheless remained on the charts for 97 weeks. A steady seller in Springsteen's catalogue, it has been certified triple-platinum by the RIAA. It remains one of the boss's most highly regarded records by both fans and critics and several of its songs have become staples of the singer's live performances.

Though the album failed to generate any substantial hit singles, it was critically well-received and claimed the number one slot on NME album of the year. In 2003, the album was ranked number 151 on Rolling Stone magazine's list of the 500 greatest albums of all time. The cover shot and inner sleeve photo were taken by photographer Frank Stefanko inside Stefanko's Haddonfield, New Jersey, home. During the Darkness sessions, Springsteen wrote or recorded many songs that he ended up not using on the album. This was to keep the album's thematic feel intact, even at the expense of not having hits on it. Some of the unused material became hits for other artists, such as "Because the Night" for Patti Smith, "Fire" for Robert Gordon and The Pointer Sisters, "Rendezvous" for Greg Kihn, "This Little Girl" for Gary U.S. Bonds. Here today a 14 HD remaster converted to CD(16/44)..



Goldy Rhox 238   (flac 297mb)

Goldy Rhox 238   (ogg 101mb)


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RhoDeo 1548 Aetix

Hello, the US has this uncanny way of siding with nasty dictators (Saddam pre Kuwait, Pinochet a whole range of Middle and South America dictators) to name some and now they've added Erdogan to that list, this two faced monster is getting protection from NATO and money from the EU to help ending the Syria crises whilst he's only interested in power, killing as many Kurds as possible and becoming Caliph of the whole region. Yes insane.

The US is only interested in frustrating Russia and the war machine (industrial security militairy complex) wants ever more money which it legitimizes by creating enemies around the world. Obama is a sad joke, like the EU, in short it's depressing. The US has been bombing Daesh at a rate of 8 bombs a day this last year, clearly there was no interest in really attacking these dangerous nutcases. And now Russia comes along and drops real bombs, lots of them and on every terrorist they can locate. This obviously angers the US and specially Turkey who was doing all this nice business with the terrorists, so they shot down this Russian bomber that had its flight route logged with the US (bit naive maybe), now the Russians have employed their defense and things can go wrong big time if there's another incident. Meanwhile those EU nitwits from Brussels are looking for a big rock to hide under, their big idea is crumbling, the sooner it collapses the better.


Looks to me that you are still in need of more industrial..Today's act was originally a band, formed in 1978 by Stapleton, John Fothergill and Heman Pathak. The band has performed in many genres such as avant-garde, experimental, industrial, noise, dark ambient, and drone.. ... N'Joy

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A loose experimental project formed in 1978 by Steven Stapleton, Nurse with Wound explored abstract music -- influenced by Krautrock, freewheeling jazz improvisation, and Throbbing Gristle but including a heavy debt to surrealists Dali and Lautréamont -- with an overpowering release schedule of limited-edition albums and EPs. Stapleton worked with an ever-changing list of collaborators during the early years of Nurse with Wound, though Current 93's David Tibet was the only frequent recording companion during the 1980s and '90s.

Nurse with Wound's first three albums (Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, To the Quiet Man from a Tiny Girl, and Merzbild Schwet) reflect a naked, minimalist slant with long periods of quiet suddenly interrupted by guitar chords inspired by the avant-garde wing of psychedelia/jazz-rock, chains, music boxes, and found-sound recordings. By the early '80s, Stapleton had begun to incorporate noisy, abrasive rhythms that put him more in line with contemporary EBM masters like Skinny Puppy and SPK. Though Stapleton continued his surrealist slant, he often moved back to more empty recordings. These works -- beginning with Soliloquy for Lilith in 1988 -- came to light in the context of the growing ambient/electronic movement, however, putting Nurse with Wound squarely in line with music trends for the first time.

Stapleton recorded two split singles with Stereolab during 1995 and continued his hectic, uncompromising release schedule from his base in southern Ireland. In 2005 the double-CD compilation Livin' Fear of James Last offered an overview of their output. That same year the two-CD compilation Judas as Black Moth was released through the Sanctuary label. On May 5, 2005, Stapleton recorded an improvisational live piece in Vienna and released it in 2006 under the title Soundpooling. Tooth, Teeth, Milk, Skin, Teeth was released in mid-2007, while NWW's terrifying 1982 cult classic Homotopy to Marie was reissued on CD just in time for Halloween 2007. Three new albums were issued in 2008: Huffin' Rag Blues, The Bacteria Magnet, and The Continuous Accident. In early 2009, the retrospective Paranoia in Hi-Fi: Earworms 1978-2008 prefaced a slew of new albums including Space Music, The Surveillance Lounge, and May the Fleas of a Thousand Camels Infest Your Armpits.

A collaborative work with krautrock legend Faust was released on CD in 2007 as Disconnected with a vinyl edition carrying additional mixes following in 2008. A NWW album entitled Huffin' Rag Blues, primarily a collaboration with British sound artist Andrew Liles, was issued in 2008 with a companion mini-LP entitled The Bacteria Magnet. A remix of Sunn O)))'s ØØ Void entitled The Iron Soul of Nothing was given a limited release with an expanded reissue of the out-of-print studio album The Man with the Woman Face following. An album of new material entitled The Surveillance Lounge was then released as a CD with a limited triple CD called The Memory Surface. A CD of new material entitled Space Music will be released on 17 November 2009.

A recent collaboration was a result of the chance meeting of Nurse With Wound's Steven Stapleton and Graham Bowers, both artists were appearing at Bangor Sound City's first art/sound event 'Wet Sounds' curated by Joel Cahen located at the Bangor Swimming Pool, North Wales, in January 2011. Both were admirers of each other's past works and felt that a collaboration on a new piece of work could be an interesting and exciting prospect, consequently 'Rupture' is the first full-length work, and is released as a Double Vinyl album/LP, a CD and Download. The Vinyl album and CD have been released through Dirter.

The follow-up to last year's Rupture sees Steven Stapleton and Graham Bowers exploring the inner reaches of the psyche. The thematic work, Parade was released on the interdisciplinary arts group/record label Red Wharf and distributed by Cargo. The third collaboration, ExcitoToxicity was released July 2014, and the fourth, Mutation released March 2015 all through Red Wharf and distributed by Cargo.

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Proof that the music of Nurse With Wound (aka Steve Stapleton) has never had anything to do with the industrial scene it's all too often associated with (due perhaps almost exclusively to the disturbing bondage graphics on the extraordinary 1979 debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella) comes in this hilarious 1985 spoof of 1950s easy listening, which features neither the buxom blonde pinup girls on the album cover nor the "titillating orchestrations of the Murray Fontana Orchestra," but instead Stapleton's hilarious and disconcerting montage of cheesy club organs, Spike Jones, BBC radio comedy punch lines, and assorted coughs, splutters, splats, and wheezes. The booklet accompanying the CD issue on Stapleton's United Dairies imprint features more of the artist's highly original collage work, including a yellowed newspaper cutting relating how he was supposedly apprehended (at the age of 19) in an Oxford Street record shop for opening records and inserting them in the wrong sleeves. Stapleton's mission in life was evidently clear to him back then, and this album is a glorious example of the work of one of music's true originals.

Nurse With Wound - The Sylvie And Babs High Tigh Companion  (flac 165mb)

01 You Walrus Hurt The One You Love 19:35
02 Great Balls Of Fur 20:15

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This record offers a piece each by experimental artists Nurse With Wound and Organum. The Nurse With Wound track, "A Missing Sense," is sort of a remake of Robert Ashley's "Automatic Writing," and nothing like anything else by the group. When played at low volume, as instructed by the record jacket, one can hardly hear anything except a sporadic click-click noise every few minutes, the other sounds so low in the mix that they get lost. Like the Ashley piece, there are these strange vocal stutters and distant background noises and also some inaudible chanting and movement of metallic objects, as well as organ drones and the blatting of a tuba, and even a pulsing bass rhythm at one point, with everything slowly building but still remaining quite quiet. Much of the sounds get lost in the vinyl, unlike a later reissue of the track on the CD A Missing Scene. The second track 'Swansong' is mostly a noise excursion than anything. A vast tidal wash of malevolent static sweeps over you before dying down and building up again. This track was apparently recorded after Stapleton had watched a documentary on nuclear testing, and the sound of the track definitely gives the listener the feel of being repeatedly irradiated by the wall of noise that crashes and builds like waves of sonic destruction. When the static is at a lull you can hear some more subtle ambient like textures that are certainly in contrast to the violence of the static waves. After about fourteen minutes the static waves subside and the ambient textures are allowed to immerge and a child’s voice begins to talk about changing and how “it” would feel. It’s all quite disturbing especially when the child is cut short and a vast slab of static noise engulfs the whole track, slowly subsiding and fading to silence.

As stated the final track is a reworking of the older piece 'Dada X', this is the 'Ostranenie 1913' Version. The track is more or less the same, but with some more, percussive effects and background creaking and droning, and near the beginning what sounds like a chicken being strangled (This is in fact David Tibet parping away on his wind instruments). Im not sure if I like this better than the version off 'Schwet'. There is less space in this version, which perhaps detracts from the originals slow motion surrealism. But it’s still one of my favourite Nurse tracks..

NWW - A Missing Sense-Ostranenie 1913  (flac 365mb)

01 A Missing Sense 24:55
02 Swansong 21:47
03 Dada (Ostranenie 1913 Version) 24:46

NWW - A Missing Sense-Ostranenie 1913  (ogg  114mb )

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Spiral Insana is one continuous piece of music, indexed over three tracks (on the compact disc), with 20 track titles listed on the cover. Such is Steve Stapleton's Nurse with Wound. And it's just as well, because the music inside, more ambient and user-friendly than on other NWW outings, is still just as surreal and avant-garde as the rest of the catalog. Here, Stapleton and guests Robert Haigh, David Jackman, and Chris Wallis mix bowed piano, percussion, a radio, loops, and what is credited on the sleeve as "stuff" together into an hour-long collage of mashed-up sounds, jarring juxtapositions, buzzsaw distortion, and even a pipe organ. If that sounds disorienting, that's because it is, both in description and execution. Nurse with Wound has always had a unique sound and vibe on their records, and Spiral Insana carries on in that tradition. While not as ambient and single-minded in tone as the drone masterpiece Soliloquy for Lilith or as jarring as the industrial Dada of Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, Spiral Insana is as good a place as any to start with the Nurse with Wound catalog. Like the proverbial box of chocolates, you're never quite sure what you're going to bite into.

Nurse With Wound - Spiral Insana  (flac 315mb)

Spiral Insana  A(19:28)

1a Sea Armchair
1b Migration To The Head
1c Earthwork
1d Red Period
1e This Lady Is For Burning
1f Chasing The Carrot
1g Sugarland
1h There's Always Another Illusion
1i Stewing The Red Herring

02 Spiral Insana B (26:09)

2a Mourning Smile
2b Pulse Interplay
2c A View From Lammas Tower
2d Swallowhead
2e Fitching A Wrong Sucker
2f All That's Left Over
2g Forever Chasing The Carrot
2h The Terminal Song
2i Ship Of The Dead
2j Obituary Obligation

03 Nihil 15:07

Nurse With Wound - Spiral Insana    (ogg 136mb)

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This release fills in some holes in the vast Nurse with Wound catalog, gathering up five stray tracks from the mid-'80s into a nice package for the collector. Some of the tracks have appeared on compact disc reissues (for example "Mourning Smile" appears on the CD reissue of Spiral Insana, but was not on the original release) that were all out of print at the time this was released. So that makes this a nice piece for the rabid collector, and also a good starting place for the inquisitive. As an album, the tracks work surprisingly well with each other and present a rounded, if difficult, view of what Nurse with Wound was capable of at the time. "Mourning Smile" is a relatively brief (just over five minutes) distillation of Steven Stapleton's unique ability to mix disparate elements (ghostly drone with ragtime piano and pipe organ) into a disorienting collage that keeps a close listener on his toes. "Swamp Rat" is a long exploration of drones working over a Neu! Motorik beat. "Sheela-Na-Gig" recalls some of the Penderecki music that was used as the score to The Shining. Broadly cinematic and avante-garde, Drunk with the Old Man of the Mountains resists easy categorization except as a NWW release. It couldn't have been made by anyone else.

NWW - Drunk With The Old Man Of The Mountains  (flac 218mb)

01 Mourning Smile 5:12
02 Swamp Rat 12:38
03 Sheela-Na-Gig 5:25
04 Astral Dustbin Dirge 12:20
05 Shattering Man Falling 9:24

NWW - Drunk With The Old Man Of The Mountains    (ogg 98mb)

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RhoDeo 1548 Re-Ups 40

Hello, with 38 re-ups today a substantial part of the requests have been fullfilled,alas ther's a back log of at least one week ! Meanwhile there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. That said ive seen a number of requests for musik i posted earlier this year 2015, these are on the long list simply because most visitors here have already had these choices recently, my priority lies with older posts (i've been posting for 9 years now)

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 38 re-ups, requests fullfilled upto 13th November.. ...N' Joy


3x Roots Back In Flac (Brain Damage - Ashes To Ashes, Brain Damage - Burning Before Sunset, VA - Dub Stories)


4x Spongle NOW In Flac (Are You Shpongled, Tales of the Inexpressible, Remixed, Nothing Lasts...But Nothing Is Lost)


7x YMO + Back in Flac (Ryuichi Sakamoto - Beauty, Hosono - Omni Sight Seeing, YMO - Technodon, YMO - Complete Service 1, 2, YMO Remixes hi-tech-no crime, Senor Coconut - Yellow Fever)


3x Dream Syndicate Back in Flac ( Medicine Show, Out Of The Grey, The Days Of Wine And Roses)


4x Frank Tovey Back in Flac (Snakes & Ladders, Civilian, Tyranny And The Hired Hand, Grand Union)


3x Roots NOW In Flac (Tabu Ley Rochereau - The Voice Of Lightness 1, 2, Sam Mangwana - Maria Tebbo )


3x Coil Back In Flac (Moon's Milk (I,II.III), Moon's Milk (IV), Black Antlers)


3x Sundaze NOW In Flac (Silver Apples - Silver Apples, The United States Of America - I, White Noise - An Electric Storm )


3x Roots Back In Flac (Kanda Bongo Man - Kwassa Kwassa, Kanda Bongo Man - Non Stop Non Stop, Staff Benda Bilili - Tres Tres Fort)


5x Wavetrain, 8th wagon NOW In Flac (Urban Verbs - U V + Damage still in ogg, Martha & the Muffins - Ice Age, Jah Wobble - Betrayal, Dalek I - Compass, Dave Ball - In Strict Tempo



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RhoDeo 1548 Quest 18

Hello,

Elven Quest... A series that will be running into the new year, 24 episodes of Elvenquest. It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. Today the final of season 3 .. N'Joy

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Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


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Elven Quest 18 Single Combat (mp3  25mb)

18 Single Combat 27:31


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previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)

Elvenquest 13 Love and Babies (mp3  25mb)
Elvenquest 14 Barbarian (mp3  25mb)
Elven Quest 15 The Mines of Grazak'Dun (mp3  25mb)
Elven Quest 16 The Grundel (mp3  25mb)
Elven Quest 17 The White Wizard (mp3  25mb)

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