RhoDeo 1133 Goldy Rhox 36

Hello, today the 36th post of GoldyRhox, classic pop rock, rarely did the label classic apply as much as with todays mystery album. Somewhat dominated by it's awesome title track, the album delivers more pace and entertainment as the blockbuster single suggests and despite the former friends were kinda in the process of breaking up, this highly strong atmosphere proved conductive to an emotional album which come to think of it-even after 42 years need not embarrass anyone owning it, because rarely will you come across an album that has seen so many emotions attached to it.

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

Todays mystery album was the final instalment of what at the time was a highly successful duo, but with that come all kinds of tensions in the years that followed one would have much success on his own-even did Glastonbury this year (duh) , the other had a more shaky career. The recording of what would be the duo's final album, was not without tension. The LP was originally supposed to feature twelve tracks, but the they could not agree on the twelfth track: One refused to record a Bach chorale track favored by the other, while he in turn refused to record a song one had written. No middle ground was reached, so the album was released with only eleven songs.

Todays mystery album was finally released on January 26, 1970. Its title track, featuring soaring vocals, was a massive hit and one of the best-selling records of the decade, staying #1 on the charts for six weeks and remaining on the charts for far longer. It has been a staple at burials. The album includes three other top-twenty hits. At the subsequent March 1971 Grammy Awards, the album and single were named Album of the Year and Record Of The Year, and also won the awards for Best Engineered Record, Best Contemporary Song, Song Of The Year, and Best Arrangement Accompanying Vocalists. In 2003, it was ranked at #51 on Rolling Stone's 500 Greatest Albums of All Time list. All things considered, it limited size as well as it's touchy feelie lyrical content a flac version needn't be prayed for here..

Goldy Rhox 36 (flac 218mb)

Goldy Rhox 36 (90mb)


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RhoDeo 1133 Aetix

Hello, todays Aetix is exploring the short but not so sweet story of No Wave, underground music, film, performance art, video. Interestingly in December 1977 the New York Academy of Sciences organized the first symposium on Chaos, looks possibly some butterfly help bring about that New York storm.. Anyway we started out with the grand old lady of No Wave, Patti Smith, last week the no wave spawned Sonic Youth, today and next week a closer look at the original No Wave Scene, in the wake of Yoko, some Japanese artists found their way to New York as well and plaid their role in the chaos inspired No Wave.

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No Wave was a short-lived but influential underground music, film, performance art, video, and contemporary art scene that had its beginnings during the mid-1970s in New York City.The term No Wave is in part satirical word play rejecting the commercial elements of the then-popular New Wave genre.

No Wave is not a clearly definable musical genre with consistent features. Various groups drew on such disparate styles as funk, jazz, blues, punk rock, avant garde, and experimental. There are, however, some elements common to most No Wave music, such as abrasive atonal sounds, repetitive driving rhythms, and a tendency to emphasize musical texture over melody.

In 1978 a punk-influenced noise series was held at New York’s Artists Space that led to the Brian Eno-produced recording No New York, documenting James Chance and the Contortions, Teenage Jesus and the Jerks, Mars, and DNA.

Sonic Youth made their first live appearance at Noise Fest, a noise music festival curated by Thurston Moore at the art space White Columns in June 1981.Each night three to five acts performed, including Glenn Branca, Rhys Chatham, Rudolph Grey, Robin Crutchfield's Dark Day, and others.No Wave had a notable influence on noise and industrial bands which followed, such as Big Black, Helmet, and Live Skull. Theoretical Girls influenced Sonic Youth, who emerged from the scene and eventually reached mass audiences and critical acclaim.

No Wave inspired the Speed Trials noise rock series organized by Live Skull members in May 1983 at White Columns with The Fall, Beastie Boys, Sonic Youth, Lydia Lunch, Elliott Sharp, Swans, and Arto Lindsay. This was followed by the after-hours Speed Club that was fleetingly established at ABC No Rio.

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Teenage Jesus and the Jerks were an influential New York post-punk group who formed part of the city's No Wave movement. Born Lydia Koch in Rochester, NY, Lunch founded Teenage Jesus & the Jerks in 1977 when she was just 16. Initially, the group included saxophonist James Chance, Japanese bassist Reck, and drummer Bradley Field. The group was active from 1976 to 1979, releasing only a handful of singles. They were the center of New York's short-lived no wave movement. Cacophonous, confrontational, and fiercely inaccessible, Teenage Jesus generally played ten- to 15-minute shows, never released a full-length album, and disbanded after a relatively brief existence.

After Chance quit to form the equally abrasive but funkier Contortions, the Jerks soldiered on as a trio, leaving their sonic bloodbaths on the No New York anthology and the two Bob Quine-produced singles ("Orphans" and "Baby Doll") preserved on the 12-inch pink vinyl 1979 EP. Both groups were featured on the seminal No New York LP, a showcase of the early No Wave scene compiled and produced by Brian Eno.

Infamous for playing ten-minute sets filled with thirty-second songs, they sought to take music beyond what Lunch saw as the traditionalism of punk rock. The group left behind little more than a dozen complete recorded songs with most of the surviving titles collected on the 18-minute career retrospective CD entitled Everything. However other studio versions of several songs exist alongside a few live recordings.

Lunch and Chance both went on to become cult figures of the New York underground music scene and the group has been cited as a significant influence on subsequent post-punk groups such as Sonic Youth, and The istics.The band reunited in 2008 for a series of performances, with Sonic Youth guitarist Thurston Moore. The band continued to perform without Moore throughout 2009, including dates in Canada.

Teenage Jesus And The Jerks , Beirut Slump - Shut Up And Bleed ( 335mb)

01 Teenage Jesus And The Jerks – Red Alert 0:34
02 Teenage Jesus And The Jerks – Orphans 2:24
03 Teenage Jesus And The Jerks – Burning Rubber 1:45
04 Teenage Jesus And The Jerks – The Closet 2:54
05 Teenage Jesus And The Jerks – Less Of Me 1:38
06 Teenage Jesus And The Jerks – Freud In Flop 0:42
07 Teenage Jesus And The Jerks – I Woke Up Dreaming 3:02
08 Beirut Slump – See Pretty 2:44
09 Teenage Jesus And The Jerks – Baby Doll 1:32
10 Teenage Jesus And The Jerks – Race Mixing 1:01
11 Teenage Jesus And The Jerks – Crown Of Thorns 0:42
12 Beirut Slump – Staircase 2:38
13 Teenage Jesus And The Jerks – Less Of Me 1:25
14 Beirut Slump – Tornado Warnings 1:16
15 Teenage Jesus And The Jerks – My Eyes 1:34
16 Beirut Slump – Case #14 2:25
17 Teenage Jesus And The Jerks – Red Alert 0:21
18 Beirut Slump – I Am The Lord Jesus 0:53
19 Beirut Slump – Sidewalk 2:54
20 Teenage Jesus And The Jerks – Burning Rubber 1:38
21 Beirut Slump – Try Me 1:58
22 Teenage Jesus And The Jerks – The Closet 3:47
23 Teenage Jesus And The Jerks – Eliminate By Night (Live) 0:40
24 Teenage Jesus And The Jerks – I Woke Up Dreaming 3:10
25 Teenage Jesus And The Jerks – Roll Your Thunder (Live) 0:58
26 Teenage Jesus And The Jerks – No Morality 1:52
27 Beirut Slump – G-I Blue 0:55
28 Teenage Jesus And The Jerks – Popularity Is So Boring 1:19
29 Teenage Jesus And The Jerks – Red Alert (Live) 0:23

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Friction originally formed under the name Circle Triangle Square in 1971 then 3/3 in the mid-70's. This band is considered to be one of the pioneers of alternative rock in Japan. "Originally formed in 1971 as an avant-garde music group by bassist Reck, saxophonist Chico Hige, and drummer Sakuro Watanabe in Tokyo, Japan. They changed the bands name to 3/3 in the mid 70s, and Reck and Chico later moved to the United States, where they would join the band Teenage Jesus and the Jerks, and later became the original founding members of James Chance and the Contortions before returning back to Japan.

Renaming 3/3 to form Friction, they recruited guitarist Tsunematsu Masatoshi, they released a live album and single in 1979, and their first studio album, Atsureki (meaning 'friction' in Japanese) in 1980, produced by Ryuichi Sakamoto. This album is amazingly complex. Which brings me to how audible the bass is in the entire album as is the saxophone, a surprisingly fresh album. Their career sadly resulted in just 3 more studio albums ( Skin Deep, Replicant Walk and Zone Tripper), i reckon they'd better stayed in New York.

Friction - Atsureki (80 95mb)

01 A-Gas 2:54
02 Automatic Fru 4:14
03 I Can Tell 4:21
04 100年 [100 Years] 3:03
05 Crazy Dream 4:15
06 Cycle Dance 4:21
07 Cool Fool 4:07
08 No Thrill 2:58
09 Big-S 3:34
10 Out 6:53

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One of the great bands of the short-lived, "no wave" avant-garde punk scene, DNA had what barely amounts to a recording career, yet still managed to produce some crucial music. Originally comprised of guitarist Arto Lindsay, keyboardist Robin Crutchfield, and drummer Ikue Mori, DNA's music was sparse, loud, and noisy -- washes of keyboards punctuated by Lindsay's atonal, free-form guitar explosions. DNA made their recording debut in 1978 on a sampler of no wave bands produced by Brian Eno (No New York), and, along with being one of the more interesting bands on the record, also exhibited the most promise. By the time they released their first record, Crutchfield had formed a new band, the far less interesting Dark Day, and DNA had replaced him with bassist Tim Wright, an original member of the seminal Cleveland band Pere Ubu. Now a power trio, and with Lindsay's guitar the manic focal point of their challenging music, DNA seemed poised to become one of the most exciting bands in American avant-garde rock. Instead, they became increasingly enigmatic, rarely played outside of New York, and never recorded again.

Hearing DNA was a cathartic experience for many musicians in the experimental New York scene of the early '80s looking to combine the power of punk with avant-garde and improvisatory elements; album producer John Zorn cited them as an influence in the creation of his Naked City band, for example.

After his tenure as guitarist in the great no wave band DNA and punk-jazzers the Lounge Lizards, Arto Lindsay formed the equally exciting and (pun intended) ambitious Ambitious Lovers, while also being involved with the earliest incarnations of the Golden Palominos.. Ikue Mori is still performing avant-garde music in her native Japan. In 1993, thanks to John Zorn's great Japanese-import label, this DNA CD of previously unavailable live recordings was released. Just 29 min, why not in flac then?

DNA – DNA (Last Live At CBGB's) (flac 163mb)

01 Newest Fastest 1:37
02 5:30 1:12
03 Detach 1:35
04 New New 3:11
05 32123 1:13
06 Brand New 3:16
07 Horse 3:13
08 Forgery 1:01
09 New Fast 1:16
10 Blonde Red Head 1:50
11 Action 1:08
12 Marshall 2:11
13 Lying On The Sofa Of Life 2:14
14 New Low 1:47
15 Calling To Phone 2:24

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RhoDeo 1133 Roots

Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

In the spotlight today Black Uhuru(freedom in Swahili) for a time it looked as if they would takeover the international reggae-crown after the death of Bob Marley. Internal struggles twice over left Black Uhuru all but it's name with which original member Duckie Thompson still tours This when it started so great in the early eighties with the powerbacking of upcoming stars Sly & Robbie the road laid open for global success, it didn't last long until strife ended their first experience with global demand.

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Black Uhuru was founded in the late seventies by the then already established singer Don Carlos and Duckie Simpson ; after a while Michael Rose , who sang in hotels on the north coast of jamaica for tourists joined the group and the trio was complete. It was Michael Rose's rockstone gruff voice and his phrasing of syllables and consonants that made the sound of this vocal trio so distinguishly different from the multitude of other Reggae Trios . Their debut album, Love Crisis, released in 1977, included the anthemic hit "I Love King Selassie." Three years later, the album was remixed and released as Black Sounds of Freedom. With the addition of harmony singer Sandra "Puma" Jones, an Afro-American woman who held a master's degree from Columbia University (former Mama Africa) in 1981, She joined the group in time for their first international distributed album 'Sinsemillia' (Island Records 1980) on TAXI - Productions/Jamaica . This album was a huge success already and some of these songs are still played in bars , coffeeshops and Hippie hang-outs worldwide . They toured and recorded with Michael Rose as Lead vocalist and further releasing the powerful RED album with more militant songs like 'Youth Of Eglington' or 'Sponjie Reggae' (maybe their best song) , A Live album from 1981 called "Tear It Up" , the still solid "Chill Out" the spacy "Dub Factor" and their 1983 album "anthem".

Quarrels about the status of Duckie Simpson (the Founder) and Michael Rose (the voice of Black Uhuru) lead to internal problems and Michael Rose left and Junior Reid replaced him . This lead to a rejuvinated sound and another highlight in the career of Black Uhuru . 'Brutal' and 'Positive' were good and advanced dub albums and both very successfull, and their tours were (nearly) as successful as before . The same problem occurred again . Junior Reid was the voice and wrote the hit songs , while Duckie Simpson stayed out of focus, his songs were no hits - but he was the head of Black Uhuru . So Junior Reid left as well to pursue a sucessful solo carreer, to make matters worse 'Puma' Jones died of cancer in 1990 .

So Duckie Simpson contacted his old buddy Don Carlos , but this duo didn't have the potential to perform the anthems , that made Black Uhuru the giants they were , so they recruted young singers , who looked good and had the ability to reproduce the songs from both Michael Rose and even Junior Reid for the bread & butter earning live tours . Sad. In recent years Sly & Robbie toured with them as Black Uhuru and at the big Reggae Festivals .


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Released in July 1980, Sinsemilla, named after a type of marijuana, was Black Uhuru's first album to be issued internationally, their third overall. Although the group was nominally a trio at this point -- consisting of Derrick "Duckie" Simpson, Michael Rose, and Sandra "Puma" Jones -- in effect, Sinsemilla was a solo album by Rose, who wrote all the songs and sang lead vocals. In addition to his writing and singing duties, Rose can be credited for bringing in the production team and rhythm section of Sly Dunbar and Robbie Shakespeare, whose Taxi Gang provides the distinctive musical tracks. Rose's lyrical vision is revolutionary and radical, extolling the primacy of Africa, opposing apartheid, and praising the virtues of marijuana. But his sweet tenor and Simpson's harmonies soothe the message, and the music has a spare, rhythmic appeal that is distinctive and forward-looking, suggesting a hard, stripped-down direction for reggae.

Black Uhuru - Sinsemilla ( 80    206mb)

01 Happiness 4:21
02 World Is Africa 5:17
03 Push Push 4:12
04 There Is Fire 5:02
05 No Loafing (Sit And Wonder) 3:59
06 Sinsemilla 5:11
07 Endurance 4:01
08 Vampire 4:34

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Backed by the tight and dancehall-era defining Sly & Robbie band, the Uhuru reels off eight quality cuts here, including classics like "Youth of Eglington" and "Sponji Reggae." Filled with Rose's astute lyrics, the album provides an engaging blend of steppers rhythms and social commentary. Sly & Robbie's ingenious mix of sophisticated roots reggae and a variety of modern touches (synthesizers, electronic drums) not only brought Black Uhuru widespread fame but, also helped define the slicked-up last stand of roots rhythms in the first half of the '80s, foreshadowing reggae's coming digital age.

Black Uhuru - Red (81  239mb)

01 Youth Of Eglington 5:00
02 Sponji Reggae 4:56
03 Sistren 4:34
04 Journey 5:21
05 Utterance 3:47
06 Puff She Puff 5:08
07 Rockstone 4:38
08 Carbine 6:05

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During the period when Black Uhuru featured both Michael Rose and Puma Jones, the group increasingly incorporated elements from outside of reggae tradition into their roots-based music. Thanks to Sly & Robbie's rhythmic presence and studio wizardry, though, the band was successful at pushing the envelope without losing their reggae credibility. Unfortunately, the line was crossed during the production of Anthem. For one thing, the crossover musical strategies deployed on the album are blatant. Since Anthem won the first reggae Grammy in 1984, this strategy served its purpose, but the mix on Anthem pales in comparison to the mix on the short-lived import version. By foregrounding the bass sound and emphasizing more time-honored instrumentation, the import's mix makes reggae powerhouses out of "Try It" and "Botanical Roots" and infuses the import single, "Party Next Door," with a truly infectious and danceable spirit. In this mix, the album's pop innovations do not overpower the music's roots connection.

Black Uhuru - Anthem (UK mix) (84   366mb)

01 What Is Life 4:21
02 Solidarity 4:22
03 Black Uhuru Anthem 5:17
04 Try It 4:59
05 Botanical Roots 4:14
06 Somebody's Watching You 4:32
07 Bull In The Pen 4:08
08 Elements 4:36
09 What Is Life (12" Kevorkian Remix) 6:42
10 Solidarity (12" Remix) 4:11
11 Party Next Door (12" Remix) 5:27

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elsewhere and now in flac

Black Uhuru - The Dub Factor ( 83 ^ 227mb)

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RhoDeo 1133 The Golden Apple, 6th Trip

Hello, as we closed the book on The Eye In The Pyramid, the first stage of the Illuminatus Trilogy it follows that we open a new stage, The Golden Apple and confusion is the focus that gets a sharp introduction in the first three chapters of the sixth trip, Tepereth.

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

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

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The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.

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The Golden Apple, Confusion, Tipareth, 6th trip (1-3) (58 min, 21mb)

06-01 Prologue (30:33)
06-02 Drake Calls (15:37)
06-03 Hagbard Gorillas (11:48)

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previously

The Eye In The Pyramid, Chaos 1st Trip (1-4) (60 min, 14mb)
The Eye In The Pyramid, Chaos 1st Trip (5-8) (77 min, 18mb)
The Eye In The Pyramid, Chaos 2nd Trip (88 min, 20mb)
The Eye In The Pyramid, Chaos 3rd Trip (1-3) (63 min, 15mb)
The Eye In The Pyramid, Chaos 3rd Trip (4-6) (65 min, 15mb)
The Eye In The Pyramid, Discord, 4th Trip (1-3) 1) (85 min, 19mb)
The Eye In The Pyramid, Discord, 4th Trip (4-6) (50 min, 12mb)
The Eye In The Pyramid, Discord, 4th Trip (7-9) (64 min, 15mb)
The Eye In The Pyramid, Discord, 5th Trip (1-3) (70 min, 16mb)
The Eye In The Pyramid, Discord, 5th Trip (4-7) (86 min, 20mb)
The Eye In The Pyramid, Discord, 5th Trip (8-10) (88 min, 20mb)

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Sundaze 1133

Hello, on this Earth collaboration often produces the best results, yet we steadfastly keep awarding our attention to personalized efforts. However creating a sound together can be a difficult process, on the other hand the awards of synergies amazing. Today 3 pairs Canadian guitarist/producer Michael Brook teams up with The Edge as well as singer/keyboardist Piter Nooten, finally heavyweight Bill Laswell links up with Terre Thaemlitz, then still at the start of his career create a mysterious digital landscape the named Web. All three lossless

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This music was written for Captive, a somewhat obscure European thriller. The album's only single is the track "Heroine," features vocals by Sinead O'Connor who composed it and would be included in her greatest-hits album. Those expecting a U2 album (or an Edge solo effort) will be disappointed. "Heroine" is the only pop song here, with the other tracks being instrumentals. However, this collaboration with Canadian Michael Brook (who has worked with Nusrat Fateh Ali Khan and Brian Eno and contributed to Peter Gabriel's score to Martin Scorsese's The Last Temptation of Christ) has some value, for it shows the Edge evolving in different directions than the supergroup. An interesting bit of trivia here: Brook invented the "infinite guitar," which Edge would use to atmospheric heights on "With or Without You" shortly after Captive was completed. Worth checking out....

The Edge and Michael Brook - O.S.T. - Captive (flac 167mb)

01 Rowena's Theme 3:56
02 Heroine (Theme From Captive) 4:27
03 One Foot In Heaven 5:10
04 The Strange Party 5:35
05 Hiro's Theme 1 4:16
06 Drift 2:20
07 The Dream 3:36
08 Djinn 3:02
09 Island 1:53
10 Hiro's Theme (Reprise) 1:35

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This collaboration between Pieter Nooten (from Xymox) and ambient, experimental guitarist Michael Brook spawns an excellent album. Sleeps With the Fishes comprises 15 excellent, moody soundscapes, given depth by Nooten's subtle vocals and instrumentation that sounds piped in from some dreamy other world. Brook's guitar rings and chimes, sounding cleaner, and his guitar work is more precise than ever. Synthesizers creep in and around the vocals and guitar to stunning effect. The album seems to define the word "mysterious." Nooten's vocals are gloomy, yet angelic as he sings about walking over clouds and worlds of unease. His voice is as much of an instrument as any other element in the songs; it's not important which lyrics are decipherable and which are not, as the vocals work mostly as a highlight to the mood-setting instrumentation. Sleeps With the Fishes is quite dark, but it's equally beautiful and uplifting in the same instance. Nooten and Brook are restrained in the creation of their moody aesthetic, but the songs are a delight from start to finish. It's essential listening for fans of Sundaze...

Michael Brook and Pieter Nooten - Sleeps With The Fishes (flac 185mb)

01 Several Times I 3:02
02 Searching 3:23
03 The Choice 4:29
04 After The Call 5:16
05 Finally II 1:53
06 Instrumental 3:53
07 Suddenly II 1:30
08 Suddenly I 2:36
09 Clouds 4:27
10 Finally I 3:49
11 Several Times II 2:05
12 Equal Ways 5:00
13 These Waves 3:12
14 Time 1:51
15 Several Times III 1:12

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There are several posts here on the artists involved here, Bill Laswell and Terre Thaemlitz in case you want to more about these artists do a search here and you get the pages. WEB is some of the most abrasive, industrial leaning ambient of either of these composers' careers. Chains rattle, voices whisper menacingly, and dark, dissonant textures and deep bass drones collide on a trio of extended tracks united by the questionably thematic topic of digital communications technology.

Bill Laswell and Terre Thaemlitz - WEB ( flac 190mb)

01 Open URL 16:14
02 Insectional Regression 17:05
03 Transfer Complete 15:49

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RhoDeo 1132 Grooves

Hello, todays artists have been marginalized for most of the 30 + years they've been around. It's not as if they weren't lauded but somehow they never were at the right place and the right time. They made some brilliant records but i gues they were to difficult to pigeonhole over the years, looking at the discogs style qualifications it jumps all over the place. To be honest i wondered what to do with this post Early fits the Aetix label but the rest doesn't. Seeing as their extraordinary bass and funk is a constant i think Grooves fits well. After all they were a pioneering force in the post-punk dance movement, perhaps more so than any other band commonly associated with it.

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Intense and diverse, and originally drummerless, ACR released their debut single in 1979 - "All Night Party/The Thin Boys" through Factory Records. Donald Johnson joined as drummer after its release, completing the original line up with Simon Topping, Jez Kerr, Pete Terrell and Martin Moscrop. The band returned to the studio and completed a series of gigs around the country with labelmates Joy Division during late '79 and early 1980. Factory released the debut album "The Graveyard and the Ballroom", a limited edition cassette-only release that contained both studio demos and live tracks. In late 1980, the story switches from post-punk Manchester to the hustle-bustle of the Big Apple, New York City. The band checked into EARS studio, New Jersey, with legendary producer Martin Hannett at the controls. The fruits of these sessions formed ACR's debut studio album, "To Each...", an album on which the impact was single-handedly destroyed by "that idiot hippie" - an in-house engineer at the studio who decided to zero all of Hannett's mix settings before he'd had chance to get the album to tape. The album was eventually remixed and released in January 1981, proceeded by the single, Flight.

Immediately after the release of "To Each...", the band headed back into the studio to record its follow-up, "Sextet". This time the choice of studio was less geographically glamorous - Revolution Studios, in Cheadle Hulme. The album was self-produced, and featured vocals from Martha Tilson, as Simon Topping retreated to the background in the band. By the time of its release in January 1982, "Sextet" was receiving ecstatic reviews from the press. ACR's subsequent album release "I'd Like To See You Again" was based upon stripped down funk and influenced by a more electronic brand of dance music. The emerging club influence is apparent throughout the album It got mixed reviews, this adds to the argument that the band often were ahead of themselves - maybe they were just 'too early'. Pete Terrell, apparently disillusioned by the music industry, left shortly after the albums release. A second US tour beckoned during December 1982, and on the band's return they received another bombshell - Simon 'Dream' Topping departed, and this was the beginning a dark period for the band.

June 85 , they set off to tour the States again, with New Order, and the tapes of these gigs provided the mesmerising "ACR Live In America" album . Then ACR disappeared into the studio to record their fourth and final Factory studio LP - "Force". The album was undeniably their finest recording yet, all the elements had combined perfectly - the ferociously funky rhythm section was tighter and bolder than ever, the effected guitars soared ever higher, Tony's sax cut like a knife through butter.

In 1987, the band signed to a major label - A&M Records, and headed into the studio to record , "Good Together", it ended up a bit too polished. In the year that followed ACR built their own studio, The Soundstation, using the money from the advance paid to them by A&M. The single "I Won't Stop Loving You" was given the remix treatment by both Bernard Sumner and Norman Cook, it was played heavily by Radio 1. Unfortunately, it only skimmed the top forty. It was followed by the distinctly un-commercial, but ultimately fantastic, "ACR:MCR" album. The album was mainly instrumental, crossing from electro to dub to latin. Relations with A&M were beginning to wear thin, the label was disappointed with the bands lack of commercial success, and the band were disappointed with the way the label were trying to shape their sound. The band had one last card up their sleeve. They re-recorded their cover of the Banbarras hit, "Shack-Up", and backed it up with a plethora of remixes, again from Norman Cook. The promo of the single was rushed out to radio stations across the country, then - nothing. ACR and A&M were no longer an item.

During 1994, the band signed a deal with Creation Records who subsequently re-issued the entire ACR Factory back catalogue along with a remix album, "Looking For A Certain Ratio". The remix album featured brand new mixes from the likes of SubSub and New Order's Other Two, plus another re-recording of "Shack-Up". 1996 saw the release "Change The Station"
The turning of a new millennium saw a rush of interest in A Certain Ratio - their influence on a plethora of DJs and musicians across the globe found them constantly referenced through the media. As Punk-Funk once again became the sound of the other city that never sleeps. Since 2003, bands such as The Rapture, LCD Soundsystem, Radio 4 have all drawn heavily on the legacy of A Certain Ratio.

In 2002 Soul Jazz Records started a program of reissues of ACR's albums and difficult to find tracks. First release was Early combined with B-Sides, Rarities & Sessions seperately available aswell. A Further re-issues was a 1980 live recording from a concert in Groningen (NL) which was released thru the LTM label. Then in 2008 they finally found the French label Le Marquis prepared to release Mind Made Up , a surprisingly strong showing after 12 years, however it took another 2 years before the album was released in their home country by LTM.

Although the band does not play full time, they continue writing, recording, and performing. A Certain Ratio performed in the U.S. for the first time since 1985 on November 16, 2008 some gigs too packaged with other Factory bands which it has to be said musically they far surpass even though they never got the commercial credit for their contributions to music.

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With the Creation reissues of A Certain Ratio's catalog becoming increasingly tough to track down and with the post-punk revival going on around the time of its release, Early came on time. ACR is an excellent -- if inconsistent -- post-punk band that exemplified a spectacular movement against the old rock guard. In reality, it only seems right to refer to the ACR captured here as a post-punk band for chronology's sake. They came after the punk explosion of 1977, yet they had hardly anything in common with that movement. At their best, they used rock instrumentation to sound little like a rock band, laying a combination of disco, funk, and Latin percussion as the foundation of their sound. They hardly took a cue from punk, evidenced as early on as their second single, a cover of Banbarra's "Shack Up." Early, an assemblage of key moments and rarities that ends with 1985, is one of those compilations that makes no overt commitment to the fanatic or the curious -- an issue that's probably exacerbated by the inclusion of five Peel Session selections. As a result, four songs are presented in two versions, eating up space that could have been taken up by other highlights. The only case where this overlap can be excused is "All Night Party," their first single; the studio version is a drumless din of Mancunian miserableness, while the Peel Session version is given the death disco treatment with drums from Donald Johnson, who wasn't on board at the time of the song's original recording. It would be a bit of a cop-out on the part of the Soul Jazz label to view the second disc -- the one with the B-sides, rarities, and Peel Session material -- merely as the icing on the cake, the bonus. Though Early goes for the price of a single disc, the space provided could have been used a bit better. The discs are far from maxed-out content-wise, and there are a handful of exclusions. All things considered, there is no shortage of great material here, and the packaging is ok.

A Certain Ratio – Early ( 376mb)

1 01 Do The Du 2:49
1 02 Flight 6:04
1 03 Waterline 4:07
1 04 Shack Up 3:13
1 05 The Fox 3:03
1 06 Blown Away 3:11
1 07 Gum 3:01
1 08 Life's A Scream 6:32
1 09 Skipscada 2:06
1 10 Knife Slits Water 7:32
1 11 Sounds Like Something Dirty 6:54
1 12 Touch 5:03
1 13 Saturn 3:48

A Certain Ratio – B-Sides, Rarities and Sessions (226mb)

2 01 All Night Party 3:13
2 02 Faceless 2:18
2 03 Do The Du (Peel Session, 1979) 2:41
2 04 All Night Party (Peel Session, 1979) 3:47
2 05 Flight (Peel Session, 1979) 3:15
2 06 Choir (Peel Session, 1979) 3:05
2 07 Skipscada (Peel Session, 1981) 2:04
2 08 Felch (Original NYC Mix) 3:43
2 09 Abracadubra (Sir Horatio) 3:31
2 10 Tumba Rhumba 2:34
2 11 Si Fermir O Grido 3:22

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As tentative as their first A&M release (Good Together) sounded, ACR immediatly bounced back firing on all cilinders on "MCR", an album of new tracks, remixes of 'Good Together' and the Big E renamed Won't Stop Loving You, as well as the much more vibrant live version of Repercussions. 'ACR:MCR' was seen as a return to ACR's roots as it was more dance orientated and harder edged. Vocalist, Denise Johnson joined the band in the studio and on the road around this time. What were they thinking the year before, clearly not enough of what they really were about. Remains a great return to form here. Unfortunately A & M lost interest and ACR was back to square one and released just 3 albums on small poorly distributed labels in the 2 decades that followed.

A Certain Ratio – acr:mcr (90 297mb)

01 Spirit Dance 5:35
02 Won't Stop Loving You (rmx Bernard Sumner) 6:47
03 BTTW 90 7:50
04 Be What You Wanna Be 5:17
05 Good Together 8:02
06 Funky Heaven 4:23
07 Tribeca 6:02
08 Repercussions Live 5:35

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Produced by Ratio in Manchester between 2006 and 2008, Mind Made Up marks a stunning return to hard-edged funky form. 'The songs are timeless and true to ACR's roots,' says Donald Johnson. 'The emphasis was placed on keeping it simple in the studio. Trickery was kept to a minimum and we never took more than three takes on any track.' Adds Martin Moscrop: 'Most songs we jammed in rehearsal one week and recorded the next, so that they were rough round the edges. And the lyrics are some of the best Jez has ever produced. You'll also hear old ACR influences throughout the album. Teri was actually the first song ACR ever wrote, but it has never been recorded or released until now.'

Originally released by a French label in 2008 and then re-released with an extra track by LTM Records two years later, Mind Made Up, A Certain Ratio's ninth studio release (not counting compilations and other similar efforts), found the group in creative health while approaching 30 years of work and beyond. With Denise Johnson on board to contribute vocals on a number of tracks, the band, still driven at its core by performers like Martin Moscrop, Jez Kerr, and the inimitable Donald Johnson, seems to have returned to full action at just the right moment thanks to a decade's worth of re-appreciation of its darkly inclined punk and funk fusions. That said, a great thing about Mind Made Up is that it feels more like them keeping on rather than trying to stake out a space in a crowded musical landscape. There's an excellent, immediate opening track in "I Feel Light," its tightly wound riff and punchy rhythmic crispness as clear a calling card as ever for the group, but at the same time there's a further ominousness in the arrangement that feels well earned by this point. It's a combination explored at a number of further instances on the disc.

A Certain Ratio – Mind Made Up (08 329mb)

01 I Feel Light 3:21
02 Down, Down, Down 4:30
03 Everything Is Good 4:25
04 Way To Escape 3:53
05 Rialto 2006 3:58
06 Mind Made Up 5:20
07 Teri 3:45
08 Bird To The Ground 3:42
09 Starlight 5:19
10 Which Is Reality? 3:38
11 Skunk 2:27
12 Very Busy Man 5:44
13 I Feel Light (Dub) 5:11

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elsewhere on this blog

A Certain Ratio - To Each And Everyone ( 81 * 98mb)

A Certain Ratio - Looking For A Certain Ratio ( 94 ^ 148mb)
A Certain Ratio - Looking For A Certain Ratio ( 94 * 99mb)
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RhoDeo 1132 Goldy Rhox 35

Hello, today the 35th post of GoldyRhox, classic pop rock. Todays artists were a bit of a one hit wonder, despite having credebility, touring with the Doors f.i., and after the huge hit succes the band faded away, despite having been in prime postion as a psychedelic rock band. Maybe it was because the title of that hit sounded more then a spell than the supposedly "in the garden of Eden" which seems to me to be a bit of a stretch.

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

Todays mystery album is the 31st best-selling album in the world, selling more than 25 million copies. The 17-minute title track of their second album, became a Top Thirty hit in the US and made the top ten on the Dutch chart. The members when it was recorded were Doug Ingle (organ and vocals), Lee Dorman (bass guitar), Ron Bushy (drums), and 17-year-old Erik Keith Brann. The album sold over three million copies by the end of 1970, and was awarded a gold disc by the R.I.A.A. in December 1968. According to legend, the group was so stoned when they recorded the track that they could neither pronounce the title "In the Garden of Eden" or end the track, so it rambles on for a full 17 minutes, which to some listeners sounds like eternity. But that's the essence of its appeal -- it's the epitome of heavy psychedelic excess, encapsulating the most indulgent tendencies of the era. It became a landmarks of the psychedellic rock music from California in the late sixties, the soundtrack to many an orgy. Afterwards the band stumbled on but never regained the spotlight and as such the boys from San Diego were mostly a one hit wonder but what a hit it was. Here in remastered version topped up by an even longer live version of Da Vida together with the single version that made it all possible.


Goldy Rhox 35 (139mb)

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RhoDeo 1132 Aetix

Hello, todays Aetix is by a band that stated they were influenced by, among others, last weeks artist, Patti Smith. In their early career, the band was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. As a result, some consider Sonic Youth as pivotal in the rise of the alternative rock and indie rock movements.

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Sonic Youth was formed in New York City in 1981 by guitarists Thurston Moore and Lee Ranaldo and bassist Kim Gordon. The band signed to Glenn Branca's Neutral Records, releasing the Sonic Youth EP in March 1982. As Sonic Youth released a number of albums and EPs to increasing critical acclaim, including Confusion is Sex and Kill Yr Idols in 1983, several drummers joined and left the band. Bob Bert rejoined Sonic Youth after the Confusion is Sex tour in mid-1983. The New York press largely ignored Sonic Youth, until after a disastrous London debut in October 1983 that actually received rave reviews in Sounds and NME When they returned to New York, the queue at CBGB for the band's concerts went around the block.

Early in 1984, Moore attempted to land the band a contract with the British indie label Doublevision, but the label rejected the demos. Paul Smith, one of the owners of Doublevision, decided to form Blast First Records in order to release Sonic Youth records. Soon, he received a distribution deal from the hip U.K. indie label Rough Trade, and the band had its first label with strong distribution. Bad Moon Rising, the group's first album for Blast First, was released in 1985 to strong reviews throughout the underground music press. Sonic Youth decided to sign with SST, home of Hüsker Dü and Black Flag, releasing EVOL in 1986. With EVOL, the group a became fixture on college radio, and its status grew significantly with 1987's Sister, which was heavily praised by mainstream publications like Rolling Stone.

The band's true breakthrough was the double album Daydream Nation. Released on Enigma Records, Daydream Nation was a tour de force that was hailed as a masterpiece upon its fall 1988 release, and it generated a college radio hit with "Teenage Riot." Enigma's eventual bankruptcy had them sign a contract with a major label, be it a new subdivision, DGC, the contract gave them complete creative control, as well as letting them function as pseudo-A&R reps for the label. Sonic Youth established a precedent for alternative bands moving to majors during the '90s, proving that it was possible to preserve indie credibility on a major label. Released in the fall of 1990, Goo, the band's first major-label album, boasted a more focused sound, yet it didn't abandon the group's noise aesthetics. The result was a college radio hit, and the group's first album to crack the Top 100.

For their second major-label album, Dirty, Sonic Youth attempted to replicate the sloppy, straightforward sound of grunge rockers Mudhoney and Nirvana. The band had been supporting those two Seattle-based groups for several years and brought Nirvana to DGC Records. the the songs on Dirty were hardly grunge, it was more pop-oriented and accessible than earlier Sonic Youth records. Produced by Butch Vig, who also produced Nirvana's Nevermind, Dirty became an alternative hit upon its summer 1992 release, generating the modern rock hits. Sonic Youth again worked with Vig for 1994's Experimental Jet Set, Trash and No Star, which entered the U.S. charts at number 34 and the U.K. charts at number ten, making it their highest-charting album ever. The high chart position was proof of their popularity during the previous two years, as it received decidedly mixed reviews and quickly fell down the charts.

Sonic Youth agreed to headline 1995's American Lollapalooza package tour, using the earnings to build a new studio. Following the completion of the tour, Sonic Youth released Washing Machine, which received their strongest reviews since Daydream Nation.After a series of experimental EPs issued on their own SYR label, they resurfaced in 1998 with the full-length A Thousand Leaves. NYC Ghosts & Flowers, which featured Jim O'Rourke as a producer and musician, followed in the spring of 2000. O'Rourke became a full member of the group, touring with the band and appearing on and producing 2002's Murray Street. The five-piece Sonic Youth returned in 2004 with Sonic Nurse; one year later, however, O'Rourke departed the band to pursue a career as a film director.

Rather Ripped, a fusion of the mellow, sprawling feel of the band's previous two albums with a more stripped-down sound, was released in 2006. The band released The Destroyed Room: B-Sides and Rarities in December 2006. It features tracks previously available only on vinyl, limited-release compilations, b-sides to international singles, and some material that had never before been released. This marked the band's final Geffen release.

In 2008, the band resurrected the SYR series: J'Accuse Ted Hughes. They also assembled a compilation album for Starbucks, Hits Are for Squares. Sonic Youth made further headlines by leaving the Geffen label and signing with Matador, which prepared to issue the band's 16th album, The Eternal, during the following spring. The band scored and composed the soundtrack of the French thriller-drama Simon Werner a Disparu, which premiered in May, 2010 as part of the Cannes International Film Festival. The soundtrack has been released in 2011 as the latest edition of the SYR series, SYR9: Simon Werner a Disparu.

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Released to strong reviews from the underground music press, Bad Moon Rising was the first Sonic Youth album to combine the band's experimental material with transitional pieces and segues, released on the New York independent record label Homestead Records in 1985. The album is loosely themed around the dark side of America, and includes references to obsession and insanity, Charles Manson, heavy metal, Satanism and early European settlers' encounters with Native Americans. Each side of the original vinyl was a mostly continuous cycle of songs, except for the album's closer "Death Valley '69"., it was the result of a collaboration between Thurston Moore and New York singer and poet Lydia Lunch.

Sonic Youth – Bad Moon Rising ( 117mb)

01 Intro 1:11
02 Brave Men Run (In My Family) 3:36
03 Society Is A Hole 5:58
04 I Love Her All The Time 7:28
05 Ghost Bitch 5:40
06 I'm Insane 4:08
07 Justice Is Might 4:21
08 Death Valley '69 5:10
09 Satan Is Boring 5:06
10 Flower 3:36
11 Hallowe'en 5:00
12 Echo Canyon 1:09 0

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Widely considered to be the band's magnum opus and a seminal influence on the alternative rock genre, Daydream Nation is one of the few rock albums chosen by the Library of Congress to be preserved in the National Recording Registry. Sonic Youth elected to record Daydream Nation at New York's Greene Street basement studio. They booked three weeks of recording time at Greene Street's Studio A that would start in mid-July 1988. At $1000 a day, it was the most the band had paid to record an album up to that point, but among its advantages was its proximity to where members Thurston Moore, Kim Gordon, and Lee Ranaldo lived. The record ultimately cost $30,000, which led Moore to refer to the album as "our first non-econo record"

Due to the amount of preparation the band put into composing its music, the recording process was largely efficient.The band went with Enigma for the American release, an independent label that had distribution through major label Capitol Records[citation needed]. However, the deal with Enigma turned out to be disappointing; Moore described the label as a "cheapjack Mafioso operation," and drummer Steve Shelley stated that the label had trouble keeping the record in stock in American record stores. Following the album's success, they sought out a true major label contract, and signed with David Geffen's DGC Records in 1989.

In the years following its release, Daydream Nation has risen in stature to become one of the most highly-regarded albums of the 1980s, receiving much critical acclaim and appearing on many "Best-of" lists. It was ranked #1 on Pitchfork Media's "Top 100 Albums of the 1980s,"#31 on the Rolling Stone "100 Greatest Albums of the 1980s" list.n 2003, the album was ranked number 329 on Rolling Stone's "The 500 Greatest Albums of All Time" list.

Sonic Youth – Daydream Nation (182mb)

01 Teen Age Riot 6:58
02 Silver Rocket 3:47
03 The Sprawl 7:42
04 'Cross The Breeze 7:00
05 Eric's Trip 3:48
06 Total Trash 7:33
07 Hey Joni 4:23
08 Providence 2:41
09 Candle 4:58
10 Rain King 4:39
11 Kissability 3:08
12 The Trilogy 14:02
A) The Wonder 4:15
B) Hyperstation 7:12
Z) Eliminator Jr. 2:37


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Following the release of Daydream Nation in 1988, Sonic Youth sought to sign with a new record label. By mid-1989, the top contenders were A&M Records, Atlantic Records, and Mute Records.Sonic Youth ultimately signed a five-album with Geffen for at an estimated $300,000. However, the band was disappointed to find out that it would actually be releasing material on a newly-created Geffen sublabel, DGC Records. The album featured the single "Kool Thing", on which Chuck D (Public Enemy) guested. While paling in the shadow of its predecessor, the record is nevertheless a defiant call to arms against mainstream musical values. Goo is, if anything, a portrait of Sonic Youth at their most self-indulgently noisy and contentious, covering topics ranging from Karen Carpenter ("Tunic") to UFOs ("Disappearer") to dating Jesus' mom ("Mary-Christ").

Sonic Youth – Goo ( 152mb)

01 Dirty Boots 5:29
02 Tunic (Song For Karen) 6:21
03 Mary-Christ 3:11
04 Kool Thing (Feat Chuck D) 4:06
05 Mote 7:37
06 My Friend Goo 2:20
07 Disappearer 5:08
08 Mildred Pierce 2:13
09 Cinderella's Big Score 5:54
10 Scooter + Jinx 1:05
11 Titanium Exposé 6:26
Out-Takes, B Sides & Rehearsals
12 Lee #2 3:31
13 That's All I Know (Right Now) 2:20
14 The Bedroom (Live) 3:42
15 Dr. Benway's House 1:17
16 Tuff Boyz 5:39

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RhoDeo 1132 Roots

Hello, last time we landed on an island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

Lee Perry is a towering figure in reggae , some call him a genius, others claim he's a madman. Truth is, he's both, but more importantly, -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world.

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

Tubby began working with Arthur "Duke" Reid in 1968. At Treasure Isle, a studio, Tubby began making remixes of hit songs, usually by simply removing the vocals. In time, Tubby (and others) began shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes. By 1971, Tubby's soundsystem was one of the most popular in Kingston and he decided to open a studio of his own. His remixes soon proved enormously popular, and he became one of the biggest celebrities in Jamaica.

During the 1970s, Tubby's work in the studio gave rise to modern dub music. He had a long string of hit songs, and worked as a producer for some of Jamaica's most popular artists, including Lee Perry, Bunny Lee, Augustus Pablo and Yabby You. In 1973, he began recording vocals to put along the instrumentals. By the later part of the decade though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on production for Anthony Red Rose, Sugar Minott and other popular musicians. He was shot and killed by unknown persons, probably in a robbery attempt, in 1989, February 06th.

Errol Thompson, better known as "ET" (December 29, 1948 – November 13, 2004) was a record producer, audio engineer, and one of the first studio engineers to be involved in dub music. He was fellow producer Joe Gibbs's partner—the two were known collectively as the Mighty Two. In the 1970s he worked (along with Niney) as an engineer at Randy's Studio 17, in Kingston, Jamaica. Later in life he moved away from the music industry, and managed a supermarket in North Parade, downtown Kingston.Thompson died after numerous strokes on November 13, 2004, at the age of 55.

This 2000 release was sourced from old work as King Tubby had been dead since 89 some loose freestyle dub going on.

King Tubby & Errol Thompson – Black Foundation In Dub ( 127mb)

01 Marcus Garvey Dub 3:27
02 Come Away Jah Jah Dub 4:38
03 Time Hard 2:58
04 Creation 3:10
05 Patientn Dub 3:36
06 African Birthright 3:33
07 Running Dub 3:15
08 Track 20 Dub 2:16
09 Slavery Days Dub 3:53
10 Dub Upright 3:45
11 Dub In Time 3:42
12 Nubia 3:38
13 Bawling 3:31
14 Burning 3:26
15 Harvest 4:03
16 Dub Of Tomorrow 2:51

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Mad Professor is one of the grand kings of Dub. He's old school with over 20 albums and has worked with a lot of the reggae greats including Lee 'Scratch' Perry, either on joining projects or by simply laying down beats. Mad Professor remixed a whole album by Massive Attack. He also runs the Ariwa label.
Lee Perry (Rainford Hugh Perry) Born on Mar 20, 1936 in St. Mary's, Jamaica. First called "Little" Perry, in reference to his height of 4'11" (1.5m), he was a major founder of Reggae and Dub. First working with ska, he cut his first record in 1959. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- others may have invented dub, many argue that no one experimented with it or took it further than did Lee Perry.

Here the two masters get together with two youngsters, Douggie Digital & Juggler, Dub meets Drum & Bass result mad Jungle. The old masters have made plenty of albums together, this cut proves they don't shy away from experimenting, although towards the second half of the album things get more relaxed.. As for the title there's more super ape where this came from...

Lee Perry, Mad Professor - Super Ape Inna Jungle ( 95 99mb)

01 I'm Not A Human Being 5:29
02 Nasty Spell 3:54
03 Writing On The Wall 4:01
04 Why Complaining? 5:27
05 Thunder And Lightning 4:28
06 Super Ape Inna Jungle 6:23
07 Jungle Roots 3:48
08 Black Spell 4:13
09 Dancing Roots 3:40
10 Sheba Dance 4:48

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elsewhere

Lee Perry - The Upsetter Box (Africa's Blood 72, Rhythm ) ( 85 ^ 98mb )
Lee Perry - The Upsetter Box ( Shower 73 & Double Seven 74) ( 85 ^ 95mb)

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RhoDeo 1132 Illumnatus

Hello, today with the last part of the fifth trip, the first band of the Illuminatus! Trilogy, The Eye In The Pyramid comes to conclusion.

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

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

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The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.

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The Eye In The Pyramid, Discord, 5th Trip (8-10) (88 min, 20mb)

05-08 Joe Illuminized (22:46)
05-09 Tarantella Serpentine (34:55)
05-10 Missing Persons (30:46)

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previously

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


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Sundaze 1132 Psybiient

Hello, an Austrian and an Englishman got together and decided that living in the Southwest of France and make great psychedelic trance music together would make a lot of sense after their former employer , a music software (Logic) company got sold to the dark overlords from the USA. It was time for the planetary based visionary musicians to go on a Ayahuasca trip , it inspired them to create a soundtrack to the experience.

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Entheogenic was formed in 1999 by producer, engineer, songwriter Piers Oak-Rhind and Helmut Glavar. They first met in a music studio in Toulouse in 1999 working as sound technicians for Emagic (a former producer of music-studio software and hardware such as Logic). The name Entheogenic is derived from the term Entheogen coined in 1979 by a group of ethnobotanists and mythology scholars to describe psychedelic substances used in a religious or shamanic context.

According to the two members, the music mixes "coloristic electrophonics" with "impressionistic orchestra-like sound". The use of both eastern and western vocals, tribal sounding instruments, as well as an array of synthesizers built the foundation of the Entheogenic sound. Their epic soundscapes manipulated through sound effects and catalystic sonic experimentations have a semi-classical feel to them. Entheogenic also records and uses a large amount of "natural samples" - water, human voices, animals, etc.

Entheogenic was one of the two major psybient projects (the other being Shpongle) whose experimentation influenced the psychedelic electronic scene. Entheogenic's first release "Entheogenic" is a concept album that recounts the tale of an Ayahuasca journey, with layered trance melodies and texturally rich arrangements. Three labels bid for the release 3D Vision Records won

In November 2003 Entheogenic's second album, Spontaneous Illumination, released on the German label C.O.R.N. Recordings, was the first psy-chill album ever to make it to number 1 in the German charts, where it remained Number 1 for 8 weeks. Spontaneous Illumination stayed in the Top 10 for an additional 12 weeks.Their first two albums were noted for their epic thematic lengthly tunes. Both albums feature the work of Sound Engineer Glenn Schick. In 2005, "Dialogue of the Speakers" (Chillcode Records), a remix album of sorts, continued the success of its predecessor, and went straight to Number 1 in the German charts, where it remained for 24 weeks.

."Golden Cap" (Chillcode Records) was released in 2006. G.C. got by their now quite large following a mixed respons.
The ambient chill artists stunned and pleased with all four previous albums, but 'Flight of the Urubus' is something of an awakening experience in itself. Recorded in Brazil and Dorset, the album reveals the beauty of the Entheogenic realms and takes you on a journey through the divine dimensions.

On their latest album, Gaia Sophia, released earlier this year the sound in overall is more smoother, chilled, crystallic and more fairy-tale like than on the aforementioned previous albums, though the epic 27-minute long opening track gets the energy moving with an infectious 4/4 groove in the middle.



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"On Entheogenic-Entheogenic each song has its own part and relation to the story as a whole. The story’s inspiration came from a very intense shamanique experience we shared at this time.We used whatever we had to recreate this event to translate it into the most accurate sound experience we could. Exploring emotions across the sound-screen was not unlike making a film or, more accurately, a documentary. We kept on repeating the shoots until we were satisfied with the results. We each added different parts to the spectrum. Sometimes we focused on different emotions. So we tried to compliment each other, each adding their own part to the sound fabric. Finally, we listened together to the result - the big picture."

Entheogenic – Entheogenic ( 02 170mb)

01 Level One 10:01
02 Light Ocean Blue 8:34
03 We Are One 7:38
04 Beyond Zero 7:31
05 Astral Cave 6:46
06 Liquid Universe 7:21
07 Yage 7:52
08 Earth Song 7:28
09 Absolute Love 6:49


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Following the first success, anybody who imagined that Entheogenic would go commercial, was very wrong. “Spontaneous Illumination” is more psychedelic. We go yet deeper on the emotional level, touch all kinds of contrasting feelings, some of which may be disturbing, some may be darker, but in all of it there is always the search for beauty. We spent over a year digging and researching and put in an enormous amount of time and energy into “Spontaneous Illumination”. The mixes alone took us eight weeks. Finally we were happy with the results. It most certainly deserves more then just one superficial listening. It most certainly will make a statement, something people will really understand after a profound listening. Something that will be around for a long time.."

Entheogenic – Spontaneous Illumination (03 176mb)

01 Ground Luminosity 11:42
02 Habitual Overtones 8:54
03 Pagan Dream Machine 9:45
04 Mindless 9:41
05 Invisible Landscapes 9:35
06 Twilight Eyes 12:32
07 Spaced 9:47


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On offer is what I guess you’d call an EP’s worth of new tunes, together with remixes of both new and old offerings. New track Aranyanyara kicks it all off, and it’s immediately one of their most accomplished tunes yet. Effortlessly fluid, with incredibly sweet lines and smooth bass. Their sound has matured and been held back from the previous albums, sounding light years ahead of even Spontaneous Illumination. A key selling point on this, and a real reason to check it out, is the presence of Ott, who remixes two tunes here: Timeless ESP and Ground Luminosity. Youth’s remix of Without Thought has an amazing, unfolding quality to it. Staggering, with pokes of reggae singing over the top of a seemingly sentient bassline, that just moves and ambles along in an eerily awake way. Also worthy of insane amounts of play is Abakus’ remix of Aranyanyara, which is a brave and most original remix. In short a varied and accomplished collection, and the combination of the diverse and eclectic remixes plus the decent new tunes make this one hell of a chillout album.

Entheogenic – Dialogue Of The Speakers ( 160mb)

Movement 1
01 Aranyanyara - The Ouverture 6:47
Movement 2
02 Timeless E.S.P. - "Ott's New Wasserboxer" Mix 8:11
03 Pagan Dream Machine - Vibrasphere Remix 8:32
04 Without Thought - Youth Remix 6:49
Movement 3
05 Ground Luminosity - "Ott's New Yoghurt Loom" Mix 8:29
06 Timeless E.S.P.7:33
Movement 4
07 Without Thought 6:15
08 Aranyanyara - Abakus Remix 6:53
Movement 5
09 Spaced - Shulman Remix 8:01

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RhoDeo 1131 Grooves

Hello, todays artist released 3 albums, his success was growing and then....nothing he disappeared and hasn't been on the scene for 17 years, maybe he saw the light, maybe he's one of those many thousands that disappear in the USA every year. A real pity as his beat poetry could have given us many hours more of serious entertainment, hard to fathom why someone who was starting to make serious inroads would denounce himself and disappear.
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Taking the name MC 900 Ft. Jesus from an Oral Roberts'* sermon, the Dallas native Mark Griffin began recording in the late ' 80s. MC 900 Ft. Jesus' first records were bracing fusions of hip-hop, industrial, and spoken word, with hints of jazz. He became a favorite on college radio with his 1990 debut, Hell With the Lid Off, and 1991's Welcome to My Dream. Griffin seems to be able to get inside the American psyche and write these wonderful, incredibly well-observed lyrics; and then marries them to old-skool beats and layers of synth. At first listen you might believe that you're listening to hip-pop; but then you rapidly realise that everything he does is a little bit tongue-in-cheek.

Welcome To My Dream, the follow-up to Hell With the Lid Off is darker, less cartoonish, and far more influenced by funk and jazz than before (if it weren't for the slightly whiny vocals over top of the opening cut, you might mistake the backing track for something from Miles Davis' fusion period). In a lot of ways, Welcome to My Dream was a precursor to trip-hop, layering hip-hop beats over jazzy breaks and dream-like instrumentation. Tracks like "Killer Inside Me" and "Adventures in Failure" as backing tracks are killer and the delivery of the rhymes are top-notch, alas textually a bit silly, in the sense that jokes ware off after repeated listening. That's a shame because there are some great tracks here, like the arsonists confessional "The City Sleeps'" and the paranoiac nightdrive "Falling Elevators." As before on Hell With the Lid Off , DJ Zero scratches with aplomb.

After laying low for a couple years, MC 900 Ft. Jesus returned with his most popular record to date in 1994, One Step Ahead of the Spider. Featuring the hit single "If I Only Had a Brain," the record was calmer than his earlier work, incorporating more elements of jazz and funk; it was a hit on both alternative radio and MTV, nevertheless he never established much more than a cult following, and has completely disappeared from the radar since.

*Oral Roberts became a traveling faith healer after dropping out of college, he made a name for himself with a mobile big tent that sat 3,000 on metal folding chairs, and where he shouted at petitioners who did not respond to his healing. In 1977 Roberts claimed to have a vision from a 900-foot-tall Jesus who told him to build City of Faith Medical and Research Center and the hospital would be a success. He founded Oral Roberts University in Tulsa, Oklahoma in 1963, stating he was obeying a command from God. The university was chartered in 1963 and received its first students in 1965. Students were required to sign an honor code pledging not to drink, smoke, dance, party, or engage in premarital sex. Oral Roberts is retired now after a very succesful career as a televangelist. Btw the Rio Christ The Redeemer statue which made it into the seven wonders of the world list is just 130 ft, merely a seventh what the faith healer saw, well visions can be deceptive in the ' out there' .


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"This offering of frenzied rap, industrial rhythms and hip hop beats will send the masses to the temples of dance. The selection of hymns for this Chapter confront middle-class America driven by his fascination with the psychotic urban jungle where the streets are inhabited with the so called 'freaks' of society. It's a highly compelling recording, if only for its brash flirtation with so many styles -- techno, funk, cool jazz, house -- With it you will find reality, the kind of reality that mankind suppresses and hides in the halls of institutions. MC 900 Ft Jesus along with DJ Zero take the disciplines of funk, rap and industrial hip hop transforming them into an entirely new beast."

MC 900 Ft Jesus With DJ Zero – Hell With The Lid Off (89 flac  337mb)

01 A Greater God 2:53
02 Real Black Angel 4:22
03 Truth Is Out Of Style 5:44
04 UFO's Are Real 5:22
05 Shut Up 5:42
06 I'm Going Straight To Heaven 4:03
07 Spaceman 6:56
08 Talking To The Spirits 6:32
09 Too Bad 5:34
10 A Place Of Loneliness 0:38
11 Born With Monkey Asses 5:44
12 Straight To Heaven (Inst) 4:04

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The emphasis on One Step Ahead of the Spider is most definitely the groove and, with drummer Earl Harvin, Jr. assisted by Mike Dillon and Nikhil Pandya (on congas and tablas, respectively), the vibe is somewhere in between Bitches Brew and a neo-hippie drum circle, with a little '70s funk thrown into the mix for good measure.

MC 900 Ft Jesus – One Step Ahead Of The Spider (94 flac 327mb)

01 New Moon 11:41
02 But If You Go 5:38
03 If I Only Had A Brain 3:47
04 Stare And Stare 6:59
05 Buried At Sea 4:46
06 Tiptoe Through The Inferno 4:50
07 Gracías Pepé 3:44
08 New Year's Eve 3:43
09 Bill's Dream 8:15
10 Rhubarb 3:10

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elsewhere on this blog (Alphabet soup 13) also updated

MC 900 Ft Jesus - Welcome To My Dream (91 flac 268mb)

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RhoDeo 1131 Goldy Rhox 34

Hello, today the 34th post of GoldyRhox, classic pop rock. Todays artist was a brillant selftaught guitarist and like so many he had his insecurities and depressions to contend with. Then there was the music industry that screwed him during his life, and later shamelessly proceded to make tens of millions from his legacy. Gosh that sounds familiar somehow

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

Todays mystery album was released on October 1968, it was the third and final album of new material by the band. It is the only studio album professionally produced under the artists supervision. It topped the Billboard 200 album chart for two weeks in November 1968. The original North American-only Reprise release album cover featured a "fiery" photo of the artists head, later editions saw different covers, including a controversial one showing a bunch of naked women, later the double album was released as two seperate albums as well. The artists studio perfectionism was legendary – he and Mitchell recorded well over 50 takes of "Gypsy Eyes" over three sessions..Many of the album tracks show his vision expanding far beyond the scope of the original trio and saw him collaborating with a range of outside musicians . Expanding was on his mind aswell when pills and psychedelic drugs took over and he saw his band disband summer of 69. Shortly before he died he had stated to a friend. 'I'm having a real bad time with my managers and lawyers' he said. 'They're killing me; everything is wired against me and it's getting so bad I can't eat or sleep...'" No wonder then the self-taught guitarist was terribly unhappy, extremely depressed. September 18, 1970 he was found dead in controversial circumstances.

In 2005 Q magazine readers voted todays mystery album the 38th greatest album of all time; in 2003 , Rolling Stone declared it the 54th greatest album of all time. Obviously it's included in the book 1001 Albums You Must Hear Before You Die


Goldy Rhox 34 (175mb)

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