RhoDeo 1207 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.


Can't get enough of that dub music ? Well here's some more by the Prince that became King

***** ***** ***** ***** *****

Lloyd James, (born in 1947, Montego Bay, Jamaica), is better known as Prince Jammy or King Jammy the dub mixer and record producer. After earning money from building amplifiers and repairing electrical equipment from his mother's house in Waterhouse in the late 1960s, he started his own sound system. He also built equipment for other local systems. After leaving Jamaica to work in Canada for a few years in the early 1970s, he returned to Kingston in 1976 and set up his own studio at his in-laws' home in Waterhouse, and released a couple of Yabby You productions. When Phillip Smart left King Tubby's team to work in New York, Jammy replaced him, getting to work with the likes of Bunny Lee and Yabby You. For the first few years of his career, Jammy almost exclusively made Dub.

In 1977, Jammy was enlisted to mix the dub counterpart to "In the Light," Everton DaSilva's classic production for Horace Andy. The versions Jammy concocted simultaneously proved that he was well versed in the techniques acquired from Tubby and that he had developed a distinct mixing voice of his own. That same year, he made his first notable venture into production work, recording the debut of Black Uhuru, a young vocal trio from Kingston. The resulting Love Crisis (and its remixed incarnation, Black Sounds of Freedom) represented a breakthrough for both parties. In the late 1970s he began to release his own productions, including the debut album from Black Uhuru in 1977.

Before he set out to rule modern dancehall as King Jammy, Lloyd James earned the lesser, but still regal title Prince Jammy, In the 1980s, he became one of the most influential producers of dancehall music. During the 1980s’ and 1990s’, Prince Jammy’s music became the sound of Jamaica. Both his productions, and sound-systems, were at the forefront of Jamaican music during this period. His biggest hit was 1985's "Under Me Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook. Many credit this song as being the first "Digital rhythm" in reggae, leading to the modern dancehall era. Jammy's productions and sound system dominated reggae music for the remainder of the 1980s.

Jammy continued to produce and record into the '90s, a decade that would see his own son, John John, emerging as a successful record-maker. Perhaps more importantly, the '90s also witnessed a number of reissues of Jammy's classic mixing work. London's Blood and Fire produced Dub Gone Crazy and Dub Gone 2 Crazy, compiling versions the Waterhouse team (Tubby, Jammy, Scientist, and Smart) mixed for Bunny Lee during the late '70s, while Pressure Sounds' The Crowning of Prince Jammy drew from the same period. And so he continues to work as a producer, working with some of today's top Jamaican artists.



***** ***** ***** ***** *****

From the vaults, the long lost Prince Jammy dub album swept aside by the '80's digital revolution. Previously unreleased dubs from the mighty Prince Jammy – much sought after dubs from a crucial period for Prince Jammy and the dub sound all around! Wonderful stuff toasted with heavy riddims, indelible bass grooves and tasty bits of guitar and keys. Crucial, indeed! Includes "President Dub", "Sunny Side Dub", "Vincent In Dub", "Nuff Corn Dub", "Anything A Dub", "One Million Dub", "Yah We Deh Dub", "Higgler Move Dub" and more.

Prince Jammy - Crucial In Dub (flac 228mb)

01 President Dub 3:36
02 Sunny Side Dub 3:28
03 Mr Joe Is Dubbing 2:13
04 Vincent In Dub 3:16
05 Dub Conscience 3:31
06 Nuff Corn Dub 3:36
07 Anything A Dub 3:31
08 Chatty Mouth Dub 3:39
09 One Million Dub 3:10
10 Higgler Move Dub 3:30
11 Get Ready For Dub 3:21
12 Yah We Deh Dub 3:15

***** ***** *****

Unlike Scientist, Prince Jammy espoused the minimal school of dub that their mentor King Tubby favored. In lieu of prevalent space-battle effects and flanger-riddled mixes, Jammy just stuck to warping the drum, bass and guitar tracks, with the occasional echo-treated horn or organ thrown in. On Kamikazi Dub's "Shaolin Temple" and "Kamikazi," Jammy creates that sense of boundless dub space simply by soaking the drum and bass in reverb, while organ and guitar additions are kept fleeting to maintain the eerily isolated atmosphere. For "Downtown Shanghai Rock" and "Waterfront Gang War," Jammy does include some of the "found" sound effects Scientist favored by using layered keyboard and percussion tracks, but this is kept to a minimum. Both Jammy and Scientist created masterful dub recordings, so it just comes down to a question of preference; for more psychedelic dub cuts, pick up a Scientist release, but for a more roots-informed yet sophisticated dub style, you will definitely want a copy of Kamikazi Dub.

Prince Jammy - Kamikazi Dub (flac 208mb)

01 Throne Of Blood 3:16
02 Brothers Of The Blade 3:29
03 Shoalin Temple 2:50
04 Kamikazi 2:47
05 Oragami Black Belt 3:51
06 Fist Of Fury 3:08
07 Opium Den 3:35
08 Swords Of Vengeance 3:46
09 Downtown Shanghai Rock 4:15
10 Waterfront Gang War 3:47

***** ***** ***** ***** *****

UHURU IN DUB is the DUB counterpart of Black Uhuru's album "Black Sounds Of Freedom". It wasn't the first Black Uhuru release, but pretty close. And -as far as we can check- the only Prince Jammy production of the vocal harmony group. "Black Sounds Of Freedom" is in itself highly recommended, that's why the Dubroom already reviewed that album. UHURU IN DUB takes the vibe of the album, and significantly adds to it. Long, long echo's and skillful use of the Spring Reverb are only two elements of Prince Jammy's great work on this one. Really, Prince Jammy at his finest.

Prince Jammy - Uhuru In Dub (flac 202mb)

01 Eden Dub 4:12
02 Mystic Mix 3:38
03 His Imperial Majesty 3:45
04 Weeping Willow 4:10
05 Bad Girls Dub 3:26
06 Tonight Is The Night 3:56
07 Firehouse Special 3:04
08 African Culture 3:46
09 Crisis Dub 3:47
10 Sound Man Style 3:27

***** ***** ***** ***** *****

Osbourne In Dub's sound is mainly drums and keyboard, other instruments join the fray, providing the backdrop for Prince Jammy’s drums and keyboards to shine. Here, the keyboard plays well, the tempo upbeat, the sound bright. Like many other tracks on the album, the drums sit right at the front of the mix, their sound dominating the soundscape. The album features some highly talented musicians including Robbie Shakespear on bass and Sly Dunbar on drums. There are a couple of fine tunes, and even the brilliant "Jah Is With You" should at least be heard once by every serious collector of DUB music. But overall, there's not much heavy mixing going on and the tunes itself are in need for that heavy mixing when they do not come with full vocals.

Prince Jammy - Osbourne In Dub (flac 166mb)

01 Loving Tonight 3:13
02 Reggae Stylee 3:10
03 Dance Dub 3:13
04 Jah Is With You 3:18
05 Chopping Dub 3:16
06 Pumping Dub 3:16
07 Double Trouble 3:16
08 See No Evil 3:05
09 Pure Is The Soul 3:27
10 Rise Up 3:32

***** ***** ***** ***** *****

RhoDeo 1207 AC Clark

Hello, hope you'll had a good weekend.

Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

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

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

xxxxx

"Rendezvous with Rama is a novel by Arthur C. Clarke first published in 1972. Set in the 22nd century, the story involves a fifty-kilometer-long cylindrical alien starship that enters Earth's solar system. The story is told from the point of view of a group of human explorers, who intercept the ship in an attempt to unlock its mysteries.

The "Rama" of the title is an alien star ship, initially mistaken for an asteroid and named after the king Rama who is considered to be the seventh Avatar of the Hindu god Vishnu. Asteroid 31/439 is detected by astronomers in the year 2130 while still outside the orbit of Jupiter. The object's speed (100 000 km/h) and the angle of its trajectory clearly indicate that this is not an object on a long orbit around our sun; it comes from interstellar space. Astronomers' interest is piqued when they realize that this asteroid not only has an extremely rapid 4 minute rotation period but it is quite large in size for an asteroid. An unmanned space probe dubbed Sita is launched from the Mars moon Phobos, and photographs taken during its rapid flyby reveal that Rama is a perfect cylinder, 20 kilometres (12 mi) in diameter and 54 kilometres (34 mi) long, made of a completely featureless material. In other words, this is humankind's first encounter with an alien space ship.

"This novel won both the Hugo and Nebula awards upon its release, and is widely regarded as one of the cornerstones in Clarke's bibliography. It is considered a science fiction classic, and is particularly seen as a key hard science fiction text."


A short student film inspired by the Arthur C. Clarke novel. Directed and animated by Aaron Ross, Tisch School of the Arts, NYU in 2001.
Best Animation, Marin County Film Festival, 2003, NYU First Run Film Festival, 2003




xxxxx xxxxx xxxxx xxxxx xxxxx

In 2009, as part of their science-fiction season, BBC Radio 4 produced a two-part radio adaptation of the book. It was adapted by Mike Walker, and was broadcast on 1 March 2009 (Part 1) and 8 March 2009 (Part 2).


Arthur C. Clarke - Rendezvous With Rama ( 49mb)

01 Rendezvous With Rama pt 1 56:22

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1207

Hello, the American music world is in shock tonight as Whitney Houston has left the building today, she'd been holding up at the Beverly Hills Hotel with rapper Ray J (18 years her junior) for the last 4 days, cause of death as yet undetermined. Not my kinda music really although she undoubtedly had a phenomenal voice, she's sold 170 million albums and picked up hundreds of awards and yet an aura of sadness was never far away, abuse of negative drugs as cocaine and crack surely attributed to that...her life has ended at 3.55 PM ET, may she rest in piece. Tomorrow the Grammy's will be dished out i suspect I will always love you will be performed.

Reasons to take in todays Sundaze, today and next week i will post what has become the rather rare works of The Higher Intelligence Agency (Bobby Bird) a musician/dj that burst on the scene with 2 well received albums , subsequently released a number of co authored works and then kinda disappeared from the scene in 2001.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Higher Intelligence Agency was formed around the Oscillate Sound System, a collective of music producers and promoters with an affinity for those downtempo techno sounds of the early 90s. The Birmingham-based Higher Intelligence Agency is composed of DJ/musician Bobby Bird and occasional collaborator Dave Wheels. Musically, they pitch their creative tent somewhere between the ambient and experimental techno camps, with breakbeat, electro-style rhythms and a song-oriented melodic and harmonic base informing the bulk of their most recent work. The group formed in 1992 as a live experiment performing at Bird's Oscillate parties (which played early host to such acts as Autechre, Orbital, Mixmaster Morris, and Scanner), and has since grown into a full-on creative force, releasing a pair of albums and as many EPs. Although perhaps not as prodigious as many of their peers, HIA's focus is on quality rather than quantity, and their released material is uniformly well-produced and meticulously crafted. In addition to constant touring and the ongoing Oscillate schedule, HIA have also performed commissioned work for museums and festivals. While still bent on working together, Bird has largely taken over HIA's reigns while Wheels pursues a solo project, and has completed remixes for Freeform and Obconic. Collaborations in 1996 with Frankfurt's Deep Space Network and Geir Jenssen of Biosphere also produced an album apiece, the former (Deep Space Network Meets Higher Intelligence Agency) on DSN's Source label and the latter (Polar Sequences) on Beyond. Another collaborational series, S.H.A.D.O. with Pete Namlook, began in 1997 and resumed two years later.

xxxxx xxxxx xxxxx xxxxx xxxxx

Bobby Bird’s ambient project The H.I.A.’s profile grew in prominence as Bird's tracks were even held in the same regard as Aphex Twin, The Orb, and The Future Sound Of London. Unfortunately, a lack of promotion after the initial ‘ambient dub’ surge relegated him to the underground. And although he’s cropped up in collaborations with similar space ambient names like Pete Namlook and Biosphere, finding new material with the H.I.A. tag has grown increasingly difficult. And now it seems getting his old material is tough as well.

The album you are reading a review on is H.I.A.’s debut, and appears to be out of print now. Although Bird does ambient music as well as anyone, he also has a tendency to allow a quirky sense of humor into his works. Probably most apparent of this is the breakout track Ketamine Entity. Throughout the entire track is a silly 808 bassline that bobbles about; it does drop in a few some wonderfully thunderous booms as well, but still lends the track to a goofy tone. Throw in some tongue-in-cheek spoken dialogue (“This is from the Higher Intelligence; We have concealed the vital evidence; Of the reasons for your existence) and chirpy bleeps and bloops in the background, and you have an ‘anthem’ that’ll make you giggle. That’s probably the most extreme example though. Other tracks like Delta and Speedlearn, while lighthearted, aren’t quite as thick on the stoner humor.

Most of the tracks on Colourform tend to stick to ambient’s strength: easy-going, unassuming, and quite calming. The middle section of the album dwells on such themes, where flowing pads, subtle melodies, and hypnotizing loops glide on gentle rhythms. Aside from the odd vocal sample, all of Bird’s arrangements rely on the most synthetic of sounds. Most chill music, especially these days, attempts to keep an organic texture in their atmosphere; it keeps us feeling human in our moments of downtime. Bird thought differently though, figuring even the most cold-hearted sounds of technology could bring us the same feelings. And tracks like Influx, Conoid Tone, and Orange make a strong argument in his favor. That overall uniqueness, though, is what makes Colourform the intriguing album .

The Higher Intelligence Agency - Colourform (flac 342mb)

01 Delta 6:19
02 Speedlearn (Empathymix) 7:34
03 Influx 6:20
04 Spectral 6:40
05 Conoid Tone 5:45
06 Orange 9:15
07 M+T=E 1:20
08 Re-echo 6:01
09 Ketamine Entity (Axiommix) 9:27

xxxxx xxxxx xxxxx xxxxx xxxxx

One of the finest examples of ambient electro released to date, Freefloater manages to be at once complex and accessible, laying melodic hooks over funky, often syncopated rhythm patterns and austere bass figures. From beggining to end, this recording never fails to please the ears. Funky rythms and deep beats flow under the electronic pops and swells from another dimension. Warm and detailed, it's easily HIA's best work.

The Higher Intelligence Agency - Freefloater (flac 399mb)

01 Elapse 6:47
02 Hubble 6:51
03 Fleagle 7:59
04 Thirteen 6:17
05 Skank 9:35
06 Tortoise 7:15
07 Ting 7:06
08 Pinkgreen 7:48
09 U.H.I. 0:30
10 Taz 9:36

xxxxx xxxxx xxxxx xxxxx xxxxx

David Moufang, along with figures such as Pete Namlook, Victor Sol, and Uwe Schmidt, is one of the more active members of the German experimental techno scene. His Source label has released single- and LP-length works from Vulva, Deep Space Network, Yoni, View to View, Move D, Reagenz, Spacetime Continuum, and Multiple Void Enjoyment. His own role in some of those projects (View to View, Reagenz, and his main ongoing collaboration with Jonas Grossman, Deep Space Network) has given him a high profile in the global experimental electronic music scene, resulting in his works being reissued by a number of labels.

Deep Space Network's David Moufang and Jonas Grossman team up with Birmingham ambient techno duo Higher Intelligence Agency for a deliriously funky foray into deep space ambient electro. Like HIA's summit with Finnish techno soloist Biosphere (released just prior by Beyond), this album is heavy on the synthetic textures, with bleeps, bloops, and otherwise treated electronics supporting a barrage of abstract, mostly breakbeat machine-born percussion.

The Higher Intelligence Agency Meets Deep Space Network (flac 382mb)

01 Psyphonic 5:48
02 Hexametre 8:03
03 P.A.K. 6:14
04 E-Z Wider 8:49
05 Under Water Looking Up 8:46
06 Zener Diode 4:26
07 Ramp One 6:59
08 Chai 8:28
09 Baikonur 6:15
10 Majoun 8:19
11 T. Mat 4:56

xxxxx xxxxx xxxxx xxxxx xxxxx

The first release on Higher Intelligence Agency's Bobby Bird's Headphone imprint (a sublabel of Frankfurt ambient powerhouse Fax) is System Error's Nothing (featuring Bird with Alphanex partner Brian Duffy). The album charts a similar and wonderfully diverse path through the sort of spacy deep ambient-electro as other of Bird's recent releases (Deep Space Network Meets HIA, S.H.A.D.O.) and is, of course, exceedingly listenable, utilitzing an interesting array of odd-shaped beats and handcrafted sounds and atmospheres. About two-fifths beatless, Nothing is some of Bird's most focused, consistent work to date.

System Error - Nothing (flac 225mb)

01 Enter To Exit 7:06
02 Something Strange Has Happened 7:03
03 Exhaut 4:50
04 Are You Sure? 5:54
05 Enough Already 4:51
06 Nextone 4:59
07 Convolving 7:02
08 Expunged 5:11
09 Scan Queue Overflow 4:31
10 Time To Go 4:23

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1206 Grooves

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

"A Parliafunkadelicment Thang"

xxxxx xxxxx xxxxx

The mastermind of the Parliament/Funkadelic collective during the 1970s, George Clinton broke up both bands by 1981 and began recording solo albums, occasionally performing live with his former bandmates as the P.Funk All-Stars. Born in Kannapolis, NC, on July 22, 1940, Clinton became interested in doo wop while living in New Jersey during the early '50s. He formed the Parliaments in 1955, based out of a barbershop back room where he straightened hair. The group had a small R&B hit during 1967, but Clinton began to mastermind the Parliaments' activities two years later. Recording both as Parliament and Funkadelic, the group revolutionized R&B during the '70s, twisting soul music into funk by adding influences from several late-'60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelic machine ruled black music during the '70s, capturing over 40 R&B hit singles (including three number ones) and recording three platinum albums.

By 1980, George Clinton began to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton signed to Capitol in 1982 both as a solo act and as the P.Funk All-Stars. His first solo album, 1982's Computer Games, contained the Top 20 R&B hit "Loopzilla." Several months later, the title track from Clinton's Atomic Dog EP hit number one on the R&B charts; it stayed at the top spot for four weeks, but only managed number 101 on the pop charts. Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles -- "Nubian Nut," "Last Dance," "Do Fries Go With That Shake" -- in the R&B Top 40.

In 1985, he was recruited by the Red Hot Chili Peppers to produce their album Freaky Styley, because the band members were huge fans of George Clinton and funk in general. Clinton, in fact, wrote the vocals and lyrics to the title track which was originally intended by the band to be left as an instrumental piece.

During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the '70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the '80s was Clinton's disintegrating reputation as a true forefather of rock; by the end of the decade, however, he experienced something of a resurgence in the early 1990s, as many rappers cited him as an influence and began sampling his songs. Alongside James Brown, George Clinton is considered to be one of the most sampled musicians ever.

In 1989, Clinton signed a contract with Prince's Paisley Park label and released his fifth solo studio album, The Cinderella Theory. After one more LP for Paisley Park (Hey Man, Smell My Finger), Clinton signed with Sony 550. His first release, 1996's T.A.P.O.A.F.O.M. ("the awesome power of a fully operational mothership"), reunited the funk pioneer with several of his Parliament/Funkadelic comrades from the '70s. Clinton's Greatest Funkin' Hits (1996) teamed old P-Funk hits with new-school rappers such as Digital Underground, Ice Cube, and Q-Tip.

Clinton founded a record label called The C Kunspyruhzy in 2005 releasing How Late Do U Have 2BB4UR Absent? (How Late Do You Have To Be Before You Are Absent?) is a double album by George Clinton & the P-Funk All-Stars. It is their first album of new studio material since 1996's T.A.P.O.A.F.O.M., which was primarily due to a lengthy court battle over ownership of Clinton's recordings.

The album features appearances by Prince and Jazze Pha, alongside members of Parliament-Funkadelic. Its compiled from different sessions over the last decade and is presented as a taste of more new Parliament and Funkadelic material to come. Clinton cited it as "one of the best records we've ever done".Despite mixed criticism towards its indulgent style, How Late Do U Have 2BB4UR Absent? received generally positive reviews from music critics.

In 2008 Clinton released a cover album "George Clinton and His Gangsters of Love", the album includes guest appearances from the Red Hot Chili Peppers, Sly Stone, El DeBarge, System of a Down bassist Shavo Odadjian, Carlos Santana, RZA, and gospel singer Kim Burrell.

xxxxx xxxxx xxxxx

Following the dissolution of his Parliament-Funkadelic empire, which collapsed in 1980-1981 after a creative and commercial downturn, George Clinton re-emerged in 1982 on Capitol Records as a solo artist. Computer Games, his solo debut, is actually only solo in its billing, however, as the album features several of the core P-Funk musicians with whom Clinton had collaborated in years past, most notably Bootsy Collins, Gary Shider, Fred Wesley, and Walter "Junie" Morrison. All the same, Clinton is clearly in the spotlight throughout Computer Games, and his vocal performances are as wacky and charming as ever, especially on the album's two hit singles, "Atomic Dog" and "Loopzilla." From a musical standpoint, there's a heavy emphasis here on synthesizers and drum machines, considerably more so than on any previous P-Funk effort. This was partly because of the times, for it was the early '80s, after all, but also partly because of the smaller stable of musicians on hand. Whatever the reason, Computer Games marks a sharp break from Clinton's past in many ways, and though it was a tremendously successful rebirth, with "Atomic Dog" topping the R&B chart and eventually becoming immortalized by hip-hop postmodernists, in an unfortunate twist of fate this debut effort also ended up marking the zenith of his solo career, as he would progressively stumble creatively in subsequent years.

George Clinton - Computer Games (263mb)

01 Get Dressed 3:41
02 Man's Best Friend / Loopzilla 12:51
03 Pot Sharing Tots 3:44
04 Computer Games 6:44
05 Atomic Dog 4:46
06 Free Alterations 4:19
07 One Fun At A Time 4:29

xxxxx xxxxx xxxxx

On his first album for Prince's Paisley Park record label, George Clinton's willingness to experiment with samplers and hip-hop (including guest appearances by such artists as Chuck D and Flavor Flav of Public Enemy) resulted in a slightly inconsistent record, but it has more than enough truly fine songs to make The Cinderella Theory rank among his best solo albums.

George Clinton - The Cinderella Theory (347mb)

01 Airbound 4:21
02 Tweakin' 6:21
03 The Cinderella Theory 5:09
04 Why Should I Dog U Out? 6:28
05 Serious Slammin' 4:56
06 There I Go Again 4:56
07 (She Got It) Goin' On 4:27
08 The Banana Boat Song 4:06
09 French Kiss 3:58
10 Rita Bewitched 5:00
11 Kredit Kard 3:47
12 Airbound (Reprise) 0:36

xxxxx xxxxx xxxxx

Hey Man, Smell My Finger is everything a great George Clinton album should be -- conceptually disjointed, overlong, silly, sloppy, and funky as hell. Thankfully, the music here is his best since Computer Games, and the album proves just how responsible he is for much of the music of the 1990s. This is Clinton's second and last release for the Paisley Park label, owned by Prince. The album features an array of musical guests including Prince, Dallas Austin, Humpty Hump from Digital Underground, Ice Cube, N'Dea Davenport, Dr. Dre, and Herbie Hancock, as well P-Funk alumni including Bootsy Collins, Bernie Worrell, Maceo Parker, and Fred Wesley. Hey, Man, Smell My Finger furthers Clinton's incorporation of hip hop elements such as electronically produced beats, rapping by Clinton, and sampling of older P-Funk material. The album received critical acclaim from most music critics and was followed by a supporting tour. It went out of print soon after Paisley Park Records folded in late 1993.

George Clinton - Hey Man... Smell My Finger ( 497mb)

01 Martial Law 7:13
02 Paint The White House Black 7:49
03 Way Up 5:07
04 Dis Beat Disrupts 3:29
05 Get Satisfied 3:55
06 Hollywood 5:21
07 Rhythm & Rhyme 5:40
08 The Big Pump 3:34
09 If True Love 3:57
10 High In My Hello 5:16
11 Maximumisness 5:02
12 Kickback 3:41
13 The Flag Was Still There 5:58
14 Martial Law (Single Version) 4:13

xxxxx xxxxx xxxxx

RhoDeo 1206 Goldy Rhox 58

Hello, today the 58th post of GoldyRhox, classic pop rock. In the darklight an German band, their discography consists of six studio albums, two live albums, and three video albums. They has also released twenty-three singles, all of which are accompanied by music videos. The band was formed in 1994 by six musicians from East Berlin and Schwerin: singer Till Lindemann, guitarists Richard Kruspe and Paul Landers, keyboardist Flake Lorenz, bassist Oliver Riedel, and drummer Christoph Schneider. As of 2009, they have sold over 15 million records worldwide. Their live shows are famous for their pyrotechnic performance and theatrics, earning them awards from many countries, including The United States of America.

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

Todays mystery album was released It was released on 25 August 1997 it is the second album by this German industrial metal band . They started recording todays mystery album in November 1996 at the Temple Studios in Malta. The album was again produced by Jacob Hellner. "Engel", the first single off of the album, was released on 1 April 1997 and reached gold status in Germany on 23 May. The second single from the album was "Du hast", which hit the German single charts August 1997 at number 5. They then continued touring in the summer whilst todays mystery album was released on 22 August 1997. The album reached number 1 in Germany after only two weeks in the charts. Simultaneously, both the singles "Du hast" and "Engel" were in the Top 20 of the German charts. The band continued to headline sold out shows throughout Europe in September, October. On 5 December 1997, they embarked on their first tour of the United States with KMFDM.

The album booklet folds out to reveal six different covers, one for each band member (each photo depicting the member with bizarre facial-wear made out of ordinary kitchen objects like spatulas, spoons, forks etc.). The cover art was created by Austrian artist Gottfried Helnwein. The album is the only album entirely in German to be certified Platinum by the RIAA in the United States. This here is the tour version with extra tracks and a live bonus ep.


Goldy Rhox 58 (flac 399mb)

Goldy Rhox 58 (ogg 127mb)

Goldy Rhox 58 bonus (flac 189mb)

***** ***** ***** ***** *****

RhoDeo1206 Aetix

Hello, today Aetix focuses on one of those bands that somehow fell thru the cracks, making great music somehow isn't enough. You need that right time, right place element of luck you need to have credentials and these guys came from Sheffield which was associated with electronic music and confusing the musicpress is asking for trouble. More troubles would follow and though the band kept together thru most of them, a commercial breakthrough would never materialize for The Comsat Angels, pity they really deserved it.

xxxxx xxxxx xxxxx

After numerous incarnations and name changes, the Sheffield-based Radio Earth -- guitarist and vocalist Stephen Fellows, drummer Mik Glaisher, keyboardist Andy Peake, bassist Kevin Bacon -- found themselves opening for Pere Ubu in Newcastle. After the gig, the quartet realized that they had been blown off the stage and intimidated by the headliners' sense of focus and ability to confuse. Following a rethink, they came back as the less self-conscious Comsat Angels (the name referenced a short story by J.G. Ballard). They took a loan from Glaisher's father to record and release the Red Planet EP in 1979; BBC DJ John Peel, who was sent a copy, liked what he heard, requested a few more copies and booked the band for one of his famous Peel Sessions.

An unintrusive deal with Polydor allowed the band to make three stunning albums and pay back Mr. Glaisher, but the label didn't know how to handle the band and the more influential music journalists shied away for whatever reason, though the coverage the band did receive tended to be glowing. Only "Independence Day," from the first album, managed to chart in the U.K. The albums were not distributed in the States, but the band did support Gang of Four during some 1982 dates and were shocked at the reception they received -- the result of spins on college radio stations.

The Comsats left Polydor for Jive. 1983's Land, produced by Mike Howlett, was a marked departure and a conscious aim for the top of the charts. It backfired. 1985's 7 Day Weekend, produced by Miles Davis associate and funk-pop producer extraordinaire James Mtume, fared worse. 1986's Chasing Shadows, released on Island, came to life with some help from high-profile fan Robert Palmer; it too was second-rate compared to the first three albums, despite being less compromised, and the band was pleased enough to refer to it as their fourth album. Not being pushed around enough yet an american Satellite Co. started legal troubles for using the name comsat, they had no money to fight of a law suit even when they named themselves after a J. G. Ballard short story The Comsat Angels, they tried CS Angels, then for their next album "Fire on the Moon (1990)" they renamed to Dream Command.. it made everybody unhappy and the next year a line up consistent since 78 broke up, Kevin Bacon left. In 92 their next label RPM Records released a Dutch radio sessions collection Unravelled before the final studio album The Glamour in 1995. .
At this point, the Comsats came to a full realization that their efforts at pleasing others -- label heads and consumers alike -- had been fruitless. They signed with RPM/Thunderbird in the U.K. and Caroline in the States, and released 1992's My Mind's Eye, a toughened updated of the 1979-1982 period. Unsurprisingly, it was met with commercial indifference and spotty critical praise. Kevin Bacon, who had started to produce other artists, left the band after its release. Terry Todd came in as Bacon's replacement on bass, and Simon Anderson was added as second guitarist. They released a Dutch radio acoustic sessions collection Unravelled before the final studio album in 1995, the band issued The Glamour, their hardest album. It would also be their last.

The first three Comsat Angels albums were issued on CD in 1995 but went out of print shortly thereafter; Renascent, a heroic independent label in the U.K. that had previously updated the catalog of the Sound, remedied the matter in 2006. Land and 7 Day Weekend were issued on CD by Connoisseur in 2001.

xxxxx xxxxx xxxxx

Waiting for a Miracle is a sorcerous first album, at least once it sinks in, after short-to-long phases of puzzlement, bemusement, and fascination. Its songs of romantic ruin, paranoia, and doubt are spare, inelastic, and ceaselessly on edge. Even when the songs are at their bounciest and most alluring, they have an insular and alien quality. The instruments are played with intrepid simplicity, but when they're heard as one, they sound peculiar and complex . Acting as something like a minimalist garage band with one foot in the past and the other in the future, with Andy Peake's memory-triggering organ bleats offset by structural abnormalities and twists, the band does come across as a little timid from time to time, unsure of how far to take its uniqueness, but it's only another factor that fosters the album's insistent nerviness. "Total War," a razor-sharp examination of a relationship snapping under the pressure of buried mutual contempt, threatens to stop as often as it appears to be on the verge of taking off, carries a circular arrangement, and provides no release. "Independence Day," gave the band its greatest commercial success, wrapping all the band's strengths in one concise package, from the brilliantly paced shifts between the sparse and the dense to the balance between the direct and the indirect. While there are crucial differences that reveal themselves after deep listening, this album can be appreciated by anyone touched by other maverick post-punk albums released the same year 1981.

The Comsat Angels - Waiting For A Miracle (flac 427mb)

01 Missing In Action 4:01
02 "Baby" 2:57
03 Independence Day 3:45
04 Waiting For A Miracle 2:56
05 Total War 3:47
06 On The Beach 3:40
07 Monkey Pilot 4:23
08 Real Story 3:44
09 Map Of The World 3:49
10 Postcard 4:08
  Bonus Tracks
11 Home Is The Range 3:33
12 We Were 4:11
13 Ju Ju Money 4:15
14 Work 4:07
15 Independence Day (Demo) 3:04
16 Real Story (Demo) 3:42
17 Target Talk (Demo) 3:40
18 Living In (Demo) 3:57

xxxxx xxxxx xxxxx

Sleep No More, the second Comsat Angels album, is a confident follow-up that contains a tighter and more cutting version of Waiting for a Miracle's alluring insularity. Going by "Eye Dance," the torrid opener, one might expect a more aggressive affair, but that's not necessarily the case. However, the dynamics of the album become increasingly perceptible with each play, and the slowest, austerest passages begin to seem as intense as the few that slam and punch. With the exception of "Restless," a mood piece of harmonic flickers, light whispers, and low throb, the album is driven by Mik Glaisher's booming drums, which were recorded in a manner -- near a lift shaft, to be precise, with microphones placed on six surrounding floors -- that makes the album wholly enveloping and, occasionally, imposing. The subject matter: not a big surprise, given the title of the album, with further adventures in malfunctioning-relationship purgatory, along with topical matter like "Dark Parade" (about the volatile hostage situation at the U.S. Embassy in Tehran), a song that hardly repeals the level of turmoil expressed elsewhere. Regardless of the continued strength in the songwriting, it's impossible not to get caught up in the album's sounds. The title track overwhelms with its swirling layers of guitar and keyboards over an unchanging drum pattern. The storming "Goat of the West" wastes no time in whipping itself into a controlled frenzy of churning guitars, punishing drums, and bewildered vocals. While it's not as easy to enjoy as Waiting for a Miracle, it's that kind of album that requires some mental preparation , Sleep No More is certainly more powerful, and it's also a greater achievement. Here, the Comsat Angels became one of the era's most exceptional bands.

The Comsat Angels - Sleep No More (439mb)

01 The Eye Dance 3:42
02 Sleep No More 2:51
03 Be Brave 3:49
04 Gone 3:27
05 Dark Parade 5:08
06 Diagram 3:53
07 Restless 3:14
08 Goat Of The West 3:23
09 Light Years 4:24
10 Our Secret 4:10
bonus
11 Eye Of The Lens 4:04
12 Another World 4:40
13 At Sea 4:26
14 Mass 3:47
15 Dark Parade 1 (Demo) 5:01
16 Goat Of The West (Demo) 4:08
17 Be Brave (Demo) 3:50
18 Gone (Alt. EP Version) 3:14

xxxxx xxxxx xxxxx xxxxx xxxxx

Just like their Time Considered compilation of BBC sessions, Unravelled is an indispensable, fresh look at this fabulous group. This time it's more recent vintage -- 1993 Dutch radio -- radical acoustic reworkings of songs old and new, "plus an extra three-track fully plugged session." The first nine cuts are stripped down to the barest essentials, mostly My Mind's Eye songs. Stephen Fellows' mature tunes and soulful singing carry the day even more assuredly than when backed by full-on echo guitar and super bass/drums, as evidenced by tinkling looks at "Field of Tall Flowers" and "Beautiful Monster." Even better, old ones from their 1979-1982 glory period sound as piercing as ever. A cover of the Rolling Stones' "Citadel" is better realized than the 1985 version, and "Cutting Edge," a cut from their "rock comeback" Chasing Shadows -- after a decent but ill-advised two-LP dance-pop period that's ignored here (fine with us) -- turns out to be the most stirring number "unravelled," the piano as luxuriant as if you were sitting on the stool next to Andy Peake. There's also the fine "SS100X" (nice riff), and the three "fully plugged" ones cap things off in furious fashion, the stunning "My Mind's Eye" beaten to a red pulp, and "Driving" and "Shiva Descending" as big as a bonfire. If you don't have My Mind's Eye, their best LP since Fiction, that's cheaper and easier to find by virtue of its U.S. release on Caroline. After that, Time Considered and Unravelled are as crucial, some of the most intense listening demanded of anyone.

The Comsat Angels - Unravelled (Dutch Radio Sessions 93-94) (255mb)

01 After The Rain 3:52
02 Always Near 3:18
03 Beautiful Monster 2:41
04 Cutting Edge 5:02
05 Field Of Tall Flowers 3:17
06 SS100X 3:49
07 Our Secret 3:53
08 Storm Of Change 4:21
09 Citadel 3:48
10 Driving 4:20
11 My Minds Eye 3:38
12 Shiva Descending 4:11

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1206 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.


Can't get enough of that dub music ? Well here's some more

***** ***** ***** ***** *****

Born in Spanish Town, Jamaica, in 1944, Michael James Williams (Prince Far I ) actually started his career in the sound systems, DJing that didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. There the bouncer got to take the mic standing in, the end result was the "Queen of the Minstrel" released under the moniker King Cry Cry,

The career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark. Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. On his new album, Under Heavy Manners, Prince Far I delivered Rastafarian diatribes and scathing political comments, supported by The Roots Radics that laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere. It got him a cult following in europe and a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor.

Prince Far I launched his own label, Cry Tough in 1978, as a home for his own work and for other artists with a similar philosophy. Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles.Meanwhile back in Britain, Adrian Sherwood, established his own Hit Run label, domestically releasing Cry Tuff singles. In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office, the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Prince Far I obviously was not very happy with Front Line and having now fulfilled his contract with them, he moved on.. To Trojan but from then on he would work alongside Adrian Sherwood. with the Creation Rebel and Singers and Players, he recorded a number of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, aka Dub Syndicate.also recorded for On U)

The following year's Voice of Thunder , with "Ten Commandments" of particular note is released aswell as the third and fourth volumes of Cry Tuff Dub Encounter featuring further scintillating voyages into the heaviest of dub's doom. In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. The plans for future recordings with the Sons of Arqa never came about as on September 15, 1983, Prince Far I's lfe came to an abrupt end when he was killed during a robbery at his home. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I lived on providing the thunderous vocals to the group's musical set.

***** ***** ***** ***** *****

The gravel-voiced DJ Prince Far I recorded a number of albums for Virgin's Front Line imprint in the late 1970s, and though bad blood later developed between the artist and the label (as Prince Far I would explain in bitter detail on "Virgin," a 10" single recorded for On-U Sound in 1981), those Front Line recordings remain some of his best. When the first set of Front Line reissues hit the U.S. marketplace in the early 1990s, the Prince Far I material was represented by two collections, one of which (Black Man Land) included the entirety of his Livity album and seven of the ten tracks from Message From the King. Now that Message From the King is available separately, fans who snapped up the 1990 compilation will wonder whether those three cuts are sufficient to justify purchase of the original album. For fans, the answer is probably yes -- "Wisdom," "Concrete Column," and "Dry Bone" are as good as everything else on the program, which is to say very good indeed. For the merely curious, either of the previous compilations will do.

Prince Far I and The Arabs – Message From The King (flac 222mb)

01 Message From The King 3:32
02 The Dream 3:15
03 Commandment Of Drugs 4:11
04 Moses, Moses 3:34
05 Blackman Land 3:29
06 Concrete Column 3:01
07 Dry Bone 3:02
08 Foggy Road 4:15
09 Wisdom 3:00
10 Armageddon 3:47

***** ***** *****

This is not a normal Prince Far I album, I warn you. On this record, Prince Far I's band plays amazing dub versions of his songs. The only thing Prince Far I himself does on this record, is announce the songs at the start of 'em. He does that marvelously, off course. His raw jungle voice is only needed at the start of each song to create the same effect that some singers need the whole song for to create. What we have is a 1979 dub album with some of the heaviest, most mesmerizing dub bass you'll ever encounter. Bassist Errol 'Flaba' Holt is the star here, and the tight rhythms and sparse accompaniment leave the field nice and clear for his deep, muscular, and mind-warping bass lines. Flaba locks into steady, hypnotic, repetitive bass motifs that he tweaks ever so slightly so as to keep them engaging without ever breaking the trance. Flaba's bass is relentless and insistent, like a river carving through rock. The musicians would go on to form the core of the Roots Radics in the early '80s.

Prince Far I And The Arabs – Dub To Africa (flac 235mb)

01 Bass Ace 3:51
02 Dub To Africa 3:19
03 Good Music Brother 3:35
04 Glory To God 3:41
05 Hello, Love Brother 5:31
06 Cry Tuff & The Originals 3:22
07 Give Love 3:19
08 Big Fight Dub 4:13
09 Internal Dub 4:07
10 Out Of The Abyss 4:02

***** ***** ***** ***** *****

U-Roy (born Ewart Beckford, 21 September 1942, Jones Town, Jamaica), also known as The Originator. His musical career began in 1961 when he began deejaying at various sound systems. This included a stint operating Sir Coxsone Dodd's Number Two set, while King Stitt "The Ugly One" ran the main set. U-Roy eventually worked with King Tubby at Duke Reid's Sound System in the late 1960s. Around this period, King Tubby had started to experiment with his studio equipment in an attempt to create new effects and sounds, which would eventually lead to a new style of Reggae called dub music. With U-Roy as his most prominent deejay, King Tubby's new sound became extraordinarily popular and U-Roy a local celebrity.

Calling himself, "your ace from outer space", U-Roy revolutionized the musical style of reggae in 1969. Even though U-Roy was not the first microphone artist, he was the first to gain recognition through recording this style. U-Roy popularized and gained a wider audience for "toasting"; rapping over "versions" of popular songs remixed by King Tubby. Considered one of Jamaica's first Deejay stars, "U-Roy raised the art of toasting to new heights.

U-Roy's success continued throughout the 1970s, perhaps most famously with the album Dread in a Babylon, produced by "Prince" Tony Robinson and propelled by the album's skank smash hit "Runaway Girl". By the early 1980s he had become one of Jamaica's biggest stars, also garnering significant acclaim in the United Kingdom.

***** ***** ***** ***** *****

Even without the music, this album would still leap off the racks; its photo of U Roy exhaling a mushroom cloud of marijuana smoke from his ever-available pipe ranks among the all-time greatest covers, regardless of genre. However, U Roy doesn't have any trouble coming across as a distinctive presence; his scattershot repertoire of barks, chants, and screams is as critical or more important as the deft, unobtrusive backing woven behind him. U Roy imposes his own willful style, regardless of setting. This album ranks among the '70s dub masterpieces, even if the odd lyrical clinker keeps it from perfection; "Runaway Girl"'s glistening skank can't paper over its sexism (which suggests the girl in question "may be nice/but you're not that smart"). Even so, sometimes an artist only needs charisma to get across, and U Roy handily wins on that score.

U Roy – Dread In A Babylon (flac 199mb)

01 Runaway Girl 3:45
02 Chalice In The Palace 3:28
03 I Can't Love Another 3:22
04 Dreadlocks Dread 2:45
05 The Great Psalms 2:48
06 Natty Don't Fear 2:28
07 African Message 2:41
08 Silver Bird 3:10
09 Listen To The Teacher 2:38
10 Trench Town Rock 2:48

***** ***** ***** ***** *****

Elsewhere

Prince Far I - Silver & Gold 1973-1979 ( 05 * 98mb)
Prince Far I - Under Heavy Manners ( 126mb)

U Roy – Version Of Wisdom (flac 309mb)
U Roy – Version Of Wisdom ( ogg 120mb)

***** ***** ***** ***** *****

RhoDeo 1206 A.C. Clark

Hello, hope you'll had a good weekend, i've noticed of late several music blogs closing apparently the Megaupload seizure have thoroughly shocked and frustrated fellow bloggers. I have to say this was exactly what was hoped for by the media gangsters and their small industry with a huge loudmouth. Apple f.i could buy out the lot with less then half they have amassed in profit these last years...go figure, these RIAA and MPAA people represent just a little industry and would be ignored, if it were not for the fact that many are owned and or run by their gods chosen people who have been buying politicians for decades and as Washington is no doubt the most corrupt city in the world, the rest of the world is considered to follow the orders of people that have no real clout just puppets, that in turn control the by far largest army in the world build with basically worthless dollars. The whole system is so absurd, if Orwell had described it 50 years ago people would have said he'd gone bunkers...


Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

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

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

xxxxx

Childhood's End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their space ships, governing through indirect rule. Decades later, the Overlords eventually show themselves, and their impact on human culture leads to a Golden Age. However, the last generation of children on Earth begins to display powerful psychic abilities, heralding their evolution into a group mind, a transcendent form of life.

In 1996, a script from Tony Mulholland was commissioned, resulting in a new, two-part adaptation. The BBC produced the two-hour radio dramatization of the novel, broadcasting it on BBC Radio 4 in November 1997. The recording was released on cassette in 1998 and on CD by BBC Audiobooks in 2007 Clarke's novel was nominated for the Retro Hugo Award for Best Novel in 2004.

xxxxx xxxxx xxxxx xxxxx xxxxx

Arthur C. Clarke - Childhoods End II ( 26mb)

01 Childhoods End pt 2 57:22

xxxxx xxxxx xxxxx xxxxx xxxxx

Last week

Arthur C. Clarke - Childhoods End ( 26mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1206

Hello, it's been freezing here, but hey given the choice between + 40 or minus 20 i choose cold every time. Whilst the US republicans choose a full of himself raider to challenge one of the weakest presidents the US has had. How clever is that the choice between a rock and a sponge...nothing will change in the US and that's how the (zionist) elite wants it, that and nuking Iran pretty please. Latter won't (be alowed to)happen Iran can close the street of Hormuz if they manage to sink one aircraftcarrier, how beserk would that leave the US navy.

The late 1970s and early 1980s were a fantastically exciting time to be making electronic music, as technology changed almost daily and possibilities expanded exponentially. In such a chaotic and unfixed environment, it took smart people with a strong musical sense to make the most of it. These guys fit the bill.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Begegnungen discs compile tracks from various solo, duo and trio projects from Eno, Mœbius, Roedelius, producer Conny Plank and guest musician, Guru Guru’s Mani Neumeier. Some of this music is remarkably prescient: “Pitch Control”, from Mœbius, Plank and Mani Neumeier’s 1983 Zero Set album, ghosts mid 1990s Cologne electronica, an unintentional predecessor to the playtime techno of Mouse on Mars’ Iaora Tahiti. Some of Mœbius’ solo pieces ride with tetchy, febrile energy, particularly “Nervös” (no surprise really, given the title).

They'd made brilliant records before hooking up with Eno, but Moebius and Roedelius have never shied from acknowledging the impact the association had on their approach to sound. The two compilations bearing the title Begegnungen (German for "encounter") give an idea of the different ways those initial seeds sprouted. Adding Plank to the name of the project, both Begegnungen volumes compile tracks from the sessions with Eno along with contemporaneous solo and Cluster material in a similar vein. "Johanneslust" is a gorgeous solo Roedelius track from 1978, where he combines a simple acoustic guitar pattern with synths in a manner that reinforces the bucolic "back to nature" possibility of electronics. "Nervös" and "Pitch Control", both from 1983, bring the earlier experiments into the realm of 80s electro-pop.Generally, though, the musicians are at their best in trio formations, where they can balance out each other’s indulgences. These Begegnungen sets are good enough entry points for those interested in the playful, gentle and melodic side of Krautrock. Both volumes of Begegnungen are constantly engaging and full of surprises.

xxxxx xxxxx xxxxx xxxxx xxxxx

Begegnungen is a Sky Records 1984 compilation album with recordings by Brian Eno, Dieter Moebius, Hans-Joachim Roedelius and Conny Plank, from solo albums, and from various collaborations between the artists. All of the tracks had been previously released elsewhere. The albums these tracks were drawn from are: Durch die Wüste, Roedelius' first solo album, Rastakraut Pasta by Moebius and Plank, After the Heat by Eno, Moebius, Rodelius, Tonspuren, the first solo album by Moebius, Zero Set by Moebius, Pank, Neumeier, Sowiesoso by Cluster, and the eponymous Cluster & Eno. These albums were released by Sky between 1976 and 1983.

Eno Moebius Roedelius Plank - Begegnungen I (flac 202mb)

01 Roedelius – Johanneslust 4:58
02 Moebius & Plank – Two Oldtimers 6:58
03 Eno, Moebius, Roedelius – The Belldog 6:14
04 Moebius – Nervös 3:26
05 Moebius, Plank, Neumeier – Pitch Control 6:21
06 Moebius & Roedelius – Dem Wanderer 3:52
07 Eno, Moebius, Roedelius – Schöne Hände 3:02

xxxxx xxxxx xxxxx xxxxx xxxxx

More offerings from Eno, Moebius, Roedelius, Plank, and Neumeier, Begegnungen II is the equivalent of its predecessor. The tracks on the compilation (recorded in 1976-1983) are an appealing mix of artsy electronic ambiance and progressive Krautrock. Eno's mechanical "Broken Head" stands out as the only vocal track -- a dark, almost oppressive industrial tune not unlike early Gary Numan, but warmer. "Speed Display," originally recorded for Moebius, Plank, and Neumeier's Zero Set, is a fantastic showcase for Mani Neumeier's speed and endurance as a percussionist. He generates an incredible rhythmic groove, supplemented by sparkling synthesizer flourishes. Roedelius shines with two contributions to the set. His atmospheric "Mr. Livingstone," an Asian-influenced synth piece with complementary percussion. Along similar lines, the warm colors of "Langer Atem" may have been inspired by Eno's more melodic ambient work, perhaps Music for Films. Elsewhere on the record, Moebius and Plank's "Conditionierer" scores as upbeat, quirky synth rock. The well-crafted recordings on the Begegnungen albums are easily some of the most interesting compositions by all involved; the albums therefore serve as excellent introductions to the musicians' work.

Eno Moebius Roedelius Plank - Begegnungen II (flac 235mb)

01 Dieter Moebius & Conny Plank – Conditionierer 4:50
02 Moebius Plank Neumeier – Speed Display 5:14
03 Roedelius – Mr. Livingstone 5:41
04 Eno Moebius Roedelius – Broken Head 5:22
05 Roedelius – Langer Atem 7:14
06 Dieter Moebius – Hasenheide 2:39
07 Cluster – Es War Einmal 5:20
08 Cluster & Eno – Für Luise 5:01

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1205 Grooves

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

"A Parliafunkadelicment Thang"

xxxxx xxxxx xxxxx

Obviously the P funk continued into the eighties and nineties, one of the most visible artists was Bootsy Collins who span off at the height of the Parliament/Funkadelic era..

Bootsy (born William Collins, October 26, 1951, Cincinnati) is a funk/R&B bassist/singer/bandleader. He formed his first group, the Pacesetters, in 1968, featuring Phelps "Catfish" Collins (his brother; guitar), Frankie "Kash" Waddy (drums), and Philippe Wynne. In March 1970, after most of the members of James Brown's band quit over a pay dispute, The Pacemakers were hired as Brown's backing band and they became known as The J.B.'s. (They are often referred to as the "original" J.B.'s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.'s played on some of Brown's most intense funk recordings, including "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power", and "Talkin' Loud and Sayin' Nothing".

After parting ways with James Brown, Bootsy returned to Cincinnati and formed House Guests with his brother Phelps Collins, Rufus Allen, Clayton "Chicken" Gunnels, Frank Waddy, Ronnie Greenaway and Robert McCullough. The House Guests released two singles on the House Guests label as well as a third as The Sound of Vision on the House Guests label. Collins next moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin. Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played bass on most of Funkadelic and Parliament's albums through 1980, garnering several songwriting credits as well.

Collins launched Bootsy's Rubber Band as a spinoff of P-Funk in 1976, the band including his brother Phelps, Waddy, Joel "Razor Sharp" Johnson (keyboards), Gary "Mudbone" Cooper (drums), and Robert "P-Nut" Johnson (vocals), along with "the Horny Horns." (He was sometimes billed alone as Bootsy, and sometimes as William "Bootsy" Collins.) Signing to Warner Bros., he enjoyed the first of his 15 R&B singles chart entries in 1976 with "Stretchin' Out (In a Rubber Band)." His most successful singles were "The Pinocchio Theory" (1977) and the chart-topping "Bootzilla" (1978). He also released six albums on Warners through 1982, including the gold-sellers Ahh...The Name Is Bootsy, Baby! (1977) and Bootsy? Player of the Year (1978), then took a six-year recording hiatus, and returned on Columbia in 1988 with the appropriately named What's Bootsy Doin'? In 1989, Bootsy was a member of the Bootzilla Orchestra on Malcolm McLaren's album Waltz Dancing. In 1990, Bootsy was a featured guitarist and bassist with the dance music trio Deee-Lite. In 1992, Bootsy joined with guitarist Stevie Salas and drummer Buddy Miles to form the funk-metal fusion group Hardware. The trio released one album, Third Eye Open, before disbanding. Bootsy's New Rubber Band released Blasters of the Universe on August 2, 1994.

In 1995, Bootsy played in the remake of Jimi Hendrix's "If 6 Was 9," for Axiom Funk, a Funkadelic-like one-off supergroup produced by Bill Laswell and featuring (Funkadelic members) George Clinton, Bernie Worrell, Bootsy Collins, (the guitar of the late) Eddie Hazel, Gary Shider and Bill Laswell. The group released only one album

Fresh Outta 'P' University followed four years later. Numerous Collins live shows and reissues appeared as the 21st century opened, and in 2006, the bassist actually released a Christmas album, Christmas Is 4 Ever, on Shout Records. In 2011, the conceptual album, The Funk Capital of the World, landed with everyone from Ice Cube to Samuel L. Jackson on the guest list.

xxxxx xxxxx xxxxx

Bootsy Collins' debut solo album, Stretchin' Out in Bootsy's Rubber Band, was an extremely tough act to follow, but thankfully, there are no signs of a sophomore slump (either creatively or commercially) on his second album, Ahh...The Name Is Bootsy, Baby! Most P-funk addicts consider this 1977 LP essential listening, and it isn't hard to see why they feel that way. Everything on the album is excellent; that is true of up-tempo smokers like "The Pinocchio Theory" and the title song as well as slow, moody, eerie offerings such as "What's a Telephone Bill?" and "Munchies for Your Love." The lyrics are consistently humorous and clever, the grooves are consistently infectious. You can think of Ahh...The Name Is Bootsy, Baby! as a meeting of the funk minds -- Collins produced this record with his mentor, George Clinton, who co-wrote all of the material. So Clinton has a lot of input and gives Ahh...The Name Is Bootsy, Baby! the distinctive P-funk sound that Parliament/Funkadelic was known for. But at the same time, he encourages Collins' originality -- Bootsy's Rubber Band sounds like a Parliament/Funkadelic spin-off (which is exactly what it was), but not a Parliament/Funkadelic clone. Without question, Ahh...The Name Is Bootsy, Baby! is essential listening for lovers of hard 1970s funk.

Bootsy Collins - Aah...The Name Is Bootsy, Baby! (228mb)

01 Aah ... The Name Is Bootsy, Baby 6:51
02 The Pinocchio Theory 6:11
03 Rubber Duckie 3:21
04 Preview Side Too 1:00
05 What's A Telephone Bill? 6:00
06 Munchies For Your Love 9:38
07 Can't Stay Away 5:28
08 Reprise: We Want Bootsy 0:22

xxxxx xxxxx xxxxx

Released in 1978 at the height of Parliament-Funkadelic mania, Bootsy? Player of the Year finds Bootsy far from short of quality material despite his affiliation with the numerous P-Funk-affiliated projects being churned out at this time. In fact, this album finds Bootsy at his peak; his previous two albums may have their share of brilliant moments and were no doubt filled with great ideas, melodies, and funk, but here he seems to have perfected his songwriting. There really isn't a dull song on Bootsy? Player of the Year. The up-tempo songs -- "Bootsy?," "Bootzilla," "Roto-Rooter" -- rate as some of the most exciting P-Funk material ever released, each song clocking in over five minutes and chock-full of elastic basslines. On the other hand, the abundance of slow jams -- "May the Force Be With You," "Very Yes," and "As In (I Love You)" -- helps maintain a good balance, providing a breather from the sweatier moments. Then there is "Hollywood Squares," a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut. Bootsy? Player of the Year rates among the most enjoyable P-Funk albums ever. Unfortunately, it also marks the end of a glorious run. By the following year, 1979, it was clear that the P-Funk army was running out of fresh ideas, and Bootsy was no exception, as he'd struggle creatively for a couple years to come. This makes Bootsy? Player of the Year seem all the more special in retrospect, because it was among the last of the great P-Funk releases.

Bootsy's Rubber Band - Bootsy Player of the Year ( 268mb)

01 Bootsy? (What's The Name Of This Town) 7:03
02 May The Force Be With You 6:06
03 Very Yes 8:30
04 Bootzilla 5:41
05 Hollywood Squares 6:16
06 Roto Rooter 6:41
07 As In (I Love You) 5:10

xxxxx xxxxx xxxxx

While certainly not among his greatest efforts, Bootsy Collins' Ultra Wave (1980) is still infinitely better than most of the disco dregs. Although Collins (bass/vocals) had not formally split up the Rubber Band -- as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni -- he takes sole (and quite possibly soul) credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins (guitar), Robert "P-Nut" Johnson (vocals), and the superbad dynamic horny horns of Fred Wesley (trombone) and Maceo Parker (sax). Not missing from these -- or any other Bootsy affairs for that matter -- is the unapologetic party atmosphere Collins' infuses within every pulsation of his full-bodied and self-proclaimed "Space Bass". The catchy and sexually tweaked opener "Mug Push" quickly became a dancefloor favorite and garnered a short but significant run on the R&B charts. Collins, influenced by Sly & the Family Stone and especially funk-bass originator Larry Graham, gives it a respectable degree of listenability.The slinky and rubbery backbeat on "Fat Cat" hearkens to the loose booty of former Bootsy's Rubber Band tracks with Johnson's falsetto likened to the shrill warbling often utilized on Prince's seminal sides. The pseudo-novelty closer "Sound Crack" would probably have more going for it had Collins ditched the dated opening dialogue. Once it gets up to full steam, it roars with an intensity fuelled by the same bounce behind such P-Funk staples as "Up for the Downstroke." .

Bootsy Collins - Ultra Wave (260mb)

01 Mug Push 3:49
02 F-Encounter 7:35
03 Is That My Song? 3:42
04 It's A Musical 4:47
05 Fat Cat 7:03
06 Sacred Flower 6:48
07 Sound Crack 7:06

xxxxx xxxxx xxxxx

RhoDeo 1205 Goldy Rhox 57

Hello, today the 57th post of GoldyRhox, classic pop rock. In the darklight an English band, formed in 1996 by lead vocalist Chris Martin and lead guitarist Jonny Buckland at University College London. After they formed Guy Berryman joined the group as a bassist and they changed their name to Starfish. Will Champion joined as a drummer, backing vocalist, and multi-instrumentalist, completing the line-up. The band renamed themselves in 1998. After the release of 2 Ep's they got picked up by Parlophone. Their first single immediately hit the sweet spot and their 2000 debut album has sold 8 million copies not a bad start and things went crescendo ever since. Their discography consists of five studio albums, five extended plays, twenty-five singles, two live albums, twenty-seven music videos, and one compilation album. As of 2009, they've sold over 50 million records, making them one of the best-selling music artists worldwide.

***** ***** ***** ***** *****
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 debut album was released by the record label Parlophone on 10 July 2000 in the United Kingdom. The album was produced by the band and British record producer Ken Nelson. It was met with positive reviews. Upon release, the album quickly reached number one in the United Kingdom, and has since been certified 7x platinum. In the United States, the album peaked at number 51 on the Billboard 200, and has since been certified 2x platinum. It won the Grammy Award for Best Alternative Music Album in 2002, and has earned the band various accolades since its release. The album is number 12 on the list of the 20 biggest-selling albums of the 21st century in the United Kingdom, and was the winner of the Best British Album award at the 2001 Brit Awards. As of 2011, it has sold around 8.5 million copies worldwide.

Called one of the most-impressive debut albums ever, the band themselves with hindsight seem somewhat embaressed over their naivity and metromanlyness but then all this was pre 9/11 when the evilmindedness of those in power came before our eyes. The album's cover features a photograph of a globe taken with a disposable Kodak camera. The globe had been purchased from W H Smith for £10; it was featured in the music videos and also accompanied the band on their tours. The album was dedicated to drummer Will Champion's mother, Dr Sara Champion, who died of cancer in 2000


Goldy Rhox 57 (flac 264mb)

Goldy Rhox 57 (ogg 96mb)


***** ***** ***** ***** *****

RhoDeo 1205 Aetix

Hello, good news i've finished re-upping the Megaupload links (37gig), and now it turns out yesterdays Roots smashuploads didn't link, sure hope the rest did, anyway currently re uploading yesterdays blanks hopefully with more success this time. Still no news or respons from multiupload but the old links still work ok.

Todays Aetix band was rather shortlived in what was a rather turbulent time, late seventies early eighties, still their efforts clearly rose above the playing field at the time. I've posted my favourite (keyboard dominated) album by them on the wavetrain 3, Secondhand Daylight the other 3 studioalbums are here for the taking. That said 3 months ago after 30 years of silence there was a new album No Thyself...go figure

xxxxx xxxxx xxxxx


After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. One of the first post-punk bands, Magazine kept the edgy, nervous energy of punk, adding elements of art rock, particularly with their theatrical live shows and shards of keyboards. Devoto's lyrics were combinations of social commentary and poetic fragments, while the band alternated between cold, jagged chords and gloomy, atmospheric sonic landscapes.

Magazine performed its first concert in the fall of 1977 and were signed to Virgin Records by the end of the year; by that point, Dickinson had left the group. The band recorded their first single, "Shot by Both Sides," as a quartet; Devoto had written the song with his former Buzzcocks partner, Pete Shelley. Appearing in early 1978, the single gathered good reviews on both sides of the Atlantic and charted in the U.K., peaking at number 41. Before they recorded their debut album, keyboardist Dave Formula joined the lineup. Real Life, released later in 1978, continued the confrontational, arty pop-punk of "Shot by Both Sides." Following their first tour, Jackson left the group and was replaced by John Doyle. The new lineup recorded the band's second album, Secondhand Daylight (1979). Secondhand Daylight was somewhat of a departure from the debut, featuring more keyboards, smoother rhythms, and streamlined lyrics from Devoto. Despite its ambitiousness, the record was poorly received by the guitarlicker press. During this time, McGeoch played with Siouxsie & the Banshees and Adamson, Formula, and McGeoch were part of Visage, along with Steve Strange. At the beginning of 1980, the band released their third album, The Correct Use of Soap.

In the summer of 1980, Magazine released "Sweetheart Contract," which became their second and last British chart hit, peaking at number 54. After it hit the charts, McGeoch left the band to become a full-time member of Siouxsie & the Banshees; he was replaced by Robin Simon. Magazine toured America and Australia, recording a live album called Play, which was released at the end of 1980. Simon left at the end of the tour, with former Amazorblades guitarist Bob Mandelson taking his place. Magic, Murder and the Weather was released in the spring of 1981; it proved to be Magazine's last album. Shortly after it became clear the spirit had gone and Devoto left/disbanded Magazine to release two more soloalbums before leaving the music industry altogether.

The post-punk revival of the last decade finally saw the inevitable Magazine reunion in 2009. Although John McGeoch’s death in 2004 ensured that the classic line-up could not get onstage and beguile old fans and new with a show based around their Real Life debut, Devoto, Dave Formula (keyboards), John Doyle (drums) and Barry Adamson were joined by Devoto’s Luxuria guitarist Noko. The success of the shows ensured the arrival of No Thyself, the first new Magazine album in 30 years and a powerful reminder of why the Devoto cult has endured.

xxxxx xxxxx xxxxx

Howard Devoto left Buzzcocks possibly sensing the festering of punk's clichés and limitations, and resurfaced with Magazine. Initially, the departure from punk was not complete. "Shot by Both Sides," the band's first single, was based off an old riff given by Devoto's Buzzcocks partner Pete Shelley, and the guts of follow-up single "Touch and Go" were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However -- this point is crucial -- the band was inspired by the much more adventurous which is the driving force behind Real Life's status as one of the post-punk era's major jump-off points. Punk's untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic. The rapidly careening "Shot by Both Sides" (up there with PiL's "Public Image" as an indelible post-punk single. The dynamism is all the more perceptible when Dave Formula's alternately flighty and assaultive keyboards are present: the opening "Definitive Gaze," for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in "The Light Pours out of Me," a song that defines Magazine and the closest the band got to making an anthem.

Magazine - Real Life (369mb)

01 Definitive Gaze 4:29
02 My Tulpa 4:51
03 Shot By Both Sides 4:04
04 Recoil 2:52
05 Burst 5:02
06 Motorcade 5:44
07 The Great Beautician In The Sky 5:00
08 The Light Pours Out Of Me 4:36
09 Parade 5:21
Bonus Tracks
10 Shot By Both Sides (Single Version) 4:01
11 My Mind Ain't So Open 2:19
12 Touch And Go 2:58
13 Goldfinger 3:51

xxxxx xxxxx xxxxx

This is something of a return to standard operational form for Magazine, who thawed after recording Secondhand Daylight to throw together an energetic batch of colorful and rhythmically intricate songs. It's an unexpected move considering that they enlisted Martin Hannett, master of the gray hues, as the producer. A looser, poppier album than its predecessors -- somewhat ironically, a cover of Sly & the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" is the most subdued song -- it features the rhythm section of John Doyle and Barry Adamson at their taut, flexible best and guitarist John McGeoch at his most cunningly percussive. Save for the called-for razzle-dazzle on "Sweetheart Contract," keyboardist Dave Formula takes more of a back seat, using piano more frequently and no longer driving the songs to the point of detracting from the greatness of his mates. Howard Devoto's lyrics are also a little less depressive, though they're no less biting. The closing "A Song from Under the Floorboards" -- another near-anthem, an unofficial sequel to "The Light Pours Out of Me" -- includes sticking Devoto-isms like "My irritability keeps me alive and kicking" and "I know the meaning of life, it doesn't help me a bit." His themes of distrust and romantic turbulence remain focal, evident in "You Never Knew Me"."Because You're Frightened" is the closest they came to making a new wave hit, zipping along with as much unstoppable buoyancy yet it's all fraught nerves and paranoia: "Look what fear's done to my body!" Song for song, the album isn't quite on the level of Real Life, but it is more effective as a point of entry.

Magazine - The Correct Use Of Soap (349mb)

01 Because You're Frightened 3:54
02 Model Worker 2:51
03 I'm A Party 3:01
04 You Never Knew Me 5:23
05 Philadelphia 3:54
06 I Want To Burn Again 5:16
07 Thank You (Falettinme Be Mice Elf Agin)3:48
08 Sweetheart Contract 3:18
09 Stuck 4:04
10 A Song From Under The Floorboards 4:07
Bonus Tracks
11 Twenty Years Ago 3:03
12 The Book 2:22
13 Upside Down 3:47
14 The Light Pours Out Of Me - Version 3:28

xxxxx xxxxx xxxxx xxxxx xxxxx

Magazine's final studio album, Magic, Murder and the Weather, finds Dave Formula's washes of cold, brittle keyboards dominating the bitter and cynical music. Occasionally, Howard Devoto's weary lyrics surface through the icy mix, but it's clear that Devoto and Magazine have both had better days. It's not a graceful way to bow out, but the album has enough strong moments to prevent it from being an embarrassment as well.

Magazine - Magic, Murder And The Weather (flac 255mb)

01 About The Weather 4:04
02 So Lucky 4:09
03 The Honeymoon Killers 3:37
04 Vigilance 5:13
05 Come Alive 3:42
06 The Great Man's Secrets 4:55
07 This Poison 4:20
08 Naked Eye 3:28
09 Suburban Rhonda 3:29
10 The Garden 2:38

xxxxx xxxxx xxxxx xxxxx xxxxx

elsewhere wavetrain 3

Magazine - Secondhand Daylight (flac ^ 390mb)

xxxxx xxxxx xxxxx xxxxx xxxxx