RhoDeo 1306 Beats

Hello, the beats go on....so as had two weeks all about The Black Dog it stands to reason to direct some attention to the other part of the Productions, Plaid and have two postings here aswell. I was listening to the new Cave and The Bad Seeds album, Push The Sky Away, and I was impressed. Subsequently i played the winner in the Golden Globes alternative , Gotye and i was dissapointed, considering their 2 previous independant efforts, here was a corporate anthemic sound geared at the Snowpatrol niche, it should have been Jack Whites Blunderbuss price but they had him promoted away to mainstream. Anyway i can advise the first two albums by Gotye - Boardface (04) and Like Drawing Blood (06). Back to the beats


They have'nt gained a mainstream following. Their music, however, has not failed to garner positive reviews, on average. While IDM, and techno in general, they have experienced a fair amount of popularity at times, they have worked largely within the confines of the low mainstream appeal of their style .. .... NJoy

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Although Plaid preexisted the association, the duo's Ed Handley and Andy Turner spent most of their early recording years with Ken Downie as the dancefloor-confounding Black Dog Productions. Meshing well with Downie's vision of heavily hybridized post-techno and obscurantist thematics, the pair brought several nascent Plaid tracks to the Black Dog table on the group's debut, Bytes, a collection of tracks recorded by various iterations of the three members. The group recorded several albums and EPs throughout the early and mid-'90s, helping to forge a style of dance music one step removed from the 12" considerations of the average faceless techno act; Handley and Turner's mutual love for early hip-hop contributed BDP's more bawdy, street-level grit.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp's similarly located Reflective imprint.) Both of Plaid's first two full-lengths, 1998's Not for Threes and the following year's Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. The proper third album, Double Figure, followed in spring 2001,

Aside from their own material, Plaid have done extensive remix work for many other artists, including Red Snapper, Björk, Goldfrapp, and The Irresistible Force,  the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo's fourth proper LP, Spokes. Plaid were quiet on the recording front for several years,  Plaid collaborated with video artist Bob Jaroc for their live performances and on the 5.1 audio/visual project entitled Greedy Baby. The project was completed on 20 July 2005, and was first shown at the Queen Elizabeth Hall in the South Bank Centre, and subsequently at the BFI Imax cinema in Waterloo, London. Greedy Baby was released on DVD from Warp Records on 26 June 2006.

Furthermore in 2006, Plaid composed and performed the original score to Michael Arias' anime film Tekkonkinkreet, and then went on to rejoin Arias for his second feature, Heaven's Door, as well as two of his subsequent short films. In 2011, they returned with Scintilli released on Warp, where their orientation on filmscores is still felt.  .

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After negotations broke down between former Black Doggers Ken Downie, Ed Handley, and Andy Turner, what was projected to be a three-disc set with nearly all the existing Black Dog Productions rarities became instead a two-disc set of Handley/Turner productions recorded during the first half of the '90s. Trainer is still a near-essential document of early British techno, including a raft of rarely heard classics like "Scoobs in Columbia," "Norte Route," and "Angry Dolphin," plus the entirety of their ultra-rare Mbuki Mvuki mini-LP. The Handley/Turner production aesthetic balanced sublime, Detroit-inspired synth with hyper-kinetic drum programs and breakbeat madness years before England's love affair with jungle. Grabbing tracks from far-flung but like-minded labels like ART, Planet E, A13, and Clear, Trainer includes over two hours of warped acid house from a B-boy perspective -- it's hardly a coincidence that Black Dog Productions shared initials with South Bronx's finest. Some solo efforts here too Andy Turner = Atypic and Tura, Ed Handley = Bilal.

Plaid - Trainer 1 ( flac 446mb)

01 Uneasy Listening 5:37
02 Anything 5:01
03 Slice Of Cheese 6:00
04 Link 6:04
05 Perplex 4:05
06 Summit 4:38
07 Bouncing Checks 5:29
08 Yak 5:51
09 Scoobs In Columbia 5:34
10 Chirpy 4:47
11 Atypic - Prig 4:52
12 Balil - Eshish 4:42
13 Atypic - Blah 4:47
14 Balil - Norte Route 5:15

Plaid - Trainer 1 (ogg 167mb)

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Plaid - Trainer 2 ( flac 462mb)

01 Fly Wings 4:06
02 Balil - Whirling Of Spirits 5:55
03 Balil - Choke And Fly 5:51
04 Balil - Small Energies 6:09
05 Atypic - Jolly 6:07
06 Tura - Letter 5:20
07 Tura - Soft Key 5:18
08 Tura - Reishi 9:01
09 Balil - Uland 4:09
10 Tan Sau 6:07
11 Android 7:00
12 Angry Dolphin 8:13

Plaid - Trainer 2 (ogg 173mb)

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In 2003, Plaid released Spokes amid the self-started hoopla of a return to the classic sound of pre-BDP-breakup classics like Mbuki Mvuki and "Scoobs in Columbia." Fans anxious to hear tracks minus the steel drums and overworked melodies won't be completely satisfied with Spokes; nearly all of this territory has already been plotted with more detail and flair on Handley and Turner's first three records. That said, it's a simple matter of deciding which of these retreads have traction anyway and which are so thread-bare they're in danger of dissolving completely. On the plus side, listeners will be able to rely on "Upona" and "Zeal," particularly excellent examples of the ghostly electro that first launched the pair back in 1995.

Plaid - Spokes (UK Version) ( flac 375mb)

01 Even Spring 5:24
02 Crumax Rins 6:00
03 Upona 5:07
04 Zeal 6:01
05 Cedar City 5:47
06 B Born Droid 5:31
07 Marry 6:47
08 Get What You Gave 5:16
09 Buns 6:40
10 Quick Emix 6:10

Plaid - Spokes (UK Version) (ogg 156mb)

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To the official soundtrack for Tekkon Kinkreet (which is actually a pun on “Tekkin Concrete”, the Japanese term for reinforced concrete). The score is a collection of well rounded and extremely intelligent tracks that tell a complete story of their own, combining ambient, electronic, and even pop-rock elements that are beyond any dimension of measurable classification. It is a lavishly warm album, wrapped with diverse instrumentation, like vibraphone, strings, bass, acoustic drums and jazzy riffs, all driving forward the cinematic perception of a fantastic world existing in a world of animated film. There is just way too much in this latest Plaid release to be put into words, so I’ll reserve to quoting Michael Arias from the liner notes:

[...] the music should have an analog, old-world feel, to compliment the nostalgic ambiance of the Treasure Town we see in the opening scenes. As we move into the second act, [...] old world analog will give way to newer, alien, synthetic forms: minimalist breakbeats and dissonant post-techno sounds. [...] This music will echo fragments heard over White’s dreams of ocean paradise and apple trees.

Plaid - Tekkonkinkreet Remix (flac 455mb)

01 Intro - My Kung Fu Remix By Derrick May 12:26
02 Ratsback2 - Saitone Remix 4:48
03 City - Valou Remix 8:10
04 Dawn & Dusk Chase - Go Home Productions Remix 5:17
05 Ratsback 2 (Drumcomputer Nerd Remix) Remixed By Atom 4:49
06 Thai Boxing - Qp Remix 3:19
07 Bar Kimura - Vex'd Remix 4:58
08 Snakes Lair - 8-bit Remix 2:50
09 Ratsback - Prefuse 73 Remix 6:47
10 Dragon Chase - Mathew Jonson's System 100m Mix 8:20
11 Kiddie Castle - Para One Remix 4:14
12 White's Dream (Shinichi Osawa Remix) 6:18

Plaid - Tekkonkinkreet Remix (ogg 172mb)

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Previously, last week and 04/12/08 re-rip

Plaid - Double Figure (01 * 174mb)
Plaid Remixes - Parts In The Post I (03 * 145mb)
Plaid Remixes - Parts In The Post II (03 * 137mb)

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RhoDeo 1306 Goldy Rhox 95

Hello, today the 95th post of GoldyRhox, classic pop rock, in the darklight an American rock band from Boston, Massachusetts that achieved its most notable successes during the 1970s and 1980s. Centered on guitarist, keyboardist, songwriter, and producer Tom Scholz, the band is a staple of classic rock radio playlists. Their best-known works include the songs "More Than a Feeling", "Peace of Mind", "Foreplay/Long Time", "Rock and Roll Band", "Smokin'", "Don't Look Back" and "Amanda." They have sold over 31 million albums in the United States, of which 17 million are their self-titled debut album.

On March 9, 2007, lead singer Brad Delp committed suicide by carbon monoxide poisoning at his home in Atkinson, New Hampshire.

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

Todays mystery album is is the band's debut album released in August 1976 on Epic Records. It peaked at #3 on the Billboard 200, and has been certified as selling 17x platinum by the Recording Industry Association of America in 2003. They had made demos in Tom Scholz's home studio with Delp on vocals and Masdea on drums. The demos eventually attracted the attention of Epic Records, and despite Scholz meticulate home production specially geared to the adult orientated rock(AOR) radiostations Epic thought better of it, the material had to be recorded in a 'professional' studio an obvious way to saddle the band up with debts thereby exerting a good grip on this start up band, what happened in the end the 12track hometape was transferred to a 24 track , voice added, mixed eh presto one of the cheapest millionsellers ever produced.

This sound is characterized by multiple lead and blended harmonies guitar work (usually harmonized in thirds), often alternating between and then mixing electric and acoustic guitars. Scholz' production style combines deep, aggressive, comparatively short guitar riffing and nearly ethereal, generally longer note vocal harmonies. The album soared, with three singles becoming Top 40 hits. All eight of the songs on the album still receive regular airplay on classic rock radio to this day, across the country. Taking a mere three weeks to earn an RIAA Gold Record Award (500,000 in unit sales) in 1976, and a Platinum Award (1,000,000 in unit sales) after three months on November 11, 1976, it was the fastest selling debut album for any American group. It paved the way for many an adult rock band.


Goldy Rhox 95   (flac 260mb)

Goldy Rhox 95   (ogg 90mb)

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RhoDeo 1306 Aetix

Hello,  Aetix will get a definite female feel the coming weeks after the andronegy of Annie Lennox last week, it's time for the ultra feminine star of the eighties, the heroine for millions of girls and women, my sister was totally besotted with her (and still is). She's managed to take many of her fans with her into adulthood and released another masterpiece just 16 months ago. She took control of her work and production age just 25 and proved she didn't need the boyz, as such she's proven to be a practical feminist as well. And for the men there were her gorgeous looks and a voice that could touch. She certainly did that for me.

Today's artist is a soprano with a range going from B2 to D7 ("The Big Sky"). Her music is eclectic, varying styles even within an album. Her songs span genres as diverse as rock, pop, alternative and art rock. Even in her earliest works where the piano was a primary instrument, she wove together many diverse influences, melding classical music, rock, and a wide range of ethnic and folk sources, and this has continued throughout her career......  N'Joy

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When Kate Bush materialized with a wail, a waft of huge hair and the startling melodrama of her first single, Wuthering Heights, the teenage daughter of a doctor from Kent could have hardly made a bigger or odder impression against a backdrop of angry young men in punk bands.
Bush came from an artistic background; her mother was a former Irish folk dancer, her father was an accomplished pianist, her brother Paddy worked as a musical instrument maker, and John was a poet and photographer. Both brothers were involved in the local folk music scene. Her family's musical influence inspired the young Kate to teach herself to play the piano at age 11. She soon began writing her own tunes and eventually added lyrics to them. At school, she was encouraged to take violin lessons, but the piano was her passion.

Recieving a leg up by David Gilmour of Pink Floyd, Bush was just 16 when she signed a £5,000 deal with EMI.For the first two years of her contract, Bush spent more time on schoolwork than making an album. The money enabled her to take interpretive dance classes. Bush also wrote and made demos of close to 200 songs, a few of which today can be found on bootleg recordings and are known as the Phoenix Recordings . Her debut album, The Kick Inside, was released early in 1978 and featured songs she had written during the previous several years, including her début single, the high-pitched and ethereal Wuthering Heights which became an international hit. In fact Kate became the first woman to reach number one in the UK charts with a self-penned song. The opening track starting off with a whale sound before moving onto/into a sensual tale of sexual discovery ( tune me in on your saxophone..oops), yes this little girl, 5ft 3" 19 years old wasn't going to shy away..

Kate Bush became an overnight success and EMI, that had waited previously, wanted to cash in some more and pushed her to come up with a follow up album and a live tour. This tour, where Bush became the first singer to use a wireless headset radio microphone on stage, allowing her to incorporate extensive dance routines, came about spring 79 and was too be the first and last she's ever done. The fall 78 follow up album, Lionheart, obviously wasn't as ripened as her debut, that said it was more homogenous, and even if perfectionist Kate uttered dissatisfaction with how it all came about, Lionheart still proved The Kick Inside wasn't a fluke.

Never for Ever (80) saw her leaving the constraints of live-reproduction and persue a more diverse range of styles, by now her name drew enough fans to see the album become the first (again) female having a no 1 album in the UK. September 1982 saw the release of The Dreaming, the first album she produced totally by herself.  Kate experimented with production techniques, creating an album that features a diverse blend of musical styles and is known for its near-exhaustive usage of the Fairlight CMI. Overproduced said the lads of the UK press, just great said the US press .

85 saw the release of her 'piece de resistance' Hounds of Love a two faced album with one commercial side containing the singles (and hits),  the other a concept side based on a poem by Tennyson 'The Ninth Wave'. The album kind off settled the score with the lads and is still found in the best ever lists.

The increasingly personal tone of her writing continued on 1989's The Sensual World, with songs about unexpressed and unrequited love, drawing its inspiration from James Joyce's novel Ulysses and William Blake's poetry. The album was very succesful in the States. The Red Shoes was released in November 1993. (film by Michael Powell based on the fairy tale by Hans Christian Andersen ) concerns a dancer, possessed by her art, who cannot shake off the eponymous shoes and find peace. The album sold more than three million copies worldwide.

The plan was to take the songs out on the road, and so Bush deliberately aimed for a live-band feel, with less of the studio trickery that had typified her last three albums and that would be difficult to recreate on stage. But like her first tour when her lighting man died, this time her mother Hannah passed away as did the director Michael Powell, add to that the break up with her saxophone (nudge) Del Palmer and well no tour. No nothing for 12 years before she came back with a double album- "Aeriel". In the meantime she found a new love with whom she has a young son, Albert, and basicly sucessfully tried to live a normal domestic life. Obviously expectations were high and the lads had venom at hand but she produced another great work.

On 16 May 2011, Bush released the album Director's Cut. The album, which Bush has described as an entirely new project rather than a collection of mere remixes, contains 11 tracks of substantially reworked material from her earlier albums The Sensual World and The Red Shoes, all of which have been recorded using analogue, rather than digital, equipment to create "a warmer sound". All the tracks have new lead vocals, new drums, and radically reworked instrumentation.

Bush's next studio album, 50 Words for Snow, was released on 21 November 2011. The album contains seven new songs "set against a backdrop of falling snow," with a total running time of 65 minutes. The album's songs are built around Bush's quietly jazzy piano and Steve Gadd's drums, and utilise both sung and spoken word vocals in what Classic Rock's Stephen Dalton calls "a...supple and experimental affair, with a comtemporary chamber pop sound grounded in crisp piano, minimal percussion and light-touch electronics...billowing jazz-rock soundscapes, interwoven with fragmentary narratives delivered in a range of voices from shrill to Laurie Anderson-style cooing.

Bush turned down an invitation by the organizers of the 2012 Summer Olympics closing ceremony to perform at the event. Instead a recording of a new remix of her 1985 hit "Running Up that Hill" was played at the end of the ceremony.

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Never for Ever has Kate Bush sounding vocally stable and more confident, taking what she had put into her debut single "Wuthering Heights" from 1978 and administering those facets into most of the album's content. Never for Ever went to number one in the U.K., on the strength of three singles that made her country's Top 20. Both "Breathing" and "Army Dreamers" went to number 16, while "Babooshka" was her first Top Five single since "Wuthering Heights." Bush's dramatics and theatrical approach to singing begin to solidify on Never for Ever, and her style brandishes avid seriousness without sounding flighty or absurd. "Breathing," about the repercussions of nuclear war, conveys enough passion and vocal curvatures to make her concern sound convincing, while "Army Dreamers" bounces her voice up and down without getting out of hand. "Babooshka"'s motherly charm and flexible chorus make it one of her best tracks, proving that she can make the simplest of lyrics work for her through her tailored vocal acrobatics. The rest of the album isn't quite as firm as her singles, but they all sport a more appeasing and accustomed sound than some of her past works, and she does manage to keep her identity and characteristics intact. Never for Ever was the first Kate Bush album to feature synthesisers and drum machines, in particular the Fairlight CMI, to which she was introduced when providing backing vocals on Peter Gabriel's eponymous third album in early 1980. It was her first record to reach the top position in the UK album charts, also making her the first female British artist to achieve that status, and the first female artist ever to enter the album chart at the top.

Kate Bush - Never For Ever (flac 209mb)

01 Babooshka 3:20
02 Delius (Song Of Summer) 2:51
03 Blow Away (For Bill) 3:34
04 All We Ever Look For 3:48
05 Egypt 4:12
06 The Wedding List 4:15
07 Violin 3:15
08 The Infant Kiss 2:50
09 Night Scented Stock 0:51
10 Army Dreamers 2:58
11 Breathing 5:29

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This album marked her breakthrough into the American charts, and yielded a set of dazzling videos as well as an enviable body of hits, spearheaded by "Running Up That Hill," her biggest single since "Wuthering Heights." Strangely enough, Hounds of Love was no less complicated in its structure, imagery, than The Dreaming, which had been roundly criticized for being too ambitious and complex. But Hounds of Love was more carefully crafted as a pop record, and it abounded in memorable melodies and arrangements, the latter reflecting idioms ranging from orchestrated progressive pop to high-wattage traditional folk; and at the center of it all was Bush in the best album-length vocal performance of her career, extending her range and also drawing expressiveness from deep inside of herself. Hounds of Love is actually a two-part album (the two sides of the original LP release being the now-lost natural dividing line), consisting of the suites "Hounds of Love" and "The Ninth Wave." The former is steeped in lyrical and sonic sensuality that tends to wash over the listener, while the latter takes its name from Tennyson's poem, "Idylls of the King", about the legendary King Arthur's reign, and is seven interconnecting songs joined in one continuous piece of music about the experiences of birth and rebirth. If this sounds like heady stuff, it could be, but Bush never lets the material get too far from its pop trappings and purpose. In some respects, this was also Bush's first fully realized album, done completely on her own terms, made entirely at her own 48-track home studio, to her schedule and preferences, and delivered whole to EMI as a finished work; that history is important, helping to explain the sheer presence of the album's most striking element -- the spirit of experimentation at every turn, in the little details of the sound. That vastly divergent grasp, from the minutiae of each song to the broad sweeping arc of the two suites, all heavily ornamented with layered instrumentation, makes this record wonderfully overpowering as a piece of pop music.

Kate Bush - Hounds Of Love   ( flac 438mb)

Hounds Of Love
01 Running Up That Hill (A Deal With God) 5:00
02 Hounds Of Love 3:02
03 The Big Sky 4:40
04 Mother Stands For Comfort 3:08
05 Cloudbusting 5:09
06 And Dream Of Sheep 2:45
The Ninth Wave
07 Under Ice 2:22
08 Waking The Witch 4:17
09 Watching You Without Me 4:05
10 Jig Of Life 4:16
11 Hello Earth 5:59
12 The Morning Fog 2:37
Bonus Tracks
13 The Big Sky (Meteorological Mix) 7:44
14 Running Up That Hill (12" Mix) 5:45
15 Be Kind To My Mistakes 3:00
16 Under The Ivy 2:08
17 Burning Bridge 4:38
18 My Lagan Love 2:30

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The Anthology box set contains two prized discs of rare material, live tracks, and singles b-sides never available on disc before (or since to my knowledge.) The quality of the extra material is very good but not overwhelming, suggesting that Bush made wise decisions on which tracks to include on actual albums, and which to shelve.

"My Lagan Love" is a beautiful a capella vocal with lyrics written by her brother John, to an Irish traditional song. "Under the Ivy" is a gorgeous piano ballad which came from the "Running Up That Hill" single. These are such sad sounding song but really lovely. On the flip side there is the poppy single "Passing Through Air" which apparently dates all the way back to 1973. "December Will Be Magic Again" is Kate's version of a winter/Christmas ode, delightful, light-hearted fare from her most inspired period. There is the Donovan song "Lord of the Reedy River" recorded in 1981 which finds a breathy, longing Kate vocal to trippy back vocal effects and some kind of woodwinds or keys simulating them. Very mysterious and cool. There is also a French language version of "The Infant Kiss." Most of this early stuff is really sublime ear candy,
and nearly essential for the a Bush fan.

Kate Bush - This Woman's Work I  (flac 247mb)

01 The Empty Bullring 2:16
02 Ran Tan Waltz 2:41
03 Passing Through Air 2:05
04 December Will Be Magic Again 4:51
05 Warm And Soothing 2:43
06 Lord Of The Reedy River 2:42
07 Ne T'en Fui Pas 2:33
08 Un Baiser D'Enfant 3:02
09 Under The Ivy 2:10
10 Burning Bridge 4:42
11 My Lagan Love 2:30
12 The Handsome Cabin Boy 3:12
13 Not This Time 3:40
14 Walk Straight Down The Middle 3:50
15 Be Kind To My Mistakes 3:03

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Kate Bush - This Woman's Work II  (flac 388mb)

01 I'm Still Waiting 4:28
02 Ken 3:49
03 One Last Look Around The House Before We Go... 1:04
04 Wuthering Heights (New Vocal) 4:58
05 Experiment IV 4:22
06 Them Heavy People (Live) 4:08
07 Don't Push Your Foot On The Heartbrake (Live) 3:39
08 James And The Cold Gun (Live) 6:25
09 L'amour Looks Something Like You (Live) 2:44
10 Running Up That Hill 5:46
11 Cloudbusting (The Organon Mix) 6:33
12 Hounds Of Love (Alternative) 3:48
13 The Big Sky (Meteorological Mix) 7:45
14 Experiment IV (12" Mix) 6:37

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elsewhere (Rhotation 05)re-rip

Kate Bush - The Kick Inside (78 ^ 251mb)

Kate Bush - Lionheart (^ 194mb)

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RhoDeo 1306 Roots

Hello, what's going on here, the Pope throws in the towel, the end is neigh ! Or is he trying to break the Malachy's spell ? Attributed to Saint Malachy is a list of 112 short phrases in Latin. They purport to describe each of the Roman Catholic popes (along with a few anti-popes), beginning with Pope Celestine II (elected in 1143) and concluding with current pope Benedict XVI's successor, a pope described in the prophecy as "Peter the Roman", whose pontificate will end in the destruction of the city of Rome. The prophecy was first published in 1595 by Arnold de Wyon, a Benedictine historian, as part of his book Lignum Vitæ. Wyon attributed the list to Saint Malachy, however some have seen it as an underhanded list created by Nostradamus(1503-1566). The Prophecy of the Popes is not regarded as authentic by the Church.
Check it out Prophecy of the Popes a dedicated wiki page.

These past months we traversed the UK dubscene, but before all that there were a few UK bands bringing reggae to the island, obviously they found their lead in Jamaica who's first big stars came to the british shores in the mid seventies. This group were one of Britain's greatest reggae bands, rivaled only by Aswad in terms of creative and commercial success. Generally a protest-minded Rastafarian outfit, Steel Pulse started out playing authentic roots reggae with touches of jazz and Latin music, and earned a substantial audience among white U.K. punks as well. .  .... N'joy

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Steel Pulse were formed in 1975 in Birmingham, England, specifically the ghetto area of Handsworth. The founding members were schoolmates David Hinds (the primary songwriter as well as the lead singer and guitarist), Basil Gabbidon (guitar), and Ronnie "Stepper" McQueen (bass). All of them came from poor West Indian immigrant families, and none had much musical experience. They took some time to improve their technical proficiency, often on Rasta-slanted material by Bob Marley and Burning Spear. McQueen suggested the group name, after a racehorse, by this time their ranks had swelled to include Selwyn "Bumbo" Brown (keyboards), Steve "Grizzly" Nisbett (drums), Alphonso Martin (vocals, percussion) and Mykaell Riley (vocals).

Steel Pulse initially had difficulty finding live gigs, as club owners were reluctant to give them a platform for their "subversive" Rastafarian politics. Luckily, the punk movement was opening up new avenues for music all over Britain, and also finding a spiritual kinship with protest reggae. Thus, the group wound up as an opening act for punk and new wave bands like the Clash, the Stranglers, Generation X, the Police, and XTC, and built a broad-based audience in the process. In keeping with the spirit of the times, Steel Pulse developed a theatrical stage show that leavened their social commentary with satirical humor; many of the members dressed in costumes that mocked traditional British archetypes (Riley was a vicar, McQueen a bowler-wearing aristocrat, Martin a coach footman, etc.). The band issued two singles -- "Kibudu, Mansetta and Abuku" and "Nyah Love" -- on small independent labels, then came to the attention of Island Records after opening for Burning Spear.

Steel Pulse's first single for Island was the classic "Ku Klux Klan," which happened to lend itself well to the band's highly visual, costume-heavy concerts. It appeared on their 1978 debut album, Handsworth Revolution, which was soon hailed as a classic of British reggae by many fans and critics, thanks to songs like the title track, "Macka Splaff," "Prodigal Son," and "Soldiers." Riley departed before the follow-up, 1979's Tribute to the Martyrs, which featured other key early singles in "Sound System" and "Babylon Makes the Rules," and solidified the band's reputation for uncompromising political ferocity.

That reputation went out the window on 1980's Caught You, a more pop-oriented set devoted to dance tracks and lovers rock. By that point, Steel Pulse were keen on trying to crack the American market, and went on tour over Island's objections. Caught You was issued in the States as Reggae Fever, but failed to break the group, and they soon parted ways with Island. Steel Pulse moved on to Elektra/Asylum, which released an LP version of their headlining set at the 1981 Reggae Sunsplash Festival. Their studio debut was 1982's True Democracy, a generally acclaimed set that balanced bright, accessible production with a return to social consciousness. It became their first charting album in America, making both the pop and R&B listings. The slicker follow-up, Earth Crisis, was released in 1984 and featured producer Jimmy "Senyah" Haynes subbing on guitar and bass for founding members Gabbidon and McQueen, both of whom were gone by the end of the recording sessions. They were replaced by guitarist Carlton Bryan and bassist Alvin Ewen for 1986's Babylon the Bandit, another Haynes-produced effort that ranked as the group's most polished, synth-centered record to date. Although it featured the powerful "Not King James Version" and won a Grammy for Best Reggae Album, it sold poorly and alienated some of the band's older fans; as a result, Elektra soon dropped them.

Steel Pulse resurfaced on MCA in 1988 with State of Emergency, their most explicitly crossover-oriented album yet. They also contributed the track "Can't Stand It" to the soundtrack of Spike Lee's classic Do the Right Thing. In 1991, they released another heavily commercial album, the Grammy-nominated Victims, which featured the single "Taxi Driver." Backing up the song's views, Steel Pulse filed a class-action lawsuit against the New York City Taxi and Limousine Commission, charging that drivers discriminated against blacks and particularly Rastafarians. Founding member Fonso Martin left that year, reducing Steel Pulse to a core trio of Hinds, Nisbett, and Brown. Their backing band still featured Ewen and was elsewhere anchored by guitarist Clifford "Moonie" Pusey, keyboardist Sidney Mills, and drummer/percussionist Conrad Kelly.

The 1992 live album Rastafari Centennial marked the beginning of a return to the group's musical roots, and earned another Grammy nomination. The following year, they performed at Bill Clinton's inaugural celebration, the first reggae band to appear at such an event. 1994's studio album Vex completed Steel Pulse's re-embrace of classic roots reggae, though it also nodded to contemporary dancehall with several guest toasters and a digital-flavored production.

In 1997 the band released Rage and Fury, with some of their most potent lyrics to date. A striking example of protest, "The Real Terrorist" challenges the CIA's clandestine policy of political disruption over the years, while "Black and Proud" celebrates Pan-Africanism. "We're not here to start a physical revolution, we're just here to open everybody's eyes and let them check themselves and continue in a very educational mode to change things on that tip", Hinds explains. "We're losing ourselves and I think it's very important for us to realize that. Too many of our youths have been lost to drugs, or by the gun, or not having the education needed to persevere and move in an upward direction.

Until February 2001, it had been many years since Pulse had performed in their hometown of Birmingham. They decided to perform at the Ray Watts memorial concert. In 2004, Steel Pulse returned to their militant roots with African Holocaust - their eleventh studio album. With guest appearances by Damian Marley, Capleton, and Tiken Jah Fakoly, the album is a collection of protest and spiritual songs, including Global Warning (a dire warning about climate change), Tyrant,a protest song against political corruption, and No More Weapons, a classic anti-war song. The band continues to tour, and is working on another studio album and a feature length documentary, both slated for release in 2013.

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The lyrical themes on Tribute to the Martyrs were even darker, angrier, and more politically confrontational than those on Handsworth Revolution. Yet strangely, the music itself was warmer and much more inviting. The songs on this album engage the listener -- either directly challenging the (presumably Babylonian) listener's ability to keep Rasta down ("Unseen Guest") or forcing the listener to consider the details of various martyr's stories ("Biko's Kindred Lament," "Uncle George"). Even "Sound System," ostensibly an expression of dancehall exuberance, sounds mainly defiant. But what really sets this album apart from its predecessor is the melodies, which, while still often fairly dry, are sometimes unbelievably powerful. The best examples are "Jah Pickney -- R.A.R.," which is based on a swooningly lovely vocal hook combined with a lovely percolating keyboard part, and the even better "Babylon Makes the Rules," which takes a lyrical message of despair and turns it into musical victory by means of one of the most exalted call-and-response melodies in the history of reggae music. Most critics will tell you that Handsworth Revolution is the crucial Steel Pulse album, but don't be fooled: Get this one and True Democracy and you'll have most of the band's essential studio recordings.

Steel Pulse - Tribute to the Martyrs (flac  297mb)

01 Unseen Guest 6:04
02 Sound System 3:24
03 Jah Pickney - R. A. R. 4:33
04 Tribute To The Martyrs 6:46
05 Babylon Makes The Rules 4:48
06 Uncle George 4:42
07 Biko's Kindred Lament 5:31
08 Blasphemy (Selah) 6:52

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Although the group's first three albums are generally considered their finest, there is a very strong case to be made for including Steel Pulse's Elektra debut in their core collection as well. Where Reggae Fever had found the band moving from hardcore Rasta politics into lover's rock and party anthems, True Democracy marks a return to more ideological subject matter; the cover art, which shows singer David Hinds reading the Bible to his rapt bandmates, is a dead giveaway. Their sound might be a little bit slicker than before, but it's also harder and the lyrics less compromising -- "Leggo Beast" denounces adultery over a stripped-down one-drop beat; "Man No Sober" inveighs against drunkenness; "A Who Responsible?" uses a dour trombone line to call down judgment on Babylon. But the mood is lightened somewhat by "Your House," a gorgeous love song, and by the exalted "Chant a Psalm." This is one of Steel Pulse's most satisfying and fully realized albums.

Steel Pulse - True Democracy (flac  447mb)

01 Chant A Psalm 4:20
02 Ravers 3:40
03 Find It...Quick! 3:20
04 A Who Responsible? 3:40
05 Worth His Weight In Gold (Rally Round) 4:25
06 Leggo Beast 3:30
07 Blues Dance Raid 4:45
08 Your House 3:40
09 Man No Sober 4:30
10 Dub' Marcus Say 4:25
bonus
11 Ravers (12" Version) 5:56
12 Leggo Beast (12" Version) 6:40
13 Your House (Dub Version) 3:48
14 A Who Responsible? (Dub Version) 3:59

key  PpBj2UoMH4Tmuw_tvQ6lRSt8b0hvg8NDySs1BZbxE60


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Earth Crisis suffers from uneven songwriting and dated, polished production Unfortunately the album is poorly sequenced too, placing the weakest cuts, "Steppin' Out" and "Tightrope," at the very beginning. "Throne of Gold," the album's love song, has beautiful lyrics but lacks a truly compelling melody to get them across. After that, the album picks up with a string of superior songs, all of which decry social injustice and have powerful music to back them up, though they occasionally drag on longer than they need to and are saddled with horn and synthesizer parts that sound superfluous. Still, the strength of material in the album's second half definitely proves why Steel Pulse earned their reputation as a top-notch act. Had the songs been more focused, the production less slick, and the album sequenced correctly, Earth Crisis would stand as a watershed album of the '80s. ( some homework then too give it a better sequence)

Steel Pulse - Earth Crisis (flac 416mb)

01 Steppin' Out 4:05
02 Tightrope 4:13
03 Throne Of Gold 4:28
04 Roller Skates 4:59
05 Earth Crisis 4:57
06 Bodyguard 4:30
07 Grab Education 6:13
08 Wild Goose Chase 5:49
Bonus
09 Steppin' Out (Dub Version) 7:04
10 Steppin' Out (Extended Version) 5:25
11 Roller Skates (Remix Version) 5:50
12 Roller Skates (Dub Version) 7:38

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previously aug 07   re-rip

Steel Pulse - Handsworth Revolution (flac  430mb)

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RhoDeo 1306 The Rings 02

Hello, I picked up on some of tonight's Bafta awards, what's it with all these bearded Hollyweird male starz, is Islam taking over now ? Is it projecting manlyness by carrying a beard, will Taliban mentality follow? It goes to show once more, you turn in what you fear most, be it on a national or a personal level. Wake up you silly lot !

The coming 3 months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Black Riders ( 56:23  64mb)

201 Frodo sets out his long journey
202 Shadowfax
203 The Road Goes Ever On & On
204 Frodo Entertains at the The Pra
205 Gandalf's Letter

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previously

The Shadow Of The Past ( 56:23  64mb)

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Sundaze 1306

Hello, as the North-East of the Americas is remembered once more of global warming and that it means a couple of extra feet of snow with an extra windchill factor and not shorts weather all year around. That said I do find it baffling that Americans persist in having their electric infrastructure above ground, time and again people are blacked out when simply laying the cabling underground would solve that problem, yes it's more expensive short term, but safer and cheaper in the long term. Then again maybe it's nostalgia, not wanting to loose that third world look.

Today's artist won't have that problem as he's all solar energy, good thing those London fog days are over. He's got two faces an acid-trance side but a fantastic chill out side as well, here to ...N'joy..

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Solar Quest is a one-man ambient and acid trance music project founded in 1993 by George Saunders and its aim is to combine renewable solar energy with electronic music. George Fleming-Saunders was born as Seoras Saunders (Seoras is the Scottish Gaelic form of George) in Scottish Redlands and grew up in the county of Stirlingshire.

Fleming-Saunders began his career under the pseudonym Solar Quest in 1993, when he got interested in acid house in the beginning of the 1990’s. The track Acid Air Raid, released in 1993, is one of the classics of acid techno. In 1993 and 1994 he had at least nine releases, of which two were full length albums (the other under alias Entropica). Saunders has had cooperation with e.g. British DJ Choci, under whose record label Choci’s Chewns most of Solar Quest’s early releases were published. The British singer Kirsty Hawkshaw’s vocals can be heard on many of them. He is credited as introducing Phil Ross and Chris Deckker at a 1993 trance party in North London's Dome Club which was being held to raise legal fees for a friend languishing in an Indian jail. Between 1993 and 1994, published Fleming Saunders nine singles and maxis and two albums . An album from this period called Sonic Bloom Entropica Prolifica but he published under his pseudonym alternative Entropica .

Solar Quest made regular performances at the Source parties and contributed tracks to three Return to the Source compilation albums - Deep Trance and Ritual Beats (1995) and The Chakra Journey (1996) as well as Ambient Meditations 1 (1998).For the annual Glastonbury Performing Arts Festival Solar Quest has often produced a solar energy powered ambient concert tent and a lot of its music has been recorded and mixed in a studio powered by solar energy.

As a musical instrument he uses, among other things one analog synthesizer -type TB-303 . His music has been predominantly from the label 's releases Choci Chewns (1993-1995), SSR Records (1993-1995) and Entropica (since 1998). Fleming-Saunders alternative pseudonyms: Benkei and Entropica . Variations and alternative spellings of the artist name Solar Quest are The Solar Questionmark? , The Solar Questionmark! , Ed Solar Quest , Solaquest , Solar Quest and Solar Quest .

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Solar Quest's "Orgship" is one of those desert island discs that you grab when all that matters to you is your relaxation and you're peacefullness. The ease and depth of "Belle of Atlantis" nicely brings you to that place. Imagine yourself laying in a boat (with this kind of depth it would have to be an ocean), you are looking towards the heavens and you are floating about to it's dream like flowing synth that sounds as if it's brushing the skies while the percussion rings out like shooting stars. Adding elements like thunder, soft waves, wonderful analog percussion and pads, you quickly see why this is one the of best island discs off all time. Then to go on saying this isn't even my favorite song on the disk tells you what a classic this album is. "Save the Whale" nearly brings me to tears everytime i hear the first 20 seconds and to know what is about to come in the next 8 minutes. It's one of the best tracks i have ever heard and I'm not over-exagerating. The rest of the album has it's moments but whenever I put on this cd i end up playing "Save the Whale" for hours and i never get to appeciate the other songs. I guess that tells you in a nutshell how much i love this track. Thank you George Saunders!

Solar Quest - Orgship (flac  276mb)

01 The Belle Of Atlantis 11:28
02 Singtree 6:20
03 Awaken Kundalini 6:42
04 Liquid Sky 8:50
05 The Open Path 9:02
06 Save The Whale 8:14
07 Requiem For A Lily 3:55
08 Flying Spirals 17:11

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"To be used with caution...
These are not sounds...
They are seeds...
Plant one in ambient space
and marvel at its growth.

Generated by Solar Quest"

Entropica - Sonic Bloom Entropica Prolifica (flac 160mb)

01 Alignement 8:52
02 Immersion 10:06
03 Leviathan Mind 10:38
04 Sea Of Tranquility 9:48
05 Solar Wind 8:05
06 Entropica 9:56
07 Realignement 9:27

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This is warm, subtle and smooth chillout, the music that is produced is of the 'organic' sound with plenty of atmospheric natural noising, thoroughly chilled and with a mixture of beat and beatless tracks, a fabulous ambient journey. There is not really much point dwelling on the tracks one at a time as they are soft-mixed together, and it is the overall effect that is so pleasant. Certain tracks do stand out however - notably Anchors in the Mist which has a divine flute swirling and wafting the ears downstream. Absolutely blissful. The flute is back in Switch off your Mind - this time with a snare beat and plenty of weirdness. In fact the general intensity of the Orgisms cd builds as the tracks go on with more beat structure until the wonderful Ceremonial which just launches the imagination onto another plane. This is the proper length for a chillout track in my mind, and you may still be sorry when the album comes to a stop.

Solar Quest - Orgisms (flac 395mb)

01 Cherchez La Lumiere 6:06
02 Dubblet 6:48
03 Lucid Beauty 7:22
04 Levitation 10:03
05 Walking Tree 5:53
06 Anchors In The Mist 8:39
07 The Groove Merchant 4:57
08 Switch Off Your Mind 7:20
09 Misanthropy 4:00
10 Seven Veils 2:29
11 Ceremonial 14:46

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RhoDeo 1305 Beats

Hello, the beats go on....so as the last two weeks were all about The Black Dog it stands to reason to direct some attention to the other part of the Productions, Plaid. They have'nt gained a mainstream following. Their music, however, has not failed to garner positive reviews, on average. While IDM, and techno in general, they have experienced a fair amount of popularity at times, they have worked largely within the confines of the low mainstream appeal of their style .. .... NJoy

Note, to those frustrated by MEGA links please check again, view the page comments or induce what you see on the updated pages.
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Although Plaid preexisted the association, the duo's Ed Handley and Andy Turner spent most of their early recording years with Ken Downie as the dancefloor-confounding Black Dog Productions. Meshing well with Downie's vision of heavily hybridized post-techno and obscurantist thematics, the pair brought several nascent Plaid tracks to the Black Dog table on the group's debut, Bytes, a collection of tracks recorded by various iterations of the three members. The group recorded several albums and EPs throughout the early and mid-'90s, helping to forge a style of dance music one step removed from the 12" considerations of the average faceless techno act; Handley and Turner's mutual love for early hip-hop contributed BDP's more bawdy, street-level grit.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp's similarly located Reflective imprint.) Both of Plaid's first two full-lengths, 1998's Not for Threes and the following year's Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. The proper third album, Double Figure, followed in spring 2001,

Aside from their own material, Plaid have done extensive remix work for many other artists, including Red Snapper, Björk, Goldfrapp, and The Irresistible Force,  the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo's fourth proper LP, Spokes. Plaid were quiet on the recording front for several years,  Plaid collaborated with video artist Bob Jaroc for their live performances and on the 5.1 audio/visual project entitled Greedy Baby. The project was completed on 20 July 2005, and was first shown at the Queen Elizabeth Hall in the South Bank Centre, and subsequently at the BFI Imax cinema in Waterloo, London. Greedy Baby was released on DVD from Warp Records on 26 June 2006.

Furthermore in 2006, Plaid composed and performed the original score to Michael Arias' anime film Tekkonkinkreet, and then went on to rejoin Arias for his second feature, Heaven's Door, as well as two of his subsequent short films. In 2011, they returned with Scintilli released on Warp, where their orientation on filmscores is still felt.  .

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This was Plaid's first album. All tracks on this album are contained on the first disc of the compilation Trainer released in 2000. As far as Mbuki Mvuki goes, if there was a record to enter a World Cup of unique and funky as hell electronic records it would win all of the games without conceding a goal and it’s eight tracks crowned players of the tournament. This isn’t such a bold statement when the record’s title in the African language of Bantu means “Dance till your clothes fall off”.

The music on offer is hard to pigeonhole and though the tracks are about 120-125 bpm it is neither a house, ambient or breaks album. Unlike a lot of Plaid’s later releases the music is very accessible and the majority of the tracks are a fascinating brew of deep but playful techno, latin/jazz as well as pitch shifted hip-hop and r&b samples. Needless to say these handcrafted sounds mix together creating colours that you couldn’t imagine seeing with your eyes.

Plaid - Mbuki Mvuki ( flac 249mb)

01 Anything 5:04
02 Slice Of Cheese 5:50
03 Link 6:04
04 Perplex 4:05
05 Summit 4:37
06 Bouncing Checks 5:33
07 Yak 5:53
08 Scoobs In Columbia 5:22

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Plaid's second full-length release, Not for Threes, is separated from its predecessor by one of the most celebrated side trips in electronic listening music's brief but broad history. As members of the Black Dog, Ed Handley and Andy Turner (together with Ken Downie) helped set the standard for experimental techno, bringing a daring range of influences together in a space consistently characterized by quality and innovation. As such, great things were expected of Threes, and with a couple exceptions, the pair delivers. Although treading far closer than any Black Dog material ever did to the sort of pop electronica of Plaid's interim work with Björk (who appears here on the gorgeous "Lilith"), Threes is ambitious on different terms, moving from the abused and distorted breaks of "Extork" and "Prague Radio" to a balanced radio-friendliness that never sacrifices ingenuity for ease. A handful of tracks feature vocals throughout, and while the results had the predictable effect of irritating BD purists, they actually work remarkably well (partly because the tracks contain absolutely no trace of compositional compromise). A few of the tracks ("Headspin," "Abla Eedio," the too-brief "Seph") sit easily beside the very best Black Dog.

Plaid - Not For The Trees ( flac 411mb)

01 Abla Eedio 7:56
02 Kortisin 5:23
03 Headspin 5:34
04 Myopia (Voc.Mara) 4:32
05 Lat 0:46
06 Extork (Voc.Nicolette) 4:11
07 Prague Radio 4:46
08 Fer 4:35
09 Ladyburst (Voc.Mara) 4:19
10 Rakimou (Voc.Mara) 6:02
11 Ol 4:55
12 Seph 1:36
13 Lilith (Voc.Björk) 4:38
14 Forever 1:16
15 Getting 2:55
16 Milh 5:24

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On the surface, Plaid's second full-length charts similar territory as their debut, with the same intriguing mix of old-school flow and electronic programming clout, plus an odd tendency to play with certain synth presets -- steel drums, for instance -- that would make most electronica technicians cringe. True, there's a bit more hip-hop flavor on this one, like the faux turntablism on the excellent tracks "Shackbu" and "Little People." And the novelty angle Plaid have occasionally nodded to in the past is out on two tracks especially: the vocoderized bossa-nova number "New Bass Hippo" and "Dang Spot," the kind of popcorn electronica that harks back to Perrey & Kingsley. When it comes down to it, the technical differences between Rest Proof Clockwork and Plaid's debut Not for Threes are minimal. Still, there's a certain soul to this album that displays the maturing ex-breakdancers progressing even after more than ten years of recording. In fact, two of the most beautiful tracks of Plaid's long career are right here. The first is "Buddy," a yearning downtempo track with echoing effects; the second is "Dead Sea," a beatless piece of glorious synth-strings which evoke past civilization just as achingly as "The Crete That Crete Made" (from Temple of Transparent Balls, the 1993 album by Handley and Turner's former concern, the Black Dog). So, in sum, Rest Proof Clockwork is yet another production masterpiece to file on the shelf with the rest of Plaid's work. The element that puts them far, far ahead of every other beatminer out there is a growing sense of spirit that lets the machines do the singing.

Plaid - Rest Proof Clockwork (flac 389mb)

01 Shackbu 5:26
02 Ralome 4:29
03 Little People 4:06
04 3 Recurring 0:47
05 Buddy 6:35
06 Dead Sea 4:20
07 Gel Lab 4:14
08 Tearisci 0:56
09 Dang Spot 3:57
10 Pino Pomo 5:08
11 Last Remembered Thing 4:18
12 Lambs Eye 1:20
13 New Bass Hippo 5:43
14 Churn Maiden 1:12
15 Air Locked 4:16
15 (hidden 3:42) Face Me (Voc.Alison Goldfrapp) 4:17

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Previously (04/12/08)  new re-rip

Plaid - Double Figure (01 * 174mb)
Plaid Remixes - Parts In The Post I (03 * 145mb)
Plaid Remixes - Parts In The Post II (03 * 137mb)

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RhoDeo 1305 Goldy Rhox 94

Hello, today the 48th post of GoldyRhox, classic pop rock, in the darklight a UK band, are an English rock band formed in 1964 by Roger Daltrey (lead vocals, guitar, harmonica), Pete Townshend (guitar, vocals, keyboards), John Entwistle (bass, brass, vocals) and Keith Moon (drums, vocals). They became known for energetic live performances which often included instrument destruction.They have sold about 100 million records, and have charted 27 top forty singles in the United Kingdom and United States, as well as 17 top ten albums, with 18 Gold, 12 Platinum and 5 Multi-Platinum album awards in the United States alone

They were inducted into the Rock and Roll Hall of Fame in 1990, their first year of eligibility; the display describes them as "Prime contenders, in the minds of many, for the title of World's Greatest Rock Band. They have seven albums on Rolling Stone's 500 Greatest Albums of All Time

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

Today's mystery album is the is the sixth studio album by the band, released in October 1973. Their second completed double album rock opera. The story is about a boy named Jimmy, who struggles to establish his own identity, with his family and others.[44] His story is set against clashes between Mods and Rockers in the early 1960s in the UK, particularly at Brighton. The album became their highest charting cross-Atlantic success, peaking at No. 2 in the UK and US.
The name is a variation on the popular usage of the medical diagnostic term schizophrenia as dissociative identity disorder, to reflect the four distinct personalities of Jimmy, the opera's protagonist. At the same time, the title is a play on the term quadraphonic sound, then a recent invention. In 2000 Q magazine placed it at #56 in its list of the 100 Greatest British Albums Ever. In 2001, the TV network VH1 named it the 86th greatest album of all time. In 2003, the album was ranked #266 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In 1979 the film from it was released, with three additional songs written by Townshend. The film was an accurate visual interpretation of Townshend's vision of Jimmy and his surroundings, and included the casting of a young Sting as the Ace Face. In the film, the music was largely relegated to the background, and was not performed by the cast as in a rock opera. On 1 November 2012, the band started a 37 date U.S. tour where the double album would be played in its entirety.


Goldy Rhox 94   (flac 515mb)

Goldy Rhox 94   (ogg 190mb)

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previously

Goldy Rhox 50   (flac 250mb) (re-up)

Goldy Rhox 50   (ogg 104mb)


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RhoDeo 1305 Aetix

Hello,  today's artists really worked for the money before succes came, they enabled me my first big DJ gig aswell as there were more than 1,000 people in the hall where the club i worked for had organized their concert. It was a great party night, they were already rather popular but when the news broke that just days before the gig they went no 1 in the States, it became clear that this would be a unique event. Not withstanding some good rappore with the band, a second meeting in Belgium never materialized as Dave got some hearttrouble in Berlin (press stress?) which saw the remainder of that tour cancelled. Oh well

They were one of the most successful duos to emerge in the early '80s selling some 75 million albums. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, they continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Here in the remastered expanded editions.....  N'Joy

Note the MEGA key is below the tracklisting
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The origins of Eurythmics lay in the Tourists, a British post-punk band of the late '70s formed by Lennox and Stewart. The pair met in London while she was studying at the Royal Academy of Music. Stewart had recently broken up his folk-rock group Longdancer and was writing songs with guitarist Pete Coombes. Immediately after meeting, Stewart and Lennox became lovers and musical partners, forming a group called Catch with Coombes, which quickly evolved into the Tourists in 1979. Though the band only was together for two years, the Tourists released three albums -- The Tourists, Reality Effect, and Luminous Basement -- which all were moderate hits in England; two of their singles, "I Only Want to Be With You" and "So Good to Be Back Home Again," became Top Ten hits.

Lennox and Stewart felt the fixed band line-up was an inadequate vehicle to explore their experimental creative leanings and decided their next project should be much more flexible and free from artistic compromise. They were interested in creating pop music, but wanted freedom to experiment with electronics and the avant-garde. Calling themselves Eurythmics (after the pedagogical exercise system that Lennox had encountered as a child), they decided to keep themselves as the only permanent members and songwriters, and involve others in the collaboration "on the basis of mutual compatibility and availability."

They recorded their first album in Cologne with Conny Plank (who had produced the later Tourists sessions). This resulted in the album In the Garden, released in October 1981. The album mixed psychedelic, krautrock and electropop influences, and featured contributions from Holger Czukay and Jaki Liebezeit (Can), drummer Clem Burke (Blondie), Robert Görl ( D.A.F.), and flautist Tim Wheater. A couple of the songs were co-written by guitarist Roger Pomphrey (now a TV director). The album received an indifferent critical reception and was not a commercial success (though the debut single "Never Gonna Cry Again" made the UK charts

During 1982 the duo retreated to Chalk Farm in London, and used a bank loan to establish a small 8-track studio above a picture framing factory, giving them freedom to record without having to pay expensive studio fees. They began to employ much more electronics in their music, collaborating with Raynard Faulkner and Adam Williams, recording many tracks in the studio and playing live using various line-up permutations. However, the three new singles they released that year ("This Is the House", "The Walk" and "Love Is a Stranger") all performed badly on initial release in the UK. Although their mode of operation had given them the creative freedom they desired, commercial success was still eluding them, and the responsibility of running so many of their affairs personally took its toll on both of them.

Eurythmics' commercial breakthrough came with their second album, Sweet Dreams (Are Made of This), released in January 1983. The title track was released as a single in the spring, and it rocketed to number two on the U.K. charts; shortly afterward, it climbed to number one on the American charts. "Sweet Dreams (Are Made of This)" was helped enormously by its stylish, androgynous video, which received heavy airplay from MTV, who had only recently become a major influence within the music industry. After "Sweet Dreams," Eurythmics re-released "Love Is a Stranger" and it reached the U.K. Top Ten (number 23 U.S.), beginning a string of hit singles that ran for a year.

Touch, the duo's third album, was released toward the end of 1983 and continued their success throughout 1984, spawning the hits "Who's That Girl?" (number three, U.K.; number 21, U.S.), "Right by Your Side" (number ten, U.K.; number 29, U.S.), and "Here Comes the Rain Again" (number eight, U.K.; number four U.S.). During the course of 1984, Annie Lennox's theatrical gender-bending was becoming increasingly notorious, which helped their record sales. At the end of the year, they released the soundtrack for the film adaptation of 1984, which received poor reviews and sales, despite the Top Ten U.K. placing of its single, "Sexcrime (Nineteen Eighty-Four)."

The duo's 4th album, Be Yourself Tonight released may 85, was produced in a week in Paris. It showcased much more of a "band style" and a centred sound (with an R&B influence), with real drums, brass, and much more guitar from Stewart. Almost a dozen other musicians were enlisted, including members of Tom Petty's Heartbreakers, guest harmonica from Stevie Wonder, bass guitar from Dean Garcia, string arrangements by Michael Kamen, and Lennox singing duets with Aretha Franklin and Elvis Costello. It continued the duo's transatlantic chart domination in 1985, and contained four hit singles: "Would I Lie to You?" was a U.S. Billboard top five hit and Australian number one, while "There Must Be an Angel (Playing with My Heart)" (featuring Wonder's harmonica contribution) became their first and only UK number one single.[3] "It's Alright (Baby's Coming Back)" and the feministic Franklin duet (originally intended for Tina Turner) "Sisters Are Doin' It for Themselves" also rode high in the charts.


Revenge, released the following year, followed the R&B and soul inclinations of Be Yourself Tonight to a harder-rocking conclusion. Though the album peaked at number 12 in the U.S. and spawned the number 14 hit "Missionary Man," its sales were noticeably weaker than its predecessor. In the U.K., the group was slightly more popular -- "Thorn in My Side" reached the Top Ten -- but it was evident that the group was past the point of its peak popularity.  As appropriate for a group passing their commercial pinnacle, Eurythmics began branching out into other areas. During 1985 and 1986, Dave Stewart produced a number of superstars, including Bob Dylan, Daryl Hall, Tom Petty, and Mick Jagger. Annie Lennox began a short-lived acting career, appearing in Revolution. Eurythmics reconvened in 1987 to release Savage, which was greeted with mixed reviews and weak sales. That same year, Stewart married Siobhan Fahey, a former member of Bananarama who had also appeared in the "Who's That Girl" video; she would later be a member of Shakespear's Sister, which was produced by Stewart. In 1988, Lennox had a hit duet with Al Green with "Put a Little Love in Your Heart," taken from the Scrooged soundtrack.

The following year, Eurythmics released We Too Are One, which sold well in Britain, reaching number one, but poorly in America, despite "Don't Ask Me Why" becoming their first Top 40 hit since "Missionary Man." Furthermore, the reviews were decidedly mixed on the album.
Eurythmics quietly went on hiatus as of 1990, releasing Greatest Hits the following year. Lennox began a solo career in 1992, releasing Diva, an album that would eventually sell over two million copies. Stewart continued producing records and writing film soundtracks, as well as forming a band called Spiritual Cowboys. In 1995, he officially launched a solo career with the release of Greetings from the Gutter. Lennox and Stewart re-formed Eurythmics in 1999, releasing Peace, their first new studio album in a decade.



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Eurythmics' debut album, In the Garden, is the missing link between the work of the Tourists, who included both Dave Stewart and Annie Lennox, and 1983's commercial breakthrough, Sweet Dreams (Are Made of This). Co-produced by Kraftwerk producer Conny Plank at his studio in Cologne, Germany, it has some of the distant, mechanistic feel of the European electronic music movement, but less of the pop sensibility of later Eurythmics. The chief difference is in Lennox's singing; even when the musical bed is appealing, Lennox floats ethereally over it, and the listener doesn't focus on her. As a result, In the Garden wasn't much of a success, though when Eurythmics streamlined their sound and emphasized Lennox's dominating voice on subsequent releases, they found mass popularity.

Eurythmics - In The Garden (flac 400mb)

01 English Summer 4:00
02 Belinda 3:58
03 Take Me To Your Heart 3:32
04 She's Invisible Now 3:27
05 Your Time Will Come 4:30
06 Caveman Head 3:56
07 Never Gonna Cry Again 3:02
08 All The Young (People Of Today) 4:11
09 Sing - Sing 4:03
10 Revenge 4:31
Bonus Tracks
11 Le Sinestre 2:44
12 Heartbeat Heartbeat 2:02
13 Never Gonna Cry Again (Live) 4:36
14 4/4 In Leather (Live) 3:05
15 Take Me To Your Heart (Live) 4:57

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Dave Stewart, together with Robert Crash and ex-The Selecter bassist Adam Williams, produced the album in Eurythmics' own relatively primitive 8-track studio, winning awards for the quality of the end-result which belied its low-budget origins. Sweet Dreams saw the duo move away from the psychedelic, guitar-tinged band-oriented sound of their 1981 debut album In the Garden, instead focusing on raw analogue synthesizers (including the Oberheim OB1 and EDP Wasp) and drum machines (particularly the Movement Systems Drum Computer, which featured a graphic visual display of the drum patterns). Whilst the "synth pop" genre had grown in popularity in the preceding years, it was often associated with all male groups and somewhat clinical, emotionless music. Eurythmics (particularly with Lennox's vocal stylings) brought a soul music twist to the electronic sound, which proved popular with broader audiences.

This album became a commercial breakthrough for the duo on both sides of the Atlantic. The title track became particularly popular and it remains one of Eurythmics' most recognisable songs, and its music video, popular on MTV in the United States, is memorable for Annie Lennox's gender-bending imagery. In the wake of this success, the single "Love Is a Stranger", previously a flop, was re-released and became a hit as well. It too was accompanied by a striking video, which featured Lennox dressed both as a man and a woman.

Eurythmics - Sweet Dreams (Are Made Of This)   ( flac 471mb)

01 Love Is A Stranger 3:44
02 I've Got An Angel 2:45
03 Wrap It Up 3:34
04 I Could Give You (A Mirror) 3:50
05 The Walk 4:43
06 Sweet Dreams (Are Made Of This) 3:36
07 Jennifer 5:10
08 This Is The House 5:01
09 Somebody Told Me 3:29
10 This City Never Sleeps 6:41
Bonus Tracks
11 Home Is Where The Heart Is 3:01
12 Monkey Monkey 5:19
13 Baby's Gone Blue 4:17
14 Sweet Dreams (Are Made Of This) (Hot Remix) 5:19
15 Love Is A Stranger (Coldcut Remix) 7:17
16 Satellite Of Love 4:36

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On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This album scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This album is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic.

Eurythmics - Be Yourself Tonight  (flac 513mb)

01 Would I Lie To You? 4:27
02 There Must Be An Angel (Playing With My Heart) 5:21
03 I Love You Like A Ball And Chain 4:05
04 Sisters Are Doin' It For Themselves 5:56
05 Conditioned Soul 4:29
06 Adrian 4:33
07 It's Alright (Baby's Coming Back) 3:47
08 Here Comes That Sinking Feeling 5:40
09 Better To Have Lost In Love (Than Never To Have Loved At All) 5:07
Bonus Tracks:
10 Grown Up Girls 4:13
11 Tous Les Garcons Et Les Filles 3:25
12 Sisters Are Doin' It For Themselves (ET Mix) 7:48
13 Would I Lie To You? (Extended) 4:55
14 Conditioned Soul (Live) 5:07
15 Hello I Love You 2:50

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elsewhere (Rhotation 05) now in flac

Eurythmics - 1984 (For The Love Of Big Brother) (84 ^ 209mb)

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