RhoDeo 1515 Grooves

Hello,

Today.for the third and final time a singer, guitarist, songwriter and producer, truly one of the greats, a pioneer in funk and socially aware R&B. He received the Grammy Lifetime Achievement Award in 1995. Inducted into Rock And Roll Hall of Fame in 1999 (Performer). Inducted into Songwriters Hall of Fame after his premature death in 2000. Here to,,,,,N'joy

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Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Super Fly" are merely the most famous of his many hit records.

 But Curtis Mayfield wasn't just a singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.

Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."

Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.

Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Super Fly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.

At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Super Fly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Super Fly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."

Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no substitute for the man himself, these tributes served as an indication of the enormous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57.


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The title is intended in an ironic way, as illustrated not only by the cover -- a grim parody of late-'40s/early-'50s advertising imagery depicting white versus black social reality -- but the grim yet utterly catchy and haunting opening number, "Billy Jack." A song about gun violence that was years ahead of its time, it's scored to an incisive horn arrangement by Richard Tufo. "When Seasons Change" is a beautifully wrought account of the miseries of urban life that contains elements of both gospel and contemporary soul. The album's one big song, "So in Love," which made number 67 on the pop charts but was a Top Ten soul hit, is only the prettiest of a string of exquisite tracks on the album, including "Blue Monday People" and "Jesus" and the soaring finale, "Love to the People," broken up by the harder-edged "Hard Times." The album doesn't really have as clearly delineated a body of songs as Mayfield's earlier topical releases, but it's in the same league with his other work of the period and represents him near his prime as a composer.

Curtis Mayfield - There's No Place Like America Today  (flac  211mb)

01 Billy Jack 6:07
02 When Seasons Change 5:23
03 So In Love 5:10
04 Jesus 6:10
05 Blue Monday People 4:45
06 Hard Times 3:42
07 Love To The People 4:06

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Less sociopolitical than previous efforts, Give Get Take Have offers "Mr. Welfare Man" as its sole attempt to enlighten and enhance. Mayfield was obviously experiencing the joys of new love when he cut "Only You Babe" and "This Love Is Sweet," and the tear-jerking numbers "In Your Arms Again" and "Party Night." His aching falsetto coos and purrs, but sounds weakened on this LP. Overall, the album falls short of Mayfield's former releases, but even great artists don't always achieve their usual high standards. This was originally released on Curtom Records in the mid-'70s. Never Say You Can't Survive was the last Curtis Mayfield album done in a pure soul vein for the next three years -- its style and sound place it in a direct continuity with the rest of his output right back to 1958. The singing on love songs such as "Show Me Love," "Just Want to Be With You," and "When We're Alone" is among the most achingly lyrical and passionate of his career. The title track boasts ravishing backup singing by Kitty & the Haywoods (who also perform outstandingly on "I'm Gonna Win Your Love") and a beautiful arrangement by James Mack. The album's final track, "Sparkle" (written for Sam O'Steen's movie of the same name, starring Philip Michael Thomas, Irene Cara, and Lonette McKee), gets one of three distinct treatments that the song ever received (the others from the soundtrack and Aretha Franklin's version).

Curtis Mayfield - Give, Get, Take And Have/Never Say You Can't Survive (flac 427mb)

01 In Your Arms Again (Shake It) 4:24
02 This Love Is Sweet 3:08
03 P.S. I Love You 3:57
04 Party Night 3:48
05 Get A Little Bit (Give, Get, Take And Have) 3:34
06 Soul Music 3:58
07 Only You Babe 4:20
08 Mr. Welfare Man 5:44
Never Say You Can't Survive
09 Show Me Love 5:11
10 Just Want To Be With You 3:11
11 When We're Alone 5:23
12 Never Say You Can't Survive 3:17
13 I'm Gonna Win Your Love 4:41
14 All Night Long 4:12
15 When You Used To Be Mine 3:39
16 Mr. Welfare Man 4:00

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The last Curtis Mayfield album distributed by Warner Bros., during Curtom Records' declining years of 1977-1978, was a maddening album, a complete break in style as Mayfield moved into a pure disco vein. It was his most successful album in three years, but it alienated many longtime fans because he deliberately dumbed down his writing -- he traded his core audience, who couldn't abide the album, for a slightly larger disco audience that had previously eluded him, painting himself into an artistic and career corner. The title track was indicative of the artistic nadir to which Mayfield had to descend to find where the mass audience had gone, a number without an ounce of poetry that he wouldn't have wasted his time with in the studio, much less completed or released, in years past; the beat and the arrangements rather overwhelm anything that Mayfield is saying or singing throughout this album. The closest one gets to the old Curtis Mayfield sound, which is to say, to Curtis Mayfield at all, is "In Love, In Love, In Love," a relatively subdued and soulful number which would have been a secondary track on almost any album that preceded this one, and it is practically lost here, sandwiched in between the commercial dance numbers "Keeps Me Loving You" and "You Are, You Are." Mayfield would adapt his style better to the needs of disco with Heartbeat, his next album.

Curtis Mayfield - Do It All Night (flac 218mb)

01 Ain't Got Time 5:10
02 Sweet Exorcist 3:50
03 To Be Invisible 4:12
04 Power To The People 3:26
05 Kung Fu 6:02
06 Suffer 4:06
07 Make Me Believe In You 5:32

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RhoDeo 1515 Goldy Rhox 205

Hello, today the 205th post of GoldyRhox, classic pop rock in the darklight are an English rock band from the early 1970s. Their music covers a range of styles from pop to progressive rock. Over the years they have had five albums in the UK Albums Chart and twelve singles in the UK Singles Chart.

Steve Harley grew up in London's New Cross area and attended Haberdashers' Aske's Hatcham College. His musical career began in the late 1960s when he was busking (with John Crocker aka Jean-Paul Crocker) and performing his own songs, some of which were later recorded by him and the band. After an initial stint as a music journalist, the original mystery band was formed when Harley hooked up with his former folk music partner, Crocker (fiddle / mandolin / guitar) in 1972. Crocker had just finished a short stint with Trees and they advertised and auditioned drummer Stuart Elliott, bassist Paul Jeffreys, and guitarist Nick Jones. This line-up played one of the band's first gigs at The Roundhouse in Chalk Farm, London on 23 July 1972 supporting The Jeff Beck Group. Nick was soon replaced by guitarist Pete Newnham but Steve felt that the sound did not need an electric guitar and they settled on the combination of Crocker's electric violin and the Fender Rhodes piano of keyboardist Milton Reame-James to share the lead. The band was signed to EMI after playing five gigs. Their first single, "Sebastian", was an mega success in Europe, although it failed to score in the UK Singles Chart. Their debut album, today's mystery, was released in 1973. Although not a uk commercial success they did attract a growing following in London.

Harley managed to irritate a significant segment of the music press with his self-aggrandisement, even as their music was getting rave reviews and gaining a wide audience. It was becoming clear that Harley regarded the band as little more than accompaniment to his own agenda, and already there were signs that things would not last, despite having a big hit with their second single, "Judy Teen". In May 1974, the British music magazine, NME reported that the band were to undertake their first British tour, with the highlight of the itinerary being a gig at London's Victoria Palace Theatre on 23 June. There then followed the album The Psychomodo. A Live at the BBC album included material recorded during a BBC Radio 1 broadcast. Following the European single "Psychomodo", a second single from the album, "Mr. Soft", was also a hit. "Tumbling Down" was also issued in America as a promotional single. By this time the problems within the band had already reached a head, and all the musicians, with the exception of Elliott, quit at the end of a successful UK tour. From then on, the band was a band in name only, being more or less a Harley solo project.

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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 debut album album by our mystery group, released November 1973.  A handful of the album's songs are slight, even forced, and certainly indicative of the group's inexperience. But others -- the labyrinthine "Sebastian," the loquacious "Death Trip" in particular -- possess confidence, arrogance, and a doomed, decadent madness which astounds. Subject to ruthless dissection,  tthe (tossers)lyrics were essentially nonsense, a stream of disconnected images whose most gallant achievement is that they usually rhyme. But what could have been perceived as a weakness -- or, more generously, an emotionally overwrought attempt to blend Byron with Burroughs -- is actually their strength. Few of the songs are about anything in particular. But with Roy Thomas Baker's sub-orchestral production driving strings and things to unimaginable heights, and our mystery band's own unique instrumentation -- no lead guitar, but a killer violin -- pursuing its own twisted journey, those images gel more solidly than the best constructed story. Today's mystery album is a dark cabaret -- the darkest. Though Harley has furiously decried the band's historical inclusion in the glam rock pack, there's no separating the nocturnal theatrics of "Muriel the Actor," "Mirror Freak," or "What Ruthy Said" from at least the fringes of the movement. The difference is, other artists simply sung about absinthe and Sweet Ipomoea. Harley actually knew what they were. Unquestionably, he drew from many of the same literary, artistic, and celluloid sources as both David Bowie and Bryan Ferry, the only performers who could reasonably claim to have preempted his vision. But he went far beyond them, through the Berlin of Isherwood to the reality of the Weimar; past the Fritz Lang movies which everyone's seen, to the unpublished screenplays which no one has read. And though Harley might not have been the first cultural genius of his age, he was the first who wasn't content to simply zap the prevailing zeitgeist. He wanted to suck out its soul. And he very nearly succeeded.

Here to get, it's 04 remaster..N'Joy


Goldy Rhox 205   (flac 312mb)

Goldy Rhox 205    (ogg 119mb)


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RhoDeo 1515 Aetix

Hello,

When considering the geographical origins of the paisley underground movement of the early '80s, the Midwest isn't the first place you would think of. During the West Coast uprising of bands like Dream Syndicate, Rain Parade, Thin White Rope, the Three O'Clock, and Green on Red, the Milwaukee-based Plasticland had already been knee-deep in psychedelia due, in part, to the rare record-collecting fetish of founding members Glenn Rehse (vocals, guitar, organ) and John Frankovic (bass). From the get-go, Plasticland bypassed the darker Velvet Underground influence that most bands of the era were paying lip service to. Their goal was to pursue a brighter, more melodic musical approach, thus avoiding pointless jamming behind walls of feedback when lacking inspiration. Instead, they embraced the sights and sounds of early British flower-power pop initiated 15 years earlier by such influences as Tomorrow, Pink Floyd with Syd Barrett, the Smoke, and the Creation....Something to  N'Joy

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Formed in 1980 out of the ashes of prog rockers Arousing Polaris, Plasticland included vocalist/guitarist/organist Glenn Rehse, guitarist Dan Mullen, bassist John Frankovic, and drummer Vic Demechei, who debuted that summer with the "Mink Dress" single on Scadillac. Several more singles and EPs followed, including 1982's Pop! Op Drops (whose material later became part of the band's first album); there were also several personnel shifts, as Demechei was replaced first by Bob DuBlon, then Rob McCuen. (Several tracks with the Violent Femmes' Brian Ritchie on guitar were also recorded during this era.)

Plasticland's first full-length, Color Appreciation, was issued on the French Lolita label in 1984; a year later, it was re-released in America by Pink Dust with two different tracks, titled simply Plasticland. The follow-up, Wonder Wonderful Wonderland, was released before the end of 1985, and featured Mellotron and bouzouki, among other vintage psychedelic accouterments. By the time of 1987's Salon, Demechei had returned to the fold. Plasticland subsequently resurfaced on the Midnight label with a pair of live albums: 1989's You Need a Fairy Godmother (featuring onetime Pink Fairies/Pretty Things drummer Twink) and 1990's Confetti. In the late '80s, a German fan commissioned an album, Dapper Snappings, for his Repulsion label. The album was eventually released in 1994. Some of the band's early recordings were collected on Mink Dress & Other Cats, while a career-spanning collection, Make Yourself a Happening Machine, was issued in 2006. An expanded and remastered version of the American debut album, with liner notes by Glenn Rehse, was released in 2014.

Several guitarists and drummers would rotate in and out of the band over time, but Glenn Rehse and John Frankovic have remained the core of the band. Dan Mullen was the second guitarist for most of the 1980s recordings and live appearances. Brian Ritchie, later of The Violent Femmes, played guitar briefly with the band on early recordings. Multiple singles, EPs, compilation appearances, studio and live albums appeared in the 1980s and early 1990s. Several compilation CDs chronicle the band's earlier years.

Color Appreciation (1984), their first album, was on the French Lolita label. Enigma Records in the US reissued the album in 1985, self-titling it, with track alterations and substitutions. Enigma subsidiary label Pink Dust released the next two albums, Wonder Wonderful Wonderland (1985) and Salon (1987). For Wonder Wonderful Wonderland the label wanted the band to use Paul Cutler, a producer and guitar player with The Dream Syndicate, but the band "generally ignored his advice". German label Repulsion issued their final studio album, Dapper Snappings in 1994, though it was recorded several years earlier. Two very different live albums were also released. You Need a Fairy Godmother (1989) and Confetti (1990) were both issued by Midnight Records. The former was recorded with Plasticland backing one of their musical heroes, Twink, legendary drummer of The Pretty Things and The Pink Fairies. Confetti consists of various live performances edited together.

The duo of Glenn Rehse and John Frankovic, with new bandmates, are still performing, recently opening for Blue Cheer in November 2007. In January 2008 John Frankovic and Victor Demechei retired their services from the group. The group has been sustained by Glenn Rehse and new guitarist Leroy Buth (previously of the legendary Milwaukee punk rock group The Lubricants).

In 2015, Plasticland will be inducted into the Wisconsin Area Music Industry Hall of Fame

Both Glenn Rehse and John Frankovic have had various side projects, releasing multiple albums and singles. As The Fabulon Triptometer, Glenn Rehse released The Padded Lounge (1992) on Midnight Records with Bob DuBlon on drums. John Frankovic has multiple solo albums to his credit: Under the Water Lily (1993) on Midnight Records, Frank-O-Fest (1995) on Father Yod Records and in 2004 Brainticket Records released Space Zombie. As well, he has issued multiple singles with The Gothics and The Cake People. Both have produced albums for other artists, including Dimentia 13 and The Petals.


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Hailing from Milwaukee, Wisconsin, Plasticland emerged at a time when a new breed of East Coast and Midwest bands was reviving interest in '60s garage rock, while in California a handful of groups embraced psychedelia and folk-rock under the banner of the paisley underground. But even though Plasticland had a fair amount in common with both movements, at heart they were following a very different path -- at their best, Plasticland aspired to be the first American freakbeat group, seeking to re-create the brief but memorable era when British and European bands were mashing up R&B, proto-punk, and psychedelia into a gloriously volatile formula. Kicking off their debut album with a fuzz-laden cover of the Pretty Things' "Alexander," Plasticland were not afraid to wear their influences on their sleeve, and this album manages the remarkable feat of sounding powerfully addled and psychedelic with practically no hippie vibe to be found; the songs are superb evocations of classic freakbeat, roaring forth with soaring melodies that occasionally go into minor-key skydives and are punctuated by chimes, toy pianos, autoharps, or whatever arcane music-producing devices were on hand at the moment. "Disengaged from the World," "Sipping the Bitterness," "Pop! Op Drops," and "Euphoric Trapdoor Shoes" are as good as any of the vintage singles that influenced Plasticland, and the band's production is savvy, making use of classic engineering techniques that serve the songs well without allowing their paisley nostalgia to drown out the melodic elements of the songs. Most bands as preoccupied with a certain moment in rock & roll history tend to find themselves hoisted by the petard of their own obsessions, but Plasticland is that rare example of one such band getting it exactly right, and these speedy acid fantasies are a very potent good time.

Plasticland - Plasticland  (flac 285mb)

01 Alexander 3:27
02 Disengaged From The World 2:37
03 Her Decay 2:30
04 The Glove 2:20
05 Sipping The Bitterness 2:07
06 The Garden In Pain 2:00
07 Elongations 1:51
08 Driving Accident Prone 1:39
09 Color Appreciation 2:18
10 Wallflowers 3:19
11 Euphoric Trapdoor Shoes 2:34
12 Pop! Or Drops 1:11
13 Sections 1:57
14 Rattail Comb 1:54
15 Posing For Pictures 2:06
16 Magic Rocking Horse 3:39
17 Mushroom Hill 2:14

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Plasticlands' evolution from 84’s Color Appreciation to this mind warp in 85 was remarkable.  Totally psychedelic, way beyond other bands with similar chemical allegiances, this album was a brilliant commentary of acid fueled dementia, beautifully molded by producer Paul B. Cutler.

‘No Shine for the Shoes’ kicks things off with tripped out lyrics, reminding me a heavy duty mushroom meltdown.  Glenn Rehses' vocals sounding a little like a sympathetic cheese grater.  ‘Gloria Knight’ follows a simple enough (in theory) sixties tune with intense sound effects and distortion.  The album was obviously a well crafted creation, a long way ahead of other sixties influenced garage bands.  This band actually re-defined psychedelic.  This becomes apparent with the next track ‘Transparencies, Friends’ which travels into the land of the paranormal/ghosts in a song with tripping harmonic vocals (with organ) adding to the intense mystery of the track.  ‘Fairyland Hysteria’ kicks off with a huge feedback wail, followed by a thunderous guitar onslaught with great harmonies and chorus adding up to an engaging few minutes about hallucinations of grandeur.

‘Don’t Let It All Pass By’ is arguably the most lysergic of the tunes on this album.  Vocal interplay over-topping a beautiful organ sound.  ‘The Gingerbread House' closes off Side 1, once again focusing on a tripped out excursion into the land of demented Grimm Brothers fairy tales.  The song first sounds enticing, which leads the childlike listener into a house, where of course a very nasty witch lives inside, whose bad karma is described through fuzzed out guitars and paranoid and edgy vocals.

“Flower Scene" starts off Side 2, with the most overtly pop influenced slice of psychedelia on the album.   This is a great tune with clever changes in texture and great bass interplaying with sophisticated backing vocals.  ‘Process of the Silverness’ works well enough being a more standard 60’s like song (only weirder).  It’s basically another fuzzed out extravaganza, technically spot on and sounding like no other band.  They would have been as heavy as fuck live.  ‘Non-stop Kitchen’ sounds like a disco track gone mad.  Rehse singing about tripping in his kitchen and getting attacked and overwhelmed by all of his kitchen appliances - especially the spoons.  The song works OK if you get off on funky bass, drums and minimal guitar with some great fuzz at the end.  ‘Grassland of Reeds and Things’ is a very odd piece of psychodrama, probably with African percussion put into the pot, this song may have been recorded late at night with the studio filled with hash smoke and incense (maybe).  ‘Gloria Knight (Reprise)’ sounds like filler to me - fuzzed out filler of course.  The album closes with ‘Wonder, Wonderful, Wonderland’, a similar sounding tune to the 'Gingerbread House’ without the old witch to put you off your game.  This is a lovingly crafted masterwork.  Plasticland really were amongst the best of their generation and it is a sad world to see them remain relatively obscure and unknown.

Plasticland - Wonder Wonderful Wonderland  (flac 196mb)

01 No Shine For The Shoes 2:26
02 Gloria Knight 3:16
03 Transparencies, Friends 3:28
04 Fairytale Hysteria 2:28
05 Don't Let It All Pass By 1:28
06 The Gingerbread House 3:50
07 Flower Scene 2:24
08 Processes Of The Silverness 2:37
09 Non-Stop Kitchen 2:49
10 Grassland Of Reeds And Things 1:41
11 Gloria Knight (Reprise) 4:46
12 Wonder Wonderful Wonderland 2:49

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Not far from being a psychedelic masterpiece. Opens with "Go Go Time", which would have been a hit in a perfect world : a slowed down Motown bass/drums rythm and a perfect melody, with colours flashing everywhere. Absolutely splendid. Another highlight, "A Quick Commentary On Wax Museums" is, as the title may suggest, totally frightening and could have been written by Syd Barrett waking up from a Madame Tussauds nightmare. Some krautrock influences can be heard here and there. Salon is rather self-conscious about its psychedelic angle, doubtless a reaction to the amount of bad alterna-dance and gothy stuff  on college radio at the time.

Plasticland - Salon (flac 201mb)

01 Go A Go-Go Time 3:31
02 What Am I To Say 1:26
03 It's A Dog's Life 2:08
04 A Quick Commentary On Wax Museums 3:40
05 Abcessed Words To Climb 1:57
06 (The Lie Of) Great Sedan Pinocchio 2:10
07 We Can't 2:10
08 Serene It's True 2:33
09 Reserving The Right To Change My Mind 3:51
10 The Window Sills 2:37
11 Don't Antagonize Me 3:18

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An archival release of early singles, formative demos, and unreleased songs from the first recording sessions by this seminal Milwaukee psych band, Mink Dress and Other Cats is a great way to discover (or rediscover) Plasticland. One of the great neo-psych bands of the '80s, the quartet, led by singer/songwriters Glenn Rehse and John Frankovic, was occasionally dismissed as fashion-conscious lightweights due to their sartorial obsessions, but the records themselves are glorious blends of Syd Barrett whimsy; West Coast harmonies (more Peanut Butter Conspiracy than Jefferson Airplane, wisely); and good old-fashioned plane-crash guitar drones, with both a better sense of atmosphere and, most often, more hooks than most of the Californian paisley underground bands. Highlights here include the ringing, Byrdsian "In My Black and White"; the glorious "Mink Dress" (Plasticland's 1981 debut single); and the garage-punky "Office Skills," which resembles the freakier side of the Seeds. As always with this sort of compilation, some of the unreleased tracks had been unreleased for good reason, but overall, this is a solid overview of Plasticland's first three or four years. The disc includes a lengthy band history by Dave Luhrssen and notes on all the songs by Rehse.

Plasticland - Mink Dress And Other Cats (flac 240mb)

01 You Were Such A Bad Time 2:54
02 In My Black And White 1:57
03 I'm Gonna Emphasize 2:23
04 Pushy 2:11
05 The Prince's Playroom 2:03
06 Too Many Fingers 1:48
07 Standing In A Room 3:25
08 A Change In You 2:04
09 Mink Dress 2:50
10 They Wore Sequined Masks 0:22
11 The Lady Is No Lady 2:03
12 Some Ghost Ship Lollipop 0:31
13 Headlice Rags And Arrogance 1:45
14 Baby Scissors 0:26
15 Color Appreciation 2:15
16 Market Place Of Zesty Zeal 1:22
17  The Mushroom Hill 2:15
18 Office Skills 1:44
19 Skipping Down The Nature Trail 2:00

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RhoDeo 1515 Re-Up 11

Hello, well  requests are still taken and please add a name

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

More new updates here

Rod Modell - The Autonomous Music Project back up


3 x Parliament - The 12 inch C, Trombulation and Who's A Funkadelic (back in Flac )


3x Funkadelic I + Free Yr Mnd and Osmium now in flac


2 x French Anthology  back in flac


3x Poison Girls  back in flac


Poison Girls n Au Pairs back in flac

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RhoDeo 1515 Empire 05

Hello, Well the sports highlights today saw an exiting bicycle race won by a strong German who had dreamt of winning that race ever since he was a young boy-Go figure the damage German broadcasters have done by boycotting cycling because of doping, there's half a generation of Germans without interest in cycling...F1 was a bit of a bore apparently overtaking a close competitor will ruin ones tires. Some excellent overtaking by rookie Verstappen who had his well deserved eight place taken when 3 laps from the end his car gave up..Then the Manchester derby first blood for the blues but then the reds awakened and crushed them, i wonder what will happen when Van Gaal learns somewhat more decent english..spells trouble for Uk sporting press..

I didn't announce it yestersay but the Games are back...and how! When i checked my ususal tv download site it showed me 4 episodes of the new season..now this could have been a stinker but then i checked the Guardian and they mentioned these episodes were basically press releases to give the press a heads up when all the regular public starts commenting after tonights official start of season 5. What to do, shall i binge on these first 4 episodes and then wait a month until the world catches up or shall i ride the crest of emotion and anticipation with the rest of my fellow human beings that happen to be fans of Game Of Thrones... So I Just watched season 5 episode one first up image quality of this pre release was not great, story wise ..after a 9 months break i'm straight back in it wow ! Just the two deaths, a proud leader un willing to bent his knee sigh and an unsullied enjoying being stroked-but not by the knife that slit his throat. Slow body count then....




This week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country.
Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.

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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 205 Millennium Falcon Pursuit (mp3  24mb)

205 Millennium Falcon Pursuit 25:59


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previously

The Empire Strikes Back 204 Fire And Ice (mp3  24mb)
The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)
The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Sundaze 1515

Hello, interesting sports day coming up which of the Manchester Sides will be victorious, will Sir Wiggens fullfil his dream of winning Paris-Roubaix or will that superstrong Norwegian Alexander Kristoff take that price as well. Then there's the F1 race in Shanghai , Hamilton says he fears Vettel such a selfaggrandizer that Hamilton setting himself up for an easy win or who knows inviting team mate Rosberg to try and run him off the road..haha well i wont be staying up for that live race...

Today's Sundazers are pointed to a man born 16 October 1974 he is a Danish electronic music producer and multi-instrumentalist based in Copenhagen, Denmark.,. N'joy

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Anders Trentemøller is a Copenhagen-based musician and producer who started in the late 1990s with different Indie Rock projects, before he turned to electronic music. In 2006, following a line of 12-inch electronic EPs, Trentemøller released his groundbreaking debut album The Last Resort. High placements in several polls for best album of the year followed and exposed his music to a much broader audience.

In 2007 Trentemøller assembled his first full live band with his friends, multi artist Henrik Vibskov on drums and musician Mikael Simpson on guitar. Complete with visuals from director Karim Ghahwagi, the ensuing ‘Trentemøller: Live In Concert’ tour brought him to the US for the first time as well as to some of the biggest festivals in the world, including Glastonbury (UK), Roskilde (Denmark) and Melt! (Germany).

In 2009 ‘The Trentemøller Chronicles’, a double compilation of unreleased songs, his personal favorite non-album tracks[Is this a fact or an opinion?] as well as a collection of remixes for such high-profile acts as Röyksopp, Moby and The Knife, was released. Later that year Trentemøller hit another personal career landmark, when he headlined the Orange Stage at Roskilde Festival, playing in front of 60,000 people featuring a unique set design created by Henrik Vibskov. The crowd reactions and press reviews were all positive.

After starting up his own record imprint, 'In My Room', Trentemøller’s second album Into the Great Wide Yonder’ was released in 2010. Four years after The Last Resort, it fulfilled the unenviable task of following up a modern classic. It was also a move into a more analogue sound influenced heavily by indie and post punk – and incorporating even more live instrumentation and vocals. The record was met with high praise for taking yet another clear step away from his electronic beginnings into more experimental soundscapes. Expanding his live band, now with seven people on stage, he continued to tour around the world for two years.

Highlights included a barnstorming set at 2011’s Coachella Festival, where NME called the show “one of the biggest breakouts of Coachella,” he “stunned all onlookers and became the toast of the fest.” Trentemøller made further inroads into the US shortly after, appearing on Carson Daly and playing throughout the US on a sold-out tour. The world tour ended with two consecutive, sold out shows at Den Grå Hal in Christiania (Copenhagen), which were recorded and later released as the album ‘Live In Copenhagen’.

Following his second album, ‘Reworked/Remixed’ was released. A double compilation, celebrating some of Trentemøller’s favorite remixes he completed for other artists, and also some of his personal picks where other musicians have reworked his music - featuring the likes of Modeselektor, UNKLE, Franz Ferdinand, Andrew Weatherall, Efterklang and Depeche Mode. Trentemøller’s captivating sound has also found a home in the world of cinema. His productions have been used by prominent directors including Oliver Stone (Savages), Pedro Almodóvar (The Skin I Live In) and most recently Jacques Audiard, who soundtracked a pivotal scene of his film Rust & Bone, with Anders’ classic bootleg remix of Bruce Springsteen’s ‘State Trooper’, that he had made for himself to play at one of his increasingly rare DJ sets.

In September 2013 Trentemøller released his third full-length album Lost. “Much like its predecessor, ‘Lost’ serves not only as a logical continuation of his work, but also as yet another fuck-you to whatever genre you thought you had him boxed into.“ (Vice). ‘Lost’ is a symbol of the powerful sound Trentemøller has gained through his extensive live touring. It’s a record defined by its thematic guitars, analog synthesizers and robust melodies; the antithesis to the feel of programmed, quantized music that some of his most early fans know him for. It’s also his most collaborative effort yet, pairing him with a vibrant cast of vocal features— the legendary duo Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower Dens, Ghost Society and Sune Wagner of The Raveonettes all make appearances on this stunning album, which traverses krautrock, indie-rock, post-punk and even jazz and classical influences.

In the summer of 2013 Trentemøller supported Depeche Mode on their Delta Machine world tour, taking him to stadiums around Europe - and he’ll be hitting the festival circuit once again, including appearances at Melt, Dour, Pitch and Zurich Open Air. The remaining part of 2013 and all of 2014 is equally dedicated to touring with his band – the one thing Anders loves just as much as being in the studio creating music to take to the stage.


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Danish producer Anders Trentemoller has gained international recognition over the past decade, but this compilation shines a light on his early releases for Steve Bug's Poker Flat and Audiomatique labels. In places, Trentemoller's sound is sketchy and in need of improvement - witness the proggy minimal grooves of "Gush" and "Rykketid" - but elsewhere, this compilation shows why he rose so fast. From the deep, textured techno of "The Forest", through the stepping rhythm and pre-orgasmic wails on "Moan (dub remix)" through to the subsonic bleeps, murderous bass and clanging rhythms of "Physical Fraction" and "Sunstroke", Early Worx shows that even in the early days, Trentemoller was a star in the making.

Trentemøller - Early Worx WEB  (ogg 284mb)

01 The Forest 5:45
02 Moan (Trentemøller Dub Remix) 7:22
03 Physical Fraction 7:01
04 Kink 6:49
05 Polar Shift 8:27
06 Beta Boy 7:11
07 Gush 5:59
08 Rykketid 5:11
09 Nam Nam 5:40
10 Always Something Better (Trentemøller Remix) 7:59
11 Vamp (Vinyl Edit) 5:11
12 Chameleon 7:57
13 Prana 6:33
14 African People 6:43
15 Killer Kat 7:06
16 Sun Stroke 8:23
17 Miss You (Trentemøller Remix) 7:33

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Having first built up his considerable reputation through singles and remixes over the years and topping that off with his well-received The Last Resort album, Trentemøller took a retrospective look at things with the two-disc Trentemøller Chronicles, split between his own mix of various individual releases, including some new songs and a wide number of remixes. Given that some fans felt The Last Resort suffered from a familiar problem in techno -- less of the inventive edge of a good mix in the moment, extended explorations that went on a bit too long -- this collection serves as a good contrast of the man at his stellar best. On the first disc, new tracks include "Klodsmajor," with a brief piano loop first used and then chopped up a bit around a slowly mutating, tense glitch rhythm, a good live version of the frenetic/serene "Snowflake" and the beautiful "Blood in the Streets," a chilled, quietly majestic number that suggests the soundtrack-ready scope of In the Nursery. The one remix that appears on the first disc, of Klovner's "McKlaren," is a fine addition, with a breathtaking moment where he takes out almost everything but an increasingly higher-pitched synth note before easing back into the heavily echoed pulse of the song.

Trentemøller - The Trentemøller Chronicles  (flac  417mb)

01 The Forest 5:59
02 Klodsmajor 3:10
03 McKlaren by Klovn (Trentemøller Remix) 5:18
04 Snowflake (Live Version) 7:45
05 Blood In The Streets 6:26
06 Moan (Voc Ane Trolle)(Trentemøller Remix) 8:15
07 Kink 5:58
08 Gush 5:26
09 Physical Fraction 5:48
10 Killer Kat 5:28
11 Rykketid 4:38
12 Always Something Better (Voc Richard Davis) (Trentemøller Remix) 7:51
Bonus Track
13 Moan (Voc Ane Trolle) (Trentemøller Remix Radio Edit) 3:32

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With his early work being club-aimed music that was still musically rich enough for headphone listening, Danish producer Trentemøller came on like a composition student with a dark streak, plus a love of progressive house music and techno. His debut album, 2006's The Last Resort, was a deep, dark, and delicious overabundance of bass and reverb, thumping away like Berlin or Detroit techno but then layering melodies that touched upon pop, all while the producer side of the artist dropped every glitchy trick in the book. It would seem like he was showing off if those plentiful edits and layers-upon-layers didn't work, but when he went indie pop and soundtrack-esque on 2010's The Great White Yonder, the results varied. The album jumped from indie song to house-music-all-night-long with a Duane Eddy-styled guitar rave-up in the middle, and while this third effort does essentially the same thing (the rave-up now replaced with a twangy, dusty, "Personal Jesus"-type cut called "Trails"), Lost is where all the pieces fall into place. Blame the superior songwriting or the natural flow of the compositions as the indie group Low join for "The Dream," a song that's wistful and ruminates about life on the level of a beloved Pink Floyd deep track."Gravity," with Jana Hunter, suggests the soaring My Bloody Valentine anchored by the tick-tock of Kraftwerk, although the swaying melody and the swollen melancholy are entirely Trentemøller. "Candy Tongue," with Marie Fisker, is a gentle mix of electro and acoustic that plays to the producer's love of wonder and mystery, while both "Come Undone" with Kazu Makino and "Deceive" with Sune Rose Wagner border on house music for Goths, even if they come with a refinement the electro-industrial crowd rarely offers. As on his previous effort, the instrumental numbers cross over from clubland with the great "Still on Fire" thumping its majestic New Order-like bass, while "Morphine" flirts with drone and world music on a cut that feels like a dangerous journey to buy the drug, but "Hazed" and the hidden coda that complete that album bring reminders of The Last Resort's endless, echoing nightscape. It's an ironic title for an album that's so sure, and even if his early fans frown as their dancing shoes collect dust, complaining about what doesn't happen on Lost seems silly when compared to the wonderful and intoxicating things that actually do.

Trentemøller - Lost  (flac  416mb)

01 The Dream 6:52
02 Gravity ( Voc Jana Hunter) 5:49
03 Still On Fire 5:27
04 Candy Tongue 4:36
05 Trails 7:12
06 Never Stop Running (Voc Jonny Pierce) 3:38
07 River Of Life (Voc Sara Savery,Tobias Wilner) 4:54
08 Morphine 6:13
09 Come Undone (Voc Kazu Makino) 4:33
10 Deceive (Voc Sune Rose Wagner) 4:44
11 Constantinople 3:49
12 Hazed 13:24

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Trentemøller - Lost Reworks (flac 361mb)

01 River Of Life (Trentemøller Remix) 5:27
02 Come Undone (Toydrum Remix) 5:16
03 Candy Tongue (Jenny Wilson Version) 5:31
04 Come Undone (Trentemøller Remix) 3:49
05 Deceive (Trentemøller’s Lost & Found Remix) 5:16
06 River Of Life (T.O.M. And His Computer Remix) 5:21
07 Deceive (Unkwon Remix) 4:30
08 Gravity (Pinkunoizu Remix) 7:58
09 Deceive (Trentemøller’s Club Mix) 8:03
10 Come Undone (Toydrum Instrumental Remix) 5:16

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RhoDeo 1514 Grooves

Hello,

Today.a singer, guitarist, songwriter and producer, truly one of the greats, a pioneer in funk and socially aware R&B. He received the Grammy Lifetime Achievement Award in 1995. Inducted into Rock And Roll Hall of Fame in 1999 (Performer). Inducted into Songwriters Hall of Fame in 2000. Here to,,,,,N'joy

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Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Super Fly" are merely the most famous of his many hit records.

 But Curtis Mayfield wasn't just a singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.

Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."

Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.

Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Super Fly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.

At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Super Fly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Super Fly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."

Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no substitute for the man himself, these tributes served as an indication of the enormous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57.


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The choice of Curtis Mayfield to score the blaxploitation film Super Fly was an inspired one. No other artist in popular music knew so well, and expressed through his music so naturally, the shades of gray inherent in contemporary inner-city life. His debut solo album, 1970's Curtis, had shown in vivid colors that the '60s optimist (author of the civil-rights anthems "Keep On Pushing" and "People Get Ready") had added a layer of subtlety to his material; appearing on the same LP as the positive and issue-oriented "Move On Up" was an apocalyptic piece of brimstone funk titled "(Don't Worry) If There's a Hell Below, We're All Going to Go." For Super Fly, Mayfield wisely avoids celebrating the wheeling-and-dealing themes present in the movie, or exploiting them, instead using each song to focus on a different aspect of what he saw as a plague on America's streets. He also steers away from explicit moralizing; through his songs, Mayfield simply tells it like it is (for the characters in the film as in real life), with any lessons learned the result of his vibrant storytelling and knack of getting inside the heads of the characters. "Freddie's Dead," one of the album's signature pieces, tells the story of one of the film's main casualties, a good-hearted yet weak-willed man caught up in the life of a pusher, and devastatingly portrays the indifference of those who witness or hear about it. "Pusherman" masterfully uses the metaphor of drug dealer as businessman, with the drug game, by extension, just another way to make a living in a tough situation, while the title track equates hustling with gambling ("The game he plays he plays for keeps/hustlin' times and ghetto streets/tryin' ta get over"). Ironically, the sound of Super Fly positively overwhelmed its lyrical finesse. A melange of deep, dark grooves, trademarked wah-wah guitar, and stinging brass, Super Fly ignited an entire genre of music, the blaxploitation soundtrack, and influenced everyone from soul singers to television-music composers for decades to come. It stands as one of the most vivid touchstones of '70s pop music.

Curtis Mayfield - Super Fly Deluxe 25th Anniversary Ed.1+2  (flac  455mb)

101 Little Child Runnin' Wild 5:27
102 Pusherman 5:06
103 Freddie's Dead 5:29
104 Junkie Chase (Instrumental) 1:41
105 Give Me Your Love (Love Song) 4:20
106 Eddie You Should Know Better 2:21
107 No Thing On Me (Cocaine Song) 4:58
108 Think (Instrumental) 3:49
109 Superfly 4:00
Bonus
110 Freddie's Dead (Theme From "Superfly") (Single Mix) 3:21
111 Superfly (Single Mix) 3:08

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201 Ghetto Child (Demo Version Of "Little Child Runnin' Wild") 3:19
202 Pusherman (Alternate Mix) 6:11
203 Freddie's Dead (Instrumental Version) 4:48
204 Junkie Chase (Instrumental) (Full-Length Version) 4:18
205 No Thing On Me (Cocaine Song) (Instrumental Version) 4:37
206 Militant March 0:55
207 Eddie You Should Know Better (Instrumental Version) 2:17
208 Radio Spot #1 0:28
209 The Underground 3:14
210 Check Out Your Mind (Instrumental Version) 4:06
211 Radio Spot #2 0:28
212 Curtis Mayfield (On "Superfly" Film & Songwriting) 7:03


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Back to the World, the first album Curtis Mayfield recorded and released after hitting number one with the intense inner-city vignette Superfly, returned him to a steady balance of optimism for the future and direct social commentary regarding the problems of his people. The lead single, "Future Shock," was inspired by Alvin Toffler's 1970 book of the same name, which warned readers that industrial society was changing so radically that environmental and social problems could be endemic for decades. The track tapped into the same grooves and brass heard on Superfly (perhaps overly so), but said more about the world around ("We got to stop all men, from messing up the land/When won't we understand, this is our last and only chance?"). The title track was very upbeat and positive, as were the refreshing "If I Were Only a Child Again" and "Future Song (Love a Good Woman, Love a Good Man)." With no hit singles to even approach the Superfly sales, though the songs were up to Mayfield's usual high standards, there were many similarities (musically and thematically) to material from each of his proper solo albums.

Curtis Mayfield - Back to the World (flac 194mb)

01 Back To The World 6:47
02 Future Shock 5:17
03 Right On For The Darkness 7:28
04 Future Song (Love A Good Woman, Love A Good Man) 5:00
05 If I Were Only A Child Again 2:52
06 Can’t Say Nothin’ 5:13
07 Keep On Trippin’ 3:16

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Curtis Mayfield hit a stride during the '70s that was unparalleled among R&B/soul performers from an album standpoint. He was writing, producing, arranging, and performing on great album after great album, then distributing them on his own label as well. This one included the big hit "Kung Fu," plus the title song, and once more perfectly blended rigorous message tracks and steamy love songs.

Curtis Mayfield - Sweet Exorcist (flac 146mb)

01 Ain't Got Time 5:10
02 Sweet Exorcist 3:50
03 To Be Invisible 4:12
04 Power To The People 3:26
05 Kung Fu 6:02
06 Suffer 4:06
07 Make Me Believe In You 5:32


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RhoDeo 1514 Re-Ups 10

Hello, well  requests are still taken and please add a name

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

More new updates here

Yes there's even a Goldy Rhox Paco back up


Sundaze with Craig Armstrong, Ullrich Strauss(2x), Blue Room (now in Flac )

2x Ulrich Schnauss now in flac


3 x Zion Train  back in flac


3x Two Lone Swordsman  back in flac



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RhoDeo 1514 Goldy Rhox 204

Hello, today the 204th post of GoldyRhox, classic pop rock in the darklight are a multiple Grammy Award–winning American Chicano rock band from East Los Angeles, California. Their music is influenced by rock and roll, Tex-Mex, country, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. They gained international stardom in 1987 when their cover version of Ritchie Valens' La Bamba topped the charts in the US, the UK and in several other countries.

Vocalist/guitarist David Hidalgo and drummer Louie Pérez met at Garfield High School in East Los Angeles, California, and bonded over their mutual affinity for obscure musical acts such as Fairport Convention, Randy Newman and Ry Cooder. The two borrowed reel-to-reel recorders from a friend and created multi-track recordings of music spanning from parody songs to free-form jazz.[2] They later enlisted fellow students Cesar Rosas and Conrad Lozano to complete the group's lineup in 1973.Their first album called Del Este De Los Angeles was recorded at two studios in Hollywood in 1977 over a period of about four months.

The band members were unsatisfied with playing only American Top 40 songs, and began experimenting with the traditional Mexican music they listened to as children. This style of music received a positive reaction from audiences, leading the band to switch genres, performing at hundreds of weddings and dances between 1974 and 1980. In 1983, the band released an extended play entitled ...And a Time to Dance, which was well received by critics but only sold about 50,000 copies. However, the sales of the EP earned the group enough money to purchase a Dodge van, enabling the band to tour throughout the United States for the first time. The band returned to the studio in the summer of 1984 to record its first major label album, How Will the Wolf Survive? in 1984.

In 1987, they released a second album entitled By the Light of the Moon. In the same year, they recorded some Ritchie Valens covers for the soundtrack to the film La Bamba, including the title track which became a number one single for the band. In 1988 they followed with another album, titled La Pistola y El Corazón featuring original and traditional Mexican songs. In the late 1980s and early 1990s the band toured extensively throughout the world, opening for such acts as Bob Dylan, U2 and the Grateful Dead.

The band returned with The Neighborhood in 1990, and the today's mystery album  (produced by Mitchell Froom) in 1992. In 1995, the band released the prestigious and bestselling record Papa's Dream on Music for Little People Records along with veteran guitarist and singer Lalo Guerrero. The band also scored the film Desperado. The album track "Mariachi Suite" won a Grammy Award for Best Pop Instrumental Performance, and stands as their last Grammy Award to date (the other two Grammy Awards were in the category of Best Mexican-American Performance in 1983 and 1989 for the song Anselma and the album La Pistola y El Corazon).


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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 ninth album by our mystery group and was released May 26, 1992. Itt was with this album that they really demonstrated the breadth of their sonic ambitions. Produced in collaboration with Mitchell Froom, today's mystery album exchanged the more straightforward approach of the group's previous sessions for a uniquely textured sound, with the group's guitars thrown into sharp relief against Froom's collection of vintage tape-loop keyboards, and the arrangements are often unusually spare, most powerfully in the ghostly spaciousness of "the Lavender Moon" and "Wake Up Delores." Even the more full-bodied cuts, such as the rollicking "That Train Don't Stop Here" and the hard-rocking "Whiskey Trail," boast a different personality than in the band's previous work, with the guitars clean but cutting like a switchblade and the drums snapping hard, and the more contemplative selections drip with a mysterious, otherworldly ambience that's matched by the impressionistic imagery of David Hidalgo and Louie Pérez's superb songs. At its best, today's mystery album sounds like the musical equivalent of a Luis Buñuel dream sequence, balancing beauty and menace with intelligence and a skill that's little short of dazzling; it's a brilliant, singular achievement, and the most rewarding album in the group's catalog. Here to get, it's 14 MFSL remaster..N'Joy


Goldy Rhox 204   (flac 313mb)

Goldy Rhox 204    (ogg 121mb)


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RhoDEo 1514 Aetix

Hello,

Today in the spotlight, a band often cited as the first band to define the punk rock sound. Because of achieving only limited commercial success the music press loved them, hence they became a major influence on the 1970s punk movement in both the United States and United Kingdom. All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were related. They said they were too tough to die..yeah well we know better now the 'whimps' are all dead. They left us with plenty to  N'Joy

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The original members of the band met in and around the middle-class neighborhood of Forest Hills in the New York City borough of Queens. John Cummings and Thomas Erdelyi had both been in a high-school garage band from 1966 to 1967. They became friends with Douglas Colvin, who had recently moved to the area from Germany. The Ramones began taking shape in early 1974, when Cummings and Colvin invited Hyman to join them in a band. The initial lineup featured Colvin on lead vocals and rhythm guitar, Cummings on lead guitar, and Hyman on drums. Colvin, who soon switched from rhythm guitar to bass, was the first to adopt the name "Ramone", calling himself Dee Dee Ramone. He convinced the other members to take on the name and came up with the idea of calling the band the Ramones. Hyman and Cummings became Joey Ramone and Johnny Ramone, respectively.

Johnny's former bandmate Erdelyi was set to become their manager. Soon after the band was formed, Dee Dee realized that he could not sing and play his bass guitar simultaneously, thus Joey became the band's new lead singer. Dee Dee would continue, however, to count off each song's tempo with his signature rapid-fire shout of "1-2-3-4!" Joey soon similarly realized that he could not sing and play drums simultaneously and left the position of the drummer. While auditioning prospective replacements, Erdelyi would often take to the drums and demonstrate how to play the songs. It became apparent that he was able to perform the group's music better than anyone else, and he joined the band as Tommy Ramone.

Around this time, a new music scene was emerging in New York centered around two clubs in downtown Manhattan—Max's Kansas city and, more famously, CBGB (usually referred to as CBGB's). The Ramones made their CBGB debut on August 16 74. The band swiftly became regulars at the club, playing there seventy-four times by the end of the year. After garnering considerable attention for their performances—which averaged about seventeen minutes from beginning to end—the group was signed to a recording contract in late 1975 by Seymour Stein of Sire Records. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as "punk".

The Ramones recorded their debut album, Ramones, in February 1976. While the songwriting credits were shared by the entire band, Dee Dee was the primary writer. Ramones was co-produced by Tommy and Craig Leon on an extremely low budget of about $6,400 and released in April. Ramones was not a commercial success, reaching only number 111 on the Billboard album chart. The two singles released from the album, "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend", failed to chart. At the band's first major performance outside of New York, approximately ten people showed up. It wasn't until they made a brief tour of England that they began to see the fruits of their labor; a performance at The Roundhouse in London on July 4, 1976 was a resounding success.

Their next two albums, Leave Home and Rocket to Russia, were released in 1977. Both were coproduced by Tommy and Tony Bongiovi. Leave Home met with even less chart success than Ramones. Rocket to Russia was the band's highest-charting album to date, reaching number 49 on the Billboard 200. The Ramones recorded It's Alive, a live concert double album, at the Rainbow Theatre, London, which was released in April 1979.

Tommy, tired of touring, left the band in early 1978. He continued as the Ramones' record producer under his birth name of Erdelyi. His position as drummer was filled by Marc Bell, He became Marky Ramone. Later that year, the band released their fourth studio album, Road to Ruin. The album, co-produced by Tommy with Ed Stasium, included some new sounds such as acoustic guitar, several ballads, and the band's first two recorded songs longer than three minutes. It failed to reach the Billboard Top 100.

After the band's movie debut in Roger Corman's Rock 'n' Roll High School (1979), renowned producer Phil Spector became interested in the Ramones and produced their 1980 album End of the Century. Though it was to be the highest-charting album in the band's history—reaching number 44 in the United States and number 14 in Great Britain—Johnny made clear that he favored the band's more aggressive punk material. Pleasant Dreams, the band's sixth album, was released in 1981. It continued the trend established by End of the Century, diluting the rawer punk sound showcased on the band's initial three albums. Slick production was again featured, this time provided by Graham Gouldman (10cc). Another futile attempt to get airplay on American radio. Subterranean Jungle, produced by Ritchie Cordell and Glen Kolotkin, was released in 1983. The album peaked at number 83 in the United States, it would be the last album by the band to crack the Billboard Top 100.

One would expect the band to collapse and in a sense it did several drummers went and came (back) by 1989 founder member Dee Dee left the band after the recording of their tenth studio album, Brain Drain, co-produced by Beauvoir, Rey, and Bill Laswell.He was replaced by Christopher Joseph Ward (C.J. Ramone), who performed with the band until they disbanded.

After more than a decade and a half at Sire Records, the Ramones moved to a new label, Radioactive Records. Their first album for the label was 1992's Mondo Bizarro, which reunited them with producer Ed Stasium. Acid Eaters, consisting entirely of cover songs, came out the following year. In 1995, the Ramones released ¡Adios Amigos!, their fourteenth studio album, and announced that they planned to disband if it was not successful. Its sales were unremarkable, garnering it just two weeks on the lower end of the Billboard chart. The band spent late 1995 on what was promoted as a farewell tour. However, they accepted an offer to appear in the sixth Lollapalooza festival, which toured around the United States during the following summer. After the Lollapalooza tour's conclusion, the Ramones played their final show on August 6, 1996, at the Palace in Hollywood. A recording of the concert was later released on video and CD as We're Outta Here !

Joey, who had been diagnosed with lymphoma in 1995, died of the illness on April 15, 2001, in New York. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, which specifically named Dee Dee, Johnny, Joey, Tommy, and Marky. The ceremony was one of Dee Dee's last public appearances; on June 5, 2002, two months later, he was found at his Hollywood home, dead from a heroin overdose. End of the Century: The Story of the Ramones, a Ramones documentary, came out in 2004. Johnny, who had been privately battling prostate cancer, died on September 15, 2004, in Los Angeles, shortly after the film's release. Remaining are the Ramones who played drums over the years, Tommy, Marky, Richie and Elvis, meanwhile Tommy (Tom Erdelyi, born January 29, 1952, died July 11th, 2014).

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End of the Century didn't make the Ramones into the stars they so wanted to be, so they hooked up with another '60s icon, Graham Gouldman, for its follow-up, Pleasant Dreams. Oddly, Gouldman directs the band away from their bubblegum, British Invasion, and surf fetishes toward acid rock and heavy metal. They still manage to squeak out a couple of irresistibly catchy songs, but the production is too clean to qualify as punk, and the music itself has lost sight of the infectious qualities that made their earlier records such fun. Yet those flaws seem endearing compared to the metallic meanderings of their late-'80s records.

Ramones - Pleasant Dreams  (flac 253mb)

01 We Want The Airwaves 3:22
02 All's Quiet On The Eastern Front 2:14
03 The KKK Took My Baby Away 2:32
04 Don't Go 2:48
05 You Sound Like You're Sick 2:42
06 It's Not My Place (In The 9 To 5 World) 3:24
07 She's A Sensation 3:29
08 7-11 3:38
09 You Didn't Mean Anything To Me 3:00
10 Come On Now 2:33
11 This Business Is Killing Me 2:41
12 Sitting In My Room 2:30

Ramones - Pleasant Dreams  (ogg 96mb)

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Tentatively returning toward punk, or at least new wave, the Ramones turned in their most enjoyable record since Rocket to Russia with Subterranean Jungle. Producers Ritchie Cordell and Glen Kolotkin were the heads of the edgy power pop and punk label Bomp!, so they steered the Ramones back toward the '60s pop infatuation that provided the foundation for their early records. It's a strategy that pays off well -- for the most part, the group's originals are so punchy and catchy that they make the pair of covers superfluous. Comprised of a set of unabashedly hook-laden songs and driven by more subtle rhythms, Subterranean Jungle may not be a punk record in the strictest sense of the word, yet the Ramones haven't sounded quite as alive in a long, long while.

Ramones - Subterranean Jungle  (flac 223mb)

01 Little Bit O' Soul 2:43
02 I Need Your Love 3:08
03 Outsider 2:10
04 What'd Ya Do? 2:23
05 Highest Trails Above 2:09
06 Somebody Like Me 2:32
07 Psycho Therapy 2:35
08 Time Has Come Today 4:24
09 My-My Kind Of A Girl 3:31
10 In The Park 2:36
11 Time Bomb 2:08
12 Everytime I Eat Vegetables It Makes Me Think Of You 3:12

 Ramones - Subterranean Jungle  (ogg 83mb)

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With the Ramones' original drummer, Tommy Erdelyi, producing, the group returns to simple, scathing punk rock on Too Tough to Die. The group takes the big guitar riffs of Subterranean Jungle and makes them shorter and heavier. the Ramones' rhythms are back up to jackhammer speed and the songs are down to short, terse statements. The results read like a reaction to hardcore punk, but the Ramones are more melodic than any hardcore band, as well as smarter than most. Apart from the occasional foray into pop, such as the surprisingly effective Dave Stewart-produced "Howling at the Moon," the album is a sterling set of lethal punk, the best the Ramones had made since the end of the '70s. It was also the last great record they would ever make.

Ramones - Too Tough to Die (flac 253mb)

01 Mama's Boy 2:11
02 I'm Not Afraid Of Life 3:13
03 Too Tough To Die 2:37
04 Durango 95 0:55
05 Wart Hog 1:54
06 Danger Zone 2:08
07 Chasing The Night 4:27
08 Howling At The Moon (Sha-La-La) 4:07
09 Daytime Dilemma (Dangers Of Love)4:32
10 Planet Earth 1988 2:54
11 Humankind 2:42
12 Endless Vacation 1:49
13 No Go 3:08

Ramones - Too Tough to Die (ogg 93mb)

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