RhoDeo 1330 Aetix

Hello, as we continue the females in the eighties todays band was seen as US's idea of new wave. From an European perpective looking at the pics in the Valley booklet Go Go's look like a bunch of soccer moms ( even though back then this term was unknown) having a bash. Punk it aint but then the US is a continent away with a totally different social make up, not forgetting the religious madness and the deeply engrained money rules belief. Creativity, altruism and knowledge are less valued. Well it's about the music here and the Go Go's did make a splash on the US music scene, most of which is here to
  ......N'Joy

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The Go-Go's were the most popular all-female band to emerge from the punk/new wave explosion of the late '70s and early '80s, becoming one of the first commercially successful female groups that wasn't controlled by male producers or managers. While their hit singles -- "We Got the Beat," "Our Lips Are Sealed," "Vacation," "Head Over Heels" -- were bright, energetic new wave pop, the group was an integral part of the Californian punk scene. And they did play punk rock, even if many of their rougher edges were ironed out by the time they recorded their first album, 1981's Beauty and the Beat. Even as they became America's darlings, The Go-Go's lived the wild life of rockers, swallowing as many pills and taking as much cocaine as possible, trashing hotel rooms, and just generally being bad. More importantly, their earliest music -- now collected on Return to the Valley of the Go-Go's -- was raw and rocking; it may not have directly inspired the female alternative rockers and riot grrrls of the '90s, but it certainly foreshadowed it.

Originally formed in 1978 as the Misfits, the group featured Belinda Carlisle (vocals), Jane Wiedlin (guitar, vocals), Charlotte Caffey (lead guitar, keyboards), Margot Olaverra (bass), and Elissa Bello (drums). The band soon changed its name to The Go-Go's and began playing local parties and small clubs in California. In 1979, Gina Schock became the group's drummer. During that year, the band recorded a demo and supported the British ska revival group Madness in both Los Angeles and England. The Go-Go's spent half of 1980 touring England, earning a sizable following and releasing "We Got the Beat" on Stiff Records. An import copy of "We Got the Beat" became an underground club hit in the U.S., which meant the band was popular enough to sell out concerts, yet they had a difficult time landing a record contract.

At the end of 1980, bassist Olaverra became ill and had to stop performing; she was replaced by Kathy Valentine, a guitarist who had never played bass before. Early in 1981, The Go-Go's signed with IRS Records. Released in the summer of 1981, their debut album, Beauty and the Beat, became one of the surprise hits of the year, staying at number one for six weeks and selling over two million copies; "Our Lips Are Sealed" hit number 20 and a re-recorded version of "We Got the Beat" spent three weeks at number two.

The following year, the group released Vacation. Although it sold well -- the album made the Top Ten and it went gold, spawning the Top Ten hit single "Vacation" -- it failed to keep the momentum of the first record. During the next year the band was unable to perform as Caffey recovered from a broken wrist. In 1984, The Go-Go's returned with Talk Show, their most musically ambitious album. While it had two Top 40 hits -- the number 11 "Head Over Heels" and "Turn to You" -- it failed to even go gold. By the end of the year, Wiedlin had left the band, and The Go-Go's broke up in May of 1985.

Belinda Carlisle became the most successful solo artist to emerge from the group, scoring a string of mainstream pop singles in the late '80s, including the number one single "Heaven Is a Place on Earth." For a while, Charlotte Caffey was in Carlisle's backing group; she eventually formed the Graces, who released Perfect View in 1990. Jane Wiedlin recorded two solo albums and acted in a few films. Wiedlin also organized the group's brief 1990 reunion, where they performed at a benefit for People for the Ethical Treatment of Animals; they also recorded a version of "Cool Jerk" for their 1990 Greatest Hits album. The Go-Go's reunited once more in 1994, recording three new songs for the double-disc compilation Return of the Valley of the Go-Go's.

After recording new material, the group decided to continue as a full-time unit. In 2000, they appeared on VH1's Behind the Music series and released an accompanying best-of album, VH1 Behind the Music: Go-Go's Collection. God Bless the Go-Go's, the band's first studio album comprised entirely of new material, followed in 2001.

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It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits -- Blondie had been reaching the Top Ten for two years running -- but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop -- girl group harmonies, to be sure, but surf-rock echoes throughout -- but filtering it through the nervy energy of punk. With the assistance of Rob Freeman, producer Richard Gottehrer -- a veteran of the Strangeloves (“I Want Candy”) who also wrote the girl group standard “My Boyfriend’s Back” -- sanded down the band’s rougher edges, keeping the emphasis on the hooks and harmonies but giving the Go-Go’s enough kick and jangle that at times the group resembles nothing less than early R.E.M., particularly on “How Much More” and “Tonite.” But this isn’t Murmur; there is nothing murky about Beauty and the Beat at all -- this is infectiously cheerful pop, so hooky it’s sometimes easy to overlook how well-written these tunes are, but it’s the sturdiness of the songs that makes Beauty and the Beat a new wave classic.

Go-Go's - Beauty and the Beat  (flac 264mb)

01 Our Lips Are Sealed 2:45
02 How Much More 3:03
03 Tonite 3:33
04 Lust To Love 4:00
05 This Town 3:15
06 We Got The Beat 2:36
07 Fading Fast 3:32
08 Automatic 2:34
09 You Can't Walk In Your Sleep (If You Can't Sleep) 3:00
10 Skidmarks On My Heart 3:13
11 Can't Stop The World 3:22

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For their third album, the Go-Go's abandoned all pretense of being punk, or even new wave, and went for an unabashed mainstream pop masterpiece. They nearly achieved their goal with Talk Show, an album filled with great pop songs but undermined by its own ambition. Talk Show has a sharper sound than its predecessors, with bigger guitars and drums, which helps drive home the accomplished pop hooks of "Turn to You," "I'm the Only One," and "Yes or No." However, the record is cluttered with half-realized songs and an overly detailed production which occasionally prevents the songs from reaching their full potential. But when the production and song are teamed well, the results are incredible, such as the surging "Head Over Heels," another classic single. Unfortunately, those moments don't arrive frequently enough to make Talk Show the new wave classic that it wants to be.

Go-Go's - Talk Show  (flac 276mb)

01 Head Over Heels 3:38
02 Turn To You 3:48
03 You Thought 4:12
04 Beneath The Blue Sky 3:00
05 Forget That Day 4:25
06 I'm The Only One 3:29
07 Yes Or No 4:04
08 Capture The Light 3:15
09 I'm With You 3:37
10 Mercenary 3:40

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Of all the various best-ofs and compilations that have come out over time that cover the Go-Go's career, this one is the clearest winner, by a long shot. Though by default it doesn't tell the full story, appearing as it did in 1994, in terms of containing both the famous hits and a slew of rarities and unreleased tracks, Return to the Valley of the Go-Go's is equally valuable for both neophytes and hardcore fans. The first 11 tracks alone make for an entertaining peek into the band's earliest days, with a slew of live cuts from both early rehearsals and gigs, including a number of songs taped at the legendary SF punk venue the Mabuhay Gardens. Everything's rough, energetic, and merry fun -- while it's no surprise why some compositions remained unheard in later years, it's still worth hearing how the group pureed everything from straight-up punk to spaghetti Western guitar and girl group right from the start. A real treat is a romp through "Johnny, Are You Queer?" which would later get a more famous (and much more sedate!) take by Josie Cotton. Plenty of rare B-sides from the group's commercially dominant days surface here and there, and as for the big hits, they're available a-plenty: "We Got the Beat," "Vacation," "Our Lips Are Sealed," "Head Over Heels," "Turn to You," and more. Choice album cuts include "Skidmarks on My Heart" and "This Town." Closing things out is an acoustic live take on "Mercenary" from the band's 1990 reunion and three wholly new songs from 1994, including the enjoyable "The Whole World Lost Its Head." Topping things off is a great booklet featuring a hilarious collection of photos and ephemera from early days on, with plenty of amusing comments from the bandmembers, along with an enjoyable history of the group and reflections from all five on their favorite songs.

Go-Go's - Return To the Valley of the Go-Go's (flac 345mb)

01 Living At The Canterbury/Party Pose 4:31
02 Screaming 2:10
03 Johnny Are You Queer? 2:07
04 Fun With Ropes 2:13
05 Fashion Seekers-Intro / Fashion Seekers 3:08
06 Blades 2:35
07 He's So Strange 4:12
08 London Boys 2:40
09 Let's Have A Party 1:32
10 Beatnik Beach 2:44
11 (Remember) Walking In The Sand 3:07
12 Lust To Love 3:28
13 How Much More 3:00
14 Cool Jerk 2:32
15 We Got The Beat (Single Mix) 2:43
16 Skidmarks On My Heart 3:06
17 This Town 3:18
18 Our Lips Are Sealed 2:46

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Go-Go's - Return To the Valley of the Go-Go's 2 (flac 387mb)

01 Surfing And Spying 1:57
02 Vacation 2:59
03 Speeding 2:08
04 Get Up And Go 3:17
05 It's Everything But Party Time 3:21
06 Beneath The Blue Sky 3:04
07 Good For Gone 2:56
08 Head Over Heels 3:37
09 Turn To You 3:51
10 Yes Or No (Single Mix) 3:36
11 I'm With You 3:37
12 We Don't Get Along 2:42
13 Can't Stop The World3:24
14 I'm The Only One 3:26
15 Mercenary (Acoustic) 4:34
16 Good Girl 3:37
17 Beautiful 4:00
18 The Whole World Lost Its Head 2:57

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RhoDeo 1330 Roots

Hello, we still find ourselves in an environment that gave rise to the worlds monotheistic religions be it on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes.

Today a lady from Mali, who unlike most of her female peers got to see some of the world in her youth, elite background yes but she used her status to give a voice to the plight of women in her country.  A strong woman not afraid to go against the local grain, a smart woman as well as she managed to rise above the Malinese dust and make a name for herself in the west, by hard work and finding the right support, she's made 5 albums the past 15 years 3 of which you'll find here .....N'joy

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Rokia Traoré (born January 26, 1974) is a Victoires de la Musique award-winning Malian singer, songwriter and guitarist. Born in Mali as a member of the Bambara ethnic group, her father was a diplomat and she travelled widely in her youth. She visited such countries as Algeria, Saudi Arabia, France and Belgium and was exposed to a wide variety of influences. Her hometown of Kolokani is in the northwestern part of Mali's Koulikoro region.

While the Bamana have a tradition of griot performing at weddings, members of the nobility, such as Rokia, are discouraged from performing as musicians. Rokia attended lycée in Mali while her father was stationed in Brussels and started performing publicly as a university student in Bamako. Unusually for a female musician in Africa, Rokia plays acoustic guitar as well as sings, and she uses vocal harmonies in her arrangements which are rare in Malian music. In 1997, she linked with Mali musician Ali Farka Touré which raised her profile. She won an Radio France Internationale prize as "African Discovery" of 1997, an honor previously won by Mali's Habib Koité in 1993. As well as guitar she plays ngoni (lute) and balafon.

Her first album Mouneïssa (Label Bleu), released in late 1997 in Mali and September 1, 1998 in Europe, was acclaimed for its fresh treatment and unqualifiable combinations of several Malian music traditions such as her use of the ngoni and the balafon. It sold over 40,000 copies in Europe. Traore's musical style, however, has little in common with the griottes. Unlike their signature wailing sound, her voice is smooth and gentle, and her arrangements, while somewhat minimalist, make use of both traditional instruments like the balafon, n'goni, and kora, as well as acoustic guitar and electric bass. That sound is evident on her debut release, Mouneissa, from 1998, but most evident on her 2000 release, Wanita. For Wanita, Traore wrote and arranged the entire album, seizing the controls from a male engineer who believed that a young girl was incapable of handling the production of an album. The result shows a deeply personal and individual style which reflects both innovation and tradition. On July 11, 2000, her second album Wanita was released. The album was widely acclaimed with The New York Times nominating it as one of its critics' albums of the year.

She followed the set with Bowmboï in 2003, for Nonesuch which was co-produced by Judith Sherman and Thomas Weill; she handled all the band's arrangements, it has two tracks recorded with the Kronos Quartet but still sung in the Bamana language, and was awarded the prestigious BBC Radio 3 World Music Award.  She followed the set with Bowmboï in 2003, for Nonesuch which was co-produced by Judith Sherman and Thomas Weill; she handled all the band's arrangements. As of 2005, she has been nominated three times for this award. She played at WOMAD in 2004 and completed her first tour of North America in the same year.

In 2005 she performed at the "Africa Live" festival, held in Dakar (Senegal) on 12 and 13 March 2005, where several great names of African music were present, including: Malians Ali Farka Touré, Salif Keïta, Oumou Sangaré, Tinariwen, Tiken Jah Fakoly of Côte d'Ivoire, Cameronian Manu Dibango, Algerian Khaled, Senegalese Didier Awadi, Baaba Maal and Youssou N'Dour, and the French rapper Joey Starr. These concerts were dedicated to the fight against malaria in Africa.

In 2005 she also performed at the Youssou N'dour and Friends concert in Geneva, which was also a supporting gala against malaria, with Peter Gabriel, Amadou and Mariam, Gilberto Gil, Tiken Jah Fakoly and Neneh Cherry. In December 2006 Peter Sellars' New Crowned Hope festival, which is part of the City of Vienna's celebrations commemorating Wolfgang Amadeus Mozart's birthday 250 years ago, saw the world premiere of Wati, a performance by Rokia Traoré and the Klangforum Wien.

On May 6, 2008, her album, "Tchamantché", was released. Rokia was the winner of the Best Artist category in the inaugural Songlines Music Awards (2009) - announced May 1, 2009 - the new 'world music' awards organised by the UK-based magazine, Songlines.

She collaborated with Nobel Prize–winning novelist Toni Morrison and director Peter Sellars on the theatre piece Desdemona, where she wrote the music for, bringing an African dimension to the story of Shakespeare’s tragic heroine. The piece premiered in Vienna in the summer of 2011 and received its New York premiere at Lincoln Center that fall; its UK premiere was at the Barbican in London in the summer of 2012. The Guardian called it “a remarkable, challenging and bravely original new work.” It was the experience of acting in Desdemona, she says, that led her to create the Damou (Dream) project, performed in London last year, in which she showed her skills as a storyteller, as well as a singer, with her version of stories from The Epic of Soundiata, dealing with events leading to the birth of Africa’s legendary ruler.

In September 2012, she will be featured in a campaign called "30 Songs / 30 Days" to support Half the Sky: Turning Oppression into Opportunity for Women Worldwide, a multi-platform media project inspired by Nicholas Kristof and Sheryl WuDunn’s book. Produced by John Parish (PJ Harvey) in April of 2013., her latest album "Beautiful Africa" was released. She also performed at Glastonbury Festival last month.


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Wanita is a mild quantum leap from Traoré's debut, Mouneïssa. The style she cultivated on her debut -- a glorious mix of the singer/songwriter with the rootsy, acoustic instruments of her native Mali -- is refined here, and she approaches everything with more confidence. She's very much a rarity in African terms, a female singer/songwriter, and one whose lyrics are very progressive, dealing with the rights of women in a patriarchal society. But she's representative of a new generation that has brought forth a lot of professional women, for whom she's become a figurehead. She lauds hard work, her people, and the freedom to love. Her own acoustic guitar work might be relatively simple, but the arrangements of her band fill out the sound wonderfully, especially the large, xylophone-like balafon and the n'goni, a kind of lute. By keeping this very Malian, Traoré ensures her music remains quite authentic, and speaks to her own people, rather than any sellout to Western values. At the same time, it's very appealing and rich on its own terms, her lulling voice a far cry from the stridency of many Malian female Wassoulou singers, something Western ears can accept quite readily -- a kind of African Joni Mitchell, but with a more acute social conscience. Hers is a talent that's beginning to find full bloom with this record, fulfilling the promise of her earlier disc, and proving that the ground she broke before is a very fertile furrow indeed. Wanita establishes her at the head of a genre, not merely by virtue of doing it first, but by the sheer talent as a writer and singer which she brings to it.

Rokia Traoré - Wanita (flac  348mb)

01 Kanan Neni 6:14
02 Mouso Niyalén 5:16
03 Souba 5:31
04 Yèrè Uolo 4:12
05 N'Gotolén 5:14
06 Wanita 5:35
07 Château De Sable 5:37
08 Yaafa N'Ma 5:58
09 Sako Bê Kê 2:58
10 Mancipera 5:27
11 Tchwa 5:50

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For her third outing, Rokia Traore refines the work on her first two discs. In other words, she's a Malian singer/songwriter, aware of her country's roots, but hardly bound by them. She's not a griotte, and she's not following in the Wassoulou footsteps of, say, Oumou Sangare. With a gentle, lulling voice and acoustic instrumentation she tells her tales. Even on the faster material, such as "Mariama," where she duets with Ousame Sacko, there's a mildness -- although it covers some steel. The true surprises here are the pair of cuts where she works with the Kronos Quartet, making for a combination that works far more effectively than anyone might expect. "Manian," for example, is string-heavy, but still utterly natural, and quite ineffably West African. Traore has become an accomplished writer, one whose reflective words and melodies seep into the brain and stay there. With this she's turned the corner to major international stardom.

Rokia Traoré - Bowmboi (flac 353mb)

01 M'Bifo 6:14
02 Sara 5:54
03 Kôté Don 5:43
04 Mariama 5:36
05 Manian 6:04
06 Déli 6:00
07 Niènafing 3:38
08 Kèlè Mandi 4:11
09 Kanou 6:52
10 Bowmboï 9:57

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Malian singer, songwriter, and guitarist Rokia Traoré is no stranger to European audiences. Her three previous offerings and her numerous tours and high-level showcases -- at WOMAD and Africa Live, and as part of Youssou N'Dour & Friends in Geneva, to name a few -- have garnered her a large and devoted fan base. Her music is not so well known in the United States, but with the release of Tchamantché on Tama/Nonesuch, this should change. Traoré has always been a tradition breaker.

On Tchamantché, Traoré goes a step further: most Malian vocalists of the feminine gender tend to sing stridently, in over the top voices about elements of pride and heritage. She does neither. Her voice is intimate and almost understated, and her songs are filled with the plight of Africans who struggle for the most basic of human amenities: clean water, food, clothing, and shelter. Her politics are not rooted in rage, but in compassion. But even this isn't enough for Traoré. She has fashioned a new sound from the tenets of Malian folk forms with her unique blend of guitars (electric and acoustic), n'gouni, classical harp, and kora, all layered in staggered rhythms with snares, a full drum kit, and percussion instruments. This is beautifully evident on the album's fifth cut, "Kounandi," the taut weave of instruments above the rhythms creating an intoxicating tapestry of root sounds that somehow transcend their basic tonalities and become something new. This is followed with the gorgeous "Koronoko," where these instruments, along with a popping bassline and staggered web of harmony vocals, act as another layer of instruments and tonalities. But then, there isn't a weak moment on Tchamantché. Its lyrics (all translated into English for Amerikanskis) -- full of pain, celebration, spirituality, steely pointed notions of justice, and critique -- are only underscored by this heady, complex mix of stylistic forms and styles that has become a sound unique to Rokia Traoré.

Rokia Traoré - Tchamantché   (flac  257mb)

01 Dounia 6:20
02 Dianfa 4:33
03 Zen 4:35
04 Aimer 4:13
05 Kounandi 5:24
06 Koronoko 4:33
07 Tounka 3:10
08 Tchamantché 4:15
09 A Ou Ni Sou 3:55

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RhoDeo 1330 Lexxxxx 3

Hello,  Hamilton won his first grandprix for Mercedes today, apart from a couple of nifty overtakes he cruised to victory, behind him the competion had a much tougher afternoon with advancing and defending in the end Lotus, Raikonen managed with a pits stop less whilst Vettel's car had slight wing damage and Kers/heat problems which meant that he got stuck behind Button for 12 laps by which time Hamilton was out of sight, 3rd this time    still extending his lead to no 2 for the championship. Looking forward to the Spa race after the summerbreak.

German women once more European soccer champions with a 50% B team, i saw some of the games or part of it and what i noticed was poor ball control , plenty of running and a general lack of cool. The women stress each other out to no end, its like the men's game in the final 10 minutes when one team has to score. Remarkably little goals in the tournament, Germany scored just 5 times in 6 games, there's a long way to go for women's soccer.

Summertime, something special to keep you cool, 4 weeks of the lead in movies of what must be some of the craziest, campy and creepy Sci-Fi, death everywhere, you won't see Hollywood dare something like this, seriously it's great fun. Hailed as "the most imaginative Sci-Fi since The Hitchhiker's Guide to the Galaxy" (New York Daily News), Lexx follows the nomadic existence of four misfit characters who have inadvertently stolen the most powerful weapon of destruction ever made: a Manhattan-sized, genetically-modified insect-ship. Filled with eccentric stowaways, outrageous planets and more, a must-see mix of laughs and sci-fi action. Today Rutger Haur joins the action  ... NJoy

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The Lexx is a rather fantastic organic space warship using technology derived from the Insect Wars. Lexx is `the most destructive force in the two known universes'. The excellent TV series runs to three seasons and beyond, although in many respects the spin-off TV series never quite re-captures the startlingly stark and surreal world shown in the original `films'. These films are now on offer here numbered 1.1 to 1.4. To some extent the films have an `ending' .

Lexx presents a dystopia created by the insect wars of the Light Universe that carried on for millennia until the human race destroyed the insects. Under the totalitarian rule of His Shadow (Walter Borden), all humans are assigned a place in the Universe. Difficulties are ironed out through reassignment, banishment, or death. Xev, an enormously fat and homely woman raised to be a wife, is sent for reassignment by her rejecting adolescent husband. She is to be molecularly transformed into a love slave, but rebels against His Shadow break in. Just as she is put into the reassignment machine, a Cluster lizard falls in as well, imbuing the suddenly beautiful and hypersexed Xev with a lizard’s personality and physical agility. A domestic robot model 790 (the voice of Jeffrey Hirshfield)—or rather, just his head—gets the full love slave treatment and falls deeply and exclusively in love with Xev.

Stanley is a pretty disgusting human being, a menial in a red jumpsuit and pillbox cap who basically only wants to get laid. By misadventure, he ends up getting from the rebels the key to The Lexx, a powerful insect/machine created by His Shadow to blow up troublesome planets. Because the key is biologically coded to Stanley’s DNA, he is the only person who can command The Lexx.

Kai, last of the Brunnen-G, resisters who were destroyed by His Shadow’s forces, was killed 2,000 years before and enlisted into the Cluster’s army of assassins. He is kept animated by protoblood and is awakened from cryostasis to retrieve The Lexx. The entire first season is devoted to uncovering the plots underlying the insect wars, the shifting alliances that put Kai in league with Stanley, Xev, and 790, and lead them to destroy the Light Universe and travel into the even more dreaded Dark Universe.

"Lexx" is SF that is funny, sexy and deranged. It has a different type of humour and is far funnier than "Red Dwarf". "Lexx" is a Canadian-German (Series 1-3) and Canadian-UK (Series 4) co-production, so stands in contrast to te usual formulised Hollywood product. In fact life is cheap throughout the whole series, deaths run in the billions but thats mostly background, yet many of the characters crossing the path of our crew don't live to tell the tale. Great art work and graphics.

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Lexx and the crew are running out of food resources. Out of energy, the Lexx is forced to land on a planet to replenish its energy supply. Zev and Stan bury the apparently dead Kai,  but quickly become separated and under go a series of individual adventures , they discover the lost outpost is seemingly occupied by cannabalistic lunatics led by a manic Rutger Hauer.


Lexx 1-3-Eating Pattern 1 (rar 350mb)

Lexx 1-3-Eating Pattern 2 (rar 322mb)


Lexx 103 - Eating Pattern 86:41 Featuring

Brian Downey - Stanley H. Tweedle
Eva Habermann - Zev Bellringer
Michael McManus - Kai
Jeffrey Hirschfield - Robothead 790 (voice)
Rutger Hauer - Bog

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previously

Lexx 1-1-I Worship His Shadow- 1 (rar-1 350mb)
Lexx 1-1-I Worship His Shadow- 2 (rar-2 331mb)

Lexx 1-2-Super Nova 1 (rar-1 350mb)
Lexx 1-2-Super Nova 2 (rar-2 297mb)


Lexx @ Wiki

Lexx complete 19 disc set @ Amazon.uk

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Sundaze 1330

Hello, as we finally got some rain and the odd rumble of thunder in the distance temps finally dropped somewhat alas midweek it will be back into the thirties. Moan Today it was reported that Barnaby Jack, an (in)famous hacker was found dead, was scheduled to be one of the star guests at the Black Hat hacking convention in Las Vegas next week. In a presentation called Hacking Humans, he was planning to highlight the shortcomings of commonly used pacemaker machines by demonstrating how he could hack into them and kill the heart patient from 50ft away with a deadly power surge triggered by a wireless transmitter. Anyway its safe to say he underestimated the life is cheap attitude of the corporations and it's goons CIA & FBI latter certainly didn't want to forgo on this quiet murder tool. Im certain some CEO's and ex presidents who have a pacemaker installed have yet another problem on top of the fact that NSA knows everything about them...

Todays artist is a member of the US electronic scene and Ten and Tracer seems to fit in as the perfect equivalent of UK acts like Boards of Canada and Plaid.  Living in the mountains of Longmont Colorado, JON CANUPP has been creating a pleasant mix of uplifting sounds, gentle melodies and crystal clear rhythms all combined with hidden and touching structures. Go figure they legalized marihuana there as well   ...N'Joy

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Ten and Tracer is Jonathan Canupp. He was born in Boulder, Colorado a while ago. Some rappers say they were born with a microphone in their hand; Jonathan was born with a Macbook, Vaio, Roland JP-8000, Roland JX-10, Electrix FX units, Roland MKS-100, Yamaha FB-01, Violin, Flute, Cello, Minidisk recorder, several vintage reel-to-reels (Sony, Grundig), several cassette and micro-cassette recorders, Reaktor, Max/Msp, Ableton Live, FL Studio, and Adobe Audition in his hand(s). He has many hands. However his main influence is all things visual usually. The scenery in Colorado provides a lot of influence. Weather affects his sound too.

Since the year 2000, Jonathan Canupp has been producing music under the moniker Ten and Tracer.  In that time, he has released a great diversity of music, both as a solo artist and collaboratively.  Throughout these many releases, he has received high praise from a similarly diverse group, from Taylor Deupree to Magda, Troy Pierce and Richie Hawtin.

Ten and Tracer has released on many labels, including U-Cover, Bitlab, Archipel, Zymogen, 8bitpeoples, and others. He has supported and headlined with such acts as Thomas Fehlman, Proem, Lusine, Kangding Ray, Sawako, Terminal 11 and CDatakill.

His most recent shows in 2007 have earned him a growing reputation in Colorado. He has also played shows in Belgium, France, Germany and Holland. Ten and Tracer once had a Wikipedia article about him, but he encouraged people to vandalize it (idiot!) and now it has been removed. Ten and Tracer has more than one-thousand friends @ NSA facebook.

In 2010, he received a degree in Biology and Religious Studies – two profoundly influential topics, most evident in his ambient book/music releases Tsotsitaal and Cold Finishes the Monk.  After graduating college, he went to work on the LEGO Universe video game, making sound effects and music – all of which received the highest accolades and perfect scores in virtually every review.

Now, 2012 sees the complete convergence of these many influences and experiences with the refinement of his talents – ind a number of albums and EPs on the way.  If you don’t know Ten and Tracer, it’s time to get to know him, friend.

Jonathan Canupp
"Basically I make music to compliment the scenery of Colorado. Keylemon Reports is perfect for driving down the countryside here. My latest stuff is a lot warmer sounding since it's summer, so it's more of a 'drive down the beach in a convertible' kind of record. All of it is basically for chilling out though. Making people think."

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An Hour Brighter has all the trademark sounds of Boards Of Canada - spooky soundscapes, echoing voices, downtempo beats, and short interludes. The whole album is filled with diferente kinds of Moods, most of the musics are melancholic, while other are more like celebrating a good event, other tracks are more deep , there is a constant presence of extended melodic waves throughout each song, reminding you of similar flow of boards of canada, but this time it is colder, cooler, never achieving rampant melancholy or often overdone warmth of boc. yet another ever-present property is continuous percussion, with steady heavy rhythmic feel, without any of the fuzziness or crackling, splintery feel so common in this genre. combined with elegant melodies, it might remind you of more rhythmic side of arovane. 'An hour brighter' contains 60 minutes exactly divided into 22 emotional tracks full of melodic layers and subtle IDM rhythms that immediately find a place in your mind and heart.

Ten And Tracer - An Hour Brighter (230mb)

01 On Your Marks 5:12
02 Wizard Start 1:36
03 Cine Fil 6:31
04 Aurora Reflect 4:16
05 Next Sun 0:52
06 Yellows Home 3:21
07 Lions 2:01
08 No Magic Martin 4:29
09 This Is Mixed Medium 0:45
10 Ever Go Rolling 4:41
11 Deep Sky Objects 0:33
12 Signal Red Volunteers 4:27
13 Ven Mirror 0:49
14 Fifth Lake And Screams 4:23
15 Balloon Go 1:25
16 Next Wind 1:33
17 Funshine 3:01
18 1987A 1:14
19 Circle Alaska Missed 0:55
20 Glow Days 4:00
21 Falls 2:32
22 We Can Ride 1:11

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Filled with melancholic and dark tunes, most of the musics will make you feel surrounded by ghosts, while others will relax you and provide you a melancholic feeling. This albums seems to be a constant revelation of uncovered secret events and mysteries. "Companion" is a unique jewelry within its genre . It may still initiate the (usual?) Boards of Canada frequencies, however, it should be noted that T&T also captures life-changing memories rolled into a sphere of sampled soundscapes and unusually attractive melodies. The opening “Get Set” and “With Water from Hawaii” reveal the intricate atmospheres of found-sound textures while “Harold’s Quiet Adventure” and “Creature Called Fire” manifest hollow beat-structures and rhythmic flows. Tracks such as “Very Same Paradox” and “One By Four By Nine” are cropped pieces of audio oddities layered with subtle vocal elements and splashes of psychedelic ambience. It’s a formula that Ten And Tracer has kept true to form, without breaking new territory -he encapsulates his sound and grows within it.

By far, one of the highlights on Companion is the emotionally warped chant of “A Strange World For Milo and Tock;” this piece disassociates itself from the others by combining a more detailed percussive loop enriched with a haunted analog rumble. “Growing Aqua” also delivers a rhythmic punch and propelling beat-work, but it simply ends too quickly to digest in one take. As is the trend lately, three remixes are also attached –the rendering experimental flux of Ontayso’s 10-minute audio journey with Helios and Kettel providing interpretations of emotively charged soundtrack ambiences closing.

Ten And Tracer - Companion (253mb)

01 Get Set 1:36
02 Dragon Simply Speaking 4:20
03 The Rivers Are Furious 3:29
04 Imaginary Scales 0:44
05 A Strange World For Milo And Tock 4:14
06 Creature Called Fire 6:01
07 One By Four By Nine 1:06
08 Growing Aqua 3:04
09 Very Same Paradox 0:58
10 Harold's Quiet Adventure 4:48
11 Salem P. 2:02
12 Spin Me Good Morning 4:06
13 With Water From Hawaii 2:29
14 Ten Minutes Of Shade (Ontayso Remix) 10:15
15 Invisible Scales (Helios Remix) 5:35
16 The Rivers Are Furious (Kettel Remix) 6:09

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Telecine Bus / Redix Reports, compiles previously issued (in this case already issued vinyl-only tracks) and unreleased material. Specifically, the opening six tracks originally appeared on the Keylemon Reports  twelve-inch, while others come from vinyl releases (An Hour Brighter, Bubble Plus Bus) that other labels planned to issue but didn't for one reason or another. Though some if it extends as far back as 2002, the material sounds as fresh as the day it was born, with Canupp digging deep into a downtempo tip for settings both dreamy (“Two Medicine”) and funky (“Cine Fil (Third Edit)”). At times, a darker vibe seeps into a given song (“Signal Red Volunteers (Version Two),” for example) but generally the Ten And Tracer sound remains breezy and free of portent, as the light-footed outro “Free Agent” indicates. The stylistic similarities between Ten And Tracer and Boards of Canada are again clearly evident in certain songs (“Redix Winter” and “Ledix Winter” could easily have snuck onto Geogaddi  without anyone batting an eye).

This is a collection of Ten And Tracer's past vinyl tracks:
-Tracks 1-6 originally from the 2001 Keylemon Reports 12".
-Tracks 7-10 originally from a planned vinyl release of An Hour Brighter though Inc.us, which was scrapped and went unreleased.
-Tracks 11, 12 originally from the 2003 Redix Winter 7".
-Tracks 13, 14 originally from a planned vinyl split called Bubble Plus Bus through Neo Ouija, which was scrapped and went unreleased.

Ten And Tracer - Telecine Bus Redix Reports (276mb)

01 Hoxton For You 4:48
02 Understanding Waves 3:10
03 Moraine Park 5:18
04 Two Medicine 4:16
05 Kemia Devine 4:05
06 Keylemon Reports 5:06
07 Cine Fil (Third Edit) 4:11
08 Next Moon 1:11
09 No Magic Martin (Even I Know That) 4:37
10 Signal Red Volunteers (Version Two) 5:54
11 Redix Winter 4:47
12 Ledix Winter 4:11
13 Bus Plus Bubble 4:58
14 Free Agent 4:22

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RhoDeo 1329 Beats

Hello, as hi-summer continues around me with a regular heatwave and rain only an image on tv where storm and thunder dumped a months worth in a few hours, around here not a drop, the accumelated heat keeps on radiating. As a deluded traindriver tried some hi speed action around the bend, which would likely have succeeded if not for the fact he was towing much lighter carriages that torqued and simply flew out of the bend killing 78 passengers. Most of us have seen the images and the carnage that followed thanks to cctv, flesh is weak in more ways than one. Meanwhile hundreds have died since the crash in car wrecks around the world but we don't take note of that, somehow collective deaths shock us much more.

Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, at Beats we've checked out Berlin as it is such a cosmopolitan city where creativity /art is highly regarded. As Berliners face the hottest day of the year today 38 C we say goodbye to them, not that we posted everything here, we've been to Berlin Beats before think Basic Channel and Rhythm & Sound for instance but for now we wave goodbye with a trio of compilations ....... N'joy

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Further background and music of Modeselektor @ Beats 1323 and these past weeks you'll find a bio on Ellen Allien

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The Modeselektor duo had made enough of an impact to be asked to compile the third disc in Bpitch Control’s excellent Boogy Bytes series Techno has had a renaissance these last few years, as has been abundantly stated by myself and others, and Germany is ground zero. So it’s good to see that while the intellectually stimulating minimal house will always be well represented, there’s room for something a bit rowdier as well.

And let there be no doubt, this is an extremely fun disc. I can definitely admire the assiduousness with which Modeselektor have designed their mix with the goal of having a good time. There’s not a lot in the way of overarching thematic content, but the disc is never dumb. There’s a lot of smart music here—they finish the set with a Radiohead track, for goodness’ sake (“Ideotheque”)—but it’s not presented simply for the sake of being smart. What we have instead is a great party mix put together by folks with discerning tastes, in such a way as manages to neither insult the listener’s intelligence nor float over their heads when they’re just trying to have a good time. I mean, “Ideotheque” is actually a pretty crunk track. I’m serious! The duo have chosen some of the tightest tracks ranging from experimental hip hop to techno, dubstep, and IDM. All of which flow so perfectly together. Bronsert & Szary's creativity with their track selection and mixing skills shine to a whole new level here.

VA - Modeselektor - Boogybytes vol3 ( flac 380mb)

01 Panacea - Intro 0:40
02 Siriusmo - W.O.W. 3:03
03 The Detroit Experiment - Vernors 1:56
04 Flying Lotus - 1983 1:37
05 Spank Rock - Rick Rubin 2:04
06 Paul Kalkbrenner - Gia2000 (Modeselektor Gia2007 Remix) 0:50
07 James Holden - Idiot 4:51
08 Bobby Peru - Erotic Discourse (Audiojack Remix) 2:40
09 C'hantal - The Realm (Accapella) 1:03
10 Nathan Fake - Charlie's House (Apparat Rmx) 3:09
11 Errorsmith - Free For All 2:31
 b  Robag Wruhme - Papp-tonikk
 c  Female - Cally 2
 d  Krause Duo - Tigerbett
12 Skream - Midnight Request Line 2:57
 b  Angelo Battilani - Empty
13 Rhythm & Sound w/ Bobbo Shanti - Poor People Must Work (Carl Craig Remix) 3:53
14 Burial - Southern Comfort 1:45
15 Jean Jacques Perrey* & Luke Vibert - Moog Acid (Plastician Mix) 3:23
 b  Philippe Cam - Karine
16 Various - Lost 2:56
17 Modeselektor - Fill In #1 0:15
18 Siriusmo - Minirock 2:34
19 Modeselektor Feat. Teki Latex - Fill In #2 0:37
20 TTC Feat. Modeselektor - Une Bande De Mecs Sympas 3:50
21 Clatterbox - Collision Detection 0:45
22 Mr. Oizo - Half A Scissor 2:16
23 Marcel Dettmann - Let's Do It 2:31
  b Errorsmith - Untitled
24 µ-Ziq - µ-Ziq Theme 2:49
25 Phon.O - Ridin' Dirty 1:16
26 Radiohead - Idioteque 5:45
27 Modeselektor - Outro 3:18

VA - Modeselektor - Boogybytes vol3 (ogg 163mb)

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Ellen Allien tapped Kiki, Sascha Funke, and Modeselektor to contribute the first three volumes of her label's Boogybytes series. For its fourth, she takes the reins. In the context of her other mixes released since 2001's Flieg Mit Ellen Allien, Boogybytes, Vol. 4 is lacking in range-y playfulness, opting instead to operate within a rather inhibited set of parameters within the field of subdued, if moderately jittery, minimal techno (or what is termed minimal techno in 2008). With a couple exceptions, the tracks fit together neatly, if to a fault; apart from the first two tracks (including Vera's pinging "In the Nook," a truly minimal track worthy of the Sähkö label or Sleeparchive) and the finale (Little Dragon's quietly stunning "Twice"), any given drop-in point could be mistaken for any other point in the set, meaning that there's not much of an arc, or even any "up" or "down" moments relative to one another. It could be an ideal companion for brain-dead early-morning drives home, or it might provide pleasant, unintrusive accompaniment for office work. If you're looking for a mix within a similar realm that is more stimulating and varied, either Jennifer Cardini's Feeling Strange or Wighnomy Brothers' Metawuffmischfelge -- both of which were released around the same time -- will do.

VA - Ellen Allien - Boogy Bytes Vol. 04 ( flac 451mb)

01 Agf - Liniendicke 2:58
02 Vera - In The Nook 6:12
03 Ricardo Villalobos & Patrick Ense - Fizpatrick 4:47
04 Melon - Nitzi (In My Mind, So Fine) 4:09
05 Andres Zacco* & Lucas Mari - Carbonela (Seph's Vidrionela Remix) 4:44
06 Konpiùta - Christmas Fairytale (Moessap Edit) 3:42
07 Sozadams - Eyes Forlon 3:55
08 Richard Seeley -  Juicy Vermin 3:15
09 Lucio Aquilina - Magic M 4:10
10 Melchior Productions - Don Juan 6:20
11 Friendly People - Music Is Improper (Damien Schwartz Remix) 5:50
12 Sascha Funke - Double Checked 4:08
13 Gaiser - Withdrawal 4:11
14 Kassem Mosse - A1 2:38
15 Little Dragon - Twice 5:13

VA - Ellen Allien - Boogy Bytes Vol. 04  (ogg 183mb)

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A big part of Modeselektor's appeal, and what's set them apart from their Berlin techno and international bass music peers over the years, has been their sense of humor and play. Their records have come stamped with a frazzled cartoon monkey logo or bearing a fugly Photoshop of the duo as Madonna and child. That playfulness extends beyond the gags, into their eclectic, enthusiastic taste as selectors and producers, but it's tempered by a serious-minded approach to sound design and even the occasional moment of emotional weight. It's been an animated balancing act on their two full-length studio albums and DJ mixes, but it's one they don't quite maintain on Modeselektion Vol 01.

The compilation, curated for Modeselektor's own Monkeytown Records, is meant to be a calling card for the duo's recently expanding role as event organizers, and it comes across as coolly businesslike-- despite the rainbow monkey face. The duo told Resident Advisor that "the main concern in all of this was the idea of defying genres and the usual beef between different camps, i.e., to create without borders and be completely freestyle." But Modeselektion is probably the most narrowly focused thing they've released this side of the melancholic Apparat collaboration Moderat, sticking to the territory between German techno and UK bass with little in the way of diversion. But at 18 tracks and nearly 80 minutes, it's also a decent survey of those scenes, presenting unreleased tracks from important and rising artists, and displaying Modeselektor's consistently keen ear for quality, low-end-friendly sounds.

Modeselektor - Modeselektion Vol.01 ( flac 503mb)

01 Siriusmo - Das Geheimnis 2:50
02 Sbtrkt - The Unspoken 4:41
03 Feadz - The Assistant Manager 4:11
04 Tadd Mullinix & Daniel Meteo - The Good Star 3:11
05 Robag Wruhme - Bierholer 3:27
06 2562 - The Wind-Up 4:36
07 eLan - Pussy Posse 2:43
08 Cosmin TRG - Space Station Love Affair 5:07
09 Shed - With Bag And Baggage 5:25
10 Apparat - King Of Clubs 4:48
11 Marcel Dettmann - Lyrate 4:06
12 Ikonika & Optimum - Hum 4:58
13 Modeselektor - VW Jetta 4:52
14 Ramadanman - Pitter 5:02
15 Digital Mystikz (Mala) - Explorer 5:25
16 Bok Bok - Say Stupid Things 5:15
17 Housemeister - Kristall 3:30
18 Cylob - Pepper Spray (Capsicum Edits) 4:50
 
Modeselektor - Modeselektion Vol.01 (ogg 191mb)

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RhoDeo 1329 Goldy Rhox

Oops completely forgot to post it must have been the heat..

Hello, today the 118th post of GoldyRhox, classic pop rock,  in the darklight an American rock band consisting of core members Donald Fagen and Walter Becker. The band's popularity peaked in the late 1970s, with the release of seven albums blending elements of jazz, rock, funk, R&B, and pop. Rolling Stone has called them "the perfect musical antiheroes for the Seventies.". The band's music is characterized by complex jazz-influenced structures and harmonies played by Becker and Fagen along with a revolving cast of rock and pop studio musicians. Their"cerebral, wry and eccentric lyrics, often filled with sharp sarcasm, touch upon such themes as drugs, love affairs, and crime. The pair is well known for their near-obsessive perfectionism in the recording studio.


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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 third studio album from the group, and was released on February 20, 1974, by ABC Records. The album marked the beginning of Becker and Fagen's roles as the group's principal members. They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but only used them for occasional overdubs. They recorded the album at The Village Recorder in West Los Angeles with producer Gary Katz and prominent Los Angeles-based studio musicians. It was reissued in 2000 to retrospective acclaim from critics, 7 years prior to that it had past the Platinum mark. The album's music is characterized by harmonics, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

The album cover features a photograph of a New York pretzel seller, taken by the well-known photographer of music and Hollywood celebrities Raeanne Rubenstein. The location is the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate". In 2003, Rolling Stone ranked today's mystery album number 385 on their list of the 500 greatest albums of all time., it was named the album of the year by NME magazine.



Goldy Rhox 118  (flac 211mb) re-up feb 14

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Goldy Rhox 118   (ogg 81mb)

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RhoDeo 1329 Aetix

Hello, as the world reverts from the arrival of a future king born on the hottest day of the year 13 a day that ended in spectacular thunderstorms and downpoors. Some have seen it as a bad omen, the date 22/7 represents the infinite number Pi , should add to the mystery. Normally he'll have a fifty/sixty year wait ahead, but then daddy's work can be dangerous....

Today's band combined the chiming riffs and catchy melodies of British Invasion guitar pop with a hint of the energy of new wave. In the process, they became one of the handful of all-female bands of the '80s to win both critical and commercial success. The critical success came first -- with their self-titled debut EP and full-length album, All Over the Place -- and popular success arrived once they polished their sound, added some synthesizers, and deviated slightly from their trademark jangling guitar hooks.  ......N'Joy

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Susanna Hoffs joined sisters Vicki and Debbi Peterson to form a band in Los Angeles in December 1980. The trio briefly called themselves The Colours, then renamed themselves The Supersonic Bangs, and shortly afterwards The Bangs. The band was part of the Los Angeles Paisley Underground scene, which featured groups that played a mixture of 1960s-influenced folk rock and jangle pop with a more modern punk–ish/garage band undertone. In 1981, the threesome recorded and released a single ("Getting Out Of Hand" b/w "Call on Me") on DownKiddie Records (their own label). The trio was signed to Faulty Products, a label formed by Miles Copeland.

In 1982, Susanna Hoffs asked long-time friend Patrick Hirtz to manage the band, which he did until his departure in 1986 to pursue a career in the culinary arts. They had to change their name early the following year to The Bangles, since there was already a New York-based group called The Bangs. After an appearance on a Rodney on the ROQ compilation and a series of local concerts, Miles Copeland signed The Bangles to the IRS subsidiary Faulty Products and landed them an opening spot for The English Beat. That summer, The Bangles released a self-titled EP on Faulty Products.

 In early 1983, The Bangles signed with CBS Records and Zilinskas left the band to join Blood on the Saddle. She was replaced by bassist/vocalist Michael Steele, a former member of the proto-punk hard rock group The Runaways. The group released its first full-length album, All Over the Place, in the summer of 1984. While it didn't feature any charting singles, the record managed to climb to number 80 on the American charts, a feat that owed equally to college radio, MTV, and strong reviews. In particular, a cover of Katrina & the Waves' "Goin' Down to Liverpool" and the original "Hero Takes a Fall" received heavy airplay on college stations across the country.

The Bangles released their second album, Different Light, during the spring of 1986. It was preceded by the colorful, neo-psychedelic single "Manic Monday," which was written by Prince under the pseudonym Christopher. "Manic Monday" became a number two hit in both America and Britain, sending Different Light into the Top Five as well. A cover of Jules Shear's "If She Knew What She Wants" was a relative commercial disappointment, stalling at number 29 on the U.S. charts, but the third single from Different Light, "Walk Like an Egyptian," was another major hit, spending four weeks at number one in America. It also peaked at number three in Britain. After The Bangles completed a summer tour, Hoffs starred in the movie The Allnighter, which was directed by her mother, Tamara. The film was released during the summer of 1987 and bombed at the box office, putting a fast stop to Hoffs' potential acting career. Meanwhile, "Walking Down Your Street," the final single pulled from Different Light, was released in early 1987 and peaked at number 11.



 Later that year, The Bangles recorded a hard-rocking version of Paul Simon's "Hazy Shade of Winter" for the Less Than Zero soundtrack. The single peaked at number two in early 1988, and the band's third album, Everything, was released that fall. Everything was a slicker affair than either of band's previous records, but it didn't perform quite as well as Different Light. "In Your Room," the album's lead single, made it to number five, and the ballad "Eternal Flame" became the group's second number one single in early 1989. Even so, the record ran out of steam shortly after the release of its third single, "Be with You," which never made it past number 30. After a brief summer tour, the group disbanded and Hoffs began a solo career with 1991's When You're a Boy. The album never made it past number 83, though, and the single "My Side of the Bed" stalled at number 30. While in the midst of recording her second album, Hoffs was dropped from Columbia's roster.

Meanwhile, Vicki Peterson toured as a member of the Go-Go's (replacing the pregnant Charlotte Caffey from 1994 to 1995) and joined the Continental Drifters alongside future sister-in-law Susan Cowsill. Debbi Peterson teamed up with Siobhan Maher to form the duo Kindred Spirit, and Steele played in several short-lived bands after failing to land a solo deal. In 1998, the bandmembers began to drift back together, teaming up for the first time in nearly a decade to record a song for the second Austin Powers film. A tour followed in 2000. For the next two years, the reunited Bangles worked on Doll Revolution, which appeared in 2003 and marked Steele's final performance with the band. She left in early 2004, reportedly frustrated with the band's inability to tour a sufficient amount behind the album. The Bangles continued playing in her absence, with hired gun Abby Travis handling bass duties during the group's smattering of tour dates.

August 2007 saw the release of their first official live DVD, Return to Bangleonia – Live in Concert. In 2008, the band toured the US with dates in Las Vegas, Louisiana, Austin, Glasgow, and Ojai. Further dates included shows in Germany, the Netherlands, and at the popular Cornbury Festival in Oxfordshire, England.

During the decade's second half, Hoffs recorded a pair of cover albums with Matthew Sweet. Both albums were produced by Sweet himself, and when it came time to find a producer for The Bangles' fifth record, Hoffs didn't have far to look. The result, Sweetheart of the Sun, was released in September 2011. They are touring in support of it, with dates on the East Coast, Midwest, and West Coast.


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While the Bangles would later embrace a radio-friendly pop production style (and enjoy attendant commercial success) that separated them from their early peers, they were the only figures from the L.A. paisley underground scene who would go on to become genuine multi-platinum rock stars, and while their first full-length album, 1984's All Over the Place, showed that some of their rough edges were already being buffed away, of their major-label output it's the record that most openly embraces the folk-rock and garage rock influences that fueled their earliest music. Vicki Peterson's lead guitar and the band's stellar harmonies are the vehicles that drive these 11 songs, and if producer David Kahne was already pushing the group in a more commercially ambitious direction, there's no disguising the psychedelic guitar figures on "Dover Beach" or the Byrds-meets-Raiders jangle of "Tell Me," and the choice of the Merry-Go-Round's "Live" as a cover is especially telling. All Over the Place is also the Bangles' most unified full-length album; Susanna Hoffs hadn't yet been singled out as the star of the show, and the round-robin lead vocals, stellar harmonies, and tight, concise arrangements make them sound like a real-deal rock band, and the set's gentle but insistent sway from British Invasion-styled rock and West Coast pop feels natural, unforced, and effective. And when drummer Debbie Peterson and bassist Michael Steele feel like rocking out, the Bangles generate a lot more heat than they're usually given credit for.

Bangles - All Over The Place  (flac 216mb)

01 Hero Takes A Fall 2:54
02 Live 2:36
03 James 2:34
04 All About You 2:26
05 Dover Beach 3:47
06 Tell Me 2:14
07 Restless 2:42
08 Going Down To Liverpool 3:42
09 He's Got A Secret 2:42
10 Silent Treatment 2:07
11 More Than Meets The Eye 3:20

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The Bangles' first album, All Over the Place, may have earned them a smattering of radio and MTV airplay, but it's clear that with Different Light they were aiming for much higher stakes, especially when Prince -- who was reportedly infatuated with Susanna Hoffs -- offered to write a song for them. "Manic Monday"'s baroque, keyboard-dominated sound was a far cry from anything The Bangles had recorded before, and while Hoffs' breathy voice and her bandmates' fine harmonies fit the song like a glove, it also sent the group down a path that led them away from the '60s-influenced pop/rock that was their strongest suit, and though Vicki Peterson does get to show off her guitar work on a few songs here, the differences between Different Light and All Over the Place are telling. The drum machines that dominate "Walk Like an Egyptian" and "Walking Down Your Street" rob the performances of the organic feel of this group's best music. Different Light turned The Bangles into bona fide pop stars, but it also transformed a spunky and distinctive band into a vehicle for a hit-seeking music industry.

Bangles - Different Light  (flac 304mb)

01 Manic Monday 3:05
02 In A Different Light 2:50
03 Walking Down Your Street 3:03
04 Walk Like An Egyptian 3:24
05 Standing In The Hallway 2:55
06 Return Post 4:22
07 If She Knew What She Wants 3:49
08 Let It Go 2:30
09 September Gurls 2:44
10 Angels Don't Fall In Love 3:23
11 Following 3:19
12 Not Like You 3:07
+ bonus track
13 Manic Monday (extended version) (4:39)

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Released in 1985, Different Light elevated the Bangles to pop stardom, but at a price. 1988's Everything was more of the same, but success seems to have emboldened the Bangles just a bit  the album's approach seems less inclined to smother the group's identity, and the West Coast garage and folk-rock accents of their earlier work come back into the picture, albeit in muted form. A number of outside songwriters were brought in to work up material for Everything, but each of them collaborated with at least one member of the group, and while it's anyone's guess how Vinnie Vincent was tapped for this project, the songs suit the group better than, say, "Complicated Girl," "Be with You," and "Some Dreams Come True" are fine songs and strong performances if you can look past the studio gingerbread, and while Susanna Hoffs was positioned front and center on the album's two singles, "Eternal Flame" and "In Your Room," they at least suited her vocal style and the latter is an irresistibly hooky rocker. "Glitter Years" is a fun and high-kicking salute by Michael Steele to her days in the Runaways, and if the Bangles had to have another guitarist imposed upon them, David Lindley was a far better match than most. In many respects, Everything at the very least allowed the Bangles a shade more freedom and autonomy than Different Light, and of the two it's easily the better album.

Bangles - Everything (flac 387mb)

01 In Your Room 3:27
02 Complicated Girl 3:37
03 Bell Jar 3:20
04 Something To Believe In 4:01
05 Eternal Flame 3:55
06 Be With You 3:01
07 Glitter Years 3:39
08 I'll Set You Free 4:26
09 Watching The Sky 4:11
10 Some Dreams Come True 3:26
11 Make A Play For Her Now 3:45
12 Waiting For You 3:36
13 Crash And Burn 2:36
+ bonus track 14 In Your Room (12" remix) (5:13)

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Bangles are traditional ornaments worn mostly by South Asian women in India, Pakistan and Bangladesh. It is a made from sea shell, copper, bronze, gold, agate, chalcedony etc, Bangles have been excavated from multiple archaeological sites throughout India. A figurine of a dancing girl wearing bangles on her left arm has been excavated from Mohenjo-daro (2600 BC).

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RhoDeo1329 Roots

Hello, today the British anxiety for the the new royal baby was deflated, as Prince Pi (22/7) was born in a natural way at 4.24 pm, so with all the birthing stress most babies go through, those demented Royal subjects can go back to their crib now.

We still find ourselves in an environment that gave rise to the worlds monotheistic religions be it on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes.  For the coming weeks your place at the campfire is available  

The spiritual ambiance, the purity and innocence and soulfulness of this music is something that speaks volume about peace and, ultimately, the love of music and the joy in its creation. The artistry you'll find on this collection is masterful, driving, rudimetairy and refreshing. The music presented creates a yearning to return to it, again and again. It taps into the fundamental rhythm of the human spirit one needn't understand the languages, but you'll understand the music. It speaks across cultural boundaries, time and genres  .....N'joy

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For Desert Blues III, the editorial team has evaluated all the new releases of recent years and is now presenting the creme of musicians from 10 countries and their highly emotional ballads: including, super-stars Khaled and Souad Massi from Algeria; Malouma "The Lady of the Blues" from Mauritania; the poignant voice of Dhafer Youssef from Tunisia;
Gigi, the current queen of Ethiopian soul music; expressive music from Mali by Amadou andMarian, Ali Farka Toure, Oumo Sangare, Rokia Traore with the Kronos Quartet; "Fula Flute" from Guinea; Tuareg music from West Africa by the successful
group Tinariwen. And all of this is complemented by several completely new discoveries and first releases. A musical dream journey to the voices and vibes of the oases, the savannas, the caravans, the endless seas of sand and Tuareg campfires.
Anyway, this compilation is full of beautiful voice, melodies envoutantes or magic full of smells of Africa ...

Desert Blues 3 - Entre Dunes Et Savanes (1) (flac  416mb)

01 Djelimady Tounkara - Fanta Bourama 5:41
02 Idrissa Soumaoro - M´Ba Den Ou 3:52
03 Souad Massi - Raoui 3:38
04 Khaled - Wahrane, Wahrane 4:36
05 Tiris - El Nabi 5:27
06 Boubacar Traoré / Regis Gizavo - Kanou 7:02
07 Markus James - Dream After Dream 3:36
08 Bako Dagnon - Lassidan 5:29
09 Fula Flute - Keme Bourema 5:00
10 Gigi - Bati Bati 3:44
11 Cherif M'Baw - Baayo 2:47
12 Abdoulaye Alhassane Touré - Humaisa 5:53
13 Rokia Traoré Feat. Kronos Quartet - Bownboī 5:50
14 Toumani Diabaté / Ali Farka Touré - Ai Ga Bani 4:32

Desert Blues 3 - Entre Dunes Et Savanes (1)  (ogg 163mb)

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Desert Blues 3 - Entre Dunes Et Savanes (2)   (flac  398mb)

01 Dhafer Youssef - A Kind Of Love 6:55
02 Seckou Keita Quartet - Tounga 5:42
03 Ali Farka Touré - Penda Yoro 5:20
04 Boubacar Traoré - Kar Kar 5:18
05 Malouma - Yarab 4:58
06 Bassekou Kouyate / Lobi Traoré - Banani 3:36
07 Abdallah Ag Oumbadougou - Imidiwan 3:39
08 N'gou Bagayoko - Kulu 3:38
09 Tinariwen - Izarharh Ténéré 4:59
10 Oumou Sangare - Djorolen 6:38
11 Habib Koité - Mai Ba 4:42
12 Amadou & Mariam - Ce N´est Pas Bon 4:18
13 Getatchew Mekurya - Eywat Setenafegagn 5:01
14 Gigi - Ethiopia 6:15

Desert Blues 3 - Entre Dunes Et Savanes (2)  (ogg 156mb)

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