RhoDeo 1408 Goldy Rhox 149

Hello, today the 149th post of Goldy Rhox, classic pop rock in the darklight is a Spanish flamenco guitarist, composer and producer who died today (21 December 1947 – 26 February 2014). A leading proponent of the New Flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists who has also successfully crossed over into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe him as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to him as "one of history's greatest guitarists".

Today's artist was a wonder of the Guitar world sharing with so many his expressive skill and nature. He touched many throughout the world during his life. He was noted for his innovation and colour in harmony and his remarkable dexterity, technique, strength and fluidity in his right hand, capable of executing extremely fast and fluent picados. A master of contrast, he often juxtaposes picados with rasgueados and other techniques and often adds abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional Flamenco and the evolution of New Flamenco and Latin jazz fusion from the 1970s.

He received acclaim for his recordings with flamenco singer Camarón de la Isla in the 1970s, recording 10 albums together.[4] Some of his best known recordings include "Río Ancho" (later fused with Al Di Meola's "Mediterranean Sundance"), "Entre dos aguas", "La Barrosa", "Ímpetu", "Cepa Andaluza" and "Gloria al Niño Ricardo". His collaborations with guitarists John McLaughlin, Al Di Meola and Larry Coryell in the late 1970s saw him gain wider popularity outside his native Spain. Many a news bullitin in civilized nations carried his death of a heart attack today. A global star is no more, he always gave 100% he just couldn't perform any other way, his music will vibrate the air tonight and forever.

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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 was released in 1994 it is an Anthology of (a Limited 2 Cd version) that complies his two `Antologia' albums into 2 disks (1 disk for each Anthology), and for a double album that weights in at over 24 tracks, you'd think that you'd have had your fill of contemporary flamenco, way before then....but you'd be mistaken. This collection of early works is fabulous. The technical magic he performs with such dexterity with his fingers is truly amazing, it is mesmerizing. That anyone can produce such fluid rapid fire attacks on the guitar is a testament to the fact that some individuals are truly blesssed. That we can share his talents via CD's is something to not be missed. The songs on this superb collection are vintage Paco, before his forays into jazz expermentation, just beautiful guitar work. The styles displayed on this album run the gamut from bulerias, tanguillos, tangos to rhumbas, all with exceptional skill. This is, for the most part quiet music, although it is so fiery that it definately stimulates the mind. The guitar as the focal point of interest is no easy task unless of course the talents are those of our mystery star. There is a song that is very lovely that he performed in the film "Flamenco" entitled "Solo Quiero Caminar", complete with accompanying vocals ala estilo gitano. Another beautiful track is his rendition of Falla's "Danza Ritual del Fuego" in which he performs with such warmth and rhythmn that is countered by hand clapping and whirling flute that it is no wonder it is "El Amor Brujo." All of the tracks are strong and display his numerous talents by allowing him to show the many sides of flamenco. Some of the songs have a "jam session" feel to them as though the guitarists got together for some majica gitano. If you love flamenco you can't get enough of our mystery star. This is packaged to show some of his best early work, it was a qualified gold album in Spain at the time and it's likely to be selling again now the master has left us to teach the angels on how to play guitar.



Goldy Rhox 149   (flac 652mb) re-upped

Goldy Rhox 149   (ogg 301mb)

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RhoDeo 1408 Aetix

Hello,

It's more westcoast coming up, Paisley Underground is an early genre of alternative rock, based primarily in Los Angeles, California, which was at its most popular in the mid-1980s. Paisley Underground bands incorporated psychedelia, rich vocal harmonies and guitar interplay in a folk rock style that owed a particular debt to The Byrds, but more generally referenced the whole range of 1960s West Coast pop and garage rock. The term "Paisley Underground" originated in late 1982, with a comment made by Michael Quercio of the band The Three O'Clock, during an interview with the LA Weekly alternative newspaper.

Paisley Underground bands frequently shared bills, socialized and collaborated. Members of Rain Parade, The Bangles, The Dream Syndicate and The Three O'Clock joined together to form Rainy Day, releasing an eponymous album of cover versions of songs by The Velvet Underground, Buffalo Springfield, Bob Dylan, The Beach Boys, Big Star, Jimi Hendrix, and The Who. As "Danny and Dusty," Steve Wynn of The Dream Syndicate and Dan Stuart of Green on Red made the album The Lost Weekend (A&M, 1985) backed by members of each band along with most of The Long Ryders. Clay Allison was an offshoot band composed of David Roback and Will Glenn (Rain Parade), Kendra Smith (The Dream Syndicate), Sylvia Juncosa (Leaving Trains) and Keith Mitchell (Monitor).

Todays band was associated with the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, it "rocked with the highest degree of unbridled passion and conviction". Though never commercially successful it met with considerable acclaim, especially for the songwriting and guitarplaying.  . . ....N'Joy

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The band began in 1979 as The Serfers, a four-piece made up of Dan Stuart (vocals/guitar), Jack Waterson (bass), Van Christian (drums, later of Naked Prey) and Sean Nagore (organ), quickly replaced by Chris Cacavas.[2] In the summer of 1980, the Serfers relocated to Los Angeles, where they changed their name to Green on Red (after the title of one of their songs) to avoid confusion with the local surf punk scene. Christian returned to Tucson and was replaced by Lydia Lunch sideman Alex MacNicol. The band issued an overtly psychedelic, self-released red vinyl EP, sometimes called Two Bibles, though its first widely available record was an EP issued in 1982 by Dream Syndicate leader Steve Wynn on his own Down There label. Green on Red followed the Dream Syndicate onto Slash Records, which released the album Gravity Talks in the fall of 1983. San Francisco-based guitarist Chuck Prophet joined for the 1985 Gas Food Lodging (Enigma), after which MacNicol was replaced on drums by Keith Mitchell (later of Mazzy Star).[1] In 2006 'Gas' was performed live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series. Also in 1985, Stuart collaborated with Steve Wynn as "Danny and Dusty" on the album The Lost Weekend (A&M).

A major-label deal with Phonogram/Mercury followed, with the EP No Free Lunch and the album The Killer Inside Me, produced by Jim Dickinson at Ardent Studios in Memphis. The band split up afterwards; Cacavas began recording albums under his own name. When Stuart returned to recording, with the 1989 Here Come the Snakes, it was essentially as a duo with Prophet honingtheir darkish, down-and-out loser blues , using hired backing including Christopher Holland on keyboards and Ethan Johns. Three more albums were released This Time Around (89), Scapegoats (91) and The Little Things in Life (91) before the pair called it quits, after the 1992 Too Much Fun.

Prophet and Stuart found an audience for their music in Europe, but ultimately traded in the madness of what had become their collaboration for quieter lives. Stuart relocated to Spain and Prophet continued the career he launched in 1990, performing as a solo artist and with his band the Mission Express (featuring his wife, Stephanie Finch, on keyboards and vocals). As it turns out, Prophet was a sleeper, with a number of releases into the 2000s bearing little resemblance to the ramshackle outfit that was Green on Red. However, Prophet did join a briefly reunited Green on Red -- with a lineup also including Stuart, Cacavas, and Waterson -- for a series of shows in 2005-2006. Drummer Alex MacNicol died in 2004. A second "Danny and Dusty" album came into production, followed by a double album and DVD on Blue Rose Records. In 2012, Dan Stuart reemerged in Oaxaca de Juarez, Mexico, and released a new solo record, "The Deliverence of Marlowe Billings".

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Restless Records admirably wanted to pad out their reissue of Green on Red's superb 1985 album Gas Food Lodging, so they tacked on the other Green on Red title in their catalog, the group's 1982 debut EP. A nice idea to be sure, but the trouble is that the two records represent Green on Red at two very different points of their development -- Green on Red brought together seven slices of moody psychedelic-influenced pop with a dark and buzzy undercurrent, while Gas Food Lodging was the strongest work of the group's proto-roots rock period, as they took stock of the state of the union as seen through the windshield of their van

Much like their pals the Dream Syndicate, Green on Red used up nearly all their psychedelic influences early on, and 1985's Gas Food Lodging found Dan Stuart and company veering into country-inflected roots rock that dovetailed nicely with the populist themes Stuart had begun to explore in his lyrics. Opening with "That's What Dreams," a tough but moving first-person tale of a working man struggling to hold on to his dignity, Gas Food Lodging takes a long look at the sometimes-fractured state of the American psyche during the Reagan years, as seen through the eyes of a low-budget rock band out on the road. Of course, Dan Stuart's America is populated by drunks, losers, drifters, and psychopaths, but there's a genuine measure of compassion in his portrayal of this collection of lost souls, and this lineup of the band -- with Chuck Prophet IV on guitar and Chris Cacavas on organ -- created evocative music that added depth and detail to Stuart's grubby vision. Gas Food Lodging set a template for the music Green on Red would make in the future, but they rarely hit their targets as squarely as they did here; there's an emotional weight and a ring of truth to this material that missing from much of the band's later work, and while closing with "We Shall Overcome" might seem like an especially obvious gesture, through sheer bloodshot sincerity this band makes it work -- and makes it genuinely moving. Gas Food Lodging is too loose and deliberately ramshackle to support the title of masterpiece, but calling it Green on Red's best album will do nicely.

Dry, desert climates seem to be conducive to pychedelia for some reason (perhaps thanks to the prevalence of naturally occurring psychedelic substances?), and when Green on Red first arrived in California after leaving behind its hometown of Tuscon, AZ, the group was at its trippiest, and those most familiar with GoR's later roots rock-oriented releases, such as Gas Food Lodging and No Free Lunch, might be a bit thrown by the buzzy atmosphere of the group's first record. Musically dominated by Chris Cacavas' keyboard (which suggests a meeting between Ray Manzarek and Daryl Hooper of the Seeds) and Dan Stuart's "oh wow" vocals, these performances leave no wonder as to how the band ingratiated itself with L.A.'s paisley underground scene; this is pop-leaning psychedelic rock with just enough menace in Stuart's vocals and lyrics to cut the trippiness factor by a notch or two. While the best songs on this EP -- "Death and Angels," "Black Night," and "Illustrated Crawling" -- suggest the strength and melodic force of Green on Red's best work, this EP mostly finds the band working through its early influences, and it would get a lot more interesting over the next few years. Unfortunately, the Green on Red EP appears to have been salvaged from damaged tapes, with noticeable noise and occasional audio drop-outs; given its rarity, it's still a nice bonus, but the fidelity makes it sound all the more deficient compared to Gas Food Lodging.

Green On Red - Gas Food Lodging/Green On Red  (flac 372mb)

01 That's What Dreams 4:22
02 Black River 2:43
03 Hair Of The Dog 2:31
04 This I Know 2:30
05 Fading Away 4:35
06 Easy Way Out 3:05
07 Sixteen Ways 3:43
08 The Drifter 2:32
09 Sea Of Cortez 3:51
10 We Shall Overcome 2:27
11 Gas Food Lodging 3:27
12 Sixteen Ways II 2:45
+ Green On Red 82 mini
13 Death And Angels 2:13
14 Hair And Skin 3:26
15 Black Night 2:34
16 Illustrated Crawling 3:39
17 Aspirin 3:25
18 Lost World 3:55
19 Apartment 6 2:58
 
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The critical hosannas lavished upon the album Gas Food Lodging earned Green on Red a major-label deal, though, with appropriate irony, this very American band found themselves contracted to the British branch of Polygram. The label's American imprint, Mercury, picked up their option several months after the group's big-label debut, No Free Lunch, was released in the U.K. An EP running a bit under 24 minutes (a later reissue padded it out to full length with a 13-minute blues workout on "Smokestack Lightning"), No Free Lunch covers territory not dissimilar to that on Gas Food Lodging; nomadic musicians on the road ("Keep on Moving" and the title cut), out-of-work sad sacks ("Honest Man"), families confronted with death and loss ("Jimmy Boy"), and the struggle to believe in something despite it all ("Time Ain't Nothing"). The band even throws in a pretty good cover of "Funny How Time Slips Away," and their performances are noticeably tighter and sharper than on their previous albums (the time on the road after Gas Food Lodging seems to have paid off), while the engineering by Steven Street and Simon Humphries is crisper and better detailed than the sometimes muddy tone of Gas Food Lodging. But while the band sounds game, the songs are good, and Dan Stuart is in unusually strong voice (with the exception of "The Ballad of Guy Fawkes," where he lapses into a curious fake Brit accent, perhaps in tribute to his new corporate sponsors), at only seven songs No Free Lunch seems oddly incomplete, sounding less like a self-contained short work than an album that somehow didn't get finished. There's nothing wrong with what's here, but it's hard not to wish the band had made more of it at the time.

After the creative breakthrough of Gas Food Lodging and the surprising discovery that they responded well to a touch of production polish on No Free Lunch, Green on Red seemed poised to move on to new heights, both artistically and commercially, with their first full-length for a major label, The Killer Inside Me. Jim Dickinson, noted R&B pianist and studio helpmate to such expressive eccentrics as Alex Chilton and Paul Westerberg, was tapped to produce, but while the pairing looked great on paper, the results sounded just a bit muddy and cluttered, lacking the tense clarity of No Free Lunch and the more organic sloppiness of Gas Food Lodging. While the musicians are a bit better focused here than on their earlier recordings, the overly boomy audio does little to flatter this band's newfound precision. As a singer, Dan Stuart long had a tendency toward sloppy histrionics when he wasn't held in check, and here Dickinson seemed content to let Stuart's performances go wherever they will, and with a chorus of far more gifted soul singers offering backup, his craggy tone and faux-wino bellowing have rarely sounded more obvious or less effective. Most importantly of all, The Killer Inside Me lacks material on a par with the two released that preceded it, and while Dan Stuart is too gifted a tunesmith to not come up with a few songs worth hearing (most notably "Mighty Gun," "We Ain't Free," and the title cut), many of these songs sounds like retreads of ideas Green on Red tackled more effectively in the past, and the album's darker tone often feels forced, without the faint hope of redemption that made Gas Food Lodging so powerful. While The Killer Inside Me isn't Green on Red's weakest album, it didn't live up to nearly anyone's expectations, and suggested this band's moment of glory might have been starting to fade away.

Green On Red - No Free Lunch + the Killer Inside Me  (flac 500mb)

01 Time Ain't Nothing 3:15
02 Honest Man 2:08
03 Ballad Of Guy Fawkes 3:53
04 No Free Lunch 3:12
05 (Gee Ain't It Funny How) Time Slips Away 3:12
06 Keep On Moving 4:09
07 Jimmy Boy 4:10
08 No Drinkin' 2:40
09 Broken 3:50
10 Don't Shine Your Light On Me 4:04
11 While The Widow Weeps 2:31
the Killer Inside Me
12 Clarkesville 4:10
13 Mighty Gun 4:17
14 Jamie 3:34
15 Whispering Wind 1:53
16 Ghost Hand 2:47
17 Sorry Naomi 4:25
18 No Man's Land 4:48
19 Track You Down (His Master's Voice) 3:21
20 Born To Fight 3:40
21 We Ain't Free 3:21
22 Killer Inside Of Me 5:42

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Produced by Jim Dickinson and Joe Hardy, Dan Stuart and Chuck Prophet finally cracked the Memphis sound by steeping themselves in the environment and surrounding themselves with the musicians who made their name there. From the get-go, Prophet's guitar is the cornerstone to the Let It Bleed mood that fires this record from "Keith Can't Read" throughout, though it ends up with the very Neil Young-like "D.T. Blues."

Green On Red - Here Comes the Snakes ( flac 206mb)

01 Keith Can't Read 3:22
02 Rock 'n' Roll Disease 3:08
03 Morning Blue 3:58
04 Zombie For Love 3:53
05 Broken Radio 3:52
06 Change 5:01
07 Tenderloin 5:02
08 Way Back Home 2:29
09 We Had It All 2:52
10 D.T. Blues 3:33

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RhoDeo 1408 Roots

Hello, i wonder if the homosexual backlash we see in Russia, India and several African countries is caused by the exubarant lifestyles of gays in the west. Clearly they've angered some of the more reactionairy religious quarters. Not sure what is going on in India but politics in that country is always looking for scapegoats and for ways to distract their hothead populace from serious problems like the outragous number of women being raped every day.

South Africa, the final frontier oops wrong show anyway it's a beautiful country where music has been the force that kept it going thru all the ridiculous strife it has met this past millenium, there's still much to work on, life is still cheap but it's getting more expensive.. On offer today Sisters that were doing it for themselves but more so for their community bringing beauty into the lives denigrated by apartheid (resistance thru harmony). The Soul Brothers well what's in a name these guys went out to party with the public. Finally a Rough Guide compilation part 2 after all it's still very difficult for artists from South Africa to breakthrough in Europe or the US, samplers give a good step up ...N'joy

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The Dark City Sisters was a South African female vocal group formed in 1958 by music producer Rupert Bopape. They recorded several hit records during the 1960s, helping usher in the mbaqanga style of South African music later brought to global prominence by the Mahotella Queens.

The Sisters were formed by Bopape, also a talent scout, at EMI South Africa. The group was named after Alexandra Township, known at the time as 'Dark City' due to its lack of street lighting. The four founding members were Joyce Mogatusi, Francisca Mngomezulu, Hilda Mogapi and Esther Khoza. Their close harmonies were often combined with a single male vocalist, at a time when most bands consisted of a female lead backed up by a group of men. In their early days they were fronted by vocalist Jack Lerole and later by Simon 'Mahlathini' Nkabinde. Their backing band was Alexandra Black Mambazo.

The new style of the Dark City Sisters proved very popular and they enjoyed several hits during the 1960s, also touring South Africa and neighbouring countries. Membership changed frequently, with group vocalists such as Francisca Mngomezulu and Caroline Kapentar later singing for the Mahotella Queens. Lead singer Joyce Mogatusi remained the only consistent link throughout the Dark City Sisters line-up. The second-longest serving member of the group was Grace Moeketsi, who sang with the Sisters from 1960.

The group dissolved in 1971 for a short time before reforming in the middle 1970s, primarily as a live performing group although contracted at various points to Gallo-Mavuthela, EMI and CCP. The 1980s was a decade in which very few recordings of new material were made, with most of their time taken up by concert performances. By the 1990s and early 2000s, following the explosion of international interest in South African music, the Sisters were fully immersed in concert appearances in the country and continued to make one-off recordings. In July 2012, leader Joyce Mogatusi died from heart failure after 53 years singing for the group.

Classics from the era when female lead singers were the glory of South African music. From the mid-'50s to the mid-'60s, the Dark City Sisters (who launched Mahlathini, heard on three cuts here) were outsung only by the Flying Jazz Queens.
"The finest South African Marabi Jive ever", it says on the cover, all the Africans loved the Dark City Sisters. This is happy music. It's "Forget your troubles and dance" music. It will make your spirits rise and your feet move.

It's characterised by the distinctive close harmony sound that we associate with good South African music, beautifully done, mostly in Zulu. The Dark City Sisters were amongst the first to pioneer this sound in the 1950s and 60s, blending indigenous music with a rhythmic guitar backing and an occasional bit of saxophone, to produce this unique result. And they do it supremely well. Only two of the tracks, the 2nd and 6th, are by the Flying Jazz Queens, these are as good as anything else on the album..

Dark City Sisters And Flyin' Jazz Queens (flac  250mb)

01 Sekusile 2:34
02 Langa More (Flyin' Jazz Queens) 2:31
03 Thathu Kisi 2:23
04 Jabulani Nonke 2:52
05 Tomati Yo Yo No. 3 2:47
06 Retswa Gauteng (Flyin' Jazz Queens) 2:18
07 Emahlathini 2:21
08 Insizwa 2:39
09 Langa More 2:40
10 Amangwane Amyame 2:13
11 Ingwababa 2:43
12 Mokupi 2:16
13 Izinto Ezinhle 2:26
14 Eleventh Year Anniversary 2:22
15 Nkabinde 2:35
16 Lelo Hashe 2:35

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The Soul Brothers play mbqanga but the sextet isn't so old-school they lost their homeland popularity à la Mahlathini in the '70s (or enjoyed the latter's international revivalist success in the late '80s for that matter). Combining four songs from a live 1995 BBC session with tracks from two South African albums released around the same time, Born to Jive is full of sprightly but smooth mbqanga distinguished by Hammond organ and high-pitched choral vocals. "Indaba" and "Kuyesinda" set the stage with the organ lead and rhythms not so compulsively roller coaster as Mahlathini, although "Kwanele" begins to get that roller coaster mojo working by trimming the drums back to minimal to make room for skitterng bass/guitar/organ exchanges. Horn squiggles are blended in on "Iphutha," but virtually every song opens with a solo Hammond lick, probably a trademark ID saying "This is The Soul Brothers." The group is stone professional -- every song clocks in between 3:40 and 4:40 -- but the music feels pretty rigidly set in conceptual stone rather than fluid. The exuberant backing track to "Imali" boasts more offbeat snap, with the organ replaced by a synth version of a pennywhistle, and "Imfundo" is a strong up-tempo rocker with straight-ahead drums and David Masondo's bright, positive vocals. "Usemncane" starts vigorously with drums and the guitar line really driving the arrangement, and the track really belongs to guitarist Maxwell Mngadi -- he takes a nice cascading solo that employ simple lines leapfrogging off from his preceding lick. Moses Ngwenya's Hammond is the chief instrument -- although sometimes it clutters up the guitar/bass interplay -- but he shines brightest when unleashing some compelling swirls on "Ngixoleleni."

The four live tracks are in the same vein with extra keyboards, horns, and backing vocalists -- Masondo apparently does all the vocal tracks in the studio (which probably accounts for the evenness of the singing), and the three-man support squad they take on the road get a richer mbube harmony blend. The attack is a bit more energetic with guitar and bass shining on "Hluphekile," and "Uvalo" getting a rocking mbqanga rhythm going by leaving enough space so the individual lines don't collide. Born to Jive is a strong album, totally smooth and professional, which may account for The Soul Brothers' long-running popularity in South Africa.

The Soul Brothers - Born to Jive (flac 412mb)

01 Indaba (News) 4:11
02 Kuyesinda (It's Heavy) 4:14
03 Inhliziyo (Heart) 4:08
04 Kwanele (Enough) 4:06  
05 Iphutha (Mistake) 4:13
06 Bakhulumela Futhi (They Talk Too Much) 4:14
07 Imali (Money) 4:07
08 Kulukhuni (It's Hard) 3:44
09 Usemncane (You're Still Young) 3:49
10 Mfundo (Education) 4:00
11 Ngixoleleni (Forgive Me) 3:56
BBC Radio One Andy Kershaw Session
12 Hluphekile (Sadness/Troublemaker) 4:08
13 Isigebengu (Gangster/Villian) 4:39
14 Uvalo (Palpitations) 4:32
15 Usemncane (You're Still Young) 4:30

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If you’ve already got the first compilation (posted 2 weeks ago) and you enjoy it then you’ll be pleased to learn that half the artists from that album have reappeared on the new one. The bubblegum pop princess Yvonne Chaka Chaka is back, and so are Mahlathini and the Mahotella Queens, the Soul Brothers, Lucky Dube, Ladysmith Black Mambazo, Miriam Makeba and the Skylarks, and Solomon Linda’s Original Evening Birds. All of them have switched to different songs except the Evening Birds. They’re singing “Mbube” all over again so that no one ever forgets where “The Lion Sleeps Tonight” and “Wimoweh” came from.

No South African compilation can do everything. There are too many musicians, too many niche markets, too many different groups inside the one country, and not enough time to cover them all. The major black genres are covered, yet there’s nothing here from the white South Africans. The township dip-and-heave rhythm that runs through most of these tracks, sometimes blatantly, sometimes subtly, unites them, making this one of the more coherent Rough Guides.

VA - The Rough Guide To The Music Of South Africa II   (flac  383mb)

01 Busi Mhlongo - Yehlisan'Umoya Ma-Afrika 5:24
02 Mahlathini & The Mahotella Queens - Umuntu Ngumuntu 5:35
03 Chicco - Umagubane 5:01
04 Yvonne Chaka Chaka - UmQombothi 4:55
05 Soweto String Quartet - St Agnes And The Burning Train 2:43
06 Shiyani Ngcobo - Yekanini 4:30
07 Miriam Makeba & The Skylarks - Ndidiwe Zintaba 2:34
08 Mtabhane Ndima - Thandabantu 2:47
09 Soul Brothers - Mama Ka S'Bongile 3:22
10 Lesego Rampolokeng & The Kalahari Surfers - Blue V's 3:27
11 Lucky Dube - Crying Games 4:31
12 Oom Hansie - Waar's My Pyp 3:35
13 Nothembi - Akanamandl' Usathana 4:47
14 Solomon Linda's Original Evening Birds - Mbube 2:43
15 Big Voice Jack - Tsi Tsi No1 3:29
16 Ladysmith Black Mambazo - Wawukhona Yini E New York 3:29

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RhoDeo 1408 The Ring 7

Hello so the Olympics are over some say it cost 50 billion but in a country like Russia who's doing the counting, anyway the US and UK central (but private !) banks have been spewing out billions of dollars/pounds on a daily basis for years, now that's what i call large scale theft. Anyway whilst Poetin was gloating over the success of his athletes, Oekraine did a runner of sorts and kicked out their Russian puppet president...Dah. Al very well as long as they choose wisely who should replace him, that drama queen and Jewish press and thus EU favourite is a very bad choice but then those in power in Europe are beyond belief stupid and cowards. Meanwhile don't think EU citizens would get the chance to oust their leaders like the Oekranians did, rubber bullits, water-, sound canons will see to that.


In 1981, the BBC again tackled "The Lord of the Rings", this time in a serial of twenty six 30-minute episodes.  This production was not a condensed version, although it does leave out a number of events. Still, it is about as faithful to the book as one could reasonably expect. The characterizations are excellent and music is very nicely done. The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. .  NJoy

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In 1981 the UK radio station BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo installments. The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator. The 1981 trilogy was adapted for radio by Brian Sibley and Michael Bakewell.  It ws directed by Jane Morgan and Penny Leicester.  It is voiced by some very fine British actors including Ian Holm as Frodo, Michael Hordon as Gandalf and Peter Woodthorpe as Gollum among others.

 The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues.

 The re-edited version was released on both cassette tape and CD sets which also included the soundtrack album (noticeably taken from a vinyl copy). Incidentally, episode 8 of the series, The Voice of Saruman was labelled as The Voice of Sauron on the cassette & CD box sets.

 Cast and credits

 Narrator: Gerard Murphy
 Frodo Baggins: Ian Holm
 Gandalf the Grey/Gandalf the White: Michael Hordern
 Aragorn (Strider): Robert Stephens
 Sam Gamgee: Bill Nighy
 Meriadoc Brandybuck (Merry): Richard O'Callaghan
 Peregrin Took (Pippin): John McAndrew
 Legolas: David Collings
 Gimli: Douglas Livingstone
 Boromir: Michael Graham Cox
 Galadriel: Marian Diamond
 Celeborn: Simon Cadell
 Arwen Evenstar: Sonia Fraser
 Saruman the White: Peter Howell
 Elrond: Hugh Dickson
 Bilbo Baggins: John Le Mesurier
 Gollum/Sméagol: Peter Woodthorpe

 Dramatisation: Brian Sibley and Michael Bakewell
 Music: Stephen Oliver
 Radiophonic sound: Elizabeth Parker
 Produced and directed by Jane Morgan and Penny Leicester

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Lord Of The Rings 06 - The Breaking Of The Fellowship (55:25 64mb)

7-01 Opening Titles 16:07
7-02 The Marshes of the Dead 13:17
7-03 The Winged Terror 9:54
7-04 The Gate of Helm 4:16
7-05 Gandalf Comes to Isengard 1:31
7-06 The Battle of Helm's Deep 10:18

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previously

Lord Of The Rings 01 - The Shadow Of The Past (56 min 65mb)
Lord Of The Rings 02 - The Black Riders (56 min 65mb)
Lord Of The Rings 03 - The Knife In The Dark (57 min 65mb)
Lord Of The Rings 04 - The Ring Goes South (55 min 63mb)
Lord Of The Rings 05 - The Mirror Of Galadriel (55 min 64mb)
Lord Of The Rings 06 - The Breaking Of The Fellowship (65mb)

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Sundaze 1408

Hello, the winter olympics are almost over and Russia is leading the medal count, impressive considering where they stood 4 years ago. Russia moaned after the Fins had beaten them in the Quarter finals 3-1, they must have felt some conselation seeing how the Fins trashed the US team 5-0 to pick up the bronze medal. That said, I'm not a big fan of ice hockey the game is too fast for tv. Cross country skying isn't too exiting somehow a country with 5 million inhabitants is easily outperforming the rest of the world specially their women, only losing out to the occasional superman/woman from elsewhere. And its not as if they didn't compete in other winter sports Norway has good jumpers, skiers and snowboarders too, just an amazing sports country and yes very wealthy too thanks to their oil.

A second visit to todays artist's kaleidoscopic broken beats and synth fueled, seemingly random but perfectly arranged, complex patterns. His material is extremely deep and ever evolving with each listen of the album. This is pure electronica IDM with extremely raw energy and tons of hidden beauty waiting to be discovered as you listen to this over and over. Its instrumental, melodic, and memory tapping experience that brings your mind back to some wonderful earlier times in your life and lets you relive it all. N'Joy

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Born in 1981 on that mystical iceland with a tiny population and a huge musical footprint, Jonas Thor Gudmundsson, better known as Ruxpin first started producing music at the age of 14. The student of history and learned pianist got his first „electronic consecrations“ from Magnus Gudmundsson and Birgir Thorarinsson also known as members of the Icelandic pop collective Gus Gus. Since the end of the nineties, he has been producing under his pseudonyms Den Nard Husher and Ruxpin - initially for the Icelandic cult labels Thule and Uni:form. His first release Mission EP was released on Uni:Form Recordings 1999 and the same year his first LP entitled Radio was released on the same label. The highly acclaimed Elektrolux (Germany) imprint took notice of Radio and subsequently released his next two LPs (Midnight Drive & Avalon), alongside with one LP, Magrathea, on their sublabel Mikrolux. In late 2006 he released Elysium which was once again released via Elektolux's Mikrolux imprint. In early 2009 Gudmundsson's sixth full length entitled Where Do We Float From Here? was released digitally via n5MD's Enpeg Digital imprint but due to overwhelming demand a CD was released the following year on n5MD. Following that release came a free online release I Wonder if This is the Place, which featured remixes by artists such as Leon Somov, Galaktlan, Biogen, Ijo, Murya, Worm is Green and Aris, alongside additional tracks by Ruxpin himself. Beginning in 2011 Gudmundsson began work on a project with Fannar Asgrimsson titled Asonat and released an album and 2 EPs on n5MD in 2012. Straight on the heels of one of the Asonat EPs is the release of the new Ruxpin album This Time We Go Together due out May 28th on n5MD. Ruxpin has done various live shows with artists such as Múm, Biogen, Alex Paterson, Yagya, U-Ziq, Jega, Galaktlan and many more in Belgium, Iceland, Denmark, Russia, Lithuania, Israel, Netherland, Sweden, France, Netherland, Bulgaria, Latvia, Greece, Estonia and Catalonia.

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What is now known as Glastonbury was, in ancient times, called the Isle of Avalon. It is virtually an island, for it is completely surrounded by marshlands. In Welsh it is called Ynys Afallach, which means the Island of Apples and this fruit once grew in great abundance. After the Battle of Camlann, a noblewoman called Morgan, later the ruler and patroness of these parts as well as being a close blood-relation of King Arthur, carried him off to the island, now known as Glastonbury, so that his wounds could be cared for. Years ago the district had also been called Ynys Gutrin in Welsh, that is the Island of Glass, and from these words the invading Saxons later coined the place-name 'Glastingebury'..

Though no longer an island in the twelfth century, the high conical bulk of Glastonbury Tor had been surrounded by marsh before the surrounding fenland in the Somerset Levels was drained.  The popularity of Arthurian Romance has meant this area of the Somerset Levels has today become popularly described as The Vale Of Avalon. It was extensively flooded again these past months.

Anyway if you looking for laid back, calming, and just general feel-good electronic music with a soulfull beat, then it doesn't get much better than this. Not too jazzy, but progressive music with nice chord washes and subliminal vocoder phrases over beats and bass that just morph into eachother..

Ruxpin - Avalon (flac  411mb)

01 First Contact 5:13
02 Together 6:10
03 Makaneon 4:57
04 I Miss You 3:57
05 In Form Of A Bird I Meet My Creator 6:21
06 Do You Feel The Same Way 3:40
07 Moment With You 5:35
08 Once More 4:25
09 Requiem 5:19
10 Please Stay 6:05
11 Artificial Love 5:19
12 Art Of Love 4:59
13 9Mars 4:42
14 Lullaby 5:53

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According to Greek mythology, Elysium is a paradisiac „island of the blissful“ in the utmost West of the orbit for those heroes who were made immortal by the Gods. Tasting the water from the fount of Lethe on lanes full of roses, all earthly troubles are fading away.

What do you do when you live in iceland and are surrounded by surreal natural beauty, and long winter nights? Easy. You make some amazing music. Welcome to Johannes Ruxpin creation "Elysium". Eighteen tracks of sheer beauty and accoustic elegance. The best way to describe this album is to simply call it semi-eclectic within the acceptable boundaries of wonderful IDm music. Many of his tracks have this fat and chunky beatline that serves as the foundation of soft and gentle melodies that are emotionally taxing (but in a good way). For the lack of words you can say that this is pure trance as often listening to this album you will fall into a state of deep trance.

Ruxpin - Elysium (flac  417mb)

01 Creating Artificial Machine Love 4:53
02 Eitt Sinn Hafdi Eg Hjarta 3:04
03 Oceanus And Tethys 2:29
04 Kiteboarding In The Summertime 4:22
05 When Dialog Fails, It's Time For Violence 3:08
06 Without You 4:24
07 This Is Life 3:52
08 Svefnengill 3:22
09 A Puppets Dream 3:42
10 You And Me Are One And The Same 2:08
11 Hallo Litli Geimgengill 3:13
12 Ambrosia 3:26
13 You Look Lovely In This Spacesuit 3:51
14 Garden Of The Hesperides 4:25
15 This Is Why I Love You 5:06
16 Moments Of Modern Methods 2:18
17 Routine Retirement Of A Replicant 4:32
18 Requiem Of The Metallic Heart 3:31

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Ruxpin's kaleidoscopic broken beats and synth fueled, seemingly random but perfectly arranged, complex patterns pretty much define the sound of IDM today. Whether you were the follower of the genre since the early works of Aphex Twin and Autechre or continue to satisfy your jonesing trip for experimental electronica with sounds from Hecq and Access To Arasaka, Jonas Thor Gudmundsson's entry into the family of n5MD as Ruxpin will surely get your ears pricked. And pricked you'll get... Solid micro-programmed percussion, 303 acid lines and hallucinogenic passages awake the mind during its somber sleep and send the neurons firing across the entire surface of the mushy matter under the skull. Where Do We Float From Here? is Gudmundsson's sixth full length record. This Icelandic producer released his debut, Radio on Uni:form Recordings back in 1999, followed by two more albums, Midnight Drive (2000) and Avalon (2003) on Elektrolux. Check out his full discography - you have a lot to catch up to! With this latest release, Ruxpin is gathering quiet a following from the public, demanding the album's original appearance as a download on n5MD's digital imprint Enpeg to be re-released as a physical CD. Be sure to also pick up a remix companion, I Wonder If This Is the Place available as a free download via n5MD's Bandcamp page. Fans of playful sounds from Luke Vibert, Ceephax, Plaid and Richard Devine will enjoy this hidden gem!

Ruxpin - Where Do We Float From Here (flac 341mb)

01 I Saw Her Standing There 4:13
02 Her Body Smells Of Cinnamon 3:49
03 We All Carry Our Ghost 0:59
04 Chasing Dandelions 3:22
05 Those Angel Wings Look Comfortable 4:25
06 My Tricycle Can Float From Planet To Planet 3:46
07 She Danced The Waltz 1:58
08 Where The Wild Things Are 3:50
09 She Played This Song For Me When I Was Five 2:46
10 I Noticed You Hovering Above Me 4:14
11 The View Looks Good From Up Here 1:06
12 The Boy Who Gazed At The Eclipse 3:45
13 Who Did You See In The Mist? 3:41
14 A Sunrise (And They Turned Into Stones) 5:03
15 Now I Turn To You 4:06

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previously..that was 2 weeks ago

RhoDeo 1407 Beats

Hello, ooops the world got another taster on US business can't compete ? Just buy them, problem solved. Meanwhile those that thought they could escape Zuckerbergs greedy hands and just what's up away haven been caught in the net that has been thrown over the world. Alas there are so many silly fishes that let themselves be cooked and and half eaten and still don't understand what is happening. In the meantime EU lords are selling its citizens out to multinationals in extremely secret negotiations, what a nasty place this world is quickly becoming. The senseless killing going on here and there pales in insignificance to the future that is in front of us. The 1% will kill off 90% of the humans within 5-20 years the survivors will be enslaved thru the vaccin (serve or die). Obviously those that drool over plans like this are unaware that a considerable portion of the 1% have their own agenda that is culling the 1% from the wrong blood. I know that all sounds sci-fi but something's gotta give. We're running this planet into the ground, our leaders are incompetent, corrupt or plain weak, the real powers that be operate in the shade but really have no plan apart from the above mentioned of killing off most of us thru a deadly virus. Time will tell...


These months the French rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artists are not really connected but all of them released an album in the year zero, yes they had survived the Y2k virus and served us up their cocktail of  'beats'  ....... N'joy

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Nicolas Chaix (I:Cube) met Gilbert Cohen (Gilb'r) in the mid-'90s, after he sent Cohen a demo of his productions. At the time, Cohen had just started his Versatile label. Cohen liked Chaix's material enough to sign him, and by the end of 1997, Versatile had released several I:Cube records. Chaix and Cohen eventually began to collaborate as Château Flight. A clutch of 12" releases predated 2000's full-length Puzzle, a great, diverse set of jazzy downtempo productions that took in everything from jazz-house to experimental dub to post-rock to Afro-funk. Just less than two years later, the duo released Remixent, a collection of remixes done for the likes of Manu Dibango, Peace Orchestra, Pierre Henry, Air, and Seiji. 2005's The Meal and 2007's Les Vampires (a score for the silent film of the same name) followed.

A meeting of French electronic champions, Chateau Flight is I:Cube and Gilb'r, two producers whose soulful down tempo style has earned them accolades from the likes of Air and Carl Craig. Fusing beatnik percussion and '70s jazz-funk with electronic and post-rock elements, each song on Puzzle is distinctly different from one another, yet all hold a very natural flavor. The opener is a quirky vocodered dream that makes way for the bass riff of "Camping Jazz," which meets post-rock minimal repetition with '70s synth stabs and even a little '80s-lite FM piano flourishes. Moving further into the album you'll find deep house grooves, hyper jazz breaks, tribal conga attacks, and even a piece composed with water splashing. A expertly crafted piece of rhythmic bliss that gives a modern reflection on what you would imagine the sound of Parisian nightlife to have been in the '50s, '80s, and 2000s.

Château Flight - Puzzle ( flac 335mb)

01 Chato Flight Loves You 1:23
02 Camping Jazz 4:15
03 Instant Replay 7:55
04 Frontal Funk 5:43
06 Prism 6:18
05 Auto Power 5:5707 Bizarre 4:12
08 Rituel 6:58
09 Flying Machine 5:21
10 Poesie Champetre 3:21
11 Heureuse 3:58

Château Flight - Puzzle  (ogg 140mb)

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Though he is known as one of the leading lights in France's dance music scene, producer/composer/multi-instrumentalist Mirwais Ahmadzai was born in Switzerland to Italian and Afghani parents. After moving to Paris at age six, he immersed himself in music, learning the guitar before he hit his teens. In 1979, he started the electronic/punk/disco hybrid Taxi Girl, a group that became a major influence on '90s bands such as Daft Punk and Air. They released their debut album, Seppuku, in 1981 and broke up six years later due to internal tensions and problems with drugs, which claimed the life of the band's drummer. In 1989, Mirwais formed the folk-pop outfit, Juliette et les Independants, with his girlfriend but returned to electronic music after hearing drum'n'bass for the first time. His 1999 single Disco Science became a hit on the French club circuit and attracted Madonna's attention; she was so impressed with it that she invited Mirwais to produce the bulk of her 2000 album Music. His own solo debut album Production arrived in the U.S. shortly before Music was released.

On his aptly named debut album Production, hot French producer Mirwais marries the stylish playfulness of contemporaries like Air and Daft Punk with an even more direct pop sensibility. Not only does this explain why he was the ideal choice to produce the bulk of Madonna's Music -- in fact, that album's best track, the brittle ballad "Paradise (Not for Me)," is included here -- but it also results in a collection of songs that are as clever and intelligently crafted as they are danceable. Though most of Mirwais' stylistic touches (stark, sculpted electro beats, running basslines, and vocoders galore) aren't really new, the freshness and innocence he brings to them are -- this is a man who named his label Naive, after all. Production's electro-pop works equally well taken as a whole or song by song: from the slinky-yet-funny album opener "Disco Science," which appropriates the irresistibly catchy foghorn vocals from the Breeders' "Cannonball" and puts them in an entirely different context, to the dreamy, brooding house of "Never Young Again," Mirwais invigorates these vintage elements with the energy of someone hearing and playing them for the first time. Despite its name, Production has much more than pristine sonics in its favor.

Mirwais - Production  (flac 285mb)

01 Disco Science 3:34
02 Naive Song 4:23
03 V.I. (The Last Words She Said Before Leaving) 6:51
04 I Can't Wait 3:15
05 Junkie's Prayer 3:50
06 Definitive Beat 3:30
07 Paradise (Not For Me) 6:27
08 Never Young Again 5:37
09 Involution 5:37

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Funky French House formation from Marseilles. Superfunk was first composed of Fabrice Texier (Fafa Monteco), MR Hamdi (Mike 303) and Stéphane Bonan (credited as Stephane B on most releases). Substantiating grand commands within the riskiest manipulations of styles like hip-hop, funk, and other crossbred fusions, Superfunk first appeared on the dance music scene due to their alliance with Sexy Kool on the single Bubble Boogie. The French trio started gaining some notoriety after the production of themes like "New Jersey," by then using the designation of Dealers of Funk. However, their solo work also contributed to their recognition. While Mike 303 created the track "Saint Silvestre" for a compilation on French logo Versatile, Monteco completed "Good Times" for Black Jack's catalogue. Remixing creations of artists such as Moby, Demon, and Shirley Bassey, before releasing the single "Come Back" on the compilation Fiat Lux Racing Team, they then signed on to Fiat Lux. Hold Up, their debut album, hit record stores in February 2000, giving them even more exposure and notability.
It contained the original versions of club favourites "Last Dance", "Lucky Star" and "The Young MC". Shortly after, Fafa Monteco left the trio to concentrate on a solo DJ career. Bonan and Hassen then decided to team up with Le Sascha as Superfunk Inc. Only two releases were released under that name in 2004: "Lover" and "Promised Land" (a cover of Joe Smooth sung by Ron Carroll). In 2007, a new album, "Future Pop", was scheduled to be released and was announced many times, but as the music standards are changing, it was postponed and still unreleased to this day. However, a few tracks, such as "Electric Dance", were released on compilations and in Online music stores. The 'Inc.' seems to have been dropped from their artist's name: all subsequent releases are labeled under the name 'Superfunk'.

Though Hold Up's cover and inside art give the impression that the Superfunk production team is from Chicago, Superfunk is actually a trio from France. Given Chicago's essential history in house music, Superfunk's Windy City obsession is understood. However, rather than emulate Chicago house legends like Derrick Carter and Paul Johnson, Superfunk seems more attuned to the commercial likes of Frenchman Alex Gopher. The CD does have a few gems that touch loosely on the Chicago sound, including the track "Lucky Star" with its noticeable debut from singer Ron Carroll.

Superfunk - Hold Up (flac 433mb)

01 To Marseille From Paris (Dim's Megamix / Interlude) 1:39
02 Last Dance In Copacabana 5:38
03 Under The Shower With Paul Johnson (Interlude) 0:33
04 Lucky Star 4:59
05 The Young MC 5:12
06 Counterclockwise 4:40
07 Let's Bounce With DJ LBR (Interlude) 0:48
08 Endless Street 4:00
09 Hold Up 4:02
10 Here I Am 4:21
11 Brixton Bass 95° Feat. Ed & G (Interlude) 1:39
12 It's Like Jazz 3:49
13 Come Back (Supamix) 5:17
14 Shake Your Body 4:21
15 Electrique ! 6:53
16 Back To Disco 4:36

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RhoDeo 1407 Goldy Rhox 148

Hello, today the 148th post of GoldyRhox, classic pop rock in the darklight is an English singer-songwriter, musician, and humanitarian activist (born 13 February 1950), who rose to fame as the lead vocalist and flautist of the progressive rock band Genesis. After leaving Genesis, he went on to a successful solo career.

More recently, today's mystery artist has focused on producing and promoting world music and pioneering digital distribution methods for music as well as his involvement in humanitarian efforts. Our man has won numerous music awards throughout his career, including three Brit Awards—winning Best British Male in 1987, six Grammy Awards, thirteen MTV Video Music Awards, the first Pioneer Award at the BT Digital Music Awards, and in 2007 he was honoured as a BMI Icon at the 57th annual BMI London Awards for his "influence on generations of music makers". In recognition of his many years of human rights activism, he received the Man of Peace award from the Nobel Peace Prize Laureates in 2006, and in 2008, TIME magazine named Gabriel one of the 100 most influential people in the world. He was also awarded the Ivor Novello Award for Lifetime Achievement in 2007, and the Polar Music Prize in 2009. Inducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010 and he is to be inducted as a solo artist in 2014.

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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 was released the first of four with the same eponymous title. Released on 25 February 1977, it was produced by Bob Ezrin. The album was later identified by the car on the cover designed by Peter Christopherson (a.k.a. "Sleazy" from Hipgnosis). The car was a Lancia Flavia owned by Storm Thorgerson. His first solo success came with the single "Solsbury Hill", an autobiographical piece expressing his thoughts on leaving Genesis. Although mainly happy with the music, he felt that the album and especially the track "Here Comes the Flood" was over-produced. Sparser versions can be heard on Robert Fripp's Exposure, his appearance on Kate Bush's 1979 TV special and yet a third version on greatest hits compilation Shaking the Tree (1990). He often performs the song live accompanied by only himself on keyboard, either in German or English, depending on the audience.Today's mystery album was recorded at The Soundstage in Toronto, Canada with producer Bob Ezrin between July 1976 – January 1977; with additional recording sessions taking place at Morgan Studios, London, UK and Olympic Studios, London, England. Todays artist and Ezrin assembled a set of musicians for the recording sessions including guitarist Robert Fripp of King Crimson, bass player Tony Levin later of King Crimson, drummer Allan Schwartzberg, percussionist Jimmy Maelen, guitarist Steve Hunter, keyboardist Jozef Chirowski and Larry Fast on synthesizers and programming, most of them joined him later on his "Expect the Unexpected" US tour. Here in it's 2002 remaster.



Goldy Rhox 148   (flac 255mb)

Goldy Rhox 148   (ogg 91mb)

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RhoDeo 1407 Aetix

Hello, it's the westcoast coming up, Paisley Underground is an early genre of alternative rock, based primarily in Los Angeles, California, which was at its most popular in the mid-1980s. Paisley Underground bands incorporated psychedelia, rich vocal harmonies and guitar interplay in a folk rock style that owed a particular debt to The Byrds, but more generally referenced the whole range of 1960s West Coast pop and garage rock. The term "Paisley Underground" originated in late 1982, with a comment made by Michael Quercio of the band The Three O'Clock, during an interview with the LA Weekly alternative newspaper.

Paisley Underground bands frequently shared bills, socialized and collaborated. Members of Rain Parade, The Bangles, The Dream Syndicate and The Three O'Clock joined together to form Rainy Day, releasing an eponymous album of cover versions of songs by The Velvet Underground, Buffalo Springfield, Bob Dylan, The Beach Boys, Big Star, Jimi Hendrix, and The Who. As "Danny and Dusty," Steve Wynn of The Dream Syndicate and Dan Stuart of Green on Red made the album The Lost Weekend (A&M, 1985) backed by members of each band along with most of The Long Ryders. Clay Allison was an offshoot band composed of David Roback and Will Glenn (Rain Parade), Kendra Smith (The Dream Syndicate), Sylvia Juncosa (Leaving Trains) and Keith Mitchell (Monitor).


Todays band was associated with the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, it "rocked with the highest degree of unbridled passion and conviction". Though never commercially successful it met with considerable acclaim, especially for the songwriting and guitarplaying.  . . ....N'Joy

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While attending the University of California, Davis, Steve Wynn and Kendra Smith played together (with future True West members Russ Tolman and Gavin Blair) in a band called the Suspects, the first 'New-Wave'-influenced band in the Davis music scene. After he moved back to Los Angeles, Wynn recorded a single called "15 Minutes" as his intended farewell to music. But while rehearsing in a band called Goat Deity (with future Wednesday Week sisters Kelly and Kristi Callan), Wynn met Karl Precoda, who had answered an ad for a bass player, and the two joined to form a new group, with Precoda switching to guitar. Smith came to play bass and brought in drummer Dennis Duck (Mehaffey), who had played in the locally successful Pasadena-based band Human Hands. Duck suggested the name "The Dream Syndicate" in reference to Tony Conrad's early 1960s New York experimental ensemble (better known as the Theater of Eternal Music), whose members included John Cale.

Dream Syndicate are at the foundation of contemporary alternative music simply because at the time when most bands were experimenting with new technology, the Syndicate deigned to bring back the guitar. Fronted by Steve Wynn (b. Feb. 21, 1960) and including Karl Precoda (guitar), Dennis Duck (drums), and Kendra Smith (bass), the band formed in Los Angeles after Smith and Wynn had relocated there from Davis, CA. They debuted with a self-titled, unbelievably Velvet Underground-like EP on Wynn's own Down There label. It was shortly off to Ruby/Slash for Days of Wine and Roses, the most lauded record on the college charts that year. The record has been cited as influential from artists as diverse as Kurt Cobain to the Black Crowes' Chris Robinson. Live, they had developed into an assaultive guitar band prone to jamming, which helped earn them the tag as leaders of L.A.'s paisley underground movement.

The band was signed to Slash Records, whose subsidiary Ruby Records released its debut and by far best-known album, The Days of Wine and Roses, in 1982. The next year saw the UK (Rough Trade Records) release of the album's lead track, "Tell Me When It's Over," as the A-side of an EP which also included a live cover of Neil Young's "Mr. Soul." Days of Wine and Roses "sent shockwaves through the American underground in the early 1980s", but MTV favored a different kind of music. Kendra Smith left the band and joined David Roback, formerly of the band Rain Parade, to form Opal. She was replaced in the Dream Syndicate by David Provost.

The Medicine Show was recorded in 1984 in San Francisco with producer Sandy Pearlman. It was met with mixed response by the college crowd. By this time, Smith had left the band and was replaced by Dave Provost on bass and Tom Zvoncheck on keyboards. Wynn took his cues from Neil Young & Crazy Horse on the record rather than Lou Reed (who was considered a preferable source at the time), and the rootsier sound caused a backlash with the fan base. The commercial failure of the album had contributed towards the group's temporary breakup. They opened tours for R.E.M. and U2 and released the 5-song EP This Is Not the New Dream Syndicate Album - Live (1984), the last record to feature Karl Precoda on guitar (who soon after left to pursue a career in screenwriting) and the first appearance of bassist Mark Walton. The band left A&M after the label rejected its demo for "Slide Away", later released on the semi-official It's Too Late to Stop Now.

In 1985, Wynn and Dan Stuart of Green on Red wrote 10 songs together which were recorded with Dennis Duck, among others, and released by A&M as Danny and Dusty: The Lost Weekend.

After a brief hiatus and, in the words of one reviewer, having taken "a trip through the major-label meat grinder", Wynn, Duck and Walton joined with Paul B. Cutler, who had produced the group's first EP and played guitar in the proto-Goth 45 Grave, to form the final version of The Dream Syndicate. They recorded two more studio albums, Out of the Grey (1986), produced by Cutler, and Ghost Stories (1988), produced by Elliot Mazer. A live album, Live at Raji's, was recorded in 1988 (also by Mazer) before Ghost Stories but released afterward. The band ceased to exist in 1989.

Posthumous releases include 3½; The Lost Tapes 1985–1988, a collection of unreleased studio sessions, and The Day Before Wine and Roses, a live radio performance recorded just prior to the release of the band's first album. Wynn has since recorded albums as a leader and with Gutterball (featuring the House of Freaks and Silo Bob Rupe) and is continuously collaborating with other musicians. His 1996 solo record had him backed by the Boston band Come. Smith went on to work in Opal with David Roback, a prototype version of his Mazzy Star, and has since recorded solo albums as well.

After a long hiatus from music, Karl Precoda reappeared in 1997 fronting the Last Days of May, a neo-psychedelic instrumental trio. Duck continued to work with Wynn as a touring drummer and bassist Mark Walton played with the Continental Drifters. A documentary of Dream Syndicate's last tour, Weathered and Torn, has been released on DVD. The reformed band (Wynn, Walton, Duck and Jason Victor, Wynn's longtime lead guitarist in the Miracle 3) played again on September 21, 2012, at Festival BAM, in Barcelona[6] and has continued with further limited performances in 2012 and 2013.[
In December 2013, The Dream Syndicate played two nights with three other reunited Paisley Underground bands — The Bangles, The Three O'Clock, and Rain Parade — at The Fillmore in San Francisco (Dec. 5) and The Fonda Theatre in Los Angeles (Dec. 6 benefit concert).

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On the one hand, where the Dream Syndicate came from was so obvious that it almost hurt. The Velvet Underground was a clear touchstone (if not quite the original LaMonte Young ensemble the band name referred to), as were the Doors, the Byrds, and any number of blues and country traditions and more. Had they been around in the late '60s, one might have wondered whether they would have garnered much attention in comparison. But the early '80s was the band's time and place, and their fusions of all the above and more via punk-inspired energy achieved its own level of deserved attention. Capturing the original killer Wynn/Precoda/Smith/Duck lineup performing with inspiration throughout, The Days of Wine and Roses trumps the "paisley underground" tag the band was saddled with by being a great rock record, full on. While Wynn received the lion's share of attention thanks to his ghost-of-Lou Reed vocals and frontman status, arguably it's Precoda who is the real reason to listen in. Both his rave-ups and gentler shadings are phenomenal, as a random listen of songs like "Definitely Clean" and the sweet, Smith-sung "Too Little, Too Late" show. The Smith/Duck rhythm section grooves along fairly enough, at its best on the Krautrock-inspired chug of Precoda's composition "Halloween." Highlights include the romping "Then She Remembers," with a much more direct Wynn vocal that makes for good in-your-face fun, and the mid-tempo moodout of "When You Smile," Precoda's screeching feedback playing around the mix's edges. Concluding with the epochal title track, which builds to a frenetic climax not once but twice, The Days of Wine and Roses is a grand treat.

The Dream Syndicate - The Days Of Wine And Roses  (flac 408mb)

01 Tell Me When It's Over 3:32
02 Definitely Clean 3:30
03 That's What You Always Say 3:13
04 Then She Remembers 4:07
05 Halloween 6:10
06 When You Smile 4:15
07 Until Lately 6:50
08 Too Little, Too Late (Voc.Kendra Smith) 3:27
09 The Days Of Wine And Roses 7:34
Bonus Tracks
10 Sure Thing (Down There EP Version) 4:02
11 That's What You Always Say (Down There EP Version) 4:22
12 When You Smile (Down There EP Version) 3:10
13 Some Kinda Itch (Down There EP Version) 5:32
14 Too Little, Too Late (Rehearsal Version) 3:40
15 Definitely Clean (Rehearsal Version) 3:36
16 That's What You Always Say (15 Minutes) 3:57
17 Last Chance For You (15 Minutes) 2:39
 
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In 1982, the Dream Syndicate seemed to come out of nowhere (actually Davis, CA, but close enough) to become the most talked about band in underground rock with their debut album The Days of Wine and Roses, recorded for the tiny but prestigious Ruby Records label when the group was all of nine months old. After waves of positive press, A&M Records signed the Dream Syndicate and they went into the studio with producer Sandy Pearlman, who spent five months in the studio guiding the band through their second LP. Given their sudden rise to success, the Dream Syndicate probably would have dealt with a certain amount of critical backlash no matter how their sophomore effort turned out, but Medicine Show was greeted with openly hostile reviews, largely because it sounded practically nothing like the album that sent tongues wagging two years earlier. Where The Days of Wine and Roses was a raw but passionate fusion of Highway 61-era Bob Dylan and the Velvet Underground at their most primal, Medicine Show sounded big and polished, but also dusty and weathered, with the terse, nose-thumbing lyrics of the debut replaced with dark, complex narratives full of bad luck and bad blood backed with booming drums and roaring guitars that were significantly more rockist than what Steve Wynn and Karl Precoda brought to their earlier recordings. Viewed in the context of Wynn's career, Medicine Show marks the spot where the lyrical themes and musical approach of his later work would first come into focus, but it still doesn't bear much resemblance to what the Dream Syndicate would create on their subsequent albums in its grand, doomy tone and obsessive but curiously unobtrusive production style. Medicine Show isn't a grand failure as its initial detractors claimed, but it isn't the triumph some revisionist fans imagine it to be, either; there are a few great songs scattered throughout (especially "Merrittville" and "Armed with an Empty Gun"), and once it works its way in, the 8:48 of "John Coltrane Stereo Blues" is as potent a guitar workout as anything this band would ever release. But in most respects, this finds Wynn and his bandmates reaching for something they couldn't quite grasp, and Tom Zvoncheck's keyboards, for all their drama, never really find their way into the music. Lots of bands let loose with a major-label budget for the first time have made lavish records that didn't quite work, but unlike most of them, Medicine Show doesn't sound like a grandiose waste of money. Instead, it's a widescreen guitar spectacle with the soul of a Jim Thompson paperback, and if it doesn't always work, enough of it does to make it worthy of serious reappraisal.


When "Tell Me When It's Over" begins with a solo piano fanfare that lasts close to a minute-and-a-half, you know you're not dealing with an ordinary, live Dream Syndicate recording, and this longish EP, featuring five tunes from a July 1984 concert in Chicago, captured the band in a transitional period. The Dream Syndicate were touring in support of the album Medicine Show, and the performances reflect the dark but spacious mood of those sessions; Tom Zvoncheck, who played piano and organ on the album, tagged along for the tour and his contributions take up a lot of space in the arrangements of what had always been a guitar band, and hearing this edition of the group make their way through "Tell Me When It's Over" (the only song that didn't originate on Medicine Show) shows just how far they'd traveled stylistically in the three years they'd been together. Compared to The Day of Wine and Roses (a live album that documents a show The Dream Syndicate played the week their debut album was released), This Is Not the New Dream Syndicate Album sounds remarkably bigger, tighter, and more confident, but the guitar interplay between Steve Wynn and Karl Precoda lacks the tense spark that marked their best work, and while the band seems more comfortable with the Medicine Show songs than they did in the studio, they also seem to be searching for ways to make them sound as dark and wired as they did on plastic (and Wynn seems to have responded by having a few cocktails). After this tour was over, Precoda would leave The Dream Syndicate, A&M would part ways with the group, and Paul Cutler's guitar work would take the band in a different aural direction for their next album, Out of the Grey; This Is Not the New Dream Syndicate Album … Live catches them near the end of one road, and while they don't seem to be lost, they do seem ready to take the next exit.

The Dream Syndicate - Medicine Show  (flac 526mb)

01 Still Holding On To You 3:40
02 Daddy's Girl 3:02
03 Burn 5:33
04 Armed With An Empty Gun 3:56
05 Bullet With My Name On It 6:20
06 The Medicine Show 6:29
07 John Coltrane Stereo Blues 8:47
08 Merrittville 7:20

Bonus (This is not the New Dream Syndicate Live Mini)
09 Tell Me When It's Over (Live) 5:18
10 Bullet With My Name On It (Live) 6:02
11 Armed With An Empty Gun (Live) 4:21
12 The Medicine Show (Live) 7:09
13 John Coltrane Stereo Blues (Live) 9:03

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Like nearly everything released that year, Out of the Grey suffered from a touch of the post-new wave flu. But "50 in a 25 Zone" has that old, bluesy Syndicate spirit, as does "Now I Ride Alone," and Steve Wynn is still an exceptional vocal stylist, bringing heart and meaning to every word he writes. Out of the Grey was released in 1986 as the first studio album after the band was dropped from A&M Records due to disappointing sales after the release of the 1984 album This Is Not the New Dream Syndicate Album......Live!. The band pondered its future and even retired temporarily, while lead singer and songwriter Steve Wynn made a record with Dan Stuart (as "Danny & Dusty").The duo's album, Lost Weekend (1985), was produced by Paul B. Cutler, who has also produced The Dream Syndicate's eponymous first EP (1982). Jamming with Cutler, a guitar player, rekindled the desire in Wynn to bring the The Dream Syndicate together again. The band reformed after some personnel changes, most notably the replacement of lead guitarist Karl Precoda by Cutler The band's sound changed also, to a "considerably more aggressive, but simultaneously country-inflected outlook." The "more mainstream" sound, however, did not lead to commercial success.

The response to the album from fans and critics was positive, and after its release the band toured Europe before going on its first American tour in two years. Right after the release of the record, when the band seemed to be "back on track", the label, Big Time Records, folded, to the band's detriment—it went back into inactivity and Wynn played acoustic solo dates for a while.

The Dream Syndicate - Out Of The Grey ( flac 454mb)

01 Out Of The Grey 4:51
02 Forest For The Trees 4:38
03 50 In A 25 Zone 4:44
04 Boston 5:32
05 Blood Money 4:31
06 Slide Away 3:33
07 Dying Embers 4:57
08 Now I Ride Alone 4:32
09 Drinking Problem 3:32
10 Dancing Blind 4:47
11 You Can't Forget 2:47
Bonus Tracks
12 Let It Rain 3:57
13 Cinnamon Girl 3:02
14 Ballad Of Dwight Frye 5:43
15 Shake Your Hips 0:53
16 I Won't Forget 2:34
17 The Lonely Bull 1:58

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RhoDeo 1407 Roots

Hello,

There can be few artists who have produced as many good albums throughout the late 70's, 80's and 90's as today's artist, whether with Juluka or later with Savauka. He is one of the best writers and performers of the last 20 years in any popular music form. ....N'joy

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Johnny Clegg, born in Rochdale, England 7 June 1953 was raised in his mother's native land of Zimbabwe before emigrating to South Africa at the age of nine. By the age of 10 he had fallen in love with African, and in particular, Zulu, music. His first memories of Zulu music are of hearing street performer Mntonanazo, who performed frequently in his neighbourhood. At the age of 14, Johnny began to learn to play the guitar. Through his interest he met Charlie Mzila, a Zulu flat cleaner who played street music near Clegg's home. For two years Johnny learned the fundamentals of Zulu music and traditional Zulu Inhlangwini dancing with Charlie. Equipped with his guitar, Johnny accompanied Mzila to all the migrant labor haunts; from hostels to rooftop bars.

Later, while reading social anthropology at Wits University, Clegg formed a friendship with a migrant worker and musician named Sipho Mchunu (b. 1951, Kranskop, Natal, South Africa), and in 1972 the two began performing together as Johnny And Sipho, forming their first band, the sextet Juluka (Zulu for ‘sweat’) in 1976. They quickly developed an innovative fusion of fierce mbaqanga rhythms and universally appealing pop melodies. While most Africans responded with great enthusiasm to the sight of a white man immersing himself in Zulu music, the reaction of white South Africans was by and large hostile, and Juluka were engaged in a running battle with the authorities. They suffered from racist abuse, threats of violence and then an extreme shortage of available venues in a country where multi-racial gatherings were, to all practical purposes, forbidden.

Overcoming all these obstacles, the band scored their first hit with the single ‘Woza Friday’ in 1978, by which time they had built up a national following through their formidably powerful live appearances, which included wholly convincing displays of traditional Zulu indlamu (foot stamping) dancing by Clegg. They also succeeded in persuading the authorities to allow them to tour overseas, and in the early 80s performed in the UK, Europe and the USA, where their 1982 album Scatterlings, was released in 1984. During their lifetime, the group recorded seven albums, including the acclaimed debut Universal Men, a musical journey through the life of a Zulu migrant worker, before breaking up in 1985, following Mchunu’s decision to leave Johannesburg and the music business and return to the bush to run his family’s small cattle farm (1985 also brought a European Top 40 hit with ‘Scatterlings Of Africa’).

In 1986 Clegg re-emerged fronting a new group, Savuka (‘We Have Arisen’), which continued in the direction set out by Juluka and, in the increasingly liberal political climate of South Africa in the late 80s, found it much easier to tour both there and overseas. Clegg’s solo career had been launched in 1985 with Third World Child, but it was an album of the same name recorded by Savuka which became an international success, selling over a million copies. A sold out tour of France followed, before stints in the USA and Canada. In the process he became one of the first African stars to appear on The Johnny Carson Show. The 1989 recording Cruel, Crazy Beautiful World saw Clegg upgrade the band’s sound in a modern Los Angeles studio, though his lyrical concerns about South Africa, brilliantly extolled in ‘Woman Be My Country’ and the title track, remained undiluted.

Clegg recorded one further album with Savuka, 1993’s Heat, Dust And Dreams, which was informed by the ending of the apartheid system in South Africa and the assassination of former band member Dudu. Briefly reunited with Mchunu in the mid-1990s, Clegg reformed Juluka and toured throughout the world including a tour of the USA in 1996, on which King Sunny Ade was the opening act.

Clegg and his band often make an international tour during May–August (South African winter). However, the tours are usually limited to France and surrounding countries. In June 2004, Johnny Clegg toured North America for the first time in over eight years, doing 22 concerts in one month. Even though they had no albums for sale in North America during those eight years, and no significant media coverage, they filled most of their venues.

Clegg returned to North America with his band in July 2005, with dates booked throughout the U.S. and Canada. His new album One Life was remixed at Real World Studios in Bath, England, and released on October 30, 2006 in the UK. Clegg and Band toured Europe and North America in 2011 to a combined audience of 35,000. He has also announced that he will play in Western Sahara city of Dakhla, which has caused a campaign of rejection, as that concert is considered as a support for Moroccan occupation of Western Sahara. Clegg toured North America in 2012 and one venue in France to a combined audience of 70,000. In 2013 Clegg continues to tour with a stripped-down, storytelling version of his concerts. Johnny Clegg told Eyewitness News that he's developing a musical based on his life story and an autobiography is in the pipeline.

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Third World Child is studio album by South African artist Johnny Clegg and his band Savuka, released in 1987 and produced by Hilton Rosenthal.Incorporating both Zulu and English lyrics, as well as political songs, it was the album which led Clegg to international fame. All songs were written by Johnny Clegg, except for Giyani in collaboration with V. Mavusa.

The song "Great Heart" was covered by Jimmy Buffett a year after its release for his album Hot Water.
"Asimbonanga (Mandela)" is an anthem already adopted by Joan Baez and others, while the title tune devastatingly discusses what it's like to be asked to "walk in the dreams of the foreigner."

Johnny Clegg and Savuka - Third World Child (flac  253mb)

01 Are You Ready? 4:03
02 Asimbonanga (Mandela) 4:51
03 Giyana 4:33
04 Scatterlings Of Africa 3:52
05 Great Heart 4:24
06 Missing 4:21
07 Ring On Her Finger 4:08
08 Third World Child 4:16
09 Berlin Wall 4:28
10 Don't Walk Away 4:24

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A nice album of pieces, with almost lilting vocals coming from lead singer Johnny Clegg, from time to time almost reminiscent of some mixture of Dylan and Springsteen. The guitar work seems slightly influenced by reggae, which wouldn't be too surprising given the half-South African membership of the group. Heat, Dust And Dreams released in 1993, produced by Hilton Rosenthal, co-produced by Bobby Summerfield, received a 1993 Grammy Award nomination for Best World Music Album.

The album would be the final work of the band Savuka. It was made in honor of member Dudu Zulu, who had been assassinated in the last years of the apartheid. Most songs of album are heavily influenced by the end of this dark period of South African history. "These Days", "When the System has Fallen", "In My African Dream" and "Your Time Will Come" all express hope for the future, while songs like "The Promise" and "Foreign Nights" talk of the problems people still have to face. It is the only Savuka album to receive the same degree of critical acclaim as the Juluka albums such as Universal Men, African Litany, Work for All and Scatterlings. With Clegg's blessing, "The Crossing (Osiyeza)" was covered for the 2009 film Invictus.

Johnny Clegg and Savuka - Heat, Dust and Dreams (flac 347mb)

01 These Days 4:55
02 The Crossing (Osiyeza) 4:56
03 I Can Never Be (What You Want Me To Be) 4:00
04 When The System Has Fallen 4:46
05 Tough Enough 5:11
06 The Promise 4:38
07 Inevitable Consequence Of Progress 4:44
08 In My African Dream 4:33
09 Emotional Allegiance (Stand By Me) 4:23
10 Foreign Nights (Working Dog In Babylon) 4:00
11 Your Time Will Come 4:44

 
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There can be few artists who have produced as many good albums throughout the late 70's, 80's and 90's as Johnny Clegg, whether as Juluka or in his later incarnation as Savauka. This anthology includes some of the best from both bands. Great tracks like Impi which combine a wonderful chorus with gripping factual story line about the defeat of a British Regiment by the Zulu army in 1881. It also has one of the truly great tracks of all time "Scatterlings of Africa". If not his manifesto (which was established long before his international fame), it makes his point, the mixing of rock and Zulu music, quite succinctly and wonderfully -- and he was doing it long before it became fashionable (indeed, while it was illegal under South Africa's apartheid laws). You can't say this is a perfect best-of, by any means, but it does include the lovely "Take My Heart Away" and "Great Heart," which would later be covered by Jimmy Buffett. The a cappella version of "Dela" highlights the gorgeous harmonies in a manner similar to Ladysmith Black Mambazo, while "Asimbonanga (Mandela)" is a tribute to the man who would be South Africa's new leader, and a real hero. So, with seminal Clegg material like "Waza Friday" and "Impi," it's  a very decent collection. Johnny Clegg & Savuka were always about more than the music, however; they put it together politically, too, a huge act of defiance that was reflected in the lyrics and sound. As the man said, think and dance.

Johnny Clegg , Juluka and Savuka - Anthology   (flac  520mb)

Johnny Clegg & Juluka
01 Universal Men 4:51
02 Impi 4:47
03 High Country 4:33
04 Woza Friday 4:07
05 Scatterlings of Africa 5:37
06 Bullets for Bafazane 3:57
07 Nans' Impi 3:23
08 Kilimanjaro 3:42

Johnny Clegg & Savuka
09 Orphans of the Empire 5:21
10 Great Heart 4:23
11 Take My Heart Away 4:16
12 Dela 4:26
13 Cruel, Crazy, Beautiful World 4:27
14 The Crossing 4:58
15 Africa (What Made You So Strong) 3:37
16 Asimbonanga (live) 4:43
17 Hambile/The Dance (live) 5:55

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