RhoDeo 1417 Aetix

Hello,

today's band, more than any other hardcore band, epitomized the free-thinking independent ideals that formed the core of punk/alternative music. Wildy eclectic and politically revolutionary, the Minutemen never stayed in one place too long; they moved from punk to free jazz to funk to folk at a blinding speed. And they toured and recorded at blinding speed; during the early '80s, they were constantly on the road, turning out records whenever they had a chance. ..  N'joy

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Minutemen began when D. Boon and Mike Watt met at age 13. Watt was walking through a park in their hometown of San Pedro, California when Boon, playing a game of "army" with other boys, fell out of a tree right next to him and found that his friends, one named Eskimo, must have ditched him. Both boys shared a passion for music; Boon's mother taught D. to play the guitar and suggested Watt learn to play bass. At first, Watt did not know the difference between bass and standard guitars. The pair eventually started playing music together, mostly covering songs from artists they admired. In the summer of 1973 Watt and Boon formed the Bright Orange Band, with Boon's brother Joe on drums. In 1976 they discovered punk; Boon's mother died, and the Bright Orange Band disbanded shortly thereafter. The next year, the two joined a short-lived band called Starstruck. Following Starstruck's disbandment, Boon and Watt met drummer George Hurley and formed The Reactionaries with vocalist Martin Tamburovich.

After the Reactionaries disbanded, Boon and Watt formed Minutemen in January 1980. Watt has said their name had nothing at all to do with the brevity of their songs; rather, it was derived partly from the fabled minutemen militia of colonial times and partly to lampoon a right-wing reactionary group of the 1960s that went by that name. In the documentary We Jam Econo, Watt also states that the name was a play on "minute" . After a month with no drummer, during which Boon and Watt wrote their first songs, the band rehearsed and played a couple of early gigs with local welder Frank Tonche on drums. The group had originally wanted George Hurley to join, but he had joined a hardcore punk band called Hey Taxi! with Michael Ely and Spider Taylor after the Reactionaries disbanded. Tonche quit the group, citing a dislike of the audience the band initially drew, and Hurley took over as drummer in June 1980. Their first live gig was as an opening band for Black Flag.

Greg Ginn of Black Flag and SST Records produced Minutemen's first 7" EP, Paranoid Time, which solidified their eclectic style. Like most punk bands at the time, the band sold the EP at their shows and at a few local record stores. It became a minor hit with the hardcore scene. By their first LP—1981’s The Punch Line—they had found their voice and began touring nonstop around the country. They released their second EP and third overall release entitled Bean-Spill. By this time they were becoming one of the more popular bands in the underground scene around the country. By the time of their second LP What Makes a Man Start Fires?, which gained considerable attention from the alternative and underground press, they were a part of the band's sound, despite maintaining their experimental and punk roots. They continued their hectic touring schedule, which included their longest tour yet, a double bill with Black Flag in Europe. The long tour strengthened their place as one of most well-known acts in the hardcore scene. In 1983 they released their third LP, Buzz or Howl Under the Influence of Heat. It was one of the first hardcore albums to include a horn (trumpet on "The Product")

Minutemen's anti-rockist eclecticism was perhaps the best exemplified on 1984's double album Double Nickels on the Dime. Though still somewhat obscure to mainstream audiences, Double Nickels has been cited as one of the more innovative and enduring albums of the 1980s American rock underground. On Double Nickels, they co-wrote some songs with other musicians, notably Henry Rollins, Chuck Dukowski, and Joe Baiza. In 1985 they released their most commercial-sounding recording, Project: Mersh. Though the album sounded more mainstream, it sold poorly compared to Double Nickels due largely to the negative reaction to such a commercial album from within the underground community. They continued touring, and by the time of their final album, 3-Way Tie (For Last), they decided to take a small break. They played what would be their last tour with another emerging band, R.E.M. Their final concert was in Charlotte, North Carolina on December 13, 1985.

On December 22, 1985, Boon was killed in a van accident, putting an end to Minutemen. Watt fell into a deep depression after his friend's death, but was convinced to continue performing by Sonic Youth. This put an end to the band's plans to record a half studio/half live triple album with the working title 3 Dudes, 6 Sides, Half Studio, Half Live. The live tracks were to be based on the ballots that they handed out and as a way to counteract bootlegging. A year later, however, Watt and Hurley compiled various live recordings, based on the ballots, which was released as Ballot Result.

Following Boon's death, Watt and Hurley originally intended to quit music altogether. But encouraged by Minutemen fan Ed Crawford, they formed Firehose in 1987 and have both formed solo projects since Minutemen disbanded.

Watt has created three acclaimed solo albums, recorded three others as part of the punk jazz jam band Banyan with Stephen Perkins (Jane's Addiction), Nels Cline (Wilco), and Money Mark Nishita (Beastie Boys), contributed on "Providence" off Sonic Youth's album Daydream Nation and "In the Kingdom No. 19" and "Bubblegum" off EVOL, toured briefly as a member of Porno for Pyros in 1996 and J Mascis and the Fog in 2000 and 2001, and became the bassist for The Stooges in 2003. George Hurley has produced work with Vida, Mayo Thompson, and Red Crayola, further indulging the free-form and off-the-wall leanings showcased on Double Nickels. Hurley and Watt have also continued to make music together both live and in the studio since Firehose's splitting in 1994.

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The Minutemen may have come out of the same California hardcore scene that produced Black Flag, Circle Jerks, and Fear, but they not only bore little resemblance to their West Coast contemporaries, they didn't sound much like anyone else in American rock at that time. The Punch Line was the band's first album, packing 18 tunes into less than 25 minutes, and if the music shares hardcore's lust for speed and assaultive rhythmic punch, their sharp, fragmented melodies, complex tempos, and overtly poetic and political lyrics made clear they were rugged individuals; imagine James Blood Ulmer teaching Wire how to get funky and you start to get an idea of what The Punch Line sounds like. It wasn't until the band began to slow down a bit on What Makes a Man Start Fires? that the strength of the group's individual songs became clear, and The Punch Line works better as a unified sonic assault than as a collection of tunes, but moments do stand out, especially "Tension," "Fanatics," and the title cut, which certainly lends a new perspective to Native American history. The Punch Line was as wildly inventive as anything spawned by American punk, and the band would only get better on subsequent releases.

The Minutemen had already come up with a sound as distinctive as anything to come out of the American punk underground -- lean, fractured, and urgent -- with their debut album, 1981's The Punch Line. But on their second (relatively) long-player, What Makes a Man Start Fires?, the three dudes from Pedro opted to slow down their tempos a bit, and something remarkable happened -- The Minutemen revealed that they were writing really great songs, with a remarkable degree of stylistic diversity. If you were looking for three-chord blast, The Minutemen were still capable of delivering, as the opening cut proved (the hyper-anthemic "Bob Dylan Wrote Propaganda Songs"), but there was just as much churning, minimalistic funk as punk bile in their sound (bassist Mike Watt and drummer George Hurley were already a strikingly powerful and imaginative rhythm section), and D. Boon's guitar solos were the work of a man who could say a lot musically in a very short space of time. Leaping with confidence and agility between loud rants ("Split Red"), troubled meditations ("Plight"), and plainspoken addresses on the state of the world ("Mutiny in Jonestown"), The Minutemen were showing a maturity of vision that far outstripped most of their contemporaries and a musical intelligence that blended a startling sophistication with a street kid's passion for fast-and-loud. It says a lot about The Minutemen's growth that The Punch Line sounded like a great punk album, but a year later What Makes a Man Start Fires? sounded like a great album -- period.

Minutemen - Post Mersh Vol. 1 ( flac 254mb)

The Punch Line (1981)
01 Search 0:53
02 Tension 1:20
03 Games 1:04
04 Boiling 0:57
05 Disguise 0:48
06 The Struggle 0:41
07 Monuments 0:51
08 Ruins 0:49
09 Issued 0:40
10 The Punch Line 0:41
11 Song For El Salvador 0:32
12 History Lesson 0:38
13 Fanatics 0:31
14 No Parade 0:51
15 Straight Jacket 0:59
16 Gravity 0:57
17 Warfare 0:55
18 Static 0:53
What Makes A Man Start Fires? (1983)
19 Bob Dylan Wrote Propaganda Songs 1:28
20 One Chapter In The Book 1:02
21 Beacon Sighted Through Fog 1:43
22 Fake Contest 1:00
23 Mutiny In Jonestown 1:08
24 Pure Joy 2:08
25 Faith / East Wind 1:29
26 '99 1:00
27 The Anchor 2:33
28 Sell Or Be Sold 1:44
29 The Only Minority 1:00
30 Split Red 0:53
31 Colors 2:05
32 Flight 1:37
33 This Road 1:08
34 The Tin Roof 1:34
35 Life As A Rehearsal 1:24
36 Polarity 1:50

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The third and final volume of Post-Mersh crams an extraordinary amount of music on one disc, compiling the EPs Paranoid Time (1980), Bean-Spill (1982), and Tour-Spiel (1985), the 1981 "Joy" single, and the 1984 rarities and outtakes collection The Politics of Time.
The Minutemen's debut EP Paranoid Time is a startlingly coherent set of primal minimalism -- a cross between Californian hardcore punk and the succinct experimentalism of Wire. It speeds by too quickly for any particular song to stand out, but the band's terse, frenetic energy is invigorating, as are their imaginative ideas.

The Minutemen had as high a batting average as any band that came out of the California punk scene, releasing a number of superb records that confirmed their status as one of the finest, most intelligent, most forward-thinking, and most individual bands of their time. However, there isn't an awful lot of that on The Politics of Time; this compilation ties together a bagful of studio outtakes, rehearsal recordings, and live tapes of highly variable quality (one of which is thoroughly inaudible; it's a joke, but not necessarily a funny one). The album leads off well enough with seven tunes the band recorded for an unreleased album. Stylistically, the songs fit comfortably between the ambitious What Makes a Man Start Fires? and the magnum opus Double Nickels on the Dime; on their own, they would have made for a superb EP, and "Working Men Are Pissed" and "Shit You Hear at Parties" are excellent. But side two is bogged down with far too many unfocused, lo-fi live tapes, and while the selections by the Reactionaries (an embryonic version of The Minutemen) are historically interesting, ultimately they're little more than juvenilia from a band destined to create much stronger music.

Minutemen - Post Mersh Vol. 3  (flac 370mb)

Paranoid Time EP (1980)
01 Validation 0:43
02 The Maze 0:42
03 Definitions 1:15
04 Sickles And Hammers 0:50
05 Fascist 1:00
06 Joe McCarthy's Ghost 1:03
07 Paranoid Chant 1:21
Joy (1981)
08 Joy 0:58
09 Black Sheep 1:12
10 More Joy 1:11
Bean Spill EP (1982)
11 Split Red 0:57
12 If Reagan Played Disco 1:20
13 Case Closed 1:33
14 Afternoons 1:31
15 Futurism Restated 0:58
The Politics Of Time (1984)
16 Base King 1:18
17 Working Men Are Pissed 1:21
18 I Shook Hands 1:05
19 Below The Belt 1:00
20 Shit You Hear At Parties 1:09
21 The Big Lounge Scene 1:27
22 The Maternal Rite 1:16
23 Tune For Wind God 3:09
24 Party With Me Punker 0:57
25 The Process 1:22
26 Joy Jam 4:50
27 Tony Gets Wasted In Pedro 2:12
28 Swing To The Right 0:46
29 Raza Si! 1:02
30 Times 0:51
31 Badges 0:36
32 Fodder 0:46
33 Futurism Restated 1:34
34 Hollering 1:01
35 Suburban Dialectic 0:47
36 Contained 1:00
37 On Trial 0:43
38 Spraycan Wars 1:00
39 My Part 1:40
40 Fanatics 0:35
41 Ack Ack Ack 0:46
42 The Big Blast For Youth 1:24
Tour-Spiel EP (85)
43 Ain't Talkin' 'Bout Love 0:43
44 The Red And The Black 3:33
45 Green River 1:53
46 Lost 2:29

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Picking up where the first volume left off, Post-Mersh, Vol. 2 contains the Minutemen's 1983 Buzz or Howl Under the Influence of Heat LP and the 1985 Project Mersh EP.
What Makes a Man Start Fires? marked a real step forward for the Minutemen, and while Double Nickels on the Dime was where the group would reach their peak, there were plenty of signs pointing to that album's diverse brilliance on this eight-song EP. While "Dreams Are Free, Motherfucker!" and "The Toe Jam" are goofy, noisy throwaways (hey, this was a EP sandwiched between albums), the rest of the songs found the band consolidating their strengths and growing even tighter and more confident. "I Felt Like a Gringo" and "Cut" merge funky rhythms with a punk rocker's sense of concision, "Self Referenced" and "The Product" reveal how far this band's writing had progressed since The Punch Line, and "Little Man With a Gun in His Hand" showed the Minutemen could reduce the tempo and the volume and still create stunning music. It's hard to think of a stronger rhythm section in an independent band in the 1980s than Mike Watt and George Hurley, and D. Boon was by any standards a superb guitarist, with smarts, style, and a keen sense of how to edit himself. Buzz or Howl Under the Influence of Heat remains a superb record from a band just edging into greatness.

"I got it! We'll have them write hit songs!" some nameless record company executive says in the cover painting to the Minutemen's 1985 EP Project Mersh, and that joke covers about half of the record's formula. While the Minutemen had been writing more melodic and approachable songs with each release, the massive barrage of 90-to-180-second songs on the epic Double Nickels on the Dime was at once an embarrassment of riches and a bit much for a casual listener to chew on. So for this tongue-in-cheek experiment in making a "commercial" (or "mersh") recording, D. Boon and Mike Watt wrote a few actual three-minute-plus rock tunes, complete with verses and choruses and melodic hooks. On top of that, the band made a game stab at cleaning up their act in the studio; while hardly on the level of something Bob Ezrin or Richard Perry would come up with, Project Mersh boasts a good bit more polish than anything the band had released up to that point and even featured horn overdubs and keyboards on a few tracks. But the punch line was that the Minutemen had used all this fancy window dressing on songs that weren't all that different from what they'd been doing all along -- "The Cheerleaders" and "King of the Hill" are typically intelligent, clear-eyed polemics from Boon, and Watt's "Tour-Spiel" is one punker's bitterly funny ode to life on the road (it stands comfortably beside their cover of Steppenwolf's variation on the same theme, "Hey Lawdy Mama"). While the Minutemen were a band that followed their own creative path from the beginning to the end, Project Mersh made clear they could have followed a more easily traveled road and still made good music with plenty to say.

Minutemen - Post Mersh Vol. 2 (flac 245mb)

Buzz Or Howl Under Influence Of Heat EP (1983)
01 Self-Referenced 1:23
02 Cut 2:00
03 Dream Told By Moto 1:46
04 Dreams Are Free, Motherfucker! 1:09
05 The Toe Jam 0:40
06 I Felt Like A Gringo 1:57
07 The Product 2:44
08 Little Man With A Gun In His Hand 3:10
Project Mersh EP (1985)
09 The Cheerleaders 3:52
10 King Of The Hill 3:24
11 Hey Lawdy Mama 3:37
12 Take Our Test 2:44
13 Tour-Spiel 2:45
14 More Spiel 5:52

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RhoDeo 1417 Roots

Hello, it's the final post coming from Congo today, i'd say it's a country that has had a bad reputation but the human spirit is stronger as you can hear thru it's wonderful music.


Historically, the region of the Congo was a vast geographical area of equatorial Africa located in the tropical wet forest of Central Africa called Congolian forests. It also owes its name to the predominant ethnic group in the region, ruled by Kingdom of Kongo founded towards the end of the 14th century and extended from 1390 to 1914. Although the span of rule of the kingdom varied, in its greatest extent, the Kingdom of Kongo reached from the Atlantic Ocean in the west to the Kwango River in the east, and from the Congo River in the north to the Kwanza River in the south. The kingdom largely existed from c. 1390 to 1891 as an independent state, and from 1891 to 1914 as a vassal state of the Kingdom of Portugal. The Congo River, its main river, flows through the region forming the Congo Basin.

Some groupings advocate a return to one Congolese homeland on the basis of the historical kingdom. Very notably, the Bundu dia Kongo movement advocates reviving the kingdom through secession from Angola, the Republic of the Congo, the Democratic Republic of the Congo, and Gabon. The nowadays geographic region spans across the Republic of the Congo (former French Congo), Democratic Republic of the Congo (former Zaïre/Belgian Congo), and the Angolan exclave of Cabinda (former Portuguese Congo) which lies (bizarly !) between the Republic and the Democratic Republic and produces lot's of oil. Ah yes big business making lots of money with Congolese resources.


Ok the coming weeks we're hearing about the music from this African jungle heart, it's a strange place for Westerners, life is cheap and emotions rise quickly. Religion and music deliver the much needed coherance  so for the coming 3 or 4 weeks we will present stars some of which have released many albums most of these never reached the Western public or even the great Discogs database. Today a man most famous for the structural changes he implemented to soukous music. The previous approach was to sing several verses and have one guitar solo at the end of the song. He revolutionized soukous by encouraging guitar solos after every verse and even sometimes at the beginning of the song. His form of soukous gave birth to the kwassa kwassa dance rhythm where the hips move back and forth while the hands move to follow the hips ........N'joy

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Élizabeth Tshala Muana Muidikay, alias Tshala Muana, (Lubumbashi, May 13, 1958) is a singer and dancer from Congo-Kinshasa. She started her artistic career as a dancer for the musical band Tsheke Tsheke Love in 1977. Later she became the leading singer of Mutuashi, the Afro-Cuban-influenced dance music of the Democratic Republic of the Congo, Tshala is known for her sensuous stage outfits and extremely sexy dancing. The Baluba folk music tradition has also played an important role in the development of Muana's sound. This is a compilation of the best recordings by a singer whose reputation just keeps growing -- and rightly so. Muana and her chorus work almost as one unit, and the backings balance fluid guitars, tough disco elements, and jaunty traps; punchy horns that blend R&B licks with older Afro/Carib references; and local traditional elements to subtle and splendid effect. She has the best voice of all the Zairian women singers.

Tshala Muana - The Best Of Tshala Muana  (flac  357mb)

01 Nasi - Nabali 5:51
02 Lwa - Touye 5:47
03 Ndeka ya Samuel 8:25
04 Kizoungo - Zoungo 6:14
05 Tshibola 5:05
06 Bena Moyo 6:01
07 Seli Pere 6:02
08 Karibou Yangu 6:15
09 Mbanda Matiere 5:59
10 Koumba 6:11

Tshala Muana - The Best Of Tshala Muana  (ogg 143mb)

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This surveys the music from two Central African nations that sit on either side of the Congo River; one is currently know as the Democratic Republic of Congo (previously known as the Congo Free State, Belgian Congo, Zaire, and Congo-Kinshasa) and the other is the much smaller Republic of Congo (aka Congo-Brazzaville). The 1960s and ’70s, the era covered by this set, were a great time for these two countries, both of which have been laid low by military conflict and kleptocratic goverment. Their colonial masters (Belgium and France) had relinquished control, their economies were growing, and the growing urban populations had growing access to modern pleasures like electricity and Western pop music. Which isn’t to say that sounds from outside Africa were new; this neck of the world had already been plugged into international trade routes for 400 years, and Cuban music, in particular, had held sway for decades. But the proliferation of resources and the assertion of a common Congolese identity spurred an efflorescence of home-grown music characterized by ringing, repetitive lead guitars, punchy horn punctuation, easy-swaying poly-rhythmic grooves, and Cuban-influenced vocal melodies known variously as rumba, soukous, and African jazz. The Caribbean elements are especially noteworthy because singers like Franco, Tabu Ley, and L’Orchestre Bella Bella’s Soki Bros. were more likely to sing in Lingala, French or Kikongo. But just as it doesn’t take much rum to spike a drink, a bit of Cuban melody can dominate the flavor of a tune, and those sinuous lines, often buffered by studio reverb, are among the elements that make it easy for an American living in another century who doesn’t understand a word they’re singing to like this music. It's 2,5 hours of excitement to finalize the Congolese stopover here..

VA - Congo Rhythm  (flac  364mb)

01 Ku Kisantu - Franco et le TP OK Jazz
02 El Congo - Rumbanella Band
03 Nokomitunaka - Verckys
04 Celica Souvenir - Sam Mangwana
05 En Memoire - Vicky Et OK Jazz
06 Karibou - Afrisa International
07 Tozonga - Franco et le TP OK Jazz
08 Africa Mokili - Rumbanella Band
09 Kaful Mayay - Afrisa International
10 La Veite - Franco et le TP OK Jazz
11 Pauline - Docteur Nico
12 Savon Omo - African Fiesta
13 Si Tu Bois - OK Jazz
14 Nakota - Orchestre Negro Succes

VA - Congo Rhythm  (ogg 157mb)

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VA - Congo Rhythm 2  (flac  431mb)

01 Tiers Monde - Tiers Monde
02 Biatondi - African Fiesta
03 Bholen Mwana - Orchestre Negro Succes
04 Marceline - Franco et le TP OK Jazz
05 N'dia - Verckys
06 Bowao - Tiers Monde
07 L'age Et L'amour - Rumbanella Band
08 Khahagwe - Camille Feruzi
09 Kinsiona - Franco et le TP OK Jazz
10 Cha Cha Cha Bay - Camille Feruzi
11 Georgette Eckins - Sam Mangwana
12 Boya Ye - Mbilia Bel
13 Yaka Mamma - Lucie Eyenga
14 Revolver - Franco et le TP OK Jazz

VA - Congo Rhythm 2  (ogg 152mb)

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RhoDeo 1417 Cabine P 3

Hello, as poor Gerrard can be held responsible for loosing the match and likely the title today, it couldn't have happened to a nicer guy, mr Liverpool, oh the irony having to depend on the fellow Liverpudlians of Everton on blocking Manchester City winning the championship and let the Reds have it...it won't happen. Meanwhile Chelsea proved once again they can block any team from playing football and they clearly went for a 0-0 with an eye on the odd chance that might come their way, and it did. A slight concentration lapse by Gerrard got severely punished, there's only justice on the other side Stephan. Although today those Vatican clowns declared themselves holy, saintly popes apparently these hadn't abused children, just professionally looked the other way.

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Cabin Pressure is a radio situation comedy series written by John Finnemore. Its first series was broadcast on BBC Radio 4 in 2008. The show follows the exploits of the oddball crew of the single aeroplane owned by "MJN Air" as they are chartered to take all manner of items, people or animals across the world. The show stars Stephanie Cole, Roger Allam, Benedict Cumberbatch and John Finnemore.

The principal cast, the 4-person crew, is the following:

As part of her last divorce settlement, Carolyn Knapp-Shappey (Stephanie Cole) received a mid-size (16 seat) jet aeroplane named "GERTI" (a "Lockheed McDonnell 312", registration G-ERTI). As a result, she founds her very own single plane charter airline, "MJN Air" ("My Jet Now"), which is crewed by an oddball mixture of characters who fly to various cities around the world, encountering a variety of situations.

The airline's only Captain, Martin Crieff (Benedict Cumberbatch), has wanted to be a pilot since he was six years old (before which he wanted to be an aeroplane). He suffers, however, from a distinct lack of natural ability in that department. He was rejected by at least one flight school, and had to put himself through the required coursework, barely qualifying for his certification – on his seventh attempt. He took the job with MJN for no salary at all, as long as he could be Captain. He appears to have no outside interests beyond flying. He is a stickler for procedures and regulations, but is more prissy than pompous. At the end of series two he tells Douglas that he survives financially by running a delivery service using the van he inherited from his father (running two different jobs largely explaining the lack of hobbies). This was his only inheritance (apart from a tool kit and multimeter) because his father believed he would waste any money he received trying to become a pilot. He has two siblings, Caitlin, now a traffic warden and Simon, a council administrator who often frustrates Martin with his annoying superiority. This isn't helped by his Mother's constant admiration of Simon, often saying that "Simon knows best".

First Officer Douglas Richardson (Roger Allam) is, on the other hand, a quite competent pilot who worked for Air England – until he was fired for smuggling. He chafes at his subordinate position to Martin, and misses no opportunity to flaunt his superiority in the younger pilot's face. In later episodes, it is revealed that Douglas, ashamed of his second-rate job, dresses in Captain's uniform for his wife Helena's benefit, changing to First Officer's uniform before he gets to work. Douglas is, however, something of a smooth operator who knows all of the dodges available to airline officers, and enjoys taking part in all of them.

Carolyn's son Arthur Shappey (John Finnemore) is an eager and cheery dimwit aged 29, who is supposed to be the flight attendant but usually manages to get in everyone's way. He is half-English and half-Australian; Carolyn is his English mother, and Gordon, Carolyn's ex-husband, his Australian father (original owner of Gertie). Arthur is a relentless optimist, whose biggest claim to fame is being the inventor (or at least discoverer) of fizzy yoghurt (the recipe for which is yoghurt plus time). He also celebrates Birling day, Birling day eve, Gertie's birthday and Summer Christmas, and is a definite polar bear enthusiast and expert. He is very allergic to dragon fruit and strawberries, but frequently forgets, having eaten strawberry mousse on occasion.

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Cabin Pressure - 103  Cremona (ogg 25mb)

103  Cremona 27:59

MJN are flying an actress, for whom Arthur has a particular fondness and Carolyn not so much, to Cremona. Martin tries in vain to impress her but instead attracts her ire when she blames him for a horde of her fans showing up at her hotel. Douglas saves Martin from her anger with a dozen black shirts.

previously

Cabin Pressure - 101 Abu Dhabi (ogg 25mb)
Cabin Pressure - 102  Boston (ogg 25mb)

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Sundaze 1417

Hello, the coming month it's all about elektrolux's space nights

Space Night (full title: space night - All-tag nachts) is the name of a German television program in the early night/morning hours each day. It is a mixture of chill-out-music and images of the earth as seen from space interspersed with informative broadcasts. It was started by the Bayerischer Rundfunk (BR) in 1994 and is now broadcast by BR-alpha, .....N'Joy

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Space Night started in 1994 as a replacement of the test cards which were broadcast on BR at night until this time. The idea originated in the fact that the German satellite ASTRO-SPAS (see STS-80) had recorded many hours of video footage in space. The BR received this footage, edited the material and added downtempo spherical music.

As BR did not want to show the same pictures 7 days a week, both NASA and ESA as well as the German Aerospace Center were addressed. They offered more hours of footage from in and around space, which were thusly included.
Cult status and music.

The broadcast quickly turned into a cult: At raves in the mid-90s it wasn't unusual to show the images of Space Night on big TV-screens. Early in the morning after the rave it was often used to calm down, especially from 1996 and later, as Space Night's sound changed through the musical guidance by Alex Azary (a European chill-out-DJ), who provided a more electronic background music. This was a logical step that originated from Alex Azary. He headed the Club XS in Frankfurt where "chill out nights" started in 1990, supported by spherical music. Alongside, pictures of Space Night were shown, albeit the playback was a little bit slower than in the original program. The images did fit well to the then new music-genre and Alex thought it would be a good idea to show it to the people at BR. A meeting in Munich followed where he could convince them to try something new.

The compositions are also available as separate CDs, the mixdown starting from the album "Space Night II" is done by the German music label Elektrolux. In the meantime, twelve CD-albums with music to the television series have been published, with three of those clearly differing in musical style. While "Space Night Vol. 1" is an album featuring pop music, "Space Night Vol. 10" features Jazz music and "Space Night Vol. 12" is a double CD with classical music. A DVD titled "Best of Earth-Views" is also available.

After a change in tariffs by the GEMA, BR stated they would not want to continue Space Night starting in January 2013, due to the drastically increased royalties. Hence the series was ended on January 8th 2013. Numerous viewers engaged BR to continue Space Night by using GEMA-free music. The station decided to undo the cancellation, first by rerunning older episodes starting on February 25th, 2013 and to later broadcast new episodes starting in autumn of 2013. To accomplish this, BR will use music with Creative Commons licensing, encouraging their viewer to upload their favorites.

The restart was scheduled for November 1st, 2013. It had to be postponed to November, 15th, because NASA was not able to provide the necessary graphical material, due to the Government shutdown in the United States

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The first Space Night sampler is a bit of a one-off as it's an album featuring relaxed pop music, its mainly included here for completist sake..

VA - Space Night Vol. 1  (flac 362mb)

01 Vangelis - Conquest Of Paradise 4:46
02 Mike Batt - Caravan On The Move 4:00
03 Paul Brannigan - Field And Stream 2:31
04 Mike Oldfield - Hibernaculum 3:28
05 Genesis - Carpet Crawl 5:09
06 Steve Harley & Cockney Rebel - Sebastian 5:41
07 City Of London Sinfonia - Pavane 6:18
08 Rosenstein/Wagener - Clouds 6:43
09 FAR Corporation - Stairway To Heaven 5:55
10 B-Tribe - You Won't See Me Cry 3:54
11 Electric Light Orchestra - Ticket To The Moon 4:05
12 Hans Zimmer - Leaving Wallbrook/On The Road 2:49
13 Phil Collins - Another Day In Paradise 5:20
14 Paul Brannigan - Human Emotions (Warm, Evocative) 2:46
15 Procol Harum - A Whiter Shade Of Pale 4:03

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VA - Space Night Vol. 2 Alpha (flac  384mb)

1-01 Sensorama - Echtzeit 6:45
1-02 Move D - Amazing Discoveries 8:32
1-03 Nightmares On Wax - Nights Introlude 4:35
1-04 Fila Brazillia - A Zed & Two L's 6:40
1-05 Heights Of Abraham - Sportif 7:18
1-06 System 7 - Interstate (Doc Scott Rmx) 6:06
1-07 Golden Girls - Kinetic (Morley's Apollo Mix) 5:26
1-08 Siram - Endless... (QuiGong Mix) 6:09
1-09 Bix - Piano For The Moment 6:27
1-10 Drax Ltd.I - Parnophelia 4:09
1-11 Taklamakan - Taklamakan 6:20
1-12 Yulara - Invoking The Spirit 0:37
1-13 Speedy J - Treatments / Fill 17 3:14

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VA - Space Night Vol. 2 Beta (flac 386mb)

2-01 Insect Jazz - Wildflower 5:33
2-02 Subsurfing - The Number Readers 5:37
2-03 Audio Science - 2½ Orbits Later 5:02
2-04 Full Moon Fashions - Magic Morning 6:29
2-05 The Orb - Earth (Gaia) (Edit) 7:54
2-06 Leftfield - Song Of Life (Underworld Rmx) 4:34
2-07 Saafi Brothers - Supervision 5:22
2-08 Fresh Moods - Rhythmbreeze 7:32
2-09 Z-Plane - Smokey 7:38
2-10 Cold - Strobe Light Network 5:00
2-11 Global Communication - 14:31 (Reload Remix) 5:20
2-12 Aural Float - Introspection 7:39

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RhoDeo 1416 Beats

Hello, i love you won't you tell me your name... ahh those hippy dayz almost half a century ago and so much has changed but then so much has stayed the same ..the rich still get richer, seriously i think a hippie from those days would think he's ended up in a parallel universe a lot looks the same, but all that tech stuff ... people 'communicating'  all the time recording and sharing everything they do with small handsets he must have dreamed the hippie revolution was won, and the music amazing people in xtc all over the place..but then he learned about the war on drugs and terrorism and he learned that all that global communication had enabled the security apparatus to become all powerful now they could spy at will on everyone. It was the same kind of scary people who'd intimidated hippies all those years ago who were now after everyone that would possibly oppose them. All that hunger for control was frighting, this was not the hippie dreamworld...

These months 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 music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today an easy-listening trip-hopster similar in style and intent to his countrymen Air and Dimitri from Paris, he has an even stronger kinship with the long tradition of French pop characterized by Serge Gainsbourg.    N'joy

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Jean-Yves Prieur, aka Kid Loco is a French electronic musician, DJ, remixer and producer. He was born on June 16, 1964 in Antony, Hauts-de-Seine, France. He began playing the guitar at the age of 13 and played in several French punk groups during the early ’80s. He moved on to production as well by the end of the decade, and moved on to reggae and hip-hop with a band named Mega Reefer Scratch. By 1996, Prieur had built his own studio, christened himself Kid Loco and released the Blues Project EP for Yellow Productions. The full-length A Grand Love Story appeared one year later, earning praise from many in the indie-rock and electronica community. A remix album was released in 1998. Prieur also accompanied st. etienne’s Sarah Cracknell for a rendition of “The Man I Love” from the Gershwin tribute Red Hot + Rhapsody, and has remixed Stereolab, Pulp, Mogwai, The High Llamas, Dimitri From Paris and Talvin Singh. The reconfigured Prelude to a Grand Love Story appeared in 1999 as Loco’s US full-length debut, and the remix album Jesus Life for Children Under 12 Inches followed later that same year. As well as a DJ Kicks mix album for K7

Kid Loco moved up to the majors with his second full-length, 2001’s Kill Your Darlings. With a mixture of Easy Listening, Hindi Funk, Guitar Pop and Hip Hop Beats, Kid Loco has developed an individual sound that fascinates rocker boys, b-boys and boutique owners alike. Along with the serene balance of riffs, beats and melodies, the appeal is in all likelihood essentially due to the strange, almost transcendental softness with which he fuses the most diverse of genres. In the end, there’s something for everybody from the man from the Seine.

Another Late Night: Kid Loco DJ mix album appeared in 2003. A year later followed by his first soundtrack Delta State. This led  as these things go, to another soundtrack in 2005, The Graffiti Artist. In 2006 he was instrumental in compiling a tribute to the great and late Serge Gainsbourg with an eclectic mix of artists covering Serge with himself in a minor role producing the one track from Pulp singer Jarvis Cocker. By 2008 Kid was ready to release another solo album, Party Animals & Disco Biscuits where the Disco Bisquits is defacto a remix album of the Party Animals album. In 2011 his latest album saw the light, Confessions Of A Belladonna Eater.

His vision of cool music is nurtured by a universal understanding of music that is open to all sides, combining new and old without a hitch, creating contexts hitherto considered impossible. He isn’t interested in genres, all that counts is good music. His sampler affords a melting pot for this vision.

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One of the best DJ Kicks ever. Kid Loco draws a sonic connection and an ever-evolving melodic flair that never lets the listener down, thru a thick fog of spliff smoke and decomposed Bassdrums. An unforgettable ride... not afraid to take you into serious dark gloom... and then wup, some track like Introspection just blows your world open with this blast of warmth. Summoning and dreamily, a coherent mix not to miss.

Kid Loco - VA - DJ Kicks (flac 458mb)

01 Kid Loco - Don't You Know I'm Loco 0:43
02 The Bill Wells Octet vs. Future Pilot A.K.A. - Om Namah Shivaya 2:55
03 The Cinematic Orchestra - Continuum 2:34
04 Emperors New Clothes - Dark Light (Underdog Mix) 6:05
05 The Ted Howler Rhythm Combo - Mr. Flakey 3:16
06 DJ Vadim - Theme From Conquest Of The Irrational (Remix By The Prunes) 3:33
07 Jazzanova - Introspection 5:17
08 Common Ground - Dark Soul 4:44
09 Underworld - Blueski 2:44
10 Grantby - Grimble 2:44
11 Deep Season - Jesus Christ Almighty (Pylon King + Dunderhead Remix) 3:56
12 Boards Of Canada - Happy Cycling 5:07
13 Pelding - One 2:52
14 Tom Tyler - Attitude Adjuster 5:47
15 Tongue - Culture Consumers 3:39
16 Lisa Germano - Lovesick (Underdog Rmx) 3:01
17 Stereotyp - Slo Jo 4:28
18 Kid Loco - Flyin' On 747 4:59

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Four years after his debut, an LP of clever, double-entendre trip-hop, Kid Loco plunged deeper into the world of knowing naïveté with Kill Your Darlings. If the explicit liners aren't enough eye-candy for all the nymphomaniacs out there, the French downtempo producer and pop fanatic kicks off with a track named "Cocaine Diana" and the languorous female vocal: "Once the devil came into my kitchen/and with a knife and a fork, he ate my chicken/Twice the Lord came into my bedroom/and drunk boozy booze to gimme real satisfaction" over a slinky bassline and a few orchestral tune-up blattings. Tim Keegan, an occasional guitarist with Robyn Hitchcock and the leader of Departure Lounge, also makes appearances on several songs, though his sly, faux-emotional delivery on "Three Feet High Reefer" and "A Little Bit of Soul" tends to grate. The female vocalist, Louise Quinn, is less annoying, but also plays the coquette far too much. At times, Kill Your Darlings is a dead ringer for the anthemic meanderings of Mazzy Star's Hope Sandoval and the Jesus & Mary Chain on the latter's Stoned and Dethroned album.

Kid Loco - Kill Your Darlings (flac 471mb)

01 Cocaine Diana 4:18
02 Lucy's Talking 4:24
03 Horsetown In Vain 5:51
04 Three Feet High Reefer 3:28
05 A Little Bit Of Soul 4:04
06 I Can't Let It Happen To You 4:17
07 Gypsie Good Time 3:51
08 Here Come The Munchies 3:54
09 Going Round In Circles 5:53
10 I Want You 4:22
Bonus
11 A Little Bit Of Soul (Geronimo Rex Radio Mix) 3:47
12 A Little Bit Of Soul (Paul Murphy's Bellanova Mix) 7:09
13 A Little Bit Of Soul (Howie B's A Wee Bit Of "B" Soul Mix) 4:07
14 A Little Bit Of Soul (Vicarious Bliss Smooth Dub Symphony) 5:50
15 A Little Bit Of Soul (Silent Poets Dub Mix) 4:48

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French trip-hopper Kid Loco has been more or less silent since the release of 2001's subpar effort Kill Your Darlings. That record trashed the promise of his stellar debut, A Grand Love Story, by tossing out the subtle beauty of his laid-back, relaxed, and melodic tunes and replacing it with a clattering and decadent sound almost bereft of any value at all. His 2005 soundtrack to the film The Graffiti Artist regains much of the ground Kid Loco lost with Kill Your Darlings. The disc plays as one long song stretching out over 79 minutes of tuneful, flowing music that is dynamic, peaceful, and never boring. The first half of the record is heavily influenced by Indian music, with a snake charmer clarinet (played by Jerome Benoussan) and sitar providing much of the atmosphere but also loads of mellow guitars, relaxed beats, and tablas. It then shifts into some moody downtempo sounds that tread more closely to an accepted soundtrack style with lots of strings and dramatic shifts in tone before heading back into a more frenzied take on the Indian sound to conclude the disc. Luckily, there are no vocals to mar the proceedings and the record has a lovely grooving psychedelic feeling that gently enfolds you from the very beginning of the disc and doesn't let go until the very end. The disc succeeds both as a soundtrack and as notice that Kid Loco is back to doing what he does best. This release is one track composed by 8 'uncredited' tracks mixed together.

Kid Loco - The Graffiti Artist OST (flac 401mb)

01 First Track 15:28
02 Lovely Second Track 22:06
03 Super Third Track 12:43
04 Don't Forget The Fourth Track 4:45
05 Wow, Track Five 9:41
06 Six Is Nice 2:22
07 Ohh, Track Seven! 5:30
08 Eight Is Great 7:20

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RhoDeo 1416 Goldy Rhox 157

Hello, today the 157th post of GoldyRhox, classic pop rock in the darklight is an English rock band formed in 1969 under the name Daddy before renaming themselves in early 1970. Though their music was initially categorised as progressive rock, they have since incorporated a combination of traditional rock, pop and art rock into their music. The band's work is marked by the songwriting of Rick Davies and Roger Hodgson, the voice of Hodgson, and the use of Wurlitzer electric piano and saxophone in their songs.

While the band's early work was mainstream progressive rock, they would enjoy greater critical and commercial success when they incorporated more conventional and radio-friendly elements into their work in the mid-1970s, going on to sell more than 60 million albums. They reached their peak of commercial success with 1979's Breakfast in America, which has sold more than 20 million copies.

Though their albums were generally far more successful than their singles, they did enjoy a number of major hits throughout the 1970s and 1980s, including "Bloody Well Right", "Give a Little Bit", "The Logical Song", "Goodbye Stranger", "Take the Long Way Home", "Dreamer", "Breakfast in America", "It's Raining Again", and "Cannonball". The band attained significant popularity in the United States, Canada, Europe, South Africa and Australia. Since Hodgson's departure in 1983, founder Rick Davies has led the band by himself.

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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 September 1974 and is the third studio album released by today's band. After the failure of their first two albums and an unsuccessful tour, the band broke up, and Rick Davies and Roger Hodgson recruited new members, drummer Bob C. Benberg, woodwinds player John Helliwell, and bassist Dougie Thomson. This new line-up were sent by their record label, A&M, to a seventeenth-century farm in Somerset in order to rehearse together and prepare the album. While recording the album, Davies and Hodgson recorded approximately 42 demo songs, from which only 8 were chosen to appear on the album. Several other tracks appeared on later albums. The album was named after the final song, which the band members felt was the strongest song on the album, it deals loosely with themes of loneliness and mental stability, but is not a concept album. Hodgson and Davies both stated that communication within the group was at a peak during the recording of this album, while drummer Siebenberg stated that he thought it was this album on which the band hit its "artistic peak".

Today's mystery album was their commercial breakthrough on both sides of the Atlantic, aided by the UK hit "Dreamer" and the U.S. hit "Bloody Well Right". It was a UK Top 10 album and a U.S. Top 40 album, diamond in Canada and certified Gold in the U.S. in 1977. The album was today's band's first to feature drummer Bob Siebenberg (at the time credited as Bob C. Benberg), woodwinds player John Anthony Helliwell, bassist Dougie Thomson, and co-producer Ken Scott.  It was listed in the 2005 book 1001 Albums You Must Hear Before You Die. Both the 1997 and 2002 remasters are heavily criticised by audiophiles who claim they were mastered "too loud" as part of the "loudness war" mastering trend. Luckily Mobile Fidelity also released its own remastered version on a gold disc as part of its "Ultradisc" series well before this madness, and that's the one up for grabs here.



Goldy Rhox 157   (flac 210mb)

Goldy Rhox 157   (ogg 100mb)


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RhoDeo 1416 Aetix

Hello, today's band were not only did they play hard, loud, and fast, but they also had elements of the blues-rock of ZZ Top, the ambling folk-rock of the Grateful Dead, and Neil Young's country-rock and hard rock. As they grew older, the band matured musically, developing an accomplished instrumental technique and moving closer to the traditional hard rock that was always underneath their punk. But they never quite abandoned their punk roots. ..  N'joy

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In the late 70's, drummer Derrick Bostrom played with guitarist Jack Knetzger in a band called Atomic Bomb Club, which began as a duo, but would come to include bassist Cris Kirkwood. The band played a few local shows and recorded some demos, but began to dissolve quickly thereafter. Derrick and Cris began rehearsing together with Cris' brother Curt Kirkwood by learning songs from Bostrom's collection of punk rock 45s. After briefly toying with the name The Bastions of Immaturity, they settled on the name Meat Puppets in June, 1980 after a song by Curt of the same name which appears on their first album. Their early works were made up of hardcore punk, and attracted the attention of Joe Carducci as he was starting to work with legendary punk label SST Records. Carducci suggested they sign with the label, and the Meat Puppets released their first album Meat Puppets in 1982, which among several new originals and a pair of heavily skewed Doc Watson and Bob Nolan covers, featured the songs "The Gold Mine" and "Melons Rising", two tunes Derrick and Cris originally had written and performed as Atomic Bomb Club previously.

By the release of 1984's Meat Puppets II, the bandmembers "were so sick of the hardcore thing," according to Bostrom. "We were really into pissing off the crowd." The band experimented with acid rock and country western sounds. While the album had been recorded in early 1983, the album's release was delayed for a year by SST. Meat Puppets II turned the band into one of the leading bands on SST Records, and along with the Violent Femmes, the Gun Club and others, helped establish the genre called "cow punk". Meat Puppets II was followed by 1985's Up on the Sun. The album's sound resembled the folk-rock of The Byrds more than punk, and some of the group's fans accused Meat Puppets of sounding dangerously like hippies and abandoning their punk roots. In keeping with their unconventional way of doing things, both Cris and Curt purposefully sang the entire album off key.

Over the next decade, Meat Puppets remained on SST and released a series of albums while touring relentlessly. Between tours they would regularly play small shows in bars around the Phoenix area such as "The Mason Jar" and "The Sun Club" in Tempe. After the release of Out My Way in 1986, however, the band was briefly sidelined by an accident when Curt's finger was broken after being slammed in their touring van's door. The accident delayed the band's next album, the psychedelic Mirage, until the next year. The final result was considered their most polished sounding album to date.

Their next album, the heavier Huevos, came out less than six months afterward, in late summer of 1987. In stark contrast to its predecessor, Huevos was recorded in a swift, fiery fashion, with many first takes, and minimal second guessing. These recordings were completed in only a matter of days, and along with a few drawings and one of Curt's paintings taken from the wall to serve as cover art (a dish of three boiled eggs, a green pepper, and a bottle of Tabasco sauce), were all sent to SST shortly before the band returned to the road en route to their next gig. Curt revealed in an interview that one of the reasons for the album being called Huevos (meaning 'eggs' in Spanish) was because of the multitude of first-takers on the record, as similarly eggs can only be used once. Monsters was released in 1989, featuring a new sound with extended jams such as "Touchdown King" and "Flight of the Fire Weasel".

As numerous bands from the seminal SST label and other kindred punk-oriented indies had before them, Meat Puppets grappled with the decision to switch to a major label. Two years after their final studio recording for SST, 1989's Monsters the trio released its major-label debut, Forbidden Places, on the indie-friendly London Records. Forbidden Places is now out of print. In late 1993, Meat Puppets achieved mainstream popularity when Nirvana's Kurt Cobain, who became a fan after seeing them open for Black Flag, invited Cris and Curt to join him on MTV Unplugged for acoustic performances of "Plateau", "Oh Me" and "Lake of Fire" (all originally from Meat Puppets II). The resulting album, MTV Unplugged in New York, served as a swan song for Nirvana, as Cobain died 138 days after the concert. "Lake of Fire" became a cult favorite for its particularly wrenching vocal performance from Cobain. Subsequently, the Nirvana exposure and the strength of the single "Backwater" (their only charting single) helped lift Meat Puppets to new commercial heights. The band's studio return was 1994's Too High To Die, produced by Butthole Surfers guitarist Paul Leary. The album featured "Backwater", a minor hit on alternative radio, and a hidden-track update of "Lake of Fire." Too High To Die earned the 'Pups a gold record (500,000 sold), outselling their previous records combined. 1995's No Joke! was the final album recorded by the original Meat Puppets lineup. Though the band's drug use included cocaine, heroin, LSD and many others, Cris' use of heroin and crack cocaine became so bad he rarely left his house except to obtain more drugs. At least two people (including his wife and one of his best friends) died of overdoses at his house in Tempe, AZ during this time. The Kirkwood brothers had always had a legendary appetite for illegal substances and during the tour to support Too High To Die with Stone Temple Pilots, the easy availability of drugs was too much for Cris. When it was over, he was severely addicted to cocaine.

Derrick recorded a solo EP under the moniker Today's Sounds in 1996, and later on in 1999 took charge of re-issuing the Puppets' original seven records on Rykodisc as well as putting out their first live album, Live in Montana. Curt formed a new band in Austin, TX called the Royal Neanderthal Orchestra, but they changed their name to Meat Puppets for legal reasons and released a promotional EP entitled You Love Me in 1999, Golden Lies in 2000 and Live in 2002. The line-up was Curt (voc/git), Kyle Ellison (voc/git), Andrew Duplantis (voc/bass) and Shandon Sahm (drums). Sahm's father was the legendary fiddler-singer-songwriter Doug Sahm of The Sir Douglas Quintet and Texas Tornados. The concluding track to Classic Puppets entitled "New Leaf" also dates from this incarnation of the band.

Around 2002, the Meat Puppets dissolved as Curt had gone on to release albums with the groups Eyes Adrift and Volcano. In 2005, he released his first solo album entitled Snow. Bassist Cris was arrested in December 2003 for attacking a security guard at the main post office in downtown Phoenix, AZ with the guard's baton. The guard shot Kirkwood in the stomach at least twice during the melee, causing serious gunshot injuries requiring major surgery. Kirkwood was subsequently denied bail, the judge citing Kirkwood's previous drug arrests and probation violations. He eventually went to prison at the Arizona state prison in Florence, Arizona for felony assault. He was released in July 2005. Derrick Bostrom began a web site for the band about six months before the original trio stopped working together. The site went through many different permutations before it was essentially mothballed in 2003. In late 2005, Bostrom revamped it once again, this time as a "blog" for his recollections and as a place to share pieces of Meat Puppets history.

On March 24, 2006, Curt Kirkwood polled fans at his MySpace page  with a bulletin that asked: "Question for all ! Would the original line up of the Meat Puppets interest anyone ? Feedback is good — do you want a reunion!?" The response from fans was overwhelmingly positive within a couple of hours, leading to speculation of a full-blown Meat Puppets reunion in the near future. However, a post made by Derrick Bostrom on the official Meat Puppets site dismissed the notion. In April 2006 Billboard reported that the Kirkwood brothers would reunite as the Meat Puppets without original drummer Derrick Bostrom.[12] Although Primus drummer Tim Alexander was announced as Bostrom's replacement, the position was later filled by Ted Marcus. The new lineup recorded a new full-length album, Rise to Your Knees, in mid-to-late 2006. The album was released by Anodyne Records on July 17, 2007.

On January 20, 2007, The Meat Puppets brothers performed two songs during an Army of Anyone concert, at La Zona Rosa in Austin, Texas. The first song was played with Curt Kirkwood and Cris Kirkwood along with Army of Anyone's Ray Luzier and Dean DeLeo. Then the second song was played with original members Curt and Cris Kirkwood and new Meat Puppets drummer Ted Marcus. This was in the middle of Army of Anyone's set, which they listed as Meat Puppet Theatre on the evening's set list. The band performed several new songs in March at the South by Southwest festival. On March 28, 2007, the band announced a West Coast tour through their MySpace page.[10] This is the first tour with original bassist Cris in eleven years. The tour continued into the east coast and midwest later in 2007.

The band parted ways with Anodyne, signed to Megaforce and began recording new material in the winter of 2008. The resulting album, entitled Sewn Together, was released on May 12, 2009.[13] In the summer of 2009 the band continued to tour across America. They appeared in Rochester Minnesota outside in front of over 5,000 fans, after playing Summerfest in Milwaukee, Wisconsin the night prior. The Meat Puppets performed at the 2009 Voodoo Music Experience in New Orleans over the Halloween weekend. As of November 2009, Shandon Sahm is back as the drummer in the Meat Puppets, replacing Ted Marcus. The band was chosen by Animal Collective to perform the album 'Up on the Sun' live in its entirety at the All Tomorrow's Parties festival that they curated in May 2011.

The band's thirteenth studio album, entitled Lollipop, was released on April 12, 2011.[17] The Dandies supported the Meat Puppets on all European dates in 2011. As of early 2011 Elmo Kirkwood, son of Curt Kirkwood and nephew of Cris Kirkwood, was touring regularly with the band playing rhythm guitar. The Meat Puppets also contributed to Spin Magazine's exclusive album Newermind: A Tribute to Nirvana, playing Nirvana's Smells Like Teen Spirit.

In June 2012, a book titled Too High to Die: Meet the Meat Puppets by author Greg Prato was released, which featured all-new interviews with band members past and present and friends of the band, and covered the band's entire career. In October 2012, it was announced that the group had just completed recording new songs. Rat Farm, the band's 14th album, was released in April 2013. In March 2013 the Meat Puppets played arguably their biggest gig since reunion, opening for Dave Grohl's Sound City Players at the SXSW Festival in Austin, TX  In April 2014 the Meat Puppets completed a tour with The Moistboyz.

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As many Meat Puppets fans had realized by 1987's Mirage, the trio would change gears and broaden their sound with each successive album. This was never more apparent than on their fourth full-length release. Synthesizers were used to add textures to the tunes, while the drums sounded metronome-perfect, almost as if a drum machine was supplying the patterns. Strangely, although Mirage was the trio's most experimental album, it also turned out to be one of their most psychedelia-based works. The groovy little ditty "Get on Down" turned out to be one of the band's first videos aired on MTV, while the title track, the melodic "Leaves," the country rocker "Confusion Fog," the unrelenting "Beauty," and the album-closing punk freak-out "Liquified" are all standouts. Several previously unreleased demos were included on the 1999 Rykodisc reissue, as well as a solo Curt Kirkwood original, "Grand Intro."

Meat Puppets - Mirage ( flac 367mb)

01 Mirage 3:42
02 Quit It 2:38
03 Confusion Fog 3:53
04 The Wind And The Rain 2:59
05 The Mighty Zero 3:18
06 Get On Down 2:57
07 Leaves 2:41
08 I Am A Machine 4:25
09 Beauty 3:04
10 A Hundred Miles 3:36
11 Love Our Children Forever 3:59
12 Liquified 3:11
Bonus Tracks
13 The Mighty Zero 3:41
14 I Am A Machine 4:06
15 Liquified 3:40
16 Rubberneckin' 2:47
17 Grand Intro 2:06

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The Meat Puppets have long been a band whose creative eclecticism walks hand in hand with their playfully contrary nature, and they demonstrated this most clearly in 1987. Early that year, The Meat Puppets released Mirage, a polished set of tunes that was easily their slickest and most pop-oriented album to date. However, the group quickly grew tired of trying to make the material work on-stage, so a few months later they rolled into a recording studio on a Thursday morning in August, walking out with a finished album the following Sunday. Huevos is loose and spontaneous where Mirage was precise, and while the earlier album used keyboards and careful studio technique to give the music an accessible sheen, Huevos was a far closer replication of the sound The Meat Puppets created on-stage, leaving Curt Kirkwood plenty of room to strut his stuff on guitar. However, while Huevos is loose, it's not sloppy; this band had been keeping up a busy road schedule long enough that it could play with a comfortable precision, and there's an amiable enthusiasm and confidence in the way the trio tears into these tunes. Huevos recalls the similarly straightforward but energetic tone of Up on the Sun, but where that album was a showcase for their jam-friendly psychedelic influences, Huevos was cut as the Kirkwood brothers were going through a period of serious ZZ Top worship, and these songs were influenced by that band's arena-size Texas boogie and the thick buzz of Billy Gibbons' guitar work. Huevos is a bit short on the sunburnt eccentricities that were the hallmarks of Meat Puppets II and Up on the Sun, but if you want to hear The Meat Puppets rock the nation, this is the album to reach for; "Paradise" and "Automatic Mojo" suggest what Eliminator might have sounded like without the sequencers, "Bad Love" and "Look at the Rain" run fast but with high-stepping style, "I Can't Be Counted On" is a joyous bad-boy's anthem, and "Sexy Music" almost lives up to its silly name. Huevos is something short of an unqualified triumph, but it captures The Meat Puppets in their stride, and it's a lot more fun than the albums that came immediately before it (Mirage) and immediately after (Monsters).

Meat Puppets - Huevos  (flac 360mb)

01 Paradise 4:37
02 Look At The Rain 4:22
03 Bad Love 3:14
04 Sexy Music 5:29
05 Crazy 4:44
06 Fruit 3:32
07 Automatic Mojo 3:23
08 Dry Rain 2:55
09 I Can't Be Counted On 4:02
Bonus Tracks
10 Medley - Baby What You Want Me To Do / I Can't Be Counted On 1:29
11 Sexy Music 6:41
12 Automatic Mojo 3:57
13 Paradise 4:06
14 Fruit 5:20

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The Meat Puppets' final release for SST, 1989's Monsters is best described as a cross between their experimental Mirage and the more in-your-face Huevos (both released only a few months apart in 1987). Several major labels had been hotly pursuing the trio, but when negotiations slowed to a snail's pace, they decided to issue another album on SST in the meantime. Curt Kirkwood's crunchy guitar riffs are spotlighted throughout the album, but some of the songs are hindered by synth textures and the fact that the songs were recorded one instrument at a time, which mutes any excitement of the trio playing live in a room together (which was what made Huevos such a success). Still, several highlights were included -- the vicious album-opening "Attacked By Monsters," the melodic "Light," the tough rocker "The Void," the rollicking instrumental "Flight of the Fire Weasel," the warped love song "Strings on Your Heart," and the sleepy album closer, "Almost Like Being Alive." Three bonus tracks were added to the 1999 Rykodisc reissue: the previously unheard original "Wish Upon a Storm" and two radically different versions of "Flight of the Fire Weasel.".

Meat Puppets - Monsters (flac 415mb)

01 Attacked By Monsters 4:40
02 Light 4:16
03 Meltdown 3:07
04 In Love 3:51
05 The Void 6:24
06 Touchdown King 6:08
07 Party Till The World Obeys 4:21
08 Flight Of The Fire Weasel 3:17
09 Strings On Your Heart 5:10
10 Like Being Alive 4:41
Bonus Tracks
11 Wish Upon A Storm 4:26
12 Flight Of The Fire Weasel Pt. 1 4:23
13 Flight Of The Fire Weasel Pt. 2 4:42

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RhoDeo 1416 Roots

Hello, it's all about co-co-con-con-congo-congotrrr-congotronics today.. high tech from the african urban jungle


Historically, the region of the Congo was a vast geographical area of equatorial Africa located in the tropical wet forest of Central Africa called Congolian forests. It also owes its name to the predominant ethnic group in the region, ruled by Kingdom of Kongo founded towards the end of the 14th century and extended from 1390 to 1914. Although the span of rule of the kingdom varied, in its greatest extent, the Kingdom of Kongo reached from the Atlantic Ocean in the west to the Kwango River in the east, and from the Congo River in the north to the Kwanza River in the south. The kingdom largely existed from c. 1390 to 1891 as an independent state, and from 1891 to 1914 as a vassal state of the Kingdom of Portugal. The Congo River, its main river, flows through the region forming the Congo Basin.

Some groupings advocate a return to one Congolese homeland on the basis of the historical kingdom. Very notably, the Bundu dia Kongo movement advocates reviving the kingdom through secession from Angola, the Republic of the Congo, the Democratic Republic of the Congo, and Gabon. The nowadays geographic region spans across the Republic of the Congo (former French Congo), Democratic Republic of the Congo (former Zaïre/Belgian Congo), and the Angolan exclave of Cabinda (former Portuguese Congo) which lies (bizarly !) between the Republic and the Democratic Republic and produces lot's of oil. Ah yes big business making lots of money with Congolese resources.


Ok the coming weeks we're hearing about the music from this African jungle heart, it's a strange place for Westerners, life is cheap and emotions rise quickly. Religion and music deliver the much needed coherance  so for the coming 3 or 4 weeks we will present stars some of which have released many albums most of these never reached the Western public or even the great Discogs database. Today a man most famous for the structural changes he implemented to soukous music. The previous approach was to sing several verses and have one guitar solo at the end of the song. He revolutionized soukous by encouraging guitar solos after every verse and even sometimes at the beginning of the song. His form of soukous gave birth to the kwassa kwassa dance rhythm where the hips move back and forth while the hands move to follow the hips ........N'joy

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Konono No. 1 combine the spirit of traditional African music with the junk instrument concept and the progressive electronic aspect of modern times. The group's full name is L'Orchestre Folklorique T.P. Konono No. 1 de Mingiedi, T.P. being translated as "all powerful." It is also a tribute to the band of the legendary Congolese musician Franco, which was called T.P.O.K. Jazz. The band was founded by Mawangu Mingiedi, a member of the Zombo or Bazombo ethnic group, whose homeland is located near the Congo border with Angola. Mingiedi was born in Angola in 1933 and moved to Kinshasa in the former Zaire in 1949, and was a longtime taxi and truck driver trying to support a large family of children. He started the band as Orchestre Tout Puissant Likembe Konono No. 1 in the mid- to late '70s. Originally they adapted Zombo ritual music played by an ensemble of horns made from elephant tusks. But they switched their signature instruments to the likembe, also called the mbira, kalimba, or sanza, commonly known as the metal reed thumb piano. Their first recording was on the compilation Zaire: Musiques Urbaines a Kinshasa. The first album by Konono No. 1 was recorded and produced by Vincent Kenis, who also worked with Zap Mama, Taraf de Haïdouks, and Koçani Orkestar. The band began to amplify the likembes, starting with low-frequency six-volt radios, then 12-volt radios from cars. Their sound system is built from handmade microphones, old car parts, megaphones. and discarded amps, and they use junked auto pieces and pots and pans as percussion instruments. Now the premier music ambassadors from Congo and suburban Kinshasa, their distortion-laden beat and trance music has set a standard for modern world music. Their debut American release is Congotronics on the Crammed Discs label, and they are one of many similar bands from their homeland on the compilation Congotronics 2: Buzz 'n' Rumble from the Urb 'n' Jungle. The Dutch rock band the Ex covered one of their songs, and the group collaborated with Björk on the song "Earth Intruders" from her studio album Volta. In 2010, the band released Assume Crash Position as part of Crammed Records Congotronics Series.

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The second disc in the Crammed label's Congotronics series improves on the first one in two ways: first, by presenting a variety of bands, each of which blends urban and rural Congolese music styles in a slightly different way; and second, by adding to the package a 41-minute DVD that shows six of the featured bands during their recording sessions. Many of the groups featured here make use of the same drenchingly overamplified likembés (or thumb pianos) that are favored by Konono No. 1, but instrumentations vary: Basokin, an ensemble that hails from the Songye region of Congo, is comprised of three singers, three percussionists, and two guitarists; Bolia We Ndenge is a percussion-heavy group, but its sound is centered on the accordion; Masanki Sankayi is led by a preacher and storyteller. As with the first Congotronics album, this one is difficult to describe to anyone who hasn't heard the music firsthand. Sometimes the guitars spin out contrapuntal lines that wouldn't sound out of place in a Ghanaian high-life song; at other times they chomp out power chords in a very un-African style. The likembés are overamplified as a matter of course, and the resulting distorted sound is strangely spongy and soft. But the vocals are the most impressive aspect of most of these recordings -- four- and five-part harmonies ebb and flow like gentle waves among the rocks of the percussion and guitar parts, and at times are hair-raisingly beautiful.

VA - Buzz'N Rumble From The Urb'n' Jungle (Congotronics 2) (flac  445mb)

01 Masanka Sankayi + Kasai Allstars - Wa Muluendu 4:00
02 Kasai Allstars - Koyile / Nyeka Nyeka 7:17
03 Sobanza Mimanisa - Kiwembo 6:47
04 Kasai Allstars - Kabuangoyi 9:35
05 Kisanzi Congo - Soif Conjugale 7:17
06 Masanka Sankayi - Le Laboureur 4:59
07 Bolia We Ndenge - Bosamba Ndeke 6:14
08 Basokin - Mulume 8:35
09 Konono No. 1 - T.P. Couleur Café 8:19

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Kasai Allstars, a Congolese collective comprised of musicians from five different bands, were showcased on the third album in the Congotronics series released by the label Crammed Discs. Based in Kinshasa, the capital city of the Democratic Republic of the Congo, Kasai Allstars includes musicians from the bands Lusombe Madimba, Tandjolo, Dibua Dietu, Basokin, and Masanka Sankayi, some of whom were showcased on the previous album in the Congotronics series, Congotronics 2: Buzz'n'Rumble in the Urb'n'Jungle (2006). Kasai Allstars made their full-length album debut on the third album in the Congotronics series, In the 7th Moon, the Chief Turned Into a Swimming Fish and Ate the Head of His Enemy by Magic.

The third volume in Crammed Disc's excellent Congotronics series is as wild, sophisticated, and truly exotic as its predecessors (the title alone, In the 7th Moon, the Chief Turned Into a Swimming Fish and Ate the Head of His Enemy by Magic, should reflect this). The Kasai Allstars are based in Kinshasa and form a collective of about 25 musicians from five different bands from the region who all represent different ethnic groups. Over time immemorial, some of these intersecting groups have been in conflict with one another as each has its own culture and language. In other words, assembling this supergroup was no easy task, but musicians of all cultures tend to think differently than most people: the expansive spirit of adventure often trumps prejudice. These players include not only instrumentalists, but ten singers and dancers as well. Some of these bands -- Lusombe, Madimba Tandjolo, Dibua, Basokin, and Masanka Sankayi -- have appeared on the two previous Congotronics recordings on their own. The music on this volume is as surprising as it is different from the other Congotronics volumes. These musicians have to adapt instruments, scalar harmonics, singing styles, and even language in order to be able to work together. Add to this the uses of amplification and modern production. That said, they not only invent rhythms and melodies but also play their traditional styles with one another. The players use instruments familiar to all Kasai cultures like the likembe (thumb piano), lokombe, xylophone, and the tandojo as well as the electric guitar (which acted as a substitute for the more traditional lusese tetrachord). The results of this fusion can especially be heard on"Kafuulu Balu," "Mbua-a-matumba," "Analengo," and "Mpombo Yetu." The culture clash that comes across on this glorious volume reflects the strident effort of all of these tribes to maintain their identity against the encroachment of Christianity in the villages that allows these instruments only to be used in the playing of gospel music. The pagan dances, parties, and ceremonies of the tribes have effectively been all but completely stamped out in the remote villages of Kasai. Therefore, this is urban music, from the heart of the city where the influence of the church is far less prominent. The Kasai Allstars, therefore, like the Tinariwen and many other groups, play music of resistance. But never did resistance sound so infectious, joyous, and utterly freewheeling as this does. So far, Crammed's Congotronics series has been virtually unassailable. The sound is terrific, the presentation is handsome, the sound and selection are amazing; and negotiations with musicians are not done on colonial terms. In addition, the wonderfully researched notes by Herbert Mputu and producer Vincent Kenis are indispensable.

Kasai Allstars - In The 7th Moon, The Chief Turned Into A Swimming Fish And Ate The Head Of His Enemy By Magic (flac  492mb)

01 Quick As White 7:07
02 Mukuba 8:12
03 Kafuulu Balu 6:09
04 Beyond The 7th Moon 5:29
05 Mbua-A-Matumba 10:47
06 Mpombo Yetu 8:02
07 Tshitua Fuila Mbuloba 5:13
08 Analengo 8:19
09 Drowning Goat (Mbuji-Mayi) 10:46

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For nearly 40 years, Mingiedi Mawangu and his Konono No. 1 likembe orchestra, have been playing street parties and festivals in the Congo, and since the 21st century, all over the world. The likembe is a thumb piano made from steel strips cut to various lengs and played across a steel bridge over a hollowed wooden box, creating a resonating tinny sound that registers from deep and and rumbles to high and reedy. Konono No. 1 make their instruments from car parts and amplify them with everything from microphones assembled from alternator magnets, camshafts, valves, and speakers to homemade amplifiers that distort the likembe's sound and create numerous overtones and effects accompanied by whistles and other percussion instruments made from discarded steel pots, pans, radiators, sheets of tin, trunk covers, car hoods, etc. The only conventional modern instrument is Duki Makumbu's electric bass and Vincent Visi's makeshift drum kit (likewise made of found items).

Previous recordings have documented the many kinds of sounds Konono No. 1 generate in their form of polyrhythmic bazombo trance music that incorporates interlinking folk and improvised melodies that are sometimes played by the likembes, and at other times chanted and sung with call and response vocals. Assume Crash Position, produced by Crammed's Vincent Kenis, was recorded in a proper studio setting in Kinshasa. Rather than let the environment take away from the kinetic, utterly organic, raw feel of their previous albums, the separation of sounds created here, and the clarity of the way the likembes interact with one another, create a new experience altogether. Konono No. 1's approach to playing is not at all different; it is still the sound of an hour-long celebration unfolding -- even adding a couple of likembe players from the Kasai All-Stars on "Mama Na Bana," and a few guitars littered throughout doesn't alter that. A solid example is in one of their set standards, “Konono Wa Wa Wa,” near the album's end. The bassline is clearly stated, followed by layers of drums and percussion. The melody unfolds in call and response chants before the likembes begin to enter gradually by tonality. What seems like an ordinary folk song is, by the four-minute mark of its nearly 12 minutes, a complete exercise in Konono No. 1's trademark ancient-to-future hip-shaking trance dance with echoing sounds, reverb, distortion, and overwhelming energy united inseparably. Another extended workout is on album0opener "Wumbanzanga," where a guitar line is woven through the intricate melody of likembes, percussion, and bass; deep shouted responses to Pauline Mbuka Nsiala's lead vocals make this a celebratory hypnosis inducer; it will make a dancer out of anyone within earshot. For fans, Assume Crash Position is a necessary addition to the catalog. For the intrigued, this is an excellent starting point.

Konono No 1 - Assume Crash Position  (flac  364mb)

01 Moto Moindo 5:47
02 Polio 3:08
03 Je T'Aime 5:01
04 Sala Keba 4:26
05 Moziki 4:56
06 Sala Mosala 6:14
07 Avramandole 3:09
08 Tonkara 6:33
09 Marguerite 6:45
10 Staff Benda Bilili 5:54
11 Mwana 6:54

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previously Sunshine, Central Africa Sep 12, 2007 re up 7-20

Konono No 1 - Gongotronics  (flac  334mb)

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RhoDeo 1416 Cabin P 02

Hello, i'm away on a family visit so can't comment on current sports affairs although more than likely Hamilton or Rosberg won the F1 of China earlier today..

Last week Game of Thrones certainly heated up with the poisoning of it's beloved king. Meanwhile in Cabin Pressure it's all about lighting up or is it. Prepare for some turbulance in the stumach... (of laughter)

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Cabin Pressure is a radio situation comedy series written by John Finnemore. Its first series was broadcast on BBC Radio 4 in 2008. The show follows the exploits of the oddball crew of the single aeroplane owned by "MJN Air" as they are chartered to take all manner of items, people or animals across the world. The show stars Stephanie Cole, Roger Allam, Benedict Cumberbatch and John Finnemore.




The principal cast, the 4-person crew, is the following:

As part of her last divorce settlement, Carolyn Knapp-Shappey (Stephanie Cole) received a mid-size (16 seat) jet aeroplane named "GERTI" (a "Lockheed McDonnell 312", registration G-ERTI). As a result, she founds her very own single plane charter airline, "MJN Air" ("My Jet Now"), which is crewed by an oddball mixture of characters who fly to various cities around the world, encountering a variety of situations.

The airline's only Captain, Martin Crieff (Benedict Cumberbatch), has wanted to be a pilot since he was six years old (before which he wanted to be an aeroplane). He suffers, however, from a distinct lack of natural ability in that department. He was rejected by at least one flight school, and had to put himself through the required coursework, barely qualifying for his certification – on his seventh attempt. He took the job with MJN for no salary at all, as long as he could be Captain. He appears to have no outside interests beyond flying. He is a stickler for procedures and regulations, but is more prissy than pompous. At the end of series two he tells Douglas that he survives financially by running a delivery service using the van he inherited from his father (running two different jobs largely explaining the lack of hobbies). This was his only inheritance (apart from a tool kit and multimeter) because his father believed he would waste any money he received trying to become a pilot. He has two siblings, Caitlin, now a traffic warden and Simon, a council administrator who often frustrates Martin with his annoying superiority. This isn't helped by his Mother's constant admiration of Simon, often saying that "Simon knows best".

First Officer Douglas Richardson (Roger Allam) is, on the other hand, a quite competent pilot who worked for Air England – until he was fired for smuggling. He chafes at his subordinate position to Martin, and misses no opportunity to flaunt his superiority in the younger pilot's face. In later episodes, it is revealed that Douglas, ashamed of his second-rate job, dresses in Captain's uniform for his wife Helena's benefit, changing to First Officer's uniform before he gets to work. Douglas is, however, something of a smooth operator who knows all of the dodges available to airline officers, and enjoys taking part in all of them.

Carolyn's son Arthur Shappey (John Finnemore) is an eager and cheery dimwit aged 29, who is supposed to be the flight attendant but usually manages to get in everyone's way. He is half-English and half-Australian; Carolyn is his English mother, and Gordon, Carolyn's ex-husband, his Australian father (original owner of Gertie). Arthur is a relentless optimist, whose biggest claim to fame is being the inventor (or at least discoverer) of fizzy yoghurt (the recipe for which is yoghurt plus time). He also celebrates Birling day, Birling day eve, Gertie's birthday and Summer Christmas, and is a definite polar bear enthusiast and expert. He is very allergic to dragon fruit and strawberries, but frequently forgets, having eaten strawberry mousse on occasion.

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Cabin Pressure - 102  Boston (ogg 25mb)

102  Boston 28:01

A stubborn passenger refuses to extinguish his cigarette and makes Martin cry. Arthur, on a mission, accidentally gives him a heart attack, forcing Martin to fly back and forth between Reykjavik and Boston in indecision. Meanwhile, Martin and Douglas play a challenging game of "Simon Says".

previously

Cabin Pressure - 101 Abu Dhabi (ogg 25mb)

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