RhoDeo 1211 Aetix

Hello, Aetix time again with a band I lost touch with in the early eighties with Sparkle in the Rain being the last Simple Minds album i bought and which still sits 'brandnew' in its sleeve. As such much of their history i just wrote down here went past me, they clearly kept a big fanbase in Europe, whilst the US seemed never be able to look beyond their name..Simple Minds apparently an affront to potential buyers ah yes so full of themselves. I just noted that todays post has by enlarge been rereleased last month as X5 box set ..go figure. Well consider this a taster then.

xxxxx xxxxx xxxxx xxxxx xxxxx

Charlie Burchill and Jim Kerr formed a punk band in 1977 that was heavily influenced by Lou Reed, and after one unsuccessful single as Johnny & The Self Abusers, they shuffled the line-up to include former Abusers Brian McGee on drums and Tony Donald on bass guitar, the latter of whom was quickly replaced by Derek Forbes. In addition, keyboard and synthesizer player Mick MacNeil was also recruited. The band's name was changed to "Simple Minds", which was taken from a line in the David Bowie song "Jean Genie": "...so simple-minded, he can't drive his module."

Simple Minds' commercial first album, Life in a Day, took a cue from fellow Post-Punk forebearers Magazine, and was somewhat self-consciously derivative of the late-70s punk boom. Life in a Day was exactly the kind of item the band's label, Arista, wanted to promote. However, expectations for follow-up "Lives in a Day" were to be disappointed. While still categorisable as 'rock', Simple Minds' second release, Real to Real Cacophony, had a darker edge, and announced some of the New Wave experimentation that would become the band’s trademark sound over the next two albums.

Empires and Dance, was a far more radical departure, and signaled the influence of Kraftwerk, Neu! and similar European artists. Indeed, during this period Simple Minds promoted themselves as a European band, not a Scottish or UK band. Many of the tracks on Empires and Dance are extremely minimal, and feature sequenced keyboards. McNeil's keyboards and Forbes' bass became the main melodic elements, and Burchill's guitar was heavily processed. With this album, Kerr began to experiment with non-narrative lyrics. While not consciously so, Empires and Dance was essentially Industrial in its aesthetic, and preceded by a couple of years the Industrial-pop crossover of Cabaret Voltaire's album The Crackdown. The band's label, however, demonstrated little enthusiasm for such experimentation, and in 1981 Simple Minds switched from Arista to Virgin.

Simple Minds' first release on Virgin was actually two albums: the Steve Hillage-produced Sons and Fascination and Sister Feelings Call. The latter album was initially included as a bonus disc with the first 10,000 vinyl copies of Sons and Fascination, but it was later re-issued as an album in its own right. (For the CD release, it was paired on a single disc with Sons and Fascination — at first with two tracks deleted, but on later issues, in full.) Sons and Fascination perfected the formula that began with Empires and Dance, and showcased the band’s musicianship during their most prolific period.
These minimalist, dance-oriented compositions, were examples of man-made trance well before trance itself.

It was also during this period that the ground-breaking visual aesthetic of Simple Minds' product was established, masterminded by Malcolm Garrett's graphic design company Assorted iMaGes. Characterised at first by hard, bold typography and photo-collage, Garrett's designs for the band would later incorporate pop-religious iconography in clean, integrated package designs that befitted the band's idealised image as neo-romantic purveyors of European anthemic pop.

New Gold Dream (81–82–83–84) was released in September 1982, combining the results of the Walsh sessions along with "Promised You a Miracle". The album proved to be a significant turning point for the band, becoming a commercial breakthrough With a slick, sophisticated sound—thanks to Walsh's production—and similarly sumptuous design by Malcolm Garrett, Simple Minds were soon categorized as part of the New Romantic outgrowth of New Wave (along with Duran Duran and others). Despite the success of the album, some fans of the band's earlier work criticised Simple Minds' new and more commercial orientation.

The formula that had defined Simple Minds' New Wave period had run its course, and the next record, Sparkle in the Rain, was a complete departure. Produced by Steve Lillywhite and released in February 1984, the album contained a rock-oriented set of songs. The eventual result of this shift in musical direction gave rise to hugely successful singles like "Waterfront". The public also appreciated Simple Minds' upfront sound, ensuring that Sparkle in the Rain topped the charts in the UK and hit the Top 20 in several other countries.

In 1984, Jim Kerr married Chrissie Hynde from the Pretenders. Simple Minds did a North American tour where they played as headliners supported by China Crisis during the Canadian leg and in support of the Pretenders in the U.S. while Hynde was pregnant with Kerr's daughter. Despite the band's new-found popularity in the UK and Europe, Simple Minds remained essentially unknown in the U.S. The band's UK releases on Arista were not picked up by Arista USA simpletons who had 'right of first refusal' for their releases. They were offered the song 'Don't You (Forget About me) only after it was turned down by Bryan Ferry. Released in early 1985, it also broke Simple Minds into the US market almost overnight, when the band achieved their only #1 U.S. pop hit in April 1985 with the The Breakfast Club' s opening track, "Don't You (Forget About Me)". The song soon became a chart-topper in many other countries around the world.

At around this point, the camaraderie that had fuelled Simple Minds began to unravel, and over the next ten years the band's lineup would undergo frequent changes. Jim Kerr subsequently recalled "We were knackered. We were desensitised. The band started to fracture. The first casualty of the band's collective change of attitude was bassist Derek Forbes, he would soon reunite with another former Simple Minds bandmate, drummer Brian McGee, in Propaganda.

Taking advantage of their new-found popularity, Simple Minds recorded what has been considered to be their most unashamedly commercial album. On its release in November, Once Upon a Time appeared to be tailored specifically to appeal to the stadium rock sensibilities of American audiences. It was reviled by some long-time fans, but was embraced by millions of new listeners and was critically well-received. The record reached #1 in the UK and #10 in the US, despite the fact that their major-league breakthrough single "Don't You (Forget About Me)" was not included. Because of Simple Minds' powerful stage presence and lyrics that trafficked in Christian symbolism, the band was criticised by some in the music press as a lesser version of U2, despite the fact that both bands were now heading in different musical directions.

The next album Street Fighting Years (1989) maintained the band's growing sense of scale but moved away from the American soul and gospel influences of Once Upon a Time in favour of soundtrack atmospherics and a new incorporation of acoustic and folk music-related ingredients. The lyrics were also more directly political, moving away from the impressionistic or spiritual concerns of earlier 1980s Simple Minds songs. The band underwent further lineup changes during the recording of Street Fighting Years. Mel Gaynor and John Giblin both contributed to the recording but both men had left the band by the time of the album's release, by which time the band was credited as a trio of Kerr, Burchill and MacNeil. The balance of power within the band had clearly become centralised around the remaining founder members and would continue in that way. That said McNeil wanted a break after the tour but the other two wanted to record a new album, this lead to a painful and acrimonious break..and then there were two.

Simple Minds returned to active duty later in 1994. By now the band was officially a duo of Kerr and Burchill (with the latter taking on keyboards in the studio, as well as guitar). Good News from the Next World was released in 1995 to positive reviews, but weak sales in the U.S. In the UK and Europe, however, the response was much more positive, with the album reaching #2 in the UK and producing the two Top 20 hits.

Having being released from their contract with Virgin Records, Simple Minds decided to musically reinvent themselves once again, this time reaching back to their Kraftwerk-inspired, early electronic pop days. When finally released, the new album, Neapolis—turned out to be less of a "band" album than expected. The album ultimately charted poorly and received mixed reviews. As Simple Minds' main writing team, Kerr and Burchill had continued to demo and originate material by themselves. For the latest sessions, they had shared studio space with a band called Sly Silver Sly (who featured Kerr’s brother Mark as drummer). The two writing and recording projects merged to become the sessions for the next Simple Minds album, Our Secrets Are the Same. The other result from the sessions was the supplanting of the Simple Minds rhythm section. Once again, Forbes and Gaynor found themselves out of the band while Mark Kerr became the new drummer and Sly Silver Sly’s Eddie Duffy joined on bass guitar.

In 2001, Jim Kerr and Charlie Burchill began working with multi-instrumentalist Gordon Goudie (ex-Primevals) on a brand new Simple Minds album to be called Cry. In parallel to Cry, Simple Minds also recorded an album of covers called Neon Lights, featuring Simple Minds reinventions of songs from artists including Patti Smith, Roxy Music and Kraftwerk. Of these projects, Neon Lights was the first to be completed and released (later in 2001). A 2-CD compilation, The Best of Simple Minds, was released soon afterwards to continue to build commercial momentum.

In 2004, Simple Minds released a five-CD compilation entitled Silver Box. This mostly comprised previously-unreleased demos, radio & TV sessions and various live recordings from 1979 to 1995, but also included the long-delayed Our Secrets Are the Same. In 2005, Simple Minds released their fourteenth studio album, Black & White 050505, which generated some of the most positive reviews for a Simple Minds record in many years. The album's first single, "Home", received airplay on alternative rock radio stations in the US. However, it did not make a significant chart impact on either side of the Atlantic.

Simple Minds played the 90th birthday tribute to Nelson Mandela on 27 June 2008 in London's Hyde Park. The band then undertook a short tour throughout the UK to celebrate their 30th anniversary. Reverting to the Burchill/Kerr/Gaynor/Duffy line-up, Simple Minds recorded a new studio album, Graffiti Soul, which was released on 25 May 2009. Jim Kerr suggested that Simple Minds had enough material from the Graffiti Soul recording sessions for two albums, one to be released at the start of 2009 and the second following within the space of a year. The album entered the UK Album chart at #10, becoming Simple Minds first album in 14 years to enter the UK Top 10. The album also entered European Top 100 Album chart at #9.

On 22 November 2011, Simple Minds announced an exclusive 16-date European tour entitled "5X5 Live" to begin in Portugal on 14 February and to end in Ireland on 4 March 2012 (including four intimate UK venues on 24 and 25 February and on 2 and 3 March 2012) during which the band would perform for the first time 5 songs from each of their first 5 albums released from 1979 to 1982 representative of the post-punk period with the birth of the new wave electro scene in the late 1970s and early 1980s

To coincide with the "5x5 Live" tour, EMI Music will release on 20 February 2012 the Simple Minds X5 box set featuring the 5 first albums over 6 discs, Life in a Day, Real to Real Cacophony, Empires and Dance, Sons and Fascination/Sister Feelings Call and New Gold Dream (81–82–83–84) (with Sons and Fascination and Sister Feelings Call as separate discs in a gatefold sleeve as well as bonus material on each disc including rare and previously unavailable CD, B-sides and remixes).

xxxxx xxxxx xxxxx xxxxx xxxxx

To the delight of some open-minded post-punk fans , fans like me who also had space for the relatively new, untraditional likes of Devo, Kraftwerk, and Eno in their record collections. The artistic leap from Life in a Day to Real to Real has to be one of the most mesmerizing ones imaginable, an improvement that is even more impressive when the short time between release dates is considered. It's where Simple Minds ventured beyond the ability to mimic their influences and began to manipulate them. Aside from a mercifully brief lapse into aimless murmuring and doodling that occurs during the middle of the record, Real to Real Cacophony is rife with countless bizarre joys. It knocks you on your back with pretentious artsy-fartsiness as instantly as New Gold Dream dazzles with its art pop pleasures, but its challenging melodicism through jerky time signatures and an endless supply of varied sounds and textures keeps you coming back for more. Guitars are employed less frequently and are replaced by burbling electronics and further use of keyboard shadings, though the absolute high point of the band's early years, "Changeling," benefits from plangent, angular jabs.

Simple Minds – Real To Real Cacophony ( flac 335mb)

01 Real To Real 2:50
02 Naked Eye 2:22
03 Citizen (Dance Of Youth) 2:53
04 Carnival (Shelter In A Suitcase) 2:51
05 Factory 4:14
06 Cacophony 1:41
07 Veldt 3:35
08 Premonition 5:28
09 Changeling 4:11
10 Film Theme 2:26
11 Calling Your Name 5:06
12 Scar 3:33
Bonus
13 Kaleidoscope 4:15
14 Film Theme Dub 1:26
15 Premonition (Live At Hurrah's Club, New York: 24/10/79) 5:45

xxxxx xxxxx xxxxx xxxxx xxxxx

Simple Minds shifted gears once again for album number three, Empires and Dance. The "dance" aspect of the title needs to be emphasized, but it's apparent that the group's globetrotting and simmering political tensions in Britain affected their material in more ways than one. One gets the idea that they did some clubbing and also experienced some disparate views of the world. The opening "I Travel" is the most assaultive song in the band's catalog, sounding like a Giorgio Moroder production for Roxy Music. The remainder of the album repeals the blitzkrieg frenetics of the beginning and hones in on skeletal arrangements that focus on thick basslines and the loping rhythms that they help frame. The hopping/skipping "Celebrate" isn't much more than a series of handclaps, a light drum stomp, some intermittent bass notes, and some non-intrusive synth effects. It goes absolutely nowhere, yet it's more effective and infectious than most verse-chorus-verse pop songs. The seven minutes of "This Fear of Gods," which boast another dense rhythm abetted by trebly atmospheric elements, come off like an excellent 12" dub, rather than an original mix. Just as bracing, the paranoiac disco of "Thirty Frames a Second" and lives on as a post-punk dance classic. It's a true shock that this record was released with reluctance. The band coerced an unimpressed Arista into pressing a minimal amount of copies for release, but thankfully Virgin reissued it in 1982.

Simple Minds – Empires And Dance (flac 414mb)

01 I Travel 4:03
02 Today I Died Again 4:37
03 Celebrate 5:09
04 This Fear Of Gods 7:03
05 Capital City 6:14
06 Constantinople Line 4:40
07 Twist/Run/Repulsion 4:32
08 Thirty Frames A Second 5:05
09 Kant-Kino 1:50
10 Room 2:29
Bonus
11 New Warm Skin 4:35
12 I Travel (Extended) 6:13
13 Celebrate (Extended) 6:48

xxxxx xxxxx xxxxx xxxxx xxxxx

For their fourth album in three years, Simple Minds signed on with Virgin and enlisted Gong's Steve Hillage as producer. The sessions continued the group's impressive run of high-quality output, but there are instances where ambition gets the best of them. Though their work with Hillage hardly spawned anything on a plane with the two albums that preceded it and the one that followed it, it's still a substantial piece of the Simple Minds puzzle. Bridging the art disco of Empires and Dance with the pop masterpiece New Gold Dream, the album falters when the band seems to be reaching a bit too far for their own good. The other stumbling block is Hillage's production: The record isn't without moments of brilliance, like the exquisitely detailed "70 Cities As Love Brings the Fall", the insistently snaking "In Trance As Mission," and "Sweat in Bullet," which has sparkling keyboard parts and crafty guitar interplay. Aside from these moments, the mind tends to wander and wonder if the band was trying to do too much. Upon its release, Sons and Fascination was issued for a limited time with a bonus LP, Sister Feelings Call . A month after Sons and Fascination was released, Sister Feelings Call was issued separately at a budget price. And then, for Virgin's 1985 CD issue of Sons, Sister was added to the end (albeit minus "League of Nations" and "Sound in 70 Cities"). The first three songs on Sister match or exceed the material on Sons and Fascination. "Theme for Great Cities" is one of Simple Minds' best instrumentals, "The American" (a 1981 single) exemplifies the point at which 1980's Empires and Dance and 1982's New Gold Dream cross, and "20th Century Promised Land" offers winding ripples of rhythms without one instrument taking any central role. In 2003 and later rereleases the complete album was added.

Simple Minds – Sons And Fascination (flac 414mb)

01 In Trance As Mission 6:53
02 Sweat In Bullet 4:31
03 70 Cities As Love Brings The Fall 4:50
04 Boys From Brazil 5:31
05 Love Song 5:04
06 This Earth That You Walk Upon 5:28
07 Sons And Fascination 5:23
08 Seeing Out The Angel 6:11
Bonus
09 Sweat In Bullet (Extended Remix) 7:22
10 In Trance As Mission (Live At Hammersmith Odeon, London: 25/09/81) 7:17
11 This Earth That You Walk Upon (Instrumental) 5:26

Simple Minds – Sister Feelings Call   (flac 313mb)

01 Theme For Great Cities 5:52
02 The American 3:51
03 20th Century Promised Land 4:55
04 Wonderful In Young Life 5:21
05 League Of Nations 4:56
06 Careful In Career 5:09
07 Sound In 70 Cities 5:04
Bonus
08 The American (Extended) 6:55
09 League Of Nations (Live At Hammersmith Odeon, London: 25/09/81) 6:14

xxxxx xxxxx xxxxx xxxxx xxxxx

Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. The record generated a handful of singles; "Promised You A Miracle", "Glittering Prize" and "Someone Somewhere (In Summertime)". The album was released in 1982 and was a turning point for the band as they gained critical and commercial success in the UK and Europe. It made #3 in the UK Albums Chart.

Simple Minds – New Gold Dream (81-82-83-84) ( flac 500mb)

01 Someone Somewhere In Summertime 4:38
02 Colours Fly And Catherine Wheel 3:49
03 Promised You A Miracle 4:27
04 Big Sleep 5:03
05 Somebody Up There Likes You 5:02
06 New Gold Dream (81-82-83-84) 5:38
07 Glittering Prize 4:33
08 Hunter And The Hunted 5:55
09 King Is White And In The Crowd 7:00
Bonus
10 Promised You A Miracle (Extended) 4:49
11 Glittering Prize (Club Mix) 4:57
12 Someone Somewhere In Summertime (Extended) 6:02
13 Soundtrack For Every Heaven 4:55
14 New Gold Dream (German 12" Remix) 6:52
15 In Every Heaven 4:55

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo1211 Roots

Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

Can't get enough of that dub music ? Prince Jammy ruled himself King halfway thru the period this sampler runs 1975-1985, now can you spot the difference ?

***** ***** ***** ***** *****

Lloyd James, (born in 1947, Montego Bay, Jamaica), is better known as Prince Jammy or King Jammy the dub mixer and record producer. After earning money from building amplifiers and repairing electrical equipment from his mother's house in Waterhouse in the late 1960s, he started his own sound system. He also built equipment for other local systems. After leaving Jamaica to work in Canada for a few years in the early 1970s, he returned to Kingston in 1976 and set up his own studio at his in-laws' home in Waterhouse, and released a couple of Yabby You productions. When Phillip Smart left King Tubby's team to work in New York, Jammy replaced him, getting to work with the likes of Bunny Lee and Yabby You. For the first few years of his career, Jammy almost exclusively made Dub. In 1977, Jammy was enlisted to mix the dub counterpart to "In the Light," Everton DaSilva's classic production for Horace Andy. The versions Jammy concocted simultaneously proved that he was well versed in the techniques acquired from Tubby and that he had developed a distinct mixing voice of his own. That same year, he made his first notable venture into production work, recording the debut of Black Uhuru, a young vocal trio from Kingston. The resulting Love Crisis (and its remixed incarnation, Black Sounds of Freedom) represented a breakthrough for both parties. In the late 1970s he began to release his own productions, including the debut album from Black Uhuru in 1977. Before he set out to rule modern dancehall as King Jammy, Lloyd James earned the lesser, but still regal title Prince Jammy, In the 1980s, he became one of the most influential producers of dancehall music. His biggest hit was 1985's "Under Me Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook. Many credit this song as being the first "Digital rhythm" in reggae, leading to the modern dancehall era. Jammy's productions and sound system dominated reggae music for the remainder of the 1980s, Jammy continued to produce and record into the '90s, a decade that would see his own son, John John, emerging as a successful record-maker. Perhaps more importantly, the '90s also witnessed a number of reissues of Jammy's classic mixing work. London's Blood and Fire produced Dub Gone Crazy and Dub Gone 2 Crazy, compiling versions the Waterhouse team (Tubby, Jammy, Scientist, and Smart) mixed for Bunny Lee during the late '70s, while Pressure Sounds' The Crowning of Prince Jammy drew from the same period. And so he continues to work as a producer, working with some of today's top Jamaican artists.

***** ***** ***** ***** *****

VA - Jammys From The Roots 1977-1985 I (flac 430mb)

101 Johnny Osbourne – Fally Ranking 3:49
102 Black Uhuru – Tonight Is The Night 3:07
103 Sugar Minott – Give The People What They Want 3:45
104 Black Crucial – Conscience Speaks 3:34
105 Johnny Osbourne – Jah Ovah 4:10
106 Noel Phillips – Youth Man 3:22
107 Earl Zero – Please Officer 7:06
108 Augustus Pablo – Pablo In Moonlight City 7:02
109 Junior Delgado – Love Tickles Like Magic 2:44
110 Hugh Mundell – Jah Fire Will Be Burning 4:12
111 Barry Brown – It A Go Dread 4:40
112 Wayne Smith – Time Is A Moment In Space 3:13
113 U Black – Natty Dread At The Controls 2:33
114 The Travellers – Jah Gave Us This World 3:14
115 The Fantails – Name Of The Game 2:52
116 Lacksley Castell – What A Great Day 9:03

VA - Jammys From The Roots 1977-1985 I (ogg 156mb)

***** ***** ***** ***** *****

VA - Jammys From The Roots 1977-1985 II (flac 341mb)

201 Johnny Osbourne – Mr Marshall 3:46
202 Natural Vibes – Life Hard A Yard 3:24
203 Prince Alla – Last Train To Africa 3:37
204 Frankie Jones – Collie George 3:39
205 Black Uhuru – Willow Tree 2:58
206 The Jays – Jah Do Love Us 3:35
207 Junior Reid – Higgler Move 3:35
208 Junior Delgado – Liberation 3:41
209 Half Pint – One Big Ghetto 3:11
210 Frankie Paul – Foreign Mind 3:42
211 Dennis Brown – Africa We Want To Go 3:09
212 Frankie Paul – Children Of Israel 3:51
213 Junior Reid – Boom-Shack-A-Lack 3:31
214 Half Pint – Mr. Landlord 2:58
215 Frankie Paul – Do Good 3:17
216 Dennis Brown – They Fight I 3:19

VA - Jammys From The Roots 1977-1985 II (ogg 122mb)

***** ***** ***** ***** *****

RhoDeo 1211 Sofa 3

Hello, hope you'll had a good weekend.

xxxxx xxxxx xxxxx xxxxx xxxxx

The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.

xxxxx xxxxx xxxxx xxxxx xxxxx

"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.

"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".

"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.

"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.

The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).

xxxxx xxxxx xxxxx xxxxx xxxxx


The Sofa Of Time pt 3 ( 26mb)

03 And The Hackett March On 27:38

xxxxx xxxxx xxxxx xxxxx xxxxx

before
The Sofa Of Time pt 1 ( 26mb)
The Sofa Of Time pt 2 ( 26mb)

Sundaze 1211

Hello, sadly it looks increasingly likely Multiupload isn't coming back, it could be money troubles as i assume they had some descent money coming from Megaupload as a major rerouter thousands of dollars can make a big difference for a financial marginal company, maybe they feared the FBI noticing them as a big creditor, maybe they were a Megaupload company...The fact they didn't give a peep anymore is most odd.

What remains here are a lot of dead links everything i posted since October 2010 was relayed thru them roughly 1200 links, considering this is a one man operation re-uploading will take some time. The first three weeks of this year will be fully done this week, after that i will just reupload the oggs, working backwards, expect status reports from time to time. Week 1201 has been redone. On a side note are any of you having trouble with Refile ?

xxxxx xxxxx xxxxx xxxxx xxxxx

The tales surrounding Ridley Scott's film Blade Runner is one of the most troubled and tweaked film mythologies in Hollywood history. The various cuts, bootlegged unauthorized VHS and DVD versions, different European and American cuts, etc., are too labyrinthine to go into here, but there's plenty available to read if you aren't already familiar with this murky story. Amazingly enough, the film's soundtrack has a similar narrative, one that is dark, full of conflict; it's so complex that even this mammoth, three disc 25th Anniversary commemorative edition doesn't manage to straighten out. That said, it is a vast improvement on what has previously been released officially. Greek composer and pioneering prog rock and synth king -- and subsequently a best-selling composer of film scores -- Vangelis Papathanassiou was tapped to write the score for Scott's film and record the soundtrack. He did. That said, what appeared in the marketplace when the flick was released had little to do with his original score. When the first version of the soundtrack appeared, his score wasn't actually used, only "adaptations" of its themes by the New American Orchestra. It was disowned not only by the composer, but savaged by Scott. Vangelis released his own version on CD in 1994. It was a horrible sounding single-disc package that included his amazing "Love Theme," and "Memories of Green" as they were meant to be, as well as much of the other incidental music (this fact is so true that various bootlegs of the set sounded far better than the official release and contained more music). Besides the sonic problems, the full score remained unreleased.


xxxxx xxxxx xxxxx xxxxx xxxxx

This new version contains three discs. The first is a beautifully remastered version of that 1994 issue, where all of the dubious hiss and "noise reduction techniques" previously employed were tossed and the process begun from scratch. It sounds like it was made for compact disc. And that's great as far as it goes, but it still didn't address the missing final score. Still, it's such a vast improvement it's worth hearing, and hearing over again. Disc two is the real treasure, though, because it contains a lot more of the score's original music. There's the awesome music that plays in the film while Deckard and Roy have their final near mythic battle to the death in the rain. Likewise, the music for the investigation of "Leo's Room" is included here, as is the subtle, deeply moving composition for the death scene of Dr. Tyrell. There are also a couple of "bonus tracks" that fill out some missing music in the film. The final disc is made up of leftover ideas. That's rather harsh considering this is all new music, but Vangelis simply tacked on brand new cuts that reflect his lack of involvement. There are synth sketches, ideas, and asides, and little more. There is a gimmicky bit where Vangelis takes on Scott's dialogue about the Final Cut version of the film and layers his keyboards over it -- new age music with narrative. The third disc of this collection is rather unnecessary.

To sum it all, the full score of Blade Runner has yet to be released officially. So why didn't Vangelis just pop the entire score on the final two discs? It was one definitive way to get the music to the hardcore faithful; in so doing, it would bascially cancel out the terrain the crooks have inhabited and profited from. One look at this edition with its rather handsome presentation is enough to want it. The bottom line is that it is a bit of a slap in the face to consumers to create a package so fine looking and sounding without offering the complete historical document.

Vangelis - Blade Runner Trilogy 1 (flac 280mb)

Blade Runner 1994 Soundtrack Album

01 Main Titles 3:42
02 Blush Response 5:47
03 Wait For Me 5:27
04 Rachel's Song 4:46
05 Love Theme 4:56
06 One More Kiss, Dear 3:58
07 Blade Runner Blues 8:53
08 Memories Of Green 5:05
09 Tales Of The Future 4:46
10 Damask Rose 2:32
11 Blade Runner (End Titles) 4:40
12 Tears In Rain 3:00

xxxxx xxxxx xxxxx

Vangelis - Blade Runner Trilogy 2 (flac 208mb)

Blade Runner Previously Unreleased & Bonus Material

13 Longing 1:58
14 Unveiled Twinkling Space 1:59
15 Dr. Tyrell's Owl 2:40
16 At Mr. Chew's 4:47
17 Leo's Room 2:21
18 One Alone 2:23
19 Deckard And Roy's Duel 6:16
20 Dr. Tyrell's Death 3:11
21 Desolation Path 5:45
22 Empty Streets 6:16
23 Mechanical Dolls 2:52
24 Fading Away 3:32

xxxxx xxxxx xxxxx xxxxx xxxxx


Vangelis - Blade Runner Trilogy 3 (flac 255mb)

BR 25

25 Launch Approval 1:54
26 Up And Running 3:09
27 Mail From India 3:27
28 BR Downtown 2:27
29 Dimitri's Bar 3:52
30 Sweet Solitude 6:56
31 No Expectation Boulevard 6:44
32 Vadavarot 4:14
33 Perfume Exotico 5:19
34 Spotkanie Z Matka 5:09
35 Piano In An Empty Room 3:37
36 Keep Asking 1:29

xxxxx xxxxx xxxxx xxxxx xxxxx

Antarctica is the soundtrack to Koreyoshi Kurahara's film of the same name. Vangelis composed and performed all of the music. It is a very dynamic and dramatic set, but does not convey the iciness that listeners would expect. Conveying feelings of angst, isolation, and even desolation, it is actually very good music. Obviously very few people have actually ever been at the Antarctic neither has Vangelis.(moving)pictures can never really convey how nature's harshest environment can totally impact our being.

Vangelis – Antarctica (flac 246mb)

01 Theme From Antarctica 7:26
02 Antarctica Echoes 5:54
03 Kinematic 3:44
04 Song Of White 5:15
05 Life Of Antarctica 5:56
06 Memory Of Antarctica 5:26
07 Other Side Of Antarctica 6:50
08 Deliverance 4:29

Vangelis – Antarctica (ogg 99mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1210 Grooves

Hello, we leave the funk grooves today and exchange them for some hot hiphop jazz grooves, Gang Starr.

On a side note a new host today, Refile they gave me good speeds lately.

xxxxx xxxxx xxxxx

The group was founded by Keith Elam in Boston, Massachusetts in 1985 (then known as Keithy E. The Guru) and DJ 1,2 B-Down (also known as Mike Dee) . Gang Starr was founded in 1987. The group initially released three records, produced by DJ Mark the 45 King, on the Wild Pitch Records record label, but these records received little attention. After a change in line-up, the group consisted of rapper Elam and beat maker DJ Premier. Gang Starr released its first LP No More Mr. Nice Guy on Wild Pitch Records; the group achieved a sizable following and released six critically acclaimed and influential albums from 1989 to 2003

In 1989, the group split and the only member willing to continue under the name Gang Starr was Guru. He soon got in touch with DJ Premier (then known as Waxmaster C) who sent him a beat tape which Guru liked. He invited DJ Premier to join Gang Starr and in that same year they released their first single "Words I Manifest" along with the album No More Mr. Nice Guy (1989). Between albums, in 1990, Guru and Premier contributed a song, "Jazz Thing," to the Mo' Better Blues soundtrack.

In 1990 the group was signed to the Chrysalis record label by then A&R director Duff Marlowe, a former DJ and Los Angeles Times rap music critic. The London-based label offered Guru and Premier unlimited artistic license and major-label distribution worldwide, a platform that the group used to become one of the most influential hip hop acts of that decade. During their career Gang Starr helped pioneer the New York City hardcore hip hop sound. Step in the Arena (1991), on which they perfected the approach of their debut, that is, a stark, hard-hitting jazz-rap production style, complete with Premier's masterful DJ cutting, over which Guru's battle-rap-hardened yet smoothly delivered lyrics -- often thoughtful, sly, and streetsmart -- take flight. Gang Starr's third album, Daily Operation (1992), furthered the duo's approach stylistically; widely considered an East Coast rap classic, it's arguably Guru and Premier's finest work, along with its predecessor.

Beginning in 1993, Guru and Premier began working separately. Guru's debut album, Jazzmatazz, Vol. 1 (1993), took the so-called jazz-rap style to a new level, featuring jazz musicians such as Lonnie Liston Smith, Branford Marsalis, Ronny Jordan, Donald Byrd, and Roy Ayers, along with guest vocalists such as N'Dea Davenport (of the Brand New Heavies) and MC Solaar (of French rap fame).

Meanwhile, Premier produced six tracks for KRS-One's solo debut, Return of the Boom Bap (1993); moreover, in 1994 he proceeded to produce three tracks for Nas' debut, Illmatic; two for the Notorious B.I.G.'s debut, Ready to Die; five for the self-titled debut of Branford Marsalis' Buckshot LeFonque project; the entirety of Jeru the Damaja's debut, The Sun Rises in the East; and also a handful of remixes for various artists.

Amid all of this activity, Guru and Premier found time to record their fourth album, Hard to Earn (1994), which was more hardcore-fashioned -- as was the style at the time, in the wake of Death Row's uprising -- than past Gang Starr albums and, also unlike past efforts, featured guest rappers. The album spawned the duo's biggest hit to date, "Mass Appeal."

Following Hard to Earn, Guru and Premier resumed their solo activity. Guru released Jazzmatazz, Vol. 2: The New Reality (1995) and a various-artists compilation, Guru Presents Ill Kid Records (1995), while Premier produced the bulk of Livin' Proof (1995), the debut of Gang Starr affiliates Group Home (who featured on Hard to Earn). Also in 1995, Premier produced three tracks on KRS-One's second solo album; and two tracks on Hold It Down, the third album by Das EFX; as well as assorted remixes and one-off productions.

In 1998, after four years between albums, Gang Starr returned with Moment of Truth, their first album to chart number one (on the R&B/Hip-Hop album chart, that is; it peaked at number six overall, still their best showing commercially to date). Moment of Truth was a significant departure from past Gang Starr efforts, very much contemporary in style.

A double-disc retrospective, Full Clip: A Decade of Gang Starr (1999), subsequently marked the duo's ten-year anniversary. In the years that followed, Guru and Premier continued to focus on their own work. Guru continued his Jazzmatazz series, beginning with a third volume, Streetsoul, in 2000; he also released solo rap albums, beginning with Baldhead Slick & da Click (2001)

As for Gang Starr, Guru and Premier did reunite for The Ownerz (2003), a celebrated return to form, but the reunion proved short-lived, leaving back-catalog collections such as Mass Appeal: The Best of Gang Starr (2006) to fill the void. Sadly, Guru died at age 43 on April 19, 2010 after battling cancer, suffering a heart attack, and for a time falling into a coma.

xxxxx xxxxx xxxxx

Aside from some scrupulous lyrical stances by Guru and some of DJ Premier's hallmark brilliance behind the turntables, this Gang Starr isn't instantly recognizable as the duo who would soon become one of the most respected rap groups of the 1990s. Here the duo are still in a leg knee-deep in the old-school aesthetic. As a result, Premier's beats are quite a bit simpler and sometimes cruder than fans have come to expect (though they are still several cuts above the rest of the class), and Guru spends considerable energy talking up his own microphone skills and tearing down the next MC's. That is not the same thing, however, as saying that No More Mr. Nice Guy is a subpar album. It is not, by any means. In fact, it's quite good in its own way, but it's also safe to say that the recording is not representative of the Chrysalis-era Gang Starr that devotees would eventually come to revere. Approach this album on its own terms, though, and it has a lot to offer, namely its early, tentative steps into the sampling of jazz. The most conspicuous attempt in this direction is the fine "Jazz Music," which was, nevertheless, reworked to much better effect a few years later for the soundtrack to Spike Lee's Mo' Better Blues as "Jazz Thing." Indicative or not, fans of the group will want this album, as will those with a jones for the original new-school revolution.

Gang Starr - No More Mr. Nice Guy
or
Gang Starr - No More Mr. Nice Guy (427mb)

01 Premier & The Guru 3:22
02 Jazz Music 3:24
03 Gotch U 3:04
04 Manifest 4:55
05 Gusto 3:12
06 Positivity (Remix) 4:49
07 Manifest (Remix) 5:09
08 DJ Premier In Deep Concentration 3:07
09 Conscience Be Free 3:54
10 Cause And Effect 3:15
11 2 Steps Ahead 3:40
12 No More Mr. Nice Guy 3:14
13 Knowledge 3:38
14 Positivity 3:30

Gang Starr - No More Mr. Nice Guy (163mb)

xxxxx xxxxx xxxxx

The album on which DJ Premier and Guru perfected the template that would launch them into underground stardom and a modicum of mainstream success. Guru's deadpan monotone delivery was shockingly different from other early-'90s MCs, many of who were either substituting charisma for substance or engaging in hardcore "realism" without really commenting on black inner-city life or offering ways to alter the situation for the better. But it is Guru who sounded like the real clarion call of and to the street on Step in the Arena Here we find the first real mature flowering of his street-wise sagacity. His voice would grow more assured by the next album, but here Guru imparts urban wisdom of a strikingly visible variety. Guru is not easy on any aspect of the inner city, from the "snakes" that exploit the community to those that are a product of it, and the result is a surprising but hard-fought compassion , where Guru pleads for the acceptance of responsibility, for not taking the easy path. He seems to have somehow developed a hopefulness out of the bleak surroundings. DJ Premier was already near the top of his game at this early point. His production seems less jazz-fueled on Step in the Arena, opting more for spare guitar lines and tight beats, as well as his unmistakable vocal cut-up style of scratching for a slightly warped and out-of-phase soundscape.

Gang Starr - Step In The Arena (274mb)
or
Gang Starr - Step In The Arena (274mb)

01 Name Tag (Premier & The Guru) 0:36
02 Step In The Arena 3:37
03 Form Of Intellect 3:40
04 Execution Of A Chump (No More Mr. Nice Guy Pt. 2) 2:41
05 Who's Gonna Take The Weight? 3:56
06 Beyond Comprehension 3:13
07 Check The Technique 3:58
08 Love Sick 3:27
09 Here Today, Gone Tomorrow 2:18
10 Game Plan 1:08
11 Take A Rest 4:21
12 What You Want This Time? 2:41
13 Street Ministry 1:25
14 Just To Get A Rep 2:42
15 Say Your Prayers 1:24
16 As I Read My S-A 3:02
17 Precisely The Right Rhymes 3:25
18 The Meaning Of The Name 2:55

Gang Starr - Step In The Arena (116mb)

xxxxx xxxxx xxxxx

On Step in the Arena, DJ Premier and Guru hit upon their mature sound, characterized by sparse, live jazz samples, Premier's cut-up scratching, and Guru's direct, unwavering streetwise monotone; but, with Daily Operation, the duo made their first masterpiece. From beginning to end, Gang Starr's third full-length album cuts with the force and precision of a machete and serves as an ode to and representation of New York and hip-hop underground culture. The genius of Daily Operation is that Guru's microphone skills are perfectly married to the best batch of tracks Premier had ever come up with. Guru has more of a presence than he has ever had, slinking and pacing through each song like a man with things on his mind, ready to go off at any second. Premier's production has an unparalleled edge here. For an underground crew, Gang Starr has always had a knack for crafting memorable vocal hooks to go with the expert production, and they multiply both aspects on Daily Operation. Every song has some attribute that stamps it indelibly into the listener's head, and it marks the album as one of the finest of the decade, rap or otherwise.

Gang Starr - Daily Operation (274mb)

01 Daily Operation (Intro) 0:27
02 The Place Where We Dwell 2:27
03 Flip The Script 4:02
04 Ex Girl To Next Girl 4:39
05 Soliloquy Of Chaos 3:14
06 I'm The Man 4:04
07 92 Interlude 0:29
08 Take It Personal 3:10
09 2 Deep 3:39
10 24-7/365 0:24
11 No Shame In My Game 3:55
12 Conspiracy 2:47
13 The Illest Brother 4:44
14 Hardcore Composer 3:16
15 B.Y.S. 3:05
16 Much Too Much (Mack A Mil) 3:30
17 Take Two And Pass 3:17
18 Stay Tuned 2:31

Gang Starr - Daily Operation (115mb)

xxxxx xxxxx xxxxx

RhoDeo 1210 Goldy Rhox 62

Hello, today the 62nd post of GoldyRhox, classic pop rock. After leaving The Fab Four, todays mystery man launched a successful solo career and formed a band with his first wife, Linda Eastman, and singer-songwriter Denny Laine. BBC News Online readers named McCartney the "greatest composer of the millennium".

His 1977 single "Mull of Kintyre" became the first single to sell more than two million copies in the United Kingdom and remains the UK's top selling non-charity single. Based on the 93 weeks his compositions have spent at the top spot of the UK chart, and 24 number one singles to his credit, he is the most successful songwriter in UK singles chart history. As a performer or songwriter, he was responsible for 31 number one singles on the Billboard Hot 100 chart in the United States, and has sold 15.5 million RIAA certified albums in the United States alone.

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

Todays mystery album was released in 1973. It was the band's third album and became its most successful album and remains the most celebrated of his post-Fab Four albums. After the success of Red Rose Speedway and "Live and Let Die" - the featured song for the James Bond movie of the same name - The band began contemplating its next album. They began writing new songs at their Scottish retreat soon after concluding their 1973 tour. Bored with recording in the United Kingdom, they wanted to go to an exotic locale. After asking EMI to send him a listing of all their international recording studios, they happened upon Lagos in Nigeria and were instantly taken with the idea of recording in Africa.

Upon arriving in Lagos, the band discovered a country in stark contrast from their visions of paradise. The country was run by a military government, with corruption and disease running rampant. The studio, located on Wharf Road in the suburb of Apapa, was ramshackle and underequipped. The control desk was faulty and there was only one tape machine, a Studer 8-track. More incidents would plague Wings' Lagos stay. While out walking one night against advice, Paul and Linda were robbed at knifepoint. The assailants made away with all of their valuables and even stole a bag containing a notebook full of handwritten lyrics and songs, and cassettes containing demos for songs to be recorded. Nevertheless recording of the album was completed by the third week of September.

It became 1974's top-selling studio album in the United Kingdom and Australia, and revitalised his critical standing. In 2000 Q magazine placed it at number 75 in its list of the 100 Greatest British Albums Ever. In 2003, the album was ranked #418 on Rolling Stone magazine's list of the 500 greatest albums of all time.


Goldy Rhox 62 (flac 236mb)

Goldy Rhox 62 ( ogg 95mb)

***** ***** ***** ***** *****

RhoDeo 1210 Aetix

Hello, Aetix time again and once more one of my favorite bands from that time is in the spotlight, they could have been big but at the moment they got some well deserved global attention they collapsed, previous work got cheap releases and the band itself was destabilized and when they finally released their weakest album the title Go Bang said it all, from the ashes rose King Swamp but they quickly sunk, by 92 Shriekback was revived and released Sacred City another highlight which got ignored as there was no recordlabel support, since they've released 5 albums with their latest 2010's "Life In The Loading Bay" arguably the best they released since Sacred City still alive then but still in limbo...

Shriekback's music was always an appropriate soundtrack for life in the dark, but with the emphasis on the possibilities rather than the dangers. Though often haunting, it was not gothic and harbored strains of pop and dance that rose to the surface from time to time. Shriekback celebrate the blessed dark — the place where they were always most at home. Songs to sing in your sleep...the shape and rhythm of two different kind of nights — nights of heat and weirdness...and nights incandescent with moonlight and dreams.

xxxxx xxxxx xxxxx xxxxx xxxxx

Shriekback are popular for their exploration of the darker, funkier side of rock music, usually featuring Dave Allen's driving basslines. Self-described as an "avant-garde musical outfit", they are popular among a limited audience, both for their poetic, often intellectual lyrics, and for their dance-worthy music which range from disco and new wave. They formed in the early 1980s , Barry Andrews, formerly of XTC and League of Gentlemen (keyboards/synthesizers/vocals), Carl Marsh (guitars/vocals), and Dave Allen, formerly of the Gang of Four (bass), were joined by Martyn Barker on drums in 1983.

The first Shriekback release was the six-song EP Tench (82), followed in 1983 by the album Care, also on Y, which featured the underground club-hit "Lined Up," the song that put Shriekback on the map for many people. Care was picked up and released in the U.S. by Warner Brothers, with an altered running order and two different tracks, including the polyrhythmic "My Spine (Is the Bass Line). Although Care was critically acclaimed and garnered a fair amount of airplay it was not enough for Warner Brothers, who dropped Shriekback and deleted Care shortly after its release (idiots). As a result, the follow-up, 1984's Jam Science, was released only in Europe. Toward the end of the Jam Science sessions, Shriekback became a quartet with the addition of drummer Martyn Barker; however, they quickly became a trio again when Carl Marsh departed midway through the recording of their third album. Oil and Gold sold well in its U.S. release on Island Records. So did the follow up 1986's Big Night Music. Shriekback seemed on the brink of unlikely stardom, but Allen departed before the recording of Go Bang! (1988), which was poorly received by both critics and fans.

That appeared to be the end of Shriekback, who dropped out of sight in the late '80s and early '90s. But Allen, Andrews, and Barker reunited in 1992 to record the excellent Sacred City, which essentially picked up where Big Night Music left off. There was another long silence after that, but as of 2000 some form of Shriekback was apparently still in existence; an album called Naked Apes and Pond Life was released, In 2003 followed by Having a Moment , Cormorant (2005) and Glory Bumps (2007) latter two on Malicious Damage Records which does make it a harder to get, add to that it's overpriced, i doubt the boys have learned their lesson here, the music industry maybe very unreliable but squeezing your fans is bad business. Proof to their releases are badly managed is their latest excellent album "Life In The Loading Bay" which was already months old before I as a first minute fan got wind of it last year. Considering the amount of Google hits it still exists in limbo, shame ! Such a pity they didn't sign with, say Virgin at the start, (they had plenty of pedigree) theirs is a story of 3 decades of let down, incompetence and cheat by their recordlabels.

xxxxx xxxxx xxxxx xxxxx xxxxx

This "best of" is really just a collection of tracks from Shriekback's first year or so of existence: a bunch of songs from Care, a few from Tench, and the single "Working on the Ground." Still, it contains some phenomenal songs that are otherwise hard to find, including "Clear Trails," "Evaporation," and "Sexthinkone."

Shriekback - The Infinite ( flac 279mb)

01 Lined Up 4:05
02 Clear Trails 3:45
03 Accretions 4:31
04 Sway 3:55
05 Madness Into Method 5:45
06 My Spine (Is The Bass Line) 4:02
07 Mothloop 4:42
08 Sexthinkone 3:40
09 Evaporation 3:21
10 A Kind Of Fascination 4:35
11 Working On The Ground 3:26

xxxxx xxxxx xxxxx xxxxx xxxxx

The second volume of Kaz's Shriekback compilation offers one song from Care and two from Oil and Gold, but the real selling point is the five songs from Jam Science, which are otherwise unavailable on CD. The disc is filled out by well-chosen remixes ("Hand on My Heart" and "Fish Below the Ice") and rarities ("Despite Dense Weed" and "Nerve").

In 94 these two samplers were repackaged and released together as Natural History (The Best Of Shriekback)

Shriekback - Evolution (flac 327mb)

12 Nemesis 3:39
13 Fish Below The Ice (12" Version) 5:46
14 Hand On My Heart (12" Version) 5:38
15 New Home 3:38
16 Despite Dense Weed 3:48
17 Midnight Maps 4:09
18 Mercy Dash 4:03
19 Malaria 4:18
20 Under The Lights 3:17
21 My Careful Hands 3:51
22 Nerve (12" Version) 2:40
23 Lines From The Library 3:38

xxxxx xxxxx xxxxx xxxxx xxxxx

Oil & Gold, the third full-length Shriekback album, is widely considered the band's highest moment. Released in 1985 on Island Records after the failure of 1984's Jam Science on Arista Records, Oil & Gold saw the band metamorphose from contemplative to rocking. The addition of Martyn Barker on drums and Lu Edmonds on guitar gives many of the songs an almost rock feeling. In many ways, Oil & Gold is the bridge between the old trio of Barry Andrews, Carl Marsh, and Dave Allen, and the new vehicle for Andrews alone. Longtime singer Marsh left the band halfway through the recording, leaving Andrews to take over the vocals. Still, the album's highlights, including the three opening songs, sung by Marsh, and the minor hit, "Nemesis", became the band's signature sound.

The two songs "This Big Hush" and "Coelocanth" were featured in Michael Mann's 1986 film Manhunter and "Faded Flowers" was featured in Band of the Hand. The song "Everything That Rises Must Converge" refers to the short story of that name by Flannery O'Connor. The song "Nemesis" is about the hypothetical star orbiting the Sun (Niburu/planet X). After the album was released, Marsh left the group, and was replaced, for one American tour, by former Voidoid guitarist Ivan Julian.

Shriekback - Oil And Gold ( flac 233mb)

01 Malaria 4:29
02 Everything That Rises Must Converge 4:03
03 Fish Below The Ice 4:24
04 This Big Hush 6:11
05 Faded Flowers 3:44
06 Nemesis 3:43
07 Only Thing That Shines 4:23
08 Health And Knowledge And Wealth And Power 4:44
09 Hammerheads 4:17
10 Coelocanth 4:13

xxxxx xxxxx xxxxx xxxxx xxxxx

Big Night Music is entirely free of digital heartbeats of every kind." Except for a few familiar-sounding entries, this radical departure resembles nothing in the Shriekback's previous repertoire and thus requires a real commitment to get over the shock of hearing evanescent continental delicacy and understated piano music instead of pounding dance-rock bizarritude. But do it — your efforts will be well rewarded with beauty, grace and originality. After the album, Dave Allen left to form King Swamp, making Andrews the only remaining original member. Mike Cozzi (now in Sky Cries Mary) played guitar on much of the album and left shortly after this album.

Shriekback - Big Night Music (flac 292mb)

01 Black Light Trap 5:08
02 Gunning For The Buddha 4:34
03 Running On The Rocks 4:53
04 The Shining Path 4:35
05 Pretty Little Things 3:49
06 Underwaterboys 4:47
07 Exquisite 4:28
08 The Reptiles And I 4:28
09 Sticky Jazz 4:20
10 Cradle Song 4:11

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1210 Roots

Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.


Can't get enough of that dub music ? Well here's an i-phone's special then...one of those multi cd samplers that occasionally turn up at the bargain bin between all the usual trash. The Disky label stands for quality source material and I'm sure you'll find plenty to enjoy , 30 tracks almost 172 minutes..why pay Apple ?

***** ***** ***** ***** *****

VA - The Long Versions I (flac 283mb)

01 Burning Spear - The ghost 3:53
02 U Roy - Trench town rock 3:04
03 Sly Dunbar - Dope addict 5:40
04 Gregory Isaacs - Mr. Brown 3:07
05 Jonny Clark - Them never love poor Marcus 3:25
06 Twinkle Brothers - Keep on trying 4:18
07 Dillinger - Cocaine 5:11
08 Dennis Brown - Money in my pocket 8:12
09 Owen Gray - Fire in a trenchtown 2:51
10 Linton Kwesi Johnson - Song of blood 6:28

VA - The Long Versions I (ogg 103mb)

***** ***** ***** ***** *****

VA - The Long Versions II (flac 359mb)

01 Black Slate - Amigo 6:41
02 Peter Tosh - Buk-in-hamm-palace 8:43
03 Althea & Donna - Up Town Top Ranking 3:48
04 U Roy - Small Axe 5:23
05 Matumbi - Point Of View 6:40
06 The Gladiators - Pocket Money 7:51
07 Culture - Poor Jah People 5:44
08 Barry Brown - When You Love A Girl 5:04
09 George Faith - Love And Affection 5:55
10 Beres Hammond & Mikey Zappow - World 7:51

VA - The Long Versions II (ogg 145mb)

***** ***** ***** ***** *****

VA - The Long Versions III (flac 371mb)

01 Challawa - Hop Skip And Jump 5:50
02 Peter Tosh - Johnny B. Goode 6:55
03 Poet & The Roots - Song Of Blood 6:26
04 Gregory Isaacs - Soon Forward 6:32
05 U Roy - Jah Son Of Africa 7:37
06 Matumbi - Blue Beat And Ska 5:27
07 Delroy Washington - Jah Wonderful 5:51
08 George Faith - Please Stay 7:07
09 The Blackstones - Riding High 5:22
10 Dennis Brown - Lover's Paradise 4:41

VA - The Long Versions III (ogg 142mb)

***** ***** ***** ***** *****

RhoDeo 1210 Sofa

Hello, hope you'll had a good weekend, plenty of rain to splash about, enjoy the occasional underdog to win a game and wonder why so many are desperate to have a predictable outcome, preferably controlled by them. Where's the fun in that, where's the life in that ? It's souped up death that's what it is. Do these NWO clowns really think their children will thank them having been fathered by soulless mass-murderers, but then psychopaths rarely think beyond themselves. Frightening perhaps but not as frightening as these oblivious masses in a feeding frenzy as the latest i toy is unveiled or these billions wasting their life for a god who simply has a non intervenist policy, it's the only way God can play the game, any other way He would be cheating himself. Still there's plenty of priests wanting to take advantage and control these masses, if there was a hell it would be full of priests, murderers and banksters.

xxxxx xxxxx xxxxx xxxxx xxxxx

The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.

xxxxx xxxxx xxxxx xxxxx xxxxx

"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.

"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".

"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.

"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.

The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).

xxxxx xxxxx xxxxx xxxxx xxxxx


The Sofa Of Time pt 2 ( 26mb)

01 The Sofa Of Time pt 2 28:04

xxxxx xxxxx xxxxx xxxxx xxxxx

before
The Sofa Of Time pt 1 ( 26mb)

Sundaze 1210

Hello, as the digital noose is evermore tightened the UK government has expanded its plans to store and monitor Twitter, Facebook and other personal web communication data, but these are being created without official ISP involvement, according to an ISP representative body. Under the plans, police and intelligence operatives will gain access to records of who has talked to whom on social networks, on instant messaging services, and in online multi-player games. Oh and did you know they plan to privative police as well..corporate police coming to a town near you..

Music please last week there was this greek man who in 1995, had a minor planet named after him (6354 Vangelis) by the International Astronomical Union. NASA conferred their Public Service Medal to Vangelis in 2003. The award is the highest honour the space agency presents to an individual not involved with the American government. Five years later, in 2008, the board of the National and Kapodistrian University of Athens voted to make Vangelis an Honorary Doctor, making him Professor Emeritus at their Faculty of Primary Education. In June , the American Hellenic Institute honoured Vangelis with an AHI Hellenic Heritage Achievement Award for his "exceptional artistic achievements" as a pioneer in electronic music and for his lifelong dedication to the promotion of Hellenism through the arts. What has this man done to be bestowed these honours...

xxxxx xxxxx xxxxx xxxxx xxxxx
repeat from last week

On March 29, 1943, Vangelis was born near Volos, Greece. He apparently began composing at the age of four, and is largely a self-taught musician as he refused to take traditional piano lessons, and throughout his career did not have substantial knowledge of reading or writing musical notation. He studied painting, an art he still practices, at the Academy of Fine Arts in Athens. In the early 1960s he was one of the founders of pop group The Forminx (or The Formynx), which became very popular in Greece. The five-piece band played a mixture of cover versions and their own material, the latter written mostly by Vangelis but still sung in English. The Forminx released nine hit singles and a Christmas EP before disbanding in 1966 at the peak of their success. Vangelis spent the next two years mostly studio-bound, writing and producing for other Greek artists.

Around the time of the student riots in 1968, Vangelis founded progressive rock band Aphrodite's Child together with Demis Roussos, Loukas Sideras and Anargyros "Silver" Koulouris. After an unsuccessful attempt to enter the UK, they found a home in Paris, where they recorded their first single, a hit across much of Europe called Rain and Tears. Other singles followed, including two albums, which, in total, sold over 20 million copies. The record sales led the record company to demand a third album, and Vangelis went on to conceive the double-album Aphrodite's Child - 666, based on Revelation, the last book in the Bible. Tensions between members during the recording of 666 eventually caused the split of the band in 1971, but the album was still released in 1972.

While still in Aphrodite's Child, Vangelis had already been involved in other projects. In 1970 he had composed the score for a film called Sex Power (Demis Roussos provided vocals). In 1971, some jam sessions with a group of musicians at Marquee Studios in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis (aka Visions of the Future), and The Dragon. In 1973 Vangelis' solo career began in earnest. His first "official" solo album was Earth, though it did actually feature a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (F.R. David). Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis decided not to join Yes, he did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis.

After moving to London, Vangelis signed with RCA Records, set up his own studio, Nemo Studios, and began recording a string of electronic albums, such as Heaven and Hell (1975), an album with classical overtones, occasionally branching into ethnic themes, in contrast with the progressive rock on both the previous and the following albums, Vangelis would return to classical style work ten years later, on Mask (1985). Parts of Heaven and Hell were later used as the theme to the PBS television series Cosmos by Carl Sagan. A melody from Albedo 0.39 called "Alpha" was also used in Cosmos. Another part (the song "So Long Ago, So Clear"), featured guest vocals by Jon Anderson, marking the start of the partnership. They released four albums together, Short Stories (1980), The Friends of Mr. Cairo (1981), Private Collection (1983) and Page of Life (1991).

Albedo 0.39 (1976), a concept album around space and space physics.The title refers to the average albedo value of the planet Earth as it was in 1976. "The reflecting power of a planet or other non-luminous body. A perfect reflector would have an Albedo of 100%. The Earth's Albedo is 39%, or 0.39". Spiral (1977), is a futuristic album, and Vangelis , who designed the cover aswell, makes extensive use of the synthesizer technology of the day; this album is probably the most sequencer-based of his recording career. Each piece has a unique style, and deserves individual treatment. Beaubourg (1978), it contains experimental, atonal and jazz elements, and even elements of musique concrete. The album is meant to reflect life in the Beaubourg district of Paris, when Vangelis lived there in the early '70s. China (1979), although he had never been to China, Vangelis employed Chinese instruments and compositional styles on this concept album. China was conceived during a very active period in Vangelis' recording career, during which he explored the possibilities of electro-acoustic composing. Vangelis employs his synthesizer arsenal to the fullest, generating sound effects and various Chinese-sounding patches on all tracks. Also that year he recorded an album with Greek filmdiva Irene Papas, an electronic rendition of eight Greek folk songs, issued as a record called "Odes".

In 1979, Vangelis provided the score for another animal documentary by Frédéric Rossif, Opera Sauvage. Almost as well known as L'Apocalypse des Animaux, the resulting soundtrack would bring him to the attention of some of the world's top filmmakers. In 1981, Vangelis wrote the score for the film Chariots of Fire, set at the Paris Olympics in 1924. The movie won a half-dozen awards, including an Academy award for Best Picture of the year. Vangelis won the Academy Award for Original Music Score. The opening theme of the film was released as a single in 1982, topping the American Billboard chart for one week after climbing steadily for five months. Other notable Vangelis soundtracks were Antarctica for Nankyoku Monogatari in 1983, and The Bounty in 1984. Vangelis also collaborated in 1981 and 1986 with Italian singer Milva, achieving a large success especially in Germany

In 1982, Vangelis began a collaboration with director Ridley Scott, writing the score for the science fiction film Blade Runner. Capturing the isolation and melancholy of Harrison Ford's character Rick Deckard, the Vangelis score is as much a part of the dystopian environment as the decaying buildings and ever-present rain. A disagreement led to Vangelis withholding permission for his performance of the music from Blade Runner to be released, and the studio instead hired a group of musicians dubbed "The New American Orchestra" to record the official LP released at the time. It would take 12 years before things could be worked out and Vangelis's own work be released in the United States in 1994. In 1992, Vangelis's wrote the score for 1492: Conquest of Paradise, also directed by Ridley Scott. In May 2000, Vangelis composed the music as well as designed and directed the artistic Olympic flag relay portion of the Closing Ceremonies of the 2000 Sydney Olympic Games. In 2001, Vangelis performed live and released Mythodea, a predominantly orchestral rather than electronic piece that was originally written in 1993, and used by NASA as the theme for the Mars Odyssey mission. In 2002 Vangelis created 2002 FIFA World Cup Official Anthem for the 2002 World Cup, in that work the Korean folk song, Arirang, is the main recurring theme and melody. In 2004, Vangelis released the score for Oliver Stone's Alexander.

In 2007, Vangelis released 2 albums. First was a 3CD set for the 25th Anniversary of Blade Runner, titled Blade Runner Trilogy. Second is the soundtrack for the Greek movie, El Greco, titled El Greco Original Motion Picture Soundtrack.


xxxxx xxxxx xxxxx xxxxx xxxxx

Vangelis fancied himself a synthesizer artiste, an avant-garde pioneer in the medium of the future: electronic music. The music, which Vangelis credits himself with composing, arranging and interpreting, is divided into two wildly divergent parts. "Parte 1" is an attempt at a synthesized classical composition. It has its moments, particularly at the end when Vangelis adds synthesized choral voices. Ignacio was originally released in 1975 as "Can You Hear The Dogs Barking?" and "Entends-tu Les Chiens Aboyer? A 1977 re-release introduced the name "Ignacio", after the main character in the Mexican film "No Oyes Ladrar Los Perros?"

Vangelis - Ignacio (flac 153mb)

01 Vangelis - Ignacio and Entends - tu Les Chiens Aboyer 39:44

xxxxx xxxxx xxxxx xxxxx xxxxx

Albedo: The reflecting power of a planet or other non-luminous body. A perfect reflector would have an albedo of 100%. The Earth's albedo is 39% or 0.39. The album represents some of Vangelis' most fascinating material from the early portion of his career. Using transforming tonal washes and lengthy runs of calm but effective synthesizer passages, Vangelis tackles the wonder and allure of the galaxy and its planetary bodies, making for an entertaining display of his keyboard expertise. Likened to Heaven and Hell (but with shorter passages) and to Spiral, the album that followed Albedo 0.39, the tracks are mesmerizing trips of assorted rhythms that include elements of jazz and mild rock, adding some welcomed differentiation to the nine pieces. The title track includes narrated statistics about planetary distances and such behind a forwarding voyage of tempered notes, making for one of Vangelis' most novel compositions. Along with "Albedo 0.39," the two parts of "Nucleogenesis" are among the strongest cuts that keep his cosmic theme from deviating, while the livelier "Pulstar" involves some impressive instrumental range and electronic buoyancy. Even in shortened form, his distinct pastiches are quite compelling, and the stretches of notes and rhythms don't become weary or monotonous at any point of the album. Vangelis' intention of conjuring up the vastness and immensity of space is soundly accomplished, and for the remainder of his career he employed the same type of atmospheric sketching.

Vangelis - Albedo 0.39 (flac 258mb)

1 Pulstar 5:45
2 Freefall 2:15
3 Mare Tranquillitatis 1:47
4 Main Sequence 8:11
5 Sword Of Orion 1:58
6 Alpha 5:45
7 Nucleogenesis Part 1 5:56
8 Nucleogenesis Part 2 6:12
9 Albedo 0.39 4:23

xxxxx xxxxx xxxxx xxxxx xxxxx

A great dark synthesized tone poem inspired by the Beauborg Cathedral. Vangelis had hinted at his desire to create works of this nature in some sections of Heaven and Hell, but the release of this album caught many of his fans unaware. Dark, brooding and not what most people wanted, it's one of those albums where you either like it or you don't.

Vangelis - Beauborg (flac 171mb)

1 Beaubourg, Pt. 1 18:09
2 Beaubourg, Pt. 2 21:05

xxxxx xxxxx xxxxx xxxxx xxxxx

Invisible Connections is a very interesting CD from Vangelis. He shreds his symphonic biases to create a totally electronic album with lots of quirky experimental sounds and sci-fi timbres, a foray into dark ambient. The atmospheres are quite stark and playful. His sounds - even the harshest ones - are created using analogue and early digital synthesizers, which have some warmth, making it a pleasant listening experience based on timbre.. This is pure space music with icy tones and metallic textures. It borders on sheer minimalism an atmosphere that hasn't been heard since Beaubourg.. This album is no exception in regards to his diversity a rare gem which will appeal to fans of Michael Stearns, Constance Demby, and Maitreya.

Vangelis - Invisible Connections (flac 119mb)

1 Invisible Connections 18:30
2 Atom Blaster 7:42
3 Thermo Vision 13:19

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1209 Grooves

Hello, today's artists have been up to the downslope and followed the P Funk lead bringing it into the late eighties rap scene, so i would say that " Parliafunkadelicment Thang" hasn't really left us today.

xxxxx xxxxx xxxxx

While hip-hop was consumed by the hardcore, noisy political rap of Public Enemy and the gangsta rap of N.W.A., Digital Underground sneaked out of Oakland with their bizarre, funky homage to Parliament-Funkadelic. Digital Underground built most of their music from P-Funk samples and developed a similarly weird sense of style and humor, highlighted by Shock-G's outrageous costumes and the whole band's parade of alter egos. Of all these alter egos, Shock-G's Humpty Hump -- a ridiculous comical figure with a Groucho Marx nose and glasses and a goofy, stuttering voice -- was the most famous. Over the course of their career, Digital Underground have featured numerous members, and is notable for launching the career of Tupac Shakur, as well as spinning off side projects and solo acts including Raw Fusion, Saafir, and female singer Mystic. Yet throughout it all, Shock-G has remained at their core, developing the band's sound and style, which they had from the outset, as their 1990 debut, Sex Packets, proved. Their role in popularizing George Clinton's elastic funk made them one of the most important hip-hop groups of their era.

Shock-G (born Gregory E. Jacobs, August 25, 1963) spent most of his childhood moving around the East Coast with his family, eventually settling in the Bay Area of California. He dropped out of high school in the late '70s and spent several years pursuing a life of crime before eventually finishing his degree and going to college to study music. Along with Chopmaster J, Shock-G formed Digital Underground in 1987, and the duo released a single, "Underwater Rimes," that year, which went to number one in the Netherlands. In 1989, the group signed with Tommy Boy, and that summer "Doowutchyalike" became an underground hit. By that time, Digital Underground had expanded significantly, featuring DJ Fuze, Money-B (born Ron Brooks), and Schmoovy-Schmoov (born Earl Cook). Sex Packets, the group's debut album, was released in the spring of 1990, and "The Humpty Dance," which was rapped by Shock-G's alter ego Humpty Hump, climbed all the way to number 11 on the pop charts, peaking at number seven on the R&B charts. With its P-Funk samples, jazzy interludes, and innovative amalgam of samples and live instrumentation, Sex Packets received positive reviews and went platinum by the end of the year.

Digital Underground followed Sex Packets in early 1991 with This Is an EP Release, their first recording to feature rapper Tupac Shakur. The EP went gold and set the stage for their second album, Sons of the P, which was released that fall. On the strength of the gold single "Kiss You Back," Sons of the P also went gold, but it received criticism for its similarity to Sex Packets. By the time Digital Underground delivered their third album, The Body-Hat Syndrome in late 1993, hip-hop had become dominated by gangsta rap, particularly the drawling G-funk of Dr. Dre, which ironically was heavily indebted to Clinton. Consequently, their fan base diminished significantly, and The Body-Hat Syndrome disappeared shortly after its release.

Nearly three years later, Digital Underground returned with Future Rhythm, which spent a mere three weeks on the charts. In 1998, eight years after the group's first release, Digital Underground released Who Got the Gravy?, which reached #91 on the Top 200 R&B/Hip-Hop Albums charts. The album intentionally featured several East Coast rappers at a time when the East vs. West rivalry was active, in an attempt to both ignore and ridicule it. The guests included New York City natives Big Pun, Biz Markie, and KRS One

Digital Underground toured nearly every year up until 2008; this consisted of thousands[quantify] of live shows in Europe, Japan, Canada, Australia, and the U.S. While the group's origins lay mostly in Oakland and Berkeley, California, various characters and voices from around the U.S. appeared on the band's albums, while Shock G and Money-B were the only individuals to appear on every album. Other recurring key contributors were David "DJ Fuze" Elliot, and deejay/producer Jeremy "J-Beats" Jackson, who both assisted Jacobs in developing the sound.

Digital Underground's final studio album, ..Cuz A D.U. Party Don't Stop!!, was released on May 20, 2008, although a substantial portion of it was recorded at a live show from 2005. Shortly before its release, the group embarked on an indefinite hiatus. Money-B has stated that Shock G expressed interest in writing a book and exploring music that the latter would deem unfit for the Digital Underground name.

xxxxx xxxxx xxxxx

Sex Packets is a vibrant, wildly funny record that transcends any attempt to dismiss it as mere novelty. Corny jokes, gross-out tales, flights of fancy, and sheer absurdist humor co-exist comfortably, usually within the course of one song. Take "The Humpty Dance," their breakthrough single and timeless party anthem. Within that one song, Humpty Hump spills out countless jokes, spinning between inspired allusions and thuddingly obvious cut-ups, which are equally funny because of the irrepressible, infectious nature of his rap. And he's so confident in his skills, he's sexy, which is kind of what the album is about -- it knows that sex is funny, and sexier because of it. The showiest number, of course, is the "Sex Packets" suite that concludes the album, built around their idea for a drug that creates full-blown sexual fantasies (virtual reality before it was in vogue), but their skill at creating distinctive worlds is just as apparent on the endless party of "Doowutchyalike." These are the things that are buried beneath the band's jokes and an enormous amount of George Clinton samples. Much of the music on Sex Packets uses the P-Funk canon as their foundation (a notable exception being a swinging interpolation of a Jimi Hendrix Band of Gypsys cut on "The New Jazz (One)," a cracking showcase for their team vocal skills). It's so strong an influence, it may seem easy to reduce Digital Underground to the status of mere Clinton imitators, but they take his blueprint, expand it, and personalize it, creating a record that is as loose and funny as anything in the P-Funk empire, and in some ways, easier to access, since the party feels wide open. Few hip-hop albums sound as much like a constant party as this, and years later, it's still impossible to resist.

Digital Underground - Sex Packets (391mb)
or
Digital Underground - Sex Packets (391mb)

01 The Humpty Dance 6:30
02 The Way We Swing 6:48
03 Rhymin' On The Funk 6:16
04 The New Jazz (One) 0:37
05 Underwater Rimes (Remix) 4:23
06 Gutfest '89 (Edit) 5:50
07 The Danger Zone 5:31
08 Freaks Of The Industry 5:38
09 Doowutchyalike 8:51
10 Packet Prelude 0:57
11 Sex Packets 7:21
12 Street Scene 0:33
13 Packet Man 4:41
14 Packet Reprise 1:30

Digital Underground - Sex Packets (156mb)
xxxxx xxxxx xxxxx

If it ain't broke, don't fix it: Sons of the P offers more of the loopy humor and P-Funk fixations that made Digital Underground's debut album, Sex Packets, an instant classic. And if Sons of the P doesn't quite hit the absurd heights of its predecessor's best tracks, it's still a strong, engaging listen and an entirely worthy follow-up. The group doesn't take the title Sons of the P lightly; their George Clinton obsession isn't just manifested in samples, it's everywhere from the extended, chorus-heavy song structures right down to the back-cover art, a P-Funk-style comic strip recasting DU as part of the Clones of Dr. Funkenstein concept. Once again, there are two great singles in the affectionate "Kiss You Back" and the Humpty Hump feature "No Nose Job," which rips black celebrities who surgically alter themselves to look less ethnic. In fact, the group goes in for some overt social commentary on several other tracks as well; "Heartbeat Props" are directed at still-living heroes in the struggle for equality, and "The Higher Heights of Spirituality" is a brief utopian dream. On the other hand, the album closes with "Good Thing We're Rappin'," a full-on pimp rhyme courtesy of Humpty Hump that's a little less genial and a little more Too Short than you might expect from DU. A few tracks don't make much of an impression, but on the whole, Sons of the P makes a convincing case for DU as the rightful spiritual heirs to the P-Funk legacy -- and George Clinton himself even endorses that idea on the title track.

Digital Underground - Sons of the P (375mb)
or
Digital Underground - Sons of the P (375mb)

01 The DFLO Shuttle 5:12
02 Heartbeat Props 7:28
03 No Nose Job 4:59
04 Sons Of The P (Feat. George Clinton) 9:05
05 Flowin' On The D-Line 3:05
06 Kiss You Back 6:11
07 Tales Of The Funky (Feat. George Clinton) 5:31
08 The Higher Heights Of Spirituality 0:48
09 Family Of The Underground 5:47
10 The D-Flowstrumental 4:53
11 Good Thing We're Rappin' 11:34

Digital Underground - Sons of the P (155mb)

xxxxx xxxxx xxxxx

Rebounding, in the charts anyway, from the relative downturn of 1991's Sons of the P LP, Digital Underground continued cultivating its own brand of P-Funk culture on The Body-Hat Syndrome two years later, stuffing what had been the group's first year of silence with a fresh batch of funk-infused rap. Digital Underground's last effort for longtime label Tommy Boy, With the leading single "The Return of the Crazy One," and its accompanying X-rated video, which was reworked for public consumption, gaining positive feedback, the rest of The Body-Hat Syndrome unfurled to less than outstanding crossover commercial acclaim. The album's second single, an anti-racism cultural awareness politico called "Wussup Wit the Luv," featured a solo from Funkadelic guitarist Michael Hampton, as well as a verse and video appearance from Tupac Shakur. This would be the last time Tupac appeared on any Digital Underground release, while lead rappers Saafir and Clee were added to the band's line-up. This album also features "The Humpty Dance Awards", the group's humorous shout-out to the artists who sampled the Humpty Dance prior to 1993.. With a smart balance between old-school, new-school, and their own school sonics, Digital Underground has once again brought funk history to life, passing the torch to the next generation and, above all, having one hell of a good time doing it.

Digital Underground - The Body-Hat Syndrome (478mb)

01 The Return Of The Crazy One 4:39
02 Doo Woo You 7:36
03 Holly Wanstaho 3:35
04 Bran Nu Swetta 4:58
05 The Humpty Dance Awards 4:51
06 Body-Hats (Part One) 1:36
07 Dope-A-Delic (Do-U-B-Leeve-In-D-Flo?) 4:07
08 Intermission 0:54
09 Wussup With The Luv 6:35
10 Digital Lover 4:38
11 Carry The Way (Along Time) 4:15
12 Body-Hats (Part Two) 1:31
13 Circus Entrance 1:54
14 Jerkit Circus 4:51
15 Circus Exit (The After-Nut) 0:42
16 Shake & Bake 4:34
17 Body-Hats (Part Three) 3:07
18 Do Ya Like It Dirty? 4:45
19 Bran Nu Sweat This Beat 0:33
20 Wheee! 5:08

Digital Underground - The Body-Hat Syndrome gg (182mb)

xxxxx xxxxx xxxxx