RhoDeo 1337 Goldy Rhox 126

Hello, today the 126th post of GoldyRhox, classic rock pop.  Today's focus is on an UK rockband which history has been marked by a series of confusing lineup changes, as members began an almost revolving-door relationship with the band virtually from the outset. The seeds of the group were planted when guitarist/singer Dave Brock and guitarist Mick Slattery of the group Famous Cure, which was playing a gig in Holland in 1969, met saxman/flautist/singer Nik Turner, a member of Mobile Freakout, on the same tour. Once back in England, Brock, Slattery, and Turner hooked up again and, adding John Harrison on bass, Terry Ollis on drums, and DikMik Davies on electronic keyboards, called themselves Group X, later changed to bandname. They secured a contract with United Artists/Liberty Records in England. Before the group recorded, however, Huw Lloyd Langton replaced Mick Slattery on guitar.

August 70, Huw Lloyd Langton quit the band along with Thomas Crimble -- the replacement bassist, ex-Amon Duul member Dave Anderson, joined in May of 1971, the same month that DikMik Davies quit, to be replaced on keyboards by Del Dettmar. In June of that year, two more new members came aboard -- poet Robert Calvert, who became lead vocalist, and a dancer named Stacia, who began appearing with the group on stage. Meanwhile, the band also hooked up with artist Barney Bubbles, who gave the group a new image, redesigning their stage decor and equipment decoration, and also devising distinctive new album graphics.

The discography of today's British space rock group  spans from their formation in 1969 through to the present day, with consistent output of live and studio albums, EPs and singles.

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


Today's mystery album is the second studio album from today's band, released in 8 Oct 1971. It reached No. 18 on the UK album charts. The band originally started to record the album at George Martin's AIR Studios, but after a week with little to show for their effort, and the studio engineers reported to be reluctant to work with the band after reports that friends of the band broke "into George Martin's drinks cabinet, pinched all his booze and spiked the engineers with acid", the record company moved them to Olympic Studios to work with George Chkiantz to finish the recording quickly

The band had started working with a wider range of artists, many of whom were contributing to the underground press. Graphic artist Barney Bubbles titled the album and designed the cover and with space-age poet Robert Calvert produced the accompanying 24-page The Hawkwind Log with photos by Phil Franks. There is no overall concept or theme to the songs on the album; the ideas that would culminate in the Space Ritual show are merely contained within the album package, principally the The bands Log, it opens with:

The spacecraft (band's name) was found by Captain RN Calvert of the Société Astronomæ (an international guild of creative artists dedicated in eternity to the discovery and demonstration of extra-terrestrial intelligence) on 8 July 1971 in the vicinity of Mare Librium near the South Pole. The discovery of the spacecraft has led to more wild speculation than any of the mysteries of space that we have so far encountered. The facts surrounding the discovery of this drifting two-dimensional spaceship have been so distorted by guesswork and rumour that any further attempts at assessment would only increase the density of the fog.

Within, the journal entries are from various times and places, including a return to a burnt out Earth in November 1987. Themes explored include astrology and astronomy, ecology, science, occultism and mysticism, religion and philosophy. One of the last entries, 1027 hrs. 5 May 1971, Ladbroke Grove, explains: Space/time supply indicators near to zero. Our thoughts are losing depth, soon they will fold into each other, into flatness, into nothing but surface. Our ship will fold like a cardboard file and the noises of our minds compress into a disc of shining black, spinning in eternity...



Goldy Rhox 126   (flac 326mb)

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Goldy Rhox 126   (ogg 130mb)

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RhoDeo 1337 Aetix

Hello, Costa Concordia salvage mission a success only at what price, the Italians did it themselves with a blanco cheque from the insurer, obviously it cost twice as much a planned, many challenges still to overcome in the most expensive salvage project in history, whose cost has already topped €600m (£500m) and will keep rising. Oh well many Italians earned some good money, the Dutch salvage experts have shaken their heads, the ship could have been dismantled by now for half the money, but then Italian stupidity is followed by Italian pride. I doubt very much they would be as proud if the insurance agency had told them, look the Dutch offer to do the job for 250 million, Italians do it and you will have to pay the rest yourselves. Personally i would sack the guy that negotiated for the Insurance company, likely he took a big kickback.

As we continue the females in the eighties today, today's group was originally fronted by two lead singers, Kristin Hersh and Tanya Donelly, who both wrote the group's songs. The band are known for performing music with shifting tempos, creative chord progressions, unorthodox song structures, and surreal lyrics. The group was set apart from other contemporary acts by Hersh's stark, candid writing style; Donelly's pop stylings and vocal harmonies; and David Narcizo's unusual drumming techniques eschewing use of cymbals. Hersh's hallucinatory, febrile songs occasionally touched on the subject of mental illness, more often drawing portraits of characters from daily life or addressing relationships. .....N'Joy

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Throwing Muses formed in 1983 Kristin Hersh and her step-sister Tanya Donelly who were attending Rogers High School and were initially called themselves "Kristin Hersh" and the Muses in which they were accompanied by bass player Elaine Adamedes and drummer Becca Blumen but were later replaced by Leslie Langston and David Narcizo. They released their debut self-titled EP in 1984 on their Blowing Fuses label. They then released a set of demos, later known as The Doghouse Cassette, garnering a number-one college radio hit, "Sinkhole," that year. The demos impressed Gary Smith of Fort Apache Studios and he lead them to a signing with 4AD being the label's first American band

In 1986, the group's debut album was put out by the prestigious British label 4AD, produced by Gil Norton; Throwing Muses was the first American band to be released on that label. Throwing Muses' angular, anguished, mercurial sound had much to do with Hersh's mental illness (she suffered from a form of bipolarity that caused her to hallucinate), . Hersh has written the memoir Rat Girl about the year the band moved to Boston, was signed, and recorded their first album.

In 1987, they released two EPs, Chains Changed and The Fat Skier, released 6 July. In 1988, they released their second studio album, House Tornado, produced by Gary Smith and engineered by Paul Kolderie; it was recorded at Fort Apache Studios in Cambridge, Massachusetts. The album was released internationally on the 4AD label, except in the United States, where it was released by Sire Records.

In 1989 they released their third album, Hunkpapa, produced by Gary Smith and engineered by Steve Haigler. The album shows Hersh experimenting with more conventional melodic structures. In 1990, bassist Leslie Langston left and was replaced by Fred Abong, and they recorded their fourth album, The Real Ramona which marked a break from the heaviness of the previous albums, with lots of shimmery pop gems penned both by Hersh and Donelly, who contributed at least one song per album throughout her stay in the band. Creative tensions between the two songwriters rose until Tanya Donelly left the band to play bass for The Breeders and then went on to form Belly and was followed by Fred Abong, who also joined Belly.

That year Hersh re-formed the Muses with drummer David Narcizo and released the band's fourth album, Red Heaven. After that, Hersh released a solo album and toured extensively, leaving fans to wonder about the status of the Muses. In 1995, however, Hersh and the rest of the Muses (Narcizo and bassist Bernard Georges) released University, one of the band's most cohesive and accessible efforts. University was followed by Limbo in 1996. The group's dissolution was announced soon after, with Hersh continuing on as a solo artist.

In a Doghouse, a collection of rare early Muses material, followed in 1998. In spring 2000, the Muses reunited for a special event called the Gut Pageant, which featured a set from Hersh, Narcizo, Bernard Georges, and Robert Rust, as well as a solo performance by Hersh, short films by Narcizo, and a picnic lunch hosted by the group. During three weekends in 2002, the trio got together to record another album; released the same day in 2003 as Hersh's The Grotto, Throwing Muses (self-titled, just like their debut) was the group's rawest, loudest album. Donelly provided background vocals on some of the songs. Hersh and Georges subsequently recorded and toured as two-thirds of 50 Foot Wave, and Hersh continued her solo work. In 2011, the Muses assembled Anthology, a double-disc compilation of favorites and B-sides, and toured in support of it.Throwing Muses have currently been working on a new album possibly to be released later this year.

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Throwing Muses' self-titled 1986 debut is still a startling collision of punk energy, folky melodicism, and Kristin Hersh's mercurial voice and lyrics. The violent, vibrant mood swings on songs like "Call Me" are a testament not only to Hersh's unique talent, but the elasticity of Tanya Donelly, David Narcizo, and Leslie Langston's playing. Even if the volatile moods on songs like "Hate My Way" aren't easily understood, they're easily felt; the twists and turns "Vicky's Box" and "Rabbits Dying" take are guided purely by the intense emotions they carry. Throwing Muses is almost as varied musically as it is emotionally, ranging from the scary punkabilly of "America (She Can't Say No)" to "Stand Up"'s angular, acoustic post-punk to the cathartic thrill of "Delicate Cutters"'s unsettling folk. Donelly contributes the surreal, ethereal love song "Green"; even at this early point in the Muses' career, it's clear that she is a more accessible, straightforward songwriter, despite the care taken to make the song sound more like the rest of the album. A powerful debut, Throwing Muses puts the work of most self-consciously "tortured" artists to shame; its fluid, effortless emotional shifts may not make for the most accessible music, but they're unquestionably genuine.

Throwing Muses - Throwing Muses  (flac 217mb)

01 Call Me 3:59
02 Green 3:04
03 Hate My Way 4:06
04 Vicky's Box 5:09
05 Rabbits Dying 3:49
06 America (She Can't Say No) 2:47
07 Fear 2:45
08 Stand Up 2:56
09 Soul Soldier 5:10
10 Delicate Cutters 3:53

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House Tornado, releases dutifully rely on Kristin Hersh's dark, surreal lyrics and punk-infused energy as their backbones. Kristin Hersh's lyrics are so impossible to understand, like some nightmare vision of the tedium of daily life. Words and phrases that seem just thrown together that create an image in your mind. Add to that mixture Tonya Donnely's cute oddities, the feminine power of the band is undeniable. Until this time, I had wondered (in my post-feminist way) why there weren't any good girl rockers. The Throwing Muses are an example to them all. A real artist's approach to music. Yes, it is a departure from conventional rythyms and spends a fair amount of time outside the norm, but the uses of countermelody and signature changes makes this album all the more brilliant. I think the band took some chances with this sound and, by and large, they succeeded.

Throwing Muses - House Tornado  (flac 258mb)

01 Colder 3:23
02 Mexican Women 2:47
03 River 3:57
04 Juno 1:59
05 Marriage Tree 3:07
06 Run Letter 5:05
07 Saving Grace 2:44
08 Drive 3:26
09 Downtown 4:06
10 Giant 3:54
11 Walking In The Dark 4:42

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On their third album, Hunkpapa, Throwing Muses' volatility settled into a jangly, angular style of college rock. Not quite as riveting as Throwing Muses or House Tornado and not quite as accessible as the band's later albums, Hunkpapa finds the Muses in transition; most of the album's songs just aren't as focused or powerful as their other work. The over-produced sound robs promising songs like "Santa Claus," "Fall Down," and "Devil's Roof" of their immediacy, and tracks like "No Parachutes" and "I'm Alive" sound like rejected songs from House Tornado. However, Hunkpapa isn't a total loss: the wild, desolate "Bea" and harrowing "Mania" put rock muscle behind the wildness of the Muses' early work, resulting in two of their best songs. Tanya Donelly's "Dragonhead" and "Angel" continue her growth as a pop songwriter; though it's reported to be one of her least favorite Muses songs, Kristin Hersh's "Dizzy" proves that she can write relatively straightforward pop songs as well as anguished, complex ones. Though Hunkpapa is somewhat uneven, the album's best moments rank among Throwing Muses' finest work.

Throwing Muses - Hunkpapa (flac 277mb)

01 Devil's Roof 3:40
02 Bea 4:19
03 Dizzy 3:42
04 No Parachutes 3:18
05 Dragonhead 4:05
06 Say Goodbye 0:37
07 Fall Down 3:40
08 I'm Alive 2:49
09 Angel 3:25
10 Mania 3:02
11 The Burrow 1:20
12 Take 4:57
13 Santa Claus 3:48

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RhoDeo 1337 Roots

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

Today more from Mali, after all it has one of the most intensely musical cultures in all Africa. Today's duo's early recordings in the 1980s and 1990s featured sparse arrangements of guitar and voice. Since the late 1990s they have produced music that mixes traditional Mali sound with rock guitars, Syrian violins, Cuban trumpets, Egyptian ney, Indian tablas and Dogon percussion. In combination these elements have been called "Afro-blues". .......N'joy

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A musical husband-and-wife duo that got its start in Mali, Amadou & Mariam met in 1975 at Mali's Bamako Institute for the Young Blind. Amadou (born Amadou Bagayoko in Bamako in October of 1954) began his musical career in 1968, and by 1974 had joined Les Ambassadeurs du Motel, a leading group (which counted Salif Keita as a member) in his home country. He wound up at the aforementioned institute after becoming blind as a teenager through a congenital cataract. His future wife, Mariam Doumbia (born in Bamako on April 15, 1958), was already at the institute (she became blind at the age of five), studying Braille as well as teaching classes in dance and music. Over time, the pair would have a huge influence on the artistic programs at the school, with Amadou directing a group of pupils and Mariam handling lead vocal duties for the school orchestra.

In 1980, the pair married and decided that they would make a good collaborative musical team. Over the next five years, they performed in their home country, and Amadou's solo career and work won him many accolades and awards. In 1985, the two toured out of country for the first time, with shows in Burkina Faso. In 1986, Amadou & Mariam, realizing that Mali and its distinct lack of recording resources would be a major hindrance to their career, opted to move to the neighboring Ivory Coast. There they began to release a series of cassettes (with help from the Nigerian producer Maikano) that would become the foundation of their later successes. By 1991, the pair had released four volumes of their work on cassette, and the buzz was great enough that in 1994, they were invited to Paris to perform and record new music there in.

Although the resulting sessions were never released, Amadou & Mariam kept on, and in 1998 they released their first CD album, Sou Ni Tile. From 1998 to 2002, a series of releases highlighting their early work (both together and solo) preceded their next album, Wati. In 2003, world music luminary Manu Chao began to work with the couple, and in 2004 Amadou & Mariam emerged from the studio with what was to be their landmark album, Dimance a Bamako. The success of the album led to tours, awards, and accolades from all over Europe and Africa.

In 2005, they released a live album and DVD, and in 2007 got involved with Damon Albarn (of Blur and Gorillaz fame) and his Africa Express project, which played the famous Glastonbury Festival. That same year, Amadou & Mariam performed at Bastille Day celebrations, as well as opening up for the American rock act Scissor Sisters in England.

In 2006, they recorded, together with Herbert Grönemeyer, the official anthem for the 2006 FIFA World Cup "Celebrate The Day" (German: "Zeit, dass sich was dreht"). The song topped the German charts in June 2006.

Released in 2008, Welcome to Mali featured guest appearances by K'Naan, Keziah Jones, -M-, Toumani Diabaté, Tiken Jah Fakoly, and Juan Rozoff, as well as production help from the aforementioned Albarn. The Magic Couple followed in 2009. The duo performed in Albarn's multi-artist Africa Express concerts, and, more recently, performed at the informal L’Afrik C’est Chic jam sessions with various special guests in London and New York.

In February 2011, Amadou & Mariam performed as one of the support acts for U2 during the Johannesburg and Cape Town legs of their U2 360 Tour. In July, they performed their first concerts in the dark, Eclipse, which were commissioned by the Manchester International Festival. They went on to stage these shows in London in November 2011, and in Paris in January 2012. They also became ambassadors for the World Food Program. They travelled to Haïti and offered a new song “Labendela” (Children are the future) as an anthem. Their early biography Away From The Light of Day was published in the US.

Together with longtime producer Marc-Antoine Moreau, they cut sessions for a new album in New York and Bamako, keeping the best tracks from each. The end result was Folila, issued in early 2012. The album featured guest appearances by Theophilus London, TV on the Radio, Nick Zinner of the Yeah Yeah Yeahs, and fellow countryman and ngoni master Bassekou Kouyate. A digital EP was released in January of that year, entitled Dougou Badia, for the album's first single.

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If you think Mali is all about the kora or the Super Rail Band, you need to take a listen to Amadou & Mariam, a blind married couple who take Malian music in a whole different direction. They keep to the bluesy, pentatonic root that's the heart of the desert sound of Mali, but bring it toward the West, even letting guitars howl here and there and funking things up with some lovely keyboard work. Amadou & Mariam sing both separately and together (indeed, they're at their strongest together, when the two voices can work off each other on songs like "Chauffeurs"), and they're both strong writers, using rhythm as much as melody for a sound that's remarkably down-home. "Sarama," for example, rocks wonderfully and hypnotically, and wouldn't sound out of place in a roadhouse, getting the crowd up and dancing. Perhaps it's because they don't sound especially African in their approach to music -- allowing the roots to be just one part of the whole -- that they haven't received the praise they deserve.

Amadou & Mariam - Wati (flac  364mb)

01 Walide 5:05
02 Ilbiwan 4:14
03 Les Temps Ont Changé 4:46
04 Baroni 4:55
05 Sarama 4:44
06 Dougou Massa 4:11
07 Chauffeurs 4:58
08 Mali Denou 4:32
09 Lahilala 5:03
10 Barika 3:41
11 Fana 4:35
12 Poulo 6:45

Amadou & Mariam - Wati  (ogg 134mb)

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Amadou & Mariam, have certainly paid their dues over the last 30 years, and it's about time they received their big break. Certainly given the excellent reviews in Europe, Dimanche a Bamako could be it, thanks to the production and participation by the elf prince of world music, Manu Chao. He brings a playful lightness to their soulful, bluesy Malian sound, letting in plenty of sunshine, and drawing in a sense of place through the ambience of traffic sounds and snippets of conversation. Chao is also obviously present on several tracks, such as "Senegal Fast Food," which offers a bouncy, reggae-styled rhythm so typical of Chao's own records. Lyrically, this is very much an album of love songs, postcards between the couple, but it never veers into maudlin sentiment. Yet there's also a political edge to it, such as with "La Realite." Even if you don't understand the words, however, the entire disc is an absolute aural joy, poppy enough to be exquisitely memorable, yet with layers of resonance underneath. One of the world music albums of 2005, it can hopefully find the kind of wide audience it surely deserves.

Amadou & Mariam - Dimanche a Bamako (flac 384mb)

01 M'Bifé 2:11
02 M'Bifé Balafon 1:59
03 Coulibaly 3:18
04 La Réalité 3:33
05 Sénégal Fast Food 4:19
06 Artistiya 3:12
07 La Fête Au Village 4:11
08 Camions Sauvages 4:09
09 Beaux Dimanches 3:31
10 La Paix 4:19
11 Djanfa 4:14
12 Taxi Bamako :44
13 Politic Amagni 4:56
14 Gnidjougouya 3:45
15 M'Bifé Blues 5:21

Amadou & Mariam - Dimanche a Bamako (ogg 146mb)

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Following the wildly successful Dimanche a Bamako in 2008, World Circuit decided to bring the blind Malian duo Amadou Bagayoko and Mariam Doumbia to American shores. Welcome to Mali, issued here on Nonesuch, is their debut in the United Stares. Blur's Damon Albarn was enlisted to help out here -- and he does as a co-writer and producer on the album's opening track and first single "Sabali." It's a killer track, with waves of Malian blues and incantatory singing, especially from the plaintive voice of Mariam, which contrasts well with the grainy, more guttural inflections of Amadou. Albarn also adds waves of gentle but pronounced electronica and some fine basswork, and pushes Amadou's raw guitar into the forefront. The rest of the set -- whose only real flaw is how long it is -- is filed with infectious Malian folk music threaded through with European pop influences. And does it ever work. The best cuts, such as "Compagnon de la Vie" with its funky Hammond B-3, "Ce N'Est Pas Bon" with its driving guitar and marimbas, and the traditional "Djuru" are simply infectious with their rhythmic invention and meld of voices. There is even a love song in English here, "I Follow You," that works despite the corny lyrics. The title track -- also in English -- is pure funky goodness with its killer meld of Malian folk forms, perfusion, and European-style street funk. Ultimately, Welcome to Mali is an auspicious and welcome introduction to Amadou & Mariam, whose music has universal appeal and breaks new ground for Afro-pop worldwide.

Amadou & Mariam - Welcome To Mali   (flac  445mb)

01 Sabali 3:16
02 Ce N'est Pas Bon 3:49
03 Magosa 3:43
04 Djama 3:15
05 Djuru 3:35
06 Je Te Kiffe 4:18
07 Masiteladi 3:56
08 Africa 3:48
09 Compagnon De La Vie 3:46
10 Unissons-Nous 4:16
11 Bozos 3:46
12 I Follow You 4:02
13 Welcome To Mali 3:20
14 Batoma 4:13
15 Sebeke / Boula (Hidden Track) 11:41

Amadou & Mariam - Welcome To Mali  (ogg 155mb)

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RhoDeo 1337 Foundation 6

Hello, well I hope you enjoyed the sunday,  an almost 42 year old man, 70% bold won the Vuelta today well done Chris Horner. Amazing to shine so late in year career, you really were the best climber let's hope it was clean mind over matter.


The Beeb provides us with a great adaptation of Isaac Asimov's fifties classic SF masterpiece The Foundation Trilogy for decades now stories go round Hollywood would envision it, clearly this is not an easy thing. In an audioplay its our imagination that supports the experience  ... NJoy

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Isaac Asimov - The Foundation Trilogy ....

The premise of the series is that mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology (analogous to mathematical physics). Using the laws of mass action, it can predict the future, but only on a large scale; it is error-prone on a small scale. It works on the principle that the behaviour of a mass of people is predictable if the quantity of this mass is very large (equal to the population of the galaxy, which has a population of quadrillions of humans, inhabiting millions of star systems). The larger the number, the more predictable is the future.

Using these techniques, Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting thirty thousand years before a second great empire arises. Seldon's psychohistory also foresees an alternative where the intermittent period will last only one thousand years. To ensure his vision of a second great Empire comes to fruition, Seldon creates two Foundations—small, secluded havens of all human knowledge—at "opposite ends of the galaxy".

The focus of the series is on the First Foundation and its attempts to overcome various obstacles during the formation and installation of the Second Empire, all the while being silently guided by the unknown specifics of The Seldon Plan. The series is best known for the Foundation Trilogy, which comprises the books Foundation, Foundation and Empire, and Second Foundation. Originally broadcast in 8 parts, between 6th May and 24th June 1973.

Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

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During the war against The Mule, with things going badly for the Foundation, some key figures under the leadership of the Foundation's greatest scientist, Ebling Mis, flee Terminus in search of the Second Foundation, to warn it of the danger from The Mule.

The Foundation Trilogy 06 Flight From The Mule (27mb)

06 Flight From The Mule 60:32min

complete series featuring

William Eedle as Hari Seldon
Geoffrey Beevers as Gaal Dornick
Lee Montague as Salvor Hardin
Julian Glover as Hober Mallow
Dinsdale Landen as Bel Riose
Maurice Denham as Ebling Mis
Gary Watson as Toran Darell
Angela Pleasence as Bayta Darell
Wolfe Morris as Magnifico/The Mule
Cyril Shaps - The Guardian/Preem Palver
Carleton Hobbs as Dr Toran Darell II
Prunella Scales as Lady Callia
David Valla as Encyclopedia Galactica Read-out
Heron Carvic as Advocate
John Hollis as Yohan Lee
Roy Spencer as Lewis Pirenne
Rolf Lefebvre as Anselm Rodric and Dagobert IX
Ronald Herdman as Lord Dorwin
Brian Haines as Tomaz Sutt and Huxlani
John Rowe as Jord Fara and Student Planner (Second Foundation)
John Samson as Sef Sermak
William Fox as Poly Verisof and Cleon II
William Sleigh as Doktor Walto
Michael Kilgarriff as Theo Aporat, Lieutenant Vrank and Tubor
Francis de Wolff as Prince Regent Wienis
Terry Scully as King Lepold I and Oval
Anthony Jackson as Jorane Sutt
Peter Williams as Ankor Jael
Robin Browne as Jaim Twer and Orum Palley
Fraser Kerr as Comdor Asper and Meirus
Gail MacFarlane as Commdora Licia
Douglas Blackwell as Onum Barr and The Governor (Rossem)
David Gooderson as Tech-man
Martin Friend as Ammel Broderig
Michael Harbour as Lathan Devers
Ronald Herdman as Sennett Forell and Elder (Rossem)
Haydn Jones as First trader
John Ruddock as Second trader, Mayor Indbur III and Elder (Rossem)
Peter Howell as Ducem Barr
John Justin as Han Pritcher
Nigel Graham as Franssart
Lewis Stringer as Randu
Nigel Anthony as Prince Dagobert
Trader Faulkner as Bail Channis
Sarah Frampton as Arkady Darell
Gabriel Woolf as Pelleas Anthor
David March as Homir Munn
Peter Pratt as Lord Stettin
Katherine Parr as Mrs Palver

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The Foundation Trilogy 01 - Psychohistory and Encyclopedia (27mb)
The Foundation Trilogy 02 - The Mayors (25mb)
The Foundation Trilogy 03 - The Merchant Princes (26mb)
The Foundation Trilogy 04 The General (25mb)
The Foundation Trilogy 05 The Mule (25mb)

Foundation Trilogy @ Wiki

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Sundaze 1337 Inside Out 14

Hello,  at Sundaze this month of September will be all under the Inside Out banner. It maybe a bit much to take it all in as there will be diverse propositions to enhance your insights and wellbeing. Audiocourses on Meditation , Lucid Dreaming will be accompanied with some regular sundaze music

The music created over the years by today's artist speaks both 'of' and 'to' all of humanity (ourcollective human soul). He does so with such an obvious love and respect of all cultures that his music truly tanscends boundaries. ...N'Joy

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This is a recording of a 5 week retreat led by Pema Chodron based on the concepts in her book. She explains the ideas so much more clearly than I've read in the past and is intended for Western audiences who might not understand some of the language one finds in Eastern philosophy. For example, the concept of ego has always confused me in Buddhist teaching and she makes it far easier for me to apply to my own life. The recordings contain a talk by Pema Chodron, about a particular concept, then meditation exercises and an assignment to work on. I've found them very helpful.

In this 5 CD set, Pema Chodron expands on her prior works (but see Pure Meditation), honing in on Buddhist Shamatha (tranquil or calm abiding) meditation. This is a basic, eyes-open, being-fully-present technique (akin to mindfulness practice).  Total time=5:52:48 in 46 tracks. Her presentation is comprehensive, including: Physical--much detail on 6 points of posture (seat, legs, torso, hands, eyes, & mouth); Emotional--being fully present, attention to tension, observing your pain/stress; Mental/Psychological--generosity, patience, sense of humor; & Spiritual/Mystical--(per Trungpa Rinpoche) "Mixing mind and space." Each CD includes a meditation experience & practices for the ensuing week.

Overall, Pema's voice & presentation are extremely peaceful & meditative--quite conducive to these practices, though she aims at you becoming "your own meditation instructor." To have a more complete appreciation of Pema, see her Good Medicine video. This set is valuable for newbies (though some of the terminology may be unfamiliar) as well as those who have practiced meditation before. It is also a nice refresher.

How to Meditate 3 (95mb)

1 How to Meditate 3 69:54

previously

How to Meditate 1, 2 (166mb)

As this is a 5 part series which takes too much to take it all in, I start with a double bill and expect weekly instalments the next 3 weeks.

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Born in 1953 in Germany, Stephan Micus made his first journey to the Orient at the age of sixteen. Fascinated by the variety of musical cultures around the world Micus has travelled in virtually every Asian and European country as well as in Africa and the Americas. Studying with local master musicians he learned to play numerous traditional instruments, many of them unknown in the Western world. However, Micus‘s intention is not to play these instruments in a traditional manner, but rather to develop the fresh musical possibilities which he feels are inherent in them. In many of his compositions, which he performs himself, he combines instruments that have never before been played together. The resulting dialogues further reflect his vision of a transcultural music. Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas

In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh.
Micus used his travels to study a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and Georgian polyphonic choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba, nohkan (flute of the noh theatre) in kyoto (japan). Bulgarian polyphonic choral singing in Plovdiv (Bulgaria). In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself.

His recordings for the ECM label are essentially solo efforts in which the illusion of an ensemble is created by the composer's extensive overdubs. Micus' intention is not to play these instruments according to tradition, but to combine modes of expression from around the world in exciting new ways. Though he sometimes creates sounds you'd swear were the result of electronic keyboards, Micus is an acoustic purist who often develops unconventional performance techniques on ethnic instruments. He released Garden of Mirrors in mid-2000, with Desert Poems and Koan both following a year later.

Micus continued to stay busy, releasing Towards the Wind in 2002, Life in 2004, and On the Wing in 2006, all of which kept his multicultural and multi-instrumental style intact. Micus offered the concept recording Snow in 2008. On 2010's Bold as Light, he employed customized versions of the raj nplaim, a free-reed bamboo pipe from Laos, and the Japanese nohkan flute, also made of bamboo. As always, he not only studied the music of the instrument's native regions, but expanded the tonal reaches with his customization. For his 20th album, Micus collaborated with Greek historian and scholar Vassilis Chatzivassiliou, who selected Byzantine-era (seventh century) texts that were ancient prayers to "Holy Mary" (the Panagia of the title). The artists gave modern voice to these texts by utilizing bells from several traditions, gongs, stringed instruments, and up to 20 voices. Panagia was issued in March of 2013.

Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas

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Implosions, his second album, recorded in 1977, was his first work for JAPO/ECM Records -- and the start of a long, continuing, fruitful relationship. Manfred Eicher has a long-standing reputation for allowing the artists he produces to enjoy complete freedom of expression and creativity, as well as recording quality that is crystalline and matchless -- I can think of no other organization with whom Micus' art would be more at home.

The instruments used on this recording are varied, coming from areas of Europe and Asia. On the lengthy opening track, 'As I crossed a bridge of dreams', Micus employs 3 sitars, an acoustic guitar, and his incredible voice. This piece was the first recording he made using his voice -- he sings in no language, but so expressively, so in-tune with the spirit of the music, that the listener can easily imagine that the words have deep meaning and carry strong emotion. The piece moves through several mood changes -- but never becomes 'noisy' or discordant. There is a pervasive sense of peace in his music -- even in the more rhythmically rapid pieces.

If you have never experienced the work of this amazing artist, you should try one of his cds -- this one, IMPLOSIONS, would be a great place to start...and I say 'start' with the confidence that many of those who give him a listen will want to keep exploring his work. It's a thing of rare and precious beauty -- and something that can bind different cultures together, rather than push them apart. We could use that now, more than ever...

Stephan Micus - Implosions (192mb)

01 As I Crossed A Bridge Of Dreams 20:53
02 Borkenkind 6:45
03 Amarchaj 5:16
04 For The 'Beautiful Changing Child' 3:40
05 For M'schr And Djingis Khan 6:24

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This early (1978) Stephan Micus recording lacks none of the tenderness and refined vision that marks all of this one-man-show's efforts. It is distinguished by its very gentle delivery, its interesting instrumentation (table harp, kortholt, zither, guitar, and vocals), and, unfortunately, its very short length--we should not these days be having to pay full price for a less than 36 minute long CD. Nevertheless it may still be the best of his pre-mid 80s material, insofar as the revealing of inner voice goes; Micus uses the zither in an especially affecting manner to set mood and motion here in the two long pieces comprising the work. Perhaps the best thing about the whole package, however, is, remarkably, the small photo-portrait of Micus set without remark on the last page of the liner notes: a wonderful study of the artistic temperament.

Stephan Micus - Til The End Of Time (165mb)

01 Till The End Of Time 17:30
02 For Wis And Ramin 18:06

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This cd, though only recently released, comes from material Micus recorded back in the late 1970s. Though in some respects a typical Micus production (lots of exotic instruments played with a free, almost improvisational outlook), it lacks some of the emotional focus of his later works. Still, there is some interesting stuff here, and it can be recommended at the least for his fans.

Stephan Micus - Behind Eleven Deserts (176mb)

01 Salinas Dance 5:31
02 Behind Eleven Deserts 5:05
03 Katut 5:20
04 I Went On Your Wing 4:00
05 Over Crimson Stones 4:38
06 Pour La Fille Du Soleil 6:14
07 The Song Of Danijar 12:24

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previously, Rhotation 25

Stephan Micus - Koan (ogg 100mb)

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RhoDeo 1336 Beats

Hello, glad I can distract you from drooling over the video of that sad Disney bimbo, Miley Cyrus, a repressed lesbian who will never be left in peace as long as people can make money of her. You can just wait for the accidentally leaked treesome action. Meanwhile, Nic Jones, Vevo’s Senior Vice President, International, said: “People wanted to find high-quality, versions of, say, Rihanna’s latest video but it wasn’t easy to do that through a Google search. Vevo was created to make those videos accessible on any platform. Videos now aren’t a marketing tool to sell CDs, they connect artists to fans and make money for musicians and their labels,” it has paid out more than $200 million in royalties....

The coming months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artist's music is absolutely, intrinsically, hopelessly French with its innate hip-swinging funkiness and general air of steamy nonchalance.  ....... N'joy

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Gopher (Alexis Latrobe) began his musical career in the Versailles suburb of his hometown of Paris, playing in a band named Orange alongside Nicholas Godin and Jean-Benoit Dunckel (later to find fame and fortune as Air). The pair shared Gopher’s love for the music of Prince, Kraftwerk, New Order, Parliament and Funkadelic.

“Of course,” says Gopher over the phone from his home in Paris. “I am a very big fan of Prince. I am a very big fan of P-Funk and George Clinton too. For this album, I just try to use all of my past influences, from funk music to pop music and jazz, because you know, I started my career playing bass in a teenage rock band. I fell in love with funk music at the start of the Eighties and I just wanted to take all these 15 years of music and put something back.”After the group split, he began to create electronic music and embarked on a successful solo career. He prefers to work alone, but since he does not sing, he recruits vocal talent or uses samples of singers.

In 1998 he released his first solo album “You, my baby andI”, which featuredthe single “The Child” with the famous letter-shaped animated video with references to New York, directedby Antoine Bardou-Jacquet (H5). Early 2000, Alex wrote the scorefor the Yves Saint-LaurentSpring-Summer 2000 fashion show with Hedi Slimane. Catherine Deneuve made a vocal appearance on the tracks. He collaborated with Demonto release a few 12” in 2001 under the name Wuz, introducing the
album in March 2002.

In 2003,Alex went back in studio with Etienne de Crecy, for the follow up to the Superdiscount project  (#2).  He  co-wrote  2  tracks  plusthe single Fast Trackand performedon a long worldwide tour. With Superdiscount Alex produced remixes for the likes of Kraftwerk,  Who Made Who, Benny Benassi… Then two new projects: a series of 12” releases(on BTK, Pias and Kistunérecords) and in 2007, a new album, simply called‘Alex Gopher’,revival of his early music with Orange with more
pop song writing, produced by Etienne de Crecy.

2008 & 2009 : the Aurora EPs vol.1&2, the Belmondo EP, and the Handguns EP. The track Aurora is now a classic Soulwax did a cover in their live gigs and always play it in their DJ sets as many other famous Dj's). The success of these records made Alex one of the most asked remixer in 2008 & 2009 for artists like Fischerspooner, Ladyhawke, BennyBenassi, AutoKratz to name just a few. He released a double compilation album  "My  New  Remixes"  with  all  these  remixes  in november 2009 on hisown label Go 4 Music.

In 2010, he mixed Flairs’new album, Carte Blanche EP (DJ Mehdi & Riton / Ed Banger) and produced  two  artists  on  Go  4  Music  Pablo  Decoder  « Echoes  In  My  Head »  and  Sovnger « Breathless ».Alex has released with Pierrick Devin two remixes for Pacific and Etienne de Crecy. In his brand new own studio builtin 2010, he is working with Xavier Jamaux on a soundtrack for the movie « Motorway » produced by Johnnie To and directed by Soi Cheang. He just finished a new EP « Invasion/Virages » and remixes for AutoKratz, Light Year and Alb. His track "Brain Leech (Bugged Mind Remix)" plays on the Electro-Choc station of Grand Theft Auto IV. He plans to release an album and a movie soundtrack during 2013

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Alex Gopher finally made a worldwide splash with his 1998 full-length debut, You, My Baby & I. The former associate with Air and longtime producer for two linchpins of the Gallic dance world (the Solid and Source labels) leans toward the Cassius and Dimitri from Paris arm of French dance, heavy on the filtered-disco and good-time funk inspirations instead of the slightly more uptight acid squiggles of Daft Punk and compatriots. But he does have the same Parliament-Funkadelic inclinations as Daft Punk, drafting P-Funk vocalist Michael "Clip" Payne for several tracks. Gopher proves himself just as excellent a producer as Air or Daft Punk, emphasizing a sound based on the studio sheen of disco and late-'90s hip-hop throughout. The occasional detour through more atmospheric territory also works well, not-so-strangely reminiscent of Air (Jean-Benoit Dunckel guests) on the vocoder haze of "Ralph & Kathy." Throughout, Gopher proves that he has no need (or desire) to ride anyone's coattails.

Alex Gopher - You My Baby and I ( flac 594mb)

01 Time 4:30
02 Tryin' 5:35
03 The Child 4:34
04 Ralph & Kathy 4:36
05 With U 3:45
06 You, My Baby & I 6:41
07 06 10 98 2:03
08 Party People 3:53
09 Consolidated 4:26
10 Quiet Storm 4:31
 +
11 You, My Baby & I (Pepe Bradock Remix) 4:27
12 Party People (Romanthony Extended Mix) 7:49
13 The Child (Faze Action White Wall Tea Party Mix) 6:59
14 Time (Mr. Oizo For Dogs Remix) 3:31


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A slightly different record than You, My Baby & I, Wuz presents a deep, dark sound world of precisely programmed house music. With compatriot Demon (aka Jérémie Mondon) helping out on production, Gopher turns in an LP of chunky beats and glittering effects, occasionally referencing the disco-fied P-Funk of his first full-length, but with less of the retro crossover of Daft Punk or Les Rythmes Digitales. Gopher moves from track to track but never breaks up the mix, making Wuz very much a dancefloor record. The epic "Without You" cranks up the energy like a latter-day "Revolution 909," pausing for breath midway through for just a minute until the bass comes crashing back in. A few tracks, though, offer a (comparatively) experimental aesthetic; "Focus" deals in stuttered vocals while cavernous creaks phase through the mix, and "Long Island" detours into stop-start glitch processing (behind a steady backbeat, of course). Balancing get-on-the-floor beats with a few mind-expanding ideas, Wuz is a very nice second record from Gopher; if the identical record appeared under Daft Punk's name, fans would likely christen it an imaginative return to form.

Alex Gopher With Demon - Wuz (flac 364mb)

01 Intimacy 2:38
02 Wuz 5:34
03 Focus 3:29
04 Without You 6:32
05 Long Island 4:53
06 Use Me 5:52
07 The Shell 6:51
08 Be As One 5:27
09 The Dark Side 1:12
10 Keep On Dancing (Last Man Standing) 11:27

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Although Alex Gopher made his name internationally as a producer, remixer, and DJ, his roots are in more pop-oriented territory. From 1985 to 1991, Gopher was one-fourth of Orange, an electronic dance-pop band from his hometown of Versailles, France. Gopher is a return to the past, a deliberate evocation of Orange's late-'80s sound: basically, what that means is that this album is an unapologetic homage to New Order and their followers. First single "Brain Leech" even throws in a recurrent melodic bass riff so blatantly lifted from the New Order playbook that Peter Hook should get royalties, and "The Game" explores the same Ibiza-inspired beats as their 1989 album Technique. The unashamedly commercial "Carmilla," meanwhile, mines the Brit-funk pop of A Certain Ratio and late-era Orange Juice in pretty much exactly the same way that Franz Ferdinand do. For old times sake, Dunkel and Godin make appearances, as does fellow '80s obsessive Olivier Libaux of Nouvelle Vague. Die-hard house music fans may well be horrified by the forthright pop direction of Alex Gopher, and many of the retro-pop fans who are its target demographic will miss it simply because they don't look in the dance/electronica bins at their local CD emporium. But this is a catchy, good-humored, and unpretentious throwback to Gopher's roots that's hard not to enjoy.

Alex Gopher - Alex Gopher ( flac 460mb)

01 Out Of The Inside 4:56
02 Brain Leech 3:42
03 Nasty Wish 2:51
04 Isn't It Nice? 3:52
05 Boulder, Colorado 3:45
06 Carmilla 3:49
07 The Game 2:17
08 Song For Paul 2:44
09 5000 Moons 3:23
10 Go! 2:57
11 The White Lane 3:27
12 Brain Leech (Alternate Version) 3:42
 + Bonus
13 Motorcycle (Dry Clutch Edit) 6:35
14 Brain Leech (Bugged Mind Remix) 5:52
15 Odyssey 4:21
16 I Need Change 6:21
17 Dust 6:14

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RhoDeo 1336 Goldy Rhox 125

Hello, today the 125th post of GoldyRhox, classic rock pop.  Today's focus is on an American singer-songwriter, actor, and author (February 26, 1932 – September 12, 2003-died 10 years ago today) who was considered one of the most influential musicians of the 20th century. Although he is primarily remembered as a country music icon, his songs and sound spanned other genres including rockabilly and rock and roll—especially early in his career—and blues, folk, and gospel. This crossover appeal won him the rare honor of induction in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and the Gospel Music Hall of Fame.

He was known for his deep, distinctive bass-baritone voice, for the "boom-chicka-boom" sound of his Tennessee Three backing band; for a rebelliousness, coupled with an increasingly somber and humble demeanor, for providing free concerts inside prison walls and for his dark performance clothing, which earned him the nickname "The Man in Black"

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

Today's mystery album is a live album and 27th overall album by today's artist, released on Columbia Records in May 1968. Since his 1955 song "Folsom Prison Blues", he had recieved requests from inmates and first answered one of the letters by performing at Huntsville State Prison in 1957. Satisfied by the favorable reception of the concert, he performed at several other prisons, including Folsom in 1968. Backed with June Carter, whom he married later that year; Carl Perkins and the Tennessee Three, he performed two shows at Folsom State Prison in California on January 13, 1968.

Despite little initial investment by Columbia, the album was a hit in the United States, reaching number one on the country charts and the top 15 of the national album chart. The lead single from the album, a live version of "Folsom Prison Blues", was a top 40 hit. It was certified Gold on October 30, 1968, Platinum and 2x Platinum on November 21, 1986 and 3x Platinum on March 27, 2003 by the RIAA. In 2003, the album was ranked number 88 on Rolling Stone's list of the 500 greatest albums of all time. Also that year, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. This here the remastered so-called "Legacy Edition" .



Goldy Rhox 125   (flac 377mb)

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Goldy Rhox 125   (ogg 187mb)

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previously

Goldy Rhox 110   (flac 290mb)

Goldy Rhox 110   (ogg 138mb)

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RhoDeo 1336 Aetix

Hello, it's been 12 years today since one of the most treacherous attacks ever took place, the cynicism of those responsible was so big that nobody in the media dared to point a finger at them. It was part 2 of the coup that had started with the manipulation of the presidential election a year earlier. A million Irakis paid with their lives though they had nothing to do with it, millions suffer to this day because of it. And that my friends wasn't even the main goal, it was what those psychopaths like to call collateral damage, the main goal is absolute global control. We know now that the NSA is already achieving this on a computer level and from now on our liberties can be taken or diminished  at any point in time for all of us. Yet this silent coup   has gone largely unnoticed for most of the public, those that protested too much were ruined or called conspiracy nuts, but hey Hollywood let's you dream on...

As we continue the females in the eighties today, today's band had a leadsinger who in 1977 (as a 16 year old !) posed nude for the February Penthouse issue, under the name "Betsy Harris". It goes then that when a year later she co founded today's band, members would have been already exited from the prospect of working with her. However their first life together was brutally interrupted by Tom Cruise who's Top Gun romance had been accompanied by the band, a mega hit and a mega headache in the end. Meanwhile the band has been revived 14 years ago and there's a new album 'Animal' out next week. Anyway this is Aetix   .....N'Joy

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Despite its name, Berlin did not have any known major connections with Germany, but instead was formed in Los Angeles, California in 1978., founded by bassist John Crawford, singer Terri Nunn, and keyboard player David Diamond, Ric Olsen (lead guitar) was brought in during the final recording of Pleasure Victim. Other members added were Matt Reid (synthesizer), Rob Brill (drums: 1982–1987) and Rod Learned (drums: 1979–1982).

They were inspired by what they were convinced was the unique keyboard work of Kraftwerk, Devo, Sparks and The Screamers. Their first single, "A Matter of Time," was released in early 1979 on Zone-H Records. The single was re-issued in 1980 featuring a replacement vocalist, Virginia Macolino, after Terri Nunn had temporarily left the band to pursue an acting career. This was followed by the album Information. The band had trouble gaining success, as the music industry at the time thought "new and exciting" meant upbeat guitar-oriented skinny-tie power pop bands with male lead singers, and thus did not understand their synth female fronted punk sound and more adventurous subject matter

Terri Nunn rejoined the band as singer in 1980, and they signed to independent label Enigma Records where they had their first significant hit: the controversial synth-driven "Sex (I'm A...)" (1982), which was banned by some radio stations due to its graphic lyrics. The song was intentionally written and composed to get airplay on Los Angeles radio station KROQ, which specialized in playing music that was not heard on other stations, and of which members of the group were fans. The accompanying album, Pleasure Victim also included the hit, "The Metro." Two years later, the band released their next album, Love Life, and the single "No More Words," whose subsequent video saw Terri Nunn and bandmates re-enact a Bonnie and Clyde-style car chase and shoot-out, became their first top-20 hit.

Count Three & Pray was an artistic triumph but a commercial disappointment. After making a name for itself playing very European-sounding synth pop, the L.A. trio recruited producer Bob Ezrin (known for his work with Alice Cooper and others) and unveiled a more hard-edged, guitar-oriented sound. "Take My Breath Away" (from the movie Top Gun) was their best-selling single in 1986 and a huge international hit, Nunn viewed it as a fresh new song that allowed the band to perform globally, while others disliked it as not having been written or composed by any of them as a consequence the band broke up.

Nunn left for a solo career in 1987, and Crawford and Brill teamed up in the Big F. Nunn retained the legal rights to usage of the band's name after legal wranglings with the founding member of the group, John Crawford. Nunn recreated Berlin, with a new lineup of musicians, in 1998. In 1999, the band reunited to record some new studio material and also performed a concert, which, along with the new songs, was released as 2000's Berlin Live: Sacred and Profane. This was followed a year later by a flurry of recording sessions that included co-writing tracks with Billy Corgan, among others. The end result, Voyeur, was their first full-length studio release in over 15 years.

The band toured with rock band INXS during the summer of 2011. Nunn herself was scheduled both to debut a radio show on KCSN-FM, and to record a new album, in 2012. In July 2013, it was announced that a new album called 'Animal' would be released on 17 September, from which a single "It's The Way" would also be issued.

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Originally released by the fledgling Enigma Records in 1982 and picked up by Geffen in early 1983 when the lascivious novelty single "Sex (I'm A...)" started picking up radio attention, Pleasure Victim is a frankly exploitative little slab of synth pop cynicism, so baldly crass in its positioning of lead singer Terri Nunn as a sex kitten (posing her in the nude on the inner sleeve, listing her contributions as "vocals, bj's" in the liner notes) and lyrically obsessed with the seedy side of the Los Angeles demimonde that criticism becomes nearly beside the point. Lyrical obsessions aside, Pleasure Victim actually holds up quite well as a piece of early-'80s synth pop, with two very good tunes ("Tell Me Why" and "Masquerade") and one masterpiece of the genre, the gimmicky and atmospheric "The Metro," the one song where Nunn's limited vocal abilities are put to their best use. Surprisingly, for a record that was completely unfashionable seemingly within months of its initial release, Pleasure Victim actually has more to offer than many might remember.

Berlin - Pleasure Victim  (flac 213mb)

01 Tell Me Why 5:34
02 Pleasure Victim 3:50
03 Sex (I'm A...) 5:06
04 Masquerade 4:04
05 The Metro 4:07
06 World Of Smiles 3:50
07 Torture 2:36
08 Sex (I'm A...) (Ext. Version) 8:10

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Love Life, Berlin's second album, took over where 1982's Pleasure Victim left off, with Terri Nunn's vocals sounding a tad stronger in some places as well as some noticeable improvements on behalf of the synthesizers, but this improvement occurs sporadically, not consistently. Their first chart single, the clean-cut dance-rock hybrid entitled "No More Words," made it to number 23 thanks to Giorgio Moroder's production help. Moroder lends his talents to another track, "Dancing in Berlin," which emulates the same streamline formula of sharp keyboards and an animated dance pace. Outside of these two singles, the rest of the songs on Love Life fail to harbor any distinction, and even Nunn's forceful voice can't raise their value. Efforts like "When We Make Love," "Touch," and "For All Tomorrow's Lies" get lost in lukewarm techno-dance rhythms and her sexual innuendoes are much too contrived, wearing thin by the end of the album.

Berlin - Love Life  (flac 293mb)

01 When We Make Love 4:59
02 Touch 3:16
03 Beg, Steal Or Borrow 3:55
04 Now It's My Turn 4:11
05 Dancing In Berlin 4:04
06 Rumour Of Love 4:20
07 Pictures Of You 4:33
08 In My Dreams 4:10
09 No More Words 3:53
10 Lost In The Crowd 4:36
11 For All Tomorrow's Lies 3:48
12 Fall 4:05

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A major change of direction for Berlin, Count Three & Pray was an artistic triumph but a commercial disappointment. After making a name for itself playing very European-sounding synth pop, the L.A. trio recruited producer Bob Ezrin (known for his work with Alice Cooper and others) and unveiled a more hard-edged, guitar-oriented sound. From the rockin' "Trash" (which features none other than Ted Nugent -- the last person one would expect to work with Berlin!) to the ballad "Pink and Velvet" (a tale of two heroin addicts' romance that is as poignant as it is disturbing), Count Three & Pray leaves no doubt just how much lead singer Terri Nunn and her colleagues were enjoying this radical change. But sadly, record buyers weren't ready for it. Despite the inclusion of the hauntingly pretty number one hit "Take My Breath Away" (included in the film Top Gun) the album didn't sell nearly as well as Pleasure Victim or Love Life. Geffen was bitterly disappointed, and Berlin soon broke up.

Berlin - Count Three and Pray (flac 306mb)

01 Will I Ever Understand You 4:41
02 You Don't Know 4:27
03 Like Flames 5:04
04 Heartstrings 4:12
05 Take My Breath Away 4:11
06 Trash 3:39
07 When Love Goes To War 4:10
08 Hideaway 5:04
09 Sex Me, Talk Me 4:40
10 Pink And Velvet 6:44

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RhoDeo 1336 Roots

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

Today more from Mali, after all it has one of the most intensely musical cultures in all Africa. The first African bluesman to achieve widespread popularity on his home continent, he was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages. Today's artist was ranked number 76 on Rolling Stone’s list of “The 100 Greatest Guitarists of All Time. It is unfortunate that the early recordings by this brilliant Malian guitarist/singer/ songwriter have been somewhat overshadowed by his better-known collaborations with Western artists, but not today. .......N'joy

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He was born in 1939 in the village of Kanau, on the banks of the Niger River in the cercle of Gourma Rharous in the northwestern Malian region of Tombouctou. His family moved to the nearby village of Niafunké when he was still an infant. He was the tenth son of his mother but the only one to survive past infancy. “The name I was given was Ali Ibrahim, but it’s a custom in Africa to give a child a strange nickname if you have had other children who have died”, Touré was quoted as saying in a biography on his Record Label, World Circuit Records. His nickname, “Farka”, chosen by his parents, means “donkey”, an animal admired for its tenacity and stubbornness: “Let me make one thing clear. I’m the donkey that nobody climbs on!” Ethnically, he was part Songrai part Fula.

As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages. His international breakthrough album, Ali Farka Touré (88),  established his reputation in the world music community. His 6th World Circuit album 1994’s Talking Timbuktu, a collaboration with Ry Cooder, sold  well in western markets and got him his first Grammy Award. After a hiatus from releases in America and Europe Touré reappeared in 1999 with the release of Niafunké.

In 2002 he appeared with Black American blues and reggae performer Corey Harris, on an album called Mississippi to Mali (Rounder Records). Toure and Harris also appeared together in Martin Scorsese's 2003 documentary film Feel Like Going Home, which traced the roots of blues back to its genesis in West Africa. The film was narrated by Harris and features Ali’s performances on guitar and njarka.

In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award. On 7 March 2006 the Ministry of Culture of Mali announced Touré 's death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category “Best Contemporary World Music Album”. It was later discovered that he had completed impromptu sessions a year before his death alongside Malian kora player Toumani Diabaté in London. The results of these sessions were released in the simply titled 2010 record Ali & Toumani.

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Internationally feted at the age of 50, Ali Farka Touré's life was not always so easy. Up till the release of this, his third album, he was virtually unknown in West Africa and a non-entity in the world music community. Before this album bought him fame, if not fortune, Touré's life resembled Amos Tutuola's in Palm Wine Drunkard, a mixture of hard times and legend. What made Touré stand out from the crowd was his mixture of these two elements, a blues-based singing style close to John Lee Hooker and a particularly African choice of subject matter, often rooted in West African myth and folktale. On this release, Touré performs most often unaccompanied relying entirely on the magnetism of his beautiful voice and the counterpoint of his rhythmic guitar. The improvisatory yet lyrical bluesy guitar and the determined mournful voice backed by Hammer Sankare's sympathetic vocals and sparse yet insistent calabash percussion tapping out mesmeric rhythms that give the music a forward impetus.

The "Red" is the album that BBC Radio 3's Andy Kershaw found in a bargain bin in Paris, when Ali was a nobody. This discovery convinced him to implore World Circuit's Anne Hunt to help find him and bring him to London, which they did, launching Ali's career.

Ali Farka Toure - Red (flac  253mb)

01 La Drogue 5:33
02 Ali Aoudy 6:32
03 Cheri 4:36
04 Timbindy 5:41
05 Lalayche 5:29
06 Ketine 7:10
07 Laisse Les Phases 4:36
08 Baliky Lalo 3:41

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If you're a fan of acoustic guitars in the right hands, if you're a fan of rhythm that crawls into your soul until you realize you've been hypnotized, rocking back and forth on the floor or couch or front porch for the past hour, you should buy this. Ali was an undeniable master of touch and tone. Basically he's playing a guitar that you might be able to sell on eBay for $20 yet his tone is pure magic. It's a singular voice in the world of guitar. During the Red & Green years he truly had the high voice that's often favored in various cultures throughout Africa. There are tunes during his middle-aged (and later) years that have a similar sort of mood as some of Hooker's greats from the Chess years. Ali was one of the greats of the 20th Century. Red & Green may be his pinnacle. No sweetening, no fancy studio ambiance, no overdubs in European studios: just an unknown Malian playing instantly hypnotic melodies on a cheap guitar or njarka and singing in a high-tenor nasal-y, reed-y voice, accompanied by a fellow playing a calabash. When Toure's music is stripped to essentials, one realizes where the power of those later albums comes from

Ali Farka Toure - Green (African Blues) (flac 263mb)

01 Sidy Gouro 3:45
02 Okatagouna 4:22
03 Devele Wague 5:59
04 N'Timbara 3:58
05 Zona 7:45
06 Mbaudy 8:52
07 Petenere 4:50
08 L'Exode 5:21

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This 1990 recording contains one of the best African blues tunes ever recorded, and a classic Ali Farka Toure moment. As the electric guitar roars in at the opening, punctured by a darting harmonica line, "Heygana" lays out the roots and branches of the blues in its journey from west Africa to the Americas, and more importantly, back again. Sung in the Songhai language, pushed by a vaguely reggae groove and pulled along by a sometimes idiosyncratic percussion line on a calabash, it pretty well epitomizes what Toure is about. The sound is stripped down, with the guitar and voice working a bare minimum groove. The calabash clicks, a thick stringed ngoni adds some punch, and a few tracks feature Toure on the njarka (fiddle). In addition to Rory McLeod's harmonica, there is one piece with The Chieftains' Seane Keane and Kevin Conneff on fiddle and bodhran (Irish goatskin drum), and a marvelous duet with saxophonist Steve Williamson that adds a little sideways R&B. The River is one of Toure's most straightforward recordings made in the decade after the light of his international fame had first shone. It's happy, melancholy, energetic, sentimental and fervently passionate all at once.

Ali Farka Touré - The River   (flac  362mb)

01 Heygana  5:58
02 Goydiotodam 6:24
03 Ai Bine 6:20
04 Tangambara 5:22
05 Toungere 7:31
06 Jungou 7:23
07 Kenouna 5:02
08 Boyrei 5:22
09 Tamala 8:06
10 Lobo 6:44
11 Instrumental 2:58

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previously

Sunshine Sahara, Sept 07

Ali Farka Toure ft Ry Cooder - Talking Timbuktu ( flac 320mb)

Rhotation 45, Sept 08

Ali Farka Touré & Toumani Diabaté - In The Heart Of The Moon (flac 292mb)

1107 Roots Feb 11

Ali Farka Toure - The Source (92  284mb)

Ali Farka Toure - Niafunke (99  298mb)

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