RhoDeo 1511 Aetix

Hello, the Irish had another party today, Saint Patrick's Day was made an official Christian feast day in the early 17th century. The day commemorates Saint Patrick and the arrival of Christianity in Ireland, and celebrates the heritage and culture of the Irish in general Celebrations generally involve public parades and festivals, céilithe, and the wearing of green attire or shamrocks. The Irish have seen the nasty side of the nuns and priests (all going straight to hell) and concentrate once again on their pagan joys (That's straight to heaven boys and girls..)

Today in the spotlight an innovator of punk music and fashion. He was one of the first to spike his hair and wear torn, cut and drawn-on shirts, often held together with safety pins. Malcolm McLaren, manager of the Sex Pistols, has credited him as a source of inspiration for the Sex Pistols' look and attitude, as well as the safety-pin and graphics accessorized clothing that McLaren sold in his London shop, Sex. Hell was in several important, early punk bands, including Neon Boys, Television, and The Heartbreakers, after which he formed Richard Hell & The Voidoids. Their 1977 album Blank Generation influenced many other punk bands. Its title song was named "One of the 500 Songs That Shaped Rock" Time to check him out and ...N'Joy

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Richard Hell was one of the original punk rockers to emerge from New York City in the early to mid-'70s, and is often pointed to as a major influence by other subsequent punk bands -- whether it be with his music, poetry, or even fashion sense (he was one of the first punks to wear ripped clothing). Born Richard Meyers in October 2, 1949, and raised in Lexington, KY, Meyers discovered rock & roll via the usual suspects (Rolling Stones, etc.), and befriended another local music fan, Tom Miller. Miller and Meyers embarked on an unsuccessful hitchhiking journey down south before being picked up by police and sent back to their families, but the taste of life on the road was enough for Meyers to realize that he wanted to relocate to New York. During the late '60s/early '70s, Meyers worked on original poetry and picked up the bass guitar, as he was soon joined in New York by his old pal Miller (who had become quite an accomplished guitarist by this time).

The pair promptly changed their names (Miller -- Verlaine, Meyers -- Hell) and formed the Neon Boys in 1974, changing their name shortly thereafter to Television. Influenced by such proto-punks as the Velvet Underground and the New York Dolls, the new group (which also includes second guitarist Richard Lloyd and drummer Billy Ficca) began playing regularly in the downtown Bowery area of N.Y.C., and slowly built a following playing regularly at places like CBGB's. Along with Blondie, Talking Heads, Patti Smith, and Ramones, Television lent a major hand in putting New York's punk scene on the map, but Hell grew frustrated with his role in the group (the group's leader was unmistakably Verlaine, while few of Hell's compositions were used) and left in 1975. Hell wasn't band-less for long -- it was right at this time that Johnny Thunders and Jerry Nolan left the New York Dolls, and immediately asked Hell if he was interested in playing bass for their new outfit, the Heartbreakers.

But, like his previous band, it quickly became established that Hell would not be the leader (Thunders was), and despite rave reviews, Hell jumped ship just a few months later. Undeterred, Hell decided to form his own band, Richard Hell & the Voidoids. Putting together a stellar lineup (including one of the genre's finest guitarists, Robert Quine, as well as second guitarist Ivan Julian and drummer Marc Bell). The quartet was an immediate hit with the CBGB's crowd, as Hell was finally able to utilize the backlog of compositions that he had compiled over the past few years. After a self-titled, three-track EP was issued independently in 1976, the group inked a recording contract with Sire.

Their 1977 debut, Blank Generation, has gone on to become one of punk's all-time classics, spawning such standards as the title track and "Love Comes in Spurts," as the band toured the world, including a tumultuous stint opening for the Clash in England. Despite a promising career ahead of them, little was heard from the group subsequently (Hell's substance use around this time may have had something to do with the delay, as well as his dissatisfaction with touring). With most assuming that the group had broken up, Hell decided to revive the Voidoids in 1982, although Hell and Quine were the only members remaining from their previous incarnation. The resulting album, Destiny Street, was another exceptional set of punk-pop, spawning another quirky classic with "The Kid With the Replaceable Head." Yet once again, the group failed to follow the record-tour-record-tour pattern, as the Voidoids sunk from sight (although Quine around this time was doing double duty -- lending his six-string talents to Lou Reed's solo band, including the albums The Blue Mask, Legendary Hearts, and New Sensations).

Hell kept himself busy in the '80s with his poetry and bit parts in movies, his best-known role being Madonna's boyfriend in 1985's Desperately Seeking Susan, while a 14-track collection of Voidoids outtakes and live material, R.I.P., was issued on the ROIR label (another collection, this one a set of live tracks, followed a few years later, titled Funhunt). Just as it appeared as though Hell had turned his back on music for good, he reappeared in 1992 as part of the group Dim Stars (which featured Sonic Youth's Thurston Moore and Steve Shelley, as well as Gumball's Don Fleming, and, once again, Robert Quine on guitar), issuing a self-titled release the same year. The group proved to be a nonpermanent project, however, as the '90s saw several archival releases that featured Hell circa the '70s -- the Heartbreakers' What Goes Around and Live at Mothers, plus a CD single on the U.K. label Overground which featured a few rare tracks from the Neon Boys.

Hell has authored several books over the years, including such titles as Wanna Go Out? (a collection of poems collaborated on with Verlaine), I Was a Spiral on the Floor, Artifact, and Across the Years, plus the short novel The Voidoid. Hell has also served as editor for New York literary magazine CUZ for the Poetry Project at St. Mark's Church, and, in 1996, issued his first full-length novel, Go Now (which was also released as a spoken word CD under the same name, with Robert Quine laying down some splendid noisy licks under the text). Hell and the former Voidoids were interviewed around this time for the excellent book Please Kill Me: The Uncensored Oral History of Punk, which offered interesting insight into Hell's early years. In the late '90s, Hell began doing readings at clubs, universities, bookstores, plus other venues across the U.S. and also Europe, and also found the time to put together a gallery show of his drawings at the Rupert Goldsworthy Gallery in New York. In 2000, Hell reunited the original lineup of the Voidoids to record a new composition, "Oh," which initially appeared as a free download on a website, before being included on the 2001 compilation Beyond Cyberpunk.

He released a collection of short pieces (poems, essays and drawings) called Hot and Cold in 2001. His second novel, Godlike, was published in 2005 by Akashic Books as part of Dennis Cooper's Little House on the Bowery Series. All three books were highly praised[citation needed]. Also published in 2005 was Rabbit Duck, a book of 13 poems written in collaboration with David Shapiro. Hell's nonfiction has been widely anthologized as well, including a number of appearances in "best music writing collections". Hell's archive of his manuscripts, tapes, correspondence (written and email), journals, and other documents of his life was purchased for $50,000 by New York University's Fales Library in 2003.

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Richard Hell was one of the first men on the scene when punk rock first began to emerge in New York City as an early member of both Television and the Heartbreakers (he left both groups before they could record), but his own version of punk wasn't much like anyone else's, and while Hell's debut album, Blank Generation, remains one of the most powerful to come from punk's first wave, anyone expecting a Ramones/Dead Boys-style frontal assault from this set had better readjust their expectations. "Love Comes in Spurts" and "Liar's Beware" proved the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that; guitarists Robert Quine and Ivan Julian bounced sharp, edgy patterns off each other that were more about psychological tension than brute force (though Quine's solos suggest a fragile grace beneath the surface of their neo-Beefheart chaos), and while most punk nihilism was of the simplistic "Everything Sucks" variety, Hell was (with the exception of Patti Smith) the most literate and consciously poetic figure in the New York punk scene. While there's little on the album that's friendly or life-affirming, there's a crackling intelligence to songs like "New Pleasure," "Betrayal Takes Two," and "Another World" that confirmed Hell has a truly unique lyrical voice, at once supremely self-confident and dismissive of nearly everything around him (sometimes including himself). Brittle and troubling, but brimming with ideas and musical intelligence, Blank Generation was groundbreaking punk rock that followed no one's template, and today it sounds just as fresh -- and nearly as abrasive -- as it did when it first hit the racks.

Richard Hell and The Voidoids - Blank Generation  (flac 257mb)

01 Love Comes In Spurts 2:00
02 Liars Beware 2:50
03 New Pleasure 1:53
04 Betrayal Takes Two 3:34
05 Down At The Rock And Roll Club (Alternate Version) 4:04
06 Who Says? 2:06
07 Blank Generation 2:42
08 Walking On The Water 2:15
09 The Plan 3:53
10 Another World 8:11
11 I'm Your Man 2:53
12 All The Way 3:23

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No one ever accused Richard Hell of being the hardest working man in rock & roll, and not only did it take him five years to get around to making a follow-up to his first album, the remarkable Blank Generation, but he didn't even bother to come up with a full LP's worth of new material for 1982's Destiny Street; the opening song, "The Kid With the Replaceable Head," first appeared as a B-side to a single in 1979, and three of the album's ten tunes are covers, which hardly speaks well of his productivity. But if it's hard to imagine why it took five years to come up with Destiny Street, there's little arguing that Hell's second album is nearly as strong as his first. While the covers might seem like padding, the interpretations of the Kinks' "You Gotta Move" and Them's "I Can Only Give You Everything" are wildly passionate and overflowing with ideas and energy, and Hell's dour, jagged take on Dylan's "Going, Going, Gone" nearly surpasses the original. Robert Quine's guitar work on Blank Generation staked his claim as one of the most interesting and intelligent guitarists to emerge from the New York underground scene, and if anything, he was in even stronger form on Destiny Street, while new members Naux (on guitar) and Fred Maher (on drums) give him all the support he needs. And though Blank Generation made it clear Hell was among the brainiest members of punk's first graduating class, the handful of new originals here show he'd actually grown since his debut; on "Downtown at Dawn" and "Ignore That Door," Hell subtly but implicitly rejects the dead end of night-life decadence, "Time" is a meditation on mortality that's unexpectedly compassionate, and the title cut proved Hell had not only begun to recognize his own faults, but had even learned to laugh at them. Destiny Street sounds looser and more spontaneous than Hell's debut, but it's just as smart and every bit as powerful, and it's a more than worthy follow-up.

Richard Hell and The Voidoids - Destiny Street Repaired  (flac 292mb)

01 The Kid With The Replaceable Head 2:17
02 I Gotta Move 2:39
03 Going Going Gone 2:36
04 Lowest Common Dominator 2:27
05 Downtown At Dawn 4:28
06 Time 3:15
07 I Can Only Give You Everything 4:00
08 Ignore That Door 3:07
09 Staring In Her Eyes 4:19
10 Destiny Street 7:13
Bonus Tracks
11 Smitten 2:10
12 Funhunt 3:16

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Richard Hell has produced a rather small body of work as a musician -- two albums as a frontman -- Blank Generation and Destiny Street -- and one in collaboration with a handful of downtown-New York all-stars, released under the handle Dim Stars. But the work casts a very long shadow; Hell has more than earned his reputation as one of the groundbreaking figures of the New York new wave/punk scene, not just for being there at the right place and time but for creating some powerful and startling records with a handful of gifted collaborators (most significantly, guitarist Robert Quine), and the literacy and force of his songwriting has stood the test of time better than many of his peers' work (with the exception of Patti Smith). But for a man with such a small legacy, Richard Hell certainly seems fond of anthologizing his work, and Spurts: The Best of Richard Hell marks the third time he has attempted to sum up his life in rock & roll in one convenient package. Spurts focuses a bit harder on the more recognizable facets of the Hell canon than either 1984's R.I.P. or 2002's expanded and revised version, Time -- since Spurts draws from a variety of sources rather than just unreleased material, it includes the most familiar versions of "Love Comes in Spurts" and "Blank Generation," as well as cuts from Destiny Street (in newly remixed form) and the latter-day Dim Stars sessions. There are a few historically important rarities on-board as well, most notably a live recording of "Blank Generation," from Hell's brief tenure with Television, a radically different version of "Love Comes in Spurts" recorded with the Neon Boys (Hell's pre-Television collaboration with Tom Verlaine), and a one-off, one-song reunion with the original Voidoids from 2001 ("Oh," which stands as a potent reminder of how great that band was). To look at the pieces, this is certainly the most career-inclusive Hell collection of the three, and serves as a vivid testament to his talents. But despite the fact this set gets a ringing endorsement from Hell himself (who compiled it), as a whole it isn't quite as satisfying as his two albums with the Voidoids, and doesn't flow with the same jagged grace as R.I.P. or Time. (Spurts also lacks Time's witty and revealing liner notes, though the enclosed interview with Robert Christgau and Carola Dibbell certainly has its moments). As an introduction to Hell's music, Spurts is an appropriately intelligent, absorbing, and challenging anthology, but no one who is at all intrigued with his work should stop here.

Richard Hell - Spurts (The Richard Hell Story) (flac 431mb)

01 The Neon Boys - Love Comes In Spurts (Preliminary Version) 3:04
02 The Neon Boys - That's All I Know (Right Now) 2:34
03 The Heartbreakers - Chinese Rocks 2:41
04 Richard Hell & The Voidoids - Blank Generation 2:45
05 Richard Hell & The Voidoids - Liars Beware 2:53
06 Richard Hell & The Voidoids - Walking On The Water 2:16
07 Richard Hell & The Voidoids - Love Comes In Spurts 2:03
08 Richard Hell & The Voidoids - The Kid With The Replaceable Head 2:21
09 Richard Hell & The Voidoids - Crack Of Dawn 2:11
10 Richard Hell & The Voidoids - Time 3:05
11 Richard Hell & The Voidoids - Ignore That Door 3:13
12 Richard Hell & The Voidoids - Lowest Common Dominator 2:23
13 Richard Hell & The Voidoids - Downtown At Dawn 4:09
14 Dim Stars - Dim Star Theme 3:39
15 Dim Stars - Baby Huey (Do You Wanna Dance?) 2:33
16 Dim Stars - Monkey 3:38
17 Dim Stars - The Night Is Coming On 3:50
18 Richard Hell & The Voidoids - Oh 4:11
19 Richard Hell - She'll Be Coming (For Dennis Cooper) 4:30
20 Dim Stars - Rip Off 5:41
21 Television - Blank Generation (Live At CBGB's) 2:38

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RhoDeo 1511 Re-Up 4

Hello, I'm surprised most of you regulars are't overloading me with requests for re-ups after all this blog has been running for 8.5 years now

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request as having the same anon print a shopping list here isn't what i had in mind.


That's 26 new updates here

Rhythm & Sound -See Mi Jah (now in flac 315mb)

VA - On-U Sound Crash(Sherwood'sMix) (now in flac 369mb)

Rhythm & Sound - Showcase (now in flac 374mb)

4 x Magazine back in Flac

Wavetrain 3 now 4 in Flac



Jeff Mills - Purpose Maker Compilation back in Flac 379mb

Plastikman, UR and Basic Channel now in Flac



5x Black Dog Back in Flac

Desert Blues 1-Ambiances du Sahara 1,2



4x Talk Talk Back in Flac


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RhoDeo 1511 Empire Strikes Back 01

Hello, so did the F1 race was a bit of a bore 11 cars finished only 15 had started, the expected podium Hamilton, Rosberg, Vettel materialized with Vettel 36 sec adrift. Greenhorn Verstappen's car blew up this when he kept himself out of trouble up to then, he'll get another chance in 2 weeks. Meanwhile it's clear something has to change with F1, i've got a suggestion which will undoubtely result in the best driver and the best car being crowned champion at the end of the season.... The drivers will no longer be connected to a team but will draw the seat in a car for one race, next draw that seat 's no longer availble to the driver. At the end of the season the driver has raced for every team(=2cars) twice. The best cars have enabled their drivers to score the most points. The most versatile driver will likely have won the most points because it's not just about winning the race but scoring points. Surely such a system has been considered but now its needed if F1 wants to keep the public interested...


Tomorrow a new re-up posting, get your request in....


This week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country. Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.

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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

201 Freedom's Winter 25:47


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previously

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Sundaze 1511

Hello, the F1 season starts again this weekend looks like business as usual with the Merc drivers on pole but hey there's plenty to enjoy behind them some hot new drivers Sainz and Verstappen (who lacks a standard drivers licence !) the Red Bull starters team outgunned the senior team during qualification today.


Today's Sundazers are pointed to the east, to Russia, Marat Shibaev (a.k.a.  Martin Schulte) hails from Kazan in Tatarstan (Kazan lies at the confluence of the Volga and Kazanka Rivers in European Russia, pop. 1million +) and speaks the language of Basic Channel, Clicks n' Cuts and Glitch, enhanced with dub - hence the moniker for the genre he operates in - dub-techno. N'joy

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Marat Shibaev was born in Kazan in 7th April 1988. From the very beginning music took one of the most important places in his life. In year 2000 , age twelve he caught the electronic sound 'virus' . In two years, under the resonant name of Martin Schulte he started to write electronic music and develloped DJ skills. He was trying to experiment with sound, seeking his own direction and trying to be different from others.

He started releasing in 2006 with an MP3 mini album Close Your Eyes And Listen celebtating his 18th birthday in a way, the end of the year he released Enigma which did contain some remixes by german dj's, it was well recieved, yes he quickly reached out to the west although his hometown is ancient thus contains plenty of world heritage sites, beautiful place by the looks of it. Plenty to inspire an artist. In 2007 after his first mixtape release it was time for his first cd Sunset on the Pongo label In 2008 Martin released a live show he did Live Act At Bort 42 05.12.2008 (Rostov On Don Russia). Meanwhile his activities got noticed in Japan by A& R manager Nao Sugimoto who linked him to the label that still releases his work, Lantarn a sublabel from Plop, based in Tokyo, established in May 2008 organized by Mondii (= Nao Sugimoto) . Schulz's Depth Of Soul ‎being the second release on the new label it fell on fertile grounds not just in Japan but in the west as well. A Year later a 2nd release for Lantern , Odysseia came out, also in 2009 the label where he released Enigma, Sinergy Networks asked for some more and got another mp3 album , On The Moon with the same set-up 4 remixes at the end. All this activity had Rarenoise Records interested to release some of his work and up came Silent Stars another extremely well recieved album. Still Martin stayed at Lantern for the 2011 release of Treasure.  In 2012 Lantren released  Slow Beauty another 'hit'  from Russian young prodigy Martin Schulz. In 2013 he was invited to Japan and visit his label the trip resulted in another album (obviously)  Seeing Tokyo released under his real name Marat Shibaev testament to the great time and all the positive emotions he received from all the Japanese friends he met there

Every winter is a season to enjoy Russia's dub techno producer Martin Shulte's new album, and this year is also not an exception. Following his "Depth of Soul", "Odysseia", "Treasure" and "Slow Beauty" album (most of them released annually during winter time) comes "Forest" his latest album. He took the concept from forest, as that's the place where he can set his mind free from everything, not to mention forest was always around him from his childhood. Maybe that's why this album sounds somewhat relaxing, while his music production is sharp and delicate as ever. Check out this deep green dub techno.

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Deep, immersive dub-inspired techno from Martin Schulte on the Lantern label. While the world is in no short supply of material in this sub-genre, Schulte undoubtedly makes a valid and noteworthy contribution, not only carving out a successful and inventive array of beats but caking texture and ambient layers into the fabric of the music. One particular standout comes towards the end of the record: 'Solar Eclipse' bristles with exquisite sound designs and strange, stormy ingredients. It's a similar story elsewhere on the likes of 'Mutation' or 'Supper'. In addition to all the more skeletal, functional elements there's so much more information being bandied about here, raising associations between Schulte's work and the more Gas-influenced end of the techno universe.

Martin Schulte - Depth Of Soul  (flac 306mb)

01 Big City Street 6:21
02 Countryside 7:20
03 Glitchtech 5:37
04 Forest 6:00
05 Mutation 7:35
06 Supper 5:48
07 Tunnel 6:20
08 Solar Eclipse 7:07
09 Gulf Stream 8:26

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Odysseia is a travel on the mysterious and novel worlds. The musician and the author of an album with confidence shows the way to the listener. Following up his previous Lantern album, Depth Of Soul, Martin Schulte continues to pursue a style of dub-influenced, Germanic minimal techno that owes much to those perennial staples of the movement: Chain Reaction and Basic Channel, with a further nod in the direction of Wolfgang Voigt's GAS. Even Shibaev's adopted moniker seems like the acknowledgment of a Teutonic influence. Of course, this sort of material has been given a thorough airing by the subsequent generation of techno producers, with notable artists like Rod Modell offering their own updated version of the aesthetic, but undeniably Shibaev has a comanding knack for this music. From the deep, glowing chords of 'Abyss' onwards he absolutely nails his sound, offering vast, immersive sound fields whilst maintaining a keen sense of motion thanks to some tastefully submerged beat programming. Exceeding the seventy-minute mark Odysseia might seem like an imposing, monolithic prospect, yet it's remarkably more-ish stuff. As to a technical part of an album, Marat uses a simple and effective way of a writing of music, has the qualitative approach in processing of sounds and architecture of tracks. All melodies are unique - you won't hear anything similar in these compositions.

Martin Schulte - Odysseia  (flac  321mb)

01 Abyss 6:42
02 Polaris 6:08
03 Gravitation 5:30
04 Immersing 6:20
05 Researches Of Depths 6:03
06 Solar System 5:50
07 Polar Night 6:34
08 Mermaid 6:50
09 Nautical 6:34
10 Spirits 7:12
11 Reverberation 7:17

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Deep dub-techno rhythms, dubby tech-house grooves, play along with chilled whispering minimal ambient across this excellent album. Both dubby-rhythms and minimal-ambient are soundly detailed and well thought-out bringing moments of deep head nodding groves alongside more quiet chilled-out moments. The whispery ambient calmness absorbs you within its cold wintry like atmospheres across beatless airy-synth and ghostly drones; while the more rhythmic sounding explorations come alive with a mixture of wonderful classic sounds of dub-techno using: basslines, delays, beats, echoes, and techno minimalism - which at times blend sweeping housey grooves along with the dub-techno - its all here! Tracks use a good balance between rhythm and ambience that manage to maintain an attention holding flow with great effect across rhythmic and non-rhythmic moments. Overall a great album and artist esp in the field combination across dub-techno, techno-house minimalism, and ambient.

Martin Schulte - Treasure  (flac  457mb)

01 Frosty Morning 6:40
02 Dancing Robots 5:28
03 Diving 6:16
04 When Stars Fall 6:57
05 Walk 5:00
06 Same Days 6:24
07 Dancing Shadows 6:27
08 Flight 6:56
09 September Forest 7:17
10 Quiet Street 6:20
11 Ritual 5:09
12 City Night 6:59

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RhoDeo 1510 Grooves

Hello, so once again South African surgeons manage a world scoop (in 67 Barnard performed the first heart transplant) another for some just as important part of the human anatomy has now seen it's first successful transplant...... Expect rich old white man with a limitless supply of viagra order themselves a kingsize black model to work over their blond trophy wives and whatever comes along...yes soon you can have that dick you always wanted as long as you cough up the money. But then these creeps have no idea what to do with all the money they extract from the economy..



Today....They were once considered "one of the hottest, most durable, and potentially most explosive of all R&B ensembles". Their early works including "A Fool in Love", "It's Gonna Work Out Fine", "I Idolize You" and "River Deep - Mountain High" became high points in the development of soul music while their later works were noted for wildly interpretive re-arrangements of rock songs such as "I Want to Take You Higher" and "Proud Mary", the latter song for which they won a Grammy Award. They're also known for their often-ribald live performances, which were only matched by that of James Brown and the Famous Flames in terms of musical spectacle.  .....N'joy

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By 1958, Ike Turner and his band, the Kings of Rhythm was one of the most popular live performing attractions to the St. Louis and neighboring East St. Louis club scene. Ike had moved there from Memphis in 1954 after work as a talent scout for the Modern and RPM labels. Around this time, a young nurse's assistant named Anna Mae Bullock began frequenting the nightclubs in both St. Louis and East St. Louis with her sister Alline and several friends. One night, Bullock saw Ike and the Kings of Rhythm performing at the East St. Louis club, Club Manhattan. She later stated that the band's performance put her "in a trance". Anna Mae begged Ike to let her sing with the band, though Ike refused, since Turner had employed male singers in his show. During a band intermission in Club Manhattan in 1958, Anna was given a microphone from the band's drummer Gene Washington. Once she started singing, Ike rose from his piano and asked Ann if she knew more songs.

Eventually Bullock would sing with the band and later became a featured guest vocalist, going by the name "Little Ann". Little Ann made her recording debut as a background vocalist to Ike's song "Box Top", which became a regional single on Tune Town Records. During this period, Ike trained Ann on voice control and performance. In 1960, singer Art Lassiter was chosen to front the Kings of Rhythm. Ike had written a song for Lassiter he called "A Fool in Love". When Lassiter did not show up and Ike had already booked expensive studio time, he allowed "Little Ann" to sing the song as a "dummy track" for Lassiter. The song made its way through regional radio stations in St. Louis and impressed one radio disk jockey so much that he told Ike to send the record to Sue Records president Juggy Murray. 1960-1965

Upon hearing the track, an impressed Murray bought the musical rights to the song and gave Ike a $20,000 advance for it, convincing Ike to keep Ann's voice on the track. Ike renamed the song's backing female trio "The Ikettes" and also gave "Little Ann" the name "Tina Turner" to rhyme with his favorite television character, Sheena the Queen of the Jungle. He also gave her the name to prevent her from running off with it. In case Ann left, he could give another woman the name of Tina Turner. He renamed the entire outfit as "The Ike and Tina Turner Revue". "A Fool in Love" became a hit after its release in the late spring of 1960, reaching #2 R&B and #27 on the Billboard Hot 100, selling over a million copies. It was described by Kurt Loder years later in Tina's autobiography I, Tina as "the blackest record to ever creep the white pop charts since Ray Charles' 'What'd I Say' a year before". After several successive R&B songs such as "I Idolize You", "You Should've Treated Me Right", "Poor Fool" and "Tra La La", the duo reached the top 20 on the pop charts with "It's Gonna Work Out Fine", which became the duo's second million-selling single and also garnered them their first Grammy Award nomination.

It was around this time that the personal friendship between Ike and Tina changed to a sexual one. Ike later described that his first sexual encounter with Tina "felt like I had screwed my sister or somethin'. I mean I had hoped to die... we really were like brother and sister. It wasn't just her voice... Anyway me and Ann were tight." As Ike and Tina's relationship continued, Ike's desperation for another hit increased. Tina would claim Ike hit her with a shoe stretcher after she complained about monetary issues and her own misgivings about continuing their offstage partnership. According to Tina, they would eventually marry in 1962 in Tijuana, though that account was often disputed by Ike.

The entire Revue relocated from East St. Louis to Los Angeles in 1960. Gigging for 300 days a year to make up for a lack of hit records put a strain on Tina. In 1964, after months of tense business relations, Ike Turner ended his contract with Juggy Murray and Sue Records. He signed with the Kent label and a year later signed with Warner Bros. Records and its subsidiary Loma Records, where they met Bob Krasnow. Krasnow would begin managing them in 1965. 1965-1969: The Ike & Tina Turner Revue: Around 1965, Tina Turner went on TV as a solo act promoting Ike & Tina's works on shows such as American Bandstand and Shindig! Ike and Tina and their Revue appeared in the concert film The Big T.N.T. Show. In between their deals with Kent, Warner and Loma, Ike and Tina would record for seven other labels between 1964 and 1969. It's been suggested that Ike's limited facility in the studio failed to present a memorable single for the duo. With Krasnow, however, that changed. Hit producer Phil Spector soon called Krasnow asking him if he could produce for Ike and Tina, to which Krasnow agreed. Spector forked over $25,000 for the right to record with them, with the intent on creating his "biggest hit". Tina recorded the Ellie Greenwich/Jeff Barry composition "River Deep - Mountain High", which failed to chart successfully in the United States reaching only #88. European label executives for Spector's label Philles, to which Ike and Tina were signed, released the song overseas. The song's success particularly in the United Kingdom, where it peaked at #3, led an angry Spector to print in ads, "Benedict Arnold was quite a guy!" in regards to the United States' indifferent reaction to the song.

Later that year, The Rolling Stones offered Ike and Tina a chance to be one of their opening acts on their fall tour in the United Kingdom, which they accepted. The duo took the opportunity afterwards to book themselves tours all over Europe and Australia where they attracted audiences. The audiences' appreciation of the band's sound stunned Ike Turner, who noted that "there wasn't anything like my show." Following this, the band returned to the United States in demand despite not having a big hit. By 1968, they were performing and headlining in Las Vegas. That year, they signed with Blue Thumb Records and released the first of two albums with them, the first of which, Outta Season, included their modest hit cover of "I've Been Loving You Too Long". The second Blue Thumb release, The Hunter, followed in 1969, and included their modest hit cover of the Albert King hit as well as an original composition titled "Bold Soul Sister", resulting in Tina receiving her first Grammy nomination as a solo artist.

It was also during this time that Ike Turner, who had once been teetotal and drug-free, turned to cocaine after being introduced the drug by, he says, "two famous Las Vegas headliners". In 1968, after another violent confrontation with Ike, Tina bought 50 Valiums and swallowed them all in an attempt to end her life before a show in Los Angeles; Tina eventually recovered. 1970-1975: Mainstream success: A second opening spot on The Rolling Stones' American tour in November 1969 made Ike and Tina a hot item. In 1970, after their deals with Blue Thumb and Minit ended, they signed with Liberty Records and released the album, Come Together. The title track, a cover of the famed Beatles song, charted, as did their cover of Sly and the Family Stone's "I Want to Take You Higher", which became their first top 40 pop song in eight years, peaking at #25, placing several spots higher than Sly's original had done months earlier. The album would sell a quarter of a million copies.

That same year, Ike and Tina appeared on The Ed Sullivan Show. Their successful records and their increasing popularity with mainstream audiences increased their nightly fee, going from $1,000 a night to $5,000 a night. Late in 1970, while on break from touring in Florida, the band recorded their cover of Creedence Clearwater Revival's "Proud Mary". The song was released the following January and became the duo's best-selling single to date, reaching #4 on the Billboard Hot 100 and selling well over a million copies, later winning them a Grammy Award for Best R&B Vocal Performance by a Duo or Group. The album which featured the song, Workin' Together, was released shortly afterwards and benefited from the success of "Proud Mary" peaking at number 25 of the albums chart.

Also during the year, the band put out the live album Live at Carnegie Hall: What You Hear Is What You Get, which sold half a million copies and gave them their first gold-selling album. Late in 1971, the band signed a five-year deal with a Liberty subsidiary, United Artists, who released the band's first of ten albums with the label, Nuff Said. In 1972, Ike Turner officially opened his own recording studio which he named Bolic Sound. That year, the albums Feel Good and Let Me Touch Your Mind were released. Neither album produced a hit single. In 1973 Tina penned the autobiographical song "Nutbush City Limits". The song reached #22 on the Hot 100 and reached #4 in the UK.

In 1974, the duo released two more albums including the Grammy-nominated The Gospel According to Ike & Tina and the pop release Sweet Rhode Island Red, which included one of their final chart placements, "Sexy Ida (Pt. 1)". In 1975, Ike and Tina had their final charted single together, "Baby Get It On". The song is notable for the inclusion of Ike Turner's own lead vocal. In addition to group recordings, both Ike and Tina released solo recordings around this time with Ike also releasing offshoot project albums with his spinoff band The Family Vibes (which he had the name changed from The Kings of Rhythm), releasing three albums with the band between 1972 and 1974. When the band was still called the Kings of Rhythm, the band recorded the album A Black Man's Soul, which was mostly an instrumental album, except for one track in which Tina Turner participated in the song, "Foolin' Around".

Tina released her first solo album Tina Turns the Country On, a collection of country standards produced under a modern pop/soul styling. Her performance on the album led to another solo Grammy nomination. In 1975, Turner released her second solo album Acid Queen, which was released following Tina's critically acclaimed performance on the musical film version of The Who's Tommy. 1976-1978: Decline and divorce: By 1976, Ike Turner's addiction to cocaine was so strong that he had burned a hole in his nasal septum, leading to nosebleeds, from which he would relieve himself by using more cocaine. During this time, Turner was spending more time at Bolic Sound than he was with Tina and their children at their home in Inglewood.

By this point, Tina Turner had looked inward to alleviate her own problems and soon found solace after a friend introduced her to the teachings of Buddhism. In July 1976, Ike intended on signing a five-year contract with a new record company, Cream Records, for a reported yearly amount of $150,000. The contract had a key person clause, meaning Ike would have to sign the contract in four days, keeping Tina tied to Ike for five more years. On July 2, The Ike and Tina Turner Revue traveled by plane from Los Angeles to Dallas where they were to perform at the Dallas Statler Hilton. While on the airplane, the two became embroiled in an altercation, which led to a physical fight in their limousine. Ike's account was that Tina had refused to help him with a nosebleed. Ike and Tina both state that Ike had been up for five days straight on a cocaine binge. Tina's account was that Ike had become annoyed that she was eating chocolates while wearing a white suit and Ike had slapped her. Tina recalled she began fighting him back, scratching him and kicking him. Ike Turner alleged to a musician associate friend that the two "went around like prizefighters for awhile". Both Ike and Tina were bleeding by the time they arrived at the hotel. After going up to their suite, Ike retired to a sofa. Once Ike had fallen asleep, Tina grabbed a few toiletries, covered herself and escaped from the back of the hotel, running across an active freeway before stopping at a local Ramada Inn hotel. She claimed that she later hid at several friends' homes for a time.

On July 27, 1976, Tina Turner filed for divorce on the grounds of irreconcilable differences. Ike and Tina fought for a year in divorce court arguing over money and property. By late 1977, Tina decided to stop her pursuit of any financial earnings including an apartment complex in Anaheim and another apartment, stating to her lawyer that her freedom "was more important". Tina also agreed to retain only the use of her stage name. The divorce proceedings ended in November 1977 and was finalized March 1978. She also agreed to pay a significant IRS lien.

After Ike & Tina: Both Ike and Tina experienced a lot of career struggles and setbacks following the split-up. But while Tina managed to make a living as a stage performer, Ike found himself ill-equipped to perform due to his continued addiction to cocaine. Tina managed to succeed, using the concert successes from her opening gigs with Rod Stewart and The Rolling Stones and several performances at New York's Ritz Theatre to parlay a singles-only, then three-album deal with Capitol Records. The release and subsequent success of Private Dancer resulted in what Ebony magazine later called "an amazing comeback". Tina's post-comeback career consisted of top-selling albums and record breaking concert tours. In 1988, Tina made history by performing in front of the largest paying audience (approximately 184,000) to see a solo performer at Maracanã Stadium in Rio de Janeiro, Brazil, earning her a spot on the Guinness World Records.

Following the end of her Twenty Four Seven Tour in 2000, Turner made another Guinness World Record by selling more concert tickets than any solo performer in history at the time. Tina's accounts on her life with Ike Turner were later documented in the autobiography, I, Tina, released in 1986. In 1988, both Tina and Ike signed away their rights to have their lives dramatized in a biopic based off Tina's book. Ike Turner would later claim that he signed against his will since he was heavily addicted to crack at the time and accepted a $50,000 payment, waiving the right to sue the film company for their portrayal of him in the film. The film What's Love Got to Do with It helped to damage Turner's career in the 1990s.

Due to the film and the book, Ike's name became synonymous with domestic violence, overshadowing his contributions to music. Ike later admitted his first post-Tina years was a period in which his behavior had grown increasingly erratic. Turner's Bolic Sound studios burned to the ground in January 1981 on the day he was set to present it for sale to investors. Turner had failed to pay taxes, which led to the studio being put into foreclosure. In 1982, he was alleged to have shot a 49-year-old newspaper delivery man who he accused of assaulting his wife, Ann Thomas. He was later found not guilty of the charge of assault. Ike Turner would mostly be convicted of drug offenses, culminating in a four-year sentence for cocaine possession in 1990. Sent to California Men's Colony, San Luis Obispo, he completed 18 months of his prison sentence before being released from parole in September 1991. Following his release, Ike began working on a comeback. In 1993, he received royaties from Salt-n-Pepa's sample of his "I'm Blue" song for their hit single "Shoop", and responded by recording a duet version with Billy Rogers. After contributing to Joe Louis Walker' Great Guitars, he toured with the blues musician and was paid $5,000 a night for six songs.

Following this, he revived the Kings of Rhythm in 2001 and released the "comeback" album, Here & Now, which won Turner a Grammy nomination. Five years later, his album, Risin' with the Blues, won him his second Grammy Award, his first as a solo artist. On December 12, 2007, Ike Turner was found dead at 11:38 am at his home in San Marcos, California. He was 76. His death was found by the San Diego County Medical Examiner's Office to be from a cocaine overdose, exacerbated by hypertensive cardiovascular disease and emphysema. Turner had been clean for over a decade prior but relapsed in 2004 after coming to the aid of a drug-addicted friend and Turner returned to cocaine after he "smelt the fumes".

Following news of her former partner's death, Tina Turner's personal spokeswoman released a statement that because the couple hadn't spoken to each other "in over 30 years" Tina declined to make a public comment. Turner's funeral was held at the City of Refuge Church in Gardena, California. In February 2008, little over a month after Ike was buried, Tina came out of retirement, returning to perform on stage at the Grammy Awards alongside Beyoncé. Later that October at age 68, she launched a 95-date concert tour celebrating her 50th anniversary in show business. The tour continued until May 2009, ending in England.

In October 2007, just two months before Ike's death, a three-disc compilation, The Ike & Tina Turner Story: 1960-1975, was released by Time-Life Music. Ike & Tina Turner were inducted to the Rock & Roll Hall of Fame in 1991; Ike Turner was still incarcerated and Tina, still not wanting any ties to Ike whatsoever, did not attend, but stated she was working on an album. Phil Spector accepted their induction on the former duo's behalf. The group was nominated three times for Grammy Awards. They were nominated and won Best R&B Vocal Performance by a Group in 1971 for "Proud Mary" at the 14th Annual Grammy Awards. Tina herself received a nomination for Best Female R&B Vocal Performance for the 1969 song "Bold Soul Sister". The group also received a nomination for their 1961 recording "It's Gonna Work Out Fine". The group received a NAACP Image Award. Both Ike and Tina each received stars and were inducted individually onto the St. Louis Walk of Fame. Two of their songs, "River Deep - Mountain High" and "Proud Mary", were inducted to the Grammy Hall of Fame in 1999 and 2003, respectively. Tina received a solo star on the Hollywood Walk of Fame in 1986.


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Released early in 1971, a few months after Come Together, their first album for Liberty Records, Workin' Together was the first genuine hit album Ike & Tina had in years; actually, it was their biggest ever, working its way into Billboard's Top 25 and spending 38 weeks on the charts. They never had a bigger hit (the closest was their Blue Thumb release, Outta Season, which peaked at 91), and, in many ways, they didn't make a better album. After all, their classic '60s sides were just that -- sides of a single, not an album. Even though it doesn't boast the sustained vision of such contemporaries as, say, Marvin Gaye and Al Green, Workin' Together feels like a proper album, where many of the buried album tracks are as strong as the singles. Like its predecessor, it relies a bit too much on contemporary covers, which isn't bad when it's the perennial "Proud Mary," since it deftly reinterprets the original, but readings of the Beatles' "Get Back" and "Let It Be," while not bad, are a little bit too pedestrian. Fortunately, they're entirely listenable and they're the only slow moments, outweighed by songs that crackle with style and passion. Nowhere is this truer than on the opening title track, a mid-tempo groover (written by Eki Renrut, Ike's brilliant inverted alias) powered by a soulful chorus and a guitar line that plays like a mutated version of Dylan's "I Want You" riff. Then, there's the terrific Stax/Volt stomper "(Long As I Can) Get You When I Want You," possibly the highlight on the record. Though they cut a couple of classics over the next few years, most notably "Nutbush City Limits," the duo never topped this, possibly the best proper album they ever cut.

Ike & Tina Turner - Workin' Together (flac 265mb)

01 Workin' Together 3:36
02 (As Long As I Can) Get You When I Want You 2:25
03 Get Back 3:15
04 The Way You Love Me 2:38
05 You Can Have It 3:28
06 Game Of Love 2:47
07 Funkier Than A Mosquita's Tweeter 2:40
08 Ohh Poo Pah Doo 3:35
09 Proud Mary 4:48
10 Goodbye, So Long 1:56
11 Let It Be 3:15

Ike & Tina Turner - Workin' Together  (ogg 82mb)

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Feel Good, not Superfly, is the sound of early-'70s pimping -- even when the tempo slows down, which happens rarely, it's for a slow blues grind, not a ballad, and songs like Tina's "Kay Got Laid (Joe Got Paid)" make no apologies for mythologizing pimps. This results in a supremely sleazy, utterly addictive record, one that's relentless in its rhythms and fearless in its funk as Ike lays down nasty rock & roll guitar -- check his solos on "Feel Good," where he's as elastic as rubber -- and Tina tears it up with pure, unbridled passion. Feel Good is quintessentially '70s -- the fuzztoned funk practically conjures up platform shoes and mile-wide collars -- but it doesn't belong to any one sound, it casually draws from Southern soul, James Brown funk, black pride, Superfly style and juke joint R&B, a sound that is uniquely identified with Ike & Tina. And while this contains no flat-out classics like "Nutbush City Limits" or "Proud Mary," as an album Feel Good undoubtedly ranks among their very best: it's a non-stop party.

Ike & Tina - Feel Good  (flac  218mb)

01 Chopper 2:36
02 Kay Got Laid (Joe Got Paid) 2:58
03 Feel Good 3:25
04 I Like It 1:58
05 If You Can Hully Gully (I Can Hully Gully Too) 3:30
06 Black Coffee 2:42
07 She Came In Through The Bathroom Window 2:32
08 If I Knew Then (What I Know Now) 2:47
09 You Better Think Of Something 3:20
10 Bolic 2:28
11 Help Him 3:38
12 I Love Baby 2:20
13 The Way You Love Me 2:38

Ike & Tina - Feel Good (ogg  88mb)

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A nicely rootsy set from the team of Ike & Tina Turner – an album that's almost more "down home" than any of the records made by the pair in their roots! The style here is that "back to the country" sound that was favored both with mainstream rock and soul-revival artists of the time – kind of a rock approach that's heavy on guitars, recorded with some redneck undertones and the usual all-soul vocals you'd expect from Tina. Their grammy-winning recordings for united artists at the time culminated in the 1973 international hit single nutbush city limits, still one of the greatest disco dance floor fillers of all time. " "Nutbush City Limits" is a semi-autobiographical funk and soul song written and originally performed by Tina Turner in which she commemorates her rural hometown of Nutbush, Tennessee. Released June 1973, shortly before her separation from then-husband and musical partner Ike Turner, "Nutbush City Limits" was the last hit single the duo would produce together. In the years since, "Nutbush City Limits" has been covered by a number of other artists

Ike & Tina Turner - Nutbush City Limits  (flac  243mb)

01 Nutbush City Limits (Ext. Disco Version) 5:39
02 Make Me Over 3:05
03 Drift Away 3:20
04 That's My Purpose 4:38
05 Fancy Annie 2:20
06 River Deep, Mountain High 4:02
07 Get It Out Of Your Mind 3:20
08 Daily Bread 2:45
09 You Are My Sunshine 3:22
10 Club Manhattan 2:50
11 Nutbush City Limits 2:55
12 I Can See for Miles 2:50

Ike & Tina Turner - Nutbush City Limits (ogg  97mb)

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RhoDeo 1510 Goldy Rhox 200

Hello, tonight i watched Champions league football, an intimidated-corrupted referee red carded the starplayer of PSG within 30 minutes for an at best yellow card offence, "the victim" showed his theatrical ambitions but then what's in a name, Oscar anyway he clearly had no problems during the rest of the game. Chelsea showed its usual coward football even with a man more on the homepitch,  a miskick in the penalty area set up the chelsea goal 10 min before the end, but PSG was in no mood to surrender and equalized 5 min later. Extra time and the referee was reminded who should win and gave Chelsea a cheap penalty, still PSG refused to surrender and 6 minutes from the end they scored with a wonderfull header. Exit Mourinho and despite the fact Chelsea leads the premier league the anti-football coward should be sacked by Abramovich.

Meanwhile for those that read the last 2 Aetix posts the mystery description should be easy to decode...

Today the 200th post of Goldy Rhox, classic pop rock. Todays artists in the blacklight are an American hard rock band formed in New York City in 1971. Along with the Velvet Underground and the Stooges, they were one of the first bands in the early punk rock scene. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain, and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. According to the Encyclopedia of Popular Music (1995), the band predated the punk and glam metal movements, and were "one of the most influential rock bands of the last 20 years".

When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". In short, "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.

Although their original line-up fell apart quickly, the band's first two albums became among the most popular cult records in rock and roll. The New York Dolls influenced bands such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and The Smiths, whose frontman Morrissey organized a reunion show for the band's surviving members in 2004. After reuniting, they recorded and released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009), and Dancing Backward in High Heels (2011)

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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 2nd studio album by today's mystery artists and was released on May 10, 1974, by Mercury Records. The band was dissatisfied with the sound of their 1973 self-titled debut album, so frontman David Johansen enlisted Shadow Morton to produce today's mystery album. Morton had become disenchanted by the music industry, but was enthused by the band's energy and agreed to work with them as a personal challenge. They recorded the album at A&R Studios in New York City.

Despite their affinity for him, the band produced little original material with Morton and recorded several cover songs to complete today's mystery album. Johansen impersonated different characters on some of the novelty covers, while Morton's refined production incorporated a large amount of studio sound effects and female backing vocals. For the album, lead guitarist Johnny Thunders wrote and recorded "Chatterbox", his first lead vocal track. After a problem-ridden national tour, the band were dropped by Mercury and disbanded in 1975. The album was well received by most music critics, who praised the band's raw sound and felt that it was improved by Morton's production. Like the band's debut album,  the mystery album became one of the most popular cult albums in rock music .

The album's front cover shows the band in a mock live performance and avoids the drag style of their debut's cover. For shock value, Thunders held a doll in his arm as if to strike it against his guitar. In 2005, today's mystery album was remastered and reissued by Hip-O Select and Mercury. In his review of the reissue for Blender magazine, Christgau claimed that both the band's first album (Goldy Rhox 199) and Goldy Rhox 200 make up "a priceless proto-punk legacy". He felt that, although Johansen's best original songs are on the debut, Too Much Too Soon has consistent hooks, clever lyrics, and exceptional cover songs, including "two R&B novelties whose theatrical potential was barely noticed until the band penetrated their holy essence."That same year, rock journalist Toby Creswell named "Babylon" as one of the greatest songs of all time in his book 1001 Songs. Here to get in its 2010 remaster..N'Joy



Goldy Rhox 200 (flac 272mb)

Goldy Rhox 200 (ogg 94mb)

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RhoDeo 1510 Aetix

Hello, so news of the day is that the infamous Top Gear presenter Jeremy Clarkson let one fly after getting some lip from one of the shows producers (O.Tymon) who should have taken care of the catering but failed to do so, which left Jeremy and the others hungry after a hard days work. Forgetting he was no longer living in the 19th century where such incompetence would result in a serious whipping, alpha dog Clarkson felt he needed to stress his strong dissatisfaction and status undermining BBC job for life clown with a smack.. Ouch we always knew he was a bit primitive and now the BBC lezzies will most likely pull the plug on a show that has been making tens of millions for decades, yes being PC has it's price...that's to say the UK public gets to pay that price, not those smug way overpaid BBC directors..

Today another spotlight on the first punk rock guitar hero, earning a cult following for his noisy but epic style a few years before the insouciant new music gained its name. Following in the footsteps of his idol and role model Keith Richards, Johnny Thunders (born John Anthony Genzale, Jr.) lived the ultimate rock & roll life, spending most of his days churning out tough, sloppy three-chord rock & roll and gaining nearly as strong a reputation for his decades-long struggle with addiction as for his music. Second spotlight is on a a man best known for his tenure fronting the hugely influential New York Dolls, David Johansen was a true chameleon; throughout the course of a career which saw him transform from a lipstick-smeared proto-punk hero into an urbane blue-eyed soul man and finally into a tuxedo-clad lounge lizard, he remained a rock & roll original, an unpredictable iconoclast and a true cultural innovator. ....N'Joy

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Thunders made his greatest impact as a member of the New York Dolls, the proto-punk glam rockers of the early '70s. During the late '70s, he was a familiar figure on the New York punk scene, both with his band the Heartbreakers and as a solo artist. Thunders performed and recorded steadily until his death in 1991, turning out a series of records that inadvertently documented the struggles of his life and his art. Under the name Johnny Volume, Genzale began performing in high school with local combos Johnny & the Jaywalkers and the Reign (an unreleased Reign tune recorded in 1967 was released as a single after Thunders' death); after those bands ran their course, he joined Actress, which featured future Dolls Arthur Kane and Billy Murcia. Actress became the New York Dolls in 1971, with the addition of vocalist David Johansen, and Genzale renamed himself Johnny Thunders. After recording two acclaimed but commercially unsuccessful albums, the Dolls broke up. In 1975, Thunders and the group's drummer Jerry Nolan formed the Heartbreakers with former Television bassist Richard Hell and guitarist Walter Lure. Hell left the group shortly afterward to form the Voidoids and was replaced by Billy Rath. With Thunders leading the band, the Heartbreakers toured America and Britain, releasing one official album, L.A.M.F., in 1977. The group relocated to the U.K., where their popularity was significantly greater than it was in the U.S., particularly on the burgeoning punk scene. Thunders earned a reputation for powerful but inconsistent performances -- solid and rollicking one night, incoherent, sloppy, and drunken the next, sometimes veering between the two extremes in a single evening. After several months, the group returned to America, where they played a series of farewell gigs in New York.

Thunders went solo in 1978, recording So Alone with various rock and punk celebrities, including the Sex Pistols' Steve Jones and Paul Cook, Steve Marriott (Small Faces, Humble Pie), Peter Perrett (Only Ones), Paul Gray (Eddie and the Hot Rods, the Damned), and Thin Lizzy's Phil Lynott. After its release, Thunders and Peter Perrett played in the short-lived band Living Dead, while in 1980 Thunders teamed up with MC5 guitarist Wayne Kramer in the band Gang Wars, another project that soon fizzled out. During the early '80s, Thunders re-formed the Heartbreakers for various tours and periodic "farewell" shows in New York City, with their stage work documented on a series of live albums, often of dubious legality.

For most of the '80s, the only Johnny Thunders product available consisted of haphazard compilations of live tracks and demos. In 1984, Thunders rebounded with a surprisingly strong acoustic album, Hurt Me, followed in 1985 by Que Sera, Sera, a collection of new songs that showed he could still perform convincingly. Three years later, the guitarist recorded an album of rock and R&B covers with vocalist Patti Palladin, Copy Cats. And in 1991, German punk band Die Toten Hosen paid homage to Thunders by inviting him to play guitar on a cover of the Heartbreakers' "Born to Lose" on their album Learning English: Lesson One.

After recording with Die Toten Hosen, Thunders settled in New Orleans, where he planned to cut an album with local jazz and R&B musicians. However, only a few days later, Thunders was found dead in his room at the St. Peter House on April 23, 1991. Thunders' passing was shrouded in rumor and uncertainty; while it was widely believed he overdosed on drugs, friends insisted the guitarist was weaning himself off heroin with methadone, while others believed he was the victim of sadistic burglars who ransacked his room after feeding him LSD, and still others reported Thunders was struggling with an untreated case of leukemia. Though Thunders' passing was strange and chaotic, it was curiously appropriate -- no other rock & roller ever lived as hard and traveled as individual a path as Johnny Thunders.

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Stations of the Cross is a Johnny Thunders album recorded over two sets at The Mudd Club in New York on September 30, 1982. Film director Lech Kowalski had originally planned to record a live Johnny Thunders performance for his movie, Stations of the Cross. The spoken dialogue was recorded at the Carlton Arms Hotel, New York City, in Room 29, on August 25, 1982.

Johnny Thunders - Stations of the Cross  (flac 391mb)

01 Pipeline 2:33
02 In Cold Blood 2:49
03 Just Another Girl 4:18
04 Too Much Junkie Business 2:58
05 Sad Vacation 4:07
06 Who Needs Girls? 4:47
07 Do You Love Me? 3:05
08 So Alone 6:16
09 Seven Day Weekend 3:37
10 Chinese Rocks 2:56
11 Reentry Interlude 1:54
12 Voodoo Club 1:53
13 Surfer Jam 2:05
14 Just Because I'm White 4:54
15 One Track Mind (Dub) 2:56
16 Little London Boys 2:25
17 Stepping Stone 1:55
18 I Don't Mind Mr. Kowalski 1:25
19 Creature From E.T. Rap 3:49
20 Rather Be With The Boys 2;17
21 Wipeout 2:12

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Johansen was born January 9, 1950,in the New York City borough of Staten Island, New York, to a librarian mother and an insurance sales representative father. Johansen's family was Catholic. His mother was Irish American and his father was Norwegian American. Johansen began his career in the late 1960s as a lead singer in the local Staten Island band the Vagabond Missionaries and later in the early 1970s as the singer/songwriter in the protopunk band the New York Dolls. The New York Dolls released two albums, the eponymous New York Dolls (1973), and Too Much Too Soon (1974). The bulk of the material was written by Johansen and guitarist Johnny Thunders. The Dolls were well received critically and established an enduring cult following, but failed to succeed commercially.

In 1975, Johnny Thunders and Jerry Nolan left the band. Johansen and Sylvain Sylvain, along with Peter Jordan, Chris Robison, and Tony Machine, continued playing as the New York Dolls, until 1977, after which Johansen embarked on a solo career. His first two albums, David Johansen and In Style, featured several enduring originals. Sylvain Sylvain frequently performed with him, and his band covered many Dolls songs in concert; his live albums Live It Up and The David Johansen Group Live document Johansen's reputation as an exceptional concert performer. The studio releases Here Comes the Night (which includes a signature number, "Heart of Gold") and Sweet Revenge again showcased his strengths as a writer of new material and featured a guest appearance by jazz saxophone player Big Jay McNeely. A number of the songs on "Here Comes the Night" were co-written with South African musician Blondie Chaplin.

While 1982's concert set Live It Up won some airplay for its medley of the Animals hits "We Gotta Get Out of This Place," "It's My Life," and "Don't Bring Me Down," Johansen was forced to reassess his career when 1984's dance-flavored Sweet Revenge tanked. At the end of 1984 he resurfaced in the pompadoured guise of Buster Poindexter, a supposed ethnomusicologist armed with an expansive knowledge of R&B chestnuts. After debuting the Buster character at a series of mid-'80s downtown New York loft gigs with the Uptown Horns, Johansen continued honing the identity in the piano bars of Manhattan, establishing a lounge swinger persona which predated the lounge-kitsch revival of the mid-'90s by a decade.

As Poindexter he scored his first hit song, "Hot Hot Hot," which in an interview on National Public Radio's Fresh Air he called "the bane of my existence," due to its pervasive popularity. "Hot Hot Hot" was initially written and recorded by Montserratian Soca artist Arrow.  In 1987, he issued an LP, Buster Poindexter, which featured the party classic "Hot Hot Hot," an effervescent cover of an obscure 1984 soca hit. In addition to reviving Johansen's career as a musical performer, Buster also renewed his long-dormant acting bug, and he was tapped to co-star in the 1988 features Married to the Mob and Scrooged. The character remained Johansen's focus in subsequent years as well, as evidenced by the albums Buster Goes Berserk in 1989 and Buster's Happy Hour in 1994. He maintained a relatively low profile in the years prior to the spring 2000 release of David Johansen & the Harry Smiths.

The group was named as a tribute to Harry Everett Smith, who compiled the Anthology of American Folk Music, several songs of which were covered by the band. Johansen's second album with the Harry Smiths is titled Shaker. In 2004 Johansen reunited with Sylvain Sylvain and Arthur Kane, of the New York Dolls. Owing to the success of the tour, in 2006 the New York Dolls released One Day It Will Please Us to Remember Even This, their first album in nearly thirty years. In 2009 the band released "'Cause I Sez So" and in 2011 "Dancing Backward in High Heels".

Johansen hosts a weekly show, David Johansen's Mansion of Fun, on Sirius Satellite Radio while continuing to write and perform. Featuring music "from the jungles of Africa to the Bayou of Louisiana, and from Duke Ellington to Phil Spector to Billy Joe Shaver, the show is all over the musical map," truly free-form and eclectic.

During a career that has seen many changes, Johansen has worked consistently with certain musicians, including Sylvain Sylvain, drummer Tony Machine (formerly an agent who worked for Leber & Krebs, a member of the New York Dolls from 1975 until 1977, and a fixture in many David Johansen groups and throughout the Buster Poindexter period) and Brian Koonin, guitarist and banjo player with Buster Poindexter and The Harry Smiths, as well as keyboard player with the New York Dolls for the first reunion gig.

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David Johansen's self-titled solo debut bears a closer resemblance to his work with the New York Dolls than any of his subsequent recordings, but the former Dolls singer cleverly crafted an album that played to his former band's strengths while establishing an identity of his own and delivering a set of tight but powerful hard rock. Where the Dolls were frequently sloppy and poorly focused (if often gloriously so), David Johansen rocks with a cleaner but equally emphatic guitar attack (courtesy Johnny Rao and Thomas Trask), while Johansen's vocals are noticeably more powerful and sharper than his earlier music. Johansen's songs are more straightforward and less campy than his Dolls tunes; while "Funky But Chic" would have done his old glam buddies proud ("Mama says I look fruity, but in jeans I feel rotten"), the celebration of the fair sex in "Girls" and "I'm a Lover" cuts his former sexual ambiguity to the quick, and the tough rock & roll good times of "Cool Metro" and the girl-trouble commiseration of "Pain In My Heart" show Johansen could move into more conventional lyrical territory without losing his swagger or street smarts along the way. And while the Dolls didn't leave Johansen much room for slow songs where he could wear his heart on his sleeve, "Donna" and "Frenchette" allow him to do just that, and remarkably well. David Johansen in some respects seems like a deliberate attempt to sidestep much of the baggage that weighed down the New York Dolls in their bid for rock stardom, but at the same time its celebration of women and good times isn't simple or without its own appreciation of good danger, and it rocks out with a New York street vibe that has a life of its own; it's still Johansen's best solo work to date.

David Johansen - David Johansen  (flac 209mb)

01 Funky But Chic 4:00
02 Girls 3:38
03 Pain In My Heart 3:26
04 Not That Much 3:03
05 Donna 4:28
06 Cool Metro 3:56
07 I'm A Lover 3:34
08 Lonely Tenement 4:13
09 Frenchette 5:29

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On his first two solo albums, David Johansen sounded like he was trying to walk a fine line between recapturing the glorious chaos of the New York Dolls and creating a sound that better reflected his own individual personality (and might sell a few records in the process). The first half of that equation fell by the wayside while Johansen was recording his third solo set, 1981's Here Comes the Night, which plays more like a conventional hard rock album than David Johansen or In Style, especially when Blondie Chaplin cranks up his guitar on "My Obsession," "She Loves Strangers" or the title cut. However, it doesn't play that much like a conventional hard rock album; few acts reaching for the masses arena-style would have included a neo-samba number like "Marquesa De Sade" (complete with traditional Latin production), the calypso flavored "Rollin' Job," a beatnik homage like "Bohemian Love Pad," or name-checked Vincent Price on "Suspicion." Some of the more playful or willfully eccentric moments on Here Comes the Night seem to anticipate the Buster Poindexter persona Johansen would adopt later in the decade (without the aural wink and nudge), though for the most part the production and arrangements seem to run counter to his occasional bursts of creativity. Johansen's vocals are powerful and full-bodied on Here Comes the Night and there are a few fine tunes here, especially the nightlife homage of the title cut, the atmospheric "She Loves Strangers," and "Heart of Gold," a heartfelt ballad Johansen revived on the first Buster Poindexter LP. But for anyone who remembered Johansen's best work, Here Comes the Night was a real letdown despite its periodic flashes of excitement. [In 2007, American Beat Records reissued Here Comes the Night on compact disc with a bonus track, an alternate take of the title tune that was recorded during a 1982 concert in Boston.

David Johansen - Here Comes The Night (flac  274mb)

01 She Loves Strangers 3:03
02 Bohemian Love Pad 2:46
03 You Fool You 3:02
04 My Obsession 2:40
05 Marquesa De Sade 3:46
06 Here Comes The Night 2:52
07 Suspicion 2:29
08 Party Tonight 2:52
09 Havin' So Much Fun 3:38
10 Rollin' Job 4:00
11 Heart Of Gold 3:41
12 Here Comes The Night (Live) 3:24

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RhoDeo 1510 Re-Up 3

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request as having the same anon print a shopping list here isn't what i had in mind.


That's 22 new updates here

Ellen Allien (now in flac 314mb)

Thomas Fehlmann - Good Fridge. Flowing, ninezer onineight (now in flac 431mb)

Tojiko Noriko - Hard Ni Sasete (Make Me Hard) (now in flac 331mb)

3 x Thomas Brinkman

4 x Thomas Brinkman



All Dub Syndicate are back On U

All Dub Syndicate are back On U



Complete Flac upgrade for sunshine-desert 2007 post


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RhoDeo 1510 A New Hope 13

Hello, so did you honor the female today ? Yes it was ladies day again and all over the world women marched for equal rights hmmm, i'm certainly not against all that but looking around in my enlightened part of the world, women aren't that interested in equal rights they want the last word ! I foresee within 50 years a matriarchy forming with men kept as playthings or cheap labor..... but then virtual reality may well have taken over by then.


The final episode of A New Hope, next week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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Produced by National Public Radio, with the cooperation of Lucasfilm, Ltd.

When this series was first broadcast on National Public Radio in 1981, it generated the largest response in the network's history: 50,000 letters and phone calls in a single week, an audience of 750,000 per episode, and a subsequent 40-percent jump in NPR listenership.

This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. Director John Madden guided a splendid cast—including Mark Hamill and Anthony Daniels, reprising their film roles as Luke Skywalker and the persnickety robot See Threepio—through an intense 10 day dialogue recording session. Then came months of painstaking work for virtuoso sound engineer Tom Voegeli, whose brilliant blending of the actors' voices, the music, and hundreds of sound effects takes this intergalactic adventure into a realm of imagination that is beyond the reach of cinema.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

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Many of the actors involved in the movie were unavailable to reprise their roles. Mark Hamill and Anthony Daniels returned to reprise their roles as Luke Skywalker and C-3PO respectively. Recorded in 1981 at Westlake Recording Studios in West Hollywood, California.

With among others:
    Mark Hamill as Luke Skywalker
    Ann Sachs as Princess Leia Organa
    Perry King as Han Solo
    Bernard Behrens as Obi-Wan Kenobi
    Brock Peters as Lord Darth Vader
    Anthony Daniels as C-3PO
    Keene Curtis as Grand Moff Tarkin
    John Considine as Lord Tion
    Stephen Elliott as Prestor – more widely known as Bail Organa
    David Ackroyd as Captain Antilles



A New Hope 113 Force And Counter Force (mp3  25mb)

113 Force And Counter Force 28:10


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previously

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)


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