RhoDeo 1106 Aetix

Hello, as mentioned last week i needed a new ext. HD well i bought one and now i'm filling the 2 T which goes tediously slow i might add, anyway the same night i had bought the HD my mobile went beserk started making pics and going thru whatever was on it. Obviously i shut it down, next night i started it up again as i was expecting a call, which came thru but when i wanted to make a call ..nada..shut it again.. supernada couldn't even enter my pincode anymore, exit my Samsung SGH-C260. So today I went out to buy a new prepaid mobile, thought i found a nice one, don't really need that much gizmo, the Sony Ericsson Spiro, luckily they didnt have a decent colour at hand i could pick ánother up friday. Well i won't because at home i read some disturbing reviews which really turned me off. At another shop i came across the Alcatel OT-802 and LG T300 one with a touchscreen the other with a keyboard both with functions i likely wont use that much, however i've had a ringtone standing by for years now and expect to have that installed soon. As my last mp3 player went dodo 2 years ago a new one is welcome, be it in the shape of a phone. Anyway advice is welcome but be quick i will buy something by the end of the week.

Today's Aetix is about one of those acts that harnessed the energy of punk, truly recognized the possibilities it opened up, and took music in exciting directions. The Pop Group used punk's back-to-basics ethos as a springboard for experimentation with funk, dub, and jazz, blending dance rhythms and rock in ways that continue to inspire artists. They also politicized rock with an intensity and urgency that put rebel poseurs like The Clash to shame. I decided to add a rare sampler were they figure aswell some other great bands that made up their musical peerage at the time..

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Emerging in the late-'70s post-punk era, this militant gang of leftist radical politicos from Bristol, England, specialized in a funk-driven cacophony of sound that was abrasive, strident, and ultimately very exciting. Railing against Margaret Thatcher's Tory government, the state of pop music, racism, sexism, etc., the Pop Group were not the easiest band of the early post-punk era to listen to, but those who made the effort were in for an interesting melange of primitive rhythms and avant-garde guitar racket.

Formed by Mark Stewart (lyrics, vocals), John Waddington (guitar), Gareth Sager (guitar), Simon Underwood (bass) and Bruce Smith (drums, percussion), they issued their debut single, "She is Beyond Good and Evil" on Radar Records in March 1979.Their debut album Y, was produced by Dennis Bovell to critical acclaim but low sales figures. Although it did not chart, the album's success was sufficient to convince Rough Trade to sign the band, but not before more line-up changes, with Dan Catsis replacing Underwood on bass.

Led by the squalling "vocals" of Mark Stewart (which were little more than chanted political slogans), the Pop Group were unabashedly and stridently radical to the point of being hectoring. But, unlike others of their ilk, the music was so challenging, joyfully noisy, and downright weird that it was easy to cut them a little slack.

The band's career with Rough Trade commenced with what is possibly their best-known single "We Are All Prostitutes", which featuring a guest appearance by free improviser Tristan Honsinger on cello. This was followed by the release of their second album, For How Much Longer Do We Tolerate Mass Murder? in 1980, which included a contribution from US proto-rappers The Last Poets. Shortly afterwards The Pop Group released a split single, "Where There's a Will...", with The Slits, a band with whom they now shared a drummer and managers (Christine Robertson and Dick O'Dell), as well as a growing interest in exploring musical genres such as dub and funk rhythms.

The band split in 1981, after legal wranglings and internal disagreements. Members of the group went on to form bands including Pigbag, Maximum Joy, Head and Rip Rig + Panic, the latter notable for the involvement of Neneh Cherry. Stewart collaborated with the On-U Sound posse, issuing records firstly as Mark Stewart and Maffia, then as a solo artist.

It was reported on 24 May 2010 that the Pop Group would be reuniting. Stewart announced the first two dates of a reunion tour. Three members of the original line up are part of the reunion with two gigs in London and two in Italy confirmed. The band issued a statement explaining the reunion, saying "There was a lot left undone,....we were so young and volatile....Let's face it, things are probably even more fucked now than they were in the early 80's.....and we are even more fucked off!" The Pop Group played live in Paris (for the very first time) on September 6th 2010, at La Machine Du Moulin Rouge venue, as part of "L'Etrange Festival" Film Festival, and as a kick off to their five dates tour through Europe. They are confirmed to play London on New Years Eve with Sonic Youth and Shellac. In a 2010 interview, Stewart said that the reformed Pop Group was recording a new album, to be titled The Alternate.

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Teaming up with legendary reggae producer Dennis Bovell the band recorded their debut album 'Y' which fused thick dubwise basslines with punky angular guitar work and dancefloor ready rhythms. This sound would slowly permeate the mainsteam and although 'Y' wasn't the commercial success it may have deserved to be it still got the band signed up to the legendary Rough Trade label who took them into bigger and brighter places. After playing "Y" you wonder how the group ever hoped to top it, they never did, but their second album was great as well but just not as good as "Y", few albums are, after all it's one of the most original and inspiring records ever made.The Pop Group's legacy is in the masses of young post punk artists polluting our air waves.



The Pop Group - Y (79 ^ 262mb)

01 She is beyond good and evil 3:23
02 Thief Of Fire 4:33
03 Snowgirl 3:21
04 Blood Money 2:54
05 Savage Sea 2:58
06 We Are Time 6:27
07 Words Disobey Me 3:23
08 Don't Call Me Pain 5:35
09 The Boys From Brazil 4:13
10 Don't Sell Your Dreams 6:35

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More funk-ridden than its predecessor (meaning more fluent and less fractured).How Much Longer is relatively calm in the first half but gets damn ugly/wonderful in the middle, these guys had a knack for throwing sound/noises/harmonies so that everything came crashing towards the listener.



The Pop Group - For How Much Longer Do We Tolerate Mass Murder (185mb)

01 Forces Of Oppression 2:33
02 Feed The Hungry 4:15
03 One Out Of Many 1:52
04 Blind Faith 4:03
05 How Much Longer 4:57
06 Justice 3:06
07 There Are No Spectators 4:13
08 Communicate 4:40
09 Rob A Bank 2:18

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Some of the tracks here have been blatantly overseen by the compilers of the 3 Disco No Disco compilations thusfar, ok those New Yorkers are prone to looking inward convinced as they are that they are the world. Big city of dreams (that's nightmares too btw) This compilation courtesy of Soul Jazz records has it's moments though i wonder where the souljazz comes in , to me just the knife slits water 12 ' mix by certain ratio alone is well worth the admission...



VA - In The Beginning There Was Rhythm  (flac 315mb)

01 A Certain Ratio - Shack Up 3:16
02 23 Skidoo - Coup 4:10
03 Gang Of Four - To Hell With Poverty 4:57
04 Human League, The - Being Boiled 3:50
05 The Slits - In The Beginning There Was Rhythm 5:35
06 This Heat - 24 Track Loop 5:57
07 Throbbing Gristle - 20 Jazz Funk Greats 2:44
08 The Pop Group - She Is Beyond Good And Evil 3:22
09 Cabaret Voltaire - Sluggin For Jesus 5:02
10 23 Skidoo - Vegas El Bandito 2:56
11 A Certain Ratio - Knife Slits Water 9:40

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RhoDeo 1106 Roots

Hello, today something completely different from Africa, Sounds of the Jungle, Plain & Bush, no humans involved apart from recording engineers. From a time before Animal Planet, National Geographic or Discovery, exposure to the natural world was limited, therefore making field recordings of wild animals something of interest. Listening to this album equates to spending a night in the jungle..you dont see animals but you hear plenty.. frightening...you get some "campire noise" aswell. I post here the liner notes which at times get rather carried away about the animal music almost funny..

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Current research among naturalists tends to break down any remaining class-distinction between animals and man; the more we know about the other creatures on our common planet, the sillier it seems to judge homo sapiens either as superior to all others, as the ancients dreamed, or as the lowest conceivable form of beast, as some of us might suspect today. It turns out that nearly everything we thought unique to our species - city-building, war-making, tool-using, the ability to employ logic - can be already found in some other animal's daily behavior. Even a cursory listening to this record will dispel the notion that we are the sole possessors of the concept of language: I am sure that at least some of these animals' speech is as articulate as ours - all we lack is an effective interpreter, a Rosetta stone that would let us in on their secrets.
But for me, as a composer and musician, the most fascinating aspect of these animal sounds is their musicality, their phrasing. There is never any unclarity or tentativeness in their statement, and that is enviable from any artist's standpoint. Children have this directness, but when we grow up we cloud our speech, befog our meaning, lose our animal voice. Half the struggle of any good singer, actor, instrumentalist, or composer is to find that voice again, to recreate with great care what seemingly comes naturally to the hippo or the leopard. Some of us almost succeed in this, and that is why we respond so strongly to a Bille Holiday, to a Mozart, to a Varese.
It should be unnecessary to say what follows, but I think I must. Listening to this recording in the relative safety and confinement of one's living room could lead all too easily to the waggish parlor-game of finding amusing parallels between, say, the cry of the hyena and the opening of Varese's Integrales, the trumpeting of the elephant and a fanfare in a Mahler symphony, the chattering of the vervet monkey and that of the strings in a Beethoven scherzo. There exist, already, recordings in which bird and animal "noises" have been electronically reprocessed to make little tunes; I need hardly mention the craze, a few years ago, for jungle sounds accompanied by filtered-in sentimental music. All this shows a lack of respect for the animals themselves, for the dangerous and blazing beauty they possess and we have so often lost in our circumscribed lives. The African recording engineers have done so well to give us the voices of their wildlife as they are, where they are, in the forest, bush, hillside, and savannah of an enormous continent few of us have visited, and we are privileged for the gift. Listen carefully, and even some of the language-barrier between man and beast disappears; I find, for example, the passionate love-call of the "unbeautiful" rhinoceros as moving as anything in human music. (William Bolcom)



Animals of Africa, Sounds of the Jungle, Plain & Bush (73 71mb)


01. Leopard {1:08} on the hunt, snarling and grunting in annoyance at the chattering of the vervet monkey in the trees above. (This and the following track recorded at Aberdare National Park, Kenya.)

02. Vervet Monkey{3:05} warning its fellows of the leopard passing beneath.

03. Hyrax {2:42} small as a rabbit, but very noisy for its size; lives in nooks and crannies throughout the rockeir parts of eastern Africa. (Ngulia Hills, Tsavo-West National Park, Kenya.)

04. Rhinoceros {2:24} rarely heard except in its irate snorts and pounding hooves - so vivid to those who have been pursued by these animals. Here is its mating call and the female's far-off answer. (Amboseli National Park, Kenya/Tanzania.)

05. Zebra {1:49} a herd on the move in Serengeti.

06. Wildebeeste {2:09} also recorded in Serengeti, near Ngoro-Ngoro, which is famous for huge herds of this animal. The wildebeeste often migrate over the plains alongside the zebra herds.

06. Lion {2:51} at the edge of the forest, in the early evening. The lioness (who does most of the hunting for her family) has just made a kill. Her mate roars his approval from a distance and gradually makes his way to the feast. The lion is the first to eat; once satisfied, he retires to allow the lioness and the cubs to have their share. The sound of the cubs squabbling is probably unique to this recording. (This and the following four tracks recorded at Meru National Park, Kenya.)

07. Hyena {2:07} the first scavenger of the African bush to move in on the leavings once the lion family has had its fill. Its "cry" and "laugh" are both heard here.

08. Wild Dog {2:11}an extremely vicious species, known for cruelty to its own kind. Here they scare the hyena away from the lion family's leavings.

09. Silver-Backed Jackal {1:21} this timid little fellow appeared only when the more vicious animals had left; most of the food was gone, and we hear his comments.

10. Elephant {2:55} deeper in the forest a lone bull elephant tries to join a browsing herd. After a confrontation with the bull elephant in charge, he screams in agony and annoyance after being beaten back.

11. Hippopotamus {2:59} grunting and wallowing contentedly on the River Nile. (Murchison Falls National Park, Uganda.)

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RhoDeo 1106 EarthSearch

Hello, hope you all enjoyed your Sundaze, i as usual kinda overslept, luckily as days are getting noticably longer again, i did see some daylight. Them Egyptians can't seem to shake off Mubarak, but then they've had absolute rulers for millenia. Surprisingly in the one country on the planet that had none..USA the people remain motionless whilst they are being fleeced, a dictators dream if you ask me. Ok don't want to depress anyone here, but it is a valid observation. Meanwhile the Challenger Crew are getting exited ..the end is near..of their search that is..

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two.

At the end of Earthsearch, the crew of the starship Challenger settled on the Paradise planet, having never seen their original home planet that they called Earth. They left the Challenger's control computers, Angel One and Angel Two, in charge of the ship to continue the search for Earth. Four years later, the crew have settled into their life on Paradise, despite many hardships they are suffering. Then suddenly, one of their children is killed by a 'monster' that appeared from the sea.

It transpires that this 'monster' is actually an android from the Challenger, which has returned. When the sea level begins to rise, the crew are suspicious of the Angels. They notice a large amount of radiation coming from the southern horizon, and they fly to Antarctica in their shuttlecraft. There they find hundreds of towers embedded in the ice. The Angels are using terraforming equipment from the Challenger to melt the ice and thus raise the sea level in an attempt to get the crew to rejoin them on the ship.The crew are adamant that they will not leave Paradise. The flood gets worse and worse, and will clearly soon submerge all the land. They load breeding pairs of animals into the shuttle cargo bay, and when the water level gets high enough, the shuttle floats. The crew are surviving, barely, and have beaten the Angels for the time being.However, their situation deteriorates to the point where they have no more water to drink, so they eventually surrender to the Angels. First, however, they demand that the flood is reversed, so they can release the animals. Then they fly their shuttle up to the Challenger.The crew are gassed by an android, and they become unconscious, to wake up again with a big surprise awaiting them..

When they come round, they discover that they have been in suspended animation for sixteen years. But the children, who were very young when they came on board, have been awake the whole time, and are now about twenty years old. Telson and Sharna's son, Bran, is now the commander. The Challenger crew have land on an artificial sun called "Solaria D", controlled by a computer who appears to be friendly. From the artificial to the real deal, that is, what's left of it exponentially increases Challengers troubles even the The 'Guardian Angels' cannot change its course and the crew are also powerless. Fortunately things are not as black holed as it seemed ...there's a switch to it..go figure. Android Surgeon General Kraken, designed by the Challenger's giant computer, has suffered severe logic failure, those angels sure don't make em anymore...Nevertheless looks like they found what they've been looking for when they are heading towards Novita Six, the solar system to which they think Earth has been transported.


EarthSearch II - 19 Earth (11mb)


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Sundaze 1106

Hello, i was a good consumer today, after getting a good deal on a LED desklamp, i flushed the previous disappointment of very poor choice in a couple of computershops away, by going to a mega one that had less poor choice..I really wonder how those producers must feel when they can't get their product on the shelves..it really drives them into the arms of the likes of Amazon, but as i dont have a doorbel or creditcard, having stuff delivered is not an option for me. Anyway there was a big stack of one of my options, so now I drown in storage space with a 2 T Samsung G3 eco HD, just 88 euros (cheaper than Amazon). Whatever, now i need more bandwidth to fill it haha...

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David Sylvian (David Batt, 23 February 1958) came to prominence in the late 1970s as the lead vocalist and main songwriter in the group Japan. His subsequent solo work is encompasses not only solo projects but also a series of fascinating collaborative efforts in a variety of musical styles and genres, including jazz, avant-garde, ambient, electronic, and progressive rock.

Japan became an alternative glam rock outfit in the mould of David Bowie, T.Rex, and The New York Dolls. Over a period of a few years their music became more sophisticated, drawing initially on the art rock stylings of Roxy Music. Their visual image also evolved and the band was tagged with the New Romantic label. Indeed, it could be argued that Japan was at the forefront of the entire New Romantic movement, even though the band never associated itself with it.

Japan recorded five studio albums between March 1978 and November 1981. In 1980, the band signed with Virgin Records, where Sylvian remained as a recording artist for the next twenty years. The band suffered from personal and creative clashes, particularly between Sylvian and Karn, with tensions springing from Sylvian's relationship with Yuka Fujii, a photographer, artist and designer, and Karn's former girlfriend. Fujii quickly became an influential figure in Sylvian's life. She was the first person to introduce Sylvian seriously to jazz, which in turn inspired him to follow musical avenues not otherwise open to him. She also encouraged Sylvian to incorporate spiritual discipline into his daily routine. Throughout his solo career, Fujii maintained a large role in the design of artwork for his albums.

In 1982, Sylvian released his first collaborative effort with Ryuichi Sakamoto, entitled "Bamboo Houses/Bamboo Music". Followed by the UK Top 20 song "Forbidden Colours" (Merry Christmas, Mr. Lawrence). Sylvian's debut solo album, Brilliant Trees (1984), met with critical acclaim. The album included contributions from Ryuichi Sakamoto, trumpeter Jon Hassell, and former Can bassist Holger Czukay. In 1985, Sylvian released an instrumental mini-album Alchemy: An Index of Possibilities, in collaboration with Jansen, Hassell and Czukay. The next release was the ambitious two-record set Gone to Earth (1986), featuring one record of atmospheric vocal tracks and a second record consisting of ambient instrumentals. The album contained significant contributions from noted guitarists Bill Nelson and Robert Fripp .

Secrets of the Beehive (1987) made greater use of acoustic instruments and was musically oriented towards sombre, emotive ballads laced with shimmering string arrangements. The album yielded one of Sylvian's most well-received songs, "Orpheus," and was later supported by his first solo tour, 1988's 'In Praise of Shamans.' Sylvian then collaborated with Holger Czukay. Plight and Premonition, issued in 1988, and Flux and Mutability, recorded and released the following year, also included contributions from Can members Jaki Liebezeit and Michael Karoli.

Sylvian reunited with the former members of Japan for a new project, Rain Tree Cow. Unlike their past work, Sylvian decided to use methods of improvisation like those he explored in his work with Czukay. Ingrid Chavez, an artist signed to Prince's Paisley Park Records, sent Sylvian a copy of her first album. He liked what he heard and thought her voice would fit well with some material that both Ryuichi Sakamoto and he were working on for a new Sakamoto release. Chavez and Sylvian quickly developed a bond and decided to travel together throughout the UK and the USA, where they eventually settled after marrying in 1992.

In the early 1990s, guitarist Robert Fripp invited Sylvian to join a new version of King Crimson. Sylvian declined the invitation, but he and Fripp recorded the album The First Day released in July 1993. To capitalize on the album's success, the musicians went back out on the road in the autumn of 1993. A live recording, called Damage and released in 1994.

A period of relative musical inactivity followed, during which Sylvian and Ingrid Chavez moved from Minnesota to the Napa Valley. Chavez had given birth to two daughters, Ameera-Daya (born 1993) and Isobel (born 1997), and pursued her interest in photography and music. In 1999, Sylvian released Dead Bees on a Cake, it gathered together the most eclectic influences of all his recordings, ranging from soul music to jazz fusion to blues to Eastern-inflected spiritual chants, and most of the songs' lyrics reflected the now 41-year-old Sylvian's inner peace resulting from his marriage, family, and beliefs.

Next Sylvian released a pair of compilation albums, a two-disc retrospective, Everything and Nothing, and an instrumental collection, Camphor. Both albums contained previously released material, some remixes, and several new or previously unreleased tracks which Sylvian finished especially for the projects. Sylvian parted ways with Virgin and launched his own independent label, Samadhi Sound. He released the album Blemish. A fusion of styles, including jazz and electronica, the tour enabled Sylvian to perform music from the Nine Horses project, as well as various selections from his back catalogue.

A new solo album entitled Manafon was released on September 14, 2009 the a;lbum features contributions from leading figures in electroacoustic improvisation such as saxophonist Evan Parker, multi-instrumentalist Otomo Yoshihide, Christian Fennesz, Sachiko M and AMM alumnists guitarist Keith Rowe, percussionist Eddie Prévost and pianist John Tilbury.

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Sylvian has carefully selected from his vast catalogue, and in his own words, "started remixing these for reasons of curiosity and self-gratification". Several of these remixes made the cut of the final album, offering a fresh perspective on older works. Presented alongside untouched pieces, Camphor is more than just a collection of various instrumentals, and deserves to be viewed as a new work in itself.



 David Sylvian - Camphor (473mb)

01 - All of My Mother's Names
02 - Red Earth (as summertime ends)
03 - Answered Prayers
04 - The Song Which Gives the Key to Perfection
05 - New Moon at Red Deer Wallow
06 - Praise (Pratah Smarami)
07 - Wave (version)
08 - Mother and Child
09 - Plight (the spiralling of winter ghosts) - detail
10 - Upon This Earth
11 - Big Wheels in Shanty Town
12 - The Healing Place
13 - Camphor
14 - A Brief Conversation Ending in Divorce

On the limited edition second CD are three Sylvian/Czukay pieces, reworked by Sylvian specifically for this release. Clocking in at over 35 minutes, these ambient dronescapes, with their intermittent bursts of noise, piano, and the crackle of shortwave radio disrupting the tranquil washes of sound, are the highlight of the album.

15 - Plight (The Spiralling Of Winter Ghosts)
16 - Mutability (A New Beginning Is In The Offing) detail
17 - Premonition (Giant Empty Iron Vessel)

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Whilst preparing this post i played this album, the reissue is produced and compiled by Sylvian himself and it is rather Sundaze for a live album, because Fripp is not as 'present' as he usually is, shall we say. Anyway I was fortunate being amongst the public that enjoyed a night with these two giants..back in 93. Thus.. a late(r) addition .



Sylvian, Fripp - Damage (reissue) (393mb)

01 - God's Monkey
02 - Brightness Falls
03 - Every Colour You Are
04 - Jean The Birdman
05 - Firepower
06 - Damage
07 - Gone To Earth
08 - 20th Century Dreaming (A Shaman's Song)
09 - Wave
10 - Riverman
11 - Blinding Light Of Heaven
12 - The First Day

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RhoDeo 1105 Goldy rhox 12

Hello, hmm i am currently contemplating what to buy..a 1 terabyte ext HD or a 2 terabyte one which is less then 30% more expensive for twice the space, i am tempted, but the potential for dataloss of that magnitude is making me doubtful. I'll have to get to it soon as my current externals are maxed. (suggestions R welcome)

Today the 12th post of the new format; GoldyRhox, classic pop rock. 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 accomodate somewhat and produce some cryptic info on the artist and or album.


A classic from 73 by a man who reacted to the UK's glam in an odd fashion because he went horror, likely because US kids seem to get fed an endless stream of horrormovies. Well he became a star , his first hit..Ï'm Eighteen was an outright lie...he was 5 years older, his next hit geared for the same kids..Schools Out..great stuff. This album is considered his commercial peak it had 2 major and 2 minor hits, and plenty of platinum on both sides of the Atlantic. David Byrne (Talking Heads) said that the album inspired him to write the song, "Psycho Killer". fafafafafa... ..another one of those "1001 Albums You Must Hear Before You Die"

Goldy Rhox 12 99mb


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RhoDeo 1105 Aetix

Hello, breaking away currently from watching Zeitgeist: Moving Forward, the third installment in Peter Joseph's Zeitgeist film series. The movie was independently released simultaneously in over 60 countries and in over 30 languages on January 15, 2011 with over 340 screenings worldwide, meanwhile it's been up at Youtube more than 1.6 million views have been registered in the first 6 days, me i downloaded a 1.1 gig xvid of this impressive 160 min documentairy. Zeitgeist: Moving Forward (btw plenty of language subs aswell)

Ok..some more psychobilly again.. that highpowered and subsequently colourful lifestyle-without the big bucks or press mosquitos..as such it is powered by the internal drive, with highly infective results....

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The Legendary Stardust Cowboy has been known to make people do strange things. Like sign him to a recording contract. Major labels aren’t receptive to weirdness; they’re in business to make money, not scare customers. Yet it was Mercury Records who propelled the Legendary Stardust Cowboy (a.k.a. "The Ledge") into the marketplace. In 1968, the label released his 45 rpm single, "Paralyzed" -- a blast of Texas no-fi wreckage, two-and-a-half minutes of Indian whoops, rebel yells and caveman cretinism -- that forever staked this unforgettable vocalist’s claim to fame.

The perpetrator of the feral "Paralyzed" is a relatively mild-mannered pussycat. Before he adopted the guise of the Legendary Stardust Cowboy, he was Norman Carl Odam, born September 5, 1947, in Lubbock, TX, to Carl Bunyan Odam and Utahonna Beauchamp. He was a shy youngster; he says it took his kindergarten teacher six months to get him to talk. One of his earliest recollections is that at age 7, he knew he "would like to go to Mars instead of the Moon." In school, he distracted himself by scribbling poetry and short stories.

At some point in his teens, Odam merged two great obsessions -- the Wild West and Outer Space -- and decided "The Legendary Stardust Cowboy" suited him better than "Norman." He spray-painted the name -- preceded by "NASA presents" -- in big gold and black letters across the side of his new Chevy Biscayne. He couldn’t get gigs at local clubs, so he obsessively sang in public: at frat houses, outside the Dairy Queen, in the parking lots of the Hi-D-Ho Drive-In and the Char-King. His makeshift stage was the roof of his Chevy.

With $160 in his pocket, the Ledge aimed his Biscayne at New York. His goal: the Tonight Show. He had no manager and no demo tape. He also had zero business smarts. He pit-stopped in Forth Worth, 300 miles east of his hometown. Two vacuum cleaner salesmen, headed out to a local club, spied the Ledge's graffiti-blessed Chevy in a parking lot, they knew the club owner, so they invited Odam along to perform. After witnessing the musical demolition derby that is a typical Ledge showcase, they whisked him to a nearby recording studio, where he auditioned an original song for a young engineer named T-Bone Burnett.

They spooled up a reel of tape and hit "record." T-Bone leapt to the drumkit, the Ledge grabbed a mic, and "Paralyzed" was born. The Ledge’s aboriginal shrieks and freewheeling bugle brays were underscored by Burnett’s furious, not quite-metronomic drumming. That was in the morning, in the afternoon the above situated radiosatation had already recieved positive feedback on their playing the recoding tape. Immediately 500 copies were pressed and not much later was sold to Mercury Records for national distribution. It cracked the Billboard Top 200. It brought the sagebrush spaceman instant fame, if not fortune.

Lubbock’s most eccentric export had launched a chart-climbing record and caused pandemonium on the nation’s top-rated TV show. Offers quickly followed for appearances on American Bandstand, The Joey Bishop Show, and Ed Sullivan. The "legendary" part of his name seemed assured; the "star" part was imminent. Unfortunately, within a short while, his dreams were "dust." Just as the Ledge was set to collect dividends on years of dues paying, a musicians’ strike imposed a network ban on live music. Because he'd played guitar on national TV, the Ledge was categorized "union." The variety show offers were postponed. By the time the strike was over, so was "Paralyzed." It was off the charts. Two followup singles flopped. Doppler-like, the Ledge zoomed off the nation's cultural radar as quickly as he’d arrived.

During his stay in Las Vegas, he met DJ-entrepreneur James Yanaway, who had a new label, Amazing Records, for which he recorded the Ledge’s first full-length album, Rock-It to Stardom (1984). Unlike the skeletal instrumentation on his early singles, this recording (and all his later waxings) employed a band -- a cookin’ crew. Technique remained parked in the lobby; spontaneity was the prime directive. Some of it turned out all right, considering the chaotic conditions it was recorded under. The album includes a new version of "Paralyzed," recorded in 1981 with the LeRoi Brothers. As re-makes go, it’s nearly as vigorous as the original.

A crew of San Francisco-based musicians undertook the honor of backing the Ledge in his Bay area debut in early 1986. Later that year they joined him in the studio to record the album Retro Rocket Back to Earth for Spider Records. The repertoire is largely first-take, sloppy but spirited, with no overdubs. Our lost-in-space cowpoke betrays his Luddite leanings, proclaiming in one song title, "I Hate CDs," though it’s perhaps less the technology than certain personalities associated with it. "I hate those CDs that Bruce Springsteen put out," the Ledge howls, "He’s the number one reason why I hate CDs." The same entourage recorded The Legendary Stardust Cowboy Rides Again, but they couldn’t find an American company that would touch it. (The album was released on France’s New Rose in 1990.)

Nowadays, the Ledge lives in San Jose and works in Santa Clara for defense contractor Lockheed-Martin as a security guard. "Got a top secret clearance," he revealed. "They designed the Pathfinder spacecraft that landed on Mars." Odam's a meteorology freak -- his TV is constantly tuned to the Weather Channel. Despite his hatred of CDs, he bought a deck, primarily to listen to his favorite singers: Barbra Streisand, Dinah Washington, and Barry Manilow. "And don't forget Sinatra," the Ledge advised. "He's #1." He rarely performs in public anymore. And despite his loyal following, the Ledge will always be a taste some folks never acquire.



Legendary Stardust Cowboy -Rock It 2 Stardom (84 ^ 80mb)

01 Paralyzed-'80's
02 I Walk A Hot Wind
03 Radar
04 Fly Me To The Moon
05 I Took A Trip
06 Cast Iron Apron
07 Cactus
08 Shadow Of A Tiger
09 Who's Knocking On My Door
10 Brass Rainbow
11 Shootout On A CB Channel
12 Mr Songwriter
13 Dynamite
14 Crack Of Dawn
15 Rock- It To Stardom

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25 Years Of Rockin’ & Wreckin’

For fans of psychobilly, that insane subgenre of punk and rockabilly developed separately and simultaneously by the Meteors in England and the Cramps on the North American side of the Atlantic, this contains tracks of pure, power-driven, horror film-imaged psychobilly. It contains virtually every other act produced by the genre and some songs by bands -- like the Tailgators -- not normally associated with it. The Guana Batz are here, as are the Termites, the Frantic Flintstones, the Gazmen, just to name a few.



VA - This Is Psychobilly 1 (429mb)

01. The Meteors - Mutant Rock (2:23)
02. The Guana Batz - King Rat (2:35)
03. The Deltas - Heart Attack (2:22)
04. The Ricochets - Hit Man (2:20)
05. The Sharks - Charlie (2:06)
06. The Meteors - Johnny Remember Me (3:10)
07. King Kurt - Road To Rack & Ruin (3:10)
08. Torment - The Source (2:45)
09. The Pharaohs - Blue Egypt (3:42)
10. The Frantic Flintstones - Bedrock (1:56)
11. The Krewmen - Night Of The Living Dead (2:35)
12. Sugar Puff Demons - Mask (1:59)
13. Stage Frite - Island Of Lost Souls (3:01)
14. The Termites - Shout It Out Loud [(3:06)
15. The Tailgators - Godzilla (2:41)
16. The Meteors - Eat The Baby (3:18)
17. Sugar Puff Demons - Dance With The Dead (2:21)
18. The Radiacs - Hellraiser (2:21)
19. Stage Frite - Bad Moon Rising (2:30)
20. Batfinks - Raisin' Hell (2:18)
21. Mad Sin - Ride This Torpedo (2:42)
22. The Guana Batz - Shake It Up (3:12)
23. The Frantic Flintstones - Billy Overdose (4:50)

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RhoDeo 1105 Roots

Hello, more music from the 'dark'continent , though in this case light is undoubtely omni present south of the Sahara, Niger river. Malinese have a strong musicians culture but there are those that give a voice to it aswell, a wonderful female as is the case here, a modern assertive woman taking the lead in bringing her sisters a better respected place in society.

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Oumou Sangare (born February 25, 1968, in Bamako, Mali) is a Malian Wassoulou she's from a historic region south of the Niger River, and the music there is descended from traditional hunting songs. Wassoulou is a genre of West African popular music, named after the region of Wassoulou. It is performed mostly by women, using lyrics that address women's issues regarding childbearing, fertility and polygamy. Instrumentation includes soku (a traditional fiddle sometimes replaced with modern imported instruments), djembe drum, kamalen n'goni (a six-stringed harp), karinyan (metal tube percussion) and bolon (a four-stringed harp). The vocals are typically passionate, emphatic and in a call-and-response formatHer mother was the singer Aminata Diakité.

As a child, Oumou Sangaré sang in order to help her mother feed their family as her father had abandoned them. At the age of five, she was well known for her talents as a gifted singer. After making it to the finals of a contest for the nursery schools of Bamako, she performed in front of a crowd of 6,000 at the Omnisport Stadium. At 16, she went on tour with the percussion group Djoliba.She then worked with Amadou Ba Guindo, a great maestro of Malian music with whom she recorded her first album Moussoulou ("Women"), which was very successful in Africa with more than 200,000 copies sold.

With the help of Ali Farka Touré, Oumou Sangaré signed with the English label World Circuit. At the age of 21, she was already a star. Oumou Sangaré is considered an ambassador of Wassoulou; her music has been inspired by the music and traditional dances of the region. She writes and composes her songs, which often include social criticism, especially concerning the place of women and their low position in society.

Many of Sangaré's songs concern love and marriage, especially freedom of choice in marriage. Her 1989 album Moussoulou was an unprecedented West African hit. In 1995, she toured with Baaba Maal, Femi Kuti and Boukman Eksperyans. Other albums include Ko Sira (1993), Worotan (1996), and a 2-CD compilation Oumou (2004), all released on World Circuit Records. Oumou Sangaré supports the cause of women throughout the world. She was named an ambassador of the FAO in 2003 and won the UNESCO Prize in 2001 and a commander of the Arts and Letters of the Republic of France in 1998.

Sangaré is featured prominently in "Throw Down Your Heart," a documentary by world-renowned banjo player Bela Fleck. She contributed vocals to "Imagine" for the 2010 Herbie Hancock album, The Imagine Project along with Seal, P!nk, India.Arie, Jeff Beck, Konono N°1 and others. Since 1990, she has performed at some of the most important venues in the world: the Melbourne Opera, Roskilde festival, festival d'Essaouira, Opéra de la monnaie of Brussels.

Oumou Sangaré is also involved in the world of business, hotels, agriculture and the sale of cars: Oumou created an initiative in 2006 to import cars from China. "I make the most of my fame. My name sells things. With Oum Sang, I launched my own brand of car. She is the owner of the 30-room Hotel Wassoulou in Mali's capital, Bamako, a haven for musicians and her own regular performing space. "I helped build the hotel myself. I did it to show women that you can make your life better by working. And many more are working these days, forming co-operatives to make soap or clothes."

Although she also has been a goodwill ambassador for FAO she still says she does not want to be a politician: "While you're an artist, you're free to say what you think; when you're a politician, you follow instructions from higher up." (wise words indeed)

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Oumou Sangare helped modernize the acoustic-native mix of hunters' songs and sogoninkun dance music she grew up with. Finding her way to the city of Abidjan in 1989, Sangare cut a cassette that would eventually sell close to a quarter of a million copies, no mean feat considering the speed and number of bootlegs would have been sold. And while she would go on to cut albums with a mix of traditional and tastefully chosen Western elements, Moussoulou captures Sangare in all her sensual acoustic glory. Undulating atop a musical base featuring violin, the djembe goblet drum, a call-and-response choir, and the kamalengoni harp, Sangare daringly speaks out against such traditional practices as polygamy and arranged marriages. She fleshes out these modern views -- for Mali and many other African countries, at least -- with songs that both encourage her countrymen to recognize women as individuals and focus on a girl's struggle to reconcile old values with modern needs.



Oumou Sangare - Moussolou (91 84mb)

1. Djama Kaissoumou (6:46)
2. Diarraby Nene (5:18)
3. Woula Bara Diagna (5:19)
4. Moussolou (5:14)
5. Diya Gneba (4:53)
6. Ah Ndiya (4:29)

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RhoDeo 1105 Earthsearch

Hello, been noticing a slight decline in the interest for this series, well just 3 more episodes to go, including this one. ....Meanwhile the Challenger Gang had gotten themselves into a hole, luckily it wasn't as black as it seemed..It did however further degrade our Challenger 'angels' thus their hold on the crew...

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two.

At the end of Earthsearch, the crew of the starship Challenger settled on the Paradise planet, having never seen their original home planet that they called Earth. They left the Challenger's control computers, Angel One and Angel Two, in charge of the ship to continue the search for Earth. Four years later, the crew have settled into their life on Paradise, despite many hardships they are suffering. Then suddenly, one of their children is killed by a 'monster' that appeared from the sea.

It transpires that this 'monster' is actually an android from the Challenger, which has returned. When the sea level begins to rise, the crew are suspicious of the Angels. They notice a large amount of radiation coming from the southern horizon, and they fly to Antarctica in their shuttlecraft. There they find hundreds of towers embedded in the ice. The Angels are using terraforming equipment from the Challenger to melt the ice and thus raise the sea level in an attempt to get the crew to rejoin them on the ship.The crew are adamant that they will not leave Paradise. The flood gets worse and worse, and will clearly soon submerge all the land. They load breeding pairs of animals into the shuttle cargo bay, and when the water level gets high enough, the shuttle floats. The crew are surviving, barely, and have beaten the Angels for the time being.However, their situation deteriorates to the point where they have no more water to drink, so they eventually surrender to the Angels. First, however, they demand that the flood is reversed, so they can release the animals. Then they fly their shuttle up to the Challenger.
The crew are gassed by an android, and they become unconscious, to wake up again with a big surprise awaiting them.. When they come round, they discover that they have been in suspended animation for sixteen years. But the children, who were very young when they came on board, have been awake the whole time, and are now about twenty years old. Telson and Sharna's son, Bran, is now the commander. The Challenger crew have land on an artificial sun called "Solaria D", controlled by a computer who appears to be friendly. From the artificial to the real deal, that is, what's left of it exponentially increases Challengers troubles even the The 'Guardian Angels' cannot change its course and the crew are also powerless. Fortunately things are not as black holed as it seemed ...there's a switch to it..go figure. Android Surgeon General Kraken, designed by the Challenger's giant computer, has suffered severe logic failure, those angels sure don't make em anymore...



EarthSearch II - 18 Megalomania (11mb)


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Sundaze 1105

Hello, i'm a bit later as usual , but now i'm here and i got one of the highlights of the seventies, it didnt sell millions but served a higher purpose, their efforts were geared to be as efficient intermediar to spiritual awareness. Noble ambition indeed and one that got across.

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Daevid Allen (born Christopher David Allen, January 13th, 1938 in Melbourne, Australia) is an Australian poet, guitarist, singer, composer and performance artist best known as co-founder of the psychedelic rock bands Soft Machine (in the UK, 1966) and Gong (in France, 1970). He is sometimes credited as "Divided Alien". In 1960, inspired by the Beat Generation writers he had discovered whilst working in a Melbourne bookshop, Daevid Allen travelled to Paris where he stayed at the Beat Hotel, moving into a room that had recently been vacated by Allen Ginsberg and Peter Orlovsky. While selling the newspapers in Latin Quarter, he met Terry Riley and also gained free access to the jazz clubs in the area. After meeting up with Willaim S. Burroughs and inspired by philosophies of Sun Ra, he formed a free jazz outfit, the Daevid Allen Trio, and performed at Burroughs’ theatre pieces based on Burroughs' novel "The Ticket That Exploded".

Allen travelled to England, renting a room in Canterbury where he met his landlord’s son, 16 year old Robert Wyatt.. They formed the band Soft Machine in 1966 with Kevin Ayers and Mike Ratledge. Ayers and Wyatt had previously played in Wilde Flowers. Following a tour of Europe, Allen was refused re-entry to the UK due to overstaying his visa on a prior visit. He settled in Paris where, in May 1968, he took part in the protests which swept the city. He handed out teddy bears to the police and recited poetry in pidgin French, and now admits that he was scorned by the other protesters for being a beatnik.

Fleeing the police, he made his way to Deya, Majorca, with his partner Gilli Smyth. It was here that he recorded the first album under the name Gong, titled Magick Brother (released on BYG Actuel in 1969). They were joined by flautist and saxophonist Didier Malherbe, who they claimed to have found living in a cave on Robert Graves' estate. In 1971 Gong released Camembert Electrrique. They became somewhat of an anarchist commune in rural France between 1973 and 1974. They were joined by Steve Hillage to record the Radio Gnome Trilogy after signing with Virgin.

Allen left this incarnation of Gong and recorded two solo albums, Good Morning and Now Is the Happiest Time of Your Life. In 1977 he performed and recorded as Planet Gong and rejoined the early-70s version of the group for a one-off show at the Hippodrome in Paris. Portions of this concert (which was several hours long) was released on a double-LP entitled Gong Est Mort - Vive Gong!. In 1980 Allen teamed up with Bill Laswelll for the punk-influenced New York Gong. This effort yielded an LP called About Time. More projects followed, including Invisible Opera Company Of Tibet, Brainville, and Magic Brothers.

In 1981 Allen returned to Australia, taking up residence in Byron Bay where he worked on performance pieces and poetry. He performed with performance artist David Tolley using tape loops and drum machines. He is currently involved with a project entitled you’N’gong (a play on the phrase “Young Gong”) with his son, Orlando, and members of Acid Mothers Temple(the collaborations are performed under the name Acid Mothers Gong), as well as an improvisation outfit entitled Guru And Zero.

For many years now, Daevid Allen has been a member of the University of Errors, who have released four albums. In November 2006 a Gong Family Unconvention was held for Gong fans in Amsterdam which included a reunion of many former Gong members from the "classic" early 70s lineup. This participation was reprised in a small number of concerts held by Gong in London in June 2008, where Hillage and Giraudy were among the line up which also included Daevid Allen, Gilli Smyth, and Mike Howlett. These past years Gong has given concerts here and there with a changing line up..Then in 2009 the album 2032 appeared, produced by Hillage, with many of the old members present, the album build on the 73-74 Radio Gnome Trilogy.

Allen now lives in Byron Bay, Australia.

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With Radio Gnome Invisible Daevid Allen showed his mytholigical hand. His quest to create awareness sublimed into a trilogy.His quest to spread spiritual awareness and share the knowledge he had gained about higher states of being and communication and how to apply which hallucinegans for a positive experience. He pondered how to bring the message across and chose humor (as to profound). He chose a deliberately a silly story as a way of opening peoples heads. All this against the backdrop of anarchy.

The Story as it evolves over the trilogy involves Planet Gong, an idealised version of what earth could become, Zero (the Hero) an everyman figure whose progress we follow, and several ancilliary characters like Pot Head Pixies and Octove Docters - not forgetting Radio Gnome Invisible, a telepathic pirate radio network operating brain to brain by crystal machine transmitter direct from Planet Gong. The story is based on a vision Allen had during the full moon of Easter, 1966 in which he claims he could see his future laid out before him. It forms the central theme of the Radio Gnome Trilogy.

The story begins on the album Flying Teapot when a pig-farming Egyptologist called Mista T Being is sold a "magick ear ring" by an "antique teapot street vendor & tea label collector" called Fred the Fish. The ear ring is capable of receiving messages from the Planet Gong via a pirate radio station called Radio Gnome Invisible. Being and Fish head off to the hymnalayas of Tibet where they meet the "great beer yogi" Banana Ananda in a cave. Ananda tends to chant "Banana Nirvana Mañana" a lot and gets drunk on Foster's Australian Lager.



Flying Teapot (73      201mb)


01 - Radio Gnome Invisible
02 - Flying Teapot
03 - The Pot Head Pixies
04 - The Octave Doctors And The Crystal Machine
05 - Zero The Hero And The Witch's Spell
06 - Witch's Song, I Am Your Pussy


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The second album Angel's Egg (1973) begins with Zero falling to sleep under the influences of the potion and finding himself floating through space. After accidentally scaring a space pilot called Captain Capricorn, Zero locates the Planet Gong, and spends some time with a prostitute who introduces him to the moon goddess Selene. Zero's (drug-induced) trip to the Planet Gong continues, and the Pot Head Pixies explain to him how their flying teapots fly (a system known as Glidding). He is then taken to the One Invisible Temple of Gong.

Inside the temple, Zero is shown the Angel's Egg—the physical embodiment of the 32 Octave Doctors (descendants of the Great God Cell). The Angel's Egg is the magic-eye mandala that features on much of the band's sleeve-art. It is also a sort of recycling plant for Pot Head Pixies. A grand plan is revealed to Zero. There will be a Great Melting Feast of Freeks which Zero must organize on Earth. When everyone is enjoying the Feast, a huge global concert, the Switch Doctor will turn everybody's third eye on, ushering in a New Age on Earth. The Switch Doctor is the Earth's resident Octave Doctor, who lives near Banana Ananda's cave, in a "potheadquarters" called the Invisible Opera Company of Tibet (C.O.I.T.) and transmits all the details to the Gong Band via Bananamoon Observatory.

The lineup on this album is absolutely classic Gong and includes Tim Blake (VCS3 and mini-moog synthesizers); Pierre Moerlen (drums); Mike Howlett (bass); Daevid Allen (guitar, vocals); Didier Maherbe (woodwinds); Steve Hillage (guitar); and Gilli Smyth (space whisper, vocals). A great deal of the music on Angel's Egg is very spacey, which is driven largely by Tim Blake's atmospheric synthesizer work, along with Gilli Smyth's cosmic and heavily-echoed "space whisper".



Angels Egg (73     278mb)

07 - Other Side Of The Sky
08 - Sold To The Highest Buddha
09 - Castle In The Clouds
10 - Prostitute Poem
11 - Givin My Luv To You
12 - Selene
13 - Flute Salad
14 - Oily Way
15 - Outer Temple
16 - Inner Temple
17 - Percolations
18 - Love Is How Y Make It
19 - I Never Glid Before
20 - Eat That Phone Book Coda
21 - Ooby-Scooby Doomsday Or The D-Day Dj's Got The D.D.T. Blues

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On You (1974), Zero must first return from his trip. He asks Hiram the Master Builder how to structure his vision and build his own Invisible Temple. Having done this, Zero establishes that he must organize the Great Melting Feast of Freeks on the Isle of Everywhere, Bali.The event is going well, and the Switch Doctor switches on everyone's third eyes except for Zero's. For Zero is out the back, indulging in Earthly pleasures (fruitcake).

Zero has missed out on the whole third eye revelation experience and is forced to continue his existence spinning around on the wheel of births and deaths and slowly converging on the Angel's Egg in a way which, to a certain extent, resembles Buddhist reincarnation.



You (73    260mb)

22 - Thoughts For Naught
23 - A PHP's Advice
24 - Magick Mother Invocation
25 - Master Builder
26 - A Sprinkling Of Clouds
27 - Perfect Mystery
28 - Isle Of Everywhere
29 - You Never Blow Your Trip Forever

RhoDeo 1104 Goldy Rhox 11

Hello, today the 11th post of the new format; GoldyRhox, classic pop rock. 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 accomodate somewhat and produce some cryptic info on the artist and or album.


Another classic from 72 by a man who already made a name for himself in Andy Warhol's Factory band, his first solo effort went south somewhat, but this his second hit the sweet spot, produced by Bowie who did some background singing aswell, this album hit the sweet spot, it's first unlikely hitsingle was walk on the wildside, sourced by his experiences at the Factory and a book with the same name, it past the banning committee that proved how out of touch they were, by having no idea what giving head meant and he was a she something they'd would love too. Anyway great classic and there are more on this album......another one of those "1001 Albums You Must Hear Before You Die"

Goldy Rhox 11  (flac 251mb) -new

Goldy Rhox 11  (ogg  95mb)


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RhoDeo 1104 Aetix

Hello, as promised last week , some more psychobilly today..a highpowered aand subsequently colourful lifestyle-without the big bucks or press mosquitos..as such it is powered by the internal drive, with highly infective results....

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Demented Are Go got their start in Penarth, South Wales, near Cardiff. Initially, the band was disorganised, with Mark Phillips or "Sparky" playing drums, Ant Thomas singing, a bass player with his hair dyed red, and a "rock icon" with a gold-top Les Paul guitar and leather keks on rhythm guitar. Dick, a veteran of the punk/pub rock circuits, joined the band in early 1983, reshuffled the line up . After six weeks of rehearsals, the band's first gig was third on the bill to a line-up of Crass-type anarchist bands at the Sea Lion in Penarth and was met with good reception. Several years of playing everywhere. They recorded two songs for their first release on a 1984 compilation, Hell's Bent On Rockin' from Nervous Records, a well known record label in the psychobilly scene. They released their first album, In Sickness & In Health, on ID Records, which was recorded in less than 24 hours with 90% first takes, with Ray Thompson on bass. The core members at this time remained Mark, Ant and Dick.

The band moved to London in 1986 in an attempt to be closer to regular work. Dick left in 1987 after continuing frustration with the direction the band was taking. Undeterred,the then new double bass player and song writer graeme grant, recruited lex"luther to replace Dick. This was followed with their second full-length Kicked Out of Hell album that reached high positions in the indie charts both here and abroad in 1988. The band began extensively touring Europe and gained both a psychobilly and punk rock following. At this point, the lead singer, Sparky, became addicted to Psychoactive drugs(LSD) and alcohol. At this point Graeme and Lex both left the band at the end of 89, Lex rejoined the band only after a short break."Billy Munster" was to replace graeme on double bass.

In 1990, the band went back to the studio, though without any songs. They were able to write and record an EP for Link Records, The Day the Earth Spat Blood, within the span of three days. The band went on another European tour in 1991, writing and recording their next full-length for [Fury Records], Orgasmic Nightmare. In 1992 The band would tour almost constantly for the next two years. A second album for Fury Records, Tangenital Madness On A Pleasant Side Of Hell, was recorded in 1993, followed by two tours in Japan. The band was infamous for Sparky showing up to Japanese performances naked and doing strange things with a rubber fish...!

During a tour in Germany in spring 1995, the band broke up due to Sparky's deteriorating mental state. However, in 1996, Demented are Go reformed to release the EP'I Wanna See You Bleed! for Hell Razor Records. The band then toured the west coast of the United States U.S. in 1997. They would again be known more for their wild stage show, which included on-stage sex with vacuum cleaner".The band released the full-length Hellucifernation for Crazy Love Records in 1999. A tour went sour after Sparky ended up on jail, having pinched a minor and unable to cough up bail.

After a month in jail and a $100 fine, Sparky returned to England where the Demented Are Go line-up underwent numerous changes. They played two U.S. tours and recorded a live album, Live at the Galaxy, for Crazy Love Records as well as many European festival appearances. However, in the summer of 2003, Sparky was arrested numerous times on the road, resulting in more line-up changes. At the beginning of the 2006 U.S. tour, Sparky was detained by U.S. immigration authorities due to his criminal history, and he was sent back to England. The U.S. tour was cancelled but Demented Are Go still played shows in Europe.



Demented Are Go - In Sickness and In Health (86 ^ 289mb)

01. Be Bop A Lula (2:05)
02. Pervy In The Park (2:24)
03. (I Was Born A) Busted Hymen (3:08)
04. Holy Hack Jack (2:13)
05. Frenzied Beat (2:07)
06. Pickled And Preserved (2:03)
07. Crazy Horses (1:50)
08. Transvestite Blues (3:26)
09. Rubber Buccaneer (2:46)
10. Vibrate (1:51)
11. Rubber Love (2:47)
12. Nuke Mutants (2:54)
13. PVC Chair (1:58)
14. Don't Go In The Woods (3:45)
15. One Sharp Knife (bonus) (3:30)
16. Rubber Rock (bonus) (3:11)

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The King lives in more energetic ways than are displayed by crooners dressing up in his flashy Vegas outfits, here are some more trashy and vibrant psychobilly 'inter-pretentions'...now boys can we have a Abbabilly album please.....



God Save The King, A Psychobilly Tribute To Elvis (82mb)

01. Blue Moon of Kentucky - Nigel Lewis with The Tombstone Brawlers (2:39)
02. (You're The) Devil In Disguise - Spellbound (2:56)
03. (Now And Then) There's A Fool Such As I - Batmobile (2:33)
04. Milk Cow Blues - Lucky Devils (2:28)
05. Bossa Nova Baby - Cosmic Voodoo (1:50)
06. King Creole - Memphis Morticians (2:14)
07. Long Black Limousine - King Sleaze with Batmobile (3:05)
08. CC Rider - Guitar Slingers (2:34)
09. That's Alright Mama - Monster Klub (2:24)
10. Viva Las Vegas - Spinballs (3:32)
11. Little Sister (Live) - Asmodeus (3:59)
12. Crawfish - Ripmen (2:10)
13. Happy Endings - Thee Flanders (1:39)

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RhoDeo 1104 Roots

Hello, more music from the 'mother'land, it's been ravaged and plundered by outsiders ever since the Romans decided to exterminate the Carthagen competion (165 BC) a city-state that had florished for 1,000 years and now historians have a hard time finding anything.. that's Roman destructive efficiency for you.. anyway many raiders have followed in their footstep since, and yet Africa hasn't lost it's vibrancy (dare i say testament to the human spirit). Making music is still a collective undertaking, though there are specialists, the west african griots are more then singers/musicians in a way they are history teachers aswell and embed the spirit of the tribe within them... Today, a griot that has stepped out of his continent and took his art into the world, Foday Musa Suso.

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In West Africa, the Griot is a musician, entertainer, historian, myth maker and more. For 800 years this expert musician class have been "walking libraries," responsible for preserving the region's wisdom and lore. Epic songs, genealogies and one of the world's richest instrumental traditions have been passed down through arduous apprenticeships, ensuring that the Jali Kunda (Griot family) endures.

Foday Musa Suso is a Mandingo griot (the griot is the hereditary musician/oral historian of the Mandingo people). He is a virtuoso kora player, drummer, and composer. Suso was born in the Sarre Hamadi Village, Gambia. Initially taught by his father, at the age of eleven Suso was sent away to study under a master kora player, Saikou Suso, after undergoing seven years of rigorous study, at age eighteen he became a full-fledged griot.

Suso then took his kora (a 21-string harp-lute), and traveled through Africa, America and Europe, providing audiences with their first taste of Griot music. From 1975 through 1977 he held the post of Kora Instructor at the Institute of African Studies, University of Ghana. In 1977, Suso established himself in the United States, founding the Mandingo Griot Society where he taught jazz musicians to play new arrangements of Mandingo music. Their first record featured the late American jazz musician Don Cherry.

In 1984, the organizing committee of the Olympic games approached Herbie Hancock for the composition of the official theme music for the field events. Wanting to evoke the roots of man, Herbie turned to Suso. Their collaboration resulted in the rousing "Junku," and continued with Suso composing for Herbie's next album, "Sound System," and later with the highly acclaimed duet album, "Village Life."

Suso was a featured instrumentalist on the Philip Glass soundtrack for the film Powaqattsi, and collaborated with Glass on the score for the American premiere of Jean Genet's The Screens, which opened at Minneapolis' Guthrie Theater in the fall of 1989. Suso has toured with the Kronos String Quartet and their recordings are part of the Pieces of Africa release.

For Jali Kunda, Foday Musa Suso returns to his native village in Gambia with legendary producer Bill Laswell. They visit Senegal and Guinea-Bissau to encounter their Griots, learn their stories and hear their songs. Back in the United States, Suso and Laswell anticipate the next century of Griot music as Suso performs original works by avant-classical minimalist Philip Glass, saxophone innovator Pharoah Sanders, and muscular funksters Mandingo.



Jali Kunda (Griots of West Africa) (97 176mb)

1. Allah l'aake (Kolda, Senegal) {2:45}
2. Sunjata (Tabato, Guimea-Bissau) {5:45}
3. Sinyaro (Brikama, The Gambia) {3:03}
4. Mariama (Kolda, Senegal) { {4:31}
5. Spring Waterfall {7:21}
6. Jula Faso (Brikama, The Gambia) {3:21}
7. Sunjata (Kolda, Senegal) {3:10}
8. Lanmbasy Dub {8:23}
9. Jula Jekereh (Brikama, The Gambia) {4:50}
10. Lambango (Gabu, Guimea-Bissau) {2:49}
11. Samma {8:30}
12. Sorrie (Brikama, The Gambia) {3:35}
13. Yata Kaya (Kolda, Senegal) {4:55}
14. Lambango (Tabato, Guimea-Bissau) {8:01}
15. Allah l'aake (Brikama, The Gambia) {3:51}

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RhoDeo 1104 Earthsearch

Hello, needed that sleep after a 33 hour stint..enjoyed next weeks sundaze today, funny how the mind works last thursday (Goldy Rhox 10) it was bang a gong..hmm. Sometimes i wonder if anyone reads these bloglets or if it's straight down we go for the goodies, as it happens i was just chatting about the relation comments to downloads and i estimate it's less then 1 comment for every 2000..how ungrateful is that i wonder, there's no wikileaks here, and anonymous comments are alowed, even in foreign languages....Meanwhile the Challenger Gang has gotten themselves into a hole, though it wasn't as black as it seemed...

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two.

At the end of Earthsearch, the crew of the starship Challenger settled on the Paradise planet, having never seen their original home planet that they called Earth. They left the Challenger's control computers, Angel One and Angel Two, in charge of the ship to continue the search for Earth. Four years later, the crew have settled into their life on Paradise, despite many hardships they are suffering. Then suddenly, one of their children is killed by a 'monster' that appeared from the sea.

It transpires that this 'monster' is actually an android from the Challenger, which has returned. When the sea level begins to rise, the crew are suspicious of the Angels. They notice a large amount of radiation coming from the southern horizon, and they fly to Antarctica in their shuttlecraft. There they find hundreds of towers embedded in the ice. The Angels are using terraforming equipment from the Challenger to melt the ice and thus raise the sea level in an attempt to get the crew to rejoin them on the ship.The crew are adamant that they will not leave Paradise. The flood gets worse and worse, and will clearly soon submerge all the land. They load breeding pairs of animals into the shuttle cargo bay, and when the water level gets high enough, the shuttle floats. The crew are surviving, barely, and have beaten the Angels for the time being.However, their situation deteriorates to the point where they have no more water to drink, so they eventually surrender to the Angels. First, however, they demand that the flood is reversed, so they can release the animals. Then they fly their shuttle up to the Challenger.
The crew are gassed by an android, and they become unconscious, to wake up again with a big surprise awaiting them.. When they come round, they discover that they have been in suspended animation for sixteen years. But the children, who were very young when they came on board, have been awake the whole time, and are now about twenty years old. Telson and Sharna's son, Bran, is now the commander. The Challenger crew have land on an artificial sun called "Solaria D", controlled by a computer who appears to be friendly. From the artificial to the real deal, that is, what's left of it exponentially increases Challengers troubles even the The 'Guardian Angels' cannot change its course and the crew are also powerless. Fortunately things are not as black holed as it seemed ...there's a switch to it..go figure



EarthSearch II - 17 Deathship (11mb)


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Sundaze 1104

Hello, i'm rather tired currently, so i keep it brief ...enjoy

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Steve Hillage ( 2 August 1951, London, England) is best known as a guitarist. He is associated with the Canterbury scene and has worked in experimental domains since the late 1960s.

Whilst still at school, he joined his first band, a blues rock band called Uriel. In 1969, Hillage began studies at the University of Kent in Canterbury, befriending local bands Caravan and Spirogyra and occasionally jamming with them. Meanwhile he wrote songs and, by late 1970, had accumulated enough material for an album. In early 1971, Hillage formed Khan which released Space Shanty (72) the band split later that year. Hillage promptly joined Kevin Ayers' new live band Decadence, participating in Ayers' 1973 album Bananamour and touring the UK and France for two months. Having in the meantime become a fan of Gong, Hillage stayed in France after the tour to join the band. January 1973 he took part in the sessions for Flying Teapot, the first instalment of the "Radio Gnome" trilogy, and soon after graduated to full-time membership.

Late 75 Hillage departed Gong to start a solo career on the back of the success of his first soloalbum, Fish Rising, recorded while still in Gong and featuring most of his bandmates. His next effort L album was recorded in the United States using musicians from Todd Rundgren's Utopia, and on its release Hillage formed a touring band which toured in late 1976. 1977's Motivation Radio, with its shorter tracks, marked a departure from the long instrumental workouts of previous efforts, but 1978's Green, co-produced by Pink Floyd's Nick Mason, was a return to his earlier work.

These 1970s works ( in collaboration with his longtime girlfriend Miquette Giraudy) blended complex studio production techniques with dreamscape anthems. Culminatiing in the fully ambient Rainbow Dome Musick. During the 1980s, Hillage mainly worked as a record producer, for the likes as Simple Minds, Cock Robin, Murray Head.
Hillage was recruited back to the music scene by Dr. Alex Paterson of the Orb, who spun Hillage's Rainbow Dome Musick at London's Heaven one night while Hillage was there himself. The two became friends, and Paterson encouraged him to begin recording ambient house -- with Hillage's guitar explorations just as prominent in the mix as on his solo work. Hillage teamed up with Giraudy again in the early 1990s to form their own ambient dance act: System 7. They soon became part of the underground dance scene in London and Hillage was also a key figure in getting the Glastonbury Festival to recognise the dance scene and set up the Dance Tent, which he programmed in its first year. As System 7 the duo released 12 albums since 91, often with diverse collaborators from the music/dj scene.

In November 2006, Hillage made a surprise return to the Gong fold when he and Giraudy performed at the Gong Unconvention in Amsterdam. This participation was reprised in a small number of concerts held by Gong in London in June 2008, where Hillage and Giraudy were among the line up which also included Daevid Allen, Gilli Smyth, and Mike Howlett. These past years Gong has given concerts here and there with a changing line up..Then in 2009 the album 2032 appeared, produced by Hillage, with many of the old members present, the album build on the 73-74 Radio Gnome Trilogy.



Steve Hillage - L   (76 now in Flac  315mb)


1 Hurdy Gurdy Man (6:32)
2 Hurdy Gurdy Glissando (8:54)
3 Electrick Gypsies (6:24)
4 Om Nama Shivaya (3:33)
5 Lunar Musick Suite (11:59)
6 It's All Too Much (6:26)
Bonus Tracks
7 Eight Miles High (4:34)
8 Maui (4:41)
9 Shimmer (3:50)

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This album was written by Hillage and long-time recording partner Miquette Giraudy in 1979 for use at the Mind-Body-Spirit festival in London where it was played on a loop in a large dome (the Rainbow Dome of the title) where people could go and relax. They combined recordings of running water, layers of twirling synth sounds, Tibetan bells and (of course) floaty guitar-lines to create 44 minutes of dreamy beatless chill and one of the first ambient LPs. It was well ahead of its time



Steve Hillage - Rainbow Dome Musick (79 now in Flac 219mb)

1 Garden Of Paradise (23:09)
2 Four Ever Rainbow (20:30)

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RhoDeo 1103 Goldy Rhox

Hello, today the 10th post of the new format; GoldyRhox, classic pop rock. 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 accomodate somewhat and produce some cryptic info on the artist and or album.


Two spots of glitter under his eyes before an appearance on Top of the Pops, the ensuing performance would often be viewed as the official birth of glam rock. This band, after it abbreviated it's dinosaur predator name, became commercially successful and basicly a one man show. This their second album from 71 is their classic , it really banged their gong..In the years that followed the band slided downwards as the singer/guitarist succomed to the rock & roll lifestyle of too much booze, drugs and fast food. Not withstanding the birth of a son, Rolan who's mother Gloria (tainted love) Jones was at the wheel of a Mini and drove the pair into a tree, she survived he didn't. ..another one of those "1001 Albums You Must Hear Before You Die"


Goldy Rhox 10 (71 143mb)


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RhoDeo 1103 Aetix

Hello, todays band has been up for it for some time now, had a bit of a hard time what to post, i've decided on an early compilation and the breakthrough album, although that's relative..they were very popular in the UK as 'jumping drunk on punk aint half as much fun as bouncing around on psychobilly music. I will post some more of that stuff in weeks to come, meanwhile...

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The Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex. They have influenced countless subsequent bands in the garage, punk and rockabilly revival subgenres, and helped create the psychobilly genre, a term coined by The Cramps, although Lux Interior maintained that the term did not describe their own style.

Lux Interior (Erick Lee Purkhiser) and Poison Ivy (hitchiking Kristy Marlana Wallace) met in Sacramento, California in 1972. Shared common artistic interests and devotion to record collecting, had them pair up and decide to form The Cramps. Lux took his stage name from a car ad, and Ivy claimed to have received hers in a dream (initially Poison Ivy Rorschach). In 1973, they moved to Akron, Ohio, and then to New York in 1975, soon entering into CBGB's early punk scene. The lineup in 1976 was Poison Ivy Rorschach, Lux Interior, Bryan Gregory (guitar), and his sister Pam "Ballam" Gregory (drums). In a short period of time, the Cramps changed drummers twice, something that would follow the bands path..the rhythm section (bass,drums) changed ever so often 7 times each in fact over their 33 years as a band.

In June 1978 they gave a landmark free concert for patients at the California State Mental Hospital in Napa, recorded on a Sony Portapak video camera by the San Francisco collective Target Video and later released as Live at Napa State Mental Hospital. They released the two singles again on their 1979 Gravest Hits EP, before Chilton brought them back that year to Memphis to record their first full length album, Songs The Lord Taught Us.

The Cramps relocated to Los Angeles in 1980 and hired guitarist Kid Congo Powers of The Gun Club. While recording their second LP, Psychedelic Jungle, the band and Miles Copeland began to dispute royalties and creative rights. The ensuing court case prevented them from releasing anything until 1983, when they recorded Smell of Female live at New York's Peppermint Lounge; Kid Congo Powers subsequently departed. Their first European tour, after having veen cancelled twice, was a success.

With the release of 1986's A Date With Elvis, the Cramps permanently added a bass guitar to the mix, but had trouble finding a suitable player, so Ivy temporarily filled in as the band's bassist. Fur joined them on the world tour to promote the album. Their popularity in the UK was at its peak (many sell out dates throughout the UK) . It was not until late 86 that the Cramps found a suitable permanent bass player: Candy del Mar, who made her recorded debut on the raw live album "RockinnReelininAucklandNewZealandxxx", which was followed by the studio album Stay Sick in 1990.

The Cramps hit the top 40 singles chart in the UK for the first and only time with "Bikini Girls with Machine Guns"; Ivy posed as such both on the cover of the single and in the promotional video for the song. The Cramps went on to record more albums and singles through the 1990s Look Mom, No Head! (91), Flame Job (94), Big Beat From Badsville (97) for various labels.

In honor of the excess of The Cramps, the Rock and Roll Hall of Fame has on display a shattered bass drum head that Lux's head went through during a live show. On January 10, 2001, Bryan Gregory died at of complications following a heart attack. He was 47. In 2002, The Cramps released their final studio album, "Fiends of Dope Island" on their own label, Vengeance Records. Two years later followed by a compilation, How to Make a Monster.

On February 4, 2009 at 4:40 AM PST, Lux Interior died at the Glendale Memorial Hospital after suffering an aortic dissection (rupture) which, contrary to initial reports about a pre-existing condition, was "sudden, shocking and unexpected, leaving his partner of 37 years (Poison Ivy) behind.

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Although the bulk of the material consists of covers, you can hardly tell (barring an intimacy with any of the originals). Once the Cramps get hold of a song, they always make it their own -- even the more recognizable numbers like "Surfin' Bird," "Lonesome Town," and "Fever." All benefit from Lux Interior's vocal prowess. He's a proto-punk screamer like Screamin' Jay Hawkins or the Sonics' Gerry Roslie on the rockin' numbers, but can caress a ballad like mid-period Elvis when the need arises. None of the songs sound as if they could possibly have been written anytime after the '60s. Alex Chilton produced the first ten tracks, the Cramps the remaining seven.



Off The Bone (83 ^ 123mb)

01 Human Fly (2:12)
02 The Way I Walk (2:38)
03 Domino (3:05)
04 Surfin' Bird (5:03)
05 Lonesome Town (2:55)
06 Garbageman (3:28)
07 Fever (4:17)
08 Drug Train (2:33)
09 Love Me (1:57)
10 I Can't Hardly Stand It (2:39)
11 Goo Goo Muck (3:02)
12 She Said (3:11)
13 The Crusher (1:46)
14 Save It (3:01)
15 New Kind Of Kick (3:28)
16 Uranium Rock (2:26)
17 Good Taste (Live) (3:28)

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Most of the songs here are in various rockabilly-derived styles featuring either garage rock fuzz or Duane Eddy twanging guitar from Poison Ivy. Vocalist Lux Interior is in excellent form here, exhibiting a fair bit of variety within his usual 1950s-derived approach. "Kizmiaz" is unique in the band's oeuvre, being a smarmy parody of 1960s hippie feel-good music. This rollicking and energetic platter in particular is the equal of any in their canon.



A Date With Elvis (86 82mb)

01 How Far Can Too Far Go? (4:10)
02 The Hot Pearl Snatch (3:17)
03 People Ain't No Good (3:46)
04 What's Inside A Girl? (3:22)
05 Can Your Pussy Do The Dog? (3:22)
06 Kizmiaz (3:01)
07 Cornfed Dames (5:26)
08 Chicken (1:40)
09 (Hot Pool Of) Womanneed (3:09)
10 Aloha From Hell (2:35)
11 It's Just That Song (2:35)

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RhoDeo 1103 Roots

Hello, more music from the most exploited., however poor or hungry sharing rhythms is universal (even beyond this realm). On the basis of it all is percussion, today some more excellent drumming from Africa (even included a map)..hope you'll take up the offer and enjoy..

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This set of drumming and percussive instrumentals is surprisingly compelling; It's easy to become transfixed as the waves of rhythm overtake and carries one along. Five different groups perform on this well-paced collection: The El Hadj Ensemble specializes in Ghanaian and Senegalese drumming; Ipelegeng, Matodzi and the Soweto Ensemble represent South Africa and a group called African Works adds a "bush" beat to many tracks. Sometimes these groups perform collaboratively, and the cumulative effect is quite nice. After decades of brisk, somewhat jarring drumming albums, it's nice to hear the recording methods and the presentation softening up a bit, so that the melodic and textural depths come out more clearly... they not only focus on drumming, but do so to the point of exclusion of all vocals and other non-percussion instruments (marimbas are occasionally used, but sparingly). The works are completely stripped down from any full musical context and only the beat itself is left. On rare occasions, a small flute takes the place of the vocal lines, but in general it's left to the drums alone. This works well to highlight the complexity of a number of styles, if the pieces chosen generally have more complexity to them. For those who enjoy rarities, incidentally, it does include a couple of interesting works on a Zulu friction drum and a seldom-heard Venda drum. In the end there's no pop fusion going on here; the drumming is fairly pure, but it's also kind of laid back and pleasant to space out on, with plenty of stylistic variety.



The Pulse Of Africa (152mb)

01 El Hadj Ensemble - Wo Mawu (Anlo-Ewe, Togo & Ghana) 3;30
02 Ipelegeng Group, African Works - Ngungu (Zuzuland) 2;59
03 El Hadj Ensemble - Eboka (Bolamba Pygmies, Congo) 3;01
04 El Hadj Ensemble - Basoga Lusoga (Uganda) 4;00
05 El Hadj Ensemble - Mala (Senegal, Mali, Guinea, The Gambia) 2;33
06 El Hadj Ensemble - Soului (Accra, Ghana) 3;24
07 African Works - Gboko Lia Yayri Kpamo (Central African Republic) 3;04
08 Soweto Ensemble - Nxai (Kalahari Busman, Botswana) 3;24
09 Ipelegeng Group - Unwabu (Swaziland Xhosa, Zulu) 3;48
10 Soweto Ensemble - Baba (Nguni Xhosa, South Africa) 5;00
11 African Works - Zima Gaza Koo (Central African Republic) 3;42
12 El Hadj Ensemble - Kekebu (Shangaan - Mozambique & South Africa) 2;58
13 Tirani Club - Domba (Venda, Northern South Africa) 5;38
14 El Hadj Ensemble - Yolo Male (Central African Republic) 3;27
15 Mabo (Cameroon, Congo, & Central African Republic) 2;57
16 El Hadj Ensemble - Eshe Eyele (Nigeria, Benin, Togo) 3;23
17 African Works - Zanga (Central African Republic) 2;38
18 Soweto Ensemble - Ibhungane (Zulu South Africa) 3;42


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