RhoDeo 1202 Roots

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

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Jacob Miller was born in Mandeville, Central Jamaica on May 4, 1952 to Joan Ashman and Desmond Elliot. At the age of eight he moved to Kingston, Jamaica where he grew up with his maternal grandparents. In Kingston, Miller began spending time at popular studios including Clement Dodd’s Studio One. There's no doubt though that Miller was a handful, star struck, and desperate to be a star himself. Coxsone Dodd gave him his first shot in 1968, when the youth recorded a few songs for the producer, including the single "Love Is the Message." It barely caused a ripple, but did catch the attention of Augustus Pablo, who gave the song airing at his Rockers Sound System. That wasn't enough to keep Dodd's interest, and Miller's career seemed to be over before it had even begun. However, Miller continued practicing, hanging around the studios, watching the stars, and jovially boasting about his talent to anyone who would listen.

In 1972, Pablo and his brother Garth Swaby launched their own Rockers label, initially a home for Pablo's own instrumentals, but soon branching out to vocal cuts. In 1974, Pablo brought Miller into Dynamic Studios to re-record "Message," resulting in the phenomenal "Keep on Knocking," one of the foundation stones of the new Rockers style. Over the next 18 months, the young singer cut five more songs for Pablo, each one a Rockers classic -- "Baby I Love You So," "False Rasta," "Who Say Jah No Dread," "Each One Teach One," and "Girl Named Pat" -- and all boasting seminal dubs from mixer King Tubby on the flip.

It was with these early singles, most deeply dread in theme, that Miller established his reputation. However, Rockers' finances precluded the constant recording that the young singer craved, and thus when he was approached by Inner Circle, Miller jumped on board. Circle already had a few singles to their credit, and had backed several singers in the past, before folding then rising anew in 1973 as a Top 40 covers band, plying their reggae-lite arrangements around the resort circuit. And then Miller arrived, creating the heaviest frontline in Jamaica's history, and some of the heftiest roots around.

It's difficult to draw a distinct line between Miller's solo career and his work with Inner Circle, virtually all were backed by at least some of Circle, with the lineup enhanced by members of the Revolutionaries. Miller preferred Rockers style, while Circle indulged in experimentation, delving into pop, soul, funk, and even disco.

Across 1975, the singer struck a deep chord with such classics as "Forward Jah Jah Children," "Tired Fe Lick Weed in a Bush," the Gussie Clarke-produced "Girl Don't Come," and "I Am a Natty" (a Joe Gibbs' produced cover of Bob Marley's "Soul Rebel"), even as Miller and Circle worked on their Trojan album Blame It on the Sun. The following year, Miller took second place at the Independence Song Festival with "All Night Till Daylight," and turned the soul masterpiece "Dock of the Bay" into a dread classic, amongst a slew of other fine releases.

Circle signed to Capital Records in 1976, unleashing Reggae Thing, and Ready for the World the following year. Miller's own solo album debut, Dread Dread, also appeared in 1978, showcasing both the lighter and heftier sides of the singer's oeuvre. Miller was featured in the film Rockers, alongside many other musicians including Gregory Isaacs, Big Youth and Burning Spear. In the movie, he plays the singer of a hotel house band, (in reality Inner Circle), who are joined on drums by the film's hero, Leroy "Horsemouth" Wallace and play a live version of Inner Circle's hit "Tenement Yard".

Before '76 was out, Miller had released two further solo albums, the crucial Killer Miller and the festive Natty Christmas. The former included a slew of classics, including "Forward Ever," "80,000 Careless Ethiopians," "Lamb's Bread Collie," and "Shaky Girl," the latter cut for Joe Gibbs. 1979's Wanted included another clutch, including such dread masterpieces as "Standing Firm," "Healing of the Nation," "Sinners," "Peace Treaty Style," and the smoky love song "I've Got the Handle."

Miller was now at the height of his powers, and with his charismatic stage presence, had even supplanted Marley as the island's most popular singer. Circle's phenomenal performance at the One Love concert brought the band a contract with the Island label, who released the hugely popular Everything Is Great, which spun off two British hit singles. In March 1980, Miller accompanied Marley and Island head Chris Blackwell to Brazil, to celebrate the opening of the label's new offices there. Meanwhile, the rest of Circle were preparing for their forthcoming American tour in support of the Wailers. The trio returned to Jamaica on the 21st, two days later on Sunday, March 23, 1980 Miller was killed at age 27 in a car accident on Hope Road in Kingston, Jamaica. Miller and Inner Circle had been preparing for an American tour with Bob Marley and the Wailers, and the next album, Mixed Up Moods, had been recorded before his death. Jamaica had lost one of the greatest singers of the age, long before his time.

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There are those who argue that all reggae sounds the same, and that roots reggae, in particular, consists entirely of minor variations on a very small set of musical (and, Jah knows, lyrical) themes. Who Say Jah No Dread consists of the six songs Jacob Miller recorded with legendary producer Augustus Pablo, and the dub versions of those tunes, all of which were mixed by King Tubby; talk about a triple threat. This album is one of a few hard, compact gems of roots reggae, a classic so inarguable that even the most intransigent reggae skeptic might be won over by its dark, mystical charms. All of the rhythm tracks on this album have become classics, none more deservedly than the one on which "Baby I Love You So" is based, which also forms the basis of "King Tubby Meets Rockers Uptown," a dub version generally considered to be the finest example of dub ever created. Amazingly, every track lives up to that high standard. If your reggae collection consists of only five titles, this should be one of them.

Jacob Miller - Who Say Jah No Dread (flac 181mb)

01 Keep On Knocking + Knocking Version 6:08
02 False Rasta + Hungry Town Scanc 5:22
03 Baby I Love You So + King Tubby Meets Rockers Uptown 5:01
04 Who Say Jah No Dread + Jah Dread Dub 5:19
05 Each One Teach One + Version 5:09
06 Girl Name Pat + Pat Version 5:05

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Released the same year the reggae singer's life was cut short by a car accident, the 1980 set Jacob Miller Lives On is one of those hastily thrown-together compilations that can't help but succeed thanks to the rich source material. At least that's the way the reggae faithful will see it, since almost everything here is pulled from the 12" releases Miller recorded for producer and label owner Joe Gibbs. . classics like "I Am a Natty," "I'm Just a Dread," and "Keep on Knocking" get to stretch their legs and extend their winning grooves.

Jacob Miller - Lives On (flac 160mb)

01 Fly Away 3:44
02 Shakey Girl 3:41
03 I Am A Natty 3:01
04 Keep On Knocking 2:40
05 You'll Live On 3:29
06 Just A Dread 2:56
07 Keep On Running 3:08
08 Back Yard Movements 3:13

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These are the true greatest hits.

J. Miller and Inner Circle - Reggae Greats (flac 227mb)

01 Shaky Girl 3:07
02 Tenement Yard 2:39
03 Suzy Wong 2:21
04 Sinners 3:22
05 Healing The Nation 3:51
06 80,000 Careless Ethiopians 4:11
07 I've Got The Handle 3:11
08 Tired Fe Lick Weed In A Bush 3:04
09 Roman Soldiers Of Babylon 2:36
10 Standing Firm 4:11
11 All Night Till Daylight 3:26
12 Forward Jah Jah Children 3:20

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RhoDeo 1202 Burroughs

Hello, one of the worlds biggest rockstars turned 65 today, he's semi retired these days, after all it's been 8 years since his latest album, Reality. Then again who's to say he won't delight us some more, Happy Birthday David Bowie ! Gosh i feel a Goldy Rhox coming up..

Ok today and next week not a new series but the attention is turned to that big counter culture poet William Burroughs.

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The elder statesman of literature's Beat Generation -- and, by extension, of the American underground culture -- few figures outside of the musical sphere exerted a greater influence over rock & roll than novelist William S. Burroughs. A provocative, controversial figure famed for his unique cut-up prose aesthetic, Burroughs lived the rock lifestyle years before the music itself was even created; the ultimate outsider, he existed on the dark fringes of society in a haze of drugs, guns, and violence, remaining a patron saint of hipsterdom until his dying day. Ultimately, Burroughs' hold on the popular culture was extraordinary: few artists failed to credit him as an inspiration, and while bands like Steely Dan and the Soft Machine adopted their names from his turns-of-phrase, younger artists like Kurt Cobain and the Disposable Heroes of Hiphoprisy lined up to offer musical support for his occasional excursions into spoken word performing.

William Seward Burroughs was born February 5, 1914 in St. Louis, MO, the grandson of the founder of the Burroughs Adding Machine company. A homosexual bookworm with a fascination for guns and crime, he attended Harvard University, but largely rejected all the restraints of mainstream society, opting instead to pursue a life in New York City's underworld of organized crime. Upon becoming a heroin addict, Burroughs fell in with junkie drifter Herbert Huncke, leading to his introduction to other future Beat paragons like Jack Kerouac, Allen Ginsberg, and Lucien Carr; he also met Joan Vollmer, who became his common-law life. While older than the others, Burroughs had yet to begin writing as Kerouac and Ginsberg had; at first indifferent to literature, he finally completed 1953's Junky, an autobiographical tale of addiction published in pulp novel format by Ace Books. Queer, a similarly upfront examination of homosexuality, was rejected by the publisher and did not surface for several decades.

By the mid-'50s Burroughs, Vollmer, and their children had relocated to East Texas to live on a farm; as his descent into heroin addiction worsened, he found himself hounded by authorities, and eventually the family fled to Mexico. The marriage became the stuff of tabloid headlines when, attempting to impress friends with his shooting skills, Burroughs enlisted Vollmer to participate in a William Tell-like target demonstration; a faulty shot left Vollmer dead and sent Burroughs wandering the globe, finally drifting to Tangier. Following the success of their respective On the Road and Howl, both Kerouac and Ginsberg had become media sensations, with the Beat Generation emerging in full force; they tracked Burroughs down in Africa, finding him hopelessly addicted to heroin yet somehow able to write brilliant and wildly experimental fragments of prose. Kerouac began typing up the material and even gave it a title, Naked Lunch.

Upon its 1959 publication, Burroughs became a celebrity; the novel was the subject of a high-profile obscenity trial, and even today it remains his best-known and most influential book. Beginning with 1961's The Soft Machine, he began experimenting with a "cut-up" method of writing, literally cutting and pasting together various random fragments of text for maximum reader disorientation; in 1965, Burroughs began expanding into other forms of media, recording the LP Call Me Burroughs, a collection of spoken word readings of material culled from Naked Lunch and The Soft Machine. While remaining a prolific literary voice on the strength of work like 1971's The Wild Boys: A Book of the Dead and 1973's Exterminator!, aside from compilation appearances he did not issue another major recording prior to 1975's William S. Burroughs/John Giorno; Nothing Here Now But the Recordings, compiled by Psychic TV's Genesis P. Orridge, followed in 1981, as did another collaboration with Giorno, You're the Guy I Want to Share My Money With.

Always a major cult figure, by the late '80s Burroughs had become something of a pop culture icon, a symbol of decadence and ominous genius; a supporting role in Gus Van Sant's 1989 film Drugstore Cowboy brought him his widest mainstream exposure to date, and virtually every hipster worth his salt name-checked him as an influence. After 1987's Break Through in Grey Room, Burroughs recorded 1990's Dead City Radio, a collection of performances backed by Sonic Youth, John Cale, the NBC Symphony Orchestra, and others. In 1992, he guested on Ministry's "Just One Fix" single, and the following year recorded The 'Priest' They Called Him with Nirvana's Kurt Cobain. In 1993, Burroughs recorded his final LP, Spare Ass Annie and Other Tales, with the members of the Disposable Heroes of Hiphoprisy, and his sampled voice was also heard on recordings from diverse acts including the Jesus and Mary Chain, Laurie Anderson, and Material. With Tom Waits, he also co-wrote The Black Rider. The last major surviving figure of the Beat Generation, Burroughs died of a heart attack on August 2, 1997 in Lawrence, KS.

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Break Through in Grey Room is a collection of William S. Burroughs' speeches and cut-up recordings performed and recorded between 1960 and 1976. Some are actual pieces, and others are discussions of the pieces, such as "Origin and Theory of the Tape Cut-Ups," which he read at Boulder's Naropa University in 1976. Burroughs' incredibly detached voice only sounds better with age. He seems to exist between two worlds, and he constantly jumps back and forth from the conscious to the subconscious. In fact, one can hardly tell at any time which world it is that he inhabits. The bulk of the disc is consumed by one cut-up piece entitled "K-9 Was in Combat With the Alien Mind-Screens," which Burroughs claims was the result of writing as an art form, attempting to catch up to the advanced world of collage painting. This was one of Burroughs' earlier collaborations with Ian Sommerville. The Brion Gysin piece that Burroughs uses as a sample ("Recalling All Active Agents") is a brilliantly textured two-track recording that was made at the BBC studios in 1960 utilizing the drop-in method that Burroughs speaks about. This method entails a tape recorder recording a different player whilst randomly speeding up, slowing down, reversing, and advancing the second player. What occurs is a blubbery and blurry mess of words that surprisingly creates new sentences and phrases. Here Burroughs claims, "When you cut into the present the future leaks out." Other tracks are simply found sound field recordings. One such piece, "Jojouka," features Ornette Coleman playing in the hills of Morocco, recorded in January of 1973. This is a thoroughly interesting record of all of the types of recordings in which Burroughs took part in during his 87-year life, and serves as the perfect introduction to the tape experiments of the most intriguing of all of the beat writers.

William S. Burroughs – Break Through In Grey Room (flac 161mb)

01 K-9 Was In Combat With The Alien Mind-Screens 13:29
02 Origin And Theory Of The Tape Cut-Ups 3:43
03 Recalling All Active Agents 1:25
04 Silver Smoke Of Dreams 4:50
05 Junky Relations 2:56
06 Joujouka (1) 1:30
07 Curse Go Back 1:12
08 Present Time Excersises 2:18
09 Joujouka (2) 0:43
10 Working With The Popular Forces 2:37
11 Interview With Mr. Martin 2:59
12 Joujouka (3) 1:26
13 Sound Piece 2:14
14 Joujouka (4) 2:39
15 Burroughs Called The Law 1:34

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One of the best Burroughs recordings, Dead City Radio features the writer reading five previously unreleased pieces, along with selections from several of his books. The acerbic Burroughs wit is at its finest on many of these selections, and he even takes a shot at singing on one track. Musical contributors to this project include Sonic Youth, Donald Fagen, Lenny Pickett, Cheryl Hardwick, Chris Stein, and John Cale.

William S. Burroughs - Dead City Radio (flac 245mb)

01 William's Welcome ("What Are You Here For?") 2:03
02 A Thanksgiving Prayer 2:22
03 Naked Lunch Excerpts ("You Got Any Eggs For Fats?") / Dinner Conversation ("The Snakes") 7:16
04 Ah Pook The Destroyer / Brion Gysin's All-Purpose Bedtime Story 2:46
05 After-Dinner Conversation ("An Atrocious Conceit") / Where He Was Going 11:40
06 Kill The Badger! 2:42
07 A New Standard By Which To Measure Infamy 1:47
08 The Sermon On The Mount 1 ("WSB Reads The Good Book") 1:30
09 No More Stalins, No More Hitlers 1:00
10 The Sermon On The Mount 2 1:22
11 Scandal At The Jungle Hiltons 1:41
12 The Sermon On The Mount 3 1:23
13 Love Your Enemies 1:13
14 Dr. Benway's House 0:40
15 Apocalypse 9:05
16 The Lord's Prayer 0:45
17 Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt ("Falling In Love Again") 2:30

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elsewhere

William Burroughs - Junkie (audiobook) (186 min.89mb)

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Sundaze 1202

Hello, after taking a week off thanks to the scheduling, getting started again is always a bit difficult, therefore setting off easy with a pair of 'chilling' samplers. N joy !

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Released by the Aleph Zero label, Natural Born Chillers offers deeply intriguing psychedelic ambient electronic music from a carefully handpicked, and at times lesser-known, set of artists in this genre. In the past, Aleph Zero has hosted acclaimed artists including Bluetech and Shulman. The album opens with "Alaya" by Ishq, an extreme downtempo track of hypnotizing atmospheric moments without any percussion. The album then steps up the pace with "Shakti" by Anahata and "A New Philosophy" by Zen Mechanics. The fourth track, "Disconnect" by Jirah, is an album highlight. Tim McCall (Jirah) created a track similar to the sound he is best known for: energetic and atmospheric music that strolls along the divide between downtempo and brisk styles. The complete album offers rich sound palettes, despite being an electronic ambient album with a plethora of sampling techniques, Natural Born Chillers does not shy away from using traditional sounds, especially from the East. With the remix of "On Air," MIDIval PunditZ demonstrate their early influences and production capabilities that are easily groundbreaking, if at times missing from their latter albums. The album closes with the beautifully ambient "Under Water, Pt. 1" by Eastern Spirit. Compiled by DJ Shahar and Shulman, Natural Born Chillers showcases artists who have taken ambient music a step ahead toward richer, deeper, and cutting-edge sounds.

VA – Natural Born Chillers 1 (flac 489mb)

01 Ishq – Alaya 11:13
02 Anahata – Shakti 7:10
03 Zen Mechanics – A New Philosophy 11:19
04 Jirah – Disconnect 8:28
05 Agalactia – Monochrome Rainbow Pixie 9:10
06 Cosmic Fools – Be Yourself 6:31
07 J.Viewz – Estha 5:09
08 Son Kite – On Air (MIDIval PunditZ Remix) 6:11
09 Omar Faruk Tekbilek & Steve Shehan – Ya Bouy (Shulman Remix) 7:00
10 Eastern Spirit – Under Water (Part One) 6:29

VA – Natural Born Chillers 1 (ogg 195mb)

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The second chapter of the Natural Born Chillers series took a long time to construct...
DJ Shahar and Shulman carefully picked the best tracks in order to bring you again a musical genre-breaking story that journeys through different musical landscapes and geographical territories. Expect hypnotic rhythms, dubby moves, psychedelic adventures and refreshing sounds with ventures into different corners of our globe and into other dimensions. Once again we invite you to come and give your mind the chance to chill out, relax, and project itself to other realms and mental soundscapes with deep powerful emotions and cutting edge sounds.

VA – Natural Born Chillers 2 (flac 490mb)

01 Hibernation – Hibernation 6:58
02 Bluetech – Prayers For Rain (Ott Remix) 8:57
03 3 Wise Monkeys – It's Gonna Rain 6:03
04 Majan – Explore It 7:59
05 Tau Kita – Flying In The Rain 12:00
06 Interlaced – Insologic 6:06
07 Agalactia with MIDIval PunditZ – Aatmatyaag 7:14
08 MIDIval PunditZ – Vande Maataram (Electro Indian Mix) 7:05
09 Outersect – Kali Ma 6:15
10 Pi – Numb 6:21
11 Eitan Reiter – Coffee 4:58
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VA – Natural Born Chillers 2 (ogg 195mb)

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Rhodeo 1201 Grooves

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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In 1975 Michael Hampton, a teen guitar prodigy, replaced Hazel as the premier lead guitarist in Parliament-Funkadelic, and was a major contributor to the next several Funkadelic albums. Funkadelic left Westbound in 1976 and moved to Warner Brothers. Their first album for Warner was Hardcore Jollies in 1976. Just before leaving Westbound, Clinton provided that label with a collection of recently recorded outtakes, which Westbound released as the album Tales of Kidd Funkadelic.

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Expanding back out to a more all-over-the-place lineup -- about 15 or so people this time out -- Funkadelic got a bit more back on track with Standing on the Verge. Admittedly, George Clinton repeats a trick from America Eats Its Young via another re-recording of an Osmium track, namely leadoff cut "Red Hot Mama." However, starting as it does with a hilarious double soliloquy (with the first voice sounding like the happier brother of Sir Nose d'Voidoffunk) and coming across with a fierce new take, it's a good omen for Standing on the Verge as a whole. Eddie Hazel's guitar work in particular is just plain bad-ass; after his absence from Cosmic Slop, it's good to hear him fully back in action with Bernie Worrell, Cordell Mosson, Gary Shider, and the rest. In general, compared to the sometimes too polite Cosmic Slop, Standing on the Verge is a full-bodied, crazy mess in the best possible way, with heavy funk jams that still smoke today while making a lot of supposedly loud and dangerous rock sound anemic.

Funkadelic - Standing on the Verge of Getting It On (226mb)

01 Red Hot Mama 4:54
02 Alice In My Fantasies 2:26
03 I'll Stay 7:16
04 Sexy Ways 3:05
05 Standing On The Verge Of Getting It On 5:07
06 Jimmy's Got A Little Bit Of Bitch In Him 2:30
07 Good Thoughts, Bad Thoughts 12:17

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One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. The targets of the band's good-natured wrath are, in fact, other groups -- "Hey, Fool and the Gang! Let's take it to the stage!" There's no mistaking the track that immediately follows makes it even more intense -- "Get off Your Ass and Jam" kicks in with one bad-ass drum roll and then scorches the damn place down, from guitar solo to the insanely funky bass from Bootsy Collins. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Collins' unmistakable tones is usually enough to get anything on the crazy tip, but "Be My Beach" just makes it all the more fun, as does the overall air of silly romance getting nuttier as it goes. "Good to Your Earhole" sets the outrageous mood just right -- it's one of the band's tightest monsters of funk, guitars sprawling all over the place even as the heavy-hitting rhythm doesn't let one second of groove get lost. Of course, there's also one totally notorious number to go with it, but "No Head No Backstage Pass" has one of the craziest rhythms on the whole album, not to mention lip-smackingly nutty lines delivered with the appropriate leer.

Funkadelic - Let's Take It to the Stage ( 209mb)

01 Good To Your Earhole 4:30
02 Better By The Pound 2:40
03 Be My Beach 2:35
04 No Head No Backstage Pass 2:36
05 Let's Take It To The Stage 3:32
06 Get Off Your Ass And Jam 2:00
07 Baby I Owe You Something Good 5:43
08 Stuffs And Things 2:11
09 The Song Is Familiar 3:05
10 Atmosphere 7:05

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Funkadelic's major-label jump brought its version of life more into line with Parliament, though the crucial difference between the two -- Funkadelic's guitars vs. Parliament's horns -- remains intact. Eddie Hazel is missed, as always, but Gary Shider and Mike Hampton do fine work. Whoever peels off the concluding solo at the end of "Comin' Round the Mountain" deserves credit, even if it's sometimes flash for flash's sake. Similar exercises in feedback can be found on the title track and elsewhere, sometimes great, sometimes timekeeping. Still, after all, the album itself is dedicated "to the guitar players of the world," so it can't be said that George Clinton and company aren't keeping the proper focus on things. Generally, things are fairly light on Hardcore Jollies, though a remake of earlier highlight "Cosmic Slop" retains the sharp sentiments, even if it's not quite as strongly delivered as before (musically it's much more centered around the bass and drums, though things get duly crazed all around toward the end). Otherwise, the emphasis is on fairly clean jams and rhythms, with more lower-key goofiness than before but still merrily out there. If it's not truly gone and great like Maggot Brain or Let's Take It to the Stage, it's still good listening at its best moments. "If You Got Fun, You Got Style" makes for a better chat-up dancefloor appreciation than most, while "Soul Mate" balances out obvious "want you bad" sentiments with squirrelly lead vocals that don't quite fit the subject at hand. And who could knock the use of the "there's a place in France/where the ladies wear no pants" melody in "You Scared the Lovin' Outta Me"? Pedro Bell does some of his best work ever for the cover and inside art, while the accompanying short story is hilarious.

Funkadelic - Hardcore Jollies (267mb)

01 Comin' Round The Mountain 5:56
02 Smokey 6:08
03 If You Got Funk, You Got Style 3:07
04 Hardcore Jollies 5:01
05 Soul Mate 2:58
06 Cosmic Slop (Live) 6:30
07 You Scared The Lovin' Outta Me 6:28
08 Adolescent Funk 4:18

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RhoDeo 1201 Goldy Rhox

Hello, today the 53rd post of GoldyRhox, classic pop rock, in the darklight a UK artist who once drummed for a successful symphonic band where he took over as the leadsinger no longer wanted to be part of the show, he once had so brilliantly created..duh To the surprise of the fans the band didn't collapse but found new footing thanks to our mystery artist and went on to score even some hit successes . in part because our mystery man had gone solo and started a series of highly commercial solo albums. According to Atlantic Records, his total worldwide sales as a solo artist, as of 2000, were 150 million. He has won numerous music awards throughout his career, including seven Grammy Awards, five Brit Awards—winning Best British Male three times, an Academy Award, and two Golden Globes for his solo work. In 2008, he was ranked the 22nd most successful artist on the "The Billboard Hot 100 Top All-Time Artists".

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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.

Todays mystery album is his debut solo album, released in February 1981 on the Virgin label internationally and Atlantic Records in North America. The album includes a hit single, whose dark mood was inspired by the fallout of Collins' first marriage, as is most of the album. He decided to incorporate an R&B horn section, hiring the Phenix Horns, who played backup for Earth, Wind & Fire. He refused to listen to friends who had advised him not to use the horns and they would play a major role for most of his solo career.

He also used another then-controversial method in using drum programming rather than just live drum instrumentation despite his reputation as a drummer. Not all doom and gloom though there's a track too written for Jill Tavelman who later became his 2nd wife. Sales of the album reached five million alone in the United States and went five-times platinum in the United Kingdom and ten-times platinum in Canada. No solo tour was produced from this album and he would not perform live as a solo artist until 1982.


Goldy Rhox 53 (flac 249mb)

Goldy Rhox 53 (ogg 109mb)


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RhoDeo 1201 Aetix

Hello, Aetix starts of this year on a hard edge, recharge those batteries that have been sapped during the holidaze, time to stand up and be counted, although that figure of speech has gotten a somewhat sinister connotation in these digital days. Adapted then for our age into; Stand Up and be anonymous !

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Paul Ferguson was drumming for the Matt Stagger Band when he met Jaz Coleman (vocals, keyboards) in the late '70s. Coleman joined the band briefly, but soon he and Ferguson split to form Killing Joke in late 1978. The duo recruited bassist Youth (born Martin Glover Youth), who had previously played with the punk group the Rage, and guitarist Geordie (born Kevin Walker) to complete the Killing Joke's lineup.

They recorded their debut EP, Almost Red, with money borrowed from Coleman's girlfriend of the time. John Peel was impressed by the EP and offered the group a session on his show. In late 1979, they began the Malicious Damage record label with graphic artist Mike Coles as a way to press and sell their music, Island Records distributed the records, until Malicious Damage switched to E.G. Records in 1980. The songs on Killing Joke's early singles were primitive punk rock sometimes mixed with electronic ("Nervous System") and ("Turn to Red"). They quickly progressed this sound into something denser, more aggressive, and more akin to heavy metal, as heard on their first two albums, Killing Joke (1980) and the more abrasive What's THIS For...! (1981) The group began playing shows regularly throughout England and gained a reputation for being controversial. Their artwork often featured repulsive or inflammatory images, and after one of their concert posters pictured the Pope blessing legions of Nazis, the group was banned from performing a concert in Glasgow. Despite the controversy, the group began amassing a following of both punk and disco fans with hard-edged but danceable singles like "Psyche" and "Follow the Leader." The band released its second album, What's THIS For...!, in 1981.

After recording and releasing the group's third album, 1982's Revelations, Jaz Coleman -- who had developed an obsession with the occult -- decided that the apocalypse was near, so he left the group and ran away to Iceland with Geordie. Youth followed Coleman to Iceland shortly after his departure. After a few months with no sign of the end of the world, Youth returned to England and formed Brilliant with Ferguson. However, Ferguson left shortly after the group's formation and moved to Iceland with Killing Joke's new bassist, Paul Raven. Killing Joke's new lineup -- featuring Coleman, Geordie, Ferguson, and Raven -- worked in Iceland for a brief period. Soon, the group returned to England and recorded Fire Dances, which was released in 1983. It demonstrated a calmer, more straightforward band than the one showcased on the group's earlier records.

Killing Joke had developed a variation of new wave on their fifth album, Night Time (1985). They achieved mainstream success with the single "Love Like Blood", which peaked at #16 in the UK. The album itself reached #11 in the UK The music on Killing Joke's sixth album, Brighter than a Thousand Suns (1986), was mostly similar in sound and mood to "Love like Blood". While no less aggressive and heavy than their older work, Brighter than a Thousand Suns diverged musically in ways that lead to controversy among the public. In 1987, Coleman began plans for a solo record of unusual music, and he made demos of his songs, on which he performed with Geordie's assistance. The project ran way over budget and so, despite Coleman's objections, the record company decided that the music would be released under the name "Killing Joke" in order to best recoup the costs. The resulting album, Outside the Gate (1988), is Killing Joke's most controversial album, with opinion ranging from admiration to total disgust, owing to its synth-led sonics (experimentally, and disagreement over the quality of the material. It is not signature-sound Killing Joke, being built around Coleman's orchestral keyboards instead of Geordie's distinctive guitar riffs.

With Martin Atkins (drums ex PIL) and Paul Raven aboard Coleman/Geordie recorded Killing Joke's eighth album, the ferocious Extremities, Dirt & Various Repressed Emotions, released on the German Noise International label in 1990. It included some of the heaviest, noisiest and harshest music ever to appear on a Killing Joke record, although the progressive musical spirit of the previous two albums remained as well. Once again, the band toured Europe and North America, but by the middle of 1991 this promising new line up had imploded. Coleman emigrated to New Zealand to live on a remote Pacific island, and it looked as though Killing Joke was over for good.

3 years later...The reactivated Killing Joke released two strong and well-received albums on Youth's Butterfly Recordings label, Pandemonium and Democracy, which saw the band shift back to the simpler arrangements of their early albums. Pandemonium (1994) wove a metallesque ritualistic sound with mosh beats and loops After the Democracy tour, the band went on an extended hiatus. Coleman became Composer-in-Residence for New Zealand and Czech symphony orchestras. He starred in a czechfilm Rok ďábla (Year of the Devil). Coleman, Geordie and Youth reformed Killing Joke in 2002, and recorded their second self-titled album with producer Andy Gill, released to much acclaim in 2003 . Opting for simplicity and raw energy, the band recorded the new album in its basement rehearsal studio, going for live takes with the minimum of overdubs. The result was Hosannas from the Basements of Hell, released in April 2006 on Cooking Vinyl.

In October 2006, it was announced that Coleman had been chosen as Composer in Residence for the European Union. As Composer in Residence he will be commissioned to write music for special occasions. On October 20th 2007, Paul Raven died of heart failure prior to a recording session in Geneva, Switzerland. Killing Joke have announced a world tour commencing in September 2008. The band will be reuniting with their original lineup and they will be playing two nights per venue. The first night they will play their first two albums 'Killing Joke' and 'What's THIS For...!' in their entirety. The second night will feature the whole of 'Pandemonium' plus their early singles released on Island records. The tour will begin on September 11 in Tokyo and conclude in Chicago on October 14

At the time the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians That such a bleak and furious album could have such a widespread influence is a testament to its importance, and becoming an underground classic

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Since 1980, there have been a hundred bands who sound like this; but before Steve Albini and Al Jourgensen made it hip, the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians. That such a bleak and furious album could have such a widespread influence is a testament to its importance. This is an underground classic and deserves better than its relative unknown status.

Killing Joke - Killing Joke (flac 382mb)

01 Requiem 3:45
02 Wardance 3:47
03 Tomorrow's World 5:30
04 Bloodsport 4:47
05 The Wait 3:42
06 Complications 3:08
07 S.O.36 6:52
08 Primitive 3:39
Bonus Tracks
09 Change 4:01
10 Requiem (Single Version) 3:47
11 Change (Dub) 4:00
12 Primitive (Rough Mix) 3:34
13 Bloodsport (Rough Mix) 4:50

Killing Joke - Killing Joke (132mb)

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Marking the full return from the band's out-of-nowhere hiatus in 1982, Night Time, following after a couple of test-the-waters EPs, finds the reconstituted Killing Joke, with Paul Raven in on bass but otherwise unchanged, caught between their earlier aggression and a calmer, more immediately accessible approach. At this point, however, the tension between the two sides had a perfect balance, and as a result Night Time is arguably the quartet's freshest album since its debut, with a warm, anthemic quality now supplementing the blasting, driving approach that made the band's name, as songs like "Kings and Queens" demonstrate. Geordie Walker pulls off some jaw-dropping solos amid his fierce riffs -- check out his turns on the title track -- while Paul Ferguson mixes and matches electronic beats with his own very well (perhaps a little less intensely than before, but not by much). Jaz Coleman's experimentation with keyboards -- chopped-up vocal samples, calmer and sweet lead melodies -- is paralleled by his own singing, now mostly free of the treatments and echoes familiar from earlier days. He's got a great singing voice as it stands, and it's a treat to hear him let it flow forth without forcing it. "Eighties" turned out to be the retrospectively most well-known song, Love Like Blood was the breakthrough single in the U.K

Killing Joke – Night Time ( flac 519mb)

01 Night Time 4:55
02 Darkness Before Dawn 5:18
03 Love Like Blood 6:48
04 Kings And Queens 4:38
05 Tabazan 4:34
06 Multitudes 4:56
07 Europe 4:35
08 Eighties 3:50
Bonus Tracks
09 Eighties (Kid Jensen Session 17/4/84) 2:51
10 New Culture (Kid Jensen Session 17/4/84) 3:09
11 Blue Feather (Kid Jensen Session 17/4/84) 4:29
12 All Play Rebel (Kid Jensen Session 17/4/84) 3:18
13 A New Day (7") 4:10
14 The Madding Crowd 5:13
15 Blue Feather (Joke Mix) 3:59
16 Love Like Blood (Gestalt Mix) 5:12
17 Kings And Queens (Geordie's Dub Mix) 4:57

Killing Joke – Night Time ( ogg 180mb)

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Brighter Than a Thousand Suns was a definite transformation from the days of "The Wait" and "Complications." The unexpected success of Night Time and new commercial pressures clearly came to bear. Still, the band hadn't changed any from Night Time, and even that lineup was three-quarters of the original incarnation of the group. The emphasis still focused clearly on volume and strong, full-bodied playing -- Geordie Walker, Paul Ferguson, and Paul Raven don't sound like they're holding back at all even if their individual performances are less on the edge. Jaz Coleman's newfound way around inspiring singing, meanwhile, pays off in dividends; though it's impossible to square the results here with his earlier hectoring and cutting rage, the warm, sweet passion that he brings to bear often transforms an OK track into a great one. "Adorations," the killer opening track and easily the album standout, is a perfect example of how this era of the group could make it all connect, Coleman's beautiful performance on the chorus and the overall ensemble effort making it the best anthem neither U2 nor Simple Minds ever wrote.

Killing Joke – Brighter Than A Thousand Suns (flac 516mb)

01 Adorations 4:28
02 Sanity 4:15
03 Chessboards 5:47
04 Twilight Of The Mortal 4:13
05 Love Of The Masses 6:07
06 A Southern Sky 4:38
07 Victory 3:57
08 Wintergardens 5:32
09 Rubicon 6:35
10 Goodbye To The Village 5:17
11 Exile 6:27
Bonus Tracks
12 Ecstasy 4:10
13 Adorations (Supernatural Mix) 6:40
14 Sanity (Insane Mix) 6:16

Killing Joke – Brighter Than A Thousand Suns (ogg 168mb)

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RhoDeo 1201 Roots

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

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Lee Perry is a towering figure in reggae , some call him a genius, others claim he's a madman. Truth is, he's both, but more importantly, -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- others may have invented dub, many argue that no one experimented with it or took it further than did Lee Perry.

Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Soon he was producing and recording for Dodd at the center of the Jamaican music industry, Studio One. After a falling out with Dodd , Perry went to work at Wirl Records with Joe Gibbs, but not much chemistry there either so in 1968, Perry left to form his own label, called Upsetter. The first release on Upsetter was a single entitled "People Funny Boy," which sold extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the 1970s, Perry released an astonishing amount of work under his name and numerous, pseudonyms he came a major force in reggae music together with his band the upsetters they worked with every performer in Jamaica. He started his own studio the black ark . Where he recorded marley and the wailers who were subsequently pick up bt Island leaving Perry standing. All the hard work in the seventies didnt do his mental state much good and it is said that he burned down the black ark studio himself as he was convinced satan had taken up resedency there..

Despite the considerable lows in his career, Perry remained busy and, so it seemed, reasonably happy. Although he was less in demand as a producer, his solo work remained very strong, and his continuing influence could be felt in the contemporary dub music of the Mad Professor. In 1997, Island (the label started by the vampire Chris Blackwell) released Arkology, a well-received three-disc compilation of Perry recordings. That same year a collaboration with Dieter Meier of the Swiss electronica duo Yello called Technomajikal arrived on the Roir label. The project was made geographically possible by Scratch's move to Switzerland.

A reunion with Trojan label happened in 2002, when the new album Jamaican E.T. was released by the label. Two years later Panic in Babylon was recorded with the European outfit White Belly Rats, while his legendary Super Ape album would receive a limited-edition reissue on the Hip-O Select label. The 1973 release Upsetters 14 Dub Blackboard Jungle -- sometimes referred to as Blackboard Jungle Dub -- saw its definitive reissue appear.

In 2008, Perry reunited with producer Adrian Sherwood on an album called The Mighty Upsetter. Unlike the dancehall/pop oriented Repentance, The Mighty Upsetter returned to the dub/reggae styles for which Perry is known. In 2009, Perry collaborated with Vienna based Dubblestandart on their Return from Planet Dub double album, revisiting some of his material from the 1970s and 80s as well as collaborating on new material with Dubblestandart.

Perry now lives in Switzerland with his wife Mireille and two children. Although he celebrated his 75th birthday in 2011, he continues recording and performing to enthusiastic audiences in Europe and North America. His modern music is a far cry from his reggae days in Jamaica; many now see Perry as more of a performance artist in several respects. Over the years a number of compilations have been released some not so good, and many of Perry's tapes were stolen. Some of these recordings have shown up on poorly mastered, and expensive, anthologies.


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Purportedly the definitive Lee "Scratch" Perry compilation, the three-CD set Arkology is loaded with good intentions and is carefully constructed, but with a back catalog like Perry's -- where it's nearly impossible to find out what's what -- definitive in this case is a dream. Still, the compilers have done a fine job of providing an overview of Perry's career that makes sense musically, historically, and culturally. For those who want to jump headlong into Perry's world, this is the way to go. Arkology's foundation is the 1979 anthology Scratch on the Wire; the compilers took those tracks and added a significant number of remixes and a few previously unreleased dub tracks to give it some weight. So, all that said, is Arkology worth it? Absolutely. it provides a good overview and is an excellent introduction.

Lee Perry - Reel 1 - Dub Organiser (flac 447mb)

101 Lee Perry and The Upsetters – Dub Revolution Part 1 (Alternate Take) 4:44
102 Max Romeo – One Step Forward 3:52
103 The Upsetters – One Step Dub (Extended Mix) 4:06
104 Devon Irons – Vampire 3:17
105 The Upsetters – Vamp A Dub 3:16
106 The Heptones – Sufferer's Time (Alternate Take) 3:55
107 The Upsetters– Sufferers Dub (Extended Mix) 4:17
108 Junior Dread – Sufferers Heights (Alternate Mix) 4:32
109 The Congos – Don't Blame On I 4:05
110 The Meditations – Much Smarter 3:56
111 The Upsetters – Much Smarter Dub 4:42
112 The Meditations – Life Is Not Easy (Alternate Mix) 4:46
113 The Upsetters – Life Is Not Easy Dub (Alternate Mix) 5:07
114 Junior Murvin – Tedious (Extended Mix) 5:04
115 Max Romeo – War in A Babylon 4:51
116 The Upsetters – Revelation Dub 5:01
117 The Heptones – Mr. President 4:13
118 Max Romeo – Chase The Devil 3:28

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Lee Perry - Reel 2 - Dub Shepherd (flac 451mb)

201 Lee Perry – Dreadlocks In Moonlight 3:46
202 Mikey Dread – Dread At The Mantrols 3:47
203 Errol Walker – In These Times 4:39
204 The Upsetters – In These Times Dub (Previously Unreleased) 3:24
205 Max Romeo – Norman (Extended Domino Mix) 8:42
206 Junior Murvin – Police & Thieves 3:40
207 Glen DaCosta – Magic Touch 4:03
208 Jah Lion – Soldier & Police War 4:09
209 The Upsetters – Grumblin' Dub 3:18
210 Junior Murvin – Bad Weed (Alternate Mix) 4:02
211 Errol Walker – John Public 4:21
212 Errol Walker – John Public (Version) (Previously Unreleased) 4:23
213 Junior Murvin – Roots Train (Extended Mix) 8:59
214 The Meditations – No Peace 3:30
215 The Upsetters – No Peace Dub 4:20
216 Raphael Green – Rasta Train (Alternate Mix) 4:54
217 The Upsetters – Party Time Part 2 4:34

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Lee Perry - Reel 3 - Dub Adventurer (flac 428mb)

301 Augustus Pablo – Vibrate On (Alternate Cut) 4:40
302 The Upsetters – Vibrator (Alternate Cut) 4:35
303 The Upsetters – Bird In Hand 3:30
304 The Congos – Congoman (Alternate Vocal Take) 5:52
305 The Upsetters – Dyon Anasawa (Alternate Mix) 3:39
306 The Upsetters – Rastaman Shuffle (Alternate Mix) 5:16
307 The Heptones – Why Must I (Version) (Extended Mix ) 4:57
308 The Heptones – Make Up Your Mind (Previously Unreleased) 3:45
309 The Upsetter Review – Closer Together 6:15
310 Keith Rowe – Groovy Situation 3:26
311 The Upsetters – Groovy Dub 3:33
312 George Faith – To Be A Lover (Have Some Mercy) 7:56
313 Lee Perry – Soul Fire 3:58
314 Lee Perry – Curly Locks 4:09
315 The Congos – Feast Of The Passover (Extended Mix) 3:36
316 Lee Perry – Roast Fish & Cornbred (Extended Mix) 4:26
317 The Upsetters – Corn Fish Dub (Extended Mix) 4:26


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elsewhere

Lee Perry - The Upsetter Box (Africa's Blood 72, Rhythm ) ( 85 ^ 98mb )
Lee Perry - The Upsetter Box ( Shower 73 & Double Seven 74) ( 85 ^ 95mb)
Lee Perry - Super Ape (76 flac 154mb)
Roast Fish, Collie Weed & Cornbread ( 78 flac 174mb)
Lee Perry - Return Of The Super Ape ( 78 flac 150mb)
Lee Scratch Perry - Megaton Dub 1 (flac 217mb)
Lee Scratch Perry - Megaton Dub 2 (flac 182mb)
Lee Scratch Perry - Megaton Dub 1+2 (ogg 175mb)
Lee Scratch Perry – History, Mystery & Prophesy (flac 295mb)
Lee Scratch Perry – History, Mystery & Prophesy (ogg 116mb)

RhoDeo 1201 Illuminatus final

Hello, hope you'll have have a fulfilling New Year, sadly the outlook has been painted grimm, down't let the numbercrunchers get you down, in the end these are just valueless numbers, ultimately we are the ones that determine it's value not the numbercrunchers.

Illuminatus has reached the final Appendix stage, gratulations to those that have stuck with it, you belong to a special group of people now, terrorism explained you should not have had trouble with new years fireworks. Philosophy is a wonderful thing, it should have prevented religious excess, sadly it failed. Other philosophys are called for, Discordian is a worthy candidate...

"The ultimate weapon isn't this plague out in Vegas, or any new super H-bomb. The ultimate weapon has always existed. Every man, every woman, and every child owns it. It's the ability to say No and take the consequences." - Hagbard Celine, Leviathan
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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

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Leviathan, Appendix, (10-14) (60 min, 21mb)

Appendix 10 Yod (13:30)
Appendix 11 Kaph (3:43)
Appendix 12 Teth (18:21)
Appendix 13 Mem (5:38)
Appendix 14 Nun (18:52)

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previous 30 posts

The Eye In The Pyramid, Chaos 1st Trip (1-4) (60 min, 14mb)
The Eye In The Pyramid, Chaos 1st Trip (5-8) (77 min, 18mb)
The Eye In The Pyramid, Chaos 2nd Trip (88 min, 20mb)
The Eye In The Pyramid, Chaos 3rd Trip (1-3) (63 min, 15mb)
The Eye In The Pyramid, Chaos 3rd Trip (4-6) (65 min, 15mb)
The Eye In The Pyramid, Discord, 4th Trip (1-3) 1) (85 min, 19mb)
The Eye In The Pyramid, Discord, 4th Trip (4-6) (50 min, 12mb)
The Eye In The Pyramid, Discord, 4th Trip (7-9) (64 min, 15mb)
The Eye In The Pyramid, Discord, 5th Trip (1-3) (70 min, 16mb)
The Eye In The Pyramid, Discord, 5th Trip (4-7) (86 min, 20mb)
The Eye In The Pyramid, Discord, 5th Trip (8-10) (88 min, 20mb)


The Golden Apple, Confusion, Tipareth, 6th trip (1-3) (58 min, 21mb)
The Golden Apple, Confusion, Tipareth, 6th trip (4-6) (58 min, 21mb)
The Golden Apple, Confusion, Tipareth, 6th trip (7-9) (79 min, 28mb)
The Golden Apple, Confusion, Tipareth, 7th trip (1-3) (58 min, 20mb)
The Golden Apple, Confusion, Tipareth, 7th trip (4-6) (69 min, 25mb)
The Golden Apple, Confusion, Tipareth, 7th trip (7-9) (62 min, 22mb)
The Golden Apple, Bureaucracy, Hod, 8th trip (1-3) (62 min, 22mb)
The Golden Apple, Bureaucracy, Hod, 8th trip (4-6) (61 min, 21mb)
The Golden Apple, Bureaucracy, Hod, 8th trip (7-10) (75 min, 27mb)

Leviathan, Bureaucracy, Yesod, 9th trip (0-2) (51 min, 18mb)
Leviathan, Bureaucracy, Yesod, 9th trip (3-6) (66 min, 24mb)
Leviathan, Bureaucracy, Yesod, 9th trip (7-9) (59 min, 21mb)
Leviathan, Bureaucracy, Yesod, 9th trip (10-12) (60 min, 21mb)
Leviathan, Bureaucracy, Malkuth, 10th trip (01-03) (56 min, 20mb)
Leviathan, Bureaucracy, Malkuth, 10th trip (04-07) (76 min, 27mb)
Leviathan, Bureaucracy, Malkuth, 10th trip (08-10) (64 min, 23mb)
Leviathan, Appendix, (01-04) (75 min, 26mb)
Leviathan, Appendix, (05-09) (58 min, 21mb)
Leviathan, Appendix, (10-14) (60 min, 21mb)

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Sundaze 1201 Happy New Year

Hello, Happy New Year everybody, 2012 will not be just another year, it will be a watershed, admittedly it's unclear which end of the shed we will end up, as there's plenty of nasty to grab us. Let's not become downhearted by the big media (corporate) propaganda, their talking heads are basically overpaid nincompoops, awaiting full digitization (Max Headroom 2.0).

Well, Asura is a sanskrit word describing demons or non believers (atheists), they are hyper-competitive and paranoid, driven by a desire to beat their competition, and everyone is competition. They have power and resources and sometimes accomplish good things with them. But, always, their first priority is getting to the top.

"Always desiring to be superior to others, having no patience for inferiors and belittling strangers; like a hawk, flying high above and looking down on others, and yet outwardly displaying justice, worship, wisdom, and faith -- this is raising up the lowest order of good and walking the way of the Asuras." (Chih-i 538-597)

I suspect then this group is part of the new world order drive to global domination, or maybe just two naive French atheists. Musically it's psychedelic chill-out/downtempo, a must for everyone who enjoys good relaxing music and the way to start 2012.

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Asura is Charles Farewell, born in 1975. Originally a duo composed of Charles Farewell, and Vincent Villuis.
Since 1996, the project Asura has polished a personal electronic universe sound, between Trance Psychedelic, Ambient and World music. In 1998, Christopher Maze joins the band and in 2000, the first Asura album, "Code Eternity, is released.
Made by many influences, their music, built around electronic machines and acoustic instruments, does not remain about it less one personal and considered creation, centered on the perpetual search of infinite spaces and multiple origins. Monotonous melancholic lyrics, symphonic waves, fast and slow rhythms, heavy or throbbing, liturgical songs, the project Asura introduces a certain solemn vision of the world. They have created a very distinctive sound which has contributed to making Asura one of the most recognizable bands of the World Electro and Trance Ambient genre.

In 2001, Vincent Villuis left the band to concentrate on his new project Aes Dana and was replaced the same year by Alex Ackerman. The second album, "Lost Eden", was released in 2003. Since July 2005, after the departure of Christopher Maze and Alex Ackerman, Asura became a solo project. exclusively composed of Charles Farewell.In July 2007, he released the third Asura album, "Life²". In 2010 he released "360" with Villius in the background, Music For Awakened Spirits And Open Minds, a musical cloak of many colors, somewhat unlike the previous 3 releases this is sweet, positive, relaxing music. 2011 saw the digital only release of Oxygene.

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This album is history - it was the start of Ultimae's excellent long running chill catalogue, Code Eternity, however, is very slightly out of place with the rest of the record label. It has more of a Goa sound and is more engaging to listen to compared to the lush sound of most of Ultimae's releases. Code Eternity usually has a great synth sound going which holds the tracks together, along with a powerful beat and the old 4/4 kick. Soaring strings add atmosphere and power. This has been labelled as psychill, but I would say that it's closer to Goa trance in most parts.

The tracks face being a little inaccessible due to their lengths, but this truly allows for development. Vincent Villius and Charles Farewell really did something wonderful with this album - it's a great soundscape, ambient with much more of a kick and with more power and perhaps hostility. Excellent album and one of the very best in the Ultimae catalogue.

Code Eternity is an album full of great ideas but sounding a little too digital and sterile sometimes, and occasionally suffering from some poor mixing & mastering. Considering this was their first production effort, it's almost inevitable it was a bit "flat" and lacking the kind of warmth and life that later works contain.

Asura – Code Eternity (flac 383mb)

01 Like A Summer Day (10:16)
02 Trinity (10:05)
03 Simply Blue (10:22)
04 Phoenix (8:05)
05 Code Eternity (9:24)
06 Territories Part One (4:25)
07 XP Continuum (9:10)

Asura – Code Eternity (ogg 154mb)

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Synthesized keyboards and sequencers, provided by group leader and producer Charles Farewell, capture a combination of ambient bliss and infectious groove. Group member Curtis Maze supplies ethereal flute; his presence on the opening of "Land and Freedom" may briefly evoke one of Kitaro's mellow soundscapes, but Asura's music is generally too groove-oriented to fall into the new age category. Bassist/guitarist Alexandra Ackerman deepens the groove, which is also strengthened by electronic percussion of a type and quality that was generally not available for earlier electronic music artists such as Jarre and Schulze. And since Asura's intent is by no means self-consciously retro, they're not shy about the use of contemporary vocal sampling. The eclectic nature of Asura's presentation is further reinforced by the use of a thudding hip-hop beat and sampled female house vocals on "Raindust." Elsewhere, African vocal samples are used on several tracks, this wide-open, indiscriminate appropriation of cultures and ethnic influences could (and has been) criticized as superficial, but since Asura doesn't seem to have any agenda beyond creating elegant, sophisticated ambient trance music with a world music flavor, they should be judged only on the quality of their execution.

Asura - Lost Eden (flac 372mb)

01 Prologue 2:14
02 Lost Eden 5:53
03 From The Abyss 4:16
04 Raindust 4:25
05 Land & Freedom 5:16
06 Fahrenheit 3:55
07 Requiem From Nowhere 9:53
08 Incoming 3:38
09 The Battle Of Devas 10:13
10a Le Vol D'Icare 7:32
10b Untitled 1:00
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Asura - Lost Eden (ogg 140mb)

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Life 2 will mark its time as the return of the original Asura sound. With 10 strong tracks: melodic, echoes, astoundingly composed. Aramean tribal rhythms, ethereal duduks, hypnotic basslines, symphonic orchestrations, fusion of gentleness aqnd strengh bleding into acid themes. The outcome is melodic yet positive, as any renewal would be, a tangible passage, sort of a second life...

Undoubtedly the most mature Asura release to date, Life² is a stunning musical journey from beginning to end. The flow of the album is natural and effortless, starting with the massive Golgotha, then seamlessly flowing through relaxing atmospheres (such as the Galaxies) as well as the more aggressive goa-influenced pieces (the title track, for instance), and ending with the beautiful, contemplative La Chanson De Carla.

Asura - Life² (flac 479mb)

01 Golgotha 6:12
02 Back To Light 7:16
03 Galaxies Part One (Album Edit) 8:15
04 Celestial Tendencies 9:07
05 The Prophecy 7:28
06 Five Lines 9:32
07 Life² 7:49
08 Galaxies Part Two 10:34
09 Butterfly FX 6:27
10 La Chanson De Carla 4:56

Asura - Life² (ogg 192mb)

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RhoDeo 1152 Grooves

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Friday nght Grooves will be...

"A Parliafunkadelicment Thang"

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The P-Funk story began in 1956 in Plainfield, New Jersey, with a doo-wop group formed by fifteen-year-old George Clinton. This was The Parliaments, a name inspired by Parliament cigarettes. By the early 1960s, the group had solidified into the five-man lineup of Clinton, Ray "Stingray" Davis, Clarence "Fuzzy" Haskins, Calvin Simon and Grady Thomas. Later, the group rehearsed in a barbershop partially owned by Clinton and entertained the customers. The Parliaments finally achieved a hit single in 1967 with "(I Wanna) Testify" while Clinton began commuting to Detroit as a songwriter and producer for Motown Records.

Due to continuing contractual problems and the fact that Funkadelic releases were more successful at the time, Clinton abandoned the name Parliament until 1974. Following Osmium, the lineup of Parliament-Funkadelic began going through many changes and was expanded significantly, with the addition of important members such as keyboardist Bernie Worrell in 1970, singer/guitarist Garry Shider in 1971, and bassist Bootsy Collins (recruited from the James Brown backing band) in 1972. Dozens of singers and musicians would contribute to future Parliament-Funkadelic releases. Clinton relaunched Parliament in 1974 and signed the act to Casablanca Records. Parliament, now augmented by the Horny Horns (also recruited from James Brown's band) was positioned as a smoother R&B-based funk ensemble with intricate horn and vocal arrangements, and as a counterpoint to the guitar-based funk-rock of Funkadelic. By this point, Parliament and Funkadelic were touring as a combined entity known as Parliament-Funkadelic or simply P-Funk .

The album Up for the Down Stroke was released in 1974, with Chocolate City following in 1975. Both performed strongly on the Billboard R&B charts and were moderately successful on the Pop charts. Parliament began its period of greatest mainstream success with the concept album Mothership Connection (1975), the lyrics of which launched much of the P-Funk mythology.

The subsequent albums The Clones of Dr. Funkenstein (1976), Funkentelechy vs. the Placebo Syndrome (1977), and Motor Booty Affair (1978) all reached high on both the R&B and Pop charts, while Funkadelic was also experiencing significant mainstream success. Parliament scored the #1 R&B singles "Flash Light" in 1977 and "Aqua Boogie" in 1978.

The rapidly expanding ensemble of musicians and singers in the Parliament-Funkadelic enterprise, as well as Clinton's problematic management practices, began to take their toll by the late 1970s. Original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had been with Clinton since the barbershop days in the late 1950s, felt marginalized by the continuous influx of new members and departed acrimoniously in 1977. Other important group members like singer/guitarist Glenn Goins and drummer Jerome Brailey left Parliament-Funkadelic in the late 1970s after disputes over Clinton's management. Two further Parliament albums, Gloryhallastoopid (1979) and Trombipulation (1980) were less successful than the albums from the group's prime 1975-1978 period.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Casablanca Records, George Clinton dissolved Parliament and Funkadelic as recording and touring entities. However, many of the musicians in later versions of the two groups remained employed by Clinton. Clinton continued to release new albums regularly, sometimes under his own name and sometimes under the name George Clinton & the P-Funk All-Stars. The P-Funk All-Stars continued to record and tour into the 1990s and 2000s, and regularly perform classic Parliament songs.

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Kicking off with one of prime funk's purest distillations -- the outrageously great title track, with a perfect party chorus line and uncredited horns adding to the monster beat and bass -- Up for the Down Stroke finds Parliament in rude good health. As was more or less the case through the '70s, Parliament took a slightly more listener-friendly turn here than they did as Funkadelic, but often it's a difference by degrees. Just listening to some of Bernie Worrell's insane keyboard parts or Bootsy Collins' bass work here is enough to wake the dead. Slightly more oddball is "All Your Goodies Are Gone," which has a bit more upfront bite and some downright strange lyrics, delivered with a stoned, breathless tone and backed by unearthly choir arrangements. Eddie Hazel is still listed as present and contributing, he co-writes two of the songs; it's a pity "The Goose" runs out of steam toward the midpoint of its nine minutes, but it makes for pleasant background music if not Parliament at its unfettered best. In the meantime, Clinton and various familiar voices like Fuzzy Haskins and Grady Thomas keep the weird wigginess of the lyrics flowing. In a nod to the group's past, "(I Wanna) Testify," here simply called "Testify," gets a 1974-era work over.

Parliament - Up For The Down Stroke ( 242mb)

01 Up For The Down Stroke 5:08
02 Testify 3:46
03 The Goose 9:10
04 I Can Move You (If You Let Me) 2:44
05 I Just Got Back 4:30
06 All Your Goodies Are Gone 5:04
07 Whatever Makes Baby Feel Good 5:57
08 Presence Of A Brain 3:19

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Parliament's second album for Casablanca, following Up for the Down Stroke (1974), Chocolate City isn't one of the group's better-known albums. Unlike its predecessor and successive albums such as Mothership Connection (1976), it lacks a signature hit; even though the title track and "Ride On" charted as singles, they're minor in comparison to definitive classics such as "Up for the Down Stroke" and "Give Up the Funk (Tear the Roof Off the Sucker)." Though it's not one of the better-known Parliament albums, Chocolate City is nonetheless one of their best and perhaps most underrated. There's a wealth of musical talent to be heard here -- most notably Bootsy Collins, Bernie Worrell, and Eddie Hazel -- and an emphasis on horns and harmony vocals. Plus, there's no overarching narrative as there would be on successive albums, occasionally to a fault. Instead, this is a collection of stand-alone songs, none topping the six-minute mark. Regardless of its lack of signature hits, Chocolate City is a Parliament album that shouldn't be overlooked.

Parliament - Chocolate City (234mb)

01 Chocolate City 5:37
02 Ride On 3:34
03 Together 4:07
04 Side Effects 3:13
05 What Comes Funky 2:23
06 Let Me Be 5:37
07 If I Don't Fit (Don't Force It) 2:07
08 I Misjudged You 5:14
09 Big Footin' 4:50

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The definitive Parliament-Funkadelic album, Mothership Connection is where George Clinton's revolving band lineups, differing musical approaches, and increasingly thematic album statements reached an ideal state, one that resulted in enormous commercial success as well as a timeless legacy that would be compounded by hip-hop postmodernists, most memorably Dr. Dre on his landmark album The Chronic (1992). The musical lineup assembled for Mothership Connection is peerless: in addition to keyboard wizard Bernie Worrell; Bootsy Collins, who plays not only bass but also drums and guitar; the guitar trio of Gary Shider, Michael Hampton, and Glen Goins; and the Becker brothers (Michael

and Randy) on horns; there are former J.B.'s Fred Wesley and Maceo Parker (also on horns), who were the latest additions to the P-Funk stable. Besides the dazzling array of musicians, Mothership Connection boasts a trio of hands-down classics -- "P-Funk (Wants to Get Funked Up)," "Mothership Connection (Star Child)," "Give Up the Funk (Tear the Roof off the Sucker)" -- that are among the best to ever arise from the funk era, each sampled and interpolated time and time again by rap producers; in particular, Dr. Dre pays homage to the former two on The Chronic (on "The Roach" and "Let Me Ride," respectively). The remaining four songs on Mothership Connection are all great also, if less canonical. Lastly, there's the overlapping outer-space theme, which ties the album together into a loose escapist narrative. There's no better starting point in the enormous P-Funk catalog than Mothership Connection, which, like its trio of classic songs, is undoubtedly among the best of the funk era.

Parliament - Mothership Connection (246mb)

01 P. Funk (Wants To Get Funked Up) 7:41
02 Mothership Connection (Star Child) 6:13
03 Unfunky UFO 4:23
04 Supergroovalisticprosifunkstication 5:03
05 Handcuffs 3:51
06 Give Up The Funk (Tear The Roof Off The Sucker) 5:46
07 Night Of The Thumpasorus Peoples 5:10

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RhoDeo 1152 Goldy Rhox

Hello, today the 52nd post of Goldy Rhox, classic pop rock, in the darklight a UK artist who once fueled the best-selling band in history with his writings, recordings over four decades after the break-up still in demand. He had a solo career and as of 2010, his solo album sales in the United States exceed 14 million units, and as writer, co-writer or performer, he is responsible for 25 number-one singles on the US Hot 100 chart. In 2002, a BBC poll on the 100 Greatest Britons voted him eighth, and in 2008, Rolling Stone ranked him the fifth-greatest singer of all-time.

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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.

Todays mystery album is a retrospective compilation album of music from his 1970s solo career. The album was released on vinyl in 1982, later being remastered and released on CD in 1989. It was the first album to be issued following the singer's death in 1980. The album includes most of his hit singles and various selections from the majority of his solo albums. The Collection did extremely well, reaching #1 in the UK and peaking at #33 in the US where it would eventually reach triple platinum. The front and back covers for the album were taken by famed photographer Annie Leibovitz on 8 December 1980, the day he was murdered.

Goldy Rhox 52 (flac 386mb)

Goldy Rhox 52 gg (ogg 161mb)


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RhoDeo 1152 Aetix

Hello, Aetix is on the move today, to get rid of some of those Xmas calories. Then there's the preperation for the new years parties, no sampler of Aetix hits this time but what turned to to become one of the biggest selling dancepop acts of the eighties with one of the silliest names ever concocted, the Pet Shop Boys. Now one of their strenghts was their remixing and as such they have rereleased their remastered albums this past decade, accompanied by a remix disc titled Further Listening..hmm Dancing Dust ( rhymes with lust) would be a more appropiate title then the passive listening. Whatever, what you get here today are the remix addendums to the first 3 highly succesful Pet Shop Boys albums, Please, Actually & Introspective. Party away..

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Pet Shop Boys established themselves among the most commercially and critically successful groups of their era with cheeky, smart, and utterly danceable music. Always remaining one step ahead of their contemporaries, the British duo navigated the constantly shifting landscape of modern dance-pop with rare grace and intelligence, moving easily from disco to house to techno with their own distinctive image remaining completely intact.

Pet Shop Boys have sold over 100 million records worldwide, and are listed as the most successful duo in UK music history by The Guinness Book of Records. Three-time Brit Award winners and six-time Grammy nominees, since 1986 they have achieved 42 Top 30 singles and 22 Top 10 hits in the UK Singles Chart, including four Number Ones

Neil Tennant and Chris Lowe met in an electronics shop on Kings Road in Chelsea, London in August 1981. Recognising a mutual interest in dance music they began to work on material together, first in Tennant's flat in Chelsea and from 1982, in a small studio in Camden Town. Starting out the two called themselves West End, because of their love of London's West End, but later they came up with the name Pet Shop Boys, derived from friends of theirs who worked in a pet shop in Ealing.Their big break came in August 1983, when Tennant was assigned by Smash Hits to interview The Police in New York. The duo were obsessed with a stream of Hi-NRG records, made by New York producer Bobby Orlando, simply known as Bobby 'O'. He suggested making a record with the Pet Shop Boys, after hearing a demo tape that Tennant had taken with him. In April 1984, the Orlando-produced "West End Girls" was released, becoming a club hit in Los Angeles and San Francisco as well as a minor clubhit in the Netherlands, Belgium and France. They were on their way.....

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Pet Shop Boys' 2001 expanded-edition reissue campaign is a model example of how to execute deluxe reissues, and the very first in the six-disc series, their debut album Please, is perhaps the finest example of why. In addition to the remastered album on the first disc, there's a second disc of rare material -- or further listening, as its called here -- including non-LP B-sides, extended mixes, previously unreleased mixes, and three cuts that never have appeared on CD before.

On top of the music, there are the wonderful liner notes, which not only include an overview of the record but also have track-by-track commentary by Neil Tennant and Chris Lowe, plus rare photos.

Pet Shop Boys - Further Listening 1984-1986 (Please) (flac 541mb)

201 A Man Could Get Arrested (12" B-Side) 4:11
202 Opportunities (Let's Make Lots Of Money) (Full Length Original 7") 4:36
203 In The Night 4:51
204 Opportunities (Let's Make Lots Of Money) (Original 12" Mix) 7:00
205 Why Don't We Live Together? (Original New York Mix) 5:14
206 West End Girls (Dance Mix) 6:39
207 A Man Could Get Arrested (7" B-Side) 4:51
208 Love Comes Quickly (Dance Mix) 6:50
209 That's My Impression (Disco Mix) 5:19
210 Was That What It Was? 5:17
211 Suburbia (The Full Horror) 8:58
212 Jack The Lad 4:32
213 Paninaro (Italian Mix) 8:38

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Of the 14 tracks on the second disc of the two-disc expanded reissue of Actually, Pet Shop Boys' second album, there are three previously unreleased mixes, highlighted by Shep Pettibone's version of "Heart" and two versions of "Always on My Mind" that never made it to CD prior to this release. Of the mixes that populate much of the rest of the disc, the disco mix of "It's a Sin" is terrific, as are extended mixes of "Always on My Mind" and "What Have I Done to Deserve This." But at the true heart of this disc are songs like "You Know Where You Went Wrong," "A New Life," "I Want a Dog," and "Do I Have To?," all terrific songs (especially "I Want a Dog") that could have comfortably fit on the actual album. It may not have every released mix, but it has the best of them.

Pet Shop Boys - Further Listening 1987-1988 (Actually) ( flac 531mb)

201 I Want To Wake Up (Breakdown Mix) 6:00
202 Heart (Shep Pettibone Version) 4:13
203 You Know Where You Went Wrong 5:52
204 One More Chance (7'' Mix) 3:49
205 It's A Sin (Disco Mix) 7:42
206 What Have I Done To Deserve This? (Extended Mix) 6:50
207 Heart (Disco Mix) 8:40
208 A New Life 4:57
209 Always On My Mind (Demo Version) 4:04
210 Rent (7'' Mix) 3:36
211 I Want A Dog 5:00
212 Always On My Mind (Extended Dance Mix) 8:13
213 Do I Have To? 5:17
214 Always On My Mind (Dub Mix) 2:04

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This is where things start to get interesting in Pet Shop Boys' reissue campaign, the bonus disc is fascinating. Not that tilted toward mixes, though there are still a bunch of mixes here, all of them quite good, but there are also several non-LP songs -- including "Don Juan," "Losing My Mind," "What Keeps Mankind Alive?," "The Sound of the Atom Splitting," the Chris Lowe-sung "One of the Crowd," and the terrific "Your Funny Uncle" -- and, best of all, previously unreleased demos recorded for Dusty Springfield ("Nothing Has Been Proved") and Liza Minnelli ("So Sorry, I Said"), along with demos of "Don Juan" and "Domino Dancing." Springfield and Minnelli did record these songs, but it's fascinating to hear PSB's versions.

Pet Shop Boys - Further Listening 1988-1989 (Introspective) (flac 493mb)

201 I Get Excited (You Get Excited Too) 5:36
202 Don Juan (Demo Version) 4:22
203 Domino Dancing (Demo Version) 4:48
204 Domino Dancing (Alternate Version) 4:53
205 The Sound Of The Atom Splitting 5:13
206 What Keeps Mankind Alive? 3:26
207 Don Juan (Disco Mix) 7:35
208 Losing My Mind (Disco Mix) 6:09
209 Nothing Has Been Proved (Demo For Dusty) 4:52
210 So Sorry, I Said (Demo For Liza) 3:26
211 Left To My Own Devices (Seven-Inch Mix) 4:48
212 It's Alright (Ten-Inch Version) 4:47
213 One Of The Crowd 3:56
214 It's Alright (Seven-Inch Version) 4:21
215 Your Funny Uncle 2:18

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