RhoDeo 1206 Roots

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


Can't get enough of that dub music ? Well here's some more

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Born in Spanish Town, Jamaica, in 1944, Michael James Williams (Prince Far I ) actually started his career in the sound systems, DJing that didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. There the bouncer got to take the mic standing in, the end result was the "Queen of the Minstrel" released under the moniker King Cry Cry,

The career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark. Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. On his new album, Under Heavy Manners, Prince Far I delivered Rastafarian diatribes and scathing political comments, supported by The Roots Radics that laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere. It got him a cult following in europe and a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor.

Prince Far I launched his own label, Cry Tough in 1978, as a home for his own work and for other artists with a similar philosophy. Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles.Meanwhile back in Britain, Adrian Sherwood, established his own Hit Run label, domestically releasing Cry Tuff singles. In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office, the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Prince Far I obviously was not very happy with Front Line and having now fulfilled his contract with them, he moved on.. To Trojan but from then on he would work alongside Adrian Sherwood. with the Creation Rebel and Singers and Players, he recorded a number of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, aka Dub Syndicate.also recorded for On U)

The following year's Voice of Thunder , with "Ten Commandments" of particular note is released aswell as the third and fourth volumes of Cry Tuff Dub Encounter featuring further scintillating voyages into the heaviest of dub's doom. In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. The plans for future recordings with the Sons of Arqa never came about as on September 15, 1983, Prince Far I's lfe came to an abrupt end when he was killed during a robbery at his home. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I lived on providing the thunderous vocals to the group's musical set.

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The gravel-voiced DJ Prince Far I recorded a number of albums for Virgin's Front Line imprint in the late 1970s, and though bad blood later developed between the artist and the label (as Prince Far I would explain in bitter detail on "Virgin," a 10" single recorded for On-U Sound in 1981), those Front Line recordings remain some of his best. When the first set of Front Line reissues hit the U.S. marketplace in the early 1990s, the Prince Far I material was represented by two collections, one of which (Black Man Land) included the entirety of his Livity album and seven of the ten tracks from Message From the King. Now that Message From the King is available separately, fans who snapped up the 1990 compilation will wonder whether those three cuts are sufficient to justify purchase of the original album. For fans, the answer is probably yes -- "Wisdom," "Concrete Column," and "Dry Bone" are as good as everything else on the program, which is to say very good indeed. For the merely curious, either of the previous compilations will do.

Prince Far I and The Arabs – Message From The King (flac 222mb)

01 Message From The King 3:32
02 The Dream 3:15
03 Commandment Of Drugs 4:11
04 Moses, Moses 3:34
05 Blackman Land 3:29
06 Concrete Column 3:01
07 Dry Bone 3:02
08 Foggy Road 4:15
09 Wisdom 3:00
10 Armageddon 3:47

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This is not a normal Prince Far I album, I warn you. On this record, Prince Far I's band plays amazing dub versions of his songs. The only thing Prince Far I himself does on this record, is announce the songs at the start of 'em. He does that marvelously, off course. His raw jungle voice is only needed at the start of each song to create the same effect that some singers need the whole song for to create. What we have is a 1979 dub album with some of the heaviest, most mesmerizing dub bass you'll ever encounter. Bassist Errol 'Flaba' Holt is the star here, and the tight rhythms and sparse accompaniment leave the field nice and clear for his deep, muscular, and mind-warping bass lines. Flaba locks into steady, hypnotic, repetitive bass motifs that he tweaks ever so slightly so as to keep them engaging without ever breaking the trance. Flaba's bass is relentless and insistent, like a river carving through rock. The musicians would go on to form the core of the Roots Radics in the early '80s.

Prince Far I And The Arabs – Dub To Africa (flac 235mb)

01 Bass Ace 3:51
02 Dub To Africa 3:19
03 Good Music Brother 3:35
04 Glory To God 3:41
05 Hello, Love Brother 5:31
06 Cry Tuff & The Originals 3:22
07 Give Love 3:19
08 Big Fight Dub 4:13
09 Internal Dub 4:07
10 Out Of The Abyss 4:02

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U-Roy (born Ewart Beckford, 21 September 1942, Jones Town, Jamaica), also known as The Originator. His musical career began in 1961 when he began deejaying at various sound systems. This included a stint operating Sir Coxsone Dodd's Number Two set, while King Stitt "The Ugly One" ran the main set. U-Roy eventually worked with King Tubby at Duke Reid's Sound System in the late 1960s. Around this period, King Tubby had started to experiment with his studio equipment in an attempt to create new effects and sounds, which would eventually lead to a new style of Reggae called dub music. With U-Roy as his most prominent deejay, King Tubby's new sound became extraordinarily popular and U-Roy a local celebrity.

Calling himself, "your ace from outer space", U-Roy revolutionized the musical style of reggae in 1969. Even though U-Roy was not the first microphone artist, he was the first to gain recognition through recording this style. U-Roy popularized and gained a wider audience for "toasting"; rapping over "versions" of popular songs remixed by King Tubby. Considered one of Jamaica's first Deejay stars, "U-Roy raised the art of toasting to new heights.

U-Roy's success continued throughout the 1970s, perhaps most famously with the album Dread in a Babylon, produced by "Prince" Tony Robinson and propelled by the album's skank smash hit "Runaway Girl". By the early 1980s he had become one of Jamaica's biggest stars, also garnering significant acclaim in the United Kingdom.

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Even without the music, this album would still leap off the racks; its photo of U Roy exhaling a mushroom cloud of marijuana smoke from his ever-available pipe ranks among the all-time greatest covers, regardless of genre. However, U Roy doesn't have any trouble coming across as a distinctive presence; his scattershot repertoire of barks, chants, and screams is as critical or more important as the deft, unobtrusive backing woven behind him. U Roy imposes his own willful style, regardless of setting. This album ranks among the '70s dub masterpieces, even if the odd lyrical clinker keeps it from perfection; "Runaway Girl"'s glistening skank can't paper over its sexism (which suggests the girl in question "may be nice/but you're not that smart"). Even so, sometimes an artist only needs charisma to get across, and U Roy handily wins on that score.

U Roy – Dread In A Babylon (flac 199mb)

01 Runaway Girl 3:45
02 Chalice In The Palace 3:28
03 I Can't Love Another 3:22
04 Dreadlocks Dread 2:45
05 The Great Psalms 2:48
06 Natty Don't Fear 2:28
07 African Message 2:41
08 Silver Bird 3:10
09 Listen To The Teacher 2:38
10 Trench Town Rock 2:48

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Elsewhere

Prince Far I - Silver & Gold 1973-1979 ( 05 * 98mb)
Prince Far I - Under Heavy Manners ( 126mb)

U Roy – Version Of Wisdom (flac 309mb)
U Roy – Version Of Wisdom ( ogg 120mb)

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RhoDeo 1206 A.C. Clark

Hello, hope you'll had a good weekend, i've noticed of late several music blogs closing apparently the Megaupload seizure have thoroughly shocked and frustrated fellow bloggers. I have to say this was exactly what was hoped for by the media gangsters and their small industry with a huge loudmouth. Apple f.i could buy out the lot with less then half they have amassed in profit these last years...go figure, these RIAA and MPAA people represent just a little industry and would be ignored, if it were not for the fact that many are owned and or run by their gods chosen people who have been buying politicians for decades and as Washington is no doubt the most corrupt city in the world, the rest of the world is considered to follow the orders of people that have no real clout just puppets, that in turn control the by far largest army in the world build with basically worthless dollars. The whole system is so absurd, if Orwell had described it 50 years ago people would have said he'd gone bunkers...


Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

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Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth. But it is perhaps as author of the novel 2001: A Space Odyssey that he is best known.

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Childhood's End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their space ships, governing through indirect rule. Decades later, the Overlords eventually show themselves, and their impact on human culture leads to a Golden Age. However, the last generation of children on Earth begins to display powerful psychic abilities, heralding their evolution into a group mind, a transcendent form of life.

In 1996, a script from Tony Mulholland was commissioned, resulting in a new, two-part adaptation. The BBC produced the two-hour radio dramatization of the novel, broadcasting it on BBC Radio 4 in November 1997. The recording was released on cassette in 1998 and on CD by BBC Audiobooks in 2007 Clarke's novel was nominated for the Retro Hugo Award for Best Novel in 2004.

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Arthur C. Clarke - Childhoods End II ( 26mb)

01 Childhoods End pt 2 57:22

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Last week

Arthur C. Clarke - Childhoods End ( 26mb)

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Sundaze 1206

Hello, it's been freezing here, but hey given the choice between + 40 or minus 20 i choose cold every time. Whilst the US republicans choose a full of himself raider to challenge one of the weakest presidents the US has had. How clever is that the choice between a rock and a sponge...nothing will change in the US and that's how the (zionist) elite wants it, that and nuking Iran pretty please. Latter won't (be alowed to)happen Iran can close the street of Hormuz if they manage to sink one aircraftcarrier, how beserk would that leave the US navy.

The late 1970s and early 1980s were a fantastically exciting time to be making electronic music, as technology changed almost daily and possibilities expanded exponentially. In such a chaotic and unfixed environment, it took smart people with a strong musical sense to make the most of it. These guys fit the bill.

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The Begegnungen discs compile tracks from various solo, duo and trio projects from Eno, Mœbius, Roedelius, producer Conny Plank and guest musician, Guru Guru’s Mani Neumeier. Some of this music is remarkably prescient: “Pitch Control”, from Mœbius, Plank and Mani Neumeier’s 1983 Zero Set album, ghosts mid 1990s Cologne electronica, an unintentional predecessor to the playtime techno of Mouse on Mars’ Iaora Tahiti. Some of Mœbius’ solo pieces ride with tetchy, febrile energy, particularly “Nervös” (no surprise really, given the title).

They'd made brilliant records before hooking up with Eno, but Moebius and Roedelius have never shied from acknowledging the impact the association had on their approach to sound. The two compilations bearing the title Begegnungen (German for "encounter") give an idea of the different ways those initial seeds sprouted. Adding Plank to the name of the project, both Begegnungen volumes compile tracks from the sessions with Eno along with contemporaneous solo and Cluster material in a similar vein. "Johanneslust" is a gorgeous solo Roedelius track from 1978, where he combines a simple acoustic guitar pattern with synths in a manner that reinforces the bucolic "back to nature" possibility of electronics. "Nervös" and "Pitch Control", both from 1983, bring the earlier experiments into the realm of 80s electro-pop.Generally, though, the musicians are at their best in trio formations, where they can balance out each other’s indulgences. These Begegnungen sets are good enough entry points for those interested in the playful, gentle and melodic side of Krautrock. Both volumes of Begegnungen are constantly engaging and full of surprises.

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Begegnungen is a Sky Records 1984 compilation album with recordings by Brian Eno, Dieter Moebius, Hans-Joachim Roedelius and Conny Plank, from solo albums, and from various collaborations between the artists. All of the tracks had been previously released elsewhere. The albums these tracks were drawn from are: Durch die Wüste, Roedelius' first solo album, Rastakraut Pasta by Moebius and Plank, After the Heat by Eno, Moebius, Rodelius, Tonspuren, the first solo album by Moebius, Zero Set by Moebius, Pank, Neumeier, Sowiesoso by Cluster, and the eponymous Cluster & Eno. These albums were released by Sky between 1976 and 1983.

Eno Moebius Roedelius Plank - Begegnungen I (flac 202mb)

01 Roedelius – Johanneslust 4:58
02 Moebius & Plank – Two Oldtimers 6:58
03 Eno, Moebius, Roedelius – The Belldog 6:14
04 Moebius – Nervös 3:26
05 Moebius, Plank, Neumeier – Pitch Control 6:21
06 Moebius & Roedelius – Dem Wanderer 3:52
07 Eno, Moebius, Roedelius – Schöne Hände 3:02

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More offerings from Eno, Moebius, Roedelius, Plank, and Neumeier, Begegnungen II is the equivalent of its predecessor. The tracks on the compilation (recorded in 1976-1983) are an appealing mix of artsy electronic ambiance and progressive Krautrock. Eno's mechanical "Broken Head" stands out as the only vocal track -- a dark, almost oppressive industrial tune not unlike early Gary Numan, but warmer. "Speed Display," originally recorded for Moebius, Plank, and Neumeier's Zero Set, is a fantastic showcase for Mani Neumeier's speed and endurance as a percussionist. He generates an incredible rhythmic groove, supplemented by sparkling synthesizer flourishes. Roedelius shines with two contributions to the set. His atmospheric "Mr. Livingstone," an Asian-influenced synth piece with complementary percussion. Along similar lines, the warm colors of "Langer Atem" may have been inspired by Eno's more melodic ambient work, perhaps Music for Films. Elsewhere on the record, Moebius and Plank's "Conditionierer" scores as upbeat, quirky synth rock. The well-crafted recordings on the Begegnungen albums are easily some of the most interesting compositions by all involved; the albums therefore serve as excellent introductions to the musicians' work.

Eno Moebius Roedelius Plank - Begegnungen II (flac 235mb)

01 Dieter Moebius & Conny Plank – Conditionierer 4:50
02 Moebius Plank Neumeier – Speed Display 5:14
03 Roedelius – Mr. Livingstone 5:41
04 Eno Moebius Roedelius – Broken Head 5:22
05 Roedelius – Langer Atem 7:14
06 Dieter Moebius – Hasenheide 2:39
07 Cluster – Es War Einmal 5:20
08 Cluster & Eno – Für Luise 5:01

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RhoDeo 1205 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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Obviously the P funk continued into the eighties and nineties, one of the most visible artists was Bootsy Collins who span off at the height of the Parliament/Funkadelic era..

Bootsy (born William Collins, October 26, 1951, Cincinnati) is a funk/R&B bassist/singer/bandleader. He formed his first group, the Pacesetters, in 1968, featuring Phelps "Catfish" Collins (his brother; guitar), Frankie "Kash" Waddy (drums), and Philippe Wynne. In March 1970, after most of the members of James Brown's band quit over a pay dispute, The Pacemakers were hired as Brown's backing band and they became known as The J.B.'s. (They are often referred to as the "original" J.B.'s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.'s played on some of Brown's most intense funk recordings, including "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power", and "Talkin' Loud and Sayin' Nothing".

After parting ways with James Brown, Bootsy returned to Cincinnati and formed House Guests with his brother Phelps Collins, Rufus Allen, Clayton "Chicken" Gunnels, Frank Waddy, Ronnie Greenaway and Robert McCullough. The House Guests released two singles on the House Guests label as well as a third as The Sound of Vision on the House Guests label. Collins next moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin. Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played bass on most of Funkadelic and Parliament's albums through 1980, garnering several songwriting credits as well.

Collins launched Bootsy's Rubber Band as a spinoff of P-Funk in 1976, the band including his brother Phelps, Waddy, Joel "Razor Sharp" Johnson (keyboards), Gary "Mudbone" Cooper (drums), and Robert "P-Nut" Johnson (vocals), along with "the Horny Horns." (He was sometimes billed alone as Bootsy, and sometimes as William "Bootsy" Collins.) Signing to Warner Bros., he enjoyed the first of his 15 R&B singles chart entries in 1976 with "Stretchin' Out (In a Rubber Band)." His most successful singles were "The Pinocchio Theory" (1977) and the chart-topping "Bootzilla" (1978). He also released six albums on Warners through 1982, including the gold-sellers Ahh...The Name Is Bootsy, Baby! (1977) and Bootsy? Player of the Year (1978), then took a six-year recording hiatus, and returned on Columbia in 1988 with the appropriately named What's Bootsy Doin'? In 1989, Bootsy was a member of the Bootzilla Orchestra on Malcolm McLaren's album Waltz Dancing. In 1990, Bootsy was a featured guitarist and bassist with the dance music trio Deee-Lite. In 1992, Bootsy joined with guitarist Stevie Salas and drummer Buddy Miles to form the funk-metal fusion group Hardware. The trio released one album, Third Eye Open, before disbanding. Bootsy's New Rubber Band released Blasters of the Universe on August 2, 1994.

In 1995, Bootsy played in the remake of Jimi Hendrix's "If 6 Was 9," for Axiom Funk, a Funkadelic-like one-off supergroup produced by Bill Laswell and featuring (Funkadelic members) George Clinton, Bernie Worrell, Bootsy Collins, (the guitar of the late) Eddie Hazel, Gary Shider and Bill Laswell. The group released only one album

Fresh Outta 'P' University followed four years later. Numerous Collins live shows and reissues appeared as the 21st century opened, and in 2006, the bassist actually released a Christmas album, Christmas Is 4 Ever, on Shout Records. In 2011, the conceptual album, The Funk Capital of the World, landed with everyone from Ice Cube to Samuel L. Jackson on the guest list.

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Bootsy Collins' debut solo album, Stretchin' Out in Bootsy's Rubber Band, was an extremely tough act to follow, but thankfully, there are no signs of a sophomore slump (either creatively or commercially) on his second album, Ahh...The Name Is Bootsy, Baby! Most P-funk addicts consider this 1977 LP essential listening, and it isn't hard to see why they feel that way. Everything on the album is excellent; that is true of up-tempo smokers like "The Pinocchio Theory" and the title song as well as slow, moody, eerie offerings such as "What's a Telephone Bill?" and "Munchies for Your Love." The lyrics are consistently humorous and clever, the grooves are consistently infectious. You can think of Ahh...The Name Is Bootsy, Baby! as a meeting of the funk minds -- Collins produced this record with his mentor, George Clinton, who co-wrote all of the material. So Clinton has a lot of input and gives Ahh...The Name Is Bootsy, Baby! the distinctive P-funk sound that Parliament/Funkadelic was known for. But at the same time, he encourages Collins' originality -- Bootsy's Rubber Band sounds like a Parliament/Funkadelic spin-off (which is exactly what it was), but not a Parliament/Funkadelic clone. Without question, Ahh...The Name Is Bootsy, Baby! is essential listening for lovers of hard 1970s funk.

Bootsy Collins - Aah...The Name Is Bootsy, Baby! (228mb)

01 Aah ... The Name Is Bootsy, Baby 6:51
02 The Pinocchio Theory 6:11
03 Rubber Duckie 3:21
04 Preview Side Too 1:00
05 What's A Telephone Bill? 6:00
06 Munchies For Your Love 9:38
07 Can't Stay Away 5:28
08 Reprise: We Want Bootsy 0:22

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Released in 1978 at the height of Parliament-Funkadelic mania, Bootsy? Player of the Year finds Bootsy far from short of quality material despite his affiliation with the numerous P-Funk-affiliated projects being churned out at this time. In fact, this album finds Bootsy at his peak; his previous two albums may have their share of brilliant moments and were no doubt filled with great ideas, melodies, and funk, but here he seems to have perfected his songwriting. There really isn't a dull song on Bootsy? Player of the Year. The up-tempo songs -- "Bootsy?," "Bootzilla," "Roto-Rooter" -- rate as some of the most exciting P-Funk material ever released, each song clocking in over five minutes and chock-full of elastic basslines. On the other hand, the abundance of slow jams -- "May the Force Be With You," "Very Yes," and "As In (I Love You)" -- helps maintain a good balance, providing a breather from the sweatier moments. Then there is "Hollywood Squares," a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut. Bootsy? Player of the Year rates among the most enjoyable P-Funk albums ever. Unfortunately, it also marks the end of a glorious run. By the following year, 1979, it was clear that the P-Funk army was running out of fresh ideas, and Bootsy was no exception, as he'd struggle creatively for a couple years to come. This makes Bootsy? Player of the Year seem all the more special in retrospect, because it was among the last of the great P-Funk releases.

Bootsy's Rubber Band - Bootsy Player of the Year ( 268mb)

01 Bootsy? (What's The Name Of This Town) 7:03
02 May The Force Be With You 6:06
03 Very Yes 8:30
04 Bootzilla 5:41
05 Hollywood Squares 6:16
06 Roto Rooter 6:41
07 As In (I Love You) 5:10

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While certainly not among his greatest efforts, Bootsy Collins' Ultra Wave (1980) is still infinitely better than most of the disco dregs. Although Collins (bass/vocals) had not formally split up the Rubber Band -- as the lineup was a continual fluctuation of talent from the seemingly bottomless reservoir of P-Funk alumni -- he takes sole (and quite possibly soul) credit on his fifth long-player in under four years. The title is an homage to the Detroit-based studios where Bootsy collaborated with core Rubber Band contributors Phelps "Catfish" Collins (guitar), Robert "P-Nut" Johnson (vocals), and the superbad dynamic horny horns of Fred Wesley (trombone) and Maceo Parker (sax). Not missing from these -- or any other Bootsy affairs for that matter -- is the unapologetic party atmosphere Collins' infuses within every pulsation of his full-bodied and self-proclaimed "Space Bass". The catchy and sexually tweaked opener "Mug Push" quickly became a dancefloor favorite and garnered a short but significant run on the R&B charts. Collins, influenced by Sly & the Family Stone and especially funk-bass originator Larry Graham, gives it a respectable degree of listenability.The slinky and rubbery backbeat on "Fat Cat" hearkens to the loose booty of former Bootsy's Rubber Band tracks with Johnson's falsetto likened to the shrill warbling often utilized on Prince's seminal sides. The pseudo-novelty closer "Sound Crack" would probably have more going for it had Collins ditched the dated opening dialogue. Once it gets up to full steam, it roars with an intensity fuelled by the same bounce behind such P-Funk staples as "Up for the Downstroke." .

Bootsy Collins - Ultra Wave (260mb)

01 Mug Push 3:49
02 F-Encounter 7:35
03 Is That My Song? 3:42
04 It's A Musical 4:47
05 Fat Cat 7:03
06 Sacred Flower 6:48
07 Sound Crack 7:06

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RhoDeo 1205 Goldy Rhox 57

Hello, today the 57th post of GoldyRhox, classic pop rock. In the darklight an English band, formed in 1996 by lead vocalist Chris Martin and lead guitarist Jonny Buckland at University College London. After they formed Guy Berryman joined the group as a bassist and they changed their name to Starfish. Will Champion joined as a drummer, backing vocalist, and multi-instrumentalist, completing the line-up. The band renamed themselves in 1998. After the release of 2 Ep's they got picked up by Parlophone. Their first single immediately hit the sweet spot and their 2000 debut album has sold 8 million copies not a bad start and things went crescendo ever since. Their discography consists of five studio albums, five extended plays, twenty-five singles, two live albums, twenty-seven music videos, and one compilation album. As of 2009, they've sold over 50 million records, making them one of the best-selling music artists worldwide.

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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 debut album was released by the record label Parlophone on 10 July 2000 in the United Kingdom. The album was produced by the band and British record producer Ken Nelson. It was met with positive reviews. Upon release, the album quickly reached number one in the United Kingdom, and has since been certified 7x platinum. In the United States, the album peaked at number 51 on the Billboard 200, and has since been certified 2x platinum. It won the Grammy Award for Best Alternative Music Album in 2002, and has earned the band various accolades since its release. The album is number 12 on the list of the 20 biggest-selling albums of the 21st century in the United Kingdom, and was the winner of the Best British Album award at the 2001 Brit Awards. As of 2011, it has sold around 8.5 million copies worldwide.

Called one of the most-impressive debut albums ever, the band themselves with hindsight seem somewhat embaressed over their naivity and metromanlyness but then all this was pre 9/11 when the evilmindedness of those in power came before our eyes. The album's cover features a photograph of a globe taken with a disposable Kodak camera. The globe had been purchased from W H Smith for £10; it was featured in the music videos and also accompanied the band on their tours. The album was dedicated to drummer Will Champion's mother, Dr Sara Champion, who died of cancer in 2000


Goldy Rhox 57 (flac 264mb)

Goldy Rhox 57 (ogg 96mb)


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RhoDeo 1205 Aetix

Hello, good news i've finished re-upping the Megaupload links (37gig), and now it turns out yesterdays Roots smashuploads didn't link, sure hope the rest did, anyway currently re uploading yesterdays blanks hopefully with more success this time. Still no news or respons from multiupload but the old links still work ok.

Todays Aetix band was rather shortlived in what was a rather turbulent time, late seventies early eighties, still their efforts clearly rose above the playing field at the time. I've posted my favourite (keyboard dominated) album by them on the wavetrain 3, Secondhand Daylight the other 3 studioalbums are here for the taking. That said 3 months ago after 30 years of silence there was a new album No Thyself...go figure

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After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. One of the first post-punk bands, Magazine kept the edgy, nervous energy of punk, adding elements of art rock, particularly with their theatrical live shows and shards of keyboards. Devoto's lyrics were combinations of social commentary and poetic fragments, while the band alternated between cold, jagged chords and gloomy, atmospheric sonic landscapes.

Magazine performed its first concert in the fall of 1977 and were signed to Virgin Records by the end of the year; by that point, Dickinson had left the group. The band recorded their first single, "Shot by Both Sides," as a quartet; Devoto had written the song with his former Buzzcocks partner, Pete Shelley. Appearing in early 1978, the single gathered good reviews on both sides of the Atlantic and charted in the U.K., peaking at number 41. Before they recorded their debut album, keyboardist Dave Formula joined the lineup. Real Life, released later in 1978, continued the confrontational, arty pop-punk of "Shot by Both Sides." Following their first tour, Jackson left the group and was replaced by John Doyle. The new lineup recorded the band's second album, Secondhand Daylight (1979). Secondhand Daylight was somewhat of a departure from the debut, featuring more keyboards, smoother rhythms, and streamlined lyrics from Devoto. Despite its ambitiousness, the record was poorly received by the guitarlicker press. During this time, McGeoch played with Siouxsie & the Banshees and Adamson, Formula, and McGeoch were part of Visage, along with Steve Strange. At the beginning of 1980, the band released their third album, The Correct Use of Soap.

In the summer of 1980, Magazine released "Sweetheart Contract," which became their second and last British chart hit, peaking at number 54. After it hit the charts, McGeoch left the band to become a full-time member of Siouxsie & the Banshees; he was replaced by Robin Simon. Magazine toured America and Australia, recording a live album called Play, which was released at the end of 1980. Simon left at the end of the tour, with former Amazorblades guitarist Bob Mandelson taking his place. Magic, Murder and the Weather was released in the spring of 1981; it proved to be Magazine's last album. Shortly after it became clear the spirit had gone and Devoto left/disbanded Magazine to release two more soloalbums before leaving the music industry altogether.

The post-punk revival of the last decade finally saw the inevitable Magazine reunion in 2009. Although John McGeoch’s death in 2004 ensured that the classic line-up could not get onstage and beguile old fans and new with a show based around their Real Life debut, Devoto, Dave Formula (keyboards), John Doyle (drums) and Barry Adamson were joined by Devoto’s Luxuria guitarist Noko. The success of the shows ensured the arrival of No Thyself, the first new Magazine album in 30 years and a powerful reminder of why the Devoto cult has endured.

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Howard Devoto left Buzzcocks possibly sensing the festering of punk's clichés and limitations, and resurfaced with Magazine. Initially, the departure from punk was not complete. "Shot by Both Sides," the band's first single, was based off an old riff given by Devoto's Buzzcocks partner Pete Shelley, and the guts of follow-up single "Touch and Go" were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However -- this point is crucial -- the band was inspired by the much more adventurous which is the driving force behind Real Life's status as one of the post-punk era's major jump-off points. Punk's untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic. The rapidly careening "Shot by Both Sides" (up there with PiL's "Public Image" as an indelible post-punk single. The dynamism is all the more perceptible when Dave Formula's alternately flighty and assaultive keyboards are present: the opening "Definitive Gaze," for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in "The Light Pours out of Me," a song that defines Magazine and the closest the band got to making an anthem.

Magazine - Real Life (369mb)

01 Definitive Gaze 4:29
02 My Tulpa 4:51
03 Shot By Both Sides 4:04
04 Recoil 2:52
05 Burst 5:02
06 Motorcade 5:44
07 The Great Beautician In The Sky 5:00
08 The Light Pours Out Of Me 4:36
09 Parade 5:21
Bonus Tracks
10 Shot By Both Sides (Single Version) 4:01
11 My Mind Ain't So Open 2:19
12 Touch And Go 2:58
13 Goldfinger 3:51

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This is something of a return to standard operational form for Magazine, who thawed after recording Secondhand Daylight to throw together an energetic batch of colorful and rhythmically intricate songs. It's an unexpected move considering that they enlisted Martin Hannett, master of the gray hues, as the producer. A looser, poppier album than its predecessors -- somewhat ironically, a cover of Sly & the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" is the most subdued song -- it features the rhythm section of John Doyle and Barry Adamson at their taut, flexible best and guitarist John McGeoch at his most cunningly percussive. Save for the called-for razzle-dazzle on "Sweetheart Contract," keyboardist Dave Formula takes more of a back seat, using piano more frequently and no longer driving the songs to the point of detracting from the greatness of his mates. Howard Devoto's lyrics are also a little less depressive, though they're no less biting. The closing "A Song from Under the Floorboards" -- another near-anthem, an unofficial sequel to "The Light Pours Out of Me" -- includes sticking Devoto-isms like "My irritability keeps me alive and kicking" and "I know the meaning of life, it doesn't help me a bit." His themes of distrust and romantic turbulence remain focal, evident in "You Never Knew Me"."Because You're Frightened" is the closest they came to making a new wave hit, zipping along with as much unstoppable buoyancy yet it's all fraught nerves and paranoia: "Look what fear's done to my body!" Song for song, the album isn't quite on the level of Real Life, but it is more effective as a point of entry.

Magazine - The Correct Use Of Soap (349mb)

01 Because You're Frightened 3:54
02 Model Worker 2:51
03 I'm A Party 3:01
04 You Never Knew Me 5:23
05 Philadelphia 3:54
06 I Want To Burn Again 5:16
07 Thank You (Falettinme Be Mice Elf Agin)3:48
08 Sweetheart Contract 3:18
09 Stuck 4:04
10 A Song From Under The Floorboards 4:07
Bonus Tracks
11 Twenty Years Ago 3:03
12 The Book 2:22
13 Upside Down 3:47
14 The Light Pours Out Of Me - Version 3:28

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Magazine's final studio album, Magic, Murder and the Weather, finds Dave Formula's washes of cold, brittle keyboards dominating the bitter and cynical music. Occasionally, Howard Devoto's weary lyrics surface through the icy mix, but it's clear that Devoto and Magazine have both had better days. It's not a graceful way to bow out, but the album has enough strong moments to prevent it from being an embarrassment as well.

Magazine - Magic, Murder And The Weather (flac 255mb)

01 About The Weather 4:04
02 So Lucky 4:09
03 The Honeymoon Killers 3:37
04 Vigilance 5:13
05 Come Alive 3:42
06 The Great Man's Secrets 4:55
07 This Poison 4:20
08 Naked Eye 3:28
09 Suburban Rhonda 3:29
10 The Garden 2:38

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elsewhere wavetrain 3

Magazine - Secondhand Daylight (flac ^ 390mb)

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RhoDeo 1205 Roots

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

Can't get enough of that dub music ? Well here's some more

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This is a mysterious release as the web turns up absolutely nothing on who's behind this but it seems it was released back in the day (1975 according to my copy) in the US as "kaya dub" (kaya) - no credit to Pat Francis according to comments at Roots-Archives.com it is de facto the repackeged renamed Jah Lloyd – Herbs Of Dub album.

PAT FRANCIS was a fine singer and DJ who recorded under various aliases - Jah Lloyd, Jah Lion and Jah Ali - which reflected his Rastafarian beliefs. The original vinyl version of Colombia Colly, the album he cut as Jah Lion in 1976 for the producer Lee Perry, changes hands for pounds 70 and is a steady seller on CD, while his 1970s Jah Lloyd dub collections (Herb Dub, Final Judgement) are sought after by aficionados the world over.

Born in 1947 in St Catherine, Jamaica, Francis had a rather unhappy childhood. His mother died when he was eight and he was subsequently brought up by his farming father in Point Hill, St Catherine. Leaving school in 1959, the teenager ended up in the Trench Town area of Kingston. Influenced by the boogie sound of the pianist Theophilius Beckford and the ska rhythms of the Maytals, Francis formed a duo with Paul Aston Jennings. As the Meditators, they recorded "Darling Here I Stand" and "Look Who a Go Bust", two Studio One singles which made the local charts towards the end of the 1960s. Ever more involved in the burgeoning Jamaican music scene, Francis became the equivalent of a record plugger, promoting rock-steady 45s to local sound systems. Later, he also sold records in Lee Perry's shack. In 1970, having adopted the Rastafarian faith, he recorded "King of Kings", a song praising Emperor Haile Selassie as the descendant of King David.

By 1974, Francis launched the Teem label with his younger brother Vincent and recorded many self-produced sides at King Tubby's studio in Kingston. He also discovered the Mighty Diamonds vocal trio who went on to great success under the guidance of Ernest and Joseph Hookim at Channel One. As Jah Lloyd, Francis cut several takes on the Mighty Diamonds' "Shame and Pride", including "Killer Flour", a biting commentary on the "poison flour" scare which gripped Jamaica in early 1976. However, Francis's finest hour came in 1976 when he collaborated with Lee Perry on the excellent Colombia Colly, which was recorded at the Black Ark Studios and gained a worldwide release on Island Records. It was Perry who insisted on his ditching the name Jah Lloyd in favour of Jah Lion:

However, Francis found his attempts to establish his own identity away from the producer weren't helped by the fact that the only picture on the sleeve of Colombia Colly was one of a grinning Lee Perry. Switching to Virgin's Frontline label, Francis issued, as Jah Lloyd, the critically-acclaimed albums The Humble One and Black Moses before collaborating with Prince Jammy on Goldmine Dub, a collection picked up by the Greensleeves label for UK distribution. In the Eighties, ragga took over from the toasting DJs and the skills of Pat Francis were less in demand. He faded away in Kingston, with his wife and three children relocating to the United States.

Because he has seldom been photographed, some reference books claim Jah Lion to be a mythical artist, a figment of Lee Perry's feverish ganja- fuelled imagination. In fact, Patrick Lloyd Francis (Jah Lloyd, Jah Lion, Jah Ali), singer and musician: born St Catherine, Jamaica 29 August 1947; married (three children); shot and died Kingston, Jamaica 12 June 1999.

Maya Dread – Kaya Dub (flac 175mb)

01 Yard Man Dub 3:15
02 Meaning Dub 2:21
03 Another Lion Special 2:51
04 Conquering Dub Of Africa 3:22
05 Kaya Dub Song 3:16
06 Tribute To The King 2:55
07 Rattle Snake Echoe 2:55
08 Dub A Natty Dub 2:42
09 Tracking To Africa 2:35
10 Dread A Rikers Island 2:55

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Harry Mudie attended the St Jago High School. In the mid fifties, he launched his own sound system "Mudies Hi-Fi", before going to the UK to study electronics and photography. Back in Jamaica in the late 1950s, Mudie began producing, mainly Jamaican R&B records; His first production was "Babylon Gone" (1962) by rasta drummer Count Ossie and saxophonist Wilton Gaynair, released in the UK in 1962 on Blue Beat.He moved away from production in the 1960s, operating his Scaramouch Garden Amusement Center in Spanishtown, opened in 1962. He returned to production in the late 1960s, launching his Moodisc label and working with artists such as Winston Wright, Winston Shand, Lloyd Jones, Count Ossie and was the first producer to put I Roy on record. In the early 1970s, Mudie was the first to record the deejay Big Joe. He was the first producer to use string sections in reggae, starting with (John Holt's 1973 album Time is the Master. He also produced the Heptones on the classic "Love Without Feeling", DJ tunes by Count Sticky, Big Joe ("Set Your Face At Ease" on the "Rome" rhythm), and Jah Lloyd, and a number of "Drifter" cuts by Bongo Herman and others. During the mid-70s Mudie issued three classic dub albums mixed by King Tubby, instrumental sets by Gladstone Anderson and Ossie Scott, vocal albums by Dennis Walks and Bunny Maloney, for whom he produced the popular Jamaican lovers favourite "Baby I've Been Missing You", and two excellent various artists collections. During the 80s and 90s he concentrated on his back catalogue with re-presses and some excellent new compilations such as Reggae History Volume One and Reggae Bible, the latter being a whole album based on the "Drifter" rhythm. This prolific period produced over 100 singles and several 12-inch "discomix" singles as the decade closed.

Harry Mudie - In Dub Confrence Vol.1 (flac 181mb)

01 Full Dose Of Dub 3:14
02 Madhouse Dub 2:55
03 Dub For The Dread 3:05
04 Dub With A Difference 2:52
05 Caught You Dubbing 3:37
06 Roman Dub 2:57
07 Dub Conference 3:03
08 Heavy Duty Dub 3:02
09 Striptease Dub 3:14
10 String Dub In Rema 2:53

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Born Overton Brown, Jamaica, West Indies. Scientist burst onto the reggae scene in the early 80s with a reckless mixing style that seemed to outdo even King Tubby's wildest extravaganzas. He began his career as an engineer at Studio One in 1978, mixing the dub to Sugar Minott's "Oh Mr DC", among others. Shortly afterwards he became a prot‚g‚ of King Tubby, and swiftly gained a reputation with his fresh mixing style. In 1980 the UK-based record company Greensleeves began to release the productions of top Jamaican producer Henry "Junjo" Lawes. Lawes, finding success with new singing sensation Barrington Levy, used Tubby's studio for his voicing and final mix-downs and offered Greensleeves a couple of dub albums mixed by Tubby's sensational young engineer. Scientist v Prince Jammy (1980), mostly consisting of dub mixes of Barrington Levy tracks, was presented as a "Big Showdown" between the two dubmasters, with the first track mixed by Scientist, the second by King Jammy (as he was later known), and so on. The combination of heavyweight Roots Radics rhythms pitted against one another (the cover depicted the two protagonists in a cartoon style, sitting at their mixing desks in a boxing ring surrounded by a crowd of dreads) made for exciting listening, and gave the dub idiom a much needed shot in the arm.

Greensleeves followed this with an album proclaiming Scientist to be the Heavyweight Dub Champion, a similar brew of Roots Radics/Barrington Levy rhythms. Dub albums mixed by Scientist soon began to appear with bewildering regularity from various sources. Greensleeves, in particular, continued to issue album after album which, despite their increasingly unlikely titles and garish covers, remain essential listening. Scientist moved from Tubby's four-track studio to Joseph "Joe Joe" Hookim's 16-track Channel One studio in 1982, where he also learned to record live. His popularity resurrected dub's fading fortunes for a few years, but the form had lost ground in the Jamaican dancehalls to the new breed of dancehall DJs and vocalists, and by the mid-80s few Jamaican producers felt it prudent to spend money on producing dub albums. He continued as resident engineer at Channel One until the mid-80s, when he moved to New York to continue his production career.

Scientist v. Prince Jammy - Big Showdown (flac 183mb)

01 Scientist – Round 1 3:44
02 Prince Jammy – Round 2 3:36
03 Scientist – Round 3 4:01
04 Prince Jammy – Round 4 4:08
05 Scientist – Round 5 4:17
06 Prince Jammy – Round 6 4:00
07 Scientist – Round 7 3:47
08 Prince Jammy – Round 8 3:21
09 Scientist – Round 9 4:34
10 Prince Jammy – Round 10 2:48

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RhoDeo 1205 AC Clark

Hello, hope you'll had a good weekend, I missed the marathon tennismatch but just from some watching some of it later I do wonder how come Azarenka playing 3 hours (semi+final) gets the same price money as Djokovic who had to work his socks of for 11 hours, after all the money is generated by tv airtime and that's not sexist. Besides these females seem to be playing a different game, be it under the same rules. Girls just want to have fun..

Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

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Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth. But it is perhaps as author of the novel 2001: A Space Odyssey that he is best known.

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Childhood's End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their space ships, governing through indirect rule. Decades later, the Overlords eventually show themselves, and their impact on human culture leads to a Golden Age. However, the last generation of children on Earth begins to display powerful psychic abilities, heralding their evolution into a group mind, a transcendent form of life.

In 1996, a script from Tony Mulholland was commissioned, resulting in a new, two-part adaptation. The BBC produced the two-hour radio dramatization of the novel, broadcasting it on BBC Radio 4 in November 1997. The recording was released on cassette in 1998 and on CD by BBC Audiobooks in 2007 Clarke's novel was nominated for the Retro Hugo Award for Best Novel in 2004.

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Arthur C. Clarke - Childhoods End ( 26mb)

01 Childhoods End pt 1 57:21

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Sundaze 1205

Hello, been busy re-upping the Megaupload links, once again i underestimated how much there were, 268 to be precise. Which in the grand scheme of this blog is indeed not that much, less then 10%, but a lot of work nevertheless. I hope to finish within a few days (3/4 done already).

Today Sundaze gives way to evolutionary concept artists, from Norway, who've exaggerated and blurred the lines between every musical form they've been enveloped. As unconventional as their approach to music has always been the results have been consistently adherent and profound. In larval form they torqued the genre of black metal with folk, jazz, minimalism and soundscape offering this generally conservative design liberties it was once afraid to embrace. Ulver have altered the way form can join and function in ways rarely sought. Retaining elements of their past, they now manipulate and extend the possibilities with a comprehensive understanding of the developing aural technologies.

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Ulver took their name from the Norwegian word for wolf, snce their first, folklore-influenced black metal release entitled Bergtatt - Et eeventyr i 5 capitler (1993), Ulver’s musical style has been fluid and increasingly eclectic, blending genres such as avant-garde rock, trip hop, symphonic and chamber traditions, noise and experimental music, with heavy reliance on electronic recording techniques.

Led by vocalist Garm, Ulver recorded two concept albums, Bergtatt detailed a Norse legend in which maidens are abducted by denizens of the underworld to live in their mountain halls, and the following year's Kveldssanger ("Twilight Songs") was an all-acoustic collection of melancholy dirges. Ulver made their international debut in 1997 with Nattens Madrigal (Madrigal of the Night), a concept album about wolves performed in the traditional Norwegian black metal style; it was recorded for Century Black with a lineup of Garm, lead/acoustic guitarist Haavard, rhythm guitarist Aismal, bassist Skoll, and drummer AiwarikiaR.

Themes from William Blake's The Marriage of Heaven and Hell, released in 1998, was different from what Ulver had made before. Tore Ylwizaker, a new composer and sound architect, added to Garm’s expanding artistic visions, and together they stepped over the boundaries of black metal aesthetics, creating a genre-defying work. In this album, the musicians blended electronics, industrial music elements, progressive metal and avant-garde rock, adding ambient passages. Lyrically, the album incorporates the entire text of William Blake’s poem The Marriage of Heaven and Hell, and relies on guest vocals

The band followed up these two releases with two minimalist/ambient/glitch works Silence Teaches You How to Sing and Silencing the Singing. These works featured minimal melodies and often had subtle, weird and unnatural noises within the song structures. Due to their individual rarity, they were later amalgamated as Teachings in Silence. Having proved their proficiency at making atmospheric music, Ulver were hired to make music for cinema films like Lyckantropen (see Lyckantropen Themes), Svidd neger (see Svidd neger (soundtrack)), and Uno.

In July 2004, the band had recorded their sixth album, Blood Inside, which was released on June 6, 2005. Bringing back more traditional rock instruments like guitar and acoustic drums, combining them with classical instruments, brass horns, and their rich electronic inventory. Shadows of the Sun is the seventh studio album by Ulver. . In an interview with Music Information Centre Norway, Ulver member Tore Ylwizaker commented on the album. He said it would be downplayed and inspired by chamber music in both style and crew. Ylwizaker also took a year off to study classical composers and composition techniques. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade. In February 2008 Shadows Of the Sun won the Oslo Awards for album of the year 2007.

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Perdition City (Music To An Interior Film) is an album of moody, atmospheric electronica, built up around basic down-tempo beats and noir-ish electronic piano harmonies, and then fleshed out with various blips and bleeps, static noises, samples, and occasional vocals. Surprising moments include the lonely soprano saxophone solo on the opener, "Lost in Moments" ; the gravel-voiced Ken Nordine-sound-alike reciting what sounds like a voiceover from a '60s detective show during "Dead City Centres"; and frontman Christophorus Rygg's slick blue-eyed soul (!) singing on "Porn Piece or the Scars of Cold Kisses." Still, the highlight is the album's closing track, "Nowhere/Catastrophe," with its climactic vocal harmonies and purring, liquid-like electronic accents. There are questionable moments, such as the arguably pretentious narration during "We Are the Dead," but, on the whole, Perdition City evokes just the sort of desolate, rainy-night-in-the-city atmosphere it sets out to create.

Ulver – Perdition City (flac 300mb)

01 Lost In Moments 7:16
02 Porn Piece Or The Scars Of Cold Kisses 7:09
Piece One 3:58
Piece Two 3:11
03 Hallways Of Always 6:35
04 Tomorrow Never Knows 7:59
05 The Future Sound Of Music 6:39
06 We Are The Dead 3:40
07 Dead City Centres 7:10
08 Catalept 2:17
09 Nowhere/Catastrophe 4:48

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Lyckantropen Themes is Ulver's first foray into film soundtrack music, although musically it picks up right where their previous two EPs, Silence Teaches You How to Sing and Silencing the Singing, left off. That makes sense, considering how those two EPs often resembled soundtracks themselves, with their ambiguous moods and lurking-in-the-shadows electronic ambiance. Once again, there are no lead vocals and no typically structured songs. Instead, the keyboards (especially the piano synth) dominate, setting the alternately suspenseful and melancholy mood of the soundtrack, with occasional down-tempo drum-machine beat, distant saxophone call, or rainstorm sample added to the mix. Unlike many soundtrack recordings, the album's tracks do flow nicely together as a whole. Lyckantropen is still a solid, respectable album of semi-dark ambient-electronic music, and at 37 minutes long, it doesn't wear out its welcome.

Ulver – Lyckantropen Themes (flac 146mb)

01 Theme 1 1:21
02 Theme 2 1:37
03 Theme 3 7:13
04 Theme 4 2:14
05 Theme 5 4:48
06 Theme 6 2:41
07 Theme 7 2:38
08 Theme 8 4:17
09 Theme 9 5:50
10 Theme 10 3:44
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The album is not something you'll grasp at first, though it's not to say you won't enjoy it right from the get-go. While the ambience it creates serves as an excellent backdrop (it is a soundtrack, after all), true appreciation for it might not come until you dive right in. With the right listening climate, Svidd Neger possesses the ability to take the listener on a twisted journey. Lending itself to the quasi-formal tone you're currently reading, the album is highly sophisticated in its presentation. Strings cascade between methodical drumming, contradicting the occasional blips, bloops and sound clips from the film. While the compositions are separated into tracks, Svidd Neger is best taken when you're hard-pressed to notice the separation. Absorbing the album as a whole ensures that the aptly titled "Waltz of King Karl" wont contrast harshly with swooping percussion found in Sadface. The melancholic strings rarely seem out of place with the electronic backdrops, and while the music is increasingly textured, it never becomes invasive.

Ulver - Svidd Neger ( O.S.T.) (flac 170mb)

01 Preface 1:41
02 Ante Andante 0:54
03 Comedown 2:19
04 Surface 3:17
05 Somnam 2:42
06 Wild Cat 2:32
07 Rock Massif Pt. I 1:42
08 Rock Massif Pt. II 2:05
09 Poltermagda 0:28
10 Mummy 1:03
11 Burn The Bitch 0:52
12 Sick Soliloquy 0:22
13 Waltz Of King Karl 3:17
14 Sadface 2:43
15 Fuck Fast 0:21
16 Wheel Of Conclusion 6:27

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Shadows of the Sun offers a new slant on the sort of electronic art pop sound that Ulver have been developing off and on since 1999‘s Metamorphosis EP. Along with 2005's return-to-form Blood Inside, it is one of their stronger efforts this decade, following several years of experimentation with instrumental electronic music. Those experiments have informed both of these albums, but they have been incorporated into more or less songlike structures. That is a good thing, given that leader Kristoffer Rygg's vocals have always been a strong point of their music. Shadows begins with a tranquil, almost ambient organ figure, followed by the entry of Rygg's close-up vocals, which later float off into the distance. Standout "All the Love" follows, beginning in similar near-ambient fashion before percussion enters for the first time on the album near the one-minute mark. This song has a fantastic arrangement that includes a dense carpet of keyboard tones along with some well-placed trumpet flourishes, electronic glitches, and piano melodies toward the end. Subsequent songs maintain this blend of electronics, intermittent (and very subdued) percussion, and other "real" instruments, including some nice cello and string-section touches. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade.

Ulver - Shadows Of The Sun ( 180mb)

01 Eos (5:05)
02 All The Love (3:42)
03 Like Music (3:30)
04 Vigil (4:27)
05 Shadows Of The Sun (4:36)
06 Let The Children Go (3:50)
07 Solitude (3:53)
08 Funebre (4:26)
09 What Happened? (6:25)

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RhoDeo 1204 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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Allready the 7th post in the Parliament Funkadelic saga that in name came to an end in 1981, but then main man george Cklinton soldiered on and several members of the Pfunk family made a name for themselves we'll see some of that in the next few weeks..

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.

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Trombipulation, the final Parliament album. "Agony of Defeet" is the highlight and "Let's Play House" is also notable, Perhaps the most interesting aspect of Trombipulation is how it finds Parliament in free fall, seemingly out of good ideas. It's hardly surprising Clinton dissolved the group after this album's it'd become apparent Parliament had run its course. Clearly the disputes earlier which saw several members of the P-Funk family leave had taken it's toll unexpectedly perhaps the vibe had been distorted.To Clinton's credit, though, his latter-day Funkadelic albums, including The Electric Spanking of War Babies (1981) remained worthwhile, and subsequent albums, namely Computer Games (1982) and Urban Dancefloor Guerillas (1983), were especially exciting. .

Parliament - Trombipulation (299mb)

01 Crush It 3:51
02 Trombipulation 4:34
03 Long Way Around 5:40
04 Agony Of Defeet 6:23
05 New Doo Review 5:55
06 Let's Play House 3:39
07 Body Language 5:57
08 Peek-A-Groove 7:48

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Don't mistake 12" Collection & More for a best-of collection. It features some of Parliament's best moments, such as "Flashlight" and "Up for the Down Stroke," but it also includes songs such as "Ridin' High-Parlet" and "Oh I," which weren't technically even Parliament songs. In terms of what's worth seeking out on this album, look towards the 12" versions of "Flashlight" and "Aqua Boogie." these extended versions approach the ten-minute mark, making them P-funk jams on par with "(Not Just) Knee Deep" -- jams that just don't stop, jams that you don't ever want to stop! The extended versions of "Agony of Defeet" and "Theme From the Black Hole/The Big Bang Theory" are also epic jams. Elsewhere, the string-laden seven-minute version of "Oh I" is amazing, even if it was actually a Funkadelic song, not a Parliament recording. The five-minute version of "Up for the Down Stroke" also ranks up there with some of Parliament's best work ever, adding about two minutes to the original version. Unfortunately, Parliament only released a handful of 12" mixes, these songs keep the funk flowing for epic lengths, long enough for you to totally succumb to the rhythm just as you would at one of the group's jam-laden concerts.

Parliament - The 12 inch Collection and More ( 488mb)

01 Aqua Boogie (Original 12" Version) 9:22
02 Flash Light (Original 12" Version) 10:42
03 Agony Of Defeet (Original Promotion-Only 12" Version) 9:05
04 Ridin' High (Original Promotion-Only 12" Version) 9:41
05 Oh I (Original Parliament Version) 7:11
06 Up For The Down Stroke (Alternate Version) 5:39
07 Testify (Original Group Vocal Version) 4:03
08 Theme From The Black Hole / The Big Band Theory (Original 12" Disco Edit) 11:46

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First released on LP in 1981 as Connections & Disconnections and reissued on CD in 1992 as Who's a Funkadelic?, this album went down in history as the only Funkadelic project that George Clinton had nothing whatsoever to do with. Many funksters were quick to dismiss this album, questioning its authenticity and arguing that the band had no right to call itself Funkadelic without "President Clinton" on board. True, Clinton's input is missed, but in fact, this is far from a bad album. While Who's a Funkadelic? isn't in a class with One Nation Under a Groove or Uncle Jam Wants You, hard funk offerings like "Phunklords," "You'll Like It Too" and "The Witch" are fairly enjoyable. Colleagues like Fuzzy Haskins and Grady Thomas had learned from the master himself, and this very underrated offering shows that they also had some worthwhile things to say.

Who's A Funkadelic (277mb)

01 Phunklords 5:32
02 You'll Like It Too 4:27
03 The Witch 9:29
Shade I: The Proclafunktion
Shade II: The Infunktation
Shade III: The Celefunktion
04 Connections And Disconnections 5:00
05 Come Back 4:44
06 Call The Doctor 5:12
07 Who's A Funkadelic 5:47

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RhoDeo 1204 Goldy Rhox 56

Hello, today the 56th post of GoldyRhox, classic pop rock, but first something to consider..

Why was MegaUpload really shut down?

In December of 2011, just weeks before the takedown, Digital Music News reported on something new that the creators of #Megaupload were about to unroll. Something that would rock the music industry to its core. (http://goo.gl/A7wUZ)

I present to you... MegaBox. MegaBox was going to be an alternative music store that was entirely cloud-based and offered artists a better money-making opportunity than they would get with any record label.

"UMG knows that we are going to compete with them via our own music venture called Megabox.com, a site that will soon allow artists to sell their creations directly to consumers while allowing artists to keep 90 percent of earnings," MegaUpload founder Kim 'Dotcom' Schmitz told Torrentfreak

Not only did they plan on allowing artists to keep 90% of their earnings on songs that they sold, they wanted to pay them for songs they let users download for free.

"We have a solution called the Megakey that will allow artists to earn income from users who download music for free," Dotcom outlined. "Yes that's right, we will pay artists even for free downloads. The Megakey business model has been tested with over a million users and it works."

Clearly this caused a big panic in the music industry and within weeks they managed to have their goons ..the FBI.. kill Megaupload....


In the darklight an English heavy metal band, formed in Aston, Birmingham in 1969, the band has since experienced multiple line-up changes. A total of 22 musicians have at one time been members with the guitarist as the only constant presence in the band through the years. The band has released 18 albums and dissolved sort of after their lead singer became an icon thanks to an MTV reality show.in 2001. The band are one of the most influential heavy metal bands of all time. They helped to create the genre with ground breaking releases. On 11 November 2011, the original band members announced that they were reuniting and recording a new album.The band are scheduled to perform a headlining slot at the Download Festival on 10 June 2012, followed by a world tour.

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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 which Rolling Stone magazine noted "changed music forever", and called the band "The Beatles of heavy metal". Time Magazine called todays mystery album "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time. The mystery album is the second studio album by todays mystery band. Released in September 1970, the album was the only one by the band to top the UK Albums Chart, and as a result is commonly identified as the band's magnum opus. It's been certified four times platinum by the RIAA and contains some of the band's best-known signature songs, The album was originally titled War Pigs, but allegedly the record company changed it, fearing backlash from supporters of the ongoing Vietnam War (!!!). In the decades succeeding its initial distribution, todays mystery album has been regarded by many as the bands best album, and by some the best heavy metal album of all time, defining the sound and style of metal, more than any other record in history. In 2003, the album was ranked number 130 on Rolling Stone magazine's list of the 500 greatest albums of all time.


Goldy Rhox 56 (flac 255mb)

Goldy Rhox 56 (ogg 102mb)


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RhoDeo 1204 Aetix

Hello, as the Oscar nominations today show, nostalgia rules in Hollywood ah yes they must be longing for those good old days before the internet, before blockbuster accounting. Those days when they released movies for the general public and not like today for limited attention span youths. Let's face it there's not much left of the status and regard Hollywood once held. Their demise is imminent expect Google or Apple to buy them out....

The Clash released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past. Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1.6 gig package over two weeks in chunks that should be agreeable for most... today part 2 Njoy!

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The Clash - Singles 12-13 (178mb)

The Call Up
1201 The Call Up 5:25
1202 Stop The World 2:32
Hitsville UK
1301 Hitsville UK 4:21
1302 Radio One (Feat.Mikey Dread) 6:17
1303 Police On My Back (US 7") 3:15
1304 Somebody Got Murdered (Spanish 7") 3:33

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The Clash - Singles 14 (228mb)

The Magnificent Seven
1401 The Magnificent Seven (Edit) 3:37
1402 The Magnificent Dance (Edit) 3:35
1403 Lightning Strikes (Not Once But Twice) 4:51
1404 One More Time (US Promo 12") 3:31
1405 One More Dub (US Promo 12") 3:34
1406 The Cool Out (US 12") 3:53
1407 The Magnificent Seven (12" Version) 4:27
1408 The Magnificent Dance (12" Version) 5:36

Note
The Clash - Singles 12-14 (ogg 138mb)

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The Clash - Singles 15-16 (177mb)

Radio Clash
1501 This Is Radio Clash 4:10
1502 Radio Clash 4:10
1503 Outside Broadcast (UK 12") 7:22
1504 Radio 5 (UK 12") 3:38
Know Your Rights
1601 Know Your Rights 3:40
1602 First Night Back In London 2:59

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The Clash - Singles 17 (148mb)

Rock The Casbah
1701 Rock The Casbah 3:41
1702 Long Time Jerk 5:08
1703 Mustapha Dance (UK 12") 4:26
1704 Red Angel Dragnet (Canadian 7") 3:45
1705 Overpowered By Funk (Argentinian 7" Promo) 4:53

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The Clash - Singles 18-19 ( 148mb)

Should I Stay Or Should I Go
1801 Should I Stay Or Should I Go 3:07
1802 Straight To Hell (Edited Version) 3:51
1803 Innoculated City (US 7") 2:41
1804 Cool Confusion (US 7") 3:14
This Is England
1901 This Is England 3:35
1902 Do It Now 3:06
1903 Sex Mad Roar (UK 12") 3:03

Note
The Clash - Singles 15-19 (ogg 174mb)

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elsewhere

The Clash - Sandinista ! 1 (80 112mb)
The Clash - Sandinista ! 2 (80 125mb)
The Clash - Sandinista ! 3 (80 114mb)

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