RhoDeo 1210 Sofa

Hello, hope you'll had a good weekend, plenty of rain to splash about, enjoy the occasional underdog to win a game and wonder why so many are desperate to have a predictable outcome, preferably controlled by them. Where's the fun in that, where's the life in that ? It's souped up death that's what it is. Do these NWO clowns really think their children will thank them having been fathered by soulless mass-murderers, but then psychopaths rarely think beyond themselves. Frightening perhaps but not as frightening as these oblivious masses in a feeding frenzy as the latest i toy is unveiled or these billions wasting their life for a god who simply has a non intervenist policy, it's the only way God can play the game, any other way He would be cheating himself. Still there's plenty of priests wanting to take advantage and control these masses, if there was a hell it would be full of priests, murderers and banksters.

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The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.

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"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.

"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".

"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.

"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.

The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).

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The Sofa Of Time pt 2 ( 26mb)

01 The Sofa Of Time pt 2 28:04

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before
The Sofa Of Time pt 1 ( 26mb)

Sundaze 1210

Hello, as the digital noose is evermore tightened the UK government has expanded its plans to store and monitor Twitter, Facebook and other personal web communication data, but these are being created without official ISP involvement, according to an ISP representative body. Under the plans, police and intelligence operatives will gain access to records of who has talked to whom on social networks, on instant messaging services, and in online multi-player games. Oh and did you know they plan to privative police as well..corporate police coming to a town near you..

Music please last week there was this greek man who in 1995, had a minor planet named after him (6354 Vangelis) by the International Astronomical Union. NASA conferred their Public Service Medal to Vangelis in 2003. The award is the highest honour the space agency presents to an individual not involved with the American government. Five years later, in 2008, the board of the National and Kapodistrian University of Athens voted to make Vangelis an Honorary Doctor, making him Professor Emeritus at their Faculty of Primary Education. In June , the American Hellenic Institute honoured Vangelis with an AHI Hellenic Heritage Achievement Award for his "exceptional artistic achievements" as a pioneer in electronic music and for his lifelong dedication to the promotion of Hellenism through the arts. What has this man done to be bestowed these honours...

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repeat from last week

On March 29, 1943, Vangelis was born near Volos, Greece. He apparently began composing at the age of four, and is largely a self-taught musician as he refused to take traditional piano lessons, and throughout his career did not have substantial knowledge of reading or writing musical notation. He studied painting, an art he still practices, at the Academy of Fine Arts in Athens. In the early 1960s he was one of the founders of pop group The Forminx (or The Formynx), which became very popular in Greece. The five-piece band played a mixture of cover versions and their own material, the latter written mostly by Vangelis but still sung in English. The Forminx released nine hit singles and a Christmas EP before disbanding in 1966 at the peak of their success. Vangelis spent the next two years mostly studio-bound, writing and producing for other Greek artists.

Around the time of the student riots in 1968, Vangelis founded progressive rock band Aphrodite's Child together with Demis Roussos, Loukas Sideras and Anargyros "Silver" Koulouris. After an unsuccessful attempt to enter the UK, they found a home in Paris, where they recorded their first single, a hit across much of Europe called Rain and Tears. Other singles followed, including two albums, which, in total, sold over 20 million copies. The record sales led the record company to demand a third album, and Vangelis went on to conceive the double-album Aphrodite's Child - 666, based on Revelation, the last book in the Bible. Tensions between members during the recording of 666 eventually caused the split of the band in 1971, but the album was still released in 1972.

While still in Aphrodite's Child, Vangelis had already been involved in other projects. In 1970 he had composed the score for a film called Sex Power (Demis Roussos provided vocals). In 1971, some jam sessions with a group of musicians at Marquee Studios in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis (aka Visions of the Future), and The Dragon. In 1973 Vangelis' solo career began in earnest. His first "official" solo album was Earth, though it did actually feature a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (F.R. David). Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis decided not to join Yes, he did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis.

After moving to London, Vangelis signed with RCA Records, set up his own studio, Nemo Studios, and began recording a string of electronic albums, such as Heaven and Hell (1975), an album with classical overtones, occasionally branching into ethnic themes, in contrast with the progressive rock on both the previous and the following albums, Vangelis would return to classical style work ten years later, on Mask (1985). Parts of Heaven and Hell were later used as the theme to the PBS television series Cosmos by Carl Sagan. A melody from Albedo 0.39 called "Alpha" was also used in Cosmos. Another part (the song "So Long Ago, So Clear"), featured guest vocals by Jon Anderson, marking the start of the partnership. They released four albums together, Short Stories (1980), The Friends of Mr. Cairo (1981), Private Collection (1983) and Page of Life (1991).

Albedo 0.39 (1976), a concept album around space and space physics.The title refers to the average albedo value of the planet Earth as it was in 1976. "The reflecting power of a planet or other non-luminous body. A perfect reflector would have an Albedo of 100%. The Earth's Albedo is 39%, or 0.39". Spiral (1977), is a futuristic album, and Vangelis , who designed the cover aswell, makes extensive use of the synthesizer technology of the day; this album is probably the most sequencer-based of his recording career. Each piece has a unique style, and deserves individual treatment. Beaubourg (1978), it contains experimental, atonal and jazz elements, and even elements of musique concrete. The album is meant to reflect life in the Beaubourg district of Paris, when Vangelis lived there in the early '70s. China (1979), although he had never been to China, Vangelis employed Chinese instruments and compositional styles on this concept album. China was conceived during a very active period in Vangelis' recording career, during which he explored the possibilities of electro-acoustic composing. Vangelis employs his synthesizer arsenal to the fullest, generating sound effects and various Chinese-sounding patches on all tracks. Also that year he recorded an album with Greek filmdiva Irene Papas, an electronic rendition of eight Greek folk songs, issued as a record called "Odes".

In 1979, Vangelis provided the score for another animal documentary by Frédéric Rossif, Opera Sauvage. Almost as well known as L'Apocalypse des Animaux, the resulting soundtrack would bring him to the attention of some of the world's top filmmakers. In 1981, Vangelis wrote the score for the film Chariots of Fire, set at the Paris Olympics in 1924. The movie won a half-dozen awards, including an Academy award for Best Picture of the year. Vangelis won the Academy Award for Original Music Score. The opening theme of the film was released as a single in 1982, topping the American Billboard chart for one week after climbing steadily for five months. Other notable Vangelis soundtracks were Antarctica for Nankyoku Monogatari in 1983, and The Bounty in 1984. Vangelis also collaborated in 1981 and 1986 with Italian singer Milva, achieving a large success especially in Germany

In 1982, Vangelis began a collaboration with director Ridley Scott, writing the score for the science fiction film Blade Runner. Capturing the isolation and melancholy of Harrison Ford's character Rick Deckard, the Vangelis score is as much a part of the dystopian environment as the decaying buildings and ever-present rain. A disagreement led to Vangelis withholding permission for his performance of the music from Blade Runner to be released, and the studio instead hired a group of musicians dubbed "The New American Orchestra" to record the official LP released at the time. It would take 12 years before things could be worked out and Vangelis's own work be released in the United States in 1994. In 1992, Vangelis's wrote the score for 1492: Conquest of Paradise, also directed by Ridley Scott. In May 2000, Vangelis composed the music as well as designed and directed the artistic Olympic flag relay portion of the Closing Ceremonies of the 2000 Sydney Olympic Games. In 2001, Vangelis performed live and released Mythodea, a predominantly orchestral rather than electronic piece that was originally written in 1993, and used by NASA as the theme for the Mars Odyssey mission. In 2002 Vangelis created 2002 FIFA World Cup Official Anthem for the 2002 World Cup, in that work the Korean folk song, Arirang, is the main recurring theme and melody. In 2004, Vangelis released the score for Oliver Stone's Alexander.

In 2007, Vangelis released 2 albums. First was a 3CD set for the 25th Anniversary of Blade Runner, titled Blade Runner Trilogy. Second is the soundtrack for the Greek movie, El Greco, titled El Greco Original Motion Picture Soundtrack.


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Vangelis fancied himself a synthesizer artiste, an avant-garde pioneer in the medium of the future: electronic music. The music, which Vangelis credits himself with composing, arranging and interpreting, is divided into two wildly divergent parts. "Parte 1" is an attempt at a synthesized classical composition. It has its moments, particularly at the end when Vangelis adds synthesized choral voices. Ignacio was originally released in 1975 as "Can You Hear The Dogs Barking?" and "Entends-tu Les Chiens Aboyer? A 1977 re-release introduced the name "Ignacio", after the main character in the Mexican film "No Oyes Ladrar Los Perros?"

Vangelis - Ignacio (flac 153mb)

01 Vangelis - Ignacio and Entends - tu Les Chiens Aboyer 39:44

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Albedo: The reflecting power of a planet or other non-luminous body. A perfect reflector would have an albedo of 100%. The Earth's albedo is 39% or 0.39. The album represents some of Vangelis' most fascinating material from the early portion of his career. Using transforming tonal washes and lengthy runs of calm but effective synthesizer passages, Vangelis tackles the wonder and allure of the galaxy and its planetary bodies, making for an entertaining display of his keyboard expertise. Likened to Heaven and Hell (but with shorter passages) and to Spiral, the album that followed Albedo 0.39, the tracks are mesmerizing trips of assorted rhythms that include elements of jazz and mild rock, adding some welcomed differentiation to the nine pieces. The title track includes narrated statistics about planetary distances and such behind a forwarding voyage of tempered notes, making for one of Vangelis' most novel compositions. Along with "Albedo 0.39," the two parts of "Nucleogenesis" are among the strongest cuts that keep his cosmic theme from deviating, while the livelier "Pulstar" involves some impressive instrumental range and electronic buoyancy. Even in shortened form, his distinct pastiches are quite compelling, and the stretches of notes and rhythms don't become weary or monotonous at any point of the album. Vangelis' intention of conjuring up the vastness and immensity of space is soundly accomplished, and for the remainder of his career he employed the same type of atmospheric sketching.

Vangelis - Albedo 0.39 (flac 258mb)

1 Pulstar 5:45
2 Freefall 2:15
3 Mare Tranquillitatis 1:47
4 Main Sequence 8:11
5 Sword Of Orion 1:58
6 Alpha 5:45
7 Nucleogenesis Part 1 5:56
8 Nucleogenesis Part 2 6:12
9 Albedo 0.39 4:23

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A great dark synthesized tone poem inspired by the Beauborg Cathedral. Vangelis had hinted at his desire to create works of this nature in some sections of Heaven and Hell, but the release of this album caught many of his fans unaware. Dark, brooding and not what most people wanted, it's one of those albums where you either like it or you don't.

Vangelis - Beauborg (flac 171mb)

1 Beaubourg, Pt. 1 18:09
2 Beaubourg, Pt. 2 21:05

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Invisible Connections is a very interesting CD from Vangelis. He shreds his symphonic biases to create a totally electronic album with lots of quirky experimental sounds and sci-fi timbres, a foray into dark ambient. The atmospheres are quite stark and playful. His sounds - even the harshest ones - are created using analogue and early digital synthesizers, which have some warmth, making it a pleasant listening experience based on timbre.. This is pure space music with icy tones and metallic textures. It borders on sheer minimalism an atmosphere that hasn't been heard since Beaubourg.. This album is no exception in regards to his diversity a rare gem which will appeal to fans of Michael Stearns, Constance Demby, and Maitreya.

Vangelis - Invisible Connections (flac 119mb)

1 Invisible Connections 18:30
2 Atom Blaster 7:42
3 Thermo Vision 13:19

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RhoDeo 1209 Grooves

Hello, today's artists have been up to the downslope and followed the P Funk lead bringing it into the late eighties rap scene, so i would say that " Parliafunkadelicment Thang" hasn't really left us today.

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While hip-hop was consumed by the hardcore, noisy political rap of Public Enemy and the gangsta rap of N.W.A., Digital Underground sneaked out of Oakland with their bizarre, funky homage to Parliament-Funkadelic. Digital Underground built most of their music from P-Funk samples and developed a similarly weird sense of style and humor, highlighted by Shock-G's outrageous costumes and the whole band's parade of alter egos. Of all these alter egos, Shock-G's Humpty Hump -- a ridiculous comical figure with a Groucho Marx nose and glasses and a goofy, stuttering voice -- was the most famous. Over the course of their career, Digital Underground have featured numerous members, and is notable for launching the career of Tupac Shakur, as well as spinning off side projects and solo acts including Raw Fusion, Saafir, and female singer Mystic. Yet throughout it all, Shock-G has remained at their core, developing the band's sound and style, which they had from the outset, as their 1990 debut, Sex Packets, proved. Their role in popularizing George Clinton's elastic funk made them one of the most important hip-hop groups of their era.

Shock-G (born Gregory E. Jacobs, August 25, 1963) spent most of his childhood moving around the East Coast with his family, eventually settling in the Bay Area of California. He dropped out of high school in the late '70s and spent several years pursuing a life of crime before eventually finishing his degree and going to college to study music. Along with Chopmaster J, Shock-G formed Digital Underground in 1987, and the duo released a single, "Underwater Rimes," that year, which went to number one in the Netherlands. In 1989, the group signed with Tommy Boy, and that summer "Doowutchyalike" became an underground hit. By that time, Digital Underground had expanded significantly, featuring DJ Fuze, Money-B (born Ron Brooks), and Schmoovy-Schmoov (born Earl Cook). Sex Packets, the group's debut album, was released in the spring of 1990, and "The Humpty Dance," which was rapped by Shock-G's alter ego Humpty Hump, climbed all the way to number 11 on the pop charts, peaking at number seven on the R&B charts. With its P-Funk samples, jazzy interludes, and innovative amalgam of samples and live instrumentation, Sex Packets received positive reviews and went platinum by the end of the year.

Digital Underground followed Sex Packets in early 1991 with This Is an EP Release, their first recording to feature rapper Tupac Shakur. The EP went gold and set the stage for their second album, Sons of the P, which was released that fall. On the strength of the gold single "Kiss You Back," Sons of the P also went gold, but it received criticism for its similarity to Sex Packets. By the time Digital Underground delivered their third album, The Body-Hat Syndrome in late 1993, hip-hop had become dominated by gangsta rap, particularly the drawling G-funk of Dr. Dre, which ironically was heavily indebted to Clinton. Consequently, their fan base diminished significantly, and The Body-Hat Syndrome disappeared shortly after its release.

Nearly three years later, Digital Underground returned with Future Rhythm, which spent a mere three weeks on the charts. In 1998, eight years after the group's first release, Digital Underground released Who Got the Gravy?, which reached #91 on the Top 200 R&B/Hip-Hop Albums charts. The album intentionally featured several East Coast rappers at a time when the East vs. West rivalry was active, in an attempt to both ignore and ridicule it. The guests included New York City natives Big Pun, Biz Markie, and KRS One

Digital Underground toured nearly every year up until 2008; this consisted of thousands[quantify] of live shows in Europe, Japan, Canada, Australia, and the U.S. While the group's origins lay mostly in Oakland and Berkeley, California, various characters and voices from around the U.S. appeared on the band's albums, while Shock G and Money-B were the only individuals to appear on every album. Other recurring key contributors were David "DJ Fuze" Elliot, and deejay/producer Jeremy "J-Beats" Jackson, who both assisted Jacobs in developing the sound.

Digital Underground's final studio album, ..Cuz A D.U. Party Don't Stop!!, was released on May 20, 2008, although a substantial portion of it was recorded at a live show from 2005. Shortly before its release, the group embarked on an indefinite hiatus. Money-B has stated that Shock G expressed interest in writing a book and exploring music that the latter would deem unfit for the Digital Underground name.

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Sex Packets is a vibrant, wildly funny record that transcends any attempt to dismiss it as mere novelty. Corny jokes, gross-out tales, flights of fancy, and sheer absurdist humor co-exist comfortably, usually within the course of one song. Take "The Humpty Dance," their breakthrough single and timeless party anthem. Within that one song, Humpty Hump spills out countless jokes, spinning between inspired allusions and thuddingly obvious cut-ups, which are equally funny because of the irrepressible, infectious nature of his rap. And he's so confident in his skills, he's sexy, which is kind of what the album is about -- it knows that sex is funny, and sexier because of it. The showiest number, of course, is the "Sex Packets" suite that concludes the album, built around their idea for a drug that creates full-blown sexual fantasies (virtual reality before it was in vogue), but their skill at creating distinctive worlds is just as apparent on the endless party of "Doowutchyalike." These are the things that are buried beneath the band's jokes and an enormous amount of George Clinton samples. Much of the music on Sex Packets uses the P-Funk canon as their foundation (a notable exception being a swinging interpolation of a Jimi Hendrix Band of Gypsys cut on "The New Jazz (One)," a cracking showcase for their team vocal skills). It's so strong an influence, it may seem easy to reduce Digital Underground to the status of mere Clinton imitators, but they take his blueprint, expand it, and personalize it, creating a record that is as loose and funny as anything in the P-Funk empire, and in some ways, easier to access, since the party feels wide open. Few hip-hop albums sound as much like a constant party as this, and years later, it's still impossible to resist.

Digital Underground - Sex Packets (391mb)
or
Digital Underground - Sex Packets (391mb)

01 The Humpty Dance 6:30
02 The Way We Swing 6:48
03 Rhymin' On The Funk 6:16
04 The New Jazz (One) 0:37
05 Underwater Rimes (Remix) 4:23
06 Gutfest '89 (Edit) 5:50
07 The Danger Zone 5:31
08 Freaks Of The Industry 5:38
09 Doowutchyalike 8:51
10 Packet Prelude 0:57
11 Sex Packets 7:21
12 Street Scene 0:33
13 Packet Man 4:41
14 Packet Reprise 1:30

Digital Underground - Sex Packets (156mb)
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If it ain't broke, don't fix it: Sons of the P offers more of the loopy humor and P-Funk fixations that made Digital Underground's debut album, Sex Packets, an instant classic. And if Sons of the P doesn't quite hit the absurd heights of its predecessor's best tracks, it's still a strong, engaging listen and an entirely worthy follow-up. The group doesn't take the title Sons of the P lightly; their George Clinton obsession isn't just manifested in samples, it's everywhere from the extended, chorus-heavy song structures right down to the back-cover art, a P-Funk-style comic strip recasting DU as part of the Clones of Dr. Funkenstein concept. Once again, there are two great singles in the affectionate "Kiss You Back" and the Humpty Hump feature "No Nose Job," which rips black celebrities who surgically alter themselves to look less ethnic. In fact, the group goes in for some overt social commentary on several other tracks as well; "Heartbeat Props" are directed at still-living heroes in the struggle for equality, and "The Higher Heights of Spirituality" is a brief utopian dream. On the other hand, the album closes with "Good Thing We're Rappin'," a full-on pimp rhyme courtesy of Humpty Hump that's a little less genial and a little more Too Short than you might expect from DU. A few tracks don't make much of an impression, but on the whole, Sons of the P makes a convincing case for DU as the rightful spiritual heirs to the P-Funk legacy -- and George Clinton himself even endorses that idea on the title track.

Digital Underground - Sons of the P (375mb)
or
Digital Underground - Sons of the P (375mb)

01 The DFLO Shuttle 5:12
02 Heartbeat Props 7:28
03 No Nose Job 4:59
04 Sons Of The P (Feat. George Clinton) 9:05
05 Flowin' On The D-Line 3:05
06 Kiss You Back 6:11
07 Tales Of The Funky (Feat. George Clinton) 5:31
08 The Higher Heights Of Spirituality 0:48
09 Family Of The Underground 5:47
10 The D-Flowstrumental 4:53
11 Good Thing We're Rappin' 11:34

Digital Underground - Sons of the P (155mb)

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Rebounding, in the charts anyway, from the relative downturn of 1991's Sons of the P LP, Digital Underground continued cultivating its own brand of P-Funk culture on The Body-Hat Syndrome two years later, stuffing what had been the group's first year of silence with a fresh batch of funk-infused rap. Digital Underground's last effort for longtime label Tommy Boy, With the leading single "The Return of the Crazy One," and its accompanying X-rated video, which was reworked for public consumption, gaining positive feedback, the rest of The Body-Hat Syndrome unfurled to less than outstanding crossover commercial acclaim. The album's second single, an anti-racism cultural awareness politico called "Wussup Wit the Luv," featured a solo from Funkadelic guitarist Michael Hampton, as well as a verse and video appearance from Tupac Shakur. This would be the last time Tupac appeared on any Digital Underground release, while lead rappers Saafir and Clee were added to the band's line-up. This album also features "The Humpty Dance Awards", the group's humorous shout-out to the artists who sampled the Humpty Dance prior to 1993.. With a smart balance between old-school, new-school, and their own school sonics, Digital Underground has once again brought funk history to life, passing the torch to the next generation and, above all, having one hell of a good time doing it.

Digital Underground - The Body-Hat Syndrome (478mb)

01 The Return Of The Crazy One 4:39
02 Doo Woo You 7:36
03 Holly Wanstaho 3:35
04 Bran Nu Swetta 4:58
05 The Humpty Dance Awards 4:51
06 Body-Hats (Part One) 1:36
07 Dope-A-Delic (Do-U-B-Leeve-In-D-Flo?) 4:07
08 Intermission 0:54
09 Wussup With The Luv 6:35
10 Digital Lover 4:38
11 Carry The Way (Along Time) 4:15
12 Body-Hats (Part Two) 1:31
13 Circus Entrance 1:54
14 Jerkit Circus 4:51
15 Circus Exit (The After-Nut) 0:42
16 Shake & Bake 4:34
17 Body-Hats (Part Three) 3:07
18 Do Ya Like It Dirty? 4:45
19 Bran Nu Sweat This Beat 0:33
20 Wheee! 5:08

Digital Underground - The Body-Hat Syndrome gg (182mb)

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RhoDeo 1209 Goldy Rhox 61

Hello, today the 61st post of GoldyRhox, classic pop rock. As it happens a mystery band member died today triggering this post. Assembled in Los Angeles in 1966 by Robert "Bob" Rafelson and Bert Schneider for the American television series which aired from 1966 to 1968, the musical acting quartet was composed of Americans Micky Dolenz, Michael Nesmith and Peter Tork, and Englishman Davy Jones (who died today of an heart attack). The band's music was initially supervised by producer Don Kirshner.

At the time of the group's formation, its producers saw them as a Beatles-like band which got them the nick of the Pre-Fab Four. At the start, the band members provided vocals, but were given only limited performing and production opportunities. They eventually fought for and earned the right to collectively supervise all musical output under the band's name. The group undertook several concert tours, allowing an opportunity to perform as a live band as well as on the TV series. Although the show was canceled in 1968, the band continued to record music through 1970. The group reached the height of fame from 1966 to 1968, and influenced many future artists.

Their albums and singles have sold over 65 million copies worldwide. Todays mystery band released 8 albums between 1966 and 1970, in it's aftermath Discogs lists 50 compilation albums. The Pre-Fab Four have done many reunion tours in the following decades, last one was in may 2011.

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

Todays mystery album is a double compilation from 2007, it has every hit and more that's 36 tracks in total 100 min of monkeying around.


Goldy Rhox 61-1 (flac 283mb)

Goldy Rhox 61-2 (flac 339mb)

Goldy Rhox 61 ( ogg 218mb)


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RhoDeo 1209 Aetix

Hello, everyone snooping these days Google to push their ads, Facebook to sell you out to whomever, twitter because they can smartphones track and report your every move and don't think casual browsing is safe, it's full of bugs but there is a solution, Ghostery (google it)

Ghostery looks for third-party page elements (which we call "bugs", or "3pes") on the web pages you visit. These can be things like social network widgets, advertisements, invisible pixels used for tracking and analytics, and so on. Ghostery notifies you that these things are present, and which companies operate them. You can learn more about these companies, and if you wish, choose to block the 3pes they operate.

Today an Aetix ladies day of sorts

Poly Styrene became X-Ray Spex' s public face, and remains one of the most memorable front-women to emerge from the punk movement.Unorthodox in appearance, she wore thick braces on her teeth and once stated that "I said that I wasn't a sex symbol and that if anybody tried to make me one I'd shave my head tomorrow".

After a six-month long audition process for a lead singer, the band hired 14 year old Annabella Lwin. Famously, coinciding with her nude posing for album coverwork, her mother alleged exploitation of a minor for immoral purposes, and instigated a Scotland Yard investigation. As a result the band was only allowed to leave the UK after McLaren promised not to promote Lwin as a "sex kitten" ..right

Rip Rig & Panic strayed from more conventional post-punk, mixing avantgarde elements with jazz and led by Cherry's innovative pop/soul singing style.

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Perhaps the most utopian aspect of the U.K. punk scene was that it offered creative, articulate young people the opportunity to express themselves, and to kick up an exuberantly noisy racket in the process. X-Ray Spex certainly came from this wing of the movement, the brainchild of two female schoolmates who re-christened themselves Poly Styrene and Lora Logic. X-Ray Spex was far from the only female-centered British punk act, but they were arguably the best, combining exuberant energy with a cohesive worldview courtesy of singer and songwriter Poly Styrene. As her nom de punk hinted, Styrene was obsessed with the artificiality she saw permeating Britain's consumer society, linking synthetic goods with a sort of processed, manufactured humanity. Styrene's frantic claustrophobia permeates the record, as she rails in her distinctively quavering yowl against the alienation she feels preventing her from discovering her true self. Germ Free Adolescents is tied together by Styrene's yearning to be free not only from demands for consumption, but from the insecurity corporate advertisers used to exploit their targets (especially in women) -- in other words, to enjoy being real, imperfect, non-sterile humans living in a real, imperfect, non-Day-Glo world. Fortunately, the record is just as effective musically as it is conceptually. It's full of kick-out-the-jams rockers, with a few up-tempo thrashers and surprisingly atmospheric pieces mixed in; the raw, wailing saxophone of Rudi Thomson (who replaced Lora Logic early on) gives the band its true sonic signature. The CD reissue of Germ Free Adolescents appends both sides of the classic debut single "Oh Bondage Up Yours!," one of the most visceral moments in all of British punk -- which means everything you need is right here. Sadly, Polysterene died of breastcancer 25 April 2011 at the age of 53.

X-Ray Spex - Germ Free Adolescents ( flac 481mb)

01 Art-I-Ficial 3:21
02 Obsessed With You 2:26
03 Warrior In Woolworths 3:04
94 Let's Submerge 3:23
05 I Can't Do Anything 2:55
06 Identity 2:22
07 Genetic Engineering 2:45
08 I Live Off You 2:06
09 I Am A Poseur 2:29
10 Germ Free Adolescents 3:09
11 Plastic Bag 4:56
12 The Day The World Turned Dayglo 2:51
Bonus Tracks
13 Oh Bondage! Up Yours! 2:50
14 I Am A Cliche' 1:54
15 Highly Inflamable 2:33
16 Age 2:39
Peel Session 6th March 1978
17 Genetic Engineering 2:56
18 Art-I-Ficial 3:29
19 I Am A Poseur 2:33
20 Identity 2:34
Peel Session 13th Nov 1978
21 Germ Free Adolescents 3:19
22 Warrior In Woolworth 3:05
23 Age 2:39

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Bow Wow Wow were a quartet organized by U.K. manager Malcolm McLaren (best known as the mastermind behind the Sex Pistols) at the start of the '80s. McLaren matched the trio of musicians who had constituted Adam Ant's Ants -- Matthew Ashman on guitar, Leigh Gorman on bass, and David Barbarossa on drums -- with teenage singer Annabella Lwin (b. Oct. 31, 1965), retaining the earlier group's African-derived drum sound.

The focus was on style and the music was a mix of dance and new wave, always with a heavy nod toward percussion. The results are mixed and you sometimes have the feeling that you are hearing Burundi beats omnipresence. However, it's difficult not to find yourself drumming your fingers to the frantic beats. Lwin makes sure that you never forget that she's only 15, either through her vocal delivery or her outright declarations (as on "Chihuahua"). The band also serves up an interesting spaghetti Western instrumental on "Orang-outang" and everything falls into place on "Go Wild in the Country," with Lwin's uninhibited shrieks touting the merits of getting away from it all.

In 1983, Lwin quit the group for a solo career, and the remaining three changed their name to the Chiefs of Relief. Both Lwin and the Chiefs issued their own albums. In 1995, Ashman passed away due to diabetes. Headed by Lwin and Gorman, a re-formed Bow Wow Wow resurfaced in 1998 with Wild in the U.S.A., which featured both remixes and concert performances from the reunion tour.

Bow Wow Wow - See Jungle! See Jungle! Go Join The Gang (283mb)

01 Jungle Boy 2:44
02 Chihuahua 4:13
03 Prince Of Darkness (Sinner! Sinner! Sinner!)(Inst.) 2:22
04 Mickey Put It Down 3:02
05 (I'm A) TV Savage 2:35
06 Elimination Dancing 3:03
07 Golly! Golly! Go Buddy! 2:35
08 King Kong 2:16
09 Go Wild In The Country 2:41
10 I Am Not A Know It All 2:53
11 Why Are Babies So Wise? 2:53
12 Orang-outang 2:43
13 Hello, Hello Daddy (I'll Sacrifice You) 4:29
14 El Boss Dicho (12'' version) 2:13


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Evolving out of Bristol's the Pop Group, Rip Rig And Panic was formed in 1981 as a conceptual musicians' collective, taking its name from an album by Rahsaan Roland Kirk. The group's prime movers were multi-instrumentalist and songwriter Gareth Sager, jazz trumpeter Don Cherry's step-daughter Neneh Cherry , her partner and drummer Bruce Smith, Sean Oliver ( bass) and Mark Springer (piano). They eschewed pop for a more primal, percussive foundation (slightly reggae, slightly Afro-pop), upon which was layered free jazz blowing and honking, soulful singing, and Cecil Taylor-inspired piano mania. But, as intense as this music was, it wasn't done with a dry academic seriousness; quite the contrary, Rip, Rig & Panic were all about fun and playfulness.

Powerful and disturbing live, their playful, anarchic jazz-funk was well captured on the irreverent 1981 debut album God, which appeared as two 45 rpm discs, but was too radical for daytime airplay or significant sales. They performed at the first WOMAD festival in 1982 shortly before Cherry returned to Sweden to have her first baby. Sean Oliver's sister Andrea temporarily took over vocals, and Louis Moholo joined on drums. The equally experimental second album, I Am Cold, appeared in 1982, followed by the more accessible Attitude in 1983. Unwilling to compromise further, but feeling the strain of constant innovation, they split in 1985. Cherry went on to a successful solo career, with Andrea Oliver contributing to some of her songs. Sean Oliver, who went on to co-write Terence Trent D'Arby's Wishing Well, died of sickle-cell anaemia in 1990. Sager formed Head, while Springer released a solo album before going on to work on film and television soundtracks. He returned to solo recording with 1998's Eye.

With Gareth Sanger leading the charge, Rip, Rig & Panic's debut is much more user-friendly than anything recorded by Sanger's previous band, the always abrasive Pop Group. This record gallops along from start to finish, honking and buzzing along the way, with loads of odd vocalizing and feral, primal, repetitive rhythms. Not the most significant album to come out of the early days of English post-punk, but one that still delivers plenty of smiles 15 years later.

Rip Rig and Panic - God ( flac 338mb)

01 Constant Drudgery Is Harmful To Soul, Spirit & Health 3:24
02 Wilhelm Show Me The Diagram (Function Of The Orgasm) 1:10
03 Through Nomad Eyeballs 3:27
04 Change Your Life 3:01
05 Knee Deep In Shit 3:29
06 Totally Naked (Without Lock Or Key) 1:53
07 Try Box Out Of This Box 2:33
08 Need (De School You) 1:32
09 Howl! Caged Bird 3:30
10 Those Eskimo Women Speak Frankly 3:13
11 The Blue Blue Third 5:25
12 Shadows Only There Because Of The Sun 2:39
13 Beware (Our Leaders Love The Smell Of Napalm) 1:51
14 Miss Pib 1:34
15 It Don't Mean A Thing If It Ain't Got That Brrod 2:54
Bonus
16 Bob Hope Takes Big Risks (7" Version) 3:53
17 Go, Go, Go! (This Is It) 2:18
18 The Ultimate In Fun (Is Going To The Disco With My Baby) 2:31
19 Hey Mr E! A Gran Grin With A Shake Of Smile 5:11
20 Billy Eckstein's Shirt Collar 3:21
21 Bob Hope Takes Big Risks (12" Version) 7:01

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RhoDeo 1209 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 ragga dancehall then...

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A master of love songs and roots material, Leroy Smart has been on the reggae scene since the early '70s. He was raised in Kingston's Alpha Catholic Boys Home and began recording in the early '70s. Smart worked with such producers as Gussie Clarke, Joe Joe Hookin, and Bunny Lee while gaining fame for a flamboyant performance style, exceptionally anguished delivery, and penetrating vocal manner. Smart's smashing voice often seemed about to collapse from anxiety and earnestness mid-song. Smart recorded his first single, "It Pains Me" in 1969 for a producer called Mr. Caribbean. In 1970 he recorded "Ethiopia" for Joe Gibbs, and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke.

His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977. Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters. and has continued to maintain his popularity, never scoring any crossover or international hits, but retaining his pull with the notoriously fickle Jamaican audience.

Leroy Smart - Superstar (flac 248mb)

01 Love In My Heart 2:55
02 Love Version 3:01
03 Let Your Heart Be Pure 3:28
04 Life Is A Funny Thing 3:45
05 I Don't Like It 3:00
06 We Want To Go Home 3:06
07 Jah Forgive Them 3:15
08 Forgive Jah Version 3:15
09 Man Is So Great 3:09
10 Jah Is Mighty 2:43
11 Mr. Rich Man 2:42
12 Shame And Pride 4:00
13 Channel One Feel It 3:27
14 Bad Minded People 2:57

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Reid was born in the Tower Hill area of Kingston, and had a tough upbringing in the city's Waterhouse district, notorious for being one of the most dangerous places in Jamaica.[1] It was there in the politically turbulent late '70s that he recorded his first-ever single "Speak the Truth" at the age of 13 for the late Hugh Mundell. He then went on to form his own band, the Voice of Progress, and after a local hit with "Mini-Bus Driver" the group scored local success with an album of the same name.

By the early 80's, commissioned by the great Sugar Minott to record a number of tunes on Minott's Youth Promotion label, enjoying considerable popularity with tracks such as "Human Nature", "A1 Lover", and the evergreen "See How Me Black See How Me Shine", an uplifting and proud statement which became an anthem to the ghetto youth whom Reid increasingly championed. Reid was present at the 1983 shooting death of reggae singer Hugh Mundell; he was travelling in the same car as Mundell in Kingston.

Junior Reid found himself in a difficult spot when he joined Black Uhuru in 1986. He replaced Michael Rose, who had become quite popular as a longtime Uhuru contributor. Though essentially a good vocalist, Reid's style was so close to Rose's that he didn't establish his own identity. The group also suffered compositional difficulties and personal crisis during Reid's tenure. Puma Jones left and was replaced by Olafunke. They also didn't always get quality material or support from Sly and Robbie during this period. Reid departed in 1990 and began struggling as a solo artist to fulfill his considerable potential, with releases like 1991's Long Road, 1993's Big Timer, and 1996's Listen to the Voices.

Junior Reid - Original Foreign Mind (flac 181mb)

01 Junior Nature 3:48
02 Black Man Seed 3:11
03 Original Foreign Mind 3:15
04 Wrap Up A Draw 3:27
05 Rub A Dub It 2:30
06 Thank You 3:10
07 Hunts Bay 3:25
08 Love Mama 3:26
09 If You Would Be Mine 3:34
10 What Did You Know? 3:30

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Half Pint (born Lindon Andrew Roberts) began singing in the school choir at All Saints' Primary School. After the completion of his secondary education in 1976, he sought work as a vocalist within the Jamaican music industry. Half Pint toured the island with various sound systems including Black Scorpio, Jammys, Gemini, Lee's Unlimited and Killimanjaro. He subsequently worked with record producers such as Errol (John) Marshall; Errol (Myrie) Lewis; King Jammy; Sly and Robbie; George Phang; Jack Scorpio, Bobby "Digital" Dixon and Mass Hugh.

n 1983, Pint's first single, "Sally," was released followed by the song "Winsome," and both tracks became reggae hits.[2] He continued to release songs that became hits in the local and international reggae scenes, including "Mr. Landlord," "Level the Vibes," "Substitute Lover" and the chart-topper, "Victory." Besides these singles, Roberts released a number of albums.

In 1985, Half Pint accompanied Sly & Robbie on their international Taxi Gang tour, and subsequently cut several singles for them: the hit "Night Life Lady," "Hold On," and "World Inflation." Later that year, he moved on to work with producer George Phang, which resulted in his signature song, "Greetings." A pacesetter for the new ragga style (i.e., all-digital productions), "Greetings" was an enormous hit and stills ranks as a dancehall classic.

Half Pint - Greetings (flac 370mb)

01 Brother Love 3:38
02 Greetings 3:35
03 Living Is Hard 3:32
04 Heartbreaker 3:25
05 Loving 3:44
06 Don't Close The Door 3:32
07 Sounds Of Reality 3:45
08 Jah Don't Love That 3:27
bonus
09 Warn Them Marcus (Feat.Big Youth) 3:22
10 Get Ready 3:35
11 Level The Vibes 3:40
12 One Big Familly 3:30
13 Great Stone 3:34
14 Long Lost Lover 3:32
15 Too Late 4:06

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RhoDeo 1209 Sofa 1

Hello, hope you'll had a good weekend, having one eye at the Oscars i notice Hugo picking up all the minor Oscards, the music score went The Artist hmm guess that settles it nostalgia wins..Billy Crystal ain't very funny and looks way past his sell by date. Well at least the Oscar presenters try to be funny..

The coming 6 weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.

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"The Sofa of Time was a BBC Radio 4 comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.

"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".

"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.

"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.

The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).

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The Sofa Of Time pt 1 ( 26mb)

01 The Sofa Of Time pt 1 27:56

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Sundaze 1209

Hello, last week i asked for some feedback on 2 new hosters i used, bit dissapointed about the response, it seems Megashares was unreachable a lot-or regionally. I've decided to switch that one too Uploaded To a Hong Kong based host with good speeds though considerable waiting time for the next file.

Greeces has been in trouble for some time now so I gathered it was high time Sundaze put on a positive spin and set the spotlight on Greece's biggest music star Vangelis, I did post a compilation I had compiled at Rhotation 47 but that page got ripped out, still you'll find it at the bottom of the page. Anyway Vangelis has had a long career now and it's interesting to see where he came from that's why I start with his first real solo album " Earth" be it that he still used his full name there, Vangelis O. Papathanassiou the advances in skill and technology become apparent on the album that followed 2 years later Heaven and Hell, the next 4 years he released 10 albums and one of it's most intriguing was Odes , a collabaration with Greek filmdiva Irene Papas. Don't miss it... and that's it for today there will be more later..

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On March 29, 1943, Vangelis was born near Volos, Greece. He apparently began composing at the age of four, and is largely a self-taught musician as he refused to take traditional piano lessons, and throughout his career did not have substantial knowledge of reading or writing musical notation. He studied painting, an art he still practices, at the Academy of Fine Arts in Athens. In the early 1960s he was one of the founders of pop group The Forminx (or The Formynx), which became very popular in Greece. The five-piece band played a mixture of cover versions and their own material, the latter written mostly by Vangelis but still sung in English. The Forminx released nine hit singles and a Christmas EP before disbanding in 1966 at the peak of their success. Vangelis spent the next two years mostly studio-bound, writing and producing for other Greek artists.

Around the time of the student riots in 1968, Vangelis founded progressive rock band Aphrodite's Child together with Demis Roussos, Loukas Sideras and Anargyros "Silver" Koulouris. After an unsuccessful attempt to enter the UK, they found a home in Paris, where they recorded their first single, a hit across much of Europe called Rain and Tears. Other singles followed, including two albums, which, in total, sold over 20 million copies. The record sales led the record company to demand a third album, and Vangelis went on to conceive the double-album Aphrodite's Child - 666, based on Revelation, the last book in the Bible. Tensions between members during the recording of 666 eventually caused the split of the band in 1971, but the album was still released in 1972.

While still in Aphrodite's Child, Vangelis had already been involved in other projects. In 1970 he had composed the score for a film called Sex Power (Demis Roussos provided vocals). In 1971, some jam sessions with a group of musicians at Marquee Studios in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis (aka Visions of the Future), and The Dragon. In 1973 Vangelis' solo career began in earnest. His first "official" solo album was Earth, though it did actually feature a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (F.R. David). Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis decided not to join Yes, he did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis.

After moving to London, Vangelis signed with RCA Records, set up his own studio, Nemo Studios, and began recording a string of electronic albums, such as Heaven and Hell (1975), an album with classical overtones, occasionally branching into ethnic themes, in contrast with the progressive rock on both the previous and the following albums, Vangelis would return to classical style work ten years later, on Mask (1985). Parts of Heaven and Hell were later used as the theme to the PBS television series Cosmos by Carl Sagan. A melody from Albedo 0.39 called "Alpha" was also used in Cosmos. Another part (the song "So Long Ago, So Clear"), featured guest vocals by Jon Anderson, marking the start of the partnership. They released four albums together, Short Stories (1980), The Friends of Mr. Cairo (1981), Private Collection (1983) and Page of Life (1991).

Albedo 0.39 (1976), a concept album around space and space physics.The title refers to the average albedo value of the planet Earth as it was in 1976. "The reflecting power of a planet or other non-luminous body. A perfect reflector would have an Albedo of 100%. The Earth's Albedo is 39%, or 0.39". Spiral (1977), is a futuristic album, and Vangelis , who designed the cover aswell, makes extensive use of the synthesizer technology of the day; this album is probably the most sequencer-based of his recording career. Each piece has a unique style, and deserves individual treatment. Beaubourg (1978), it contains experimental, atonal and jazz elements, and even elements of musique concrete. The album is meant to reflect life in the Beaubourg district of Paris, when Vangelis lived there in the early '70s. China (1979), although he had never been to China, Vangelis employed Chinese instruments and compositional styles on this concept album. China was conceived during a very active period in Vangelis' recording career, during which he explored the possibilities of electro-acoustic composing. Vangelis employs his synthesizer arsenal to the fullest, generating sound effects and various Chinese-sounding patches on all tracks. Also that year he recorded an album with Greek filmdiva Irene Papas, an electronic rendition of eight Greek folk songs, issued as a record called "Odes".

In 1979, Vangelis provided the score for another animal documentary by Frédéric Rossif, Opera Sauvage. Almost as well known as L'Apocalypse des Animaux, the resulting soundtrack would bring him to the attention of some of the world's top filmmakers. In 1981, Vangelis wrote the score for the film Chariots of Fire, set at the Paris Olympics in 1924. The movie won a half-dozen awards, including an Academy award for Best Picture of the year. Vangelis won the Academy Award for Original Music Score. The opening theme of the film was released as a single in 1982, topping the American Billboard chart for one week after climbing steadily for five months. Other notable Vangelis soundtracks were Antarctica for Nankyoku Monogatari in 1983, and The Bounty in 1984. Vangelis also collaborated in 1981 and 1986 with Italian singer Milva, achieving a large success especially in Germany

In 1982, Vangelis began a collaboration with director Ridley Scott, writing the score for the science fiction film Blade Runner. Capturing the isolation and melancholy of Harrison Ford's character Rick Deckard, the Vangelis score is as much a part of the dystopian environment as the decaying buildings and ever-present rain. A disagreement led to Vangelis withholding permission for his performance of the music from Blade Runner to be released, and the studio instead hired a group of musicians dubbed "The New American Orchestra" to record the official LP released at the time. It would take 12 years before things could be worked out and Vangelis's own work be released in the United States in 1994. In 1992, Vangelis's wrote the score for 1492: Conquest of Paradise, also directed by Ridley Scott. In May 2000, Vangelis composed the music as well as designed and directed the artistic Olympic flag relay portion of the Closing Ceremonies of the 2000 Sydney Olympic Games. In 2001, Vangelis performed live and released Mythodea, a predominantly orchestral rather than electronic piece that was originally written in 1993, and used by NASA as the theme for the Mars Odyssey mission. In 2002 Vangelis created 2002 FIFA World Cup Official Anthem for the 2002 World Cup, in that work the Korean folk song, Arirang, is the main recurring theme and melody. In 2004, Vangelis released the score for Oliver Stone's Alexander.

In 2007, Vangelis released 2 albums. First was a 3CD set for the 25th Anniversary of Blade Runner, titled Blade Runner Trilogy. Second is the soundtrack for the Greek movie, El Greco, titled El Greco Original Motion Picture Soundtrack.


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Originally released in 1973 (with a 1996 PolyGram CD reissue in Greece), Earth is Vangelis' first real solo album. It was made in Paris after the release of 666 and the eventual dissolution of Aphrodite's Child. There's plenty at work on Earth, from the straightforward Euro-rock of the era, to progressive flourishes, to flashes of mysticism, and those ever-prominent synthesizers. So the record represents a moment in time, for sure -- Vangelis seems stuck between rock, pop, and epic scope -- but for the same reason it's an intriguing, engaging listen. Earth's stylistic melting pot means it's not always effective. But its creative drive can't be faulted, and Vangelis consistently favors melody over melodrama.

Vangelis - Earth (flac 232mb)

01 Come On 2:09
02 We Were All Uprooted 6:52
03 Sunny Earth 6:42
04 He-o 4:12
05 Ritual 2:46
06 Let It Happen 4:20
07 The City 1:14
08 My Face In The Rain 4:23
09 Watch Out 3:03
10 A Song 3:28

Vangelis - Earth (ogg 96mb)

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Those used to Vangelis' later and lighter synthesized outings may not be quite ready for this dark, thundering album. While it did provide us with the theme music for the TV series Cosmos and bring Jon Anderson into partnership with Vangelis (following an abortive approach to Vangelis joining Yes) on "So Long Ago, So Clear," it also served up massed Gothic choirs and a musical depiction of all the tortures of the damned, with an impressive amount of string-driven shrieking. Even so, it's a brilliant piece of work that should not be absent from any Vangelis collection.

Vangelis - Heaven And Hell (24bit) (flac 240mb)
or
Vangelis - Heaven And Hell (24bit) (flac 240mb)

1 Heaven And Hell Part 1 17:00
2 So Long Ago, So Clear (Voc.Jon Anderson) 5:03
3 Heaven And Hell Part 2 21:14

Vangelis - Heaven And Hell (24bit) (100mb)

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Papas began her early career in Greece (she was discovered by Elia Kazan), achieving widespread fame there, before starring in internationally renowned films such as The Guns of Navarone and Zorba the Greek, and critically acclaimed films such as Z and Electra. She is a leading figure in cinematic transcriptions of ancient tragedy since she has portrayed Helen in The Trojan Women, Clytemnestra in Iphigenia, and the eponymous parts in Electra and Antigone. She appeared as Catherine of Aragon in the film Anne of the Thousand Days, opposite Richard Burton and Geneviève Bujold in 1969. She co-starred in The Trojan Women with Katharine Hepburn, who once said that Papas was "one of the best actresses in the history of cinema".

One of the more unusual moments in Papas' career came in 1970, when she guested on the album 666 by Greek rock group Aphrodite's Child on the track "∞" (infinity). She chants "I was, I am, I am to come" repeatedly and wildly over a percussive backing. The track was considered lewd by record company executives, and resulted in the album being withheld from release for two years by Polydor Records. Upon its release in 1972, the song caused some furor in Greece and was again accused of lewdness and indecency by Greek religious figures and government authorities. (but tax dodging is OK) In 1978, Papas collaborated with composer Vangelis in an electronic rendition of eight Greek folk songs, issued as a record called "Odes". The words for the album were co-written by Arianna Stassinopoulos (Arianna Huffington).

Excellent album, inspired Vangelis with the grand old dame of Greek cinema (she was 52 at the time) sometimes feels like a prelude to what was to come with Dead Can Dance.

Vangelis and Irene Papas - Odes (flac 219mb)

01 Les 40 Braves 5:15
02 Neranzoula (Le Petit Oranger) 4:49
03 La Danse Du Feu 6:03
04 Les Kolokotronei 3:16
05 Le Fleuve 6:45
06 Racines 8:50
07 Lamento 8:29
08 Menousis 6:37

Vangelis and Irene Papas - Odes (ogg 113mb)

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Vangelis - Dimension (Greats) ( 80min ^ 188mb)

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RhoDeo 1208 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"

Well after ten weeks of P Funk audio we've come to the end of the series and what better way to finalise with a choice of two video's, both are essential for the P Funker Enjoy !!!

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Don Letts's hilarious and colourful profile of the godfather of funk, whose 50-year career has defined the genre. From his 1950s days running a doo-wop group out of the back of his barber store, through the madness of the monster Parliament/Funkadelic machine of the 70s to his late 90s hip-hop collaborations with Dre and Snoop, George Clinton has inspired generations of imitators. Contributors include Outkast's Andre 3000 and Macy Gray.



This is a great documentairy on George Clinton and the P Funk well worth an hour of your time, view directly at Youtube or download it here.

George Clinton Tales of Dr.Funkenstein (BBC 2006)

George Clinton Tales of Dr.Funkenstein part 1 (300mb)

George Clinton Tales of Dr.Funkenstein part 2 (300mb)
or
George Clinton Tales of Dr.Funkenstein part 2 (300mb)

George Clinton Tales of Dr.Funkenstein part 3 (236mb)

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Stoned 1976 minds must've been blown by this delightful spectacle. George appears as Lollipop Man, StarChild, The UnDisco Kid, and Dr. Funkenstein. The three guitar players are Michael Hampton, Glenn Goins (who sings his booty off) and the iconic Gary Shider (who also does some NASTY singing). Bernie Worrell is absolutely there, funkin' out. The old Parliaments are there sangin like only they can (Sheik Grady Thomas, Stingray Davis - doin those BAD bass parts - Calvin Simon and Fuzzy Haskins, who goes off during "Standing on the Verge of Getting it on). Debbie Wright and Jeanette Washington are the female singers and they are incredible, both singing and slinking around the stage. Maceo, Fred, and the horny horns are as horny as ever. Musicianship and stage performance like no other, totally unconventional, strange, engaging and extraordinarily well played and performed, the freedom of the musicians is total and they move and groove like nothing you've seen.

George Clinton,Parliament Funkadelic - The Mothership Connection live from Houston (1976)

01 Introduction
02 Cosmic Slop
03 Do That Stuff
04 Gammin' On Ya
05 Standing On The Verge Of Getting' It On
06 The Undisco Kid
07 Children Of Production
08 Mothership Connection
09 Swing Down Sweet Chariot
10 Dr. Funkenstein
11 Comin' Round The Mountain
12 P. Funk
13 Tear The Roof Off The Sucker
14 Night Of The Thumpasorous Peoples
15 Funkin' For Fun

Bear witness to the Mothership descending into Houston's Summit Arena.

The Mothership Connection Live part 1 (180mb)

The Mothership Connection Live part 2 (180mb)

The Mothership Connection Live part 3 (180mb)

The Mothership Connection Live part 4 (150mb)

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RhoDeo 1208 Goldy Rhox 60

Hello, today the 60th post of GoldyRhox, classic pop rock. As it happens for the first time a female, one could question how come the fair sex got so little gold in the past. Things have certainly changed this last decade and todays artist was certainly part of the female breakthrough into mainstream. In the darklight today an Icelandic singer-songwriter, her eclectic musical style has achieved popular acknowledgement and popularity within many musical genres, such as rock, jazz, electronic dance music, classical and folk. By 2003 she had sold more than 15 million albums worldwide and opened the 2004 Olympics in Greece. All this after starting out as a Sugarcube that had no grasp of English in 1988, in fact I met her back then to interpret for an tv musicshow interview. Meanwhile she's won four BRIT Awards, four MTV Video Music Awards, nominated for 12 Grammy Awards, one Academy Award and two Golden Globe Awards. For her performance in Dancer in the Dark, she won the Best Actress Award at the 2000 Cannes Film Festival.

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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 the fourth studio album of our mystery singer, released on September 22, 1997. It came on the back of her commercially most successful album. The music of the album was a new style for the singer, focusing on similar sounding music combining electronic beats and string instruments with songs in tribute to her native country Iceland. Interestingly it was recorded in Spain where she largely secluded herself. Most of the melodies on the album were created mentally by her, who then composed string sections on a Casio keyboard and brought them to programmers who would add suitable rhythmic patterns. Of the ten songs on the mystery album, five were released as singles.

Todays mystery album has been met with acclaim by critics since its initial release, winning multiple awards, as well as being placed on several "best of" charts. The album was nominated in the Best Alternative Music Performance category at the 1998 Grammy Awards, losing to Radiohead's OK Computer. It is here...that the singer has delivered her most emotional, highly-charged and groovy record, as well as a stinging triumph for the spirit of adventure. In 2011, Slant Magazine placed the album at number one on their list of best albums of the 1990s. Plenty of acclaim yet the album wasn't as all around platinum as her previous one, specially the Anglesaksen countries seem to have been frightened by the austere and futuristic look the singer displayed on the cover. I loved that Asian goddess but then I'm European. You'll get the option of a 5.1 oggversion here.


Goldy Rhox 60 (flac 297mb)

Goldy Rhox 60 (ogg 100mb)

Goldy Rhox 60 ( 5.1 ogg 286mb)


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RhoDeo 1208 Aetix

Hello, it's that time of the week again...nostalgia,,,Aetix still sprouts wonders of the past, when governments weren't obsessed with controlling it's citizens and protecting the rights of companies. Something went very wrong in these past decades, individuals have become numbers and statistics. Maybe all that is partly underlying the attraction of those good old Aetix days (and nights).

Now things have never been that rosy in the music industry and todays band is testament to that, after a brilliant start things got sketchy and slowly petered out, culminating in the sad suicide of Billy McKenzie 15 years ago. Talent had nothing to do with it, controlling emotions did, something which costs many an artist his or her life.

So today part 1 of the Associates story all neatly remastered after Billy's death ah yes those crows...

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Mackenzie and guitarist Alan Rankine met in Dundee (Scotland) in 1976 and formed the cabaret duo The Ascorbic Ones. In 1979 they recorded songs under the name of Mental Torture before finally changing their name to The Associates. They released a self-funded 7" of Boys Keep Swinging mere weeks after David Bowie had released his original. This scam got them a publishing deal with Bowie's publishers and a proper record deal. By 1980 they were touring with The Cure, and signed to Fiction Records, for whom they recorded The Affectionate Punch.

At the turn of the year they relocated to Situation 2 and put out a string of singles, later compiled on the album Fourth Drawer Down, recorded using money from major labels who were expecting demos to be produced with their cash... In tandem with their increasing consumption of coke and speed, the groups' music became increasingly deranged and experimental. John Murphy and Mike Dempsey (ex-The Cure) became official members.

The Associates signed with WEA in 1982. Martha Ladly joined as back-up singer. Billy and Alan immediately scored a string of UK top 20 chart hits. The album Sulk made the UK top 10, winning album of the year awards in the UK music press. The groups drug use was at a peak - Billy & Alans behaviour was becoming somewhat erratic. On the eve of their biggest ever UK tour MacKenzie pulled out. A US deal with Island was consequentially lost. Deciding that he couldn't continue, Alan Rankine left the group. From this moment on, The Associates were to be just that: Billy MacKenzie solo, with different associates for each release.

MacKenzie started recording a follow up album. 1984s Perhaps cost WEA £250,000. It took 3 years and 4 production teams to record - twice (dissatisfied with the original production Billy "lost" the first versions' master tapes, forcing a re-recording). The album had some chart success, but WEA were dissatisfied, and started pressuring MacKenzie to follow a more straightforward pop-soul direction. Frustrated by WEA's lack of support, MacKenzie focussed on collaborations, most notably with Yello (featuring on One Second, Flag, Baby and writing The Rhythm Divine).

1988's comeback single, a cover of Blondie's Heart Of Glass, failed to chart. WEA refused to release its parent album, The Glamour Chase, and with MacKenzie over a million pounds in debt to the label The Associates were dropped. Circa quickly signed MacKenzie and in 1990 released Wild And Lonely, the last album of original music under the The Associates name. 1992's album, the Thomas Fehlmann / Boris Blank-produced Outernational was issued under the artist name Billy MacKenzie. Even though the album had good reviews in the press and Baby was single of the week in Melody Maker, the album stiffed - partially due to Circa winding down operations.

Aside from an aborted Associates reunion with Alan Rankine in the mid-90s, MacKenzie remained a solo artist, collaborating in the 90s with Peach, Barry Adamson, Paul Haig and Apollo Four Forty amongst others. At the end of 1996, after four years without a deal, he signed with Nude Records. Tragically his first release for the label was a post-humous one. The death of his mother in 1996 was likely the trigger of an emotional breakdown that led him deeper and deeper into a depressed state. Billy MacKenzie died aged 39, on 22nd January 1997 from an overdose of prescribed and over-the-counter pills.

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All ten songs on The Affectionate Punch are nearly swollen with ambition and swagger, yet those attributes are confronted with high levels of anxiety and confusion, the sound of prowess and hormones converging head-on. It's not always pretty, but it's unflaggingly sensational, even when it slows down. Having debuted with a brazen reduction of David Bowie's "Boys Keep Swinging" to a spindly rumble, multi-instrumentalist Alan Rankine and vocalist Billy Mackenzie ensured instant attention and set forward with this, their first album.

The album is markedly different from both the Associates darker, more experimental recordings and their later watery dense production style as made famous on Sulk and Fourth Drawer Down. The album has an angular guitar sound and gated drums very similar to other late 70's/early 80's Post-punk records. However Alan Rankine's expansive musical arrangements and Billy Mackenzie's multiple octave voice seen on those later recordings are in place.

Though the subject matter of the duo's songs would later veer into the completely inscrutable, there's some abstract wordplay here that scans like vocal exercises at its most surreal. When Mackenzie runs through the alphabet in "A," he could be singing in code about the butterflies of love. Rankine, with help from drummer Nigel Glockler and a background appearance from then labelmate Robert Smith, covers most of the other stuff, specializing in spare arrangements that can simultaneously slither and jump, crosscut with guitars that release weary chimes and caustic stabs, as well as the occasional racing xylophone.

The album was remixed and re-released 1982 by order of the Associates new record company Warners. The remixed record retained all the old tracks but was given typical 80's production values such as new synthesizers and Billy Mackenzie re-recorded some vocals. Both Mackenzie and Rankine expressed distaste with the results.

The Associates - The Affectionate Punch (flac 344mb)

01 The Affectionate Punch 3:30
02 Amused As Always 4:20
03 Logan Time 4:11
04 Paper House 4:53
05 Transport To Central 5:02
06 A Matter Of Gender 4:30
07 Even Dogs In The Wild 3:22
08 Would I… Bounce Back 3:59
09 Deeply Concerned 3:37
10 A 3:57
Bonus Tracks
11 You Were Young 4:07
12 Janice 2:34
13 Boys Keep Swinging (Mono) 3:40
14 Mona Property Girl 3:26

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Alan Rankine and Billy Mackenzie recorded 6 singles for Beggars Banquet imprint Situation 2 in 1981 at Playground Studios. These recordings would prove to be the most outworldly and avant-garde of the band's career. The angular production of The Affectionate Punch had been dropped in favour of vast dark electronic soundscapes. Everything from a typewriter as a back beat to coughs and sonar pings were used for musical effect. Mackenzie sung through a vacuum cleaner hose for the song "Kitchen Person" to obtain an intense compressed sound. Various drugs were consumed in the frenzied sessions which ended up in Rankine and Mackenzie's hospitalisation after accidentally snorting 5 grams of methamphetamine during the recording of the b-side "Straw Towels".. The U.K. wing of V2 thankfully made Fourth Drawer Down part of their 2000 reissue campaign, improving the sound and adding five extras, including other B-sides and unreleased tracks from the era. The plodding Talking Heads sound-alike "Fearless" and decent "Point Si" are unearthed with good reason, and the charging murk of "Straw Towels" is almost as excellent as "The Associate." The programmed, insect-like percussive devices that provide anchor for the instrumental "Kissed" seem to predate the minimal techno acts on the Chain Reaction label by 15 years. As with the update of Sulk released the same year.

The Associates - Fourth Drawer Down ( flac 404mb)

01 White Car In Germany 5:31
02 A Girl Named Property 4:58
03 Kitchen Person 4:53
04 Q Quarters 4:57
05 Tell Me Easter's On Friday 4:32
06 The Associate 4:59
07 Message Oblique Speech 5:35
08 An Even Whiter Car 4:47
bonus
09 Fearless (It Takes A Full Moon) 3:38
10 Point Si 5:15
11 Straw Towels 5:16
12 Kissed 6:12
13 Blue Soap 3:52

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The edition of Sulk which was the most common to find while record shopping throughout the late '80s and '90s was originally the American issue. Heavy substitution and track reordering -- a typical enough move on the part of American companies no matter what the act -- resulted in a radically different record. For some strange reason, the European  issue of the album relied on this American edition, something only finally rectified as part of an overall reissue program in 2000. All this said, while this second edition sacrifices some of the quirky edginess of the original, collecting all the major hit singles that made the band such a distinctive U.K. chart presence in the early '80s certainly isn't a problem at all. All changes and switches aside, it's still very much the Associates at probably the best period of their career. Mackenzie's impossibly piercing cabaret falsetto rivals that of obvious role model Russell Mael from Sparks, while Rankine's ear for unexpected hooks and sweeping arrangements turns the stereotypes of early-'80s synth music on their heads. The bass work from ex-Cure member Michael Dempsey isn't chopped liver either, and the result is a messy but wonderful triumph no matter what version is found.

The Associates - Sulk (flac 477mb)

01 Arrogance Gave Him Up 3:01
02 No 5:49
03 Bap De La Bap 4:18
04 Gloomy Sunday 4:11
05 Nude Spoons 4:21
06 It's Better This Way 3:29
07 Party Fears Two 5:12
08 Club Country 4:48
09 Skipping 4:02
10 Nothinginsomethingparticular 2:19
Bonus
11 Love Hangover 6:13
12 18 Carat Love Affair 3:40
13 Ulcragyceptimol 4:30
14 And Then I Read A Book 4:26
15 Australia 3:18
16 Grecian 2000 3:27
17 The Room We Sat In Before 3:28

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