RhoDeo 1219 Aetix

Hello, Aetix again, out of all the late-'70s punk and post-punk bands, none were longer lived or more prolific than the Fall. Throughout their career, the band underwent a myriad lineup changes, but at the center of it all was vocalist Mark E. Smith. With his snarling, nearly incomprehensible vocals and consuming bitter cynicism, Smith became a cult legend in indie and alternative rock. The group's output is prolific—as of November 2011 they have released 29 studio albums, and more than triple that counting live albums and other releases. They have never achieved widespread public success beyond a handful of minor hit singles in the late 1980s, but have maintained a strong cult following.

Over the course of their career, the Fall went through a number of shifts in musical style, yet the foundation of their sound was a near-cacophonous, amelodic jagged jumble of guitars, sing-speak vocals, and keyboards. During the late '70s and early '80s, the band was at their most abrasive and atonal. In 1984, Smith's American wife, Brix, joined the band as a guitarist, bringing a stronger sense of pop melody to the group. By the mid-'80s, the band's British following was large enough to result in two U.K. Top 40 hits, but in essence, the group has always been a cult band; their music was always too abrasive and dense for the mainstream. Only hardcore fans can differentiate between the Fall's many albums, yet the Fall, like many cult bands, inspired a new generation of underground bands, ranging from waves of sound-alike indie rockers in the U.K. to acts in America and New Zealand, which is only one indication of the size and dedication of their small, devoted fan base.

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Prior to forming the Fall in 1977, Smith worked on the docks in Manchester, where he had auditioned and failed with a number of local heavy metal groups. Smith wasn't inspired by metal in the first place; his tastes ran more toward the experimental rock & roll of the Velvet Underground, as well as the avant-garde art rock of Can. Eventually, he found several similarly inclined musicians -- guitarist Martin Bramah, bassist Tony Friel, keyboardist Una Baines, and drummer Karl Burns -- and formed the Fall, taking the group's name from the Albert Camus novel. The band cut an EP, Bingo-Master's Break-Out!, which was funded by the Buzzcocks' label, New Hormones, but it sat unreleased for nearly a year, simply because the band couldn't find anyone who wanted to sign them. The Fall were outsiders, not fitting in with either the slick new wave and the amateurish, simple chord-bashing of punk rock. Consequently, they had a difficult time landing a record contract . After a while, the group had gained some fans, including Danny Baker, the head of the Adrenaline fanzine, who persuaded Miles Copeland to release the EP on his Step Forward independent label.

During 1978, Smith replaced bassist Friel with Marc Riley (bass, guitar, keyboards) and keyboardist Baines with Yvonne Pawlett because they wanted to make the Fall more accessible. The new lineup recorded the band's first full-length album, Live at the Witch Trials, which was released in 1979. The Fall continued to tour, playing bars and cabaret clubs, and, in the process, began to slowly build a fan base. Radio 1 DJ John Peel had become a fervent fan of the band, letting them record a number of sessions for his show, which provided the group with a great deal of exposure.

Before recording the Fall's second album, Smith changed the band's lineup, firing Pawlett, Bramah, and Burns, while hiring guitarist Craig Scanlon, bassist Steve Hanley, and drummer Mike Leigh; Riley moved to lead guitar from bass during this lineup shift. Scanlon and Hanley would become integral members of the Fall, staying with the band for great part of their career. The new lineup recorded and released Dragnet late in 1979. The following year, the Fall parted with Step Forward and signed with Rough Trade, where they released the live album Totale's Turns (It's Now or Never), the studio Grotesque (After the Gramme), and several acclaimed singles, including "Totally Wired" and "How I Wrote Elastic Man," in the course of 1980. Paul Hanley joined the group as a second drummer before the Grotesque album. Though several Fall recordings appeared in 1981, they were all archival releases with the exception of the Slates EP. After the release of Slates, drummer Karl Burns rejoined the group. In early 1982, the band released the full-length Hex Enduction Hour, which received some of the group's strongest reviews to date. Since the group was having trouble with Rough Trade, the album was released on Kamera Records, as was its follow-up, Room to Live, which also appeared in 1982. Following its release, Riley left the band.

The major turning point in the Fall's career arrived in 1983, when Smith met Brix Smith (born Laura Elise Salinger) in Chicago while the Fall were on tour. The pair married within a few months and Brix, who originally played bass, joined the group as their second guitarist, replacing Riley; her first record with the group was 1983's Perverted by Language. Brix brought a more melodic pop sense to the band, as demonstrated by 1984's The Wonderful and Frightening World of the Fall, their first album for Beggars Banquet. By 1985, the Smiths were collaborating with each other, resulting in more structured, melodic songs like the singles "No Bulbs" and "Cruiser's Creek." Midway through 1985, Steve Hanley had to take a leave of absence and classically trained Simon Rogers joined as the temporary bassist. Once Hanley returned, Rogers moved over to keyboards. The new lineup with Rogers recorded This Nation's Saving Grace, which was released in the fall of 1985 to terrific reviews. Rogers stayed for one more album, 1986's Bend Sinister, yet he remained involved with the Fall for several years.

In 1986, the Fall unexpectedly began to have charting singles, as their cover of the Other Half's "Mr. Pharmacist" became a minor hit in the fall. Over the next few years, the group appeared in the lower reaches of the charts consistently, breaking into the Top 40 with 1987's "Hit the North" and 1988's cover of the Kinks' "Victoria," which signaled how much more accessible the band had become with the addition of Brix's arrangements. After the 1988 release of the Simon Rogers-produced The Frenz Experiment, Brix divorced Smith and she left the Fall in 1989; original guitarist Martin Bramah replaced her. The musical result of the separation was a shift back to the darker, more chaotic sound of their early albums, as shown on the first post-Brix album, 1990's Extricate. Though Extricate was well received, Smith decided to alter the lineup that recorded the album. He fired both Schofield and Bramah while the Fall was touring Australia. Featuring new keyboardist Dave Bush, Shift-Work was released in 1991, followed by Code: Selfish the next year.

In 1993, the Fall signed with Matador Records, which provided them with their first American record label in several years. Their first release for the label, The Infotainment Scam, was recorded with the returning Karl Burns, who provided drums. Neither The Infotainment Scam nor its 1994 follow-up, Middle Class Revolt, sold many records in the U.S., despite good reviews, and the Fall was again left without an American label as of 1995. Not that it mattered; they retained their devoted following in Britain, where both albums performed respectively. Brix rejoined the Fall during the supporting tour for Middle Class Revolt and appeared on 1995's Cerebral Caustic. At the beginning of 1996 keyboardist Julia Nagle had joined the band for the recording of The Light User Syndrome, an album that featured liner notes from longtime supporter and BBC DJ John Peel. The band recorded their 20th BBC session for the DJ in June, followed by the departure of Brix in October and Karl Burns in December.

By this time a steady stream of compilations and live recordings started appearing, the majority of them on the Receiver label, mostly without the band's involvement.  During an April gig in New York City at Brownie's, Smith was in rare form. The band played large parts of the set with Smith off-stage, at one point Smith said something to Karl Burns that made him jump over his drum kit and attack the singer, and Crooks and Smith were at odds the whole show, with Crooks kicking Smith and Smith flicking lit cigarettes at Crooks. Burns, Crooks, and Steve Hanley were out of the band and Smith spent a night in jail on assault charges. A new single, "Touch Sensitive," appeared in February 1999. It ended up as the soundtrack to car commercial, giving it extra exposure in the U.K., setting the stage for the April release of the new album, The Marshall Suite. Nagle was now more involved with songwriting while guitarist Neville Wilding, bassist Adam Halal, and drummer Tom Head rounded out the new Fall.

Released in December 2002, "The Fall vs. 2003" single ushered in the next great era of the band, with Poulou offering a melodic base for Smith's abrasiveness the same way Nagle and Brix had before. Jim Watts discovered he was fired when Smith held a band meeting in a bar in March 2003 and bought everyone a drink but Watts. Bassist Simon "Ding" Archer would take his place for a June-July American tour. An early version of the band's next album was leaked to the Internet, influencing Smith to re-record and add/drop some tracks. The leak was referenced in the album's new title, The Real New Fall LP (Formerly Country on the Click), released in October. A Christmas single, "(We Wish You) A Protein Christmas," appeared in December.

The Sanctuary label reissued two classic albums -- Live at the Witch Trials and Dragnet -- in January of 2004 with much better sound than ever before, and some bonus tracks were added to Dragnet. A tour of America was planned, but on a visit to Newcastle, Smith slipped on some ice, breaking his leg. A bystander came to help him up, but Smith fell again, this time cracking his hip. Despite a metal rod running from his knee to hip, the Fall went ahead with the American tour, with Smith delivering his vocals while seated at a table.  2005 also saw the departure of guitarist Jim Watts, a fantastic box set that collected all the band's sessions for John Peel, and the new album Fall Heads Roll. In the summer the band toured America in support of the new album, but after a few dates, Smith fired all of the members of the band save his wife and keyboardist, Eleni Poulou. The 2007 album Reformation Post T.L.C. featured a hybrid group of U.S. and U.K. members. That same year Smith collaborated with Andi Toma and Jan St. Werner of electronica duo Mouse on Mars on the Von Südenfed project. He published his typically challenging and entertaining autobiography in 2008. In 2010 they signed with the Domino label for the album Your Future Our Clutter.
   
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The album was recorded less than 8 months after its predecessor, Live at the Witch Trials, establishing at an early stage two key patterns of the group's work; that of high productivity and that of a regular turnover of group members - only Mark E. Smith and Marc Riley remained from the debut album and Riley had changed his role from bass to guitar. Dragnet is most notable for the arrivals of both guitarist Craig Scanlon and bassist Steve Hanley. Both were just 19 when they joined the group and would form The Fall's musical backbone until the mid 90's.

Generally the songs which work the best on Dragnet throw in some amusingly odd curves while still hanging together musically. The full winner is unquestionably "Spectre vs. Rector," an amazing combination of clear lead vocals and buried, heavily echoed music and further rants, before fully exploding halfway through while the rhythm obsessively grinds away. Another odd and wonderful cut is "Muzorewi's Daughter," which starts out sounding like stereotypical Hollywood music for Native American tribes before shifting between that and quicker choruses. "Dice Man," with its rave-up melody and slower vocal- and guitar-only chorus, not to mention the weird muttering elsewhere in the mix, says it all in under two minutes and has fun while doing it. Through it all, Smith rants and raves supreme, spinning out putdowns, cracked vocals, and total bile with all the thrill and energy one could want from a good performer. This edition (remastered for the first time) issued via Castle Music in January 2004 added not just the tracks from the 2 singles recorded on either side of the album but also some previously unheard alternate takes and breakdowns from the session for the "Rowche Rumble" single.

The Fall - Dragnet (Exp Rem) ( flac 463mb)

01 Psykick Dancehall 3:48
02 A Figure Walks 6:08
03 Printhead 3:15
04 Dice Man 1:45
05 Before The Moon Falls 4:31
06 Your Heart Out 3:07
07 Muzorewi's Daughter 3:43
08 Flat Of Angles 4:55
09 Choc-Stock 2:37
10 Spectre Vs Rector 7:56
11 Put Away 3:30
Bonus Tracks
12 Rowche Rumble 4:01
13 In My Area 4:05
14 Fiery Jack 4:43
15 2nd Dark Age 1:59
16 Psykick Dancehall (No. 2) 3:39
17 Rowche Rumble (Take 2) 4:05
18 Rowche Rumble (Take 3) 0:33
19 Rowche Rumble (Take 4) 3:53
20 Rowche Rumble (Take 5) 1:35
21 In My Area (Take 1) 0:48
22 In My Area (Take 2) 5:06

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On Grotesque, the Fall really started hitting its stride, with Marc Riley and Craig Scanlon now a devastatingly effective combination, somehow managing to sound exactly placed between random sloppiness and perfect precision. The sharp rockabilly leads and random art rock racket thrived on both counts, with Smith as always the mad jester ripping into anything and everything while having a great time doing so. The final song of the album was especially fierce -- "The N.W.R.A.," short for "the north will rise again," Smith's own take on the long-standing "soft south/grim north" dichotomy in English society given extremely bitter life. Throughout the record, a slew of really good producers keep an eye on things -- besides the band themselves, there are Grant Showbiz, Geoff Travis, and Mayo Thompson all contributing. The end result is crisp without being polished, rough while packing its own smart punch. Some nice variety starts appearing more and more in the Fall approach as well -- "C'n'C-s Mithering," a brilliant vivisection of California and its record business, and the attendant perception of the Fall themselves, relies on acoustic guitars instead of electric, creating an understated but still great groove. Of course, Smith sends everything over the top, whether it's his rant about governments, dead neighbors, and scandals, the hilarious music scene caricatures on the front cover and wind-up liner notes add just the right level of acidic wit to the proceedings.

The Fall - Grotesque (Exp) ( flac 405mb)

01 Pay Your Rates 2:58
02 English Scheme 2:05
03 New Face In Hell 5:39
04 C 'n' C-S Mithering 7:36
05 The Container Drivers 3:07
06 Impression Of J Temperance 4:17
07 In The Park 1:43
08 WMC-Blob 59 1:19
09 Gramme Friday 3:19
10 The NWRA 9:12
Bonus Tracks
  Rough Trade RT048, July 1980 7" 
11 How I Wrote 'Elastic Man' 4:20
12 City Hobgoblins 3:23
  Rough Trade RT056, September 1980 7" 
13 Totally Wired 3:25
14 Putta Block 4:30
  Interview 
15 Mark E Smith Self-Interview 1980 7:18

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Originally released in a time when "neither an EP nor an LP" was different and not a marketing gimmick, 1981's Slates was issued as a 10", but its six tight songs didn't have that key track to make it as revered as other Fall releases of the time.  Not a bad taster if you're new and want some post-punk, pre-pop Fall -- and 90 percent of this is prime material. For the Fall fan, the bonuses on the 2004 reissue are a mixed blessing. With classic tracks like "Lie Dream of a Casino Soul," "Fantastic Life," and the great "Hip Priest" tacked on, the extras read as if from an early-'80s "greatest-hits" package. Longtime buyers of the band get better sound quality, great liner notes, and the duplication blues once again.

The Fall - Slates (Exp and Rem) (flac 377mb)

01 Middle Mass 3:32
02 An Older Lover Etc. 4:37
03 Prole Art Threat 1:57
04 Fit And Working Again 3:00
05 Slates, Slags, Etc. 6:34
06 Leave The Capitol 4:07
Bonus Tracks 
John Peel Session 31/3/81 
07 Middle Mass 3:56
08 Lie Dream Of A Casino Soul 2:46
09 Hip Priest 9:27
10 C'n'C-Hassle Schmuck 4:14
Kamera ERA001, November 1981 (7") 
11 Lie Dream Of A Casino Soul 3:12
12 Fantastic Life 5:25
Outtake
13 Medical Acceptance Gate 3:25

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RhoDeo 1219 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 ?  Some bad news for you, as I'm nearing the end of this dreadlock holiday, the grand old man will have the last words in the upcoming posts until we'll follow the Gulfstream upwards towards Londinium as the old empire takes center stage this summer.

Sidenote i forgot to enter the flac link for last sundays Moon soundtrack by Mansell-it's up now.

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The two big shots of Jamaican dubproductions in the seventies meet, that said they are kept apart by a little vinyl as they each take one side. Here are Jamaica's top recording engineers. King Tubby trying to prove that he is the master of the controls. The Upsetter is trying to prove that he is the master. To find out these two giants got together and we have been able to make the results available to everyone on this album. King Tubby at his best. The Upsetter at his best. Winston Edwards and the Natty Locks put down the backing tracks on this album. 29 minutes of dubbb blissss.

Side 1 - Mix by King Tubby of King Tubby Recording Studio.
Side 2 - Mix by Lee Perry of the Black Ark Studio.

King Tubby Meets The Upsetter At The Grass Roots Of Dub (flac 154mb)

01 Blood Of Africa 2:39
02 African Roots 2:59
03 Rain Roots 3:04
04 Wood Roots 2:58
05 Luke Lane Rock 3:08
06 People From The Grass Roots 3:06
07 Crime Wave 3:01
08 No Justice For The Poor 2:25
09 300 Years At The Grass Roots 2:53
10 King And The Upsetter At Spanish Town 2:31


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Sly & Robbie came up as part of the Revolutionaries band in the '70s, contributing as the house band at Kingston's legendary Channel One Studio. By the time the roots reggae period gave way to the secular-minded dancehall era of the early '80s, Sly & Robbie had gone into the production business themselves with their Taxi label. Counting such Jamaican music luminaries on their roster as Dennis Brown, Black Uhuru, the Wailing Souls, and Junior Delgado, Sly & Robbie forged their own progressive, synth-enhanced sound, and became one of the premiere production teams and backing bands in the process. This sampler tells a bit of the story. Taking in sides by Brown ("Sitting and Watching"), Delgado, and the Wailing Souls, the 12 tracks here also feature fine performances by the legendary DJ General Echo, Gregory Isaacs, the Viceroys, and the Tamlins.

VA - Sly And Robbie Present Taxi (flac 238mb)

01 Jimmy Riley - My Woman's Love 3:28
02 The Tamlins - Smiling Faces Sometimes 3:30
03 Junior Delgado - Merry Go Round 3:46
04 Dennis Brown - Sitting And Watching 3:33
05 Sly Dunbar - Hot You're Hot 3:36
06 Wailing Souls - Sweet Sugar Plum 3:56
07 Sheila Hylton - The Bed's Too Big Without You 3:50
08 General Echo - Drunken Master 3:39
09 Wailing Souls - Old Broom 3:20
10 Gregory Isaacs - Oh What A Feeling 3:44
11 The Viceroys - Heart Made Of Stone 2:58
12 Junior Delgado - Fort Augustus 3:30

VA - Sly And Robbie Present Taxi (ogg 102mb)

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King Tubby is undoubtely the most prolific of the dub producers, a handful of albums have been posted here, this will be the last for now. King Tubby's Productions in the digital era 1985-89

VA - Firehouse Revolution (King Tubby) (flac 362mb)

01 Anthony Red Rose - Tempo 3:44
02 King Everall - After All 3:30
03 King Asha - Crank Angle Part 2 3:16
04 Anthony Red Rose / King Kong - Two Big Bull Inna One Pen 3:42
05 Conroy Smith - Original Sound 4:02
06 King Everall - Special Singer 4:06
07 Lloyd Hemmings - Rude Boy 3:47
08 Tinga Stewart - Dry Up Your Tears 4:01
09 Peego / Fatman with King Asha - Version 3:21
10 Johnny Osbourne - Line Up 4:07
11 Little John - Fade Away 4:07
12 King Kong - Babylon 3:24
13 Lilly Melody - Pressure Me 3:35
14 King Everall - Automatic 3:32
15 Anthony Red Rose - Under Me Fat Thing 3:45
16 Noel Davy - Version 3:43

VA - Firehouse Revolution (King Tubby) (ogg 139mb)

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RhoDeo 1219 Spaced

Hello, hope you'll had a good weekend. Alas the supermoon remained under cloud cover here (as usual), still i hope some of you got to enjoy it, it can be such a spectacular sight, i'll never forget seeing it rising up from the Mediterranean Sea once, gigantic and blood red from the desert sands at the other side.

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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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Daisy is strongly bonding with new dog Colin, much to Tim's displeasure. Forced to take Colin out on a walk in an effort to bond with him, Tim is rather alarmed when Colin disappears after Tim challenges aliens to abduct him. When Daisy will not speak to him, and when he receives an anonymous tip-off revealing Colin's location - in the hands of a ruthless, sinister cosmetics testing vivisectionist - he plans a daring rescue attempt in order to redeem himself. Will they succeed? Will a psychotic Marxist dog reveal itself? And more importantly - will Tim let Mike's callsign be Han Solo?


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05 Chaos 24:08

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Moondaze 1219

Hello, another post inspired by what happened today.. The moon is set to get a lot bigger tonight - at least from our perspective on Earth. The moon will appear bigger and brighter - sky-watchers promise this 'supermoon' will be 16 per cent brighter than most when it begins today at 3.35pm GMT, 11.35am EDT. At 11.34pm, the moon will be about 221,802 miles from Earth - about 15,300 miles closer than average. Full Moons vary in size because of the oval shape of the Moon's orbit. It is an ellipse with one side (perigee) about 50,000 km closer to Earth than the other (apogee). Nearby perigee moons are about 14% bigger and 30% brighter than lesser moons that occur on the apogee side of the Moon's orbit.And the 'Supermoon' - the nickname for a perigee full moon, closer to the Earth than usual - could cause tides to rise around the world as the moon's close 'fly past' exerts 42 per cent more tidal force.

All the teenagers will be out looking for "sexy werewolves" aauuuw

Some Moondaze then ...

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Although electronica had its fair share of chillout classics prior to the debut of Air, they were musicians in a producer's world, and while no one could ever accuse their music of being danceable, it delivered the emotional power of great dance music even while pushing the barriers of what "electronica" could or should sound like. The opener, "La Femme d'Argent," is an otherworldly beginning, with a slinky bassline evoking Serge Gainsbourg's Histoire de Melody Nelson and a slow glide through seven minutes of growing bliss. The vocoderized "Remember" relaunched a wave of robot pop that hadn't been heard in almost 20 years, and the solos for harmonica and French horn on "Ce Matin La" made the Bacharach comparisons direct. Unlike most electronica producers, Air had musical ideas that stretched beyond samplers or keyboards, and Moon Safari found those ideas wrapped up in music that was engaging, warm, and irresistible.

Air - Moon Safari (flac 264mb)

01 La Femme D'Argent 7:11
02 Sexy Boy 4:58
03 All I Need 4:28
04 Kelly Watch The Stars 3:45
05 Talisman 4:16
06 Remember 2:34
07 You Make It Easy 4:01
08 Ce Matin Là 3:39
09 New Star In The Sky 5:40
10 Le Voyage De Pénélope 3:10

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The subgenre of dark acoustic or dark folk keeps fascinating . On the one hand, it harbours some of the most direct and and powerful musical expressions of romanticism, melancholy and nature mysticism that can be found in popular music. On the other hand, it is a limited and stagnant musical idiom that can annoy as much as delight with its pathos.

This haunting two-CD set compiles acoustic-based, melancholy tracks by a variety of black metal, folk-metal, and experimentally minded metal bands from the European scene. Some tracks, like Empyrium's "The Days Before the Fall,"  they go from gently picked acoustic guitars to louder sections with prominent keyboard lines underpinning the hard rock riffs; others, like the rare Ulver song "Synen," aren't metal at all, but soft, almost madrigal-like folk melodies, with mournful strings and choral vocals. There are lots of strings, and Scandinavian traditional drums, to be heard, and some tracks, like Musk Ox's "Solstice" and October Fall's "Viima," blend nature sounds with the music. This is a perfect album to put on during a long moonlite night, but those looking to bang their heads will be sorely disappointed.

VA - Whom the Moon a Nightsong Sings (flac 272mb)

101 Vàli – Hoestmelankoli 1:29
102 Empyrium – The Days Before The Fall 5:38
103 Nest – Summer Storm (Acoustic) 5:22
104 Nebelung – Ich Würd Es Hören 4:39
105 October Falls – Viima 3:51
106 Ainulindalë – A Year Of Silence 4:49
107 Les Discrets – 5 Montée Des Épies 1:48
108 Les Discrets – Après L'Ombre 4:30
109 Musk Ox – Solstice 4:47
110 Havnatt – Dagen Og Natta 6:59
111 Dornenreich – Dem Wind Geboren 4:31
112 Vàli – Haredans I Fjellheimen 1:10

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VA - Whom the Moon a Nightsong Sings 2 (flac 274mb)

201 Nhor – Upon The Wind Its Wings Beat Sorrow Into The Stars 3:50
202 Ulver – Synen 5:05
203 Neun Welten – Pan 8:33
204 Tenhi – Kausienranta 5:56
205 Bauda – Ocaso (Acoustic) 3:48
206 Orplid – Stille (Demo) 4:34
207 Nucleus Torn – Krähenkönigin III 5:24
208 Lönndom – Språnget Ur Ursprunget 3:30
209 Syven – How Fare The Gods? 14:10

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Until 1996 Clint Mansell was best known as the lead singer and guitarist of the British alternative rock band Pop Will Eat Itself. After PWEI disbanded he began a successful solo career as a soundtrack composer. In 1996  Mansell ventured into creating his first films soundtrack for Darren Aronofsky's debut film, π. Placing his compositions among the works by Autechre, Orbital and Aphex Twin (among many others), Mansell set off on a new path in writing cinematic music. Two years later, in 2000, Mansell became a star composer among the cult followers, with his soundtrack release for Aronofsky's Requiem for a Dream performed by the Kronos Quartet. The rest is history, the track "Lux Aeterna", used in Requiem, was re-arranged, renamed "Requiem for a Tower" and used as the trailer for The Lord of the Rings: The Two Towers.  A listing of his Score work World Traveler [2002], Abandon [2002] , Sahara [2005] , Doom [2005] , The Fountain [2006] , Smokin' Aces [2007] , Murd3r 8y Num8ers  [2008] , Definitely, Maybe [2008] , Moon [2009],  Black Swan [2010], Faster [2010] , Last Night [2012]

Clint Mansell – Moon (Original Score) (flac 246mb)

01 Welcome To Lunar Industries 7:12
02 Two Weeks And Counting... 2:00
03 I'm Sam Bell 3:45
04 I'm Sam Bell, Too... 5:05
05 Memories (Someone You'll Never Know) 4:53
06 Are You Receiving? 3:18
07 Can't Get There From Here 3:17
08 "We're Not Programs, Gerty, We're People" 5:10
09 The Nursery 3:46
10 Sacrifice 3:03
11 We're Going Home 3:42
12 Welcome To Lunar Industries (Three Year Stretch...) 10:04

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RhoDeo 1218 Beats

Hello, i was set to start uploading todays post when i glanced a teletext Item about the death of a Beastie Boys member,

Adam Yauch, better known as "MCA" of the Beastie Boys, died Friday morning in New York at age 47 after having cancer for nearly three years.  It's extremely rare for people to be diagnosed with salivary gland cancer and Yauch was one of the younger patients diagnosed with the disease. Because the cancer is rare, it has been difficult for researchers to figure out what causes it. .A practising Buddhist, Yauch in 96 organized a two-day festival to raise awareness about the plight of Tibet, and the festival went on to become an annual event. He is survived by his wife Dechen Wangdu and their daughter Tenzin Losel Yauch.

Obviously i was shocked somewhat and decided to postpone the post and do a last minute posting on the Beastie Boys, to be honest here to my surprise i found out I had thusfar never posted any of their work, not because I wasn't a fan, in fact I own all their albums, but somehow it never came up ...until now.

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As the first white rap group of any importance, the Beastie Boys received the scorn of critics and strident hip-hop musicians, both of whom accused them of cultural pirating, especially since they began as a hardcore punk group in 1981. But the Beasties weren't pirating -- instead, they treated rap as part of a post-punk musical underground, where the D.I.Y. aesthetics of hip-hop and punk weren't that far apart. Of course, the exaggerated b-boy and frat-boy parodies of their unexpected hit debut album, Licensed to Ill, didn't help their cause. For much of the mid-'80s, the Beastie Boys were considered macho clowns, and while they dismissed that theory with the ambitious, Dust Brothers-produced second album, Paul's Boutique, it was ignored by both the public and the press at the time. In retrospect, Paul's Boutique was one of the first albums to predict the genre-bending, self-referential pop kaleidoscope of '90s pop. The Beasties refined their eclectic approach with 1992's Check Your Head, where they played their own instruments. Check Your Head brought the Beasties back to the top of the charts, and within a few years, they were considered one of the most influential and ambitious groups of the '90s, cultivating a musical community not only through their music, but with their record label, Grand Royal, and their magazine of the same name.

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Such was the power of Licensed to Ill that everybody, from fans to critics, thought that not only could the Beastie Boys not top the record, but that they were destined to be a one-shot wonder. These feelings were only amplified by their messy, litigious departure from Def Jam and their flight from their beloved New York to Los Angeles, since it appeared that the Beasties had completely lost the plot. Many critics in fact thought that Paul's Boutique was a muddled mess upon its summer release in 1989, but that's the nature of the record -- it's so dense, it's bewildering at first, revealing its considerable charms with each play. Shifting to layers of samples and beats so intertwined they move beyond psychedelic; it's a painting with sound. Sadly, after Paul's Boutique sampling on the level of what's heard here would disappear; due to a series of lawsuits, the entire enterprise too cost-prohibitive and risky to perform on such a grand scale. Which is really a shame, because if ever a record could be used as incontrovertible proof that sampling is its own art form, it's Paul's Boutique.

The Dust Brothers and Beasties weave a crazy-quilt of samples, beats, loops, and tricks, which creates a hyper-surreal alternate reality -- a romanticized, funhouse reflection of New York where all pop music and culture exist on the same strata, feeding off each other, mocking each other, evolving into a wholly unique record, unlike anything that came before or after. It very well could be that its density is what alienated listeners and critics at the time; there is so much information in the music and words that it can seem impenetrable at first, but upon repeated spins it opens up slowly, assuredly, revealing more every listen. Musically, few hip-hop records have ever been so rich; it's not just the recontextulations of familiar music via samples, it's the flow of each song and the album as a whole, culminating in the widescreen suite that closes the record. Lyrically, the Beasties have never been better -- not just because their jokes are razor-sharp, but because they construct full-bodied narratives and evocative portraits of characters and places. Few pop records offer this much to savor, and if Paul's Boutique only made a modest impact upon its initial release, over time its influence could be heard through pop and rap, yet no matter how its influence was felt, it stands alone as a record of stunning vision, maturity, and accomplishment. .

Beastie Boys – Paul's Boutique   (flac 332mb)

01 To All The Girls 1:29
02 Shake Your Rump 3:19
03 Johnny Ryall 3:00
04 Egg Man 2:57
05 High Plains Drifter 4:13
06 The Sounds Of Science 3:11
07 3-Minute Rule 3:39
08 Hey Ladies 3:47
09 5-Piece Chicken Dinner 0:23
10 Looking Down The Barrel Of A Gun 3:28
11 Car Thief 3:39
12 What Comes Around 3:07
13 Shadrach 4:07
14 Ask For Janice 0:11
15 B-Boy Bouillabaisse (12:34)
Bonus
16 33% God 3:53
17 Dis Yourself in '89 3:30


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Check Your Head brought the Beastie Boys crashing back into the charts and into public consciousness, but that was only partially due to the album itself -- much of its initial success was due to the cult audience that Paul's Boutique cultivated in the years since its initial flop release, a group of fans whose minds were so thoroughly blown by that record, they couldn't wait to see what came next, and this helped the record debut in the Top Ten upon its April 1992 release. As it happened, the Beasties had repositioned themselves as a lo-fi, alt-rock groove band. They had not abandoned rap, but it was no longer the foundation of their music, it was simply the most prominent in a thick pop-culture gumbo where old school rap sat comfortably with soul-jazz, hardcore punk, white-trash metal, arena rock, Bob Dylan, bossa nova, spacy pop, and hard, dirty funk. What they did abandon was the psychedelic samples of Paul's Boutique, turning toward primitive grooves they played themselves, augmented by keyboardist Money Mark and co-producer Mario Caldato, Jr.. This all means that music was the message and the rhymes, which had been pushed toward the forefront on both Licensed to Ill and Paul's Boutique, have been considerably de-emphasized. This is not a detriment, because the focus is not on the words, it's on the music, mood, and even the newfound neo-hippie political consciousness. And Check Your Head is certainly a record that's greater than the sum of its parts -- individually, nearly all the tracks are good, but it's the context and variety of styles that give Check Your Head its identity. It's how the old school raps give way to fuzz-toned rockers, furious punk, and cheerfully gritty, jazzy jams. As much as Paul's Boutique, this is a whirlwind tour through the Beasties' pop-culture obsessions, it's earth-bound D.I.Y. that makes it all seem equally accessible -- which is a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them.

Beastie Boys – Check Your Head  ( flac 329mb)

101 Jimmy James 3:14
102 Funky Boss 1:35
103 Pass The Mic 4:17
104 Gratitude 2:45
105 Lighten Up 2:41
106 Finger Lickin' Good 3:39
107 So What'cha Want 3:37
108 The Biz•Vs•The Nuge 0:33
109 Time For Livin' 1:48
110 Something's Got To Give 3:28
111 The Blue Nun 0:32
112 Stand Together 2:47
113 Pow 2:13
114 The Maestro 2:52
115 Groove Holmes 2:33
116 Live At P.J.'s 3:18
117 Mark On The Bus 1:05
118 Professor Booty 4:13
119 In 3's 2:23
120 Namasté 4:01

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Unlike the deluxe reissue of Paul's Boutique, the 2009 reissue of Check Your Head is laden with bonus tracks, suggesting that the lack of B-sides on Paul's was indeed down to complications with samples licensing. Check Your Head almost makes up for the paucity of bonus material by adding a full disc of extras, all assembled from all the various B-sides released on multi-part CD singles and 12" vinyl. Most of these are reworkings and remixes, some of these are quite good, especially the ropey Soul Assassin revision that has an extra verse from B-Real. "Pass the Mic" and "Finger Lickin' Good" are also in good remix form, while "Stand Together" and "Gratitude" are live, but of greater interest are the non-LP rarities presented here for the first time outside of The Sounds of Science compilation. "The Skills to Pay the Bills," in particular, is a dynamic piece of work that could have made it onto the proper album, something that can't quite be said about woozy larks like "Netty's Girl," the Zamboni soul-jazz of "Honky Rink," and the cheerfully stupid "Boomin' Granny," but when they're all presented as part of the extras here, they go a long way to illustrate how glorious this whole era was for the Beasties.

Beastie Boys – Check Your Head bonus ( flac 346mb)

201 Dub The Mic (Instrumental) 4:29
202 Pass The Mic (Pt. 2, Skills To Pay The Bills) 4:25
203 Drunken Praying Mantis Style 2:40
204 Netty's Girl 3:24
205 The Skills To Pay The Bills (Original Version) 3:16
206 So What'cha Want (Soul Assassin Remix Version) 4:08
207 So What'cha Want (Butt Naked Version) 3:29
208 Groove Holmes (Live•Vs•The Biz) 6:12
209 So What'cha Want (All The Way Live Freestyle Version) 3:38
210 Stand Together (Live At French's Tavern, Sydney, Australia) 2:32
211 Finger Lickin' Good (Government Cheese Remix) 4:15
212 Gratitude (Live At Budokan) 4:27
213 Honky Rink 2:12
214 Jimmy James (Original Original Version) 3:43
215 Boomin' Granny 2:17
216 Drinkin' Wine 4:41

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The Beastie Boys had a good, albeit eccentric, hits compilation in 1999 with the double-disc set The Sounds of Science, so what's the purpose of the 2005 set Solid Gold Hits? Well, it is considerably more concise than the previous compilation, spanning just one disc and containing a mere 15 songs compared to the 42 on Sounds. So, for listeners who are just looking for the big hits, this serves its purpose quite well, since this may be missing many great songs -- and not just album tracks or early singles like "She's on It," but charting hits like "Paul Revere" -- but it does have all of their anthems, including "Fight for Your Right," "Brass Monkey," "Hey Ladies," "Shake Your Rump," "So What'cha Want," "Sabotage," "Sure Shot," "Intergalactic," and "Body Movin'," here in its Fatboy Slim remix. While some listeners may find the non-chronological order kind of frustrating, these songs sound good in pretty much any running order, so this winds up as a thoroughly entertaining listen. Perhaps it's not the definitive Beastie Boys album, but for fans who just want nothing more than the hits, this does its job.

Beastie Boys - Solid Gold Hits   ( flac 359mb)

01 So What'cha Want 3:37
02 Brass Monkey 2:38
03 Ch-Check It Out 3:10
04 No Sleep Till Brooklyn 4:06
05 Hey Ladies 3:48
06 Pass The Mic 4:17
07 An Open Letter To NYC 4:13
08 Root Down 3:31
09 Shake Your Rump 3:17
10 Intergalactic 3:30
11 Sure Shot 3:18
12 Body Movin' (Fatboy Slim Remix) 4:08
13 Triple Trouble 2:43
14 Sabotage 2:58
15 Fight For Your Right 3:30

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RhoDeo 1218 Goldy Rhox 70

Hello, today the 70th post of Goldy Rhox, classic pop rock. In the darklight a UK band that have released a total of eighteen number one albums, eighteen number one singles, and ten number one DVDs worldwide, making them one of the world's best-selling music artists. The band have sold over 150 million albums, with some estimates in excess of 300 million albums worldwide, including 32.5 million in the United States alone as of 2004.

They are one of the most bootlegged bands ever, according to Nick Weymouth, who manages the band's official website. A 2001 survey discovered the existence of 12,225 websites dedicated to their bootlegs, the highest number for any band.
They were one of the biggest stadium rock bands in the world, and their performance at 1985's Live Aid is regarded as one of the greatest in rock history. Sadly their colourful singer died of AIDS after his exuberant lifestyle caught up with him in 1991.

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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 was is the eleventh studio album by the band released on 27 February 1984. A partial return to their rock roots, although with a much lighter approach, the record has also the heaviest electronics amongst all group albums. In comparison, rock was mostly absent on their previous effort, which gave room to dance and funk with the use of analogue synths and brass. the singer praised the album saying it helped re-establish the band, especially in Europe. The album is estimated to have sold 12 million copies worldwide. in the UK it went triple platinum and remained in the album chart for two years, in fact going platinum all over the world except in the US. Reason - the Americans didn't want to break free and guys in drag was just too much to bare for those carefully indoctrinated with violence teen souls. This is the latest remaster with bonus disc.

Goldy Rhox 70   (flac 420mb)

Goldy Rhox 70  ( ogg 145mb)


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elsewhere

Goldy Rhox 32   (126mb)

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RhoDeo 1218 Aetix

Hello, Aetix again, 4AD launched more esoteric takes onto the eighties, a quick hop over the channel finds us enchanted by a Dutch band whose profile has always been higher beyond their countries border. Being labelled as Cure light was a typical qualification of a lazy incestues press, shortsighted (lacking an aural metaphor) I suspect the lack of Goth at the time made it difficult. Xymox turned out to become one of it's trendsetters...

Coming up their Aetix output

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Clan of Xymox, also known as Xymox at various parts of their career, are a darkwave/gothic rock band founded in Nijmegen, the Netherlands, in 1983. The Subsequent Pleasures EP was self-published under the name Xymox, at that time consisting of Moorings on guitar and vocals, his girlfriend Anke Wolbert on bass and vocals, and Pieter Nooten on keyboards. A chance meeting with Brendan Perry and Lisa Gerrard of Dead Can Dance led to an invitation to support that band on a UK tour, and then a recording contract with their record label, 4AD Records.

Their debut album, self-titled under their newly adopted name Clan of Xymox, was released by 4AD in 1985, and drew comparisons to Joy Division and The Cure. 1986 saw their second album, Medusa (considered by many fans to be their finest work), continuing in this dark vein. They released two albums and a number of singles on 4AD before shortening their name to Xymox in 1988 and signing to a subsidiary of Polygram. Their releases as Xymox were in a more synthpop/dance music vein.
Twist of Shadows was the band's most commercially successful album, selling 300,000 copies. With 1991's follow-up Phoenix (with Nooten back on board)  Xymox was making an effort to escape its obscurity and be more commercial. There were those who labeled Phoenix as the work of a band that had sold out, but while eerie, high-tech tunes such as "Smile Like Heaven," "Written in the Stars" and "Mark the Days" are slicker and more pop-minded than Xymox's mid-1980s work, they're far from bad. The gloominess and overtly European qualities that had characterized early Xymox remained, though Xymox was definitely thinking in terms of the pop-rock audienceless alas it wasnt as successful as it predecessor, and when their recordlabels executive nitwit declined to release the next album, Metamorphosis, Nooten and Wolbert left the band for good.

With only Ronny Moorings remaining they moved to an independant releasing Metamorphosis and Headclouds The Xymox era ended in 1997 when, in the midst of a revival in the Gothic scene, Ronny Moorings made the decision to restart Clan of Xymox . In 1999, they signed with the Metropolis label and released Creatures, which was followed a year later by the two-CD Live. The 2001 album Notes from the Underground was reinterpreted on the double remix CD Remixes from the Underground, which landed in 2002. Farewell from 2003 was a themed album with bittersweet goodbyes to lovers and friends the main topics. The 2004 collection The Best of Clan of Xymox found latter-day highlights next to re-recordings of the band's early material. Two years later, the album Breaking Point was announced by the single "Weak in My Knees." Early 2009 Clan of Xymox switched labels, going to Trisol Records in Europe but staying on Metropolis in the USA and Gravitator in Russia. In July 2009 the single "Emily" was released trumpeting a return to the layered sound of their 4AD years comeback with "In Love We Trust". 2 Years later "Darkest Hour" saw the light.

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Fans of this seminal art-goth band will leap at the chance to add this rare and early material to their collections. The first five tracks were recorded in 1984 and released only in a limited run of 500 vinyl copies; the band later essentially suppressed distribution of the EP, and it's easy to understand why: As the band themselves admitted later, their skills were lacking at the time and the whole thing was mixed on a portable 4 track recorder. The tracks are the 84 rerecorded versions after Pieter Nooten had joined Xymox. With "Muscoviet Mosquito" there are signs of better things to come, and "Abysmal Thoughts" actually features a fairly interesting (if repetitive) chord progression. The last six tracks are demos the band made for the 4AD label during the same period, and they already show a marked improvement: someone in the band figured out how to use the drum machine, the songs have more than two chords, and although the singing is still lacking at least it's now farther back in the mix. Recommended primarily to diehard fans and to those who are mainly familiar with the band's later work and are interested in seeing how far they've come.

(Clan Of) Xymox – Subsequent Pleasures ( flac 369mb)

Subsequent Pleasures
01 Going Round 4:38
02 Muscoviet Musquito 4:32
03 Strange 9 To 9 4:33
04 Call It Weird 3:50
05 Abysmal Thoughts 4:33
Clan Of Xymox Demo's
06 A Day 6:00
07 Stumble And Fall 6:12
08 No Words 5:31
09 Stranger 5:45
10 Equal Ways 6:03
11 7th Time 6:54

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John Peel Sessions displays Clan of Xymox at its most raw, sounding more like the band did on Subsequent Pleasures than it did on the first album. Still benefiting from Anka Wolbert and Peter Nooten's contributions, Xymox sounds more driven and more like an actual band than on the lush John Fryer-produced 4ad albums. Wolbert's "Seventh Time" has more of a menacing thunk and Nooten's "After the Call" is so well-written it actually benefits from the scant production. Considering the absence of a live album from this era, John Peel Sessions presents Xymox as an actual band before being This Mortal Coil-ed into the heavens.

Clan Of Xymox – The John Peel Sessions ( flac 233mb)

01 Stranger 5:29
02 Muscoviet Mosquito 3:59
03 Seventh Time 4:44
04 After The Call 7:19
05 Agonised By Love 5:02
06 Mesmerised 6:14

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Medusa is Clan of Xymox's second release on the 4AD label, the album was mixed and produced by John Fryer at Blackwing Studios, London. John Fryer had produced Clan of Xymox's EPs A Day, and Stranger, taken from their debut album. Fryer was known for his work with seminal bands on the 4AD like the Cocteau Twins.

Medusa was seen as probably the group's career high point. Sounds Magazine described Medusa as an "overriding achievement... every track sounds like the finale to a brooding epic overture" "Sleek, efficient, even dramatic, Xymox understand the value of a direct understatement… a bright flash of hope in these blackout days" (Melody Maker).

Clan Of Xymox - Medusa (flac 336mb)

01 Theme I 2:54
02 Medusa 5:53
03 Michelle 2:59
04 Theme II 1:43
05 Louise 5:17
06 Lorretine 3:33
07 Agonised By Love 5:18
08 Masquerade 3:54
09 After The Call 5:55
10 Back Door 4:52

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Twist of Shadows is Xymox's third full-length album, released in 1989 on Wing Records (PolyGram) and produced by Peter Walsh (producer of Simple Minds's New Gold Dream album). Gothic vocals surrounded by synthesizer atmospherics will greet you upon entering the world of Xymox. While Twist of Shadows isn't exactly industrial in its sound, the bpm's run mid-tempo and sound totally danceable in a New Order-ish way.

The album captured Billboard's 'Hot Shot Debut" honor and charted in the United States at #165[2] on the Billboard 200. Twist of Shadows launched several charting singles in the United States. In March 1989 "Obsession" shot up to #16 on Billboard's Alternative Songs chart. The second single, "Blind Hearts", reached #9 on the Dance Music/Club Play chart. The third single taken from the album, "Imagination" (with Anka Wolbert on lead vocals) reached #85[6] on Billboard Hot 100 and remains Xymox's biggest commercial success to date.

Xymox - Twist Of Shadows (flac 274mb)

01 Evelyn 4:02
02 Obsession 5:49
03 Craving 5:41
04 Blind Hearts 3:47
05 The River 2:49
06 A Million Things 3:52
07 Tonight 5:19
08 Imagination 5:04
09 In A City 4:56
10 Clementina 5:09

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elsewhere

Clan Of Xymox - Id '85 ( flac 352mb)

Xymox - Phoenix ( 91 flac 385mb)

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RhoDeo 1218 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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The Aggrovators were a dub/reggae backing band in the 1970s & 1980s, and one of the main session bands of producer, Bunny Lee. The line-up varied, with Lee using the name for whichever set of musicians he was using at any time.The band's name derived from the record shop that Lee had run in the late 1960s, Agro Sounds. Alumni of the band included many musicians who later went to make names for themselves in reggae music. Legends such as Jackie Mittoo, Sly and Robbie, Tommy McCook, and Aston Barrett were all involved with the band at one point or another. Other regular members included Carlton "Santa" Davis, Earl "Chinna" Smith, Ansel Collins, Bernard "Touter" Harvey, Tony Chin, Bobby Ellis, and Vin Gordon. The band recorded Lee's most popular output from the 1970s, with the instrumental B-sides of Lee's single releases on the Jackpot and Justice labels generally credited to The Aggrovators and mixed by King Tubby

The Aggrovators - Rasta Dub 76 (flac 111mb)

01 None Shall Escape Dub 3:28
02 Fatty Boom Boom Dub 2:26
03 Dread Locks Bald Head Dub 2:48
04 Two Face Rasta Dub 5:23
05 Tradition Dub 3:22
06 Take My Hand Dub 3:28
07 Hold On Dub 3:13
08 Ja Ja In De Dub 2:59
09 Ites Gold Green Dub 3:11
10 No Woman No Cry Dub 3:08
11 Small Axe Dub 3:25
12 If You Should Loose Me Dub 2:21

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Winston Holness, better known as Niney the Observer (born George Boswell, 1951, gained his nickname "Niney" after losing a thumb in a workshop accident.In the latter half of the 1960s he worked as an engineer at KG records, where he began producing. His first release was his own composition "Come on Baby". He moved on to work with Bunny Lee in 1967, then for Lynford Anderson's studio, then working for Joe Gibbs as chief sound engineer, replacing his friend Lee "Scratch" Perry. While working for Gibbs he produced Dennis Alcapone and Lizzy's "Mr. Brown", and played a major role in launching the career of Dennis Brown.After leaving Gibbs' setup, his first major success as a producer was "Blood & Fire" in December 1970, initially released in a pressing of 200 on his Destroyer label, but reissued the following year on his Observer label, and going on to sell over 30,000 copies in Jamaica. Inspired by Perry's nickname of "The Upsetter", Holness adopted "The Observer", using the name for his new Observer label, and the name of his house band, The Observers (actually the Soul Syndicate

In the early 1970s, Holness became one of Jamaica's most sought after producers, with the likes of Dennis Brown, Delroy Wilson, The Heptones, Johnny Clarke, Slim Smith, Jacob Miller, Junior Delgado, and Freddie McGregor all using his services.He also continued to record himself, on collaborations with Dennis Alcapone, Max Romeo, and Lee Perry. By the mid-1970s, he was also working with Ken Boothe, Junior Byles, Gregory Isaacs, Horace Andy, I-Roy, and Dillinger. The late 1970s saw him still very active as a producer, but his output in the early 1980s was significantly less after relocating to France. He re-emerged in 1982 with the Ital Dub Observer Style album, and returned to Kingston in 1983, taking on the role of house producer for the Hitbound label at Channel One Studios. In this capacity he was one of the first to work with Beenie Man, and also produced Third World and Sugar Minott. In the mid-1980s, he relocated to New York, returning to Kingston again in 1988, and working with Yami Bolo, Frankie Paul, Andrew Tosh, and Junior Byles. He began an association with Heartbeat Records, working on reissues of much of his back catalogue, as well as new recordings. He continued to produce new material through the 1990s.

Niney The Observer - Sledgehammer Dub Observer Style (flac 167mb)

01 Dub Long Rastafari 3:26
02 Travelling Version 3:48
03 You're No Dub Baby 2:51
04 Burning Dub 3:39
05 Kingsgate Version 2:25
06 Dub Now 3:27
07 God Bless My Dub 3:37
08 Everyones Dubbing 3:14
09 Rich And Poor Dub 3:05
10 Tribulation Dub 3:11

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The Techniques were formed by Winston Riley in 1962 while still at school, with the initial line-up also featuring Slim Smith, Franklyn White, and Frederick Waite. They regularly performed at Edward Seaga's Chocomo Lawn club, where they were spotted by talent scouts from Columbia Records, who released their first single, "No One", released only in the United Kingdom in 1963. Their Jamaican debut came in 1965 when they were introduced to producer Duke Reid by singer Stranger Cole, with Reid-produced singles such as "Don't Leave Me", "When You Are Wrong", "and "Little Did You Know" appearing on labels such as Island Records, and Reid's own Duke and Treasure Isle labels. Smith left the group in 1966, to pursue a solo career at Studio One, and later forming The Uniques with White. He was replaced by Pat Kelly. The shift from ska to rocksteady suited The Techniques, with a string of hits in 1967 and 1968 following, including "You Don't Care", "Queen Majesty", "I Wish It Would Rain", "It's You I Love", and "Love Is Not a Gamble".

The group left Treasure Isle in 1968, with Riley setting up his own 'Techniques' record label, releasing further sides by the group and also his productions of other artists. The group's line up changed regularly with Riley the only constant member. Other members in the late 1960s included Lloyd Parks, Bruce Ruffin, and Dave Barker. Kelly returned for a time, recording lead vocals on "What Am I To Do?".

Riley became one of the most successful Jamaican producers of the 1980s. Kelly and Ruffin enjoyed successful solo careers. Parks worked as a prolific session musician as well as working as a solo artist. Barker found fame as part of the duo Dave & Ansell Collins. Waite emigrated to the UK where he managed Musical Youth, the band including his sons as members. The Techniques were briefly revived in 1982, with ex-Paragon Tyrone Evans on lead vocals, releasing a re-recorded "Love Is a Gamble", and a new album.

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This is a compilation of stuff from the label that shared this group's name. After Slim Smith left the group, Winston Riley wandered from the studio of Treasure Isle and set up his own label to record the music he was interested in, the groove that held Jamaica captive through the '70s, the heavy-lidded thunder of dub. Such was his rep that many of the island's heavyweights came to play; Sly & Robbie provide the rhythmic heart and players like Jackie Mittoo and Tommy McCook left their thumbprints all over this disc. These are great riffs from the early days of dub, a tad lighter in concept than what oozed from Tubby, a bit gentler in tone than what Scratch would offer later.

The Techniques - Techniques In Dub (flac 316mb)

1 Born To Love 3:16
2 Purify 3:20
3 Gambling 4:10
4 In The Mood 2:23
5 I'll Be Waiting 2:51
6 Man Of My World 2:11
7 Find A Fool 2:45
8 Fish Mouth 2:18
9 Marry Me 2:11
10 Stalag 3:05
11 Stalag 18 3:18
12 Ghetto 3:16
13 Warboat 2:18
14 Once In My Life 2:35
15 Watch Out 2:49
16 Black Man 3:30
17 Run For Your Life 2:33
18 Who Is The One 2:51
19 Top Secret 2:51
20 Ready Or Not 3:17

The Techniques - Techniques In Dub (ogg 115mb)

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RhoDeo 1218 Spaced

Hello, hope you'll had a good weekend. As the soccer seasons in Europe come to a conclusion it's remarkable that most haven't been able to crown a champion yet, and at the other end numerous clubs still fight for survival with just a few games to play. It goes to show that things have evened out. That said the two competitions with the highest debts, UK and Spain find two clubs with the biggest 'credit' lonely at the top..mondaynight the two UK ones from Manchester will meet to decide who's got the biggest... millions will watch and dread the outcome hahaha

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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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After getting dumped by her boyfriend Richard, Daisy decides to cheer herself up by getting a dog. Having suffered a fear of dogs since childhood, Tim is not pleased by this. As Daisy bonds with an interesting little dog she calls Colin, Tim and Mike go paintballing, and encounter Tim's arch-nemesis, Duane Benzie, the man who stole Tim's girlfriend.....


Spaced 104 ( avi 191mb)

04 Battles 24:10

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earlier

Spaced 101 ( avi 191mb)

Spaced 102 ( avi 191mb)

Spaced 103 ( avi 201mb)

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