Sundaze 1306

Hello, as the North-East of the Americas is remembered once more of global warming and that it means a couple of extra feet of snow with an extra windchill factor and not shorts weather all year around. That said I do find it baffling that Americans persist in having their electric infrastructure above ground, time and again people are blacked out when simply laying the cabling underground would solve that problem, yes it's more expensive short term, but safer and cheaper in the long term. Then again maybe it's nostalgia, not wanting to loose that third world look.

Today's artist won't have that problem as he's all solar energy, good thing those London fog days are over. He's got two faces an acid-trance side but a fantastic chill out side as well, here to ...N'joy..

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Solar Quest is a one-man ambient and acid trance music project founded in 1993 by George Saunders and its aim is to combine renewable solar energy with electronic music. George Fleming-Saunders was born as Seoras Saunders (Seoras is the Scottish Gaelic form of George) in Scottish Redlands and grew up in the county of Stirlingshire.

Fleming-Saunders began his career under the pseudonym Solar Quest in 1993, when he got interested in acid house in the beginning of the 1990’s. The track Acid Air Raid, released in 1993, is one of the classics of acid techno. In 1993 and 1994 he had at least nine releases, of which two were full length albums (the other under alias Entropica). Saunders has had cooperation with e.g. British DJ Choci, under whose record label Choci’s Chewns most of Solar Quest’s early releases were published. The British singer Kirsty Hawkshaw’s vocals can be heard on many of them. He is credited as introducing Phil Ross and Chris Deckker at a 1993 trance party in North London's Dome Club which was being held to raise legal fees for a friend languishing in an Indian jail. Between 1993 and 1994, published Fleming Saunders nine singles and maxis and two albums . An album from this period called Sonic Bloom Entropica Prolifica but he published under his pseudonym alternative Entropica .

Solar Quest made regular performances at the Source parties and contributed tracks to three Return to the Source compilation albums - Deep Trance and Ritual Beats (1995) and The Chakra Journey (1996) as well as Ambient Meditations 1 (1998).For the annual Glastonbury Performing Arts Festival Solar Quest has often produced a solar energy powered ambient concert tent and a lot of its music has been recorded and mixed in a studio powered by solar energy.

As a musical instrument he uses, among other things one analog synthesizer -type TB-303 . His music has been predominantly from the label 's releases Choci Chewns (1993-1995), SSR Records (1993-1995) and Entropica (since 1998). Fleming-Saunders alternative pseudonyms: Benkei and Entropica . Variations and alternative spellings of the artist name Solar Quest are The Solar Questionmark? , The Solar Questionmark! , Ed Solar Quest , Solaquest , Solar Quest and Solar Quest .

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Solar Quest's "Orgship" is one of those desert island discs that you grab when all that matters to you is your relaxation and you're peacefullness. The ease and depth of "Belle of Atlantis" nicely brings you to that place. Imagine yourself laying in a boat (with this kind of depth it would have to be an ocean), you are looking towards the heavens and you are floating about to it's dream like flowing synth that sounds as if it's brushing the skies while the percussion rings out like shooting stars. Adding elements like thunder, soft waves, wonderful analog percussion and pads, you quickly see why this is one the of best island discs off all time. Then to go on saying this isn't even my favorite song on the disk tells you what a classic this album is. "Save the Whale" nearly brings me to tears everytime i hear the first 20 seconds and to know what is about to come in the next 8 minutes. It's one of the best tracks i have ever heard and I'm not over-exagerating. The rest of the album has it's moments but whenever I put on this cd i end up playing "Save the Whale" for hours and i never get to appeciate the other songs. I guess that tells you in a nutshell how much i love this track. Thank you George Saunders!

Solar Quest - Orgship (flac  276mb)

01 The Belle Of Atlantis 11:28
02 Singtree 6:20
03 Awaken Kundalini 6:42
04 Liquid Sky 8:50
05 The Open Path 9:02
06 Save The Whale 8:14
07 Requiem For A Lily 3:55
08 Flying Spirals 17:11

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"To be used with caution...
These are not sounds...
They are seeds...
Plant one in ambient space
and marvel at its growth.

Generated by Solar Quest"

Entropica - Sonic Bloom Entropica Prolifica (flac 160mb)

01 Alignement 8:52
02 Immersion 10:06
03 Leviathan Mind 10:38
04 Sea Of Tranquility 9:48
05 Solar Wind 8:05
06 Entropica 9:56
07 Realignement 9:27

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This is warm, subtle and smooth chillout, the music that is produced is of the 'organic' sound with plenty of atmospheric natural noising, thoroughly chilled and with a mixture of beat and beatless tracks, a fabulous ambient journey. There is not really much point dwelling on the tracks one at a time as they are soft-mixed together, and it is the overall effect that is so pleasant. Certain tracks do stand out however - notably Anchors in the Mist which has a divine flute swirling and wafting the ears downstream. Absolutely blissful. The flute is back in Switch off your Mind - this time with a snare beat and plenty of weirdness. In fact the general intensity of the Orgisms cd builds as the tracks go on with more beat structure until the wonderful Ceremonial which just launches the imagination onto another plane. This is the proper length for a chillout track in my mind, and you may still be sorry when the album comes to a stop.

Solar Quest - Orgisms (flac 395mb)

01 Cherchez La Lumiere 6:06
02 Dubblet 6:48
03 Lucid Beauty 7:22
04 Levitation 10:03
05 Walking Tree 5:53
06 Anchors In The Mist 8:39
07 The Groove Merchant 4:57
08 Switch Off Your Mind 7:20
09 Misanthropy 4:00
10 Seven Veils 2:29
11 Ceremonial 14:46

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RhoDeo 1305 Beats

Hello, the beats go on....so as the last two weeks were all about The Black Dog it stands to reason to direct some attention to the other part of the Productions, Plaid. They have'nt gained a mainstream following. Their music, however, has not failed to garner positive reviews, on average. While IDM, and techno in general, they have experienced a fair amount of popularity at times, they have worked largely within the confines of the low mainstream appeal of their style .. .... NJoy

Note, to those frustrated by MEGA links please check again, view the page comments or induce what you see on the updated pages.
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Although Plaid preexisted the association, the duo's Ed Handley and Andy Turner spent most of their early recording years with Ken Downie as the dancefloor-confounding Black Dog Productions. Meshing well with Downie's vision of heavily hybridized post-techno and obscurantist thematics, the pair brought several nascent Plaid tracks to the Black Dog table on the group's debut, Bytes, a collection of tracks recorded by various iterations of the three members. The group recorded several albums and EPs throughout the early and mid-'90s, helping to forge a style of dance music one step removed from the 12" considerations of the average faceless techno act; Handley and Turner's mutual love for early hip-hop contributed BDP's more bawdy, street-level grit.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp's similarly located Reflective imprint.) Both of Plaid's first two full-lengths, 1998's Not for Threes and the following year's Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. The proper third album, Double Figure, followed in spring 2001,

Aside from their own material, Plaid have done extensive remix work for many other artists, including Red Snapper, Björk, Goldfrapp, and The Irresistible Force,  the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo's fourth proper LP, Spokes. Plaid were quiet on the recording front for several years,  Plaid collaborated with video artist Bob Jaroc for their live performances and on the 5.1 audio/visual project entitled Greedy Baby. The project was completed on 20 July 2005, and was first shown at the Queen Elizabeth Hall in the South Bank Centre, and subsequently at the BFI Imax cinema in Waterloo, London. Greedy Baby was released on DVD from Warp Records on 26 June 2006.

Furthermore in 2006, Plaid composed and performed the original score to Michael Arias' anime film Tekkonkinkreet, and then went on to rejoin Arias for his second feature, Heaven's Door, as well as two of his subsequent short films. In 2011, they returned with Scintilli released on Warp, where their orientation on filmscores is still felt.  .

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This was Plaid's first album. All tracks on this album are contained on the first disc of the compilation Trainer released in 2000. As far as Mbuki Mvuki goes, if there was a record to enter a World Cup of unique and funky as hell electronic records it would win all of the games without conceding a goal and it’s eight tracks crowned players of the tournament. This isn’t such a bold statement when the record’s title in the African language of Bantu means “Dance till your clothes fall off”.

The music on offer is hard to pigeonhole and though the tracks are about 120-125 bpm it is neither a house, ambient or breaks album. Unlike a lot of Plaid’s later releases the music is very accessible and the majority of the tracks are a fascinating brew of deep but playful techno, latin/jazz as well as pitch shifted hip-hop and r&b samples. Needless to say these handcrafted sounds mix together creating colours that you couldn’t imagine seeing with your eyes.

Plaid - Mbuki Mvuki ( flac 249mb)

01 Anything 5:04
02 Slice Of Cheese 5:50
03 Link 6:04
04 Perplex 4:05
05 Summit 4:37
06 Bouncing Checks 5:33
07 Yak 5:53
08 Scoobs In Columbia 5:22

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Plaid's second full-length release, Not for Threes, is separated from its predecessor by one of the most celebrated side trips in electronic listening music's brief but broad history. As members of the Black Dog, Ed Handley and Andy Turner (together with Ken Downie) helped set the standard for experimental techno, bringing a daring range of influences together in a space consistently characterized by quality and innovation. As such, great things were expected of Threes, and with a couple exceptions, the pair delivers. Although treading far closer than any Black Dog material ever did to the sort of pop electronica of Plaid's interim work with Björk (who appears here on the gorgeous "Lilith"), Threes is ambitious on different terms, moving from the abused and distorted breaks of "Extork" and "Prague Radio" to a balanced radio-friendliness that never sacrifices ingenuity for ease. A handful of tracks feature vocals throughout, and while the results had the predictable effect of irritating BD purists, they actually work remarkably well (partly because the tracks contain absolutely no trace of compositional compromise). A few of the tracks ("Headspin," "Abla Eedio," the too-brief "Seph") sit easily beside the very best Black Dog.

Plaid - Not For The Trees ( flac 411mb)

01 Abla Eedio 7:56
02 Kortisin 5:23
03 Headspin 5:34
04 Myopia (Voc.Mara) 4:32
05 Lat 0:46
06 Extork (Voc.Nicolette) 4:11
07 Prague Radio 4:46
08 Fer 4:35
09 Ladyburst (Voc.Mara) 4:19
10 Rakimou (Voc.Mara) 6:02
11 Ol 4:55
12 Seph 1:36
13 Lilith (Voc.Björk) 4:38
14 Forever 1:16
15 Getting 2:55
16 Milh 5:24

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On the surface, Plaid's second full-length charts similar territory as their debut, with the same intriguing mix of old-school flow and electronic programming clout, plus an odd tendency to play with certain synth presets -- steel drums, for instance -- that would make most electronica technicians cringe. True, there's a bit more hip-hop flavor on this one, like the faux turntablism on the excellent tracks "Shackbu" and "Little People." And the novelty angle Plaid have occasionally nodded to in the past is out on two tracks especially: the vocoderized bossa-nova number "New Bass Hippo" and "Dang Spot," the kind of popcorn electronica that harks back to Perrey & Kingsley. When it comes down to it, the technical differences between Rest Proof Clockwork and Plaid's debut Not for Threes are minimal. Still, there's a certain soul to this album that displays the maturing ex-breakdancers progressing even after more than ten years of recording. In fact, two of the most beautiful tracks of Plaid's long career are right here. The first is "Buddy," a yearning downtempo track with echoing effects; the second is "Dead Sea," a beatless piece of glorious synth-strings which evoke past civilization just as achingly as "The Crete That Crete Made" (from Temple of Transparent Balls, the 1993 album by Handley and Turner's former concern, the Black Dog). So, in sum, Rest Proof Clockwork is yet another production masterpiece to file on the shelf with the rest of Plaid's work. The element that puts them far, far ahead of every other beatminer out there is a growing sense of spirit that lets the machines do the singing.

Plaid - Rest Proof Clockwork (flac 389mb)

01 Shackbu 5:26
02 Ralome 4:29
03 Little People 4:06
04 3 Recurring 0:47
05 Buddy 6:35
06 Dead Sea 4:20
07 Gel Lab 4:14
08 Tearisci 0:56
09 Dang Spot 3:57
10 Pino Pomo 5:08
11 Last Remembered Thing 4:18
12 Lambs Eye 1:20
13 New Bass Hippo 5:43
14 Churn Maiden 1:12
15 Air Locked 4:16
15 (hidden 3:42) Face Me (Voc.Alison Goldfrapp) 4:17

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Previously (04/12/08)  new re-rip

Plaid - Double Figure (01 * 174mb)
Plaid Remixes - Parts In The Post I (03 * 145mb)
Plaid Remixes - Parts In The Post II (03 * 137mb)

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RhoDeo 1305 Goldy Rhox 94

Hello, today the 48th post of GoldyRhox, classic pop rock, in the darklight a UK band, are an English rock band formed in 1964 by Roger Daltrey (lead vocals, guitar, harmonica), Pete Townshend (guitar, vocals, keyboards), John Entwistle (bass, brass, vocals) and Keith Moon (drums, vocals). They became known for energetic live performances which often included instrument destruction.They have sold about 100 million records, and have charted 27 top forty singles in the United Kingdom and United States, as well as 17 top ten albums, with 18 Gold, 12 Platinum and 5 Multi-Platinum album awards in the United States alone

They were inducted into the Rock and Roll Hall of Fame in 1990, their first year of eligibility; the display describes them as "Prime contenders, in the minds of many, for the title of World's Greatest Rock Band. They have seven albums on Rolling Stone's 500 Greatest Albums of All Time

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

Today's mystery album is the is the sixth studio album by the band, released in October 1973. Their second completed double album rock opera. The story is about a boy named Jimmy, who struggles to establish his own identity, with his family and others.[44] His story is set against clashes between Mods and Rockers in the early 1960s in the UK, particularly at Brighton. The album became their highest charting cross-Atlantic success, peaking at No. 2 in the UK and US.
The name is a variation on the popular usage of the medical diagnostic term schizophrenia as dissociative identity disorder, to reflect the four distinct personalities of Jimmy, the opera's protagonist. At the same time, the title is a play on the term quadraphonic sound, then a recent invention. In 2000 Q magazine placed it at #56 in its list of the 100 Greatest British Albums Ever. In 2001, the TV network VH1 named it the 86th greatest album of all time. In 2003, the album was ranked #266 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In 1979 the film from it was released, with three additional songs written by Townshend. The film was an accurate visual interpretation of Townshend's vision of Jimmy and his surroundings, and included the casting of a young Sting as the Ace Face. In the film, the music was largely relegated to the background, and was not performed by the cast as in a rock opera. On 1 November 2012, the band started a 37 date U.S. tour where the double album would be played in its entirety.


Goldy Rhox 94   (flac 515mb)

Goldy Rhox 94   (ogg 190mb)

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previously

Goldy Rhox 50   (flac 250mb) (re-up)

Goldy Rhox 50   (ogg 104mb)


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RhoDeo 1305 Aetix

Hello,  today's artists really worked for the money before succes came, they enabled me my first big DJ gig aswell as there were more than 1,000 people in the hall where the club i worked for had organized their concert. It was a great party night, they were already rather popular but when the news broke that just days before the gig they went no 1 in the States, it became clear that this would be a unique event. Not withstanding some good rappore with the band, a second meeting in Belgium never materialized as Dave got some hearttrouble in Berlin (press stress?) which saw the remainder of that tour cancelled. Oh well

They were one of the most successful duos to emerge in the early '80s selling some 75 million albums. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, they continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Here in the remastered expanded editions.....  N'Joy

Note the MEGA key is below the tracklisting
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The origins of Eurythmics lay in the Tourists, a British post-punk band of the late '70s formed by Lennox and Stewart. The pair met in London while she was studying at the Royal Academy of Music. Stewart had recently broken up his folk-rock group Longdancer and was writing songs with guitarist Pete Coombes. Immediately after meeting, Stewart and Lennox became lovers and musical partners, forming a group called Catch with Coombes, which quickly evolved into the Tourists in 1979. Though the band only was together for two years, the Tourists released three albums -- The Tourists, Reality Effect, and Luminous Basement -- which all were moderate hits in England; two of their singles, "I Only Want to Be With You" and "So Good to Be Back Home Again," became Top Ten hits.

Lennox and Stewart felt the fixed band line-up was an inadequate vehicle to explore their experimental creative leanings and decided their next project should be much more flexible and free from artistic compromise. They were interested in creating pop music, but wanted freedom to experiment with electronics and the avant-garde. Calling themselves Eurythmics (after the pedagogical exercise system that Lennox had encountered as a child), they decided to keep themselves as the only permanent members and songwriters, and involve others in the collaboration "on the basis of mutual compatibility and availability."

They recorded their first album in Cologne with Conny Plank (who had produced the later Tourists sessions). This resulted in the album In the Garden, released in October 1981. The album mixed psychedelic, krautrock and electropop influences, and featured contributions from Holger Czukay and Jaki Liebezeit (Can), drummer Clem Burke (Blondie), Robert Görl ( D.A.F.), and flautist Tim Wheater. A couple of the songs were co-written by guitarist Roger Pomphrey (now a TV director). The album received an indifferent critical reception and was not a commercial success (though the debut single "Never Gonna Cry Again" made the UK charts

During 1982 the duo retreated to Chalk Farm in London, and used a bank loan to establish a small 8-track studio above a picture framing factory, giving them freedom to record without having to pay expensive studio fees. They began to employ much more electronics in their music, collaborating with Raynard Faulkner and Adam Williams, recording many tracks in the studio and playing live using various line-up permutations. However, the three new singles they released that year ("This Is the House", "The Walk" and "Love Is a Stranger") all performed badly on initial release in the UK. Although their mode of operation had given them the creative freedom they desired, commercial success was still eluding them, and the responsibility of running so many of their affairs personally took its toll on both of them.

Eurythmics' commercial breakthrough came with their second album, Sweet Dreams (Are Made of This), released in January 1983. The title track was released as a single in the spring, and it rocketed to number two on the U.K. charts; shortly afterward, it climbed to number one on the American charts. "Sweet Dreams (Are Made of This)" was helped enormously by its stylish, androgynous video, which received heavy airplay from MTV, who had only recently become a major influence within the music industry. After "Sweet Dreams," Eurythmics re-released "Love Is a Stranger" and it reached the U.K. Top Ten (number 23 U.S.), beginning a string of hit singles that ran for a year.

Touch, the duo's third album, was released toward the end of 1983 and continued their success throughout 1984, spawning the hits "Who's That Girl?" (number three, U.K.; number 21, U.S.), "Right by Your Side" (number ten, U.K.; number 29, U.S.), and "Here Comes the Rain Again" (number eight, U.K.; number four U.S.). During the course of 1984, Annie Lennox's theatrical gender-bending was becoming increasingly notorious, which helped their record sales. At the end of the year, they released the soundtrack for the film adaptation of 1984, which received poor reviews and sales, despite the Top Ten U.K. placing of its single, "Sexcrime (Nineteen Eighty-Four)."

The duo's 4th album, Be Yourself Tonight released may 85, was produced in a week in Paris. It showcased much more of a "band style" and a centred sound (with an R&B influence), with real drums, brass, and much more guitar from Stewart. Almost a dozen other musicians were enlisted, including members of Tom Petty's Heartbreakers, guest harmonica from Stevie Wonder, bass guitar from Dean Garcia, string arrangements by Michael Kamen, and Lennox singing duets with Aretha Franklin and Elvis Costello. It continued the duo's transatlantic chart domination in 1985, and contained four hit singles: "Would I Lie to You?" was a U.S. Billboard top five hit and Australian number one, while "There Must Be an Angel (Playing with My Heart)" (featuring Wonder's harmonica contribution) became their first and only UK number one single.[3] "It's Alright (Baby's Coming Back)" and the feministic Franklin duet (originally intended for Tina Turner) "Sisters Are Doin' It for Themselves" also rode high in the charts.


Revenge, released the following year, followed the R&B and soul inclinations of Be Yourself Tonight to a harder-rocking conclusion. Though the album peaked at number 12 in the U.S. and spawned the number 14 hit "Missionary Man," its sales were noticeably weaker than its predecessor. In the U.K., the group was slightly more popular -- "Thorn in My Side" reached the Top Ten -- but it was evident that the group was past the point of its peak popularity.  As appropriate for a group passing their commercial pinnacle, Eurythmics began branching out into other areas. During 1985 and 1986, Dave Stewart produced a number of superstars, including Bob Dylan, Daryl Hall, Tom Petty, and Mick Jagger. Annie Lennox began a short-lived acting career, appearing in Revolution. Eurythmics reconvened in 1987 to release Savage, which was greeted with mixed reviews and weak sales. That same year, Stewart married Siobhan Fahey, a former member of Bananarama who had also appeared in the "Who's That Girl" video; she would later be a member of Shakespear's Sister, which was produced by Stewart. In 1988, Lennox had a hit duet with Al Green with "Put a Little Love in Your Heart," taken from the Scrooged soundtrack.

The following year, Eurythmics released We Too Are One, which sold well in Britain, reaching number one, but poorly in America, despite "Don't Ask Me Why" becoming their first Top 40 hit since "Missionary Man." Furthermore, the reviews were decidedly mixed on the album.
Eurythmics quietly went on hiatus as of 1990, releasing Greatest Hits the following year. Lennox began a solo career in 1992, releasing Diva, an album that would eventually sell over two million copies. Stewart continued producing records and writing film soundtracks, as well as forming a band called Spiritual Cowboys. In 1995, he officially launched a solo career with the release of Greetings from the Gutter. Lennox and Stewart re-formed Eurythmics in 1999, releasing Peace, their first new studio album in a decade.



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Eurythmics' debut album, In the Garden, is the missing link between the work of the Tourists, who included both Dave Stewart and Annie Lennox, and 1983's commercial breakthrough, Sweet Dreams (Are Made of This). Co-produced by Kraftwerk producer Conny Plank at his studio in Cologne, Germany, it has some of the distant, mechanistic feel of the European electronic music movement, but less of the pop sensibility of later Eurythmics. The chief difference is in Lennox's singing; even when the musical bed is appealing, Lennox floats ethereally over it, and the listener doesn't focus on her. As a result, In the Garden wasn't much of a success, though when Eurythmics streamlined their sound and emphasized Lennox's dominating voice on subsequent releases, they found mass popularity.

Eurythmics - In The Garden (flac 400mb)

01 English Summer 4:00
02 Belinda 3:58
03 Take Me To Your Heart 3:32
04 She's Invisible Now 3:27
05 Your Time Will Come 4:30
06 Caveman Head 3:56
07 Never Gonna Cry Again 3:02
08 All The Young (People Of Today) 4:11
09 Sing - Sing 4:03
10 Revenge 4:31
Bonus Tracks
11 Le Sinestre 2:44
12 Heartbeat Heartbeat 2:02
13 Never Gonna Cry Again (Live) 4:36
14 4/4 In Leather (Live) 3:05
15 Take Me To Your Heart (Live) 4:57

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Dave Stewart, together with Robert Crash and ex-The Selecter bassist Adam Williams, produced the album in Eurythmics' own relatively primitive 8-track studio, winning awards for the quality of the end-result which belied its low-budget origins. Sweet Dreams saw the duo move away from the psychedelic, guitar-tinged band-oriented sound of their 1981 debut album In the Garden, instead focusing on raw analogue synthesizers (including the Oberheim OB1 and EDP Wasp) and drum machines (particularly the Movement Systems Drum Computer, which featured a graphic visual display of the drum patterns). Whilst the "synth pop" genre had grown in popularity in the preceding years, it was often associated with all male groups and somewhat clinical, emotionless music. Eurythmics (particularly with Lennox's vocal stylings) brought a soul music twist to the electronic sound, which proved popular with broader audiences.

This album became a commercial breakthrough for the duo on both sides of the Atlantic. The title track became particularly popular and it remains one of Eurythmics' most recognisable songs, and its music video, popular on MTV in the United States, is memorable for Annie Lennox's gender-bending imagery. In the wake of this success, the single "Love Is a Stranger", previously a flop, was re-released and became a hit as well. It too was accompanied by a striking video, which featured Lennox dressed both as a man and a woman.

Eurythmics - Sweet Dreams (Are Made Of This)   ( flac 471mb)

01 Love Is A Stranger 3:44
02 I've Got An Angel 2:45
03 Wrap It Up 3:34
04 I Could Give You (A Mirror) 3:50
05 The Walk 4:43
06 Sweet Dreams (Are Made Of This) 3:36
07 Jennifer 5:10
08 This Is The House 5:01
09 Somebody Told Me 3:29
10 This City Never Sleeps 6:41
Bonus Tracks
11 Home Is Where The Heart Is 3:01
12 Monkey Monkey 5:19
13 Baby's Gone Blue 4:17
14 Sweet Dreams (Are Made Of This) (Hot Remix) 5:19
15 Love Is A Stranger (Coldcut Remix) 7:17
16 Satellite Of Love 4:36

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On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This album scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This album is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic.

Eurythmics - Be Yourself Tonight  (flac 513mb)

01 Would I Lie To You? 4:27
02 There Must Be An Angel (Playing With My Heart) 5:21
03 I Love You Like A Ball And Chain 4:05
04 Sisters Are Doin' It For Themselves 5:56
05 Conditioned Soul 4:29
06 Adrian 4:33
07 It's Alright (Baby's Coming Back) 3:47
08 Here Comes That Sinking Feeling 5:40
09 Better To Have Lost In Love (Than Never To Have Loved At All) 5:07
Bonus Tracks:
10 Grown Up Girls 4:13
11 Tous Les Garcons Et Les Filles 3:25
12 Sisters Are Doin' It For Themselves (ET Mix) 7:48
13 Would I Lie To You? (Extended) 4:55
14 Conditioned Soul (Live) 5:07
15 Hello I Love You 2:50

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elsewhere (Rhotation 05) now in flac

Eurythmics - 1984 (For The Love Of Big Brother) (84 ^ 209mb)

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RhoDeo 1305 Roots

Hello, these past months we traversed the UK dubscene, but before all that there were a few UK bands bringing reggae to the island, obviously they found their lead in Jamaica who's first big stars came to the british shores in the mid seventies, some needed backing like Burning Spear who asked todays band to tour with him, it must have been a real honour and acknowledgement to this band that had sprouted from UK's West Indian immigrant community .  .... N'joy

Note the MEGA key is below the tracklisting

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Aswad (the name is Arabic for "black") was formed in Ladbroke Grove, West London, in 1975. Originally, the group was a quintet featuring lead vocalist/guitarist Brinsley "Dan" Forde (a native of Guyana and a onetime child actor on the BBC), drummer/vocalist Angus "Drummie Zeb" Gaye, bassist George "Ras Levi" Oban, guitarist Donald "Benjamin" Griffiths, and keyboardist Courtney Hemmings. Their sound was already rather eclectic from the beginning, mixing elements of soul, jazz, and funk with hard roots reggae, lovers rock, and dub. In 1976, Aswad became the first British reggae band to sign with a major label when they landed a deal with Island Records. Their debut single, the classic "Back to Africa," was released that year and hit number one on the U.K. reggae singles chart. Their self-titled debut album -- a collection chronicling the experiences of London's West Indian immigrant community -- followed not long after, and the group scored another hit with "Three Babylon." By this point, Aswad already had enough of a reputation that touring Jamaican stars -- Bob Marley, Burning Spear, Dennis Brown, Black Uhuru -- often hired the group as backing musicians.

Hemmings subsequently left the band and was replaced by Tony "Gad" Robinson. In 1978, Aswad moved over to the independent Grove label and issued the single "It's Not Our Wish," which was followed by their second album, the rootsier Hulet (later licensed for release by Island). Oban left the group in 1980, at which point Gad switched from keyboards to bass. Also in 1980, Forde appeared in the film Babylon, whose soundtrack featured the Aswad classic "Warrior Charge." Toward the end of the year, Aswad signed an even bigger major-label contract with CBS, and debuted with 1981's acclaimed New Chapter, a bright, soul-inflected, intricately arranged record that balanced classic and modern sounds. The singles "Love Fire" and the non-LP "Finger Gun Style" found some success that year, yet New Chapter wasn't quite the breakout commercial hit that both band and label had hoped for; the punk era and its fascination with reggae were waning, and the record was somewhat underpromoted. Aswad stripped back their sound on the 1982 follow-up, Not Satisfied, but it too met with relative commercial indifference, and the group parted ways with CBS.

Before the end of 1982, Aswad issued a one-off single, the classic "Roots Rockin'," on their own Simba label, and subsequently returned to Island on the Mango subsidiary. Their next release was the concert set Live and Direct, which appeared in 1983; by this time, the core group had been reduced to a trio of Forde, Gad, and Zeb, augmented by a horn section featuring saxman Michael "Bami" Rose and trumpeter Eddie "Tan Tan" Thornton. Aswad's next studio outing was 1984's Rebel Souls, which featured their first British pop-chart singles in "Chasing for the Breeze" and the Toots & the Maytals cover "54-46 That's My Number." The 1986 follow-up To the Top found them flirting with dancehall on the singles "Bubblin'" and "Kool Noh."

Having enjoyed some degree of crossover success, Aswad overhauled their approach and unmistakably went gunning for the charts with 1988's Distant Thunder. A lighter, poppier effort closer to mainstream R&B, Distant Thunder climbed into the British Top Ten as its lead single, a reggae cover of the Luther Ingram soul number "Don't Turn Around," went all the way to number one on the U.K. pop charts. Both album and single also made the Top 50 on the U.S. R&B charts, and in 1994, "Don't Turn Around" would be covered for an international smash by Ace of Base. The follow-up, "Give a Little Love," fell just short of the British Top Ten, and a non-LP single, "On and On," made the Top 20 in 1989.

Aswad attempted to consolidate their commercial breakthrough on their next album, Too Wicked, which was recorded in Jamaica with producer Gussie Clarke and released in 1990. However, in spite of a guest spot from dancehall star Shabba Ranks, a host of club-friendly beats, and a minor hit in "Next to You," the record failed to match its predecessor's sales. Aswad next returned in 1994 with Rise and Shine, which restored their commercial standing in Britain via the Top Five hit "Shine," and also earned them their first Grammy nomination for Best Reggae Album. 1997's Big Up attracted somewhat less notice, and for 1999's Roots Revival, the group made a partial retreat from crossover material, covering several rocksteady classics and spotlighting guest vocals from Algerian rai star Cheb Mami. Forde left the group in 2000, and Gad and Zeb continued on as a duo. They released Cool Summer Reggae in 2002, since a pair of compilations have been released but no new work.


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Aswad's debut on Mango is still one of the band's strongest efforts. Nicely displaying the group's jazz-tinged, roots reggae sound, Aswad features such vocal highlights as "Can't Stand the Pressure" and "Concrete Slaveship," as well as the fine instrumental "Red Up." And while not as successful as their British peers Steel Pulse, Aswad still qualifies as one of the best roots outfits to emerge outside of Jamaica. A fitting start to the band's long and impressive run.

Aswad - Aswad (flac  240mb)

01 I A Rebel Soul 4:59
02 Can't Stand The Pressure 4:20
03 Ethiopian Rhapsody 3:29
04 Natural Progression 6:06
05 Back To Africa 5:33
06 Red Up 2:56
07 Ire Woman 3:04
08 Concrete Slaveship 8:29

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Those who know Aswad as the slick pop-reggae group responsible for such crossover hits as "Don't Turn Around" and "The Best of My Love" may not recognize them in this collection of early singles, which begins with "Back to Africa" (1976) and ends with "Babylon" (1980), the latter of which was recorded shortly before the band's big major-label break and their slow evolution from hardcore roots-reggae practitioners to pop-dancehall fave raves. Despite the militant lyrics of songs like "Back to Africa" and "Warrior Charge," the music here is very smooth and mellow, perhaps too much so. Brinsley Forde's jazzy vocals are clearly influenced by Steel Pulse frontman David Hinds, and the languid tempos and relatively complex chord progressions sometimes seem at odds with the songs' confrontational messages. An exception to that tendency is the bracing "Rainbow Culture," which proceeds at a brisk tempo and features an eerie background vocal chant.

As the album title indicates, the songs are presented in "showcase" style, with a dub version following each vocal version without pause. This version of showcase adds a number of tracks from it's follow up, the strongest dub album of several that were produced during the group's career. A New Chapter of Dub was produced by Aswad in collaboration with the up-and-coming dubmeister Mikey Dread (credited here as Michael [Reuben] Campbell), whose work as a radio DJ had made him a household name among London's West Indian expatriate population even before he began establishing himself as a top studio producer. A New Chapter of Dub finds him digging deep into the traditional bag of dubwise production tricks, using echo, drop-out, and delay in ways that had been pioneered by King Tubby, but applying those effects in a wanton and sometimes exaggerated way in a manner more reminiscent of Lee "Scratch" Perry, an approach that sometimes anticipated developments that would emerge as much as a decade later.  .

Aswad - Showcase (flac  448mb)

01 Rainbow Culture 5:40
02 Warrior Charge 5:50
03 Babylon 5:02
04 Promised Land 10:13
05 Back To Africa 5:39
06 Three Babylon 7:00
07 It's Not Our Wish 5:38
(A new chapter of Dub)
08 Zion I 5:00
09 Natural Progression 6:05
10 Ghetto In the Sky 6:18
11 Truth 4:16
12 Bammie Blow 3:54
13 Tuffist 3:42
14 Shining Dub 3:01

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Recorded at London's Notting Hill Carnival 1983 the band is accompained by a powerful horn section and plays own songs & an exciting medley of dancehall favourites of the day, and one of the most energetic performances ever - sure, Aswad bait and play to popular instincts here (albeit ones from the carribean ghettos of east london). These are completely reworked, latinized songs rigged up with a splendidly thin horn section, complemented by the second best reggae drummer of all time and a basement keyboards section which is so beautifully rootsy you never guess it was really 83.

The previously lethargic dub jam "Not Gulity" is here transformed into a double tempo ska-reggae number that absolutely flies, the lovers rock is dignified, sweet and sung by the drummer (this was not a white rock band, mind), the performance of angry dub-soul freakout "African Children" is stone-cold reggae cannon anyhow, and the medley is so loose and joyful, if occasionally neglectful of it's source material, that you cannot help yourself, ever. Shit, even the closing baiter "Love Fire" is the stuff of legend, or used to be. It's gallant, soulful and brimming with understated power. A party from start to finish

Aswad - Live and Direct (flac 288mb)

01 Not Guilty 4:50
02 Not Satisfied 5:03
03 Your Recipe 4:25
04 Roots Rocking 4:05
05 Drum & Bass Line 3:57
06 African Children 5:50
07 Soca Rumba 1:31
Rocker's Medley
09 Ease Up 1:36
10 Your Love's Gotta Hold On Me 4:00
11 Revolution 2:06
12 Waterpumping / Love Fire 8:12

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RhoDeo 1305 The Rings 01

Hello, last week the Byron Chronicles ended, i'm not sure how many of you took an interest in it, fact is no one ever commented, there i was thinking ghotic horror was popular. Nevermind I got a new series coming up for the next 3 months and it has a proven trackrecord, be it in the cinema , yet having listened to the first episode it strikes me that stories like these were the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Shadow Of The Past ( 56:23  64mb)

101 Opening Titles
102 A Long-Expected Party
103 Curse The Baggins
104 One Ring To Rule Them All
105 Frodo The Ring Bearer

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Sundaze 1305

Hello, the world is still spinning despite all the arrested development around, ah yes as if silly humans could make it stop. That said aren't things going faster and faster. A good reason to take some Sundaze... A year ago (Sundaze 1203) I posted some of the work of Evan Bartholemew in the guise of Bluetech but that man has more up his sleeve He's released as Evan Marc and under his real name as well, some of it is here to N'joy..

Ah yes a new/old host is making a return here MEGA, it did more or less force me to use Chrome but then I got full speed, let me know how you fare.. Note the Key is below the tracklisting !

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My name is Evan. I make sounds. Rivers of music ancient & delicate flow through me....( Bluetech’s website)

"I’m really into plants and living things. Being aware of the currents of life, and acknowledging the intelligence and wisdom of growing things. If you only quiet the mind and listen with the heart, the Natural world has so much to teach. I’m an active dreamer, and gain music knowledge and direction from the dream sphere."

Evan Bartholomew has been one of the most active members in the digital music scene since day one, being a huge proponent of many indie artists' success online, then later going on to world recognition through a myriad of releases through his labels Native State Records and Silent Auction as well as scene stalwarts Waveform and Alpha Zero. Each year finds him getting better and better. His sound continues to develop and blossom and take on new forms as he explores the vast worlds of downtempo, psychill, and pure ambient. Also noteworthy is his Evan Marc project, taking the typically straightforward sounds of tech house and infusing them with equal portions of funk and complexity. Evan pays great attention to his sounds, his ideas, and his presentation, one of the most diverse and capable young producers  around today.

Evan produces his unique style of digital downtempo from the West Coast of North America. Classically trained on the piano for public performing, Evan deviated from the traditional structure of classical music and being to relearn the instrument from an energetic and tonal perspective. This resulted in his interpretation of nature's expression of being, establishing a playing style that is dronal ambient, downtempo and improvisational. Explosions in technology and software have enabled him to explore the edges of contemporary music production, and a sound has developed which draws from the psychedelic community as well as the experimental/IDM community.

Evan Bartholomew, under the moniker Bluetech, produces his unique style of experimental noise from San Diego, CA. Classically trained on the piano for public performing, Bartholomew deviated from the traditional sounds and began to express the rhythms that sprouted from within him, and Bluetech was born. This resulted in his interpretation of nature's expression of being, a sound that is dronal ambient, downtempo, improvisational. He devoured the electronic potentials for musical expression and conveyed it in IDM, digidub, and psychedelic trance.

Bartholomew created and runs his own art collective in San Diego and does commercial sound design and production for both national and regional clients. He also writes and produces his own songs. "The Rubicon", "Prayers For Rain", and "Mezzamorphic" originally appeared on an EP released by Truffle Records, and brought the name Bluetech to a larger audience. In September 2003, these songs appeared on Bluetech's first album, Prima Materia, released by Waveform Records. It was followed by Elementary Particles and Sines & Singularities in 2005. Subsequently Evan went all out and released 11 albums 5 under the Bluetech moniker and 6 EP's in 6 years..and there's some great music in there. Without a doubt Bartholomew has become a leading light in the US electronic music scene, showing the way from one of our globes energitical nodes, beautiful Hawaii, his current residence.

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The cover show a picture from above the clouds with some light dots, some sound waves and much more. It brings these words:

 "The human ear can recognize single sine waves because they sound `clean` or `clear` to us. To the human ear, a sound that is made up of more than one sine wave will either sound `noisy` or will have detectable harmonics."

The hype surrounding this album was immense… And this is indeed a wonderful, unique album… Evan Bluetech’s music is as inimitable as it is unparalleled… And that’s really rare in this kind of music! Also, it’s very refreshing to experience a downbeat album that isn’t riddled with voice-samples… Some reviewers have dubbed this the album of the year – Well it’s good, it’s even very good – but keep some reserve. It's a mature album that requires several listens to really sink in… Very much so, and the listener is instantly rewarded after doing so, but I still think it's too uneven to qualify as a masterpiece, after all Evan's path is still fresh...

Bluetech - Sines And Singularities (flac  453mb)

01 Enter The Lovely 8:10
02 Condensation 6:08
03 Leaving Winter Behind 7:56
04 Forgiveness 7:54
05 Shulman - First Came The Stars (Bluetech Remix) 8:17
06 Pitch Black - Ape To Angel (Bluetech's Evolution Remix) 7:19
07 Airstream 7:06
08 Dreamtime Lullaby 7:34
09 Shimmer 7:29
10 Wilderness 7:11
11 A Garland Of Stars 3:05

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With some electronic recordings, it is hard to tell exactly where new age ends and ambient electronica begins; Borderlands is such a recording. New age and ambient are both primary ingredients on this 2007 release by producer/composer Evan Bartholomew, aka Bluetech. Bartholomew's Bluetech releases have tended to be much more rhythmic than Borderlands and don't have this album's strong new age appeal; so perhaps recording under two different names is his way of compartmentalizing his more reflective, new age-friendly side. Both sides of Bartholomew are appealing, and on Borderlands, his strong influences include, among others, Philip Glass, Brian Eno, and Tangerine Dream. This is not an album that pretends to rock; Borderlands is the sort of disc that would rather float than rock, and Bartholomew maintains a dreamy ambience. New age enthusiasts will appreciate the CD's calm, relaxing nature, but that isn't to say that Borderlands is mindless or favors a turn-your-brain-off approach; this 55-minute disc is no less substantial than the albums Bartholomew has recorded as Bluetech. Borderlands is not groundbreaking, but it is a likable and worthwhile demonstration of the producer/composer skills that Bartholomew brings to the electronic realm.

Evan Bartholomew - Borderlands (flac 279mb)

Birth 
01 Between Becoming 4:22
02 And Being 4:28
Memory
03 Between Experience 2:52
04 And Imagination 4:06
Dream 
05 Between Idea 3:16
06 And Emotion 3:50
Fever 
07 Between Boil 2:45
08 And Burn 3:49
Medicine 
09 Between Initiation 3:36
10 And Healing 3:45
Practice 
11 Between Mastery 2:57
12 And Mystery 3:31
Death 
13 Between Falling 3:22
14 And Flying 3:03
Tomorrow 
15 Between Intention 2:51
16 And Surrender 2:37

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Dreamtime Submersible (67'00") brings Evan Marc and Steve Hillage together for seven connected tracks of techno-infused, trance-based electronica more for the thinker than the dancer. Within the first few moments of Dreamtime Submersible the pace is set with a throbbing bassline and steady pulse - the bare instrumentation stripping the music down to its core. As the music propels forward, rhythmic elements are added, subtracted, reversed and augmented in minimalist fashion. Intricate layers of shifting electronic percussion, synth pops, accents and effects provide an engaging listening experience. But what really sets this work apart is the top-notch guitar artistry of Steve Hillage. At various points throughout this album we hear the atmospheric wavering of Hillage's glissando guitar. Half melody, half-textural source, under heavy reverb and delay the voice-like tone rises amidst the ongoing beats. Elsewhere his strumming accumulates into interlocking echo waves. With the beats gone several levels of loops slowly mix between one another - allowing the CD to conclude in a more cerebral zone. Both popular and accomplished, Steve Hillage and Evan Marc create music at the service of the mind. Dreamtime Submersible is the perfect name for this album, as you are encapsulated in a wonderful bubbling hypnotic world.  A fantastic album to drift off to sleep to during a lazy afternoon.

Evan Marc + Steve Hillage - Dreamtime Submersible (flac 349mb)

01 Intention Craft 10:56
02 Hypnagogue 8:49
03 Alpha Phase 9:34
04 Theta Phase 8:48
05 Delta Phase 8:04
06 Hypnopomp 10:04
07 Resurface 10:43

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RhoDeo 1304 Beats

Hello, the beats go on....as announced last week more Black Dog and despite what i said last week for starters it's back to the beginning but then remastered in 2007, all those rare early EP's got to shine for a second time and for a much bigger audience this time. One of those rare occurrences happened to The Black Dog with the introduction of the Dust brothers into the mix and clearly the synergy is evident, together they have released a considerable body of hi quality work some of which is here to .. .... NJoy

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Taking their name from a British euphemism for imminent doom, the Black Dog Productions was founded by Ken Downie along with Ed Handley and Andy Turner. In 1989, they were unable to find a label to back their releases and had to start their own, Black Dog Productions. Their first full-length album, Bytes, was released on 15 March 1993. Their music was often produced under a number of different names, such as Close Up Over, Xeper, Atypic, I.A.O., Balil and the Discordian Popes.
Forging a challenging, relentless combination of early technao, electro, and hip-hop with a penchant for odd time signatures, high-tech atmospherics, and Egyptian iconography, the group immediately distinguished itself from the scores of disposable techno musicians covering familiar ground. They were immediately placed in the emerging "intelligent techno" category upon the release of their full-length debut..

As Plaid, Ed Handley and Andy Turner had already released a handful of material (including an album) prior to meeting Downie, but their time spent in BDP was their most productive up to that point. In addition to the Dog's inclusion on the perhaps more high-profile Artificial Intelligence compilations on Warp and remixes for the likes of Björk, Blondie, and UNKLE, they also released several full-length works as a group before Handley and Turner defected in 1995 to refocus on Plaid full-time. Downie continued on with the Black Dog name, releasing the full-length Music for Adverts (and short films) in 1996. In 2002 Downie collaborated with Parisian spoken word artist Black Sifichi on the William S. Burroughs tribute Unsavoury Products, and the Downie/Sifichi pairing was given the remix treatment on the following year's Genetically Modified. In 2001, Downie teamed up with Richard and Martin Dust, owners of the label Dust Science Recordings. Since then, they have started to play live again and have released eight EPs and four full-length albums on Dust Science. Their first album, Silenced, was released in 2005.

Silenced, although only his second proper album since 1997, is another excellent album of listening techno; it bears all the hallmarks of his Black Dog classics without overly relying on them, and it has to force a readjustment in how critics view him in the history of electronica. Most closely resembling Black Dog's 1995 record Parallel (right down to the "Bolt" interludes), the record is driven more by mood than technology; the drum programs aren't complex, but Downie has a way of bewitchingly conjuring the past with his productions that not even Boards of Canada can touch.

The second, Radio Scarecrow, was released in 2008 and was very well received and nominated for DJ Mag’s Best of British 2008.
The follow-up, Further Vexations, was released in 2009. It was described as having a dark cynicism of Orwellian practices of government and the passivity of the general public. "We’ve helplessly watched with mounting horror, while the government trashed the country, signed away its sovereignty to Brussels (with a flourish of a specially minted silver pen), sold off precious national industries and assets at next to bargain basement prices, and indulged itself with two utterly pointless wars which it couldn’t afford," the group stated on their home page. It was followed by Final Collected Vexations a year later

In May 2010, the Black Dog teamed with creative agency "Human" to create Music For Real Airports, described by them as "a contemporary reply to Brian Eno's work from the 70s". While Eno's album is well known for being peaceful and sedate, The Black Dog intend theirs to be tense and bittersweet, saying "This record is not necessarily a comfortable listen. But it captures the spectrum of emotions stirred by airports.
2011 saw a flurry of activity under a Liber 'umbrella' Chaos, Dogma, Nox, temple, Kult.

2 Days ago The Black Dog announced a series of new 12″s entitled Darkhaus and a new studio album called Tranklements. The Darkhaus series will be released across four volumes and with different labels, with first released on 25 /03/13  Tranklements is a body of work created as 16 unique and individual tracks. Each one is its own little object, something we’ve created to externalise, explain and express the world we find ourselves in. To be released 20/05/13.

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Compiling the remastered versions of their first 6 EP's between 1989 and 1992 Virtual, Age Of Slack, Techno Playtime EP, Parallel, Vir²l, Vanttool, a must have for any Black Dog fan.

Note !

The Black Dog - Book of Dogma 1 ( flac 351mb)

01 Virtual 9:32
02 Ambience With Teeth 5:58
03 The Weight 5:40
04 The Weight (Liposuction Mix) 4:20
05 Age Of Slack 6:44
06 Tactile 5:15
07 Techno Playtime 4:06
08 Apt 4:26
09 Chiba 4:15
10 It Felt Like It 3:13
11 Seers And Sages 4:51
12 Dog Solitude 2:48

The Black Dog - Book of Dogma 2 ( flac 311mb)
13 Parallel 5:02

14 Squelch 4:54
15 Erb 5:00
16 Glossolalia 4:54
17 Hub 4:10
18 Vanttool 6:42
19 Aural Wallpaper 3:48
20 Rainbow Bridge 4:08
21 Virtual HMMM.. 4:37
22 Vir²l 4:38

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If any one UK outfit was responsible for taking the Detroitian templates and blending rather than bastardising their boundaries into something genuinely innovative, then that would be The Black Dog. Remaining as invigorating as ever, visionary early-90s works like Temple of Transparent Balls and Spanners might have been tagged intelligent techno but their cutting edges bled influences into d&b, ambient and electronica. Now a reshaped trio (Ed Handley and Andy Turner long departed to continue their Plaid project), original member Ken Downie and kindred underground spirits Martin and Richard Dust have spent three years labouring on this latest sonic masterpiece.

Beautifully crafted throughout, The Black Dog's signature mosaic-perfect detailing and deeply complex imagery is at once at work on the uncurling ambient reflection Train By The Autobahn. Upping the pace, Riphead V9 is deep techno with enough layers to spend hours lost in, UV Sine is a majestic string-laden soar whilst the ambient sci-fi dub dread of Floods
 V3.9 and Beep permeate the current techno/dubstep boundaries perfectly. But where Radio Scarecrow's electronic frequencies truly charm the soul is on measured melodic tracks like Digital Poacher and Witches Ov, where moments of genuine contemplative bliss emerge out of mournful beauty with an intensity not matched by anyone. Never has techno felt quite so human. This album is something of a masterpiece which, by the time it’s nearly over with the lovely ancient-sounding piano of ‘Ghost Vexations’, can sit as an all-time electronic classic itself.

The Black Dog - Radio Scarecrow ( flac 422mb)

01 Transmission Start 2:52
02 Train By The Autobahn Pt 1 5:03
03 Train By The Autobahn Pt 2 6:39
04 Riphead v9 5:21
05 UV Sine 7:43
06 ...Short Wave Lies 5:01
07 Siiiipher 3:42
08 Digital Poacher 2:47
09 Coda 2:14
10 Set To Receive 3:51
11 EVP Echoes 4:32
12 Floods v3.9 5:54
13 Beep 3:37
14 Witches Ov 3:47
15 Dials & Dialers 1 1:07
16 Ghost Vexations 3:15
17 Dials & Dialers 2 1:30

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While Radio Scarecrow represented quite a departure from its predecessor, Further Vexations appears in many ways as a more in-depth exploration of a particular groove, as if the stones turned on Radio Scarecrow had, with times, brought to the surface much more subterranean life than originally found. On this latest offering, Ken Downie and brothers Richard and Martin Dust have laid out some pretty stark and dense soundscapes and continuously play with light and shade to give their sound its distinctive relief. After a somewhat rather serene opening piece, The Black Dog up the antes and get cracking, first with the deep pulsating 0093, then with the equally dark and ominous You’re Only SQL and We Are Haunted, the latter built around a rather more minimal combination of beat and bass than any other track on here, placing it at the intersection of Detroit and Berlin. The last three tracks in particular pushing deep into The Black Dog’s exquisite dreamy world. Here, the soundscapes become much more open and light floods in once again, hitting various angles to create rich colourful strips which become increasingly vivid to finally take their full effect on closing piece Kissing Someone Else’s D.O.G.

With Further Vexations  The Black Dog continue to dispense their beautifully polished blend of electronica. Faithful to the original scope of the band, yet resolutely modern and fresh, the Sheffield-based trio show no sign of mellowing.

The Black Dog - Further Vexations (flac 332mb)

01 Biomantric L-if-e 5:13
02 0093 4:34
03 Phil: Because Ov, Indeed 0:46
04 You're Only SQL 4:57
05 We Are Haunted 4:00
06 CCTV Nation 4:59
07 Stempel 4:35
08 Northern Electronic Soul Pt 1 2:53
09 Northern Electronic Soul Pt 2 3:24
10 Northern Electronic Soul Pt 3 4:51
11 Skin Clock 6:03
12 Dada Mindstab 5:10
13 Tunnels Ov Set 5:11
14 Later Vexations 6:24
15 Kissing Someone Else's D.O.G 5:24

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RhoDeo 1304 Goldy Rhox 93

Hello, today the 93rd post of GoldyRhox, classic pop rock. Today in the blacklight are a British rock band formed in 1969 under the name ”Daddy” before renaming themselves in early 1970. Though their music was initially categorised as progressive rock, they have since incorporated a combination of traditional Rock, pop and art rock into their music. The band's work is marked by the inventive songwriting of Rick Davies and Roger Hodgson, the distinctive voice of Hodgson, and the prominent use of Wurlitzer electric piano and saxophone in their songs.

While the band's early work was mainstream progressive rock, they would enjoy greater critical and commercial success when they incorporated more conventional and radio-friendly elements into their work in the mid-1970s, going on to sell more than 60 million albums.They reached their peak of commercial success with todays mystery album, which has sold more than 20 million copies.

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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 sixth album by the band, released in 1979. It was recorded the previous year at the Village Recorder in Los Angeles. It featured four U.S. Billboard hit singles: In the UK, "The Logical Song" and the title track were both top 10 hits, the only two the group had in their native country. It won two Grammy Awards in 1980, and holds an RIAA certification of quadruple platinum. In France, the album is the biggest selling English language album of all time, and the third biggest seller overall.

The album's front cover resembles an overlook of New York City through an aeroplane window. It was designed by Mike Doud and depicted Kate Murtagh, dressed as a waitress named "Libby" from a diner, as a Statue of Liberty figure holding up a glass of orange juice on a small plate in one hand (in place of the torch on the Statue), and a foldable restaurant menu in the other hand.



Goldy Rhox 93   (flac 262mb)

Goldy Rhox 93  ( ogg 103mb)


previously re-post

Goldy Rhox 8 106mb

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