Sundaze 1515

Hello, interesting sports day coming up which of the Manchester Sides will be victorious, will Sir Wiggens fullfil his dream of winning Paris-Roubaix or will that superstrong Norwegian Alexander Kristoff take that price as well. Then there's the F1 race in Shanghai , Hamilton says he fears Vettel such a selfaggrandizer that Hamilton setting himself up for an easy win or who knows inviting team mate Rosberg to try and run him off the road..haha well i wont be staying up for that live race...

Today's Sundazers are pointed to a man born 16 October 1974 he is a Danish electronic music producer and multi-instrumentalist based in Copenhagen, Denmark.,. N'joy

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Anders Trentemøller is a Copenhagen-based musician and producer who started in the late 1990s with different Indie Rock projects, before he turned to electronic music. In 2006, following a line of 12-inch electronic EPs, Trentemøller released his groundbreaking debut album The Last Resort. High placements in several polls for best album of the year followed and exposed his music to a much broader audience.

In 2007 Trentemøller assembled his first full live band with his friends, multi artist Henrik Vibskov on drums and musician Mikael Simpson on guitar. Complete with visuals from director Karim Ghahwagi, the ensuing ‘Trentemøller: Live In Concert’ tour brought him to the US for the first time as well as to some of the biggest festivals in the world, including Glastonbury (UK), Roskilde (Denmark) and Melt! (Germany).

In 2009 ‘The Trentemøller Chronicles’, a double compilation of unreleased songs, his personal favorite non-album tracks[Is this a fact or an opinion?] as well as a collection of remixes for such high-profile acts as Röyksopp, Moby and The Knife, was released. Later that year Trentemøller hit another personal career landmark, when he headlined the Orange Stage at Roskilde Festival, playing in front of 60,000 people featuring a unique set design created by Henrik Vibskov. The crowd reactions and press reviews were all positive.

After starting up his own record imprint, 'In My Room', Trentemøller’s second album Into the Great Wide Yonder’ was released in 2010. Four years after The Last Resort, it fulfilled the unenviable task of following up a modern classic. It was also a move into a more analogue sound influenced heavily by indie and post punk – and incorporating even more live instrumentation and vocals. The record was met with high praise for taking yet another clear step away from his electronic beginnings into more experimental soundscapes. Expanding his live band, now with seven people on stage, he continued to tour around the world for two years.

Highlights included a barnstorming set at 2011’s Coachella Festival, where NME called the show “one of the biggest breakouts of Coachella,” he “stunned all onlookers and became the toast of the fest.” Trentemøller made further inroads into the US shortly after, appearing on Carson Daly and playing throughout the US on a sold-out tour. The world tour ended with two consecutive, sold out shows at Den Grå Hal in Christiania (Copenhagen), which were recorded and later released as the album ‘Live In Copenhagen’.

Following his second album, ‘Reworked/Remixed’ was released. A double compilation, celebrating some of Trentemøller’s favorite remixes he completed for other artists, and also some of his personal picks where other musicians have reworked his music - featuring the likes of Modeselektor, UNKLE, Franz Ferdinand, Andrew Weatherall, Efterklang and Depeche Mode. Trentemøller’s captivating sound has also found a home in the world of cinema. His productions have been used by prominent directors including Oliver Stone (Savages), Pedro Almodóvar (The Skin I Live In) and most recently Jacques Audiard, who soundtracked a pivotal scene of his film Rust & Bone, with Anders’ classic bootleg remix of Bruce Springsteen’s ‘State Trooper’, that he had made for himself to play at one of his increasingly rare DJ sets.

In September 2013 Trentemøller released his third full-length album Lost. “Much like its predecessor, ‘Lost’ serves not only as a logical continuation of his work, but also as yet another fuck-you to whatever genre you thought you had him boxed into.“ (Vice). ‘Lost’ is a symbol of the powerful sound Trentemøller has gained through his extensive live touring. It’s a record defined by its thematic guitars, analog synthesizers and robust melodies; the antithesis to the feel of programmed, quantized music that some of his most early fans know him for. It’s also his most collaborative effort yet, pairing him with a vibrant cast of vocal features— the legendary duo Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower Dens, Ghost Society and Sune Wagner of The Raveonettes all make appearances on this stunning album, which traverses krautrock, indie-rock, post-punk and even jazz and classical influences.

In the summer of 2013 Trentemøller supported Depeche Mode on their Delta Machine world tour, taking him to stadiums around Europe - and he’ll be hitting the festival circuit once again, including appearances at Melt, Dour, Pitch and Zurich Open Air. The remaining part of 2013 and all of 2014 is equally dedicated to touring with his band – the one thing Anders loves just as much as being in the studio creating music to take to the stage.


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Danish producer Anders Trentemoller has gained international recognition over the past decade, but this compilation shines a light on his early releases for Steve Bug's Poker Flat and Audiomatique labels. In places, Trentemoller's sound is sketchy and in need of improvement - witness the proggy minimal grooves of "Gush" and "Rykketid" - but elsewhere, this compilation shows why he rose so fast. From the deep, textured techno of "The Forest", through the stepping rhythm and pre-orgasmic wails on "Moan (dub remix)" through to the subsonic bleeps, murderous bass and clanging rhythms of "Physical Fraction" and "Sunstroke", Early Worx shows that even in the early days, Trentemoller was a star in the making.

Trentemøller - Early Worx WEB  (ogg 284mb)

01 The Forest 5:45
02 Moan (Trentemøller Dub Remix) 7:22
03 Physical Fraction 7:01
04 Kink 6:49
05 Polar Shift 8:27
06 Beta Boy 7:11
07 Gush 5:59
08 Rykketid 5:11
09 Nam Nam 5:40
10 Always Something Better (Trentemøller Remix) 7:59
11 Vamp (Vinyl Edit) 5:11
12 Chameleon 7:57
13 Prana 6:33
14 African People 6:43
15 Killer Kat 7:06
16 Sun Stroke 8:23
17 Miss You (Trentemøller Remix) 7:33

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Having first built up his considerable reputation through singles and remixes over the years and topping that off with his well-received The Last Resort album, Trentemøller took a retrospective look at things with the two-disc Trentemøller Chronicles, split between his own mix of various individual releases, including some new songs and a wide number of remixes. Given that some fans felt The Last Resort suffered from a familiar problem in techno -- less of the inventive edge of a good mix in the moment, extended explorations that went on a bit too long -- this collection serves as a good contrast of the man at his stellar best. On the first disc, new tracks include "Klodsmajor," with a brief piano loop first used and then chopped up a bit around a slowly mutating, tense glitch rhythm, a good live version of the frenetic/serene "Snowflake" and the beautiful "Blood in the Streets," a chilled, quietly majestic number that suggests the soundtrack-ready scope of In the Nursery. The one remix that appears on the first disc, of Klovner's "McKlaren," is a fine addition, with a breathtaking moment where he takes out almost everything but an increasingly higher-pitched synth note before easing back into the heavily echoed pulse of the song.

Trentemøller - The Trentemøller Chronicles  (flac  417mb)

01 The Forest 5:59
02 Klodsmajor 3:10
03 McKlaren by Klovn (Trentemøller Remix) 5:18
04 Snowflake (Live Version) 7:45
05 Blood In The Streets 6:26
06 Moan (Voc Ane Trolle)(Trentemøller Remix) 8:15
07 Kink 5:58
08 Gush 5:26
09 Physical Fraction 5:48
10 Killer Kat 5:28
11 Rykketid 4:38
12 Always Something Better (Voc Richard Davis) (Trentemøller Remix) 7:51
Bonus Track
13 Moan (Voc Ane Trolle) (Trentemøller Remix Radio Edit) 3:32

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With his early work being club-aimed music that was still musically rich enough for headphone listening, Danish producer Trentemøller came on like a composition student with a dark streak, plus a love of progressive house music and techno. His debut album, 2006's The Last Resort, was a deep, dark, and delicious overabundance of bass and reverb, thumping away like Berlin or Detroit techno but then layering melodies that touched upon pop, all while the producer side of the artist dropped every glitchy trick in the book. It would seem like he was showing off if those plentiful edits and layers-upon-layers didn't work, but when he went indie pop and soundtrack-esque on 2010's The Great White Yonder, the results varied. The album jumped from indie song to house-music-all-night-long with a Duane Eddy-styled guitar rave-up in the middle, and while this third effort does essentially the same thing (the rave-up now replaced with a twangy, dusty, "Personal Jesus"-type cut called "Trails"), Lost is where all the pieces fall into place. Blame the superior songwriting or the natural flow of the compositions as the indie group Low join for "The Dream," a song that's wistful and ruminates about life on the level of a beloved Pink Floyd deep track."Gravity," with Jana Hunter, suggests the soaring My Bloody Valentine anchored by the tick-tock of Kraftwerk, although the swaying melody and the swollen melancholy are entirely Trentemøller. "Candy Tongue," with Marie Fisker, is a gentle mix of electro and acoustic that plays to the producer's love of wonder and mystery, while both "Come Undone" with Kazu Makino and "Deceive" with Sune Rose Wagner border on house music for Goths, even if they come with a refinement the electro-industrial crowd rarely offers. As on his previous effort, the instrumental numbers cross over from clubland with the great "Still on Fire" thumping its majestic New Order-like bass, while "Morphine" flirts with drone and world music on a cut that feels like a dangerous journey to buy the drug, but "Hazed" and the hidden coda that complete that album bring reminders of The Last Resort's endless, echoing nightscape. It's an ironic title for an album that's so sure, and even if his early fans frown as their dancing shoes collect dust, complaining about what doesn't happen on Lost seems silly when compared to the wonderful and intoxicating things that actually do.

Trentemøller - Lost  (flac  416mb)

01 The Dream 6:52
02 Gravity ( Voc Jana Hunter) 5:49
03 Still On Fire 5:27
04 Candy Tongue 4:36
05 Trails 7:12
06 Never Stop Running (Voc Jonny Pierce) 3:38
07 River Of Life (Voc Sara Savery,Tobias Wilner) 4:54
08 Morphine 6:13
09 Come Undone (Voc Kazu Makino) 4:33
10 Deceive (Voc Sune Rose Wagner) 4:44
11 Constantinople 3:49
12 Hazed 13:24

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Trentemøller - Lost Reworks (flac 361mb)

01 River Of Life (Trentemøller Remix) 5:27
02 Come Undone (Toydrum Remix) 5:16
03 Candy Tongue (Jenny Wilson Version) 5:31
04 Come Undone (Trentemøller Remix) 3:49
05 Deceive (Trentemøller’s Lost & Found Remix) 5:16
06 River Of Life (T.O.M. And His Computer Remix) 5:21
07 Deceive (Unkwon Remix) 4:30
08 Gravity (Pinkunoizu Remix) 7:58
09 Deceive (Trentemøller’s Club Mix) 8:03
10 Come Undone (Toydrum Instrumental Remix) 5:16

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RhoDeo 1514 Grooves

Hello,

Today.a singer, guitarist, songwriter and producer, truly one of the greats, a pioneer in funk and socially aware R&B. He received the Grammy Lifetime Achievement Award in 1995. Inducted into Rock And Roll Hall of Fame in 1999 (Performer). Inducted into Songwriters Hall of Fame in 2000. Here to,,,,,N'joy

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Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Super Fly" are merely the most famous of his many hit records.

 But Curtis Mayfield wasn't just a singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.

Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."

Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.

Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Super Fly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.

At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Super Fly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Super Fly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."

Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no substitute for the man himself, these tributes served as an indication of the enormous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57.


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The choice of Curtis Mayfield to score the blaxploitation film Super Fly was an inspired one. No other artist in popular music knew so well, and expressed through his music so naturally, the shades of gray inherent in contemporary inner-city life. His debut solo album, 1970's Curtis, had shown in vivid colors that the '60s optimist (author of the civil-rights anthems "Keep On Pushing" and "People Get Ready") had added a layer of subtlety to his material; appearing on the same LP as the positive and issue-oriented "Move On Up" was an apocalyptic piece of brimstone funk titled "(Don't Worry) If There's a Hell Below, We're All Going to Go." For Super Fly, Mayfield wisely avoids celebrating the wheeling-and-dealing themes present in the movie, or exploiting them, instead using each song to focus on a different aspect of what he saw as a plague on America's streets. He also steers away from explicit moralizing; through his songs, Mayfield simply tells it like it is (for the characters in the film as in real life), with any lessons learned the result of his vibrant storytelling and knack of getting inside the heads of the characters. "Freddie's Dead," one of the album's signature pieces, tells the story of one of the film's main casualties, a good-hearted yet weak-willed man caught up in the life of a pusher, and devastatingly portrays the indifference of those who witness or hear about it. "Pusherman" masterfully uses the metaphor of drug dealer as businessman, with the drug game, by extension, just another way to make a living in a tough situation, while the title track equates hustling with gambling ("The game he plays he plays for keeps/hustlin' times and ghetto streets/tryin' ta get over"). Ironically, the sound of Super Fly positively overwhelmed its lyrical finesse. A melange of deep, dark grooves, trademarked wah-wah guitar, and stinging brass, Super Fly ignited an entire genre of music, the blaxploitation soundtrack, and influenced everyone from soul singers to television-music composers for decades to come. It stands as one of the most vivid touchstones of '70s pop music.

Curtis Mayfield - Super Fly Deluxe 25th Anniversary Ed.1+2  (flac  455mb)

101 Little Child Runnin' Wild 5:27
102 Pusherman 5:06
103 Freddie's Dead 5:29
104 Junkie Chase (Instrumental) 1:41
105 Give Me Your Love (Love Song) 4:20
106 Eddie You Should Know Better 2:21
107 No Thing On Me (Cocaine Song) 4:58
108 Think (Instrumental) 3:49
109 Superfly 4:00
Bonus
110 Freddie's Dead (Theme From "Superfly") (Single Mix) 3:21
111 Superfly (Single Mix) 3:08

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201 Ghetto Child (Demo Version Of "Little Child Runnin' Wild") 3:19
202 Pusherman (Alternate Mix) 6:11
203 Freddie's Dead (Instrumental Version) 4:48
204 Junkie Chase (Instrumental) (Full-Length Version) 4:18
205 No Thing On Me (Cocaine Song) (Instrumental Version) 4:37
206 Militant March 0:55
207 Eddie You Should Know Better (Instrumental Version) 2:17
208 Radio Spot #1 0:28
209 The Underground 3:14
210 Check Out Your Mind (Instrumental Version) 4:06
211 Radio Spot #2 0:28
212 Curtis Mayfield (On "Superfly" Film & Songwriting) 7:03


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Back to the World, the first album Curtis Mayfield recorded and released after hitting number one with the intense inner-city vignette Superfly, returned him to a steady balance of optimism for the future and direct social commentary regarding the problems of his people. The lead single, "Future Shock," was inspired by Alvin Toffler's 1970 book of the same name, which warned readers that industrial society was changing so radically that environmental and social problems could be endemic for decades. The track tapped into the same grooves and brass heard on Superfly (perhaps overly so), but said more about the world around ("We got to stop all men, from messing up the land/When won't we understand, this is our last and only chance?"). The title track was very upbeat and positive, as were the refreshing "If I Were Only a Child Again" and "Future Song (Love a Good Woman, Love a Good Man)." With no hit singles to even approach the Superfly sales, though the songs were up to Mayfield's usual high standards, there were many similarities (musically and thematically) to material from each of his proper solo albums.

Curtis Mayfield - Back to the World (flac 194mb)

01 Back To The World 6:47
02 Future Shock 5:17
03 Right On For The Darkness 7:28
04 Future Song (Love A Good Woman, Love A Good Man) 5:00
05 If I Were Only A Child Again 2:52
06 Can’t Say Nothin’ 5:13
07 Keep On Trippin’ 3:16

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Curtis Mayfield hit a stride during the '70s that was unparalleled among R&B/soul performers from an album standpoint. He was writing, producing, arranging, and performing on great album after great album, then distributing them on his own label as well. This one included the big hit "Kung Fu," plus the title song, and once more perfectly blended rigorous message tracks and steamy love songs.

Curtis Mayfield - Sweet Exorcist (flac 146mb)

01 Ain't Got Time 5:10
02 Sweet Exorcist 3:50
03 To Be Invisible 4:12
04 Power To The People 3:26
05 Kung Fu 6:02
06 Suffer 4:06
07 Make Me Believe In You 5:32


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RhoDeo 1514 Re-Ups 10

Hello, well  requests are still taken and please add a name

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

More new updates here

Yes there's even a Goldy Rhox Paco back up


Sundaze with Craig Armstrong, Ullrich Strauss(2x), Blue Room (now in Flac )

2x Ulrich Schnauss now in flac


3 x Zion Train  back in flac


3x Two Lone Swordsman  back in flac



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RhoDeo 1514 Goldy Rhox 204

Hello, today the 204th post of GoldyRhox, classic pop rock in the darklight are a multiple Grammy Award–winning American Chicano rock band from East Los Angeles, California. Their music is influenced by rock and roll, Tex-Mex, country, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. They gained international stardom in 1987 when their cover version of Ritchie Valens' La Bamba topped the charts in the US, the UK and in several other countries.

Vocalist/guitarist David Hidalgo and drummer Louie Pérez met at Garfield High School in East Los Angeles, California, and bonded over their mutual affinity for obscure musical acts such as Fairport Convention, Randy Newman and Ry Cooder. The two borrowed reel-to-reel recorders from a friend and created multi-track recordings of music spanning from parody songs to free-form jazz.[2] They later enlisted fellow students Cesar Rosas and Conrad Lozano to complete the group's lineup in 1973.Their first album called Del Este De Los Angeles was recorded at two studios in Hollywood in 1977 over a period of about four months.

The band members were unsatisfied with playing only American Top 40 songs, and began experimenting with the traditional Mexican music they listened to as children. This style of music received a positive reaction from audiences, leading the band to switch genres, performing at hundreds of weddings and dances between 1974 and 1980. In 1983, the band released an extended play entitled ...And a Time to Dance, which was well received by critics but only sold about 50,000 copies. However, the sales of the EP earned the group enough money to purchase a Dodge van, enabling the band to tour throughout the United States for the first time. The band returned to the studio in the summer of 1984 to record its first major label album, How Will the Wolf Survive? in 1984.

In 1987, they released a second album entitled By the Light of the Moon. In the same year, they recorded some Ritchie Valens covers for the soundtrack to the film La Bamba, including the title track which became a number one single for the band. In 1988 they followed with another album, titled La Pistola y El Corazón featuring original and traditional Mexican songs. In the late 1980s and early 1990s the band toured extensively throughout the world, opening for such acts as Bob Dylan, U2 and the Grateful Dead.

The band returned with The Neighborhood in 1990, and the today's mystery album  (produced by Mitchell Froom) in 1992. In 1995, the band released the prestigious and bestselling record Papa's Dream on Music for Little People Records along with veteran guitarist and singer Lalo Guerrero. The band also scored the film Desperado. The album track "Mariachi Suite" won a Grammy Award for Best Pop Instrumental Performance, and stands as their last Grammy Award to date (the other two Grammy Awards were in the category of Best Mexican-American Performance in 1983 and 1989 for the song Anselma and the album La Pistola y El Corazon).


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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 ninth album by our mystery group and was released May 26, 1992. Itt was with this album that they really demonstrated the breadth of their sonic ambitions. Produced in collaboration with Mitchell Froom, today's mystery album exchanged the more straightforward approach of the group's previous sessions for a uniquely textured sound, with the group's guitars thrown into sharp relief against Froom's collection of vintage tape-loop keyboards, and the arrangements are often unusually spare, most powerfully in the ghostly spaciousness of "the Lavender Moon" and "Wake Up Delores." Even the more full-bodied cuts, such as the rollicking "That Train Don't Stop Here" and the hard-rocking "Whiskey Trail," boast a different personality than in the band's previous work, with the guitars clean but cutting like a switchblade and the drums snapping hard, and the more contemplative selections drip with a mysterious, otherworldly ambience that's matched by the impressionistic imagery of David Hidalgo and Louie Pérez's superb songs. At its best, today's mystery album sounds like the musical equivalent of a Luis Buñuel dream sequence, balancing beauty and menace with intelligence and a skill that's little short of dazzling; it's a brilliant, singular achievement, and the most rewarding album in the group's catalog. Here to get, it's 14 MFSL remaster..N'Joy


Goldy Rhox 204   (flac 313mb)

Goldy Rhox 204    (ogg 121mb)


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RhoDEo 1514 Aetix

Hello,

Today in the spotlight, a band often cited as the first band to define the punk rock sound. Because of achieving only limited commercial success the music press loved them, hence they became a major influence on the 1970s punk movement in both the United States and United Kingdom. All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were related. They said they were too tough to die..yeah well we know better now the 'whimps' are all dead. They left us with plenty to  N'Joy

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The original members of the band met in and around the middle-class neighborhood of Forest Hills in the New York City borough of Queens. John Cummings and Thomas Erdelyi had both been in a high-school garage band from 1966 to 1967. They became friends with Douglas Colvin, who had recently moved to the area from Germany. The Ramones began taking shape in early 1974, when Cummings and Colvin invited Hyman to join them in a band. The initial lineup featured Colvin on lead vocals and rhythm guitar, Cummings on lead guitar, and Hyman on drums. Colvin, who soon switched from rhythm guitar to bass, was the first to adopt the name "Ramone", calling himself Dee Dee Ramone. He convinced the other members to take on the name and came up with the idea of calling the band the Ramones. Hyman and Cummings became Joey Ramone and Johnny Ramone, respectively.

Johnny's former bandmate Erdelyi was set to become their manager. Soon after the band was formed, Dee Dee realized that he could not sing and play his bass guitar simultaneously, thus Joey became the band's new lead singer. Dee Dee would continue, however, to count off each song's tempo with his signature rapid-fire shout of "1-2-3-4!" Joey soon similarly realized that he could not sing and play drums simultaneously and left the position of the drummer. While auditioning prospective replacements, Erdelyi would often take to the drums and demonstrate how to play the songs. It became apparent that he was able to perform the group's music better than anyone else, and he joined the band as Tommy Ramone.

Around this time, a new music scene was emerging in New York centered around two clubs in downtown Manhattan—Max's Kansas city and, more famously, CBGB (usually referred to as CBGB's). The Ramones made their CBGB debut on August 16 74. The band swiftly became regulars at the club, playing there seventy-four times by the end of the year. After garnering considerable attention for their performances—which averaged about seventeen minutes from beginning to end—the group was signed to a recording contract in late 1975 by Seymour Stein of Sire Records. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as "punk".

The Ramones recorded their debut album, Ramones, in February 1976. While the songwriting credits were shared by the entire band, Dee Dee was the primary writer. Ramones was co-produced by Tommy and Craig Leon on an extremely low budget of about $6,400 and released in April. Ramones was not a commercial success, reaching only number 111 on the Billboard album chart. The two singles released from the album, "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend", failed to chart. At the band's first major performance outside of New York, approximately ten people showed up. It wasn't until they made a brief tour of England that they began to see the fruits of their labor; a performance at The Roundhouse in London on July 4, 1976 was a resounding success.

Their next two albums, Leave Home and Rocket to Russia, were released in 1977. Both were coproduced by Tommy and Tony Bongiovi. Leave Home met with even less chart success than Ramones. Rocket to Russia was the band's highest-charting album to date, reaching number 49 on the Billboard 200. The Ramones recorded It's Alive, a live concert double album, at the Rainbow Theatre, London, which was released in April 1979.

Tommy, tired of touring, left the band in early 1978. He continued as the Ramones' record producer under his birth name of Erdelyi. His position as drummer was filled by Marc Bell, He became Marky Ramone. Later that year, the band released their fourth studio album, Road to Ruin. The album, co-produced by Tommy with Ed Stasium, included some new sounds such as acoustic guitar, several ballads, and the band's first two recorded songs longer than three minutes. It failed to reach the Billboard Top 100.

After the band's movie debut in Roger Corman's Rock 'n' Roll High School (1979), renowned producer Phil Spector became interested in the Ramones and produced their 1980 album End of the Century. Though it was to be the highest-charting album in the band's history—reaching number 44 in the United States and number 14 in Great Britain—Johnny made clear that he favored the band's more aggressive punk material. Pleasant Dreams, the band's sixth album, was released in 1981. It continued the trend established by End of the Century, diluting the rawer punk sound showcased on the band's initial three albums. Slick production was again featured, this time provided by Graham Gouldman (10cc). Another futile attempt to get airplay on American radio. Subterranean Jungle, produced by Ritchie Cordell and Glen Kolotkin, was released in 1983. The album peaked at number 83 in the United States, it would be the last album by the band to crack the Billboard Top 100.

One would expect the band to collapse and in a sense it did several drummers went and came (back) by 1989 founder member Dee Dee left the band after the recording of their tenth studio album, Brain Drain, co-produced by Beauvoir, Rey, and Bill Laswell.He was replaced by Christopher Joseph Ward (C.J. Ramone), who performed with the band until they disbanded.

After more than a decade and a half at Sire Records, the Ramones moved to a new label, Radioactive Records. Their first album for the label was 1992's Mondo Bizarro, which reunited them with producer Ed Stasium. Acid Eaters, consisting entirely of cover songs, came out the following year. In 1995, the Ramones released ¡Adios Amigos!, their fourteenth studio album, and announced that they planned to disband if it was not successful. Its sales were unremarkable, garnering it just two weeks on the lower end of the Billboard chart. The band spent late 1995 on what was promoted as a farewell tour. However, they accepted an offer to appear in the sixth Lollapalooza festival, which toured around the United States during the following summer. After the Lollapalooza tour's conclusion, the Ramones played their final show on August 6, 1996, at the Palace in Hollywood. A recording of the concert was later released on video and CD as We're Outta Here !

Joey, who had been diagnosed with lymphoma in 1995, died of the illness on April 15, 2001, in New York. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, which specifically named Dee Dee, Johnny, Joey, Tommy, and Marky. The ceremony was one of Dee Dee's last public appearances; on June 5, 2002, two months later, he was found at his Hollywood home, dead from a heroin overdose. End of the Century: The Story of the Ramones, a Ramones documentary, came out in 2004. Johnny, who had been privately battling prostate cancer, died on September 15, 2004, in Los Angeles, shortly after the film's release. Remaining are the Ramones who played drums over the years, Tommy, Marky, Richie and Elvis, meanwhile Tommy (Tom Erdelyi, born January 29, 1952, died July 11th, 2014).

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End of the Century didn't make the Ramones into the stars they so wanted to be, so they hooked up with another '60s icon, Graham Gouldman, for its follow-up, Pleasant Dreams. Oddly, Gouldman directs the band away from their bubblegum, British Invasion, and surf fetishes toward acid rock and heavy metal. They still manage to squeak out a couple of irresistibly catchy songs, but the production is too clean to qualify as punk, and the music itself has lost sight of the infectious qualities that made their earlier records such fun. Yet those flaws seem endearing compared to the metallic meanderings of their late-'80s records.

Ramones - Pleasant Dreams  (flac 253mb)

01 We Want The Airwaves 3:22
02 All's Quiet On The Eastern Front 2:14
03 The KKK Took My Baby Away 2:32
04 Don't Go 2:48
05 You Sound Like You're Sick 2:42
06 It's Not My Place (In The 9 To 5 World) 3:24
07 She's A Sensation 3:29
08 7-11 3:38
09 You Didn't Mean Anything To Me 3:00
10 Come On Now 2:33
11 This Business Is Killing Me 2:41
12 Sitting In My Room 2:30

Ramones - Pleasant Dreams  (ogg 96mb)

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Tentatively returning toward punk, or at least new wave, the Ramones turned in their most enjoyable record since Rocket to Russia with Subterranean Jungle. Producers Ritchie Cordell and Glen Kolotkin were the heads of the edgy power pop and punk label Bomp!, so they steered the Ramones back toward the '60s pop infatuation that provided the foundation for their early records. It's a strategy that pays off well -- for the most part, the group's originals are so punchy and catchy that they make the pair of covers superfluous. Comprised of a set of unabashedly hook-laden songs and driven by more subtle rhythms, Subterranean Jungle may not be a punk record in the strictest sense of the word, yet the Ramones haven't sounded quite as alive in a long, long while.

Ramones - Subterranean Jungle  (flac 223mb)

01 Little Bit O' Soul 2:43
02 I Need Your Love 3:08
03 Outsider 2:10
04 What'd Ya Do? 2:23
05 Highest Trails Above 2:09
06 Somebody Like Me 2:32
07 Psycho Therapy 2:35
08 Time Has Come Today 4:24
09 My-My Kind Of A Girl 3:31
10 In The Park 2:36
11 Time Bomb 2:08
12 Everytime I Eat Vegetables It Makes Me Think Of You 3:12

 Ramones - Subterranean Jungle  (ogg 83mb)

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With the Ramones' original drummer, Tommy Erdelyi, producing, the group returns to simple, scathing punk rock on Too Tough to Die. The group takes the big guitar riffs of Subterranean Jungle and makes them shorter and heavier. the Ramones' rhythms are back up to jackhammer speed and the songs are down to short, terse statements. The results read like a reaction to hardcore punk, but the Ramones are more melodic than any hardcore band, as well as smarter than most. Apart from the occasional foray into pop, such as the surprisingly effective Dave Stewart-produced "Howling at the Moon," the album is a sterling set of lethal punk, the best the Ramones had made since the end of the '70s. It was also the last great record they would ever make.

Ramones - Too Tough to Die (flac 253mb)

01 Mama's Boy 2:11
02 I'm Not Afraid Of Life 3:13
03 Too Tough To Die 2:37
04 Durango 95 0:55
05 Wart Hog 1:54
06 Danger Zone 2:08
07 Chasing The Night 4:27
08 Howling At The Moon (Sha-La-La) 4:07
09 Daytime Dilemma (Dangers Of Love)4:32
10 Planet Earth 1988 2:54
11 Humankind 2:42
12 Endless Vacation 1:49
13 No Go 3:08

Ramones - Too Tough to Die (ogg 93mb)

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RhoDeo 1514 Re-Up 10

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

More new updates here

3x On U Sound,Annie, Dub Warriors, Barmy (B Nelson, Jam n Spoon, Vor Der Flut, Jalal, OnUSound Celebration)


3x Jah Wobble - Heaven n Earth, Requiem, Umbra Sumus (back in Flac )

3x Triffds back up


3 x African Head Charge  back in flac




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RhoDeo 1514 Empire Strikes 04

Hello,

This week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country.
Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.

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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 204 Fire And Ice (mp3  24mb)

204 Fire And Ice 03 26:28


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previously

The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)
The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Sundaze 1514

Hello,

Today's Sundazers are pointed to Canada however the artist succumbed to the lure of Berlin later,. N'joy

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Though based in Montreal, Deadbeat and his ultra-textured ambient dub soundscapes made their way around the world, finding large audiences in Europe as well as in North America. Deadbeat producer Scott Monteith is a member of the same fertile Montreal scene that includes such luminaries as Akufen (Marc Leclair) and Algorithm (Jeff Milligan). Like his peers, he gained international acclaim in the early 2000s once the French-Canadian city became a hot spot for laptop techno (see the Montreal Smoked Meat compilation), thanks partly to the world-renowned Mutek festival, as well as a wealth of Montreal-based record labels. Monteith debuted as Deadbeat in July 2000 with the Cesium Beam 12" for Hautec Records and has since recorded for such labels as Revolver, Intr_Version, Background, Force Inc, Oral, Scape, Cynosure, and Clitekture. In addition, he has collaborated with Steve Beaupre as Crackhaus and with Robert Henke (Monolake) as Atlantic Wave.

Monteith moved to Montreal in 1995 and quickly became enthralled by the city's underground community of digital musicians and artists, eventually co-founding the multimedia collective Covert Ops. He began recording music as Deadbeat in early 1998 and released his first 12" in 2000. A year later, fellow Montreal producer Mitchell Akiyama released the debut Deadbeat full-length, Primordia (2001), on his Intr_Version label, and another year later, Stefan Betke (Pole) released the follow-up, Wild Life Documentaries (2002), on his Scape label. During the intermittent time, numerous other labels released Monteith's recordings as Deadbeat; most notably, Force Inc showcased the producer's work -- both as Deadbeat and as half of Crackhaus -- on its scene-encapsulating Montreal Smoked Meat (2002) collection.

The Scape label remained his home for the 2004 release Something Borrowed, Something Blue along with 2005's New World Observer, which introduced a more danceable sound. Journeyman's Annual from 2007 continued on this path with dancehall and dubstep figuring into the mix, while his 2008 effort Roots and Wire -- released by the Canadian label Wagon Repair -- was a return to slow dub. A dub techno mix on The Agriculture titled Radio Rothko followed in 2010. By 2011, Scape was no more, but with the label as his inspiration, Monteith formed BLKRTZ and released the Deadbeat album Drawn and Quartered on the imprint that year. The project's eighth official studio effort, simply titled Eight, arrived on BLKRTZ in 2012 with guest appearances from Dandy Jack, Mathew Jonson, and Danuel Tate.


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Much stronger and accomplished than the first Deadbeat album, SOMETHING BORROWED, SOMETHING BLUE sees Scott Menteith exploring the boundaries of dub further, with a keen interest to the space created by reverb, rather than reverb itself.

The second offering from Montreal's Scott Monteith, aka Deadbeat, for the Scape imprint, "Something Borrowed, Something Blue"" is another sublime study of microscopic rhythm structures and dub variations from a man who cut his first album from the same cloth as that Pole used so well for his groundbreaking debut six years ago. Produced in homage to his recent marriage (hence the title), the album also contains an effortless romantic undertone that's built around simple piano notes, effervescent textures and an unusual percussive character (crickets chirping, space echoes fragmenting) that's in turn startling and humerous - a rare feat in the ever-serious world of electronic music. The epic "Head Over Heels" is quite possibly the most overtly romantic and groundbreaking piece on offer - a haunting elevation of strings and solitary piano lines counterpointing the delays and bass modulations of the dub scope with beautiful assymetry and feel for heart-stopping nuance. "Requiem", meanwhile, dusts off the bassline legacy of Sly and Robbie at their most devastating and goes for the dub jugular with utmost depth. In all, a worthy follow up to Deadbeat's excellent debut - further studies into the nether regions of dub and its fractured worlds of possibility.

Deadbeat - Something Borrowed, Something Blue  (flac 481mb)

01 A Brief Explanation... 0:59
02 Head Over Heels 7:23
03 White Out 7:52
04 Requiem 8:36
05 Steady As A Rock 5:32
06 Fixed Elections 6:38
07 A Joyful Noise (Part I) 7:18
08 A Joyful Noise (Part II) 6:21
09 Quitting Time 9:50
10 Portable Memory (The Final Cut) 8:54

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What makes a piece of heady dance music feel closer to techno or dub in 2011? Plenty of modern tracks bears the traces of 1970s Jamaica and ‘80s Detroit, but rarely do they try to literally recreate the music of either time or place. Too many generations have gone by, and the form rarely aims for retro. But even without vintage gear or strict homage, the principles of old technologies feed the music. Dub is the product of mixing desks becoming mainstream, and techno is the parallel outcome of samplers and drum machines becoming affordable. The contrast between the two comes with how the flow of time is treated. A mixing desk implies time moving in an arrow, as the tape beneath the faders run to the end. A sampler implies time cycling, as loops and drum patterns overlap and phase. I don’t mean this in some sort of profound or philosophic sense (though it’s a split that’s been noted). To throb out musical intoxication, a techno joint whirls, and a dub is a series of chambers revealing ever deeper secrets.

Drawn and Quartered is a pretty intoxicating whirl. The only explicitly dub references come on the “fifth quarter” track, which doesn’t make it on the vinyl release. That track halts after a wispy intro, coming back in with a ska horn chart and one drop bass that flows through key changes. For the four official sides, the frequencies naturally covered by bass guitar are mostly empty, with lower-than-low tones providing a shifting floor. “First Quarter” and “Second Quarter” build themselves gradually, while “Third” and “Fourth” start with a groove and stick with it. All of them put more gears in the clockwork than the work by Rhythm & Sound and Pole that probably led Monteith to Germany, but Drawn is hardly busy. The extra layers always serve the core beat. Even the mostly ambient “Third” has a slow sway that’s implied by alternating between two long tones.
The peak of joy (and Drawn and Quartered is brighter than the title or the producer’s name suggest) comes on “Second,” where foggy palpitations assemble into a hop. Crinkled treble is pushed aside like the wake of a motorboat, as the hop bounces among the waves. As other click-and-bump expats like Shackleton and Morphosis assemble in Berlin, Deadbeat’s moves are full of good choices.

Deadbeat - Drawn And Quartered  (flac  330mb)

01 First Quarter 11:40
02 Second Quarter 12:00
03 Third Quarter (The Vampire Of Mumbai) 10:39
04 Fourth Quarter (Cala's House) 11:36
05 Plateau Quarter (Hope In Numbers) 11:44

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Deadbeat's eighth studio album lands replete with guest assistance from longtime collaborator Robert Henke aka Monolake, fellow Canuck-in-Berlin Mathew Jonson, Cobblestone Jazz dude Danuel Tate, and Chilean micro-groove guy Dandy Jack. It's a solid reaffirmation of Scott Montieth aka Deadbeat's sheer production skills and deft way with a Dub Techno flex, refining the stripped down and propulsive style he's honed with countless 12"s and remixes for respected labels such as Wagon Repair, Echocord and ~scape. Highlights have to be tense but spacious dub flux of 'Elephant In The Pool', the signature SH101 narration from Jonson on 'Wolves And Angels' and no doubt the sleekly streamlined and bodily synced TechnoHouse flex of 'My Rotten Roots', punctuated by Robert Henke's super criss woodblock snares and rendered sharp by his "metal room design".

Deadbeat - Eight  (flac  368mb)

01 The Elephant In The Pool 7:23
02 Lazy Jane (Voc Danuel Tate) (Steppers Dub) 5:45
03 Alamut 7:32
04 Wolves And Angels 8:02
05 Punta De Choros 5:19
06 My Rotten Roots 8:10
07 Yard 8:01
08 Horns Of Jericho 8:14

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RhoDeo 1513 Grooves

Hello,

Today.an African American soul, R&B, and funk singer-songwriter, guitarist, and record producer, who was one of the most influential musicians behind soul and politically conscious African-American music.[1][2] He first achieved success and recognition with the Impressions during the Civil Rights Movement of the late 1950s and 1960s, and later worked as a solo artist you can take note of that here ........N'joy

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Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Super Fly" are merely the most famous of his many hit records.

 But Curtis Mayfield wasn't just a singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.

Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."

Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.

Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Super Fly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.

At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Super Fly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Super Fly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."

Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no substitute for the man himself, these tributes served as an indication of the enormous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57.


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The first solo album by the former leader of the Impressions, Curtis represented a musical apotheosis for Curtis Mayfield -- indeed, it was practically the "Sgt. Pepper's" album of '70s soul, helping with its content and its success to open the whole genre to much bigger, richer musical canvases than artists had previously worked with. All of Mayfield's years of experience of life, music, and people were pulled together into a rich, powerful, topical musical statement that reflected not only the most up-to-date soul sounds of its period, finely produced by Mayfield himself, and the immediacy of the times and their political and social concerns, but also embraced the most elegant R&B sounds out of the past. As a producer, Mayfield embraced the most progressive soul sounds of the era, stretching them out compellingly on numbers like "Move on Up," but also drew on orchestral sounds (especially harps), to achieve some striking musical timbres (check out "Wild and Free"), and wove all of these influences, plus the topical nature of the songs, into a neat, amazingly lean whole. There was only one hit single off of this record, "(Don't Worry) If There's a Hell Down Below We're All Going to Go," which made number three, but the album as a whole was a single entity and really had to be heard that way. In the fall of 2000, Rhino Records reissued Curtis with upgraded sound and nine bonus tracks that extended its running time to over 70 minutes. All but one are demos, including "Miss Black America" and "The Making of You," but mostly consist of tracks that he completed for subsequent albums; they're fascinating to hear, representing very different, much more jagged and stripped-down sounds. The upgraded CD concludes with the single version of "(Don't Worry) If There's a Hell Below We're All Going to Go."

Curtis Mayfield - Curtis  (flac  459mb)

01 (Don't Worry) If There's A Hell Below We're All Going To Go 7:51
02 The Other Side Of Town 4:02
03 The Makings Of You 3:44
04 We The People Who Are Darker Than Blue 6:06
05 Move On Up 8:54
06 Miss Black America 2:59
07 Wild And Free 3:16
08 Give It Up 3:49
bonus
09 Power To The People (Demo) 2:47
10 Underground (Demo) 3:12
11 Ghetto Child (Demo) 5:10
12 Readings In Astrology (Demo) 3:31
13 Suffer (Demo) 2:32
14 Miss Black America (Demo) 2:23
15 The Makings Of You (Backing Tracks, Take 32) 4:35
16 (Don't Worry) If There's A Hell Below We're All Going To Go (Backing Tracks, Take 1 & 2) 9:35
17 (Don't Worry) If There's A Hell Below We're All Going To Go (Edited Single Version) 3:27

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Curtis Mayfield's visionary album, a landmark creation every bit as compelling and as far-reaching in its musical and extra-musical goals as Marvin Gaye's contemporary What's Goin' On. Opening on the hit "Get Down," the album soars on some of the sweetest and most eloquent -- yet driving -- soul sounds heard up to that time. Mayfield's growing musical ambitions, first manifested on the Curtis album, and his more sophisticated political sensibilities, presented with a lot of raw power on Curtis Live!, are pulled together here in a new, richer studio language, embodied in extended song structures ("Underground"), idealistic yet lyrically dazzling anthems ("We Got to Have Peace," "Keep On Keeping On," and, best of all, the soaring "Beautiful Brother of Mine"), and impassioned blues ("Now You're Gone"). The music is even bolder than the material on the Curtis album, with Mayfield expanding his instrumental range to the level of a veritable soul orchestra; and the recording is better realized, as Mayfield, with that album and a tour behind him, shows a degree of confidence that only a handful of soul artists of this era could have mustered. Charly Records had this album out on CD in the 1980s, but Rhino's acquisition of the Curtom catalog in 1996 led to a remastered and expanded reissue in 1999 with superior sound, detailed annotation, and the addition of four bonus tracks. Apart from a slow, funky, stripped-down but eminently listenable demo of "Underground" (which reveals just how sophisticated Mayfield's conceptions -- forget the finished versions -- of his songs were), the latter consist of the single edits of "Get Down," "We Got to Have Peace," and "Beautiful Brother of Mine."

Curtis Mayfield - Roots (flac 215mb)

01 Get Down 5:45
02 Keep On Keeping On 5:08
03 Underground 5:15
04 We Got To Have Peace 4:44
05 Beautiful Brother Of Mine 7:23
06 Now You're Gone 6:50
07 Love To Keep You In My Mind 3:48

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Curtis/Live! is, simply, one of the greatest concert albums ever cut on a soul artist, and one of the legendary live albums of all time. Cut in January of 1971 during four nights at The Bitter End (then Greenwich Village's leading music venue) in New York, the resulting double LP transcended any expectations in both its programming and execution -- Mayfield performed numbers off of the Curtis album ("[Don't Worry] If There's a Hell Below We're All Going to Go"), as well as exciting and urgent new versions of songs originally performed by the Impressions ("We're a Winner," "People Get Ready," "Gypsy Woman"), plus a very moving R&B version of "We've Only Just Begun." This is all beautifully stripped-down work by a quintet consisting of Mayfield (vocals, guitar), Craig McMullen (guitar), Tyrone McCullen (drums), "Master" Henry Gibson (percussion), and Joseph "Lucky" Scott (bass) -- a solid, intense performance, with quietly elegant guitar playing against a rock-solid rhythm section, as Impressions hits are rethought and reconfigured in a new context, and Mayfield's early solo repertory comes to life in newer, longer live versions. [The British import from Sequel adds the complete contents of 1973's live Curtis in Chicago.

Curtis Mayfield - Curtis Live ! (flac 393mb)

01 Mighty Mighty (Spade And Whitey) 6:46
02 Rap 0:27
03 I Plan To Stay A Believer 3:00
04 We're A Winner 4:35
05 Rap 0:42
06 We've Only Just Begun 3:43
07 People Get Ready 3:35
08 Rap 0:35
09 Stare And Stare 6:19
10 Check Out Your Mind 3:50
11 Gypsy Woman 3:48
12 The Makings Of You 3:03
13 Rap 2:00
14 We The People Who Are Darker Than Blue 6:38
15 (Don't Worry) If There's A Hell Below, We're All Gonna Go 9:08
16 Stone Junkie 7:48

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RhoDeo 1513 Re-Up 9

Hello, well muslim cowards have once again proven the peaceful nature of islam by cold-bloodily murdering 143 unarmed Christian students, may Allah reward them with 72 demon virgins that will torture them for eternity.. Alas things don't work that way. Meanwhile there are 143 families mourning the death of a potential lightbearer for their family..

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

More new updates here

6x Spaced, full upgrade to flac (B Nelson, Jam n Spoon, Vor Der Flut, Jalal, OnUSound Celebration)


DeepChord - Coldest Season (now in Flac 547mb)

4x Villalobos back up


3 x African Head Charge  back in flac



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RhoDeo 1513 Goldy Rhox 203

Hello, today the 203rd post of GoldyRhox, classic pop rock in the darklight a British rock band, formed in 1977 by Mark Knopfler (lead vocals and lead guitar), his younger brother David Knopfler (rhythm guitar and backing vocals), John Illsley (bass guitar and backing vocals), and Pick Withers (drums and percussion). Their sound drew from a variety of musical influences, including jazz, folk, and blues, and came closest to beat music within the context of rock and roll. Despite the prominence of punk rock during the band's early years, the band's stripped-down sound contrasted with punk, demonstrating a more "rootsy" influence that emerged from pub rock.

They also became one of the world's most commercially successful bands, with worldwide album sales of over 120 million. The band won numerous music awards during their career, including four Grammy Awards, three Brit Awards—winning Best British Group twice, and two MTV Video Music Awards. They originally split up in 1988, but reformed in 1991, and disbanded for good in 1995 when Mark Knopfler launched his career full-time as a solo artist. There were several changes in personnel over both periods, leaving Mark Knopfler and John Illsley as the only two original bandmates who had remained throughout the band's career.

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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 debut studio album by today's mystery British rock band, released on 7 October 1978 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The album reached the number one position on album charts in Germany, Australia and France, the number two position in the United States, and the number five position in the United Kingdom. It was certified double-platinum in both the United States and the United Kingdom.

In 1977, Mark, John, and David decided to form a band. They recruited drummer Pick Withers and began rehearsing. A friend of Mark's helped give the group their name, a reference to their financial situation.] After a few months of rehearsals, the band borrowed enough money to record a five-song demo tape, which included the song "Sultans of Swing." They took the tape to disc jockey Charlie Gillett, who had a radio show called "Honky Tonk" on BBC Radio London. The band respected Gillett and sought out his advice. Gillett liked what he heard and started playing "Sultans of Swing" on his show. Two months later, Dire Straits signed a recording contract with Phonogram Records.

On its initial release, today's mystery album received little fanfare in the UK, but when Sultans of Swing was released as a single, it became a chart hit in the Netherlands and subsequently album sales took off — first across Europe, and then in the United States and Canada, and finally the UK. The album cover artwork is taken from a painting by Chuck Loyola. The Fender icon, which appears on the back cover, was designed by Geoff Halpern.

In a retrospective review for AllMusic, Stephen Thomas Erlewine gave the album four out of five stars, calling it "remarkably accomplished for a debut".Erlewine praised Knopfler's "spare, tasteful guitar lines and his husky warbling" and his "inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album." Here to get, it's 03 remaster..N'Joy


Goldy Rhox 203   (flac 266mb)

Goldy Rhox 203    (ogg 103mb)


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RhoDeo 1513 Aetix

Hello, it was another stormy spring day...fools beware

Today in the spotlight, a band often cited as the first band to define the punk rock sound. Despite achieving only limited commercial success, the band was a major influence on the 1970s punk movement in both the United States and United Kingdom. All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were related. Today we start off of on that New Years night 1977 when all of them were very much ALIVE  N'Joy
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The original members of the band met in and around the middle-class neighborhood of Forest Hills in the New York City borough of Queens. John Cummings and Thomas Erdelyi had both been in a high-school garage band from 1966 to 1967. They became friends with Douglas Colvin, who had recently moved to the area from Germany. The Ramones began taking shape in early 1974, when Cummings and Colvin invited Hyman to join them in a band. The initial lineup featured Colvin on lead vocals and rhythm guitar, Cummings on lead guitar, and Hyman on drums. Colvin, who soon switched from rhythm guitar to bass, was the first to adopt the name "Ramone", calling himself Dee Dee Ramone. He convinced the other members to take on the name and came up with the idea of calling the band the Ramones. Hyman and Cummings became Joey Ramone and Johnny Ramone, respectively.

Johnny's former bandmate Erdelyi was set to become their manager. Soon after the band was formed, Dee Dee realized that he could not sing and play his bass guitar simultaneously, thus Joey became the band's new lead singer. Dee Dee would continue, however, to count off each song's tempo with his signature rapid-fire shout of "1-2-3-4!" Joey soon similarly realized that he could not sing and play drums simultaneously and left the position of the drummer. While auditioning prospective replacements, Erdelyi would often take to the drums and demonstrate how to play the songs. It became apparent that he was able to perform the group's music better than anyone else, and he joined the band as Tommy Ramone.

Around this time, a new music scene was emerging in New York centered around two clubs in downtown Manhattan—Max's Kansas city and, more famously, CBGB (usually referred to as CBGB's). The Ramones made their CBGB debut on August 16 74. The band swiftly became regulars at the club, playing there seventy-four times by the end of the year. After garnering considerable attention for their performances—which averaged about seventeen minutes from beginning to end—the group was signed to a recording contract in late 1975 by Seymour Stein of Sire Records. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as "punk".

The Ramones recorded their debut album, Ramones, in February 1976. While the songwriting credits were shared by the entire band, Dee Dee was the primary writer. Ramones was co-produced by Tommy and Craig Leon on an extremely low budget of about $6,400 and released in April. Ramones was not a commercial success, reaching only number 111 on the Billboard album chart. The two singles released from the album, "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend", failed to chart. At the band's first major performance outside of New York, approximately ten people showed up. It wasn't until they made a brief tour of England that they began to see the fruits of their labor; a performance at The Roundhouse in London on July 4, 1976 was a resounding success.

Their next two albums, Leave Home and Rocket to Russia, were released in 1977. Both were coproduced by Tommy and Tony Bongiovi. Leave Home met with even less chart success than Ramones. Rocket to Russia was the band's highest-charting album to date, reaching number 49 on the Billboard 200. The Ramones recorded It's Alive, a live concert double album, at the Rainbow Theatre, London, which was released in April 1979.

Tommy, tired of touring, left the band in early 1978. He continued as the Ramones' record producer under his birth name of Erdelyi. His position as drummer was filled by Marc Bell, He became Marky Ramone. Later that year, the band released their fourth studio album, Road to Ruin. The album, co-produced by Tommy with Ed Stasium, included some new sounds such as acoustic guitar, several ballads, and the band's first two recorded songs longer than three minutes. It failed to reach the Billboard Top 100.

After the band's movie debut in Roger Corman's Rock 'n' Roll High School (1979), renowned producer Phil Spector became interested in the Ramones and produced their 1980 album End of the Century. Though it was to be the highest-charting album in the band's history—reaching number 44 in the United States and number 14 in Great Britain—Johnny made clear that he favored the band's more aggressive punk material. Pleasant Dreams, the band's sixth album, was released in 1981. It continued the trend established by End of the Century, diluting the rawer punk sound showcased on the band's initial three albums. Slick production was again featured, this time provided by Graham Gouldman (10cc). Another futile attempt to get airplay on American radio. Subterranean Jungle, produced by Ritchie Cordell and Glen Kolotkin, was released in 1983. The album peaked at number 83 in the United States, it would be the last album by the band to crack the Billboard Top 100.

One would expect the band to collapse and in a sense it did several drummers went and came (back) by 1989 founder member Dee Dee left the band after the recording of their tenth studio album, Brain Drain, co-produced by Beauvoir, Rey, and Bill Laswell.He was replaced by Christopher Joseph Ward (C.J. Ramone), who performed with the band until they disbanded.

After more than a decade and a half at Sire Records, the Ramones moved to a new label, Radioactive Records. Their first album for the label was 1992's Mondo Bizarro, which reunited them with producer Ed Stasium. Acid Eaters, consisting entirely of cover songs, came out the following year. In 1995, the Ramones released ¡Adios Amigos!, their fourteenth studio album, and announced that they planned to disband if it was not successful. Its sales were unremarkable, garnering it just two weeks on the lower end of the Billboard chart. The band spent late 1995 on what was promoted as a farewell tour. However, they accepted an offer to appear in the sixth Lollapalooza festival, which toured around the United States during the following summer. After the Lollapalooza tour's conclusion, the Ramones played their final show on August 6, 1996, at the Palace in Hollywood. A recording of the concert was later released on video and CD as We're Outta Here !

Joey, who had been diagnosed with lymphoma in 1995, died of the illness on April 15, 2001, in New York. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, which specifically named Dee Dee, Johnny, Joey, Tommy, and Marky. The ceremony was one of Dee Dee's last public appearances; on June 5, 2002, two months later, he was found at his Hollywood home, dead from a heroin overdose. End of the Century: The Story of the Ramones, a Ramones documentary, came out in 2004. Johnny, who had been privately battling prostate cancer, died on September 15, 2004, in Los Angeles, shortly after the film's release. Remaining are the Ramones who played drums over the years, Tommy, Marky, Richie and Elvis,meanwhile Tommy (Tom Erdelyi, born January 29, 1952, died July 11th, 2014).

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IT'S ALIVE captures the Ramones in peak form, having the time of their lives before an appreciative British audience. From Joey's slow drawl "Weeeeeeellllll, it's great to be back here in...") to Dee Dee's "1-2-3-4," this disc pummels the listener into submission with the complete live Ramones experience to the point where you can practically feel the sweat. You've barely blinked before you realize that the first half-dozen songs have already raced past, their backdraft sucking the oxygen out of your lungs. "Rockaway Beach," "Teenage Lobotomy," "Blitzkrieg Bop," and "I Wanna Be Well" practically melt together in a three-chord melange, Tommy never letting up on the frantic beat and Joey pausing barely long enough to breathlessly shout, "Onetwothreefour!" before launching into the next set. The longest song here clocks in well short of three minutes, and many are hardly longer than one. Twenty-eight songs clock in under 48 minutes. Talk about a land-speed record. No subtleties of production or tweaking are needed here to capture the Ramones' live sound. Plug 'em in, turn everything up to 10, and let it rip. The sound of the manic crowd is practically organic. It's Alive is easily the best live punk-rock album of all time.

Ramones - It's Alive !  (flac 395mb)

01 Rockaway Beach 2:23
02 Teenage Lobotomy 1:54
03 Blitzkrieg Bop 2:05
04 I Wanna Be Well 2:23
05 Glad To See You Go 1:51
06 Gimme Gimme Shock Treatment 1:37
07 You're Gonna Kill That Girl 2:28
08 I Don't Care 1:41
09 Sheena Is A Punk Rocker 2:16
10 Havana Affair 1:34
11 Commando 1:39
12 Here Today, Gone Tomorrow 2:54
13 Surfin' Bird 2:20
14 Cretin Hop 1:46
15 Listen To My Heart 1:35
16 California Sun 1:45
17 I Don't Wanna Walk Around With You 1:24
18 Pinhead 2:45
19 Do You Wanna Dance? 1:39
20 Chainsaw 1:28
21 Today Your Love, Tomorrow The World 1:55
22 Now I Wanna Be A Good Boy 2:03
23 Judy Is A Punk 1:13
24 Suzy Is A Headbanger 1:53
25 Let's Dance 2:03
26 Oh Oh I Love Her So 1:39
27 Now I Wanna Sniff Some Glue 1:18
28 We're A Happy Family 2:06

Ramones - It's Alive !  (ogg 120mb)

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The loud-and-fast, campy-and-catchy formula began to wear a little thin by the time of the Ramones' fourth album, Road to Ruin. Following the exact same blueprint as its three predecessors, Road to Ruin simply doesn't yield the same results as the other records. In part, it's because the band sounds a little forced on the harder numbers, but the main problem lies with the undistinguished material. "I Wanna Be Sedated" is a classic, and "Questioningly" proves that the Ramones are just as effective when they slow the tempo down, yet much of the record sounds like the Ramones trying to give the people what they want. Since they were still in their prime, such nondescript material sounds good, but the record has neither the exuberant energy or abundant hooks of Ramones and Rocket to Russia, and it's the first suggestion that the Ramones may have painted themselves into a corner.

Ramones - Road To Ruin  (flac 234mb)

01 I Just Want To Have Something To Do 2:41
02 I Wanted Everything 3:15
03 Don't Come Close 2:44
04 I Don't Want You 2:26
05 Needles And Pins 2:20
06 I'm Against It 2:06
07 I Wanna Be Sedated 2:29
08 Go Mental 2:42
09 Questioningly 3:20
10 She's The One 2:13
11 Bad Brain 2:26
12 It's A Long Way Back 2:19

 Ramones - Road To Ruin  (ogg 75mb)

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Road to Ruin found the Ramones stretching their signature sound to its limits; even though there were several fine moments, nearly all of them arrived when the group broke free from the suddenly restrictive loud-fast-hard formula of their first records. Considering that the Ramones did desire mainstream success and that they had a deep love for early-'60s pop/rock, it's not surprising that they decided to shake loose the constrictions of their style by making an unabashed pop album, yet it was odd that Phil Spector produced End of the Century, because his painstaking working methods seemingly clashed with the Ramones' instinctual approach. However, the Ramones were always more clever than they appeared, so the matching actually worked better than it could have. Spector's detailed production helped bring "Rock 'n' Roll High School" and "Do You Remember Rock 'n' Roll Radio?" to life, yet it also kept some of the punkier numbers in check. Even so, End of the Century is more enjoyable than its predecessor, since the record has stronger material, and in retrospect, it's one of their better records of the '80s.

Ramones - End of the Century (flac 247mb)

01 Do You Remember Rock N Roll Radio? 3:50
02 I'm Affected 2:51
03 Danny Says 3:06
04 Chinese Rock 2:28
05 The Return Of Jackie And Judy 3:12
06 Let's Go 2:31
07 Baby, I Love You 3:47
08 I Can't Make It On Time 2:32
09 This Ain't Havana 2:18
10 Rock N Roll High School 2:38
11 All The Way 2:29
12 High Risk Insurance 2:08

Ramones - End of the Century  (ogg 86mb)

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