Sundaze 1146

Hello, autumn is still giving us temperatures above normal, in fact temps have been well above average since early October, after a rather cool summer and warm spring i'm beginning to wonder where the seasons went, even nature is confused. To be honest here, would love to see a repeat of that next year. As for that rip-off global warming scam, Gore and his cronies can go to hell and complain there. The Earth is a very dynamic eco system and possibly one of the wonders of the universe, continuously getting raped by ignorant sociopaths that pride themselves for their actions, worse getting lauded for it. That said the Earth can take it, it plays a long game . We humans will come to our senses or be long gone in say a mere 100,000 years from now.

So today we leave the German ambient masters for what they are, i'll get back to them in the future. Today music that sprang from the ashes of Talk Talk a band that after initial commercial success got evermore minimal, in a way they faded themselves out. Later the rhythm section Webb and Harris reappeared as O'Rang and even singer songwriter Mark Hollis made a one off reappearance with a eponymous solo album 7 years later, since he decided to become a family man, as his youngest is now 21, who knows what's in store..

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Bassist Paul Webb and drummer Lee Harris were bandmates for a decade in Talk Talk. A year after the band's final release -- 1992's critically acclaimed Laughing Stock -- Harris and Webb built a studio that they dubbed The Slug. Once the studio was up and running, the duo allowed all sorts of musicians to come in and improvise with them, using the resulting music as source material with which to create the music heard on 'O'Rang's albums. The band's recorded debut was the EP Spoor (1994) followed by two full lengths, Herd of Instinct (1995) and Fields & Waves (1996). The recordings were originally released on Echo Records and later picked up and reissued for the in 1997 by Chicago's Hit It! Recordings, followed a year later by the new Remixes. 'O'Rang features Webb and Harris (numerous sparring partners appear on the album as well, among them, Talk Talk sessioneer Mark Feltham and his acerbic harmonica; and The The's Matt Johnson on organ and guitar) on a variety of instruments, incorporating dub rhythms, various percussion, and thickly layered atmospherics to create a rock music that has been highly praised by U.K. publications such as The Wire, and Melody Maker. A newer album (working title: Loudhailer No. 19) was projected for release in 2001, but the album remains unreleased.

In 2002 Paul has worked on a project with Beth Gibbons of Portishead. Using the moniker 'Rustin Man', releasing the acclaimed Beth Gibbons and Rustin Man's Out of Season and a year later Acoustic Sunlight ( a live album recorded spring equinox 2003 in Berlin) Lee toured along aswell in 2003

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Herd of Instinct , was recorded similarly to Talk Talk's later albums: guest musicians played hours of improvisational material, then the performances were edited down and pieced together. However, in contrast to Talk Talk, the song structures were not planned before being recorded. As Paul Webb explains, "it was recorded before it was written.". If nothing seems to be happening, just wait - everything will sort itself out in time. This simple and reassuring philosophy is implicit in Herd of Instinct, the first album by Orang. Core band members Lee Harris and Paul Webb, have waited a long time to produce this collection of seven abrasive and intense songs. But we have to use 'songs' in the loosest sense, as Orang have disposed of conventional forms as far as possible. The music was created from lengthy improvisations in their studio-cum-shrine, The Slug, and pieced together in painstaking detail afterwards. Most of the instruments are acoustic; the technology assembling the jigsaw of material is practically state-of-the-art digital. The result is a free-flowing, dub-spiked, nebulous world music for the chill-out generation. The Spoor EP is included here.

O'Rang - Herd of Instinct + (flac 307 mb)

01 Orang 10:08
02 Little Brother 9:27
03 Mind On Pleasure 6:19
04 All Change 2:55
05 Anaon, The Oasis 8:59
06 Loaded Values 8:17
07 Nahoojek ~ Fogou 8:42

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'Herd' had an expansive freeform feel. The duo's, 'Fields And Waves' is more solid, more designed. This approach has swung them marginally away from the realms of sonic freefall ; several tracks tilt towards the kind of congested angst familiar from Matt Johnson's The The recordings. But even here the sound still swarms unexpectedly. Suddenly the music flocks, twists its composure; the riffs are dissipated into a multitude of plucked reverberations. Orang's is an intense music, a swelling, sometimes subterranean sound, but one that's strangely involuted, floating between musical categories. The album is a collection of precise and lovely soundscapes, a seducing mixture of hypnotic techno rhythms, pan-ethnic sounds and ear-grabbing samples. Most of the listener's time is spent enjoying an instrumental experience. There is no singer, per se, but vocals and speech are incorporating as more winning sounds in this successful mix. Intelligent, melodic electronica that is visually engaging.

O'Rang - Fields and Waves (flac 359mb)

01 Barren 7:30
02 Jalap 8:10
03 P.53 6:03
04 Moider 4:52
05 Seizure 3:34
06 Moratorium 4:06
07 Superculture 4:37
08 Quondam 7:56
09 Forest 4:14
10 Hoo 7:56
11 Boreades 4:06
12 Fields & Waves 2:05
13 Untitled 1:42

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Achingly gorgeous and hauntingly stark, Mark Hollis' self-titled debut picks up where he left off with Talk Talk's Laughing Stock seven years earlier, re-emerging at the nexus point where jazz, ambient, and folk music collide. It's quite possibly the most quiet and intimate record ever made, each song cut to the bone for maximum emotional impact and every note carrying enormous meaning. Hollis paints his music in fine, exquisite strokes, with an uncanny mastery of atmosphere that's frequently devastating. And if anything, his singularly resonant voice has grown even more plaintive with the passage of time, which -- combined with the understated artistry and minimalist beauty of tracks like "The Colour of Spring" and "Watershed" -- makes Mark Hollis a truly unique and indelible listening experience. Sadly, Hollis since retired from music and has not issued any recordings since.

Mark Hollis - Mark Hollis - (flac 239mb)

01 The Colour Of Spring 3:52
02 The Watershed 5:45
03 Inside Looking Out 6:21
04 The Gift 4:22
05 A Life (1895 - 1915) 8:10
06 Westward Bound 4:18
07 The Daily Planet 7:19
08 A New Jerusalem 6:49


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RhoDeo 1145 Grooves

Hello, today is not just another day it's 11 all over today, There's 11 players in soccer, fieldhockey and cricket, 11 shots in a salute, the Sun has an 11 year cycle. Numerologists believe that events linked to the time 11:11 appear more often than can be explained by chance or coincidence. This belief is related to the concept of synchronicity. Other authors believe it is an auspicious sign, and others that it signals a spirit presence. The belief that it has mystical powers has been adopted by believers in New Age philosophies. Then there's the eleventh hour concept meaning the last possible moment to take care of something, and often implies a situation of urgent danger or emergence Eurofiles take note ! Ah yes that wondeful number 11 and today we get a triple dose of it. Well as numbers go it's pretty special

Makes sense then to have a double album today, njoy !
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Gilles Peterson'(born 64) attended The John Fisher School, in the mid- and late- 1980s, living among the South London suburban soul scene in the early eighties, Gilles would avidly listen to listening to Level 42, Earth Wind & Fire, Central Line and the heavier, deeper pirate stations such as Radio Invicta. This inspired him to set up his own station - literally an aerial suspended between a tree and a phone box - playing an eclectic mix of jazz, funk, reggae, soul and early electro. By a stroke of luck, Radio Invicta needed a new transmitter, so Gilles swapped his for a regular show on the station.

At the same time, Gilles was a regular shopper at DJ Paul Murphy's Palladin Records. Murphy also DJ'd at Camden's Electric Ballroom, and his knowledge of rare, killer power jazz tunes and rare Afro-Cuban fusion was further inspiration for Gilles, who took over the decks when Paul left. Once ensconced upstairs in the Electric Ballroom, Gilles' understanding and insight into jazz, funk and soul grew exponentially. Gilles soon began to play at Nicky Holloway's Special Branch night at The Royal Oak.

1985 saw Gilles releasing the Jazz Juice (streetsounds) compilation series, collecting together many of the jazz tracks Gilles had been playing over the past few years. EMI Records soon called on Gilles to put together a series of inspired collections showcasing jazz label Blue Note's best artists resulting in 'Blue Bossa Vols. 1 & 2' and 'Baptist Beat' , which became the motivation for the hugely popular 'Blue' series of Jazz compilations.

During this period, Gilles had also been working on new pirate radio projects before 'going legit' with the BBC Radio London which was the first legal station he worked for, hosting a show called 'Mad On Jazz'. After leaving Radio London in 1986, Gilles started his Sunday sessions - 'Talkin' Loud' & 'Saying Something' - at Camden's Dingwalls. Co-hosted by Patrick Forge, these ran for five years. Coinciding with the emerging acid house scene, the sessions became a natural magnet for post clubbing come-down kids.

Shortly afterwards, Gilles started the Acid Jazz label, but after two years he felt the sound, the music and name was becoming a mod thing, a retro thing.' And so the approach from Phonogram was welcome , and he set up a new label Talkin' Loud records in 1989 . Gilles got the chance to echo his own diverse tastes and the label saw releases from the likes of Brand New Heavies, Jamiroquai, the Galliano.

Back on air, Gilles' show on London's Jazz FM was axed in 1990 after he played 'inappropriate' music and made statements supporting peace during the Gulf War. Soon after, he joined the newly-legalized Kiss FM. His Sunday evening WorldWide slot proved one of the most popular on the station and he stayed there for eight years until he joined Radio 1 in 1998. From 1998 to the present, through his BBC show Worldwide, Peterson has continued to stretch the musical boundaries. The show has always highlighted both new, but more importantly for the audience it is supposed to serve, older and often very rare records from the late-1950's to 1980's. In fact every three months or so, Gilles dedicates a whole show to older vinyl releases in a special version of his show he subtitles a Brownswood Basement. In August 2004 the show moved from Wednesday (midnight til 2am) to an earlier Sunday slot (11:00 to 01:00) In September 2006, Peterson's show on Radio 1 was moved from Sunday night to Wednesday night (more precisely the early hours of Thursday morning), 02:00 to 04:00 (GMT) where you can pick him up every week and not to worry.

Widely acclaimed as a musical tastemaker, Gilles spreads his influence on music listeners around the world mostly through the Worldwide radio show on BBC Radio 1 and besides he also does another version of the show which gets syndicated to radio stations all over the world. Parallel to this, his frequent DJing gigs around the world also have cemented a worldwide following. In 2006 Gilles and Freshly Cut, a French event production company from Montpellier, collaborated to create the unique Worldwide Festival. This started out as a small intimate festival during the summertime in the coastal town of Sète in France. Meanwhile it hasbeen expanded to three festivals, in London, Shanghai and Sète in 2007. In 2008 it will have expanded to take place in London, Beijing, Tokyo, Frankfurt, Singapore and Sète.

Gilles Peterson – INCredible Sound Of Gilles Peterson 1 ( 455mb)

101 Funkadelic – Free Your Mind And Your Ass Will Follow 1:31
102 Papo Vázquez – Baila Piena (Off World Remix) 3:31
103 Buscemi – The Salon Section 4:31
104 Incognito – I Can See The Future (Ski'sa Main Mix) 7:28
105 Nuyorican Soul – I Am The Black Gold Of The Sun (4 Hero Remix) 5:42
106 Willis Jackson – Nuther'n Like Thuther'n 6:59
107 Jimmy Smith – Who's Afraid Of Virginia Wolf? (Part 2) 4:29
108 A Tribe Called Quest – If The Papes Come 3:43
109 Luiz Arruda Paez – Upa Neguinho 0:55
110 Elza Soares – Mas Que Nada 2:37
111 Johnny Blas – Picadillo (Carl Craig's Breakdown Mix) 7:08
112 Fania All Stars – Coro Miyare 5:20
113 Alive! – Skindo Le Le 3:58
114 Eddie Russ – See The Light 1:24
115 Sons & Daughters Of Lite – Let The Sun Shine In 4:54
116 Black Sun – Spread Love 4:40

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Gilles Peterson – INCredible Sound Of Gilles Peterson 2 (flac 421mb)

201 Pharoah Sanders – Rejoice 8:20
202 Soul Dhamma – Flower (The Underwater Garden Dub) 9:11
203 Critical Point – Messages (Main Mix) 5:57
204 Freddie Hubbard – Little Sunflower 9:03
205 MJ Cole – I See (Vocal) 4:42
206 Underwolves – Bird Song 4:58
207 Andy Bey – River Man 4:17
208 Isley Brothers – Ohio 8:43
209 Minnie Riperton – Les Fleurs 3:08
210 Handsome Boy Modeling School – The Truth (Voc.J-Live, Róisín Murphy) 3:48
211 DJ Vadim – Your Revolution (Voc.Sarah Jones) 4:08
212 Arthur Blythe – Autumn In New York 3:10

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RhoDeo 1145 Goldy Rhox 45

Hello, today the 45th post of GoldyRhox, classic pop rock, in the darklight a US band with five number one singles, six Grammys, five American Music Awards, and six number one albums, in short they were one of the most successful musical acts of the 1970s. Here we go, on a dark desert highway..any moment now a UFO will appear

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

Todays mystery album was released on December 8, 1976 as the band's fifth studio album, it became their highest selling studio album with over 16 million copies sold in the U.S. alone.The album was at #1 for eight weeks in early 1977 (non-consecutively), and included two tracks which became #1 hits as singles on the Billboard Hot 100. It was ranked #37 on Rolling Stone's list of the “500 Greatest Albums Of All Time”n and further established the group as the most successful American band of the decade, making them household names.

Their singer, songwriter and drummer stated "This is a concept album, there’s no way to hide it, but it’s not set in the old West, the cowboy thing, you know. It’s more urban this time, using California as a microcosm of the whole United States, or the whole world, if you will, and to try to wake people up and say ‘We’ve been okay so far, but we’re gonna have to change if we’re gonna continue to be around."

Goldy Rhox 45 (flac 217mb)

Goldy Rhox 45 (ogg 96mb)


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RhoDeo 1145 Aetix

Hello, Aetix is still at that great southern land, today in the spotlight one of the greatest bands coming from Australia, according to the Australians themselves, so who are we to argue with that. The foundation to all that acclaim was laid with their first 3 albums, after that the band broke up, but has been guided through the 3 decades that followed by co founder Chris Bailey, here however are the first 3 albums that set The Saints up for a place in Rock n Roll history.

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The Saints' original members were Brisbane schoolmates Chris Bailey (singer-songwriter, later guitarist), Ed Kuepper (guitarist-songwriter), and Ivor Hay (drummer). Re-named as The Saints, in 1974, they played covers of Del Shannon, Connie Francis and Ike and Tina Turner – "exploding them almost beyond recognition with energyIn 1975 Kym Bradshaw joined on bass guitar. Contemporaneous with Ramones, the group were employing the fast tempos, raucous vocals and "buzz saw" guitar that characterised early punk rock.

In June 1976, The Saints recorded two tracks, "(I'm) Stranded" and "No Time" with Mark Moffatt producing. Unable to find any interested label, they formed Fatal Records and independently released their debut single in September. Their self-owned Eternal Promotions sent discs to radio stations and magazines both in Australia – with little local interest – and United Kingdom. In the UK, a small label, Power Exchange, issued the single. Sounds magazine's reviewer, Jonh Ingham, declared it, "Single of this and every week". that rang a bell at EMI head office in London and they contacted the Sydney branch and directed that they be signed to a three-album contract. Over two days in December, the group recorded their first LP, (I'm) Stranded ( released feb. 1977), with Rod Coe producing.

The Saints resisted being re-modelled into the English punk look and were generally ignored by the Australian press.Mainstream public was warned that punk rock is "a sinister new teenage pop cult, based on sex, sadism and violence, [which] is sweeping Britain. (Rural mentality was still coming to terms with Elvis Presley at that time ). The Saints released their second album, Eternally Yours, in May 1978 on EMI/Harvest with Bailey and Kuepper producing. The album showed the band moving towards a more R&B style of rock, including a brass section , the single "Private Affair", focussed on what the band members saw as the pigeon-holing, hype and commercialisation of punk.

The jazz-blues influenced third album, Prehistoric Sounds, followed in October 1978 (January 1979 in Australia). Its commercial failure led EMI to drop the band. During 1978, relations between Kuepper and Bailey had deteriorated, with Bailey preferring rock and pop songs and Kuepper pursuing less commercial and more intellectual material. Finally Hay, Kuepper and Ward left the group in early 1979. Kuepper returned to Australia and followed a more avant-garde direction with Laughing Clowns, which would frequently feature brass. He is one of Australia's most influential and highly regarded musicians with over twenty solo albums to his credit.

After co-founder Ed Kuepper left in 1979 and the band became Bailey's show, the twists and turns he took them through (horns, folk/blues arrangements, as well his numerous solo excursions) produced some good music, but it was mostly scattershot and lacked focus, though Bailey did record two fine records with the late-'80s incarnation of the band.

To most Americans, the Saints were a non issue. So, by the time All Fools Day was released in 1987, there were many who thought the Saints were a brand new band, and they were right. Gone were the rapid-fire guitar sound and bellowing vocals, replaced by sophisticated pop arrangements and more technically accomplished singing. The music was strong, intelligent pop that was better than much of the late-'80s "new wave." The next LP, Prodigal Son, wasn't as good, but did nothing to hurt the reputation of the "new" Saints.

It took almost a decade, however, for the next Saints (meaning Bailey plus others) album, 1997's Howling, to come out. The record portrayed a louder, edgier band than what had been seen on Prodigal Son, and was followed soon after by Everybody Knows the Monkey. In 2002, Spit the Blues Out was released and three years later, with the Church's guitarist Marty Willson-Piper on board, the Saints issued the rocking Nothing Is Straight in My House, followed by Imperious Delerium (without Willson-Piper) in 2006. The original members of the group were reunited in 2007 for some shows, presumably to boost sales of a box set titled The Greatest Cowboy Movie Never Made, otherwise, the Saints remained relatively quiet for the remainder of the decade.

Late 2010 the supernatural series Spirited used The Saints' I'm stranded as it's theme song. The entertaining series about a dentist Suzy Darling, who walks away from a loveless marriage and into an old apartment block that is inhabited by the ghost of a 1980s English punkrock star Henry Mallet is well worth checking out, alas it was dropped after a sec.season. You can find Spirited S2 here, S1 is out on dvd and likely available in google land.

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The Saints were to Australia what the Sex Pistols were to Britain and the Ramones to America. They sparked the punk rock movement with a blasting, blistering, scorching sound no one had heard before. Moreover, the Saints were blitzing the unsuspecting in their home of Brisbane in 1973, long before the Sex Pistols or the Ramones had even begun. Australians today hold the Saints in greater reverence than any rock band in its history, save for the Easybeats. After their incendiary, self-released debut 7" single "(I'm) Stranded" b/w "No Time" blew minds of a raving British press on import in 1976, subsequent sales of the single proved to the industry that the upstart punk movement was in fact commercially viable. The Saints pocketed a worldwide deal with EMI Australia, who rush-released "(I'm) Stranded" in Australia and Britain to capitalize on the new trend. This first LP was actually nothing but eight rough-and-raw demo tracks the band had no intention of releasing, plus the two sides of the much better, cleaner-sounding single. The heavy, buzzing racket on the eight demo tracks borders on unintelligible, they're so cheaply recorded, but nothing can stop a collection of cracklers this intense, with two absolutely astounding, blues-heavy ballads thrown in for great balance. a punk classic.

The Saints - (I'm) Stranded (flac 413mb)

01 (I'm) Stranded 3:25
02 One Way Street 2:54
03 Wild About You 2:38
04 Messin' With The Kid 6:05
05 Erotic Neurotic 4:11
06 No Time 2:45
07 Kissin' Cousins 2:04
08 Story Of Love 3:14
09 Demolition Girl 1:45
10 Nights In Venice 5:49
Bonus
11 Untitled [Outtake From (I'm) Stranded] 2:56
12 This Perfect Day [Single Version] 2:12
13 L-I-E-S 2:05
14 Do The Robot 2:44
15 Lipstick On Your Collar 2:35
16 One Way Street 2:52
17 Demolition Girl 1:59
18 River Deep Mountain High 3:53

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The band stayed much farther from the standard punk template (which had solidified with remarkable speed in the wake of the Sex Pistols) on their second LP, Eternally Yours. For their sophomore outing, the Saints threw actual tempo changes, horn charts, keyboards, and R&B accents into the mix, which didn't endear them to punk purists, who predictably didn't recognize that these changes had only strengthened the band's sound. Anyone looking for blazing 4/4 punk will find it in "Lost and Found" and "Private Affair," but the horn-fueled "Know Your Product" and "Orstralia" proved that punk could also sound soulful. The Saints proved they could slow it down and still sound tough and impassioned. Maybe Eternally Yours didn't sound like a standard-issue punk album in 1978, but it's stood the test of time much better than most of the work of punk's first graduating class. Initially entitled International Robots The Saints changed it to a less cynical but ironic Eternally Yours

The Saints - Eternally Yours (rem.) ( flac 493mb)

01 Know Your Product 3:15
02 Lost And Found 3:49
03 Memories Are Made Of This 2:20
04 Private Affair 2:05
05 A Minor Aversion 3:07
06 No, Your Product 4:07
07 This Perfect Day 2:30
08 Run Down 2:32
09 Orstralia 2:24
10 New Centre Of The Universe 2:20
11 Untitled 2:47
12 (I'm) Misunderstood 2:46
13 International Robots 1:58
Bonus
14 Looking For The Sun (Studio Outtake From Prehistoric Sounds) 3:28
15 Intermission 0:12
16 This Perfect Day 2:12
17 Run Down 2:47
18 Erotic Neurotic 3:18
19 Demolition Girl 1:40
20 Nights In Venice 7:15

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With Prehistoric Sounds (the last record of the band's original lineup), the Saints provide the textbook by which to make a great rock record where horns play as much of a role as guitar. Further extracting themselves from the limitations of punk, the band retains the attitude and turns it into a smart, bluesy, gutsy combination of controlled power. There's more dip in the hip and additional swagger. The days of "(I'm) Stranded" might have been long gone, but the varied tempos and sophisticated songwriting don't sacrifice the band's intensity at all. The horns are the real treat, whether used for the basis or just punctuation of each song, the tasteful use of saxophones is a genuine masterstroke.

The Saints - Prehistoric Sounds (flac 495mb)

01 Swing For The Crime 3:42
02 All Times Through Paradise 4:09
03 Every Day's A Holiday, Every Night's A Party 2:49
04 Brisbane (Security City) 4:23
05 Church Of Indifference 5:05
06 Crazy Googenheimer Blues 2:32
07 Everything's Fine 2:37
08 The Prisoner 5:01
09 Security 2:22
10 This Time 3:16
11 Take This Heart Of Mine 2:28
12 Chameleon 5:17
13 Save Me 3:34
Bonus The International Robot Sessions (All Tracks Mono)
14 Orstralia
15 Lost And Found
16 The Ballad
17 This Perfect Day
18 Run Down
19 A Minor Aversion
20 Champagne Misery
21 Private Affair
22 No, You're Product
23 New Centre Of The Universe
24 River Deep Mountain High
25 Untitled
26 (I'm) Misunderstood
27 Do The Robot

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RhoDeo 1145 Roots

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

Been there, but certainly not done all that, todays artist discography is so extensive there's at least another post coming after this one. Meanwhile the man is in his 76th year on this planet, and true to his size he's done it all and then some, Lee Scratch Perry..

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Lee Perry is a towering figure in reggae , some call him a genius, others claim he's a madman. Truth is, he's both, but more importantly, -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- others may have invented dub, many argue that no one experimented with it or took it further than did Lee Perry.

Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Soon he was producing and recording for Dodd at the center of the Jamaican music industry, Studio One. After a falling out with Dodd , Perry went to work at Wirl Records with Joe Gibbs, but not much chemistry there either so in 1968, Perry left to form his own label, called Upsetter. The first release on Upsetter was a single entitled "People Funny Boy," which sold extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae.

From this point through the 1970s, Perry released an astonishing amount of work under his name and numerous, pseudonyms he came a major force in reggae music together with his band the upsetters they worked with every performer in Jamaica. He started his own studio the black ark . Where he recorded marley and the wailers who were subsequently pick up but Island leaving Perry standing. All the hard work in the seventies didn't do his mental state much good and it is said that he burned down the black ark studio himself as he was convinced satan had taken up resedency there..

Soon after the fire that consumed Black Ark, Perry, increasingly fed up with the music business in Jamaica (which by all accounts is corruption personified), decided to leave Jamaica. Perry spent time in England and the United States, performing live and making erratic records with a variety of collaborators. It was not until the late 1980s, when he began working with British producers Adrian Sherwood and Mad Professor, that Perry's career began to get back on solid ground again. Perry also has attributed the recent resurgence of his creative muse to his deciding to quit drinking alcohol and smoking cannabis

Despite the considerable lows in his career, Perry remained busy and, so it seemed, reasonably happy. Although he was less in demand as a producer, his solo work remained very strong, and his continuing influence could be felt in the contemporary dub music of the Mad Professor. In 1997, Island (the label started by the vampire Chris Blackwell) released Arkology, a well-received three-disc compilation of Perry recordings. That same year a collaboration with Dieter Meier of the Swiss electronica duo Yello called Technomajikal arrived on the Roir label. The project was made geographically possible by Scratch's move to Switzerland.

A reunion with Trojan label happened in 2002, when the new album Jamaican E.T. was released by the label. Two years later Panic in Babylon was recorded with the European outfit White Belly Rats, while his legendary Super Ape album would receive a limited-edition reissue on the Hip-O Select label. The 1973 release Upsetters 14 Dub Blackboard Jungle -- sometimes referred to as Blackboard Jungle Dub -- saw its definitive reissue appear.

In 2008, Perry reunited with producer Adrian Sherwood on an album called The Mighty Upsetter. Unlike the dancehall/pop oriented Repentance, The Mighty Upsetter returned to the dub/reggae styles for which Perry is known. In 2009, Perry collaborated with Vienna based Dubblestandart on their Return from Planet Dub double album, revisiting some of his material from the 1970s and 80s as well as collaborating on new material with Dubblestandart.

Perry now lives in Switzerland with his wife Mireille and two children. Although he celebrated his 75th birthday in 2011, he continues recording and performing to enthusiastic audiences in Europe and North America. His modern music is a far cry from his reggae days in Jamaica; many now see Perry as more of a performance artist in several respects. Over the years a number of compilations have been released some not so good, and many of Perry's tapes were stolen. Some of these recordings have shown up on poorly mastered, and expensive, anthologies.

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Opinions run hot and cold over this hard-to-find two volume set of Scratch dub. Excellent and crucial as many of its supporters claim, awful as its detractors insist. For those that like the Perry mix so loaded with echo it sounds as if it was recorded in a canyon. Extremely difficult to find, yet here you get the chance to make your own mind up

Lee Scratch Perry - Megaton Dub 1+2    (flac  399mb)

01 Dem No Know Dub 3:42
02 Conscious Man Dub 3:59
03 Such Is Dub 3:40
04 Corn Picker Dub 3:15
05 Rasta Dub 3:10
06 Freedom Dub 2:43
07 Megaton Dub 4:56
08 Dreader Dub 3:55
09 School Girl Dub (Voc.Mikey Dread)4:42
10 Simon The Sorcerer 4:41

Megaton Dub 2

01 Traveling In Dub 5:13
02 Fisherman Dub 5:02
03 Zion In Dub 4:12
04 Groovy Dub 4:06
05 Dub Crisis 4:28
06 Green Bay Killing 3:48
07 Big Neck Dub 3:47
08 Living In Dub 3:21




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History, Mystery, Prophecy was recorded at a time when Scratch had a long-standing grudge with Island Records, it sounds as if he was forced into a new wave lounge act, complete with skinny black leather tie and other 1980s affectations. The songs all have a synth pop sound to them. The album is saved by a few good songs: "Mr. Music", an enjoyable pop reggae groove, "Daniel" (AKA "Jah Road Block"), and the hilarious, X-rated "Bed Jamming".

Lee Scratch Perry – History, Mystery and Prophesy (flac 295mb)

1 Mr. Music 4:50
2 The Ganja Man 4:20
3 Nice Time 5:08
4 Tiger Lion 2:52
5 Funky Joe 5:09
6 Heads Of Government 4:36
7 Daniel 3:39
8 Bed Jamming 5:30

Lee Scratch Perry – History, Mystery & Prophesy (ogg 116mb)

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elsewhere

Lee Perry - The Upsetter Box (Africa's Blood 72, Rhythm ) ( 85 ^ 98mb )
Lee Perry - The Upsetter Box ( Shower 73 & Double Seven 74) ( 85 ^ 95mb)

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RhoDeo 1145 Illuminatus 9th trip

Hello, hope you've had an enjoyable weekend, not too eventful, some hick ups nature bestowed on us, but then with 7 billion of us around there's always someone at the wrong place. The media are geared to present us with death and destruction, yet in no time during our history have chances been higher you'll die of old age. Sadly, there are still those that would like to do something about that...good thing the aliens have prohibited further use of nukes, but we are not supposed to know that naturally..

We're nearing the end of the Illuminatus saga with Leviathan the third and final part of the Illuminatus Trilogy the 9th trip, Yesod, chapters 3 till 6

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

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Leviathan, Bureaucracy, Yesod, 9th trip (3-6) (66 min, 24mb)

09-03 Cartwright Energy (16:48)
09-04 Hierophant (17:44)
09-05 Hagbard and Co (17:24)
09-06 Kool Aid (14:47)

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previously

The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)

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Sundaze 1145

Hello, my connection has been down for hours, reverting to my local IP, my trackball has hick ups too, strange night. Anyway as announced last week a second batch from the extensive Tangerine Dream discography, after last week's early seventies work today eighties work as in one regular with which they left the seventies behind, Exit and 2 movie scores, Firestarter and Legend. I had another lined up, Wavelength, but i have a better alternative available for you, the music and the movie for on line viewing or download just follow the link.

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continued from last week

Baumann left for a solo career in 1978 (later founding the Private Music label), and was replaced by Johannes Schmoelling, another important member of Tangerine Dream who would stay until the mid-'80s. In 1980, the Froese/Franke/Schmoelling lineup was unveiled at the Palast der Republik in East Berlin, the first live performance by a Western group behind the Iron Curtain.

By the time the new lineup stabilized in 1981, Hollywood was knocking on the band's door; Tangerine Dream worked on more than 30 film soundtracks during the 1980s, among them Risky Business, The Keep, Flashpoint, Firestarter, Vision Quest, and Legend. If the idea of stand-alone electronic music hadn't entered the minds of mainstream America before this time, the large success of these soundtracks entrenched the idea and proved enormously influential to soundtrack composers from all fields.

Despite all the jetting between Hollywood and Berlin, the group continued to record proper LPs and tour the world as well. Hyperborea, released in 1983, was their last album for Virgin, and a move to Zomba/Jive Records signaled several serious changes for the band during the late '80s. After the first Zomba release (a live concert recorded in Warsaw), 1985's Le Parc, marked the first time Tangerine Dream had flirted with sampling technology. The use of sampled material was an important decision to make for a group that had always investigated the philosophy of sound and music with much care, though Le Parc was a considerable success -- both fans and critics calling it their best LP in a decade. Tyger, released in 1987, featured more vocals than any previous Tangerine Dream LP, and many of the group's fans were quite dispirited in their disfavor.

Schmoelling left in 1988, to be replaced by the classically trained Paul Haslinger. Optical Race, released in 1988, was the first Tangerine Dream album to appear on old bandmate Peter Baumann's Private Music label. Several more albums followed for the label, after which Haslinger left to work on composing film scores in Los Angeles. His replacement, and the only other permanent member of Tangerine Dream since, was Edgar's son Jerome Froese. Another record label change, to Miramar, preceded the release of 1992's Rockoon, which earned Tangerine Dream one of their seven total Grammy nominations.

The duo continued to record and release live albums, remix albums, studio albums, and soundtracks at the rate of about two releases per year into the late '90s. Meanwhile, the influence of Tangerine Dream's '70s releases upon a generation of electronica and dance artists became increasingly evident, from the Orb's indebted ambient techno to DJ Shadow's sampling of Stratosfear's "Invisible Limits," heard on "Changeling," from 1996's Endtroducing....

During the early 2000s, new material surfaced at a slightly slower rate. In addition to a handful of studio albums - a couple soundtracks (Great Wall of China, Mota Atma), there was "the Dante trilogy" (Inferno, Purgatorio, and Paradiso, released from 2002 through 2006) and the five-part "atomic seasons" (with titles like Springtime in Nagasaki and Winter in Hiroshima, created for a Japanese man who survived the bombings of both cities).

During these years, keeping tabs on archival releases, both live and studio, was more challenging than ever; most prominently, there was The Bootmoon Series, entailing audience and soundboard recordings of performances dating back to 1977, as well as reissues of the first four albums and several anthologies. Despite so much focus on the past, epitomized by 40th anniversary concerts that took place in 2007, Tangerine Dream remained equally connected to the present.

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I saw Wavelength some years ago, intrigued by the fact the story was written by an US government 'insider' . It's based on an incident that took place at Hunter Liggett. (source Livermore physicist 'Henry Deacon' ) "The beginning of the film just completely clearly and accurately describes the incident, and the film is very close to the rest of the story, including the use of an abandoned Nike base in Southern California to store them."

As an independent movie it got very little exposure a real pity as this one is a real sleeper. The acting is great, the characterization is well played , you really feel that you are in the middle of this one. Special effects are at a minimum, this movie relies on the power of your imagination and the use of your brain. The screen presence of Robert Carradine and Cherie Currie...the steady flow of understated and beautifully filmed scenes...the mesmerizing music of Tangerine Dream at their best. This film is a synergy of several elements that came together to create a rare kind of sci-fi film magic. It has a meditative feel that is sadly absent from most films today, and while it may not have mega-buck mass appeal, it is well worth tuning into Wavelength. View on line or download there

Wavelength the movie

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Exit marks the beginning of a new phase in Tangerine Dream's music: Gone were the side-long, sequencer-led journeys, replaced by topical pieces that were more self-contained in scope, more contemporary in sound. Johannes Schmoelling's influence is really felt for the first time here. On Exit, listeners are introduced to electronic music's next generation, notably on "Choronzon" and "Network 23," which brought the sound of the dancefloor into the mix (it hasn't left since). That's not to suggest that Tangerine Dream has stopped creating eerie, evocative music. Exit ends on a surprisingly dark note, the alien and foreboding "Remote Viewing." It's on this track more than any other that Tangerine Dream returns to its past, invoking Phaedra and the sequencer-driven works that followed, as if to tell fans that Exit's changes weren't the result of a new band, just a new direction. With one foot in the excesses of the past and one clearly on the road to a more concise sound, Exit is a transitional work. As Schmoelling and, later, Paul Haslinger exerted their influence on Tangerine Dream's music, the emphasis shifted from dark and moody commentary to more positive subjects. It's worth noting that Edgar Froese's social conscience fuels much of Exit.

Tangerine Dream – Exit (flac 208mb)

01 Kiew Mission 9:21
02 Pilots Of Purple Twilight 4:21
03 Choronzon 4:09
04 Exit 5:35
05 Network 23 4:57
06 Remote Viewing 8:19

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Background: Firestarter is the band's fifth soundtrack album. The film was based on the Stephen King novel of the same name and it tells the story of Charly, a young girl on the run from a shady government agency because she can manipulate fire with her mind. Firestarter is an action-packed thriller with dark and sinister references. That description applies to the film and to Tangerine Dream's soundtrack.

The opening track, Crystal Voice hinges around a very memorable, almost conventional melody, and yet there's just enough menace and foreboding bubbling under the surface to keep it interesting and slightly off-kilter. There are some wonderful chord changes that give the track a dreamy quality and the trademark sequencer pattern has never been put to better use. In fact, this theme is so good they'll use it again in two tracks time, only this time they'll call it Charly the Kid! When played back-to-back it's difficult to tell the two pieces apart, but who cares about that when the tune is as hummable as this? You'll even be thankful when they run it past you the third time and fourth time via Burning Force and Shop Territory, only this time the catchy motif will be accompanied by some deft guitar work from Froese, a prickly sythn solo from Schmoelling and an increasingly urgent sequencer pattern by Franke that gives the melody an even more intimidating edge. However, the most interesting track of all is probably Between Realities. It's almost avant garde in its approach and for a moment you'll actually believe that the band have been transported back to 1972.

Tangerine Dream – Firestarter (flac 220mb)

01 Crystal Voice 3:07
02 The Run 4:50
03 Testlab 4:00
04 Charly The Kid 3:51
05 Escaping Point 5:10
06 Rainbirds Move 2:31
07 Burning Force 4:17
08 Between Realities 2:26
09 Shop Territory 3:15
10 Flash Final 5:15
11 Out Of The Heat 2:30

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After a disappointing test screening with Jerry Goldsmith's original orchestral score, Scott decided to make changes to the film. Sidney Sheinberg, president of MCA felt that the Goldsmith score would not appeal to the youth and pressed Ridley Scott for a new score. Tangerine Dream was contracted to complete a new, more contemporary score—a job they completed in three weeks. Until 2002, only European audiences could see Legend with Goldsmith's score.

"Loved By The Sun" is a vocal version of "Unicorn Theme" with lyrics written and sung by Jon Anderson of Yes. The vocals were added after Tangerine Dream had composed the instrumental music. "Unicorn Theme" has been played live at several concerts in various versions. "Is Your Love Strong Enough?", played over the end credits, has lyrics written and sung by Bryan Ferry with guitar by David Gilmour. It is a former out-take of the recording sessions for Avalon, the eighth and last Roxy Music album. All of the other tracks are Tangerine Dream instrumentals.

Tangerine Dream – Legend (flac 226mb)

01 Is Your Love Strong Enough (Feat Brian Ferry) 5:10
02 Opening 2:53
03 Cottage 3:19
04 Unicorn Theme 3:22
05 Goblins 3:00
06 Fairies 2:55
07 Loved By The Sun (feat.Jon Anderson) 5:56
08 Blue Room 3:22
09 The Dance 2:22
10 Darkness 3:03
11 The Kitchen / Unicorn Theme Reprise 4:53

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RhoDeo 1144 Grooves

Hello, today is all about Buffalo Man, the name of the silhouette character featured on most of the covers of the band's releases. It was created by Jay Kay between 1992 and 1993, seemingly a self portrait silhouette of Jason wearing a buffalo hat. At a birthdayparty I teased a fan that JK had internalized the Flintstones characters, i got into a heated debate, certainly after i threw some more oil on the fire that i considered the music a bit too sleek from time to time and geared to the well-off. Now this certainly isn't Jay Kay's background, far from it, but the kind of fans you gather has a baring on how the music is perceived. It's that snobbish jazz thing that raises my hairs. Well i certainly didn't make friends that night, somehow i got blamed for that necktie getting agitated.

Well what can i say Jamiroquai has sold 40,000,000 albums. With early lyrics frequently espousing a green, ecological stance, yet now owning over 30 luxury cars, Kay is frequently accused of environmental hypocrisy, a claim he obviously denies as he can drive only one car at the time, but his love of fast cars sees him speeding easily. However, he did hold Top Gear's no 1 spot in the Star in a Reasonably-Priced Car track competition. Boy Toys, interestingly he's into 'girl' toys as well, hats. Jay is well known for his array of elaborate hats and headgear. When appearing professionally (in concerts, interviews etc.) he has been referred to as "the mad hatter" for his love of headgear. It is said that he has over 50 different hats that he wears at concerts and in public.

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Jamiroquai has amassed a steady stream of hits in its native U.K. and experienced chart success in just about every other area of the world, with an irresistible blend of house rhythms and '70s-era soul/funk. The original band was Jay Kay (vocals), Toby Smith (keyboard), Stuart Zender (bass), Nick Van Gelder (drums), Wallis Buchanan (didgeridoo) and Alec Moran (pipeau). These are the founding members of Jamiroquai and were involved in the writing and production of the first album. The lineup of the band has changed several times, and the longest serving and now core members of the band are lead singer and songwriter Jason "Jay" Kay and drummer Derrick McKenzie (1994).

Kay was the impetus behind the formation of Jamiroquai, deciding to form the band after an unsuccessful audition to become the singer of the Brand New Heavies. Despite his self-professed attempts to treat Jamiroquai as a band, Kay has always been at the forefront of how the group is marketed, and has therefore always had the lion's share of media attention, to the point where he is viewed as almost a solo artist. Born on December 30, 1969, in Stretford, Manchester, Kay's mother, Karen, was a jazz singer who regularly performed at nightclubs, and in the '70s had her own TV show.

After leaving home at the age of 15, Kay found himself homeless and in trouble with the law (by committing petty crimes to get by). After a near-death experience (where he was attacked and stabbed) and being arrested for a crime he did not commit, Kay decided to return home, where he chose to pursue a legitimate career over crime: music. Kay didn't have a band to back up his compositions, but he quickly came up with his future project's name, Jamiroquai, a name that combined the name of a Native American tribe (the Iroquois) along with the music-based word, jam.

Kay's home demos caught the attention of the record label Acid Jazz, which issued Jamiroquai's debut single "When You Gonna Learn?" in late 1992. With Kay enlisting the help of others (Jamiroquai's best-known lineup), the single was a success and was soon followed by a long-term ( 8 records deal) and lucrative recording contract with Sony. Jamiroquai's full-length debut, Emergency on Planet Earth, followed in 1993 and became a major hit in their native England (peaking at number one on the charts) The band's second release, The Return of the Space Cowboy in 1995, managed to steer Jamiroquai clear of the sophomore jinx that affects so many up-and-coming bands by out-selling its predecessor in Europe and was a sizeable hit in Japan, as well.

With most of the world dancing to Jamiroquai's beat, America was next in line for the band's third effort, 1996's Traveling Without Moving. The album spawned the worldwide hit "Virtual Insanity," for which an award-winning video was filmed and helped the album achieve platinum status in the States by the year's end (as well as a highlighted performance at the 1997 MTV Video Music Awards). Despite achieving breakthrough success, bassist Zender opted to leave the group during sessions for its follow-up, which resulted in Kay scraping almost an entire album's worth of new tracks in order to start from scratch with a new bassist (the slot would eventually go to newcomer Nick Fyffe). During the downtime, Jamiroquai contributed a brand-new track, "Deeper Underground," to the soundtrack for the 1998 movie Godzilla.

But the long wait between albums seemed to kill Jamiroquai's momentum in the U.S., where a fourth release overall, 1999's Synkronized, was largely ignored (yet back home and across the globe, it was another major commercial success). Subsequently, it appeared as though the majority of Jamiroquai's U.S. media attention focused on non-music related events, such as the band turning down a million-dollar offer to play at a concert on New Year's Eve 1999. It didn't take Jamiroquai as long the next time around to issue another album, with A Funk Odyssey hitting the racks two years later in 2001. Kay also helmed a volume in the mix-album series Late Night Tales. From there, Jamiroquai spent the next two years gathering material for a sixth studio album.

Dynamite, which was finally released in 2005, was written and recorded in Spain, Italy, Costa Rica, Scotland, New York, Los Angeles and Jamiroquai's own Buckinghamshire studio. Jamiroquai released a greatest hits collection, High Times: Singles 1992-2006 in November 2006. The release of this album marked the end of Kay’s eight-album contract with Sony. The album reached the number 1 spot in the UK album chart after its first week of release. The album featured two new tracks, "Runaway" and "Radio".

After leaving Sony, the band began to work on their seventh project, and several collaborations and side-projects. In a very short mid-2007 interview with Jamirotalk, drummer Derick McKenzie expressed his satisfaction with leaving Sony as the beginning of a period in which the band will have more creative control over their own work, together with plenty of room for experimentation and lack of pressure from a record company. The group's seventh studio album, 2010's Rock Dust Light Star, was recorded in Jay Kay's home studio in Buckinghamshire, it saw a return to their earlier, less pop-like sound. Despite both singles, Blue Skies and White Knuckle Ride reaching into Top 100 charts worldwide, the album sold a mere 34,378 copies on its debut, around half the amount sold of the previous album Dynamite..

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Released in 1993, Emergency on Planet Earth features strong elements of the mixture of the R&B, and funk genres, a psychedelic melange of tight funky rhythms, acid rock intimations, and '70s soul melodies. Frontman Jay Kay introduces himself with an environmentally oriented manifesto inside the sleeve, and his lyrics smack of idealist save the planet revolution. But this revolution would be held on the dancefloor if the band's impressive rhythm section had anything to say about it. Horns, string arrangements, and a didgeridoo provide full texture on most of the album's tunes, and the socially aware party vibe raged into the U.K.'s number one album slot. For a debut, Emergency shows quite a range of diversity, from the up-tempo jazzy instrumental to the stop-start funk. The album was listed at number 23 in the music reference book 1001 Albums You Must Hear Before You Die.

Jamiroquai - Emergency On Planet Earth ( 338mb)

01 When You Gonna Learn (Digeridoo) 3:52
02 Too Young To Die 6:08
03 Hooked Up 4:38
04 If I Like It, I Do It 4:55
05 Music Of The Mind 6:25
06 Emergency On Planet Earth 4:07
07 Whatever It Is, I Just Can't Stop 4:09
08 Blow Your Mind 8:36
09 Revolution 1993 10:19
10 Didgin' Out 2:35

Jamiroquai - Emergency On Planet Earth ( 130mb)

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Jamiroquai's sophomore record had all the slinky grooves and great musicianship of the debut, but it also offered a better set of songs and more ambitious musical themes. Many consider it to be the best and most refined example of the unique Jamiroquai sound. The album has sold 4,000,000 copies to date. As with Emergency on Planet Earth, Jason Kay's dead-on impression of Stevie Wonder and Sly Stone drives the group's blend of acid jazz and funky R&B. "Space Cowboy" and "Light Years" were hits all over the world, and made the band stars in Europe and Japan, while substantial clubplay earned them a degree of recognition for American audiences. But Jamiroquai refused to be known as simply a party band; the group takes on social issues such as homelessness and Native Americans' rights.

Jamiroquai - The Return Of The Space Cowboy ( 370mb)

01 Just Another Story 8:54
02 Stillness In Time 4:19
03 Half The Man 4:52
04 Light Years 5:56
05 Manifest Destiny 6:24
06 The Kids 5:12
07 Mr Moon 5:31
08 Scam 7:04
09 Journey To Arnhemland 5:24
10 Morning Glory 6:26
11 Space Cowboy 6:24

Jamiroquai - The Return Of The Space Cowboy ( 147mb)

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Three years after their breakout Travelling Without Moving, Jamiroquai returned with another album that charts Jay Kay's continuing fascination with club-bound music of the 1970s . It is also known for being the last Jamiroquai album featuring the band's more traditional line-up and sound. Stuart Zender, the band's bass player for their first three albums left the band during the making of Synkronized, he's not on it as Jay Kay rerecorded everything with him on it (temper, temper). It is noticeable that there is no bass guitar or bass synth sound within the songs. Produced by Kay with Al Stone, who also collaborated on Travelling Without Moving, the album includes several tracks (like the single "Canned Heat") that work infectious acid jazz grooves, and Kay's hipster vocals give out feel-good vibes through a set of ambiguously good-time lyrics. Though other tracks show a bit of an electronica update to the affairs, each still spotlights how strong and tight the band is.

Jamiroquai – Synkronized (flac 384mb)

01 Canned Heat (Album Version) 5:32
02 Planet Home 4:44
03 Black Capricorn Day 5:41
04 Soul Education 4:15
05 Falling 3:45
06 Destitute Illusions 5:40
07 Supersonic 5:16
08 Butterfly 4:29
09 Where Do We Go From Here? 5:14
10 King For A Day 3:44
11 Deeper Underground 4:44

Jamiroquai – Synkronized (137mb)

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RhoDeo 1144 Goldy Rhox 44

Hello, today the 44 th post of GoldyRhox, classic pop rock, in the darklight a US duo that first made it self known to the world with their third, todays mystery, album, specially it's confrontational hitsingle.. "and it isn't me who's gonna leave".Though they sparked interest throughout their career it never came to igniton and perhaps that's a good thing as the brothers kept on developping themselves and gained respect for the path they've taken.

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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.

The history of todays mystery band spans five decades, from inception in the late 1960s LA club scene, through adoption by British fans in the middle 1970s, electronic experimentation in the late 1970s, and finally breaking through in the US of the early 1980s, a cinematic sojourn at the end of that decade with a return to form in the mid-1990s which continues to this day as they continue to push the boundaries of pop music. Todays mystery album was released may 74, it turned out to be the only gold album in their long career. The duo responsible, most have a strong bond then, well they are brothers.

Todays album slotted in with the current popularity Glam Rock music, which was dominating the charts and especially the more experimental and electronic sound of Roxy Music and David Bowie. Lyrically, the songs remained as unusual and humorous. The great number of words filled with pop-culture references, puns, and peculiar sexual content sung often in falsetto marked the duo apart from other groups. Factoid: Kurt Cobain named todays mystery album as one of his favourite albums of all time.

Goldy Rhox 44 (flac 306mb)

Goldy Rhox 44 (ogg 114mb)


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RhoDeo 1144 Aetix

Hello, Aetix is still at that great southern land, that is increasingly getting confused about whether they belong to Asia or The West, commercially they are getting more and more tied in to Asia, that said emotionally connections to the west have gotten stronger as well, thanks to Skype. Whatever, they live in a wonderful place..

Todays artist can be called the star of the alternative music scene in Australia, musician, songwriter, author, screenwriter, and occasional film actor. Nick Cave has enjoyed, and continues to enjoy, one of the most extraordinary careers in the annals of music. Here today 3 slices of his aetix output with his band the Bad Seeds, enjoy

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After the Birthday Party called it quits in 1983, singer/songwriter Nick Cave assembled the Bad Seeds, a post-punk supergroup featuring former Birthday Party guitarist Mick Harvey on drums, ex-Magazine bassist Barry Adamson, and Einstürzende Neubauten guitarist Blixa Bargeld. With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk. Cave also allowed his literary aspirations to come to the forefront; gloomy lyrics, dark musical arrangements, and deep baritone voice obsessed over death and love with a frightening passion.

Cave released his first album with the Bad Seeds, From Her to Eternity, in 1984, which contained a noteworthy cover of Elvis Presley's "In the Ghetto," foreshadowing much of Cave's style and subject matter on the follow-up The Firstborn Is Dead. Kicking Against the Pricks, an all-covers album, broke the band in England with the help of "The Singer," which hit number one on the U.K. independent charts. 1986's Your Funeral...My Trial, was originally released as two 12" EPs. The song "The Carny" is seen being played live by the band in the Wim Wenders film Der Himmel über Berlin, released one year later. During this period in his life, Cave was steeped in heroin addiction, perhaps evidenced by the melancholy, desperate mood of this album.Following that 'tour de force' Cave took a two-year hiatus from recording, and then returned with Tender Prey.

Cave's productivity picked up immensely over the next two years after he kicked a heroin habit. He had two books (1988's King Ink, a collection of lyrics, plays, and prose, and 1989's And the Ass Saw the Angel, a novel) published; appeared in the 1989 Australian film Ghosts...of the Civil Dead as a prisoner; recorded a soundtrack to the film with Harvey and Bargeld; and released 1990's The Good Son, his most relaxed, quiet album. Cave received his due as one of the leading figures in alternative rock when he was invited to perform on the 1994 edition of the Lollapalooza tour to promote his Let Love In album. Early in 1996, he released Murder Ballads, a collection of songs about murder. It became Cave's most commercially successful album to date, and, with typical perversity, he followed it with the introspective and personal The Boatman's Call in early 1997. A spoken word release, Secret Life of the Love Song, followed in 1999. Two years later, a rejuvenated Cave teamed up with the Bad Seeds once again for the piano-laden No More Shall We Part.

After the release of 2003's Nocturama, long-time member Blixa Bargeld announced he was leaving the band after twenty years with the group to devote more time to Einstürzende Neubauten. In 2004, the band released the acclaimed two-disc set Abattoir Blues/The Lyre of Orpheus, with English guitarist and organist James Johnston (of the group Gallon Drunk) replacing Bargeld. In October 2007, Cave was inducted into the ARIA Hall of Fame. The band released their fourteenth and most recent studio album, Dig, Lazarus, Dig!!! in 2008. Inspired by the Biblical story of the resurrection of Lazarus of Bethany by Jesus Christ, the album received excellent reviews.

On 22 January 2009, following a string of Bad Seeds concerts in Australia, Mute Records issued a statement from Mick Harvey announcing his departure from the band after 25 years citing professional and personal reasons. It was the end of a 36 year-long musical collaboration between Cave and Harvey and left Cave as the group's only original member.

Cave, Ellis, Sclavunos and Casey formed a new side-project Grinderman in 2006. The band, essentially half of The Bad Seeds and featuring Cave on guitar for the first significant time, perform more garage rock-influenced music that nonetheless retains much of The Bad Seeds' aura. Since this time, the two bands have operated simultaneously and Grinderman have since released two albums, 2007's Grinderman and 2010's follow-up Grinderman 2.

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The blues had long been a potent undercurrent in the Birthday Party's music, so it wasn't all that surprising that Nick Cave embraced the sound and feeling of rural blues on his second album with the Bad Seeds, The Firstborn Is Dead. Cave and his bandmates -- Barry Adamson, Mick Harvey, and Blixa Bargeld -- were able to create a sound that was unmistakably their own. The moody obsessions of rural blues -- trains, floods, imprisonment, sin, fear, and death -- seemed made to order for Cave, and he was able to tap into the doomy iconography of this music with potent emotional force . The blues helped transform Cave's music as well as his lyrics; the brutal sonic pummel of the Birthday Party here gave way to a more subtle and dynamic approach that still made effective use of dissonance and bare-wired electric guitar noise while proving the balance of loud and soft only made each side deeper and more resonant. The Firstborn Is Dead proved Nick Cave's musical palate was significantly broader than his debut album suggested and pointed to a path he would return to on many of his albums that followed.

Nick Cave And The Bad Seeds – The Firstborn Is Dead (flac 270mb)

01 Tupelo 7:18
02 Say Goodbye To The Little Girl Tree 5:10
03 Train Long-Suffering 3:49
04 Black Crow King 5:06
05 Knockin' On Joe 7:39
06 Wanted Man 5:28
07 Blind Lemon Jefferson 6:11
08 The Six Strings That Drew Blood 4:50
09 Tupelo (Single Version) 5:01

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Besides being noteworthy as an astonishingly good all-covers album, Kicking Against the Pricks is notable for the arrival of a new key member for the Seeds, drummer Thomas Wydler, it allowed Harvey to concentrate on adding guitar and keyboards live as well as in the studio. Former Birthday Party cohorts Rowland Howard and Tracy Pew guest, the latter on some of his last tracks before his untimely death. The selection of songs is quite impressive, matching the range of material, the Seeds are well on their way to becoming the rock/cabaret/blues showband of Cave's dreams, able to conjure up haunting, winsome atmospheres as much as higher-volume takes. The version of Leadbelly's "Black Betty" is particularly grand, Harvey's drumming driving the track with ominous power. Even more striking is how Cave's own vocals rebut the charges that all he ever does is overdramatize everything he sings -- consider the husky, purring delivery on Johnny Cash's "The Singer."

Nick Cave and The Bad Seeds – Kicking Against The Pricks ( flac 272mb)

01 Muddy Water 5:17
02 I'm Gonna Kill That Woman 3:44
03 Sleeping Annaleah 3:18
04 Long Black Veil 3:46
05 Hey Joe 3:56
06 The Singer 3:09
07 Black Betty 2:33
08 Running Scared 2:06
09 All Tomorrows Parties 5:52
10 By The Time I Get To Phoenix 3:39
11 The Hammer Song 3:50
12 Something's Gotten Hold Of My Heart 3:44
13 Jesus Met The Woman At The Well 2:00
14 The Carnival Is Over 3:16 

 

 
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The Seeds followed up Tender Prey with the equally brilliant but generally calmer Good Son. At the time of its release there were more than a few comments that Cave had somehow softened or sold out, given how he was more intent on exploring his dark, cabaret pop stylings than his thrashy, explosive side. But then he had just married the year before, spending his time on brazilian beaches with his new wife. Not knowing this, the softly crooning group vocals and sweet strings on the opening "Foi Na Cruz" certainly cought many off guard. The title track itself captured the overall mood of the album, a retelling of the Bible's prodigal son story from the other son, the one who stayed at home and did what he was meant to do. The jigh lights of the album come dead center. "The Weeping Song," a magnificent duet between Cave and Bargeld, starts out sounding a bit like Gene Pitney's "Something's Gotta Hold of My Heart," which the Seeds covered on Pricks, before shading into its own powerful, blasted drama. "The Ship Song," meanwhile, equals if not overtakes the Scott Walker ballads Cave so clearly is inspired by, a soaring, tearjerking declaration of intense love that's simply amazing.
 

 

 
 Nick Cave and The Bad Seeds – The Good Son (flac 245mb)

01 Foi Na Cruz 5:39
02 The Good Son 6:04
03 Sorrow's Child 4:38
04 The Weeping Song 4:11
05 The Ship Song 4:15
06 The Hammer Song 4:17
07 Lament 4:54
08 The Witness Song 4:58
09 Lucy 4:17

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elsewhere

Nick Cave and the Bad Seeds - Your Funeral, My Trial (86 ^ 99mb)
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RhoDeo 1144 Roots

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

One of Jamaica's most distinguished and beloved vocalists, Horace Andy blessed with one of the most distinctive voices on the island is showcased here today.Together with an artist who's career started with writing and singing some kinky lyrics that despite being the summer of love-1969- upset the BBC ayatollahs but as these things go their fatwah only stimulated the interest in "Wet Dreams" Max Romeo , he had more up his sleeve he was politically engaged aswell and by 76 he and Lee Pery produced a classic War Inna Babylon, in the years that followed his career had it's ups and downs but he's still on stage,

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Horace Andy ( Horace Hinds) started with his first recordings, "Blackman's Country" and "I May Never See My Baby" in 1967 for producer Phil Pratt, but he didn't gain instant success, to some extent maybe because he tried in vain to sound like his then idol, rocksteady singer Delroy Wilson As with so many reggae artists, Studio One helped Horace Andy to make himself a name as a singer with several singles and records he cut for Studio One producer Clement Dodd (who also gave him his stage name), notably such songs as "Skylarking", "See A Man's Face" and "Every Tongue Shall Tell". Another Studio One classic is "Mr.Bassie", his respect to bassist and member of The Heptones, Leroy Sibbles.

Very soon many of the leading producers wanted to make records with Sleepy, as Horace Andy is also known. He then recorded - among others - for Phil Pratt again. Many tunes for those and other producers were available only as Jamaican 45s and have disappeared long ago, after the first pressing was sold out. In 1977 Horace Andy teamed up with New York based producer Everton DaSilva and from this collaboration comes the outstanding set "In the Light", which was produced together by Andy and DaSilva with the stellar backing band of Michael Taylor and Leroy Sibbles on bass, Leroy Wallace and Noel Alphonso on drums, the legendary Augustus Pablo on keyboard, and Privy Dread on guitar. In the Light Dub was given the dub treatment from King Jammy. Tragically this partnership, which also gave birth to a bunch of singles and 12", came to a sudden end when Everton DaSilva was murdered in 1979.

During the Eighties Horace Andy continued releasing music on a regular basis both in Jamaica(among others for Jammy, Sly & Robbie and Bobby Digital) and in the USA on his own Rhythm imprint and for 'indie'-label Rough Trade. A highlight of this period is the album "Dance Hall Style", one of two records Horace did with producer Lloyd 'Bullwackie' Barnes.
In 1990 he was approached by Bristol-based hitmakers Massive Attack to join them for recordings. Since then he contributed vocals to all of Massive Attack's records and they even reworked some of his earlier tunes. Other work of the 90s are two sets produced by Mad Professor and various singles with drum & bass partnership Mafia & Fluxy in Kingston, JAM.
October 99 saw the release of "Living In The Flood", with the title track co-written by Joe Strummer. Mek It Bun was released in 2002. Horace Andy's latest album This World saw the light in 2005. He also featured on the world music project, 1 Giant Leap, and on the Easy Star All-Stars 2006 album, Radiodread. The live On Tour album landed on Trojan in 2008 and then two years later he hooked up with German producer Andreas “Brotherman” Christopherson along with the Groove Attack label for the album Serious Times.

Horace Andy's Exclusively was recorded in 1983, at the same session that produced what some feel is his best album, Dance Hall Style. If that album is indeed his best then this isn't far behind. Andy floats and bobs like a sparring angel and the songs are as catchy as bird flu and wrapped in heavy, typically dubby and note-perfect Wackies arrangements and productions. The record never drags like much roots reggae of the era and you have to credit Andy's light touch for this.

Horace Andy - Exclusively (flac 226mb)

01 Bob Lives On 4:15
02 Stop The Fuss 3:41
03 Love Him 4:25
04 Good Will Survive 3;34
05 Take It Easy 3:45
06 Eating Mess 4;43
07 Musical Episode 3:54
08 Live In The City 5:18
09 Live In Unity 4:36
10 Lonely Woman 3:37

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Max Romeo (born Maxwell Livingston Smith, 22 November 1947, left home at the age of 14 and worked on a sugar plantation outside Clarendon, cleaning out irrigation ditches, before winning a local talent competition when he was 18; prompting a move to the capital, Kingston, in order to achieve a successful musical career. In 1965 he joined up with Kenneth Knight and Lloyd Shakespeare in The Emotions. In 1966, the group had their first hit, with the Lack-produced, "(Buy You) A Rainbow". The Emotions went on to have several hit singles and by 1968, the singer, by this point known as Max Romeo, felt confident enough to launch a solo career.

Later on in 1968, Romeo wrote new lyrics for the rhythm track of Derrick Morgan's "Hold You Jack" and handed them over to Bunny Lee, leading the producer to Romeo to sing the lyrics he had written. The result, "Wet Dream" (1969), was an instant hit in Jamaica, although in the UK it was met with a BBC Radio (cringe) ban. Predictably, the ban only made it more popular and the single entered the UK Singles Chart, peaking at number 10 and ultimately spending almost six months in the chart, before featuring on his LP, A Dream (1969), which included several follow-up singles in a similar vein. A UK tour also met with Romeo being banned from performing at several venues, although many allowed him to play.

Early in the seventies saw Romeo release a series of politically charged singles, most advocating the democratic socialist People's National Party (PNP), which chose his song, "Let The Power Fall On I", as their campaign theme for the 1972 Jamaican general election. Romeo joined the PNP Musical Bandwagon, travelling around Jamaica, playing on the back of a truck. He worked with producer Lee "Scratch" Perry, producing the classic singles "Three Blind Mice", "I Chase the Devil". and "Sipple Out Deh", and a remixed version of which entitled "War Ina Babylon", was another popular track in the UK, the first fruits of his deal with Island Records, and was followed by the classic album of the same name, after which the pair fell out.

Romeo moved to New York City in 1978, where he co-wrote (with Hair producer Michael Butler) the musical, Reggae, which he also starred in. In 1981 Keith Richards co-produced and played on Romeo's album, Holding Out My Love to You. The rest of his output during the decade went practically unnoticed, with Romeo finding work at a New York electronics store. He returned to Jamaica in 1990, and began touring and recording more regularly. He visited the UK again in 1992, recording the albums Far I Captain of My Ship and Our Rights with Jah Shaka. In 1995 he recorded Cross of the Gun with Tappa Zukie, and he joined up with UK rhythm section/production team Mafia & Fluxy in 1999 for the album Selassie I Forever. This last decade saw the release of several compilations.

War ina Babylon is something of a mountain on the reggae landscape. But what makes it so remarkable is not just the consistently high quality of the music rather, it's the fact that Max Romeo had proved to be such a convincing singer of cultural (or "conscious") reggae. There's no denying the authority of his admonishing voice here, and the title track (which describes the violent mood during Jamaica's 1972 general election) has remained a standard for decades. Essential..

Max Romeo and The Upsetters – War Ina Babylon (flac 200mb)

01 One Step Forward 5:15
02 Uptown Babies Don't Cry 5:00
03 I Chase The Devil 3:27
04 War Ina Babylon 4:51
05 Norman 4:50
06 Stealing In The Name Of Jah 3:04
07 Tan And See 4:36
08 Smokey Room 3:03
09 Smile Out A Style 3:32

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RhoDeo 1144 Illuminatus !

Hello, hope you've had an enjoyable weekend, sportsnews of the day or is it ? Vettel cruises to victory again, after being snubbed he was lucky to win last years title he really made a point of establishing his reign this year. Arsenal fans were over the moon as their god, Robin van Persie, led in the destruction of their rivals Chelsea, way to go meanwhile another dutch victory as they trashed the US in the world bridge finals, teamplayers those dutch. Maybe not so strange then that Maharishi Mahesh Yogi choose the Netherlands as the location for his Transcendental Meditation worldheadquarters.

Trance isn't that the music where dutch dj's reign ? Could it be the relaxed attitude towards mindexpanding drugs is causing all of this ? Surely not, it's the abundance of cheap (healthy) food, believe it or not this small spec on the world map is the biggest foodexporter in the world. All this proves that all that GM propaganda is bullshit, it's the dismal productivity in large parts of the world that is to blame for hunger, f.i. if Africa would just double it's low productivity it would not only be able to feed it's own peoples, but become a main exporter aswell. In turn the worlds biodiversity and lungs (rainforests) could be spared from the wanton destruction that is going on at the moment.

We're nearing the end of the Illuminatus saga. Today the first chapters of the Leviathan the third and final part of the Illuminatus Trilogy with the start of the 9th trip, Yesod chapters 0 till 2

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

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Leviathan, Bureaucracy, Yesod, 9th trip (0-2) (51 min, 18mb)

09-00 Leviathan - Prologue (17:52)
09-01 Yesod - FDR (16:26)
09-02 Illuminati Primi (16:55)

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previously

The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)


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