RhoDeo 1220 Beats

Hello,

Todays post links up to last weeks Aphex Twin as we explore his AFX moniker on his Analord series,  reinventing acid on 'A roland' machine or one of the many he scored after they got disgarded after the rise of digital machines.

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Although James continued making frequent DJ appearances, he released no more material until 2005, when Rephlex issued the first installment in a lengthy, 11-part series of 12" singles titled Analord. For the series James used his extensive collection of Roland drum machines which he bought when they were still at bargain prices.The singles' minimalist acid techno harked back to his Caustic Window/Analogue Bubblebath material of the early '90s. Chosen Lords, a CD compilation of some of the Analord material, appeared in April 2006.

Analord is a 3½ hour, 42-track series of recordings on 12" vinyl . The first instalment, Analord 10, went on sale through the Rephlex Records website on 15 December 2004, and was packaged in a faux-leather binder with sleeves for housing the rest of the series. It was later re-released as a picture disc. Both pressings of Analord 10 were marketed under James' primary alias Aphex Twin, although other Analord recordings were released under the AFX pseudonym.

James has programmed a variety of analogue equipment throughout his career. Instruments on Analord include drum machines such as the Roland TR-606, TR-808, and TR-909; sequencers such as the Roland MC-4; and various synthesizers and polysynths, including the Roland SH-101 and Roland TB-303, a Synton Fenix Modular

The name refers to the analogue and digital electronic music equipment James used to perform much of Analord, as well as being a double entendre. Since James has a penchant for anagrams, it is noteworthy that "Analord" is an anagram for "A Roland", perhaps referencing the manufacturers of de facto industry standard analogue synthesizers. It has also been speculated that the term "Analord" is a portmanteau, being derived from combination of the words analogue and lord, referring to Richard James' previous analogue programming, and the talent and recognition he has in his industry. "Analord" is also the title of a Luke Vibert track from "Lover's Acid" on Planet Mu.

On 24 December 2009, the website of Rephlex Records was re-launched and began posting unreleased/bonus tracks for the ANALORD series in MP3 and WAV digital formats. To date, 20 bonus tracks have been added to the series.

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The key word for Analord  is "acid." James has the archetypal gurgly 303 working overtime throughout, crunching out the melody on the upbeat "Where's Your Girlfriend?", letting the layered tendrils of squelch crawl over each other like a pit of electric-powered snakes in the mid-track breakdown. The bouncier "Grumpy Acid" fulfils the promise of its excellent title by sounding like the amplified gastric system of a robot badly in need of Pepto Bismol. "Steppingfilter 101" is mid-tempo mellow, with gentle synth pads floating behind the zig-zag buzz out front. It's a seriously retro sound, channeling precisely one offshoot of early "classic" IDM. If an unknown had released the tracks on Analord 1 in 1995, he would have been accused of straight ripping the AFX acid style. But James pioneered this sound, so I guess he has the right to return to it if he chooses.

Analord 2 is a little better, keeping the same palate while toning down the tired acid textures and delivering more melody. The tuneful "Phonatacid" isn't exactly riveting, but it does manage to undergo some interesting transformations over its nearly 10-minute length. "Laricheard" references the famed Chicago house pioneer Larry Heard in its title but is the most drifting and contemplative track here. It all sounds nice enough, but no one introduced to James with these tracks would be compelled to investigate further.

Analord 3 is particularly strong, beginning with "Boxing Day", which places a John Carpenter/Gershon Kingsley spooky Moog melody on top of a thrusting electro beat. The various elements are in constant movement in and around each other, and "Boxing Day" is busy and energetic even if it never exactly goes anywhere. "Midievil Rave 1" is all heavy ugliness, with dissonant and out-of tune sequences and some herky-jerky stop/start action that allows me to picture James riding the fader from all the way across the ocean. And "Klopjob", with simple yet funky drum programming and a lovely pastoral melody, is perhaps the best single track in the series so far.

AFX - Analord 01, 02, 03   (flac 322mb)

Analord 01
01 Steppingfilter 101 4:45
02 Canticle Drawl 1:45
03 MC-4 Acid 3:47
04 Untitled 1:31
05 Where's Your Girlfriend? 5:06
06 Grumpy Acid 3:21
07 Analord 158b 1:40
Analord 02
08 Phonatacid 9:47
09 Laricheard 2:15
10 Pissed Up In SE1 5:14
11 Bwoon Dub 5:55
Analord 03
12 Boxing Day 6:36
13 Midievil Rave 1 2:44
14 Klopjob 5:24
15 Midievil Rave 2 4:00

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Analord 4 is comparatively spare and almost as good. The bouncy "Crying in Your Face" has what could be some heavily vocodered vocals (or James could be he's just making the machines talk) and a strong pop feel, while the quiet, menacing "Home Made Polysynth" gets same mileage from between-note beats in the manner of Analord 3's "Midievil Rave 1". The closing "Breath March" is a deceptively great tune. On the one hand it's quiet, with almost nothing happening in the midrange, but the power of the fathoms-deep bass hook could easily be missed without proper playback equipment.

There's not much to recommend on the two-track fifth volume. The peppy "Reunion 2" has a wickedly squelching acid line that creates its own light trails, and the stiff "Cilonen" is by-the-numbers Detroit electro, sounding a bit like Drexciya without the mystery. At the halfway point the conservatism of James' approach is the most notable thing about the Analord series.

Much of Analord 6 will be familiar to anyone who's heard its predecessors. "Batine Acid" plies rote acid lines with intermittent spookiness, "Snivel Chew" adds sawtooth synths and rapid handclaps, and "2 Analogue Talks" at least mixes things up with squeaky, high-pitched scales giving way to the monotonous, clock-like donging of what sounds like a horn sample. Standout "I'm Self Employed" suggests that whatever James is up to, he's not just going through the motions-- at least not always. Fragile, lonely melodies and countermelodies reminiscent of his ambient works build into a rust-eyed chorus and actually take it somewhere.

Analord 7 kicks off with the (deceptively?) straightforward acid-house of "Lisbon Acid", which bloops, thumps, fuzzes, squelches, and ultimately meanders for an entire side. The echoey off-key synths of "Pitcard" start and stop on a dime, which is better than a nickel (worth more, too!). The "AFX Acid 04" evokes almost an acid remix of Spoon's "I Turn My Camera On" with its slinky changes and martial pace, before giving way to ominously discordant skarronking.

AFX - Analord 04, 05, 06, 07   ( flac 411mb)

Analord 04
01 Crying In Your Face 4:25
02 Home Made Polysynth 4:07
03 Halibut Acid 6:07
04 Breath March 3:46
Analord 05
05 Reunion 2 5:10
06 Cilonen 5:34
Analord 06
07 Batine Acid 5:26
08 Snivel Chew 4:02
09 I'm Self Employed 4:26
10 2 Analogue Talks 1:47
11 Analoggins 7:17
Analord 07
12 Lisbon Acid 8:29
13 Pitcard 6:18
14 AFX Acid 04 5:37

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With the release of his latest triad, James has reached a (temporary?) stopping point. Analord 10 actually came first last December, but it's been re-issued as a logo-bearing picture disc, and what does order matter when the man's latest sounds like his earliest? Each of the Analord releases adopts the AFX moniker, analogue synth sounds and even inscrutable titles he used in his early '90s Analogue Bubblebath acid-house recordings. (Except the original 10th, i.e. first, which was released as Aphex Twin. Got it?)

The tracks on Analord 8 are named for computer viruses, likely in an effort to discourage file-sharers. Then again, the pieces might have been so named because a few are among the series' most infectious so far. Awash in disco hi-hats, "PWSteal.Ldpinch.D" beckons with the type of decidedly non-digital lust, come-hither bass line, and slightly detuned hooks that a Kylie Minogue could have taken upchart. Blippy "W32.Deadcode.A" is almost as good once the bridge arrives like a between-storms rainbow. "Backdoor.Berbew.Q", meanwhile, rises and subsides with a burbling bass and choir-like synth chords, and "Backdoor.Spyboter.A" unfolds similarly over pings and more handclaps, but neither really goes anywhere. That's the disappointing crux of James's current collection of never-awful but rarely remarkable noodlings.

Analord 9-- comprising four tracks rather than the nine fakes originally leaked to file-sharing networks-- ups the BPMs, with skittering hi-hats galore. Bouncy "Backdoor.Netshow" is the highlight, panning left and right as a scratchy sawtooth eventually joins, then drowns in effects.

Analord 10 remains the best of the new EPs so far.  A-side "Fenix Funk 5" alternately buzzes and reclines, incorporating garbled, vocoder-like noises, and gently descending chimes along with energetic drum machines. The dense, dark seven-plus minutes of bell-tolling B-side "Xmd5a", still more melodic than most acid but playing hard to get, make it probably the series' best track. OK, some consensus, then.

Meanwhile, Analord 11 is colder, sadder, and less satisfying. Its two tracks, like those on the eighth and ninth outings, are named after viruses and spyware. A-side "W32.Mydoom.Au@mm" whines and moans over steady handclaps and padded cymbals like an electronic plea for help-- whether with musical ideas or personal life, it's far from clear. On the flip, "Backdoor.Ranky.S" layers drooping synths over a steady boom-pah rhythm, squelching lazily and unnecessarily toward the upper registers as the tune fizzles out.

AFX - Analord 08, 09, 10, 11  ( flac 410mb)

Analord 08
01 PWSteal.Ldpinch.D 3:43
02 Backdoor.Berbew.Q 4:57
03 W32.Deadcode.A 6:18
04 Backdoor.Spyboter.A 5:06
Analord 09
05 PWSteal.Bancos.Q 4:50
06 Trojan.KillAV.E 3:03
07 W32.Aphex@mm 3:52
08 Backdoor.Netshadow 4:49
Analord 10
09 Fenix Funk 5 5:07
10 XMD 5a 7:56
Analord 11
11 W32.Mydoom.AU@mm 8:47
12 VBS.Redlof.B 4:39
13 Backdoor.Ranky.S 6:00

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RhoDeo 1220 Goldy Rhox 72

Hello, today the 71st post of Goldy Rhox, classic pop rock. In the darklight a UK band first popular in Europe, the band quickly became successful in North America during the British Invasion of the mid 1960s. Having released 22 studio albums in the UK(24 in the US), nine live albums (ten in the US), and numerous compilations, their worldwide sales are estimated at more than 200 million albums. In 1971 they began a string of eight consecutive studio albums reaching number one in the United States. Their most recent album of entirely new material, was released in 2005. In 1989, the band were inducted into the Rock and Roll Hall of Fame, and in 2004, they ranked number 4 in Rolling Stone magazine's 100 Greatest Artists of All Time. In 2008, Billboard magazine ranked the them at number ten on "The Billboard Hot 100 Top All-Time Artists", and as the second most successful group in the Billboard Hot 100 chart.

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

Todays mystery album is the 14th British and 16th American studio album by todays band. It peaked at #1 on the Billboard 200, and became one of the band's biggest-selling albums in the United States, and has been certified by the RIAA as having six million copies sold as of 2000. With the advent of punk rock, the band, among many of their musical contemporaries, were being targeted by some in the movement as cultural dinosaurs, compromising their standing. The singer felt invigorated by the provocations and was determined to answer them lyrically. It helped, however, that almost all the punks had, openly or not, idolised them in the 1960s and were heavily influenced by the band's rebellious records from that era.


The inspiration for the record was really based in New York and the ways of the town. I think that gave it an extra spur and hardness. And then, of course, there was the punk thing that had started in 1976. Punk and disco were going on at the same time, so it was quite an interesting period. New York and London, too. Paris—there was punk there. Lots of dance music. Paris and New York had all this Latin dance music, which was really quite wonderful. Much more interesting than the stuff that came afterward.


Important to the band's reinvigoration was the addition of Ronnie Wood to the line-up, as this was the first album recorded with him as a full member. His guitar playing style meshed with, and was similar to, that of Keith Richards. Wood's slide guitar playing would become one of the band's hallmarks, and his unconventional uses of the instrument are prominent here.


There was some controversy surrounded the lyrics to the title song, an extended musing on women of various nationalities and races. The line "Black girls just wanna get fucked all night" drew strong protests from various groups. The album cover for Some Girls was designed by Peter Corriston, who would design the next three album covers as well, with illustrations by Hubert Kretzschmar. An elaborate die-cut design, with colours varying on different sleeves, it featured the band in garish drag alongside select female celebrities and lingerie ads. In 2003 it was ranked number 269 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. It was re-issued on 21 November 2011 in a 2 CD Deluxe edition, including 12 previously unreleased songs from that era. 


Goldy Rhox 72   (flac 284mb)

Goldy Rhox 72 Bonus  (flac 269mb)


Goldy Rhox 72   ( ogg 186mb)


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elsewhere

Goldy Rhox 16  (106mb)

Goldy Rhox 46   (ogg 89mb)

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RhoDeo 1220 Aetix

Hello, Aetix again, bit later today so without further ado, the angry man of the Aetix..

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Following the Sex Pistols' breakup in 1978, Lydon approached Jah Wobble ( John Wardle) about forming a band together. The pair had been friends since attending the same school in the early 1970s, and had sometimes played music together during the final days of the Sex Pistols. Both had similarly broad musical tastes, and were avid fans of reggae and world music. Lydon also approached guitarist Keith Levene, with whom he had toured in mid-1976, while Levene was a member of The Clash. Jim Walker, a Canadian student newly arrived in the UK, was recruited on drums, after answering an ad placed in Melody Maker.

PiL began rehearsing together in May 1978, although the band was still unnamed. In July 1978, Lydon officially named the band "Public Image" (the "Ltd." was added several months later). PiL debuted in October 1978 with "Public Image", a song written while Lydon was still a member of Sex Pistols. The single was well received and reached number 9 on the UK charts. In preparing their debut album, Public Image, the band spent their recording budget well before the record was completed. As a result, the final album comprised eight tracks of varying sound quality, half of which were written and recorded in a rush after the money had run out.  The album was considered groundbreaking on its release in December 1978. Grounded in heavy dub reggae, Wobble's bass tone was called "impossibly deep" by contemporary reviews. Levene's sharp guitar sound, played on an aluminium Veleno guitar, was to become widely imitated.

The album Metal Box (1979) was a more focused effort. In addition to the drugs and disorganization that were the normal condition of the band, Jim Walker had quit from general disillusionment, making way for a series of drummers. Metal Box was originally released as three untitled 12-inch records packaged in a metal film canister (later reissued as 2LP set, Second Edition), and features the band's trademark hypnotic dub reggae bass lines, glassy, arpeggiated guitar, and bleak, paranoid, stream of consciousness vocals.

The third album, not released in the U.S., was the live Paris au Printemps (1980). Lydon and Levene, plus hired musicians, made up the group by that time.  Martin Atkins, who had initially joined at the tail end of the Metal Box sessions was re-recruited to drum on Flowers of Romance, an album considered much stranger and more difficult than the already strange Metal Box. Levene had by then largely abandoned guitar in favour of synthesizer. Levene being incapacitated on heroin much of the time -- had to leave. The aborted fourth album recorded in 1982, was later released by Levene as Commercial Zone. Lydon and Atkins claim Levene stole the master tapes.  In 1983, PiL scored its biggest U.K. hit, when "This Is Not a Love Song" , by this time, PIL was a vehicle for John Lydon. Atkins stayed on through a live album, Live in Tokyo -- in which PiL consisted of him, Lydon, and a band of session musicians -- and left in 1984, following the release of This Is What You Want, This Is What You Get.

Anyone's first thousand guesses as to who Lydon would work with next couldn't possibly come close, as the unlisted credits for Album read as a motley crew of established musicians who literally have no business being anywhere near Lydon, let alone in a studio with him or with one another. Well, maybe that made perfect sense, given Lydon's ability to baffle. Bill Laswell--whom he worked with in Time Zone the year before--produced and played bass, which isn't too much of a stretch. But Steve Vai, Ryuichi Sakamoto and Ginger Baker ? With its emphasis on big guitars and big drums, Album was written off by some as PiL going stadium rock, but others remarked that Lydon's confrontational lyrics and caterwaul vocals, and the abundance of Eastern-style melodies, helped steer this album away from the realm of conventional 80s metal. The album is rife with surprising and very effective musical flourishes: never is this more evident than on the closing "Ease," a beautiful, monumental mood/rock piece with synth, sitar, didgeridoo and a Steve Vai guitar solo.

In the liner notes of PiL's Plastic Box compilation (1999), John Lydon remarked that "In some ways  . Obviously the most important person was Bill Laswell. But it was during the recording of this album in New York that Miles Davis came into the studio while I was singing, stood behind me and started playing. Later he said that I sang like he played the trumpet, which is still the best thing anyone's ever said to me. To be complimented by the likes of him was special. Funnily enough we didn't use him..."

PiL released Happy? in 1987, and during the spring of 1988 performed throughout the United States as part of the INXS Kick tour. The album was less well received by critics than its immediate predecessor, but still produced the classic single "Seattle" In 1989, PiL toured with New Order and The Sugarcubes as "The Monsters of Alternative Rock". PiL's ninth album, 9, appeared earlier that year. The album was produced by Stephen Hague, Eric "ET" Thorngren, the band, and not as planned by Vigin, Bill Laswell. In 1990, PiL released the compilation album The Greatest Hits, So Far. The band's last album to date, 1991's That What Is Not, saw Atkins also returning to play on the recorded album, but did not remain for the subsequent tour. Lydon disbanded the group a year later after Virgin records refused to pay for the tour supporting the album, and Lydon had to pay for it out of his own pocket. After completing his memoirs in late 1993, Lydon decided to put an end to PiL and pursue a solo career. In 1997 he released a solo album, Psycho's Path.

In September 2009 it was announced that PiL would reform for five UK shows, their first live appearance in 17 years.[19] Lydon financed the reunion using money he earned doing a UK TV commercial for Country Life butter. On 15 October 2009, Lydon registered the private limited company PIL Twin Limited as his new music publishing company in the UK. The new line-up (consisting of Lydon, earlier members Bruce Smith and Lu Edmonds, plus multi-instrumentalist Scott Firth) played to generally positive reviews in late 2009. The tour also spawned a live album release, ALiFE 2009. In April 2010, PiL began an extensive North American tour, including a sub-headlining appearance at the Coachella Festival. In an interview for BBC Radio 6 on 13 February 2012, Lydon revealed that PiL will release the vinyl only EP One Drop on 21 April, followed by the new 12-track studio album This is PiL on 28 May. It will be the band's first studio album in twenty years.

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Like it or not, Public Image Limited's First Issue (aka Public Image) was an album that helped set the pace for what eventually became known as post-punk. Disheartened  and disgusted by the punk scene in general, Lydon was determined to create something that was neither punk nor even really rock as it was known in 1978. Working with ex-Clash guitarist Keith Levene, first-time bassist Jah Wobble, and Canadian drummer Jim Walker, Public Image Limited produced an album that represented the punk sound after it had shot itself in the head and became another entity entirely. Embracing elements of dub, progressive rock, noise, and atonality and driven by Lydon's lyrical egoism and predilection towards doom, death, and horror, First Issue was among a select few 1978 albums that had something lasting to say about the future of rock music. And not everyone in 1978 wanted to hear it; contemporary critical notices for First Issue were almost uniformly negative in the extreme.

Public Image Limited's debut single, "Public Image," was also included on First Issue, and Keith Levene's guitar part, with its tasty suspensions and held-over-the-bar syncopation, was an important departure from standard punk guitar language absorbed so quickly by others (the Pretenders, U2, the Smiths) that listeners and musicians alike forgot the source of the sound. First Issue's opener, "Theme," was a force to be reckoned with, a grindingly slow dirge with wild, almost Hendrix-like figurations on the guitar and Wobble's floor-splitting foundation. This was punk with the power of Led Zeppelin, but none of the pretension. Lydon's anguished mantra in "Theme," "...and I just wanna die," was the exact reflection of what his generation was thinking about in the wake of the collapse of classic punk. "Annalisa" is the hardest-kicking rocker on the album, with nosebleed-strength guitar from Levene; it is so good that Nirvana in all practical purposes purloined the whole number, with minor alterations, as "Radio Friendly Unit Shifter" on In Utero.

But even with all of the calculated controversy seemingly built into the various cuts on First Issue, none attracted quite so much attention as "Fodderstompf." Public Image Limited decided to conclude the project with a track consisting of no more than a disco beat, chattering synthesizers, a bassline, and Jah Wobble singing, shouting, and screaming the phrase "we only wanted to be loved" in a joke voice. Rock critics savaged the song as a deliberate attempt to rip off the public, but it became hugely popular at the Studio 54 disco in New York; the drag queens and hipsters sang and screamed right along with Wobble out loud on the dancefloor . If you will a precursor to the acid house and techno that began to evolve in the mid-'80s.

Public Image Limited - First Issue ( flac 281mb)

01 Theme 9:05
02 Religion I 1:40
03 Religion II 5:40
04 Annalisa 6:00
05 Public Image 2:58
06 Low Life 3:35
07 Attack 2:55
08 Fodderstompf 7:40

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After guitarist Keith Levene and bassist Pete Jones left Public Image Limited due to major concerns about the direction John Lydon wanted to take the band, Lydon and drummer Martin Atkins reformed the group with members of a New Jersey outfit, Westside Frankie and the Inglewood Jerks, who knew the Sex Pistols' catalog by heart. The band toured Japan in the summer of 1983, and were offered the chance to record two shows on rare Japanese digital recording equipment while in Tokyo. Atkins would later say the resulting album was released not because of the quality of the show itself, but because of the opportunity to record a live album digitally. Comprising of material from throughout the group's history, Live in Tokyo was originally released as two 12" 45's, in keeping with the style of the earlier Metal Box. However, unlike that seminal album, the performances by this version of Public Image Limited were resoundingly faceless. Gone is any semblance of Jah Wobble's deep bass, Levene's brash guitars, or even Lydon's apocalyptic screaming. Instead it is all replaced by bland competence. Only one track, "Religion," comes across as adding something to the original version, with a new organ introduction and an astonishingly biting performance from Lydon. Ironically enough, because the group recorded with such sophisticated equipment, the sound is phenomenal, capturing the band in crisp, rich tones.

Public Image Limited - Live In Tokyo ( flac 281mb)

01 Annalisa 5:22
02 Religion 5:47
03 Low Life 2:45
04 Solitaire 3:59
05 Flowers Of Romance 4:44
06 (This Is Not A) Love Song 6:12
07 Death Disco 5:08
08 Bad Life 4:44
09 Banging The Door 4:53
10 Under The House 1:56

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PiL's  previous 'Album" had been a mercanairy affair under the guidance of Bill Laswell in support of Lydon. Happy however showed an impressive lineup, Keyboardist Lu Edmonds (the Damned and 3 Mustaphas 3), guitarist John McGeoch (Magazine and Siouxsie & the Banshees), drummer Bruce Smith (the Pop Group and Rip Rig & Panic), and muscular Yank bassist Allan Dias, a solid unit, forming something of a post-punk supergroup. Happy? is increasingly entrenched in dancefloor-type fare. Lydon isn't his full-blown postal self, but he's still continents away from being rosy. Lydon's riffing on unplanned pregnancy ("The Body"), sheep mentality ("Angry"), and false national pride ("Hard Times") still holds together lyrically. McGeoch and Edmonds' sparkling work comes a little too close to stadium-bound for comfort (paging Mr. Edge...). Just when the band sounds as if it's approaching standard issue 1987 chart fare, it fiddles with the arrangements and structures enough to make sure the songs don't qualify as such. If PiL was trying to remain accessible and challenging at the same time, the band fell just short of its goal; given the conspirators involved, Happy? is not quite as distinct as it should have been. But as far as PiL outings are considered, it was Lydon's best in years.

Public Image Limited – Happy ? (flac 206mb)

01 Seattle 3:40
02 Rules And Regulations 4:31
03 The Body 3:12
04 Save Me 4:47
05 Hard Times 3:41
06 Open And Revolving 4:01
07 Angry 4:14
08 Fat Chance Hotel 7:00

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elsewhere earlier....
http://rho-xs.blogspot.nl/2007/10/eight-x-2.html
Public Image Ltd - The Flowers Of Romance (now in Flac 291mb)
http://rho-xs.blogspot.nl/2008/07/eight-x-39.html
Public Image Ltd. - Compact Disc (now in flac  258mb)
http://rho-xs.blogspot.nl/2011/03/rhodeo-1110-aetix.html
Public Image Ltd. - Metal Box (now in flac  363mb)


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RhoDeo 1220 Roots

Hello,  last time we landed on an 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.

These last months there's been plenty of reggae & dub from Jamaica,  we kicked off with a man who's name became synonymous with Jamaican Reggae, Bob Marley, together with The Wailers  It makes sense to me to finish our 9 months stay at Jamaica with a couple of posts of the man who in a sense made it all possible, and dragged a niche music into the global mainstream. And when I say global i mean truly global not just the ' West' , but from South America and Africa to the hights of the Himalayas his voice can be heard and all this expansion predating the Internet, truly remarkable.

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Marley was born in the small village, his father, Norval Sinclair Marley was a Jamaican of English descent, with parents from Sussex. Norval was a Marine officer and captain, as well as a plantation overseer, when he married Cedella Booker, a black Jamaican then eighteen years old. Norval provided financial support for his wife and child, but seldom saw them, as he was often away on trips. Marley was ten years old when his father died of a heart attack. Thereupon Marley and his mother moved to Kingston's Trenchtown slum . He was forced to learn self-defense, as he became the target of bullying because of his racial makeup and small stature (5'4" or 163 cm tall). Marley became friends with Neville "Bunny" Livingston with whom he started to play music. He left school at the age of 14 and started as an apprentice at a local welder's shop. In his free time, he and Livingston made music with Joe Higgs, a local singer and devout Rastafari who is regarded by many as Marley's mentor. It was at a jam session with Higgs and Livingston that Marley met Peter McIntosh (Peter Tosh).

 In 1962, Marley recorded his first two singles, "Judge Not" and "One Cup of Coffee", with local music producer Leslie Kong. These songs attracted little attention. In 1963, Bob Marley, Bunny Livingston, Peter McIntosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith formed a ska and rocksteady group, calling themselves "The Teenagers". They later changed their name to "The Wailing Rudeboys", then to "The Wailing Wailers", and finally to "The Wailers". By 1966, Braithwaite, Kelso, and Smith had left The Wailers, leaving the core trio of Marley, Livingston, and McIntosh. Marley took on the role of leader, singer, and main songwriter. Much of The Wailers' early work, including their first single Simmer Down, was produced by Coxsone Dodd at Studio One. Simmer Down topped Jamaican Charts in 1964 and established The Wailers as one of the hottest groups in the country. They followed up with songs such as "Soul Rebel" and "400 Years". After a conflict with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, The Upsetters. Although the alliance lasted less than a year, they recorded what many consider The Wailers' finest work.

The Wailers' first album, Catch A Fire, was released worldwide in 1973, and sold well. It was followed a year later by Burnin', which included the songs "Get Up, Stand Up" and "I Shot The Sheriff". Eric Clapton made a hit cover of "I Shot the Sheriff" in 1974, raising Marley's international profile.The Wailers broke up in 1974 with each of the three main members going on to pursue solo careers.

In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry" from the Natty Dread album. This was followed by his breakthrough album in the US, Rastaman Vibration (1976). In December 1976, two days before "Smile Jamaica", a free concert organized by the Jamaican Prime Minister Michael Manley, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries, but later made full recoveries. Bob Marley received only minor injuries in the chest and arm and performed at the concert. Marley left Jamaica at the end of 1976 for England, where he recorded his Exodus and Kaya albums. It was here that he was arrested and received a conviction for possession of a small quantity of cannabis while traveling in London. Survival, a defiant and politically charged album, was released in 1979. Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions, including "Redemption Song" and "Forever Loving Jah".

July 1977, Marley was found to have malignant melanoma in his big toe. Marley refused amputation, citing worries that the operation would affect his dancing, as well as the Rastafari belief that the body must be "whole": This belief may have cost him his life as the cancer spread until may 81 when he died of it. Bob Marley had 13 children (2 adopted) the last one being born 3 weeks after his death, spring 72 he managed to father 3 sons within a month..go figure well the tabloids werent interested in him in those days..

Bob Marley's music has continuously grown in popularity in the years since his death, providing a stream of revenue for his estate and affording him a mythical status in 20th century music history. He remains enormously popular and well-known all over the world, particularly so in Africa. Marley was inducted into the Rock and Roll Hall of Fame in 1994. Time magazine chose Bob Marley & The Wailers' Exodus as the greatest album of the 20th century.

Over the years many compilation albums of his sixties work have been released the one i present here gives a nice overview with a good sound quality

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Originally issued in 1970, Soul Rebels was the first album credited to Bob Marley & the Wailers, and it was also the band's first full-length collaboration with producer Lee "Scratch" Perry, for whom they had already recorded a string of fairly successful singles. Working with the newly configured Upsetters band, Marley and crew delivered a strange and wonderful set of early reggae that at times plays fast and loose with the already established conventions of the genre -- on "My Cup" the beat sounds inside out, while "It's Alright" sounds like a slightly Jamaicanized version of Motown soul. Other songs, such as the beautifully harmonized "Try Me," show their deep roots in rocksteady. One of the most arresting tracks on the album is the Peter Tosh sung "Four Hundred Years," on which Tosh unburdens himself of some of his typically dread pronouncements in his rich, chesty voice. This here is sourced from a  DVD-A

Bob Marley and The Wailers - Soul Rebels ( 336mb)

01 Soul Rebels 3:18
02 Soul Rebels (Version) :40
03 No Water Can Quench My Thirst 2:35
04 No Water (Version) 2:49
05 Rebel Hop 2:50
06 Rebel Hop (Version) 2:45
07 No Sympathy 2:50
08 No Sympathy (Version) 2:41
09 It's All Right 2:30
10 It's All Right (Version) 2:30
11 Reaction 3:34
12 Reaction (Version) 3:31
13 Corner Stone 2:40
14 Corner Stone (Version) 2:22
15 400 Years 2:40
16 400 Years (Version) 2:41
17 Make Up 3:25
18 Make Up (Version) 3:11
19 Try Me 3:04
20 Try Me (Version) 3:02
21 Soul Almighty 3:25
22 Soul Almighty (Version) 3:18

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The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration.

Bob Marley And The Wailers - Burnin' ( flac 331mb)

01 Get Up, Stand Up 3:15
02 Hallelujah Time 3:27
03 I Shot The Sheriff 4:39
04 Burnin' And Lootin' 4:11
05 Put It On 3:58
06 Small Axe 4:00
07 Pass It On 3:32
08 Duppy Conqueror 3:44
09 One Foundation 3:20
10 Rasta Man Chant 3:43  

 Bonus
11 Reincarnated Souls 3:43
12 No Sympathy 3:08
13 The Oppressed Song 3:16

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Natty Dread is Bob Marley's finest album, the ultimate reggae recording of all time. This was Marley's first album without former bandmates Peter Tosh and Bunny Livingston, and the first released as Bob Marley & the Wailers. The Wailers' rhythm section of bassist Aston "Family Man" Barrett and drummer Carlton "Carlie" Barrett remained in place and even contributed to the songwriting, while Marley added a female vocal trio, the I-Threes (which included his wife Rita Marley), and additional instrumentation to flesh out the sound. The material presented here defines what reggae was originally all about, with political and social commentary mixed with religious paeans to Jah. The celebratory "Lively Up Yourself" falls in the same vein as "Get Up, Stand Up" from Burnin'. "No Woman, No Cry" is one of the band's best-known ballads. "Them Belly Full (But We Hungry)" is a powerful warning that "a hungry mob is an angry mob." "Rebel Music (3 O'Clock Road Block)" and "Revolution" continue in that spirit, as Marley assumes the mantle of prophet abandoned by '60s forebears like Bob Dylan. In addition to the lyrical strengths, the music itself is full of emotion and playfulness, with the players locked into a solid groove on each number. Considering that popular rock music was entering the somnambulant disco era as Natty Dread was released, the lyrical and musical potency is especially striking. Marley was taking on discrimination, greed, poverty, and hopelessness while simultaneously rallying the troops as no other musical performer was attempting to do in the mid-'70s.

Bob Marley And The Wailers - Natty Dread ( flac 278mb)

01 Lively Up Yourself 5:11
02 No Woman, No Cry 3:46
03 Them Belly Full (But We Hungry) 3:13
04 Rebel Music (3 O´Clock Roadblock) 6:45
05 So Jah Seh 4:28
06 Natty Dread 3:35
07 Bend Down Low 3:19
08 Talkin Blues 4:07
09 Revolution 4:20
Bonus Track:
10 Am-A-Do 3:20

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elsewhere

 Bob Marley - Early Days 1 (  ^ 98mb)
 Bob Marley - Early Days 2 ( ^ 95mb)

Bob Marley & The Wailers – Catch A Fire ( 106mb)
Bob Marley And The Wailers – Live At The Rainbow ( 77 164mb)

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RhoDeo 1220 Spaced

Hello, hope you'll had a good weekend. Now then the 5th F1 race today gave us a 5th different team winning race this season and chances are the next one in Monaco is won by a team that has been close, Lotus, an unseen start of the season after the total dominance of Red Bull/Vettel last   year. Hamilton behaved and managed his tyres and got to eight and told the press afterwards he was proud of his achievement and so are his fans who feel that everytime he breaks the rules he's unfairly punished because of the colour of his skin. Good thing it isn't green. In England worlds most expensive championship was decided in extra time after 38 games whilst United was waiting on the pitch to celebrate, City scored the winner in the dying seconds of extra time, once again truth shows to be stranger than fiction. They are still no team though, just a collection of great players. Leaves just one big decider this season the Champions Trofee, will Bayern be caught out by that other billionaires team Chelsea, consideing how we all have been screwed by the moneymen these last years I hope the German collective wins.

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

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Tim's bicycle courier friend Tyres pops round for a cup of tea and decides to take the gang clubbing, forcing Brian to relive a terrible event in his past (where a spilled drink during Dexys Midnight Runners' Come On Eileen had disastrous results). Mike, thrown out of the Rough Ramblers following a disastrous eskimo roll (which was more a case of 'rolling right Inuit'), rediscovers his manhood with the help of some ecstasy and a remix of the The A-Team theme. And Tim and Daisy have their eyes opened.


Spaced 106 ( avi 191mb)

06 Epiphanies 24:04

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earlier

Spaced 101 ( avi 191mb)
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Sundaze 1220

Hello, some good news this week on an much older Maya chart it is assumed we have 17 baktuns, not 13 till the end of the world, that gives us another 1600 years and that ties in better with Nostradamus 3797..bla bla  Here comes the apocalypse....surprsie ! How many of you really now what it means ? It has got nothing to do with destruction, though that could come as a consequence. Unveiling can have shocking consequences for individuals but more so for the powers that be, thats why they relentlessly frighten us with their apocalypse. We humans can pray for an apocalypse, but not like those sadly deluded US socalled Christians, they have completely lost the plot many years ago. In the end the apocalypse means nothing more or less then enlightenment, unveling of what has thusfar been hidden.

That was the good news this week, now the bad news, it looks like our sun can go beserk on a scale thusfar unanticipated, and the last time it did this was when the last iceage came to an end. It has grown unually quiet of late, this could well be the prelude to some huge belching, not only to the detriment of our electric systems but our ecosystem could be damaged for years aswell, in a worse case scenario billions could die of starvation and cancers. The elite meanwhile have build themselves a huge underground complex underneath the largest airport in the US, Denver International, but i reckon getting there might be rather more difficult than in the case of a planned catastrophe. You're own hole in the ground stocked with plenty of food and water will do, as well as the will to survive (not so self evident as we all reincarnate anyway-now that could be an apocalypse-this awareness). Enough of that and I'll tell you tomorrow how poor Hamilton did in the F1 race after he lost his pole position and will have to start at the other end..

So back to Sundaze, much ado about Bob Marley this week with his docu-film release Marley aswell as his death last friday 31 years ago, so when i scanned past my titles Ambient Translations Of Bob Marley In Dub stood out and as the man behind that is good old Bill Laswell a post was born. Plenty to enjoy...

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Laswell's artistic and commercial breakthrough came via jazz icon Herbie Hancock's Future Shock album (1983); Laswell produced the album, played bass on all the songs, and co-wrote most of the material. Its track "Rockit" has frequently been regarded as a pivotal moment in the influence of hip hop and turntablism (via Grand Mixer D.ST). The track was the first hit song to feature turntable scratching. The remainder of the 80’s saw Laswell produce albums for people like Sly & Robbie (who Laswell continues to work with) Mick Jagger, PiL, The Ramones, Iggy Pop and Yoko Ono. Many of these projects afforded Laswell the opportunity to bring in some of his normal working crew to record on more mainstream records.

The later part of the ‘80s also saw Laswell completely sever ties with the Celluloid label, which has since been sold several times. 1990 marked a watershed year in Laswell’s control and ability to produce high-quality recordings controlled by himself. In addition to purchasing his own studio (the famed Greenpoint Studio in Brooklyn), Chris Blackwell, founder of Island Records and longtime Laswell booster, gave Laswell the opportunity to begin a new label with the backing of Island Records. Thus, Axiom Records was born. Axiom played the ‘Nothing Is True, Everything Is Permitted’ credo to its fullest. With a sizable budget and minimal interference from Island executives, Laswell had the means to make arguably some of the most important music of his career. In addition  to albums by Material that featured players ranging from Sly & Robbie, William S. Burroughs, Wayne Shorter, Bootsy Collins and Bernie Worrell, he produced and released albums by drummer and Ornette Coleman acolyte Ronald Shannon Jackson, Sonny Sharrock (featuring Pharoah Sanders and Elvin Jones), Laswell main-stay Nicky Skopelitis, Last Poet Umar Bin Hassan and Ginger Baker.

The most successful project and one of the few still in print on Axiom – where the first release was produced, was Praxis. Originally the moniker that an experimental Celluloid 12” by Laswell was released under in 1984, Praxis now became a full-fledged band, The release, ‘Transmutations (Mutadis Mutandis)’ featured the enigmatic guitarist Buckethead, drummer Brain, Bernie Worrell and Bootsy Collins. The project has spawned other releases, never with the same line-up twice, generally consisting of the core trio of Buckethead, Brain and Laswell supplimented by others. 1994/1995 saw a bit of a slow-down in Axiom’s output, but a number of genre-shattering 2CD compilation sets were released. Axiom Funk’s ‘Funkronomicon’ saw previously released tracks by Praxis and Nicky Skopelitis paired with a host of tracks mainly featuring various members of the Parliament/Funkadelic crew. Axiom Dub was another compilation, Laswell also remixed the whole of the Axiom catalog into a 2 disc ambient mix called Axiom Ambient

The ‘90s also saw a number of other labels associated with Laswell, most prolific of these was Subharmonic. Though not owned by Laswell, the label was essentially a release house for his projects, most of which fell into the ambient or ambient-dub catagories, notably Psychonavigation (with Pete Namlook) and Cymatic Scan (with Tetsu Inoue). The label also released albums from Praxis and Laswell’s new project, Divination, an ambient dub project (umbrella moniker for releases of ambient compilations).

Laswell released two albums of remixes from dead artists – Bob Marley’s Dreams of Freedom on Axiom and Miles Davis’ Panthalassa. The first contained airy, ambient dub translations of some of Marley’s Island catalog, largely sans Marley’s voice. Chris Blackwell requested the album as part of a planned series of remix albums by various producers who were rooted in the reggae/dub tradition. Blackwell’s departure from Island killed any further albums. For Panthalassa, Laswell took the tapes from Miles’ ‘electric period’ and re-imagined (cut-up and remix) them. The impetus for the project being that the original releases were just mixes made by Teo Macero from long in studio sessions. Needless to say, critic and fan responses varied wildly.

The late ‘90s saw two other major changes, Chris Blackwell left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, efforts to obtain master recordings and new distribution has been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of hangout, moved his studio to West Orange, New Jersey, now calling it Orange Music or alternately, Orange Music Sound Studios......

The New York-based producer, bassist and visionary is responsible for some of the most interesting and influential recordings of the last 20 years. But unlike other sonic architects, he has no rulebook or pre-defined codes. The range of Bill Laswell’s music has demanded a new openness from musician and listener alike, and through his work points of congruence between genres have become clearer and we now have new hybrid forms to reckon with. “Hitting people on a real level and trying to lift their awareness up a notch or two, to get them to think beyond the conventionally held beliefs that certain musics only work in certain ways. That’s the driving force behind most of what I do, and if it means sacrificing notoriety and acceptance for freedom, creativity and integrity, I’ll do it every time.”

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Dreams of Freedom is the first posthumous Marley release to readily experiment with his recordings and producer Bill Laswell has a unmistakable respect for his music. Oddly enough, it's an experiment that works for a couple of reasons: Marley was such a great songwriter and singer that no spacy overdubs or eerie-sounding background vocals can detract from that.

The selection of songs on Dreams of Freedom is an interesting mix. There's a few of the 'softer' Marley favorites like a dreamy, piano-sprinkled "Waiting In Vain" - one of four songs without Marley's vocal lead - as well as a hearty dose of the more militant music . On the more strident songs, Laswell wisely took a more strident approach to the mix, with the omnipresent reggae 'chinka-chinka' rhythm being pushed along by cosmic guitars and echo-laden backing vocals. For new instrumental bits, Laswell recruited some stellar musicians, including Japanese keyboardist Tetsu Inoue and Senegalese percussionist Aiyb Dieng who add subtle, graceful touches. Laswell wisely chose not to cut up Marley's vocals on any of the tracks. He removed them entirely on a few songs - letting the I-Threes wail in the background - yet the memory of Marley's voice seems woven throughout the album, even on the songs where it's physically absent.  Some hardcore Marley fans may find this dreamy, and at times eerie approach to his music hard to handle, but it does add something new to the Marley mystique.

Bill Laswell - Ambient Translations Of Bob Marley In Dub (flac 343mb)

01 Rebel Music (3 O'Clock Roadblock) 10:20
02 No Woman No Cry 4:11
03 The Heathen 8:37
04 Them Belly Full (But We Hungry) 5:57
05 Waiting In Vain 4:42
06 So Much Trouble In The World 4:47
07 Exodus 8:57
08 Burnin' And Lootin' 4:10
09 Is This Love 4:31
10 One Love (People Get Ready) 4:14
11 Midnight Ravers 6:24

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Laswell covers the bass, Style Scott takes the drums, and a few friends help fill out this rambling exploration of the dub.  And what a trip. Laswell and Scott provide an ever-evolving rhythm base, and the other folks (including Laswell) overdub lots of creative soundscape materiel. The base of all these songs are real-time instruments, but the flight is provided by some fine electronic tricksters.  The songs are long and drawn out, the musical ideas are given time to fully germinate, providing a full bloom of gorgeous power by the finish.  Ever more creative ways to use technology and talent to create sound sculptures that are best appreciated by an open and curious mind. Not just a dub meltdown, but a mutation of the dub in the best sense. Very exciting.

Bill Laswell Meets Style Scott Inna Dub Meltdown (flac 369mb)

01 Crooklyn Dub Syndicate 8:02
02 Fourth Column 8:12
03 Aeon 8:06
04 Emergency At The Plant 4:43
05 Radioactive Dub 7:33
06 Fallout 7:55
07 A Greater Source Of Power 7:42
08 Melting Pot Dub 7:23

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If you only ever own one trance or world beat album, I recommend that this be it. This is the kind of album that you could use put you to sleep, wake you up, woo your mate, study to, eat to, bathe to, work out to, inspire your every waking thought and carry you through dreams of paradise. Subtle, serene, powerful, funky, funny, and indescribably deep. Pure auditory bliss. A truly spiritual listening experience reuniting modern recording technology with ancient soundscapes and sensibilities.The playing is all first-rate, with most of Laswell's usual suspects in tow: Bootsy Collins, Nicky Skopelitis, Zakir Hussain, etc. And William S. Burroughs does a spoken-word piece over one tune.

Material – Hallucination Engine (flac 351mb)

01 Black Light 7:33
02 Mantra 8:44
03 Ruins (Submutation Dub) 8:54
04 Eternal Drift 7:35
05 Words Of Advice (William S. Bourroughs) 3:58
06 Cucumber Slumber (Fluxus Mix) 7:30
07 The Hidden Garden / Naima 13:00
08 Shadow Of Paradise 9:45

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elsewhere

Bill Laswell - Lost In The Translation 1  ( 156mb)
Bill Laswell - Lost In The Translation 2   ( 123mb)

Laswell & Namlook -  Psychonavigation ( 94 ^ 137mb)
Jah Wobble • Bill Laswell - Radioaxiom – A Dub Transmission ( 01 ^ 99mb)
The Golden Palominos - Drunk With Passion (91 ^ 99mb)
Bill Laswell - Dub Chamber 3 (00 ^ 99mb)

Bill Laswell / Sacred System - Book Of Exit : Dub Chamber 4 (02 ^ 99mb)
Bill Laswell - Version 2 Version - A Dub Transmission (04 ^ 99mb)

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RhoDeo 1219 Beats

Hello, todays post was post-poned last week on account of the death of an artist that gave us so much to enjoy, Adam Yauch, long may his legacy live. Todays artist is very much alive though he's always been rather reclusive, even more so these past years. No surprise then he's been living in a former bank. There has been some activity at his website-digital download front. Apparently there has been a steady build up of material up for release waiting on the moment his divorce is settled, yes how mondane is that, an ex-wife demanding money for her 'support' . When will these artists understand that when they marry they need pre-nuptials.

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Richard David James ( August 18, 1971) grew up in Lanner, Cornwall, England, enjoying, along with two older sisters a "very happy" childhood during which they, according to James, "were pretty much left to do what they wanted. He liked growing up there (near Lands end), being cut off from the city and the rest of the world.

As a child he experimented on the strings and hammers of the family piano. According to Benjamin Middleton, James started producing music at the age of 12. As a teenager he DJ ed at the Shire Horse in St Ives, with Tom Middleton at the Bowgie Inn in Crantock, and also along the numerous beaches around Cornwall. From age 16 to 18 James studied for a National Diploma in Engineering from 1988 to 1990 in Cornwall College. James describing his course said "music and electronics went hand in hand".

Richard James's first record was the 12-inch EP Analogue Bubblebath released as AFX, the track "En Trance to Exit" was made with Tom Middleton aka Schizophrenia. In 1991 James formed Rephlex Records with his friend Grant Wilson-Claridge to promote: "Innovation in the dynamics of Acid - Between 1991 and 1993, James released two Analogue Bubblebath EPs under the name of AFX and a Bradley Strider EP under "Bradley Strider". He would also record tracks during this time that appeared on his later releases. James moved to London to take an electronics course at Kingston Polytechnic, but his electronics studies slipped away as a career in the techno business took precedence. After quitting his course, James remained in London and released a number of albums and EPs on Warp Records and other labels under many aliases, including AFX, Polygon Window, and Power-Pill.

The first full-length Aphex Twin album, Selected Ambient Works 85-92, was released in 1992 on R&S Records. It got good reviews not withstanding the fact that the recordings were at times of cassette quality, but thats hardly surprising as he was 14 years old in 85. Anyway, he put to music the world around him, lush landscapes with oceanic beats and added bass lines.
In 1992, he also released the Xylem Tube EP and Digeridoo as Aphex Twin, as Power-Pill the Pac-Man EP based on the arcade game Pac-Man, and two of his four Caustic Window EPs.

In 1993, Aphex released his third installment in the Analogue Bubblebath series, an ambient single On, his second Bradley Strider EP, two more Caustic Window EPs, and his first releases on Warp Records, Surfing on Sine Waves and Quoth under the alias Polygon Window. Warp Records pressed and released a follow-up to SAW85-92, Selected Ambient Works Volume II in 1994. The sound was much less beat-driven than the previous volume. James stated that these songs were inspired by lucid dreams and synesthesia. 1994 would also include a string of other releases including his fourth Analogue Bubblebath, GAK, derived from early demos sent to Warp Records and Classics, a compilation album that includes the Digeridoo single

Two months later, James released the single "Ventolin," a harsh, appropriately wheezing ode to the asthma drug on which he relied. I Care Because You Do followed in April, pairing his hardcore experimentalism with more symphonic ambient material, aligned with the work of many post-classical composers -- including Philip Glass, who arranged an orchestral version of the album's "Icct Hedral" on the August 1995 single Donkey Rhubarb. Later that year, the Hangable Auto Bulb EP replaced Analogue Bubblebath 3 as Aphex Twin's most brutal, uncompromising release -- a fusion of experimental music and jungle being explored at the same time on releases by Plug and Squarepusher. In July 1996, Rephlex released the long-awaited collaboration between Richard James and Michael Paradinas (µ-Ziq). " Expert Knob Twiddlers".

The fourth proper Aphex Twin album, November 1996's Richard D. James Album, continued his forays into acid-jungle and experimental music. James' next two releases, 1997's Come to Daddy EP and 1999's Windowlicker EP, were acid storms of industrial drum'n'bass. The accompanying videos, both directed by Chris Cunningham, featured the bodies of small children and female models (respectively) dancing around, all with special-effects-created Aphex Twin faces grinning maniacally

With very little advance warning, another LP, Drukqs, finally arrived in late 2001, his most personal album yet, a 2-CD album which featured prepared piano songs influenced by Erik Satie and John Cage. It is notable that many of the tracks names are written in the Cornish language (e.g. 'jynweythek' translatable as 'machinemusic'). Also included were abrasive, fast and meticulously programmed computer-made songs. Although James continued making frequent DJ appearances, he released no more material until 2005, when Rephlex issued the first installment in a lengthy, 11-part series of 12" singles titled Analord. For the series James used his extensive collection of Roland drum machines which he bought when they were still at bargain prices.The singles' minimalist acid techno harked back to his Caustic Window/Analogue Bubblebath material of the early '90s. Chosen Lords, a CD compilation of some of the Analord material, appeared in April 2006.

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Arguably Richard James' first full-length CD, comprised of various EP's from the early '90s when he was experimenting on his homemade electronic gear and cranking out material that surpassed the work his peers were putting out. Because of the nature of this re-release to CD, the tracks don't always flow from one to the next, but if you want a dense collection of his groundbreaking earlier work, this release will satisfy both the uninitiated and fans alike. Few others knew how to bend the rules of electronic music quite the way James does, and this skill bleeds into present day because he sets the standard for what is always on the horizon. He can turn an atonal collection of sounds into something that transcends the dancefloor, and therefore many of the pieces here require the listener's full attention. His imitable and straightforward track "Digeridoo" finally gets to CD not once but twice, both as the original recording and later as a live version recorded in Cornwall in 1990. Other standouts include "Isopropanol" and "Analogue Bubblebath 1," which are also available on the widely available EP Analogue Bubblebath 1 by AFX (one of his many surnames). "Isopropanol" is ominous and relentless, but also hints at his playful side. Another standout is "Polynomial-C," which sounds like a dance-friendly version of the old COSMOS theme with the same steady rhythm of "Digeridoo." .

Aphex Twin - Classics   (flac 501mb)

01 Digeridoo 7:11
02 Flaphead 7:00
03 Phloam 5:33
04 Isopropanol 6:23
05 Polynomial-C 4:46
06 Tamphex (Hedphuq Mix) 6:31
07 Phlange Phace 5:24
08 Dodeccaheedron 6:08
09 Analogue Bubblebath 1 4:46
10 Metapharstic 4:33
11 We Have Arrived (Aphex Twin QQT Mix) 4:23
12 We Have Arrived (Aphex Twin TTQ Mix) 5:06
13 Digeridoo (Live In Cornwall, 1990) 6:21

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Perhaps inspired by the experimental drum'n'bass being created by Squarepusher (a recent signee to his Rephlex label), Richard D. James' third major-label album as Aphex Twin was his first to work with jungle -- though, to his credit, he had released the breakbeat EP Hangable Auto Bulb almost a year earlier. This album was more extreme than virtually all jungle being made at the time. The beats are jackhammer quick and even more jarring considering what is -- for the most part -- laid over the top: the same fragile, slow-moving melodies that characterized Aphex Twin's earlier ambient works. Most overtly disturbing is "Milkman," the first straight-ahead vocal track from Aphex Twin.  With all the Aphex Twin's curious idiosyncracies, though, Richard D. James Album is a very listenable record and a worthy follow-up to I Care Because You Do.

Aphex Twin - Richard D. James Album   ( flac 194mb)

01 4 3:37
02 Cornish Acid 2:14
03 Peek 824545201 3:05
04  Corn Mouth 3:48
05 Corn Mouth 2:33
06 To Cure A Weakling Child 4:03
07 Goon Gumpas 2:02
08 Yellow Calx 3:04
09 Girl/Boy Song 4:52
10 Logan Rock Witch 3:33

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Before Aphex Twin, remixes were dancefloor fodder and singles filler,  for the notorious recluse Richard D. James, it was simply another way to release his music, and as the title of this remix collection indicates, earn some money off the backs of clueless record labels.James created remixes using none of the source material given, sent along work at the last minute with no connection to the artist involved, and even play the middle-man for the productions of his flatmate Global Goon. Nevermind the methods, it's clearly the results that count, and 26 Mixes for Cash comprises some of the most creative, breathtaking music produced by anyone in electronica -- from early successes, like the gloriously uncomplicated ambient pop of Seefeel's "Time to Find Me," to the latest offerings from an artist who should release more, an unlisted remix of 808 State's "Flow Coma".

Aphex Twin – 26 Mixes For Cash I  ( flac 398mb)

101 Seefeel – Time To Find Me (AFX Fast Mix) 7:34
102 Gavin Bryars – Raising The Titanic (Big Drum Mix) 8:42
103 Gentle People – Journey (Aphex Twin Care Mix) 10:14
104 Kinesthesia – Triachus (Aphex Twin Mix) 4:12
105 Philip Glass – Heroes (Aphex Twin Remix) 5:18
106 Buck Tick – In The Glitter, Part 2 (Aphex Twin Mix) 5:02
107 Jesus Jones – Zeros And Ones (Aphex Twin Reconstruction #2) 5:49
108 Nav Katze – Ziggy (Aphex Twin Mix #1) 4:25
109 Saint Etienne – Your Head My Voice (Voix Revirement) 3:15
110 Nav Katze – Change (Aphex Twin Mix #2) 4:16
111 Beatniks, The – Une Femme N’est Pas Un Homme (Aphex Twin Mix) 4:06
112 Nine Inch Nails – The Beauty Of Being Numb Section B (Created By Aphex Twin) 3:27
113 Nobukazu Takemura – Let My Fish Loose (Aphex Twin Remix) 5:26

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Aphex Twin – 26 Mixes For Cash II ( flac 397mb)

201 Die Fantastischen Vier – Krieger (Aphex Twin Baldhu Mix) 3:23
202 Phillip Boa & The Voodoo Club – Deep In Velvet (Aphex Twin Turnips Mix) 3:50
203 Curve – Falling Free (Aphex Twin Remix) 7:41
204 Mescalinum United – We Have Arrived (Aphex Twin QQT Mix) 4:23
205 Nine Inch Nails – At The Heart Of It All (Created By Aphex Twin) 3:49
206 808 State – Flow Coma (AFX Remix) 4:59
207 Aphex Twin – Windowlicker (Acid Edit) 4:15
208 Baby Ford – Normal (Helston Flora Remix By AFX) 6:51
209 Aphex Twin – SAW2 CD1 TRK2 (Original Mix) 6:30
210 Meat Beat Manifesto – Mindstream (The Aphex Twin Remix) 3:42
211 DMX Krew – You Can't Hide Your Love (Hidden Love Mix) 5:05
212 Wagon Christ – Spotlight (Aphex Twin Mix) 6:57
213 Mike Flowers Pops – Debase (Soft Palate) 5:50


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Aphex Twin - Selected Ambient Works Volume II-I-I (158mb)

Aphex Twin - Selected Ambient Works Volume II-II (160mb)

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RhoDeo 1219 Goldy Rhox 71

Hello, today the 71st post of Goldy Rhox, classic pop rock. In the darklight a UK band, they are one of the best-selling music artists—various sources estimate the group's sales at more than 200 or 300 million albums worldwide. Their 111.5 million certified units in the United States rank them as the second-best-selling band in the US. Each of their nine studio albums reached the top 10 of the Billboard album chart in the US, with six reaching the number-one spot. The Rock and Roll Hall of Fame stated that in the 1970s the band were "as influential in that decade as The Beatles were in the prior one.

The band disliked the releasing of tracks as singles, preferring their albums to be viewed as indivisible, whole listening experiences, helping to promote the concept of album-orientated rock. Their first two albums, with their heavy, guitar-driven blues rock sound, led to the band being regularly cited as one of the progenitors of heavy metal and hard rock, even though the it's individualistic style drew from varied sources and transcends any single music genre. A tragedy led to the end of the band when on 25 September 1980, their drummer died in his sleep of asphyxiation from vomit at the house of the guitarist, they had been rehearsing for the upcoming American tour.

On 10 December 2007 they reunited for the one-off Ahmet Ertegün Tribute Concert at The O2 Arena in London, with Jason Bonham taking his late father's place on drums. According to Guinness World Records 2009, it led to a world record for the "Highest Demand for Tickets for One Music Concert" as 20 million requests for the reunion show were rendered online.

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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 fourth album by the English rock band, it was released on 8 November 1971. No title is printed on the album, so it is usually referred to as IV, following the naming standard used by the band's first three studio albums. The album has alternatively been referred to as , Four Symbols, The Fourth Album , Untitled, The Runes, The Hermit, and ZoSo. The album was initially recorded at Island Records's newly opened Basing Street Studios, London, at the same time as Jethro Tull's Aqualung in December 1970 Upon the suggestion of Fleetwood Mac, the band then moved to Headley Grange, a remote Victorian house in East Hampshire, England, to conduct additional recordings. Here they used the Rolling Stones Mobile Studio. they later recalled: "We needed the sort of facilities where we could have a cup of tea and wander around the garden and go in and do what we had to do. This relaxed, atmospheric environment at Headley Grange also provided other advantages for the band. Many of the tracks  were made up on the spot and committed to tape almost there and then.


Upon its release, IV was a commercial and critical success. The album is one of the best-selling albums worldwide at 32 million units. It has shipped over 23 million units in the United States alone, making it the third-best-selling album ever in the US. In 2003, the album was ranked 66th on Rolling Stone magazine's list of "The 500 Greatest Albums of All Time".


Goldy Rhox 71   (flac 271mb)

Goldy Rhox 71  ( ogg 102mb)


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Goldy Rhox 18  197mb

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