RhoDeo 1205 Roots

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

Can't get enough of that dub music ? Well here's some more

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This is a mysterious release as the web turns up absolutely nothing on who's behind this but it seems it was released back in the day (1975 according to my copy) in the US as "kaya dub" (kaya) - no credit to Pat Francis according to comments at Roots-Archives.com it is de facto the repackeged renamed Jah Lloyd – Herbs Of Dub album.

PAT FRANCIS was a fine singer and DJ who recorded under various aliases - Jah Lloyd, Jah Lion and Jah Ali - which reflected his Rastafarian beliefs. The original vinyl version of Colombia Colly, the album he cut as Jah Lion in 1976 for the producer Lee Perry, changes hands for pounds 70 and is a steady seller on CD, while his 1970s Jah Lloyd dub collections (Herb Dub, Final Judgement) are sought after by aficionados the world over.

Born in 1947 in St Catherine, Jamaica, Francis had a rather unhappy childhood. His mother died when he was eight and he was subsequently brought up by his farming father in Point Hill, St Catherine. Leaving school in 1959, the teenager ended up in the Trench Town area of Kingston. Influenced by the boogie sound of the pianist Theophilius Beckford and the ska rhythms of the Maytals, Francis formed a duo with Paul Aston Jennings. As the Meditators, they recorded "Darling Here I Stand" and "Look Who a Go Bust", two Studio One singles which made the local charts towards the end of the 1960s. Ever more involved in the burgeoning Jamaican music scene, Francis became the equivalent of a record plugger, promoting rock-steady 45s to local sound systems. Later, he also sold records in Lee Perry's shack. In 1970, having adopted the Rastafarian faith, he recorded "King of Kings", a song praising Emperor Haile Selassie as the descendant of King David.

By 1974, Francis launched the Teem label with his younger brother Vincent and recorded many self-produced sides at King Tubby's studio in Kingston. He also discovered the Mighty Diamonds vocal trio who went on to great success under the guidance of Ernest and Joseph Hookim at Channel One. As Jah Lloyd, Francis cut several takes on the Mighty Diamonds' "Shame and Pride", including "Killer Flour", a biting commentary on the "poison flour" scare which gripped Jamaica in early 1976. However, Francis's finest hour came in 1976 when he collaborated with Lee Perry on the excellent Colombia Colly, which was recorded at the Black Ark Studios and gained a worldwide release on Island Records. It was Perry who insisted on his ditching the name Jah Lloyd in favour of Jah Lion:

However, Francis found his attempts to establish his own identity away from the producer weren't helped by the fact that the only picture on the sleeve of Colombia Colly was one of a grinning Lee Perry. Switching to Virgin's Frontline label, Francis issued, as Jah Lloyd, the critically-acclaimed albums The Humble One and Black Moses before collaborating with Prince Jammy on Goldmine Dub, a collection picked up by the Greensleeves label for UK distribution. In the Eighties, ragga took over from the toasting DJs and the skills of Pat Francis were less in demand. He faded away in Kingston, with his wife and three children relocating to the United States.

Because he has seldom been photographed, some reference books claim Jah Lion to be a mythical artist, a figment of Lee Perry's feverish ganja- fuelled imagination. In fact, Patrick Lloyd Francis (Jah Lloyd, Jah Lion, Jah Ali), singer and musician: born St Catherine, Jamaica 29 August 1947; married (three children); shot and died Kingston, Jamaica 12 June 1999.

Maya Dread – Kaya Dub (flac 175mb)

01 Yard Man Dub 3:15
02 Meaning Dub 2:21
03 Another Lion Special 2:51
04 Conquering Dub Of Africa 3:22
05 Kaya Dub Song 3:16
06 Tribute To The King 2:55
07 Rattle Snake Echoe 2:55
08 Dub A Natty Dub 2:42
09 Tracking To Africa 2:35
10 Dread A Rikers Island 2:55

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Harry Mudie attended the St Jago High School. In the mid fifties, he launched his own sound system "Mudies Hi-Fi", before going to the UK to study electronics and photography. Back in Jamaica in the late 1950s, Mudie began producing, mainly Jamaican R&B records; His first production was "Babylon Gone" (1962) by rasta drummer Count Ossie and saxophonist Wilton Gaynair, released in the UK in 1962 on Blue Beat.He moved away from production in the 1960s, operating his Scaramouch Garden Amusement Center in Spanishtown, opened in 1962. He returned to production in the late 1960s, launching his Moodisc label and working with artists such as Winston Wright, Winston Shand, Lloyd Jones, Count Ossie and was the first producer to put I Roy on record. In the early 1970s, Mudie was the first to record the deejay Big Joe. He was the first producer to use string sections in reggae, starting with (John Holt's 1973 album Time is the Master. He also produced the Heptones on the classic "Love Without Feeling", DJ tunes by Count Sticky, Big Joe ("Set Your Face At Ease" on the "Rome" rhythm), and Jah Lloyd, and a number of "Drifter" cuts by Bongo Herman and others. During the mid-70s Mudie issued three classic dub albums mixed by King Tubby, instrumental sets by Gladstone Anderson and Ossie Scott, vocal albums by Dennis Walks and Bunny Maloney, for whom he produced the popular Jamaican lovers favourite "Baby I've Been Missing You", and two excellent various artists collections. During the 80s and 90s he concentrated on his back catalogue with re-presses and some excellent new compilations such as Reggae History Volume One and Reggae Bible, the latter being a whole album based on the "Drifter" rhythm. This prolific period produced over 100 singles and several 12-inch "discomix" singles as the decade closed.

Harry Mudie - In Dub Confrence Vol.1 (flac 181mb)

01 Full Dose Of Dub 3:14
02 Madhouse Dub 2:55
03 Dub For The Dread 3:05
04 Dub With A Difference 2:52
05 Caught You Dubbing 3:37
06 Roman Dub 2:57
07 Dub Conference 3:03
08 Heavy Duty Dub 3:02
09 Striptease Dub 3:14
10 String Dub In Rema 2:53

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Born Overton Brown, Jamaica, West Indies. Scientist burst onto the reggae scene in the early 80s with a reckless mixing style that seemed to outdo even King Tubby's wildest extravaganzas. He began his career as an engineer at Studio One in 1978, mixing the dub to Sugar Minott's "Oh Mr DC", among others. Shortly afterwards he became a prot‚g‚ of King Tubby, and swiftly gained a reputation with his fresh mixing style. In 1980 the UK-based record company Greensleeves began to release the productions of top Jamaican producer Henry "Junjo" Lawes. Lawes, finding success with new singing sensation Barrington Levy, used Tubby's studio for his voicing and final mix-downs and offered Greensleeves a couple of dub albums mixed by Tubby's sensational young engineer. Scientist v Prince Jammy (1980), mostly consisting of dub mixes of Barrington Levy tracks, was presented as a "Big Showdown" between the two dubmasters, with the first track mixed by Scientist, the second by King Jammy (as he was later known), and so on. The combination of heavyweight Roots Radics rhythms pitted against one another (the cover depicted the two protagonists in a cartoon style, sitting at their mixing desks in a boxing ring surrounded by a crowd of dreads) made for exciting listening, and gave the dub idiom a much needed shot in the arm.

Greensleeves followed this with an album proclaiming Scientist to be the Heavyweight Dub Champion, a similar brew of Roots Radics/Barrington Levy rhythms. Dub albums mixed by Scientist soon began to appear with bewildering regularity from various sources. Greensleeves, in particular, continued to issue album after album which, despite their increasingly unlikely titles and garish covers, remain essential listening. Scientist moved from Tubby's four-track studio to Joseph "Joe Joe" Hookim's 16-track Channel One studio in 1982, where he also learned to record live. His popularity resurrected dub's fading fortunes for a few years, but the form had lost ground in the Jamaican dancehalls to the new breed of dancehall DJs and vocalists, and by the mid-80s few Jamaican producers felt it prudent to spend money on producing dub albums. He continued as resident engineer at Channel One until the mid-80s, when he moved to New York to continue his production career.

Scientist v. Prince Jammy - Big Showdown (flac 183mb)

01 Scientist – Round 1 3:44
02 Prince Jammy – Round 2 3:36
03 Scientist – Round 3 4:01
04 Prince Jammy – Round 4 4:08
05 Scientist – Round 5 4:17
06 Prince Jammy – Round 6 4:00
07 Scientist – Round 7 3:47
08 Prince Jammy – Round 8 3:21
09 Scientist – Round 9 4:34
10 Prince Jammy – Round 10 2:48

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RhoDeo 1205 AC Clark

Hello, hope you'll had a good weekend, I missed the marathon tennismatch but just from some watching some of it later I do wonder how come Azarenka playing 3 hours (semi+final) gets the same price money as Djokovic who had to work his socks of for 11 hours, after all the money is generated by tv airtime and that's not sexist. Besides these females seem to be playing a different game, be it under the same rules. Girls just want to have fun..

Ok Arthur Clark had more up his sleeve than just 2001 Space Odyssey and the coming weeks I have some BBC dramatizations lined up for you all...N'joy

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Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth. But it is perhaps as author of the novel 2001: A Space Odyssey that he is best known.

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Childhood's End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their space ships, governing through indirect rule. Decades later, the Overlords eventually show themselves, and their impact on human culture leads to a Golden Age. However, the last generation of children on Earth begins to display powerful psychic abilities, heralding their evolution into a group mind, a transcendent form of life.

In 1996, a script from Tony Mulholland was commissioned, resulting in a new, two-part adaptation. The BBC produced the two-hour radio dramatization of the novel, broadcasting it on BBC Radio 4 in November 1997. The recording was released on cassette in 1998 and on CD by BBC Audiobooks in 2007 Clarke's novel was nominated for the Retro Hugo Award for Best Novel in 2004.

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Arthur C. Clarke - Childhoods End ( 26mb)

01 Childhoods End pt 1 57:21

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Sundaze 1205

Hello, been busy re-upping the Megaupload links, once again i underestimated how much there were, 268 to be precise. Which in the grand scheme of this blog is indeed not that much, less then 10%, but a lot of work nevertheless. I hope to finish within a few days (3/4 done already).

Today Sundaze gives way to evolutionary concept artists, from Norway, who've exaggerated and blurred the lines between every musical form they've been enveloped. As unconventional as their approach to music has always been the results have been consistently adherent and profound. In larval form they torqued the genre of black metal with folk, jazz, minimalism and soundscape offering this generally conservative design liberties it was once afraid to embrace. Ulver have altered the way form can join and function in ways rarely sought. Retaining elements of their past, they now manipulate and extend the possibilities with a comprehensive understanding of the developing aural technologies.

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Ulver took their name from the Norwegian word for wolf, snce their first, folklore-influenced black metal release entitled Bergtatt - Et eeventyr i 5 capitler (1993), Ulver’s musical style has been fluid and increasingly eclectic, blending genres such as avant-garde rock, trip hop, symphonic and chamber traditions, noise and experimental music, with heavy reliance on electronic recording techniques.

Led by vocalist Garm, Ulver recorded two concept albums, Bergtatt detailed a Norse legend in which maidens are abducted by denizens of the underworld to live in their mountain halls, and the following year's Kveldssanger ("Twilight Songs") was an all-acoustic collection of melancholy dirges. Ulver made their international debut in 1997 with Nattens Madrigal (Madrigal of the Night), a concept album about wolves performed in the traditional Norwegian black metal style; it was recorded for Century Black with a lineup of Garm, lead/acoustic guitarist Haavard, rhythm guitarist Aismal, bassist Skoll, and drummer AiwarikiaR.

Themes from William Blake's The Marriage of Heaven and Hell, released in 1998, was different from what Ulver had made before. Tore Ylwizaker, a new composer and sound architect, added to Garm’s expanding artistic visions, and together they stepped over the boundaries of black metal aesthetics, creating a genre-defying work. In this album, the musicians blended electronics, industrial music elements, progressive metal and avant-garde rock, adding ambient passages. Lyrically, the album incorporates the entire text of William Blake’s poem The Marriage of Heaven and Hell, and relies on guest vocals

The band followed up these two releases with two minimalist/ambient/glitch works Silence Teaches You How to Sing and Silencing the Singing. These works featured minimal melodies and often had subtle, weird and unnatural noises within the song structures. Due to their individual rarity, they were later amalgamated as Teachings in Silence. Having proved their proficiency at making atmospheric music, Ulver were hired to make music for cinema films like Lyckantropen (see Lyckantropen Themes), Svidd neger (see Svidd neger (soundtrack)), and Uno.

In July 2004, the band had recorded their sixth album, Blood Inside, which was released on June 6, 2005. Bringing back more traditional rock instruments like guitar and acoustic drums, combining them with classical instruments, brass horns, and their rich electronic inventory. Shadows of the Sun is the seventh studio album by Ulver. . In an interview with Music Information Centre Norway, Ulver member Tore Ylwizaker commented on the album. He said it would be downplayed and inspired by chamber music in both style and crew. Ylwizaker also took a year off to study classical composers and composition techniques. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade. In February 2008 Shadows Of the Sun won the Oslo Awards for album of the year 2007.

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Perdition City (Music To An Interior Film) is an album of moody, atmospheric electronica, built up around basic down-tempo beats and noir-ish electronic piano harmonies, and then fleshed out with various blips and bleeps, static noises, samples, and occasional vocals. Surprising moments include the lonely soprano saxophone solo on the opener, "Lost in Moments" ; the gravel-voiced Ken Nordine-sound-alike reciting what sounds like a voiceover from a '60s detective show during "Dead City Centres"; and frontman Christophorus Rygg's slick blue-eyed soul (!) singing on "Porn Piece or the Scars of Cold Kisses." Still, the highlight is the album's closing track, "Nowhere/Catastrophe," with its climactic vocal harmonies and purring, liquid-like electronic accents. There are questionable moments, such as the arguably pretentious narration during "We Are the Dead," but, on the whole, Perdition City evokes just the sort of desolate, rainy-night-in-the-city atmosphere it sets out to create.

Ulver – Perdition City (flac 284mb)

01 Lost In Moments 7:16
02 Porn Piece Or The Scars Of Cold Kisses 7:09
Piece One 3:58
Piece Two 3:11
03 Hallways Of Always 6:35
04 Tomorrow Never Knows 7:59
05 The Future Sound Of Music 6:39
06 We Are The Dead 3:40
07 Dead City Centres 7:10
08 Catalept 2:17
09 Nowhere/Catastrophe 4:48

Ulver – Perdition City (ogg 125mb)

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Lyckantropen Themes is Ulver's first foray into film soundtrack music, although musically it picks up right where their previous two EPs, Silence Teaches You How to Sing and Silencing the Singing, left off. That makes sense, considering how those two EPs often resembled soundtracks themselves, with their ambiguous moods and lurking-in-the-shadows electronic ambiance. Once again, there are no lead vocals and no typically structured songs. Instead, the keyboards (especially the piano synth) dominate, setting the alternately suspenseful and melancholy mood of the soundtrack, with occasional down-tempo drum-machine beat, distant saxophone call, or rainstorm sample added to the mix. Unlike many soundtrack recordings, the album's tracks do flow nicely together as a whole. Lyckantropen is still a solid, respectable album of semi-dark ambient-electronic music, and at 37 minutes long, it doesn't wear out its welcome.

Ulver – Lyckantropen Themes (flac 146mb)

01 Theme 1 1:21
02 Theme 2 1:37
03 Theme 3 7:13
04 Theme 4 2:14
05 Theme 5 4:48
06 Theme 6 2:41
07 Theme 7 2:38
08 Theme 8 4:17
09 Theme 9 5:50
10 Theme 10 3:44
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The album is not something you'll grasp at first, though it's not to say you won't enjoy it right from the get-go. While the ambience it creates serves as an excellent backdrop (it is a soundtrack, after all), true appreciation for it might not come until you dive right in. With the right listening climate, Svidd Neger possesses the ability to take the listener on a twisted journey. Lending itself to the quasi-formal tone you're currently reading, the album is highly sophisticated in its presentation. Strings cascade between methodical drumming, contradicting the occasional blips, bloops and sound clips from the film. While the compositions are separated into tracks, Svidd Neger is best taken when you're hard-pressed to notice the separation. Absorbing the album as a whole ensures that the aptly titled "Waltz of King Karl" wont contrast harshly with swooping percussion found in Sadface. The melancholic strings rarely seem out of place with the electronic backdrops, and while the music is increasingly textured, it never becomes invasive.

Ulver - Svidd Neger ( O.S.T.) (flac 170mb)

01 Preface 1:41
02 Ante Andante 0:54
03 Comedown 2:19
04 Surface 3:17
05 Somnam 2:42
06 Wild Cat 2:32
07 Rock Massif Pt. I 1:42
08 Rock Massif Pt. II 2:05
09 Poltermagda 0:28
10 Mummy 1:03
11 Burn The Bitch 0:52
12 Sick Soliloquy 0:22
13 Waltz Of King Karl 3:17
14 Sadface 2:43
15 Fuck Fast 0:21
16 Wheel Of Conclusion 6:27

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Shadows of the Sun offers a new slant on the sort of electronic art pop sound that Ulver have been developing off and on since 1999‘s Metamorphosis EP. Along with 2005's return-to-form Blood Inside, it is one of their stronger efforts this decade, following several years of experimentation with instrumental electronic music. Those experiments have informed both of these albums, but they have been incorporated into more or less songlike structures. That is a good thing, given that leader Kristoffer Rygg's vocals have always been a strong point of their music. Shadows begins with a tranquil, almost ambient organ figure, followed by the entry of Rygg's close-up vocals, which later float off into the distance. Standout "All the Love" follows, beginning in similar near-ambient fashion before percussion enters for the first time on the album near the one-minute mark. This song has a fantastic arrangement that includes a dense carpet of keyboard tones along with some well-placed trumpet flourishes, electronic glitches, and piano melodies toward the end. Subsequent songs maintain this blend of electronics, intermittent (and very subdued) percussion, and other "real" instruments, including some nice cello and string-section touches. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver's music over the previous decade.

Ulver - Shadows Of The Sun ( 180mb)

01 Eos (5:05)
02 All The Love (3:42)
03 Like Music (3:30)
04 Vigil (4:27)
05 Shadows Of The Sun (4:36)
06 Let The Children Go (3:50)
07 Solitude (3:53)
08 Funebre (4:26)
09 What Happened? (6:25)

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RhoDeo 1204 Grooves

Hello, today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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Allready the 7th post in the Parliament Funkadelic saga that in name came to an end in 1981, but then main man george Cklinton soldiered on and several members of the Pfunk family made a name for themselves we'll see some of that in the next few weeks..

The rapidly expanding ensemble of musicians and singers in the Parliament-Funkadelic enterprise, as well as Clinton's problematic management practices, began to take their toll by the late 1970s. Original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had been with Clinton since the barbershop days in the late 1950s, felt marginalized by the continuous influx of new members and departed acrimoniously in 1977. Other important group members like singer/guitarist Glenn Goins and drummer Jerome Brailey left Parliament-Funkadelic in the late 1970s after disputes over Clinton's management. Two further Parliament albums, Gloryhallastoopid (1979) and Trombipulation (1980) were less successful than the albums from the group's prime 1975-1978 period.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Casablanca Records, George Clinton dissolved Parliament and Funkadelic as recording and touring entities.

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Trombipulation, the final Parliament album. "Agony of Defeet" is the highlight and "Let's Play House" is also notable, Perhaps the most interesting aspect of Trombipulation is how it finds Parliament in free fall, seemingly out of good ideas. It's hardly surprising Clinton dissolved the group after this album's it'd become apparent Parliament had run its course. Clearly the disputes earlier which saw several members of the P-Funk family leave had taken it's toll unexpectedly perhaps the vibe had been distorted.To Clinton's credit, though, his latter-day Funkadelic albums, including The Electric Spanking of War Babies (1981) remained worthwhile, and subsequent albums, namely Computer Games (1982) and Urban Dancefloor Guerillas (1983), were especially exciting. .

Parliament - Trombipulation (299mb)

01 Crush It 3:51
02 Trombipulation 4:34
03 Long Way Around 5:40
04 Agony Of Defeet 6:23
05 New Doo Review 5:55
06 Let's Play House 3:39
07 Body Language 5:57
08 Peek-A-Groove 7:48

Parliament - Trombipulation(108mb)

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Don't mistake 12" Collection & More for a best-of collection. It features some of Parliament's best moments, such as "Flashlight" and "Up for the Down Stroke," but it also includes songs such as "Ridin' High-Parlet" and "Oh I," which weren't technically even Parliament songs. In terms of what's worth seeking out on this album, look towards the 12" versions of "Flashlight" and "Aqua Boogie." these extended versions approach the ten-minute mark, making them P-funk jams on par with "(Not Just) Knee Deep" -- jams that just don't stop, jams that you don't ever want to stop! The extended versions of "Agony of Defeet" and "Theme From the Black Hole/The Big Bang Theory" are also epic jams. Elsewhere, the string-laden seven-minute version of "Oh I" is amazing, even if it was actually a Funkadelic song, not a Parliament recording. The five-minute version of "Up for the Down Stroke" also ranks up there with some of Parliament's best work ever, adding about two minutes to the original version. Unfortunately, Parliament only released a handful of 12" mixes, these songs keep the funk flowing for epic lengths, long enough for you to totally succumb to the rhythm just as you would at one of the group's jam-laden concerts.

Parliament - The 12 inch Collection and More ( 488mb)

01 Aqua Boogie (Original 12" Version) 9:22
02 Flash Light (Original 12" Version) 10:42
03 Agony Of Defeet (Original Promotion-Only 12" Version) 9:05
04 Ridin' High (Original Promotion-Only 12" Version) 9:41
05 Oh I (Original Parliament Version) 7:11
06 Up For The Down Stroke (Alternate Version) 5:39
07 Testify (Original Group Vocal Version) 4:03
08 Theme From The Black Hole / The Big Band Theory (Original 12" Disco Edit) 11:46

Parliament - The 12 inch Collection and More ( 168mb)

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First released on LP in 1981 as Connections & Disconnections and reissued on CD in 1992 as Who's a Funkadelic?, this album went down in history as the only Funkadelic project that George Clinton had nothing whatsoever to do with. Many funksters were quick to dismiss this album, questioning its authenticity and arguing that the band had no right to call itself Funkadelic without "President Clinton" on board. True, Clinton's input is missed, but in fact, this is far from a bad album. While Who's a Funkadelic? isn't in a class with One Nation Under a Groove or Uncle Jam Wants You, hard funk offerings like "Phunklords," "You'll Like It Too" and "The Witch" are fairly enjoyable. Colleagues like Fuzzy Haskins and Grady Thomas had learned from the master himself, and this very underrated offering shows that they also had some worthwhile things to say.

Who's A Funkadelic (277mb)

01 Phunklords 5:32
02 You'll Like It Too 4:27
03 The Witch 9:29
Shade I: The Proclafunktion
Shade II: The Infunktation
Shade III: The Celefunktion
04 Connections And Disconnections 5:00
05 Come Back 4:44
06 Call The Doctor 5:12
07 Who's A Funkadelic 5:47

Who's A Funkadelic (ogg 102mb)

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RhoDeo 1204 Goldy Rhox 56

Hello, today the 56th post of GoldyRhox, classic pop rock, but first something to consider..

Why was MegaUpload really shut down?

In December of 2011, just weeks before the takedown, Digital Music News reported on something new that the creators of #Megaupload were about to unroll. Something that would rock the music industry to its core. (http://goo.gl/A7wUZ)

I present to you... MegaBox. MegaBox was going to be an alternative music store that was entirely cloud-based and offered artists a better money-making opportunity than they would get with any record label.

"UMG knows that we are going to compete with them via our own music venture called Megabox.com, a site that will soon allow artists to sell their creations directly to consumers while allowing artists to keep 90 percent of earnings," MegaUpload founder Kim 'Dotcom' Schmitz told Torrentfreak

Not only did they plan on allowing artists to keep 90% of their earnings on songs that they sold, they wanted to pay them for songs they let users download for free.

"We have a solution called the Megakey that will allow artists to earn income from users who download music for free," Dotcom outlined. "Yes that's right, we will pay artists even for free downloads. The Megakey business model has been tested with over a million users and it works."

Clearly this caused a big panic in the music industry and within weeks they managed to have their goons ..the FBI.. kill Megaupload....


In the darklight an English heavy metal band, formed in Aston, Birmingham in 1969, the band has since experienced multiple line-up changes. A total of 22 musicians have at one time been members with the guitarist as the only constant presence in the band through the years. The band has released 18 albums and dissolved sort of after their lead singer became an icon thanks to an MTV reality show.in 2001. The band are one of the most influential heavy metal bands of all time. They helped to create the genre with ground breaking releases. On 11 November 2011, the original band members announced that they were reuniting and recording a new album.The band are scheduled to perform a headlining slot at the Download Festival on 10 June 2012, followed by a world tour.

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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 which Rolling Stone magazine noted "changed music forever", and called the band "The Beatles of heavy metal". Time Magazine called todays mystery album "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time. The mystery album is the second studio album by todays mystery band. Released in September 1970, the album was the only one by the band to top the UK Albums Chart, and as a result is commonly identified as the band's magnum opus. It's been certified four times platinum by the RIAA and contains some of the band's best-known signature songs, The album was originally titled War Pigs, but allegedly the record company changed it, fearing backlash from supporters of the ongoing Vietnam War (!!!). In the decades succeeding its initial distribution, todays mystery album has been regarded by many as the bands best album, and by some the best heavy metal album of all time, defining the sound and style of metal, more than any other record in history. In 2003, the album was ranked number 130 on Rolling Stone magazine's list of the 500 greatest albums of all time.


Goldy Rhox 56 (flac 255mb)

Goldy Rhox 56 (ogg 102mb)


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RhoDeo 1204 Aetix

Hello, as the Oscar nominations today show, nostalgia rules in Hollywood ah yes they must be longing for those good old days before the internet, before blockbuster accounting. Those days when they released movies for the general public and not like today for limited attention span youths. Let's face it there's not much left of the status and regard Hollywood once held. Their demise is imminent expect Google or Apple to buy them out....

The Clash released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past. Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1.6 gig package over two weeks in chunks that should be agreeable for most... today part 2 Njoy!

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The Clash - Singles 12-13 (178mb)

The Call Up
1201 The Call Up 5:25
1202 Stop The World 2:32
Hitsville UK
1301 Hitsville UK 4:21
1302 Radio One (Feat.Mikey Dread) 6:17
1303 Police On My Back (US 7") 3:15
1304 Somebody Got Murdered (Spanish 7") 3:33

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The Clash - Singles 14 (228mb)

The Magnificent Seven
1401 The Magnificent Seven (Edit) 3:37
1402 The Magnificent Dance (Edit) 3:35
1403 Lightning Strikes (Not Once But Twice) 4:51
1404 One More Time (US Promo 12") 3:31
1405 One More Dub (US Promo 12") 3:34
1406 The Cool Out (US 12") 3:53
1407 The Magnificent Seven (12" Version) 4:27
1408 The Magnificent Dance (12" Version) 5:36

Note
The Clash - Singles 12-14 (ogg 138mb)

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The Clash - Singles 15-16 (177mb)

Radio Clash
1501 This Is Radio Clash 4:10
1502 Radio Clash 4:10
1503 Outside Broadcast (UK 12") 7:22
1504 Radio 5 (UK 12") 3:38
Know Your Rights
1601 Know Your Rights 3:40
1602 First Night Back In London 2:59

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The Clash - Singles 17 (148mb)

Rock The Casbah
1701 Rock The Casbah 3:41
1702 Long Time Jerk 5:08
1703 Mustapha Dance (UK 12") 4:26
1704 Red Angel Dragnet (Canadian 7") 3:45
1705 Overpowered By Funk (Argentinian 7" Promo) 4:53

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The Clash - Singles 18-19 ( 148mb)

Should I Stay Or Should I Go
1801 Should I Stay Or Should I Go 3:07
1802 Straight To Hell (Edited Version) 3:51
1803 Innoculated City (US 7") 2:41
1804 Cool Confusion (US 7") 3:14
This Is England
1901 This Is England 3:35
1902 Do It Now 3:06
1903 Sex Mad Roar (UK 12") 3:03

Note
The Clash - Singles 15-19 (ogg 174mb)

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elsewhere

The Clash - Sandinista ! 1 (80 112mb)
The Clash - Sandinista ! 2 (80 125mb)
The Clash - Sandinista ! 3 (80 114mb)

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RhoDeo1204 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.

We've seen plenty of lee Perry these past months but there was another and probably even more prolific producer of dub music..King Tubby

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King Tubby (Osbourne Ruddock) Born January 28th 1941, he is known primarily for his influence on the development of dub in the 1960s. In the 1950s, King Tubby's musical career began with the sound systems, set up on the streets of Kingston and playing dance music for the people. As a radio repairman, Tubby soon became quite helpful at most of the sound systems around.

Tubby began working with Arthur "Duke" Reid in 1968. At Treasure Isle, a studio, Tubby began making remixes of hit songs, usually by simply removing the vocals. In time, Tubby (and others) began shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes. By 1971, Tubby's soundsystem was one of the most popular in Kingston and he decided to open a studio of his own. King Tubby took remixing to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes. Many of these experiments were pressed onto acetate dubplates and spun at his sound system. His remixes soon proved enormously popular, and he became one of the biggest celebrities in Jamaica.

During the 1970s, Tubby's work in the studio gave rise to modern dub music. He had a long string of hit songs, and worked as a producer for some of Jamaica's most popular artists, including Lee Perry, Bunny Lee, Augustus Pablo and Yabby You. In 1973, he began recording vocals to put along the instrumentals. By the later part of the decade though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on production for Anthony Red Rose, Sugar Minott and other popular musicians. He upgraded his studio again and also launched his own record labels -- Firehouse, Waterhouse, Kingston II, and Taurus.

His best work was now in the production field, working with young DJs and veteran vocalists. Pliers (of Chaka Demus fame), Ninjaman, Gregory Isaacs, and Johnny Clarke were just some of the talent who cut singles for him. King Tubbys Presents Soundclash Dubplate Style arrived in 1989, bundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force. Then, on February 6, 1989, his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery. In the years since, King Tubby's renown has only grown.

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In the early seventies King Tubby began turning out remixes in prolific numbers. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in 1974 as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station.

King Tubby – Dub From The Roots (flac 256mb)

01 Dub From The Roots
02 Iyahta
03 Mine Field
04 Hijack The Barber
05 African Roots
06 Double Cross
07 East Of (Arrows Hi-Fi)
08 Invasion
09 Dub Of A Woman
10 Dub On My Mind
11 Steeling
12 Dub Experience
13 Declaration Of Dub
14 A Truthful Dub

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While there's certainly no shortage of King Tubby compilations out there, it's often a straining venture to find the best ones. Tubby churned out so much music during the mid-'70s (with the help of co-engineers Phillip Smart, Pat Kelly, and Lloyd "Prince Jammy" James, of course) that throughout the '90s innumerable fly-by-night labels were able to assemble cheap comps of cut-rate recordings. Really, if all you ever wanted was one and only one Tubby disc, In Fine Style would be a wise choice (though given the depths and riches of the Dub Inventor's catalog, you could easily pick up a couple of these comps and still have just the cream of the crop). This double disc compiles 46 dubs mixed at King Tubby's Studio (aka his modest home in Waterhouse, West Kingston, Jamaica) and does so chronologically, ranging from 1972-1977. These are the best of the best -- amazing dubs of such '70s reggae legends as the Upsetters (produced by Lee Perry), Niney the Observer, Augustus Pablo, Cornel Campbell, Horace Andy, Wayne Jarrett, and the Aggrovators, including such classics as "King Tubby's Meets Rockers Uptown" and "King Tubby's in Fine Style" among many, many others.

King Tubby's – In Fine Style (The Dub Inventor ) (flac 396mb)

101 The Crystalites – Concentration Version 3
102 The Crystalites – Blacula Version
103 Glen Brown – Tel Aviv Drums
104 The Upsetters – Chapter 2 (French Connection)
105 The Upsetters – IPA Skank
106 The Upsetters – Freak Out Skank
107 The Upsetters – Washroom Skank
108 The Upsetters (feat Dillinger) – Dub Organiser
109 The Upsetters – V/S Panta Rock
110 The Upsetters – Elephant Rock
111 The Upsetters – Drum Rock
112 The Upsetters – Lovers Skank (aka Spanglers Clap)
113 Rupie Edwards – Dr. Satan's Echo Chamber
114 Rupie Edwards – Buckshot Dub
115 Techniques All Stars – Stalag 17 Version
116 Techniques All Stars – Nothing Is Impossible Version
117 The Observer – New Style
118 The Observer – Fire From The Observer
119 Dennis Brown & The Observer – Coming Home (Version To No More Will I Roam)
120 The Observer & King Tubby – Dubbing With The Observer
121 The Observer & King Tubby – Youth Man
122 Augustus Pablo – King Tubby's Meets Rockers Uptown
123 Augustus Pablo – Tubby's Dub Song

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King Tubby's – In Fine Style (The Dub Master) (flac 371mb)

201 Ronnie Davis – The Power Of Love
202 King Tubby – King Tubby's In Fine Stile
203 Augustus Pablo & King Tubby – The Big Rip Off
204 The Talent Crew – King Tubby's Version (Please Officer)
205 The Mafia All Stars & King Tubby – Don't Think About Me (I'm Alright) Version
206 Dillinger, King Tubby & The Aggrovators – Jah Jah Dub
207 Vin Gordon – Magnum Force
208 Cornell Campbell & The Aggrovators – A Dance Roots Version
209 Tommy McCook & The Aggrovators – Dancing Version
210 Linval Thompson & The Aggrovators – Conqueroring Version
211 Linval Thompson & The Aggrovators – Sukumaka Version
212 Ronnie Davis, Lloydie Slim & The Aggrovators – Jah Jah Dub
213 B.B. Seaton & The Aggrovators – I Am Lost Dub
214 Cornell Campbell & The Aggrovators – Gorgon Version
215 King Tubbys – A Noisy Place (aka A Quiet Place)
216 Jackie Edwards & The Aggrovators – The Invasion (Version)
217 Johnny Clarke & The Aggrovators – A Harder Version
218 Johnny Clarke & The Aggrovators – A Ruffer Version
219 Wayne Jarrett – Satta Dread
220 King Tubbys – (Dread) Satta Version
221 Prince Jammy – A Useful Version
222 Leroy Smart & The Aggrovators – Channel One Feel It
223 Tommy McCook & The Aggrovators – African World Wide

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RhoDeo 1204 AC Clark

Hello, hope you'll had a good weekend but likely you've come across a lot of anger and frustration over the taking out of Megaupload without any legal notice or verdict, and if I were a New Zea-lander i would be deeply ashamed of my groveling government. Earlier i came across Filesonic shutting down pre-emptivly, cowardly perhaps, but it seems the rule of law no longer applies for US government(corporate fascists) and being threatened with ruin and decades of jail sentences for running a filehoster in the western (New World Order) world makes the owners fearful. Meanwhile i still am unable to upload to multi upload you'll have to make do with Mediafire today.

The story behind one of the most famous films of the last century 2001: A Space Odyssey how a sci-fi writer and a filmdirector knocked out this great story- check Clarks diary entries, the man himself reads the final book chapters for you to enjoy.

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About Arthur C. Clarke and 2001:

Arthur C. Clarke was born in England. His prime interest was : Science. He became the Chairman of the renowned British Interplanetary Society, when to confess to an interest in space was to admit to some kind of advanced lunacy. He began to write for British and American magazines, and his first book was one of the masterpieces of imaginative science fiction, Against the Fall of Night, later re-written as The City and the Stars. Another early book of non-fiction was The Exploration of Space which was offered by the Book-of-the-Month Club in 1952.

By this late date it is doubtful if even Arthur knows how many books in how many languages are to his credit. To mention only a few: Childhood's End, Rendevous with Rama, and the recently published Imperial Earth (1976, Harcourt Brace Jovanovich). But it is perhaps as author of the novel 2001: A Space Odyssey and co-author with Stanley Kubrick of the screenplay of that memorable film that he is best known.

The film "2001: A Space Odyssey" is by considered judgement one of the three or four most memorable films that this era has produced. It owes as much to the flaming Clarke imagination and mystique as it does to the Kubrick passion for poetry and perfection in detailed design. It was an author and director truly well met.

So how did it come about ?

EXCERPTS FROM A DIARY by ARTHUR C. CLARKE

May 28, 1964. Suggested to Stanley that "they" might be machines who regard organic life as a hideous disease. Stanley thinks this is cute and feels we've got something.

June 20. Finished the opening chapter, "View from the Year 2000," and started on the robot sequence.

July 2-8. Averaging one or two thousand words a day. Stanley reads first five chapters and says "We've got a best seller here."

July 9. Spent much of afternoon teaching Stanley how to use the slide rule - he's fascinated.

July 11. Joined Stanley to discuss plot development, but spent almost all the time arguing about Cantor's Theory of Transfinite Groups. Stanley tries to refute the "part equals the whole" paradox by arguing that a perfect square is not necessarily identical with the integer of the same value. I decide that he is a latent mathematical genius.

July 12. Now have everything - except the plot.

July 13. Got to work again on the novel and made good progress despite the distraction of the Republican Convention.

July 26. Stanley's birthday. Went to the Village and found a card showing the earth coming apart at the seams and bearing the inscription: "How can you have a Happy Birthday when the whole world may blow up any minute?"

July 28. Stanley: "What we want is a smashing theme of mythic grandeur."

August 6. Stanley suggests that we make the computer female and call her Athena.

August 17. We've also got the name of our hero at last - Alex Bowman. Hurrah!

August 19. Writing all day. Two thousand words exploring Jupiter's satellites. Dull work.

September 8. Upset stomach last night. Dreamed I was a robot being rebuilt. In a great burst of energy managed to redo two chapters. Took them to Stanley, who was very pleased and cooked me a fine steak, remarking: "Joe Levine doesn't do this for his writers."

September 29. Dreamed that shooting had started. Lots of actors standing around, but I still didn't know the story line.

December 10. Stanley calls after screening H.G. Wells' Things to Come, and says he'll never see another movie I recommend.

December 25. Stanley delighted with the last chapters, and convinced that we've extended the range of science fiction.

February 9, 1965. Caught Dali on TV, painting in a Fifth Avenue store window to promote Fantastic Voyage. Reported this to Stanley, who replied: "Don't worry - we've already reserved a window for you."

March 8. Fighting hard to stop Stan from bringing Dr. Poole back from the dead. I'm afraid his obsession with immortality has overcome his artistic instincts.

April 12. Much excitement when Stanley phones to say that the Russians claim to have detected radio signals from space. Rang Walter Sullivan at the New York Times and got the real story - merely fluctuations in Quasar CTA 102.

April 19. Went up to the office with about three thousand words Stanley hasn't read. The place is really humming now - about ten people working there, including two production staff from England. The walls are getting covered with impressive pictures and I already feel quite a minor cog in the works.

August 25. Suddenly realized how the novel should end, with Bowman standing beside the alien ship.

October 1. Stanley phoned with another ending. I find I left his treatment at his house last night - unconscious objection?

October 3. Stanley on phone, worried about ending ... gave him my latest ideas, and one of them suddenly clicked - Bowman will regress to infancy and we'll see him at the end as a baby in orbit. Stanley called again later, still very enthusiastic. Hope this isn't a false optimism: I feel cautiously encouraged myself.

October 5. Back to brood over the novel. Suddenly (I think!) found a logical reason why Bowman should appear at the end as a baby. It's his image of himself at this stage of his development. And perhaps the Cosmic Consciousness has a sense of humor. Phoned these ideas to Stan, who wasn't too impressed, but I'm happy now.

October 15. Stan has decided to kill off all the crew of Discovery and leave Bowman only. Drastic, but it seems right. After all, Odysseus was the sole survivor....

December 29, 1965. The TMA 1 set is huge - the stage is the second largest in Europe, and very impressive. A 150 x 50 x 20-foot hole, with equipment scattered around it. (E.g. neat little electric-powered excavator, bulldozers, etc. which could really work on the Moon!) About a hundred technicians were milling around. I spent some time with Stanley, reworking the script -- in fact we continued through lunch together. I also met the actors, and felt quite the proper expert when they started asking me astronomical questions. I stayed until 4 p.m. -- no actual shooting by then, but they were getting near it. The spacesuits, back-packs, etc. are beautifully done, and TMA 1 is quite impressive -- though someone had smeared the black finish and Stanley went on a rampage when I pointed it out to him.

January 7, 1966. Realized last night that the Star Gate had to be lapetus with its six-to-one brightness ratio. Got off a memo to Stan about that.

January 8. Record day -- three thousand words, including some of the most exciting in the book. I got quite scared when the computer started going nuts, being alone in the house with my electric typewriter....

January 14. Completed the Inferno chapter and have got Bowman into the hotel room. Now to get him out of it.

January 16. Long talk with Stan and managed to resolve most of the outstanding plot points. Got straight to work and by the time I staggered to bed stupefied had at last almost completed the first draft of the final sequence. Now I really feel the end's in sight -- but I've felt that twice before.

January 17. About midday got a first draft of the last chapters completed. Have had a headache ever since and my brain's still spinning around. Too exhausted to feel much pleasure -- only relief. Trying to unwind all day; luckily I'm off to the studio tomorrow, which will be a break.

February 4. Saw a screening of a demonstration film in which Stan has spliced together a few scenes to give the studio heads some idea of what's going on. He'd used Mendelssohn's Midsummer Night's Dream for the weightless scenes, and Vaughan Williams' Antarctica Symphony for the lunar sequence and the Star Gate special effects, with stunning results. I reeled out convinced that we have a masterpiece on our hands -- if Stan can keep it up.

May 29. Soviet Air Attache visited set. He looked at all the little instruction plaques on the spaceship panels and said, with a straight face, "You realize of course, that these should all be in Russian."

July 19. Almost all memory of the weeks of work at the Hotel Chelsea seems to have been obliterated, and there are versions of the book that I can hardly remember. I've lost count (fortunately) of the revisions and blind alleys. It's all rather depressing -- I only hope the ultimate result is worth it.

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Arthur C. Clarke reads 2001: A Space Odyssey (ogg 68mb)

01 The Moons Of Saturn (15:00)
Experiment
The Sentinel
Into The Eye
Exit
02 Through The Star Gate (12:43)
Grand Central
The Alien Sky (Beginning)
03 Through The Star Gate (30:10)
The Alien Sky (Conclusion)
Inferno
Reception
Recapitulation
Transformation
Star-Child

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Sundaze 1204 Inside Out

Hello, our world is still in shock after the lawless seizure of Megaupload by the US corporate fascists and their FBI goons, I've re upped the seized links pre-Rhotation the remainder will be done next week, that is to say , I can't get thru to multiupload today, could be because handling the increase in clients after the biggest hoster got killed. Besides my connection looks substandard today aswell, therefore i improvise with smashupload and rapidshare today.

It's been 7 months since my last Inside Out..sorry about that.. so today a spacious binaural recording of a cave jam of a trio of top musicians, and something to don't loose any sleep over Dr. Jeffrey Thompson’s Delta Sleep System.

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These days a lot of people loose sleep over their future; economically , socially, the environment and what will happen december 2012 ? But losing sleep is making live miserable and certainly doesn't solve anything, in fact chances are you 'll get more answers from a good night sleep. Yet many of you seem to have trouble with that, you should take the opportunity to grab the Delta Sleep System files..for yourself or others you know to have sleeping trouble...it's all about sharing.

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There are several stages of sleep which people pass through in the course of a good restful night. In each stage our sleep gets deeper, our bodies gets more relaxed and our brainwave patterns slow down. The deepest and most rejuvenating levels of sleep are associated with Delta brainwave patterns. Delta sleep is the most physically relaxed stage of sleep and is the time when the body recuperates and rebalances itself for the new day. Getting enough sleep, but more specifically enough Delta Sleep, is essential for healthy, productive living.

Dr. Jeffrey Thompson’s breakthrough audio techniques, developed over 20 years of clinical research, are proven to increase levels of Delta brainwave activity. He has helped thousands of people to achieve regular, restful, revitalizing sleep. How This Program Can Work For You Play Delta Sleep System on any ordinary stereo or through headphones. Pulses of sound embedded into an ambient musical soundtrack, combining rich orchestration and "3-dimensional" sounds of nature will coax your own brainwaves toward their natural pattern of deep Delta Sleep.

In the enclosed notes you will learn: About the natural cycles of sleep and how they effect you How to use Delta Sleep System to fall asleep, stay asleep and wake up rejuvenated Special relaxation techniques which you can use to enhance your experience

Dr.Thompson - Delta Sleep System 2-1 (flac 182mb)

01 Delta Sleep System 2 Part 1 30:20
02 Delta Sleep System 2 Part 2 30:19
inc. info/instruction booklet
-
Dr.Thompson - Delta Sleep System 2-1 gg (ogg 120mb)

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Dr.Thompson - Delta Sleep System 2-2 (flac 179mb)

01 Dreamtime 30:21
02 Peaceful Slumber 30:11

Dr.Thompson - Delta Sleep System 2-2 (ogg 121mb)

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From the Caves of the Iron Mountain is an album recorded inside the Widow Jane Mine in the Catskill Mountains. The artists featured on the album are Tony Levin (King Crimson, Peter Gabriel), Jerry Marotta (Peter Gabriel, The Indigo Girls), and Steve Gorn (Glen Velez and Jerome Robbins' New York City Ballet). The recording is binaural, which means that when you hear it over the headphones, you will be listening to exactly what was heard in the caves.

Pure atmosphere throughout, this one was recorded in an underground lake, in a cave in the Woodstock area of NY where the three musicians live. Simple musical ideas, played on custom-made instruments, develop naturally and tap into a primal feel, yet never overstay their welcome. Engineer Tchad Blake acts like a fourth band member, transporting the listener to the recording session and the ambience of the surroundings.

The music was recorded using a unique technique of puttin microphones in the ear of the Recording Engineer, which maskes it the PERFECT record to listen to with headphones.

Steve Gorn, Tony Levin & Jerry Marotta - From The Caves Of The Iron Mountain - (flac 218mb)

01 Approaching The Cavern 1:25
02 Man Walking From A To B 3:39
03 In The Caves Of The Iron Mountain 3:37
04 Drumming On Water 3:29
05 Devil's Kitchen 3:42
06 Shakers In Five 3:53
07 Glass Beads 3:32
08 Joyous Lake 2:41
09 Catskill Gallery: The Abandoned IBM Plant/Woodstock, The Indian Burial 1:52
10 Catskill Gallery: Woodstock,The Indian Burial Ground 1:39
11 Catskill Gallery: Swimming The Shokan Rooftops 1:26
12 Catskill Gallery: Overlook Mountain 3:21
13 Shepherd's Song 3:46
14 Catacombs 4:18
15 Magic Meadow 3:40
16 The Widow Jane Mine 3:14
17 Squeeze Box 1:11

Steve Gorn, Tony Levin & Jerry Marotta - From The Caves Of The Iron Mountain - (ogg 114mb)

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RhoDeo 1203 Grooves

Hello, Bad news for the people at Megaupload, several have been arrested by the FBI in New Zealand no less, apparently that country falls under American jurisdiction, 20 more are currently rounded up around the world. These guys not only get stripped of all their possessions, but will get lengthy jail sentences as well. Meanwhile to true criminals on Wallstreet get away with defrauding on billions scale ....class justice US style.. Well no more megaupload then, this means a loss of 150 -200 links here, already started re-upping beginning at the oldest onwards.


Today's artists have been up to the downslope and carved out their own niche in the globalmusic mind..PPP FFFunk from the start of the seventies onwards they laid their grooves on us, and even, as you can see at the bottom, if i posted several vinylrips 4 years ago (Rhotation Grooves 10 & 20), I think a further and deeper look into their discography is essential. So the coming weeks Fridaynght Grooves will be...

"A Parliafunkadelicment Thang"

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As Parliament began achieving significant mainstream success in the 1975-1978 period, Funkadelic recorded and released its most successful and influential album, One Nation Under a Groove in 1978, adding former Ohio Players keyboardist Walter "Junie" Morrison and reflecting a more melodic dance-based sound. The title track spent six weeks at #1 on the R&B charts, around the time that Parliament was enjoying the #1 R&B singles "Flash Light" and "Aqua Boogie". Uncle Jam Wants You in 1979 continued Funkadelic's new more electronic sound production. The album contains the fifteen-minute "(Not Just) Knee Deep" featuring former Spinners lead singer Philippé Wynne, an edited version of which topped the R&B charts. The final official Funkadelic album, The Electric Spanking of War Babies, was released in 1981. The release was originally a double-album project, but it was reduced to a single disc under pressure from Warner Brothers. Some of the deleted tracks would appear on future P-Funk releases, most notably the 1982 hit single "Atomic Dog" which appeared on the first George Clinton solo album.

Meanwhile, the album Connections & Disconnections (re-issued on CD as Who's a Funkadelic) was released under the name Funkadelic in 1981. The album was recorded by former Funkadelic members and original Parliaments Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had left P-Funk in 1977 after disagreements with George Clinton's management practices. . Another rebellious former band member, drummer Jerome Brailey, released the album Mutiny on the Mamaship, by his new band Mutiny. Even Clinton himself found this to be a good album despite containing lyrics that mocked him and his management of the P-Funk enterprise.

In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Parliament's record label, George Clinton dissolved Parliament and Funkadelic as recording and touring entities. However, many of the musicians in later versions of the two groups remained employed by Clinton. Clinton continued to release new albums regularly, sometimes under his own name and sometimes under the name George Clinton & the P-Funk All-Stars.

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Great collection of leftover jams, songs, and funk pieces from the Funkadelic era. George Clinton was in the midst of moving Funkadelic to another label, and the Westbound folk released a bunch of vault material to get another Funkadelic album on the market. There were still some fine cuts that didn't fit the concept, resulting in a random element which prevented it from being a great album because it lacked the thematic organization and vision Clinton provided for the concept LPs.

Funkadelic – Tales Of Kidd Funkadelic (254mb)

01 Butt-To-Butt Resuscitation 3:51
02 Let's Take It To The People 1:48
03 Undisco Kidd 6:34
04 Take Your Dead Ass Home! (Say Som'n Nasty) 7:16
05 I'm Never Gonna Tell It 3:39
06 Tales Of Kidd Funkadelic (Opusdelite Years) 12:52
07 How Do Yeaw View You? 3:40

Funkadelic – Tales Of Kidd Funkadelic (101mb)

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One Nation Under a Groove was not only Funkadelic's greatest moment, it was their most popular album, bringing them an unprecedented commercial breakthrough by going platinum and spawning a number one R&B smash in the title track. It was a landmark LP for the so-called "black rock" movement, best-typified in the statement of purpose "Who Says a Funk Band Can't Play Rock?!"; more than that, though, the whole album is full of fuzzed-out, Hendrix-style guitar licks, even when the music is clearly meant for the dancefloor. This may not have been a new concept for Funkadelic, but it's executed here with the greatest clarity and accessibility in their catalog. Furthermore, out of George Clinton's many conceptual albums (serious and otherwise), One Nation Under a Groove is the pinnacle of his political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological "P.E. Squad"). The title cut is one of funk's greatest anthems, and "Groovallegiance" and the terrific "Cholly" both dovetail nicely with its concerns. The aforementioned "Who Says a Funk Band Can't Play Rock?!" is a seamless hybrid that perfectly encapsulates the band's musical agenda, while "Into You" is one of their few truly successful slow numbers. The original LP included a three-song bonus EP featuring the heavy riff rock of "Lunchmeataphobia," an unnecessary instrumental version of "P.E. Squad," and a live "Maggot Brain"; these tracks were appended to the CD reissue. In any form, One Nation Under a Groove is the best realization of Funkadelic's ambitions, and one of the best funk albums ever released.

Funkadelic - One Nation Under A Groove (369mb)

01 One Nation Under A Groove 7:28
02 Groovallegiance 7:00
03 Who Says A Funk Band Can't Play Rock? 6:18
04 Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers) 10:45
05 Into You 5:41
06 Cholly (Funk Getting Ready To Roll!) 4:27
07 Lunchmeataphobia ('Think, It Ain't Illegal Yet!) 4:12
08 P.E. Squad/Doo Doo Chasers ("Going All-The-Way Off" Instrumental Version) 4:18
09 Maggot Brain 8:28

Funkadelic - One Nation Under A Groove (ogg 138mb)


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Almost as if Clinton and company wanted to atone for parts of One Nation Under a Groove, Uncle Jam Wants You takes not merely a more daring musical approach but a more forthright political stance. The cover art alone is brilliant, front and back showing Clinton in Huey P. Newton's famous Black Panther pose. The main goal is the cover subtitle's stated claim to "rescue dance music 'from the blahs,'" and "Uncle Jam" itself does a pretty funny job at doing that, starting out like a parody of patriotic recruitment ads before hitting its full, funky stride. It's still very much a disco effort, but one overtly spiking the brew even more than before with P-Funk's own particular recipe, mock drill instructors calling out dance commands and so forth. The absolute winner and most famous track, without question, is the 15-minute deep groove of "(Not Just) Knee Deep." It'd be legend alone for being the musical basis for De La Soul's astonishing breakthrough a decade later with "Me, Myself and I," but on its own it predates the mutation of disco into electro thanks to the stiff beat and Worrell's crazy keyboards.

Funkadelic - Uncle Jam Wants You ( 278mb)

01 Freak Of The Week 5:33
02 (Not Just) Knee Deep 15:21
03 Uncle Jam 10:25
04 Field Maneuvers 2:26
05 Holly Wants To Go To California 4:25
06 Foot Soldiers (Star Spangled Funky) 3:32

Funkadelic - Uncle Jam Wants You ( 105mb)

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RhoDeo 1203 Goldy Rhox 55

Hello, today the 55th post of GoldyRhox, classic pop rock, in the darklight a US artist, who initially reached a peak in worldwide fame (and sales) as part of a duo, however they split at the height of their success (Goldy Rhox 36). Individually he had some major success during the 40 years that followed-(even made last years Glastonbury), plenty of platinum for the man who doesn't mind you call him Al...

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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 a hit, topping the UK Album Chart, and reaching number three on the US Billboard 200. Reaching 5x platinum in both countries. The album won the 1986 Grammy Award for Album of the Year, while the title song won the 1987 Grammy for Record of the Year. In 2007, the album was added to the United States National Recording Registry. It is #81 on the list of Rolling Stone magazine's 500 Greatest Albums of All Time. In the Albums video, the artist states that he considers the title track the best song he has ever written.

The album features an eclectic mixture of musical styles including pop, a cappella, isicathamiya, rock, and mbaqanga. Much of the album was recorded in South Africa, and it features many South African musicians and groups. The worldwide success of the album introduced some of the musicians, especially the vocal group Ladysmith Black Mambazo, to global audiences of their own. Included were American 'roots' influences with tracks featuring Zydeco and Tex-Mex musicians. You can get your remaster here.


Goldy Rhox 55 (flac 331mb)

Goldy Rhox 55 (ogg 125mb)


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RhoDeo 1203 Aetix

Hello, well i wear my thermoshirt for the first time this year, as temperatures have neared 0 for the first time this season. Still no ice in sight and those early blooming plants maybe right ..it will be spring soon, which would certainly be on par with an odd seasonal behavior here in 2011. I'm beginning to wonder if we're still tilted at 23 degrees, i suppose they couldn't keep that from us if it were not the case, too many stargazers i suppose.

The Clash had a big reputation in part thanks to the ever hyping lads from the UK music press that kept feeding the telexes with stories about the punk godfathers with a heart and a brain-in contrast to say Sex Pistols. In fact they were a rather chaotic band with a limited attention span, too much good weed i suppose or even harder dope, real Antihero's. It was their destiny to fall apart with a fart. That said they released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past. Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1.6 gig package over two weeks in chunks that should be agreeable for most...Njoy!

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Mick Jones was leading a hard rock group called the London SS, he came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon joined the group as a bassist in 1976 after hearing the Sex Pistols. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon. After witnessing the Sex Pistols in concert, Joe Strummer decided to break up his 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.

The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. The Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon returned as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS (showing of their incompetence once more) decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time.

Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events. The Clash began worked on their second album with producer Sandy Pearlman, who gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the record became an enormous hit in Britain, debuting at number two on the charts.

Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." Following the summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, it boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980. It was followed up by a successfully touring the U.S., the U.K., and Europe in early 1980.

Sandinista! was the Clash's fourth studio album, it was released on 12 December 1980 as a triple album containing 36 tracks, with 6 songs on each side. Anticipating the "world music" trend of the 1980s, it features reggae, jazz, mock gospel, rockabilly, folk, dub, rhythm and blues, calypso, and rap. For the first time, the band's traditional songwriting credits of Strummer/Jones were replaced by a generic credit to "The Clash", and the band cut the album royalties, in order to release the 3-LP at a low price.The title comes from the Nicaraguan socialist political party, the Sandinistas, and its catalogue number, 'FSLN1', refers to the acronym for Frente Sandinista de Liberación Nacional. It's also the only Clash album on which all four members have a lead vocal. Drummer Topper Headon made a unique lead vocal contribution on the disco song "Ivan Meets G.I. Joe", and bassist Paul Simonon sings lead on "The Crooked Beat". Sandinista ! was ranked number 404 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns. Headon left the band shortly after the sessions finished, due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album became the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah."

Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon. Early in 1986, they decided to permanently disband the Clash.

The Clash - Singles 01-05 (261mb)

White Riot
101 White Riot 1:58
102 1977 1:40
Capitol Radio
201 Listen (Edit) 0:27
202 Interview With The Clash On The Circle Line (Part One) 8:50
203 Interview With The Clash On The Circle Line (Part Two) 3:10
204 Capital Radio One 2:09
Remote Control
301 Remote Control 3:01
302 London's Burning (Live) 2:10
303 London's Burning (Dutch 7") 2:10
Complete Control
401 Complete Control 3:13
402 City Of The Dead 2:22
Clash City Rockers
501 Clash City Rockers 3:48
502 Jail Guitar Doors 3:03

The Clash - Singles 01-05 (ogg 92mbmb)

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The Clash - Singles 06-09 (219mb)

(White Man) In Hammersmith Palais
601 (White Man) In Hammersmith Palais 4:00
602 The Prisoner 2:59
Tommy Gun
701 Tommy Gun 3:16
702 1-2 Crush On You 2:59
English Civil War
801 English Civil War (Johnny Comes Marching Home) 2:36
802 Pressure Drop 3:25
Cost Of Living EP
901 I Fought The Law 2:39
902 Groovy Times 3:29
903 Gates Of The West 3:25
904 Capital Radio Two 3:19

The Clash - Singles 06-09 (ogg 75mb)

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The Clash - Singles 10-11 (296mb)

London Calling
1001 London Calling 3:19
1002 Armagideon Time 3:49
1003 Justice Tonight (UK 12") 4:09
1004 Kick It Over (UK 12") 4:44
1005 Clampdown (US Promo 12") 3:48
1006 The Card Cheat (US Promo 12") 3:49
1007 Lost In The Supermarket (US Promo 12") 3:46
Bankrobber
1101 Bankrobber 4:34
1102 Rockers Galore....UK Tour 4:41
1103 Rudie Can't Fail (Dutch 7") 3:28
1104 Train In Vain (Spanish 7") 3:09

The Clash - Singles 10-11 (ogg 104mb)

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elsewhere

The Clash - Sandinista ! 1 (80 112mb)
The Clash - Sandinista ! 2 (80 125mb)
The Clash - Sandinista ! 3 (80 114mb)

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RhoDeo 1203 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.

Oops bit later posting been watching the Golden Globes, amazingly predictable this year and i'm hardly a big follower of the moving images industry, must be a bit psychic then or according to Sheldrake..picked up the results from the human consciousness field as i 'd been watching yesterdays recording.

To the matters at hand ..some great Dancehall stars

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Frankie Paul is often referred to as Jamaica's Stevie Wonder, and not just because of his visual impairment; like Wonder, he was a talented multi-instrumentalist with a tremendous vocal range. He was also extraordinarily prolific; part of the first wave of dancehall artists, he started his recording career in earnest during the early '80s, and has since flooded the market with product, releasing countless singles and well over 30 albums. That's made his career difficult to track for all but the most ardent fans, but it's also ensured that he's never been too far out of the spotlight on a constantly changing reggae scene.

Paul was born Paul Blake in 1965. He was blind at birth, but an operation on a hospital ship succeeded in giving him a small visual capacity; he later went to New York to obtain a pair of high-powered glasses that helped even further. He attended a Salvation Army school for the blind, where he first began singing. When Stevie Wonder visited the school, Paul sang for him, and an impressed Wonder encouraged him to go into music. Paul learned the piano, drums, and guitar while still in school, and was most influenced as a singer by Dennis Brown in his early days. As Frankie Paul, he made his first recording, "African Princess," in 1980, when he was still just 15. In 1983, he appeared on two volumes in Channel One's Showdown series, one with Sugar Minott and the other with Little John. The former LP contained Paul's first major hit, the Henry "Junjo" Lawes-produced "Worries in the Dance," which aligned him with the emerging dancehall sound. Lawes also produced 1984's Pass the Tu-Sheng-Peng, whose title cut -- an ode to ganja -- was a huge, star-making hit in Jamaica.

Paul reached his prime in the mid-'80s, cutting excellent albums like the George Phang-produced Tidal Wave (1985) and Alesha (1987), and the Philip "Fatis" Burrell-produced Warning (1987). His hit singles included "Tidal Wave," "Alesha," "Cassanova," "Sara," "Fire Deh a Mus Mus Tail," "Slow Down," and many others. Paul continued to record for a variety of labels in the '90s, with LP highlights including 1991's Should I and 1994's Hard Work. To keep up his prolific recording pace, he came to depend heavily on covers, whether of reggae classics or contemporary American R&B material. He continued into the new millennium as a tremendously active presence on the reggae scene.

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Henry "Junjo" Lawes, the producer as responsible as anyone for the inexorable rise of the toasters, was also instrumental in reinventing old talent (e.g. Johnny Osbourne) or bringing out new to stardom, like Frankie Paul. Paul linked up with the producer in 1984 for a clutch of stunning hits, culminating in that year's Pass the Tu-Sheng- Peng album, titled after one of his biggest. Although still in his teens, Paul exhibited an amazing vocal maturity, reminiscent, as was his style in places, of Dennis Brown. Lawes handed over a basket of his best riddims for the set, all laid down to perfection by the Roots Radics, many, of course, based on classic Studio One numbers. That includes the fabulous ganja pumping title track, a version of "Darker Shade of Black." That single's flipside, the equally classic "War Is in the Dance," was an original riddim, although it sounds like it came straight out of the rocksteady age. That song is themed around the violence and police raids proliferating through Kingston's sound systems, as is the "Jump No Fence" (aka "Curfew the Dance"). Virtually every track on this set is of almost equal high caliber. Obviously Paul would go on to record more masterpieces over the years, but so powerful was this set, that although he'd often equal it, he seldom surpassed it.

Frankie Paul – Pass The Tu-Sheng-Peng (flac 204mb)

01 Pass The Tu-Sheng-Peng 3:30
02 Jump No Fence 3:33
03 Hot Number 3:06
04 Hooligan 3:21
05 Only You 3:02
06 War Is In The Dance 3:04
07 Don't Worry Yourself 3:19
08 The Prophet 3:23
09 Them A Talk About 3:12
10 If You 3:15

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Having recorded the Pass the Tu-Sheng-Peng album for Lawes in 1984, the next year, Paul linked with Phang for the follow-up, Tidal Wave. The title track broke over the dancehalls just like a tsunami, with a thumping version of the "Bobby Babylon" riddim. And it was the Taxi Gang's hefty, nigh earth-shattering, backings that gave this set their weight, alongside Paul's superb performances. Indeed the singer leaves one in little doubt that for him "Music Is the Staff of Life," and that he is the "King Champion," so self-confident he's willing to take on the government on "Beat Down the Fence," and Babylon itself on "Dem a Go Feel It." Of course, there's plenty of romance to be found here as well, from the pleading "Baby Come Home" to the gorgeous, rocksteady styled "Hold Me." Only 20, Paul already held the future in his hands, for this set and its predecessor cemented his stardom, and garnered considerable attention abroad. Many more fabulous recordings were to follow, but few artists had set the bar so high for themselves so early in their career.

Frankie Paul – Tidal Wave (flac 209mb)

11 Dem A Go Feel It 3:29
12 Beat Down The Fence 3:14
13 Baby Come Home 3:32
14 Music Is The Staff Of Life 3:49
15 She's Got Style 3:02
16 Tidal Wave 3:17
17 Your Love Is Amazing 3:10
18 King Champion 3:09
19 You Too Greedy 3:25
20 Hold Me 3:20

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Kamoze made his recording debut in the early '80s with a 12" single "Trouble You a Trouble Me" on Taxi and found immediate success. He then began touring as part of the Taxi Connection International Tour with Yellowman and Half Pint. During this time, Kamoze was 6' tall, reed thin and appeared too frail to contain his powerful stage presence. He followed up his first album success with Pirate, but the recording received mixed reactions and wasn't as successful. Kamoze then retaliated with several hit singles recorded on his Slekta label. One of the biggest hits from this period was "Shocking Out" which was eventually picked up by the RAS label in 1988. In 1985, Kamoze had greater success with Settle with Me, which produced such hits as "C all the Police" and "Taxi with Me." By 1988, Kamoze's successes became intermittent and his career erratic. Kamoze suddenly disappeared from the music scene. He returned with a new, more aggressive image in 1994, signing to Sony and exploded back into the charts with "Here Comes the Hotstepper." The song made its debut on the compilation reggae album Stir It Up from Columbia, and then showed up on the soundtrack of Robert Altman's feature film Pret-A-Porter. Produced by Salaam Remi, it was released as a single in 1995 and spent two weeks at the top of Billboard's Hot Singles Chart, and nearly four months appearing on various other charts. Kamoze made a video for the song and with his beefy, well-muscled physique and long dreadlocks, no longer fit the description of the liner notes on his 1983 debut album that characterized him as a "pencil thin....disentangled....six-foot vegetarian." With the success of his new single, Kamoze was now a gangster and began a series of promotional tours in LA. Kamoze refused to categorize his music and remained open to singing a variety of songs from different sources, but he took a decade long break before surfacing again. When he did, it was with Debut, a 2006 album that featured rerecordings of his early hits.

Ini Kamoze – Ini Kamoze (flac 203mb)

01 Trouble You A Trouble Me 4:49
02 World-A-Music 5:51
03 Them Thing Deh 5:30
04 General 6:21
05 Wings With Me 4:58
06 Hail Mi Idrin 4:38


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