RhoDeo 1135 Aetix

Hello, todays Aetix moves away from New York and moves west to Minnesota to acclaim one of the best independents acts the eighties produced, Hüsker Dü Their seed would spawn but little did they know sumer of 83 when they were practicing in a church-turned-punk squat in St. Paul, Minnesota. The band fused together enough to record their breakthrough double album Zen Arcade in just 85 hours. it took the big labels another great album (New Day Rising) to notice that here was a band able to quickly translate their songs into quality recorded music. They just missed out on Flip Your Wig though they made their avances clear at that time. What followed were two acclaimed albums and the collapse of the band.

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Hüsker Dü never was more than a cult favorite. Nevertheless, their albums between 1981 and 1987 have proven remarkably influential; they provided the sonic blueprint for the roaring punk-pop hybrid that crossed over into the mainstream in the early '90s.

In 1979 the group that became Hüsker Dü formed when Bob Mould, Grant Hart, Greg Norton and keyboardist Charlie Pine began playing together in Minnesota under the name Buddy and the Returnables. At the time, Mould was a freshman at Macalester College, and frequented Cheapo Discs where Hart was a sales clerk. Hart and Mould bonded over a shared love of the Ramones, and soon after enlisted Norton and Pine to form a band.

They owed their new name to a rather sloppy rehearsal of the Talking Heads' "Psycho Killer". Unable to recall the French portions sung in the original ("qu'est-ce que c'est"), they began shouting any foreign-language terms they could remember, when someone said "Husker Du?", a board game that had been popular in the 1970s. The term means "Do you remember?" in Danish and Norwegian. The group added Heavy metal umlauts to complete the name. Mould reports that they liked "Hüsker Dü"'s somewhat mysterious qualities, which set them apart from other hardcore punk groups , besides they never thought of themselves as exclusively a hardcore group, and that their name was an attempt to avoid being pigeonholed. Hart, Mould, and Norton fired Pine during their first official performance, on March 30, 1979, and continued as a trio.

In the early '80s, Hüsker Dü developed a strong local following In 1981, they released their first single, "Statues," on the local label Reflex, which was quickly followed by their debut album, Land Speed Record. In 1982, they released Everything Falls Apart, their first album recorded in a studio. By this time, Hüsker Dü had begun touring the United States relentlessly, traveling across the country in a van and playing small clubs.

Hüsker Dü developed musically at a rapid pace, with Mould and Hart coming into their own as songwriters on 1984's Zen Arcade, their first album for SST Records and their critical breakthrough. Zen Arcade was a double album -- something that was completely unheard of in the underground -- that showed the band stretching out musically, writing sharper pop songs as well as lengthy abrasive instrumentals.

The group was at its peak in 1985, turning out two albums. The first, New Day Rising, was released in the spring and showed the band moving closer to concise pop songwriting while accentuating their fierce sonic barrage. Flip Your Wig, released late in 1985, featured their cleanest, most accessible production, without making any concessions to mainstream rock. Both albums received excellent reviews.During the recordings sessions for Flip Your Wig major label Warner Bros. Records approached Hüsker Dü and offered the group a recording contract, the promise of retaining complete creative control over its music convinced the band to sign with the label.

Candy Apple Grey was their first major label album, it was the first Hüsker Dü album to chart on the Billboard Top 200, but despite receiving exposure on radio as well as MTV, it could get no higher than #140. Meanwhile Mould began to clean up and Hart continued to sink further into drug and alcohol addiction. Nevertheless, they managed to write and record another double album, Warehouse: Songs and Stories. Although Warner didn't want the band to release another double record, Warehouse was released in the spring of 1987, to uniformly positive reviews.

Hüsker Dü was preparing to launch a series of concerts to support Warehouse when their manager, David Savoy, committed suicide the night before the start of the tour. Hüsker played the tour anyway but Savoy's suicide helped the inner-band turmoil reach a peak. Hart showed no signs of sobering -- he was developing a heroin addiction -- while Mould was clean. Following the Warehouse tour, the band played no more concerts for the rest of the year, which caused speculation that the group was breaking up. Those rumors were confirmed during the winter of 1987-1988, when Hart was fired and the band broke up.


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On their first studio recording, Everything Falls Apart, Hüsker Dü demonstrate a sharper sense of purpose than on their live debut, Land Speed Record, but that doesn't necessarily make the album a breakthrough. Indeed, the trio demonstrates that it's capable of powerful noise, but not songcraft -- the only song with a discernible hook is their thrashing cover of Donovan's "Sunshine Superman." Still, the band's hardcore is better than many of its contemporaries because its grasp of noise is superior. Even with the inconsistent songwriting, Everything Falls Apart rages with layers of blistering guitars and scorching rhythms that are exciting in their own right.

Hüsker Dü – Everything Falls Apart And More (83 90mb)

01 From The Gut 1:41
02 Blah, Blah, Blah 2:11
03 Punch Drunk 0:30
04 Bricklayer 0:33
05 Afraid Of Being Wrong 1:24
06 Sunshine Superman 1:56
07 Signals From Above 1:39
08 Everything Falls Apart 2:14
09 Wheels 2:07
10 Target 1:42
11 Obnoxious 0:54
12 Gravity 2:39
....and More
13 In A Free Land 2:53
14 What Do I Want? 1:14
15 M.I.C. 1:11
16 Statues 8:44
17 Let's Go Die 1:54
18 Amusement 4:57
19 Do You Remember? 1:55



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Hüsker Dü broke all of the rules with Zen Arcade. First and foremost, it's a sprawling concept album, even if the concept isn't immediately clear or comprehensible. More important are the individual songs. Without turning down the volume, Hüsker Dü try everything -- pop songs, tape experiments, acoustic songs, pianos, noisy psychedelia. They willed themselves to make such a sprawling record -- as the liner notes state, the album was recorded and mixed within 85 hours and consists almost entirely of first takes.

Hüsker Dü sound phenomenally strong and possessed, as if they could do anything. The sonic experimentation is bolstered by Mould and Hart's increased sense of songcraft. Neither writer is afraid to let his pop influences show on Zen Arcade. It's music that is informed by hardcore punk and indie rock ideals without being limited by them.

Zen Arcade and subsequent Hüsker Dü albums were instrumental in the creation of the alternative rock genre; the band would later abandon the hardcore aesthetic entirely in favor of a post-hardcore style of melodic, guitar-driven alternative rock. While not commercially successful, the influence of Zen Arcade has stretched beyond the underground music sphere, and it is frequently included on lists of the all-time best rock and roll albums and continues to have cult following.

Hüsker Dü – Zen Arcade (84 163mb)

01 Something I Learned Today 1:58
02 Broken Home, Broken Heart 2:01
03 Never Talking To You Again 1:39
04 Chartered Trips 3:33
05 Dreams Reoccuring 1:40
06 Indecision Time 2:07
07 Hare Krsna 3:33
08 Beyond The Threshold 1:35
09 Pride 1:45
10 I'll Never Forget You 2:06
11 The Biggest Lie1:58
12 What's Going On 4:23
13 Masochism World 2:43
14 Standing By The Sea 3:12
15 Somewhere 2:30
16 One Step At A Time 0:45
17 Pink Turns To Blue 2:39
18 Newest Industry 3:02
19 Monday Will Never Be The Same 1:10
20 Whatever 3:50
21 The Tooth Fairy And The Princess 2:43
22 Turn On The News 4:21
23 Reoccuring Dreams 13:47

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Flip Your Wig is a 1985 album by the American punk rock band, Hüsker Dü, and its last release on SST Records. By the time of this release, they had signed a major-label record deal. However, the band felt they owed one more album to SST and delivered Flip Your Wig. Perhaps owing to the expedient circumstances of its recording, Flip Your Wig is overall lighter in tone than Hüsker Dü's earlier albums. The title track and "Keep Hanging On" became staples of the band's live shows, while power pop anthem "Makes No Sense at All" was featured in a music video. Flip Your Wig would be a remarkable record on its own terms, but the fact that it followed New Day Rising by a matter of months and Zen Arcade by just over a year is simply astonishing. Bob Mould himself has stated that Flip Your Wig is what he views as the best album Hüsker Dü ever did.

Hüsker Dü – Flip Your Wig (85 92mb)

01 Flip Your Wig 2:33
02 Every Everything 1:56
03 Makes No Sense At All 2:43
04 Hate Paper Doll 1:52
05 Green Eyes 2:58
06 Divide And Conquer 3:42
07 Games 4:06
08 Find Me 4:05
09 The Baby Song 0:46
10 Flexible Flyer 3:01
11 Private Plane 3:17
12 Keep Hanging On 3:15
13 The Wit & The Wisdom 3:41
14 Don't Know Yet 2:14

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RhoDeo 1135 Roots

Hello, we're still on that island with a huge place in the global music catalog, 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 who made a mockery of himself this weekend, but then that's what supermen tend to do isn't it..

First up one of big classics of the seventies " Heart Of The Congos" Bizarre ! Considering the record was turned down by Island, and even back in Jamaica it received only a limited release. It took some time before a decent copy became available in the west. Blackheart Man the other classic, derives from a Jamaican tale to spook the children, A.K.A. the bogus man in the UK. It's a bit Wailers minus Marley self produced by Bunny Wailer. An assertive stance of a man following his heart, though later, in the nineties , he sold many records honoring Bob Marley.

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The Congos formed as the duo "Ashanti" Roy Johnson (tenor) and Cedric Myton (falsetto), later becoming a trio with the addition of Watty Burnett (baritone) Cedric Myton grew up in St. Catherine, Jamaica and began his singing career as a member of the Tartans in the late '60s. Singing in a tuneful rocksteady style. He formed the Congos, initially as a duo with Johnson, Roy Johnson grew up singing spirituals at home and was a member of Ras Michael and the Sons of Negus. More importantly, Johnson attended school with Lee Perry, the start of a relationship that would lead to Perry working with him and Myton years later., recording their first single "At the Feast". Perry expanded the group to a trio with the addition of Burnett, this line-up recording the classic roots reggae album Heart of the Congos in 1977 at Perry's Black Ark studio. The album featured illustrious backing singers such as Gregory Isaacs, The Meditations, and Barry LLewellyn and Earl Morgan of The Heptones. Its been described as "the most consistently brilliant album of Scratch Perry's entire career".

Perry's previous productions by Max Romeo and Junior Murvin had been huge commercial successes thanks to a deal with Island Records, but Perry was in dispute with Island at the time the Congos' album was finished, so it was released on his own Black Ark label, limiting its success overseas, and causing a rift with the group. The Congos went their own way, organizing a limited pressing of the album themselves. United Kingdom label Go Feet eventually reissued the album in 1980, and although the group had recorded new material since leaving Perry, Heart of the Congos proved a hard act to follow and their other releases suffered as a consequence. Albums such as Congo Ashanti were sparser and sounded ordinary compared to Perry's kitchen-sink-and-all massive productions.

Burnett quit the group, soon followed by Johnson, who embarked on a solo career as Congo Ashanti Roy, Myton continued to record as The Congos with various other musicians until the mid-1980s.

In the mid-1990s, The Congos reformed, with Myton and Burnett joined by Lindburgh Lewis, several albums following in subsequent years, Natty Dread Rise Again 91 and Revival (97) In 2005 Myton recorded Give Them the Rights with a host of backup singers and star session players such as Sly and Robbie and Earl "Chinna" Smith, very much in the spiritual 70s roots vein.

In 2008, The Congos appeared in the independent feature film, Wah Do Dem which captures them performing "Fisherman," and "Congoman Chant," under a full moon at Helshire Beach outside Kingston.In 2009, Myton, Burnett, and Johnson reunited with Perry to record the album Back in the Black Ark, which, despite its title, was recorded at Myton's studio in Portmore and at Mixing Lab, Kingston


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Lee Perry is generally acknowledged as a production genius, but on occasion that genius can be destructive. On Heart of the Congos he was brilliant, and across the record's original ten tracks Perry created a masterpiece of music. Many critics consider this 1977 album one of the best roots records of all time, and at the very least, it was Perry's apex t took nearly two decades for Heart of the Congos to reappear, finally reissued with a clutch of period bonus tracks by Blood and Fire. The Congos themselves seem the least-likely contenders to record an exceptional album with Perry. The duo of Cedric Myton and Roy "Ashanti" Johnson had a unique sound, revolving around the former man's crystalline falsetto, which was set off by the latter's rich tenor. The pair composed deeply cultural songs, but both men's vocals had a gentle quality that would wither under a typical deep roots arrangement. Every track on the original album is worthy of classic status, and all presented the group and their songs in the best possible light. To this end, Perry was aided by a phenomenal group of sessionmen and guest backing vocalists which included Gregory Isaacs, a pair of Heptones, and the mighty Meditations. But beyond the Congos' superb songs and performance, the superb musicianship, and the exceptional vocal talents, it's Perry's arrangements that brought these numbers to life. Each one was carefully tailored, taking into consideration the mood of the piece and the vocalist. Every track offers something new: a unique sound, an unforgettable melody and rhythm, an unexpected arrangement.

The Congos – Heart Of The Congos (77 118mb)

01 Fisherman 5:28
02 Congoman 5:35
03 Open Up The Gate 4:22
04 Children Crying 3:54
05 La La Bam-Bam 3:57
06 Can't Come In 5:47
07 Sodom & Gomorrow 4:20
08 The Wrong Thing 3:00
09 Ark Of Covenant 3:46
10 Solid Foundation 4:29

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Bunny Wailer, (born Neville O'Riley Livingston), also known as Bunny Livingston and affectionately as Jah was an original member of reggae group The Wailers along with Bob Marley and Peter Tosh. He is widely regarded as a musical legend and is considered one of the longtime standard bearers of reggae music.

By 1973, the Wailers were untouchable, the biggest reggae band in Jamaica, and on the verge of an international breakthrough. Which is when it all went wrong, their first tour 3 months thru the UK, followed by a US tour split the band Livingstone refused to take part anymore in this unhealthy undertaking ,specially the lack of decent (Rastafari) food. He went solo, He launched his own label, Solomonic, with his debut solo single "Searching for Love," in 1973. The next year saw four more, . In 1976, Livingston's first solo album, Blackheart Man was released. The singer was accompanied by Tosh and the Barrett brothers -- the Wailers' own rhythm section, as well as Marley who joins in on a new version of the Wailers old number "Dreamland."

Remaining in Jamaica, Livingston's profile would be forever overshadowed by his globe-trotting former bandmates. 1980's In I Father's House, did nothing to change this situation, nor did the singles which had appeared across this period. Tribute to the Hon Nesta Marley was drawn from the same sessions as had produced Bunny Wailer Sings, and again was determined to help keep the Wailers' legacy alive. Of course, in the end there was no need for Livingston to fear, since Marley's death, shelves have been warped under the weight of Wailers' reissues, but in the early '80s, it's understandable that Livingston was concerned that the group's music might have disappeared forever into the archives.

In 87 the singer unleashed two new albums, Rootsman Skanking and Rule Dance Hall, both boasting a strong and confident dancehall flavor and scoring two Jamaican hits. Nevertheless a year later Livingston returned to an older sound for 1989's equally wonderful and rootsier Liberation. Time Will Tell: A Tribute to Bob Marley brought his the 91 Grammy.1995's " A Tribute to Bob Marley's 50th Anniversary" was a double album, featuring 52 songs, all loving recreations of Marley's Wailers' and solo compositions. Accompanied by a phenomenal aggregation of Jamaican sessionmen, the set would garner the singer another well deserved Grammy.

Meanwhile, Livingston was beginning to turn more of his attention towards politics. He has shown an especial interest in youth issues, and eventually formed his own political party, the United Progressive Party. The U.P.P. platform calls for the decriminalization of marijuana, but of equal importance, also offers up numerous educational reforms. The artist's heavy involvement in politics kept him out of the studio for much of the rest of the decade, but he finally returned in the new millennium with an exciting album, Communication (2000).followed by World Peace (2003) Rub A Dub (2007) Cross Culture (2009)

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After leaving the Wailers behind, Bunny Wailer (born Neville Livingston) wasted no time establishing himself as a highly original and visionary singer and songwriter on his own. His solo debut remains one of the most extraordinary albums of the roots period, a complex but instantly attractive and occasionally heartbreaking record that never rises above a whisper in tone but packs as much political and spiritual wallop as the best of Bob Marley's work. The song that pulls you into Bunny Wailer's magical web of mystical Rastafarianism is the first one, in which Wailer recalls being warned by his mother to avoid Rastas ("even the lions fear him") and then describes his eventual conversion, all in a tone of infinite gentleness and sadness at the hardhearted blindness of Babylon. Blackheart Man is a real achievement by an artist who was, at the time, only at the beginning of what would be a distinguished career.

Bunny Wailer – Blackheart Man ( 76 107mb)

01 Blackheart Man 6:17
02 Fight Against Conviction 5:09
03 The Opressed Song 3:18
04 Fig Tree 3:07
05 Dream Land 2:44
06 Rastaman 3:49
07 Reincarnated Souls 3:42
08 Amagideon (Armagedon) 6:44
09 Bide Up 2:31
10 This Train 8:29

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RhoDeo 1135 Illuminatus 6th

Hello, what a sportsday this was, a sudden itch caused a jolt to Bolt who forgot it was the time to hold. At least his trainings buddy was there to pick up the price. Man United squandered a dozen chances and still managed to win 8 - 2 against confused Arsenal boys. Looks like London's glory days in Premiership football are gone as The Spurs was trashed at home by that other Manchester team, City 1 - 5. Talk of trashing that's what Hamilton did with his F1 car once more after forgetting to look in his mirror, meanwhile Vettel cruised to another victory.

Today the final chapters of the 6th Trip Teperoth.
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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

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

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

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The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.

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The Golden Apple, Confusion, Tipareth, 6th trip (7-9) (79 min, 28mb)

06-07 Drake Dutchman (24:03)
06-08 AUM Juice (30:35)
06-09 Saul Reunion (24:47)

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previously

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

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Sundaze 1135

Hello, do I have a wonderful collection of music up for grabs today, why i haven't posted it earlier I don't know, well i do i just didn't have the time to play it, that's why . However, I can say i really enjoyed getting back to it today. Whom am I talking about ? Kettel ! A self-described "elixir-brewing,and music-making sorcerer-to-be." , well-known for his playful, spontaneous melodies and organic folk sounds. His tools just a pc with soundcard, keyboard, MIDI-keyboard and controller, a turntable and a mic. What comes out is a combination of downtempo beats , hovering synthesizers and acoustic instruments turned into little melodies. Consider yourself lucky...smile

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Kettel is Reimer Eising is a Frisian (born 1982), from an early age he was charmed by Bach, it inspired him to start learning to play the piano age 5, he's been learning ever since. It's little surprise then classical piano music has been a source of inspiration in his life. In 2001 he moved to Groningen to study Dutch at the University, little came of it as he already was gripped by the music virus. The confrontation with electronic music and the ease of working and creating with it, started him on the path of 'classical' IDM. His moniker Kettel is a Dutch phonetic version of cattle which in itself have in frisians it's prime milk producing species. Loves his little in-jokes that Reimer. .That same year he released his first album " Dreim", when he released his 2nd album "Cenny Crush" in 2002 it was quickly followed by "Smiling Little Cow" that same year, and by 2003 he was fulltime working on music.

Kettel's releases on the Planet Mu-label ( Mike Paradinas µ-Ziq, Kid Spatula , Aphex Twin) and the Kracfive label(US) has build him some international fame. He has also collaborated on several projects of various remixes and compilations. Kettel frequently performs in the Netherlands and abroad, the Japanese seem to have taken a particular liking to his work.

His breakthrough came in 2004 with his 4th album "Volleyed Iron" something you can convince yourself of here. It was followed by another stunning album "Through Friendly Waters" his organic IDM carrying melodies really find their way into the listeners brain. In 2006 he released My Dogon a very happy album full of uplifting sounds that nods the likes of Aphex twin and Boards Of Canada. Then by 2007 he's back to somewhat quiter waters with some more classical input.

In 2008 Kettel released Myam James part 1 followed by part 2 the next year, since it's been rather quiet for his doing, he toured, created background video and in a few months his first Gamescore will be available.

If you like detuned melodies and their strong appeal to the memory zones of our brains, you're likely to fully enjoy the his music and Kettel's ability to instill his own feelings and emotions in his tracks. Since 2005 he releases albums on Sending Orbs, a label run by his brother Wouter Eising..

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Volleyed Iron by Kettel is a kind of ambient symphony, in which disparate elements are combined into a composite impressionistic landscape of dreams, space and emotions. The album teems with a variety of harmonic shades and hues, it's built structurally and sonically on circular and linear forms, often both at once. This work moves through reverb shrouded piano melodies and dulcet synthesized themes, on to dark electronic terrain and the strange sonic surroundings of mutated samples and out of context acoustic sources. At times it is as if the listener where beneath stars, while elsewhere floating through a strange dream world. The key to enjoying this work is to sink into its whirling atmosphere. This is ambient music asking to be heard, revealing more with each listen. Music that flows on a dream river deeper and deeper into a mystic state and slowly come back.

Kettel - Volleyed Iron ( 149mb)

01 A French Composer 4:37
02 America Video 5:54
03 Did We Orient? 2:50
04 Electrician And Adventurer 1:34
05 Four Eyes At A Gate 2:33
06 Sorry, But We Don't Hear You 3:59
07 Teeth, Wait 3:57
08 Clock.exe 2:37
09 Ureterp, July 2:12
10 Hondsvot 1:40
11 Machine Planet 8:00
12 Wim Hoffman 8:44
13 Little Duck, When Is Our Day? 4:11
14 Tomorrow? 4:32

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My Dogon follows previous years quite unashamedly gorgeous ‘Through Friendly Waters’ but takes the Kettel sound to a new territory – acid. On first listen the abundance of the 303 is jarring, but give it a few minutes and it lulls you in, creating a skewed variation of comic-pop as seen through the frosted glass of modern electronica. Eising even throws in a few mind altering ambient tracks, the kind last heard on his flawless ‘Volleyed Iron’ album. A sprawling and varied disc, ‘My Dogon’ is another wonderful Kettel emission, coming to you with much recommendation.

Kettel - My Dogon ( 165mb)

01 My Dogan 4:47
02 Dogan 9247 1:02
03 Mauerbrecher 6:07
04 Billiton Beruh With Cleo&Wouter; 2:09
05 Little Tongues 4:16
06 Meeuwuh 1:20
07 Halt Him 5:34
08 Mannschaft 2:32
09 Follow Me! 4:57
10 Peeksje 1994 2:00
11 Sekt I Sing 7:16
12 Ok Norah 0:52
13 Sylvia 3:02
14 Afwezig 3:31
15 The Second 2006 5:06
16 Escape From ETA Th2 1:41
17 Choo Choo India 7:26
18 He's His Own Man 6:33

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Whisper Me Wishes, a collection of tracks written over the last few years, is a real testament to his stylistic longevity. Over the course of fourteen tracks Eising shows us why having an extensive training in classical composition can really help you make interesting music as he moves effortlessly through downtempo electronica, jungly acid and oddly, epic classical pieces. This music is electronica, sure, but there's something so skewed about it that you're just drawn in - for a start Eising's grasp of melody and harmony has to be heard to be believed, but the way he layers his addictive synthesizer hooks over what should probably be out-of-time rhythms is quite shocking. Add this to the fact that the Dutchman has the guile to use possibly the cheesiest sounds available to him (synth piano, general midi) yet still manages to have me coming back again and again and you have something truly original. There aren't many artists left in the genre making such fantastically intense and good natured music; this is light hearted, fun and always great to listen to - what more can you ask for from a record? Electronic music ain't dead just yet...

Kettel - Whisper Me Wishes ( 108mb)

01 Any Waken Sly Blonda 4:26
02 And Unrequited As Well 3:35
03 Zutphen 4:32
04 Now Find Another Moon 4:04
05 Twijfel Doubt Hesitation 2:27
06 De Manke Das 3:34
07 Whisper Me Wishes 1:51
08 Prarieplant 3:52
09 Blind Alleycat 3:02
10 One Foggy Ear 3:27
11 Veerooster 1:33
12 Marco's Cases 3:52
13 Coddle 4:25
14 Naples Vluchtplan 2:52

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elsewhere

Kettel - Cenny Crush ( ' 02 ^ 98mb)

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RhoDeo 1134 Grooves

Hello, still some more grooves to contend with here, todays band was basically a producers act, Norman Whitfield who found he needed another act despite he solely produced and co-wrote eight of their albums between 1969 and 1973. Obviously he felt creatively constrained not to mention the Temptations falling apart at that time, so by 71 he set up a new band doing much of the same work he recorded earlier but expressed very differently, no mean feat considering this act had success as well, The Undisputed Truth they were called, hmm clearly the man was born ahead of his time, he'd been a sought after remixer in the decades that followed.

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It's not exactly fair to peg the Undisputed Truth as a one-hit wonder, because they did have a few hits for Motown in the first half of the 1970s (albeit only one big one), as well as made half a dozen albums for the label. Still, it's not that far from the truth. Nothing else they did matched the strength of "Smiling Faces Sometimes," which made number three in 1971. Crafted by Norman Whitfield, Motown's most adventurous producer of the time, it employed the funk-psychedelic guitars and ominous, socially aware lyrics that were also characteristic of his work with the Temptations during the period.

Undisputed Truth came into being after Bobby Taylor brought Billie Rae Calvin and Brenda Joyce to Motown as part of the Delicates. When the Delicates broke up, the pair kept busy doing background vocals for the Four Tops, Diana Ross, and Edwin Starr. Whitfield teamed them up with Joe Harris of the Preps, Harris served as main lead singer with The Delicates, on additional leads and background vocals, laying the groundwork for the male-female vocal interplay that would typify their Motown sessions.

The group's music and unusual costuming (large Afros and white makeup) typified the then-popular trend of "psychedelic soul" which producer Norman Whitfield had inaugurated. A number of their singles became minor hits, and many of them were also songs for Whitfield's main act, The Temptations.

It's fair to say that the Undisputed Truth were little more than a mouthpiece for Whitfield. He wrote most of their material (sometimes in association with Barrett Strong), and used their sessions as a laboratory to devise funk rhythms and psychedelic guitar effects. He was doing the same thing with the Temptations, and the Undisputed Truth's records couldn't help but suffer in comparison. As vocalists they weren't in the same league as the Temps, and Whitfield was most likely reserving his real killer songs for the more famous group.

The group never approached the success of "Smiling Faces Sometimes" again, although they racked up a series of modest R&B hits through the mid-'70s. The best of these were "You Make Your Own Heaven and Hell Right Here on Earth" and the original version of "Papa Was a Rollin' Stone," which Whitfield would quickly redo with the Temptations for a much more definitive (and massively successful) version.

In 1975 after 6 albums at Motown The Undisputed Truth, along with Rose Royce and Willie Hutch, they followed Whitfield during his exodus from Motown to set up Whitfield Records in 1975. At this time, Calvin and Joyce left the group, and Harris was joined by new members Virginia "V" McDonald, Tyrone "Big Ty" Douglas, Tyrone "Lil Ty" Barkley, and Calvin "Dhaak" Stephenson. The group's costuming and style changed as well, becoming even more unusual and Funkadelic-influenced. It resulted in 2 more albums Method To The Madness and Smokin before the act folded in 79.

Noman Whitfield meanwhile scored a Grammy for the Carwash Soundtrack but found success in the 80's hard to come by. No need to feel sorry for the man because in 2005 he faced charges of tax evasion on more than $2 million worth of income, failing to report royalty income he earned from 1995 to 1999. He pleaded guilty but got away with house arrest as he was seriously ill because of Diabetes a disease he succumbed to 16th of september 2008.

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The Undisputed Truth is the debut album of the Motown group of the same name, released in 1971. It was produced entirely by Norman Whitfield. The album includes the group's biggest hit single (and only US Top 40 hit), Smiling Faces Sometimes, which peaked at #3. It has a dead serious beat and some strong comments about people who show their teeth all the time. Many of the songs on this album were also recorded by the group's Motown labelmates, The Temptations (also produced by Norman Whitfield). Whitfield had the creative juices flowing on "Ball of Confusion," which bounces along for more than ten minutes and is true bliss; the arrangement is totally different from the Temptations blockbuster. The sound of the album mixes the traditional Motown sound with psychedelic-infludenced soul music.

Undisputed Truth - The Undisputed Truth (71 95mb)

01 You Got The Love I Need 2:57
02 Save My Love For A Rainy Day 3:50
03 California Soul 3:45
04 Aquarius 2:39
05 Ball Of Confusion (That's What The World Is Today) 10:20
06 Smiling Faces Sometimes 3:05
07 We've Got A Way Out Love 2:55
08 Since I've Lost You 3:10
09 Ain't No Sunshine Since You've Been Gone 2:42
10 I Heard It Through The Grapevine 2:51
11 Like A Rolling Stone 6:30

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Face to Face With the Truth is the second album by The Undisputed Truth, released in 1972. Like their debut album, it was produced entirely by Norman Whitfield and most of the songs were also recorded by The Temptations, be it with different arrangements. Two singles were released from the album, both minor hits on the Billboard charts: "You Make Your Own Heaven and Hell Right Here on Earth", and "What It Is?". Face to Face With the Truth peaked at #114 on the charts, lower than their self-titled debut, yet overall it's artistically more satisfying. Side One is all remakes, but arranged totally different from their predecessors. "You Make Your Own Heaven and Hell Right Here on Earth" had all the biting commentary of "Smiling Faces Sometimes," and then some. Originally done at a faster tempo by the Temptations, Norman Whitfield slowed the pace for the Truth. Joe Harris sang with perfect diction, making the stark lyrics even more riveting, while Brenda Joyce and Billie Calvin chirped like songbirds. Likewise for "Ungena Za Ulimengu (Unite the World)," another Temptation cut that Whitfield slowed and transformed into a psychedelic mind bender. You won't recognize the arrangement of "Friendship Train," a hit for Gladys Knight & the Pips; and Marvin Gaye's classic "What's Going On" may come off a bit too esoteric for most. Norman Whitfield never produced a song the same way twice, and that's the undisputed truth.

The Undisputed Truth - Face To Face With ( 72 now in flac 234mb)

01 You Make Your Own Heaven And Hell Right Here On Earth 6:58
02 What It Is? 4:56
03 Ungena Za Ulimwengu (Unite The World) Friendship Train 8:51
04 Superstar (Remember How You Got Where You Are) 3:07
05 Take Me In Your Arms And Love Me 4:02
06 Don't Let Him Take Your Love From Me 5:24
07 What's Going On 9:24

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Fans of the Undisputed Truth's first two albums could be shocked when they purchased Cosmic Truth. The act here consisted of Calvin Stevens, Tyrone Douglas, and Virginia McDonald. Stevens and Douglas had been members of the Magictones, the threesome joins Joe Harris for some spacy, rock-influenced, funky sounds. "UFO's" skips along with an infectious beat, a futuristic sound, and incredulous vocals from Joe Harris. Neil Young's "Down By the River" gets a soul injection, as if it needed one. Their version of "(I Know) I'm Losing You" is sung by one of the newer male members, and producer Norman Whitfield allows him to cut loose -- unusual for Whitfield, who usually demanded that his singers stick close to the melody. "Earthquake Shake" and "Got to Get My Hands on Some Lovin'" show some funky metal flavoring . The influence of Funkadelic/Parliament is becoming clear here. A route followed by the albums that came afterwards before they folded in 1979.

The Undisputed Truth - Cosmic Truth ( 75 91mb)

01 Earthquake Shake 5:49
02 Down By The River 6:29
03 UFO's 4:13
04 Lil' Red Ridin' Hood 3:59
05 Squeeze Me, Tease Me 3:55
06 Spaced Out 3:18
07 Got To Get My Hands On Some Lovin' 2:35
08 1990 3:58
09 (I Know) I'm Losing You 6:49

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RhoDeo 1134 Goldy Rhox 37

Hello, today the 37th post of GoldyRhox, classic pop rock, after all the 'noise' from the US's eastcoast todays Goldy Rhox shows all the smoothness and happy go lucky music style of that continent's west coast. I have to admit here before i did today's post i didn't know todays band didn't originate there, but of all places, North London, where they got the inspiration from for their mega 'desert' hit..i know not but i suspect Sergio Leone. Anyway they were the offspring of american service men so i suspect they honored their daddies when they choose their name. Hardly rebellious now is it ?

Seeing as there was considerable interest for last weeks flac version, i'm planning to keep up that choice.

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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 accomodate somewhat and produce some cryptic info on the artist and or album.

The eyecatching cover of todays mystery album depicts the band sitting up against an old picture of 3 indians (getting shafted) it shows the trio was really reaching out to it's percieved core public..hippies. Todays mystery album was rereleased on Dec 29, 1971. The british born band responsible took their name from a home country just one of the trio had visited. It was a smart choice as the nationalism of that country knows no bounds therefor this name has sustained their career up to now. The debut album was released in 1971 to only moderate success, although it sold well in the Netherlands A demo track called "Desert Song" was picked up after a TV show and the rest as they say is history, the track about a nameless horse sold a million times and after it was added to todays mystery album, that too quickly went platinum. After this success, the trio relocated to Los Angeles, California. On the recording of a second album the trio began their move away from a mainly acoustic style to a more rock-music-oriented style. The second album, Homecoming, was released in November 1972. It was the first of a string of goldalbums with the occasional hit, things were less successful in the decades that followed and Europe completely lost sight of them but they are still touring and releasing material.


Goldy Rhox 37 (112mb)

Goldy Rhox 37 (flac 296mb)


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RhoDeo 1134 Aetix

Hello, todays Aetix is exploring the short but not so sweet story of No Wave, underground music, film, performance art, video We started out with the grand old lady of No Wave, Patti Smith, subsequently the no wave spawned Sonic Youth, last week and today a closer look at the original No Wave Scene.
In 1978 a punk-influenced noise series was held at New York’s Artists Space that led to a compilation by Eno that defined the scene, No New York. Among others it delivers a taster to the saxophone twisting James Chance who conspiring with the Contortions sees you jerk to their first, BUY. Some more thoughtful jazz funk by the brilliant Lurie and his Lounge Lizards and to close on what i can offer on No Wave, The Bush Tetra's which deserved a better deal then they got, maybe the girls (sub)consciously shied away from any of that inevitably sexist limelight.

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No Wave was a short-lived but influential underground music, film, performance art, video, and contemporary art scene that had its beginnings during the mid-1970s in New York City.The term No Wave is in part satirical word play rejecting the commercial elements of the then-popular New Wave genre.

No Wave is not a clearly definable musical genre with consistent features. Various groups drew on such disparate styles as funk, jazz, blues, punk rock, avant garde, and experimental. There are, however, some elements common to most No Wave music, such as abrasive atonal sounds, repetitive driving rhythms, and a tendency to emphasize musical texture over melody.

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No New York is the famous compilation produced by endlessly talented Brian Eno which documents the New York post-punk/noise movement known as "No Wave". "No Wave" of course is an artistic rejection of the glam-rock inspired new wave movement at the time. That Eno's early career was considered glam-rock only helps to show how board his artistic appreciation of all music is, it's so different from what he usually works with yet makes perfect sense.

The album is composed of four sets of four songs, each set by a different artist. What all the artists share is a penchant for noisy, dissonant, confrontational post-punk informed music. However the artists are all quite different in their approaches and personalities.

James Chance and the Contortions' set is a lot of fun. Loud completely out of tune saxes skronk endlessly as Chance spews forth a relentless vocal assault over heavy loopy bass lines. The complete disregard for convention in every sense is what makes this group so captivating; Chance clearly doesn't care what you think.

Teenage Jesus and the Jerks is the odd one out in this collection. Their sound is more unrefined than other artists on this disc. They sound like a sloppy goth post-punk group. They lack the strong rhythms and high activity of other artists on this disc, instead relying on caustic-creepiness, a stripped-down sound, and singer Lydia Lunch's truly jarring vocal delivery. Not my cup of tea, but I can see why Eno included them from a historical perspective.

Mars is an interesting act. The standout from their set is the instrumental/ambient experimentalism displayed on "Hairwaves". Other tracks like "Puerto Rican Ghost" feature attacks of noisy feedback and dissonant male/female vocals which succeed by being as interesting and propulsive as they are strange and off-putting.

D.N.A.'s use of electronics along with the signature No Wave dissonance and feedback makes them unique in this collection. "Not Moving" is so weird, everything sounds wrong (in a good way), guitars are abused and the whole thing is just fascinating.

Overall the collection succeeds as it is billed, as the official go-to document of the New York No Wave scene circa late `70s,

VA - No New York (78 flac  297mb)

James Chance & The Contortions
01 Dish It Out 3:17
02 Flip Your Face 3:13
03 Jaded 3:49
04 I Can't Stand Myself 4:52

Teenage Jesus & The Jerks
05 Burning Rubber 1:45
06 The Closet 3:53
07 Red Alert 0:34
08 Woke Up Dreaming 3:10

Mars
09 Helen Fordsdale 2:30
10 Hairwaves 3:43
11 Tunnel 2:41
12 Puerto Rican Ghost 1:08

D.N.A.
13 Egomaniac's Kiss 2:11
14 Lionel 2:07
15 Not Moving 2:40
16 Size 2:13

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Born and raised in Milwaukee and Brookfield, Wisconsin, Chance attended Michigan State University, then the Wisconsin Conservatory of Music in Milwaukee, dropped out and moved to New York City in 1976. He quickly became active in both the free jazz and no wave punk rock scenes.His first band in New York in 1976 was an instrumental quartet with violin, drums and bass called Flaming Youth. After studying for a short time under David Murray, Chance formed The Contortions, who fused jazz improvisation and funk rhythms, with live shows often ending in violence when Chance would confront audience members. The Contortions reached a wider audience with their contribution to the Brian Eno-compiled No New York collection of No Wave acts

The Contortions were one of the most important -- and accessible -- bands in New York's short-lived No Wave movement, playing a noisy, clattering avant-funk that drew from punk and free jazz. The group was formed in 1977 by the flamboyantly dressed vocalist/saxophonist James Chance (born James Siegfried), also featuring guitarists Pat Place and Jody Harris, organist Adele Bertei, bassist George Scott, and drummer Don Christensen. The Contortions' live shows embodied the nihilistic ethos of No Wave, as Chance actively picked fights with the audience. The group contributed four tracks to the seminal Brian Eno-produced No Wave compilation No New York in 1978; the following year, Buy the Contortions marked their official album debut, by which time Chance was being billed ahead of the group name. Aside from a few live recordings, the original Contortions lineup didn't release much more material.

Chance used most of the group for his funk/disco project James White & The Blacks (with the album Off White also appearing in 1979), and although he continued to lead versions of the Contortions through the early '80s.Frictions between Chance and band members led to a breakup of the Contortions in the fall of 1979. Aiming for a truer funk sound, Chance moved on to a new project with James White and the Blacks, releasing albums in 1980 (Off-White, featuring Lydia Lunch under the pseudonym Stella Rico) and 1982 (Sax Maniac). Subsequently Chance withdrew from public visibility for over a decade, before reappearing in the mid-1990s. Releasing several albums for ROIR, Live In New York, Lost Chance, Molotov Cocktail Lounge, SoulExorcism and White Cannibal, with mixed response.

In 2001, Chance reunited with original Contortions members Jody Harris (guitar), Pat Place (slide guitar) and Don Christensen (drums) for a few limited engagements. The reunited group has played twice at the All Tomorrow's Parties music festival. In addition to limited engagements with the original Contortions, Chance occasionally performs and records with the Chicago band Watchers. In Europe he performs with James Chance & Les Contorsions, French musicians who have been his backing band since 2006.

James Chance and The Contortions – Buy (79 flac 251mb)

01 Design To Kill 2:48
02 My Infatuation 2:21
03 I Don't Want To Be Happy 3:23
04 Anesthetic 3:54
05 Contort Yourself 4:25
06 Throw Me Away 2:45
07 Roving Eye 3:10
08 Twice Removed 3:05
09 Bedroom Athlete 4:17
Bonus Tracks
10 Throw Me Away (Live) 3:04
11 Twice Removed (Live) 3:12
12 Jailhouse Rock (Live) 3:23


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As a Grammy-nominated film score composer ( Get Shorty ), bandleader, record label founder, and non-existent bluesman, Lurie found his highest moments of creative collaboration and adulation. His Lounge Lizards, with pianist and brother Evan, required new hyphenates for description; no-wave, punk-jazz. His writing graduated from Monk-inspired, warp-speed atonal bursts complemented by the scattershot guitar of masters like Marc Ribot to tightly composed sections of contrapuntal tension that gave way to improvised release, often with a sly sense of humor implicit in the notes or explicit in song titles and stage banter.

Lounge Lizards were founded on June 4, 1979 with John Lurie, his brother Evan (piano and organ), Arto Lindsay (guitar), Steve Piccolo (bass guitar), and Anton Fier (drums). They were initially a punk or fake jazz group but soon evolved into something quite special. Taking music from all corners of the globe and synthesizing it into something truly organic and unique. The New York Times' Robert Palmer wrote (October 7, 1986): "The present-day Lounge Lizards are not faking anything. They have staked their claim to a musical territory that lies somewhere west of Charles Mingus and east of Bernard Hermann and made it their own."

In 1984 the new group consists of Erik Sanko, Curtis Fowlkes, Marc Ribot, Evan Lurie, Roy Nathanson, Dougie Bowne, E.J Rodriguez. This edition of the Lounge Lizards recorded three albums in two years, and demonstrated John Lurie's increasingly sophisticated and multi-layered compositions that often stray rather far from conventional jazz: He was able to integrate elements of various world musics (he often favors tango-inspired passages in his songs), which retain a distinctive flavor, but avoid gimmickry.

John Lurie formed a new version of the Lounge Lizards in the early 1990s; prominent members included Steven Bernstein (trumpet), Michael Blake (saxophone), Oren Bloedow (bass guitar), David Tronzo (guitar), Calvin Weston (drums) and Billy Martin (percussion). They toured Europe which resulted in Live In Berlin mixed in Paris and mastered in New York

In the chronology of the band, 1998 seems to be one of the higher points; playing sold-out shows in the U.S. , Europe and Asia, Queen of All Ears is released, and yet a year later there seems to be a collision of interests. The reason John Lurie is a chameleon, he directed the cult classic Fishing With John, he’s been a composer and actor for films such as Jim Jarmusch’s Stranger Than Paradise and Down by Law. In 1994 when Lurie was diagnosed with an unusual strain of Lyme disease, he faced unpredictable energy levels, John was unable to continue making music or acting. Devastated and housebound, Lurie began to paint—he has always dabbled in visual art, but now it’s become his main creative outlet. His colourful gouaches, with their amusing titles and odd themes have found their public.

The Lounge Lizards - The Lounge Lizards (81 flac 235mb)

01 Incident On South Street 3:21
02 Harlem Nocturne 2:04
03 Do The Wrong Thing 2:39
04 Au Contraire Arto 3:22
05 Well You Needn't 1:53
06 Ballad 3:22
07 Wangling 2:58
08 Conquest Of Rar 3:12
09 Demented 2:01
10 I Remember Coney Island 3:27
11 Fatty Walks 2:51
12 Epistrophy 4:12
13 You Haunt Me 3:40

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New York's Bush Tetras had a no wave link, via guitarist Pat Place's association with James Chance, but the band's sound was neither frantic nor disjointed enough to be properly categorized with those bands. They played scrappy post-punk, with fellow Americans Pylon and Konk as close contemporaries. If there's any one song the Bush Tetras are known for, it's 1980's "Too Many Creeps" -- the band's most representative song and also the catchiest, made by the kind of jagged rhythms, slicing guitars, and sniping vocals that were used throughout their short lifespan.

After guitarist Pat Place, bassist Laura Kennedy, drummer Dee Pop, and singer Cynthia Sley made their debut with an EP centered around "Too Many Creeps," signed with the U.K.'s Stiff label, and recorded another EP, Rituals, produced by the Clash's Topper Headon. The live cassette Wild Things, which included a cover of John Lennon's "Cold Turkey," was released by ROIR in 1983. By this stage, the Bush Tetras -- along with Konk, fellow New Yorkers Talking Heads, and Manchester's A Certain Ratio -- went outside the realm of Western music for inspiration. This same year involved the exits of Kennedy and Pop and an eventual split.

Post-breakup, most of the members went on to short-lived groups. A while after these less significant projects dissolved, ROIR compiled all of the Bush Tetras' studio recordings and threw in some demos for Better Late Than Never. ROIR being ROIR, it too was a cassette-only release.

Boom in the Night, another retrospective on the by-then-evolved ROIR, functioned as a CD version of Better Late Than Never, with all but one track from the earlier release included. The original quartet regrouped in 1996 to record Beauty Lies. Produced by funk-rock pioneer Nona Hendryx, Beauty Lies is a little smoother than the quartet's original work.Unfortunately, this surprisingly effective reunion fell on deaf ears commercially, and the Bush Tetras broke up again.

Beginning in 2005, they again began performing in New York City and (in the summer of 2006) in Europe.

Bush Tetras - Boom in the Night (flac 335mb)

01 Cowboys In Africa 2:54
02 Things That Go Boom In The Night 4:26
03 You Can't Be Funky 2:44
04 Snakes Crawl 3:36
05 Rituals 3:57
06 Moonlite 3:17
07 You Taste Like The Tropics 1:32
08 Das Ah Riot 4:14
09 Too Many Creeps 4:02
10 Dum Dum 3:02
11 Stand Up And Fight 4:39
12 Who's Gonna Pay 3:39
13 It's So Weird 4:50
14 Funky (Instrumental) 2:41

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elsewhere

James White and the Contortions - Second Chance (80 ^ 87mb)

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RhoDeo 1134 Roots

Hello, on the night Khadaffi decides which of his 20 female, virgin bodyguards gets the honor of desecrating her body first, 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.

Today a return to the little big man of dub, Lee 'scratch' Perry, his phenomenal output knows many highlights today three of them and in lossless flac !

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

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

From this point through the 1970s, Perry released an astonishing amount of work under his name and numerous, pseudonyms he came a major force in reggae music together with his band the upsetters they worked with every performer in Jamaica. He started his own studio the black ark . Where he recorded marley and the wailers who were subsequently pick up bt Island leaving Perry standing. All the hard work in the seventies didnt do his mental state much good and it is said that he burned down the black ark studio himself as he was convinced satan had taken up resedency there..

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

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

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

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

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In Jamaica, the album was released under the name Scratch the Super Ape in July 1976 on Perry's own Upsetter label. The Jamaican version had a different track order than the international version that was released in August the same year on Island Records.

By 1976, Lee "Scratch" Perry was well established at his Black Ark studio, a fact proven by the quality of the creations emerging from its walls. The success of Max Romeo's "War in a Babylon" brought a deal with Island Records and the possibility of greater financial rewards. Scratch then turned to a creation of his own. Super Ape offered a series of the producer's finest 1976 rhythms, All are bathed in the distinct, murky atmosphere that was becoming a Black Ark trademark, then served up in the form of dub-like de-constructions. Island's this is it. Vocals from numerous cuts seem to compete for their spot on the rhythm, while a dizzying mix of horns, flute and melodica swirl around them. Super Ape is a dubwise, alternate universe to Perry's Black Ark vocal hits.

Lee Perry - Super Ape (76 flac 154mb)

01 Zion Blood (Feat Heptones) 3:57
02 Croaking Lizard (Feat Prince Jazzbo) 3:27
03 Black Vest 4:41
04 Underground Root (Feat The Full Experience) 2:57
05 Curly Dub 4:13
06 Dread Lion (Feat Heptones) 4:33
07 Three In One (Feat Heptones) 3:39
08 Patience Dub (Feat Heptones) 4:33
09 Dub Along (Feat The Full Experience) 3:11
10 Super Ape (Feat Heptones) 3:50

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Although he had been in the Jamaican music business for a long time by 1978, this album, produced by himself at his Black Ark studio, Roast Fish Collie Weed & Cornbread was Lee Perry's 20th album, counting his sets, compilations, and full-length dub discs. Amazingly, though, it was the first album Perry exclusively dedicated to his own vocal numbers. That, however, was not necessarily a strong selling point, as even his most devoted fans admit that Perry the singer is no equal to Scratch the producer.

The album turned out to be rather experimental. Island Records, that had released earlier Lee Perry productions like Super Ape and War Ina Babylon, rejected the album. This angered Perry and his relationship with the record company got worse, understandably as it's an extremely eclectic set, both thematically and musically, but without appearing flighty or unfocused. And as highly experimental as many of the tracks are -- the rhythms throughout are particularly inspired, with the productions equally intriguing -- unlike many of Perry's earlier excursions out to the musical fringe, these numbers are eminently entertaining and downright infectious, boasting strong melodies and, dare one say it, great vocals.

Roast Fish, Collie Weed and Cornbread ( 78 flac 174mb)

01 Soul Fire 3:55
02 Throw Some Water In 3:46
03 Evil Tongue 3:55
04 Curly Locks 4:06
05 Ghetto Sidewalk 4:19
06 Favourite Dish 3:20
07 Free Up The Weed 3:42
08 Big Neck Police 3:38
09 Yu Squeeze My Panhandle 3:54
10 Roast Fish & Cornbread 3:49


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A follow-up to the highly acclaimed dub opus Super Ape, Return of the Super Ape, like most sequels, never reaches the heights of its predecessor. Unlike Super Ape, which never lets up the intensity, Return of the Super Ape contains a few throwaway cuts that seem more like a showcase of sound effects and never quite deliver that deep dub groove. Still, the album showcases yet again the prodigious production skills of undisputed dub master Lee "Scratch" Perry's insanely layered textures and technical wizardry. With the Upsetters providing deft musical backing, Perry leads the listener through a surreal world of psychedelic Rastafarianism omitting relentless, ganja-stoked basslines and eerie echoes.

Lee Perry - Return Of The Super Ape ( 78 flac 150mb)

201 Dyon-Anasaw (Feat The Full Experience) 3:39
202 Return Of The Super Ape 3:40
203 Tell Me Something Good (Feat The Full Experience) 3:29
204 Bird In Hand 3:28
205 Crab Years 3:37
206 Jah Jah A Natty Dread 3:38
207 Psyche & Trim 3:49
208 The Lion 3:30
209 Huzza A Hana 3:29
210 High Ranking Sammy 3:30

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elsewhere

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

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RhoDeo 1134 Illuminatus 6th

Hello, last week we started on the second stage of the Trilogy, The Golden Apple and confusion is the focus that gets a sharp introduction in the sixth trip, Teperoth. today chapters 4 till 6, as usual about an hours worth of E ntr tainment, not sure why i wrote that must be my preperations for tomorrow's post, but thats another day first ..the saga continues...

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

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

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

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The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.

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The Golden Apple, Confusion, Tipareth, 6th trip (4-6) (58 min, 21mb)

06-04 Drake Inquiry (22:01)
06-05 Malaclypse (15:44)
06-06 Drake Dreams(20:19)

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previously

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

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Sundaze 1134

Hello, it's been a hectic week around the globe, all dancing to the music of the paid piper. For some much needed chill out Sundaze offers you a soothing choice of music, today Sounds From The Ground, earthvibes as it where, a UK duo that have shown increasing prowess since the days they started out in 95. SFTG make some of the most stunningly rich, dynamic, bass-heavy downtempo instrumentals on the planet.

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Sounds From The Ground (SFTG) is an English electronic music duo formed in 1995. Both members Nick Woolfson and Elliot Jones met through their involvement with the underground music scene in London. Elliot Jones's background is chillout and dub, from running his own label and doing clubs and gatherings in the early 1990s. Nick Woolfson has worked in lots of different styles of music, as long as it is innovative and good quality, and downtempo is his comfort zone. Jones had written Triangle as a demo and was introduced to Woolfson, their styles matched and the duo was born. Woolfson's studio is called The Starlight Rooms and is located in London. Woolfson has been working on a Mac and Logic for approximately the last 10 years. These days most of the work is done on the Mac, making the mixing desk virtually redundant.

Although dub in its original form is the tripped-out instrumental flipside of reggae, there is quite often no overtly Jamaican flavour to Jones and Woolfson's work. The dub element is more in the recording techniques (looping, echo, reverb, etc) and the lovingly rendered basslines that rumble, slide and snake their away around the room with enormous presence.

The debut Kin immediately marks the pair as artists with extraordinary melodic gifts. Listen to "Triangle" as just one example of their ability to build and layer multiple lines with the kind of finesse summoned by Berlin's old-school ambient trance pioneers. Explorations of tones and melody seem to be at the centre of everything that Sounds From The Ground creates.
In 99 they released a sampler of their work Mosaic a year later a lightly different sampler for the american market, Terra Firma shows the duo expanding their horizons - not that they were ever narrow to start with - and succeeding in everything they try their hand at. "Marshmello" is a piece of 21st century jetset lounge that wouldn't sound out of place in a James Bond film.

In 2001 yet another sampler was released on another label, Footsteps . The Duo's Natural Selection album (2003) saw some exposre to a wider audience, the song New Day was featured on the movie The Guardian soundtrack and the TV series Wonderfalls. Lean On Me was also on Wonderfalls. Gentle Healing was featured in Smallville season 2 soundtrack. On Luminal (2004) the dark side of the band's sound looms larger than on any other SFTG album, but depressing it is not. "Tumbledown" ropes in pedal steel player BJ Cole whose liquid guitar lines lift the crunching, snails-pace groove into a strange and beautiful realm.

2006 saw High Rising released, well recieved and showed growrh, a trend that found a new high in the release of Brightwhitelight. 2009 saw the release of 2 EP's - In The Cool Of The Shade and Spectral, aswell as a remastered compilation of leftovers, Thru The Ages. SFTG released their latest studio album 'The Maze' in October 2010. A remastered version of Mosaic was released March 2011. A new EP download only release is scheduled later in the year, as well as Luminal (remastered). The duo were regular performers and DJs at The Big Chill music festivals, and have played at Glastonbury.

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Sounds From The Ground - Footprints  (442mb)

01 Snow (Voc.Redjen) 3:59
02 Shine 5:09
03 Melisma 5:46
04 Mineral 5:46
05 Drugstore 6:49
06 Marshmello 6:23
07 Rye 8:23
08 Planted 9:35
09 Drawn To The Woman 8:19
10 Pearl 6:35
11 Where The Wild Things Were 7:37


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Sounds From The Ground – High Rising ( 380mb)

01 White City 2:31
02 Rotorblade 6:43
03 Slate Grey 8:54
04 Viper Style 7:50
05 Beautiful Feeling 9:31
06 Modo 7:30
07 Palmprint 7:31
08 Blink 6:29
09 Speedbumps 6:32
10 Allsorts (Special Bonus Track) 7:17

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Sounds From The Ground – Brightwhitelight ( 327mb)

01 The Gift 7:52
02 Eclipse On 5th 6:13
03 Restless 5:49
04 Nightshift 4:42
05 Dune 7:07
06 Under The Sun 6:05
07 Elemental 3:51
08 Sweet Confusion 6:12
09 Waves 6:36
10 Mesh 7:06

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RhoDeo 1133 Grooves

Hello, todays artist didn't sound like anyone who came before him consequently he became the most influential rapper ever. He was a voracious reader. He was inspired by a wide variety of writers, including William Shakespeare, Niccolò Machiavelli, Donald Goines, Sun Tzu, Kurt Vonnegut, Mikhail Bakunin, Maya Angelou, Alice Walker, and Khalil Gibran. There was much more to the man, 25 years was far to short a time for this mans talents to shine, yet considering his legacy he made the most of it. Respect !
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Tupac Amaru Shakur (June 16, 1971 – September 13, 1996), known by his stage names 2Pac and Makaveli, has sold over 75 million albums worldwide as of 2007, making him one of the best-selling music artists in the world. The themes of most of Tupac's songs are the violence and hardship in inner cities, racism, other social problems, and conflicts with other rappers during the East Coast – West Coast hip hop rivalry. Shakur began his career as a roadie and backup dancer for the alternative hip hop group Digital Underground.

Tupac Amaru Shakur was born on the East Harlem section of Manhattan in New York City. He was named after Túpac Amaru II, a Peruvian revolutionary who led an indigenous uprising against Spain and was subsequently executed. His mother, Afeni Shakur, and his father, Billy Garland, were active members of the Black Panther Party in New York in the late 1960s and early 1970s; Tupac was born just one month after his mother's acquittal on more than 150 charges of "Conspiracy against the United States government and New York landmarks" in the New York Panther 21 court case. Struggle and incarceration surrounded Shakur from an early age. His godfather, Elmer "Geronimo" Pratt, a high ranking Black Panther, was convicted of murdering a school teacher during a 1968 robbery, although his sentence was later overturned. His stepfather, Mutulu, spent four years at large on the FBI's Ten Most Wanted Fugitives list beginning in 1982. Mutulu was wanted in part for having helped his sister Assata Shakurto escape from a penitentiary in New Jersey, where she had been incarcerated for shooting a state trooper to death in 1973.

After completing his second year at Paul Laurence Dunbar High School he transferred to the Baltimore School for the Arts, where he studied acting, poetry, jazz, and ballet. He performed in Shakespeare plays, won most of the many rap competitions that he participated in and was remembered as one of the most popular kids in his school because of his sense of humor, superior rapping skills, and ability to mix in with all crowds. In June 1988, Shakur and his family moved to Marin City, California. He began attending the poetry classes of Leila Steinberg in 1989.That same year, Steinberg organized a concert it led to him being signed with Atron Gregory who set him up as a roadie and backup dancer with the young rap group Digital Underground in 1990.

Shakur's professional entertainment career began in the early 1990s, when he debuted his rapping skills in a vocal turn in Digital Underground's "Same Song" from the soundtrack to the 1991 film Nothing but Trouble Shakur appeared in the accompanying music video. After his rap debut, he performed with Digital Underground again on the album Sons of the P. Later that year , he released his first solo album, 2Pacalypse Now.

2Pacalypse Now did not do as well on the charts as future albums, spawning no top ten hits. On his second record, Shakur continued to rap about the social ills facing African-Americans, with songs like "The Streetz R Deathrow" and "Last Wordz". He also showed his compassionate side with the anthem "Keep Ya Head Up", while simultaneously putting his legendary aggressiveness on display with the title track from the album Strictly 4 My N.I.G.G.A.Z.. In late 1993, Shakur formed the group Thug Life with a number of his friends, including Big Syke, Macadoshis, his stepbrother Mopreme Shakur, and Rated R. The group released their only album Thug Life: Volume 1

The contradictory themes of social inequality and injustice, unbridled aggression, compassion, playfulness, and hope all continued to shape Shakur's work, as witnessed with the release of his incendiary 1995 album Me Against the World. In 1996, Shakur released All Eyez on Me. Many of these tracks are considered by many critics to be classics, All Eyez on Me was a change of style from his earlier works. While still containing socially conscious songs and themes, Shakur's album was heavily influenced by party tracks and tended to have a more "feel good" vibe than his first albums.

Shakur continued to produce hundreds of tracks during his time at Death Row, most of which would be released on his posthumous albums R U Still Down? (Remember Me), Still I Rise, Until the End of Time, Better Dayz, Loyal to the Game and Pac's Life. On June 4, 1996, he and Outlawz released the diss track "Hit 'Em Up", a scathing lyrical assault on Biggie and others associated with him. In the track, Shakur claimed to have had sexual intercourse with Faith Evans, Biggie's wife at the time, and attacks Bad Boy's street credibility. Though no hard evidence suggests so, Shakur was convinced that some members associated with Bad Boy had known about the '94 attack on him. Shakur aligned himself with Suge, Death Row's CEO, it added fuel to building an East Coast-West Coast conflict. Both sides remained bitter enemies until Shakur's death.

While incarcerated in Clinton Correctional Facility, Shakur read and studied Niccolò Machiavelli and other published works, which inspired his pseudonym "Makaveli" under which he released the album The Don Killuminati: The 7 Day Theory. The album presents a stark contrast to previous works. Throughout the album, Shakur continues to focus on the themes of pain and aggression, making this album one of the emotionally darker works of his career. Shakur wrote and recorded all the lyrics in only three days and the production took another four days, combining for a total of seven days to complete the album .

On the night of September 7, 1996, Shakur attended the Mike Tyson–Bruce Seldon boxing match at the MGM Grand in Las Vegas. After leaving the match, one of Suge's associates spotted 21-year-old Orlando "Baby Lane" Anderson, a member of the Southside Crips, in the MGM Grand lobby and informed Shakur, who then attacked Anderson. Shakur's entourage, as well as Suge and his followers, assisted in assaulting Anderson. After the brawl, Shakur went to rendezvous with Suge to go to Death Row-owned Club 662

At 10:55 pm, while paused at a red light, Shakur rolled down his window and a photographer took his photograph. At around 11:00–11:05 pm, they were halted on Las Vegas Blvd. by Metro bicycle police for playing the car stereo too loud and not having license plates. The plates were then found in the trunk of Suge's car; they were released without being fined a few minutes later. At approximately 11:15 pm, a white, four-door, late-model Cadillac with an unknown number of occupants pulled up to the sedan's right side, rolled down one of the windows, and rapidly fired a volley of gunshots at Shakur, who was standing up through the sunroof; bullets hit him in the chest, pelvis, and his right hand and thigh. One of the rounds apparently ricocheted into Shakur's right lung. 6 Days later he died of complications, though he was sure the Cribbs gang colluding with Biggie were responsible no one has been charged and his is another unsolved murder.

After his death, three of Shakur's completed films, Bullet, Gridlock'd and Gang Related, were released and his star continued to rise as sales of his greatest hits went diamond and a whole string of posthumus albums were released in the years that followed.


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All Eyez On Me was released February 13, 1996 on Death Row Records and Interscope Records. The album is frequently recognized as one of the crowning achievements of 1990s rap music. It is easily the best production 2Pac's ever had on record and was certified 5× Platinum after just 2 months in April 1996 and 9× platinum in 1998. The album featured the Billboard Hot 100 number one singles "How Do U Want It" and "California Love". It featured 5 singles in all, the most of any 2Pac album. Moreover, All Eyez On Me made history as the first double-full-length original hip-hop studio album released for mass consumption—in this case, it was issued on two compact discs and a record four vinyl discs.

The songs on All Eyez On Me are, in general, unapologetic celebrations of living the "Thug Lifestyle". Though there is the occasional reminiscence about past and present friends, it is a definite move away from the social and political consciousness of 2Pacalypse Now. The hit single "2 Of Amerikaz Most Wanted" is a collaboration with Snoop Dogg.
All Eyez On Me came about after Suge Knight, CEO of Death Row Records, bailed 2Pac out of jail in exchange for signing to Death Row, fulfilling part of 2Pac's brand new contract. This double-album served as the first two albums of his three album contract. The day he got out of jail, he didn't go to the clubs. He didn't go try to meet women. He went straight to the studio like he was on a mission, 2Pac re-emerged hardened and hungry, as he recorded "Ambitionz Az A Ridah" and "I ain't Mad At Cha." fresh out of jail. A legend in his own time, and All Eyez On Me stands as 2Pac's magnum opus.

2Pac - All Eyez On Me 1 ( 171mb)

101 Ambitionz Az A Ridah 4:39
102 All Bout U 4:37
103 Skandalouz 4:09
104 Got My Mind Made Up 5:13
105 How Do U Want It 4:47
106 2 Of Amerikaz Most Wanted 4:07
107 No More Pain 6:14
108 Heartz Of Men 4:43
109 Life Goes On 5:02
110 Only God Can Judge Me 4:57
111 Tradin War Stories 5:29
112 California Love (Remix) 6:25
113 I Ain't Mad At Cha 4:53
114 What'z Ya Phone # 5:10

2Pac - All Eyez On Me 2 ( 154mb)

201 Can't C Me 5:30
202 Shorty Wanna Be A Thug 3:51
203 Holla At Me 4:56
204 Wonda Why They Call U Bytch 4:19
205 When We Ride 5:09
206 Thug Passion 5:08
207 Picture Me Rollin' 5:15
208 Check Out Time 4:39
209 Ratha Be Ya Nigga 4:14
210 All Eyez On Me 5:08
211 Run Tha Streetz 5:17
212 Ain't Hard 2 Find 4:29
213 Heaven Ain't Hard 2 Find 3:58

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While incarcerated in Clinton Correctional Facility, Shakur read and studied Niccolò Machiavelli and other published works, which inspired his pseudonym "Makaveli" under which he released the album The Don Killuminati: The 7 Day Theory. The album presents a stark contrast to previous works. Throughout the album, Shakur continues to focus on the themes of pain and aggression, making this album one of the emotionally darker works of his career. August 1996 Shakur wrote and recorded all the lyrics in only three days and the production took another four days, combining for a total of seven days to complete the album . The intro and the album foreshadows his impending death, i'm sure he felt his time was up.

Makaveli – The Don Killuminati (The 7 Day Theory) ( 140mb)

01 Intro 4:57
02 Bomb First (My Second Reply) 5:09
03 Hail Mary 5:09
04 Toss It Up 5:06
05 To Live & Die In L.A.4:33
06 Blasphemy 4:38
07 Life Of An Outlaw 4:54
08 Just Like Daddy 5:08
09 Krazy 5:15
10 White Man'z World 5:38
11 Me And My Girlfriend 5:08
12 Hold Ya Head 3:58
13 Against All Odds 4:37

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