RhoDeo 1148 Aetix

Hello, Aetix is leaving that great southern land towards the 'old' country that was at the center of the Aetix music boom, the UK. For starters an old favourite of mine, underrated as so many really great artists are, Frank Tovey.

As Fad Gadget, his music was characterized by a use of synthesizers in conjunction with sounds of found objects, including drills and electric razors. His bleak, sarcastic, and darkly humorous lyrics, often layered in meaning and discussing subjects such as machinery, building construction, human sexuality, and physical violence, were sung in a droning, often expressionless voice.

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At school Tovey tried to learn many different musical instruments. He realised he did not have the coordination to be able to play any of them really well.He drifted away from the idea of playing music, and began getting involved in other art forms instead. He later studied visual arts and mime at Leeds Metropolitan University. He felt the need to give his mime act some sort of musical accompaniment so he went back to the idea of recording music. The initial musical pieces were formed of sound manipulation using tape recorders. He spent a lot of time building up sound collages using this method. After finishing full time education Tovey began working at various day jobs and around the mid seventies managed to set up his own home studio. The initial equipment he used consisted mainly of his Grundig tape recorder. At this time he was using no musical instrument at all. He bought a Korg Minipops drum machine and eventually a Korg synthesiser. After the purchase of this equipment he began writing music seriously; it was at this time he sent a demo tape of Back to Nature to Daniel Miller, who had just released his first Mute single as The Normal.

Tovey made his first public appearance as Fad Gadget in July of 1979. Two months after that, Tovey signed as Fad Gadget to Daniel Miller's Mute Records. He was the first artist to sign to Mute. Back to Nature was recorded as the second Mute Records release at RMS Studio in London. Back to Nature was a great success for Mute Records so a follow-up record was produced "Ricky's Hand" Tovey then went on to record an album for Mute Records. Fireside Favourites was recorded at Blackwing Studios in London. He decided to record the album without Daniel Miller’s assistance, as he felt it very important that he made all the decisions about recording the album himself.

Meanwhile Tovey was gaining a reputation for being an exciting, original live act within the electronic music scene. He used visual gimmicks such as playing instruments with his head, usually ending up in personal injury. His live appearances progressed to dressing in stage costumes, reflecting back to his days studying visual arts.

Tovey recorded two more albums for Mute Records at Blackwing Studios which was using more complex recording equipment. Incontinent and Under the Flag showed a progressive change in Tovey’s music; due both to the technological advances and his own growing knowledge of recording techniques. The albums Under the Flag and Gag were released in 1982 and 1984, respectively. The move into dance and soul-influenced territories -- along with relatively traditional production values for the time -- resulted in lighter and less urgent music, but Tovey's lyrics steadfastly refused to approach anything resembling mundane or fantasy-based.

After Gag, Tovey decided to start recording under his own name and released six albums on Mute between 1985 and 1992. More about that later...

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Realised with an expanded array of collaborators, including a number of notable record producers, Fireside Favourites instrumentation combined the synthesizers, drum machines and found objects of previous releases with conventional guitar, bass and percussion. It was released by the end of 1980. While Tovey did the lion's share of synth work on the album, percussionist John Fryer, bassist/guitarist Eric Radcliffe, drummer Nick Cash, and synthesist Miller chipped in with contributions.The lyrics and subject matter ridiculed various aspects of modern society and featured observations from sometimes bizarre perspectives. Added here his first two singles

Fad Gadget - Fireside Favourites (flac 322mb)

01 Pedestrian 3:20
02 State Of The Nation 3:48
03 Salt Lake City Sunday 2:12
04 Coitus Interruptus 4:40
05 Fireside Favourite 4:31
06 Newsreel 3:42
07 Insecticide 3:09
08 The Box 4:17
09 Arch Of The Aorta 6:20
XS
10 Back To Nature 5:51
11 Ricky's Hand 4:11
12 Handshake 4:21

Fad Gadget - Fireside Favourites (119mb)

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Incontinent, the second Fad Gadget LP, was issued almost exactly a year after the debut. Aside from the return of most of the usual suspects, Wire's Robert Gotobed played some drums, Peter Bahner played some bass and guitar, and David Simmonds provided extra synth and percussion work. Slightly darker than its predecessor, a decrease in the reliance upon electronics made for a wide-eyed, if unfocused, sophomore album. The album's cover featured Tovey made up as the puppet Punch. Its lyrical content was informed by his tour of the US in 1980. Added here the preceding double A side single.

Fad Gadget - Incontinent ( flac 338mb)

01 Blind Eyes 5:04
02 Swallow It 5:42
03 Saturday Night Special 6:39
04 Incontinent 3:27
05 Manual Dexterity 3:35
06 Innocent Bystander 6:32
07 King Of The Flies 4:26
08 Diminished Responsibility 5:53
09 Plain Clothes 4:40
XS
10 Make Room 4:15
11 Ladyshave 5:50

Fad Gadget - Incontinent ( ogg 132mb)

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Written by Frank Tovey for the most part concerning his fear for the future of the world, in light of having just become a father. As the UK had been whipped into a frenzy by Margaret Thatcher over the Falklands war he recorded Under The Flag. It is a harse indictment of Thatcherism and Britain at the time. Songs about unresponsive leaders, government induced unemployment and rabid, pointless jingoism mixed with the coolest industrial rhythms.He was apparently afraid of the world his son was going to grow up in. Sampling, which was new technology back in the early 1980s is incorporated into the album and sequencing is also heavily used.

"Scapegoat" features a Dutch nursery rhyme (Kortjakje). Some of the ideas on this album were heavily inspired by German band Die Krupps. The album cover and photos throughout are shot by the infamous Anton Corbijn.

Fad Gadget - Under The Flag (flac 254mb)

01 Under The Flag I 3:08
02 Scapegoat 2:53
03 Love Parasite 5:29
04 Plainsong 3:53
05 Wheels Of Fortune 4:55
06 Life On The Line IV 3:56
07 The Sheep Look Up 3:37
08 Cipher 5:39
09 For Whom The Bells Toll 5:16
10 Under The Flag II 2:52

Fad Gadget - Under The Flag (ogg 104mb)

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elsewhere

Fad Gadget - CoCo (Coitus Compilation) 1 (79>84 * 133mb)

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RhoDeo 1148 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.

Today in the spotlight one of Jamaica's megastars, Gregory Isaacs, a 140min cross section of his work is up for grabs here, by the singer whose smooth style earned him the nickname "Cool Ruler"and "Lonely Lover'. He died 13 months ago at the age of 59.. Isaacs had been diagnosed with lung cancer a year ago, but continued performing until weeks before his death. The entertainer had 40 years as a recording artist, he has made over 500 albums, and definitely left an impression on reggae music, all while having a turbulent life.

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One of Jamaica's most beloved vocalists who is as pertinent in dancehalls as he is in bedrooms, Gregory Isaacs' career has stretched over 40 years. From the heady days of reggae through lovers rock, a genre he virtually invented, his talent reached into the modern age. Born in the Fletcher's Land area of Kingston, Jamaica, on July 15, 1951, Isaacs arrived in the music business via the talent show circuit. After 5 years of failing to make an impact and regardless of this poor track record, in 1973 Isaacs set up his own record store and label, African Museum, in partnership with Errol Dunkley, a young singer with a string of hits to his own name. Apparently some of Dunkley's own magic wore off and one of the label's first releases, Isaacs' own self-produced "My Only Lover," was an immediate hit and the floodgates opened wide. Besides African Museums' offerings, Isaacs helped keep the label solvent by recording with virtually every producer on the island for a stream of hits that showed no sign of abating.

By the late seventies, the two polar sides of Isaacs were apparent: the roots singer, whose emotive sufferer's songs and cultural numbers were filled with fire, and the crooning lover, whose passionate declarations of devotion quivered with emotion. Eventually, the latter "Cool Ruler" would come to dominate his image. In 78 Virgins Frontline label signed him and he produced two great albums for the UK market that didnt make a dent and so his first voyage across the pond wasnt succesful. a few years later Isaacs was picked up by Island's Mango and released Night Nurse which became a big hit and launched his international career. Ironically at the time he was serving a six months jail sentence for a drug related crime. Drugs and mainly crack cocaine had become part of his life by that time a decede later his voice and teeth had givin way. This didnt stop him creating many more dancehall classics with many diferent producers and deejees.

The singer showed in the new millennium with aplomb on Father and Son, which true to the title features Isaacs and his son Kevin. The duets are gorgeous, while the younger Isaacs is given plenty of room to prove that his talent is equal to his dad's. The next year, I Found Love marked the second time the two worked together. In between times, the singer continues to impress audiences live.

In 2008, after some 40 years as a recording artist, Isaacs released a new studio album Brand New Me. The album received positive reviews from critics, it was to be his last, the brand new me is singing at the other side now.

Gregory Isaacs - Cool Ruler (The Definitive Collection) 1 (flac 306mb)

101 Dancing Floor 2:15
102 Look Before You Leap 3:08
103 One One Cocoa 3:09
104 Loving Pauper 3:45
105 All I Have Is Love 2:22
106 Ba Da 3:02
107 Sweeter The Victory 2:50
108 Way Of Life 2:25
109 Beautiful Africa 2:48
110 My Religion 3:09
111 Jailer Jailer (Bring Me Water) 2:09
112 Promised Land 2:54
113 Black A Kill Black 3:01
114 Warriors 2:59
115 Dreadlocks Love Affair 3:41
116 Rasta Business 2:45
117 Thief A Man 2:57
118 John Public 3:03
119 Mr Cop 3:57
120 Set The Captives Free 3:05
121 The Border 4:08
122 Slave Master 3:07
123 My Time (12" Mix) 7:16
124 Something Nice 3:19
125 Love Light (Burning) 2:32

Gregory Isaacs - Cool Ruler (The Definitive Collection) 1 (ogg 154mb)

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Gregory Isaacs - Cool Ruler (The Definitive Collection) 2 (flac 466mb)

201 No Speech 4:20
202 Get Ready 4 36
203 Poor And Clean 3:38
204 Tune In 3:40
205 Soon Forward 6:32
206 Universal Tribulation 3:47
207 Rock This Ya Reggae Beat (Aka Going Downtown) (12" Mix) 5:12
208 What A Feeling (12" Mix) 3:47
209 Night Nurse (10" Mix) 7:08
210 Cool Down The Pace 5:09
211 Love Me With Feeling (12" Mix) 5:45
212 Mi Come Again 4:46
213 Tenement Yard 6:42
214 Private Beach Party 4:17
215 Rumours (12" Mix) 6:13
216 Sad Feeling Tonight 4:19

Gregory Isaacs - Cool Ruler (The Definitive Collection) 2 (ogg 184mb)

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RhoDeo 1148 Illuminatus 10th

Hello, hope you've had an enjoyable weekend. Here we're nearing the end of the Illuminatus saga with Leviathan the third and final part of the Illuminatus Trilogy. Today the beginning of the 10th and final trip, Malkuth, chapters 01 till 03

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

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

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

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Leviathan, Bureaucracy, Malkuth, 10th trip (01-03) (56 min, 20mb)

10-01 Malkuth - The Fool (15:22)
10-02 Hauptmann (20:17)
10-03 Drake Traps (20:54)

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previously


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

The Golden Apple, Confusion, Bureaucracy ( 195mb)

Leviathan, Bureaucracy ( 144mb)

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Sundaze 1148

Hello, well now, don't know what to say both 14 year old dj kicks samplers have been rejected again by multiupload most odd. Not sure what to make of it.

No penguins today but orchestrals of a different kind. There's many sides to todays spotlight artist and some of them come afor here today, the dreamy bubbling Glassworks turned out to become something of a breakthrough for the until then niche clasical composer Philip Glass, a year later Koyanisquatsi had everyone stunned. Anyway, anyone seriously interested in Glass should check him out @ Wiki. There's 2 symphonys by him here and a worldmusic piece composed for the 2004 Olympics.

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Philip Morris Glass (born January 31, 1937) is considered one of the most influential American composers of the late-20th century and is widely acknowledged as a composer who has brought art music to the public where his big breaktrough came with the movie score Koyaansquatsi. Thus he followed illustrous precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein. Although his music is often, though controversially, described as minimalist, he distances himself from this label, describing himself instead as a composer of "music with repetitive structures". Although his early, mature music is minimalist, he has evolved stylistically. Currently, he describes himself as a "Classicist", pointing out that he trained in harmony and counterpoint and studied Franz Schubert, Johann Sebastian Bach and Wolfgang Mozart with Nadia Boulanger.

Glass is a prolific composer: He has written works for his own musical group which he founded, the Philip Glass Ensemble (for which he still performs on keyboards), as well as operas, musical theatre works, eight symphonies, eight concertos, solo works, string quartets, and film scores. Three of his film scores have been nominated for Academy Awards.

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Offsetting the financial obstacles of operatic recordings Glass decided to intermittently releasing less expensive, more accessible, and marketable recordings. The first such project of this nature was the instrumental collection entitled Glassworks, which appeared on shelves in 1982. Featuring the Philip Glass Ensemble (which on this album includes piano, keyboards, organ, a handful of woodwinds, horns, and a few violas and cellos), Glassworks comprised six tracks with an amiably soft-edged minimalist sound, in an almost new-agey vein.

Critics often point to the success of Glassworks -- within five years nearly 200,000 copies had been sold -- as representative of Glass' "selling out"; others see it as simple business savvy. Though Glassworks is rather lightweight, its gestures are familiar and Glass' characteristic rhythmic/melodic tricks do offer a certain amount of substance. It also exhibits a consistency and casual sophistication.

Philip Glass – Glassworks (flac 186mb)

01 Opening 6:18
02 Floe 5:32
03 Island 7:39
04 Rubric 6:04
05 Facades 7:19
06 Closing 5:56
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Among these more conservative, "non-crossover" works, the Symphony No. 3 is perhaps the most restrained and classical in its form, character, and color. Composed in 1995, the work is cast in four movements and scored for a small string orchestra (originally, the 19 strings of the Stuttgart Chamber Orchestra), and reflects Glass' attempt to synthesize and temper the austerity of his early minimalist ideals into a more lyrical and emotionally compelling style. Glass adds layers of figuration or melody to the orchestral texture with each iteration of the repeating chord scheme, so that by the end of the movement it seems that virtually everyone in the ensemble follows a distinct line within a complex, polyphonic web. The symphony ends with a driving, syncopated finale that revisits the second movement's energy with even more harmonic unpredictability and rhythmic vigor.

Much of Philip Glass' music is marked by a sort of insistent, repetitive, rhythmic momentum which can become hypnotic. In Glass' Symphony No. 2 (1994), the composer weaves together lengthy threads of simple substrate and brief fragments of contrasting melodic lines, constructing a work that is at once simple and complex. The composer's own notes regarding the work indicate that its ambiguity is purposeful; that is, it is a polytonal construct in which emphasis, and therefore the aural effect, is actually dependent upon how the listener hears the work. Glass likens this to the manner in which an optical illusion can seem to be different things as the viewer simply wills it to be.

Philip Glass - Bournemouth Symphony Orchestra, Marin Alsop – Symphonies Nos. 2 And 3 (flac 305mb)

Symphony No. 3 (23:54)
01 I 4:27
02 II 6:17
03 III 9:38
04 IV 3:32
Symphony No. 2 (43:14)
05 I 16:42
06 II 13:23
07 III 13:08

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Inspired by the challenge to create a work for a world audience on the occasion of the Athens Cultural Olympiad in Summer 2004, Philip Glass conceived an evening-length work that contemplates the Earth's relationship to the constellations as interpreted by the world's many cultures. In the same way that civilizations are united by common themes, history and customs, we singularly and together are united by the commonality of the natural world-- rivers, oceans, the organic environment of forests and mountains. And the stars. Stargazing must be one of the oldest pastimes of humanity. It led to astrology, astronomy, measurement of the seasons and the very beginnings of science. I think no single experience of the world speaks to us so directly as when we contemplate the infinity of space, its vastness and countless heavenly bodies. In this way the stars unite us, regardless of country, ethnicity and even time.

Orion, the largest constellation in the night sky, can be seen in all seasons from both the Northern and Southern hemispheres. It seems that almost every civilization has created myths and taken inspiration from Orion. As the work progressed, each of the composer/performers, including myself, drew from that inspiration in creating their work.

Conceived in ten movements, the work features the Philip Glass Ensemble in collaboration with seven of the world's most esteemed composer/performers who will perform live with the Philip Glass Ensemble. Each guest composer was chosen for their unique mastery of a global musical tradition and worked in close collaboration with Philip Glass to incorporate their individual perspective into the composition. Guest collaborators include Australian didgeridoo master, Mark Atkins ; West African Griot Foday Musa Suso Indian composer and sitar master Ravi Shankar who composed a work with Philip to be performed by Kartik Seshadri; Nova Scotian fiddler Ashley MacIssac Brazil's UAKTI ; pipa virtuoso Wu Man of China; and contemporary Greek vocalist Eleftheria Arvanitaki

Philip Glass – Orion (flac 435mb)

101 Australia 12:14
102 Interlude: Australia & China 2:18
103 China 9:48
104 Canada 10:47
105 Interlude: Canada & The Gambia 2:24
106 The Gambia 15:00
201 Brazil 10:24
202 Brazil & India 3:38
203 India 12:51
204 Greece 11:17

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elsewhere

Philip Glass - Koyaanisquatsi ( dvdrip 82min, 141mb)

Philip Glass - Solo Piano (89/03 ^113mb)

Low, Heroes Symphony (93 180mb)

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RhoDeo 1147 Grooves

Hello, last week something went wrong with the Terranova upload, i got 2 links but they hadn't registered, and as i was away I couldn't repair the mishap. So today Terranova get a second chance I teamed them up with another DJ Kicks this time compiled by the French groovester DJ Cam

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DJ Cam (born Laurent Daumail in 1973) is a French DJ. After trading his instruments for a set of turntables he spend his days listening to the likes of Eric B and specially Public Enemy At 16 Laurent created his own place hitting bars and clubs with his Bomb Rush . At 20 he started his own label to release himself, undettered by the absence of initial succes he recorded his first LP was "Undergound Vibes" in 1994. It was revolutionary for it's time, featuring familiar jazz samples and loads of vibe samples and heavy hip-hop influences, "Undergound Vibes"got him noticed by the international music press. DJ Cam's style coined as abstract hip hop merges blunt street rhythms with languid samples and atmospheric soundscapes.
"Substances" experimented with a change of direction from DJ Cam's previous albums. The tracks on "Substances" were more melancholy in feel than usual, featuring a variety of slick cool-jazz samples from the likes of Alice Coltran. The next year, his major-label debut, The Beat Assassinated, appeared on Columbia Records. In 2000, he released a three-volume series named The Loa Project. Cam dropped HoneyMoon, a smooth mix album that combined jazz and underground hip hop, at the close of 2001.

In 2003, he departed his regular sound for the Soulshine LP, which featured an appearance by Gang Starr's Guru (Credited as Baldhead Slick). He went back to his hip-hop roots in 2004 with Liquid Hip-Hop, in 2006, he released an iTunes exclusive Best Of compilation, featuring a new song at the end. With 2011's Seven, DJ Cam serves up his most personal album since the acclaimed Substances. Inspired as ever by the original jazz and hip-hop influences that helped him become one of the founders of the trip-hop scene back in 1995, this new album is also full of exciting new musical and visual influences.

DJ Cam is now based in Los Angeles, where his musical and visual projects can converge, including production and remixes , sound design, soundtracks for both TV and cinema.

VA - DJ Kicks ( DJ Cam)   (97 401mb)

01 DJ Cam – Dieu Reconnaitra Les Siens 4:15
02 Minus 8 – Zero G 3:41
03 Daphreephunkateerz – Dark Jazz (DJ Cam Remix) 3:41
04 Part 2 – Prelude To Cycle 6 2:51
05 Sci-Fi Select – Tell The World 4:27
06 The Mighty Bop – Ride A Way 4:28
07 Tek 9 – Gettin' Down Again 3:00
08 Rodney P. – Things In Time 4:28
09 Awesome Two + Channel Five – Freestyle 1 3:25
10 Rasco – Unassisted 3:28
11 Awesome Two + Jem – Freestyle 2 3:00
12 Grand – The Visitor 4:17
13 The Ragga Twins – Juggling 3:14
14 Tommy Hools – Milan 8:26
15 DJ Cam – Bronx Theme (DJ Kicks) 7:46


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Terranova is a German band made up of current members Fetisch, Marco Meister and Kaos. They previously went under the moniker Turntable Terranova on the Compost label and sometimes as Edition Terranova. Their music is a fusion of punk rock, electronic and hip hop. They currently reside in Berlin and perform DJ sets at the Berlin night club Pogo Club.

Terranova began after previous member Shapemod left Los Angeles from studying guitar to Berlin where he met Fetisch at the Pogo Club when they began producing together. Their first release, in 1996, was a 12" record entitled "Fiasko." The "Antimatter EP" was also released the same year. It wasn't until 1997 when they released the 12" record "Tokyo Tower" that brought Terranova into the British press.

On 19 January 1998, Terranova released their take on DJ mix album, DJ Kicks which gained them further recognition and is regarded as one of the best and most loved in the highly respected series. Remixes for Fanatik, Jungle Brothers and Stereo MCs followed soon after, among many others. In 1999 Terranova released the singles "Turn Around" feat. Cath Coffey and "Just Enough" feat. Nicolette Krebitz. Photographer Juergen Teller made his first foray into film direction for the band's accompanying video for the track "Just Enough." Terranova released their debut LP Close the Door in the same year with Copasetik. It featured guest vocals from Stereo MCs member, Cath Coffey , Tricky and Nicolette Krebitz she also features on the cover and in the sleeve of the same album.

Terranova left their Copasetik label to join !k7 Records, and released their second LP Hitchhiking Nonstop with no Particular Destination in 2002. Cath Coffey returned , Mike Ladd raps and Ari Up of The Slits appears as well. Soon after they released Peace Is Tough, a companion album for Hitchhiking Nonstop with no Particular Destination by remixing five new tracks with six new versions of previously released tracks which were only available on vinyl or in limited editions.

2004 saw a change of label for Terranova, this time to the popular Ministry Of Sound. And a new album, Digital Tenderness. 2005 Terranova produced "the Lotterboys" their album "Animalia" was released the same year on Eskimo recs. 2007 Terranova produced "the Lottergirls".Their album "Right on" was released in 2008 on ministry of sound. 2008 Terranova produced "Fetisch & Me". Two singles were released the same year on Gigolo recs ("black palms" and "the calling").

VA - Terranova - DJ-Kicks (flac 487mb)

01 Terranova – Intro 0:40
02 Howie B – Five Days1:43
03 Priest – Disorientation 3:53
04 Depth Charge – Sex, Sluts & Heaven (Bordello Mix) 3:26
05 DJ Spooky – Galactic Funk 4:20
06 The East Flatbush Project – Tried By 12 2:41
07 Peanutbutterwolf – Run The Line 3:15
08 Ultimatum – Devil's Claw 0:43
09 BFC – Please Stand By 4:49
10 Patrick Pulsinger – City Lights (City Of Starsigns) 2:54
11 69 Jazzfunkclassics – Ladies & Gentlemen 10:42
12 The Backroom – Definition Of A Track (The Backroom Mix) 5:36
13 Silicon Soul – Who Needs To Sleep Tonight 0:05
14 The Octagon Man – Modern Funk Beats 1:16
15 Terranova – Tokyo Tower (Avenue A Remix) 5:09
16 DSL – I L.O.V.E. You 2:43
17 Ultimatum – Stop It! Stop It! Stop It! 1:04
18 Jungle Brothers – Jungle Brother (Terranova Mix) 4:56
19 The Junkyard Band – The Word 3:28
20 Spoonie Gee – Spoonie Rap (Atmospheric Version) 4:27
21 Terranova – Contact / DJ Kicks 4:49


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elsewhere

DJ Cam Substances (96 * 075mb)
DJ Cam - Revisited By ( 06 ^ 154mb)

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RhoDeo 1147 Goldy Rhox 47

Hello, today the 46th post of GoldyRhox, classic pop rock, in the darklight a UK band first popular in Europe, they are one of the most commercially successful and influential rock music groups of all time. They have sold over 200 million albums worldwide, including 74.5 million certified units in the United States. The band was inducted into the Rock and Roll Hall of Fame in 1996. Since then they have continued to enjoy worldwide fame. Todays mystery album is an extended version of its latest 2011 remaster.

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

Todays mystery album is the ninth studio album by the band, released in September 1975. The album explores themes of absence, the music business, and a former band-mate in mental decline. It was inspired by material the band composed while performing across Europe, and recorded over numerous sessions at London's Abbey Road Studios.

The album's cover image was inspired by the idea that people tend to conceal their true feelings, for fear of "getting burned", and thus two businessmen were pictured shaking hands, one man on fire. "Getting burned" was also a common phrase in the music industry, used often by artists denied royalty payments. Although it initially received mixed reviews, the album has since been acclaimed by critics, and appears ranked number 209 in Rolling Stone magazine's list of "The 500 Greatest Albums of All Time". Some band members have declared todays mystery album as their favorite.It was certified six times platinum on 16 May 1997, and as of 2004 has sold an estimated 13 million copies worldwide

Goldy Rhox 47 (flac 350mb)

Goldy Rhox 47 (ogg 142mb)


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RhoDeo 1147 Aetix

Hello, Aetix is still at that great southern land, todays artists haven't been too prolific despite a core duo the turnover in other bandmembers likely hindered a bigger output, nevertheless they did make an impression and made it to the Australian Hall of Fame.

This will be my final Australian Aetix post and with Icehouse I think a spacious goodbye from a time the rest of the world hadn't encroached on that wide open country, that these days is beseiged by mining industry and activities that demand secrecy. Secrecy, but lets frighten the people with the influx of foreigners, Asians mainly, maybe the Autralians need reminding what goes around comes around. It still is a largely empty country even if the real estate is getting evermore expensive.

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Originaly started in 1977 as Flowers, sounding very much as Roxy Music, playing covers over the latter and T-Rex, Bowie and the like...they build a strong following in the Sydney area. This got them their first record deal, "Icehouse" was released still under the moniker of Flowers. The album sold well the single "Icehouse" generated some european interest, to avoid confusion with the scottish Flowers they decided to rename to Icehouse, under that name they toured extensivly around Europe and North America during 81. In January 1982, the band's original line up split, resulting in Davies recording Icehouse's much-anticipated second album, Primitive Man, on his own, with assistance from Keith Forsey, (worked with Simple Minds). Released in August 1982, Primitive Man was a huge Australian hit and became Icehouse's international breakthrough. The hit single "Hey Little Girl" has remained their most regularly played song, another remarkable track from Primitive Man is "Great Southern Land".

Icehouse's third album, Sidewalk, was far more sombre and reflective. After this album the band made further inroads into the U.S. market with their 1986 release Measure for Measure which featured none other than Brian Eno as a listed band member.
The next album, Man of Colours, was their best-selling album. It contained the hit singles "Crazy" and "Electric Blue". Both singles reached the US Top 20, with "Electric Blue" hitting #7. With this album, the band reached it's monetairy zenit, which was understood as Code Blue, Big Wheel and the Berlin tapes didnt reach beyond Australia. The rest of the world was treated on an endless stream f compilations, remasters and remixes of Icehouse's eighties work.

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This is the second go 'round for the band's debut, which first appeared in Australia (their homeland) in 1980 when they were still called Flowers. Rooting themselves beyond their own shores meant changing their name to avoid conflict with another band already called Flowers (incredible) and remixing the album, a rite of passage for Australian releases it seems. So Flowers adopted the album's name, Icehouse, as their own and successfully peddled their brand of Ultravox-influenced music on a burgeoning new wave market hungry for new heroes. The comparisons to Ultravox, Gary Numan, and David Bowie are unavoidable, but so is the fact that the album is chock full of good songs.

Still in its infancy, synth pop's rules of engagement were straightforward: Science fiction imagery was strongly encouraged; vocals that oscillated between detachment and passion were the preferred mode of communication; poppy melodies were a plus; and anything that pointed to the pioneering work of David Bowie was moving in the right direction. Iva Davies follows those rules to the letter, and proves to be a fine songwriter with an ear for mimicry, borrowing large bits and adding his own catchy tunes to the concoction. The songs do sound alike -- steady power pop beats amid vaguely European vocals and synthesizers -- but the band's mindset seems to be on writing a hit each time out, which isn't a bad approach at all.

Icehouse – Icehouse (flac 232mb)

01 Icehouse 4:12
02 Can't Help Myself 3:51
03 Sister 3:28
04 Walls 4:01
05 Sons 4:35
06 We Can Get Together 3:40
07 Boulevarde 3:16
08 Fatman 3:52
09 Skin 2:47
10 Not My Kind 3:36

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As an oboe/guitar player involved in electro popular music, it's no surprise Iva Davies took to Roxy Music, especially on "Street Café" and the mega-hit "Hey Little Girl," which duly landed in no less than 13 European Top Ten singles charts, going all the way in Switzerland. An album of atmospheres, "Great Southern Land" evokes images of Australia's arid interior, while "Trojan Blue" conjures up medieval Italy or France. "Mysterious Thing" continues Primitive Man's mood, and produces what may be the best line in ambient white funk recorded! Running orders for the album fluctuate. Finishing up is an excellent reworking of "Goodnight Mr. Mathews," Primitive Man (aka Love in Motion in the U.K.) is still one his finest recordings. Those seeking out the CD are also blessed with the inclusion of "Over the Line," hitherto only available on Fresco and the singles box set, the original 12" of "Girl," and the German version of "Uniform."

Icehouse – Primitive Man ( flac 518mb)

01 Great Southern Land 5:19
02 Uniform 4:13
03 Hey Little Girl 4:25
04 Street Cafe 4:13
05 Glam (Instrumental) 3:22
06 Trojan Blue 5:03
07 One By One 4:02
08 Breaking These Chains 3:43
09 Mysterious Thing 4:25
10 Goodnight, Mr. Matthews 4:00
11 Over The Line 2:45
12 Glam (12" Version)6:33
Bonus Tracks
13 Uniform 12" (German Version) 6:07
14 Street Cafe (Single Mix) 4:13
15 Love In Motion (USA Recording) 3:37
16 Can't Help Myself (Live) 5:39
17 We Can Get Together (Live) 3:54

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On their fifth album, the smooth pop style of Australia's Icehouse is garnished with even more bouncy synthesizers and lavish melodies than their earlier work. Lead singer Iva Davies elaborated slant is immediately forthcoming in all the tunes on this album, but is truly the best working part behind the group. Man of Colours' first two tracks attached themselves to the Top 40, with "Crazy" peaking at number 17 in 1987 and "Electric Blue" reaching number seven in 1988, a song co-written by John Oates. After these two singles, the rest of the album becomes thin with keyboard -- crammed, syncopated rhythms jumping behind electric guitar that can barely be noticed. Even though the emphasis on keyboards is stereotypical of '80s pop, here it's in danger of becoming overbearing. Davies lyrics strain to be substantial, but fall short because of the meek support from the music enshrouding his polished voice.

Icehouse – Man Of Colours (rem) (flac 505mb)

01 Crazy 3:24
02 Electric Blue 4:24
03 Nothing Too Serious 3:28
04 Man Of Colours 5:11
05 Heartbreak Kid 5:19
06 The Kingdom 4:52
07 My Obsession 4:09
08 Girl In The Moon 4:01
09 Anybody's War 4:05
10 Sunrise 5:45
11 Crazy (12") 7:18
12 Crazy (Midnight Mix) 4:46
Bonus Tracks
13 Shakin' The Cage 4:00
14 Over My Head 3:47
15 Touch The Fire 3:46
16 Jimmy Dean 4:00
17 Electric Blue (Extended Mix) 7:34

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RhoDeo 1147 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.

There's been plenty of Laswell on this site but between all his recording and producing he's found time to enjoy reggae, enough to take on the task to deliver 2 mix albums. With the Dub Massive series Bill Laswell gets access to the deep reggae catalog of the Trojan label and grabs his favorite dubs for, as the liner notes put it, "enhancing." Just as he did with Miles Davis on Panthalassa and Bob Marley on Dreams of Freedom, Laswell respects his source while remixing, and brews up a concoction the original parties would most likely approve.

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Trojan Dub Massive: Chapter One is slightly tentative and pulls punches. The only time this chapter deserves a stunned "wow man" is when Laswell really twists the knobs and makes the Upsetters' "Lover's Skank" sound like the intro to the Who's "Eminence Front." Otherwise, he's only twisting things a bit, making everything sound thicker, and adding trippy segues to make this a journey instead of a collection of tracks. A steep learning curve results in the segues and flow are much better on Chapter Two, but the general arc of disc 1 is just fine, and ending with the earthy spiritualism of Ras Michael is a smooth move from a guy who obviously knows his Trojan. Hearing Ras Michael chanting in the distance as your Laswell-supplied lunar cruiser drives across the moon dunes sets the stage perfectly for the more ambitious Chapter Two.

VA - Trojan Dub Massive Chapter One (flac 401mb)

01 Sly And The Revolutionaries – Cocaine 4:11
02 Sly And The Revolutionaries – Herb 4:12
03 The Mafia All Stars And King Tubby – Don't Think About Me (I'm Alright) (Version) 3:09
04 King Tubby And The Aggrovators – Blood Dunza Version 3:28
05 Tapper Zukie – Man A Warrior 4:10
06 Gregory Isaacs' All Stars – Leggo Beast 3:34
07 Sly And Robbie – Roots Man Dub 2:37
08 Sly And The Revolutionaries – Acapulco Gold 3:53
09 The Crystalites – Concentration Ver. 3 3:16
10 The Upsetters – Lover's Shank (Spanglers Clap) 3:51
11 Sly And Robbie – Jah Jah Children Dub 3:55
12 Sly And Robbie – Negre Africa Dub 2:49
13 The Prince Jammy And Aggrovators – Out Of Order 5:48
14 Scientist – Miss Know It All 3:23
15 Prince Jammy – Fist Of Fury 3:07
16 The Roots Radics Band – The Alien Aborts 3:13
17 The Aggrovators – Stop The Dubbing 2:30
18 Ras Michel And The Sons Of Negus – Keep Cool Babylon 3:01


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Right from the get-go, it's apparent that Chapter Two of Bill Laswell's Trojan remix project is going to be a darker, freakier journey than Chapter One. Lee "Scratch" Perry's growl welcomes listeners to the more serpentine world of Trojan Dub Massive: Chapter Two, and with the extra echo and soundscape-widening producer/remixer/what-have-you Bill Laswell lays on the track, the chill Perry usually induces just got thicker. Not ridiculously thick, though. Just as he did with Miles Davis on Panthalassa and Bob Marley on Dreams of Freedom, Laswell respects his source while remixing, and brews up a concoction the original parties would most likely approve. Trojan Dub Massive: Chapter Two keeps the slink and spirit of the original Trojan dub cuts intact while adding cistern-sized reverb, quirky folds and filters, and nocturnal segues that make this more of a journey than a collection of tracks. He's also done a great job disappearing behind the music, letting Trojan be Trojan and only "placing" and "enhancing" the music according to the booklet. Save the segues and a few slick tricks that call out the release's post-2000 origins, you could be fooled into thinking this is an original Trojan release if you only had a boombox around. Headphones or an excellent sound system along with a back-pocket familiarity with the tracks are required to catch the bulk of Laswell's input, but that's what makes Trojan Dub Massive: Chapter Two a success. The bottomless vaults of Trojan are filled with some of the tastiest dub known to man, and cheesy tampering is out of the question. Laswell knows this and simply offers what could be considered a DJ set with a bit of tweaking. It's superb tweaking, and maybe just a little too humble for laptop kids and left-field lovers. For everyone else, Trojan Dub Massive: Chapter Two is a lazy delight with the mighty Trojan catalog in tasteful, contemporary dressing.

VA - Trojan Dub Massive Chapter Two (flac 377mb)

01 The Upsetters – Drum Rock 3:59
02 Scientist – Scientest (Stalog 17) 3:28
03 Augustus Pablo – Java 2:55
04 Augustus Pablo – Bedroom Mazurka Version 2:28
05 The Observer And King Tubby – Youth Man 4:05
06 Rupie Edwards – Buckshot Dub 3:45
07 Horace Andy And The Aggrovators – A Noisy Place 2:26
08 Prince Jammy – Throne Of Blood 3:08
09 Sly & Robbie – Stepping Out 2:47
10 The Upsetters – Washroom Skank 4:05
11 The Observer And King Tubby – Dubbing With The Observer 4:24
12 The Revolutionaries – Freedom Dub 2:14
13 Jah Thomas And The Roots Radics – King Tubby's Gold Dub 3:28
14 Roots Radics Band – The Death Of Mr. Spock 3:59
15 King Tubby – King Tubby's Badness Dub 4:18
16 Prince Jammy – Shaolin Temple 2:52
17 Roots Radics – Flash Gordon Meets Luke Skywalker 3:36
18 Ras Michel & The Sons Of Negus – Rastaman Chant 2:37


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RhoDeo 1147 Illuminatus 9th

Hello, hope you've had an enjoyable weekend. We're nearing the end of the Illuminatus saga with Leviathan the third and final part of the Illuminatus Trilogy the 9th trip, Yesod, chapters 10 till 12

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

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

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

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Leviathan, Bureaucracy, Yesod, 9th trip (10-12) (60 min, 21mb)

09-10 Nazi Tripping (20:37)
09-11 Gift Of Tongues (12:43)
09-12 Ignolstat Battle (27:11)

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previously

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

The Golden Apple, Confusion, Bureaucracy ( 195mb)


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Sundaze 1147

Hello, as i am suddenly away this week I've been busy today to prepare next weeks posts, looks like I made it. Well Sundaze starts of the week with a group I've seen live many years ago, have to admit I lost sight of them, upon preparing for this post I understood why. The main man/bandleader died almost 14 years ago, very sad, I'm sure he still had lots to offer the world, his son has taken up his staff but how far this brings him remains to be seen.

After a foodpoisoning Simon Jeffes had a disturbing recurring dream/delirium. All was silence. Everyone had been neutralized, made grey and anonymous. " The scene was for me one of ordered desolation. It was as if I were looking into a place which had no heart. Next day when I felt better, I was on the beach sunbathing and suddenly a poem popped into my head. It started out 'I am the proprietor of the Penguin Cafe, I will tell you things at random' and it went on about how the quality of randomness, spontaneity, surprise, unexpectedness and irrationality in our lives is a very precious thing. And if you suppress that to have a nice orderly life, you kill off what's most important. Whereas in the Penguin Cafe your unconscious can just be. It's acceptable there, and that's how everybody is. There is an acceptance there that has to do with living the present with no fear in ourselves".

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The Penguin Cafe Orchestra (PCO) was founded by British composer Simon Jeffes (born February 19, 1949; died December 10, 1997). Born in Sussex, England, and raised in Canada and around Europe, Jeffes began playing the guitar at the age of 13 while attending boarding school in England and then studied classical guitar, piano, and music theory at Chiswick Polytechnic, but dropped out before graduating. While living in Japan in 1972, he developed an interest in ethnic music, particularly African styles, and decided to try to merge those styles with more traditional Western sounds. He launched the PCO as an outlet for his compositions with this eclectic hybrid approach. He always said that the "Penguin Cafe" concept was one that came to him in a dream while he was suffering from food poisoning in the summer of 1972, after which he wrote a poem that began, "I am the proprietor of the Penguin Cafe, I will tell you things at random." He described the music of the group as "modern semi-acoustic chamber music."

The PCO was organized as a fluctuating unit in which Jeffes and cellist Helen Liebmann were the only permanent members. At first, when it began playing in London, England, in 1973, it was called the Penguin Cafe Quartet. The members of the group, not yet performing publicly, were Jeffes (on electric guitar), Liebmann, violinist Gavyn Wright, and Steve Nye on electric piano. In 1974, they made their first recordings. Nye, who knew producer Brian Eno, introduced Jeffes to him, and Eno invited the group to record for his Obscure Records. They did, adding university lecturer Neil Rennie (ukulele) and Emily Young (vocals), a painter who gave the group a visual style with her cover painting for the album, Music from the Penguin Cafe (1976).

The first concert by the ensemble was an opening slot for (Man Machine) Kraftwerk at the Roundhouse in London in 1977, and the group expanded further to include Geoffrey Richardson (viola), Peter Veitch (accordion), Giles Leaman (woodwinds), Braco (drums), and Julio Segovia (cymbals). Now boasting far more than four members, the band was too big to be called a quartet, and it was christened the Penguin Cafe Orchestra.

In 1979, Jeffes converted a garage in North Kensington into a recording studio and in 1980 began working on the PCO's second album, released as Penguin Cafe Orchestra in 1981. Afterwards, composer Marcus Beale joined the group on violin in time for the first European tour. As the PCO prepared its third full-length LP, Broadcasting from Home (1984), personnel came and went, the additions including Annie Whitehead (trombone), Dave Defries (trumpet), and drummers Fami, Trevor Morais, and Mike Giles. After the album was released, the group raised its profile by touring extensively and appearing on television, and the fourth album, Signs of Life actually reached the British charts in April 1987.

Continuing to tour, the PCO recorded a full-length live album at Festival Hall on July 9, 1987; it was released in 1988 under the title When in Rome .... Jeffes next accepted an invitation from choreographer David Bintley of the Royal Ballet to adapt some of the PCO's music for a dance piece, resulting in the ballet Still Life at the Penguin Cafe, which was performed at Covent Garden and elsewhere in the U.K., as well as in Germany and Australia.

The PCO also toured, primarily in Europe, during the late '80s and early '90s. For their next and final studio album of new material, Union Café (1993; released on Jeffes' own Zopf label), the group consisted of Jeffes, Liebmann, Maidman, Rennie, Richardson, Segovia, and Whitehead, although many guest musicians also contributed. Their 1994 tour was commemorated with another live album, Concert Program (1995), recorded July 23, 1994, at Wool Hall in Somerset, England. The PCO continued into the mid-'90s, although Jeffes gradually became less active, moving to Somerset in 1996 and concentrating on solo piano. The band's formal dissolution was confirmed by his death from a brain tumor.

Members of the group reunited ten years after Jeffes' death for concerts on December 11, 12, and 13, 2007, at the Union Chapel in Islington, North London. This commemorative edition of the PCO included Helen Liebmann (cello), Neil Rennie (ukulele), Geoffrey Richardson (viola/clarinet), Peter McGowan (violin), Steve Fletcher (piano), Barbara Bolte (oboe), Annie Whitehead (trombone), and Jennifer Maidman (bass/percussion), with guest appearances by Steve Nye and Jeffes' son Arthur Jeffes.

After those concerts Arthur Jeffes wanted to form a new group without any of the original PCO members. This he initially called "Music from the Penguin Cafe", later this was shortened to simply "Penguin Cafe". This all-new ensemble, often inaccurately billed as 'The Penguin Cafe Orchestra' in the press, played at a number of festivals in 2009, combining Penguin Cafe numbers with new pieces and in 2010 appeared at the BBC Proms. With the 'Penguin Cafe' trademark owned by Arthur's company, the original Penguins who wanted to continue playing their music looked for an alternative title. Four of them, the multi-instrumentalists Geoffrey Richardson and Jennifer Maidman, trombonist Annie Whitehead and pianist Steve Fletcher have since played some festivals under the name 'The Anteaters'.

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Music From The Penguin Cafe was the debu album by Penguin Cafe Orchestra, and was recorded between 1974 and 1976, and released in 1976. The line-up for much of the album consisted of the original Penguin Cafe Quartet: Simon Jeffes (electric guitar), Helen Leibmann (Cello), Steve Nye (electric piano), and Gavyn Wright (violin). The piece entitled "Zopf", which consists of seven individual "movements", had a slightly different line-up, which included the members of the quartet as well as Neil Rennie (ukelele), and Emily Young (vocals). The album tugs from two very different directions: the avant-garde and the innocent (the cerebral child inside). The executive producer for the album was Brian Eno, who released this album on his experimental Obscure label, with catalogue number "Obscure 7". The cover painting was by Emily Young.

Penguin Cafe Orchestra – Music From The Penguin Cafe (flac 206mb)

01 Penguin Cafe Single 6:20
Zopf
02 From The Colonies (For N.R.) 1:38
03 In A Sydney Motel 2:28
04 Surface Tension (Where The Trees Meet The Sky) 2:22
05 Milk 2:22
06 Coronation 1:33
07 Giles Farnaby's Dream 2:17
08 Pigtail 2:44
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09 The Sound Of Someone You Love Who's Going Away And It Doesn't Matter 11:46
10 Hugebaby 4:47
11 Chartered Flight 6:43

Penguin Cafe Orchestra – Music From The Penguin Cafe (ogg 101mb)

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Penguin Cafe Orchestra was the second album by the Penguin Cafe Orchestra, and was recorded at the Penguin Cafe between 1977 and 1980. By this time the line-up for the band had expanded greatly, with contribution including Simon Jeffes, Helen Leibmann, Steve Nye, Gavyn Wright of the original quartet, as well as Geoff Richardson, Peter Veitch, Braco, Giles Leamna, Julio Segovia and Neil Rennie.
While drawing compositional and textural inspiration from both English folk and chamber music, it manages to sound like neither and a wondrous hybrid of both. "Walk Don't Run," a cover of the Ventures' classic, turns from a surf tune into a merry jig of sorts, with the violins and cellos playing the melody backed by drums, bongos, and shakers. "Telephone and Rubber Band" turns a busy signal into something full of beauty and joy. Unfailingly romantic, sunny music and an album that set the tone of all further PCO releases.

Penguin Cafe Orchestra – Penguin Cafe Orchestra (flac 252mb)

01 Air À Danser 4:30
02 Yodel 1 4:07
03 Telephone And Rubber Band 2:28
04 Cutting Branches For A Temporary Shelter 3:09
05 Pythagoras's Trousers 3:18
06 Numbers 1-4 6:57
07 Yodel 2 4:34
08 Salty Bean Fumble 2:11
09 Paul's Dance 1:45
10 The Ecstasy Of Dancing Fleas 4:01
11 Walk Don't Run 3:01
12 Flux 1:48
13 Simon's Dream 1:48
14 Harmonic Necklace 1:12
15 Steady State 3:36

Penguin Cafe Orchestra – Penguin Cafe Orchestra (ogg 121mb)

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Bandleader Simon Jeffes composed the leadoff track "Music for a Found Harmonium" on a harmonium he found abandoned on a Tokyo street, which offers an inkling of the musical inspiration that sprang from this remarkable Englishman. As usual, he gathers a loose aggregation of musicians who create stunning, free-flowing acoustic sounds that defy categorization. Jeffes includes brass here for the first time on a Penguin Café Orchestra recording. Recorded over three years, the band's third album is worth the painstaking studio overdubbing by its leader.

Penguin Cafe Orchestra – Broadcasting From Home (flac 249mb)

01 Music For A Found Harmonium 3:36
02 Prelude & Yodel 3:51
03 More Milk 3:10
04 Sheep Dip 3:57
05 White Mischief 5:48
06 In The Back Of A Taxi 3:21
07 Music By Numbers 4:41
08 Another One From The Colonies 3:04
09 Air 4:20
10 Heartwind 4:11
11 Isle Of View (Music For Helicopter Pilots) 4:29
12 Now Nothing 2:59

Penguin Cafe Orchestra – Broadcasting From Home (ogg 115mb)

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Signs of Life was recorded at the Penguin Cafe between 1985 and 1987. The PCO's last proper studio album of all new tunes also wound up being their last for EG Records, but the group shows no sign of slowing down or of boredom (the album title is certainly not ironic). In fact, the jokiness of some of the earlier albums (particularly in song titles) is totally absent here as well, suggesting Jeffes and company worked at considerable length to make this a mature effort. The centerpiece of the album is the brilliant "Perpetuum Mobile" -- which unfortunately went on to be used in several television ads for telecommunication companies, brokerage houses, and other yuppie pursuits -- a simple repetitive melody put through several tonal and textural changes, building grandeur as it goes. The album has a general bittersweet air, more sunset than sunrise, and balances its foot-tappers with its moments of quiet repose the lengthy closing number "Wildlife". in short, one of their finest hours.

Penguin Cafe Orchestra – Signs Of Life (flac 241mb)

01 Bean Fields 4:24
02 Southern Jukebox Music 4:38
03 Horns Of The Bull 4:35
04 Oscar Tango 3:13
05 The Snake And The Lotus (The Pond) 2:55
06 Rosasolis 4:20
07 Dirt 4:48
08 Sketch 3:18
09 Perpetuum Mobile 4:28
10 Swing The Cat 3:22
11 Wildlife 10:58

Penguin Cafe Orchestra – Signs Of Life (ogg 112mb)

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RhoDeo 1146 Grooves

Hello, today two samplers compiled by artists that DJ as well and who can blame them so much money is paid for "brands' in this crazy world. Just today crazy women stood in a line for 24 hours to get a snatch at Versace's H&M; collection, apparently most had to satisfy themselves with bladder infections or the flue as the collection was snapped up in 30 min, and in all likelyness for sale at ebay now or aren't women that clever? Go 99% he said cynically.

Anyway overpaid DJ's- you can't blame them. Times have changed, a few decades ago most organizers didn't have a clue about DJ's and how important they were for a successful party, even clubs didn't really get it..

Ashley Beedle is best known for his work with others Black Science Orchestra, The Ballistic Brothers and X-Press 2 throughout the nineties, since he's been more active producing and running his labels the mix cd here is from 99. German act Terranova are a typical group that sprang from the Berlin music-scene, hard to pin down musically as such their first ever album release gives us an excellent starting point.

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Beedle (born 25 November 1962, Hemel Hempstead, England) first began DJing in the early 1980s but first began making a name for himself during the heyday of acid house. After hearing Norman Jay on KISS FM (a pirate radio station), he became more interested in deep disco. In the early 1990s, he teamed up with Rob Mello and John Howard to form the first incarnation of the Black Science Orchestra, who released several classic club hits in the 1990s ( "Where Were You?", "Strong", Philadelphia and the "New Jersey Deep").

While working with the Black Science Orchestra, Beedle also started a project with Dave Hill, Uschi Classen and Rocky & Diesel, known as The Ballistic Brothers. The resulting LP, 1995's London Hooligan Soul, was a major dance music hit.
Running in tandem with this was X-Press 2 which consisted of Beedle, Rocky and Diesel who had club and chart action through the nineties and noughties with tracks such as Muzik Xpress, London Xpress and a number 2 in the national charts with Talking Heads David Byrne with the track Lazy. X-Press 2 also released two albums, Muzikisum and Makeshift Feelgood.

The Ballistic Brothers returned in 1997 with a second full-length, Rude System, and alongside them Beedle released two solo EPs.Beedle continues to remix and produce acts through the 2000s, and headed the labels Soundboy Entertainment, Afroart, and Ill Sun. He now runs the label Out Hear Audio which showcases his own productions.

In 2005, Beedle remixed Bob Marley's "Get Up, Stand Up" to create a mashup with Damian "Junior Gong" Marley's "Welcome to Jamrock" for the Bob Marley compilation album, Africa Unite: The Singles Collection, released in the United States on November 8, 2005. The Beedle remix is titled, "Stand Up Jamrock (Ashley Beedle Remix)."

Ashley has also released an album on Strut/K7 with legendary singer Horace Andy in the Inspiration Information series and will be releasing a new album in 2010 on K7 called Mavis.

Ashley Beedle – Grass Roots (99 502mb)

01 Windy City Orchestra – Introduction (Windy City Theme) 1:27
02 Gil Scott-Heron & Brian Jackson – The Liberation Song (Red, Black & Green) 6:13
03 Rufus With Chaka Khan – Sweet Thing 3:18
04 Rare Pleasure – Let Me Down Easy (12" Disco Version) 4:35
05 Four Below Zero – My Baby Got ESP (Special Disco Version) 5:11
06 Blue Magic – Welcome To The Club 4:58
07 Stan Ivory And His Omnificent Orchestra – Stan's Theme 3:20
08 Freddie Hubbard – Gibraltar 11:48
09 Lafayette Afro Rock Band – Hihache 6:56
10 Son Of Bazerk Featuring No Self Control And The Band – J Dub's Theme 3:49
11 Unknown Artist – Canned Interlude 0:36
12 Gwen McCrae – Doin' It 4:39
13 Grace Jones – Feel Up (Original U.S. 12" Version) 6:02
14 Will Powers – Adventures In Success 8:39
15 Tullio De Piscopo – Stop Bajon... Primavera 7:12

Ashley Beedle – Grass Roots ( 194mb)

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Terranova is a German band made up of current members Fetisch, Marco Meister and Kaos. They previously went under the moniker Turntable Terranova on the Compost label and sometimes as Edition Terranova. Their music is a fusion of punk rock, electronic and hip hop. They currently reside in Berlin and perform DJ sets at the Berlin night club Pogo Club.

Terranova began after previous member Shapemod left Los Angeles from studying guitar to Berlin where he met Fetisch at the Pogo Club when they began producing together. Their first release, in 1996, was a 12" record entitled "Fiasko." The "Antimatter EP" was also released the same year. It wasn't until 1997 when they released the 12" record "Tokyo Tower" that brought Terranova into the British press.

On 19 January 1998, Terranova released their take on DJ mix album, DJ Kicks which gained them further recognition and is regarded as one of the best and most loved in the highly respected series. Remixes for Fanatik, Jungle Brothers and Stereo MCs followed soon after, among many others. In 1999 Terranova released the singles "Turn Around" feat. Cath Coffey and "Just Enough" feat. Nicolette Krebitz. Photographer Juergen Teller made his first foray into film direction for the band's accompanying video for the track "Just Enough." Terranova released their debut LP Close the Door in the same year with Copasetik. It featured guest vocals from Stereo MCs member, Cath Coffey , Tricky and Nicolette Krebitz she also features on the cover and in the sleeve of the same album.

Terranova left their Copasetik label to join !k7 Records, and released their second LP Hitchhiking Nonstop with no Particular Destination in 2002. Cath Coffey returned , Mike Ladd raps and Ari Up of The Slits appears as well. Soon after they released Peace Is Tough, a companion album for Hitchhiking Nonstop with no Particular Destination by remixing five new tracks with six new versions of previously released tracks which were only available on vinyl or in limited editions.

2004 saw a change of label for Terranova, this time to the popular Ministry Of Sound. And a new album, Digital Tenderness. 2005 Terranova produced "the Lotterboys" their album "Animalia" was released the same year on Eskimo recs. 2007 Terranova produced "the Lottergirls".Their album "Right on" was released in 2008 on ministry of sound. 2008 Terranova produced "Fetisch & Me". Two singles were released the same year on Gigolo recs ("black palms" and "the calling").

VA - Terranova - DJ-Kicks (503mb)

01 Terranova – Intro 0:40
02 Howie B – Five Days1:43
03 Priest – Disorientation 3:53
04 Depth Charge – Sex, Sluts & Heaven (Bordello Mix) 3:26
05 DJ Spooky – Galactic Funk 4:20
06 The East Flatbush Project – Tried By 12 2:41
07 Peanutbutterwolf – Run The Line 3:15
08 Ultimatum – Devil's Claw 0:43
09 BFC – Please Stand By 4:49
10 Patrick Pulsinger – City Lights (City Of Starsigns) 2:54
11 69 Jazzfunkclassics – Ladies & Gentlemen 10:42
12 The Backroom – Definition Of A Track (The Backroom Mix) 5:36
13 Silicon Soul – Who Needs To Sleep Tonight 0:05
14 The Octagon Man – Modern Funk Beats 1:16
15 Terranova – Tokyo Tower (Avenue A Remix) 5:09
16 DSL – I L.O.V.E. You 2:43
17 Ultimatum – Stop It! Stop It! Stop It! 1:04
18 Jungle Brothers – Jungle Brother (Terranova Mix) 4:56
19 The Junkyard Band – The Word 3:28
20 Spoonie Gee – Spoonie Rap (Atmospheric Version) 4:27
21 Terranova – Contact / DJ Kicks 4:49

VA - Terranova - DJ-Kicks (ogg 186mb)

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RhoDeo 1146 Goldy Rhox 46

Hello, today the 46th post of GoldyRhox, classic pop rock, in the darklight a UK band first popular in Europe, the band quickly became successful in North America during the British Invasion of the mid 1960s. Having released 22 studio albums in the UK(24 in the US), nine live albums (ten in the US), and numerous compilations, their worldwide sales are estimated at more than 200 million albums. In 1971 they began a string of eight consecutive studio albums reaching number one in the United States. Their most recent album of entirely new material, was released in 2005. In 1989, the band were inducted into the Rock and Roll Hall of Fame, and in 2004, they ranked number 4 in Rolling Stone magazine's 100 Greatest Artists of All Time. In 2008, Billboard magazine ranked the them at number ten on "The Billboard Hot 100 Top All-Time Artists", and as the second most successful group in the Billboard Hot 100 chart.

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

It was common practice in the music industry prior to 1967 for British releases to be reconfigured for the American market. In some cases, the US version would feature a different track listing, cover, and sometimes even title from its UK counterpart. The first five mystery artists' albums were converted into eight LPs for American consumption, adding material from non-album singles and the UK EPs. Todays mystery is a case in point and it's an US version.

Todays mystery album is the first official compilation album by the band, released on 28 March 1966, on London Records in the US and on 4 November 1966, by Decca Records in the UK. The two releases featured different cover art and track listing. The front cover for this, the American release was used for the rear photo on the UK edition. Reaching #3 on the US charts, where it remained for two years, it proved to be a big smash and currently remains a popular Rolling Stones retrospective. It went multiple platinum, no surprise then that earlier this century it even got a SACD version.

Goldy Rhox 46 (flac 212mb)

Goldy Rhox 46 (ogg 89mb)

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RhoDeo 1146 Aetix

Hello, Aetix is still at that great southern land, todays artists haven't been too prolific despite a core duo the turnover in other bandmembers likely hindered a bigger output, nevertheless they did make an impression and made it to the Australian Hall of Fame.

Blondie, Chrissie Hynde, Pat Benetar, the most dynamic live female performer Australia has ever produced is Divinyls' Christina Amphlett . With the help of an ever changing Divinyls lineup, Amphlett and guitarist Mark McEntee have created a legacy of powerful rockpop records.

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After running away from home to follow her favorite group, at 14 Amphlett joined her first band in Melbourne. In 1971 she turned up in Sydney as one of the featured singers in One Ton Gypsy, an ambitious country rock band. At 17 she left Australia to travel alone through Europe, spending some time living on the streets of Paris, and at one point ending up in a Spanish jail for busking.

Back in Sydney, Amphlett joined a church choir, purely to develop the upper register of her voice. During one choir performance, her stool fell over and became tangled up in her microphone chord. Watching her drag the stool across the stage while continuing to sing was Mark McEntee, so enamoured by her performance he decided he had to meet this girl. It was the start of a long and robust professional relationship.

In December of 1980 they started performing in the sleazy bars of Sydney with a Divinyls lineup made up of musicians who all had long histories in Australian rock & roll without achieving mainstream success, apart from bassist Jeremy Paul who was in the original lineup of Air Supply. They had only just started performing live when the group was spotted by film director Ken Cameron who was looking for a group to appear in his film Monkey Grip. Cameron was so impressed by Amphlett he invented a small speaking part for her. What he also hadn't imagined was finding a group capable of providing the movie with a soundtrack.

The single from the soundtrack mini-album, "Boys in a Town," came with an eye-catching video of Christina Amphlett at her provocative best, dressed in a school uniform and fishnet stockings, filmed from below as she performed on top of a metal grill. It was an image that would stay with the Divinyls for a long time. The single made the Australian Top Ten. Jeremy Paul left on the eve of the single's release and was replaced by Richard Grossman (later of Hoodoo Gurus).

With a one-of deal for Monkey Grip, the Divinyls were in a position to take advantage of the record company offers that flooded their way. With just one hit to their credit the Divinyls were able to sign a worldwide deal with Chrysalis. Their debut album, Desperate, was recorded in New York with Australian producer Mark Opitz.

While the group toured the world extensively in the years that followed, the lineup kept changing around the Amphlett-McEntee team. As well as musicians, the Divinyls have had a habit of losing managers and record companies. The group's output on record has been hindered by the struggle to get all the pieces together long enough to release albums. 1985's What a Life album took three producers to complete. Frustrating for all those concerned, the wait between releases might also have contributed to the group's longevity.

In 1991, the Divinyls stirred up a storm again with the song "I Touch Myself" and a video with a tied-up Amphlett back in fishnets. The ensuring controversy helped make the song a huge hit around the world: number one in Australia, Top Ten in America. By now there was no pretence of a "group" and the Divinyls' duo toured on the back of their hit with the help of session musicians.

It wasn't until 1996 that Underworld, their fifth studio album, was released in Australia by BMG. Despite the success of diVINYLS Virgin had not kept them under contract and BMG did not release Underworld in the US. In early 1997, Amphlett and McEntee had a falling out and separated without formally disbanding Divinyls.

Amphlett and McEntee concentrated on solo projects and collaborations with other artists. Amphlett and Drayton lived in New York City from 2000, while McEntee ran a clothing label, Wheels and Doll Baby, in Perth with his partner, Melanie Greensmith. In November 2005 Amphlett published her autobiography Pleasure and Pain: My Life co-written with Larry Writer; she detailed her achievements, drug and alcohol abuse, love affairs and triumphs while a member of Divinyls

On 16 August 2006 Divinyls were inducted into the ARIA Hall of Fame and had their first performance for 10 years at the award ceremony. They reformed shortly afterwards and a compilation, Greatest Hits, was released by EMI Music Australia in August 2006. A single, "Don't Wanna Do This", was released in November 2007 and an album recorded in Las Vegas was expected to be released in 2008; however its non-appearance may be due to Amphlett's Multiple Sclerosis. In August 2009, Amphlett announced that Divinyls were finished and she had a new band in New York.

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After scoring several gigs, they were discovered by Australian director Ken Cameron. This led to Divinyls providing the entire soundtrack for his 1982 film Monkey Grip. Amphlett was also given a supporting role in the film, playing a temperamental rock singer loosely based on herself, fronting a band played by other Divinyls members. In the film, the band performed their debut single "Boys in Town", as well as other songs "Only Lonely", "Elsie", "Only You", "Girlfriends" and "Gonna Get You", the latter being the first appearance of them in the film. The soundtrack Music from Monkey Grip was acknowledged as a Divinyls album, and when released in 1982, it made the top twenty-five of the Australian Albums Chart. "Boys in Town" was a success in Australia where it made the top ten, peaking at number eight in 1981. After the bands initial success, original manager and bassist Jeremy Paul left

Divinyls - Music From Monkey Grip (flac 151mb)

01 Boys In Town 2:50
02 Only Lonely 3:12
03 Elsie 5:50
04 Elsie (Reprise) 2:46
05 Only You 2:40
06 Gonna Get You 2:46
07 Girlfriends 3;13

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The boys in town follow up single "Science Fiction" was released in 82 and was also a success, peaking at number thirteen, nicely setting up their official debut album. When Desperate was released, it climbed the albums chart and eventually peaked at number five. In addition, it proved to be among the top twenty most successful albums of 1983, ranking in at number seventeen according to the Kent Music Report end of year chart. .

The track listing of Desperate differed between the Australian release and the international version. Because Divinyls had already released the Monkey Grip soundtrack, which contained the songs performed in the film, in particular the single "Boys in Town", they were not included on the original Australian release of Desperate. On the international release of Desperate, some of the songs from the Monkey Grip soundtrack were included as official album tracks, such as "Boys in Town", "Only Lonely", "Only You" and "Elsie".

The majority of the songs on Desperate were written by Christina Amphlett and/or Mark McEntee except "Siren (Never Let You Go)", which was written by band member Bjarne Ohlin, and "I'll Make You Happy", which was a cover of the original 1966 song by The Easybeats.

Divinyls – Desperate ( flac 243mb)

01 Boys In Town 2:50
02 Only Lonely 3:15
03 Science Fiction 3:32
04 Siren Song 2:28
05 Elsie 6:42
06 Only You 2:48
07 Ring Me Up 3:07
08 Victoria 3:19
09 Take A Chance 3:23
10 I'll Make You Happy 3:21

Divinyls – Desperate ( ogg 80mb)

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Divinyls is the fourth studio album by Australian band Divinyls, released on 29 January 1991 (see 1991 in music) by Virgin Records. The album was the band's most successful, peaking at No.5 in Australia and No.15 in the US. The album also contained the band's biggest-selling single, "I Touch Myself", which reached No.1 in Australia, No.4 in the US and No.10 in the UK. The single generated some controversy in the U.S. when lead singer Chrissie Amphlett sang about female masturbation on "I Touch Myself." Far from explicit, the PG-rated hit shouldn't have come as such a shock to American ears. At any rate, this self-titled CD offers exactly what one generally expects from the Divinyls: rockin' intensity combined with new wave-ish quirks and a strong melodic sense. Though not mind-blowing, it's respectable and generally appealing. Hardcore Divinyls enthusiasts will find the eerie "Love School" and infectious offerings like "Make Out Alright," "Bless My Soul (It's Rock-N-Roll)," and "I Touch Myself" to be well worth acquiring. Desperate would be a better introduction to the Divinyls, but this is a release with many more strengths than weaknesses. Director Michael Bay filmed a in a nunnery in Pasadena. The videoclip for "I Touch Myself" was nominated for an MTV award but in their home country was banned from television (god knows why it's rather tame).

Divinyls – Divinyls (flac 314mb)

01 Make Out Alright 4:38
02 I Touch Myself 3:46
03 Lay Your Body Down 4:51
04 Love School 5:23
05 Bless My Soul (It's Rock-N-Roll) 4:00
06 If Love Was A Gun 5:36
07 Need A Lover 4:50
08 Follow Through 4:44
09 Cafe Interlude 0:41
10 Bullet 4:56
11 I'm On Your Side 4:15

Divinyls – Divinyls (ogg 110mb)

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RhoDeo 1146 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.

Today in the spotlight a man with a bigger career as he's known for, likely because his entry into global awareness came 40 years ago and being a reggae artist and converted muslim isn't the stuff media are to keen to follow up upon. I'm not sure but even in Jamaica they must have scratched behind their ears upon hearing one of their leading stars at the time becoming a muslim, militant american blacks had done so but that could be seen as a revolt opposing the hypocritical Christian US churches, quiet different from their Jamaican counterparts. I guess Cliff by that time (75) had seen enough of the world and its ways, and that Christianity was a morally corrupted religion (that started right at its beginning in 365 AD with the inclusion of the old testament). Cliff has proven he ain't no 'april fool' and at 63 today he's probably good for some more great music.

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It's one of the music industry's great ironies that today, outside of reggae circles, Jimmy Cliff is perhaps better known for his film appearances than his music. Even after a string of hits, the singer never quite managed to break into the mainstream, although he seemed poised for international stardom during the late '60s/early '70s. The singer was born in St. Catherine, Jamaica, on April 1, 1948, with the less prosaic name James Chambers. His talent was evident from childhood, and he began his career appearing at local shows and parish fairs.

Feeling ready for the big time at the age of 14, he moved to Kingston and took the surname Cliff to express the heights he intended on reaching. Cliff recorded two unsuccessful singles before he was spotted by Derrick Morgan, who brought him to Leslie Kong. His first single for the budding producer, "Hurricane Hattie," was an instant hit. Unusually, Cliff remained with Kong until the producer's death; most Jamaican artists flit from studio to studio. The singer's loyalty was rewarded, however, by a string of follow-up hits. In the early years, the pair helped set the ska scene alight, both in Jamaica and in Britain, where the singer's singles were picked up by Island Records. "Miss Jamaica," "King of Kings," "One Eyed Jacks," and "Pride and Passion" have since become classics of the original ska era.

By 1964, Cliff's star was so bright that he was selected as one of Jamaica's representatives at the World's Fair. A successful residency in Paris followed, and Island head Chris Blackwell eventually convinced the singer to relocate to Britain. The label itself was in the process of shifting away from Jamaican music and into progressive rock, and thus Cliff began composing songs with an eye to cross over into that market.

It was a risky plan, but ultimately a successful one. In 1968, Cliff released his debut album, the excellent Hard Road to Travel, and won the International Song Festival with "Waterfall," a song that became a smash hit in Brazil. He swiftly moved to that country to take advantage of his success, but even greater heights were in the offing. The following year, "Wonderful World, Beautiful People" proved to be his international breakthrough. The single soared to number six on the British charts, and charmed its way into the Top 25 in the States. The song's anti-war follow-up, "Vietnam," proved to be less popular, even if Bob Dylan called it the best protest song he'd ever heard. Regardless, Cliff's new album, 1969's Wonderful World, was critically acclaimed, and saw the singer starting to build a following amongst the AOR crowd.

The title track, a cover of Cat Steven's "Wild World," was another smash in 1970, and Desmond Dekker took Cliff's own "You Can Get It if You Really Want" to number two in Britain. And then tragedy struck. Leslie Kong, who had continued to oversee Cliff's career during this entire period, died unexpectedly of a heart attack in August 1971. The singer was at a loss, as he'd grown up under the producer's wing and was abruptly forced to fend for himself. One of the last projects Kong had undertaken was overseeing the soundtrack to the movie The Harder They Come. Produced and written by Perry Henzell, this powerful film featured Cliff in the leading role, and upon its release swiftly became an underground classic. The soundtrack, which boasted a clutch of Cliff's own compositions, was an equally seminal record.

This should have pushed the singer into the mainstream, but Island dropped the ball and turned their attention to Bob Marley instead. The timing was also off in the U.S., where the movie didn't see release until 1975. Cliff left Island's roster and signed to Reprise in the U.S. and EMI in the U.K., but fared no better on either label. 1973's Unlimited, 1974's Struggling Man, and the following year's Brave Warrior were unable to sustain the success never mind improve upon it. During this time, Cliff converted to Islam and traveled to Africa in search of his roots, and his newfound religious devotion began to heavily influence his music.

In 1975, with the release of The Harder They Come in the U.S., Cliff's second album for the year, Follow My Mind, immediately grabbed America's attention and became his first album to reach into the bottom of the chart. Reprise then decided it was time for a greatest-hits collection, although this would be accomplished via a live album. Rolling Stones' producer Andrew Loog Oldham was brought in to oversee the project, and Cliff was sent out on the road to tour and record. What the label received was one of Cliff's most ferocious albums to date, Live -- In Concert. The singer was not ready to wallow in nostalgia, and across the rest of the decade he continued releasing albums that were thoroughly modern in sound and fierce in delivery.

Cliff closed his account with Reprise in the new decade with 1981's "Give the People What They Want, and moved to Columbia. He formed a new backing band, Oneness, and embarked on a tour of the U.S. with Peter Tosh; there was also a fabulous performance at Reggae Sunsplash that year. 1983's The Power and the Glory inaugurated his partnership with Kool & the Gang, and the album was nominated for a Grammy. Its follow-up, Cliff Hanger, would win the award in 1985. However, 1989's Hanging Fire became his last effort for Columbia, although the singer continued to release material in both Jamaica and the U.K. During this period, Cliff also co-starred in the movie Club Paradise. He returned to the American charts in 1993 with his cover of "I Can See Clearly Now," from the soundtrack for Cool Runnings, which glided into the Top 20. More singles and albums have followed, and the singer remains a potent musical force. A comeback album of sorts, Black Magic, which featured duets with high profile stars like Sting, Joe Strummer, Wyclef Jean and others, appeared in 2004.

On December 15, 2009, Cliff was officially announced as an inductee and was inducted on March 15, 2010. In the spring and summer of 2010, Cliff embarked on an extensive tour of the US and Canada. he's released many dozens of albums and the number of compilations runs in the hundreds during his almost 50 year career.

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In 1973, when the movie The Harder They Come was released, reggae was not on the radar screen of American pop culture. The soundtrack went a ways toward changing that situation. It is a collection of consistently excellent early reggae songs by artists who went on to thrive with reggae's increased popularity, and others for whom this is the most well-known vehicle. Jimmy Cliff is both the star of the movie and the headliner on the soundtrack. He contributes three excellent songs: the hymnal "Many Rivers to Cross," "You Can Get It If You Really Want," and "The Harder They Come" (the latter two are repeated at the end of the album, but you probably wanted to hear them again anyway). Interestingly, the better production values of his songs actually seems to detract from them when compared to the rougher, but less sanitized, mixes of the other tracks. All the songs on this collection are excellent, but some truly stand out. Toots & the Maytals deliver two high-energy songs with "Sweet and Dandy" and "Pressure Drop" (covered by the Clash among others). The Harder They Come is strongly recommended, collections don't come much better than this.

VA - Jimmy Cliff - The Harder They Come I (flac 247mb)

101 Jimmy Cliff – You Can Get It If You Really Want 2:39
102 Scotty – Draw Your Brakes 2:56
103 The Melodions – Rivers Of Babylon 4:15
104 Jimmy Cliff – Many Rivers To Cross 3:00
105 The Maytals – Sweet And Dandy 2:58
106 Jimmy Cliff – The Harder They Come 3:39
107 Slickers, The – Johnny Too Bad 3:01
108 Desmond Decker – Shanty Town 2:45
109 The Maytals – Pressure Drop 3:40
110 Jimmy Cliff – Sitting In Limbo 4:54
111 Jimmy Cliff – You Can Get It If You Really Want 2:42
112 Jimmy Cliff – The Harder They Come 2:42

VA - Jimmy Cliff - The Harder They Come I (ogg 97 mb)

Disc Two Crucial Reggae 1968-1972
Some liberal interpretation of what can constitute the bonus material of a deluxe edition went into this. The additional material on the second disc is not outtakes from the soundtrack or some such intimately related work, but 18 high-grade vintage reggae tracks from the late '60s and early '70s. The 18 songs on disc two include some core reggae classics, among them some of the biggest reggae-pop crossovers of 1968-1972, including Dekker's "Israelites," Johnny Nash's "I Can See Clearly Now" (yes, Nash was American, but this was recorded in Jamaica), Dave & Ansel Collins' zany instrumental "Double Barrel," and Cliff's "Wonderful World, Beautiful People." These are spiced with somewhat lesser-known delights like the Maytals' "Do the Reggay," Cliff's "Viet Nam", and Donaldson's "Cherry Oh Baby," famously covered by the Rolling Stones on their Black and Blue album. The additional disc, though strictly speaking not directly related to the soundtrack, does what the bonus material on deluxe editions should do, make a classic album better.

VA - Jimmy Cliff - The Harder They Come II (flac 338mb)

201 Desmond Dekker & The Aces – Israelites 2:37
202 The Uniques – My Conversation 2:40
203 The Maytals – Do The Reggay 3:18
204 Jimmy Cliff – Viet Nam 4:52
205 Johnny Nash – I Can See Clearly Now 2:42
206 The Ethiopians – Reggae Hit The Town 2:23
207 Dave & Ansel Collins – Double Barrel 2:49
208 Desmond Dekker & The Aces – It Mek 2:31
209 The Melodians – Sweet Sensation 3:42
210 Jimmy Cliff – Let Your Yeah Be Yeah 3:04
211 Eric Donaldson – Cherry Oh Baby 3:01
212 Dave & Ansel Collins – Monkey Spanner 2:45
213 The Maytals – 54-46 (That's My Number) 2:58
214 The Melodians – It's My Delight 3:13
215 Jimmy Cliff – Wonderful World, Beautiful People 3:15
216 The Maytals – Pomp & Pride 4:27
217 Johnny Nash – Guava Jelly 3:15
218 Jimmy Cliff – The Bigger They Come, The Harder They Fall 3:11

VA - Jimmy Cliff - The Harder They Come II (ogg 132mb)

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