RhoDeo 1113 Goldy Rhox 20

Hello, today the 20th post of GoldyRhox, classic pop rock. At the time I was still more interested in better popmusic and this looked to intelektual for me, pretentious wasn't in my vocabulary yet, maybe it was the fans that were drooling over it, anyway i kept my distance then. Nothing to dance to..

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 key components to every great prog-rock album comprise memorable guitar riffs, punchy immediacy that draws you into the song, ample rhythmic kick, and the imaginative capacity to transport the listener to a place well beyond the confines of reality. This album features all of these rare qualities and more, the 1971 record as significant for saving the band’s career as well as for establishing new parameters in virtuosic technicality and skilled composition. The first set recorded with guitarist Steve Howe, it remains the band's grandest achievement and claims a musical vision the British quintet’s contemporaries struggled to match. Combined with Squire’s flexible bass lines, Howe’s inventive solos and acoustic tuckpointing, Bruford’s restrained thunder, and Jon Andersen’s poetic words, and it seems inevitable that The ? Album could’ve been anything other than a smash success. The record’s memorable tracks still orbit today’s radio playlists and sports stadiums.


Goldy Rhox 20 101mb


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RhoDeo 1113 Aetix

Hello, as i'm elsewhere at the moment a light posting here, not much to add to this collection of punk tracks, those that lived thru those days will have their memories revived of those sweaty nights when the world was much smaller...


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VA - The Best Punk Anthems..Ever 1 ( 183mb)

01. Sex Pistols — God Save The Queen
02. Iggy Pop — Lust For Life
03. Buzzcocks — Ever Fallen In Love (With Someone You Shouldn't've)
04. Ramones — Sheena Is A Punk Rocker
05. The Members — The Sound Of The Suburbs
06. Sham 69 — If the Kids Are United
07. The Jam — The Eton Rifles
08. Wire — I Am The Fly
09. The Stranglers — Peaches
10. Ian Dury And The Blockheads — Sex & Drugs & Rock 'N' Roll
11. Elvis Costello And The Attractions — (I Don't Want To Go To) Chelsea
12. Television — Marquee Moon
13. Only Ones — Another Girl, Another Planet
14. Iggy Pop — The Passenger
15. Dr. Feelgood — Milk And Alcohol
16. The Motors — Dancing The Night Away
17. Richard Hell & The Voidoids — Blank Generation
18. Eddie And The Hot Rods — Do Anything You Want To Do
19. Tom Robinson Band — 2-4-6-8 Motorway
20. The Vapors — Turning Japanese
21. Blondie — Hanging On The Telephone
22. The Skids — Into The Valley
23. Jilted John — Jilted John

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VA - The Best Punk Anthems..Ever 2 ( 178mb)

01. Undertones — Teenage Kicks
02. Sex Pistols — Anarchy In The U.K.
03. The Damned — New Rose
04. Buzzcocks — Orgasm Addict
05. The Adverts — Gary Gilmore's Eyes
06. The Ruts — Babylon's Burning
07. Rezillos — Top Of The Pops
08. Generation X — King Rocker
09. Stiff Little Fingers — Alternative Ulster
10. X-Ray Spex — Identity
11. Bow Wow Wow — C30, C60, C90, Go
12. The Saints — This Perfect Day
13. Sid Vicious — My Way
14. The Damned — Neat Neat Neat
15. Undertones — Jimmy Jimmy
16. Magazine — Shot By Both Sides
17. The Skids — The Saints Are Coming
18. The Stranglers — (Get A) Grip (On Yourself)
19. Jonathan Richman & The Modern Lovers — Roadrunner
20. Devo — Mongoloid
21. Public Image Ltd — Public Image
22. Penetration — Don't Dictate
23. 999 — Emergency
24. XTC — Making Plans For Nigel
25. Wire — Outdoor Miner
26. Flying Lizards — Money
27. John Cooper Clarke — Kung Fu International


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RhoDeo 1113 Roots

Hello, i was wondering which way to go today, acroos the sea of Gibraltar to southern Spain or towards the upheavels, towards the east. I decided to hop over to Egypt, the ancient powerhouse unfortunately they didnt leave us any music connotations just hieroglyphs..took some time to decode those btw. Still, tradition has been laid down in digits here..


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Formed in the Egyptian city of Abu-al-Djud (now Luxor), the Musicians of the Nile reflect the singing tradition of Egypt's gypsy families., The Musicians of the Nile have criss-crossed Europe over the last 20 years. Like the ancient bards of time past, the difference is that they move through space and cultures as comfortably on an airplane as on the back of a donkey.

Discovered in 1975 by Alain Weber, who has been their artistic director ever since, the Musicians of the Nile is a group whose talent has always included some of the greatest figures of the Upper Egyptian tradition - among them, Metqal Qenawi Metqal, Shamandi Tewfiq Metqal and Muhammed Murad Mejali, all three of them members of the famous Mataqil clan of musicians.

Well before the World Music wave, the Musicians of the Nile were the first so-called "Arab Music" group to attain widespread popularity. Frequently imitated and sometimes plagiarized, the Musicians of the Nile have kept up with the parallel currents in music ever since the Chateauvallon Festival in 1975, where they met some of the greatest jazz musicians of the time including Sun Ra and Keith Jarret.

Their dazzling mix of traditional songs is perfectly showcased on this early Real World release, which was taped in both France and England during the late '80s. With the dusky strains from the rababah (traditional fiddle), the mizmar (an oboe-like instrument), and the tablah (a hand drum similar to the darbouka) filling the air, the group delivers an array of trance-inducing long-players, including ensemble pieces as well as solo spotlights like the tablah feature "Zahrafat Al Sa'id" (Rejoicing in Upper Egypt) and the arghul (double-reed clarinet) vehicle "Kol Elle Qalboh Ankawa" .



The Musicians Of The Nile - Luxor To Isna (84 123mb)

01 Al Bahr Al Gharam Wasah (Love Is As Vast As A River) 9:59
02 Zahrafat Al Sa'id (Rejoicing In Upper Egypt) 7:04
03 Ya Tir 'Ala Shadjarah (Oh Bird Upon The Tree) 9:14
04 Horse Steps 0:42
05 Al Nahla Al 'Ali (The Tall Palm Tree) 3:25
06 Kol Elle Qalboh Ankawa (Everyone Has Had A Broken Heart) 11:53
07 Yunes Wa 'Azizah (Yunes And Azizah) 10:06
08 Al-aqsur-isna (From Luxor To Isna) 1:27


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Hossam Ramzi was born in Cairo, Egypt to a prominent Egyptian family which emphasized education and art. Ramzy's musical career began at the age of three when he was given his first drum, an Egyptian traditional tabla. Hossam was encouraged by his artistic family to master his craft and studied under leading Cairo music teachers. When he moved to Saudi Arabia he joined several Bedouin tribes which gave him a rich insight into the cultural origins of Middle Eastern music and became the inspiration for many of his later rhythmic directions.

In the mid-1970s Ramzi moved to London, England and enjoyed a lot of success as a jazz drummer, working with many respected jazz musicians including Andy Sheppard and Geoff Williams. As he began looking for new dimensions of percussive sounds, he turned back to Egyptian Drums, and traditional dance rhythms of the Middle East.

Hossam Ramzy's friends call him "The Egyptian Rhythm Ambassador". He recorded his first solo album, An Introduction To Egyptian Dance Rhythms in 1987. This album was a break from his career as one of the most sought-after session percussionists of his generation. His CV at the time read like a who’s who of '80s music - Boy George, Marc Almond, Peter Gabriel and Killing Joke were just a few of his clients. After achieving this success, Ramzi decided to look deeply at his own musical roots. He said that his intention was "to record, document, enhance and contribute to the rhythms and compositions of a musical and dance culture that was slowly being eroded by the desire for progress, modernisation and superficial Westernisation". Ramzi was convinced that a vital musical and cultural tradition and heritage would be lost if many of the compositions that he knew and loved so deeply were not recorded for future generations. He recorded 22 CDs from 1987 to 2007.

A keen sorcerer of sonic visions, Phil Thornton has written and produced over 20 solo albums, since beginning his musical odyssey in the early '80s with the group 'Expandis' Phil Thornton is now closely associated with the British New Age music movement, but he is also an accomplished guitarist and has had a long touring and recording association with Sinead O'Connor. He is a regular member of the neo-psychedelic English band Mandragon, and he has worked with Gordon Giltrap, Talking Heads, Stallion, Die Laughing, Naked Lunch, 4 B 2's, and Expandis.

Phil's first two ambient albums the film score for 'Cloud Sculpting' and 'Edge Of Dreams' both topped the 'New Musical Express' New Age chart and are now widely acclaimed as classics of their genre. His arrangements often feature a mix of ethnic and modern instruments, which has led him into collaborations with leading 'world' musicians to create a diverse and hypnotic blend of atmospheric compositions.

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Following the glowing success of Eternal Egypt, the first collaboration between Phil Thornton and Hossam Ramzy, a new light of creativity has guided the two of them to work together again in a startling and innovative format. With pieces added by top soloists and session musicians in Cairo, and re-arranged and overlaid by Phil and Hossam back in the UK, the outcome is an album that became the Bible for ALL Tribal & Fusion Middle Eastern dancers around the world. Causing a major wave of interest from dancers in Australia, New Zealand, South Africa, Singapore, Europe, UK, USA and South America alike. Immortal Egypt is a deeper exploration of the Egyptian dance/Western contemporary theme running through the albums 'Pharaoh' and 'Eternal Egypt' by Phil Thornton and on which Hossam has collaborated as a percussionist. During the recording of 'Eternal Egypt' Hossam was able to take samples of work in progress to Cairo and overdub 'Kawala' flute and quarter tone Accordion. On this album I was keen to use more Egyptian instruments as the “Eternal Egypt” session had gone so well. With this in mind, Hossam and I spent some time in Cairo during August 1997 recording overdubs using a wide range of traditional and modern Egyptian instruments including Violins, Nay, Kawala, Trumpet and Mizmars. Haunting mixtures of rhythms and emotions that turned the music from a daring experiment to a new style of music that set itself as the new Mile Stone in the history of East meeting West collaborations.



Phil Thornton & Hossam Ramzy - Immortal Egypt (96 156mb)

01 At The Gates Of The Citadel 5:32
02 Cairo Blues 6:46
03 Last Words By The Temple 7:02
04 Morocco Dance 5:40
05 Derwood Green 6:07
06 El Moulid 6:46
07 Praying For Rain 7:02
08 Emerald Minarets In A Sea Of Stars 5:40
09 Sunrise Over Giza 6;12
10 Immortal Egypt 6:17


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RhoDeo 1113 RAW 06

Hello, been rather busy today and a spontanous restart didnt help, in fact it tested my patience, running two browsers and having mozilla's plug-in container doing anything but and subsequently finding out that exe has been known for it's instability..way to go Mozilla. Oh well , im off to DIY some for my mum so I ve been busy preposting for the week..stressy. Need to be on the train in 12 hours and have some sleep aswell..duh. Ok part 2 of Techniques for Consciousness Change , i admit it can be a bit frustrating at the end of last weeks post the voice comes on ..Please turnover the cassette..and you have to wait another week....

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

06 Techniques for Consciousness Change part 2 (44min. 36mb)



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Sundaze 1113

Hello, as the day has been shortened by an hour i wish you all a fine adjustment of your bodyrhythm. Mine, well i kept my kitchen clock on summertime that helps...
As i was looking for what to post in my preps section i picked two and would you believe it during background research i found out they've worked together and share the same record label.. go figure. I was on the right track there, so i decided to add the movie of the soundtrack i'm posting. After some frustrating failures i found the right tool to get this HD movie...bit too large to share here, so i recoded it to FLV 640x320 for you all, the movie is a bit Koyaanisquatsi like.. considering the speed of living in the mid eighties i'd say its rather contemplative ...but then that's part of the Sundaze charm...

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Ron Fricke's Chronos 42min, HD mp4 700mb or get it here Ron Fricke - Chronos (FLV 640x320 , 189mb)






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Michael Stearns (born 1948) is an american musician and composer of ambient music. He is also known as a film composer, sound designer and soundtrack producer for large format films, theatrical films, documentaries, commercials, and themed attractions. Grown up in Tucson, Arizona, Michael Stearns started practicing guitar at 13. At 16, he played in a surf music band, evolving to acid rock, he began composing music on multiple instruments in 1968 and, while in university and in the Air Force, spent a few years studying electronic music synthesis, the physics of musical instruments, and accumulating equipment (musical instruments, tape recorders...) for his first studio.

The studio opened in Tucson, Arizona in 1972 where he produced jingles and commercials for local radio and television, and nationally released jingles for Schlitz Beer and Greyhound Bus Lines. Stearns's interest in experimental "space" music though left him unsatisfied, as he found no audience to play his musical ideas, which could be at this time only related to the drug experience. After three years, Michael Stearns underwent a spiritual crisis and thought about stopping music.

In 1975, Michael Stearns met Emily Conrad and Gary "Da'oud" David. Emily Conrad ran meditation classes in a workshop named Continuum, with Gary David performing on a Minimoog and looped tapes during the classes. Michael Stearns and his girlfriend Susan Harper moved to L.A., to join Emily Conrad. Not long after Michael Stearns became a resident musician and composer till 1981. All the while developping skills on synthesizers and the musical ideas that would feed his first solo albums. By 1977, Michael Stearns had formed a small independent record label (Continuum Montage) with Susan Harper and a close friend and investor, David Breuer. The same year came the first releases on tape, Desert Moon Walk and Sustaining Cylinders, followed by Ancient Leaves, his first album released on vinyl, in 1978.

In the same years, Stearns started out playing with Fred Stofflet a percussionist, then with Don Preston, the former keyboardist for The Mothers of Invention. Both of them were playing for Emily David's classes. After that, Stearns, Stofflet and Craig Hundley started a free jazz group called "Alivity". Kevin Braheny came to one of their concerts and became friends with Michael Stearns. He later joined Stearns to play live for Continuum, bringing his Serge synthesizer with him, on which Michael Stearns would record his album Morning Jewel in 1979 before building his own Serge synthesizer. In the same period, Stearns started working with Craig Huxley scoring movies and developed a friendship with Stephen Hill.

In 1981, Continuum moved to a new location and Michael Stearns began a solo career. He released Planetary Unfolding, Light Play (1983) and Lyra. on his own Continuum label until in 1984 he signed to Sonic Atmospheres, on which some of his earlier works would be re-released. In 1984, Chronos was the first film music done entirely by Stearns after years of collaboration with Huxley or Maurice Jarre. In 1986, he provided "electronic images and textures" for Constance Demby's album Novus Magnificat. After two more releases for Sonic Atmospheres, Plunge (1986) and Floating Whispers (1987), Michael Stearns signed to his old friend Stephen Hill's new label, Hearts of Space Records and released Encounter.

In the next years, Michael Stearns worked again with Ron Fricke, scoring Baraka, his best known composition and released several albums, working with Steve Roach, Kevin Braheny and/or Ron Sunsinger (1989 : Desert Solitaire, 1994 : Singing Stones and Kiva) or alone (1993 : Sacred Sites, 1995 : The Lost World). In 2000 and 2001, Michael Stearns, now established in Santa Fe, New Mexico, released several albums on his own label Earth Turtle : Within, The Middle of Time, Spirits of the Voyage, The Storm, and Sorcerer. He is still scoring movies and documentaries today. In 2006, he was involved in the IMAX movie Te Vaka

Quote
"What I hope is transferred to the listener of my music is a certain depth. I think the depth that I am really speaking of is that we as human beings are the artistic process here on the planet, as individuals, groups, countries and as a global experience. What we create and think of as our artistic outpouring, be it music, the painted art, a sculpture or just a beautiful dinner that we might create for somebody, are really metaphors or hieroglyphics for the depth of our own participation in the moments that we create them. I hope that this depth creates a context for other people to experience deeper things inside of themselves."

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Chronos is the soundtrack of the IMAX film by Ron Fricke (one of the the creators of Koyaanisqatsi). One could define it as an electronic symphony (a single track of 41:30, with seven movements): few musicians can reach such a degree of expressiveness, of strength and power, of space and crescendos with synthesizers. Michael Stearns used a Serge Modular System, as well as Oberheim, Emu and Yamaha synthesizers, blending analogic and digital textures in a true symphonic way. Constance Demby added her impressive "Space Bass" sound, while a human choir added a lyrical touch to the composition. Slow and meditative or carried away by the hectic tempos of Western megapoles, Chronos is a unique sonic journey through the paths of time and memory, of origins and progress: this soundtrack will inspire you many visions even if you don't watch the movie...



Michael Stearns - Chronos (84 152mb)

01 Chronos (41:45)
Movement 1 - Corridors Of Time
Movement 2 - Essence And The Ancients
Movement 3 - Angels, Bells And Pastorale
Movement 4 - Escalator
Movement 5 - Voices
Movement 6 - Portraits
Movement 7 - The Ride (Finale)

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Born in Oakland CA, Constance Demby gave her first recital for classical pianoforte at the age of twelve. She studied sculpture and painting at the University of Michigan. After her marriage, she lived in New York for seven years.It was both as musician and sculptor that her Sonic Steel Instruments, the space bass and the whale sail were created. An original design, her Sonic Steel Instruments have been recorded by Lucas Skywalker Studios for use in their filmscores, and also filmed by Discovery Channel at Gaudi's Park Güell. The Space Bass is featured on Michael Stearns' soundtrack for Chronos.

As a co-founder of The Central Maine Power, Sound and Light Company, an experimental visual and sound group, she created multimedia shows with sculptures and lights, and her sonic steel instruments.

As a pioneer in her field, she creates sounds you'd swear you never heard before; yet, somewhere in some dim memory, there is a faint memory echo - rich and compelling - calling up archetypal experiences which access the deeper, more profound levels of the mind-body-spirit, allowing listeners to travel into states of expanded consciousness.



Constance Demby - Set Free (89 428mb)

01 Waltz Of Joy 4:45
02 Tribal Gregorian 4:19
03 Jungle Jam 6:12 (bonus)
04 Javalon 4:19
05 I Set Myself Free 4:30
06 Moving On 4:45
07 Mother Of The World 5:29
08 Chambers Of The Heart 4:37
09 Lotus Opening 5:53
10 Into The Center 11:01
11 The Galactic Chalice 7:26
12 Celestial Communion 9:16

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elsewhere on this blog (Rhotation 29)

Constance Demby - Novus Magnificat ( 86 ^ 99mb)

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RhoDeo 1112 Beats

Hello, since i've gotten a faster connection , nomally 60 mbs..haha well tester says 28, upload is ok 5mbs , could have used that these past years. Anyway i got good speed upto 1mbs from megaupload-making it the fastest for me before, and now it's the slowest -below 50kps bizar ! All of a sudden Rapidshare is spewing out at 7mbs -every hour or so. Strange things going on. Not that i care that much, to be honest i lack the time to watch or listen to all thats on offer-even considering my selectiveness..I guess you people have the same problems and can i say i'm glad so many of you visit me every week.

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Prior to forming Fluke, Jon Fugler and Mike Bryant had previously played in two punk bands together named "The Leaky Radiators" and "The Lay Figures" respectively. The third member of Fluke, Mike Tournier, was introduced to the group when he undertook work on a collaboration with Jon Fugler entitled "Skin". It soon became clear that all three shared musical tastes, having a shared interest in the acid house scene and the more experimental electronic sounds of Cabaret Voltaire and Giorgio Moroder, Fluke was born.

After releasing 3 white label 12"'s they were picked up by Creation Records where they released their first CD single "Philly" in 1990. The following year saw the release of Fluke's first album, The Techno Rose of Blighty which was swiftly followed by the single "The Bells" and a live album entitled Out (In Essence). For the release of Out (In Essence) Fluke abandoned their deal with Creation Records and signed instead with Circa Records, an offshoot of Virgin. The band realised at this early stage in their career that they would experience the greatest artistic freedom if they possessed their own recording studio. They therefore took it upon themselves to obtain their own premises. This proved to be an invaluable asset.

After a two year break Fluke returned with what was to be a breakthrough into mainstream popular music when, in 1993, they released the single "Slid". This single became an instant club classic when it was picked up by DJ Sasha who liked it so much that he included three separate remixes of it on his Renaissance album. This burst of success was followed by a rush of two further singles, "Electric Guitar" ( sample (help·info)) and "Groovy Feeling", and, in the same year, the release of the group's second album, Six Wheels On My Wagon.

The following year Fluke released their third album, Oto, which is the Greek for "of the ear". In terms of style, Oto was somewhat darker than Six Wheels on my Wagon, focusing on the downbeat ambient effects which were present in the second half of Six Wheels. Fluke proved to be a driving force in the progressive house and trip-hop scenes.
In 1996 they released "Atom Bomb", originally created as a soundtrack to the video game Wipeout 2097, it became the centrepiece of their next album, Risotto.It was a runaway success in 1997 and 1998, powered by the cartoony big-beat of "Atom Bomb" and the gentle breakbeat track "Reeferendum".

After touring for a year with Risotto on the American, "Electric Highway Tour", and having made two appearances at the Glastonbury festival in 1995 and 1998, Mike Tournier elected to leave the group to pursue a different project named Syntax, with the band's long standing friend, Jan Burton.The pair produced just a single album, Meccano Mind in March 2004.
With the group split it was seen fit to release two "Best Of" albums entitled Progressive History X, a compilation spanning their entire ten year producing history, and then in 2001, Progressive History XXX, a three CD box-set including many rare and hard to find mixes.

It was in 2003 however that Fluke finally demonstrated their ability to survive without Tournier when they released their fifth studio album, Puppy, six years after Risotto. The name of the album was inspired by Jeff Koons' fifty foot sculpture of a puppy that stands outside the Guggenheim museum in Bilbao. This album proved to be similar to the earlier Risotto tracks in tempo and mood, but with the introduction of some new ideas, such as the inclusion of a blues track, "Blue Sky" and the addition of a very dark techno orientated bonus track, Pulse. The album was not received well critically with most of the criticisms labelling the album as dated. After Puppy came out, Fugler and Bryant reinvented themselves as 2 Bit Pie.

Although Fluke have been producing music for the best part of two decades they remain relatively unknown to a large scale audience and the band members themselves are even less recognisable. Jon Fugler insisted in an interview with The Independent that the band's reclusivity was "less about selfish hedonism than the revival of 'a communal attitude that had long been forgotten'". The main sphere of influence where the band has had success is through their inclusion in advertisements, film and video game soundtracks.

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Fluke - Oto (95   323mb)

01 Bullet 8:59
02 Tosh 4:29
03 Cut 6:30
04 Squirt 4:24
05 Wobbler 8:47
06 Freak 7:49
07 O.K. 7:49
08 Setback 6:01

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Risotto is the sixth album by British electronica group Fluke, first released in September 1997. The album is named Risotto after the dish. Many of the tracks that brought Fluke to a larger audience feature on this album, including Atom Bomb, used on the wipE'out" 2097 soundtrack, and Absurd, used in many films/trailers, including Sin City in 2005. The cover was designed by The Designers Republic.



Fluke - Risotto (80   462mb)

01 Absurd 5:48
02 Atom Bomb 5:45
03 Kitten Moon 9:18
04 Mosh 6:21
05 Bermuda 7:57
06 Setback 8:54
07 Amp 8:09
08 Reeferendrum 7:22
09 Squirt 6:15
10 Goodnight Lover 7:34


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All mixes here are superb, even though more often than not one would stick to the vocal mixes (first track on both sides). Here it becomes hard to decide which side to prefer: the stomping, groovy, funky Glid mix or the longer, evolving, percussion-crazy PDF mix on the flip. The uplifting vocals ("Into the deep from on dizzy heights / what a sight as the world flies by / nowhere to sliiide"), great build-ups and intense instrumentation make both versions prime examples of great dance music production.



Fluke - Slid ( 210mb)

1 Slid (Glid Edit) 3:45
2 Slid (Pdfmone) 7:40
3 Slid (No Guitars) 7:41
4 Slid (Glidub) 7:00
5 Slid (Scat And Sax Edit) 7:07



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elsewhere on this blog (Rhotatiion 02)

Six Wheels On My Wagon (93 * 119mb)

The Techno Rose Of Blighty (93 ^ 99mb )

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RhoDeo 1112 Goldy Rhox 19

Hello, today the 19th post of GoldyRhox, classic pop rock. And as announced yesterday todays mystery album is from the other side of the big pond and a place where agression is voiced too in meaningful lyrics and not just by kicking the speedometer. There's layers and musicallity that came together here, unlike the nostalgic powerpop with an attitude who's biggest succes came when during the Reagan (starwars) years they named an album Rockets To Russia..duh Anyway todays mystery album took 11 years to reach platinum status and most of those 1.000.000 albums were sold in the second part of that decade. I suppose one can say Americans didn't really get it, the culture divide was too big, it was simply too far of from the painless radiomuzak or discosound they were accustomed to at the time and besides complaining or ranting against the powers that be was seen as unamerican..i guess as such this album would suit current US times better, if not for the fact that there's complete media control/ lockdown, but im sure they'd make it big on Youtube. If you are still unsure what the hell im on about..there's more to come

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.


Todays Rhox mystery album was released on 27 October 1977 through Virgin Records amidst controversy.Two record company's had already decided the band was too hot to handle and the man responsible for most of the music had left the band and was replaced by basicly a non musician who's main contribution to the bands aura turned out to be drugabuse, manslaughter and suicide, just 15 months after the albums release. Obviously this then was the bands only album.
Fans and critics alike generally regard the album as an extremely important album in the history of rock music, citing the lasting influence it has had on subsequent rock musicians and other musical genres that were influenced by such punk rock artists. In fact there's some great music and excellent lyrics there, far beyond what was usual in rockmusic. In 2003, Rolling Stone placed it 41st on their list of the 500 Greatest Albums of All Time.


Goldy Rhox 19 92mb


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RhoDeo 1112 Aetix

Hello, until today i hadn't posted anything by the Ramones, partly -have to say this- because their punk didn't move me, infact it reminded me too much of those high school movies..hmm. The fact that they came from New York and the european music press did everything to push them, antagonised me some more. I wonder had they been aware of the nazisympathys of Johnny Ramone if they would have gotten that aura, i doubt it. In 82 a malicious nazi rumour about Kowalski ruined the band that had just released one of the best albums of the eighties, vindictive sissies those journalists. Back to the Ramones, they were foremost a live band (more then 2200 shows over the years) they tried to get across into mainstream but failed. The live album here is a classic-what else to expect from a new years eve concert-. As one gets older, relativism takes hold so picking up a greatest hits from a band that had none isn't a big deal, specially as for me those were hits after all ....go figure

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The original members of the band met in and around the middle-class neighborhood of Forest Hills in the New York City borough of Queens. John Cummings and Thomas Erdelyi had both been in a high-school garage band from 1966 to 1967. They became friends with Douglas Colvin, who had recently moved to the area from Germany. The Ramones began taking shape in early 1974, when Cummings and Colvin invited Hyman to join them in a band. The initial lineup featured Colvin on lead vocals and rhythm guitar, Cummings on lead guitar, and Hyman on drums. Colvin, who soon switched from rhythm guitar to bass, was the first to adopt the name "Ramone", calling himself Dee Dee Ramone. He convinced the other members to take on the name and came up with the idea of calling the band the Ramones. Hyman and Cummings became Joey Ramone and Johnny Ramone, respectively.

Johnny's former bandmate Erdelyi was set to become their manager. Soon after the band was formed, Dee Dee realized that he could not sing and play his bass guitar simultaneously, thus Joey became the band's new lead singer. Dee Dee would continue, however, to count off each song's tempo with his signature rapid-fire shout of "1-2-3-4!" Joey soon similarly realized that he could not sing and play drums simultaneously and left the position of the drummer. While auditioning prospective replacements, Erdelyi would often take to the drums and demonstrate how to play the songs. It became apparent that he was able to perform the group's music better than anyone else, and he joined the band as Tommy Ramone.

Around this time, a new music scene was emerging in New York centered around two clubs in downtown Manhattan—Max's Kansas City and, more famously, CBGB (usually referred to as CBGB's). The Ramones made their CBGB debut on August 16 74. The band swiftly became regulars at the club, playing there seventy-four times by the end of the year. After garnering considerable attention for their performances—which averaged about seventeen minutes from beginning to end—the group was signed to a recording contract in late 1975 by Seymour Stein of Sire Records. By this time, the Ramones were recognized as leaders of the new scene that was increasingly being referred to as "punk".

The Ramones recorded their debut album, Ramones, in February 1976. While the songwriting credits were shared by the entire band, Dee Dee was the primary writer. Ramones was co-produced by Tommy and Craig Leon on an extremely low budget of about $6,400 and released in April. Ramones was not a commercial success, reaching only number 111 on the Billboard album chart. The two singles released from the album, "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend", failed to chart. At the band's first major performance outside of New York, approximately ten people showed up. It wasn't until they made a brief tour of England that they began to see the fruits of their labor; a performance at The Roundhouse in London on July 4, 1976 was a resounding success.

Their next two albums, Leave Home and Rocket to Russia, were released in 1977. Both were coproduced by Tommy and Tony Bongiovi. Leave Home met with even less chart success than Ramones. Rocket to Russia was the band's highest-charting album to date, reaching number 49 on the Billboard 200. The Ramones recorded It's Alive, a live concert double album, at the Rainbow Theatre, London, which was released in April 1979.

Tommy, tired of touring, left the band in early 1978. He continued as the Ramones' record producer under his birth name of Erdelyi. His position as drummer was filled by Marc Bell, He became Marky Ramone. Later that year, the band released their fourth studio album, Road to Ruin. The album, co-produced by Tommy with Ed Stasium, included some new sounds such as acoustic guitar, several ballads, and the band's first two recorded songs longer than three minutes. It failed to reach the Billboard Top 100.

After the band's movie debut in Roger Corman's Rock 'n' Roll High School (1979), renowned producer Phil Spector became interested in the Ramones and produced their 1980 album End of the Century. Though it was to be the highest-charting album in the band's history—reaching number 44 in the United States and number 14 in Great Britain—Johnny made clear that he favored the band's more aggressive punk material. Pleasant Dreams, the band's sixth album, was released in 1981. It continued the trend established by End of the Century, diluting the rawer punk sound showcased on the band's initial three albums. Slick production was again featured, this time provided by Graham Gouldman (10cc). Another futile attempt to get airplay on American radio. Subterranean Jungle, produced by Ritchie Cordell and Glen Kolotkin, was released in 1983. The album peaked at number 83 in the United States, it would be the last album by the band to crack the Billboard Top 100.

One would expect the band to collapse and in a sense it did several drummers went and came (back) by 1989 founder member Dee Dee left the band after the recording of their tenth studio album, Brain Drain, co-produced by Beauvoir, Rey, and Bill Laswell.He was replaced by Christopher Joseph Ward (C.J. Ramone), who performed with the band until they disbanded.

After more than a decade and a half at Sire Records, the Ramones moved to a new label, Radioactive Records. Their first album for the label was 1992's Mondo Bizarro, which reunited them with producer Ed Stasium. Acid Eaters, consisting entirely of cover songs, came out the following year. In 1995, the Ramones released ¡Adios Amigos!, their fourteenth studio album, and announced that they planned to disband if it was not successful. Its sales were unremarkable, garnering it just two weeks on the lower end of the Billboard chart. The band spent late 1995 on what was promoted as a farewell tour. However, they accepted an offer to appear in the sixth Lollapalooza festival, which toured around the United States during the following summer. After the Lollapalooza tour's conclusion, the Ramones played their final show on August 6, 1996, at the Palace in Hollywood. A recording of the concert was later released on video and CD as We're Outta Here !

Joey, who had been diagnosed with lymphoma in 1995, died of the illness on April 15, 2001, in New York. In 2002, the Ramones were inducted into the Rock and Roll Hall of Fame, which specifically named Dee Dee, Johnny, Joey, Tommy, and Marky. The ceremony was one of Dee Dee's last public appearances; on June 5, 2002, two months later, he was found at his Hollywood home, dead from a heroin overdose. End of the Century: The Story of the Ramones, a Ramones documentary, came out in 2004. Johnny, who had been privately battling prostate cancer, died on September 15, 2004, in Los Angeles, shortly after the film's release. Remaining are the Ramones who played drums over the years, Tommy, Marky, Richie and Elvis.

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Recorded live at the Rainbow Theatre, London, England on December 31,1977. It's Alive captures the phenomena of the Ramones at their peak and in their element: live and sweaty. You've barely blinked before you realize that the first half-dozen songs have already raced past. This album captures the Ramones in peak form, having the time of their lives before an appreciative British audience. It pummels the listener into submission with the complete live Ramones experience to the point where you can practically feel the sweat. All the classics from the first three albums are executed with an enthusiasm the Ramones rarely mustered years down the line. It's Alive is the next best thing to actually seeing the Ramones live and, as that's not likely to happen, this set will go a long way towards satisfying your Ramones fix.



Ramones - It's Alive (79 126mb)

01 Rockaway Beach 2:23
02 Teenage Lobotomy 1:54
03 Blitzkrieg Bop 2:05
04 I Wanna Be Well 2:23
05 Glad To See You Go 1:51
06 Gimme Gimme Shock Treatment 1:37
07 You're Gonna Kill That Girl 2:28
08 I Don't Care 1:41
09 Sheena Is A Punk Rocker 2:16
10 Havanna Affair 1:34
11 Commando 1:39
12 Here Today, Gone Tomorrow 2:54
13 Surfin' Bird 2:20
14 Cretin Hop 1:46
15 Listen To My Heart 1:35
16 California Sun 1:45
17 I Don't Wanna Walk Around With You 1:24
18 Pinhead 2:45
19 Do You Wanna Dance 1:39
20 Chainsaw 1:28
21 Today Your Love, Tomorrow The World 1:55
22 Now I Wanna Be A Good Boy 2:03
23 Judy Is A Punk 1:13
24 Suzy Is A Headbanger 1:53
25 Let's Dance 2:03
26 Oh Oh I Love Her So 1:39
27 Now I Wanna Sniff Some Glue 1:18
28 We're A Happy Family 2:06


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Appearing one year after Rhino's Ramones box set Weird Tales of the Ramones, and appearing four years after Rhino's first single-disc Ramones collection Loud, Fast Ramones: Their Toughest Hits -- which itself appeared after Rhino's excellent double-disc Hey! Ho! Let's Go!: The Anthology -- Rhino's 2006 collection Greatest Hits serves up 20 of the group's basics. Something very ironic has happened with these guys, as many compilation/greatest hits collections have appeared as the number of studio albums that they have released. Thats kind of funny, since the Ramones hardly sold anything during their 19 year career. But all the same, it's OK to recommend this album to everyone, from avid fans to curious new listeners alike.



Ramones - Greatest Hits (80 125mb)
01 Blitzkrieg Bop 2:12
02 Beat On The Brat 2:32
03 Judy Is A Punk 1:32
04 I Wanna Be Your Boyfriend 2:26
05 Sheena Is A Punk Rocker 2:47
06 Pinhead 2:44
07 Commando 1:52
08 Rockaway Beach 2:06
09 We're A Happy Family 2:39
10 Cretin Hop 1:55
11 Teenage Lobotomy 2:01
12 I Wanna Be Sedated 2:29
13 I Just Want To Have Something To Do 2:41
14 Rock 'n' Roll High School 2:19
15 Baby, I Love You 3:44
16 Do You Remember Rock 'n' Roll Radio? 3:49
17 The KKK Took My Baby Away 2:30
18 Outsider 2:10
19 Pet Semetary 3:32
20 Wart Hog 1:54


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RhoDeo 1112 Roots

Hello, it's back across the desert today to a country officially bordering Europe, Marocco it is here today's first album came about. It was the summer of 1983 in morocco. the polisario guerillas were operating in the southern sahara and the mood was tense in the arab world. the government of king hassan was suspicious of anything out of the ordinary. checkpoints were everywhere along the highways. aids was the new disease, and Alan Bishop went on a roadtrip to record the sounds and atmosphere, result an almost 55 min long collage that sucks you in. How different is the second album recorded 20 years later, this time there's real fusion of' south and west, It's still clearly Moraccan but the dubghost of Bill Laswell is clearly present, clever use of studio possibilities have some exclaim it's one of the fusion roots albums of the decade..


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Out of the thousands of tedious archival record labels popping up recently in this accelerated age of information overload, it's great to find a label as fascinating as Sublime Frequencies. Alan Bishop of the Sun City Girls created Sublime Frequencies as an outlet to release video and sound recordings collected in his travels around the globe. Bishop's release schedule thus far has vividly illustrated his view of the third world as an alien landscape, an enticing ethnic cacophony of marginalized cultures and traditions, obscure music, vibrant environmental noises, hallucinogenic otherness and unraveled threads of the human narrative.
Alan Bishop neatly sidesteps all of the tired implications of "world music" by refusing to editorialize; he simply releases unadulterated vintage recordings, impromptu radio collages, untreated field recordings and personal home videos. The recordings are quickly slapped onto the digital format and released with a minimum of post-production or fussy packaging. Radio Morocco is the seventh CD released on the Sublime Frequencies imprint, and it's also one of the most intriguing. Culled from recordings of radio transmissions intercepted all along the Moroccan coast in the summer of 1983, Radio Morocco is a kaleidoscopic trip through French-Moroccan pop, French and Arabic news reports, Berber trance-folk, Arabic divas, Middle Eastern orchestral music, European new wave, hypnotic jajouka and shortwave radio noise. Interspersed throughout are live recordings of Arabic divas like the legendary Oum Koulthoum, who perform for an enraptured crowd of men who zealously shout "Allah!" at the end of each sexually charged refrain. At various times, Radio Morocco operates as a sonic avatar, an audio time capsule, a free-form diary through the crossroads of Western Africa, or expressionist collage.

Although Bishop clearly sees Sublime Frequencies fulfilling the same sort of archival musical preservation function of a label like Smithsonian Ethnic Folkways, Radio Morocco simply doesn't work on that level. None of the performers or musical styles that we hear throughout the disc are identified in the liner notes, so its historical value is questionable. Instead, Radio Morocco is a postmodern collage of cultures alternately melding and clashing, replicating the fragmented memories of a unique time and place. Upon repeated listens, these sounds can download into the listener's brain as an anti-virus to an unimaginative, safe and homogenized Western culture that daily threatens to erase our uniqueness and cultural heritage forever.



VA - Radio Morocco (84 123mb)

01 - Radio Tangier Internationale (3:42)
02 - Quartertone Winds (5:20)
03 - Radio Chechaouen (7:28)
04 - Chante Du Tamri (5:52)
05 - Radio Fes (6:30)
06 - The Medina of Sound 9(:23)
07 - Radio Marrakesh (4:58)
08 - The Color of Frequency (6:24)
09 - Radio Essaouria (4:58)


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Azzddine is Azzddine Ouhnine, a Moroccan oud player and composer based in Rabat, Massafat his latest recording. The vocalist does triple time, also jumping on oud and darbouka for this 63-minute dubbed-out sojourn. The range of influence on these 14 tracks is tremendously expansive: hip-hop, reggae, trip-hop and other digital modalities, as well as traditional Moroccan music. It is a heavily synthesized effort with only spare classical instrumentation, although a very ancient feel reveals itself. Most of this is due to Ouhnine's able virtuosity on oud; if you thought Hamza El Din jamming with the Kronos Quartet was innovative, we've entered a whole other realm here. Background vocal assistance by Noura and Naima add a pleasant feminine undertone, while Boualem's rap on "Britou" lends an urban edge.

Massafat, however, belongs to Laswell. Ouhnine is obviously front and center, but it's the production work that takes this from solid to exceptional. Recorded in Africa and New Jersey and glued together in Basel, Switzerland, the heavy, heady bass tones pulse with constant determination. While Laswell has worked on the Moroccan soundscape before Massafat is new territory. Fuzzy, driven guitars appear all over, as on the rather hyperreal "Ana Ou Enta," but never loses itself in the thick walls that genre can exhibit. Even in the midst of seeming chaos, subtlety prevails.

The album is absolutelly flavored with the right amount of spice with excellentelly orchestrated vocalz and string arangement and various egyptian, morrocan, arabic & persian percission and piano, then they throw in the ablolute best available effects and processors to bring out that amazing dub sound everything and everysong is filled to the brim with slammin dub moog keyboards amazing drum programmin percussion, pure dub style arabic vocals. There are no standout cuts here. Laswell is taking Marrakech to whole new levels. As for Azzddine Ouhnine, he couldn't have picked a better introduction to the world outside North Africa, one we only hope he continues to explore.



Azzddine (with Bill Laswell) - Massafat (04 411mb)

01 Srir F'al Houbb (4:06)
02 Britou (3:46)
03 Ana Ou Enta (4:556)
04 Takassim (4:40)
05 Ah Ya Zamane (4:19)
06 Fine (3:18)
07 Al Mouktab (3:54)
08 Droub Al Lil (5:31)
09 Koun Shaqiqi (6:04)
10 Goa Rozali (4:28)
11 Rozali (3:44)
12 Jina (5:07)
13 Anta Fbali (5:11)
14 Ya Nass (4:00)


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RhoDeo 1112 RAW

Hello, springequinox is upon us, an important point in our cycles for many generations, for us we hardly are aware our cycles are weekly, on our way to reach full cycle...daily. That was my small philosphy of the day, time for RAW.

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

05 Techniques for Consciousness Change part 1 (44min. 34mb)


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Sundaze 1112

Hello, a few weeks ago i was a little shocked when the news reached me that Trish Keenan had died after weeks on IC of pneumonia with pig flue complications. The suggestion was that she contracted this in high summer Australia after their tour there - freakish. Anyway, touring is tiresome sleeping en route in the bus, it's just not very healthy. Nor is the air in an airplane on a long haul flight back to the UK. I was somewhat personally touched as well as we chatted for 15 min. after a Broadcast show in my hometown sept 2003, alas a bandmember dragged her away towards that travelling bus, no chance/use to offer her decent facilities..it's always the next show that precedes. Today's dreamspace is Broadcast from heaven...

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Space-age pop collagists Broadcast formed in Birmingham, England, in 1995; comprised of vocalist Trish Keenan, guitarist Tim Felton, bassist James Cargill, keyboardist Roj Stevens, and drummer Steve Perkins The band's style is a mixture of electronic sounds and Keenan's 1960s-influenced vocals. It is heavily influenced by the 1960's American psychedelic group The United States of America, using many of the same electronic effects. It is also reminiscent of Stereolab. However, despite the similar musical pedigree, Broadcast's music often has a darker, edgier sound - with amorphous samples and analogue dissonance giving it a retro-futuristic sci-fi edge.

The band's first releases were singles released on Wurlitzer Jukebox Records ( "Accidentals" ) and Duophonic Records ("The Book Lovers") in the mid-1990s. "The Book Lovers" was also featured on the soundtrack of the film "Austin Powers." They attracted the attention of Warp Records, who compiled the singles in 1997 on Work and Non Work. All subsequent releases have been on Warp Records, or in the USA on Tommy Boy Records. Their song "Before We Begin" was used in the Season Four finale of the L Word. On their early singles and brilliant debut album, The Noise Made by People, Broadcast's commitment to crafting meticulously, ethereally beautiful atmospheres gave their music a detached quality that made them somewhat difficult to embrace fully.

Ever the studio perfectionists, fans had to wait until 2003 to hear any new material from the band, when the Pendulum EP arrived that spring and Haha Sound appeared that summer. While their music still sounds like it could've been crafted by ghosts in the machine, now Broadcast give it flesh and blood through more warmth and texture. Haha Sound's more human touch comes through in its looser, more intimate, and rougher sound. A big part of Haha Sound's expansive feel is Trish Keenan's increasingly expressive vocals; while she can still occasionally seem to be hovering slightly outside the songs, her delivery is much more vulnerable and emotive. The delicately spooky nursery rhyme "Colour Me In" begins the album with the wistful, childlike viewpoint that creeps into Haha Sound from time to time. "Pendulum" finds the band digging deeper into their psychedelic influences, with acid rock drumming and flashback-like washes of sound making it one of the most tense, driving tracks they've recorded. "Ominous Cloud," and "Winter Now" suggest that Broadcast could probably make dozens of immaculate pop songs like these if they wanted to.

In fall 2005, Broadcast -- pared down to the duo of Keenan and Cargill -- issued the America's Boy single and Tender Buttons full-length. 2006's Future Crayon collected the group's numerous rare tracks and B-sides. They are currently working on their fourth studio album. The 2009’s project, Broadcast and The Focus Group (renowned designer Julian House) Investigate Witch Cults Of The Radio Age, which came over like a demonic film score, all candles and séances. A unique album pulling in both collaborators' unique sense of melody and love of library music and film scores. Trish sang at Warp Records’ 20th anniversary show, Warp20.


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Broadcast's first release on Warp is a collection of singles and other b-sides from their singles on Duophonic. The tracks are a homage to the underground pop sounds of the 60's, with Moogs buzzing around in the background while Trish Keenan half sings and half speaks to great effect. Though the songs sometimes sound a bit too rough, this is a hidden gem in Warp's discography.

Broadcast’s first album, Work and Non Work, is actually a compilation of early singles and EPs. It’s a wonderful introduction to the band and their unique sound. At once emotional and icily cool, the band’s combination of Trish Keenan’s high vocals and harpsichord-like synths becomes something beautiful and fractal.



Broadcast - Work Non Work   (97 205mb)

01 Accidentals 3:28
02 The Book Lovers 4:49
03 Message From Home 4:59
04 Phantom 3:31
05 We've Got Time 4:13
06 Living Room 3:26
07 According To No Plan 3:08
08 The World Backwards 4:00
09 Lights Out 4:32

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Broadcast - The Noise Made By People (00  246mb)

01 Long Was The Year 3:38
02 Unchanging Window 3:48
03 Come On Let's Go 3:17
04 Echo's Answer 3:12
05 Tower Of Our Tuning 4:30
06 Papercuts 4:32
07 You Can Fall 4:24
08 Look Outside 3:53
09 Until Then 3:51
10 City In Progress 3:37
11 Dead The Long Year 4:46

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Broadcast‘s Tender Buttons is both washed out yet central and commanding. Inspired by the minimalist drone of French library music, as diffused through haunted capacitors, this British group-now pared to the duo of Trish Keenan and James Cargill-casts autumnal, emotionally self-contained vignettes here. The Teutonic frostiness of The Velvet Underground and Nico hovers above ring-modulated modem handshaking trills, but this music is filtered a touch more through early ‘80s 8-bit workstations than ‘60s psyche-rock oscillators. With sparse clusters of drum machine and processed synths replacing live percussion, the sequences are scratchy and linear, sullen and frayed, while the breathy vocals are heavy-lidded folk.



Broadcast - Tender Buttons (05 211mb)

01 I Found The F 2:21
02 Black Cat 3:59
03 Tender Buttons 2:52
04 America's Boy 3:34
05 Tears In The Typing Pool 2:12
06 Corporeal 3:56
07 Bit 35 1:49
08 Arc Of A Journey 5:18
09 Michael A Grammar 3:57
10 Subject To The Ladder 3:14
11 Minus 3 0:47
12 Goodbye Girls 3:09
13 You And Me In Time 1:25
14 I Found The End 2:05

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elsewhere on this blog (Rhotation 28)

Broadcast - Haha Sound   (288mb)

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RhoDeo 1111 Grooves

Hello, After dragging their feet for weeks the security council finally decided to do something about Kadaffi and his gang, whether it will be too little too late remains to be seen, and depends how quickly the bullies get a slap or two. The thing is with bullies they are basicly cowards, and i have no doubt that most of the current Kaddaffi support will take the money and run, even his tribe might consider dying for their crazy leader, instead of negotiating a piece of the big meal Libya could provide for it's citizens, rather senseless.
Meanwhile, high time i posted something in the fridaynight groove corner. One of the grooviest bands of the seventies was War a name they got from the man who sort of put them on the map, Eric Burdon, only to disappear into relative obscurity shortly afterwards. Their first get together i posted earlier (Rhotation 5). As this week is all about doublebubbles Burdon & War's second perfectly fits the bill, a real classic from a time that smoking whatever was common and the nights were long and sweatty...take a little trip

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Eric Burdon was a founding member and vocalist of the Animals, a band originally formed in Newcastle in the early 1960s. The Animals were one of the leading bands of the "British Invasion", and the band had quite a following around the world. Along with The Beatles, The Rolling Stones, The Dave Clark Five, and Gerry and The Pacemakers, they introduced British music and fashion to an entire generation in an explosion of great tunes and outspoken attitude on, and off the stage. Burdon sang on such Animal classics as "The House of the Rising Sun", "Good Times", "Don't Let Me Be Misunderstood", "Bring It On Home to Me", and "We Gotta Get Out of this Place". The Animals combined the traditional blues with rock to create a unique sound. By 1966 the original members had left, except for Barry Jenkins, and the band was reformed as Eric Burdon and the Animals later going through several line-up changes, the New Animals .This lasted until 1969.

War formed out of the ashes of an earlier R&B; covers group, The Creators. In 1968, the band was reconfigured and dubbed Nightshift; Peter Rosen was the new bassist, and percussionist Thomas Sylvester "Papa Dee" Allen, who'd previously played with Dizzy Gillespie, came onboard, along with two more horn players. In 1969 they were discovered by producer Jerry Goldstein, he suggested the band as possible collaborators to former Animals lead singer Eric Burdon, who along with Danish-born harmonica player Lee Oskar had been searching L.A. clubs for a new act.

After witnessing Nightshift in concert, Burdon took charge of the group. He gave them a provocative new name, War, and replaced the two extra horn players with Oskar. To develop material, War began playing marathon concert jams over which Burdon would free-associate lyrics. In August 1969, Burdon and War entered the studio for the first time, and after some more touring, they recorded their first album, 1970's Eric Burdon Declares War. The spaced-out daydream of "Spill the Wine" was a smash hit, climbing to number three and establishing the group in the public eye. A second album, The Black Man's Burdon, was released before the year's end, and over the course of two records it documented the group's increasingly long improvisations.

Burdon's contract allowed War to be signed separately, and they soon inked a deal with United Artists, intending to record on their own as well as maintaining their partnership with Burdon. Burdon -- citing exhaustion -- suddenly quit during the middle of the group's European tour in 1971, spelling the beginning of the end; he rejoined War for a final U.S. tour and then left for good.

In 1971 Burdon began a solo career. Around this time, he also recorded the album Guilty! He has led a number of groups named Eric Burdon Band or some variation thereof, with constantly changing personnel. Burdon rejoined briefly with the other original Animals in 1976 and 1983, but neither union lasted. His popularity has remained stronger in continental Europe than in the UK or U.S. Today he continues to record and tour either on his own, or in front of yet another version of "Eric Burdon and the Animals" as Black & White Blues

War had already issued their self-titled, Burdon-less debut at the beginning of 1971, but it flopped. Before the year was out, they recorded another effort, All Day Music, which spawned their first Top 40 hits in "All Day Music" and "Slippin' Into Darkness". The follow-up album, 1972's The World Is a Ghetto; boosted by a sense of multicultural harmony, topped the charts and sold over three million copies, making it the best-selling album of 1973. Deliver the Word was another million-selling hit, though it had less of the urban grit that War prided themselves on. War consolidated their success with the double concert LP War Live, recorded over four nights in Chicago during 1974.

Released in 1975, Why Can't We Be Friends returned to the sound of The World Is a Ghetto with considerable success. The bright, anthemic title track hit the Top Ten, as did "Low Rider," an irresistible slice of Latin funk that became the group's first (and only) R&B; chart-topper, and still stands as their best-known tune. 1976 brought the release of a greatest-hits package featuring the new song "Summer," which actually turned out to be War's final Top Ten pop hit. A double-LP compilation of jams and instrumentals appeared on the Blue Note jazz label in 1977, under the title Platinum Jazz; it quickly became one of the best-selling albums in Blue Note history.

In 1977, the band switched labels, moving to MCA for Galaxy; though it sold respectably, and the title track was a hit on the R&B; charts, disco was beginning to threaten the gritty, socially aware funk War specialized in, and it proved to be the last time War would hit the Top 40. After completing the Youngblood soundtrack album in 1978, the original War lineup began to disintegrate.

Things started to go downhill for the group in the late 70s when bassist B.B. Dickerson left and another member, Charles Miller, was murdered. Various line-up changes followed but the original magic was lost and the group were not as successful, eventually becoming just a touring act. Papa Dee Allen collapsed and died on-stage of a brain aneurysm in 1988, leaving Jordan, Hammon, Oskar, and Scott as the core membership. Interest in War's classic material remained steady, as they have been heavily sampled by hip-hop artists creating a new generation that discovered the music of War. The band continues to tour, although with only one of the original members.

Eric Burdon and War were reunited for the first time in 37 years, to perform a concert at the Royal Albert Hall London on 21 April 2008. The concert coincided with a major reissue campaign by Rhino Records (UK), who released all the War albums including Eric Burdon Declares "War" and The Black-Man's Burdon.

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The title is a pun on The Black Man's Burden, an expression which refers to black slavery, used as the title of a book by E. D. Morel (1920) in response to the poem, "The White Man's Burden" (1899) by Rudyard Kipling, which refers to (and champions) American imperialism (including its history of slavery).



Eric Burdon & War - The Black-Man's Burdon 1 ( 105mb )

Paint it Black suite (01-07) (13:24)
01. Black On Black In Black (2:04)
02. Paint It Black (2:04)
03. Laurel & Hardy (1:21)
04. Paint It Black II (1:10)
05. P.C. 3 (1:33)
06. Black Bird (2:13)
07. Paint It Black III (2:57)
08. Spirit (8:34)
09. Beautiful New Born Child (5:07)
Nights in White Satin suite (10-14) (17:29)
10. Nights In White Satin I (4:28)
11. The Bird & The Squirrel (2:45)
12. Nuts, Seeds & Life (4:01)
13. Out Of Nowhere (3:21)
14. Nights In White Satin II (2:52)

Eric Burdon & War - The Black-Man's Burdon 2 (107mb)

01. Sun / Moon (10:07)
02. Pretty Colors (6:47)
03. Gun (5:50)
04. Jimbo (4:52)
05. Bare Back Ride (7:09)
06. Home Cookin' (4:13)
07. They Can't Take Away Our Music (6:51)

Elsewhere on this blog--Rhotation 05

Eric Burdon Declares "War" ( 69 ^ 97mb)
War Greatest Hits ( 76 ^ 98mb)
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RhoDeo 1111 Goldy Rhox 18

Hello, today the 18th post of GoldyRhox, classic pop rock. As it happens i came across the current bilboard top40 earlier. Women (blond and black) Hip Hoppers, Enrique Iglesias and Justin Bieber. Now, i more or less disconnected from top 40's decades ago but it seems to me a sad state of affairs these days when the market is basicly comprised to black men and teen girls. No wonder those babyboomers keep on flying the flag for the Beatles, Bob Dylan and anything that sold many decades ago. Nonsense and nostalgia rule these days, the music industry has lost any baring, and the current artists are still adjusting to the digital age. Meanwhile i have to assume that hitmusic these days is more a multimedia event where causing enough stirs is more important then singing or the music..scandal sells.. a titty here a titty there and the bucks are flying. Obviously these strategies don't work aswell in much less hypocritical mainland Europe...they get to see those titties everywhere, a tip to those off to Amsterdam after you scored some joints take the train to the beach and get a double whammy.... or should i say triple.

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.


Todays doublebubble Goldy Rhox mystery album was released 35 years and 21 days ago. Upon it's straight to platinum release the 5 previous platinum albums re-entered the US albumcharts aswell, a real splash. The double album was the first release on their own label, not their SwanSong but they wouldnt surpass on the 3 albums that would follow before fate dealt a harsh blow when their drummer suffocated in his own vomit. Given the luxury of a double format, the album mirrors every facet of the the bands repertoire, it represented the band at its most creative and most expressive. Spanning several years of recording, the album featured forays into a range of musical styles, including hard rock, eastern-influenced orchestral rock, driving funk, acoustic rock and roll , love ballad , blues rock and acoustic guitar instrumental. 5 star reviews all around at the time, it ranks no 70 in the rolling stone best ever 500 absolutely one you should have 'experienced' before you die.

Goldy Rhox 18 197mb


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RhoDeo 1111 Aetix

Hello, until today i hadnt posted anything by the Clash, mainly because i always passed by the socalled 'big boys' , however they aren't the global millionsellers that i refer to there. Outside the UK sales were not that spectacular only Combat Rock did well. So it's something else, the Clash had a big reputation in part thanks to the ever hyping lads from the UK music press that kept feeding the telexes with stories about the punk godfathers with a heart and a brain-in contrast to say Sex Pistols. In fact they were a rather chaotic band with a limited attention span, too much good weed i suppose or even harder dope, real Antihero's. It was their destiny to fall apart with a fart.

That said i was confronted with a choice of 2 doublebubbles, the album everyone was drooling about, London Calling or the triplebubble that got spat on mainly by the opiniated who decided what was good for the Clash. Obviously Sandinsta ! was overly ambitious and certainly not suited for the UK music press, 2.5 hours is way past their attenion span. Yet it has a relaxed vibe and considering i prefer to go for the less obvious, in the end the choice wasn't that hard..

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

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

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

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

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

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

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



The Clash - Sandinista ! 1 (80   287mb)

101 The Magnificent Seven (5:30)
102 Hitsville UK (4:21)
103 Junco Partner (4:52)
104 Ivan Meets G.I. Joe (3:05)
105 The Leader (1:41)
106 Something About England (3:42)
107 Rebel Waltz (3:25)
108 Look Here (2:45)
109 The Crooked Beat (5:28)
110 Somebody Got Murdered (3:33)
111 One More Time (3:32)
112 One More Dub (3:35)

The Clash - Sandinista ! 2 (80   319mb)

201 Lightning Strikes (Not Once But Twice) (4:50)
202 Up in Heaven (Not Only Here) (4:32)
203 Corner Soul (2:42)
204 Let's Go Crazy (4:24)
205 If Music Could Talk (4:36)
206 The Sound of Sinners (4:00)
207 Police on My Back (3:16)
208 Midnight Log (2:09)
209 The Equaliser (5:47)
210 The Call Up (5:26)
211 Washington Bullets (3:51)
212 Broadway (4:57)
213 Guns of Brixton (Voc. Maria Gallagher) (0:54)


The Clash - Sandinista ! 3 (80   281mb)

301 Lose This Skin (5:07)
302 Charlie Don't Surf (4:54)
303 Mensforth Hill (3:42)
304 Junkie Slip (2:48)
305 Kingston Advice (2:36)
306 The Street Parade (3:27)
307 Version City (4:23)
308 Living in Fame (4:35)
309 Silicone on Sapphire (4:31)
310 Version Pardner (5:22)
311 Career Opportunities (2:30)
312 Shepherds Delight (3:25)


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RhoDeo 1111 Roots

Hello, finding a doublebubble release from Africa is impossible, a single album release was already too expensive for the local market, compilations then, for the global market that is. As it happens todays artists work has been superbly remastered and his enormous output can even be bought in a 25cdbox which covers a large part of his studiorecorded output. I can say his music never sounded better outside the studio and it's remarkable how his formerly obscure music sounds so 'mainstream' today.

Over a decade after his death, vindication has come to Fela Kuti, Africa’s musical genius. AfroBeat, his gift to the world, is now an international staple on his own uncompromising terms, social content intact. Throughout his life, Fela contended that AfroBeat was a modern form of danceable, African classical music with an urgent message for the planet’s denizens. Created out of a cross-breeding of Funk, Jazz, Salsa and Calypso with Juju, Highlife and African percussive patterns, it was to him a political weapon. He refused to bow to the music industry’s preference for 3-minute tracks, nor did he buckle under entreaties to moderate his overwhelmingly political lyrics. He went down in 1997 still railing against the consumerist gimmicks that taint pop music, with the aim, he felt, of promoting and imposing homogeneous aesthetic standards worldwide, thereby inducing passivity....hear hear


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Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.Hewas born into a middle-class family, his mother was a feminist active in the anti-colonial movement and his father a Protestant minister and school Principal. Fela went to to London in 1958 with the intention of studying medicine but decided to study music instead . He formed the band Koola Lobitos, playing Afrobeat ( his fusion of American Jazz and Funk with West African Highlife). In 61 he married his first wife 2 years later he was back in Nigeria. He re-formed Koola Lobitos and worked as a radio producer, in 69 whilst on tour with the band in the US , Fela connected with the black power/panther movement., this would impact his music and political views and Fela renamed the band "Nigeria 70". Once returned to Nigeria he changed it to Africa 70 , he then formed the Kalakuta Republic, a commune, a recording studio and a home for many connected to the band which he later declared independent from the Nigerian state.

Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1977 Fela and the Afrika 70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the "zombie" metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed.

Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called "Movement of the People". In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called "Egypt 80" and continued to record albums and tour the country. In 1984 he was again attacked by the military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after twenty months, he was released from prison, on his release he divorced his twelve remaining wives.

His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria had taken it's toll. Rumors were also spreading that he was suffering from an illness, on August 3, 1997 his brother Olikoye Ransome-Kuti, a prominent AIDS activist and former Minister of Health, stunned the nation by announcing Fela had died from an AIDS releated disease, more than a million people attended his funeral at the site of the old Shrine compound.

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Expensive Shit is the twelfth full-length album by Fela Ransome Kuti. It was ranked #78 on Pitchfork Media's "Top 100 Albums of the 1970s. The title of the album refers to an incident in which the Nigerian police tried to arrest Kuti by planting a joint on him. Kuti managed to eat the joint, prompting police to bring him into custody and wait for him to produce the excrement. According to legend he managed to use another inmate's feces and was eventually released. . It was ranked #78 on Pitchfork Media's "Top 100 Albums of the 1970s."

1975's Expensive Shit is paired on this reissue with He Miss Road, another Kuti release from that same year. The album's centerpiece, lead-off and title track was undoubtedly one of the most influential tracks to the Afro-beat movement, and to artists like the Talking Heads, who experimented with similar tribal rhythms on Fear of Music and their landmark album, 1980's Remain in Light. Its complex, bongo- centric percussion is tempered with funk guitar, discordant piano, and brass eruptions. And when, six minutes into the semi-improvisational, instrumental jam, Kuti awakens with a yowl and begins his political rant, he changes music forever.

"Water No Get Enemy," Expensive Shit's second track, is more philosophical than political, postulating the motion of water as a metaphor for human interaction and the rhythms of society. The music is lighter-- almost poetic-- but no less moving. After these two extended, 10+-minute affairs come three more, in the form of Kuti's follow-up album, He Miss Road. It was produced by none other than Ginger Baker, who was a semi-regular jamming partner of Kuti's, as well as a close friend. And the tunes Kuti wrote for this platter are wild, cosmic, sexy as hell, and deeply saturated in funk à la James Brown. Lyrically, Kuti comments on people's stupidity; he mocks an incompetent lawyer for handing over his brief to the prosecution, and tells of a band that turns up at a colony for the blind and the deaf. After a squall of noise, a summery, psychedelic groove settles the mood until finally giving way to an ambient organ.

Fela's tenor saxophonist, Igo Chico, surpasses all his other performances on this disc during "Monday Morning in Lagos," which is up there with the Kinks' "Waterloo Sunset" for magical evocations of cities. Chico's glimmering lines perfectly represent the rays of the rising sun while Kuti's Yoruban vocals add the necessary otherworldliness to the track. The final cut, "It's No Promise," is pure Nigerian trance music. The longest track here; it's also the most abstract. It's held together by Tony Allen's drumming and the popping bass line by Franco Aboddi.



Fela Kuti - Expensive Shit + He Miss Road  (75 now in flac 408mb)

01 - Expensive Shit (13:14)
02 - Water No Get Enemy (11:00)

03 - He Miss Road (10:47)
04 - Monday Morning in Lagos (11:15)
05 - It's No Possible (17:37)

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“Shuffering & Smiling Pts 1-2″ is one of Fela’s most recognizable songs. From the start, the interlocking guitars set the mood for the song with Fela’s improvisational keyboard lines gliding over the backdrop of guitar and percussion. The first ten minutes of the song is composed entirely of an instrumental backdrop with solos from different members of the ensemble interjecting throughout. Fela then begins the vocal section of the song with a request, “You Africans, please listen to me as Africans. You non-Africans, please listen with an open mind.” He then goes on to decry the double-standards and hypocrisies of organized religion, Islam and Christianity in particular, the two religions that have had the most widespread impact on Nigerian culture. He claims that religion causes people to suffer with a smile on their face, all the while believing they have a reward coming in their afterlife. He calls into question their beliefs by accusing them of blindly following the flock.

"Suffering and Smiling" is a slinky smooth masterpiece, with a great vocal performance and lyrics that decry the colonialization of Africans by the Christian and Muslim religions. It is perfect. The "No Agreement" album is harder and funkier, the title track's repititious James Brown-style groove is attacked with such blunt ferocity as to remind one of the late-70's "No Wave" movement. Jazz fans should note that the late, great Lester Bowie of the Art Ensemble of Chicago solos on No Agreement and Dog Eat Dog. Lester hung out with Fela for about six months back in the mid 70s, jamming with him and being treated as an honored guest, but as far as I know these are the only recordings they made together.



Fela Kuti - Shuffering and Shmiling + No Agreement (77 now in Flac 354mb)

01 Shuffering And Shmiling (pt 1 and 2) (21:34)

02 No Agreement (15:31)
03 Dog Eat Dog (15:33)

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