Jun 30, 2015

RhoDeo 1526 Re-Ups 23

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of re-ups ...N' Joy


3x Laurent Garnier Back in Flac Early Works 1 + 2, 30)

3x Roots-Angola Back in Flac Sakamoto - Left Handed Dream (Rem), back in ogg (VA - Angola Soundtrack 2, Bonga - Angola 72 + O'Melhor De Bonga)


4x Camper Van Beethoven Back in Flac (Telephone Free Landslide Victory, Camper Van Beethoven  II + III, CVB)


3x Masters Of Jojouka Back in Flac  ( Brian Jones Presents The Pipes Of Pan At Jajouka, Apocalypse Across The Sky, feat Bachir Attar)


3x Siouxsie and the Banshees Back in Flac (Ju Ju, A Kiss In The Dreamhouse , Hyena )


3x Alpha And Omega Back in Flac (Watch And Pray / Overstanding, Almighty Jah, Safe In The Ark )


3x BvDub Back in Flac (Tribes At The Temple Of Silence,  One Last Look At The Sea, Songs For A Friend I Left )


2x Four Tet NOW in Flac ( Rounds, Ringer)


3x Bark Psychosis NOW in Flac (Scum,  Hex, Codename Dustsucker)

3 x Skinny Puppy Back in Flac (Cleanse Fold And Manipulate, VIVIsectVI, Rabies)

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Jun 29, 2015

RhoDeo 1526 Star Wars Jedi 6

Hello, not much sports news today, it was National Championship day for the pro cyclists, hence 30 new champions crowned today, it goes to show how full the calendar is when this has become the global weekend for this event. It's a week before the start of the Tour de France and already two of it's top sprinters have to forgo, looks like a year for Cavendish vs Sagan, for the general
classification there's 4 big guns, Vincenzo Nibali (last years winner) Chris Froome, Alberto Contador and Neiro Quintana latter being somewhat closer to a handful of riders of the second tier that could manifest in the top 3 yes it will be an exiting Tour.

Glastonbury is over, what i got from it proofed the festival is no longer a music festival but a corporate show of blandness (f.i. lionel ritchie) eagerly promoted by the beeb anything interesting is marginalized (just like in the real world). Good thing there are alternatives...



This week, Return of the Jedi ! The final episode of the series it was fun . It lasted 29 episodes and 'showed' you another 'perspective' of the Star Wars saga yes language used here is full of visual cues when in fact there's none in the audioplay but then you get your own brain working to create the scenes yes its a creative experience and its over now, but not to worry there will be another tale next week...

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles. Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.








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NPR's plans for a Return of the Jedi radio serial were put on hold when federal funding for NPR was dramatically reduced. It was not until 1996 that a six-part adaptation of Return of the Jedi was made by Highbridge Audio, the company that had released the first two series on tape and CD.

Like the preceding series, Return of the Jedi expanded its story by incorporating new scenes, such as Luke Skywalker's construction of a new lightsaber.

Scriptwriter Brian Daley died shortly after recording concluded; "additional material" was contributed by John Whitman, who introduced changes required for continuity with the now-planned prequels, as well as changes identified by the director and cast.

The episodes are titled:
"Tatooine Haunts"
"Fast Friends"
"Prophecies And Destinies"
"Pattern And Web"
"So Turns A Galaxy, So Turns A Wheel"
"Blood Of A Jedi"

Cast

The adaptation used many of the original radio cast, though Joshua Fardon took over as Luke and Arye Gross replaced Billy Dee Williams as Lando. Ed Begley, Jr. was the voice of Boba Fett and Edward Asner, speaking only in Huttese, voiced Jabba the Hutt. The only actor who starred in all the feature films as well as the radio dramas was Anthony Daniels.

Joshua Fardon as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Anthony Daniels as C-3PO
Bernard Behrens as Obi-Wan Kenobi
Arye Gross as Lando Calrissian
Edward Asner as Jabba The Hutt
Paul Hecht as The Emperor
John Lithgow as Yoda
Brock Peters as Lord Darth Vader
Ed Begley, Jr. as Boba Fett
Samantha Bennett as Arica
David Birney as Anakin Skywalker
Peter Dennis as Moff Jerjerrod
David Dukes as Bib Fortuna
Peter Michael Goetz as General Madine
Ian Gomez as Salacious Crumb
Martin Jarvis as Barada
Jon Matthews as Wedge
Natalija Nogulich as Mon Mothma
Mark Adair Rios as Admiral Ackbar
Yeardley Smith as 9D9
Tom Virtue as Major Derlin
Ken Hiller as Narrator



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The Return Of The Jedi 306 Blood Of A Jedi (mp3  31mb)

306 Blood Of A Jedi      33:47


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previously


The Return Of The Jedi 301 Tatooine Haunts (mp3  30mb)
The Return Of The Jedi 302 Fast Friends (mp3  30mb)
The Return Of The Jedi 303 Prophesies and Destinies (mp3  31mb)
The Return Of The Jedi 304 Pattern and Web (mp3  25mb)
The Return Of The Jedi 305 So Turns A Galaxy (mp3  31mb)



The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)
The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)
The Empire Strikes Back 04 Fire And Ice (mp3  24mb)
The Empire Strikes Back 05 Millennium Falcon Pursuit (mp3  24mb)
The Empire Strikes Back 06 Way Of The Jedi (mp3  25mb)
The Empire Strikes Back 07 New Allies (mp3  25mb)
The Empire Strikes Back 08 Dark Lord's Fury (mp3  23mb)
The Empire Strikes Back 09 Gambler's Choice (mp3  23mb)
The Empire Strikes Back 10 Clash Of Lightsabres (mp3  25mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Jun 28, 2015

Sundaze 1526 Inside Out 19

Hello, it's the right time, halfway through the year, to have another Inside Out to help you find out what's been hidden for you  .... N'joy

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Tibetan Dream Yoga is the original form of lucid dreaming documented for at least 1,000 years. Also known as Milam - the yoga of the dream state - it's a suite of advanced tantric techniques. Just like our Westernized understanding of lucid dreams, the initial aim is to awaken the consciousness in the dream state. However, as for what happens next, Tibetan lamas have more esoteric goals in mind...

Dream yoga is taught within the trance Bardos of Dream and Sleep. In the tradiditon of tantra, it's usually passed on by a qualified teacher, once the student has passed an initiation. It's considered a passing on of enlightened experience rather than reading texts, and requires the student to develop sufficient self awareness to achieve conscious lucidity during sleep. Their aim is to harness the power of the lucid dream state by "apprehending the dream". Students are then required to complete set tasks to take them to the next level. These tasks include:

- Practice sadhana (a spiritual discipline)
- Receive initiations, empowerments and transmissions
- Visit different places, planes and lokas (worlds)
- Communicate with yidam (an enlightened being)
- Meet with other sentient beings
- Fly and shape shift into other creatures

The ultimate goal in Tibetan dream yoga is to apprehend the dream - and then dissolve the dream state. When deprived of physical and conceptual stimulus from the dreaming mind, you can observe the purest form of conscious awareness.
Dream Yoga Techniques

The philosophy of Tibetan Buddhism is complex, but you don't need to be an expert to practice dream yoga techniques. However, you do need to show commitment; a technique is only as good as you are prepared to work at it. One very broad but basic rule is this: continually compare your dreams to waking reality and know what it feels like to be conscious. This will increase your self awareness and you will find it easier to induce lucidity in dreams. Here's an example of a dream yoga technique. If you already practice lucid dreaming, you'll find it familiar because dream recall is the key to lucid dreaming which ever way you look at it.

Every time you wake up, reflect on all the dreams you can remember. In Tibetan Buddhism, it's believed that the ego travels about during sleep - revisiting places we have been to in real life, and repeating all our experiences. So it's important to meditate upon your latest dreams and recollections. Stay completely still while you do this, because the "dream body" is disturbed by physical movement and the memories are lost. As you meditate on your dreams, repeat the mantra: RAOM GAOM, accentuating the O and splitting each word into two syllables. This will help focus your awareness on memories from the unconscious.



Lama Surya Das - Tibetan Dream Yoga (flac 313mb)

01 Tibetan Dream Yoga 1 64min
02 Tibetan Dream Yoga 2 69min

and a 13 page PDF
Lama Surya Das - Tibetan Dream Yoga - Study Guide

Lama Surya Das - Tibetan Dream Yoga (ogg 281mb)

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Hemi-Sync Chakra Journey Activate, clear, and align your chakras while expanding your awareness with the soothing, healing music of Thunder-Beat and Hemi-Sync. Thunder Beat has created each musical track to focus on a chakra, from the root (key of C), to the crown (key of B), thus helping to relieve stress and emotional blockages.  The final track is designed to balance and ground you. Chakra Journey for meditation; relaxation; massage and bodywork; or yoga. Instruments:  keyboards, chimes, wind, rattles, ceremony drums, ocean waves.



Chakra Journey with Hemi-Sync by ThunderBeat (flac 295mb)

1 Root Chakra (Stability - Grounding) 7:00
2 Sacral Chakra (Creation - Sexuality) 6:32
3 Solar Plexus Chakra (Power - Energy) 6:50
4 Heart Chakra (Love) 6:58
5 Throat Chakra (Communication) 7:44
6 Third Eye Chakra (Intuition) 6:51
7 Crown Chakra (Understanding) 6:55
8 Ascension (Balance - Grounding) 10:55

Chakra Journey with Hemi-Sync by ThunderBeat (ogg  121mb)

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Goldman's healing music and writing has been heavily influenced by mythology; psychology; multi-cultural music traditions; ancient religions; mathematics and speculative fiction. In short, Goldman has a three-part theory that runs beneath all of his written and music works.

- That everything in the universe is in a state of vibration. Everything is in motion and produces a sound or frequency. This includes the various parts of our body, organs, bones, tissue, etc.
- When we are in a state of "sound" health, everything in our bodies is vibrating in resonance or harmony with itself. When something is vibrating out of harmony, we call this "disease".
- Sound is an energy that can entrain or change the vibrational rate of objects. Therefore, if something is vibrating out of tune or harmony, it is possible to create the correct, natural "resonant" frequency of the out of tune object, project it to that out of tune portion and cause it to vibrate back to its normal, healthy state. This, in turn, can be summarized as: Frequency + Intent = Healing

This album won two Visionary awards in 1999, Best Album of the Year and Best Meditation Healing Album. Chakra Chants contains seven tracks, each corresponding to one of the chakra points on the human body. Starting with the base chakra and ending with the crown chakra, it is a deeply moving piece of music suitable as a meditation tool, for cleansing and balancing your energy body or just for sheer listening pleasure.

The high quality booklet discusses the subtle body, the chakras and the principles of sonic healing. Each track is made up of the appropriate vowel sound, a bija mantra, an elemental and/or shabd sound and a particular keynote. Overtones or harmonics are geometric multiples of the first note and represent the "colour" of sound. The human voice harmonics heard here add a deep emotional resonance to the sound. The voices are those of Goldman, Rabbi Shefa Gold, Gwen Tuesday and Lauren Cuggino, and all the instruments are authentic, i.e. no computerized sounds are used.

The result amply rewards the listener in glorious wave upon wave of swirling, uplifting joy. This is a true masterpiece that invites repeated listening and might serve as the ideal soundtrack to various holistic healing practices. Finally, Donald Beaman's cover art combines the Shri Yantra symbol with a square mandala and the human form in a most magnificent way. Chakra Chants is sublime; I cannot recommend it highly enough.



Jonathan Goldman - Chakra Chants  (flac 334mb)

01 Primal Ground 8:44
02 Sacred Union 9:24
03 Solar Fires 8:28
04 Wings of the Heart 8:45
05 Spirit Voices 8:31
06 Mind's Eye 9:01
07 Crown of Creation 9:26

Jonathan Goldman - Chakra Chants  (ogg 134mb)

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Jun 27, 2015

RhoDeo 1525 Grooves

Hello, ah Islam once again showed it's peace loving side, we could offer the other cheek but what about the guy who lost his head ? Pathetic cowards these terrorists, unfortunately most European politicians are cowards as well. Solutions are feasible, for starters declare Salafists as terrorists , imprison them and then kick them out towards Saudi Arabia. Second carpetbomb every town where Isis manifests, those idiots that thusfar opportunisticly supported Isis will suffer for it, but they had it coming you can't dance with the devil and think you can get away with it. Doing this quickly and the stream of refugees will dry, as for these opportunistic leftover sons from west africa deport them back, with force if need be. As i said the bleeding heart politicians won't do any of that and will be responsible for the much much bigger mess that awaits us ....

Meanwhile i watched an enjoyable 1/4 final at the womens worldchampionship between France and Germany. France were slightly better but at the penalty shoot out the German women coolly scored every penalty (English men take note!) France saw it final penalty held, previously neither keeper had any chance stopping the penalty. Hmm German girls march on towards the title French girls will weep and hope next time at home they will take the title...

Ah yes and Glastonbury is going on this long weekend, currently looking at Florence and The Machine doing their thing as stand in for the Foo Fighters. Pity i would have preferred seeing Siouxsie and the Banshees instead at a setting such as this, but i suppose they enjoy their mothballs... Drama queens...



Today and the coming weeks you'll get an American funk band that defined New Orleans funk, not only on their own recordings, but also as the backing band for numerous artists, including many produced by Allen Toussaint. Where the funk of Sly Stone and James Brown was wild, careening, and determinedly urban, the band were down-home and earthy. Nearly all of their own recordings were instrumentals, putting the emphasis on the organic and complex rhythms. The syncopated, layered percussion intertwined with the gritty grooves of the guitar and organ, creating a distinctive sound that earned a small, devoted cult during the '70s, including musicians like Paul McCartney and Robert Palmer, both of whom used the group as a backing band for recording. Despite their reputation as an extraordinary live band, The Meters never broke into the mainstream, but their sound provided the basis for much of the funk and hip-hop of the '80s and '90s.   ... N'joy

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Art Neville, the group's frontman, launched a solo career around the New Orleans area in the mid-1950s while still in high school. The Meters formed in 1965 with a line-up of keyboardist and vocalist Art Neville, guitarist Leo Nocentelli, bassist George Porter Jr. and drummer Joseph "Zigaboo" Modeliste. They were later joined by percussionist/vocalist Cyril Neville. The Meters became the house band for Allen Toussaint and his record label, Sansu Enterprises.

Throughout their career, The Meters were always led by Art Neville (keyboard, vocals), one of the leading figures of the New Orleans musical community. As a teenager in high school, he recorded the seminal "Mardi Gras Mambo" with his group, the Hawketts, for Chess Records. The exposure with the Hawketts led to solo contracts with Specialty and Instant, where he released a handful of singles that became regional hits in the early '60s. Around 1966, he formed Art Neville & the Sounds with his brothers Aaron and Charles (both vocals), guitarist Leo Nocentelli, drummer Joseph "Zigaboo" Modeliste, and bassist George Porter. The band grew out of informal jam sessions the musicians held in local New Orleans nightclubs. After spending a few months playing under the Sounds name, producer Allen Toussaint and Marshall Sehorn hired the group -- without the vocalists -- to be the house band for their label Sansu Enterprises.

As the house band for Sansu, The Meters played on records by Earl King, Lee Dorsey, Chris Kenner, and Betty Harris, as well is Toussaint himself. They also performed and recorded on their own, releasing danceable instrumental singles on Josie Records. "Sophisticated Cissy" and "Cissy Strut" became Top Ten R&B hits in the spring of 1969, followed by the number 11 hits "Look-Ka Py Py" and "Chicken Strut" a year later. The Meters stayed at Josie until 1972, and during that entire time they reached the R&B Top 50 consistently, usually placing within the Top 40. In 1972, the group moved to Reprise Records, yet they didn't sever their ties with Sansu, electing to keep Toussaint as their producer and Sehon as their manager. Ironically, The Meters didn't have nearly as many hit singles at Reprise, yet their profile remained remarkably high. If anything, the group became hipper, performing on records by Robert Palmer, Dr. John, LaBelle, King Biscuit Boy, and Paul McCartney. By the release of 1975's Fire on the Bayou, The Meters had a Top 40 hit with Rejuvenation's "Hey Pocky A-Way" (1974), and they had gained a significant following among rock audience and critics. Fire on the Bayou received significant praise, and the group opened for the Rolling Stones on the British band's 1975 and 1976 tours.

In 1975 Paul McCartney invited the Meters to play at the release party for his Venus and Mars album aboard the Queen Mary in Long Beach, California; Mick Jagger of The Rolling Stones was in attendance at the event and was greatly taken with the Meters and their sound.[citation needed] The Rolling Stones invited the band to open for them on their Tour of the Americas '75 and Tour of Europe '76.That same year, the Meters recorded one of their most successful albums, Fire on the Bayou.

During 1976/77, The Meters embarked on the Wild Tchoupitoulas project with Art's uncle and cousin George and Amos Landry, two members of the Mardi Gras ceremonial black Indian tribe, the Wild Tchoupitoulas. The Meters, the Landrys, and the Neville brothers -- Aaron, Charles, Art, and Cyril -- were all involved in the recording of the album, which received enthusiastic reviews upon its release in 1976. Cyril joined The Meters after the record's release. Despite all of the acclaim for The Wild Tchoupitoulas, its adventurous tendencies indicated that the group was feeling constrained by its signature sound. Such suspicions were confirmed the following year, when they separated from Toussaint and Sehorn, claiming they needed to take control of their artistic direction. Following the split, The Meters released New Directions in 1977, but shortly after its appearance, Toussaint and Sehorn claimed the rights to the group's name. Instead of fighting, the band broke up, with Art and Cyril forming the Neville Brothers with Aaron and Charles, while the remaining trio became session musicians in New Orleans. Modeliste, in particular, became a well-known professional musician, touring with the New Barbarians in 1979 and moving to L.A. during the '80s.

The Meters reunited as a touring unit in 1990 with Russell Batiste taking over the drum duties from Modeliste. Four years later, Nocentelli left the band, allegedly because he and Art disagreed whether the band should be paid for samples hip-hop groups took from their old records; when Nocentelli left the group in 1994 they replaced him with guitarist Brian Stoltz, formerly of The Neville Brothers and renamed themselves The Funky Meters. (They were referred to as "the Funky Meters" as early as 1989.

The Funky Meters continued to play into the 2000s with Stoltz being replaced by Art Neville's son, Ian Neville, from 2007 to 2011 while he went to pursue a solo career. Stoltz returned to the band permanently in 2011. In 2000, a "big offer" enticed all four original Meters to reunite for a one-night stand at the Warfield in San Francisco; by this time Modeliste wanted to make the reunion a permanent one, but the other members and their management teams objected

In June 2011 The Original Meters along with Allen Toussaint and Dr. John played the Bonnaroo Music and Arts Festival in Manchester, Tennessee. The six men performed Dr. John's album "Desitively Bonnaroo" which was originally recorded with the Meters, to a sold out crowd. On May 5, 2012 The Meters returned to New Orleans for a performance at the Howlin' Wolf. Tickets went on sale and sold out in one and a half hours.

Currently, The Funky Meters tour consistently performing songs by The Meters, while The Meters perform sporadically. The line up of Neville, Porter, Nocentelli and Modeliste typically bill themselves as The Original Meters to avoid confusion with The Funky Meters. When not performing with The Original Meters, guitarist Leo Nocentelli leads his own group, The Meters Experience which also performs the music of The Meters.

Confused ? Don't be it's greed doing its ugly thing... Meanwhile the Meters have been nominated for the Rock and Roll Hall of Fame three times since becoming eligible in 1994: 1996, 2012, and in 2013. but all that strife..

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Initially created to be the house band for Allen Toussaint and Marshall Sehorn's Sansu Enterprises, the Meters started out backing such famous names as Lee Dorsey and Betty Harris. Led by organist Art Neville, the quartet was rounded out by jazz-influenced guitarist Leo Nocentelli, along with the bubbling rhythm section of bassist George Porter, Jr. and drummer Joseph "Zigaboo" Modeliste. Booker T. & the M.G.'s may have been the most obvious influence, but the Meters differentiated themselves by injecting a healthy dose of New Orleans funk into their sound. Led by Neville's fat-sounding organ, the Meters quickly scored hits with the sinewy "Cissy Strut" and the more languid "Sophisticated Cissy." Simplicity is the hallmark of this impressive debut and nuance is paramount, whether it's Nocentelli's lazy riffs echoing throughout "Ease Back" or Modeliste unobtrusively riding his hi-hat along the perimeter of the Memphis-fried "6V6 La." Not unlike the M.G.'s, the Meters were masters of interpretation -- the band here moves easily from a chugging reading of Sly Stone's "Sing a Simple Song," to kicking back on a smoky version of the Classics IV's "Stormy."



The Meters - The Meters  (flac  250mb)

01 Cissy Strut 3:04
02 Here Comes The Meter Man 2:54
03 Cardova 4:32
04 Live Wire 2:39
05 Art 2:32
06 Sophisticated Cissy 2:55
07 Ease Back 3:13
08 6V6 LA 2:24
09 Sehorn's Farm 2:28
10 Ann 2:44
11 Stormy 3:37
12 Sing A Simple Song 3:02
Bonus Tracks
13 The Look Of Love 3:36
14 Soul Machine 3:26

The Meters - The Meters (ogg  099mb)

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The second album by Art Neville's band continues the sound that made them New Orleans legends. In addition to the title track, there's plenty of funk aboard in songs like like "Pungee," "9 'Til 5," "Rigor Mortis," "Funky Miracle," and "Yeah, You're Right." [Some reissues also feature two previously unreleased bonus tracks, "Grass" and "Borro." Look-Ka Py Py was listed #216 on the Rolling Stone list of 500 Greatest Albums of All Time.



The Meters - Look-Ka Py Py (flac 206mb)

01 Look-Ka Py Py 3:17
02 Rigor Mortis 2:36
03 Pungee 2:59
04 Thinking 1:40
05 This Is My Last Affair 2:53
06 Funky Miracle 2:27
07 Yeah, You're Right 2:48
08 Little Old Money Maker 2:41
09 Oh, Calcutta! 2:44
10 The Mob 2:48
11 9 'Til 5 2:48
12 Dry Spell 2:29
bonus
13 Grass 2:40
14 Borro 2:12

The Meters - Look-Ka Py Py (ogg 90mb)

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As the third full-length album released by the Meters, Struttin' may not appear to be drastically different than its predecessors, at least not on the surface. After all, the title of the lead single "Chicken Strut" intentionally recalls their previous biggest "Cissy Strut," and it has the same basic Meters groove. And if the essential sound remains unchanged, that's because that organic, earthy funk is the Meters' signature. Other groups have tried to replicate it, but nobody ever played it better. Because of that, Struttin is an enjoyable record, even if it never quite feels like anything more focused than a series of jam sessions; after all, that's what it was. This time around, however, the Meters did make a conscious decision to emphasize vocals, and not just with shout-alongs on the chorus ("Chicken Strut," "Same Old Thing"), but with Art Neville's leads on covers of Ty Hunter's soulful uptown shuffle "Darling, Darling, Darling," Jimmy Webb's groovy ballad "Wichita Lineman," and Lee Dorsey's "Ride Your Pony" (the Meters provided support on the original recording). This gives the album a bit more diversity than its predecessors, which is welcome, even for devotees of the group's admittedly addictive sound. But the real difference is how the band seems willing to expand their signature sound. "Hand Clapping Song" is a spare, syncopated breakdown without an obvious through-line, while "Joog" turns the group's groove inside out. These variations are entertaining -- as entertaining as the vocals -- and the songs that are solidly in the Meters tradition are also fun. The results are pretty terrific, though given the fact that Struttin' never really pulls itself into a coherent album, it may be the kind of first-rate record only aficionados of the band will need to seek out.



The Meters - Struttin' (flac 223mb)

01 Chicken Strut 3:12
02 Liver Splash 2:41
03 Wichita Lineman 2:59
04 Joog 2:14
05 Go For Yourself 3:11
06 Same Old Thing 2:50
07 Hand Clapping Song 2:56
08 Darling Darling Darling 2:53
09 Tippi-Toes 2:27
10 Britches 2:50
11 Hey! Last Minute 2:59
12 Ride Your Pony 3:18
Bonus Tracks
13 Funky Meters' Soul 2:57
14 Meter Strut 2:47

The Meters - Struttin' (ogg 92mb)

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Jun 25, 2015

RhoDeo 1525 Goldy Rhox 215

Hello, today the 215th post of GoldyRhox, classic pop rock in the darklight is an American rock band formed in 1965 in Los Angeles, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore. The band took their name from the title of Aldous Huxley's book The Doors of Perception, itself derived from a line in William Blake's The Marriage of Heaven and Hell: "If the doors of perception were cleansed, everything would appear to man as it is: infinite" They were among the most controversial, influential and unique rock acts of the 1960s, mostly because of Morrison's lyrics and charismatic but unpredictable stage persona.

Morrison went to many record labels trying to land a deal. He did score one at Columbia Records but it did not pan out. On August 10, they were spotted by Elektra Records president Jac Holzman, who was present at the recommendation of Love singer Arthur Lee, whose group was with Elektra Records. After Holzman and producer Paul A. Rothchild saw two sets of the band playing at the Whisky a Go Go, they signed them to the Elektra Records label on August 18 — the start of a long and successful partnership with Rothchild and engineer Bruce Botnick. The band were fired from the Whisky on August 21, 1966 when Morrison added an explicit retelling and profanity-laden version of the Greek myth of Oedipus during "The End"

Signing with Elektra Records in 1966, the band released eight albums between 1967 and 1971. All but one hit the Top 10 of the Billboard 200 and went platinum or better. The 1967 release of  their debut album was the first in a series of top ten albums in the United States. Although the band's active career ended in 1973, their popularity has persisted. According to the RIAA, they have sold 33 million certified units in the US and over 100 million records worldwide, making them one of the best-selling bands of all time. The group have been listed as one of the greatest artists of all time by many magazines, including Rolling Stone, which ranked them 41st on its list of the 100 Greatest Artists of All Time. They were the first American band to accumulate eight consecutive gold and platinum LPs.

The coming weeks their 6 studioalbums will be posted here

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

Today's mystery album  (sometimes referred to as Hard Rock Café from the title of the first side of the LP, with the second side titled mystery Hotel) is the fifth studio album by today's American psychedelic mystery band, recorded from between August 1966 and November 1969 and released by Elektra February 9, 1970. After the previous year's more experimental album The Soft Parade was not as well-received as anticipated, the group went back to basics and back to their roots. On this album, there is a slight steer toward blues.

The cover photo was taken by Henry Diltz at the Morrison Hotel located at 1246 South Hope Street in Los Angeles. The photographer told the guy at the desk they were going to take a few photos and he said they couldn’t without the owner’s permission and the owner wasn’t there. He took the pictures as the guy was inside the elevator. The elevator numbers right under the ‘son’ in ‘Morrison’ are lit in the cover. They jumped right behind the windows and hit their places without shuffling as he took their shot. The rear cover features a photograph of the Hard Rock Café on 300 East 5th Street, Los Angeles. The founders of the later and otherwise unrelated Hard Rock Cafe chain used the name, having seen it on this album.

Even though no major hit singles were drawn from the album, it reestablished the band as favorites of the critics, peaking at No. 4 on the US album chart. The album also became the band's highest charting studio album in the UK, where it peaked at No. 12. For the 40th anniversary the album was re-released in completely remixed and remastered form. This practice extended to incorporating vocal and instrumental components which were not part of the original album. According to Ray Manzarek, "There are background vocals by Jim Morrison, piano parts of mine that weren't used and guitar stingers and solos by Robby Krieger that never made the original recordings that can now be heard for the first time.

Today's mystery album was, upon its release, seen by many as a comeback for the band following the critical failure of The Soft Parade and the Miami incident of 1969. Dave Marsh, the editor of Creem magazine, called the album "the most horrifying rock and roll I have ever heard. When they're good, they're simply unbeatable. Today and these last weeks from the Perception Boxset extended remasters, it's up for grabs here...N'Joy


Goldy Rhox 215   (flac 462mb)

Goldy Rhox 215    (ogg 183mb)


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Jun 24, 2015

RhoDeo 1525 Aetix

Hello, last week Alan Vega this week his more timid Suicide partner ...

Today an American musician and the instrumentalist whois behind the protopunk band Suicide. His solo career has released several solo albums for a number of labels, including ROIR and Puu. Revs style varies widely from release to release, from no wave to melodic pop to heavy synth induced rock..... N'Joy

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Martin Rev (full name Martin Reverby, born December 18, 1947) is an American musician and the instrumentalist in the electronic protopunk band Suicide. He also has a solo career and has released several solo albums for a number of labels, including ROIR and Puu. His style varies widely from release to release, from electronic no wave (Martin Rev) to bubblegum pop (See Me Ridin, Strangeworld) to heavy synthesizer rock (To Live).

Rev also works with Stefan Roloff, doing soundtracks for Roloff's video work. He contributed to The Raveonettes' 2005 album, Pretty In Black. In 2008, while Martin was working on Stigmata, his wife Mari died. The album, dedicated to her, is strong in religious imagery with most songs being titled in Latin. Kris Needs called the album a "brilliantly executed excursion into modern electronic classical music"

And that's all the internet spewed out on Martin, clearly not a self promoter, nevertheless an artist lives by acknowledgement (and or the dole) I have to wonder here how serious mister Reverby is about his musical career...

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Though it's nowhere near as confrontational or abrasive as his work with Suicide at the time, Martin Rev's self-titled 1979 solo album takes many of the elements of the group's sound and explores them individually: The crisp drum pattern and pretty, naïve synth melody in "Mari" sounds like an extrapolation of the proto-synth pop Rev and Alan Vega were working on at the time, while "Nineteen 86" features the insistent, sibilant drums and ominous drones that became Suicide trademarks. "Baby Oh Baby" could've easily appeared on one of the group's albums, though it's interesting to hear Rev's whispered, monotone delivery instead of Vega's alien-beatnik howl. But Marvel isn't just a Suicide album by another name; on many of the songs, Rev indulges his experimental leanings in different ways. "Temptation," the album's seven-minute centerpiece, mixes a wind chime-like melody and gusty synths into a hypnotic, though far from serene, meditation. "Jomo" and "Asia" mine similar territory, juxtaposing layers of synths and stiff percussion for a mechanical but still melodic feel. Overall, Marvel sounds like an enjoyable working holiday for Rev; it features lots of interesting ideas that aren't quite fully developed but are still well-worth hearing, especially for Suicide fans -- as long as they don't expect Suicide-caliber material.



Martin Rev - Martin Rev  (flac 369mb)

01 Mari 4:25
02 Baby Oh Baby 4:47
03 Nineteen 86 4:35
04 Temptation 7:18
05 Jomo 4:40
06 Asia 4:00
Bonus
07 Coal Train 5:28
08 Marvel 12:50
09 5 To 5 2:00
10 Wes 4:16
11 Daydreams 5:22

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synth bass lines, sometimes a pounding drum beat, and then he layers on the noises.  Song structures are very static, to hypnotic effects, and the free form synth noises SPLASH WHIRL SPIN and WHIZZ around you.  Repetitive and minimalist to the point of being stubborn, Rev makes up for the stagnancy with dark, lo-fi grooves that are embellished by the twists of knobs and a bombardment of effects. The last track on side one (Whisper) is quite reminiscent of the Suicide song Sweetheart, though much less lush on this LP.



Martin Rev - Clouds of Glory  (flac 248mb)

01 Rodeo 6:28
02 Clouds Of Glory 6:31
03 Metatron 6:13
04 Whisper 3:15
05 Rocking Horse 5:36
06 Parade 6:23
07 Island 6:27

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The original album was recorded in sessions about a decade apart; tracks one and seven were recorded in 1990 at Czarist Productions and produced by Martin Rev, with tracks two to six, eight and nine recorded in 1980 at Power Station Studios and produced by Ric Ocasek. All the compositions were written/performed by Martin Rev and are experimental electronics that dip into avant-garde - "Little Rock" - and minimalist, clubland beats (the superfecta of "Mustang," "Dakota," "Buckeye" and "Prairie Star").

Intriguing throughout, this is a revolutionary roundup of sound and vision. This re-release, which has three bonus tracks.



Martin Rev - Cheyenne (flac 284mb)

01 Wings Of The Wind 7:55
02 Red Sierra 6:35
03 Dakota 2:56
04 Cheyenne 3:06
05 River Of Tears 3:47
06 Buckeye 2:13
07 Little Rock 6:58
08 Prairie Star 2:24
09 Mustang 2:39
Bonus Tracks
10 Pony 1:53
11 Durango 2:19
12 Coyote 5:02

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Jun 23, 2015

RhoDeo 1525 Re-Up 22

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

I got a request for Tokyo Mobile Music a few weeks ago, however at the time the back-up disk was unavailble, meanwhile that back up disk is usuable once more. Thereupon i decided to re-up the Japan series, these started with vinyl rips in ogg, halfway the 10 week series source material became mainly cd hence from then on the re-up posts are availabe in flac. Specially for my many Japanese visitors i re-up the complete series today 45 re-ups half in flac from the first 8 weeks ...N' Joy




5x Japan 1 NOW in Flac Far East Family Band-Nipponjin, Back in Ogg  (Ippo Du - Radio Fantasy, Plastics - Welcome back, Ondekoza - 3, VA - Tokyo Mobile Music I)

5x Japan Do Now in Flac Sakamoto - Left Handed Dream (Rem), back in ogg (Joji Hirota - The Wheel of Fortune, Lizard - Babylon Rocker, Sandii & the Sunsetz - Immigrants, Snakeman Show - Pithecan Thropus Erectus Strike Back)


5x Japan Sushi NOW in Flac Haruomi Hosono - Philharmony, back in ogg (EDPS - Blue Sphinx, EP-4 - Lingua Franca X, Sheena and the Rokkets - I, Toshinori Kondo - Taihen)


6x Japan IV NOW in Flac Yukihiro Takahashi - Neuromantic (rem) back in ogg (Beatniks - Existentialism, Frank Chickens - We Are Frank Chickens, Masami Tsuchiya - Rice Music, Miharu Koshi - Tutu, Snakeman Show - Bootleg)


7x Japan V NOW in Flac Akiko Yano - John Zorn Compilation, Yukihiro Takahashi - What Me Worry + EP rem and back in ogg (Logic System - Venus, Lizard - I, Susan - The Girl Can't Help It, The Drum Battle, VA - Yen Memorial Album )


5x Japan-YMO NOW in Flac (Ryuichi Sakamoto - Thousand Knives, YMO - Yellow Magic Orchestra rem, Yellow Magic Orchestra - Xoo Multiplies, Yellow Magic Orchestra - Technodelic-rem) still in ogg Haruomi Hosono - Paraiso


7x Japan  YM O2 NOW in Flac (Haruomi Hosono - Omni Sight Seeing,  Ryuichi Sakamoto - Beauty, Yellow Magic Orchestra - Technodon, YMO - Complete Service 1 + 2, YMO - Hi-Tech-No Crime (Remixes) and Senor Coconut - Yellow Fever)


5x Tea Lounge Dub NOW in Flac ( Shoukichi Kina - Peppermint Tea House, Audio Active - Happy Happer, Pizzicato 5 - Happy End Of The World, Cornelius - Fantasma / FM
Boom Boom Satellites - 7 Ignitions )

and now all 10 are re-upped (24/6)

7x Japan  Zen NOW in Flac (Cornelius - Point + PM,  Hikashu - History, Masters of Zen - Koto & Shakuhachi, Noriko, Tujiko - Make Me Hard, Sunahara, Yoshinori - Lovebeat, Yujiro, Takahashi - Min'Yo and audiobook Fujiwara no Teika - Ogura Hyakunin Isshu)

6 x Japan Sayonara NOW in Flac ( DJ Krush - Jaku, Ghost - Hypnotic Underworld, Ishii, Ken - Future in light, Sketch Show - Loophole, Takamasa, Aoki - Indigo Rose, Takemura, Nobukazu - Tenth)

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Jun 22, 2015

RhoDeo 1525 Star Wars Jedi 5

Hello, gosh Rosberg won a F1 race without much pressure of Hamilton, Vettel missed out on third because a wheel nut got stuck wich caused him to loose too much time, besides even the Wiliams-Merc is hard to pass, good thing there's rookie Verstappen and well known crazy Maldonado entertaining the crowds.In two weeks time Hamilton is expected to win his home grand prix at Silverstone, if not...the Brits will start praying for Chris Froome winning the Tour de France (no way Jose) meanwhile  the women are playing their world soccer championship what can i say saw a match yesterday and after that a match of men under 21 championship  .....there's a long way to go for the women, i notice however that the public enjoys themselves and in the end thats what its all about. Earlier the Aussies (or mathilda's) outsmarted the Brazilian girls who were sent packing as are those poor South Korean women. It sets up a quarter final between the tournements biggest favorites Germany and France, yes FIFA knows how to keep the ball rolling in emerging markets, the whole set up reeks, world champion Japan if they manage to beat the Dutch will have 2 days less recovery time as the Australians (planned were the Brazilians) shame unsportif nasty behaviour by the organisers, everything to let the US and Canada win, i promise you they won't !


This week, Return of the Jedi ! The penultimate episode of the series


At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles. Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.


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NPR's plans for a Return of the Jedi radio serial were put on hold when federal funding for NPR was dramatically reduced. It was not until 1996 that a six-part adaptation of Return of the Jedi was made by Highbridge Audio, the company that had released the first two series on tape and CD.

Like the preceding series, Return of the Jedi expanded its story by incorporating new scenes, such as Luke Skywalker's construction of a new lightsaber.

Scriptwriter Brian Daley died shortly after recording concluded; "additional material" was contributed by John Whitman, who introduced changes required for continuity with the now-planned prequels, as well as changes identified by the director and cast.

The episodes are titled:
"Tatooine Haunts"
"Fast Friends"
"Prophecies And Destinies"
"Pattern And Web"
"So Turns A Galaxy, So Turns A Wheel"
"Blood Of A Jedi"

Cast

The adaptation used many of the original radio cast, though Joshua Fardon took over as Luke and Arye Gross replaced Billy Dee Williams as Lando. Ed Begley, Jr. was the voice of Boba Fett and Edward Asner, speaking only in Huttese, voiced Jabba the Hutt. The only actor who starred in all the feature films as well as the radio dramas was Anthony Daniels.

Joshua Fardon as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Anthony Daniels as C-3PO
Bernard Behrens as Obi-Wan Kenobi
Arye Gross as Lando Calrissian
Edward Asner as Jabba The Hutt
Paul Hecht as The Emperor
John Lithgow as Yoda
Brock Peters as Lord Darth Vader
Ed Begley, Jr. as Boba Fett
Samantha Bennett as Arica
David Birney as Anakin Skywalker
Peter Dennis as Moff Jerjerrod
David Dukes as Bib Fortuna
Peter Michael Goetz as General Madine
Ian Gomez as Salacious Crumb
Martin Jarvis as Barada
Jon Matthews as Wedge
Natalija Nogulich as Mon Mothma
Mark Adair Rios as Admiral Ackbar
Yeardley Smith as 9D9
Tom Virtue as Major Derlin
Ken Hiller as Narrator



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The Return Of The Jedi 305 So Turns A Galaxy (mp3  31mb)

305 So Turns A Galaxy     34:34


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previously


The Return Of The Jedi 301 Tatooine Haunts (mp3  30mb)
The Return Of The Jedi 302 Fast Friends (mp3  30mb)
The Return Of The Jedi 303 Prophesies and Destinies (mp3  31mb)
The Return Of The Jedi 304 Pattern and Web (mp3  25mb)


The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)
The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)
The Empire Strikes Back 04 Fire And Ice (mp3  24mb)
The Empire Strikes Back 05 Millennium Falcon Pursuit (mp3  24mb)
The Empire Strikes Back 06 Way Of The Jedi (mp3  25mb)
The Empire Strikes Back 07 New Allies (mp3  25mb)
The Empire Strikes Back 08 Dark Lord's Fury (mp3  23mb)
The Empire Strikes Back 09 Gambler's Choice (mp3  23mb)
The Empire Strikes Back 10 Clash Of Lightsabres (mp3  25mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Jun 21, 2015

Sundaze 1525

Hello, I'm off enjoying the shortest night on this most ancient of festive days..the solstice

Today the final posting on Ashra (Temple) it proved to be an unexpected success as in there's been lot's of interest for the founding exponent of  space rock and krautrock.   .... N'joy

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Along with Tangerine Dream, Ash Ra Tempel (later Ashra) was one of the first bands to convert the trippier side of late-'60s psychedelia into the kosmische rock of the '70s. Most Ash Ra titles were solely the work of Manuel Göttsching, plus any other additional players who happened to be around during the recording of his ten albums. Göttsching trained in classical guitar and studied improvisational music plus electronics at school. In 1970, he formed Ash Ra Tempel with no less than Klaus Schulze (fresh from a brief stint in Tangerine Dream) and Hartmut Enke. All three founding members had previously played together as part of the short-lived group Eruption founded by Conrad Schnitzler. Prior to that Schnitzler and Schulze had worked together in Tangerine Dream.  After a self-titled album in 1971, Schulze left for a solo career; Göttsching continued on with a variety of bandmembers and guests, including Timothy Leary on 1973's Seven Up (and Schulze again, for Join Inn).

Ash Ra Tempel released its self-titled debut album in June 1971. This release is considered by critics to be a classic of the genre; Schulze temporarily departed for a solo career shortly after its release. Schwingungen (1972), Seven Up (with Timothy Leary) (1972), and Join Inn with Schulze again (1973) are all considered key works from the band. The pop-oriented 1973 album Starring Rosi was thus named because it featured lead vocals by Rosi Mueller.

Their music is widely characterized as cosmic and atmospheric. The early albums were more psychedelic-oriented and all had one lengthy track per side: one more powerful and dramatic, the other of a more atmospheric nature. Instead of writing English lyrics, since German language was not popular in rock music at the time, Ash Ra Tempel more or less decided not to have lyrics in their songs.

By 1975, Göttsching had released his first solo album (Inventions for Electric Guitar) and though Ashra returned the following year, the next two records by the "group" were Göttsching-only albums, the brilliant New Age of Earth in 1976 and Blackouts one year later. For the 1980s, most Ashra LPs were band-setting albums (with the assistance of guitarist Lutz Ulbrich and drummer Harald Grosskopf) while Göttsching solo records (like the landmark E2-E4) were, truly, solo records. He also reunited with Schulze to work on Alphaville's 1989 LP, The Breathtaking Blue.


Later, after recording the soundtrack Le Berceau de Cristal (1975; unreleased until 1993) Ash Ra Tempel shortened its name to Ashra, making a more melodic, synthesizer-based music. In 2000 the band was reunited in the line up of Manuel Gottsching and Klaus Schulze. The pair had previously worked together on Schulze's album In Blue.


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After a prolific run in the 1970s, Manuel Göttsching's '80s output with Ash Ra Tempel was greatly reduced and the quality of his work was uneven: Belle Alliance flirted with contemporary synth pop with mixed results; E2-E4 proved influential, resonating with subsequent electronic artists. Recorded in 1988, Walkin' the Desert struck a tasteful balance between Göttsching's experimental inclinations and a more mainstream techno sensibility. The album is an edited version of a performance given with Lutz Ulbrich in Berlin for the Desert Sounds event series (part of the Berlin: European Capital of Culture festival). In its original context, the music was accompanied by readings from works by Otl Aicher, Albert Camus and Antoine de Saint-Exupéry and, in keeping with the event's thematic focus on the desert, the record displays recurring Middle Eastern and Asian nuances and motifs. The minimalist influence of Steve Reich and Philip Glass, who inspired some of Göttsching's strongest mid-'70s material, is still evident on "First Movement: Two Keyboards," an arrangement of rippling piano patterns with subtly changing intensities. "Second Movement: Six Voices" initially trades sparse, mantra-like rigidity for expansive synth textures and an austere symphonic gravitas, although the track gradually coalesces with ornate percussive chimes. The album's Eastern dimension is most explicit on the epic "Fourth Movement: Twelve Samples," which weaves a hypnotic tapestry of vocal loops and concludes with what sounds like a muezzin's voice. Despite the emphasis on keyboards, synths and samples, Göttsching doesn't completely forsake his signature cosmic guitar sound on Walkin' the Desert: "Dessert: Eight Tracks" combines soaring guitar lines with plucked strings. This album comprises a sort of musical travelogue -- happily, however, Walkin' the Desert takes listeners on a pleasant and compelling journey.



Ashra - Walking' the Desert (flac 223mb)

01 First Movement: Two Keyboards 8:18
02 Second Movement: Six Voices 8:42
03 Third Movement: Four Guitars 10:29
04 Fourth Movement: Twelve Samples13:50
05 Dessert: Eight Tracks4:28

Ashra - Walking' the Desert (ogg  95mb)

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Manuel Göttsching made the transition to the '80s seemingly without a hitch, his 1984 album E2-E4 proving foundational for subsequent electronic dance music. However, Tropical Heat (recorded in 1985 and 1986 but not released until 1991) was a rare misstep. Accompanied by Harald Grosskopf (electronic drums) and Lutz Ulbrich (guitar, keyboards), Göttsching dabbles in new age musical tourism, infusing excruciatingly clean, synthetic rock with vapid Latin and Caribbean nuances. Unfortunately, this record supports the sort of uninformed criticism often leveled against electronically oriented music: it really is lifeless, soulless, and cold, and while Göttsching might have conceived of Tropical Heat as the soundtrack to some imaginary exotic voyage, it doesn't travel at all well beyond the mid-'80s. "Pretty Papaya" has all the charm of cruise-ship Muzak, with some faux-Hawaiian guitar thrown in; the gratuitous horn samples and synth-drum rolls on "Nights in Sweat" conjure up images of a supper-club band covering Kid Creole; and "Don't Stop the Fan" falls somewhere between limp white reggae and "La Isla Bonita." There's a faintly beautiful melody on "Monsoon," but it gets lost amid the clutter, the main culprit being Grosskopf's antiseptic synth drums, which are irritatingly omnipresent throughout the record. One of the stronger numbers, the busy and bouncy "Mosquito Dance," almost achieves one of Göttsching's signature mesmeric grooves, but after nearly nine minutes, the track ultimately fails to go anywhere, demonstrating the huge difference between hypnotic and plain repetitive. The 1980s really were the great leveler. The era's burgeoning electronic innovations allowed a new generation of artists to make catchy mainstream pop with a relatively small outlay and, often, only a modicum of talent. Nevertheless, many pioneering artists of the '70s struggled in that new environment. More a-ha than Ashra, Manuel Göttsching's uncharacteristic lapse with Tropical Heat is evidence of that.



Ashra - Tropical Heat (flac 251mb)

01 Mosquito Dance 8:44
02 Tropical Heat 4:51
03 Pretty Papaya 6:07
04 Nights In Sweat 8:33
05 Don't Stop The Fan 5:26
06 Monsoon 5:14

Ashra - Tropical Heat (ogg 94mb)

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Recorded in 2000, Friendship marked the return of Krautrock pioneers Ash Ra Tempel, though founding member Manuel Göttsching had been making music under the name Ashra on and off with a host of other players a few years after the 1973 breakup of the band's original lineup. Friendship saw the reunion of Göttsching and fellow Ash Ra Tempel founding member Klaus Schulze, who had spent much of the '70s, '80s and '90s amassing an impressive body of his own solo work. Working as a duo, Göttsching's fantastical guitar leads and Schulze's trademark synth pads are joined by more digital drum programming (also the handiwork of Schulze, who had originally served as the band's drummer back in their earliest days). The album is made up of three lengthy compositions somewhere between trance, deep house, and hints of the early Krautrock experimentalism the band forged in the early '70s.



Ashra - Friendship  (flac 485mb)

01 Reunion 30:40
02 Pikant 21:40
03 Friendship 26:30

Ashra - Friendship  (ogg 186mb)

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Jun 20, 2015

RhoDeo 1524 Grooves

Hello,

Today you'll get a never-ending stream of notes that make you feel unworried and thirsty for thew 5th and last time, not that the well has dried our man released no less then 50 albums in his long career but let's face it it's time to move on, meanwhile i finish with more highlights from the Night trippers career. ... N'joy

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Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.

When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.


Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.

In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.

He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.

The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.

In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.

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Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction -- Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here.



Dr. John - Going Back To New Orleans  (flac  401mb)

01 Litanie Des Saints 4:44
02 Careless Love 4:10
03 My Indian Red 4:47
04 Milneburg Joys 2:39
05 I Thought I Heard Buddy Bolden Say 2:29
06 Basin Street Blues 4:27
07 Didn't He Ramble 3:28
08 Do You Call That A Buddy? 3:54
09 How Come My Dog Don't Bark When You Come 'Round 4:09
10 Good Night, Irene 4:11
11 Fess Up 3:12
12 Since I Fell For You 3:32
13 I'll Be Glad When You're Dead, You Rascal You 3:25
14 Cabbage Head 3:59
15 Goin' Home Tomorrow 3:01
16 Blue Monday 3:01
17 Scald Dog 2:58
18 Goin' Back To New Orleans 4:08

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Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.



Dr. John with the Donald Harrison Band - Funky New Orleans (live) (flac 351mb)

01 Hu-Ta-Nay 6:17
02 Big Chief 5:17
03 Shave 'Em Dry 5:17
04 Ja-Ki-Mo-Fi-Na-Hay 6:52
05 Mamzelle Zizi 5:43
06 Livin' On Borrowed Time 9:18
07 You Ain't So Such A Much 6:36
08 Hu-Ta-Nay 9:16
09 Walkin' Home 2:23

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N'Awlinz: Dis Dat or d'Udda is a very good record, but it could have been a great one. One has to wonder if the idea of having all these high-profile guest vocalists was Dr. John's, Blue Note's, or producer Stewart Levine's, in order to follow the 21st century trendiness of having "celebrity" guests on a session. This is Mac Rebennack's homeboy album, a tribute to his city and its players. He's recorded some in New Orleans, to be sure, but never has he been able to make use of the Crescent City's greatest arranger, Wardell Quezergue, to such an extent. In addition, the great Doctor was able to enlist Earl Palmer, Smokey Johnson, Nicholas Payton, Dave Bartholemew, Eddie Bo, Walter Wolfman Washington, Snooks Eaglin, the Dirty Dozen Brass Band, Alfred "Uganda" Roberts, Willie Tee, and a huge slew of players to help him out on canonical N.O. repertoire. The sheer number of percussionists on this set is staggering and welcome. On nuggets like "When the Saints Go Marching In," sung funeral style, the Davell Crawford Singers and the Quezergue horns kick it with the rhythm section and front line. "St. James Infirmary" has Bo second-lining the band as he duets with Mac. The Cousin Joe (Pleasant Joseph) tunes like "Life's a One Way Ticket," Bartholomew's "The Monkey," and Mac's own brilliant "Shango Tango" smolder with that strutting, finger-poppin' R&B. So what's the problem? The lame, completely lifeless vocals of Randy Newman, a track with B.B. King and Willie Nelson, and Nelson on his own on three tracks that will remain nameless mar something so beautifully done that it otherwise might have been one of the finest New Orleans records since the early '60s. There are other guest vocalists who bring home the bacon on duets with Dr. John -- Mavis Staples on "Lay My Burden Down," Cyril Neville on the amazing read of Robert Gurley's "Marie Laveau," and Rebbenack's closer, "I'm Goin" Home," are stellar. And King even rises to the occasion on his duet with Mac on "Hen Layin' Rooster." Dr. John is in amazing voice here, his piano playing is knife-edge tough and funky, and his performances are so inspired that they are perhaps career-defining. Three out of 18 cuts is minuscule after all, and the rest of this set is so badass that it should be purchased regardless. After all, what is the remote control for? It's a contender to be sure, but it could have been a champion.



Dr. John - N'Awlinz Dis, Dat or D'udda (flac 458mb)

01 Quatre Parishe 2:14
02 When The Saints Go Marching In 4:52
03 Lay My Burden Down 4:32
04 Marie Laveau 6:49
05 Dear Old Southland 2:41
06 Dis, Dat Or D'Udda 4:20
07 Chickee Le Pas 4:02
08 The Monkey 3:49
09 Shango Tango 1:27
10 I Ate Up The Apple Tree 3:34
11 You Ain't Such A Much 3:11
12 Life Is A One Way Ticket 4:25
13 Hen Layin' Rooster 3:35
14 Stakalee 4:34
15 En Las Bas 2:35
16 St. James Infrimary 4:40
17 Time Marches On 4:19
18 I'm Going Home 2:21

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Jun 18, 2015

RhoDeo 1524 Goldy Rhox 214

Hello, today the 213th post of GoldyRhox, classic pop rock in the darklight is an American rock band formed in 1965 in Los Angeles, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore. The band took their name from the title of Aldous Huxley's book The Doors of Perception, itself derived from a line in William Blake's The Marriage of Heaven and Hell: "If the doors of perception were cleansed, everything would appear to man as it is: infinite" They were among the most controversial, influential and unique rock acts of the 1960s, mostly because of Morrison's lyrics and charismatic but unpredictable stage persona.

Morrison went to many record labels trying to land a deal. He did score one at Columbia Records but it did not pan out. On August 10, they were spotted by Elektra Records president Jac Holzman, who was present at the recommendation of Love singer Arthur Lee, whose group was with Elektra Records. After Holzman and producer Paul A. Rothchild saw two sets of the band playing at the Whisky a Go Go, they signed them to the Elektra Records label on August 18 — the start of a long and successful partnership with Rothchild and engineer Bruce Botnick. The band were fired from the Whisky on August 21, 1966 when Morrison added an explicit retelling and profanity-laden version of the Greek myth of Oedipus during "The End"

Signing with Elektra Records in 1966, the band released eight albums between 1967 and 1971. All but one hit the Top 10 of the Billboard 200 and went platinum or better. The 1967 release of  their debut album was the first in a series of top ten albums in the United States. Although the band's active career ended in 1973, their popularity has persisted. According to the RIAA, they have sold 33 million certified units in the US and over 100 million records worldwide, making them one of the best-selling bands of all time. The group have been listed as one of the greatest artists of all time by many magazines, including Rolling Stone, which ranked them 41st on its list of the 100 Greatest Artists of All Time. They were the first American band to accumulate eight consecutive gold and platinum LPs.

The coming weeks their 6 studioalbums will be posted here

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

Today's mystery album is the 4th studio album by today's mystery band, released on  July 18, 1969. It saw the group totally departing from the material that encompassed their past three albums. The Doors incorporated brass and string arrangements into their compositions at a point in which the group was experiencing personal issues, particularly related to Jim Morrison. In addition, the album fulfilled the band's desire to feature jazz and blues influences into their work.

Upon release, the album peaked at number six on Billboard Top LPs chart. It was preceded by "Touch Me" in December 1968, which awarded the Doors an unexpected top ten hit on the Billboard Hot 100, and several other accolades including a number one listing in the Cashbox charts. Three additional singles, "Wishful Sinful", "Tell All the People", and "Runnin' Blue", also became moderate hits on the Billboard singles charts.

On the tail-end of their lengthy recording period, the band initiated a national tour that abruptly ended in disaster. On March 2, 1969, Morrison allegedly performed while intoxicated, and exposed himself in front of a crowd of nearly 12,000 in Miami, Florida, which Morrison's bandmates deny actually occurring. A month later, on April 4, Morrison was charged with indecent exposure, and paid a $5,000 bail, after Morrison had turned himself in to the authorities. The incident negatively reflected on the band's publicity, sparking a "March for Decency" at the Orange Bowl. Consequently, 25 dates on the Doors next tour were cancelled, and their records were blacklisted from radio airplay, resulting in the band abandoning the rest of their potential tour. (clearly it would have been prefarble if he had shot someone)

Morrison became disinterested in studio recordings and concert performances, a result of his interest in poetry and worsening alcoholism. As a result, Robby Krieger wrote about half of the tracks on the album. Morrison became increasingly uncooperative, and disruptive when recording for the album commenced as he regularly missed sessions or was intoxicated when he managed to be present. As record producer Paul Rothchild explained, "Jim was not really interested after about the third album. It became very difficult to get him involved in the records. When we made The Soft Parade, it was like pulling teeth to get Jim into it". The alcoholic dependencies caused Morrison to act estranged from his bandmates, prompting Ray Manzarek to name Morrison's, sometimes aggressive, alcoholic state, "Jimbo". Aside from the troubles originating from Morrison, the album marked the one and only time in which each songwriter was credited under his own name, instead of the band name. This stemmed from Morrison not wanting to be associated with the lyrics of "Tell All the People" as one line urges listeners to "grab your guns".

Following rehearsals in June 1968, the Doors commenced a grueling nine month recording period which concluded in May 1969 at Elektra Sound Recorders in Los Angeles, California, in contrast to the six days their debut album required. The album differed from past efforts for its addition of brass and string arrangements. For the first time, the band were required to write their compositions in the studio, while past albums featured material derived from experiments in their live performances. Rothfield brought in Paul Harris to handle the arrangements and horn overdubs, while session musicians Doug Lubahn and Harvey Brooks were hired to play bass guitar. A staggering amount of $80,000 was required to pay for the creation of the album. The complexity and difficulty of the developments prompted George Harrison, who appeared at the sessions in November 1968, to be reported as stating it resembled "the complexity required for the Sergeant Pepper recordings"

Despite making number six in the US, the album did not chart in the UK, perhaps due to the band's lack of a supporting hit single. ("Touch Me" did not chart in the UK.) Whereas the first three previous albums had two singles pulled from each of them, today's mystery album had a grand total of four, though some of them had initially been released as non-album singles significantly prior to the album's release. The only two songs on the LP that weren't released as either the A or B-side of a single were the title cut and "Shaman's Blues". The album got mixed reviews but considering its background hardly surprising.

The album was completely remixed and remastered for its 40th anniversary reissue. This practice extended to incorporating vocal and instrumental components which were not part of the original album. According to Ray Manzarek, "There are background vocals by Jim Morrison, piano parts of mine that weren't used and guitar stingers and solos by Robby Krieger that never made the original recordings, that can now be heard for the first time. Today and the coming weeks from the Perception Boxset extended remasters, it's up for grabs here...N'Joy


Goldy Rhox 214   (flac 325mb)

Goldy Rhox 214    (ogg 129mb)


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Jun 17, 2015

RhoDeo 1524 Aetix

Hello, those arrogant politico's from Brussels and Washington have been teasing that Russian bear and look what it got them, a somewhat impoverished Russia and a country that is preparing to strike back and not with boycotts but with their latest toys 'unstoppable' nukes!  Now i suspect a majority of the global population would rejoice with the destruction of Washing tron, New York, London, Brussels and that sick center of gayness Hollywood, but but why stop there ? I could do without Mecca, Jerusalem, Karachi, Rome to name some....hmm yes well if only...


Today an American vocalist, born Boruch Alan Bermowitz on June 23, 1938, primarily known for his work with the electronic protopunk duo Suicide. He is also an established sculptor.... N'Joy

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Alan Bermowitz was raised in a Jewish household in Bensonhurst, Brooklyn. In the late 1950s, he attended Brooklyn College where he studied both physics and fine art under Ad Reinhardt and Kurt Seligmann and graduated in 1960. In the 1960s, he became involved with the Art Workers' Coalition, a radical artists group that harassed museums and once barricaded the Museum of Modern Art. In 1969, funding from the New York State Council on the Arts made possible the founding of MUSEUM: A Project of Living Artists—an artist-run 24 hour multimedia gallery at 729 Broadway in Manhattan. Calling himself Alan Suicide, he graduated from painting to light sculptures, many of which were constructed of electronic debris. He gained a residency at the OK Harris Gallery in SoHo where he continued to exhibit until 1975.Barbara Gladstone continued to show his work well into the 1980s. The Project (of Living Artists) served as a stomping grounds for the likes of the New York Dolls, Television and Blondie as well as the 15-piece jazz group Reverend B., which featured a musician named Martin Rev on electric piano.

Seeing The Stooges perform at the New York State Pavilion in August 1969 was an epiphany for Vega. In 1970, he met and befriended Martin Reverby. Together, the two began experimenting with music and formed the band Suicide along with guitarist Paul Liebgott. The group played twice at MUSEUM before moving on to the OK Harris Gallery. Calling himself "Nasty Cut", he used the terms "Punk Music" and "Punk Music Mass" in flyers to describe their music, which he adopted from an article by Lester Bangs. In 1971 the group dropped Paul Liebgott and added Mari Reverby on drums, though she didn't play in their live performances. With Bermowitz finally settling on Alan Suicide as a working name, they began to play music venues. Suicide went on to perform at the Mercer Arts Center, Max's Kansas City, CBGB and ultimately, achieve international fame.

Suicide disbanded after 2 albums in 1980, and both Vega and Rev undertook solo careers. In 1980, Vega released his eponymous first solo record. It defined the rockabilly style that he would use in his solo work for the next several years, with the song "Jukebox Babe" becoming a hit single in France. His later that year second effort Collision Drive continued to explore the fractured rockabilly identity he had established in his earlier work. 1983's Saturn Strip, produced by longtime fan Ric Ocasek and Suicide II producer, marked Vega's debut for Elektra Records; corporate relations soured in 1985, when he released the more commercially viable Just a Million Dreams, but was dropped from his record label after its release. The album originally was set to be produced by Ric Ocasek as a follow-up to the critically acclaimed Saturn Strip, but production switched over to Chris Lord-Alge and Vega ran into several difficulties during the recording sessions. Vega later lamented, "They took all my songs and turned them into God knows what."

Vega teamed up with Martin Rev and Ric Ocasek again in the late eighties to release the third Suicide album, A Way of Life (1988). Visual artist Stefan Roloff produced a music video for the song Dominic Christ which was released by Wax Trax! Records. Shortly thereafter, Vega met future wife and music partner Elizabeth Lamere while piecing together sound experiments that would evolve into his fifth solo album, Deuce Avenue (1990). Deuce Avenue marked his return to minimalist electronic music, similar to his work with Suicide, in which he combined drum machines and effects with free-form prose. Over the next decade he would release several more solo records as well as perform with Suicide. In 2002, he constructed Collision Drive, an exhibition of sculptures combining light with found objects and crucifixes. Vega's tenth solo album, Station, was released on Blast First Records in 2007 and was described by his colleagues as "his hardest, heaviest album for quite a while, all self-played and produced." In 2008, British label Blast First Petite released a limited edition Suicide 6-CD box set and monthly tribute series of 10" Vinyl EP's, to mark the occasion of Alan Vega's 70th birthday Musicians who contributed to the tribute series included The Horrors, Lydia Lunch, Primal Scream, and Miss Kittin.

In 2009, the Museum of Contemporary Art in Lyon, France, mounted Infinite Mercy – a major retrospective exhibit of Vega's art.[13] This included the screening of two short documentary films: Alan Vega (2000) by Christian Eudeline, and Autour d’Alan Vega (extraits) (1998) by Hugues Peyret.

Alan Vega used to say that as beeing basically a sculptor, music was secondary for him. Was that just another provocation? Alan Vega is anyway a true legend (a romantic hero or a deamer for some), joining for any kinds of obscure or more visible projects. He actually induces what Legs McNeil calls the astonishment, a mixture of fascination, made of repulsion and admiration: otherwise, how can one continue to adulate somebody who is ok with just a 30 minutes act (sometimes less, sometimes more) without any communication with the assitance? He's probably one of the original punks actors of the CBGB.....

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Alan Vega used his first solo album to distance himself from the music made by his pioneering synth-punk duo Suicide. Where Suicide deliberately used cheap, loud synthesizers to generate a cold, crude sound, Vega hired a guitarist and made, for all intents and purposes, a rockabilly album. "Lonely" is Vega's homage to "Heartbreak Hotel," and it's as full of yelps and pleading as the original, as Vega does his best Elvis impression. The gorgeous "Ice Drummer" may be Vega's best solo track, a beautiful shiny pop gem. Only "Bye Bye Bayou," a misguided attempt to fuse '50s rock and Vega's extended performance art pieces, falls flat. Still, golden pop moments like "Ice Drummer" are good reminders of why Vega, for all his eccentricities, remains a musician worth caring about.



Alan Vega - Alan Vega  (flac 180mb)

01 Jukebox Babe 4:48
02 Fireball 3:55
03 Kung Foo Cowboy 3:27
04 Love Cry 4:43
05 Speedway 2:34
06 Ice Drummer 4:23
07 Bye Bye Bayou 8:36
08 Lonely 2:42

Alan Vega - Alan Vega  (ogg 82mb)

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Collision Drive continues the trend started on the first Alan Vega album of incorporating Vega's love of '50s rock and R&B. "Ghost Rider," which sounded cold, sleek, and mechanical on Suicide's first album, now becomes an upbeat rockabilly rave-up. Vega covers Gene Vincent's "Be-Bop-A-Lula" and plays it mostly straight (although he does throw in his trademark howls and yelps, along with some synthesizers). The two versions of "Magdalena" aren't really different enough to justify their presence, although the song itself is likable. The track that stands out the most, however, is the 13-minute "Viet Vet," an extended poetic rant in the pattern of Suicide's "Frankie Teardrop." It will either seem like a brilliant piece of performance art, or it will sound unbearably self-indulgent, depending on a listener's tolerance for Vega's excesses. For the most part, though, rollicking tracks like "Raver" and "Rebel Rocker" are enjoyable and exciting enough to offset any of the less successful experiments. Collision Drive may be uneven, but at its best, it will definitely provide more than enough smart art pop to chew on.



Alan Vega - Collision Drive  (flac 215mb)

01 Magdalena 82 3:03
02 Be Bop A Lula 2:22
03 Outlaw 3:31
04 Raver 2:46
05 Ghost Rider 4:31
06 I Believe 5:24
07 Magdalena 83 2:56
08 Rebel 2:47
09 Viet Vet 12:46

Alan Vega - Collision Drive   (ogg 112mb)

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The Wounded Bird label can be credited with keeping a number of beloved records in print, even if the profit potential in almost every case has been way south of high -- 1983's Saturn Strip and 1985's Just a Million Dreams -- Alan Vega's two mainstream-seeking records for Elektra -- are combined here. They'll never get as much attention as the Suicide records, but they're both significant parts of Vega's career.

By the time of his third solo album, Suicide frontman Alan Vega had decided he wanted to escape the art punk ghetto he had been confined to and seek the mainstream success that had eluded Suicide. So, for Saturn Strip, Vega signed to a major (his first, Elektra) and pulled out all the stops to accomplish stardom. He utilized Suicide producer and fan Ric Ocasek to produce the album, but with as much polish and sheen as any album released by Ocasek's much more successful band, the Cars. He also brought on a then-unknown aspiring synth-pop musician named Alain Jourgensen (who would later earn infamy as the creative force behind Ministry) to add a sleek synthesizer sound. What's more, Vega condensed all of his song ideas into concise, straightforward four-minute pop songs instead of the extended art pieces that dominated his first two albums and his Suicide work (such as "Viet Vet" or "Frankie Teardrop"). There's even a straightforward disco cover, Hot Chocolate's "Every 1's a Winner." It may seem that such a move would be a gross betrayal of his previous artistic direction, but, in fact, it results in simply the best album of his career, one that even occasionally tops his Suicide oeuvre. By dropping his self-indulgent tendencies and focusing on simple song structures, Vega's talent for evocative lyrics and clever melodies comes across clearly, and his vocals, always charismatic and exciting, are at their best here. Unfortunately, the album was nowhere near the commercial success it was crafted to be, and Vega eventually returned to willful obscurity. Still, compared to most other synth-pop albums of the era, Saturn Strip is every bit as impressive as it was upon its release, and fans that want to dig deeper to appreciate a truly lost gem of the era, or are seeking an introduction to Vega's unique talents, should definitely seek it out.

Just a Million Dreams was Alan Vega's second shot at mainstream stardom on a major label, but whereas his previous album, Saturn Strip, was an impressive distillation of his best ideas, Dreams is an unconvincing disappointment. The sleek production sounds dated rather than fresh and vibrant as it did before. The energetic playing and singing can't conceal the fundamental weakness of the material. None of the songs are truly bad, but they are a deeply misguided attempt at mainstream stardom that, this time, sounds forced and contrived. Though Vega once again shed his experimental tendencies on Dreams, this time, it's to no end, since he replaced them with surprisingly drab lyrics and banal melodies. Worst of all, the material, lacking any compelling hooks, fails even as an attempt at mainstream synth pop. The result was the second commercial flop in a row for Vega, who parted ways with Elektra and returned to Suicide and experimental synth-noise. Dreams is not the best introduction to Vega's music, and will be of interest only to hardcore fanatics.



Alan Vega - Saturn Strip, Just A Million Dreams (flac 501mb)

Saturn Strip
01 Saturn Drive 5:40
02 Video Babe 3:18
03 American Dreamer 5:05
04 Kid Congo 2:30
05 Goodbye Darling 2:40
06 Wipeout Beat 5:44
07 Je T'Adore 3:39
08 Angel 5:09
09 Every 1's A Winner 4:10
Just A Million Dreams
10 On The Run 4:18
11 Shooting For You 5:10
12 Hot Fox 3:56
13 Too Late 4:23
14 Wild Heart 4:39
15 Creation 4:26
16 Cry Fire 5:00
17 Ra Ra Baby 4:31



Alan Vega - Saturn Strip, Just A Million Dreams  (ogg 176mb)

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