Jul 5, 2015

Sundaze 1527

Hello, so the Tour De France started with a surprise win at the fast speed ever recorded for a timetrial-prologue, 55.4 km by Rohan Dennis, it sees him wearing the yellow jersey. He might have profited from worsening conditions, although superficially the same, analyses of the results show towards the end rising times with at least 20 seconds. Tony Martin who had given everything and stranded at 5 seconds complained that the heat got to him.

Today one of the many projects of Daniel Myer, there are not many who have so many different projects with such variety and yet a surprisingly high quality. Architect is one of the projects which explores electronic landscapes. Architect succeeded in combining electronic sounds with ambient and experimental sounds. Fans of Haujobb's ambient-side should have no problem finding their way here, as well as fanatics of the so-called clicks'n'-cut genre.   .... N'joy

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Architect is a unique hybrid of idm, electronica and smooth ambient soundscapes inexhaustibly explored by german mastermind daniel myer. in a career spanning over fifteen years daniel has been connected to but never belonged to a host of scenes and styles. architect was created in 1998 and has since proven his mettle on a multitude of releases and on countless acclaimed concerts world-wide. in 2010 alan wilder (recoil) discovered architect's brilliance, which led to daniel performing as a support act for recoil on several acclaimed shows in europe and the united states. architects most pronounced quality is the accomplished combination of powerful grooves and atmospheric soundscapes resulting in music that is suitable for both listening and dancing. architect's sixth full length album 'mine' constitutes an appreciable shift in direction compared to his previous works by adding compositional and instrumental innovations brand new to this project. supported by well-respected artists like ben lukas boysen a.k.a. hecq, guitarist and cellist felix gerlach, dejan samardzic (dsx), legendary producer, engineer and remixer paul kendall, canadian musician and sound designer comaduster and hungarian vocalist emese arvai-illes (black nail cabaret), architect marches to no one’s beat but his own, expanding ambitious electronica with comprehensive down-tempo song structures. moderate yet decisive beats and precise keyboard and string arrangements build the foundation for emese's exceptional voice transmitting suspense, depth and sinister beauty with perfectly fitting lyrics. depending on how and when you listen, this atmospheric release can fill you with menace and sadness, or send you into a deep reverie. uncompromising, muscular and powerful, the music of 'mine' is also full of subtle touches and a supple sense of rhythm

For years Architect has made a name for himself in the modern electronic music scene but the most outstanding of daniel myer's (countless) projects is architect. three years after lower lip interface hymen records presents the long awaited fifth album: Consume Adapt Create.

The difference between the true creative artist and the impersonator is the way they deal with influences. myer's inspirations range from drum and bass wizards enduser and current value up to breakcore warlords venetian snares and otto von schirach - but it is unmistakably architect you hear in every note of each track. consume adapt create: a unique blend of atmospheric idm, cinematic samples, powerfully distorted sequences, ramming electro grooves, razor-sharp breakbeats, and haunting ambiance. music to move the dancefloor while still creating enough depth and texture for heavy listening through your headphones. once again, d.myer demonstrates astounding compositions. well-placed sounds and complex arrangements of synthetic noise. as heard on this record: "i see things..." - listen up and see for yourself!

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Brilliant debut album of Daniel Myer`s "intelligent" alter ego. Architect was chosen as a moniker for tracks that initially were made for Haujobb but didn`t meet it`s format. "Galactic Supermarket" makes very special feeling. It`s really galactic, calm and delicate. No obvious idm/electro/d`n`b structures, no DSP noises and other sad attributes of today high-tech electronica which appear on next albums of Architect. Pure experimentalism and successful search of new forms. Reasoning internal dynamic of music, moving and spinning from dot to universe, forces to imagine that "Galactic Supermarket" is a kit of cosmic caskets created by a scientist or even demiurge. Every casket, driven by springs, slowly opens and shows it`s marvel secrets to an attentive listener.

Architect - Galactic Supermarket (flac 335mb)

01 Short Memo 2:09
02 Pastgate 5:29
03 Galactic Supermarket 7:02
04 Random LFO 6:53
05 Ahead 8:00
06 Eat Raw 4:00
07 Electronic Moods 5:55
08 Rubbertrack 6:11
09 Parallel 7:38
10 Tot Mann 6:37
11 Mechanism 5:43

Architect - Galactic Supermarket (ogg  135mb)

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"The Analysis of Noise Trading" is a darker continuation from 2004's "I Went Out Shopping..." with added focus on the atmospheres and shock of shocks, sampled vocals from various sources which may or may not be one of the three members of the band. Hecq supplies an interesting reconstruction of the first track of the album, "St. Vodka". The cooperation between Hecq and Architect (who co-writes one of the songs on Hecq's stunning new album "Bad Karma") is one which will surely and rightly surpass the NEWT project should an actual album emerge.

It is obvious that the work here was not meant to sound radically different from the previous album and if it is, as I suspect, the second serial installment of a double album then it is off the charts. Daniel Myer has somehow, once more, upped his game by virtue of his own creative prowess. The man  really ought to get some serious endorsements from the companies who have their samplers used by him. This is beyond collage or merely accenting programmed monotony; Architect demonstrate their own unique synthetic architectural abilities, seamlessly integrating both the complex and the abstract. I am awed by it's powerful majesty.

Architect - The Analysis Of Noise Trading (flac 492mb)

01 St. Vodka (Mother Russia) 9:23
02 If Jim Would Jam With Richie 7:33
03 Vectorize (Original Manipulation) 7:11
04 Speed O.J. 6:07
05 Suicide Lake 5:06
06 Radio Einheit (Fine Mechanism) 7:33
07 A Monkeys Testdive In A Highspeed Car With A Broken Stereo 5:46
08 Ulverized Substance 7:16
09 Ah Chamber Phx 4:59
10 Bolzen Bei Ilse 6:37
11 St. Vodka (Hecq Reconstruction) 7:31

Architect - The Analysis Of Noise Trading (ogg 217mb)

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Lower Lip Interface is a bizarre left hand turn into uncharted waters. The kind of waters which look placid on the surface but run silent and deep with one hell of an undertow driving things along. The puppet master with his strings bunched up in a Gordian knot is another way to look at it; surprisingly, these tracks could work on a dance floor... for epileptics... with strobes epoxied to their limbs trying to communicate in semaphore.

He discovered how to use his lower lip interface. bits and pieces of information reached hymen records' office, packets of sound were transferred via internet within hours - a race against time, speed-frame technology and freeze-frame reality. but we made it and here's the final result. 'lower lip interface' - an orgy of synth-wizardry, complex rhythms and manipulated vocals. forcing beats meet distorted sequences, overlayed with a stunning usage of effects, interrupting breaks and acoustic
instrumentation. economically used sampling and distraction add up the tracks, a style architect is known for since the beginning. This is state-of-the-art electronic sound inseminated with sweat, sex and aspiration, showing myer's ability to push a few knobs and get a highly concentrated extract of sweat, pain and lust. This album proves daniel myer as a sixty-minute man who knows how to use all of his' tools. Enjoy these ten climaxes plus the three phantastic remixes.

Architect - Lower Lip Interface  (flac 512mb)

01 Ghost Of A Working Man 7:05
02 Catch The Target 5:42
03 Caballa Smells Funny 6:02
04 A Caine In The Brain 6:50
05 Pissed In The Morning 7:47
06 R For Vendetta (Ribi For President) 6:45
07 Routine (With Klima) 5:35
08 Get The Bastards Get Away 7:57
09 A Perfect Kiss, No Tongue 5:22
10 Stairway 5:45
11 Ghost Of A Working Man (Torrent Vaccine Remix) 4:28
12 Stairway (Nebulo Remix) 4:33
13 A Caine In The Brain (Synnack Remix) 5:13

Architect - Lower Lip Interface  (ogg 222mb)

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previously and recently re-upped

Architect - I Went Out Shopping To Get Some Noise  (flac 457mb)

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Jul 4, 2015

RhoDeo 1526 Grooves

Hello, will they, won't they, however the choice between a rock and a hardplace has plenty of consequences Irritating media hype though has by now made even those easily scared stockexchange gamblers worried what a relatively insignificant economy will do, this when everybody knows these Greeks will never pay back what they 'partied' away. Europe better said its dictators have wasted that money trying to keep a country in the Euro that never should have been part of it. But that's one of those nasty sides of the EU they can't admit to mistakes, they've more or less declared themselves infallible..this can only lead to disaster...

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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Leaving Josie for Reprise did change the Meters, even if the change wasn't necessarily for the better. They became slicker, jammier, and, in the conventional sense, funkier, even if the grit seemed to start to dissipate. So, even if this is just the Meters' fourth album, Cabbage Alley does mark a sea-change in their outlook, bringing them fully into the '70s and finding them sacrificing feel for texture, even if that's a very subtle transition. Part of the problem is that the group doesn't really have any good songs to hang their sounds onto, but, if you're looking just for sounds and groove, Cabbage Alley doesn't disappoint. the Meters' overall feel might have gotten a little softer than necessary, but they still are a remarkably sympathetic, supple group and it's a pleasure to hear them play. Still, there's not much here outside of hearing them play, and while that's pretty great, it's hard not to wish that there were songs, even when they delve into smooth soul like "Birds" or when the group simply jams on mid-tempo grooves, that stood out from the pack. [Some reissues added two bonus tracks -- both parts of "Chug Chug Chug-A-Lug (Push and Shove)."]

The Meters - Cabbage Alley  (flac  238mb)

01 You've Got To Change (You Got To Reform) 5:11
02 Stay Away 5:17
03 Birds 4:22
04 The Flower Song 4:48
05 Soul Island 3:06
06 Do The Dirt 2:35
07 Smiling 3:06
08 Lonesome And Unwanted People 4:38
09 Gettin' Funkier All The Time 3:17
10 Cabbage Alley 3:29

The Meters - Cabbage Alley (ogg  099mb)

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The title is a tip-off, as is the garish, blaxploitation-chic photo on the cover -- Rejuvenation, the Meters' second album for Reprise, should be seen as a bit of a new beginning for the quintessential New Orleans funk group. It's not a clean beginning, since they were pointing in this direction on Cabbage Alley, but this is where their glistening, clear production, crisp performances, rock influences, and hard-edged funk coalesce into a sound distinct from their Josie recordings -- not better, just different. As such, this is the definitive Reprise album from the Meters, not just because the material is stronger (which admittedly is true), but because the performances are continually inspired and the production is professional but hits at a gut level, resulting in a first-class funk album.

The Meters - Rejuvenation (flac 262mb)

01 People Say 5:14
02 Love Is For Me 3:51
03 Just Kissed My Baby 4:40
04 What'cha Say 3:25
05 Jungle Man 3:23
06 Hey Pocky A-way 4:02
07 It Ain't No Use 11:45
08 Loving You Is On My Mind 3:15
09 Africa 3:55

The Meters - Rejuvenation (ogg 104mb)

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The Meters' third album for Reprise, Fire on the Bayou, is their best record for the label for a variety of reasons, not least of which is the high quality of material throughout the record and a focus from the band that keeps the music simmering, even if it never quite reaches a boil. That's not a bad thing, because the music IS simmering, always hot and enticing, never lukewarm or too cool. There's not anything that comes out and grabs your throat, the way that "Hey Pocky Way" does, but there never seems to be a concession to mainstream funk, the way Cabbage Alley or Rejuvenation seemed to be. This just keeps things rolling, nice and smooth. There's not anything that separates itself from its partners -- something that's unfortunately true of all of the Reprise albums -- but the overall feel is better than The Meters' other Reprise albums, since it has more grit and presence than its compatriots.

The Meters - Fire On The Bayou (flac 405mb)

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 - Fire On The Bayou (ogg 145mb)

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Jul 2, 2015

RhoDeo 1526 Goldy Rhox 216

Hello, today the 216th 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 the sixth studio album by the American 'mystery' rock band, and was released on April 19, 1971 on Elektra Records. The album was the last to feature the group's lead singer, Jim Morrison, who unexpectedly died at the age of 27 three months following the album's release. It saw the band continue to integrate elements of blues back into their music, a direction that they had begun with their previous album, Morrison Hotel. In addition, it saw long-time record producer Paul A. Rothchild depart, after a fallout involving the band's musical direction. After his departure, the band would co-produce the album with sound engineer, Bruce Botnick.

In November 1970, shortly after the conclusion of Jim Morrison's controversial trial for indecent exposure,[6] The Doors entered Sunset Sound Recorders in Los Angeles to record early versions of "L.A. Woman", "Riders on the Storm", and "Love Her Madly", three new songs they had recently composed. However, the band ran into trouble with their record company, Elektra Records, who released The Doors' first compilation album, 13, to have a product for the Christmas market. It was released without the band's input, and featured a larger-than-life image of Morrison, which upset him enough to threaten signing with another label after their contractual obligations were met. With one more album entailed in The Doors' contract, the band could do little to protest, but continue rehearsing their material.

The band and Botnick continued without Rothchild by organizing a makeshift recording studio at their private rehearsal space. This enabled the band to record in a more comfortable and relaxed setting, while, at the same time, avoiding the expenses of a professional studio. A mixing console, previously owned by Elektra, was installed into the upstairs of the Workshop, while studio monitors, microphones, and keyboards were set downstairs. To compensate for the lack of an isolated vocal booth, Morrison recorded within the facility's bathroom with the same microphone used on their latest tour. Morrison, unlike on past recording sessions, appeared on time, and reduced his alcohol consumption. However, he had to treat a lingering cough, a symptom from a persistent case of pneumonia that arose in the spring of 1970

The songs were completed in a few takes on 8-track, almost spontaneously, and, overall, the album was finished within six days. The change in pace served well for Morrison, who disliked having to conduct several takes--an issue that plagued the band's last two albums. With vocals being recorded simultaneously with the instrumentals, Morrison was consistently involved. Most of the album had a raw, live sound with few overdubs, aside from the keyboards played by Ray Manzarek. Botnick explained, "The overall concept for the recording session was to go back to our early roots and try to get everything live in the studio with as few overdubs as possible" Mixing for the album was completed at Poppy Studios between February and March 1971, by which time Morrison had relocated to Paris, France.

Upon release, the album peaked at number nine on the Billboard 200 and reached number 28 on the UK Albums Charts.It was preceded by "Love Her Madly" single in March 1971, which reached the Top 20 in the Billboard Hot 100. An additional single in support of the album, "Riders on the Storm", was also released to success on the Billboard singles charts, and managed to chart in the UK Singles Chart. Music critics Richie Unterberger and David Quantick have both noted that today's mystery album is arguably one of the band's best albums, citing Morrison's unwavering enthusiasm in his vocal performance, and the band's stripped-down return to their blues rock roots. True that the band came on the scene with a classic and left us 6 albums later with a classic.... In 2003, today's mystery album was ranked at 362 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time

Today and these last weeks from the Perception Boxset extended remasters, it's up for grabs here...N'Joy

Goldy Rhox 216   (flac 365mb)

Goldy Rhox 216    (ogg 134mb)

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