Jul 31, 2016

Sundaze 1631

Hello, it's the final race before the summer break in F1 and Mercedes still leads the pack not as clearcut as previously, Red Bull is making a move on them whilst passing Ferrari who are still close. Rosberg is on poll and needs a good start because Hamilton will be eager to steal his glory in Germany. Verstappen and Riccardio will battle for third, with Ferrari trying to outsmart them with a better strategy. Could be an interesting race with plenty possibility of overtaking.

About today's artists, they shared the same label 'Extreme' both produced a shortlived excellent blip in the mid nineties. One uses electronic music to create a ethereal, multi-textured sound that builds around an electric bass core. Their mixture of organic and electronic instrumentation help them achieve a depth and complexitity of composition that is somewhat rare in ethno-ambient music. The other creates organic influence wrapped around electro sensibilities, it creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. They nest layers of acoustica and electronica to create their unique and variable tone.......N'Joy

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The duo known as Mo Boma (named after a pygmy girl's lullaby), is comprised of Carsten Tiedemann, a native of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee College of Music in Boston. Tiedemann's studies in classical composition structures and ethnic music traditions feature prominently in Mo Boma's style, which uses electronic music to create a ethereal, multi-textured sound that builds around Sverrisson's electric bass core. Sverrisson's own experience as a jazz bassist and improvisational musician also makes a major impact on Mo Boma's sound. The mixture of organic and electronic instrumentation help Mo Boma acheive a depth and complextity of composition that is somewhat rare in ethno-ambient music. Their debut album, Jijimuge, was issued in 1992, but perhaps the best example of their unique sound is their 1996 album, Myths of the Near Future, Vol. 1, which was vaguely inspired by the works of J.G. Ballard. It weaves percussive sections around a calm, shimmering vortex, anchored always by Sverrisson's bass. Mo Boma issued two more volumes of the Myths of the Near Future series in the mid-'90s, each featuring similar sounds, but playing tribute to their own unique themes.

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A very nice blend of percussive, bass guitar-rooted rhythms with field recordings from Africa and a variety of synthesizer and sampler tones and textures. Mo Boma are based mainly in Sweden, though this album was recorded in a number of locations including South Africa. It's a fascinating blend of world and trance music, with part of its heart in the works of J.G. Ballard. Musically, the entire album has a tendency to shift slowly and gracefully around a calm center, sliding from drifting tones to percussive sections in a remarkably seamless manner. There's a lot happening in these tracks, whether it's the percussion, the environmental sounds, or bassist Skuli Sverrisson going off on an extended jazz jaunt on "Terrace." It's an album with which you can relax the mind and body and work up some creative fire, which is no small recommendation.

Mo Boma - Myths Of The Near Future I  (flac  235mb)

01 Food Of The Gods 6:12
02 Walk Like A Pygmy 4:02
03 The Kindness Of Women 3:50
04 Slolooblade: The Drowned World 7:05
05 Terrace 3:42
06 Jijimuge Three (Yellow Earth - Amaboma) 7:10
07 Mongombi 3:48
08 Garden Of Time 5:45
09 Nyodi 5:20

Mo Boma - Myths Of The Near Future I   (ogg  114mb)

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With music dedicated to "the memory of the plants, animals, and indigenous peoples whose extinction is caused by man," Mo Boma mixes elements of ambient and world music combined with the same sort of new age-y classicism that drove much of Tangerine Dream's best work. But what sets the trio apart from more self-indulgent groups of the instrumental music genre is the incorporation of live instruments. Skuli Sverrisson's subtle, unobtrusive bass work recalls the bottom-end gurglings of Bill Laswell, while Carsten Tiedemann (who also contributes vocals, percussion, and African lute to the mix) plays guitar like a young Robert Fripp. But it's the synth work of Jamshied Sharifi that provokes Tangerine Dream comparisons, as his mature phrasing and textural layering sound like the product of a classical music background. The group uses source recordings from Central Africa as one element of its sound, but rather than the shallow gimmickry of groups like Deep Forest, such assimilations seem natural in the context of Mo Boma's exotic musical environments. A welcome addition to the ethno-ambient canon.

Mo Boma - Myths Of The Near Future II + III  (flac  420mb)

01 First Thought Best Thought 2:05
02 Jijimuge Four (Thirsty Heavens+Papua Swirl) 6:10
03 Mo Fonk 3:25
04 Little Morf 2:40
05 Bombolionheart 5:30
06 Bataloo 4:00
07 Loony Toon 2:45
08 Mebasi 2:20
09 The Day Of Creation 4:30
10 Elima: Dance Of Girls 3:20
11 Bambuké 2:25
12 Ba 'Mbuti Minus One 1:55
Myths Of The Near Future III
01 Water Baka 4:21
02 Whirl 3:48
03 Dreaming Weavers 3:01
04 Secret Cargoes 3:57
05 The Crystal World 4:08
06 Day Of Forever 2:15
07 Memories Of The Space Age 5:02
08 Sannin Bayashi 2:26
09 Three Beaches C. S. 5:58
10 Molimo 5:54

Mo Boma - Myths Of The Near Future II+III    (ogg  190mb)

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Soma is the dark ambient and techno musical project of Australian composers David Thrussell and Pieter Bourke. The collaboration began in 1993 when Thrussell approached Bourke about the possibility of remixing Eden tracks. The Eden remixing sessions yielded the first Soma compositions. Soma developed into a full-time project when Bourke moved in with Thrussell after a fire had destroyed his flat, allowing the two more time to work together. Their debut album Hollow Earth was issued on Extreme Records in 1994 and was well-received critically.

There are firm underlying concepts behind each SOMA album. It's an organic thing. We don't consult our demographic charts or memorise the latest edition of "How To Win Critics and Influence Audiences". But themes and linkages naturally develop. For some reason the music of SOMA seems to circle the areas of magic, mystery and the 'supernatural'. On "Hollow Earth" the music and ideas naturally developed around obsessions with caves, water, soil, subterranean existence and the civilizations living beneath the earth's crust. On "The Inner Cinema" you can see an obvious rejection of late 20th Century cold materialism. "The Inner Cinema" celebrates passion, heroism, drama and emotion. We immersed ourselves in hot-blooded "Spaghetti Westerns", the lore of ancient and lost civilisations and bizarre sex and sacrifice rituals.

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Powered by artists Pieter Bourke of Dead Can Dance fame and David Thrussell of electro acts Snog and Black Lung, Soma's debut, Hollow Earth, has the polish of veteran musicians. Bourke's organic influence wrapped around Thrussell's electro sensibilities creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. Soma nest layers of acoustica and electronica to create their unique and variable tone. "Soma Romanz" is founded on a solid techno beat interspersed with electro pulses and a syncopated cowbell, and driven by a hauntingly simple, wordless female vocal sample. By contrast, "Sleepwalker" is much lighter and more mechanistically electro fare that approaches ambient techno. In parts of Hollow Earth, the obvious electronica recedes. "God Sends the Meat and the Devil Cooks" is a journey detailed with spaghetti-western guitar, rhythmically complex bongo, and a faraway synth melody. Soma has got complexity and depth, but it's not necessarily music that will keep you still. However, Soma's subtle darkness dodges between the poles of upbeat and brooding. One of the high points of Hollow Earth is "Dark Koma," in which another haunting female vocal plays a counterpoint against a screeching synth that threatens to overtake the melody, against electro bells and all-too-real percussions. As in most of Hollow Earth, the balance between elements is delicate and perfectly defined. Perhaps the only disappointing aspect of the release is that this tension itself is hard to sustain -- tracks such as "The Subterranean" and "Corporate Anthem Part 1" may threaten to become easy background music for some listeners. Hollow Earth may not reveal itself fully at first glance, but that is half the pleasure of getting to know this release. Energetic yet engaging, Hollow Earth is the music of imagined scenes that may take some time to settle, but is worth every moment. The style is a true hybrid of electronica, at times feeling like early sci-trance, but with a lot of unexpected breaks and transitions - engaging arrangements of lush and crisp sounds. A recurring bassline/mechanical drum theme pushes forward. Then there is also also a strong ambient element throughout, lots of twists and turns with a somewhat sacred vibe, but also great electronic bounce thanks to ample sequencing/synth techniques. It's a retro-futuristic drive and a hidden gem of Australian electronics.

Soma - Hollow Earth  (flac  366mb)

01 Soil Theme 4:27
02 Soma Romanz 7:59
03 Sleepwalker 6:04
04 Nightsoil 4:52
05 Corporate Anthem Part 1 4:37
06 God Sends The Meat And The Devil Cooks 4:10
07 Corporate Anthem Part 2 3:21
08 Dark Koma 6:06
09 The Subterranean 4:15
10 The Black Lodge 6:01
11 Soma Romanz (Clovus) 6:17
12 Nowhere Nothin' Fuck Up 3:40
13 Hollow Earth 12:29

Soma - Hollow Earth    (ogg 177mb)

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The Inner Cinema sees the collaboration between David Thrussell and Pieter Bourke evolve and deepen from the tone set by the debut release, Hollow Earth. Thrussell's hard electronic tendency, evidenced in his other acts, Snog and Black Lung, is tempered with Bourke's organic sensibility to create a range of soundscapes that compels the imagination. The different scenes that The Inner Cinema paints do not fall into the category of ambient mood music. Without breaking type, each track is different, setting up a distinct reflective feel that marries acoustic and electronic voices and cultural flavors. At times spaghetti Western, at others a panoramic establishment wide shot, and at yet others a poignant vignette, Soma has captured the imaginary spaces of soundtracks without films. "Stygian Vista" is a blend of steel-string guitar, smooth electro bass, and synth washes laced with small acoustic drums and gunshots. There is no weak point or even flow -- each of the ten remaining tracks is a stand-alone scene that tells its own story, each as well realized as the last. The mood on "The Drunken Atlantean" is different again, with a ponderous electro riff and light percussion that gain gravity as the track proceeds to its quiet conclusion. "Baal"'s urgency and driven percussion picks up the pace, reinforced by electronic elements and trumpets that come straight from the Ennio Morricone stable. Soma touches on a variety of moods without compromising the organizing principles of The Inner Cinema -- it just works. Neither artist's voice dominates in a space shared by two obviously talented artists. Soma has stolen glimpses of a faraway place and packaged them for review in The Inner Cinema. It is not the same tone as predecessor Hollow Earth, but the end you arrive at is not what Soma seems to be focused on -- it is the journey.

Soma - The Inner Cinema  (flac 379mb)

01 Stygian Vista 7:26
02 Arcane 5:43
03 The Golden Dawn 5:58
04 The Drunken Atlantean 3:36
05 Baal 6:07
06 The Collector 5:43
07 Risen From Agartha 6:11
08 Antediluvian 4:27
09 Alchemical Nuptial 8:38
10 Shambhala 4:44
11 Endless 5:00

Soma - The Inner Cinema (ogg  148mb)

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Not quite a new album, not quite a stand-alone EP, not entirely a remix collection, Stygian Vistas is an often enjoyable collection of moody instrumentals in the vein of Soma's earlier work. While it's perhaps easier to tell at a distance than at the time, Soma could be said to have had peers in groups like A Small Good Thing and Future Sound of London, bands who played around with ambient textures, breakbeats, worldwide sources of samples and instruments, and a sense of cinematic work, suggesting soundtracks to unfilmed movies. The use of twangy electric guitar on some tracks, calling to mind as it does the innovative work of Ennio Morricone, is the clearest connection to that last sense, as songs like the title track and "God Sends the Meat & the Devil Cooks (...And Cooks...and Cooks...)," the latter reappearing from Hollow Earth in a new form, amply demonstrate. At the same time the sense of tribal rhythms from many different sources demonstrates perhaps why Soma's Pieter Bourke later worked with Lisa Gerrard -- "The Olmec Enigma," with its beats intermixing between electronic and apparently acoustic elements (including what almost might be a sequenced guitar part), is a nicely moody example. The polite experiments with jungle on songs like "Amphibious Premonitions Bureau," while enjoyable, lack the careening edge that defines the best of such work. Of the outside remixes, the Nonplace Urban Field take on the title track is fair enough, but the Francois Tetaz take on "Riser From Agartha" is something else again, at once a deep, murkily sensuous dub and a crisp, upfront steady beat, a quavering vocal sample bridging the gap. The Fetisch Park remix of "Alchemical Nuptial" closes the album on an agreeable enough note.

Soma - Stygian Vistas EP  (flac 263mb)

01 Stygian Vista (Radio Controlled) 4:03
02 God Sends The Meat And The Devil Cooks (...And Cooks...And Cooks...) 6:21
03 Amphibious Premonitions Bureau 5:08
04 The Lost Mathematician 4:39
05 The Olmec Enigma 6:02
06 Stygian Vista (Nonplace Urban Field Remix) 4:58
07 Risen From Agartha (François Tétaz Remix) 4:54
08 Alchemical Nuptial (Fetisch Park Remix) 7:56

Soma - Stygian Vistas (ogg  107mb)

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Jul 30, 2016

RhoDeo 1630 Grooves

Hello,  so it's going to be Hillary and co vs Superman Donald this fall, now it should be a win for Hillary and co, that is if Hillary can keep her cool against a barrage of the Superman nonsense that send 17 Republicans candidates home, crying.. A tall order indeed but then we are allowed to expect a cool head in the Whitey's House. It's grandma's time now...

Today's artist has been with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography from 4 different decades. You can wait to see what i'll post or your welcome to request a title  ... N'joy

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Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums, and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince showed remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music was inconsistent, in part because of his eclecticism, but his experiments frequently succeeded; no other contemporary artist blended so many diverse styles into a cohesive whole.

Prince's first two albums were solid, if unremarkable, late-'70s funk-pop. With 1980's Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984's Purple Rain.
Around the World in a DayPurple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the '60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of "Kiss."

By 1987, Prince's ambitions were growing by leaps and bounds, resulting in the sprawling masterpiece Sign 'O' the Times. Prince was set to release the hard funk of The Black Album by the end of the year, yet he withdrew it just before its release, deciding it was too dark and immoral. Instead, he released the confused Lovesexy in 1988, which was a commercial disaster. With the soundtrack to 1989's Batman he returned to the top of the charts, even if the album was essentially a recap of everything he had done before. The following year he released Graffiti Bridge (the sequel to Purple Rain), which turned out to be a considerable commercial disappointment.

Diamonds and Pearls In 1991, Prince formed the New Power Generation, the best and most versatile and talented band he has ever assembled. With their first album, Diamonds and Pearls, Prince reasserted his mastery of contemporary R&B; it was his biggest hit since 1985. The following year, he released his 12th album, which was titled with a cryptic symbol; in 1993, Prince legally changed his name to the symbol. In 1994, after becoming embroiled in contract disagreements with Warner Bros., he independently released the single "The Most Beautiful Girl in the World," likely to illustrate what he would be capable of on his own; the song became his biggest hit in years. Later that summer, Warner released the somewhat halfhearted Come under the name of Prince; the record was a moderate success, going gold.

Gold Experience In November 1994, as part of a contractual obligation, Prince agreed to the official release of The Black Album. In early 1995, he immersed himself in another legal battle with Warner, proclaiming himself a slave and refusing to deliver his new record, The Gold Experience, for release. By the end of the summer, a fed-up Warner had negotiated a compromise that guaranteed the album's release, plus one final record for the label. The Gold Experience was issued in the fall; although it received good reviews and was following a smash single, it failed to catch fire commercially. In the summer of 1996, Prince released Chaos & Disorder, which freed him to become an independent artist. Setting up his own label, NPG (which was distributed by EMI), he resurfaced later that same year with the three-disc Emancipation, which was designed as a magnum opus that would spin off singles for several years and be supported with several tours.

Crystal Ball However, even his devoted cult following needed considerable time to digest such an enormous compilation of songs. Once it was clear that Emancipation wasn't the commercial blockbuster he hoped it would be, Prince assembled a long-awaited collection of outtakes and unreleased material called Crystal Ball in 1998. With Crystal Ball, Prince discovered that it's much more difficult to get records to an audience than it seems; some fans who pre-ordered their copies through Prince's website (from which a bonus fifth disc was included) didn't receive them until months after the set began appearing in stores. Prince then released a new one-man album, New Power Soul, just three months after Crystal Ball; even though it was his most straightforward album since Diamonds and Pearls, it didn't do well on the charts, partly because many listeners didn't realize it had been released.

The Vault: Old Friends 4 Sale A year later, with "1999" predictably an end-of-the-millennium anthem, Prince issued the remix collection 1999 (The New Master). A collection of Warner Bros.-era leftovers, Vault: Old Friends 4 Sale, followed that summer, and in the fall Prince returned on Arista with the all-star Rave Un2 the Joy Fantastic. In the fall of 2001 he released the controversial Rainbow Children, a jazz-infused circus of sound trumpeting his conversion to the Jehovah's Witnesses that left many longtime fans out in the cold. He further isolated himself with 2003's N.E.W.S., a four-song set of instrumental jams that sounded a lot more fun to play than to listen to. Prince rebounded in 2003 with the chart-topping Musicology, a return to form that found the artist back in the Top Ten, even garnering a Grammy nomination for Best Male Pop Vocal Performance in 2005.

3121 In early 2006 he was the musical guest on Saturday Night Live, performing two songs with a new protégée, R&B singer Tamar. A four-song appearance at the Brit Awards with Wendy, Lisa, and Sheila E. followed. Both appearances previewed tracks from 3121, which hit number one on the album charts soon after its release in March 2006. Planet Earth followed in 2007, featuring contributions from Wendy and Lisa. In the U.K., copies were cover-mounted on the July 15 edition of The Mail on Sunday, provoking Columbia -- the worldwide distributor for the release -- to refuse distribution throughout the U.K. In the U.S., the album was issued on July 24.

LotusFlow3rLotusFlow3r, a three-disc set, arrived in 2009, featuring a trio of distinct albums: LotusFlow3r itself (a guitar showcase), MPLSound (a throwback to his '80s funk output), and Elixer (a smooth contemporary R&B album featuring the breathy vocals of Bria Valente). Despite only being available online and through one big-box retailer, the set debuted at number two on the Billboard 200 chart. A year later, another throwback-flavored effort, 20Ten, became his second U.K. newspaper giveaway. No official online edition of the album was made available.

From mid-2010 through the end of 2012, Prince toured throughout Europe, America, Europe again, Canada, and Australia. During 2013, he released several singles, starting with "Screwdriver" and continuing with "Breakfast Can Wait" in the summer of that year. Early in 2014, he made a cameo appearance on the Zooey Deschanel sitcom The New Girl, appearing in the episode that aired following the Super Bowl. All this activity was prelude to the spring announcement that Prince had re-signed to Warner Bros. Records, the label he had feuded with 20 years prior. As part of the deal, he wound up receiving the ownership of his master recordings, and the label planned a reissue campaign that would begin with an expanded reissue of Purple Rain roughly timed to celebrate its 30th anniversary.

Art Official Age First came two new albums: Art Official Age and PlectrumElectrum, the latter credited to 3rdEyeGirl, the all-female power trio that was his new-millennial backing band. Both records came out on the same day in September 2014. (Two years later, the Prince reissue program and the expanded edition of Purple Rain had yet to appear.) Almost a year to the day, he released HITnRUN: Phase One, with contributions from Lianne La Havas, Judith Hill, and Rita Ora. A sequel, HITnRUN: Phase Two, was released online in December 2015, with a physical release following in January 2016. In early 2016, Prince set out on a rare solo tour, a run of shows he called "Piano and a Microphone." The tour was cut short in April due to sickness, however, and Prince flew home to Minneapolis. On April 21, 2016, police were called to Paisley Park, where they found Prince unresponsive; he died that day at the age of 57. His early death and incredible achievement prompted an outpouring of emotion from fans, friends, influences, and professional associates. On the following week's Billboard charts, he occupied four of the top ten album positions and four of the top singles positions.

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Purple Rain made Prince sound like he could do anything, but it still didn't prepare even his most fervent fans for the insular psychedelia of Around the World in a Day. Prince had made his interior world sound fascinating and utopian on Purple Rain, but Around the World in a Day is filled with cryptic religious imagery, bizarre mysticism, and confounding metaphors which were drenched in heavily processed guitars, shimmering keyboards, grandiose strings, and layers of vocals. As an album, the record is a bit impenetrable, requiring great demands of the listener, but individual songs do shine through: "Raspberry Beret" is a brilliant piece of neo-psychedelia with an indelible chorus, "Pop Life" is a snide swipe at stardom that emphasizes Prince's outsider status, "Condition of the Heart" is a fine ballad, "America" is a good funk jam, "Paisley Park" is heavy and slightly frightening guitar psychedelia, while the title track is a sunny, kaleidoscopic pastiche of Magical Mystery Tour.

Prince & The Revolution - Around the World in a Day   (flac 245mb)

01 Around The World In A Day 3:25
02 Paisley Park 4:41
03 Condition Of The Heart 6:46
04 Raspberry Beret 3:31
05 Tamborine 2:46
06 America 3:40
07 Pop Life 3:42
08 The Ladder 5:26
09 Temptation 8:21

Prince & The Revolution - Around the World in a Day   (ogg 101mb)

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In many ways one of his most brilliant quirky albums. "Come" is an exciting concept album that flows from everything to sex to abuse to racism to even more sex. The songs not only work great as written poetry but as great R&B music. The album starts out with the sex fest that is "Come" that is extremely long at over 10 minutes but is beat for beat hot rhythms. Followed is the even hotter "Pheromone". Great social commentary's come in the form of the story song "Papa" ("don't abuse your kids, or they'll end up like me.") and the awesome funk rap of "Race" ("I bleed, you bleed. Both the bold is red. Get it"). "Letitgo" is one of those great R&B gems that just doesn't get the radio play it deserves. It's a great funky number and is extremely heartfelt at the same time. "Orgasm" speaks for itself and is just a sex scene with some Prince music in the background. Talk about the conclusion. Maybe the best song on the set is a small gem that just hides within the middle. It's an electronic song called "Loose!" which pulsates with hot dance grooves and tons of funk. The CD is almost worth it just for that track. The album is full of not only great feeling and hot R&B sounds but has light faire like the mellow "Solo" and R&B ballad "Space". It's also Prince's last record and a great ending to an awesome career. The Artist has made some great stuff, but I think this Prince record is nearly untouchable. Eccentric music and creative stuff.

Prince. - Come    (flac  350mb)

01 Come 11:13
02 Space 4:28
03 Pheromone 5:08
04 Loose! 3:26
05 Papa 2:48
06 Race 4:28
07 Dark 6:10
08 Solo 3:48
09 Letitgo 5:32
10 Orgasm 1:39

Prince. - Come (ogg  120mb)

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If you know Prince since he left warner bros. Then you know the man is prone to changes. This album was supposedly billed as an Acoustic PIANO album...although it features quite a bit of keys and synth strings and flute. Acoustic piano on track 8 as well

Here a track by track review, it was issued and only available to NPGMC members

1) One Nite Alone - Smooth sexy vibe Prince's intro to spend some time with him
2) Ur Gonna C Me - Redone (this version is better) on Lotusflow3r. Semi Love song
3) Here On Earth - Great song, later redone on Planet Earth
4) A Case Of You - Joni Mitchell cover; excellent.
5) Have a Heart - Lamenting those who claim hurt when they had no heart to begin with. "waiting for the righteous to buy in, and right every one of the wrongs" good lyric
6) Objects in the Mirror - P talking bout "making a movie" again. "let's brush our teeth in the same sink" humorous sweet stuff. The objects in the mirror are him and someone else
7) Avalanche - Prince's harshest song ever. I think he read Forced into Glory: Abraham Lincoln's White Dream and came up with this song. As well as American Holocaust: The Conquest of the New World, A Little Matter of Genocide: Holocaust and Denial in the Americas 1492 to the Present because this song is honest and caustic about the reality of this nation and the abuse taken on the human mind and consciousness for neither acknowledging it for future generations to prevent it, nor to objectively view the US "settlement" for what it was: a crapshoot, filled with lies, hypocrisy, denial, slavery, genocide and betrayal (which he likens to the early exploitation of "jazz" artists by "industry pioneers")
8) Pearls B4 the Swine - Great song with an upbeat
9) Young and Beautiful - Sappy but happy song; a chaste version of Pussy Control. Happy piano, very enjoyable tho (keep it in your pants and wait for someone good)
10) Arboretum- instrumental, long fade out

Alas, it's a pity it's virtually unavailable unless you want to spend a HUGE dollar, but being 'non materialist' here we can enjoy it's digital representation...

Prince - One Nite Alone...    (flac  179mb)

01 One Nite Alone... 3:37
02 U're Gonna C Me 5:16
03 Here On Earth 3:23
04 A Case Of U 3:39
05 Have A Heart 2:04
06 Objects In The Mirror 3:27
07 Avalanche 4:24
08 Pearls B4 The Swine 3:01
09 Young And Beautiful 2:44
10 Arboretum 3:26

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Prince returned to Warner Bros. Records in a big way in 2014, settling a 15-year feud on terms that were decidedly in his favor. He acquired the rights to his masters, agreed to a series of deluxe reissues, and released two brand-new albums, one recorded on his own and one recorded with his backing power trio 3rdEyeGirl. Art Official Age, the album credited to his lonesome, finds Prince reveling in many of the sounds of the '80s, reviving his Bob George and Camille voices, dabbling in deep electro-funk on "What It Feels Like," indulging in a full-fledged freakout on "Funknroll." Despite all these winking allusions to his past, Art Official Age feels of piece not with the Revolution but rather the New Power Generation: underneath the squalls of guitar, psychedelic soul harmonies, and impish humor, this is a full-fledged R&B album, one that often echoes Diamonds and Pearls. Like that 1991 record, Art Official Age is heavy on dance songs with rapped verses that don't feel informed by hip-hop and slow-burning soul that pulls the past into the present. Some of Prince's modernization feels a bit ham-fisted -- he turns the Internet meme "This could be us but you playing" into a slow jam -- but he leaves all his millennial flirtations at the margins of the record, grounding it in old-fashioned notions of seduction and soul. If the album doesn't offer any startling surprises along the lines of the furious "Black Sweat" -- there's not much abandon here -- there's joy in hearing Prince embrace his lyrical eccentricities as he accessorizes his smooth jams and coiled, clean funk with such oddities as laser blasts and spoken introductions from what appear to be British nurses. Such quirks may be fleeting but their presence is enough, along with such fine songs as "Breakfast Can Wait," to elevate Art Official Age above 20Ten and other pro forma latter-day Prince records.

Prince - Art Official Age   (flac  340mb)

01 Art Official Cage 3:42
02 Clouds 4:34
03 Breakdown 4:04
04 The Gold Standard 5:53
05 U Know 3:57
06 Breakfast Can Wait 3:55
07 This Could Be Us 5:12
08 What It Feels Like 3:54
09 Affirmation I & II 0:40
10 Way Back Home 3:05
11 Funknroll 4:08
12 Time 6:50
13 Affirmation III 3:28

Prince - Art Official Age  (ogg  129mb)

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Jul 28, 2016

RhoDeo 1630 Re-Ups 66


These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...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 26 re-ups, requests fullfilled up to July 26th, so where are the other requests, there's so much to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse was you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

3x Grooves NOW in Flac (Dr. Buzzard's Original Savannah Band, Cory Daye  - Cory and Me, still in ogg  Kid Creole - Off The Coast Of Me)

5x Sunshine Brazil NOW in Flac (VA - Lucho Collected 1, Caetano Veloso - Estrangero,  VA - Brazil Classics 2, Bahia Black - Ritual Beating, still in ogg VA - Sambas Enredo 74)

4x Aetix Back In Flac (Talking Heads - Remain In Light, Talking Heads - Speaking In Tongues,  Talking Heads - The Name Of This Band Is Talking Heads Live (77-79), Talking Heads - The Name Of This Band Is Talking Heads Live (80-81))

4x Aetix Back in Flac (Timbuk 3 - Greetings From, Timbuk 3 - Eden Alley, Timbuk 3 - Edge of Allegiance, Timbuk 3 - Big Shot In The Dark)

3x Grooves Back in flac ( Funkadelic - Funkadelic; Parliament - Osmium, Funkadelic - Free Your Mind and Your Ass Will Follow)

3x grooves NOW in flac (Parliament - Clones Of Dr. Funkenstein, Clinton, George - Computer Games, Parliament - Funked Up )

3x Aetix Back in flac (Heaven 17 - Penthouse And Pavement, Heaven 17 - The Luxury Gap, Heaven 17 - How Men Are)

update from last time

2x Sundaze NOW in flac (Flying Saucer Attack - Chorus,  (found the cd) VA - Unidentified Floating Ambience )

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