Oct 25, 2014

RhoDeo 1442 Grooves

Hello, my computer OS has gotten from bad to worse at a certain point i entered a loop with re-installation ended up crashing and a bluescreen suggesting i disable bios memory options such as caching or shadowing, unfortunately these options are no longer part of a modern mobo..hello microsoft...anyway i did manege to to adjust start up order so i could run my linux life disk and you lot get another dose of grooves, as it happens i had a number of posts preprepared but it remains troublesome as linux can't open my rtf files... all in all depressing shite

Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the '70s. They continued to score hits on the R&B charts through much of the '80s as well, making for a career longevity that no one would have predicted for Stax's formerly star-crossed number-two house band.   ......N'joy

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The Bar-Kays were formed in Memphis, TN, in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis soul instrumental outfits like the Mar-Keys and Booker T. & the MG's, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson, Jr., the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG's on occasion. That spring, the Bar-Kays cut their first single, "Soul Finger," a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. "Soul Finger" reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, "Give Everybody Some," barely scraped the R&B Top 40). Producer Allen Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer.

Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, WI, Redding's plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles' "A Hard Day's Night," was virtually ignored. Nonetheless, with Allen Jones' help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Harvey Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart.

With 1971's Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Isaac Hayes' hit Shaft soundtrack, Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles "Scoop" Allen and guitarist Vernon Burch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix's "Foxy Lady" dubbed "Copy Cat." The follow-up, another good-humored goof on a recent hit, was "Son of Shaft," which in 1972 became the group's first Top Ten R&B hit since "Soul Finger." That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn't enough to keep their commercial momentum going, especially as Stax/Volt headed toward eventual bankruptcy in 1975.

Armed with new guitarist Lloyd Smith (who'd joined when Burch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut, Too Hot to Stop, was a hit, powered by the smash R&B single "Shake Your Rump to the Funk." The group consolidated their success by opening for George Clinton's P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays' brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band's first gold record, and Money Talks -- a Fantasy reissue of some previously unreleased Stax material -- produced another Top Ten hit in "Holy Ghost" the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979's Injoy (which featured the Top Five R&B hit "Move Your Boogie Body"), 1980's As One, 1981's Nightcruising (which spawned two hits in "Hit and Run" and "Freaky Behavior"), and 1982's Propositions (more hits in "Do It (Let Me See You Shake)" and "She Talks to Me With Her Body"). All of those albums, save for As One, went gold.

In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early '80s. 1984's Dangerous produced one of the group's biggest hits, "Freakshow on the Dancefloor," and a couple more R&B chart hits in "Dirty Dancer" and "Sex-O-Matic." Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson, and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with "Certified True." When their contract with Mercury was up, the Bar-Kays called it quits with 1988's Animal. Dodson and original bassist James Alexander put together a short-lived new version of the Bar-Kays for the 1994 album 48 Hours, released on the small Basix label.


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The Bar-Kays spent much of 1976 as the opening attraction supporting the Parliament-Funkadelic traveling circus, and the P-Funk influence seeps into every pore of Too Hot to Stop. While lacking the cosmic reach and freak-show genius of George Clinton, this is nevertheless The Bar-Kays' last stab at greatness, delivering hard-driving funk with all the energy and conviction of their classic Stax sides. The grooves here are vacuum-packed, exhibiting the telepathic interplay born solely from years of collaboration. Indeed, the quality of the performances more than makes up for Too Hot to Stop's often pedestrian melodies, although to its credit the band covers a wide stretch of ground spanning from breakneck funk ("Whitehouseorgy") to slow jams ("You're So Sexy") to ballads ("Summer of Our Love").



Bar-Kays - Too Hot to Stop (flac 205mb)

01 Too Hot To Stop (Part 1) 6:27
02 Cozy 3:31
03 Bang, Bang (Stick'em Up) 3:44
04 Spellbound 5:04
05 Shake Your Rump To The Funk 3:49
06 You're So Sexy 3:48
07 Summer Of Our Love 4:22
08 Whitehouseorgy 4:00

Bar-Kays - Too Hot to Stop (ogg 85mb)

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Although the Bar-Kays stuck with the Stax Records until its demise in 1976, the label stopped releasing the group's recordings after 1973. However, when they re-emerged as a success on the Mercury label with hits like "Shake Your Rump to the Funk," some unreleased recordings they made between 1974 and 1976 were released as an album entitled Money Talks. Although this repackaging was obviously designed to cash in on the group's success, Money Talks stands up as a solid and consistent album in its own right. This material lays the groundwork for the Bar-Kays' post-Stax style by trading live-in-the-studio jams for a carefully produced sound and blending in standout pop hooks into the funky grooves. The best example is "Holy Ghost," a hard-grooving monster of a jam where elaborate horn arrangements dance around a thick synthesizer bassline as Larry Dodson lays down a salacious vocal about his lover's otherworldly romantic skills. It became a big R&B hit when released as a single in 1978 and was later sampled by M/A/R/R/S on their club classic "Pump Up the Volume." Other memorable tracks include the title track, a high-stepping tune that showcases the chops of the horn players, and "Mean Mistreater," an unlikely but effective Grand Funk Railroad cover that transforms the minimalist original tune into a spooky yet sexy mood piece built on some languid keyboard work. None of the other tracks are as strong as "Holy Ghost" (which is so good that it bookends the album in two versions), but they are all listenable and flow together surprisingly well as an album. All in all, Money Talks is a fine slab of vintage funk that will please anyone who loves old-school grooves.



Bar-Kays - Money Talks (flac 195mb)

01 Holy Ghost 3:56
02 Feelin' Alright 4:56
03 Monster 6:51
04 Money Talks 6:51
05 Mean Mistreater 5:45
06 Holy Ghost (Reborn) 6:01

Bar-Kays - Money Talks  (ogg 85mb)

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Its title a snazzy double play, the Bar-Kays' 1979 classic Injoy LP was the first and most successful of a quintet of albums that swept the band to the top of the charts and into the stratosphere of superstardom for half a decade. An energetic and primarily funk-driven set, Injoy was dominated by the supreme "Move Your Boogie Body," an eminently danceable, pop-friendly slab that cut the bass with strings, powered home the excellent vocals, added some Euro-disco synth, and soared into the Top Five to give the Bar-Kays their highest-to-date spot on the charts. But while that track may have captured the public heart, the bandmembers had even better tricks up their very flashy sleeves, powering through the classic funk of "More and More" and "Up in Here" -- a song of unmitigated old-school proportions that reprises the Moroder-isms deep in the mix. Elsewhere, the band toned it down with several ballads, including "Girl I'm on Your Side" and "Running In and Out of My Life." With the Bar-Kays at the top of their form, there was little that could detract from this set. And, while Injoy just missed the top spot on the R&B chart, it still got a nation off the couch and onto the dancefloor.



Bar-Kays - Injoy (flac 273mb)

01 More And More 4:34
02 Move Your Boogie Body 6:18
03 Running In And Out Of My Life 4:49
04 Girl I'm On Your Side 4:03
05 Loving You Is My Occupation 5:03
06 Today Is The Day 3:14
07 You've Been 4:06
08 Up In Here 5:17

Bar-Kays - Injoy  (ogg 96mb)

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Oct 23, 2014

RhoDeo 1442 Goldy Rhox 183

Hello, today the 183rd post of GoldyRhox, classic pop rock in the darklight a Scottish singer-songwriter (16 April 1947 – 4 January 2011) best known for his solo hits "Baker Street", "Right Down the Line" and "Night Owl", as well as "Stuck in the Middle with You" recorded with the band Stealers Wheel.

Our man was born into a working-class family in Paisley, Renfrewshire, Scotland. His mother taught him both Irish and Scottish folk songs as a boy; later, he was influenced by the music of The Beatles and Bob Dylan. In 1969 our man became the third member of an existing folk-pop ensemble The Humblebums composed of future comedian Billy Connolly and Tam Harvey. Harvey left shortly afterwards, and he and Connolly continued as a duo, recording two albums for Transatlantic Records. After the two decided to go their separate ways in 1971, Transatlantic owner Nathan Joseph signed Rafferty to a contract as a solo performer and Rafferty recorded his first solo album, Can I Have My Money Back?, with Hugh Murphy, a young staff producer working for the label.[11] The album was a critical success but did not enjoy commercial success. According to his daughter Martha, it was around this time that her father discovered, by chance, Colin Wilson's classic book The Outsider, about alienation and creativity, which became a huge influence both on his songwriting and his outlook on the world: "The ideas and references contained in that one book were to sustain and inspire him for the rest of his life." He and schoolfriend Joe Egan formed the group Stealers Wheel in 1972, producing several hits, most notably "Stuck in the Middle with You" and "Late Again". In 1978, he recorded his second solo album, today's mystery album, which included "Baker Street", his most popular song.,
Sadly the latter part of his live was marred by drinking binges, divorce more binges and in the end, November 2010, he was admitted to the Royal Bournemouth Hospital where he was put on a life-support machine and treated for multiple organ failure. After being taken off life support, he rallied for a short time, and it seemed that he might recover. Our man died at his daughter Martha's home in Stroud, Gloucestershire, on 4 January 2011 of liver failure.

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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 was the second studio album released 20 January 1978 by today's Scottish mystery singer-songwriter. It was his first solo release in six years — and first release of any kind since 1975 — due to his tenure in the band Stealers Wheel and subsequent legal proceedings which prevented him from releasing any new solo recordings for the next three years. The album was strongly received, peaking at #1 in the US and going Platinum, as well as reaching #6 in the UK and achieving Gold status. "Baker Street", "Right Down the Line" and "Home and Dry" were successfully released as singles.

Baker Street featured a prominent eight-bar saxophone riff played as a break between verses, by Raphael Ravenscroft who died 19 October 2014 at the Royal Devon and Exeter Hospital, aged 60, of a suspected heart attack. Ravenscroft, a session musician, was in the studio to record a brief soprano saxophone part and suggested that he record the break using the alto saxophone he had in his car. The part led to what became known as "the 'Baker Street' phenomenon", a resurgence in the sales of saxophones and their use in mainstream pop music and television advertising."Baker Street" is widely regarded as his signature song and by October 2010 had reached 5 million plays on British radio. Up for grabs here a 2011 remaster...



Goldy Rhox 183 (flac 324mb)


Goldy Rhox (ogg 126mb)

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Here an improvised posting with a live linux disc, as having been unable to reinstall windows with the drivers i need..ah my mistake should have copied those to a save place with the help of that linux live disc as my system at the time crashed even in safe mode..

Oct 22, 2014

RhoDeo 1442 Aetix

Currently severe virusproblems can't even install malware bytes or update my Avira computer crashes a lot browsers crash-specially chrome (even in safe mode !) after several tries and some lateral thinking i managed to post this not sure how to proceed could be i 'll need a complete reinstall- i'm pretty sure i picked up this virus surfing


Hello, I've been fed up with that Pistorius saga and now he's gotten his sentence, a slap on the wrist for this hot head that shot his girlfriend with 4 bullits, disgusting. It makes me wonder if this judge has been gotten to, no one who.saw some of Pistorius tearful theatrics believed any of it, yet we are to believe the experienced judge did, maybe she's become senile. I expect the prosecutor to ask for a retrail. The creep deliberately murdered his girlfriend, he should rot in jail.....


Initially envisioned as an experimental side project by Cevin Key while he was in the new wave band Images In Vogue, today's band evolved into a full-time project with the addition of vocalist Nivek Ogre. Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. Other members have included Dwayne Goettel (1986–1995), Dave "Rave" Ogilvie (long-time associate, producer, and "unofficial" fourth member until 1995). They developed into an influential band with a dedicated cult following, fusing elements of ambient, noise, new wave, electro, and rock music and making innovative use of sampling.....N'Joy

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Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire, and Suicide, the dark avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duo comprised of former Images in Vogue drummer cEvin Key (born Kevin Crompton) and Nivek Ogre (aka Kevin Ogilvie), Skinny Puppy followed their debut cassette, Back and Forth, with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.

Keyboardist Wilhelm Schroeder joined the group for 1985's full-length debut, Bites, but was replaced the next year by Dwayne Goettel, whose sampling and synth work proved significant in the development of the Skinny Puppy aesthetic from ominous dance music into a distinct fusion of industrial, goth, and electronic sounds. Subsequent releases like 1986's Mind: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate, and 1988's VIVIsectVI further honed the trio's style, as well as introducing the outspoken lyrical agenda that remained a thematic constant throughout much of the group's work.

In 1989, Ministry's Al Jourgensen added vocals, guitars, and production work to Rabies; later, he joined Ogre in the side project Pigface. Ultimately, the members' interest in pursuing similar outside projects began to unravel Skinny Puppy: in 1987, Key and Edward Ka-Spel of the Legendary Pink Dots recorded the album Their Eyes Slowly Burning under the name Tear Garden, and in 1990, he and friend Alan Nelson worked as Hilt. A major rift began splitting the band apart, and Key and Goettel often sided against Ogre, whom they felt was more interested in pursuing solo work than in keeping the trio intact; drugs had also become a serious problem, but Skinny Puppy nonetheless signed to American Recordings in 1993 and relocated to Los Angeles to begin production work.

The sessions for the album, titled The Process, proved disastrous; for the first time in nearly a decade, David Ogilvie did not oversee production duties, and the group went through several producers, including former Swan Roli Mosimann and Martin Atkins. Flooding and earthquakes further hampered the sessions, and Key was severely injured in a film shoot. After months of recording, Key and Goettel, dissatisfied with Atkins' work, absconded with the master tapes and returned to Vancouver in mid-1994 to finish production. Ogre remained in California, and later announced he was leaving Skinny Puppy to form W.E.L.T. A few months later, on August 23, 1995, Goettel was found dead of a heroin overdose in his parents' home; in his honor, Key and Ogilvie finally completed the album, and The Process was released in 1996. A multimedia history of the band, Brap: Back and Forth, Series 3 & 4, followed a few months later, while Key returned to his new project, Download. Released in 1998, Remix Dys Temper featured Skinny Puppy reworkings by Autechre, Neotropic, and Adrian Sherwood in addition to industrial groups like KMFDM and God Lives Underwater.

By 2000, the word was out that Key and Ogre had buried the hatchet, reactivated Skinny Puppy, and recording was underway. A 1994 jam between Skinny Puppy and Throbbing Gristle/Psychic TV member Genesis P-Orridge was released under the title Puppy Gristle in 2002 on Key's subCON label. The SPV label (which had long been the distributor of the band's albums in Europe) signed the band in late 2003. Skinny Puppy's Greater Wrong of the Right hit the streets in 2004 with members of Tool, Collide, and Static-X making guest appearances. Two more studio albums, 2007's Mythmaker and 2011's Handover, followed before the release of 2012's live album Bootlegged, Broke and in Solvent Seas.

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In the scheme of all things Skinny Puppy, Cleanse, Fold and Manipulate can be rather hard to recommend. Though it contains one of the band's finest songs, "Deep Down Trauma Hounds," Cleanse ultimately feels like a turning point, where experimentation is just beginning to gel with innovation and the band's trademark sound is forming rapidly before one's ears. But much of the album comes across like a series of interludes or ambient instrumental fragments. Still, fans of industrial music will appreciate the album's formidable beats and coarse sound samples that seem to be generated from warping the sounds of heavy machinery. Perhaps more than other any place in Skinny Puppy's discography, Ogre's vocals work like spoken-word stream-of-conscious dementia, with more emphasis on evil tones than on any relation to their music. After the Perry Mason sample-thon "Deep Down Trauma Hounds," special notice should be given to the ominous, haunted "Addiction"; the unsettling, creepy collage of "Shadow Cast," which features blood-curdling samples from Dennis Hopper in The Texas Chainsaw Massacre 2; and the overall tapestry of evil that is "Draining Faces," which suggests to a listener that they've come upon a goblin's ritual sacrifice in some foreign realm. "Anger" is the best indication that Skinny Puppy is semi-stuck in a rut between styles, as it straddles the industrial genre and the cut-and-paste sonic curveballs of later Skinny Puppy releases; its "spinning through the radio dial" effect would be put to far better use on Too Dark Park and Last Rights. Still more interesting than the majority of output from their peers and followers, Cleanse, Fold and Manipulate is best left for die-hard Skinny Puppy fans, especially those who favor the band's early, sinister, pristine dark ambience to the all-out torment that would develop gradually on the band's next five albums.



Skinny Puppy - Skinny Puppy - Cleanse Fold And Manipulate  (flac 258mb)

01 First Aid 4:29
02 Addiction 6:01
03 Shadow Cast 4:19
04 Draining Faces 5:11
05 The Mourn 2:39
06 Second Tooth 4:06
07 Tear Or Beat 4:41
08 Deep Down Trauma Hounds 4:41
09 Anger 4:53
10 Epilogue 1:10

Skinny Puppy - Skinny Puppy - Cleanse Fold And Manipulate  (ogg 100mb)

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Even when the industrial revolution happened, few North American bands sounded as manic and dense as the mighty Skinny Puppy. Tackling unpopular political topics, blurring distorted vocals into synth lines, sampling news broadcasts and horror films -- these were the tactics that Skinny Puppy utilized on VIVIsectVI, one of their true masterpieces. It takes multiple listens to the album to even get to the songs underneath, but once the sonic wall has been punctured it is easy to hear why Ogre is so volatile. His rants, which alternate between a lazy drug moan and a harsh screech, were one of the few in the genre that actually sounded poetic amongst the noise and beats. He can completely carry a noise collage and transform it into a brooding song ("Harsh Stone White") or he can stick to a fairly normal song structure and simply scream his lungs out ("Human Disease (S.K.U.M.M.)"). And the music is absolutely confounding, constructed out of sounds and noises that somehow never seem overbearing despite the sheer amount of them. The most important lesson that Skinny Puppy teaches here is the lesson of variety. VIVIsectVI is still a challenging, multi-layered album years later because the music never stays still. The beat will just disappear, Ogre's vocals will suddenly go from a whisper to a scream, everything will disappear but a creepy sample, then the song will kick back in with a different beat and a new synth part. And that's just "Who's Laughing Now?," one of the true classic industrial songs of any era. No album by this band is easy to start with, but this is easy to keep listening to, if only to absorb everything that happens on each track. Anyone with an interest in the genre should not overlook Skinny Puppy, and this is one of their shining moments.



Skinny Puppy - VIVIsectVI  (flac 408mb)

01 Dogshit 3:55
02 VX Gas Attack 5:36
03 Harsh Stone White 4:29
04 Human Disease (S.K.U.M.M.) 6:19
05 Who's Laughing Now? 5:29
06 Testure 5:07
07 State Aid 3:55
08 Hospital Waste 4:38
09 Fritter (Stella's Home) 3:31
10 Yes He Ran 6:28
11 Punk In Park Zoo's 2:31
12 The Second Opinion 4:59
13 Funguss 4:06

Skinny Puppy - VIVIsectVI   (ogg 151mb)

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Rabies is a solid, sordid album from Skinny Puppy, even if it isn't always the sound of the band operating at their peak. All of the trademark Skinny Puppy elements are in place: Nivek Ogre's snarling vocals, snippets of dialogue from sci-fi and horror movies, and symphonic, chugging synth sounds. At least four of the album's 11 tracks are perfect examples of Skinny Puppy's sonic attack. "Rodent" is monumentally menacing, with Ogre's vocals giving the impression that they've been growled through a megaphone that's been recorded from a microphone at least a half-mile away. Stop-start keyboards effects, phase-shifted grunts and groans, warped handclaps, and screeching sound fragments all give the impression that some mad army of musical warlocks are approaching and encroaching upon the listener. "Hexonxonx" mixes equal doses of twisted humor and Throbbing Gristle-like experimentation, working like a kind of post-Dario Argento film chillout. "Worlock" and "Tin Omen" both display genius implementation of movie dialogue samples; very few artists employ the kind of impeccable timing and craftsmanship at work on these two tracks. Though Too Dark Park would display the height of the band's cut-and-paste artistry, this blueprint or slow-birth on Rabies is compelling in its own right. The album's weaker songs aren't by any means throwaways; "Rivers," for example, is an interesting collision of Skinny Puppy and film director Stanley Kubrick, as samples from A Clockwork Orange and 2001: A Space Odyssey weave and intertwine; and "Sphan Dirge" is a kind of middle ground between industrial rage and the dark fury of John Cale's existential punk stage. Still, the Achilles heel of Rabies is the production and contributions of Ministry's Alain Jourgensen. What comes across as masterful on Ministry's The Mind Is a Terrible Thing to Taste just doesn't seem appropriate for Skinny Puppy. Jourgensen's influence causes the band to rock out in places where they'd usually be weeping, wailing, and flailing in ecstasy and torment. Rabies is required listening for Skinny Puppy fans, but it's too uneven to recommend to casual listeners, and it's not a good starting point for newcomers.



Skinny Puppy - Rabies (flac 432mb)

01 Rodent 5:49
02 Hexonxonx 5:25
03 Two Time Grime 5:39
04 Fascist Jock Itch 4:57
05 Worlock 5:30
06 Rain 1:26
07 Tin Omen 4:37
08 Rivers 4:49
09 Choralone 3:02
10 Amputate 3:15
11 Spahn Dirge (Live) 16:22

Skinny Puppy - Rabies   (ogg 142mb)

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