Mar 30, 2020

RhoDeo 2013 Re Up 232

Hello, best place to be to lead a normal life these days...Sweden. There everything is 'normal' but then they had no carnival and citizens skying in the Alps as they have good skying facilities at home, Sweden has corona under control thusfar. And as to be expected first voices can be heard that the lives saved with the current policies aren't worth the huge toll taken on societies economies and a depression will cause many more deaths and loss of quality of life for billions of people and for years. I for one (whilst in the higher risk category) believe countries should go back to normal asap. Yes hospitals won't be able to cope, but palliative care could be scaled up quickly with family being able to take some of the burden . We know now this virus doesn't kill everyone, most hardly noticed they had it only 5 % needed intensive care, alas they need it for 3 weeks and thus the capacity in most countries is lacking, so why not accept the inevitable, many will die outside the hospital, we should prepare to give them a painless and worthy death surrounded by friends and family. We need steps in that direction because many poorer countries that have very little hospital facilities have nothing to protect and simply copy what the West is doing and thereby ruining what little economy they have. Mr Modi (India's president) is currently busy infecting his whole country with his idiot policy, instead of making sure what medical personal they have has adequate protection. Corona will be with us for years even after we in the West have created a vaccine, but that's a year away and in the meantime we shouldn't ruin our economies but accommodate fast testing and compulsory quarantine and yes i want my sports back instead of 24/7 corona misery.

Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is deminishing day by day. I'm doing my best to fulfil requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.

13 correct requests for this week + 2 at the wrong place, one double and 1 too early,  whatever another batch of 52 re-ups (16.3 gig)

These days i'm making an effort to re-up, it will satisfy a smaller 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, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to March 29th... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

5x Austria NOW in Flac ( VA - Kruder & Dorfmeister - G-Stone , Sofa Surfers - Encounters , Dargaard - Innomine Aeternitatis, G.D. Luxxe - 21st Door, Peace Orchestra - Reset)

3x Sundaze Back in Flac ( Iasos - Inter-Dimensional Music, Iasos - Angelic Music, Iasos - Elixir  )

4x Grooves NOW in Flac(Gwen Guthrie - Padlock, Imagination - Night Dubbing, Louise Ciccone - Madonna , Jellybean - Wotupski)

3x Grooves Back in Flac 1434 ( Isaac Hayes - To Be Continued, Isaac Hayes - Shaft, Isaac Hayes - Black Moses)

4x Sundaze  Back in Flac (All India Radio - A Low High+Ambient, All India Radio - Piano and Ambience,.All India Radio - The Silent Surf + The Silent , All India Radio - Red Shadow Landing)

3x Sundaze Back in Flac  (Vladislav Delay - Anima, Vladislav Delay - Naima, Vladislav Delay - Whistleblower)

3x Sundaze Back In Flac (Aural Float - Introspectives, Aural Float - Freefloat, Aural Float - Beautiful Someday)

4x Roots  Back In Flac (Congos - Heart of the Congos remixed 78, Congos - Heart of the Congos dubs-disvomixes, Congos - Heart of the Congos original mix, Bunny Wailer - Blackheart Man )

9x Jumbo Day Back in Flac ( Violent Femmes - Id, Suicide - II, Romeo Void - Warm In Coat,  J.Richman - best of, Defunkt - Avoid the Funk, Comateens - Comateens, still in ogg Human Sexual Response - Fig14, James White - Second Chance, Units - Digital Stimulation)

3x Roots Back in Flac (  Manu Dibango - Africadelic,  Manu Dibango - Soul Makossa, Manu Dibango - Wakafrika)

3x Grooves Back in Flac ( Bar-Kays - Soul Finger,  Bar Kays - Gotta Groove, Bar-Kays - Black Rock)

3x Sundaze Back in Flac (  Klaus Schulze • Pete Namlook - Evolution of DSOTM, Move D / Namlook V - Wired, Move D / Namlook - X - Let The Circle Not Be Broken)

5x Aetix Back in Flac (The Damned - Strawberries, The Damned - Phantasmagoria, The Damned - Phantasmagoria Bonus, The Damned - Anything, The Damned - Sessions Of The Damned)

As announced please return if you have it

Maya Dread - Kaya Dub

you can do this by uploading at   no need to fill in anything there, just copy the result as a comment at Rho-Xs

xxxxx xxxxx xxxxx xxxxx xxxxx

Mar 29, 2020

Sundaze 2013

Hello, today the first posting in the 3rd series of Steve Roach's impressive discography we've reached 2001 and all things going well expect a 4th series in years to come. On the corona front there's no good news, things are getting worse and I wonder how long the medical personal can cope with what looks like increasing pressures, after all this is over they will need a lot of support and not just financial. So today we start with a prayer to the protector...

Today's Artist is a longstanding leader in contemporary electronic music, composer and multi-instrumentalist,a onetime professional motorbike racer born 1955 in La Mesa, California,  drew on the beauty and power of the earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Drawing from a vast, unique, deeply personal authenticity, his releases cover a wide range of dynamic styles all of which bear his signature voice. For 35 years the boundaries are constantly challenged in his work, ranging in style from pure floating spaces, analog sequencer music, primordial tribal, rhythmic ambient, dark ambient, long-form 'drift ambient,' and avant garde atonal ambient.....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

A longstanding leader in contemporary electronic music, composer and multi-instrumentalist Steve Roach drew on the beauty and power of the Earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Born in California in 1955, Roach -- inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis -- taught himself to play synthesizer at the age of 20. Debuting in 1982 with the album Now, his early work was quite reminiscent of his inspirations, but with 1984's Structures from Silence, his music began taking enormous strides. The album's expansive and mysterious atmosphere was partly inspired by the natural beauty of the southwestern U.S. Subsequent works, including 1986's three-volume Quiet Music series honed Roach's approach, his dense, swirling textures and hypnotic rhythms akin to environmental sound sculptures.

In 1988, inspired by the Peter Weir film The Last Wave, Roach journeyed to the Australian outback, with field recordings of aboriginal life inspiring his acknowledged masterpiece, the double-album Dreamtime Return. A year later, he teamed with percussionist Michael Shrieve and guitarist David Torn for The Leaving Time, an experiment in ambient jazz. After relocating to the desert outskirts of Tucson, Arizona, Roach established his own recording studio, Timeroom. In the years to follow, he grew increasingly prolific, creating both as a solo artist and in tandem with acts including Robert Rich, Michael Stearns, Jorge Reyes, and Kevin Braheny -- in all, he recorded close to two-dozen major works in the '90s alone, all of them located at different points on the space-time continuum separating modern technology and primitive music.

His album roster from that decade includes Strata (1991), Artifacts (1994), Well of Souls (1995), Amplexus (1997), and Dust to Dust (1998). Early Man was released on Projekt in early 2001, followed by one of his many collaborations with Vidna Obmana, Innerzone. Throughout the remainder of the 2000s, Roach remained extremely prolific. His release schedule included the Projekt titles Trance Spirits (with Jeffrey Fayman) and the quadruple-disc Mystic Chords & Sacred Spaces, Spirit Dome and Somewhere Else (with Obmana), Fever Dreams, Mantram, and Nada Terma (with Byron Metcalf and Mark Seelig), and the ongoing Immersion series, Arc of Passion, and Stream of Thought (with Erik Wøllo). He also self-released several titles on his own through Timeroom Editions.

Over the next decade, Roach would show no signs of slowing as he continued with a non-stop slew of new material under his own name, as well as collaborations and soundtrack work. Though new volumes of work appeared at a clip of more than three albums per year, standouts included more collaborations with Byron Metcalf, 2013's Future Flows, 2014's disparate releases of arid road trip music on The Desert Collection and ambient explorations of mortality and humanity on The Delicate Forever. Roach began constructing an extensive analog modular synthesizer system in 2014, and in 2015, the album Skeleton Keys was composed entirely using this setup. In 2016, Roach released two full-lengths with Robert Logan (the more rhythmic Biosonic and the serene drone album Second Nature), as well as solo efforts This Place to Be and Shadow of Time.

In concert, Steve creates transcendent electronic music emerging from an elemental instinctual mode. These events bring together an audience from around the country and as far away as Europe, all looking to experience the on-the-edge experience that erupts in the live setting. This makes Steve's concerts an entirely different experience from the recorded medium. With months of preparation absorbed into his system, evocative soundscapes blend with ecstatic rhythmic sections born from hands-on analog sound creation and sonic shapeshifting. The result is a direct transference of creative energy from the artist through his instruments out to the listener. Live performances are the place where Steve's music thrives, created at the leading edge of now.

xxxxx xxxxx xxxxx xxxxx xxxxx

The relationship between Thupten Nyandak Pema Lama and Celestial Harmonies goes back to the mid-eighties when producer David Parsons recorded the first album by the monks of the Dip Tse Chok Ling Monastery in Dharamsala, India, for Fortuna Records, Sacred Ceremonies. At the time of this writing, there are three volumes in the Sacred Ceremonies series, with more in various planning stages. The recordings have been well received by a wide audience in many countries, from lay people interested in Buddhist culture to followers of the religion to listeners like director Bernardo Bertolucci who used some of their chants in 'Little Buddha'. Likewise, Steve Roach's relationship with Fortuna Records and thus Celestial Harmonies goes back to the mid-eighties, and Roach has since assembled a veritable catalogue of recordings in his inimitable style of electronic and acoustic/electronic music.

It therefore came as no surprise that Thupten thought of visiting Tucson, Arizona, and spending the night at Steve's house (cum recording studio) on the outskirts of Tucson. During that visit in 1996 the chant portion of the present recording was made, having been inspired by Thupten's daily chanting of prayers from the Lama Chöpa, (also known as Guru Puja in sanskrit), and essential compendium of daily prayers for Tibetan buddhists.

"In Paris, I heard a recording of Tibetan singing with this more modern music, and I thought someday I would like to do this myself," Thupten said almost immediately. Steve set up a microphone and Thupten proceeded to sing from the Lama Chöpa that he carries with him wherever he goes. Some of these chants are devotions to the gurus and deities who assist seekers on the path to enlightenment. Others are PRAYERS TO THE PROTECTORs who deflect evil influences and cleanse the world of imbalances, negative emotions and ego-driven states of mind. The chants, which are sung formally at the monastery by all the monks twice a month, are an integral part of the individual's practice. Thupten told us that he recites these prayers alone at least once a day, sometimes letting them flow silently through his mind, other times feeling the compassion and strength they provide rising from his own voice. He sang his favorites during that impromptu session in the Timeroom. An hour later, after he closed his prayer book and recorded a brief interview, it was time for him to go. While there is an enduring quality of great power and comfort in these age-old chants, Thupten Pema Lama felt that Westerners and young monks taking the tradition into the 21st century would benefit from hearing them in an updated setting.

For Steve, it was an unexpected challenge: from the afternoon of December 31, 1999 through the first 18 days of 2000, he held vigil in the Timeroom, creating a sacred sonic space worthy of supporting, and at certain moments amplifying, the feelings of devotion, compassion, protection and unfathomable mystery resonating throughout Thupten's recitations. "When the chants were originally recorded, Thupten and I talked about how we could bring them to the West in a context of clear and direct understatement," Steve remembers. "I waited for the right moment to bring my own soundworlds into the picture, for a time when I was ready to devote myself to the task with the reverence it deserved. During those first weeks of a most auspicious new year, I absorbed Thupten's chants from day into night, adding sounds from the deep well of inspiration these ancient chants inspired in me, stripping away what was unecessary until finally the circle was complete. Considering the way in which the initial idea practically came knocking on my door, and the place I had to go in myself to contribute to the project, Prayers to the Protector is for me a very special release."

Steve Roach - Prayers to the Protector (flac 242mb)

01 Gyab Do (Refuge Prayer For All Sentient Beings) / Ganden Lhagya (Prayer For Tsonkhapa, The Founder Of The Gelugpa Sect) 2:08
02 Dechen Ngangle Rangnyi Lama Le (Blessing Of The Place Of Meditation) 15:01
03 Djew Takgya Lingchee Lhunbur Dje (Prayer For The World Or Planet) 8:48
04 Tokme Dune Meeke Dikbeele (Purification Prayer To Dissolve All Sins Committed In Past Lives) 8:32
05 Prayer To The Protector (Instrumental) 4:58
06 Yonden Jungne Tsultrim Gyatso Dje (Prayer To Wisdom, To Knowledge And Religious Vows) 13:57

xxxxx xxxxx xxxxx xxxxx xxxxx

This second Timeroom Editions release flows with a prime collection of lost pieces from the Dreamtime Return period up to 1998. Some of the pieces have appeared on multi-artist samplers, while others have been gathered for this special release. Truth & Beauty creates a connected story line, which seems to fit together like the soundtrack to an imaginary film.

Steve Roach - Truth & Beauty (The Lost Pieces Vol.2)  (flac 349mb)

01 Aftermath 9:11
02 The Majestic Void 5:36
03 Fall of the Moai 1:53
04 Earthman 9:44
05 Fate Awaits 8:29
06 Beyond the Blood 5:15
07 Before the Sacrifice 6:51
08 The Unreachable Place (Again) 9:38
09 The Unbroken Promise 7:50
10 This and the Other 11:20

xxxxx xxxxx xxxxx xxxxx xxxxx

Core is dynamic convergence of Steve's most essential organic, electronic, rhythmic and atmospheric elements, making this a stand-out solo release. The Summer of 2001 was a time of renewal as Roach turned away from all concerts, collaborations and other offers, directing his focus deep into the heart of this powerful journey, back to the core. 100% pure Steve Roach music. Created at the crossroads blending his various genre-bending phases of elegant futurism, tribal-ambient, classic sequencer trance and modern electronica. Rhythmically activated and spatially charged, Core is a seductively original work of art. Richly textured with imaginative sounds, samples and dynamics from crunchingly intense rhythms to ethereal images, Roach continues to tear down the style barriers with this eclectic masterpiece. "Core Meditation" as well as the other eleven compositions on Core fuse elements of shamanic ritual, electronic, experimental, and ethno-ambient into an engaging ecstatic matrix.

Steve Roach - Core (flac  412mb)

01 Way of Now 3:50
02 Wings of Icarus 7:40
03 Train of Thought 5:52
04 Resonation Revelation 6:55
05 Core Meditation 4:24
06 So It Goes... 10:06
07 Endorphine Dreamtime 8:50
08 Hyperportal 11:57
09 Indigo Yearning 4:25

xxxxx xxxxx xxxxx xxxxx xxxxx

Streams and Currents creates a sanctuary that is rarely found in today's music. The perfect atmosphere for contemplation and dreaming with eyes open, imbued with an ephemeral quality that seems to linger at the edge of conscious perception, creating an introspective, enveloping flow of mood-altering pieces. The album progresses into deeper, darker, warmer, and quieter zones, towards a beautiful submerged ending. Do not expect jangly chords or ripping riffs, however, for Roach has filtered this guitarwork through a series of sound processors, rendering the strings into languid soundscapes that undulate timelessly through the air. These delicate tonalities drift like somber dust motes on aerial currents, guided into elongated harmonies by Roach's masterful ability to derive structure from sounds that teeter on the brink of silence.

For all its passive qualities, this music possesses an undercurrent of vitality. These calming aural moods are dense with seemingly endless textures and soothing drones, but their softness is subtly alive with a subdued agitation accountable to their guitar origins. While "pure" electronics display an unearthly resonance, in Roach's expert hands the guitar proves itself to be just as capable of filling the air with ethereal sound. Where others may be satisfied to compile passages of raw scrapings and dreamy strumming, Roach treats the output of his guitars like an assortment of airborne mists, guiding these sonic vapors into introspective currents whose elegant contortions smoothly traverse space and time to generate a timeless zone of infinite expanse. For the album's epic piece, "Spirit Moves", a mantra beat has been added to the haunting strains, delivering the composition from higher atmospherics into realms that exhibit more humanity and substance. This quasi-tribal percussive presence is utilized only for the beginning of this 28 minute track, allowing moodiness to resume control of the patient flow.

Steve Roach - Streams and Currents (flac 230mb)

01 Present Moment 7:52
02 Spirit Moves 28:37
03 Slow Rising 14:38
04 Almost Touching 13:56
05 Ebb 4:52
06 Flow 4:00

xxxxx xxxxx xxxxx xxxxx xxxxx

Mar 27, 2020

RhoDeo 2012 Grooves

Hello,  things are getting serious now and societies will be tested on their resilience this crises could last a year and i think football competitions should plan for finishing the 19/20 competition a year later, including the championsleague. According to the headclown of the US things should be back to business coming Easter, but then his prime adviser in this is the Easter bunny. It is worrisome because the world has been dependent on the purchasing power of the US, but if this economy tanks things could go from bad to disastrous and hyperinflation of the dollar a serious possibility, thusfar it's value has been kept up because other valuta are seen as riskier-at this moment- but these traders are a pack of wolves and they will tear up the hand that's fed them without any remorse. Meanwhile Europeans are worried whether their IC capabilities are sufficient to keep corona sufferers breathing, clearly Italy and Spain already have been overwhelmed, Germany on the other hand looks capable to handle the crises whilst the UK is preparing itself for the worst. One thing is certain the next 4 weeks will shock the westernworld.

Today's Artists are an industrial hip-hop group that was most active during the 1980s and early 1990s, and briefly reformed in 2004 for a tour. Their music occupies the territory where funk, dub, industrial music and electronica intersect. The core members are Doug Wimbish (bass), Keith Leblanc (percussion) and Skip McDonald (guitar) and producer (sometimes credited as "mixologist") Adrian Sherwood. Despite being short-lived as band proper, the legacy and output of these groups of musicians has been prodigious.......N Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Delivering a powerful mix of taut funk, hip-hop-style grooves, and dub-wise electro-industrial menace, Tackhead was an inspired collaboration between the rhythm section of Keith LeBlanc, Skip McDonald, and Doug Wimbish and maverick producer Adrian Sherwood. LeBlanc, McDonald, and Wimbish first gained a reputation as the studio musicians behind a handful of early rap classics. When Sherwood hired them to work on one of his On-U Sound production projects, it initiated a series of collaborations that culminated in the first proper Tackhead album, 1989's Friendly as a Hand Grenade. The trio's original run ended in 1991, but various permutations of the band continued to work together, and they reunited for the 2014 album For the Love of Money.

Guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc began working together in the late '70s, serving as the backing band for many of Sugar Hill Records' early rap releases, generating the grooves behind such classics as the Sugarhill Gang's "Rapper's Delight" and Grandmaster Flash's "The Message" and "White Lines." In October 1983, LeBlanc scored a minor hit and international press attention with "No Sell Out," a single in which he layered samples from a speech by Malcolm X over a powerful hip-hop backing track. Adrian Sherwood, an innovative British producer and dub remixer who founded the On-U Sound label, crossed paths with LeBlanc during a visit to New York, and the producer invited LeBlanc to work with him. LeBlanc, McDonald, and Wimbish relocated to England, and soon became Sherwood's backing group of choice for his On-U projects, including albums by Mark Stewart & Maffia and Gary Clail. One of their earlier collaborations was as "Mark Stewart and the Maffia", which featured Stewart, former member of The Pop Group on vocals. Their first LP produced under that name As the Veneer of Democracy Starts to Fade was amongst the most industrial, noise-oriented and uncompromising of the group's output, described by John Leland as "a scary mess of random sounds, spoken words, and tiny snippets of music, processed and distorted to a grating electric edge In 1985, LeBlanc, McDonald, and Wimbish cut the first of a handful of singles under the rubric Fats Comet, and they began using the name Tackhead with the single "What's My Mission Now," with Sherwood adding found voices and electronics to the rhythm section's hard-edged performances. The trio and Sherwood worked together on LeBlanc's 1986 solo album Major Malfunction, and sessions backing Gary Clail emerged on the 1987 album Tackhead Tape Time, credited to Gary Clail's Tackhead Sound System.

Later to join forces with Tackhead, was Gary Clail, who as MC for the touring version of the On-U sound system would shout and rant over Tackhead's live playing, and both were then mixed live by Sherwood to produce a wall of sound effect that was highly novel for the mid-1980s. They released one LP Tackhead Tape Time in 1987 as "Gary Clail's Tackhead Sound System" and some of the most distinctive and well-known Tackhead tracks (some were released as 12-inch singles) date from this period particularly: "What's My Mission Now?", "Mind at the End of the Tether" and "Hard Left". These tracks combined funk basslines, hammerblow percussion and Sherwood's trademark sample-laden dub production and represent the defining Tackhead sound.

During this period Leblanc also produced two solo LPs: the highly inventive Major Malfunction (1986) (inspired by the Space Shuttle Challenger disaster) and Stranger Than Fiction (1989), which although credited to Leblanc, featured all the rest of members of Tackhead. Around this time the group began to gell as a band, and started adding vocalists to what had been up until then a largely instrumental affair. On the first Tackhead LP, proper, Friendly as a Hand Grenade, vocalist Bernard Fowler joined the line-up and many older instrumental tracks re-appeared with lyrics. In 1990 Tackhead mounted a world tour which probably marked the zenith of the band's commercial success.

In 1989, the same year LeBlanc dropped his second solo set, Stranger Than Fiction, Tackhead finally released their first proper album, Friendly as a Hand Grenade, issued by TVT Records. The LP debuted a fifth member, Bernard Fowler, who contributed vocals, rather than relying on the vocal samples Sherwood often added to the tracks. In 1990, Tackhead moved to the EMI-distributed SBK label and delivered Strange Things, a more rock-oriented effort that included guest appearances from rapper Melle Mel and Mick Jagger on harmonica. The album didn't live up to commercial expectations, and while LeBlanc, McDonald, and Wimbish continued to play on various On-U Sound System projects, it represented the last new Tackhead material for many years. Between 1994 and 1997, Tackhead brought out three volumes of rarities, outtakes, and live material under the title Power, Inc. In 2004, they reunited for a tour of the United States and Europe, and in 2006, Sherwood assembled a collection of highlights from the group's recording career, Tackhead Sound Crash: Slash & Mix Adrian Sherwood. Tackhead staged another reunion in 2013, recording a collection of covers titled For the Love of Money for the German label Dude Records. 2016 brought The Message, a limited-edition collection of Tackhead and Fats Comet material remixed by Robo Bass Hifi (aka German producer Markus Kammann). Another collection of rare Tackhead material, The Lost Tapes 1 & Remixes, appeared on the Echo Beach label in 2018.

Despite not recording any new material as Tackhead since, group members continued to record as the backing band or along with various Sherwood-led On-U Sound productions artists such as Gary Clail's solo efforts, African Head Charge, Dub Syndicate, New Age Steppers and others. Subsets of the group have also appeared in various guises such as the Strange Parcels, Barmy Army and the blues-oriented Little Axe.

In addition to continuing to collaborate with Sherwood and the On-U Sound record label, each of the other members continues to lead active solo careers. McDonald leads the Little Axe project, and Leblanc runs a record label and plays with two jazz outfits, Noah Ground and Nikki Yeoh's Infinitum. As well as remaining much in demand as a session bass player, Wimbish later became the bass player for Living Colour and has recorded solo material as well as forming the short-lived Jungle Funk (later Head>>Fake), a live drum and bass outfit also featuring Living Colour drummer Will Calhoun.

xxxxx xxxxx xxxxx xxxxx xxxxx

It is more than a little disingenuous to refer to this as a Keith LeBlanc album. While his considerable drumming skills and compositional abilities are major parts of why this record is good, there are many other similarly important contributions made by Adrian Sherwood's Tackhead gang (including Sherwood himself). That said, Major Malfunction is a wild, multifaceted piece of contemporary music that welds hard rock onto reggae onto musique concrete. With vocal sampling including everything from Apollo control to Margaret Thatcher, this is a complex, but extremely satisfying work. Avoid if your taste in music (or in Tackhead recordings) doesn't run to the extreme end of experimental.

  Keith LeBlanc - Major Malfunction  (flac   378mb)

01 Get This 2:43
02 Major Malfunction 4:47
03 Heaven On Earth 4:31
04 Object-Subject (Break Down's Not Enough) 5:13
05 I'll Come Up With Something 3:27
06 Move 0:48
07 Technology Works Dub 5:42
08 You Drummers Listen Good 4:41
09 Ending 1:00
10 Einstein Mad Dub 3:41
11 Mechanical Movements Dub 4:55
12 Old Beat Master Mix 11:03
13 Tick Of Time Instrumental 3:30
extra Bonus Keith LeBlanc's 12-inch dance mix that featured snippets of speeches by Malcolm X set to a churning mass of funk-dub supervised by Adrian Sherwood. A great record, No Sell Out, oddly enough, became a demi-hit because of its popularity in dance clubs. Early postmodern rock/funk/dub'n'roll at its best.
14 No Sell Out 4:00

xxxxx xxxxx xxxxx xxxxx xxxxx

On this album, the Dancehall Demagogue meets the kings of cut-and-paste funk pastiche. By the time this album was released, Gary Clail's stern political imprecations had become an integral part of Tackhead's live shows; he would sit at the mixing desk and intone radical exhortations while the band ripped things up onstage. With Tackhead Tape Time they take it to the studio, and the result is taut, tough, and funky. Clail isn't much of a singer (though he makes an admirable attempt on "Reality"), and the content of some of his pronouncements can be a bit eye-rolling, but he and Tackhead certainly seem to bring the best out in each other -- the samples of Margaret Thatcher, military officers, and news reporters (as well as the occasional snippet of reggae toaster Prince Far I and someone who sounds suspiciously like Andy Fairley) combine perfectly with Tackhead's robotic and yet strangely passionate electro-funk to create something eerie, exciting, and booty-moving. Highly recommended.

 Gary Clail's Tackhead Sound System - Tackhead Tape Time    (flac   232mb)

01 Mind At The End Of The Tether 6:38
02 Half Cut Again 0:28
03 Reality 7:07
04 M.O.V.E. 2:23
05 Hard Left 5:07
06 Get This 4:27
07 Man In A Suitcase 4:10
08 What's My Mission Now? (Fight The Devil) 5:51

xxxxx xxxxx xxxxx xxxxx xxxxx

Starting off with a Prince Buster cover and progressing through ten tracks of surprisingly slick funk-rock, Friendly as a Hand Grenade is a bit of a surprise after the harder studio effects of Tackhead-related projects like Major Malfunction and Tackhead Tape Time. The addition of vocalist Bernard Fowler (formerly of the Peech Boys) provides much of the soul. The first listen in a long while leaves a favourable impression.  It's far more funk than anything else and bangs along pretty nicely.

Tackhead - Friendly as a Hand Grenade (flac   221mb)

01 Ska Trek 0:46
02 Tell Me The Hurt 5:19
03 Mind And Movement 5:23
04 Stealing 6:30
05 Airborn Ranger 5:02
06 Body To Burn 1:04
07 Demolition House 4:08
08 Free South Africa 1:57
09 Ticking Time Bomb 4:23
10 Ska Trek 1:34

xxxxx xxxxx xxxxx xxxxx xxxxx

Another record with LeBlanc taking top billing, this is yet another exercise in Sherwood's wildly original Tackhead "empire." Unlike Major Malfunction, this is a little more restrained, but with people like Gary Clail and Sherwood involved, easy listening this ain't. LeBlanc gets all the writing credits, and he's done a great job of coming up with a challenging assortment of material. At times fiery and polemical, at others unhinged and dadaesque, Stranger than Fiction is another interesting, at times compelling work from this unique musical collective.

  Keith LeBlanc - Stranger Than Fiction  (flac   257mb)

01 But Whitey 1:37
02 Einstein 3:55
03 Taxcider 3:54
04 Here's Looking At You 3:34
05 Steps 5:50
06 Count This 4:02
07 Whatever 1:49
08 Men In Capsules 2:50
09 Dreamworld 4:43
10 These Sounds 1:06
11 Mechanical Movements 4:54
12 Comedy Of Errors 6:01

xxxxx xxxxx xxxxx xxxxx xxxxx