Apr 23, 2014

RhoDeo 1416 Aetix

Hello, today's band were not only did they play hard, loud, and fast, but they also had elements of the blues-rock of ZZ Top, the ambling folk-rock of the Grateful Dead, and Neil Young's country-rock and hard rock. As they grew older, the band matured musically, developing an accomplished instrumental technique and moving closer to the traditional hard rock that was always underneath their punk. But they never quite abandoned their punk roots. ..  N'joy

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In the late 70's, drummer Derrick Bostrom played with guitarist Jack Knetzger in a band called Atomic Bomb Club, which began as a duo, but would come to include bassist Cris Kirkwood. The band played a few local shows and recorded some demos, but began to dissolve quickly thereafter. Derrick and Cris began rehearsing together with Cris' brother Curt Kirkwood by learning songs from Bostrom's collection of punk rock 45s. After briefly toying with the name The Bastions of Immaturity, they settled on the name Meat Puppets in June, 1980 after a song by Curt of the same name which appears on their first album. Their early works were made up of hardcore punk, and attracted the attention of Joe Carducci as he was starting to work with legendary punk label SST Records. Carducci suggested they sign with the label, and the Meat Puppets released their first album Meat Puppets in 1982, which among several new originals and a pair of heavily skewed Doc Watson and Bob Nolan covers, featured the songs "The Gold Mine" and "Melons Rising", two tunes Derrick and Cris originally had written and performed as Atomic Bomb Club previously.

By the release of 1984's Meat Puppets II, the bandmembers "were so sick of the hardcore thing," according to Bostrom. "We were really into pissing off the crowd." The band experimented with acid rock and country western sounds. While the album had been recorded in early 1983, the album's release was delayed for a year by SST. Meat Puppets II turned the band into one of the leading bands on SST Records, and along with the Violent Femmes, the Gun Club and others, helped establish the genre called "cow punk". Meat Puppets II was followed by 1985's Up on the Sun. The album's sound resembled the folk-rock of The Byrds more than punk, and some of the group's fans accused Meat Puppets of sounding dangerously like hippies and abandoning their punk roots. In keeping with their unconventional way of doing things, both Cris and Curt purposefully sang the entire album off key.

Over the next decade, Meat Puppets remained on SST and released a series of albums while touring relentlessly. Between tours they would regularly play small shows in bars around the Phoenix area such as "The Mason Jar" and "The Sun Club" in Tempe. After the release of Out My Way in 1986, however, the band was briefly sidelined by an accident when Curt's finger was broken after being slammed in their touring van's door. The accident delayed the band's next album, the psychedelic Mirage, until the next year. The final result was considered their most polished sounding album to date.

Their next album, the heavier Huevos, came out less than six months afterward, in late summer of 1987. In stark contrast to its predecessor, Huevos was recorded in a swift, fiery fashion, with many first takes, and minimal second guessing. These recordings were completed in only a matter of days, and along with a few drawings and one of Curt's paintings taken from the wall to serve as cover art (a dish of three boiled eggs, a green pepper, and a bottle of Tabasco sauce), were all sent to SST shortly before the band returned to the road en route to their next gig. Curt revealed in an interview that one of the reasons for the album being called Huevos (meaning 'eggs' in Spanish) was because of the multitude of first-takers on the record, as similarly eggs can only be used once. Monsters was released in 1989, featuring a new sound with extended jams such as "Touchdown King" and "Flight of the Fire Weasel".

As numerous bands from the seminal SST label and other kindred punk-oriented indies had before them, Meat Puppets grappled with the decision to switch to a major label. Two years after their final studio recording for SST, 1989's Monsters the trio released its major-label debut, Forbidden Places, on the indie-friendly London Records. Forbidden Places is now out of print. In late 1993, Meat Puppets achieved mainstream popularity when Nirvana's Kurt Cobain, who became a fan after seeing them open for Black Flag, invited Cris and Curt to join him on MTV Unplugged for acoustic performances of "Plateau", "Oh Me" and "Lake of Fire" (all originally from Meat Puppets II). The resulting album, MTV Unplugged in New York, served as a swan song for Nirvana, as Cobain died 138 days after the concert. "Lake of Fire" became a cult favorite for its particularly wrenching vocal performance from Cobain. Subsequently, the Nirvana exposure and the strength of the single "Backwater" (their only charting single) helped lift Meat Puppets to new commercial heights. The band's studio return was 1994's Too High To Die, produced by Butthole Surfers guitarist Paul Leary. The album featured "Backwater", a minor hit on alternative radio, and a hidden-track update of "Lake of Fire." Too High To Die earned the 'Pups a gold record (500,000 sold), outselling their previous records combined. 1995's No Joke! was the final album recorded by the original Meat Puppets lineup. Though the band's drug use included cocaine, heroin, LSD and many others, Cris' use of heroin and crack cocaine became so bad he rarely left his house except to obtain more drugs. At least two people (including his wife and one of his best friends) died of overdoses at his house in Tempe, AZ during this time. The Kirkwood brothers had always had a legendary appetite for illegal substances and during the tour to support Too High To Die with Stone Temple Pilots, the easy availability of drugs was too much for Cris. When it was over, he was severely addicted to cocaine.

Derrick recorded a solo EP under the moniker Today's Sounds in 1996, and later on in 1999 took charge of re-issuing the Puppets' original seven records on Rykodisc as well as putting out their first live album, Live in Montana. Curt formed a new band in Austin, TX called the Royal Neanderthal Orchestra, but they changed their name to Meat Puppets for legal reasons and released a promotional EP entitled You Love Me in 1999, Golden Lies in 2000 and Live in 2002. The line-up was Curt (voc/git), Kyle Ellison (voc/git), Andrew Duplantis (voc/bass) and Shandon Sahm (drums). Sahm's father was the legendary fiddler-singer-songwriter Doug Sahm of The Sir Douglas Quintet and Texas Tornados. The concluding track to Classic Puppets entitled "New Leaf" also dates from this incarnation of the band.

Around 2002, the Meat Puppets dissolved as Curt had gone on to release albums with the groups Eyes Adrift and Volcano. In 2005, he released his first solo album entitled Snow. Bassist Cris was arrested in December 2003 for attacking a security guard at the main post office in downtown Phoenix, AZ with the guard's baton. The guard shot Kirkwood in the stomach at least twice during the melee, causing serious gunshot injuries requiring major surgery. Kirkwood was subsequently denied bail, the judge citing Kirkwood's previous drug arrests and probation violations. He eventually went to prison at the Arizona state prison in Florence, Arizona for felony assault. He was released in July 2005. Derrick Bostrom began a web site for the band about six months before the original trio stopped working together. The site went through many different permutations before it was essentially mothballed in 2003. In late 2005, Bostrom revamped it once again, this time as a "blog" for his recollections and as a place to share pieces of Meat Puppets history.

On March 24, 2006, Curt Kirkwood polled fans at his MySpace page  with a bulletin that asked: "Question for all ! Would the original line up of the Meat Puppets interest anyone ? Feedback is good — do you want a reunion!?" The response from fans was overwhelmingly positive within a couple of hours, leading to speculation of a full-blown Meat Puppets reunion in the near future. However, a post made by Derrick Bostrom on the official Meat Puppets site dismissed the notion. In April 2006 Billboard reported that the Kirkwood brothers would reunite as the Meat Puppets without original drummer Derrick Bostrom.[12] Although Primus drummer Tim Alexander was announced as Bostrom's replacement, the position was later filled by Ted Marcus. The new lineup recorded a new full-length album, Rise to Your Knees, in mid-to-late 2006. The album was released by Anodyne Records on July 17, 2007.

On January 20, 2007, The Meat Puppets brothers performed two songs during an Army of Anyone concert, at La Zona Rosa in Austin, Texas. The first song was played with Curt Kirkwood and Cris Kirkwood along with Army of Anyone's Ray Luzier and Dean DeLeo. Then the second song was played with original members Curt and Cris Kirkwood and new Meat Puppets drummer Ted Marcus. This was in the middle of Army of Anyone's set, which they listed as Meat Puppet Theatre on the evening's set list. The band performed several new songs in March at the South by Southwest festival. On March 28, 2007, the band announced a West Coast tour through their MySpace page.[10] This is the first tour with original bassist Cris in eleven years. The tour continued into the east coast and midwest later in 2007.

The band parted ways with Anodyne, signed to Megaforce and began recording new material in the winter of 2008. The resulting album, entitled Sewn Together, was released on May 12, 2009.[13] In the summer of 2009 the band continued to tour across America. They appeared in Rochester Minnesota outside in front of over 5,000 fans, after playing Summerfest in Milwaukee, Wisconsin the night prior. The Meat Puppets performed at the 2009 Voodoo Music Experience in New Orleans over the Halloween weekend. As of November 2009, Shandon Sahm is back as the drummer in the Meat Puppets, replacing Ted Marcus. The band was chosen by Animal Collective to perform the album 'Up on the Sun' live in its entirety at the All Tomorrow's Parties festival that they curated in May 2011.

The band's thirteenth studio album, entitled Lollipop, was released on April 12, 2011.[17] The Dandies supported the Meat Puppets on all European dates in 2011. As of early 2011 Elmo Kirkwood, son of Curt Kirkwood and nephew of Cris Kirkwood, was touring regularly with the band playing rhythm guitar. The Meat Puppets also contributed to Spin Magazine's exclusive album Newermind: A Tribute to Nirvana, playing Nirvana's Smells Like Teen Spirit.

In June 2012, a book titled Too High to Die: Meet the Meat Puppets by author Greg Prato was released, which featured all-new interviews with band members past and present and friends of the band, and covered the band's entire career. In October 2012, it was announced that the group had just completed recording new songs. Rat Farm, the band's 14th album, was released in April 2013. In March 2013 the Meat Puppets played arguably their biggest gig since reunion, opening for Dave Grohl's Sound City Players at the SXSW Festival in Austin, TX  In April 2014 the Meat Puppets completed a tour with The Moistboyz.

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As many Meat Puppets fans had realized by 1987's Mirage, the trio would change gears and broaden their sound with each successive album. This was never more apparent than on their fourth full-length release. Synthesizers were used to add textures to the tunes, while the drums sounded metronome-perfect, almost as if a drum machine was supplying the patterns. Strangely, although Mirage was the trio's most experimental album, it also turned out to be one of their most psychedelia-based works. The groovy little ditty "Get on Down" turned out to be one of the band's first videos aired on MTV, while the title track, the melodic "Leaves," the country rocker "Confusion Fog," the unrelenting "Beauty," and the album-closing punk freak-out "Liquified" are all standouts. Several previously unreleased demos were included on the 1999 Rykodisc reissue, as well as a solo Curt Kirkwood original, "Grand Intro."



Meat Puppets - Mirage ( flac 367mb)

01 Mirage 3:42
02 Quit It 2:38
03 Confusion Fog 3:53
04 The Wind And The Rain 2:59
05 The Mighty Zero 3:18
06 Get On Down 2:57
07 Leaves 2:41
08 I Am A Machine 4:25
09 Beauty 3:04
10 A Hundred Miles 3:36
11 Love Our Children Forever 3:59
12 Liquified 3:11
Bonus Tracks
13 The Mighty Zero 3:41
14 I Am A Machine 4:06
15 Liquified 3:40
16 Rubberneckin' 2:47
17 Grand Intro 2:06

Meat Puppets - Mirage  (ogg 125mb)

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The Meat Puppets have long been a band whose creative eclecticism walks hand in hand with their playfully contrary nature, and they demonstrated this most clearly in 1987. Early that year, The Meat Puppets released Mirage, a polished set of tunes that was easily their slickest and most pop-oriented album to date. However, the group quickly grew tired of trying to make the material work on-stage, so a few months later they rolled into a recording studio on a Thursday morning in August, walking out with a finished album the following Sunday. Huevos is loose and spontaneous where Mirage was precise, and while the earlier album used keyboards and careful studio technique to give the music an accessible sheen, Huevos was a far closer replication of the sound The Meat Puppets created on-stage, leaving Curt Kirkwood plenty of room to strut his stuff on guitar. However, while Huevos is loose, it's not sloppy; this band had been keeping up a busy road schedule long enough that it could play with a comfortable precision, and there's an amiable enthusiasm and confidence in the way the trio tears into these tunes. Huevos recalls the similarly straightforward but energetic tone of Up on the Sun, but where that album was a showcase for their jam-friendly psychedelic influences, Huevos was cut as the Kirkwood brothers were going through a period of serious ZZ Top worship, and these songs were influenced by that band's arena-size Texas boogie and the thick buzz of Billy Gibbons' guitar work. Huevos is a bit short on the sunburnt eccentricities that were the hallmarks of Meat Puppets II and Up on the Sun, but if you want to hear The Meat Puppets rock the nation, this is the album to reach for; "Paradise" and "Automatic Mojo" suggest what Eliminator might have sounded like without the sequencers, "Bad Love" and "Look at the Rain" run fast but with high-stepping style, "I Can't Be Counted On" is a joyous bad-boy's anthem, and "Sexy Music" almost lives up to its silly name. Huevos is something short of an unqualified triumph, but it captures The Meat Puppets in their stride, and it's a lot more fun than the albums that came immediately before it (Mirage) and immediately after (Monsters).



Meat Puppets - Huevos  (flac 360mb)

01 Paradise 4:37
02 Look At The Rain 4:22
03 Bad Love 3:14
04 Sexy Music 5:29
05 Crazy 4:44
06 Fruit 3:32
07 Automatic Mojo 3:23
08 Dry Rain 2:55
09 I Can't Be Counted On 4:02
Bonus Tracks
10 Medley - Baby What You Want Me To Do / I Can't Be Counted On 1:29
11 Sexy Music 6:41
12 Automatic Mojo 3:57
13 Paradise 4:06
14 Fruit 5:20

Meat Puppets - Huevos   (ogg 128mb)

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The Meat Puppets' final release for SST, 1989's Monsters is best described as a cross between their experimental Mirage and the more in-your-face Huevos (both released only a few months apart in 1987). Several major labels had been hotly pursuing the trio, but when negotiations slowed to a snail's pace, they decided to issue another album on SST in the meantime. Curt Kirkwood's crunchy guitar riffs are spotlighted throughout the album, but some of the songs are hindered by synth textures and the fact that the songs were recorded one instrument at a time, which mutes any excitement of the trio playing live in a room together (which was what made Huevos such a success). Still, several highlights were included -- the vicious album-opening "Attacked By Monsters," the melodic "Light," the tough rocker "The Void," the rollicking instrumental "Flight of the Fire Weasel," the warped love song "Strings on Your Heart," and the sleepy album closer, "Almost Like Being Alive." Three bonus tracks were added to the 1999 Rykodisc reissue: the previously unheard original "Wish Upon a Storm" and two radically different versions of "Flight of the Fire Weasel.".



Meat Puppets - Monsters (flac 415mb)

01 Attacked By Monsters 4:40
02 Light 4:16
03 Meltdown 3:07
04 In Love 3:51
05 The Void 6:24
06 Touchdown King 6:08
07 Party Till The World Obeys 4:21
08 Flight Of The Fire Weasel 3:17
09 Strings On Your Heart 5:10
10 Like Being Alive 4:41
Bonus Tracks
11 Wish Upon A Storm 4:26
12 Flight Of The Fire Weasel Pt. 1 4:23
13 Flight Of The Fire Weasel Pt. 2 4:42

Meat Puppets - Monsters  (ogg 134mb)

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Apr 22, 2014

RhoDeo 1416 Roots

Hello, it's all about co-co-con-con-congo-congotrrr-congotronics today.. high tech from the african urban jungle


Historically, the region of the Congo was a vast geographical area of equatorial Africa located in the tropical wet forest of Central Africa called Congolian forests. It also owes its name to the predominant ethnic group in the region, ruled by Kingdom of Kongo founded towards the end of the 14th century and extended from 1390 to 1914. Although the span of rule of the kingdom varied, in its greatest extent, the Kingdom of Kongo reached from the Atlantic Ocean in the west to the Kwango River in the east, and from the Congo River in the north to the Kwanza River in the south. The kingdom largely existed from c. 1390 to 1891 as an independent state, and from 1891 to 1914 as a vassal state of the Kingdom of Portugal. The Congo River, its main river, flows through the region forming the Congo Basin.

Some groupings advocate a return to one Congolese homeland on the basis of the historical kingdom. Very notably, the Bundu dia Kongo movement advocates reviving the kingdom through secession from Angola, the Republic of the Congo, the Democratic Republic of the Congo, and Gabon. The nowadays geographic region spans across the Republic of the Congo (former French Congo), Democratic Republic of the Congo (former Zaïre/Belgian Congo), and the Angolan exclave of Cabinda (former Portuguese Congo) which lies (bizarly !) between the Republic and the Democratic Republic and produces lot's of oil. Ah yes big business making lots of money with Congolese resources.


Ok the coming weeks we're hearing about the music from this African jungle heart, it's a strange place for Westerners, life is cheap and emotions rise quickly. Religion and music deliver the much needed coherance  so for the coming 3 or 4 weeks we will present stars some of which have released many albums most of these never reached the Western public or even the great Discogs database. Today a man most famous for the structural changes he implemented to soukous music. The previous approach was to sing several verses and have one guitar solo at the end of the song. He revolutionized soukous by encouraging guitar solos after every verse and even sometimes at the beginning of the song. His form of soukous gave birth to the kwassa kwassa dance rhythm where the hips move back and forth while the hands move to follow the hips ........N'joy

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Konono No. 1 combine the spirit of traditional African music with the junk instrument concept and the progressive electronic aspect of modern times. The group's full name is L'Orchestre Folklorique T.P. Konono No. 1 de Mingiedi, T.P. being translated as "all powerful." It is also a tribute to the band of the legendary Congolese musician Franco, which was called T.P.O.K. Jazz. The band was founded by Mawangu Mingiedi, a member of the Zombo or Bazombo ethnic group, whose homeland is located near the Congo border with Angola. Mingiedi was born in Angola in 1933 and moved to Kinshasa in the former Zaire in 1949, and was a longtime taxi and truck driver trying to support a large family of children. He started the band as Orchestre Tout Puissant Likembe Konono No. 1 in the mid- to late '70s. Originally they adapted Zombo ritual music played by an ensemble of horns made from elephant tusks. But they switched their signature instruments to the likembe, also called the mbira, kalimba, or sanza, commonly known as the metal reed thumb piano. Their first recording was on the compilation Zaire: Musiques Urbaines a Kinshasa. The first album by Konono No. 1 was recorded and produced by Vincent Kenis, who also worked with Zap Mama, Taraf de Haïdouks, and Koçani Orkestar. The band began to amplify the likembes, starting with low-frequency six-volt radios, then 12-volt radios from cars. Their sound system is built from handmade microphones, old car parts, megaphones. and discarded amps, and they use junked auto pieces and pots and pans as percussion instruments. Now the premier music ambassadors from Congo and suburban Kinshasa, their distortion-laden beat and trance music has set a standard for modern world music. Their debut American release is Congotronics on the Crammed Discs label, and they are one of many similar bands from their homeland on the compilation Congotronics 2: Buzz 'n' Rumble from the Urb 'n' Jungle. The Dutch rock band the Ex covered one of their songs, and the group collaborated with Björk on the song "Earth Intruders" from her studio album Volta. In 2010, the band released Assume Crash Position as part of Crammed Records Congotronics Series.

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The second disc in the Crammed label's Congotronics series improves on the first one in two ways: first, by presenting a variety of bands, each of which blends urban and rural Congolese music styles in a slightly different way; and second, by adding to the package a 41-minute DVD that shows six of the featured bands during their recording sessions. Many of the groups featured here make use of the same drenchingly overamplified likembés (or thumb pianos) that are favored by Konono No. 1, but instrumentations vary: Basokin, an ensemble that hails from the Songye region of Congo, is comprised of three singers, three percussionists, and two guitarists; Bolia We Ndenge is a percussion-heavy group, but its sound is centered on the accordion; Masanki Sankayi is led by a preacher and storyteller. As with the first Congotronics album, this one is difficult to describe to anyone who hasn't heard the music firsthand. Sometimes the guitars spin out contrapuntal lines that wouldn't sound out of place in a Ghanaian high-life song; at other times they chomp out power chords in a very un-African style. The likembés are overamplified as a matter of course, and the resulting distorted sound is strangely spongy and soft. But the vocals are the most impressive aspect of most of these recordings -- four- and five-part harmonies ebb and flow like gentle waves among the rocks of the percussion and guitar parts, and at times are hair-raisingly beautiful.



VA - Buzz'N Rumble From The Urb'n' Jungle (Congotronics 2) (flac  445mb)

01 Masanka Sankayi + Kasai Allstars - Wa Muluendu 4:00
02 Kasai Allstars - Koyile / Nyeka Nyeka 7:17
03 Sobanza Mimanisa - Kiwembo 6:47
04 Kasai Allstars - Kabuangoyi 9:35
05 Kisanzi Congo - Soif Conjugale 7:17
06 Masanka Sankayi - Le Laboureur 4:59
07 Bolia We Ndenge - Bosamba Ndeke 6:14
08 Basokin - Mulume 8:35
09 Konono No. 1 - T.P. Couleur Café 8:19

VA - Buzz'N Rumble From The Urb'n' Jungle (Congotronics 2)  (ogg 172mb)

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Kasai Allstars, a Congolese collective comprised of musicians from five different bands, were showcased on the third album in the Congotronics series released by the label Crammed Discs. Based in Kinshasa, the capital city of the Democratic Republic of the Congo, Kasai Allstars includes musicians from the bands Lusombe Madimba, Tandjolo, Dibua Dietu, Basokin, and Masanka Sankayi, some of whom were showcased on the previous album in the Congotronics series, Congotronics 2: Buzz'n'Rumble in the Urb'n'Jungle (2006). Kasai Allstars made their full-length album debut on the third album in the Congotronics series, In the 7th Moon, the Chief Turned Into a Swimming Fish and Ate the Head of His Enemy by Magic.

The third volume in Crammed Disc's excellent Congotronics series is as wild, sophisticated, and truly exotic as its predecessors (the title alone, In the 7th Moon, the Chief Turned Into a Swimming Fish and Ate the Head of His Enemy by Magic, should reflect this). The Kasai Allstars are based in Kinshasa and form a collective of about 25 musicians from five different bands from the region who all represent different ethnic groups. Over time immemorial, some of these intersecting groups have been in conflict with one another as each has its own culture and language. In other words, assembling this supergroup was no easy task, but musicians of all cultures tend to think differently than most people: the expansive spirit of adventure often trumps prejudice. These players include not only instrumentalists, but ten singers and dancers as well. Some of these bands -- Lusombe, Madimba Tandjolo, Dibua, Basokin, and Masanka Sankayi -- have appeared on the two previous Congotronics recordings on their own. The music on this volume is as surprising as it is different from the other Congotronics volumes. These musicians have to adapt instruments, scalar harmonics, singing styles, and even language in order to be able to work together. Add to this the uses of amplification and modern production. That said, they not only invent rhythms and melodies but also play their traditional styles with one another. The players use instruments familiar to all Kasai cultures like the likembe (thumb piano), lokombe, xylophone, and the tandojo as well as the electric guitar (which acted as a substitute for the more traditional lusese tetrachord). The results of this fusion can especially be heard on"Kafuulu Balu," "Mbua-a-matumba," "Analengo," and "Mpombo Yetu." The culture clash that comes across on this glorious volume reflects the strident effort of all of these tribes to maintain their identity against the encroachment of Christianity in the villages that allows these instruments only to be used in the playing of gospel music. The pagan dances, parties, and ceremonies of the tribes have effectively been all but completely stamped out in the remote villages of Kasai. Therefore, this is urban music, from the heart of the city where the influence of the church is far less prominent. The Kasai Allstars, therefore, like the Tinariwen and many other groups, play music of resistance. But never did resistance sound so infectious, joyous, and utterly freewheeling as this does. So far, Crammed's Congotronics series has been virtually unassailable. The sound is terrific, the presentation is handsome, the sound and selection are amazing; and negotiations with musicians are not done on colonial terms. In addition, the wonderfully researched notes by Herbert Mputu and producer Vincent Kenis are indispensable.



Kasai Allstars - In The 7th Moon, The Chief Turned Into A Swimming Fish And Ate The Head Of His Enemy By Magic (flac  492mb)

01 Quick As White 7:07
02 Mukuba 8:12
03 Kafuulu Balu 6:09
04 Beyond The 7th Moon 5:29
05 Mbua-A-Matumba 10:47
06 Mpombo Yetu 8:02
07 Tshitua Fuila Mbuloba 5:13
08 Analengo 8:19
09 Drowning Goat (Mbuji-Mayi) 10:46

Kasai Allstars - In The 7th Moon, The Chief Turned Into A Swimming Fish And Ate The Head Of His Enemy By Magic  (ogg 216mb)

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For nearly 40 years, Mingiedi Mawangu and his Konono No. 1 likembe orchestra, have been playing street parties and festivals in the Congo, and since the 21st century, all over the world. The likembe is a thumb piano made from steel strips cut to various lengs and played across a steel bridge over a hollowed wooden box, creating a resonating tinny sound that registers from deep and and rumbles to high and reedy. Konono No. 1 make their instruments from car parts and amplify them with everything from microphones assembled from alternator magnets, camshafts, valves, and speakers to homemade amplifiers that distort the likembe's sound and create numerous overtones and effects accompanied by whistles and other percussion instruments made from discarded steel pots, pans, radiators, sheets of tin, trunk covers, car hoods, etc. The only conventional modern instrument is Duki Makumbu's electric bass and Vincent Visi's makeshift drum kit (likewise made of found items).

Previous recordings have documented the many kinds of sounds Konono No. 1 generate in their form of polyrhythmic bazombo trance music that incorporates interlinking folk and improvised melodies that are sometimes played by the likembes, and at other times chanted and sung with call and response vocals. Assume Crash Position, produced by Crammed's Vincent Kenis, was recorded in a proper studio setting in Kinshasa. Rather than let the environment take away from the kinetic, utterly organic, raw feel of their previous albums, the separation of sounds created here, and the clarity of the way the likembes interact with one another, create a new experience altogether. Konono No. 1's approach to playing is not at all different; it is still the sound of an hour-long celebration unfolding -- even adding a couple of likembe players from the Kasai All-Stars on "Mama Na Bana," and a few guitars littered throughout doesn't alter that. A solid example is in one of their set standards, “Konono Wa Wa Wa,” near the album's end. The bassline is clearly stated, followed by layers of drums and percussion. The melody unfolds in call and response chants before the likembes begin to enter gradually by tonality. What seems like an ordinary folk song is, by the four-minute mark of its nearly 12 minutes, a complete exercise in Konono No. 1's trademark ancient-to-future hip-shaking trance dance with echoing sounds, reverb, distortion, and overwhelming energy united inseparably. Another extended workout is on album0opener "Wumbanzanga," where a guitar line is woven through the intricate melody of likembes, percussion, and bass; deep shouted responses to Pauline Mbuka Nsiala's lead vocals make this a celebratory hypnosis inducer; it will make a dancer out of anyone within earshot. For fans, Assume Crash Position is a necessary addition to the catalog. For the intrigued, this is an excellent starting point.



Konono No 1 - Assume Crash Position  (flac  364mb)

01 Moto Moindo 5:47
02 Polio 3:08
03 Je T'Aime 5:01
04 Sala Keba 4:26
05 Moziki 4:56
06 Sala Mosala 6:14
07 Avramandole 3:09
08 Tonkara 6:33
09 Marguerite 6:45
10 Staff Benda Bilili 5:54
11 Mwana 6:54

Konono No 1 - Assume Crash Position  (ogg 152mb)

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previously Sunshine, Central Africa Sep 12, 2007

Konono No 1 - Gongotronics  (ogg 120mb)
and now lossless too
Konono No 1 - Gongotronics  (flac  334mb)

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Apr 21, 2014

RhoDeo 1416 Cabin P 02

Hello, i'm away on a family visit so can't comment on current sports affairs although more than likely Hamilton or Rosberg won the F1 of China earlier today..

Last week Game of Thrones certainly heated up with the poisoning of it's beloved king. Meanwhile in Cabin Pressure it's all about lighting up or is it. Prepare for some turbulance in the stumach... (of laughter)

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Cabin Pressure is a radio situation comedy series written by John Finnemore. Its first series was broadcast on BBC Radio 4 in 2008. The show follows the exploits of the oddball crew of the single aeroplane owned by "MJN Air" as they are chartered to take all manner of items, people or animals across the world. The show stars Stephanie Cole, Roger Allam, Benedict Cumberbatch and John Finnemore.




The principal cast, the 4-person crew, is the following:

As part of her last divorce settlement, Carolyn Knapp-Shappey (Stephanie Cole) received a mid-size (16 seat) jet aeroplane named "GERTI" (a "Lockheed McDonnell 312", registration G-ERTI). As a result, she founds her very own single plane charter airline, "MJN Air" ("My Jet Now"), which is crewed by an oddball mixture of characters who fly to various cities around the world, encountering a variety of situations.

The airline's only Captain, Martin Crieff (Benedict Cumberbatch), has wanted to be a pilot since he was six years old (before which he wanted to be an aeroplane). He suffers, however, from a distinct lack of natural ability in that department. He was rejected by at least one flight school, and had to put himself through the required coursework, barely qualifying for his certification – on his seventh attempt. He took the job with MJN for no salary at all, as long as he could be Captain. He appears to have no outside interests beyond flying. He is a stickler for procedures and regulations, but is more prissy than pompous. At the end of series two he tells Douglas that he survives financially by running a delivery service using the van he inherited from his father (running two different jobs largely explaining the lack of hobbies). This was his only inheritance (apart from a tool kit and multimeter) because his father believed he would waste any money he received trying to become a pilot. He has two siblings, Caitlin, now a traffic warden and Simon, a council administrator who often frustrates Martin with his annoying superiority. This isn't helped by his Mother's constant admiration of Simon, often saying that "Simon knows best".

First Officer Douglas Richardson (Roger Allam) is, on the other hand, a quite competent pilot who worked for Air England – until he was fired for smuggling. He chafes at his subordinate position to Martin, and misses no opportunity to flaunt his superiority in the younger pilot's face. In later episodes, it is revealed that Douglas, ashamed of his second-rate job, dresses in Captain's uniform for his wife Helena's benefit, changing to First Officer's uniform before he gets to work. Douglas is, however, something of a smooth operator who knows all of the dodges available to airline officers, and enjoys taking part in all of them.

Carolyn's son Arthur Shappey (John Finnemore) is an eager and cheery dimwit aged 29, who is supposed to be the flight attendant but usually manages to get in everyone's way. He is half-English and half-Australian; Carolyn is his English mother, and Gordon, Carolyn's ex-husband, his Australian father (original owner of Gertie). Arthur is a relentless optimist, whose biggest claim to fame is being the inventor (or at least discoverer) of fizzy yoghurt (the recipe for which is yoghurt plus time). He also celebrates Birling day, Birling day eve, Gertie's birthday and Summer Christmas, and is a definite polar bear enthusiast and expert. He is very allergic to dragon fruit and strawberries, but frequently forgets, having eaten strawberry mousse on occasion.

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Cabin Pressure - 102  Boston (ogg 25mb)

102  Boston 28:01

A stubborn passenger refuses to extinguish his cigarette and makes Martin cry. Arthur, on a mission, accidentally gives him a heart attack, forcing Martin to fly back and forth between Reykjavik and Boston in indecision. Meanwhile, Martin and Douglas play a challenging game of "Simon Says".

previously

Cabin Pressure - 101 Abu Dhabi (ogg 25mb)

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