Sep 17, 2014

RhoDeo 1437 Aetix

Hello, still two nights before the Scots get split between the fearful selfish ones and the collective optimist ones and i'm afraid the ISIS policy of fear will win. Yes a no vote is a vote for IS now why didn't those campaign strategists see that one coming. It looks that many a no voter is afraid to come out for his/her cowardice, and some expect a nasty friday with serious riots if the yes vote is defeated...

Today's band is an American rock band from New York City underground during the post-punk era, they are remembered as one of the most under-appreciated indie-rock bands of the 1980's and to this day have many fans throughout the world. Although the band never sold many records, they are considered to be influential in the indie rock scene today.  ....N'Joy

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Of the countless bands to emerge from the New York City underground during the post-punk era, few if any were as unique and influential as the Feelies; nerdy, nervous, and noisy, even decades later their droning, skittering avant-garde pop remains a key touchstone of the American indie music scene. Named in reference to Aldous Huxley's paranoid classic Brave New World, the Feelies formed in 1976 in suburban Haledon, NJ, where singers/guitarists Bill Million and Glenn Mercer first met while in high school; bassist John J. and drummer Dave Weckerman rounded out the original lineup, although they were replaced in 1977 by bassist Keith Clayton and drummer Vinny Denunzio. The revamped group soon made its N.Y.C. debut, quickly creating a buzz throughout the city's new wave circuit -- a Village Voice headline even dubbed them "The Best Underground Band in New York."

Drummer Anton Fier replaced Denunzio in 1978, and a year later the Feelies cut their debut single, "Fa Ce-La," for the British indie Rough Trade. Their refusal to work with outside producers jeopardized their immediate hopes for a major-label deal, however, and so their brilliant 1980 LP, Crazy Rhythms, instead appeared on another U.K. indie, Stiff; the record's manic melodies, jittery rhythms, and opaque lyrics made it a huge critical favorite, and although it made little impact outside of underground circles, many latter-day acts -- R.E.M. chief among them -- cited the album as a major influence. Still, Crazy Rhythms' commercial failure sat badly with Stiff, which began pressuring the Feelies to produce a hit single; the pressure ultimately forced the group into a kind of suspended animation, with Fier soon exiting to join the Lounge Lizards and later mounting the Golden Palominos.

With the Feelies out of action for the better part of the early '80s, the remaining members turned their focus to a variety of side projects -- in 1982, Million and Mercer reunited to compose the score to Susan Seidelman's film Smithereens, concurrently playing in a series of Jersey-area bands including Weckerman's new outfit Yung Wu, the Trypes (who issued the 1984 EP The Explorers Hold), and the instrumental Willies. Finally, Million and Mercer reactivated the Feelies banner in 1983, reuniting with Weckerman as well as two of their Willies bandmates, percussionist Stanley Demeski and bassist Brenda Sauter; still, the revitalized group's performance schedule was sporadic at best, limited primarily to holiday appearances. Finally, they entered the studio with producer Peter Buck of R.E.M., releasing the folky The Good Earth on Coyote in 1986.

That same year, the Feelies appeared in director Jonathan Demme's film hit Something Wild; combined with critical praise for The Good Earth, the group's raised media visibility caught the attention of A&M, which released the follow-up, Only Life, in 1988. Time for a Witness followed in 1991, but on July 5 of that year the Feelies gathered at the Maxwell's club in Hoboken, NJ to play their final show -- soon after Million unexpectedly moved to Florida without telling any of his bandmates, not even leaving a forwarding address. In the months to follow Demeski began playing in Luna, Sauter worked with Speed the Plough and Wild Carnation, and Mercer and Weckerman reteamed in Wake Ooloo; when that band fell apart in 1998 after three LPs for the Pravda label, the duo again joined forces to form another new unit, Sunburst.

In the summer of 2008 the classic 1983 lineup held a low-key reunion, opening for Sonic Youth and playing two sold-out shows at Maxwell's. A year later they appeared at a tribute to R.E.M. concert at Carnegie Hall and performed at the All Tomorrow's Parties festival in Monticello NY, playing the Crazy Rhythms album in its entirety. The band signed with Bar/None that same year, and began work on a new album. Recorded at Water Music in Hoboken, 2011's Here Before represented the outfit's first collection of new music in nearly 19 years.

But The Feelies needn't have worried -- one play confirms Here Before is excellent, an album that finds the band seemingly picking up where it left off and sounding as committed and invigorating as ever, reveling in the beauty and power of rhythm guitars and cracking percussion. Here Before features the complete Feelies Mk. 2 lineup that recorded The Good Earth, Only Life, and Time for a Witness -- guitarists Glenn Mercer and Bill Million, bassist Brenda Sauter, drummer Stanley Demeski, and percussionist Dave Weckerman -- and stylistically, it hits a middle ground between the gentler, more pastoral tone of The Good Earth and the more potent, electric feel of the two albums that followed.

The Feelies have reunited sporadically over the last two decades to play concerts at their early home at Maxwell's.[11] The band most recently performed there for three consecutive nights on July 4-6, 2013.

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Even the cover is a winner, with a washed-out look that screams new wave via horn-rimmed glasses, even more so than contemporaneous pictures of either Elvis Costello or the Embarrassment. But if it was all look and no brain, Crazy Rhythms would long ago have been dismissed as an early-'80s relic. That's exactly what this album is not, right from the soft, haunting hints of percussion that preface the suddenly energetic jump of the appropriately titled "The Boy With the Perpetual Nervousness." From there the band delivers seven more originals plus a striking cover of the Beatles' "Everybody's Got Something to Hide" that rips along even more quickly than the original. The guitar team of Mercer and Million smokes throughout, whether it's soft, rhythmic chiming with a mysterious, distanced air or blasting, angular solos. But Fier is the band's secret weapon, able to play straight-up beats but aiming at a rumbling, strange punch that updates Velvet Underground/Krautrock trance into giddier realms. Mercer's obvious Lou Reed vocal inflections make the VU roots even clearer, but even at this stage of the game there's something fresh about the work the quartet does, even 20 years on -- a good blend of past and present, rave-up and reflection. When the group's later label, A&M, finally got around to reissuing the album for the first time stateside, a curious bonus was included: a version of the Rolling Stones' "Paint It, Black," recorded by the later lineup of the band in 1990. Mercer's voice is noticeably different from his decade-old self, but it's an enthusiastic rendition not too far out of place. Here's the 09 remaster

The Feelies - Crazy Rhythms  (flac 249mb)

01 The Boy With The Perpetual Nervousness 5:14
02 Fa Cé-La 2:05
03 Loveless Love 5:07
04 Forces At Work 7:07
05 Original Love 2:57
06 Everybody's Got Something To Hide (Except For Me And My Monkey) 4:08
07 Moscow Nights 4:26
08 Raised Eyebrows 3:01
09 Crazy Rhythms 6:12

The Feelies - Crazy Rhythms (ogg 107mb)

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After the various side projects and explorations the band got up to for most of the early '80s, not to mention switching some members around (with bassist Sauter and drummer Demeski now forming the rhythm section), the Feelies made a fine return with The Good Earth. With co-production from noted fan Peter Buck, the group exchanged some of the understated tense frazzle of Crazy Rhythms for a gentler propulsion without losing its trancy edge. Compared to the wispy jangle rock that passed for much of college radio at the time, the Feelies proposed a different path with the songs' steady pace and murkier feeling. Demeski's a more than fine replacement for Fier (his martial playing on "Tomorrow Today" is one of his many entertaining touches), Sauter's playing emphasizes controlled understatement, and the Million/Mercer guitar duo still nails it. The brisker jauntiness of songs like "The Last Roundup," which wears just enough of a country & western edge without seeming like a parody or half-assed, varies the calmer moods elsewhere very well. At the album's considerable best, such as the brief but really lovely acoustic/electric blend of "When Company Comes" or the title track, with an almost epic ending, Million and Mercer sound like they inhabit the same body playing two guitars, everything's that much in lovely sync. Their vocals ride low in the mix this time out, but thankfully the sometimes all-too-obvious hints of Lou Reed in Mercer's style have been replaced with a more unique, stronger edge -- not that the connection still isn't there on a track like the building groove of "Slipping (Into Something)." Reed would also love its concluding guitar solo!

The Feelies - The Good Earth  (flac 248mb)

01 On The Roof 2:51
02 The High Road 4:20
03 The Last Roundup 2:50
04 Slipping (Into Something) 5:54
05 When Company Comes 2:15
06 Let's Go 2:37
07 Two Rooms 2:32
08 The Good Earth 3:48
09 Tomorrow Today 5:30
10 Slow Down 3:13

The Feelies - The Good Earth   (ogg 93mb)

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With an unchanged lineup but more attention due to their A&M deal, the Feelies hit the jackpot with their third album, a warm, inviting collection that finally addresses the endless Lou Reed comparisons with a cover of his "What Goes On." With its clearer feeling and peppier overall delivery, it avoids simply cloning the original arrangement and performance. The rest of the album shows off the band's distinctive yet flexible sound, as much jangle as it is quietly moody. Mercer and Million's previously tense guitar power becomes attractive shadings, implying a louder approach without always delivering it, while the Demeski/Sauter rhythm team takes the lead throughout; his steady drums and her low, rolling performances giving the guitarists something to play around instead of dominate. the Feelies always make this tranced-out rock their own, but this time around it's as quietly thrilling, if not more so, than ever. "Higher Ground" is a great example, with Mercer and Million trading off not merely notes and passages but differing approaches, whether laden with distortion or chiming clearly. Though Weckerman's work, as earlier, isn't easily distinguished from Demeski's, from the sound of it everything fit in right when recording. Where appears more audibly, as on the start of "The Undertow," his percussion adds an intriguing wild card to the proceedings, aiming at the same goal with slightly different sonics. Mercer's ghost-of-you-know-who vocals still pop up at times, but here his own ability to actually sing and hold notes comes forward, giving him a technical edge that he uses to great effect on the brisk "Away."

The Feelies - Only Life  (flac 242mb)

01 It's Only Life 3:01
02 Too Much 4:38
03 Deep Fascination 4:07
04 Higher Ground 4:38
05 The Undertow 3:43
06 For Awhile 4:05
07 The Final Word 2:23
08 Too Far Gone 3:38
09 Away 5:27
10 What Goes On 3:37

The Feelies - Only Life  (ogg 92mb)

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Sep 16, 2014

RhoDeo 1437 Roots

Hello, as the the day of Scotland's vote for independence from what is basically greedy London nears, the rest of Britain is reminded that should the Scots go, the rest will immediately be living in the most unequal country of the world, yes surpassing the US. Interesting isn't it that 'United' countries are bastions of ruthless capitalism, playgrounds for the rich and like the nazi's already knew, as they drugged those in the camps with fluoridated water to keep them docile, most citizens in the US and UK get the same treatment. Something forbidden in most civilized countries... go figure. I hope those Scots that have been intimidated by the no campaign, will choose for freedom and show those in the north of England why they should get rid of the Tories and the city scumbags supporting them.

'Boy those days really were golden if you judge them by the warm and affectionate glow that emanates from this music. Their swing and jazz-influenced highlife is very 'Chugga Chugga'. Get your bongs going, ladies and gentlemen, fill them up with that sinsemilla, lay down on a hammock and let the soothing vibes of Rogie's music make you forget all the crap in the world. Alternatively, you can grab a beer or two :). Or
delve into the forgotten raw and psychedelic Afro sounds from 70s Benin and Togo and experience the African Scream Contest. ... N'joy

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 In 1998 Ghana lost one of its greatest highlife exponents, the Accra born King Bruce who composed many highlife classics, particularly in his native language Ga. He had a particular ability to write his Ga lyrics in a poetic way and put to haunting and relaxed melodies.

King Bruce was born in James Town, Accra, in 1922. His musical experiences started early and were varied. His mother belonged to a traditional women’s singing group called Etsi Penfo. His eldest brother Kpakpo Thompson taught him piano. Another brother, Eddie Bruce, played palm wine guitar styles like “fireman” and “dagomba wire,” in a band with a group of seamen called Canteen. At the same time and much against his parent’s wishes, King was a keen follower of the Accra street music, such as the alaha (also called adaha), kolomashie, tsibode, koyin, and other popular dance-styles played by the local Ga-Adangme ethnic group.

 At the prestigious Achimota College secondary school, King continued to be inspired by music, particularly by some of the teachers who taught there. These included Phillip Gbeho, who composed Ghana’s national anthem, and Doctor Ephraim Amu. Doctor Amu was, as King recalled, “my house-master as well as my music teacher and taught us his Twi and Ewe songs. He had come to Achimota after he lost his appointment as a teacher at the Akropong Training College because of his strong African tendencies. He didn’t believe in the idea of going to classes or church in Western-style suits, but always wore traditional kente cloth or batakari. He had these strong feelings about African culture as far back as the 1930s and was welcomed at Achimota, as the founders of the school—Guggisberg, Fraser, and Aggrey—were strongly interested in promoting African ways.”

 It was at the end of his schooldays at Achimota that King developed a taste for swing and dance-band music, for as he told me, “These were the war years and we had British and American army units stationed here. They had bands for their entertainment and so ballroom music progressed very much. The airport was virtually taken over by the Americans and one wing of Achimota College itself was taken over by he British resident minister, who was taking care of the British war effort here. So this was the time of musicians like Glenn Miller, Benny Goodnmn and Artie Shaw; so by the time I left Achimota, I had a definite taste for jazz and swing.”

 King did not actually start playing in dance band, however, until he had spent a couple of years in England studying to be a civil servant with the P & T (Posts and Telegraphs) and learning to play the trumpet. On returning to Accra in 1951 he hung around for awhile with top musicians like Adolf Doku, E.T. Mensah, Kofi Ghanaba (Guy Warren), Joe Kelly, and Papa Hughes. He occasionally played clips (claves) for Ghana’s leading highlife dance-band, the Tempos. When King felt he was ready to go on stage with his trumpet, he joined Teacher Lamptey’s Accra Orchestra.

 King stayed with this group until 1952, when he and tenor saxophonist Saka Acquaye formed the Black Beats band. King recalled, “The name just came out spontaneously. One evening when we were coming home from rehearsals, Saka asked me what name we were going to use. Without hesitation, I said `Black Beats.’ The reason was that Doctor Amu at Achimota had impressed on us the necessity for doing things African. At the same time, we were all very much enamored with jazz, swing and music with a beat. So we were all interested in playing good dance-band music, but keen on giving everything a recognizably African beat.”

 In contrast with other Ghanaian dance-bands, the Black Beats vocalists (the Black Birds, Lewis Wadawa, and Frank Barnes) dominated the instrumental line-up; and in this they were influenced by the swing and “jump” music of Afro-American Louis Jordan. It was with this high vocal profile that the Black Beats began to release a string of highlife hits for the labels of the day, HWV, Senophone, and Decca. The titles King composed included “Teemon Sane” (A Confidential Matter), “Laimomo” (Old Lover), “Nkuse Mbaa Dong” (I’ll Never Return), “Nomo Noko” (A Thing of Joy), “Srotoi Ye Mli” (Distinctions), and “Agoogyl” (Money - a song composed by Oscarmore Ofori).

 In 1961 disaster struck the band. Alto saxophonist Jerry Hansen and nine musicians left the semi-professional Black Beats to form the fully professional Ramblers dance band. Nevertheless, within a few months King had reorganized his band and with this second-generation Black Beats began releasing more hits for Decca, like “Se Nea Woti Ara” (1 Love You Just as You Are), “Kwemo Ni Okagbi” (Take Care You Don’t Dry Up), “Odo Fofor” (New Love), and “Nkase Din” (I Am Quietly Poised).

 During the whole period when King was running the Black Beats, he was slowly working his way up the civil service ladder, but getting a lot of criticism from his superiors for playing on stage. As King told me, “At first the opposition from my employers came in hints. Then in 1967 the opposition came in black and white as a result of a letter I received from the government. It was from the head of the Administrative Civil Service and they told me that I had now got to the stage where I was due for promotion from assistant to full principal secretary and that the only thing that stood in my way was my dance band playing. So I had to decide whether to continue playing or accept promotion. I replied that I had commitments to play up to Easter 1968, but that from April and thereafter I would comply with the undertaking and wouldn’t play in public anymore.”

 When I asked King how he felt about this he replied, “I was very much annoyed because I had always believed that it was the actual playing in a band that sharpens your faculties and brings new ideas. When you sit down doing nothing you don’t create new music. So the ban on my playing hurt me very much as I had to sacrifice a lot to play music and had always wanted to pursue it and make something out of it.”

 To keep his band running, King handed the Black Beats’ leadership to Sammy Odoh. And instead of playing, King started managing the band, as well as other bands that soon began to base themselves at his house in James Town. During the 1970s he was running eight “BB” bands: the Black Beats, Barbecues, Barons, Bonafides, Barristers, Boulders, “B” Soyaaya, and Blessed Apostles.

 Besides being a senior civil servant, composer, band leader, manager, and teacher of the hundred or so musicians who have passed through his groups, King Bruce also found time to help organize all three of Ghana’s music unions: the 1950s Gold Coast Association of Musicians, the short-lived (1960-1966) Ghana Musicians Union, and the present-day Musician’s Union of Ghana (MUSIGA), formed in 1974.

 It was around this time that I first met King Bruce when I hired equipment from him for my own Bokoor guitar-band. I was also living in James Town, Accra, and for a while we were both on the executive board of MUSIGA. In August 1987, King gave a number of interesting presentations at the conference of the International Association for the Study of Popular Music (IASPM) held in Accra on “Africa in the World of Popular Music.” After that I recorded in my Bokoor Studio a set of King’s songs that was subsequently released locally on cassette. The tracks included “Esheo Heko” (There Comes a Time), “Onyiemo Feo Mi Feo” (Walk Beautiful), “Ekole” (Perhaps), and “Tsutsu Tsosemo” (Old time Training).

 After 1977, King Bruce retired from the civil service but continued to actively pursue his musical career. He kept running two bands “B” bands (the Black Beats and Barristers) and began to re-record some of his old hits. He was also active in MUSIGA, and was involved in the recent changes in the copyright law that now make royalty infringement a criminal offence. Towards the end of his life he became for a while the manager of the sixteen-track Elephant Walk recording studio in Kaneshie, Accra, established in the 1970’s by Phonogram and the local producer Dick Essilfie-Bondzie.

 On April 30, 1988, an award was given to King Bruce by the Entertainment Critics and Reviewers Association of Ghana (ECRAG) for his “immense contribution to the development of Ghanaian art and culture in the field of highlife music.” This musician’s career in dance band music spans nearly forty years. In 1995 King, with the help of his son Eddie, launched a very successful double cassette album of old Black Beats hits on the local market. This was followed by a fifteen track CD called the `Golden Highlife Classics’ released in London by the Retroafric label. 1996 he was involved in the `Highlife Month’ organized by the German Goethe Institute and the local BAPMAF African popular music NGO to which he was a founding member. His biography “The King of Black Beats,” written jointly by King and myself in the late 1980s, is forthcoming from Anansesem Press, Accra.

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The anniversary of Ghana's Independence in March 1957 marked 40 years of African autonomy. To acknowledge that auspicious occasion RetroAfric released a nostalgic collection by the dance band supremos King Bruce and The Black Beats, titled Golden Highlife Classics.  'Bruce formed the BBs in 1952, fronting a guitar/bass/drums combo with a luxurious spread of horns that now have all the acoustic properties of a Thirties 78, a vintage crispness that's no bad thing when you're whirling around to such quaint confections today' The album features 15 memorable tracks from the 1950s and 1960s.

King Bruce and The Black Beats - Golden Highlife Classics  (flac  186mb)

01 Srotoi Ye Mii 2.42
02 Medahao Mao 3.09
03 Enya Wo Do Fo 3.04
04 Misumo Bo Tamo She 2.55
05 Mikuu Mise Mbaa Don 2.52
06 Anuatra Hrebil 2.52
07 Aban Kaba 2.53
08 Nantsew Yie 3.00
09 Abasi Do 2.50
10 Odor Fofor 3:03
11 Suumo Gboo Ke Moo Shi 3.04
12 Dear St Abotar 3.02
13 Agodzi 2.58
14 Won Ma Mewnka 2.45
15 The Queen's Visit 2.49

King Bruce and The Black Beats - Golden Highlife Classics  (ogg 78mb)

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The title of this album proved to be tragically ironic, as the 68-year-old Rogie died shortly before his international debut was released. But if there's any justice in this world, the deceptively simple charms of Dead Men Don't Smoke Marijuana will leave the singer/guitarist from Sierra Leone immortalized by his music. Rogie is a master of palm wine music, which is named for a drink made from the milky white sap of Sierra Leone's palm trees, and the atmospheric, carefree feel of the tunes conjures up images of relaxing times on breezy beaches watching lush, tropical sunsets. Rogie's lilting guitar, backed only by standup bass and subtle percussion, has a rootsy folk-blues feel, while his soothing, buttery baritone caresses you like a warm Caribbean wind. With traditional African call-and-response vocals, the music comes off like a cross between the laid-back island rhythms of reggae, the back-porch vibe of rustic blues, and the spiritual feel of Ladysmith Black Mambazo, making this a sweet, stirring testament to an undeservedly little-known talent.

S. E. Rogie - Dead Men Don't Smoke Marijuana  (flac  244mb)

01 Kpindigbee (Morning, Noon And Night) 4:09
02 A Time In My Life 3:25
03 Nor Weigh Me Lek Dat (Woman To Woman) 4:03
04 Jaimgba Tutu (The Joy Of Success) 2:36
05 Koneh Pelawoe (Please Open Your Heart) 5:02
06 Jojo Yalah Jo (I Lost My Wife) 4:41
07 Nyalomei Luange (Love Me My Love) 2:52
08 African Gospel 4:18
09 Nyalimagotee (The Cornerstone Of My Heart) 4:47
10 Dieman Noba Smoke Tafee (Dead Men Don't Smoke Marijuana) 6:38

S. E. Rogie - Dead Men Don't Smoke Marijuana  (ogg 115mb)

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The subtitle here (Raw & Psychedelic Afro Sounds), intriguing as it is, isn't completely accurate, since the emphasis is actually more on soul and funk than raw garage rock and psychedelia. Indeed, there's a strong James Brown fixation for many artists here, and Roger Damawuzen should have won an award (or a lawsuit) for his uncanny imitation of the Godfather of Soul. It does get a little wild at times, as with "Congolaise Benin Ye" from Le Super Borgou de Parakou, but one thing that never falters here is the groove. Once a band latches onto it, they don't let go, keeping it rock-solid, but with plenty of polyrhythms happening as part of it, giving it a wonderful, flexible feeling. There's no a bad cut here, and it's obvious that this is the result of a labor of love -- the result of two-and-a-half years work and nine trips to the countries. It may be the Francophone influence that steers the musicians away from the more obvious English and American rock sounds, although you can definitely hear the Afro-Latin percussion of Santana in the mix (and the fiery guitar work, too, at times). But whatever the artists are doing, they thankfully never try to ditch their Afro roots -- which, of course, are the bedrock of soul and rock. This all takes it in another, fabulous direction. In many ways it proved to be a bit of a dead end historically, but the music that came out of it is nothing less than sublime. And keep the player going after the last track for the hidden bonus. It's worthwhile.

VA - African Scream Contest  (flac  444mb)

01 Lokonon André & Les Volcans - Mi Kple Dogbekpo 3:54
02 Picoby Band D'Abomey - Mi Ma Kpe Dji 4:06
03 Gabo Brown & Orchestre Poly-Rythmo - It's A Vanity 4:22
04 El Rego Et Ses Commandos - Se Na Min 3:21
05 Napo De Mi Amor Et Ses Black Devils - Leki Santchi 3:25
06 Orchestre Poly-Rythmo De Cotonou - Gbeti Madjro 2:54
07 Roger Damawuzan - Wait For Me 3:19
08 Ounsou Corneille & Black Santiagos - Vinon So Minsou 4:57
09 Orchestre Super Jheevs Des Paillotes - Ye Nan Lon An 3:03
10 Tidiani Koné & Orchestre Poly-Rythmo - Djanfa Magni 9:51
11 Discafric Band - Houiou Djin Nan Zon Aklumon 4:18
12 Le Super Borgou De Parakou Congolaise -  Benin Ye 2:59
13 Vincent Ahehehinnou - Ou C'est Lui Ou C'est Moi 10:06
14 Les Volcans De La Capital - Oya Ka Jojo 7:43

VA - African Scream Contest   (ogg 170mb)

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Sep 15, 2014

RhoDeo 1437 Cabin P 23


The penultimate Cabin Pressure episode coming up

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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 405 - Xinzhou (ogg 25mb)

405 - Xinzhou 28:05

The crew must spend the night on Gertie but are distracted by uncomplicated word games, which Arthur cannot understand, and a constant alarm requiring trips out into the snow. Martin reveals his developing relationship with a princess, and Carolyn must make a decision about Herc.

Cabin Pressure - 301 Qikiqtarjuaq (ogg 25mb)
Cabin Pressure - 302 Paris (ogg 25mb)
Cabin Pressure - 303 Newcastle (ogg 25mb)
Cabin Pressure - 304 - Ottery St Mary (ogg 25mb)
Cabin Pressure - 305 - Rotterdam (ogg 25mb)
Cabin Pressure - 306 - St Petersburg (ogg 25mb)
Cabin Pressure - 401 - Timbuktu (ogg 25mb)
Cabin Pressure 402 - Uskerty (ogg 25mb)
Cabin Pressure 403 - Vaduz (ogg 25mb)
Cabin Pressure 404 - Wokingham (ogg 25mb)

previously, alas those mediafirelinks are down but i compiled season 1 and 2

Cabin Pressure - Season 1 (ogg 153mb)

Cabin Pressure - Season 2 (+Xmas bonus) (ogg 179mb)

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