Dec 20, 2014

RhoDeo 1450 Grooves

Hello, well today's artists' discography should have been much larger but being black and gay in the sixties....well no need to spell that out.  Meanwhile in our more enlightened times murder and mayhem continues, from an alien perspective we are an insane species better left to their road to selfdestruction...

Today's artist was gay, and several music writers have said that his homosexuality was a bar to greater success in the United States and one of the reasons behind his move to Europe and his eventual name change. In 2014, rock historian Ed Ward wrote, "Conley headed to Amsterdam and changed his name to Lee Roberts. Nobody knew 'Lee Roberts,' and at last Conley was able to live in peace with a secret he had hidden--or thought he had--for his entire career: he was gay. But nobody in Holland cared" His music recording career had been limited most of which is here to  .....N'joy

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Arthur Conley sang and (with mentor Otis Redding) co-wrote the 1967 classic "Sweet Soul Music," arguably the finest record ever made about the genre it celebrates. Born January 4, 1946, in McIntosh, GA, and raised in Atlanta, Conley was just 12 years old when he joined the Evening Smiles, a gospel group that appeared regularly on local radio station WAOK. By 1963 he was leading his own R&B outfit, Arthur & the Corvets, which over the next two years issued three singles -- "Poor Girl," "I Believe," and "Flossie Mae" -- for the Atlanta label National Recording Company. Despite Conley's graceful yet powerful vocals (which owed an immense debt to his idol, Sam Cooke), the NRC singles earned little attention, and he dissolved the group to mount a solo career, releasing "I'm a Lonely Stranger" on the Ru-Jac label in late 1964. Label owner Rufus Mitchell then passed a copy of the single to soul shouter Redding, who was so impressed he invited Conley to re-record the song at Memphis' Stax Studios. With Jim Stewart assuming production duties, the recut "I'm a Stranger" hit retail in the fall of 1965, and was just the second single to appear on Redding's fledgling Jotis imprint. Conley's "Who's Foolin' Who" followed in early 1966, and proved the fourth and final Jotis effort.

At Redding's urging, Conley signed to Atco-distributed Fame Records for his next single, the Dan Penn-written "I Can't Stop (No, No, No)." Though his strongest, most incendiary record to date, it met the same commercial indifference that greeted his previous efforts. Likewise, the follow-up "Take Me (Just as I Am)" fell on deaf ears, even though the song was a major pop hit for Solomon Burke the following year. At that point Redding took an even greater role in Conley's career, encouraging his songwriting and advising him in business decisions; while jamming on a cover of Cooke's "Yeah Man," the pair began tinkering with the original song, creating what would ultimately become "Sweet Soul Music." An electrifying tribute to the Southern soul idiom that name-checked icons including James Brown, Sam & Dave, Wilson Pickett, and -- at Conley's insistence -- Redding himself, the resulting single (Conley's debut for new label Atco) proved a massive hit, reaching number two on both the Billboard pop and R&B charts while reaching the Top Ten across much of Europe. An LP also titled Sweet Soul Music soon followed, compiling the singer's little-heard Jotis and Fame sides. Conley's next single, a reading of the Big Joe Turner chestnut "Shake, Rattle and Roll," returned him to the pop Top 40 and the R&B Top 20, although its follow-up, a cover of Cooke's "Whole Lotta Woman," reached only number 73 on the pop chart.

Conley was performing in Florida the night of December 10, 1967, when Redding and members of his backing band the Bar-Kays were killed in a Wisconsin plane crash; without Redding to run interference with Atco executives, the singer's career threatened to revert back to its rudderless beginnings, but in early 1968 Conley righted the ship, traveling to Memphis' American Recording Studios to collaborate with the crack producer Tom Dowd. The session generated some of the singer's finest material, including the Top 20 R&B hit "People Sure Act Funny," "Run On," and the stirring Redding tribute "Otis Sleep On." Best of all was the scorching "Funky Street," which hit number five on the Billboard R&B chart and number 14 on its pop counterpart. Weeks later Conley teamed with Burke, Don Covay, Ben E. King, and Joe Tex as the Soul Clan, recording the all-star LP Soul Meeting; he then embarked on a month-long tour of Europe, returning to American to cut the Dowd-produced "Aunt Dora's Love Soul Shack," a minor hit that was reportedly the inspiration for the Temptations' smash "Psychedelic Shack." Conley closed out the year by recording a cover of the Beatles' "Ob-La-Di, Ob-La-Da." Featuring the great Duane Allman on guitar, the single reached number 51 pop and number 41 R&B in early 1969.

 After one final outing with Dowd, the Allen Toussaint-penned "Star Review" -- a naked and failed attempt to recapture the brilliance of "Sweet Soul Music" -- Conley signed on with producer Johnny Sandlin, returning to the R&B Top 40 in early 1970 with "God Bless." His final Atco disc, an ill-advised rendition of Harry Belafonte's perennial "Day-O," foreshadowed the poor choices that characterized his subsequent tenure with manager Phil Walden's Capricorn label. Between 1971 and 1974, Conley released only four singles ("I'm Living Good," "Walking on Eggs," "Rita," and "It's So Nice [When It's Someone Else's Wife]"), all of them substandard and none of them hits. In 1975 he relocated to England, spending several years in Belgium before settling in the Netherlands in 1980. There he legally changed his name to Lee Roberts (the first name his own middle name, the surname his mother's maiden name). A live date recorded in Amsterdam on January 6, 1980, was issued commercially in 1988 under the title Soulin' and credited to Lee Roberts & the Sweaters. In the years to follow he emerged as a successful entrepreneur. At one point in time his Art-Con Productions consisted of some nine companies, among them Sweat Records, Upcoming Artists Records, Charity Records, Happy Jack Publishing, and the New Age Culture Exchange radio station. After a long bout with cancer, Conley died in the Dutch city of Ruurlo on November 17, 2003.

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The songs here are basically a mixture written by Conley, Otis Redding, Sam Cooke, Dan Penn, and Jimmy Reed. The arrangements are straight out of that whole Muscle Shoals/Fame Studios sound , and have that well known instrumental sound. I could talk about highlights, but that would encompass just about the entirety of both albums. Conley had a voice and style of singing that put him in the same league as the above singers--he was that good. He's probably most well known for the hit "Sweet Soul Music", or possibly his remake of "Shake, Rattle & Roll" (both here), but his versions of other artists' songs are equally strong. Check out Conley's version of Redding's "I've Been Loving You Too Long (To Stop Now)", or Cooke's "A Change Is Gonna Come" for great examples of Conley's style. And Conley's own songs fit in well--providing a seamless blend of familiar songs and his own efforts.

So, if you like Otis Redding and the rest, and you're unfamiliar with Arthur Conley, do yourself a favor and give this collection a listen. It's the real deal, and will brighten your day as only late 60's hard soul can do. 54 minutes of quintessential 60's soul--nothing more and nothing less.



Arthur Conley - Sweet Soul Music / Shake, Rattle & Roll (flac 272mb)

Sweet Soul Music

01 Sweet Soul Music 2:20
02 Take Me (Just As I Am) 2:58
03 Who's Foolin' Who 2:28
04 There's A Place For Us 2:45
05 I Can't Stop (No, No, No) 2:25
06 Wholesale Love 2:16
07 I'm A Lonely Stranger 2:45
08 I'm Gonna Forget About You 2:10
09 Let Nothing Separate Us 3:04
10 Where You Lead Me 2:25

Shake, Rattle & Roll

11 Shake, Rattle & Roll 2:17
12 I've Been Loving You Too Long (To Stop Now) 3:17
13 Love Got Me 2:20
14 A Change Is Gonna Come 3:14
15 Hand And Glove 2:30
16 Ha! Ha! Ha! 2:20
17 You Don't Have To See Me 2:54
18 Baby What You Want Me To Do 3:00
19 I'll Take The Blame 2:50
20 Keep On Talking 2:38

Arthur Conley - Sweet Soul Music / Shake, Rattle & Roll  (ogg 117mb)

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Months after his tragic and untimely passing, Otis Redding remained a primary source of inspiration to the career of vocalist Arthur Conley. Soul Directions -- which was issued during the late spring of 1968 -- was the artist's third long-player, and while the bulk of the ten-track effort was produced by the legendary Tom Dowd, it is highlighted by two of the last tunes that Redding worked on with Conley, albeit behind the scenes. All the more profound is the gospel-tinged centerpiece, a touching paean simply titled "Otis Sleep On." Although Conley had formidable success recording at Fame in Muscle Shoals, AL, and Stax Records, it was the latter's rival -- the Memphis-based American Studios -- where the project primarily came together. The team of Spooner Oldham and Dan Penn provide the midtempo opener, "You Really Know How to Hurt a Guy," and the soul-stirring "This Love of Mine." Conley supplies half the disc's material, including the happy, hand-clappin' "Funky Street" -- inspired by the true-to-life urban Soulsville on Atlanta, GA's own Auburn Avenue -- which became a Top Five R&B hit. He is likewise credited alongside Dowd on the recommended ballad waltz "Burning Fire." Perhaps because Redding was testing out his chops as a producer, his indomitable spirit remains alive and kicking on the upbeat "Hear Say" -- which needs little help getting the groove off the ground, especially the piquant as ever Memphis horn arrangement. Redding's trademark pleading delivery style permeates the gritty reading of Otis' co-written "Love Comes and Goes." Conley's "Put Our Love Together" stands out for its alternately organic backing choir and the muted nylon-string acoustic guitar that dominates the supporting instrumentation. The fun and funky closer, "People Sure Act Funny," made it into the Top 20 on the R&B singles survey. Here it bears more than just a trace of Joe Tex's influence, even as it had actually been recorded by the likes of Lee Dorsey and Shorty Long. Despite the uniformly strong selection, the album made no pop crossover impact. While it fared a bit better than its predecessor, Shake, Rattle & Roll (1967), Soul Directions would become Conley's final pop LP entry.



Arthur Conley - Soul Directions (flac 159mb)

01 You Really Know How To Hurt A Guy 2:35
02 Funky Street 2:25
03 Burning Fire 2:20
04 Get Yourself Another Fool 3:00
05 Otis Sleep On 2:45
06 Hear Say 2:19
07 This Love OF Mine 3:23
08 Love Comes And Goes 2:19
09 Put Your Love Together 2:56
10 People Sure Act Funny 2:10

Arthur Conley - Soul Directions (ogg 66mb)

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Despite scoring only one national hit, the 1961 instrumental smash "Last Night," the Mar-Keys remain one of the most important groups ever to emerge from the Memphis music scene. As the first house band for the legendary Stax label, they appeared on some of the greatest records in soul history, with their ranks also producing such renowned musicians as guitarist Steve Cropper and bassist Donald "Duck" Dunn. the Mar-Keys formed in 1958 and included drummer Terry Johnson, pianist Jerry Lee "Smoochie" Smith, saxophonists Don Nix and Charles Axton, and trumpeter Wayne Jackson in addition to Cropper and Dunn. Originally dubbed the Royal Spades, in 1960 the group joined the staff at Axton's mother Estelle's Satellite label, backing artists that included Rufus Thomas and his daughter Carla. A year later, the Mar-Keys headlined the Chips Moman-penned "Last Night," which reached the number three spot in the summer of 1961. When Satellite changed its name to Stax, the Mar-Keys remained on board, laying the foundation for the classic Memphis soul sound through with their funky, sophisticated grooves; concurrently they recorded a series of singles including "Pop-Eye Stroll," "The Morning After," and "Philly Dog," although none repeated the commercial success of "Last Night." In 1962 Cropper and Dunn left the lineup to co-found the famed Booker T. and the MG's. Other personnel changes followed, although the Mar-Keys continued on for several more years before the name was eventually dropped. Jackson then formed another top-notch session group, the Memphis Horns, while Axton led the Packers

This combines the Mar-Keys' first two albums, Last Night! and Do the Pop-Eye (both from 1962), onto one CD, with nine pages of historical liner notes by Stax authority Rob Bowman. "Last Night" was a great early-'60s instrumental rock hit, and an important one in helping to establish the basic sound of Stax soul music. It's the linchpin of the Last Night! album, and despite the single's greatness, the LP is a mediocre, filler-filled effort that typifies the low standards of the full-length rock recording at the time. These are basic sax- and organ-driven soul-rock dance instrumentals, good for dancing to in the live shows the Mar-Keys were doing, but pretty boring one after another on record. Only a few of these are group originals; the rest of the cuts including covers of jazz tunes (Cannonball Adderley's "Sack o' Woe"), popular standards ("Misty," "Ebb Tide"), classic R&B ("Sticks and Stones"), and even Paul Anka's "Diana." Do the Pop-Eye was much like Last Night!: functional, simple early-'60s soul-rock instrumentals, prominently featuring sax and organ, and easy to dance to. And like Last Night!, it was unimaginative and dull to listen to all together, with the disadvantage of lacking a single as good as the classic "Last Night," though it was a little funkier in its song selection and execution. The bouncy "Pop-Eye Stroll" had been a very small hit (making number 94), and probably for that reason there were a couple of knockoffs elsewhere on the LP, "Pop-Eye Rider" and "Too Pooped to Pop-Eye." Historically, this is an important record, only because three of the musicians to play in Booker T. & the MG's -- Steve Cropper, Booker T. Jones, and Duck Dunn -- play on it (Cropper and Jones also wrote a bit of the material). You can hear antecedents to the Booker T. & the MG's sound on some of the better cuts, like "Straight From the Can" and "Sit Still," which has some stinging Cropper licks; Rufus Thomas wrote one of the other tracks, "'Cause I Love You." The liner notes, by the way, are pretty fascinating, particularly in the several anecdotes about Stax's early days and the complicated genesis of "Last Night": more interesting, in fact, than (with the exception of the track "Last Night") the music on this disc.



The Mar-Keys - Last Night & Do The Pop Eye (flac 376mb)

Last Night
01 Morning After 2:12
02 Diana 1:56
03 Alright, O.K. You Win 2:54
04 Sticks & Stones 1:57
05 Misty 2:31
06 Night Before 2:10
07 About Noon 2:31
08 One Degree North 2:13
09 Sack O Woe 2:25
10 Hold It 2:03
11 Ebb Tide 3:40
12 Last Night 2:35
Do The Pop Eye
13 Pop-Eye Stroll 2:40
14 Wimp-Burger 2:30
15 Straight From The Can 2:00
16 Cause I Love You 2:36
17 Squint-Eye 2:00
18 Pop-Eye Rider 2:22
19 Gonna Work Out Fine 2:32
20 Sit Still 2:08
21 Too Pooped To Pop-Eye 2:31
22 Sweet-P Crawl 2:04
23 Muscles A-Comin' Home 2:20
24 Sailor Man Waltz 2:42

The Mar-Keys - Last Night & Do The Pop Eye (ogg 130mb)

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Dec 18, 2014

RhoDeo 1450 Goldy Rhox 188

Hello, today the 188th post of GoldyRhox, classic pop rock in the darklight an English rock guitarist. He is one of the three noted guitarists to have played with The Yardbirds (the other two being Eric Clapton and Jimmy Page). Much of today's artist recorded output has been instrumental, with a focus on innovative sound, and his releases have spanned genres ranging from blues rock, heavy metal, jazz fusion and an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, he has not established or maintained the sustained commercial success of many of his contemporaries and bandmates. Our man appears on albums by Mick Jagger, Tina Turner, Morrissey, Jon Bon Jovi, Malcolm McLaren, Kate Bush, Roger Waters, Donovan, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian May, Stanley Clarke and ZZ Top.

He was ranked 5th in Rolling Stone's list of the "100 Greatest Guitarists of All Time" and the magazine, upon whose cover our man has appeared three times, has described him as "one of the most influential lead guitarists in rock". MSNBC has called him a "guitarist's guitarist today's mystery man has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Best Pop Instrumental Performance once. In 2014 he received the British Academy's Ivor Novello Award for Outstanding Contribution to British Music. Mystery man has been inducted into the Rock and Roll Hall of Fame twice: as a member of the Yardbirds (1992) and as a solo artist (2009).

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the debut album by the Mystery Man's Group, released in 1968 in the United Kingdom on Columbia Records and in the United States on Epic Records. It introduced the talents of Rod Stewart and Ronnie Wood to a larger audience, and peaked at number 15 on the Billboard 200. Recording sessions for the album took place over four days, 14–15 May and 25–26 May 1968. Nine eclectic tracks were taken from these sessions, including covers of "Ol' Man River" by Jerome Kern, the Tudor period melody "Greensleeves", and Bonnie Dobson's "Morning Dew", a 1966 hit single for Tim Rose. Mystery man acknowledged two giants of Chicago blues in songs by Willie Dixon — Muddy Waters' "You Shook Me" and Howlin' Wolf's "I Ain't Superstitious". The album started with a song from our man's old band, "Shapes of Things". Three originals were credited to "Jeffrey Rod", a pseudonym for mystery man and Stewart, all reworkings of previous blues songs: "Let Me Love You" the song of the same title by Buddy Guy; "Rock My Plimsoul" from "Rock Me Baby" by B.B. King; and "Blues Deluxe" similar to another song by B.B. King, "Gambler's Blues". "Plimsoul" had already been recorded for the B-side to the 1967 single "Tallyman", and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future mystery man's group pianist Nicky Hopkins, "Bolero", had been edited and remixed for stereo from the earlier B-side to "Hi Ho Silver Lining". Due to contractual conflicts, Moon had been credited on the original album as "You Know Who".

On 10 October 2006, Legacy Records remastered and reissued the album for compact disc with eight bonus tracks. Included were two earlier takes of "You Shook Me" and "Blues Deluxe", the latter without the overdubbed applause. The B-side to the 1968 single "Love Is Blue", "I've Been Drinking", was another "Jeffrey Rod" special, this time reconfiguring the Johnny Mercer song "Drinking Again", finishing with Hi Ho Silver Lining, it's up for grabs here


Goldy Rhox 188 (flac 401mb)


Goldy Rhox 188 (ogg 94mb)

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Dec 17, 2014

RhoDeo 1450 Aetix

Hello, why is it that people that adhere to ancient religions think it's permitted to use modern weapons ? Allah says yes after all he hates humans, its time his slave religion produces more death and today's 130 kids sure gets the killers some bonus points in Allah's corner but hey not with the Allmighty and no that's not Yahweh because that's just another name of Allah why ? because both are blood lusting psychopathic assholes, defacto demons but hey primitive peoples feared and thus worshiped them, its high time they were put out by the trash where they belong. Unfortunately there's still too many feeble-minded people to prohibit organized religion and render every priest on the planet unemployed, the world would be so much better of....

Today in Aetix an American rock band from San Francisco, California, formed in 1981. The band was originally named Faith No Man. Billy Gould, Roddy Bottum and Mike Bordin are the longest remaining members of the band, having been involved with Faith No More since its inception. The band underwent several lineup changes early in their career, along with some major changes later on. After releasing six albums, Faith No More officially announced their breakup on April 20, 1998. As the moneywell dried up, they have since reunited, embarking on The Second Coming Tour from 2009-2012. On September 2, 2014, bassist Bill Gould announced that Faith No More has been working on a new album, which is set for release in April, 2015. Meanwhile here today the basis of their success .....N'Joy

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Faith No More was originally formed as Sharp Young Men in 1979 by bassist Billy Gould, drummer Mike Bordin, vocalist Mike "The Man" Morris, and keyboardist Wade Worthington. Mike Morris described the name as "a piss-take on all the ‘elegant’ 80s groups at the time." Later on Morris proposed the name Faith In No Man but eventually the band settled on Bordin's suggestion Faith No Man (stylized as Faith. No Man). They recorded "Quiet in Heaven/Song of Liberty", released in 1982. The songs were recorded in Matt Wallace's parent's garage, where Wallace had set up and been running a recording studio while the band was still recording under the name Sharp Young Men, with Mike Morris, Billy Gould, Mike Bordin and Wade Worthington. Worthington left shortly thereafter. They changed their name to Faith No Man for the release of the single, which featured two of the three songs recorded in Wallace's garage, and hired Roddy Bottum to replace Worthington. Bottum, Gould and Bordin quit the band shortly after and formed Faith No More. They chose the name to accentuate the fact that "The Man" (Mike Morris) was "No More". They didn't have any constant guitarists or vocalists until they eventually settled on Chuck Mosley in 1983 and later Jim Martin

After the name change, the band initially started recording We Care a Lot without backing from a record label and, after pooling their money, recorded five songs. This gained the attention of Ruth Schwartz, who was then forming the independent label Mordam Records, under which the band, after getting the necessary financial support, finished and released the album. It was the first official release for both the band and the label. Introduce Yourself was released in 1987, and a revamped version of their debut album's title track "We Care a Lot" saw minor success on MTV. Mosley was fired in 1988 due to his erratic behavior during sessions and at shows, notably the release party for the album Introduce Yourself during which he fell asleep on stage.

With their fusion of heavy metal, funk, hip-hop, and progressive rock, Faith No More has earned a substantial cult following. By the time they recorded their first album in 1985, the band had already had a string of lead vocalists, including Courtney Love; their debut, We Care a Lot, featured Chuck Mosley's abrasive vocals but was driven by Jim Martin's metallic guitar. Faith No More's next album, 1987's Introduce Yourself, was a more cohesive and impressive effort; for the first time, the rap and metal elements didn't sound like they were fighting each other.

In 1988, the rest of the band fired Mosley; he was replaced by Bay Area vocalist Mike Patton during the recording of their next album, The Real Thing. Patton was a more accomplished vocalist, able to change effortlessly between rapping and singing, as well as adding a considerably more bizarre slant to the lyrics. Besides adding a new vocalist, the band had tightened its attack and the result was the genre-bending hit single "Epic," which established them as a major hard rock act. "Epic" was released in 1989 and was a top 10 hit. The music video for "Epic" received extensive airplay on MTV in 1990, despite anger from animal rights activists for a slow motion shot of a fish flopping out of water. That same year, Faith No More gave memorable performances at the 1990 MTV Video Music Awards (September 6)

"From Out of Nowhere" and "Falling to Pieces" saw releases as singles, and a cover of Black Sabbath's "War Pigs" was also produced for non-vinyl releases. In 1990, the band went on an extensive US tour, sending The Real Thing to Platinum status in Canada, the US, and South America. The album also had big sales numbers in Australia, UK, and the rest of Europe, pushing the total sales well above 4.0 million worldwide.

Following up the hit wasn't as easy, however. Faith No More followed their breakthrough success with 1992's Angel Dust, one of the more complex and simply confounding records ever released by a major label. Although it sold respectably, it didn't have the crossover potential of the first album. When the band toured in support of the album, tensions between the band and Martin began to escalate; rumors that his guitar was stripped from some of the final mixes of Angel Dust began to circulate. As the band was recording its fifth album in early 1994, it was confirmed that Martin had been fired from the band.

Faith No More recorded King for a Day, Fool for a Lifetime with Mr. Bungle guitarist Trey Spruance. During tour preparations he was replaced by Dean Mentia. Mentia only lasted for the length of the King for a Day tour and was replaced by Jon Hudson for 1997's Album of the Year. Upon the conclusion of the album's supporting tour, Faith No More played their last show in Lisbon, Portugal on April 7, 1998. The band cancelled their planned support tour for Aerosmith and on April 20, Billy Gould released a statement by email and fax, saying " The decision among the members is mutual" and "the split will now enable each member to pursue his individual project(s) unhindered." The band "thanked all of those fans and associates that have stuck with and supported the band throughout its history." After the dissolution of Faith No More, the members went on to numerous different projects.

Patton, who had previously fronted Mr. Bungle and had avant-garde projects with John Zorn, formed a new band named Fantômas with Melvins guitarist Buzz Osbourne, Mr. Bungle bassist Trevor Dunn, and former Slayer drummer Dave Lombardo. Roddy Bottum continued with his band Imperial Teen, who released their first album, Seasick, in 1996. A posthumous Faith No More retrospective, Who Cares a Lot, appeared in late 1998.

In 2009, after eleven years of dissolution, Faith No More toured Europe without Jim Martin but with Patton as vocalist. A U.S. tour followed a year later. Up until 2014, Faith No More's status was disputed. In a January 2013 interview, Mike Patton suggested that the band would not remain active beyond the reunion tour, stating that "it's sort of petered out" and the band was "maybe a little too conscious for their own good.
On August 20, the band posted "The Reunion Tour is over; in 2015 things are going to change." On September 2, Bill Gould revealed to Rolling Stone that Faith No More has begun work on a new album, which is set for release in April 2015

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After listening to Faith No More's debut, We Care a Lot, it's hard to believe that this is the same band that we know today. They sound more like early Public Image Limited than the FNM that would eventually assault your senses with Angel Dust and Album of the Year. Obviously, one of the major reasons is because current singer Mike Patton is not on the album. Original frontman Chuck Mosley handles the vocal duties, and his singing style is the complete opposite of Patton's. While Patton is extremely talented and versatile (he can sing just about every style of music imaginable), Mosley's voice is often off-key, fairly monotonous, and colorless (but with lots of attitude). Musically, the group shows glimpses of the killer genre-bending band they would become in the near future. The original version of the title track is an anthem in typical, twisted FNM style: it contains irresistible melodies and riffs, but challenges you lyrically (the words deal with the hypocritical situation surrounding the millionaire musicians who participated in 1985's Live Aid concert). The song is still featured at their concerts, as is the keyboard-laced "As the Worm Turns." Other highlights include the furious instrumental "Pills for Breakfast" and the near-dance track "Arabian Disco." Although most of FNM's important components are present -- airy keyboards, tribal drumming, heavy metal guitar, and sturdy bass -- the big picture is not as focused as it would eventually be. And it becomes more and more evident that the missing piece of the puzzle is Mike Patton.



Faith No More - We Care A Lot  (flac 298mb)

01 We Care A Lot 4:09
02 The Jungle 3:10
03 Mark Bowen 3:33
04 Jim 1:16
05 Why Do You Bother 5:40
06 Greed 3:50
07 Pills For Breakfast 2:59
08 As The Worm Turns 3:11
09 Arabian Disco 3:16
10 New Beginnings 3:46
bonus Faith No Man
A Quiet In Heaven 5:28
B Song Of Liberty 3:53

Faith No More - We Care A Lot  (ogg 106mb)

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On Faith No More's major-label debut, Introduce Yourself, the Faith No More that you've grown to know and love finally rears it's ugly head (much more so than on their 1985 independent release We Care a Lot). All the ingredients are there, but like its predecessor there's one crucial item missing, super-vocalist Mike Patton. This would be original singer Chuck Mosley's last outing with the band, before he was ejected due to erratic and unpredictable behavior. Still, the album is consistent and interesting, with Mosley's out-of-tune vocals being an acquired taste to most. "The Crab Song" is one of their most underrated tracks, which packs quite a wallop when guitarist Jim Martin's heavily saturated guitar kicks in. The title track is an enjoyable and brief rant, and the loopy bass and irresistible melodicism of "Anne's Song" should have been a hit. There's also a slightly updated version of "We Care a Lot" included, and the resulting video gave the band their first taste of MTV success (but nothing compared to what they'd experience with their heavily rotated breakthrough "Epic"). A step in the right direction toward the deliciously twisted sound they'd achieve on later releases.



Faith No More - Introduce Yourself  (flac 277mb)

01 Faster Disco 4:17
02 Anne's Song 4:47
03 Introduce Yourself 1:30
04 Chinese Arythmethic 4:36
05 Death March 2:59
06 We Care A Lot 4:01
07 R N' R 3:11
08 The Crab Song 5:52
09 Blood 3:39
10 Spirit 2:50

Faith No More - Introduce Yourself  (ogg 112mb)

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Starting with the careening "From Out of Nowhere," driven by Bottum's doomy, energetic keyboards, Faith No More rebounded excellently on The Real Thing after Mosley's firing. Given that the band had nearly finished recording the music and Patton was a last minute recruit, he adjusts to the proceedings well. His insane, wide-ranging musical interests would have to wait for the next album for their proper integration, but the band already showed enough of that to make it an inspired combination. Bottum, in particular, remains the wild card, coloring Martin's nuclear-strength riffs and the Gould/Bordin rhythm slams with everything from quirky hooks to pristine synth sheen. It's not quite early Brian Eno joins Led Zeppelin and Funkadelic, but it's closer than might be thought, based on the nutty lounge vibes of "Edge of the World" and the Arabic melodies and feedback of "Woodpeckers From Mars." "Falling to Pieces," a fractured anthem with a delicious delivery from Patton, should have been a bigger single that it was, while "Surprise! You're Dead!" and the title track stuff riffs down the listener's throat. The best-known song remains the appropriately titled "Epic," which lives up to its name from the bombastic opening to the concluding piano and the crunching, stomping funk metal in between. The inclusion of a cover of Black Sabbath's "War Pigs" amusingly backfired on the band -- at the time, Sabbath's hipness level was nonexistent, making it a great screw-you to the supposed cutting edge types. However, all the metalheads took the band to their hearts so much that, as a result, the quintet dropped it from their sets to play "Easy" by the Commodores instead!



Faith No More - The Real Thing  (flac 376mb)

01 From Out Of Nowhere 3:20
02 Epic 4:51
03 Falling To Pieces 5:12
04 Surprise! You're Dead! 2:25
05 Zombie Eaters 5:58
06 The Real Thing 8:11
07 Underwater Love 3:49
08 The Morning After 3:41
09 Woodpecker From Mars 5:38
10 War Pigs 7:43
11 Edge Of The World 4:10

Faith No More - The Real Thing  (ogg 129mb)

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