Jul 31, 2014

RhoDeo 1430 Goldy Rhox 171

Today the 171th post of GoldyRhox, classic pop rock, in the darklight today an American blues rock band that was highly popular during the 1970s. The band toured to packed arenas worldwide. David Fricke of Rolling Stone magazine once said "You cannot talk about rock in the 1970's without talking about them!" A popular take on the band during its heyday was that, although the critics hated them, audiences loved them.[1] The band's name is a play on words of the Grand Trunk Western Railroad, a railroad line that ran through the band's home town of Flint, Michigan.

Originally a trio, the band was formed in 1969 by Mark Farner (guitar, vocals) and Don Brewer (drums, vocals) from Terry Knight and the Pack, and Mel Schacher (bass) from Question Mark & the Mysterians; Knight soon became the band's manager. First achieving recognition at the 1969 Atlanta Pop Festival, the band was signed by Capitol Records. After a raucous, well-received set on the first day of the festival, the group was asked back to play at the Second Atlanta Pop Festival the following year. Patterned after hard rock power trios such as Cream, the band, with Terry Knight's marketing savvy, developed its own popular style. In 1969, the band released its first album titled On Time, which sold over one million copies, and was awarded a gold record in 1970. In the same year, a second album,"The Red Album", was awarded gold status. The hit single "I'm Your Captain (Closer to Home)", from the album Closer to Home, released in 1970, was considered stylistically representative of Terry Knight and the Pack's recordings. In 1970, they sold more albums than any other American band and became a major concert attraction. By 1971, they broke The Beatles' Shea Stadium attendance record by selling out in just 72 hours.

Although highly successful in the mid-1970s, tensions mounted within the band due to personal issues, burn-out, and musical direction. Despite these issues, they forged ahead. Needing two more albums to complete their record deal with Capitol, they embarked on a major tour and decided to record a double live album, Caught in the Act. The double album should have fulfilled the contract with Capitol; however, because it contained previously released material, Capitol requested an additional album to complete their contractual obligation. While pressures between the band members still existed, the members agreed to move forward and complete one more album for Capitol to avoid legalities similar to the ones that they endured with their management in 1972. The band recorded Born to Die and agreed not to release any information regarding their impending breakup in 1976

Following the breakup, Farner began a solo career and signed with Atlantic Records which resulted in two albums: Mark Farner (1977) and No Frills (1978). Brewer, Schacher and Frost remained intact and formed the band Flint. Flint released one album on Columbia Records; a second record was finished but never released. In 1996, the band's three original members once again reunited and played to 250,000 people in 14 shows during a three-month period. In 1997, the band played three sold-out Bosnian benefit concerts. These shows featured a full symphony orchestra that was conducted by Paul Shaffer (from the David Letterman Late Show). The band released a live two-disc benefit CD called Bosnia recorded in Auburn Hills, Michigan.

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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 seventh studio album by the mystery American hard rock band . The album was released by Capitol Records on July 15, 1973 and was certified gold by the Recording Industry Association of America a little over a month after its release. Two singles were released from the album. The first single, "We're an American Band", was released on July 2, 1973 and the second, "Walk Like a Man", was released on October 29, 1973. Both singles were sung by drummer Don Brewer. The album cover was originally covered in gold-colored foil on the outside, and the initial run of pressings were pressed in clear, dark-yellow vinyl. The album has been reissued many times. The album is #200 of the National Association of Recording Merchandisers (NARM) Definitive 200 albums of all time.

Today's mystery album was the group's first collaboration with producer/engineer Todd Rundgren. Rundgren and the band recorded the album at Criteria Studios in Miami, Florida on June 13–15, 1973. Rundgren would go on to produce the band's next album too, before the band switched to Jimmy Ienner. The album's original issue, as well as of the "We're an American Band" single, was on translucent yellow vinyl, symbolic of a "Gold record." The album labels, above the side numbers, instructed listeners to play "at full volume." It included four stickers (two blue, and two red) with the "Pointing Finger" logo. Upon the album's release, it became the band's best received album by critics, so far. Here a 2002 remaster

Goldy Rhox 171   (flac 258mb)

Goldy Rhox 171     (ogg 93mb)

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Jul 30, 2014

RhoDeo 1430 Aetix


Today's act was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. The band experienced relative commercial success and critical acclaim throughout their existence, continuing partly into the new millennium, including signing to major label DGC in 1990 and headlining the 1995 Lollapalooza festival. The band have been praised for having "redefined what rock guitar could do", using a wide variety of unorthodox guitar tunings and preparing guitars with objects like drum sticks and screwdrivers to alter the instruments' timbre. The band is considered to be a pivotal influence on the alternative rock and indie rock movements......N'joy !

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Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do.

The band's trio of independent late-'80s records -- EVOL, Sister, Daydream Nation -- became touchstones for a generation of indie rockers who either replicated the noise or reinterpreted it in a more palatable setting. As their career progressed, Sonic Youth grew more palatable as well, as their more free-form songs began to feel like compositions and their shorter works began to rock harder. During the '90s, most American indie bands, and many British underground bands, displayed a heavy debt to Sonic Youth, and the group itself had become a popular cult band, with each of its albums charting in the Top 100.

Such success was unthinkable when guitarists Thurston Moore and Lee Ranaldo formed Sonic Youth with bassist Kim Gordon in 1981. Moore had spent his childhood in Bethel, Connecticut; Ranaldo was from Long Island. Both guitarists arrived in Manhattan during the height of the New York-based post-punk no wave movement, and began performing with the avant-garde composer Glenn Branca, whose dissonant, guitar-based music provided the basis for much of Sonic Youth's early music. Moore's girlfriend Gordon had been active in the avant and no wave scenes for some time, and the pair helped stage the Noise Festival, in which the band made its live debut during the summer of 1981. At the time, Sonic Youth also featured keyboardist Anne DeMarinis and drummer Richard Edson. DeMarinis left the band shortly afterward, and the quartet recorded its eponymous debut EP, which was released on Branca's Neutral Records the following year. During 1983, Edson left the band to pursue an acting career and he was replaced by Bob Bert, who drummed on the group's debut album, Confusion Is Sex (1983). The band supported the album with its first European tour. Later that year, the group released the EP Kill Yr Idols on the German Zensor label.

Early in 1984, Moore attempted to land the band a contract with the British indie label Doublevision, but the label rejected the demos. Paul Smith, one of the owners of Doublevision, decided to form Blast First Records in order to release Sonic Youth records. Soon, he received a distribution deal from the hip U.K. indie label Rough Trade, and the band had its first label with strong distribution. During all these record label negotiations in 1984, the cassette-only live album Sonic Death: Sonic Youth Live was released on Ecstatic Peace. Bad Moon Rising, the group's first album for Blast First, was released in 1985 to strong reviews throughout the underground music press. The album was markedly different from their earlier releases -- it was the first record they made that incorporated their dissonant, feedback-drenched experimentations within relatively straightforward pop song structures. Following the release of the Death Valley '69 EP, Bert was replaced by Steve Shelley, who became the group's permanent drummer.

Bad Moon Rising had attracted significant attention throughout the American underground, including some offers from major labels. Instead, Sonic Youth decided to sign with SST, home of Hüsker Dü and Black Flag, releasing EVOL in 1986. With EVOL, the group a became fixture on college radio, and its status grew significantly with 1987's Sister, which was heavily praised by mainstream publications like Rolling Stone. The group's profile increased further with the 1988 Ciccone Youth side project The Whitey Album, which was a tongue-in-cheek tribute to Madonna and other parts of mainstream pop culture.

The band's true breakthrough came later in 1988 with the double album Daydream Nation. Released on Enigma Records, it was a tour de force that was hailed as a masterpiece upon its fall release, and it generated a college radio hit with "Teenage Riot." Though the album was widely praised, Enigma suffered from poor distribution and eventually bankruptcy, which meant the album occasionally wasn't available in stores. These factors contributed heavily to the band's decision to move to the major label DGC in 1990.

Signing a contract that gave them complete creative control, as well as letting them function as pseudo-A&R reps for the label, Sonic Youth established a precedent for alternative bands moving to majors during the '90s, proving that it was possible to preserve indie credibility on a major label. Released in the fall of 1990, Goo, the band's first major-label album, boasted a more focused sound, yet it didn't abandon the group's noise aesthetics. The result was a college radio hit, and the group's first album to crack the Top 100. Neil Young invited Sonic Youth to open for him on his arena tour for Ragged Glory, and though they failed to win over much of the rocker's audience, it represented their first major incursion into the mainstream; it also helped make Young a cult figure within the alternative circles during the '90s.

For their second major-label album, Dirty, Sonic Youth attempted to replicate the sloppy, straightforward sound of grunge rockers Mudhoney and Nirvana. The band had been supporting those two Seattle-based groups for several years (and had released a split single with Mudhoney and brought Nirvana to DGC Records), and while the songs on Dirty were hardly grunge, it was more pop-oriented and accessible than earlier Sonic Youth records. Produced by Butch Vig, who also produced Nirvana's Nevermind, Dirty became an alternative hit upon its summer 1992 release, generating the modern rock hits "100%," "Youth Against Fascism," and "Sugar Kane." Sonic Youth quickly became hailed as one of the godfathers of the alternative rock that had become the most popular form of rock music in the U.S., and Dirty became a hit along with the exposure, eventually going gold.

Sonic Youth again worked with Vig for 1994's Experimental Jet Set, Trash and No Star, which entered the U.S. charts at number 34 and the U.K. charts at number ten, making it their highest-charting album ever. The high chart position was proof of their popularity during the previous two years, as it received decidedly mixed reviews and quickly fell down the charts. Later in 1994, Moore and Gordon -- who had married several years before -- had their first child, a daughter named Coco Haley. Sonic Youth agreed to headline 1995's American Lollapalooza package tour, using the earnings to build a new studio. Following the completion of the tour, Sonic Youth released Washing Machine, which received their strongest reviews since Daydream Nation. After a series of experimental EPs issued on their own SYR label, they resurfaced in 1998 with the full-length A Thousand Leaves. NYC Ghosts & Flowers, which featured Jim O'Rourke as a producer and musician, followed in the spring of 2000. O'Rourke became a full member of the group, touring with the band and appearing on and producing 2002's Murray Street.

The five-piece Sonic Youth returned in 2004 with Sonic Nurse; one year later, however, O'Rourke departed the band to pursue a career as a film director. Late in 2005, the remaining bandmates issued SYR 6, a recording of a benefit concert for the Anthology Film Archives that Sonic Youth had played alongside percussionist Tim Barnes. Rather Ripped, a fusion of the mellow, sprawling feel of the band's previous two albums with a more stripped-down sound, was released in 2006. In 2008, the band resurrected the SYR series: J'Accuse Ted Hughes arrived that spring as a vinyl-only release, while Andre Sider Af Sonic Youth chronicled an improvised performance at 2005's Roskilde Festival. They also assembled a compilation album for Starbucks, Hits Are for Squares, featuring the previously unreleased track "Slow Revolution." Before the busy year concluded, Sonic Youth made additional headlines by leaving the Geffen label and signing with Matador, which prepared to issue the band's 16th album, The Eternal, during the following spring. The year 2010 was relatively quiet for the band, with members concentrating on individual projects like Shelley's Vampire Blues label; they also recorded the soundtrack to French director Fabrice Gobert's film Simon Werner a Disparu, which was released early in 2011. Moore and Gordon announced their impending divorce in the fall of 2011, creating doubt about the band's future past their year-end South American tour. Apparently the split after 27 years has created so much bad blood that it's unlikely Sonic Youth will go on...

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Sonic Youth is the only Sonic Youth release in which the guitars predominantly use standard tuning. The album is also largely representative of their early No Wave roots. The production is also professional, with a crisp sound quality that wouldn't be heard in the band's music until their early-'90s major label releases. Drum-wise, the songs feature the more "downtown" roto-tom-addled stylings of Richard Edson, approaching the quasi-funk/hip-hop rhythms of 99 Records bands like ESG and Liquid Liquid. The bass guitar, though often playing minor key riffs, is almost funk-based, which was a common feature of post-punk and no wave music. The clean guitar tones contain little of the trademark noise that Sonic Youth would eventually become known for. Awkward and rather formative, the record sounds like a fusion of no wave and an early Factory band. A couple tracks ("The Burning Spear," "I Don't Want to Push It") match the best of Confusion Is Sex, steeping itself in death disco and minimal scree. Thurston Moore yelps, Kim Gordon rambles, and the guitars go plink-plink-plink.

Sonic Youth - Sonic Youth ( flac 380mb)

01 The Burning Spear 3:24
02 I Dreamed I Dream 5:14
03 She Is Not Alone 4:02
04 I Don't Want To Push It 3:31
05 The Good And The Bad 7:49
Early Live (September 18, 1981)
06 Hard Work 3:19
07 Where The Red Fern Grows 5:47
08 The Burning Spear 3:23
09 Cosmopolitan Girl 3:35
10 Loud And Soft 6:48
11 Destroyer 5:32
12 She Is Not Alone 3:29
Early Studio (October 1981)
13 Where The Red Fern Grows 6:45

Sonic Youth - Sonic Youth  (ogg 146mb)

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Abrasive and archaic, theatrical and confrontational, Confusion Is Sex marks the opening strides that Sonic Youth made during their long slog through the American underground scene of the '80s. And yes, this album is underground if anything; it's lo-fi to the point of tonal drabness, as the instruments seem to ring out in only one tone, that of screechy noise. Yet that tone in itself is part of the album's style, which is one of antithesis. The album isn't comprised of songs but rather soundscapes, while the instruments are your traditional guitar-bass-drums-vocals lineup but are performed most untraditionally. Taken as a whole, Confusion Is Sex is a spellbinding listen, especially the first time through. If you're a bona fide Sonic Youth fan, chances are you'll find it especially spellbinding -- the more of the band's albums you've heard, the better. However, if you're unfamiliar with the band, or a casual fan at most, chances are you're going to be thoroughly tested: this is not an easy album to enjoy. This album features a guitar sound often reminiscent of clocks and bells. This is created by using prepared guitars with screwdrivers stuck between the fretboard and the strings. Notable songs where Ranaldo and Moore used this 3rd bridge technique are "Protect Me You", "The World Looks Red" and "Lee Is Free". The band also used this technique on their debut EP. On later albums the group abandoned the technique and shifted to a deeper focus on alternate tunings. The group got the idea of the prepared guitar techniques from their experiences with Glenn Branca, who also published this album on his label Neutral Records. As inaccessible as it may be, however, Confusion Is Sex is a cornerstone of Sonic Youth's career, their true opening salvo toward underground heroism, though miles and miles away from such highly regarded albums as Daydream Nation (1988) or Dirty (1992).

Sonic Youth - Confusion Is Sex (Plus Kill Yr. Idols)  (flac 289mb)

01 (She's In A) Bad Mood 5:36
02 Protect Me You 5:28
03 Freezer Burn / I Wanna Be Your Dog 3:39
04 Shaking Hell 4:06
05 Inhuman 4:02
06 The World Looks Red 2:43
07 Confusion Is Next 3:28
08 Making The Nature Scene 3:01
09 Lee Is Free 3:37
Kill Yr. Idols
10 Kill Yr. Idols 2:51
11 Brother James 3:17
12 Early American 6:07
13 Shaking Hell (Live) 3:17

Sonic Youth - Confusion Is Sex (Plus Kill Yr. Idols) (ogg 113mb)

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An album quite unlike any other in the colorful Sonic Youth canon, Bad Moon Rising captures the New York band in 1985 during its most morose phase, one that is quite forbidding yet fascinating all the same. The proper album is an eight-song tapestry of droning guitar feedback, distant clattering percussion, and dreamy vocal mumblings, all of it woven together by sullen interludes of ambient noise. With the exception of the closing "Death Valley '69," nothing really stands out per se. Each song shares the same late-night shadowy feel as the others, with no outright singalong hooks to be found anywhere; it's just one ambling slab of dark noise rock. "Death Valley '69" then brings it all to a feverish close, driven by runaway guitar riffs and a frantic vocal duet by Thurston Moore and Lydia Lunch. It's a piercing capstone to an otherwise hazy album and is no doubt one of the highlights of Sonic Youth's overall output. Overall, this music is a definite leap forward from what Sonic Youth had been doing previously on Confusion Is Sex (1983) and Kill Yr. Idols (1983); it plays as one long piece, a work that perhaps reflects the spirit of the time, American gothic through the glassy eyes of willful moonlit paranoia. And as such, it's certainly a step toward EVOL (1986), the band's successive release, which is likewise obsessed with the dark side of America and likewise informed by sweeping waves of ambient guitar noise, but much more song-based and focused than Bad Moon Rising's dreamscape feel.

Sonic Youth - Bad Moon Rising  (flac 273mb)

01 Intro 1:11
02 Brave Men Run (In My Family) 3:36
03 Society Is A Hole 5:58
04 I Love Her All The Time 7:28
05 Ghost Bitch 5:40
06 I'm Insane 4:08
07 Justice Is Might 4:21
08 Death Valley '69 5:10
09 Satan Is Boring 5:06
10 Flower 3:36
11 Hallowe'en 5:00
12 Echo Canyon 1:09

Sonic Youth - Bad Moon Rising  (ogg 115mb)

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Jul 29, 2014

RhoDeo 1430 Roots

Hello, Like all of Africa, save Liberia (which was very nearly a U.S. colony), Ghana was once ruled by distant Europeans with no vested interest in the well-being of the local populace. The British colonial authority in Ghana (they called it the Gold Coast, because its huge gold deposits were what they wanted it for) wasn't among the worst colonial governments, but foreign rule is always a dead-end street for the locals, and in 1957, Ghana became one of the first European holdings in Africa to assert its independence, taking the name from an ancient and powerful trading empire that once controlled vast swaths of West Africa. Ghana's boundaries are, of course, artificial, and Ghanaian society consists of no fewer than eight major ethnolinguistic groups, but the country has managed to remain peaceful in spite of numerous coups and failed experiments with democracy in its history.

In recent years, there’s been an explosion of interest in African pop music from the ‘60s and ‘70s.  One of the most important reasons for this newfound enthusiasm is the increased availability of high-quality compilation albums that showcase the vast body of excellent, genre-melding music that’s been produced across Africa in the last 50 years. N'joy

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The popularity of Ethiopiques—2009 marked the release of the 25th volume in the series—has spurred a number of other labels to follow suit by releasing collections of once-popular, now hard-to-find African music, largely from East and West African countries, and primarily from the ‘60s and ‘70s. Among those labels, Soundway Records has consistently put out some of the best compilations, starting in 2003 with Ghana Soundz: Afrobeat, Funk and Fusion in 70’s Ghana, the first entry in a two-volume series, which featured mostly out-of-print recordings from the ‘70s by long-forgotten African artists influenced by everyone from Fela Kuti to James Brown to Santana. Like Ethiopiques, the music on Ghana Soundz—mostly dubbed “highlife” in Ghana—is an exciting mix of soul, jazz, rock, and Afrobeat. Soundway’s latest compilation of African music, Ghana Special: Modern Highlife, Afro-Sounds, and Ghanaian Blues, 1968-81, continues right where the Ghana Soundz series left off, giving us more recordings, primarily from the ‘70s, by no less than 33 different artists, several of whom appeared on Ghana Soundz. Compared with Ghana Soundz, the tracks on Ghana Special are bluesier, more downtempo affairs, with fewer jams and more traditional songs, but all the hallmarks that made Ghana Soundz successful are retained.  This collection is no less essential for fans of world and soul music.

Nearly every song on Ghana Special is a keeper, but a handful of gems shine brighter than the rest. “You Can Go”, by Bokoor Band, is a pop masterpiece with jangly electric guitars, soaring harmonica (played by British émigré and band cofounder John Collins), and the call-and-response vocals characteristic of Afrobeat. It’s sure inspiration for bands like NOMO and Vampire Weekend. “Obi Agye Me Dofo,” by Vis a Vis, is a midtempo jam, anchored by staccato hand drums, a buzzing Funk Brothers bass groove, synth string accents, and jazzy horn solos. “Twer Nyame”, from highlife progenitor Ebo Taylor, would sound perfectly at home on the Buena Vista Social Club soundtrack, with its pitter-patter percussion, hot horn section, and stellar vocal harmonies. “Dr. Solutsu”, by Basa Basa Soundz, is a swinging, minor key romp featuring the wailing saxophone of Afrobeat ambassador Fela Kuti.

According to Soundway’s web site, Ghana Special was the result of nearly ten years of extensive research in cities across the West African coastal nation and involved visiting everyone from DJs and music store owners to ardent collectors and the musicians themselves. The collection, available as a two-CD or five-LP set, comes in a handsome booklet filled with photos, artist information, and essays.

The sound selection and production quality on Ghana Special is as good as anything in the Ethiopiques series, making it highly recommended and one of the best collections of African highlife—and popular African music from the ‘60s and ‘70s—available today.

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The 70s marked an era of relative tolerance in Ghana, one in which the massive explosion of creativity that engulfed Western popular music in the late 60s found its way to Ghana. There, Western music infused itself into Ghana's prevailing pop music style, Highlife, a gumbo of jazz, traditional rhythms and Liberian sailor songs that had dominated the popular music scene in urban Ghana since the 30s. It's worth noting that Fela Kuti's earliest bands were essentially Highlife bands-- Nigeria and Ghana shared heritage as former British possessions and the music scenes in both countries often moved in parallel, though Nigeria's was far better funded and more visible.

The experimental bands that sprung up in Ghana, taking on funk, psychedelia and fusion, never really deposed Highlife from the top of the Ghanaian charts (if such a thing can really be said to have existed), but hundreds of highly unique recordings nonetheless found their way onto locally pressed shellac discs in Ghana in the mid-70s and the era left behind a spoil of riches that's only beginning to come back to light, thanks largely to this disc, the first in what promises to be a series of three volumes.

These songs tread a startling range of ground, but a few things hold true across all of them: they're ebullient and virtually apolitical, and the rhythm is the key. The compilation kicks off with three breakneck, fantastic funk tracks that are impossible not to groove to. The Third Generation Band's "Because of Money" is full of tribal percussion and hypnotic guitar, but it's really "Bukom Mashie" by Oscar Sulley & The Uhuru Dance Band that brings things into high gear. The song slams in with a killer drum vamp and before you can even fully wrap your head around how awesome it is, the bassist drops this fantastically buoyant line that'll have you looking around for someone to high-five. A huge, sax-dominated horn section blasts out an odd mixture of hot jazz, spy theme-ish drama and dancehall celebration that sucks the breath from your lungs.

 It's incredible how excellent each song here is. Marijata's "Mother Africa" is one of the best funk tracks I've ever heard, raw and filthy and tumbling along at ramjet tempo. Another personal favorite is Gyedu Blay Ambolley & The Steneboofs' "Simigwado", a strange tune built on a funky vamp that veers into spoken word passages (I'm not sure of the language) where Ambolley's flow picks up the rhythmic momentum and becomes the song's primary driving force. Honny & The Bees Band are the most overtly Western-influenced band here-- the backing vocals between verses sound almost like a Yardbirds guitar part. And then there's the shocking ring-modulated synthesizer solos that show up in the offerings from K. Frimpong & His Cubano Fiestas and a band called The African Brothers. Rob's "Make It Fast, Make It Slow" practically sounds like a D'Angelo track, with its slow, trunk-rattling beat anticipating every sleazy bed track that ever cropped up on a hip-hop album.

You have to hear for yourself to truly understand the magnitude of what was happening in Ghanaian music in the 70s, unbeknownst to the rest of the world. This music sears, and the track selection here is impeccable. I've heard so many cheap-ass "world music" comps over the years that it's truly refreshing to hear one quite so expertly assembled-- it's not even presented as a world music compilation, so much as a collection of little-heard tracks that happen to be from Ghana. Ghana Soundz shines a long-overdue light on the best kind of music scene-- one in which creativity and simple joy took precedence over sales or posturing.

Pounding rhythms, blaring horns and pumping vocals – the music is a document of a time forgotten when flares and Cuban heels strutted the streets and night-spots of Accra, the sizzlingly hot and humid capital of Ghana.  Influenced as much by traditional rhythms and local highlife as by the music of Fela Kuti, James Brown and Santana, these tunes had almost become extinct – until now! Ghana Soundz was the first of three collections of rare afro-beat, afro-funk and afro-fusion that Miles Cleret painstakingly travelled the length and breadth of Ghana to assemble,

VA - Ghana Soundz  (flac  309mb)

01 The 3rd Generation Band - Because Of Money 5:50
02 Oscar Sulley & The Uhuru Dance Band - Bukom Mashie 5:05
03 Marijata - Mother Africa 4:52
04 Ebo Taylor - Heaven 6:02
05 Gyedu Blay Ambolley & The Steneboofs - Simigwado 4:28
06 The Sweet Talks - Eyi Su Ngaangaa 4:59
07 The Ogyatanaa Show Band - Ageisheka 4:59
08 Honny & The Bees Band - Psychedelic Woman 4:31
09 K. Frimpong & His Cubano Fiestas - Hwehwe Mu Na Yi Wo Mpena 7:49
10 The Apagya Show Band - Kwaku Ananse 3:09
11 African Brothers - Self Reliance 8:31
12 Rob - Make It Fast, Make It Slow 5:24
13 Alex Konadu - W'awu Do Ho No 3:28
14 The Black Star Sound - Nite Safarie 3:24

VA - Ghana Soundz  (ogg 153mb)

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VA - Ghana Special I  (flac  301mb)

01 Mercury Dance Band - Kai Wawa 3:01
02 T.O. Jazz - Owuo Adaadaa Me 2:52
03 Christy Azuma & Uppers International - Din Ya Sugri 7:03
04 The Barbecues - Aaya Lolo 3:48
05 Asaase Ase Ohiani Sua Efir 4:02
06 St. Peter & The Holymen - Bofoo Beye Abowa Den 3:15
07 City Boys Band - Nya Asem Hwe 4:51
08 Hedzoleh Soundz - Edinya Benya 3:17
09 Cutlass Dance Band - Hwehwe Mu Yi Mpena 3:18
10 Dr. K. Gyasi & His Noble Kings - Sei Nazo 3:02
11 Kyeremateng Atwede & The Kyeremateng Stars - I Go Die For You 5:23
12 Vis A Vis - Obi Agye Me Dofo 9:51
13 Ebo Taylor - Twer Nyame (excerpt) 5:22
14 The Big Beats - Mi Nsumõõ Bo Dõnn 3:39
15 Pa Steele's African Brothers - Odo Mmera 3:01
16 Ogyatanaa Show Band - You Monopolise Me 3:14

VA - Ghana Special I    (ogg 143mb)


VA - Ghana Special II  (flac  350mb)

01 African Brothers International Band - Wompe Masem 4:19
02 Gyedu-Blay Ambolley & His Creations - Akoko Ba 5:26
03 The Sweet Talks - Akampanye 4:27
04 Houghas Sorowonko - Enuanom Adofo 3:10
05 Oscar Sulley's Nzele Soundz - Bukom 3:28
06 Bokoor Band - You Can Go 3:22
07 K. Frimpong & His Cubano Fiestas - Kyenkyen Bi Adu M'Awu 6:57
08 Basa Basa Soundz Feat. Fela Anikulapo Kuti - Dr. Solutsu 3:22
09 Pagadeja - Tamale 3:11
10 Hedzoleh Soundz - Omusus Da Fe M'musu 4:58
11 The Uhuru Dance Band - Yahyia Mu 4:11
12 Dr. K. Gyasi & His Noble Kings - Noble Kings (Yako Aba) 5:46
13 The Wellis Band - Bindiga 3:25
14 Boombaya - Boombaya 3:39
15 Sawaaba Soundz - Owuo 4:20
16 Cutlass Dance Band - Them Go Talk Of You 3:30
17 Honny & The Bees Band - Sisi Mbon 6:47

VA - Ghana Special II   (ogg 156mb)

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