Oct 30, 2014

RhoDeo 1443 Goldy Rhox 184

Hello, today the 184th post of GoldyRhox, classic pop rock in the darklight a singer /filmdirector and composer, a bit of a side step as we're talking soundtrack here. Although this hit soundtrack was recorded with cheap '70s synthesizers, the simple scores composed are acclaimed masterpieces. Our man sets the mood for his horrific movie with such tracks as "The Shape Stalks," "Laurie's Theme," and, of course, his main theme, which consists of the beating out of a 5-4 rhythm. A definite first pick for those interested, this soundtrack even bests most scary music albums.

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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.

For fans of the 1978 classic slasher film, this 20th anniversary soundtrack is a must-have. When the director set out to write his own music for the low budget horror flick, little did we know that he was about to bring us a stirring, gripping score, in the spirit of master suspense composer Bernard Herrmann, himself.

The story of today's mystery movie is pretty familiar to most people, especially to those most likely to look into getting this soundtrack. Michael Myers was a young boy who brutally stabbed and murdered his sister back in 1963. He was taken to a mental hospital and was put under the care of Dr. Sam Loomis (the name being an homage to a character in Hitchcock's "Psycho"). In 1978, Michael Myers breaks free, returns to his hometown of Haddonfield, IL., and terrorizes a teenage babysitter named Laurie Strode. All of the frenzied, harrowing action takes place on Halloween night. The small town setting evokes the loneliness of Autuman well: leaves descend from their trees and blow through the streets, and jack-o-lanterns line the porches of the nice, quiet homes. Michael Myers shatters all of that serenity once night falls. The film is a suspenseful, pulse-pounding exercise in terror and fear. This is all enhanced greatly by its excellent score.

Our mystery man, with just a few sparse notes, manages to interpose urgency, dread, fear, and evil presence, ever so exceptionally into the foreboding film. Visual and aural cues work brilliantly together to form a near-perfect blend of synchronous fright. Michael Myers turns the staircase, the music reflects it. He suddenly sits up, the music is right there. He is spotted across the street from Laurie Strode's school, the score hauntingly emanates. It is simple, but effective.

One should be aware of a couple of things about this this 20th anniversary soundtrack. It is 28 tracks long, and as the score is somewhat simple, there is a bit of repetition involved. Also, the dialogue for each score segment is included on this soundtrack. If you are wanting just the music, then this is not for you. Personally, I think the inclusion of the dialogue adds to the suspense. This soundtrack is a must-have for the *fans* of the film. It is a good companion-piece to the movie. In fact, one could almost say that it *is* the movie. Few scores have been able to so definitively evoke the atmosphere of their films as well as "today's gruesome mystery" has. Sit back, listen, and be scared.

Goldy Rhox 184 (flac 283mb)

Goldy Rhox 184 (ogg 119mb)

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Oct 29, 2014

RhoDeo 1443 Aetix

Hello, still in limbo i'm not sure how things are at your end but i keep seeing lot's of browser crashes-thats how my misery started in windows but these happen on macs and linux too, it looks to me that it's the websites that cause computer misery and i think this is by design, commercial forces are very eager to have their own completely controlled fast internet leaving the biggest possible heap of corrupted webshite behind. Still it's irritating that this computer refuses my OS discs...

Last week Skinny Puppy's eighties output came to an end but Canada had another
electro-industrial/synthpop group that started manifesting in the same timeframe. Psyche are centered on singer Darrin Huss, who has been the only constant member, with various line-ups including his brother Stephen Huss, later followed by David Kristian, Per-Anders Kurenbach, and Remi Szyszka, all recording albums with Darrin under the name Psyche.....N'Joy

FLACS re-upped 2nd of December 2014
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Psyche was formed by brothers Darrin and Stephen Huss[1] in Edmonton, Alberta, named after the B-Side of Killing Joke's Wardance single as well as being chosen for the meaning of the word. The band's debut performance was on December 13, 1982 with Dwayne Goettel on additional keyboards. During this period, Psyche were known for their bizarre live shows wherein Darrin performed nude (except for being covered in shaving cream) while talk-singing and shouting over the music. The performance idea was inspired by pictures seen of Fad Gadget in British Music magazines.

While demos were recorded during this period of collaboration with Dwayne Goettel, no albums were released until 1985's Insomnia Theatre, after Goettel's departure. After Insomnia Theatre achieved moderate success in Europe, Psyche tested the waters with a couple single releases followed up by a new studio album, Unveiling the Secret, in 1986. To promote the record, Psyche performed as the opening act for Suicide, at Élysée Montmartre in Paris, then as headliners on their own proper European tour.

After the release of their third studio album, Mystery Hotel, Stephen Huss was forced to take a hiatus from the group due to being diagnosed with schizophrenia. During this period Darrin began collaborating with David Kristian, leading to a new album, The Influence, in 1989. This album introduced new elements to Psyche's sound, with samples created by Kristian, and being performed entirely on the Casio FZ1.

A visit home to Waterloo in 1991 reunited the Huss brothers and, the subsequent recording sessions produced 1991's Daydream Avenue. Though Psyche returned to tour Europe with German keyboardist Johannes Haeusler in support of English poetic artist Anne Clark, Stephen Huss stayed behind in Canada due to his illness.

A follow-up wouldn't come until 1994s Intimacy, produced in collaboration with Joseph Watt (of Razormaid). Feeling that this new album lacked powerful dance numbers, Psyche released the Private Desires EP as a companion, featuring a cover of Soft Cell's classic Sex Dwarf. While the group embarked on a small German tour, the future of the group was unclear due to Stephen Huss remaining in Canada, leaving Darrin to find new collaborators in Germany.

After another hiatus while dabbling in side projects, Psyche resumed activities in 1996 with Per-Anders Kurenbach joining as a new member. Together with Kurenbach, Psyche released Strange Romance, which took a musical shift toward an accessible, upbeat pop sound to bring listeners up to date with the personal events described in Darrin's lyrics. After playing for the first time in Oslo, Norway and a return to Sweden, Psyche released a live video featuring highlights from their Strange Romance Tour. 1998 saw the beginning of a new record label partnership, and in June of that year Psyche released their eighth official album on the StrangeWays label out of Hamburg, Germany. The album Love Among the Ruined added a few more experimental touches to the pop side of Psyche's style.

At the beginning of 2000, Psyche signed to Art of Fact Records in North America. The specially-compiled release of Misguided Angels contained material from 1983 through 2000 as a re-introduction of Psyche back on their original continent. It contained the last material from Per-Anders Kurenbach, and Darrin as well as some rare mixes. By this point Kurenbach has left the group and was replaced by Remi Szyszka.

The new line-up made its debut on Accession Records with a new single, Sanctuary, released in April 2001. After a series of successful concerts in both Europe and North America, ninth studio album The Hiding Place was released and well-received, charting fourth in the year-end Top 100 of the German Alternative Charts. To capitalize on The Hiding Place's success, a new remix album entitled Endangered Species was released mid-2002. The success continued into 2003 with a string of live performances and the release of a new album, Babylon Deluxe, which found its way in the German Alternative Top Ten once again.

The 11th Hour, Psyche's 11th album, saw the return of previous collaborator Per-Anders Kurenbach, but including a farewell track with Remi Szyszka, and a guest appearance by Christian Wirsig. The 11th Hour was released through Accession Records in Europe, Metropolis Records in North America, and Irond Records in Russia making it the widest release in the band's history. The album topped the German Alternative Charts (DAC).

In 2006, after nearing the 25-year mark of Psyche's existence, a DVD collection documenting Psyche's appearances in every incarnation from 1983–2005 was released. Containing 23 tracks in all, with at least 1 song from every album ever released, Imaginary Life was released on May 26, 2006. It contains music videos and performances covering the very beginning from "The Crawler" on an Edmonton TV station in 1983 through to 2005. Plus an audio commentary track and bonus features such as Darrin and Stephen Huss being interviewed backstage in Sweden after their debut concert in Gothenburg in 1988.

Following The 11th Hour, Psyche shifted their focus to touring rather than recording, playing shows and festivals across Europe, North and South America, and South Africa. During this phase of Psyche's career, no new studio albums were released, with the band opting instead to release remix albums (Unveiling the Secret 2.0, Until The Shadows, Halloween EP), compilations of old and unreleased materials (Re-Membering Dwayne, Unknown Treasures, As The Brain Collapses, Rare Mixes & B-Sides), and multiple live albums. In addition, several early albums received re-releases.

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The debut album of the Huss brothers with the ground breaking Brain Collapses, Mr. Eyeball Ooze, Wrench, Maggots and several other wonderful horror-synth classics. On Unveiling The Secret, Psyche reached a Europe-wide club hit with the title track and set a whole new style with such titles as "Prisoner To Desire" and "The Saint Became A Lush".

Psyche - Insomnia Theatre - Unveiling The Secret  (flac 464mb)

01 Mr.Eyeball Doze 5:12
02 Maggots 4:37
03 Wrench 3:34
04 Brain Collapse 4:10
05 Eating Violins 2:43
06 On The Edge 5:07
07 Why Should I? 5:03
08 Thundershowers 5:15
09 Lord Unleashed 3:20
10 Caught In The Act 5:37
11 Prisoner To Desire 5:40
12 The Saint Became A Lush 6:12
13 Black Panther 3:47
14 Taking Chances 4:45
15 Unveiling The Secret 7:11
16 The Crawler 2:31

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"Uncivilized" got modest airplay on the new wave radio stations that said much of their work never got the heavy rotation that Psyche deserved. This late 80s electro-industrial/synthpop band That sometimes sounds like a darker, almost industrial Depeche Mode of the same era. However, most noticeable is their similarities to the experimental sounds of early Softcell. The singer, in fact, sounds very much like Marc Almond at times, and if you see some of their videos, he also kind of borrows Almond's look and fashion sense. If you love electro-industrial/synthpop from this era, definitely book into Psyche's Mystery Hotel.

Psyche - Mystery Hotel  (flac 337mb)

01 Make No Mistake 4:08
02 Insatiable 4:41
03 Wake The Flood Unconscious 2:55
04 The Outsider 4:23
05 You're The Only One 3:25
06 Uncivilized 3:40
07 Ride On 2:47
08 Dreamstreet 5:16
09 Nocturnal Passenger (Extended) 6:08
10 Eternal 4:18
Bonus Tracks
11 Uncivilized (Instrumental) 3:37
12 Black Panther 3:47
13 Prisoner To Desire (Version 1) 4:38

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In 1989, Darrin teamed up with David Kristian to create a new Psyche album entitled 'The Influence'. The album was performed completely using the Casio FZ1 and David incorporated his own samples that gave Psyche a new sound. Electronic and darker in context, The Influence revitalized the gothic scene. Even though no tracks were released as singles from the album, it proved to be a classic as Lights of Euphoria covered the song Misery on their debut album.

Psyche - The Influence (flac 321mb)

01 Psyche Theme 2:46
02 Haunted 4:09
03 Misery 4:03
04 The Dark Pool 4:50
05 Salvation Stranger 3:52
06 The Sundial 2:56
07 Illusion 4:20
08 Twilight 4:30
09 The Influence 4:17
10 Misery's Return 4:58
11 Haunted (Hill House Mix) 5:49
12 The Sundial (Hospital Mix) 3:34
13 Eleanor (Instrumental) 3:40

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This compilation of early recordings by Psyche dates from 1982-1987 and is dedicated to those who still believe that one's humanity in art should not necessarily be rated by an industry standard.  Featuring  the "harder"  industrial side of Psyche represented here by the likes of "The Crawler", "Screamin' Machine", "Another Billion Eyes", and "Waiting For The Stranger" (no one will ever top that monster).  The tracks seem more about effect, ambience and mood than developed ideas. These slices of mood are pretty effective, though--enough to sustain interest for a short time--and they are diverse from track to track, at least as much as one can expect and still stay in a dark, semi-gothic, industrial dance vein. A chance then to experience the ground floor of the developing electro-industrial genre; going to dark clubs and getting weird with anti-establishment youth.

Psyche - Tales From The Darkside (flac 325mb)

01 I'm A Gentleman 3:33
02 Eraserhead 3:50
03 Wrench II 3:18
04 Another Billion Eyes 2:51
05 Empty Spirit 3:13
06 A Threat 3:49
07 The Brain Collapses 4:04
08 Children Carry Knives 4:47
09 Theme For Runaways 2:14
10 Screamin' Machine 4:22
11 Cheated 2:43
12 The Crawler 2:20
13 Mind Over... 4:30
14 Waiting For The Stranger 2:42
15 The Darkside 2:00
16 Psychic Vampire 4:28

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Oct 28, 2014

RhoDeo 1443 Roots

Hello, I thought a USB key with a new XP3 iso would do it but nada my windows 7 discs refuse to expand and my old xp3 discs dont do anything anymore so still stuck with this linux life disc unfortunately I cant't use the software im used to using, so no ogg files or cue sheet looks like I will have to look if I can repair my old pc- not looking for ward to that  i'm no wizard there

Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children. Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled.

Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution. The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959. Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the name of the spirit most appealed to for the protection of these independence fighters.

Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi. Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project. The band would become politically charged. It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity. It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. The success of the new orchestra was almost immediate.

Ok its 30th of November and all these flacs have been re-upped with a 'cured' machine

In early 1980, the group went for its only recording sessions in Lisbon. People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida." Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping. It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal. It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.

 .. ... N'joy

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Super Mama Djombo is a band from Guinea Bissau who sing in Guinea-Bissau Creole.[1] The band was formed in the mid-1960s, at a Boy Scout camp, when the members were only children (the youngest was six years old). [2] Mama Djombo is the name of a spirit that many fighters appealed to for protection during Guinea-Bissau's War of Independence.[3]

In 1974, the politically conscious band leader Adriano Atchutchi joined. The group became immensely popular in the young country, which had gained its independence the same year. They would often play at President Luís Cabral's public speeches, and their concerts were broadcast live on radio.[2]

In 1978 group traveled to Cuba and appeared on the eleventh youth music festival in Havana.[citation needed] Early in 1980, they went to Lisbon and recorded six hours of material. The first album Na cambança was released the same year, and the song Pamparida, which was based on a children's song, became a huge hit throughout West Africa. In 1980 Cabral was overthrown, and the new regime under João Bernardo Vieira no longer supported the band. They had fewer opportunities to perform, and broke up in 1986.[2] However, the soundtrack to Flora Gomes' film Udju Azul di Yonta (The blue eyes of Yonta) (1993) was recorded by Adriano Atchutchi and other members of the original band under the name of Super Mama Djombo.[4]

In 2012, Super Mama Djombo toured Europe.[5] The band included several of the original members, drummer Zé Manel, guitarist Miguelinho N'Simba, percussionist Armando Vaz Pereira and Djon Motta,[6] together with new members such as solo guitarist Fernando Correia from the band Freaky Sound. Although Adriano Atchutchi, the original lead composer and bandleader, is not part of the current line up, the military coup in April resulted in him having to leave his post as a provincial governor when the military took over the functions of the government, so he was able to attend rehearsals to help the band prepare for the tour. The band said they hoped the tour would "show people that Guinea-Bissau's loudest sound is not that of gunfire, but that of music."

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Here's a wonderful little slice of history from the tiny country of Guinea-Bissau. From its beginnings in a boy scout camp, Super Mama Djombo emerged to become one of the country's leading bands during the late '70s and into the earliest part of the '80s. The 14 tracks here are the product of their only recording session, in 1980, six glorious hours that produced some amazing music, including the West African hit "Pamparida," based on a children's song, a track that made them into regional stars. But it's only one of the great things here. There's some searing music, some beautiful singing, and a very electric atmosphere throughout. There are also some unusual details, like the strange whistling on "Pansau Na Isna," for example; it's jarring and completely unexpected, but it works. Across the whole album there's plenty of driving percussion, always understated, and the guitars offer a mesh of sound that happily owes little to Congolese rhumba -- the fretwork is harder. Inevitably, there are Cuban elements in the music, as in the opener, "Faibe Guiné," but the African element is always highly evident -- "Ordem Do Dia" couldn't be from anywhere else, with its gorgeous guitar arpeggios and ineffable harmonies. Six of these tracks have never been released before, making this a vital document of one of the most important African bands of the late '70s. 

Super Mama Djombo - Id  (flac  478mb) re re-up

01 Faibe Guiné 4:57
02 Dissan Na M'Bera 5:14
03 Gardessi 6:33
04 Júlia 6:54
05 Seiango 4:05
06 Seya 4:42
07 Pamparida 5:52
08 Aboku Boku Bandi 4:31
09 Ordem Do Dia 4:28
10 Assalariado 6:04
11 Guiné-Cabral 6:09
12 Djuana 6:54
13 Pansau Na Isna 4:57
14 Indicativo 2:29

Super Mama Djombo - Id   (ogg 190mb)

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Born in 1966 in Basse, West Africa, Juldeh Camara is a Gambian griot and master musician. His blind father received the gift of music from forest spirits who took the use of his eyes in return. Playing the Ritti, a one- stringed fiddle, he participated as a griot in traditional Fula society. Camara has been recognised as the leading ritti player in the world. Camara has played with Ifang Bondi, The Blind Boys of Alabama, Batanai Marimba, Knut Reiersrud, kora player Seckou Keita and Tunde Jegede's African Classical Ensemble, where in 2009 he performed at St. Denis Cathedral in Paris which included Oumou Sangare, Toumani Diabate, Kasse Mady Diabate, Sambou Susso and the Brodsky Quartet. More recently he has establised a successful partnership with Justin Adams, releasing their collaborative albums "Soul Science", "Tell No Lies" in May 2009 and "The Trance Sessions" EP in February 2010."

Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language.who has worked with the likes of Robert Plant, Jah Wobble, Tinariwen and Sinead O'Connor.

Justin Adams, was first introduced to the exuberant sounds of Juldeh Camara, a member of the griot caste of wandering minstrels, played live over the phone. Their subsequent pairing has produced two acclaimed albums.

In person, the splicing of Adams' bluesy playing with Camara's adaptable dexterity on the riti, a one-string fiddle, and his elastic vocals made for an effortless, often hypnotic hybrid. Adams would strike up an African riff, then drop in some rock'n'roll phrasing and Camara would skilfully roll with the changes, providing rapid-fire chants as well as a lightning natural facility on a number of stringed instruments. Accompanied by a drummer tapping on a tea chest, they also moved their focus eastwards, dipping into the meditative, minimalist mantras of the Saharan blues.

Soul Science was nominated for "best album" in the "Culture Crossing" category at the annual BBC World Music Awards, and was selected among the "top 100 albums of the year".

Juldeh Camara – Soul Science  (flac  316mb)

01 Yerro Mama
02 Ya Ta Kaaya
03 Sanakubay
04 Njatigi
05 Naafigi
06 Blue Man Returns
07 Subuhanalaii
08 Ngamen
09 Nayo
10 Yo Lay Lay
11 Me Wiri Bainguray Am

Juldeh Camara – Soul Science  (ogg 121mb)

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It's hard not to approach an album like this with some trepidation. Guitarist Justin Adams works in tandem with Gambian griot Juldeh Camara to create grooves that consciously blend the sounds of American rock and blues with those of West African traditional music; Camara plays the riti (a one-stringed spike fiddle), and the bologo (a sort of two-stringed banjo), and sings, while Adams accompanies on guitars and occasional percussion and keyboard. The duo are on the record as being enthusiastic about the fact that so much of their music is improvised in the moment in the studio; one or the other will play a riff, the other will pick up on it, and they move forward from there.  At its best, this is music that can induce a sort of trance without being boring or obnoxiously repetitive. But when it isn't at its best, it can be pretentious (notice the truly wanky guitar on "Sahara") or derivative (the Bo Diddley lick on which "Kele Kele (No Passport No Visa)" is based is entirely too literal). There are some great moments on this album, but too few of them to make it solidly recommendable to any but the most die-hard desert blues fanatics. 

Juldeh Camara - Tells No Lies  (flac  363mb)

01 Sahara
02 Tonio Yima
03 Kele Kele (No Passport No Visa)
04 Fulani Coochie Man
05 Achu
06 Madam Mariama
07 Gainako
08 Nangu Sabeh
09 Banjul Girl
10 Chukaloy Dayoy
11 Futa Jalo

Juldeh Camara-Tells No Lies   (ogg 145mb)

1. Sahara 
I sing for the Sahara, a land of sand and beauty, a land of camels and great people. As the evening falls the sand cools from the rays of the sun and it feels like magic. People of Sahara I greet you, for you have kept your culture and traditions against all odds. If you travel to Mali or Timbuktu you will know what I mean for you will meet the great men and find the history of their nation which has long been preserved. 

2. Tonio Yima 
Pardon me, my friend, we are in a big gathering and there are many people, I might step on you but it is not my intention to do so. Someone might spit on you but do not be rude to them, just put your point across without spoiling the fun for the rest. 

Pardon me, my dear, pardon me, I might push you while I make my way through the crowd but I do not mean to hurt you. The gathering will soon be over and we will all go our separate ways, so spare me the insults, I just want to have fun. Sorry if I have done anything wrong but I just want to enjoy myself. 

3. Kele Kele (No Passport No Visa) 
Hear my cry, the cry of my people for a passport and visa. They go to and from visa offices, pay huge application fees just to end up with no refund and no visa. So they pay a captain and board an unsafe ship hoping to enter Europe, the land of their dreams. Listen my friend, think carefully before you start this journey of pain and suffering which can lead to your untimely death. You may be going through a hard time, but Africa our motherland has a lot to offer, so be patient in your search for treasures. Visa authorities, allow me to bring the plight of my people in sweet melody, although you cannot grant everyone a visa there must be a way to ease the pain, suffering and loss. 

4. Fulani Coochie Man 
Aid for the poor countries, donated for the poor and needy because they have nothing. Lets make sure this aid is distributed evenly to the ones who need it. Do not sit on a lump sum and keep it for your own use, neither must you use the aid to enjoy a lavish lifestyle while the real owners of this aid still live in anguish. Others have more than they need because of greed, the rich get richer and the poor get poorer. Let us refuse injustice to the poor. 

5. Achu 
Listen, O listen, listen to me with your minds and listen carefully. 

6. Madam Mariama 
Mariama you are kind, Mariama you are jolly, Mariama you are wealthy and your riches you freely give. Your company is always filled with fun and laughter, praise singers proclaim your kindness in various tunes. Let me also sing a song for Mariama the woman of my dreams. Marie, some of them call you, Marie, your skin glows, you are wonderful, I will never stop singing of your beauty. 

7. Gainako 
I dedicate this song to the youths, for I want them to know the importance of knowing their roots. Find out about your ancestors - the things they did, the things they talked about, their traditions and what they believed in, for all this will lead you in the right direction. As for me, I can't stop reflecting on my heritage for it inspires me and gives me joy. That's why I want to honour the scholars of Medina Gunasi, whom God has blessed with wisdom and knowledge. They never cease from shepherding the flock entrusted to them, their prayers never fail and that is why I urge you all to seek their blessing at all times. 

8. Nangu Sobeh 
Head of house, it's you I am talking to, for I want to remind you that you need to show a bright example to your family. Hard work is the key to success so let's not be lazy, nothing good comes easy therefore we have to be ready and willing to work. When the rains are here get up and till the soil, show the children what they can reap from the farms so that they will learn from you. If you steal, the children will do the same and if you beg, they will, so work hard head of house there are many eyes watching every move you make. 

9. Banjul Girl 
Banjul girl, you are born beautiful, I am in love with you. Come and talk to me my dear, let's talk about love. You are full of tact, you are so wonderful I cannot stop loving you. Talk to me Banjul girl, beauty is in your nature. Come on and dance with me Banjul girl, come on and talk to me for I am in love with you beautiful Banjul girl. 

10. Chukaloy Dayoy 
Teenage girls of this generation I challenge you to seek knowledge and you will not regret it. Let the parents support the young minds of our nations so that the dumping of newborn babies will cease. Babies need care, bringing them up means a lot of spending, so think about it teenage girl for you need support yourself. Do not engage in ways that will cause you regrets, stop now and save a life. 

11. Futa Jalo 
History tells us about our past for we should not forget our heritage as it makes us who we are. I call on the nation to preserve the culture as it is the only thing that defines people. Let us not replace our traditional praise singers, neither should we find an alternative to the fiddle, kora or flutes because they tell our story. I will not forget my origin, I am born from parents of a tradition I am proud of, my grandfather is from Cumbria in Futa Jalo and my mother is from Benani near Dallaba. 

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Oct 27, 2014

RhoDeo 1443 Blake

Hello, still troubled and last night even the linux disc crashed...so not sure if i manage a full posting tomorrow we'll see

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Ok so the coming weeks we'll have some Blake's audio drama's

In the third century of the second calendar, the galactic Federation, once a beacon of democracy and peace, has become a corrupt tyranny. Freedom and Justice are things of the past. Roj Blake stood up for the ordinary people. When the establishment tried intimidation he laughed in their faces. When they tried to crush him he fought back. When they tried to brainwash him into obedience, he broke their conditioning. Finally they framed him and sentenced him to permanent exile on the notorious prison planet Cygnus Alpha. The Federation thinks it has seen the last of Roj Blake. The Federation will wish it had... And now Roj Blake is on the run... He has a ship, but the ship has plans of its own. He has a crew, but who are his friends and who are his enemies? Blake thought space meant freedom, but space is cold, cruel and steeped in blood. The power of the federation reaches further and deeper then Blake dared imagine... Freedom is nowhere to be found.

The Federation’s grip is tightening. Roj Blake and the crew of the Liberator have nowhere left to hide. As time runs out, old friendships are shattered and new alliances are forged. Choices are made, and battle lines are drawn across the galaxy. A path of betrayal, lies and deceit leads to only one destination, towards a deadly confrontation that will change everything.

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Blake's 7 - Liberator (ogg 54mb)

Liberator 56:58

Derek Riddell as Blake, Daniela Nardini as Servalan, Colin Salmon as Avon, Carrie Dobro as Jenna, Craig Kelly as Travis and Doug Bradley.

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Blake's 7 - The SevenFold Crown (ogg 83mb)
Blake's 7 - The Syndeton Experiment (ogg 52mb)
Blake's 7 - Rebel (ogg 53mb)
Blake's 7 - Traitor (ogg 53mb)

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Oct 25, 2014

RhoDeo 1442 Grooves

Hello, my computer OS has gotten from bad to worse at a certain point i entered a loop with re-installation ended up crashing and a bluescreen suggesting i disable bios memory options such as caching or shadowing, unfortunately these options are no longer part of a modern mobo..hello microsoft...anyway i did manege to to adjust start up order so i could run my linux life disk and you lot get another dose of grooves, as it happens i had a number of posts preprepared but it remains troublesome as linux can't open my rtf files... all in all depressing shite

Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the '70s. They continued to score hits on the R&B charts through much of the '80s as well, making for a career longevity that no one would have predicted for Stax's formerly star-crossed number-two house band.   ......N'joy

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The Bar-Kays were formed in Memphis, TN, in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis soul instrumental outfits like the Mar-Keys and Booker T. & the MG's, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson, Jr., the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG's on occasion. That spring, the Bar-Kays cut their first single, "Soul Finger," a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. "Soul Finger" reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, "Give Everybody Some," barely scraped the R&B Top 40). Producer Allen Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer.

Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, WI, Redding's plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles' "A Hard Day's Night," was virtually ignored. Nonetheless, with Allen Jones' help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Harvey Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart.

With 1971's Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Isaac Hayes' hit Shaft soundtrack, Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles "Scoop" Allen and guitarist Vernon Burch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix's "Foxy Lady" dubbed "Copy Cat." The follow-up, another good-humored goof on a recent hit, was "Son of Shaft," which in 1972 became the group's first Top Ten R&B hit since "Soul Finger." That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn't enough to keep their commercial momentum going, especially as Stax/Volt headed toward eventual bankruptcy in 1975.

Armed with new guitarist Lloyd Smith (who'd joined when Burch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut, Too Hot to Stop, was a hit, powered by the smash R&B single "Shake Your Rump to the Funk." The group consolidated their success by opening for George Clinton's P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays' brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band's first gold record, and Money Talks -- a Fantasy reissue of some previously unreleased Stax material -- produced another Top Ten hit in "Holy Ghost" the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979's Injoy (which featured the Top Five R&B hit "Move Your Boogie Body"), 1980's As One, 1981's Nightcruising (which spawned two hits in "Hit and Run" and "Freaky Behavior"), and 1982's Propositions (more hits in "Do It (Let Me See You Shake)" and "She Talks to Me With Her Body"). All of those albums, save for As One, went gold.

In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early '80s. 1984's Dangerous produced one of the group's biggest hits, "Freakshow on the Dancefloor," and a couple more R&B chart hits in "Dirty Dancer" and "Sex-O-Matic." Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson, and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with "Certified True." When their contract with Mercury was up, the Bar-Kays called it quits with 1988's Animal. Dodson and original bassist James Alexander put together a short-lived new version of the Bar-Kays for the 1994 album 48 Hours, released on the small Basix label.

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The Bar-Kays spent much of 1976 as the opening attraction supporting the Parliament-Funkadelic traveling circus, and the P-Funk influence seeps into every pore of Too Hot to Stop. While lacking the cosmic reach and freak-show genius of George Clinton, this is nevertheless The Bar-Kays' last stab at greatness, delivering hard-driving funk with all the energy and conviction of their classic Stax sides. The grooves here are vacuum-packed, exhibiting the telepathic interplay born solely from years of collaboration. Indeed, the quality of the performances more than makes up for Too Hot to Stop's often pedestrian melodies, although to its credit the band covers a wide stretch of ground spanning from breakneck funk ("Whitehouseorgy") to slow jams ("You're So Sexy") to ballads ("Summer of Our Love").

Bar-Kays - Too Hot to Stop (flac 205mb)

01 Too Hot To Stop (Part 1) 6:27
02 Cozy 3:31
03 Bang, Bang (Stick'em Up) 3:44
04 Spellbound 5:04
05 Shake Your Rump To The Funk 3:49
06 You're So Sexy 3:48
07 Summer Of Our Love 4:22
08 Whitehouseorgy 4:00

Bar-Kays - Too Hot to Stop (ogg 85mb)

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Although the Bar-Kays stuck with the Stax Records until its demise in 1976, the label stopped releasing the group's recordings after 1973. However, when they re-emerged as a success on the Mercury label with hits like "Shake Your Rump to the Funk," some unreleased recordings they made between 1974 and 1976 were released as an album entitled Money Talks. Although this repackaging was obviously designed to cash in on the group's success, Money Talks stands up as a solid and consistent album in its own right. This material lays the groundwork for the Bar-Kays' post-Stax style by trading live-in-the-studio jams for a carefully produced sound and blending in standout pop hooks into the funky grooves. The best example is "Holy Ghost," a hard-grooving monster of a jam where elaborate horn arrangements dance around a thick synthesizer bassline as Larry Dodson lays down a salacious vocal about his lover's otherworldly romantic skills. It became a big R&B hit when released as a single in 1978 and was later sampled by M/A/R/R/S on their club classic "Pump Up the Volume." Other memorable tracks include the title track, a high-stepping tune that showcases the chops of the horn players, and "Mean Mistreater," an unlikely but effective Grand Funk Railroad cover that transforms the minimalist original tune into a spooky yet sexy mood piece built on some languid keyboard work. None of the other tracks are as strong as "Holy Ghost" (which is so good that it bookends the album in two versions), but they are all listenable and flow together surprisingly well as an album. All in all, Money Talks is a fine slab of vintage funk that will please anyone who loves old-school grooves.

Bar-Kays - Money Talks (flac 195mb)

01 Holy Ghost 3:56
02 Feelin' Alright 4:56
03 Monster 6:51
04 Money Talks 6:51
05 Mean Mistreater 5:45
06 Holy Ghost (Reborn) 6:01

Bar-Kays - Money Talks  (ogg 85mb)

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Its title a snazzy double play, the Bar-Kays' 1979 classic Injoy LP was the first and most successful of a quintet of albums that swept the band to the top of the charts and into the stratosphere of superstardom for half a decade. An energetic and primarily funk-driven set, Injoy was dominated by the supreme "Move Your Boogie Body," an eminently danceable, pop-friendly slab that cut the bass with strings, powered home the excellent vocals, added some Euro-disco synth, and soared into the Top Five to give the Bar-Kays their highest-to-date spot on the charts. But while that track may have captured the public heart, the bandmembers had even better tricks up their very flashy sleeves, powering through the classic funk of "More and More" and "Up in Here" -- a song of unmitigated old-school proportions that reprises the Moroder-isms deep in the mix. Elsewhere, the band toned it down with several ballads, including "Girl I'm on Your Side" and "Running In and Out of My Life." With the Bar-Kays at the top of their form, there was little that could detract from this set. And, while Injoy just missed the top spot on the R&B chart, it still got a nation off the couch and onto the dancefloor.

Bar-Kays - Injoy (flac 273mb)

01 More And More 4:34
02 Move Your Boogie Body 6:18
03 Running In And Out Of My Life 4:49
04 Girl I'm On Your Side 4:03
05 Loving You Is My Occupation 5:03
06 Today Is The Day 3:14
07 You've Been 4:06
08 Up In Here 5:17

Bar-Kays - Injoy  (ogg 96mb)

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Oct 23, 2014

RhoDeo 1442 Goldy Rhox 183

Hello, today the 183rd post of GoldyRhox, classic pop rock in the darklight a Scottish singer-songwriter (16 April 1947 – 4 January 2011) best known for his solo hits "Baker Street", "Right Down the Line" and "Night Owl", as well as "Stuck in the Middle with You" recorded with the band Stealers Wheel.

Our man was born into a working-class family in Paisley, Renfrewshire, Scotland. His mother taught him both Irish and Scottish folk songs as a boy; later, he was influenced by the music of The Beatles and Bob Dylan. In 1969 our man became the third member of an existing folk-pop ensemble The Humblebums composed of future comedian Billy Connolly and Tam Harvey. Harvey left shortly afterwards, and he and Connolly continued as a duo, recording two albums for Transatlantic Records. After the two decided to go their separate ways in 1971, Transatlantic owner Nathan Joseph signed Rafferty to a contract as a solo performer and Rafferty recorded his first solo album, Can I Have My Money Back?, with Hugh Murphy, a young staff producer working for the label.[11] The album was a critical success but did not enjoy commercial success. According to his daughter Martha, it was around this time that her father discovered, by chance, Colin Wilson's classic book The Outsider, about alienation and creativity, which became a huge influence both on his songwriting and his outlook on the world: "The ideas and references contained in that one book were to sustain and inspire him for the rest of his life." He and schoolfriend Joe Egan formed the group Stealers Wheel in 1972, producing several hits, most notably "Stuck in the Middle with You" and "Late Again". In 1978, he recorded his second solo album, today's mystery album, which included "Baker Street", his most popular song.,
Sadly the latter part of his live was marred by drinking binges, divorce more binges and in the end, November 2010, he was admitted to the Royal Bournemouth Hospital where he was put on a life-support machine and treated for multiple organ failure. After being taken off life support, he rallied for a short time, and it seemed that he might recover. Our man died at his daughter Martha's home in Stroud, Gloucestershire, on 4 January 2011 of liver failure.

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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 was the second studio album released 20 January 1978 by today's Scottish mystery singer-songwriter. It was his first solo release in six years — and first release of any kind since 1975 — due to his tenure in the band Stealers Wheel and subsequent legal proceedings which prevented him from releasing any new solo recordings for the next three years. The album was strongly received, peaking at #1 in the US and going Platinum, as well as reaching #6 in the UK and achieving Gold status. "Baker Street", "Right Down the Line" and "Home and Dry" were successfully released as singles.

Baker Street featured a prominent eight-bar saxophone riff played as a break between verses, by Raphael Ravenscroft who died 19 October 2014 at the Royal Devon and Exeter Hospital, aged 60, of a suspected heart attack. Ravenscroft, a session musician, was in the studio to record a brief soprano saxophone part and suggested that he record the break using the alto saxophone he had in his car. The part led to what became known as "the 'Baker Street' phenomenon", a resurgence in the sales of saxophones and their use in mainstream pop music and television advertising."Baker Street" is widely regarded as his signature song and by October 2010 had reached 5 million plays on British radio. Up for grabs here a 2011 remaster...

Goldy Rhox 183 (flac 324mb)

Goldy Rhox (ogg 126mb)

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Here an improvised posting with a live linux disc, as having been unable to reinstall windows with the drivers i need..ah my mistake should have copied those to a save place with the help of that linux live disc as my system at the time crashed even in safe mode..

Oct 22, 2014

RhoDeo 1442 Aetix

Currently severe virusproblems can't even install malware bytes or update my Avira computer crashes a lot browsers crash-specially chrome (even in safe mode !) after several tries and some lateral thinking i managed to post this not sure how to proceed could be i 'll need a complete reinstall- i'm pretty sure i picked up this virus surfing

Hello, I've been fed up with that Pistorius saga and now he's gotten his sentence, a slap on the wrist for this hot head that shot his girlfriend with 4 bullits, disgusting. It makes me wonder if this judge has been gotten to, no one who.saw some of Pistorius tearful theatrics believed any of it, yet we are to believe the experienced judge did, maybe she's become senile. I expect the prosecutor to ask for a retrail. The creep deliberately murdered his girlfriend, he should rot in jail.....

Initially envisioned as an experimental side project by Cevin Key while he was in the new wave band Images In Vogue, today's band evolved into a full-time project with the addition of vocalist Nivek Ogre. Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. Other members have included Dwayne Goettel (1986–1995), Dave "Rave" Ogilvie (long-time associate, producer, and "unofficial" fourth member until 1995). They developed into an influential band with a dedicated cult following, fusing elements of ambient, noise, new wave, electro, and rock music and making innovative use of sampling.....N'Joy

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Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire, and Suicide, the dark avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duo comprised of former Images in Vogue drummer cEvin Key (born Kevin Crompton) and Nivek Ogre (aka Kevin Ogilvie), Skinny Puppy followed their debut cassette, Back and Forth, with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.

Keyboardist Wilhelm Schroeder joined the group for 1985's full-length debut, Bites, but was replaced the next year by Dwayne Goettel, whose sampling and synth work proved significant in the development of the Skinny Puppy aesthetic from ominous dance music into a distinct fusion of industrial, goth, and electronic sounds. Subsequent releases like 1986's Mind: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate, and 1988's VIVIsectVI further honed the trio's style, as well as introducing the outspoken lyrical agenda that remained a thematic constant throughout much of the group's work.

In 1989, Ministry's Al Jourgensen added vocals, guitars, and production work to Rabies; later, he joined Ogre in the side project Pigface. Ultimately, the members' interest in pursuing similar outside projects began to unravel Skinny Puppy: in 1987, Key and Edward Ka-Spel of the Legendary Pink Dots recorded the album Their Eyes Slowly Burning under the name Tear Garden, and in 1990, he and friend Alan Nelson worked as Hilt. A major rift began splitting the band apart, and Key and Goettel often sided against Ogre, whom they felt was more interested in pursuing solo work than in keeping the trio intact; drugs had also become a serious problem, but Skinny Puppy nonetheless signed to American Recordings in 1993 and relocated to Los Angeles to begin production work.

The sessions for the album, titled The Process, proved disastrous; for the first time in nearly a decade, David Ogilvie did not oversee production duties, and the group went through several producers, including former Swan Roli Mosimann and Martin Atkins. Flooding and earthquakes further hampered the sessions, and Key was severely injured in a film shoot. After months of recording, Key and Goettel, dissatisfied with Atkins' work, absconded with the master tapes and returned to Vancouver in mid-1994 to finish production. Ogre remained in California, and later announced he was leaving Skinny Puppy to form W.E.L.T. A few months later, on August 23, 1995, Goettel was found dead of a heroin overdose in his parents' home; in his honor, Key and Ogilvie finally completed the album, and The Process was released in 1996. A multimedia history of the band, Brap: Back and Forth, Series 3 & 4, followed a few months later, while Key returned to his new project, Download. Released in 1998, Remix Dys Temper featured Skinny Puppy reworkings by Autechre, Neotropic, and Adrian Sherwood in addition to industrial groups like KMFDM and God Lives Underwater.

By 2000, the word was out that Key and Ogre had buried the hatchet, reactivated Skinny Puppy, and recording was underway. A 1994 jam between Skinny Puppy and Throbbing Gristle/Psychic TV member Genesis P-Orridge was released under the title Puppy Gristle in 2002 on Key's subCON label. The SPV label (which had long been the distributor of the band's albums in Europe) signed the band in late 2003. Skinny Puppy's Greater Wrong of the Right hit the streets in 2004 with members of Tool, Collide, and Static-X making guest appearances. Two more studio albums, 2007's Mythmaker and 2011's Handover, followed before the release of 2012's live album Bootlegged, Broke and in Solvent Seas.

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In the scheme of all things Skinny Puppy, Cleanse, Fold and Manipulate can be rather hard to recommend. Though it contains one of the band's finest songs, "Deep Down Trauma Hounds," Cleanse ultimately feels like a turning point, where experimentation is just beginning to gel with innovation and the band's trademark sound is forming rapidly before one's ears. But much of the album comes across like a series of interludes or ambient instrumental fragments. Still, fans of industrial music will appreciate the album's formidable beats and coarse sound samples that seem to be generated from warping the sounds of heavy machinery. Perhaps more than other any place in Skinny Puppy's discography, Ogre's vocals work like spoken-word stream-of-conscious dementia, with more emphasis on evil tones than on any relation to their music. After the Perry Mason sample-thon "Deep Down Trauma Hounds," special notice should be given to the ominous, haunted "Addiction"; the unsettling, creepy collage of "Shadow Cast," which features blood-curdling samples from Dennis Hopper in The Texas Chainsaw Massacre 2; and the overall tapestry of evil that is "Draining Faces," which suggests to a listener that they've come upon a goblin's ritual sacrifice in some foreign realm. "Anger" is the best indication that Skinny Puppy is semi-stuck in a rut between styles, as it straddles the industrial genre and the cut-and-paste sonic curveballs of later Skinny Puppy releases; its "spinning through the radio dial" effect would be put to far better use on Too Dark Park and Last Rights. Still more interesting than the majority of output from their peers and followers, Cleanse, Fold and Manipulate is best left for die-hard Skinny Puppy fans, especially those who favor the band's early, sinister, pristine dark ambience to the all-out torment that would develop gradually on the band's next five albums.

Skinny Puppy - Cleanse Fold And Manipulate  (flac 258mb)

01 First Aid 4:29
02 Addiction 6:01
03 Shadow Cast 4:19
04 Draining Faces 5:11
05 The Mourn 2:39
06 Second Tooth 4:06
07 Tear Or Beat 4:41
08 Deep Down Trauma Hounds 4:41
09 Anger 4:53
10 Epilogue 1:10

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Even when the industrial revolution happened, few North American bands sounded as manic and dense as the mighty Skinny Puppy. Tackling unpopular political topics, blurring distorted vocals into synth lines, sampling news broadcasts and horror films -- these were the tactics that Skinny Puppy utilized on VIVIsectVI, one of their true masterpieces. It takes multiple listens to the album to even get to the songs underneath, but once the sonic wall has been punctured it is easy to hear why Ogre is so volatile. His rants, which alternate between a lazy drug moan and a harsh screech, were one of the few in the genre that actually sounded poetic amongst the noise and beats. He can completely carry a noise collage and transform it into a brooding song ("Harsh Stone White") or he can stick to a fairly normal song structure and simply scream his lungs out ("Human Disease (S.K.U.M.M.)"). And the music is absolutely confounding, constructed out of sounds and noises that somehow never seem overbearing despite the sheer amount of them. The most important lesson that Skinny Puppy teaches here is the lesson of variety. VIVIsectVI is still a challenging, multi-layered album years later because the music never stays still. The beat will just disappear, Ogre's vocals will suddenly go from a whisper to a scream, everything will disappear but a creepy sample, then the song will kick back in with a different beat and a new synth part. And that's just "Who's Laughing Now?," one of the true classic industrial songs of any era. No album by this band is easy to start with, but this is easy to keep listening to, if only to absorb everything that happens on each track. Anyone with an interest in the genre should not overlook Skinny Puppy, and this is one of their shining moments.

Skinny Puppy - VIVIsectVI  (flac 408mb)

01 Dogshit 3:55
02 VX Gas Attack 5:36
03 Harsh Stone White 4:29
04 Human Disease (S.K.U.M.M.) 6:19
05 Who's Laughing Now? 5:29
06 Testure 5:07
07 State Aid 3:55
08 Hospital Waste 4:38
09 Fritter (Stella's Home) 3:31
10 Yes He Ran 6:28
11 Punk In Park Zoo's 2:31
12 The Second Opinion 4:59
13 Funguss 4:06

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Rabies is a solid, sordid album from Skinny Puppy, even if it isn't always the sound of the band operating at their peak. All of the trademark Skinny Puppy elements are in place: Nivek Ogre's snarling vocals, snippets of dialogue from sci-fi and horror movies, and symphonic, chugging synth sounds. At least four of the album's 11 tracks are perfect examples of Skinny Puppy's sonic attack. "Rodent" is monumentally menacing, with Ogre's vocals giving the impression that they've been growled through a megaphone that's been recorded from a microphone at least a half-mile away. Stop-start keyboards effects, phase-shifted grunts and groans, warped handclaps, and screeching sound fragments all give the impression that some mad army of musical warlocks are approaching and encroaching upon the listener. "Hexonxonx" mixes equal doses of twisted humor and Throbbing Gristle-like experimentation, working like a kind of post-Dario Argento film chillout. "Worlock" and "Tin Omen" both display genius implementation of movie dialogue samples; very few artists employ the kind of impeccable timing and craftsmanship at work on these two tracks. Though Too Dark Park would display the height of the band's cut-and-paste artistry, this blueprint or slow-birth on Rabies is compelling in its own right. The album's weaker songs aren't by any means throwaways; "Rivers," for example, is an interesting collision of Skinny Puppy and film director Stanley Kubrick, as samples from A Clockwork Orange and 2001: A Space Odyssey weave and intertwine; and "Sphan Dirge" is a kind of middle ground between industrial rage and the dark fury of John Cale's existential punk stage. Still, the Achilles heel of Rabies is the production and contributions of Ministry's Alain Jourgensen. What comes across as masterful on Ministry's The Mind Is a Terrible Thing to Taste just doesn't seem appropriate for Skinny Puppy. Jourgensen's influence causes the band to rock out in places where they'd usually be weeping, wailing, and flailing in ecstasy and torment. Rabies is required listening for Skinny Puppy fans, but it's too uneven to recommend to casual listeners, and it's not a good starting point for newcomers.

Skinny Puppy - Rabies (flac 432mb)

01 Rodent 5:49
02 Hexonxonx 5:25
03 Two Time Grime 5:39
04 Fascist Jock Itch 4:57
05 Worlock 5:30
06 Rain 1:26
07 Tin Omen 4:37
08 Rivers 4:49
09 Choralone 3:02
10 Amputate 3:15
11 Spahn Dirge (Live) 16:22

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Oct 21, 2014

RhoDeo 1442 Roots


In the heart of the Mandingo Empire, in a small village in Southern Guinea called Albadaria, near Kissidougou, today's artist was born on February 24, 1950. His father, El Hadj Djelifodé Kanté was already an old man when Mory came into this world as one of the youngest of his father's 38 children. The Kanté family is a famous family of "griots"; the griot is a kind of poet, singer, historian and journalist wrapped into one, a purveyor of living history whose role from time immemorial has been to tell the endless stories of families and native peoples through music. Both of Mory's parents were griots, an inherited trade, and his mother's father was a powerful chief griot with a tribe of about 60 members. The child's destiny was naturally to become a "jali", that's Mandingo for "griot". In the beginning, Mory was brought up by his Malian mother, Fatouma Kamissoko, and he attended French school. At 7, his family sent him to Bamako, the capital of Mali, to live with his aunt, Maman Ba Kamissoko, another famous griot. Until about the age of 15, he followed instruction in traditional rituals, singing and the "balafon" (a wood vibraphone). Along the way he participated in numerous family celebrations, and official ceremonies which gave him a great deal of experience as a musician and a singer. .. ... N'joy

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Mory Kanté was born in 1950 in Albadania near Kissidougou in Guinea. Being born into the Kanté family Kanté is part of a long lineage of Griots whose musical tradition dates back to the 13th Century. His mother, Fatouma Kamissoko, was of Malian origin and it was her father, Jali Mory Sanda Kamissoko, who baptized his grandson by his own name. Kanté began his early musical education with his father El Hadj Djelifode who was leader of the Griots of Kissidougou. Kanté started off learning the Balafon, the symbolic instrument of the Kanté family dating back to the reign of Sumaworo Kanté, king of the Sosso in the 13th century. Kanté was later to recount this history of the Balafon in a 25-minute long piece entitled “Exile of Sundiata” which was recorded in 1975 during the time when he was a member of the Bamako Rail Band

As a teenager Kanté went to live in Mali’s capital Bamako with his aunt Manamba Kamissoko who was a Griot and a member of the Mali International Ensemble. Whilst in Bamako Kanté was able to explore the different styles of music that were coming into the country such as Congolese rumba, American and English popular music and Cuban mambo. By this time Kanté had also become a keen guitarist and was guitarist and singer for a group called the 'Apollos', named in reference to James Brown’s renowned “Live at the Apollo” recording. Kanté was later spotted by saxophonist and conductor of the infamous Malian Rail Band of which Salif Keita was then member. Kanté joined the band as a guitarist and balafonist, but when Keita left in 1973 he took up the position of vocalist. Whilst in Bamako Kanté discovered the Kora and taught himself how to play. Following the Rail Band’s tour of West Africa Kanté was awarded the  Voix d’Or (Golden Voice) trophy in Nigeria in 1976.

After leaving the rail Band Kanté settled in Abidjan in 1978 where he was to develop his originality. At a time when many were using more modern instruments such as guitars and keyboards Kanté wanted traditional instruments and he formed an ensemble comprising of Balafon, Djembe, Kora and Bolon which performed arrangements of international hits. The growing reputation of Kanté reached a new level when he directed the Mande Ballet in 1982 which comprised of 75 traditional and modern artists on the stage of the French cultural centre in Abidjan. After moving to France in 1984 his talents on the electric Kora won him audiences far and wide. His critically acclaimed album “Ten Kola Nuts” was nominated for the French Victories De La Musique  in 1986. This led to Kanté touring Europe, North Africa, Mali, Senegal, the USA and more.
In 1987 Kanté re-recorded his song 'Yéké Yéké' which he had originally recorded in a home-made style for his 1984 album 'Mory Kanté In Paris'. This new version (which featured on his album Akwaba Beach) caused sales to rocket to more than a million singles and half a million albums, and it reached the top spot on the Pan-European charts in Billboard Magazine (USA) in 1988. In 1990 Kanté represented France in the United States alongside Khaled on a huge stage in the heart of Central Park with an audience of thousands, and later that year he had the chance to go on stage at the legendary Apollo Theatre in Harlem. On top of that his album  Touma (The Moment) achieved gold status in France.

In 1991 Kanté was commissioned to present his Symphony of Guinea (to be performed by 130 Griots) for the inaugural ceremony for the Grande Arche de la Défance in Paris. This offered him the chance to explore an idea that he had dreamed of for many years – to create in Africa an important musical city for the promotion of Mande Culture. The name he had for this was ‘Nongo Village’. As a starting point Kanté built a studio on land he had bought in the area of Conakry. Here he recorded his new album Nongo Village which was released in 1993. Following this he toured Europe and Canada and was awarded the Griot d’Or in Paris and the Prix Kilimandjaro by the Franco-African radio station in France, Africa No.1.
Whilst Kanté continued his touring across the world, including an appearance at WOMAD, his ‘Nongo Village’ project began to take shape in Conakry, and the local neighbourhood population were soon to baptize the area “Mory Kanté a”. Kanté explains that “I want to help to industrialise African music and culture through this project. It will include a major music school where traditional instruments will be taught...there will be a show business agency, three recording studios, and an audiovisual studio where artistic and cultural programs can be created.”

Fuelled by his legendary energy and commitment, Mory Kanté managed to be present on several fronts at once. At the ceremony marking World Food Day in 2001, the singer was appointed ambassador of the UN's Food and Agriculture Organisation (the FAO). He made a memorable speech on this occasion, vowing that he would "work with people from different cultures and travel to different countries to encourage the development of exchange and mutual aid. We need to mobilise the entire world," he said, "in the fight against hunger and poverty." Mory Kanté continued his commitment to the UN organisation for a number of years, performing a concert in the Finnish capital, Helsinki, on behalf of the FAO in July 2003.

Meanwhile, Kanté also embarked upon another good cause, building local housing in Conakry. The project was greatly appreciated by the inhabitants of the Guinean capital who gratefully dubbed the neighbourhood "Mory Kantea." In 2002/2003, Mory Kanté performed extensively throughout Europe, appearing at many major music festivals. He ended up playing 120 concerts in over 25 different countries. In 2003, Mory Kanté was invited to perform a special concert at the Robin Island prison in South Africa, where Nelson Mandela had been held in captivity. The singer readily accepted the invitation to pay tribute to the anti-apartheid cause which had been close to his heart for many years.

In 2004, the "electric griot" locked himself away in the studio for weeks on end, preparing a new album that took the music world completely by surprise. Going back to his roots, Kanté recorded a totally acoustic album entitled "Sabou" ("The Cause"). The album, which mixed the experience he'd gained in his international career - and the release of several Afro-pop albums - with Mandingo tradition, featured a dozen musicians and backing singers. Kanté's new album won rave reviews from the critics and enjoyed great success with the public, revealing as it did a totally different side to his work.

Mory Kanté went on to create an acoustic show based on his new album. His next tour introduced international audiences to a wide range of traditional instruments including the balafon, the bolon, the daro, the fe doun doun, the doun doumba, the flute, the n’goni, the djembé, the tama. These accompanied Kanté's famous kora and did much to promote traditional Mandingo melodies from West Africa worldwide.

In July 2006, he was invited by the American-Mexican guitarist Carlos Santana to play at the Montreux Jazz Festival along with Angélique Kidjo and Idrissa Diop. He was also asked to perform at the opening ceremony of the African games in Algeria the following year. What with the Montreal Jazz Festival in Canada, the gigantic Sziget in Hungary, and performances in the Netherlands, Mory Kante’s 2008 schedule was jam-packed. He could also be heard that year alongside Mokobe and Mohamed Lamine on African Tonik, a track cooked up for the dance floor scene.

He returned to Algeria in 2009 for the second Pan-Africain Festival and, faced with political upheavals in his homeland, he joined an artists’ collective. At the end of 2010 they recorded "Unité en Guinée/Tous ensemble" on the joint initiative of the Senegalese Didier Awadi and the Ivoirian Tiken Jah Fakoly, with participation from Guineans Takana Zion, Fode Baro, Sia Tolno, and others. The video clip was shot in Conakry in the studios of the Nongo Village complex that Mory Kante had finally managed to get up and running, a decade after the project began. His compatriot Sia Tolno recorded the album "My Life" in the studios and won the RFI Découvertes award in 2011.

In July that year, with "Yeké Yeké" and his emblematic Kora, he had the honour of closing the Nuit Africaine organised at the Stade de France close to Paris. The show featured some of the major faces of African music playing to an audience of 20,000 during a five-hour concert. His album "La Guinéenne" was released in April 2012. The disk pays tribute to the women of his country and he presented it at the legendary New Morning in June 2012 with a fanfare of brass.

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This is one of Mory Kante's most infectious records. Kante’s album Akwaba Beach was a major European success following the release of a hit single ‘Yeke Yeke’ – a love song from Guinea which in Kante’s hands typifies the Afro-beat dance style of the times. ‘Yeke Yeke’ was the first African single to sell over one million copies. An alternative version of the song opens the Akwaba Beach album which came out on the French Barclay label in 1987.. The title track ‘Akwaba Beach’ closes the album and it really is the most outstanding song. It begins with the luscious sounds of guitar and keyboards ushering in the vocal which perfectly evokes a mood of nostalgia and longing. It doesn’t matter that Kante is singing in a language that most listeners won’t understand. Whether it’s the relentless beats of ‘Deni’ and ‘Nanfoulen’ or the slightly more subdued ‘Inch’ Allah’ and ‘Africa 2000’ everything is just right and the eight songs contain not a moment of superfluous sound.Dismissed by some for his heavy dance beat, Kante's crossover sound is a perfect way to ease your ears into the joys of African pop.

Mory Kante - Akwaba Beach  (flac  244mb)

01 Yé Ké Yé Ké 3:58
02 Deni 3:49
03 Inch' Allah 5:01
04 Tama 6:01
05 Africa 2000 4:39
06 Dia 4:49
07 Nanfoulen 5:18
08 Akwaba Beach 5:12

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The descendant of a caste of Guinean court musicians whose lineage goes back to the 14th-century Mali Empire, Kante plays a mean kora (the jangling 12-string African harp) and wails almost as intensely as Senegal's Youssou N'Dour. But he also has a pop sweet tooth that makes this one of the most lushly produced West African releases yet. ''Mankene'' is a stadium sing-along that melds Philly-Soul strings, Top-40 guitar, and rootsy vocals. ''Touma Seminde'' is even more ambitious: It reaches across the continent to South Africa and surrounds Solomon Linda's ''Mbube'' (a.k.a. ''The Lion Sleeps Tonight'') with mechanized rhythms and peppery Antillean horns. While neither Kante's keening nor the album as a whole has the soulful depth of N'Dour's Set, Touma compensates with brilliant, danceable sheen. A breakthrough release, it features an international band with guest stars Carlos Santana and Ray Phiri, but the unsung heroine is backing vocalist Djanka Diabate, who showers spice on Mory's cool. Let the purists fume; this one's for everybody else.

Mory Kante - Touma  (flac  287mb)

01 Krougnegne 4:03
02 Kissibala 4:10
03 Mankene 4:46
04 Ayeh 4:04
05 Faden 4:15
06 Touma (Wimowe) 4:20
07 Bankiero 3:37
08 Tele 4:12
09 Soumba 4:53
10 Sanfing 4:11

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For many years, Mory Kanté's beefed-up African music was the soundtrack of European dancefloors. This time around, however, the Guinean has gone back to his roots for an acoustic album that showcases his talents as a singer, multi-instrumentalist, and songwriter. It's every bit the tour de force it should be, too, very powerfully rooted, bristling with good material, and with Kanté himself never sounding better, the griot voice curling around notes and lines in his distinctive wail. He's ably supported by others, most notably Adama Condé, whose solos on the deep, xylophone-like balafon are a delight to the ear. But much of the credit lies with Kanté himself, who handles many of the instruments. Whether it's the relentless rhythm of "Mama" or the delicacy of "Nafiya," he's in complete control, letting the music frame his voice and leaving plenty of space for the songs to breathe. That he's a remarkable talent is already beyond question, given his resumé. But this stands head and shoulders above his previous work, some of which has seemed anonymous. Every note of this is personal and sounds that way, performed with joy, great love, and care. He addresses Africa's problems and potential solutions on the title cut, and the power of love in "Diananko," ideas that delve beyond most Western songs but fall well within the scope of a griot and a man concerned with his Mande past and future. With this record, Kanté has rejuvenated his career.

Mory Kanté - Sabou  (flac  373mb)

01 Bembeya 4:24
02 Sanfaran 6:31
03 Sabou 5:17
04 Gbapie 5:17
05 Lefa 4:22
06 Koukou We 7:23
07 Yelema Yelemaso 5:54
08 Soli Au Wassoulou 7:31

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