Nov 30, 2014

Sundaze 1448

Hello,  I'm Back ! Yes the computer has been cured, turned out it had some sick memory, that doesn't happen often hence most producers giving a lifetime guaranty, unfortunately haven't been able to find my receipt for this pc which i bought August 2013. More then a decade of receipts but somehow the one that mattered is still illusive, anyway i bought a lighter memory just 2 GBytes as the 4 GBytes which got sick was never fully used as my PC running XP Pro could handle just 3.2 GBytes. Sure could upgrade to Windows 7 but i just don't like working with W7-too idiot proof. So zipping and converting is a bit slower, I can live with it..

Meanwhile I've already re-upped the last 2 Roots posts and the previous Banco de Gaia Sundaze as well as an Associates request. I wish to note that the files never were corrupt but the zipping proces corrupted them, anyway I will re-up on request.

Good to be back

In the spotlight once more a former busker entertaining Portuguese tourists but his birthtown London's music scene call had him return to take a serious dip into the music scene and within 3 years he released his first albums on cassette. Toby Marks aka Banco De Gaia's ambient dub created his own niche as you you can find out more here..N'joy

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In 1978, Marks began his musical career as a drummer in a heavy metal band. Marks moved to Portugal in 1986 and played Beatles music for tourists. He first delved into electronic music in 1989, when he bought a digital sampler. The first tune he recorded on it was called "Maxwell House."

Inspired to enter the field of electronic music by Britain's acid house explosion of the late '80s, Toby Marks took quite a different spin on electronica with his recordings as Banco de Gaia, introducing elements of Eastern and Arabic music, sampling similarly exotic sources, and tying the whole to ambient-dub rhythms. Marks began releasing cassette-only albums in the early '90s, distributed through a network of clubs and artists known as Planet Dog. These excellent self-produced albums Medium and (in 1992) Freeform Flutes And Fading Tibetans. His unique and evocative blend of electronica with world-music styles earned him a fast-growing and loyal live following.

When Planet Dog became a record label as well (later the home of Eat Static and Timeshard), Banco de Gaia debuted on disc with the Desert Wind EP, released in November 1993. Early the following year, Marks released his first much acclaimed album, Maya. Maya featured studio versions of many of the tracks that had become the mainstay of Banco de Gaia's live sets and consequently was an immediate hit with his growing fan-base. The Heliopolis EP was also released in 1994, a track from which appeared on Sasha and Digweed's ground-breaking Northern Exposure compilation the next year.

After a big success of the debut album Maya and a European tour with Transglobal Underground Toby Marks travelled the world collecting inspirations. He joined The Tibet Support Group, a part of International Tibet Independence Movement. As a response to the decision to build the Qingzang railway between the cities of Xining and the Tibetan capital of Lhasa, in 1995 Marks recorded a 12-minute long track with looped chants from Tibet. It soon appeared to be a start for the whole project, eventually creating a new album. As Marks said, the compositions were made as a result of political and human sensitivity

Banco's Last Train To Lhasa album collected huge critical acclaim across Europe as well as the US and Canada. The skilful blend of sounds on Last Train To Lhasa produced a timeless release that was one of the 'must have' albums of that year and limited edition versions of the release (featuring bonus mixes) now change hands for huge sums on the internet.

Live At Glastonbury was released in 1996. Featuring a storming set recorded in front of a large and enthusiastic crowd at the Glastonbury Festival in 1995, the album consolidated what had been a period of huge growth in Banco de Gaia's standing within the dance community and gave Toby a breathing space to work on his next studio album.

The result, Big Men Cry, released in 1997 was a deep and very personal album featuring many timeless and deeply moving tunes. The simultaneous release of Big Men Cry both across Europe and in the US, gave Toby the opportunity to completely revamp what had up till then, been a one-man live show. His already massive reputation for stunning live performances was enhanced by the creation of a 5 piece band to enable Banco de Gaia to perform Drunk As A Monk as 'live' as possible. band that included Ted Duggan (drums), Ashley Hopkins (bass), Larry Whelan (wind synth, saxophone and ethnic flutes), and Gary Spacey-Foot (percussion and saxophones). Enhanced with a specially designed lightshow, the band toured the US and much of Europe over the next year, securing a reputation for quality music that has endured to this day.The band reduced in number to just Marks, Duggan, and Hopkins in 1999, and then just Marks and Duggan from 2000 until 2003; when Marks went back to being a solo artist.

Banco de Gaia parted company with Planet Dog Records in 1998 and went on to set up his own Disco Gecko label through which he has released The Magical Sounds of Banco de Gaia two years later. In late 2000, Marks returned with Igizeh through Six Degrees Records, a label with which he decided to stay for 2004's You Are Here and 2006's Farewell Ferengistan. In 2009 Banco released Memories Dreams Reflections featuring an superb cover of Pink Floyd's "Echoes"

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Banco de Gaia (basically studio wiz Toby Marks and whomever he invites over) get their ethnic-electronic groove on again, but this time with extra vision. Maybe it's the four years since the last proper Banco de Gaia album, or maybe the troubled globe of 2004, but whatever it is, You Are Here feels better put-together than any other Banco album before and the most direct message to the listener that Marks has ever attempted. You can use the cover art as a representation of the general feel of the album. Marks' music is elaborate as ever but it's compact in purpose, like the cover's red dot and just as vivid. If Banco could cleverly noodle before, there will be none of that here and every bit of sampled filigree and every mystic sound fits. William S. Burroughs and a slew of news broadcasts fill "Waking Up in Waco," but they all have their place in this frightened vision of America. Igizeh's Jennifer Folker returns for an extra-smoky performance on the cinematic torch song "Gray Over Gray," a gripping number for all of its 12-plus minutes. None of the tracks are under seven minutes, which is a good thing since the slow development of the songs calls for it, and if "Not in My Name"'s hypnotic and heavy bass groove ended any earlier it would be a travesty. Two tracks aimed at the dancefloor, "Zeus No Like Techno" and "Tongue in Chic," are both excellent and keep the album from being a totally introspective, headphone record.



Banco De Gaia - You Are Here> (flac  434mb)

01 Down From The Mountain 9:16
02 Zeus No Like Techno 6:01
03 Waking Up In Waco (Voc.Shannon) 7:46
04 Gray Over Gray (Voc.Jennifer Folker) 12:01
05 Tongue In Chic (Voc.Jennifer Folker) 7:09
06 Not In My Name 10:22
07 We Are Here 7:13
08 Still Life (Voc Julie Daske) 8:46

Banco De Gaia - You Are Here> (ogg 170mb)

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"Ferengistan" is a term used in Central Asia to denote an imaginary place that represents the superficiality and materialism that too often characterize Western culture. So there's no real secret to the message behind the latest album by Toby Marks, aka Banco de Gaia. While the music is (thankfully) free of didactic lyrics, its instrumental tracks were written with serious matters of geopolitics in mind: one track has reference to a law recently passed in Mongolia, reinstating the use of surnames (a practice previously forbidden under Communist rule); the ironically titled "Harmonious G8" consists of eight overdubbed vocals, each an improvisation by a singer from one of the G8 nations; "White Man's Burden" requires little amplification. If you're not interested in the politics, you can just relax and enjoy the variously danceable and relaxing moods that Marks creates; the robust ethno-funk of "Kara Kum" is a highlight of the program, as is the very pretty and gently swinging "Flow My Dreams, the Android Wept" (based on a lute tune from Renaissance England titled "Flow My Tears," which was reportedly the favorite piece of music of science fiction author Philip K. Dick). The jittery Middle Eastern dub of "Chingiz" is also lots of fun. The only consistent irritant here is the exceptionally long track length, which wouldn't be a problem if every selection didn't seem to take forever to actually get underway. More and shorter tracks of the same quality would have made for a better album, but this one is still quite good. Recommended.



Banco De Gaia - Ferengistan (flac  437mb)

01 Farewell Ferengistan 6:17
02 Ynys Elen 7:26
03 Chingiz 6:41
04 Kara Kum 9:15
05 The Harmonious G8 2:20
06 Saturn Return 10:25
07 Flow My Dreams, The Android Wept 9:16
08 White Man's Burden 8:04
09 We All Know The Truth (You Have God) (Voc.Maya, Toby) 9:10

Banco De Gaia - Ferengistan (ogg 153mb)

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To celebrate two decades of creating ambient and downtempo electronica under the name Banco de Gaia, Toby Marks put together this enjoyable if slightly uneven two-disc set, a retrospective of sorts that takes a fresh look at his past rather than simply gathering and recapitulating it. On the first disc, he reinterprets both his own work (longtime fans will get a particular kick out of his Euro-trance reconstruction of "Soufie") and that of others -- Hawkwind's "Spirit of the Age" is given a long, luxurious interpretation that incorporates elements of house, funk, and ska, while King Crimson's "Starless" gets an even longer -- and frankly rather plodding -- arrangement of its own. His most ambitious experiment on the first disc is a rendition of Pink Floyd's "Echoes" that lasts fully 22 minutes -- an impressive feat, and one that does a fine job of blending Marks's own personal electronic vision seamlessly with Floyd's unique sound. But it's about twice as long as it has any excuse to be. On the second disc, he gathers together live performances going back as far as 1993, one -- the jazz and shamelessly smooth "Celestine" -- featuring a full band. Top honors on this part of the program go to "Qurna" (which starts out in a pleasantly dubwise mood and then gradually gets darker and more Middle Eastern) and "No Rain", with its densely packed textures and exotic choral samples.



Banco de Gaia - Memories Dreams Reflections Studio (flac 413mb)

1.01 Spirit Of The Age (Voc.Neil Sleat) 7:16
1.02 Starless 11:19
1.03 Echoes 22:24
1.04 Soufie (Now That's What I Call 2009) 8:43
1.05 Tempra (Voc.Maya Preece) 7:19
1.06 Terra Om 5:34

Banco de Gaia - Memories Dreams Reflections Studio (ogg 147mb)

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Banco de Gaia - Memories Dreams Reflections Live (flac 551mb)

2.01 Analogique 6:50
2.02 Indecision 6:54
2.03 Soufie (Blue Mix) 7:23
2.04 Qurna 8:59
2.05 China 7:24
2.06 Celestine 11:50
2.07 How Much Reality Can You Take? 6:35
2.08 No Rain 7:38
2.09 Drunk As A Monk 7:09
2.10 Last Train To Lhasa 7:08

Banco de Gaia - Memories Dreams Reflections Live (ogg 186mb)

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Nov 17, 2014

RhoDeo 1446 Blake



Hello, well I suppose you noticed that I’ve stopped posting for the moment until I can be sure that my computer works well, it could be a memory problem. Surfing was a disaster and as you noticed my zipfiles turned out unreliable although on that note there is software out there that can handle faulty files...

Object FIX ZIP is a program for repairing Zip archive files. It can reconstruct a specified Zip file by creating a new Zip archive while recovering the contents of the faulty Zip file where possible.
This software is designed for testing, fixing and processing of corrupt or unusable ZIP archive files that are partially damaged or not completely downloaded.


Program features


  • Repairs corrupt or partially damaged ZIP archives.
  • Extracts files from ZIP archives with CRC errors.
  • Extracts files from partially downloaded ZIP archives.
  • Extracts multiple ZIP archives with a single operation.
  • Supports all ZIP archive files created with any PkZIP and WinZIP compatible archiver software, except for those using strong encryption.
  • Easy-to-use, intuitive wizard-driven interface.
  • Supports all Windows versions, including Windows® 95/98/Me/NT/2000/XP/2003/Vista.
  • FREEWARE!


Please let everyone know if this software delivers the goods when applied to my misfits...


Currently I’m away from home and it’s doubtful I will start regular posting again this month but who knows things might go smoothly for once…


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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.

B7 Productions produced series of 30-minute prequel audio episodes, which explored the earlier histories of the central characters. These were broadcast on BBC Radio 4 Extra from 2010.




On Auron, every clone lives in a world buoyed by the constant murmur of telepathic support, gossip and opinions. When Ariane Cally’s plane crashes in the middle of a wilderness park she finds herself cut off not only from rescue, but the voices that have sustained her all her life. Her only hope is the mysterious Aunty, the single voice she can still hear, a woman who claims to have been the second Cally ever to be born on Auron. From Aunty she will learn the true and secret history of her people, but only if the wilderness doesn’t kill her first.

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E04 - Blood & Earth 29:30


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previously

Blake's 7 - Rebel (mp3 53mb)


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Nov 10, 2014

RhoDeo 1445 Blake

Hello, the Brazilian Grand Prix got the expected results, in a way only this time Hamilton had to let Rosberg win the rest was on considerable distance, rarely has a season seen such dominance by one team, Mercedes, as this year From the start to the end, today was the penultimate race bit boring indeed although the other teams had some close racing, today local hero Massa got the third spot Brazilians happy and on to the last, somehow i don't see the other teams catching up next season...

On my computer front browsers still crash even though i maneged to get rid of some nasty stuff....

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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.
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B7 Productions produced series of 30-minute prequel audio episodes, which explored the earlier histories of the central characters. These were broadcast on BBC Radio 4 Extra from 2010.

Earth. 2230 AD. A time of social and political turmoil… Olag Gan wants to marry the woman of his dreams. Vila Restal wants to steal anything that isn’t nailed down. When they form a partnership, a perfect combination of strength and skill, it seems that nothing stands between them and the easy life. But fate hates to give a sucker an even break and the course of true love never did run smooth.




Blake's 7 - Eye Of The Machine (mp3 27mb)

E03 - Eye Of The Machine 29:22

Michael Keating as Vila, Owen Aaronovitch as Gan and Alistair Lock as Zen

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previously

Blake's 7 - The SevenFold Crown (mp3 83mb)
Blake's 7 - The Syndeton Experiment (mp3 52mb)
Blake's 7 - Rebel (mp3 53mb)
Blake's 7 - Traitor (mp3 53mb)
Blake's 7 - Liberator (mp3 54mb)
Blake's 7 - When Vila Met Gan (mp3 25mb)

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Nov 9, 2014

Sundaze 1445

Hello,  unfortunately my browsers still go crazy..crashing all the time, it's truly bizarre, they do so in safe mode, refusing to start up even and it must be a hardware thing as these browsers crashed on linux too, uninstalled graphics driver-to no avail. All this mess started out of the blue 3 weeks ago and i have no idea what is going on....help

30 Nov, my PC is cured and the flacs have been re-zipped, should be all ok now

Another Sundaze, in the spotlight a former busker entertaining portugeese tourists but his birthtown London's music scene call had him return to take a serious dip into the music scene and within 3 years he released his first albums on cassette. The music of Banco de Gaia is best categorized as ambient dub, but Marks works to cross genres, often using Arabic and Middle Eastern samples against a bass heavy reggae, rock, or trance rhythm to produce deeply textured tracks that progress layer upon laye   ..N'joy

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In 1978, Marks began his musical career as a drummer in a heavy metal band. Marks moved to Portugal in 1986 and played Beatles music for tourists. He first delved into electronic music in 1989, when he bought a digital sampler. The first tune he recorded on it was called "Maxwell House."

Inspired to enter the field of electronic music by Britain's acid house explosion of the late '80s, Toby Marks took quite a different spin on electronica with his recordings as Banco de Gaia, introducing elements of Eastern and Arabic music, sampling similarly exotic sources, and tying the whole to ambient-dub rhythms. Marks began releasing cassette-only albums in the early '90s, distributed through a network of clubs and artists known as Planet Dog. These excellent self-produced albums Medium and (in 1992) Freeform Flutes And Fading Tibetans. His unique and evocative blend of electronica with world-music styles earned him a fast-growing and loyal live following.

When Planet Dog became a record label as well (later the home of Eat Static and Timeshard), Banco de Gaia debuted on disc with the Desert Wind EP, released in November 1993. Early the following year, Marks released his first much acclaimed album, Maya. Maya featured studio versions of many of the tracks that had become the mainstay of Banco de Gaia's live sets and consequently was an immediate hit with his growing fan-base. The Heliopolis EP was also released in 1994, a track from which appeared on Sasha and Digweed's ground-breaking Northern Exposure compilation the next year.

After a big success of the debut album Maya and a European tour with Transglobal Underground Toby Marks travelled the world collecting inspirations. He joined The Tibet Support Group, a part of International Tibet Independence Movement. As a response to the decision to build the Qingzang railway between the cities of Xining and the Tibetan capital of Lhasa, in 1995 Marks recorded a 12-minute long track with looped chants from Tibet. It soon appeared to be a start for the whole project, eventually creating a new album. As Marks said, the compositions were made as a result of political and human sensitivity

Banco's Last Train To Lhasa album collected huge critical acclaim across Europe as well as the US and Canada. The skilful blend of sounds on Last Train To Lhasa produced a timeless release that was one of the 'must have' albums of that year and limited edition versions of the release (featuring bonus mixes) now change hands for huge sums on the internet.

Live At Glastonbury was released in 1996. Featuring a storming set recorded in front of a large and enthusiastic crowd at the Glastonbury Festival in 1995, the album consolidated what had been a period of huge growth in Banco de Gaia's standing within the dance community and gave Toby a breathing space to work on his next studio album.

The result, Big Men Cry, released in 1997 was a deep and very personal album featuring many timeless and deeply moving tunes. The simultaneous release of Big Men Cry both across Europe and in the US, gave Toby the opportunity to completely revamp what had up till then, been a one-man live show. His already massive reputation for stunning live performances was enhanced by the creation of a 5 piece band to enable Banco de Gaia to perform Drunk As A Monk as 'live' as possible. band that included Ted Duggan (drums), Ashley Hopkins (bass), Larry Whelan (wind synth, saxophone and ethnic flutes), and Gary Spacey-Foot (percussion and saxophones). Enhanced with a specially designed lightshow, the band toured the US and much of Europe over the next year, securing a reputation for quality music that has endured to this day.The band reduced in number to just Marks, Duggan, and Hopkins in 1999, and then just Marks and Duggan from 2000 until 2003; when Marks went back to being a solo artist.

Banco de Gaia parted company with Planet Dog Records in 1998 and went on to set up his own Disco Gecko label through which he has released The Magical Sounds of Banco de Gaia two years later. In late 2000, Marks returned with Igizeh through Six Degrees Records, a label with which he decided to stay for 2004's You Are Here and 2006's Farewell Ferengistan. On 20 September 2009, Banco De Gaia played an album launch show for his album, Memories Dreams Reflections at Dingwalls in London. This show was to celebrate twenty years of Banco De Gaia. Marks was joined on stage by three members from the original five piece band, Hopkins, Whelan, and Duggan and vocalist Maya Preece, who sang on the latest album.

He released his latest album, Apollo, on 8 April 2013, on his own Disco Gecko Recordings.

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Live at Glastonbury captures Banco de Gaia's performance at the 1995 Glastonbury festival, where he ran through many of his most familiar songs -- such as "Maya" and "Heliopolis" -- often giving them radically new arrangements. Since the album isn't just a straight live set, it is of interest to more listeners than the usual live record. In fact, the album is one of the most convincing statements of purpose Toby Marks has yet released, since it captures most facets of his complex musical personality. This is a recording of the complete set performed on The Avalon Stage, Glastonbury Festival, England on June 24th 1995. We have tried to capture the spirit of the occasion rather than achieve technical perfection. No blame."



Banco De Gaia - Live At Glastonbury> (flac  499mb)

01 Last Train To Lhasa (Voc.Potala Band) 12:47
02 Mafich Arabi 8:03
03 Amber 7:31
04 White Paint 7:13
05 Kincajou 7:56
06 Kuos 6:39
07 887 8:08
08 Heliopolis 6:20
09 Data Inadequate 8:14

Banco De Gaia - Live At Glastonbury> (ogg 170mb)

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Toby isn't just a DJ -- he's a serious composer of complex works. He crafts wonderfully complex musical journeys incorporating long sound segments recorded from many places, filtered, distored, amplified, woven into new shapes, and then layered on top of some of the best rhythm lines you'll find among electronic/trance/dance/... musicians. I simply love how a solid beat emerges out of the ether, carries you into dancing, then fades as his ether gets you high in setting you up for the next track. The Magical Sounds... is an inspired collection of ambient keyboard washes, exotic vocal sound samples, and up-tempo hip-hop and dub influenced dance beats.  Anyone looking for an album that combines the best of electronica and world music, go no farther ...



Banco De Gaia - The  Magical Sounds of Banco de Gaia (flac  424mb)

01 I Love Baby Cheesy 6:34
02 Harvey And The Old Ones 8:25
03 Sinhala 9:17
04 Touching The Void 12:09
05 144k 8:52
06 Frog's Dinner 9:09
07 Glove Puppet 3:17
08 No Rain 8:13

Banco De Gaia - The  Magical Sounds of Banco de Gaia (ogg 153mb)

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After a year, Banco de Gaia (Toby Marks) returns with Igizeh, the full-length album on Six Degree Records. In the spirit of past Banco de Gaia efforts, Igizeh combines dancefloor European techno and chunks of global, ethnic snippets. The track "Gizeh" was recorded in the Great Pyramid, which in Marks' opinion, has great acoustics but not much atmosphere after its renovation. For "Gizeh," Marks adds to the global influence by using a Turkish clarinet to the keyboard sampled sounds. Banco fans will notice that a track on his previous album ("Glove Puppet" from the The Magical Sounds of Banco de Gaia) makes a reappearance on Igizeh. Besides the instrumental being revamped, the updated version features the vocals of Portland's, Jennifer Folker.



Banco De Gaia - Igizeh (flac 409mb)

01 Seti I 8:42
02 Obsidian 7:06
03 Creme Egg 5:49
04 Glove Puppet (Vocal Version) 4:12
05 Gizeh 9:22
06 How Much Reality Can You Take? 6:56
07 B2 6:11
08 Fake It Till You Make It 11:47
09 Sixty Sixteen (For Karina) 6:40

Banco De Gaia - Igizeh (ogg 151mb)

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Nov 8, 2014

RhoDeo 1444 Grooves

Hello, so i sort of gave up earlier, but since i maneged to do a complete checkdisk and virus scan , I hope to get some positive feedback from you all..

Otis Ray Redding, Jr. (September 9, 1941 – December 10, 1967) an American singer-songwriter, record producer, arranger and talent scout. He is considered one of the greatest singers in the history of American popular music and a seminal artist in soul and rhythm and blues. His singing style was powerfully influential among soul artists of 1960s and helped exemplify the Stax sound.   ......N'joy

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Born and raised in Georgia, United States,  from age 10, he took drum and singing lessons. At Ballard-Hudson High School, he sang in the school band. Every Sunday he earned $6 by performing gospel songs for Macon radio station WIBB. Redding left school at age 15 to support his family, working with Little Richard's backing band, the Upsetters, and performing at talent shows for prize money. In 1958, he joined Johnny Jenkins's band, the Pinetoppers, and toured the Southern United States as a driver and musician. At age 19, Redding met 15-year-old Zelma Atwood at "The Teenage Party." She gave birth to their son Dexter in the summer of 1960 and married Redding in August of 1961. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, where he wrote his first songs including "She's Allright," "Tuff Enuff," "Gamma Lamma," and the song "Gettin' Hip," Redding's first composition released as a 45 RPM single recording. An unscheduled appearance on a Stax recording session led to a contract and his first single, "These Arms of Mine", with "Hey Hey Baby" on the B-side. The single was released on Volt on October 1962, but charted in March the following year. It became one of his most successful songs, selling more than 800,000 copies. Stax released Redding's debut album Pain in My Heart two years later.

Redding's success allowed him to buy a 300-acre (1.2 km2) ranch in Georgia, which he called the "Big O Ranch."[33] Stax was also doing well. Walden signed more musicians, including Percy Sledge, Johnnie Taylor, Clarence Carter and Eddie Floyd, and together with Redding they founded two production companies.

In late 1966, Redding returned to the Stax studio. At this session he recorded tracks including "Try a Little Tenderness", originally written by Jimmy Campbell, Reg Connelly and Harry M. Woods in 1932. This song had previously been covered by Bing Crosby and Frank Sinatra, and the publishers unsuccessfully tried to stop Redding from recording the song from a "negro perspective'. Today often considered his signature song, his performance is so special and so unique that it expresses who he is." On this version Redding was backed by Booker T. & the M.G.'s, while staff producer Isaac Hayes worked on the arrangement.

Initially popular mainly with African Americans, Redding later reached a wider American popular music audience. Along with his group, he first played small gigs in the American South, then debuted in the western United States at L.A.'s popular night club the Whisky a Go Go. Later appearances included Paris, London and other European cities.

A year after the Fillmore, Redding released the gold record-winning album King & Queen, with Carla Thomas. It was Jim Stewart's idea to produce a duet album, as he expected that "[Redding's] rawness and [Thomas'] sophistication would work". The album was recorded in January 1967, while Thomas was earning her M.A. in English at Howard University. Six out of ten songs were cut during their joint session; the rest were overdubbed by Redding in the days following, due to concert obligations. Three singles were lifted from the album: "Tramp" was released in April, followed by "Knock on Wood" and "Lovey Dovey". All three reached at least the top 60 on both the R&B and Pop charts. The album charted at number 5 and 36 on the Billboard Pop and R&B charts, respectively.

In 1967, Redding performed at the influential Monterey Pop Festival as the closing act on Saturday night, the second day of the festival. Until that point, Redding was still performing mainly for black audiences. Redding and his backing band (Booker T. & the M.G.'s with the Mar-Keys horn section) had opened with Cooke's "Shake" His act, which included his own song "Respect" and a version of the Rolling Stones' "Satisfaction", was well received by the audience.

After Monterey, Redding wanted to record with Conley, but Stax was against the idea. The two moved from Memphis to Macon to continue writing. The result was "Sweet Soul Music", based on Cooke's "Yeah Man". It peaked at number 2 on the Billboard Hot 100. By that time Redding had developed polyps on his larynx, which he tried to treat with tea and lemon or honey. He was hospitalized in September 1967 at Mt. Sinai Hospital in New York to undergo surgery.

In early December 1967, Redding again recorded at Stax. One new song was "(Sittin' On) The Dock of the Bay", which was written with Cropper while they were staying with their friend, Earl "Speedo" Sims, on a houseboat in Sausalito. Redding was inspired by the Beatles album Sgt. Pepper's Lonely Hearts Club Band and tried to create a similar sound against the label's wishes. His wife Zelma disliked its atypical melody. The Stax crew were also dissatisfied with the new sound; Stewart thought that it was not R&B, while bassist Donald "Duck" Dunn feared it would damage Stax's reputation. However, Redding wanted to expand his musical style and thought it was his best song and correctly believed it would top the charts. Redding whistled at the end, either forgetting Cropper's "fadeout rap", or paraphrasing it intentionally.

By 1967 the band was traveling to gigs on Redding's Beechcraft H18. On December 9, 1967, they appeared on the Upbeat television show produced in Cleveland. They played three concerts in two nights at a small club called Leo's Casino. After a phone call with Zelma and their children, Redding's next stop was Madison, Wisconsin; the next day they were to play at the Factory nightclub near the University of Wisconsin.

Although the weather was poor, with heavy rain and fog and despite warnings, the plane took off. Four miles from their destination at Truax Field in Madison, the pilot radioed for permission to land. Shortly thereafter, the plane crashed into Lake Monona. The cause of the crash was never determined.

"(Sittin' On) The Dock of the Bay" was released in January 1968 and became Redding's only single to reach number one on the Billboard Hot 100, and the first posthumous number-one single in US chart history. It sold approximately four million copies worldwide and received more than eight million airplays. The album The Dock of the Bay was the first posthumous album to reach the top spot on the UK Albums Chart.

Shortly after Redding's death, Atlantic Records, distributor of the Stax/Volt releases, was purchased by Warner Bros. Stax was required to renegotiate its distribution deal and was surprised to learn that Atlantic actually owned the entire Stax/Volt catalog. Stax was unable to regain the rights to its recordings and severed its Atlantic relationship. Atlantic also held the rights to all unreleased Otis Redding masters. It had enough material for three studio albums—The Immortal Otis Redding (1968), Love Man (1969), and Tell the Truth (1970)—all issued on its Atco Records. A number of successful singles emerged from these LPs, among them "Amen" (1968), "Hard to Handle" (1968), "I've Got Dreams to Remember" (1968), "Love Man" (1969), and "Look at That Girl" (1969).

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He received the honorific nickname King of Soul. In addition to "(Sittin' On) The Dock of the Bay," "Respect" and "Try a Little Tenderness" are among his best-known songs.

Five of his albums, Otis Blue: Otis Redding Sings Soul, Dreams to Remember: The Otis Redding Anthology, The Dock of the Bay, Complete & Unbelievable: The Otis Redding Dictionary of Soul and Live in Europe, were ranked by Rolling Stone on their list of the "500 Greatest Albums of All Time".


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Dictionary of Soul features the Booker T. & the M.G.'s—organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.—pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman. The album was released on October 15, 1966 on the Stax label and peaked at number 73 and at number 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness". In 2003, the album was ranked number 251 on Rolling Stone magazine's list of the 500 greatest albums of all time.

King & Queen is a studio album by American recording artists Otis Redding and Carla Thomas. It is Thomas' fourth album and Redding's sixth and the final studio album before his death on December 10, 1967. Influenced by Marvin Gaye's duets, the album features ten covers of soul classics and the eleventh finishing song co-written by Redding. The album includes crossover hits "Tramp" and "Knock on Wood". Following Redding's death, the single "Lovey Dovey" was also released. The original album's liner notes were written by Tennessee Senator Howard H. Baker, Jr. It was released on March 16, 1967 by Stax Records. This set is still hugely successful on its own terms. Redding and Thomas enjoy an undeniable chemistry, and they play off each other wonderfully; while sparks fly furiously throughout King & Queen, the album's highlight is the classic "Tramp," where their battle of the sexes reaches its fever pitch in supremely witty fashion.



Otis Redding - Dictionary Of Soul / Otis Redding n Carla Thomas - King n Queen (flac 317mb)

Dictionary Of Soul

01 Fa-Fa-Fa-Fa-Fa [Sad Song] 02:44
02 I'm Sick Y'All 02:57
03 Tennessee Waltz 02:57
04 Sweet Lorene 02:31
05 Try A Little Tenderness 03:50
06 Day Tripper 02:36
07 My Lover's Prayer 03:12
08 She Put The Hurt On Me 02:40
09 Ton Of Joy 02:56
10 You're Still My Baby 03:53
11 Hawg For You 03:30
12 Love Have Mercy 02:29

Otis Redding and Carla Thomas - King and Queen

01 Knock on Wood 2:48
02 Let Me Be Good to You 2:48
03 Tramp 3:00
04 Tell It Like It Is 3:13
05 When Something Is Wrong with My Baby 3:14
06 Lovey Dovey 2:33
07 New Year's Resolution 3:14
08 It Takes Two 3:03
09 Are You Lonely for Me, Baby? 3:14
10 Bring It On Home to Me 3:14
11 Ooh Carla, Ooh Otis 2:32

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It was never supposed to be like this: "(Sittin' on) The Dock of the Bay" was supposed to mark a beginning of a new phase in Otis Redding's career, not an ending. Producer/guitarist Steve Cropper had a difficult task to perform in pulling together this album, the first of several posthumous releases issued by Stax/Volt in the wake of Otis Redding's death. What could have been a cash-in effort or a grim memorial album instead became a vivid, exciting presentation of some key aspects of the talent that was lost when Redding died. Dock of the Bay is, indeed, a mixed bag of singles and B-sides going back to July of 1965, one hit duet with Carla Thomas, and a pair of previously unissued tracks from 1966 and 1967, respectively. There's little cohesion, stylistic or otherwise, in the songs, especially when the title track is taken into consideration -- nothing else here resembles it, for the obvious reason that Redding never had a chance to follow it up. Despite the mix-and-match nature of the album, however, this is an impossible record not to love. Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer's orphaned songs: "I Love You More Than Words Can Say" is one of Redding's most passionate performances; "Let Me Come on Home" presents an ebullient Otis Redding accompanied by some sharp playing; and "Don't Mess With Cupid" begins with a gorgeous guitar flourish and blooms into an intense, pounding, soaring showcase for singer and band alike. No one could complain about the album then, and it still holds more than four decades later.. In 2003, the album was ranked number 161 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In Person at the Whisky a Go Go is a live album by Otis Redding, recorded at the Whisky a Go Go on Sunset Strip in Los Angeles, California in the Spring of 1966. It was originally released in 1968. The recording was made before Otis Redding attained crossover fame at the Monterey Pop Festival.



Otis Redding - The Dock Of The Bay/In Person at the Whisky A Go Go (flac 392mb)

The Dock Of The Bay 1968

01 Sittin' On The Dock Of The Bay 2:46
02 I Love You More Than Words Can Say 2:56
03 Let Me Come On Home 02:54
04 Open The Door 2:25
05 Don't Mess With Cupid 2:33]
06 Glory Of Love 2:59
07 I'm Coming Home To See About You 3:03
08 Tramp 3:03
09 The Huckle-Buck 3:0]
10 Nobody Knows You [When You're Down And Out]3:10
11 Ole Man Trouble 2:36

In Person at the Whisky A Go Go 1968

01 I Can't Turn You Loose 4:45
02 Pain In My Heart 2:13
03 Just One More Day 5:25
04 Mr. Pitiful 2:06
05 [I Can't Get No] Satisfaction 4:38
06 I'm Depending On You 3:01
07 Any Ole Way 2:42
08 These Arms Of Mine 4:01
09 Papa's Got A Brand New Bag 4:45
10 Respect 2:06

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While Otis Redding was already one of the biggest stars in soul music when he died in a tragic plane crash in 1967, as is some times the case his star rose considerably after his passing, and this 1969 release dusted off a set of unreleased tracks Redding had cut in 1967, one of which (the title cut) went on to become a sizable chart hit. Love Man doesn't hold together quite as well as Redding's best proper albums, such as Otis Blue and Complete and Unbelievable: The Otis Redding Dictionary of Soul, but it also manages to avoid sounding like a collection of out-takes and leftovers; as an album it's significantly stronger than the average R&B release of similar vintage, due to Redding's indefatigable energy and conviction as a vocalist and the ever-indomitable groove of Steve Cropper, Al Jackson, Jr., and the other members of the Stax Records studio crew. If Love Man is flawed, it's not a matter of execution so much as material; while Redding's originals are good, none are quite up to the standards of "Cigarettes and Coffee" or "My Lover's Prayer", and covers like "A Lover's Question" and "(Your Love Keeps Lifting Me) Higher and Higher" are not ideally suited to Redding's style. But even the flawed material helps prove just how strong Redding's work was, even under less than ideal circumstances, and Love Man makes it clear he never gave less than %110 percent in the studio.

When a major artist dies, labels can usually be counted on to release anything and everything the artist had in the can, regardless of quality. In the case of Otis Redding, most of the posthumous releases were of a very high quality. One example is Tell the Truth, which was recorded the year he died, 1967, and remained unreleased until 1970. Though it falls short of essential, Truth has a lot to excite the soul icon's more devoted followers. Tracks like "I Got the Will," "Snatch a Little Piece," and "Demonstration" are pure Redding -- frenzied, passionate, relentlessly gritty Memphis soul that makes no concessions to pop tastes or Northern soul. "Out of Sight" speaks volumes about him -- while others would have been afraid to cover a song written and defined by James Brown, Redding confidently tackles the song with splendid results. Redding's last major hit, "Dock of the Bay," indicated that had he lived, he would have explored softer, Northern R&B sounds. But on this album (reissued on CD in the early '90s), it was Memphis all the way.



Otis Redding - Love Man/Tell The Truth (flac 366mb)

Love Man 1969

01 I'm a Changed Man 2:18
02 [Your Love Has Lifted Me] Higher and Higher 3:06
03 That's a Good Idea 2:19
04 I'll Let Nothing Separate us 2:54
05 Direct Me 2:18
06 Love Man 2:19
07 Groovin' Time 2:48
08 Your Feeling Is Mine 2:21
09 Got to Get Myself Together 2:28
10 Free Me 3:08
11 A Lover's Question 2:54
12 Look at That Girl 2:37

Tell The Truth 1970

01 Demonstration 2:25
02 Tell The Truth 3:11
03 Out Of Sight 2:18
04 Give Away None Of My Love 2:54
05 Wholesale Love 2:28
06 I Got The Will 2:51
07 Johnny's Heartbreak 2:28
08 Snatch A Little Piece 2:13
09 Slippn' And Slidin' 1:56
10 Match Game 2:55
11 Little Time 2:33
12 Swinging On A String 2:51

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