May 31, 2016

RhoDeo 1622 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today, a Brazilian jazz-funk trio formed in 1973. The original band members were the late Jose Roberto Bertrami (keyboards), plus Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion)....N'Joy

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Brazilian electrified trio Azymuth called their music samba doido, which means "crazy samba." The actual sounds, though, were not so crazy: the intelligent, high-voltage blend of Brazilian rhythms, jazz, and funk with occasional acoustic episodes gained a sizable following in the 1980s. The members of the group included José Roberto Bertrami (born February 21, 1946, in Tatui; died July 8, 2012, in Rio de Janeiro) on acoustic piano and keyboards, Alex Malheiros (born August 19, 1946, in Niteroi) on bass, and Ivan Conti (born August 16, 1946, in Rio de Janeiro) on drums.

Classically trained and originally influenced by pianists Bill Evans and Luíz Eça (of the Tamba 4), Bertrami worked with Flora Purim and Robertinho Silva before meeting Conti at a Rio nightclub. Upon a visit to a bowling alley/club in 1972, they heard Malheiros and decided to join forces to form Azymuth. Their first album, the soundtrack for the film O Fabuloso Fittipaldi, was released in Brazil in 1973. After spending a number of years as session men in Rio recording studios and touring South America, a successful appearance at the 1977 Montreux Jazz Festival led to a 1978 U.S. tour with Airto and Purim. A contract with Milestone in 1979 resulted in a long string of eclectic and influential albums that established the group in the American and European markets. All three members also recorded solo albums for Milestone.

CarnivalBertrami left the group around 1988, after which Malheiros and Conti carried on for a while with keyboardist Jota Moraes. In the '90s, Bertrami rejoined Azymuth permanently. They signed to Far Out Recordings and issued a long string of albums including Carnival, 1997; Woodland Warrior, 1998; Pieces of Ipanema, 1999; Before We Forget, 2000; and Partido Novo, 2002. In 2007, their self-titled debut album was reissued by the label in a deluxe package. It was completely remastered, and contained an additional disc of remixes by some of the world's best-known dance music producers. In 2008, Azymuth continued their tireless display of creativity with the universally acclaimed Butterfly, which they followed with Aurora in 2011. Sadly, José Roberto Bertrami died in Rio during July of the following year; he was 66 years old.

Azymuth have also been involved in producing albums and their artists have been involved in several other projects through the years, including an album by Brazilian singer-songwriter Ana Mazzotti, and the 2005 debut album, Equilibria, by Alex Malheiros's daughter Sabrina Malheiros. They call their music "Samba Doido", which means "Crazy Samba". Since the advent of the remix, many of Azymuth's songs have been redone by a wide range of artists and musicians. Several electronic acts like Jazzanova among many others, can be heard remixing their works.

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A mixed bag that has more strengths than weaknesses, Telecommunication demonstrates Azymuth's ability to occasionally get into trouble when resorting to hi-tech gimmickry for its own sake, but also illustrates how rewarding the Brazilian trio can be. With its vocoder-ish hijinks, the funk-influenced "May I Have This Dance" is a dated and corny bit of silliness unworthy of Azymuth. But there's also much to admire on this album, including the haunting "The House I Lived In," the sensuous "Country Road," and the sentimental "Last Summer in Rio." Though keyboardist/pianist José Roberto Bertrami and bassist/guitarist Alex Malheiros do not always stretch out enough, the results are quite appealing when they do.



Azymuth - Telecommunication  (flac  196mb)

01 Estreito De Taruma 4:18
02 What Price Samba (Quanto Vale Um Samba) 6:15
03 Country Road (Chao De Terra) 3:30
04 May I Have This Dance ? (Concede-Me Esta Danca ?) 5:18
05 Nothing Will Be As It Was (Nada Sera Como Antes) 3:08
06 Last Summer In Rio 10:47
07 The House I Lived In (A Casa Em Que Vivi) Prelude 5:51

       (ogg   mb)

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With Crazy Rhythm, Azymuth may well have recorded its best album ever by rejecting gimmickry and focusing on what it does best -- sensuous, understated yet rhythmically exciting Brazilian jazz/pop/R&B. Brazilian artists have often been quite adept at creating music that has light and delicate qualities, but never degenerates into "elevator muzak." Like the bossa nova of the '60s, Crazy Rhythm is "easy listening" music with a difference -- some of it was soft enough for airplay on "quiet storm" and "smooth jazz" radio, but nothing on this album comes across as contrived or calculated. Jose Roberto Bertrami delivers one of the finest solos of his career on the beautiful and enchanting "Diza," and special guest Joe Pass (guitar) is in fine form on "Tropical Horizon" and "Hobalala."



Azymuth - Crazy Rhythm    (flac  235mb)

01 Bossa Nova USA 2:37
02 Toc De Bola 5:35
03 Too Much Time (Tempo A Bessa) 4:10
04 Tropical Horizon 7:15
05 Hobalala 5:16
06 O Pescador 4:07
07 Theme For Tiago 4:58
08 Diza 6:38

 Azymuth - Crazy Rhythm    (ogg  92 mb)

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Carioca would be a swan song of sorts for Azymuth -- the last album for keyboardist/leader Jose Roberto Bertrami, who left the group around this time, and their last album for Milestone, which spelled the beginning of the end for them as players in the U.S. music scene. Indeed, Bertrami doesn't even include his longtime cohorts Alex Malheiros and Ivan Conti on the lovely waltz tune "Valsa Se Uma Cidade," or the smooth showcase for Hammond organ, "Guaratiba," preferring the solid, mobile work of guests Paulo Russo (bass) and Jurim Moreira (drums). The selections with Malheiros and Conti are often more reflective than much of Azymuth's past work, with a few references to American funk ("Toque De Cuica") and fewer overtly Brazilian rhythmic influences (Malheiros' nicely soft-focused "Bom Tempo" being a nice exception). In sum, a handsome if diffuse farewell performance right down to Bertrami's brief solo piano postlude and the cryptic inscription at the bottom of the list of credits -- "P.S. The End."



Azymuth - Carioca (flac 207mb)

01 Jazz Carnival 9:27
02 Partido Alto 4:06
03 Avenida Das Mangueiras 4:24
04 Light As A Feather 6:45
05 Fly Over The Horizon (Vôo Sobre O Horizonte) 5:51
06 Amazonia 0:42
07 Young Embrace (Um Ambraço Da Mocidade) 3:18
08 Dona Olimpia 2:41
09 This Exists (Existe Isto) 4:31

Azymuth - Carioca    (ogg  81mb)

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Though not a bad album, Curumim was far from Azymuth's finest hour. Long-time keyboardist Jose Roberto Bertrami is gone, replaced by the less imaginative Jota Moraes -- and his contributions as a composer, soloist and producer are sorely missed. While the album contains some attractive melodies, heartfelt improvisation is in short supply this time. For the most part, this material never really soars. Curumim does have its moments -- including the somewhat Return to Forever-ish "Homem" and the tender title song. But for those checking out Azymuth for the first time, Crazy Rhythm would be a much wiser investment.



Azymuth - Curumim (flac 211mb)

01 Só Papo 4:18
02 Porto Seguro Sunset 4:48
03 Homem 4:02
04 P'ru Mauro 3:43
05 Summer In Tokyo 5:13
06 Curumim 3:23
07 Lá Vem O Rei Do Baião 1:39
08 Rio Cubango 4:11
09 New Horizon 4:40

Azymuth - Curumim  (ogg   85mb)

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May 30, 2016

RhoDeo 1622 Foundation 6

Hello,


Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the far future, Foundation. They will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

that the population whose behaviour was modeled should be sufficiently large
that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

During the war against The Mule, with things going badly for the Foundation, some key figures under the leadership of the Foundation's greatest scientist, Ebling Mis, flee Terminus in search of the Second Foundation, to warn it of the danger from The Mule.

Isaac Asimov - The Foundation Trilogy 6 Flight from the Mule (mp3  52mb)

The Foundation Trilogy 6 Flight from the Mule... 56:42

The Foundation is conquered  To a small band of people the only hope appears to be to discover the Second Foundation of Hari Seldon and enlist it's help against the Mule. But no one knows where the Second Foundation is.    ...

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previously

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)
Isaac Asimov - The Foundation Trilogy 2 The Mayors (mp3  49mb)
Isaac Asimov - The Foundation Trilogy 3 The Merchant Princes (mp3  53mb)
Isaac Asimov - The Foundation Trilogy 4 The General (mp3  50mb)
Isaac Asimov - The Foundation Trilogy 5 The Mule (mp3  52mb)

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May 29, 2016

Sundaze 1622

Hello,  cupfinal day in Europe, Real won after 120 minutes of play and a penalty shoot out 5-4. Before Atletico had been chasing an equaliser for most of the game, missing a penalty but 11min from time scoring a fine goal. In the end sour grapes after losing a third Champions final..meanwhile over at the Giro 'D'Italia local hero and favorite Nibali thought down and out last Sunday won his first pink jersey this afternoon, loser of the day was Steven Kruiswijk who after a brave ride lost even a place on the podium. He would have deservedly won this years Giro if not for the slight loss of concentration which caused him a crash during a downhill, broken rib and barely able to walk he lost almost 5 minutes that day. In the G.C.  he's 110 seconds behind Nibali
Then there's Monaco's Grand Prix, glitz and glamour Red Bull in the headlines Ricciardo on pole, Verstappen from the pits after a slight clip at the back broke his steering bar and made him crash his car in the wall during his first qualification run,, way to go Max now you have to overtake most of the field on a circuit where its extremely difficult to do so..i will be surprised if he makes it to the finish.



Today's artist is an English composer and double bassist. He has been active in, or has produced works in, a variety of styles of music, including jazz, free improvisation, minimalism, historicism, experimental music, avant-garde and neoclassicism.. .. ........N'Joy

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Richard Gavin Bryars (b Goole, Yorkshire, 16 Jan 1943). English composer. He read philosophy at Sheffield University (1961–4) and studied composition with Cyril Ramsey and George Linstead. In 1968 he became part of London's fast-developing experimental music scene; although never a member of the Scratch Orchestra, he worked regularly for a while with the pianist John Tilbury. His best known works of this period – The Sinking of the Titanic (conceived in 1969 and still officially in progress 30 years later) and Jesus' Blood Never Failed me Yet (1971) – are good working examples of his early aesthetic. While conceptual concerns are central (the former work is based on a series of hypotheses surrounding the disaster that befell the liner), these are explored via a rigorous, not to say relentless, extrapolation of found objects, be they the music which evidence suggests was performed on board the Titanic as it sank, or the tape of a London tramp's song, incessantly repeated in Jesus' Blood. A further dimension of the experimental aesthetic was demonstrated by the concerts of the Portsmouth Sinfonia, founded while Bryars taught at the Portsmouth College of Art: here, the performances of Western classical music by untrained musicians embodied what Michael Nyman called the ‘wide discrepancy between intention and effect’ (Experimental Music, London, 1974). The first period of Bryars' work offers a very English perspective on the experimental tradition, augmenting territory already defined by Satie, Cage and others with an openness towards, for instance, frankly sentimental materials and their associations.

The influence of Marcel Duchamp, already detectable in earlier works, was enhanced by intensive study during two fallow compositional years (1973–4), by which time Bryars had established what was to become a long-standing relationship with Leicester Polytechnic. A determination – inspired in part by the composer's affiliation to the 'Pataphysics movement – to justify every compositional decision via specific, though often hidden or arcane, associations with its literary or artistic inspiration is here harnessed to musical processes derived in part from American minimalism. Bryars's main source of performances during this period was his own ensemble, formed in 1979 and initially dominated by keyboards and percussion, since the early 1990s by low strings. Pieces such as Out of Zaleski's Gazebo for two pianos, six or eight hands (1977) and My First Homage (1978 onwards, best known in the version of 1981 for eight performers) submit familiar-sounding borrowed materials – many taken from his then favourite composers: Lord Berners, Grainger, Bill Evans, Karg-Elert – to repetitive forms governed as much by the logic implied by these pieces’ musical and extra-musical reference points (and by the significant play of irony) as by purely internal musical processes. This approach governs Bryars's second period which lasted until the opera Medea (1982, rev. 1984). The flexibility, if not compromise, demanded of a composer in the theatre led to changes in Bryars's attitude and working methods; the Duchamp-inspired principle of justification was then abandoned in favour of a more free-wheeling approach to structure. Since Medea his output has often been for more conventional forces, such as orchestras and string quartets, and commissioned by musicians of repute in other fields; there has been a number of works, for instance, for the Hilliard Ensemble, including The First Book of Madrigals (1998–2000). While a modal but often chromatically restless melancholy remains an important component of his idiom, the opportunities to write for much larger forces later enriched and sometimes energized Bryars's melodic and harmonic style while offering him a broader timbral palette. These developments are well illustrated by the opera Doctor Ox's Experiment, first performed in 1998.
In 2000, a Joseph Holbrooke reunion concert from 1998 was issued, as was Bryars' score for Biped, a Merce Cunningham dance performance. During this period, Bryars was also working on his third opera, G. Amjad, a collaboration with David Lang for the Canadian dance company La La La Human Steps, was issued in late 2008. In February of 2010, his Piano Concerto: The Solway Canal, a co-commission of the Borletti-Buitoni Trust and the Dutch radio was premiered. The year also saw the release of three new albums: I Send You This Cadmium Red, scored by Bryars for an ensemble that included the speaking voices of John Christie and John Berger; I Have Heard It Said That a Spirit Enters, a collection of songs and instrumental works performed by the CBC Radio Orchestra, conducted by Owen Underhill with soloists Holly Cole, Gwen Hoebig, and the composer; and Live at Punkt by the Gavin Bryars Ensemble with Arve Henriksen guesting on trumpet.

Since 1974 Bryars has been a member of the Collège de 'Pataphysique and was elected Regent in 2001 and in 2015 was named as Transcendent Satrap, the highest honour in the Collège, a position shared with Marcel Duchamp, Man Ray, Eugène Ionesco, Umberto Eco and others.

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The Last Days consists of the title composition (a piece for two violins) and Bryars' "String Quartet No. 1" and "String Quartet No. 2." The first quartet (from 1985), previously recorded by the Arditti Quartet on the ECM release Three Viennese Dances, features sweeping, romantic melodic lines over minimalistically pulsing rhythms. Bryars' penchant for moody, melancholy ruminations is in full effect, though the final section, with its retuned strings entering airy harmonic territories, hints at sublime rapture. The basic material in "The Last Days" (1992) doesn't sound too different from the first quartet, though the work is broken into five portions, lending them more the quality of songs, even arias. However, the romantic surge is somewhat sublimated and a stately aura is almost achieved, which robs the music of greater emotional impact. The second string quartet begins where the first left off: in the upper atmosphere. It briefly settles into an enticingly turbulent give and take but soon reenters the general sound areas of the earlier work, replete with plaintive violin lines over those pulsating cellos. Some differences in technique are apparent, including the use of bottleneck slides, but the overall result is not without its pleasures.



Gavin Bryars - The Last Days  (flac  318mb)

01 String Quartet No. 1 ("Between The National And The Bristol") 21:54

The Last Days ("Die Letzten Tage")
02 Prelude (The Roman Ending) 4:08
03 I The Venetian Beginning 5:42
04 Intermezzo I 4:17
05 Intermezzo II 4:06
06 II The Corinthian Middle 8:27

07 String Quartet No. 2 23:46

Gavin Bryars - The Last Days   (ogg  151mb)

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The five variations of the title piece find Bryars returning somewhat to the more overtly experimental, not to say whimsical, aspects of his earliest work. They take the form of brief instructions in the fine art of cardsharping, with musical accompaniment, to be broadcast over radio during unoccupied stretches of airtime. A cultured, sometimes drolly amused, Spanish-accented voice announces "good evening" at the beginning of each section, then proceeds to give detailed instructions on dealing from the bottom of the deck, voiding oneself of an unwanted card, and other deceptions. All the while, Bryars' typically moody music rolls along behind him, often with dramatic flourishes investing the instructions with a surreal kind of urgency. The pieces are both effective and wryly humorous, especially if one imagines them suddenly issuing from a car radio late at night. The three works that complete the album are not very dissimilar from Bryars' general output since the mid-80's: somber, hazily romantic ruminations over minimalist derived rhythmic patterns. "Les Fiancailles" does possess a lovely yearning quality very reminiscent of parts of Messiaen's "Quartet for the End of Time" that makes it stand out from the rest.



Gavin Bryars - A Man In A Room, Gambling  (flac  342mb)

01 A Man In A Room, Gambling No. 4 5:09
02 A Man In A Room, Gambling No. 8 5:08
03 A Man In A Room, Gambling No. 3 5:10
04 A Man In A Room, Gambling No. 9 5:08
05 A Man In A Room, Gambling No. 10 5:21
06 Fiançailles 18:43
07 North Shore 14:53
08 South Downs 14:49

Gavin Bryars - A Man In A Room, Gambling    (ogg  160mb)

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Biped was commisioned by the Merce Cunningham Dance Foundation for the dance by Merce Cunningham. As in all things Bryars, Biped is very low-key, establishing a sort of tense stasis in the opening sections, with quiet, but ominous percussion thundering in the distance. The middle section is sparser, with isolated details and gestures coming in and out of a three-dimensional perspective to add up to a mysterious, luminous nocturnal landscape.
From the fourth section the music opens up to reveal a harmonious plateau that has been lurking underneath the texture much of the time, bringing the work to a conclusion in the final two sections that is both satisfying and rewarding. While the running time of 45 minutes may seem a tad short for some, Biped is a complete musical experience in itself and does not need, nor does it seem to invite, filler material. At times Biped could make one think of Merce Cunningham's feet -- leathery and somewhat twisted out of shape from their long use in dance, but sinewy and incredibly strong with not a square centimeter of fat.



Gavin Bryars - Biped (flac 207mb)

01 Part I 7:34
02 Part II 12:57
03 Part III 9:18
04 Part IV 8:31
05 Part V 5:16
06 Part VI 2:20

Gavin Bryars - Biped (ogg   90mb)

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The music of British composer Gavin Bryars has been shaped by a variety of influences, from the avant-garde aesthetic of John Cage and Cornelius Cardew to minimalism, but its roots were in jazz performance, and it's easy to hear the sensibilities of jazz underlying the solo piano works, After Handel's Vesper and Ramble on Cortona. Both have an improvisatory quality and a harmonic language derived more obviously from jazz than from the Handel or the 13th century laudes that provide the source material. They have a mellow sweetness, and they unfold with amiable leisure. Bryars' Piano Concerto (The Solway Canal) is a darker work, an evocative soundscape that features the accompaniment not only of an orchestra but a choir. The piano part, frequently a simple melodic solo line floated over an arppegiated or chordal accompaniment, is far from the virtuosic showcase that typifies most concertos. The chorus, perhaps inevitably, draws the listener's attention most powerfully, and the piano part frequently takes on the character of an accompaniment. This flexibility of roles and the shifting musical focus should be problematic only for purists who demand that a concerto follow a preordained form, because the result, if not simple to categorize, is hauntingly lovely. Like the solo works, it develops at a reflective, unhurried pace. Its lack of dramatic contrasts in tempo is another element that sets it apart from conventional concertos, but it is highly effective in its moods of subdued melancholy. The album doesn't make the kinds of demands that show off Ralph van Raat's considerable virtuosity, but he brings just the right gentle poetry to Bryars' music. Otto Tausk leads Cappella Amsterdam and Netherlands Chamber Orchestra in a colorful and expressive performance of the concerto.



Gavin Bryars - Piano Concerto (The Solway Canal) (flac 181mb)

01 After Handel's Vesper 11:47
02 Ramble On Cortona 12:34
03 Piano Concerto (The Solway Canal) 28:21

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May 28, 2016

RhoDeo 1621 Grooves

Hello, " In or Out " That's The Question


Meanwhile a different kind of Soul-Jazz grooves here today to cleanse those dusty parts of soul..

Today's artists drew praise for the fiery passion of all three members. They were able to alternate between soulful ballads, gospel, blues and stomping jazz. Sell-out performance at the prestigious Ronnie Scott’s jazz club confirmed their status within the British ‘new jazz/pop’ scene. In accentuating the ‘jazz’ motif, the music and ‘style’ press unfortunately saddled the singer with an unwanted Billie Holiday image. The band continue to command respect from critics and fans alike  ... N'joy

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The band Carmel was formed in Manchester when two students McCourt and Jim Parris got together with drummer Gerry Darby (Parris's cousin). Their début single, "Storm" reached No. 1 in the UK independent chart and they were signed to London Records. Their second album The Drum is Everything (produced by Mike Thorne) drew some praise. Parris and Darby conjured the effect of a full ensemble backing to McCourt's vocals, and alternated between soulful ballads, gospel, blues and jazz. The resulting singles "Bad Day" and "More, More, More" both went Top 25 in the UK Singles Chart.

The following album, The Falling (produced by Brian Eno, Hugh Jones and David Motion) had considerable success in France, achieving gold disc status, and also charted in Belgium, Germany and The Netherlands. "Sally", the first single lifted from the album, sold 500,000 copies in France alone, and led to McCourt featuring in a duet "J'oublierai ton nom" with French rock star Johnny Hallyday. With the critical and commercial success awarded to both The Falling and the follow-up album Everybody's Got A Little... Soul, record producers were keen to work with Carmel.

1989 saw the release of Set Me Free, with Brian Eno and Pete Wingfield adding their touches to the material. Jimmy Somerville provided guest vocals on the track "One Fine Day", a song dedicated to Harvey Milk, the first openly gay man to be elected to public office in California, only to be assassinated 10 months later. A five star review in Q described the album as "incendiary" and the decade was closed with the 1990 compilation Collected, summing up the band's career to that date.

1992's Good News saw Carmel moving to East West Records with Parris producing. That album was followed by 1995's World's Gone Crazy with producers including Carmel McCourt, Jim Parris, Gerry Darby, Julian Mandelsohn and Mike Thorne. A single was released from World's Gone Crazy, the ballad "If You Don't Come Back", an English-language version of "Si Tu No Vuelves" by the Spanish singer-songwriter and actor, Miguel Bosé. In 1997, Ronnie Scotts provided the venue for their last album for over a decade, Live at Ronnie Scotts, a partial retropsective of their work to date, also containing some previously unreleased material.

Live performance has always been central to Carmel's work and they are successful on the European touring circuit, and have frequently found greater appreciation on the continent than in the UK. The French christened McCourt the new Edith Piaf[citation needed], and in Italy she won the accolade of best jazz vocalist at the Messina Festival.

During much of the 1990s the band members were living between Barcelona, Paris and Manchester, and it was hard for them to work together, so they pursued other musical projects. Parris created the band Nzi Dada with Paris-based multimedia artist Xumo Nounjio, and McCourt worked on various projects as a singer, writer and teacher.

The start of the millennium saw them all back in their adopted hometown of Manchester, but Darby decided he no longer wanted to continue. In 2002 Parris and McCourt undertook a tour playing the old material with a nine piece band. This resulted in a 2004 live DVD entitled More, More, More, comprising a full band performance and an interview with McCourt and Parris.

In December 2011, McCourt and Parris released their first studio album in over 15 years. Still working under the name Carmel, they released the album Strictly Piaf, which consisted of 10 reinterpretations of classic and lesser-known songs by Edith Piaf. An initial single from the album was Sous le ciel de Paris before the album was made available via download. The collection later received a full CD release in August 2012 via Secret Records.

As of October 2012, McCourt was set to return to live work with a new band formation, performing Carmel classics as well as material from the Strictly Piaf album. Dates included those at London's Islington Town Hall, Stockton Georgian Theatre, and Manchester Band on The Wall. Of the shows, she has said: "It will be wonderful to work with the new musicians. They are all great in their own right and it will be so sweet to hear the many songs that Gerry Darby, Jim Parris and I wrote together in the years spanning the 1980s and the 1990s".

Carmel took the band on a European tour of Germany and Switzerland towards the end of May 2013 and began to start playing some of the new songs she'd been writing.

On September 25, 2015 Carmel released her first new single with her new band, the double A-Side 'Sad Situation' | 'Second Wife Blues', on new independent label Kultura Recordings. Both tracks were recorded at Limefield Studio in Middleton and mixed and mastered by Kevin O'Toole.

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Carmel McCourt and her band Carmel in 1982 to the UK music scene was a thing to behold.
This hazy, spacey mini LP from Manchester 'torch' singer Carmel showcases the sultry sweetness and sensitive strength of her voice perfectly. Soaked in a smokey nightclub atmosphere - with jazzy hi-hat, moody double bass and wild conga as backing - influences include early Piaf, a young Aretha, Billie Holliday and even Jim Morrison (on the live track, "Storm"). Above all, though, it's Carmel's natural swagger that makes this such a stylish debut.



Carmel - Carmel   (flac 99mb)

01 Tracks Of My Tears 4:29
02 Sugar Daddy 3:06
03 Guilty 2:22
04 Thunder 3:09
05 Love Affair 3:09
06 Storm 3:42

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The songs run from jazz through gospel to blues and soulful balands. An obscure gem of the first order from the days before the neo-soul/Acid Jazz movement. Many would say Carmel helped kick start the groovy fun with their throw-back hipster bop and swing style. This 10 track album features the hit "More, More, More" and, well, Stormy Weather and the insanely primal slink of the title track! Produced by Mike Thorn. Carmel McCourt's wild, swinging jazz voice and beatnik-mixed-with-pop sensibilities is a titilating combination. This white woman deals out blue-eyed soul with driving rhythms and gorgeous tunes, her singular voice which makes this one of the best long players to come out of England in the 80's.



Carmel - The Drum Is Everything   (flac  360mb)

01 More More More 6:26
02 Stormy Weather 3:42
03 The Drum Is Everything 2:00
04 I Thought I Was Going Mad 1:46
05 The Prayer 6:43
06 Rockin' On Suicide 2:00
07 Rue St Denis 4:19
08 Willow Weep For Me 2:45
09 Tracks Of My Tears 3:56
10 Bad Day 6:36
Bonus Tracks
11 Lament 3:12
12 That's Cool That's Neat 3:02
13 Hot Dog 3:54
14 Willow Weep For Me (12'' Extended Mix) 4:27
15 Rue St Denis (Dance Mix) 7:53

Carmel - The Drum Is Everything (ogg  145mb)

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Several of the racks on this recording were produced by Brian Eno. And while the album is squarely in the pop-soul vein, his sonic touches make it all the more distinctive. Not as jarringly original as "The Drum Is Everything," which preceded it but worthy in its own right. Very successful in France thanks to megahit Sally, but it's the chilling 'I'm Not Afraid Of You' that haunts the soul here. Why oh why did Amy Stewart never cover this song, it would have been awesome..



Carmel - The Falling   (flac  405mb)

01 I'm Not Afraid Of You 5:45
02 Let Me Know 4:15
03 Tok 3:57
04 The Falling 4:03
05 Mama Told Me Not To Come 4:33
06 Mercy 5:05
07 Easy For You 3:56
08 Sticks & Stones 4:57
09 Sally 3:52
Bonus Tracks
10 Daddy Long Legs  3:56
11 What A Story 3:18
12 Energise My Soul 5:56
13 All Day Long I Shouted 4:11
14 Mercy (Par Pitié) 4:24
15 I'm Not Afraid Of You (Extended 12'' Remix) 5:45
16 Hymn Of Love 3:18

Carmel - The Falling (ogg  160mb)

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Digitally remastered and expanded edition of the 1987 album, beautifully crafted songs, natural & exciting progressions from previous works, this album was, and absolutely remains a true classic. Anyone failing to hum Azure for a week after being seduced by the lush rhythms of this,  it still sounds as great as ever and as fresh as when it was first released. They were ahead of their time and, as such, never got the acclaim they deserved.



Carmel - Everybody's Got A Little ... Soul   (flac 477mb)

01 It's All In The Game 3:56
02 Every Little Bit 5:01
03 Sweet And Lovely 3:40
04 Nothing Good 5:06
05 Azure 4:15
06 Lay Down 3:29
07 Jazz Robin 2:42
08 I Do And Do (Full Length) 8:42
09 A Hey Hey (Everybody's Got A Little...Soul) 2:56
10 A Hey Hey (Reprise) 1:37
Bonus Tracks
11 It's All In The Game (12" mix) 7:18
12 Tracks Of My Tears (Live At Ronnie Scotts) 6:39
13 More More More (Live At Ronnie Scotts) 5:57
14 The Crocodile Poem 5:26
15 Long Come Liberty 8:58

Carmel - Everybody's Got A Little ... Soul  (ogg  185mb)

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May 26, 2016

RhoDeo 1621 Re-Ups 59

Hello, though i like the recent influx of new visitors, but asking for re-ups without signing a name to it and subsequently asking me to re-up anything i posted by this or that artist(s) is putting me off (f.i. i've got about 60 Japan related albums in my collection most of them i posted here) it's no use to my regular visitors and even the asking party to re-up all this week, as there's just so much one can take in and enjoy. Please i won't be going away there's no hurry you can ask for a re-up next week or month. As for UnlimitZone if you can't be bothered to register to download an album it's your choice, its easy enough to set up a free email account-I use mail.nu ones- there's plenty of choice. Meanwhile I stopped using UnlimitZone but i won't re-up recent postings hosted there.


Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 45 re-ups 14 first time in flac, requests fullfilled up to May 24th, well I reached the point where requests have dried up the ball is in your court now  ...N' Joy


1x Roots Back in Flac (Brasil, A Century of Song 2 - Carnaval )


4x Roots Back in Flac (Babatunde Olatunji - Circle of Drums, Babatunde Olatunji - Love Drum Talk, Babatunde Olatunji - Healing Session, Babatunde Olatunji - Drums Of Passion )


3x Roots Back In Flac (Manu Dibango - Africadelic, Manu Dibango - Seventie's, Manu Dibango - Wakafrika)


4x Sundaze Back in Flac (Slowdive - Just For A Day 1 + 2, Slowdive - Souvlaki incl bonus, Slowdive - Pygmalion)


9x Sunshine-Central Africa 5x NOW in flac (Kanda Bongo Man - Kwassa Kwassa, Konono No. 1 - Congotronics, VA - Out Of Africa, Dark City Sisters And Flyin' Jazz Queens, VA - Under African Skies --4x Still in ogg Franco et le T.P.O.K. Jazz featuring Pepe Ndombe - Anjela , Bibi Den's Tshibayi And The Best - Sensible, VA - New Africa, VA - Witchcraft and Ritual (Kenya and Tanzania))



6x Demon Donald NOW in flac ( Kevin Ayers - Confessions of dr. Dream, Golden Earring - The devil made us do it; Killing Joke - Kiliing Joke, Primal Scream - Remixed Dirty Works, Skinny Puppy - The greater wrong of the right, Sun Tzu - Art Of War)


3x Sundaze Back flac (Jansen & Barbieri - Worlds In a Small Room + Other , The Dolphin Brothers - Catch The Fall, Jansen & Barbieri - Stories Across Borders)


5x Wavetrain 4x NOW in flac (Polyrock - Changing Hearts,  Polyrock - Polyrock, Magazine - Secondhand Daylight, Eyeless In Gaza - Caught In Flux, 1x Back in ogg, Pink Military - Do Animals Believe In God )


3x Aetix Back in flac (Japan ‎- Tin Drum, Japan ‎- Oil On Canvas, Rain Tree Crow ‎- Rain Tree Crow)


3x Aetix Back flac (Skinny Puppy - Bites, Skinny Puppy - Remission, Skinny Puppy - Mind The Perpetual Intercourse)


1x Grooves Back flac (Commodores - Zoom)


3x Aetix Back flac (Skinny Puppy - Cleanse Fold And And Manipulate,  Skinny Puppy - VIVIsectVI, Skinny Puppy - Rabies)


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May 25, 2016

RhoDeo 1621 Aetix

Hello, so Van Gaal is finally gone after bizarre hate campaign by the press, specially the Guardian showed its nasty side. Mourinho is so much better, then again maybe this way the London journaille tries to ruin Man U some more. Maybe this way the young stars V Gaal developed can be picked up by Arsenal and the like as Mourinho is notorious not taking changes with youngsters, he is after all a complete nutcase



Today also known as RevCo,  an Belgian–American industrial rock band and, sometimes, supergroup that began as a musical side-project for Richard 23 of Front 242, Luc Van Acker, and Al Jourgensen of Ministry....N'Joy

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The group was founded by Richard 23 and Luc Van Acker with Al Jourgensen as their producer.[1] According to Van Acker, the band adopted their name after trying out "insulting French expressions" on a waiter in a Chicago bar, ordering something they said meant "revolting cock" which led the waiter to say, "You are revolting cocks!" Their first release was "No Devotion" on Wax Trax records in 1985. The single was quickly followed by an album, Big Sexy Land (1986), featuring a mix of Wax Trax-industrial, hard rock, and EBM with dominating sampling and strong synthesized beats. The album featured the Blade Runner homage and club hit "Attack Ships on Fire," while the artwork introduced "the Three Guys," anonymous faces from an old photograph that would represent the band on album covers for years to come.

Richard 23 quit in 1986 due to creative differences. The group's remaining two members were augmented by a rapidly changing set of musicians centered on Chris Connelly (Finitribe, Murder Inc., and The Damage Manual), Paul Barker (The Blackouts, Ministry, later Pink Anvil, U.S.S.A., and Flowering Blight), and Bill Rieflin (The Blackouts, Ministry, later playing with R.E.M. and Robyn Hitchcock), with around twenty others as irregular contributors or guest artists. Ministry associates Paul Barker, Chris Connelly, and Bill Rieflin would join Van Acker and Jourgensen for a tour supporting the album, recordings of which surfaced in 1988 on the live album and video You Goddamned Son of a Bitch. Linger Ficken' Good... The nihilistic party attitude of the band had now officially taken over any grand artistic aspirations, and if the success of 1989's Stainless Steel Providers didn't prove their audience was right there with them, college radio and clubs being dominated by 1990's "Beers, Steers + Queers" certainly did. Beers, Steers + Queers, the album, followed that same year and included two cover versions of "(Let's Get) Physical," one a simple loop of the word "physical" that goes on for 13 minutes. The band celebrated the album's release by touring the country with the Skatenigs -- whose vocalist, Phil Owen, had contributed to Beers -- and the always-vile Mentors as support. Linger Ficken' Good... from 1993 was a more subdued album, but it was still shocking that the Warner Bros.-associated Sire released the album and helped the band score another club hit with their cover of Rod Stewart's "Da Ya Think I'm Sexy?"

Cocked and Loaded Years passed and it seemed the Revco were officially over until 2004, when the track "Prune Tang" appeared on the Internet, announcing the coming of their next album, Purple Head. The Ryko label reissued the band's first two albums that year with bonus tracks, but the new album failed to appear. A year later, a cover version of Bauhaus' "Dark Entries" with Butthole Surfer Gibby Haynes as vocalist appeared on the Saw II soundtrack.

After assembling a touring line up to open for Ministry on the MasterBaTour of 2006, Jourgensen chose vocalist Josh Bradford (Stayte, Simple Shelter, V.H.S.), keyboardist Clayton Worbeck (Stayte, Simple Shelter), and guitarist Sin Quirin (Society 1, later Ministry and ReVamp) as the new full-time members for the Revolting Cocks, now simply being called "RevCo". The group recorded Sex-O Olympic-O, which was originally set to be released in October 2008, but was delayed until the following February, and was officially released on March 3, 2009. Sex-O Olympic-O was followed up by Got Cock?, released on April 13, 2010.The latter included a cover version of 2 Live Crew’s “Me So Horny.”.

In celebration of Wax Trax! Records, the "Wax Trax! Records Retrospectacle: 33 1/3 Year Anniversary" was held from April 15 to 17, 2011 at Metro Chicago in Chicago, Illinois. As a part of the lineup, Chris Connelly, Paul Barker and Luc Van Acker performed Revolting Cocks songs with various guests. For their performance on the 17th, Richard 23 joined them on stage to sing lead vocals on "No Devotion"


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Helping to establish the Midwestern tradition of prolific industrial cross-pollination, industrial-dance supergroup Revolting Cocks released their debut Big Sexy Land appropriately enough on Wax Trax! in 1986. Featuring Ministry's Al Jourgensen, Luc Van Acker and Front 242's Richard 23 as well as Chris Connelly (Fini Tribe/KMFDM) , the group produced an electronic grind that fans of Wax Trax! artists from this era will find very familiar. Plenty of slap bass and contorted samples abound on highlight cuts like "We Shall Cleanse the World," "No Devotions," and the most house-influenced track, "TV Mind." Fine dance music with plenty of cool synth and sample trickery, Big Sexy Land is a distinguished debut from a "side project" that occasionally surpasses the day-job work that its members became famous for. Oh and I should mention the clear influence of early Shriekback here



Revolting Cocks - Big Sexy Land (flac 569mb)

01 38 4:09
02 We Shall Cleanse The World 5:34
03 Attack Ships On Fire 4:54
04 Big Sexy Land 3:58
05 Union Carbide (West Virginia) 3:17
06 T.V. Mind 5:41
07 No Devotion 6:52
08 Union Carbide (Bhopal) 3:37
09 You Often Forget (Malignant) 8:29
10 You Often Forget (Benign) 4:30
11 Attack Ships... 4:43
12 ...On Fire 6:51
13 No Devotion (12" Mix) 10:32
14 T.V. Mind Remix 4:26

Revolting Cocks - Big Sexy Land   (ogg  190mb)

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Arriving two years after the debut Big Sexy Land, Revolting Cocks' You Goddamned Son of a Bitch wasn't so much a live album as a truer, sicker representation of the group's angrily mechanistic, claustrophobic industrial grunt. Joining ringleader Al Jourgensen were Luc Van Acker, Chris Connelly, Paul Barker, and Bill Rieflin; together, they energized the stark nihilism of the Big Sexy material with insulting stage banter, vocals, samples that hit with a more vicious edge, and relentless programming and electronic percussion that removed the human being's eventual need for a rest. The result was a grinding industrial endurance test. In addition to "TV Mind" and "We Shall Cleanse the World," Goddamned Son of a Bitch was highlighted by its title track and "In the Neck"." ("I'm a killing machine!," went the latter's less than subtle lyrics, and it wasn't hard to believe.) Rykodisc reissued the album in 2004, as part of a series celebrating the early part of Al Jourgensen's career. Newly mastered, the album was also expanded to two discs, and augmented with live versions of "Stainless Steel Providers" and P.I.L.'s "Public Image" from a 1990 12".



Revolting Cocks - Live! You Goddamned Son Of A Bitch (flac 592mb)

01 You Goddamned Son Of A Bitch 4:50
02 Cattle Grind 5:53
03 We Shall Cleanse The World 7:10
04 38 4:20
05 In The Neck 5:08
06 You Often Forget 8:25
07 T.V. Mind 7:43
08 Union Carbide 8:27
09 Attack Ships On Fire 7:29
10 No Devotion 11:54
11 Stainless Steel Providers (Live In Glasgow) 6:49

Revolting Cocks - Live! You Goddamned Son Of A Bitch   (ogg  191mb)

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If any industrial unit can be compared to the twisted, madcap humor of Frank Zappa, it's the Revolting Cocks. While other industrial acts offer dark, depressing reflections on the state of the world, the Cocks can hardly be accused of taking themselves too seriously. Their forte is wild musical comedy as goofy and eccentric as it is irreverent. Beers, Steers + Queers, the group's most successful album up to that point and arguably its best, must be taken for exactly what it is -- outrageous entertainment, pure and simple. A variety of amusing samples accompany abrasive, clever tracks that successfully combine industrial noise with elements of everything from heavy metal and new wave to hip-hop. Numbers like "Get Down" and "Razor's Edge" point to the fact that as abstract and left-of-center as the Cocks are, they recognize the value of a good hook and a solid groove.



Revolting Cocks - Beers, Steers & Queers (flac 544mb)

01 Beers, Steers & Queers 5:56
02 (Let's Get) Physical 4:16
03 In The Neck 5:32
04 Get Down 6:53
05 Stainless Steel Providers 5:49
06 Can't Sit Still 5:31
07 Something Wonderful 4:32
08 Razor's Edge 4:43
09 Cattle Grind (Studio Mix) 4:41
10 At The Top 6:23
11 Beers, Steers & Queers (Drop Yer Britches Mix) 5:44
12 Beers, Steers & Queers (Take 'Em Right Off Mix) 4:20
13 (Let's Talk) Physical 6:52
14 Public Image (Live In Glasgow) 4:03

Revolting Cocks - Beers, Steers & Queers   (ogg  179mb)

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May 24, 2016

RhoDeo 1621 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today, a Brazilian jazz-funk trio formed in 1973. The original band members were the late Jose Roberto Bertrami (keyboards), plus Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion)....N'Joy

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Brazilian electrified trio Azymuth called their music samba doido, which means "crazy samba." The actual sounds, though, were not so crazy: the intelligent, high-voltage blend of Brazilian rhythms, jazz, and funk with occasional acoustic episodes gained a sizable following in the 1980s. The members of the group included José Roberto Bertrami (born February 21, 1946, in Tatui; died July 8, 2012, in Rio de Janeiro) on acoustic piano and keyboards, Alex Malheiros (born August 19, 1946, in Niteroi) on bass, and Ivan Conti (born August 16, 1946, in Rio de Janeiro) on drums.

Classically trained and originally influenced by pianists Bill Evans and Luíz Eça (of the Tamba 4), Bertrami worked with Flora Purim and Robertinho Silva before meeting Conti at a Rio nightclub. Upon a visit to a bowling alley/club in 1972, they heard Malheiros and decided to join forces to form Azymuth. Their first album, the soundtrack for the film O Fabuloso Fittipaldi, was released in Brazil in 1973. After spending a number of years as session men in Rio recording studios and touring South America, a successful appearance at the 1977 Montreux Jazz Festival led to a 1978 U.S. tour with Airto and Purim. A contract with Milestone in 1979 resulted in a long string of eclectic and influential albums that established the group in the American and European markets. All three members also recorded solo albums for Milestone.

CarnivalBertrami left the group around 1988, after which Malheiros and Conti carried on for a while with keyboardist Jota Moraes. In the '90s, Bertrami rejoined Azymuth permanently. They signed to Far Out Recordings and issued a long string of albums including Carnival, 1997; Woodland Warrior, 1998; Pieces of Ipanema, 1999; Before We Forget, 2000; and Partido Novo, 2002. In 2007, their self-titled debut album was reissued by the label in a deluxe package. It was completely remastered, and contained an additional disc of remixes by some of the world's best-known dance music producers. In 2008, Azymuth continued their tireless display of creativity with the universally acclaimed Butterfly, which they followed with Aurora in 2011. Sadly, José Roberto Bertrami died in Rio during July of the following year; he was 66 years old.

Azymuth have also been involved in producing albums and their artists have been involved in several other projects through the years, including an album by Brazilian singer-songwriter Ana Mazzotti, and the 2005 debut album, Equilibria, by Alex Malheiros's daughter Sabrina Malheiros. They call their music "Samba Doido", which means "Crazy Samba". Since the advent of the remix, many of Azymuth's songs have been redone by a wide range of artists and musicians. Several electronic acts like Jazzanova among many others, can be heard remixing their works.

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There were Brazilian jazz-funk records before Azymuth's 1975 self-titled offering, but none of them engaged with post-tropicalian psychedelia, MPB, samba, and disco the way this date does -- so much so that the bandmembers called their music "samba doido," which translates as "crazy samba." Azymuth were formed in 1973 by José Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion). All three had been active session players in the decade before. After playing some club dates and backing other musicians on-stage and in the studio, they began recording Azimüth in 1974, completing it nine months later. Things get off to a mellow start on the dreamy "Linha do Horizonte," as electric piano, ARP strings, a Moog Satellite, acoustic guitar, drum kit, and fretless bass lay down a breezy backdrop for Bertrami to deliver Paulo Sergio's lithe melody. The tune is so blissed-out, playing it nonstop for six or seven hours seems entirely logical. As gorgeous as it is, this is only a small part of what Azymuth do well. "Melô Dos Dois Bicudos" -- which has been used by scores of DJs to animate the dancefloor -- is simultaneously jittering and martial; it's funky Brazilian samba at its best. While there's a reprise of the ethereal on the tender "Brazil," it's got its own little groove, informed by not only by '60s Brazilian jazz but also by the American soul-jazz of Joe Sample and the Crusaders. "Seems Like This" is trancey jazz-funk with serpentine lines by Bertrami, a punchy hypnotic bassline by Malheiros, and organic percussion and shuffling kit work from Conti. The entire frame shifts when Bertrami's voice enters; time gets stretched and the groove may bump, but it's juxtaposed against a melody that is equal part disco-soul and psychedelic samba. "Estrada Dos Deuses" is a bumping floor-groover with a wind-out synth line that hints at the sounds to come on 1977's Águia Não Come Mosca. The set's final two tracks have become DJ classics in the intervening decades. "Morning" was remixed by Peanut Butter Wolf, and with good reason. The cuica and bassline vamp is hypnotic, while Bertrami's synths and strings color his layered vocal repetitions of the title before his Rhodes piano adds enough jazzy improv to make it infectious. Closer "Periscópio" is a seven-and-half-minute jam with a monster funk groove. Malheiros' dirty-ass bassline is as nasty as Bootsy's and appended by raging organ (think Charles Earland) and trancey drum and percussion work. The breaks are killer, the pace picks up and slows, but the whole thing just coils around the listener like a snake that doesn't let go until an organ briefly cuts the tension (church-like) before a clavinet riff, layers of choogling percussion, and funky drums bring back the organ and bassline in overdrive and the tempo charges to the finish. Azimüth signaled even greater things to come. But no matter what the band achieved, this stands as a stone classic, eternal in funky music history.



Azimüth - Azimüth  (flac  251mb)

01 Linha Do Horizonte 4:29
02 Melô Dos Dois Bicudos 3:08
03 Brazil 3:58
04 Seems Like This 4:31
05 Caça A Raposa 5:12
06 Estrada Dos Deuses 3:14
07 Wait For My Turn 3:01
08 Montreal City 3:19
09 Morning 3:48
10 Periscópio 7:36

Azimüth - Azimüth    (ogg  103mb)

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Azimüth - Azimüth Remix Re-Edit    (flac  361mb)

01 Melô Dos Dois Bicudos (Harmonic 313 Remix) 4:10
02 Wait For My Turn (Spiritual South Remix) 7:26
03 Linha Do Horizonte (Mr Beatnick Remix) 5:46
04 Montreal City (Volcov Re Edit) 4:29
05 Estrada Dos Deuses (Recloose Re Edit) 5:45
06 Seems Like This (As One Re Edit) 6:53
07 Periscópio (Marc Mac Re Edit) 6:06
08 Morning (Peanut Butter Wolf Re Edit) 3:42
09 Azymuth 'Caça A Roposa' (Venom's Raw Groove Re Edit) 4:42
10 Linha Do Horizonte (Kashmeer Brothers Remix) 3:38
11 Wait For My Turn (Yam Who? Re Edit) 5:20

 Azimüth - Azimüth Remix Re-Edit    (ogg  139 mb)

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Light as a Feather is the 1979 album that put Brazil's superstar jazz fusion trio Azymuth, on the charts. It opens with the ten-plus minute disco "Jazz Carnival," a track which has become a club classic all over thw world and has beensampled by everyone form Madlib to Gnarls Barkley. With it primitive drum machine loops and a finger-popping, spinshe-shaking funky bassline by Alex Malheiros, it is a solid club stepper --guaranteed to send the party into overdrive. But this isn't the only track here worth noting. The set is quitre consistent and offers a portal into the band's 1980 smash LP Outubro that would follow it. There is the breezy, folky-jazz execution of the title track that is nearly as beautiful as Return to Forever's version. The set also features a fine jazz-samba number that evokes both Walter Wanderley and Tom Jobim in José Roberto Bertrami's "Fly Over the Horizon," and a stellar reading of Toninho Horta's "Dona Olimpia." In addition, Bertami's "This Exists," "Amazona," "Young Embrace" are here, all of them stellar blends of jazz, laid back funk and MPB, making this set a peerless triumph.Azymuth fans need this as much as they do the band's glorious self-titled debut, and Outubro. (On the CD version, a spaced-out, live electric jazz take of "Montreux" is included as a bonus track).



Azymuth - Light As A Feather (flac 266mb)

01 Jazz Carnival 9:27
02 Partido Alto 4:06
03 Avenida Das Mangueiras 4:24
04 Light As A Feather 6:45
05 Fly Over The Horizon (Vôo Sobre O Horizonte) 5:51
06 Amazonia 0:42
07 Young Embrace (Um Ambraço Da Mocidade) 3:18
08 Dona Olimpia 2:41
09 This Exists (Existe Isto) 4:31

Azymuth - Light As A Feather    (ogg  105mb)

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Outubro is Azymuth's tribute recording, in a sense, to their Brazilian brothers and sisters. It leans heavily on José Roberto Bertami's Fender Rhodes as a direct means of communication, with gorgeous guitar and bass work by Alex Malheiros, and top-notch drumming by Ivan Conti, who engages the tonal and programming reaches of the ARP 2600. The album was recorded in 1979 and its first nine cuts were remixed in 1980 when it was finally issued. The most successful moments here are the covers, where the trio digs into spaced out, modern-day electric jazz classics such as "Light as a Feather," and "500 Miles High," both of which are closely associated with Return to Forever, its vocalist at the time Flora Purim, and her husband, percussionist Airto Moreira. In addition to beautifully rendered versions of these tunes, there are readings of Toninho Horta's "Dona Olimpia," Ivan Conti's steaming "Swamp, (Pantanal)," and Milton Nascimento's "October" ("Outubro" in Portuguese). Of the originals here, Bertami's tribal percussion workout "Carta Pro Airto" ("Letter to Airto"), the slippery late-night funk of "Partido Alto" and Malheiros' breezy postmodern pop tune "Friend" work best. The extended faux-disco monolith -- compete with cheesy electronic drum effects -- of "Jazz Carnival" mars the proceedings a bit, making this an imperfect but nonetheless utterly listenable and enjoyable set from this prolific trio.



Azymuth - Outubro (flac 438mb)

01 Papasong 4:36
02 500 Miles High 5:37
03 Swamp (Pantanal) 2:23
04 Dear Limmertz 4:32
05 Letter To Airto (Carta Pro Airto) 1:19
06 October (Outubro) 5:19
07 Maracana 5:36
08 A Friend (Un Amigo) 5:21
09 Dear Limmertz Prelude 1:12
Bonus Tracks
10 Light As A Feather 7:00
11 Partido Alto 4:13
12 This Exists (Existe Isto) 4:36
13 Jazz Carnival 10:31
14 Dona Olimpia 2:52
15 Fly Over The Horizon (Voo Sobre O Horizonte) 7:15

Azymuth - Outubro  (ogg   188mb)

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May 23, 2016

RhoDeo 1621 Foundation 5

Hello,  well even Barcelona had a hard time winning  the Spanish Cup they needed extrattime to defeat cupfighters pur sang Sevilla. They played with 10 men 85 of the 120 minutes but worse was the loss of the la Liga's topscorer, Luis Suarez to serious injury...but then it was the last game of the season..Over at the Giro D'Italia Nibali payed the price for hunt of the competition yesterday, he manged to keep it within limits 37 seconds , but today in the 15km climb timetrail he lost more than 2 minutes to his main rival in the pink yersey Kruiswijk, closet rival now is Esteban Chaves...more big mountains yet to come.....


Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the far future, Foundation. They will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

that the population whose behaviour was modeled should be sufficiently large
that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

A further hundred years have passed, and the Foundation is challenged by an unexpected threat named The Mule.

Isaac Asimov - The Foundation Trilogy 5 The Mule (mp3  52mb)

The Foundation Trilogy 5 The Mule... 56:34

The Foundation has grown to become the most influential force in the galaxy, but it has now to deal with internal dissent. The conflict to be resolved is plain to see - then the impossible happens. ...

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previously

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)
Isaac Asimov - The Foundation Trilogy 2 The Mayors (mp3  49mb)
Isaac Asimov - The Foundation Trilogy 3 The Merchant Princes (mp3  53mb)
Isaac Asimov - The Foundation Trilogy 4 The General (mp3  50mb)

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May 22, 2016

Sundaze 1621

Hello,  cupfinal day in Europe, all the favorites won be it that only PSG won in normal time, Juventus and Man U won in overtime (latter with 10 men) and Bayern Munich needed a 4-3 penatty shoot-out after a 0-0 with Borussia Dortmund, Bayern has been missing Robben dearly this last month.  This afternoon saw a shake up of the G.C. on a tough mountain stage in the Giro d'Italia. Nibila ignited the race first Steven Kruiswijk countered and then Esteban Chaves together they went on a chase for the leading riders, leaving Nibali 37 seconds in their wake. Chaves won with Kruiswijk second and taking the pink jersey from Amador who lost almost 4 minutes. It looks like an exiting 3 way tie this last week with nothing decided.



Today's artist is an English composer and double bassist. He has been active in, or has produced works in, a variety of styles of music, including jazz, free improvisation, minimalism, historicism, experimental music, avant-garde and neoclassicism.. .. ........N'Joy

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Richard Gavin Bryars (b Goole, Yorkshire, 16 Jan 1943). English composer. He read philosophy at Sheffield University (1961–4) and studied composition with Cyril Ramsey and George Linstead. In 1968 he became part of London's fast-developing experimental music scene; although never a member of the Scratch Orchestra, he worked regularly for a while with the pianist John Tilbury. His best known works of this period – The Sinking of the Titanic (conceived in 1969 and still officially in progress 30 years later) and Jesus' Blood Never Failed me Yet (1971) – are good working examples of his early aesthetic. While conceptual concerns are central (the former work is based on a series of hypotheses surrounding the disaster that befell the liner), these are explored via a rigorous, not to say relentless, extrapolation of found objects, be they the music which evidence suggests was performed on board the Titanic as it sank, or the tape of a London tramp's song, incessantly repeated in Jesus' Blood. A further dimension of the experimental aesthetic was demonstrated by the concerts of the Portsmouth Sinfonia, founded while Bryars taught at the Portsmouth College of Art: here, the performances of Western classical music by untrained musicians embodied what Michael Nyman called the ‘wide discrepancy between intention and effect’ (Experimental Music, London, 1974). The first period of Bryars' work offers a very English perspective on the experimental tradition, augmenting territory already defined by Satie, Cage and others with an openness towards, for instance, frankly sentimental materials and their associations.

The influence of Marcel Duchamp, already detectable in earlier works, was enhanced by intensive study during two fallow compositional years (1973–4), by which time Bryars had established what was to become a long-standing relationship with Leicester Polytechnic. A determination – inspired in part by the composer's affiliation to the 'Pataphysics movement – to justify every compositional decision via specific, though often hidden or arcane, associations with its literary or artistic inspiration is here harnessed to musical processes derived in part from American minimalism. Bryars's main source of performances during this period was his own ensemble, formed in 1979 and initially dominated by keyboards and percussion, since the early 1990s by low strings. Pieces such as Out of Zaleski's Gazebo for two pianos, six or eight hands (1977) and My First Homage (1978 onwards, best known in the version of 1981 for eight performers) submit familiar-sounding borrowed materials – many taken from his then favourite composers: Lord Berners, Grainger, Bill Evans, Karg-Elert – to repetitive forms governed as much by the logic implied by these pieces’ musical and extra-musical reference points (and by the significant play of irony) as by purely internal musical processes. This approach governs Bryars's second period which lasted until the opera Medea (1982, rev. 1984). The flexibility, if not compromise, demanded of a composer in the theatre led to changes in Bryars's attitude and working methods; the Duchamp-inspired principle of justification was then abandoned in favour of a more free-wheeling approach to structure. Since Medea his output has often been for more conventional forces, such as orchestras and string quartets, and commissioned by musicians of repute in other fields; there has been a number of works, for instance, for the Hilliard Ensemble, including The First Book of Madrigals (1998–2000). While a modal but often chromatically restless melancholy remains an important component of his idiom, the opportunities to write for much larger forces later enriched and sometimes energized Bryars's melodic and harmonic style while offering him a broader timbral palette. These developments are well illustrated by the opera Doctor Ox's Experiment, first performed in 1998.
In 2000, a Joseph Holbrooke reunion concert from 1998 was issued, as was Bryars' score for Biped, a Merce Cunningham dance performance. During this period, Bryars was also working on his third opera, G. Amjad, a collaboration with David Lang for the Canadian dance company La La La Human Steps, was issued in late 2008. In February of 2010, his Piano Concerto: The Solway Canal, a co-commission of the Borletti-Buitoni Trust and the Dutch radio was premiered. The year also saw the release of three new albums: I Send You This Cadmium Red, scored by Bryars for an ensemble that included the speaking voices of John Christie and John Berger; I Have Heard It Said That a Spirit Enters, a collection of songs and instrumental works performed by the CBC Radio Orchestra, conducted by Owen Underhill with soloists Holly Cole, Gwen Hoebig, and the composer; and Live at Punkt by the Gavin Bryars Ensemble with Arve Henriksen guesting on trumpet.

Since 1974 Bryars has been a member of the Collège de 'Pataphysique and was elected Regent in 2001 and in 2015 was named as Transcendent Satrap, the highest honour in the Collège, a position shared with Marcel Duchamp, Man Ray, Eugène Ionesco, Umberto Eco and others.

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Gavin Bryars' first recording for a widely distributed label found him midway between the more experimental works from his early career, recorded for Obscure and Les Disques du Crepuscule, and the later, more somberly romantic compositions of the '90s. The recording, oddly, begins and ends with exactly the same piece (despite their differing titles), a short, evocative composition for percussion and French horn, but it does provide an attractive set of bookends for the major piece here. The first is his "String Quartet No. 1," given a strong, precise, and impassioned reading by the Arditti Quartet. Bryars manages to achieve a subtle balance between the ghostly voicings of high-register strings and the subtle, underlying melancholy of the work. The "First Viennese Dance," a duo for French horn and percussion, seems to exist in some timeless, slightly northern clime, as one can imagine the horn's cries wafting over a meadow of chimes, gongs, bells, and bowed cymbals. Here, unlike in some later works, Bryars is able to be at once mysterious yet crystal clear, sad but serene.



Gavin Bryars - Three Viennese Dancers  (flac  191mb)

01 Prologue 4:35
02 String Quartet No. 1 ("Between The National And The Bristol") 20:03
03 First Viennese Dance ("M. H.") 18:47
04 Epilogue 4:36

  (ogg  mb)

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Bryars' idea was to construct an aural picture of the disaster, complete with songs and hymns supposedly played by the ship's orchestra even as she was sinking. He combined this with the acoustical phenomenon of the enhanced ability of sounds to travel great lengths underwater and produced an eerie and romantic sub-aqueous soundscape of remarkable subtlety and beauty. Using minimalist techniques, the repetition and overlapping of hymns like "Autumn" assume a surreal aspect, at once sad and peaceful. His score was designed to incorporate new discoveries about the shipwreck (or to dispense with elements that proved false) over time; this performance includes taped reminiscences of one survivor and the tinklings of a music box salvaged by another. This is one gorgeous, haunting piece of music.



Gavin Bryars - Sinking of the Titanic  (flac  256mb)

01 The Sinking Of The Titanic 60:13

Gavin Bryars - Sinking of the Titanic   (ogg  116mb)

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Jesus' Blood Never Failed Me Yet is a 1971 arrangement by Gavin Bryars of a composition by an unknown composer. It is formed on a loop of an unknown homeless man singing a brief stanza. Rich harmonies, comprising string and brass, are gradually overlaid over the stanza. The piece was first recorded for use in a documentary which chronicles street life in and around Elephant and Castle and Waterloo, in London. When later listening to the recordings, Bryars noticed the clip was in tune with his piano and that it conveniently looped into 13 bars. For the first LP recording, Bryars was limited to a duration of 25 minutes; later Bryars completed a 60-minute version of the piece.
This is a beautiful recording, if somewhat overlong. Bryars has taken 20 seconds of recorded material, almost ambient in the way it was captured, and spun a deeply moving piece of music around it. This is not easy listening; do not put this on in the background as you cook. This requires you to sit down and listen. As such its unlikely to be played very often, but on those odd occasions, when its raining outside, you are alone, and you wish to drift into a world of melancholy for an hour or so, this is a fine portal.



Gavin Bryars - Jesus' Blood Never Failed Me Yet (flac 314mb)

01 Tramp With Orchestra I (String Quartet) 27:05
02 Tramp With Orchestra II (Low Strings) 15:16
03 Tramp With Orchestra III (No Strings) 4:48
04 Tramp With Orchestra IV (Full Strings) 6:06
05 Tramp And Tom Waits With Full Orchestra 19:38
06 Coda: Tom Waits With High Strings 1:47

Gavin Bryars - Jesus' Blood Never Failed Me Yet (ogg   146mb)

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This would be a great album to give someone who thinks they don't like modern, contemporary composers. Gavin Bryars work is always fresh and challenging, but he never 'rubs it in the listener's face'. His compositions have form, structure, intelligence, emotion, and – gasp! – melody. This is not a study in dissonance challenging us to listen to it all the way through – when it's over, we want more.

The Hilliard Ensemble is, of course, at the pinnacle of their field. Their voices inhabit that razor's edge between 'perfect' and 'human', with taste, ease and without pretention. They have reached the status that their name being attached to a recording is the musical eqivalent of the Good Housekeeping Seal – there is quality to be found within. They are featured on only one track here as a group, 'Glorious hill' – it was commissioned by them, and you can tell it was written with their talents in mind. This is one of the most singularly beautiful pieces of music I've ever heard.

David James, the Ensemble's countertenor, is also heard on the cd's opening track, 'Incipit vita nova', written by Bryars to celebrate the birth of a daughter to a couple of his friends. His voice is heard alongside violin, viola and cello here. Bryars' text – rendered into Latin – is one of the most eloquent expressions of the wonder – and the promise – of birth I've ever read.

'Four elements' also features the voice of David James, although it is largely instrumental. The composition is built in movements to represent water, earth, air and fire – it was originally written as a dance piece. Bryars places this in the hands of his 'large chamber ensemble' – 10 players (alto sax, bass clarinet, fluegelhorn, French horn, trombone, piano, electric keyboard, two percussionists, double-bass), plus James and a conductor – but the arrangement and performance gives a real feeling of intimacy.

The album's final track, 'Sub Rosa', was written by Bryars as a tribute to Bill Frisell. He explains in the notes that he was particularly impressed with a track from Frisell's IN LINE album (also on ECM) – in 'Sub Rosa', Bryars paraphrases and expands upon line from Frisell's composition 'Throughout', from IN LINE. This piece is performed by Bryars' smaller ensemble (6 players: recorder, clarinet, violin, vibraphone, piano, double-bass).

The music on this disc is, as I mentioned, intelligent and challenging – but it's also extremely listenable. Bryars' work shows us that the work of 'contemorary composers' need not alienate potential listeners by extremism for its own sake. His work is both thoughtful and beautiful.



Gavin Bryars - Vita Nova (flac 214mb)

01 Incipit Vita Nova 6:02
02 Glorious Hill 11:32
03 Four Elements 28:46
04 Sub Rosa 9:57

Gavin Bryars - Vita Nova (ogg   108mb)

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May 21, 2016

RhoDeo 1620 Grooves

Hello, The day that the world will be confronted by President Trump is drawing ever closer and whose fault is that ? First the main stream media that can't stop talking about the man, second the Democratic party that thinks that with a business as usual candidate, even if she's female, they can win the election. Americans are fed up with business as usual. The Democratic party is missing a huge chance to secure power for decades to come, if they'd support Sanders who's program looks in many ways of that of Franklin D Roosevelt, alas the Democrats have lost their heart. Third, again main stream media that completely ignored Sanders until Clinton had secured the south, infact as far as those CNN and Fox clowns were concerned Sanders didn't exist until April this year, its amazing that with so much opposition Sanders has been able to give Clinton headaches....              



Meanwhile a different kind of blues grooves here today to cleanse those other parts of soul..

Today an artist who assumed the moniker "Little Axe" and began moving from hip hop to a form of blues that drew from an array of musical influences, including dub, R&B, gospel, and jazz  He has been working steadily as a studio musician, recording both his own blues albums, continuing to appear as a guest act on other artists' albums as well.  ... N'joy

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Providing guitars, bass, keyboards, and vocals, Little Axe is the return to the blues that Skip grew up with and learned from his father. Born Bernard Alexander on 1 September 1949, Dayton, Ohio in the USA. Skip McDonald learned to play the blues on his father's guitar from the age of 8, although by the time he was 12 years old he had opted to perform doo-wop.

But from picking up a guitar as a child, and returning to his roots with Little Axe, there has been a long twisting road. McDonald, along with bassplayer Doug Wimbish and drummer Keith LeBlanc formed the house band for the pioneering rap label Sugar Hill, providing the music for some of the most seminal records of the era by Grandmaster Flash, Afrika Bambaata, Force M.D.'s and others. From there he worked closely with Adrian Sherwood on many of projects for the On-U Sound label, as well as spearheading the band Tackhead and working with Living Colour.

But first, back to Dayton, Ohio.

Having completed his high school education Skip left Dayton with a band called the Ohio Hustlers, which broke up not long after relocating to New York City. His first professional work as a musician began when he formed the Entertainers who toured the east coast through to the mid-70s.

He moved on to Hartford, Connecticut, and there's when he met Doug Wimbish, who played in a band called Wood, Brass & Steel. Wood, Brass & Steel recorded a selftitled album for All Platinum Records, the label of Sylvia and Joe Robinson, in 1976. Skip and Doug played a lot of music together, in clubs and colleges around New York, New Jersey, Connecticut and Massachusetts.

In 1979, three years after the Wood, Brass & Steel album, Skip and Doug teamed up with drummer Keith LeBlanc and they became the house band for Sugarhill Records, the Robinson's new label. The trio played on some of the earliest rap hits such as The Message and White Lines (Don't Do It) with Grandmaster Flash.

While they worked at Sugar Hill, LeBlanc also freelanced at Tommy Boy Records where he first met Adrian Sherwood. LeBlanc introduced his colleagues to Sherwood and the trio were persuaded to relocate in London. Upon their entry into the On-U Sound fold, the group formed a production team and, again, a house band, this time for On-U. The three participated in dozens of records on Sherwood's label.

The partnership developed and metamorphosed into a fully-fledged band, Tackhead. Though good working relationships remain to this day, the dispersion of Tackhead in the early 1990s saw Keith and Doug pursue more of their own projects and play less often togther.

For Skip the time since has seen him work ever more closely with Sherwood, both on his own projects and as a musician or guest vocalist on many other of Adrian's On-U Sound productions - such as by Junior Delgado, Bim Sherman, Dub Syndicate and African Head Charge, sometimes along side Keith and /or Doug.

Skip has been the prime mover behind Little Axe since around 1992. Under a name inspired by Bob Marley's Small Axe and gospel singer Willmer 'Little Ax' Broadnax, the debut album Wolf That House Built was a personal take on blues and dub, and was released to critical acclaim in 1994. This had followed a partial release in Japan compiled in a slightly different form and with a different title (Never Turn Back) the previous year. The second Little Axe album, Slow Fuse, was also well received. Both albums featured tabla player Talvin Singh, for Slow Fuse the gifted voices of Kevin Gibbs and Sas Bell were added.

Then it remained silent for far too long. In 2002 Skip's third Little Axe album Hard Grind became the first release for four years on Sherwood's revived and re-launched On-U Sound label with a mixture of raw blues and reggae. While Hard Grind no doubt will also draw comparisons to Moby's Play, it was Skip who pioneered the fusion of blues and electronic music with Little Axe.

In 2006 Skip McDonald released the fifth Little Axe album, Stone Cold Ohio, after Champagne and Grits (2004), the second record released on Peter Gabriel's Real World Records. This time the emphasis was on the gospel, another of Skip's old loves. The production and mixing was done Adrian Sherwood; 'gospel dub' like you never heard before. 2007 Little Axe Live And Direct was released, followed by Bought For A Dollar/Sold For A Dime in 2008. Call My Name (2009) was a side project with Mauritanian singer Daby Tour. His thusfar last studio album with the great title "If You Want Loyalty Buy A Dog" was released in 2011. As of 2016, he still tours and gigs regularly, has a loyal following and is in regular demand for session work as a guitarist.



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Little Axe is guitarist and singer Skip McDonald, but it's also much more than that. It is, in practice, a virtual reunion of the Sugarhill Gang -- the rhythm section responsible for the grooves underlying such paleo-hip-hop classics as "Rapper's Delight" and "White Lines" -- and therefore also a virtual reunion of Tackhead, the pioneering avant funk outfit that brought the Sugarhill Gang together with British producer Adrian Sherwood and vocalists Gary Clail and Bernard Fowler. In the Little Axe context, though, the focus is squarely on McDonald and on his overriding passion: vintage blues. Imagine a Delta blues aesthetic (spare, rural, and stark), and then imagine it thickened with additional instrumental layers and twisted with dubwise atmospherics, and you'll have some idea what to expect -- sort of like a posthumous collaboration between Howlin' Wolf and African Head Charge. The second Little Axe album features mostly McDonald originals, along with some well-chosen covers from the likes of Allen Toussaint, Skip James, and former Living Colour drummer Will Calhoun. But even his originals owe a deep debt to the work of his forefathers -- "If I Had My Way," for example, takes its whole chorus from the gospel classic "Samson and Delilah." Stone Cold Ohio is a real rarity: an album that can't be mistaken for anything other than blues, but that sounds nothing like any blues album you've ever heard.



Little Axe - Stone Cold Ohio   (flac 287mb)

01 If I Had My Way 4:09
02 Jive Talk 1:42
03 Same People 3:53
04 Rockin' Shoes 3:48
05 Pray 2:55
06 Prisoner 1:10
07 Victims 4:39
08 Let Me Ride 3:17
09 Trouble In Mind 3:21
10 Blueneck Dub 3:33
11 Hard Times 4:21
12 Almighty 3:41
13 No Bottom 3:45
14 She 1:53
15 No More Mourning 1:15

Little Axe - Stone Cold Ohio  (ogg   102mb)

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After nearly two decades of blues re-invention, singer/guitarist Skip McDonald has perfected his particular and peculiar metamorphosis of the form.  A massive part of the already massive Little Axe sound has always been provided by dub-king producer Adrian Sherwood, his influence so sonically pervasive that he counts as an equal collaborator. The old master-crew is assembled for these sessions in Peter Gabriel's Real World studio: bassist Doug Wimbish, drummer Keith LeBlanc and soaring singer Bernard Fowler. There are also two guest vocal spots from Jamaican veteran Ken Boothe. Less familiar, but still crucial to this album is harmonica player Alan Glen, whose stinging trills lift up nearly every song.
The feedback avenues are now beyond easy tracking, as old blues elements are channelled through fresh techniques. There are even versions of two Tackhead songs, further confusing the lineage between old-timey rural foot-clumping and shining 1980s funk-hop beats. There's a reading of the song popularised by long-departed down-home bluesman Son House: his Grinnin' In Your Face is shortened to Grinning. The album opens and closes with 50-second mini-songs, their gospel traits swirling into the heavens. Most of the remaining bulk favours a much longer six-minute average within which to slink and saunter, emanating a spellbinding aura. The distinctive Little Axe sound is a dreamy miasma, creaming up elements of funk, rock, soul and gospel. It's perpetually intertwining into a genre weave. The vocal layers build up a call-and-response thickness, and a couple of tunes even hint at ska and reggae rhythms. The cumulative slowness begins to take on the feel of an imaginary Funkadelic ballad collection. The guitars are always draped in exotic echo, held in perpetual slow motion, except for when Hammerhead gets to sludge-truckin' and Return proves itself the hardest and heaviest track. By this time, there's a beautifully sustained flotation in place.



Little Axe - Bought For A Dollar Sold For A Dime   (flac  370mb)

01 Guide My Feet 0:56
02 Soul of a Man 4:14
03 Grinning 3:27
04 Take a Stroll 3:59
05 Hands Off 0:51
06 Can't Sleep 5:19
07 Hammerhead 5:22
08 Can't Stop Walking Yet 5:55
09 Hear Me Cry 5:37
10 Too Late 5:30
11 Another Friend Gone 5:55
12 Tell Me Why 6:18
13 Return 4:42
14 When the Sun Goes Down 0:50

Little Axe - Bought For A Dollar Sold For A Dime (ogg  126mb)

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Guitarist and singer Skip McDonald has long been an anomaly in the On-U Sound stable, and that's saying something, given that On-U Sound has been the musical home to such magnificent oddities as African Head Charge, New Age Steppers, and Little Annie. What sets McDonald's work apart is the fact that it's equally deeply rooted in dubwise reggae as it is in Delta blues. If You Want Loyalty Buy a Dog finds him distilling his sound: assisted by legendary reggae studio bands Dub Syndicate and Roots Radics (whose backing tracks are a mish-mash of previously recorded material, reworked and rearranged for the album), McDonald moans and croons bluesy lyrics and plays aching slide guitar; the sound is dark and rich but strangely spare, with little of the dubbed-up craziness that usually characterizes the production style of On-U Sound producer Adrian Sherwood. The result is an album that is beautiful, gently funky, and deeply, deeply sad -- against all odds, McDonald has taken musical elements that have little in common with the blues and used them to draw out the blues' deepest essence. Tracks like "Call It What You Like" and "Keep on Drinking" are simultaneously brilliant reggae and heartbreaking blues, and "Grace" is a baffling and aurally stunning deconstruction of the gospel standard "Amazing Grace" -- is it ironic or sincere? Impossible to tell. "Down and Dirty" is the kind of eerie, open-textured dub that used to be the nearly exclusive province of the late Augustus Pablo, only here the harmonica takes the place of the melodica. There is not a single weak track on this album. It's an unusually moving and haunting document from one of the unsung heroes of American (and, oddly enough, Jamaican) roots music.



Little Axe - If You Want Loyalty Buy A Dog   (flac  302mb)

01 Song To Sing 3:19
02 Keep On Drinking 4:10
03 Come Here Dog And Get Your Bone 4:18
04 I Got Da Blues 4:12
05 Call It What You Like 3:56
06 I Ain´t Going Down 4:15
07 Grace 3:59
08 Down And Dirty 3:48
09 Seeing Red 3:46
10 Moaning And Groaning 3:32
11 Garfield Elementary 3:15
12 National Style 3:20
13 Early In The Morning 3:53
14 Where From Here ? 4:26

Little Axe - If You Want Loyalty Buy A Dog (ogg  114mb)

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Wanted Live 1996, sees Little Axe in the classic line up: Skip 'Little Axe' McDonald, Doug Wimbish, Keith LeBlanc, Adrian Sherwood, Alan Glen, Kevin Gibbs, Saz Bell and Scotty Firth, recorded on the 1996 European tour. The album, with art work by Les Clark, contains 13 timeless moments of Little Axe history. Featuring live tracks from the archives, recorded back in '96 sounding as fresh and vital now as the night they were recorded



Little Axe - Wanted   (flac 395mb)

01 On The Beat Sound 5:10
02 Hammer Head 6:34
03 Black Diamond Train 5:31
04 Stealing In The Name 5:12
05 Rain And Cold 4:49
06 Storm Is Rising 4:46
07 Soul Of A Man 4:34
08 Going Down Slow 4:51
09 Return 5:13
10 Chains 4:14
11 Ride On 5:59
12 Too Late 5:53
13 Cosmic Stomp 6:22

Little Axe - Wanted  (ogg  152mb)

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