Dec 17, 2017

Sundaze 1751


Today's Artists are combining an inclination for melodic '60s pop with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!, they were one of the most influential alternative bands of the '90s. Led by Tim Gane and Laetitia Sadier, the ensemble either legitimized forms of music that were on the fringe of rock, or brought attention to strands of pop music -- bossa nova, lounge-pop, movie soundtracks -- that were traditionally banished from the rock lineage. The group's trademark sound -- a droning, hypnotic rhythm track overlaid with melodic, mesmerizing singsong vocals, often sung in French and often promoting revolutionary, Marxist politics -- was deceptively simple, providing the basis for a wide array of stylistic experiments over the course of their prolific career. ........N'Joy

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In 1985, Tim Gane formed McCarthy, a band from Essex, England known for their left-wing politics. Gane met the French-born Lætitia Sadier at a McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and to pursue her career. After three albums, McCarthy broke up in 1990 and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album) and ex-Chills bassist Martin Kean. The group's name was taken from a division of Vanguard Records demonstrating hi-fi effects.Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s—which, along with later offshoot Duophonic Ultra High Frequency Disks, would be commonly known as "Duophonic

The band originally comprised songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many lineup changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who played with the group from 1992 until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993, and who is still in the official line-up.

In 1992 Stereolab's first full-length album, Peng!, and first compilation, Switched On, were released on independent label Too Pure. Around this time, the lineup coalesced around Gane and Sadier plus vocalist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, keyboardist Katharine Gifford, and guitarist Sean O'Hagan of the 1980s famed Microdisney duo. Hansen, an Australian, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound until Hansen's death ten years later in 2002.

Beginning with their 1993 EP Space Age Batchelor Pad Music, the band began to incorporate easy-listening elements into their sound. This release raised Stereolab's profile and landed them a major-label American record deal with Elektra Records. Their next album, 1993's Transient Random-Noise Bursts with Announcements, was their first American release under Elektra, and became an underground hit in both the U.S. and the U.K. On 8 January 1994, Stereolab achieved their first chart entry when their 1993 EP Jenny Ondioline entered at #75 on the UK Singles Chart.

With their 1994 full-length, Mars Audiac Quintet, Stereolab focused more on pop and less on rock, the album makes heavy use of vintage electronic instruments, and also contains the single "Ping Pong", which gained press coverage for its allegedly explicitly Marxist lyrics. After releasing a 1995 collection of singles and B-sides called Refried Ectoplasm: Switched On, Vol. 2. Stereolab's 1996 album, Emperor Tomato Ketchup, was a critical success and was played heavily on college radio. A record that "captivated alternative rock", it represented Stereolab's "high-water mark". Krautrock techniques were still present, but the band stirred the pot with hip-hop sounds and complex instrumental arrangements. John McEntire (Tortoise) assisted with production and also played on Emperor Tomato Ketchup, while Katharine Gifford was replaced by Morgane Lhote before its recording, and bassist Duncan Brown by Richard Harrison afterward.

Dots and Loops was released in 1997, and was Stereolab's first album to enter the Billboard 200 charts, peaking at #111. Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness". Contributors to the album once again included John McEntire, along with Sean O'Hagan of The High Llamas and Jan St. Werner of German electropop duo Mouse on Mars. A Nurse With Wound collaboration, Simple Headphone Mind, appeared in 1997, and the third release in the "Switched On" series, Aluminum Tunes, followed in 1998.

The band then took a break from traveling while Gane and Sadier had a child. In 1999, Stereolab's next album appeared, titled Cobra and Phases Group Play Voltage in the Milky Night. Co-produced by McEntire and American producer Jim O'Rourke, the album earned mixed reviews for its lighter sound, and peaked at #154 on the Billboard 200. The full-length Sound-Dust followed in 2001, and rose to #178 on the Billboard 200. Again featuring producers McEntire and O'Rourke, it was more warmly received than the previous album with the emphasis less on unfocused experimentation and more on melody.

In 2002, Stereolab began to plan their next album, and started building a studio north of Bordeaux, France. In October 2002, the band released ABC Music: The Radio 1 Sessions; a compilation of BBC Radio 1 sessions. The year also saw Gane and Sadier end their romantic relationship. On 9 December 2002, longstanding band member Mary Hansen was killed when struck by a truck while riding her bicycle. Born in Maryborough, Queensland, Australia, Hansen earned the most attention for her vocal work with Stereolab, although she also played the guitar and keyboards. For the next few months, Stereolab lay dormant as the members grieved. They eventually decided to continue; as Sadier explained in a 2004 interview: "Losing Mary is still incredibly painful ... But it's also an opportunity to transform and move on. It's a new version. We've always had new versions, people coming in and out. That's life."

The full-length album Margerine Eclipse followed in 2004 to generally positive reviews, and peaked at #174 on the US Billboard 200.[34] The track "Feel and Triple" was written in tribute to Hansen; according to Sadier "I was reflecting on my years with her ... reflecting on how we sometimes found it hard to express the love we had for one another. It was Stereolab's last record on their American label Elektra Records, which closed down in 2004. The album was followed by Oscillons from the Anti-Sun; a 2005 three-CD and one-DVD retrospective of the group's rarer material. In 2005 and 2006, Stereolab released six limited-edition singles which were collected in Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.

Serene Velocity, a "best-of" compilation focusing on the band's Elektra years, was released in late 2006. By June 2007, Stereolab's lineup comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. The band had finished the production of their next album, entitled Chemical Chords, which was released in August 2008 on the 4AD label. The release of the album was followed by an autumn tour of Europe and the United States. In April 2009, manager Martin Pike announced a pause in the band's career together for the time being. After 19 years, he stated they felt it was time to take a rest and move on to new projects.

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Switched On collects Stereolab's earliest singles, capturing the group's hypnotic, driving sound in its infancy. Though they're more guitar-driven and rock-oriented than the band's later work, tracks like "Super-Electric" and "Au Grand Jour" prove that Stereolab's basic style -- Krautrock lock-grooves, bubbling analog synths, fuzzed-out guitars, and angelic vocals -- arrived fully formed. "Doubt" and "Brittle" are among the group's most vibrant pop songs, while the eight-minute "Contact" is a warm-up for the epics the band would include on albums like Transient Random Noise-Bursts With Announcements. Reflective pieces like "The Way Will Be Opening" and "High Expectation" show off Laetitia Sadier's coolly sophisticated, Nico-meets-Francoise Hardy vocals, while "The Light That Will Cease to Fail" manages to be poppy, kinetic, and bittersweet all at once. Though the group would go on to make even more impressive albums, the newness of Stereolab's sound is palpable on Switched On, giving the songs an added vitality. Obviously, it's an impressive debut, but it's captivating in its own right.

Stereolab - Switched On (flac 280mb)

01 Super-Electric 5:23
02 Doubt 3:25
03 Au Grand Jour 3:28
04 The Way Will Be Opening 4:07
05 Brittle 3:47
06 Contact 8:17
07 Au Grand Jour 3:40
08 High Expectation 3:32
09 The Light That Will Cease to Fail 3:23
10 Changer 4:54

Stereolab - Switched On (92)  (ogg  100mb)

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With its full-length debut Peng!, Stereolab continued to develop a unique approach to experimental pop music, building on the seriously playful mix of Krautrock, dream pop, and lounge forged on the band's early singles. The album's first three tracks present the basic kinds of songs that the band would explore in the future: the tense, brooding "Super Falling Star" builds on simple keyboard drones and chilly, choral vocals; "Orgiastic" is a prototypically chugging, droning guitar and keyboard workout; and the sweet, bouncy melody and "ba ba ba" backing vocals of "Peng! 33" define Stereolab's early pop sound. "Perversion" mixes a heavy, dance-inspired beat with strummy, Velvet Underground guitars and Beach Boys harmonies, while "The Seeming and the Meaning" and "Stomach Worm" are two of the band's most dynamic, rock-oriented songs. Dreamy, melancholy songs like "K-Stars" and "You Little Shits" and the fuzzed-out "Mellotron" and "Enivrez-Vous" represent, respectively, the soft and loud aspects of Stereolab's more experimental side, and "Surrealchemist" manages to combine all of the aspects of the group's sound, with overtly Marxist lyrics to boot. While Peng! doesn't feature many of Stereolab's most instantly recognizable compositions, it defines the group's early style and reflects the eclectic directions pursued in later work.

Stereolab - Peng ! (flac  271mb)

01 Super Falling Star 3:16
02 Orgiastic 4:44
03 Peng! 33 3:03
04 K-Stars 4:04
05 Perversion 5:01
06 You Little Shits 3:25
07 The Seeming And The Meaning 3:48
08 Mellotron 2:47
09 Enivrez-Vous 3:51
10 Stomach Worm 6:35
11 Surrealchemist 7:13

Stereolab - Peng !  (ogg  100mb)

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Released in 1993, Space Age Bachelor Pad Music refined Stereolab's sound further and also showcased the increasingly experimental focus of the band's music. Split into two sides -- the gentle, intricate "Easy Listening" and the more upbeat "New Wave" -- this eight-song EP ranges from the bubbly keyboard piece "Space Age Bachelor Pad Music (Foamy)" to the defiant, driving groove of "We're Not Adult Orientated." The sweet, close harmonies on "Ronco Symphony" and "The Groop Play Chord X" edge closer to the sophisticated, lounge pop-inspired sound explored during the rest of Stereolab's career, while the vibes of "Avant Garde M.O.R." and the fizzy keyboards of "Space Age Bachelor Pad Music (Mellow)" spotlight the band's more texturally complex arrangements. However, the immediacy of "We're Not Adult Orientated (Neu Wave Live)" and the hypnotic, fuzzy guitars on "U.H.F. - MFP" prove that while Stereolab gained more polish and ambition on Space Age Bachelor Pad Music, the band didn't lose any of its kinetic edge.

Often overlooked amidst the flurry of early Stereolab releases, the four-song Low Fi in many respects represents the zenith of the group's original incarnation--it's wonderfully emblematic of the clamoring, analog-crunchy drone-pop that cemented their enduring reputation as critical favorites. The indisputable highlight is "Laisser-Faire," a pulsating and eerily prescient meditation on U.S. foreign policy that concludes "I can feel it more and more/Within ten years we'll have a war"--rarely have Laetitita Sadier's vocals resonated with more resigned beauty or Tim Gane's guitar slashed with more righteous anger. The title cut is no less compelling, and marks the first recorded appearance of the late Mary Hansen: her "ba-da-bum" harmonies immediately prove the perfect counterpoint to Sadier's cooler, more sophisticated lead. And on the closing "Elektro (he held the world in his iron grip)," the Lab spans the extremes of their continuum--after some three minutes of bubbling, mad-scientist noise, the song gives way to a sweet, simple acoustic performance as lovely as anything they've ever created.

Stereolab - The Groop Played Space Age Bachelor Pad Music (flac  317mb)

01 Avant Garde M.O.R. 4:09
02 Space Age Bachelor Pad Music 1:44
03 The Groop Play Chord X 2:01
04 Space Age Bachelor Pad Music 2:13
05 Ronco Symphony 3:35
06 We're Not Adult Orientated 6:07
07 U.H.F. -MFP 4:53
08 We're Not Adult Orientated 3:34
Bonus Low Fi EP
09 Low Fi 5:21
10 (Varoom!) 9:00
11 Laisser-Faire 4:33
12 Elektro (He Held The World In His Iron Grip) 5:50

Stereolab - The Groop Played Space Age Bachelor Pad Music  (ogg  115mb)

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By the time of 1994's Mars Audiac Quintet, Stereolab had already highlighted the rock and experimental sides of its music; now the band concentrated on perfecting its space-age pop. Sweetly bouncy songs like "Ping Pong" and "L' Enfer des Formes" streamline the band's sound without sacrificing its essence; track for track, this may be the group's most accessible, tightly written album. The groove-driven "Outer Accelerator," "Wow and Flutter," and "Transona Five" (which sounds strangely like Canned Heat's "Goin' Up the Country") reaffirm Stereolab's Krautrock roots, but the band's sweet synth melodies and vocal arrangements give it a pop patina. Even extended pieces like "Anamorphose" and "Nihilist Assault Group" -- which could have appeared on Transient Random Noise-Bursts With Announcements if they had a rawer production -- are more sensual and voluptuous than edgy and challenging. It's equally apparent on layered, complex songs such as "New Orthophony" and "The Stars Our Destination," as well as spare, minimal tracks like "Des Etoiles Electroniques," that the members of Stereolab focused their experimental energies on production tricks, vocal interplay, and increasingly electronic-based arrangements. The charming final track "Fiery Yellow" takes the band's fondness for lounge pop and experimentation to the limit; a delicate, marimba-driven piece featuring the High Llamas' Sean O'Hagan, it sounds like the kind of music Esquivel or Martin Denny would be proud to make in the '90s. While it's not as overtly innovative as some of Stereolab's earlier albums, Mars Audiac Quintet is an enjoyable, accessible forerunner to the intricate, cerebral direction the group's music would take in the mid- and late '90s.

Stereolab - Mars Audiac Quintet  (flac  418mb)
01 Three-Dee Melodie 5:02
02 Wow And Flutter 3:08
03 Transona Five 5:32
04 Des Étoiles Électroniques 3:20
05 Ping Pong 3:02
06 Anamorphose 7:33
07 Three Longers Later 3:28
08 Nihilist Assault Group 6:55
09 International Colouring Contest 3:47
10 The Stars Our Destination 2:58
11 Transporté Sans Bouger 4:20
12 L'Enfer Des Formes 3:53
13 Outer Accelerator 5:21
14 New Orthophony 4:34
15 Fiery Yellow 4:04

  Stereolab - Mars Audiac Quintet   (ogg  150mb)

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Previously Sundaze 1114, recently re-upped

  Stereolab - Transient Random-Noise Bursts With Announcements (flac 359mb)
  Stereolab - Emperor Tomato Ketchup   (flac   369mb )

Dec 16, 2017

RhoDeo 1750 Grooves


Todays Artist is a wildly flamboyant funk diva with few equals even three decades after her debut, she combined the gritty emotional realism of Tina Turner, the futurist fashion sense of David Bowie, and inspired the trendsetting flair of Miles Davis, her husband for a year. It's easy to imagine the snickers when a 23-year-old model married a famous musician twice her age, but Davis was no gold digger; she turned Miles on to Jimi Hendrix and Sly Stone (providing the spark that led to his musical reinvention on In a Silent Way and Bitches Brew), then proved her own talents with a trio of sizzling mid-'70s solo LPs. . ........ N'joy

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Born July 26, 1945, Betty Mabry grew up in Durham, North Carolina, and just outside Pittsburgh. On her grandmother’s farm in Reidsville, North Carolina, she listened to B.B. King, Jimmy Reed, and Elmore James and other blues musicians. One of the first songs she wrote, at the age of twelve, was called "I’m Going to Bake That Cake of Love." Aged 16, she left Pittsburgh for New York City, enrolling at the Fashion Institute of Technology while living with her aunt. She soaked up the Greenwich Village culture and folk music of the early 1960s. She associated herself with frequenters of the Cellar, a hip uptown club where young and stylish people congregated. It was a multiracial, artsy crowd of models, design students, actors, and singers. At the Cellar she played records and chatted people up. She also worked as a model, appearing in photo spreads in Seventeen, Ebony and Glamour.

In her time in New York, she met several musicians including Jimi Hendrix and Sly Stone. The seeds of her musical career were planted through her friendship with soul singer Lou Courtney, who produced her first single, “The Cellar” with simple, catchy lyrics like, “Where you going fellas, so fly? / I’m going to the Cellar, my oh my / What you going to do there / We’re going to boogaloo there.” The single was a local jam for the Cellar. Yet her first professional gig was not until she wrote "Uptown (to Harlem)" for the Chambers Brothers. Their 1967 album was a major success, but Betty Mabry was focusing on her modeling career. She was successful as a model but felt bored by the work. According to Oliver Wang’s They Say I’m Different liner notes, she said, “I didn’t like modeling because you didn’t need brains to do it. It’s only going to last as long as you look good.”

She met Miles Davis in 1967 and married him in September 1968. In just one year of marriage, she influenced him greatly by introducing him to the fashions and the new popular music trends of the era. In his autobiography, Miles credited Betty with helping to plant the seeds of his future musical explorations by introducing the trumpeter to psychedelic rock guitarist Jimi Hendrix and funk innovator Sly Stone. The Miles Davis album Filles de Kilimanjaro (1968) includes a song named after her and her photo on the front cover.

Miles believed that Hendrix and Betty had an affair which supposedly hastened the end of their marriage, but Betty denies this. Hendrix and Miles stayed close after the divorce, planning to record, until Hendrix's death. The influence of Hendrix and especially Sly Stone on Miles Davis was obvious on the album Bitches Brew (1970), which ushered in the era of jazz fusion. The origin of the album's title is unknown, but some believe Miles was subtly paying tribute to Betty and her girlfriends. In fact, it is said that he originally wanted to call the album Witches Brew—it was Betty who convinced him to change it.

As Betty Mabry, she recorded "Get Ready For Betty" b/w "I'm Gonna Get My Baby Back" in 1964 for DCP International. Sometime in that same era, she also dueted with Roy Arlington and under their joint name "Roy and Betty," released a single for Safice entitled, "I'll Be There." Betty's first major credit was writing "Uptown (to Harlem)" for the Chambers Brothers, 1967.

In 1968, when she was still involved with Hugh Masekela, she recorded several songs for Columbia Records, with Masekela doing the arrangements. Two of them were released as a single: "Live, Love, Learn" b/w "It's My Life." Her relationship with Miles Davis began soon after her breakup from Masekela and in the spring of 1969, Betty returned to Columbia's 52nd St. Studios to record a series of demo tracks, with Miles and Teo Macero producing. At least five songs were taped during those sessions, three of which were Mabry originals, two of which were covers of Cream and Creedence Clearwater Revival. Miles attempted to use these demo songs to secure an album deal for Betty but neither Columbia nor Atlantic were interested and they were archived into a vault until 2016 for the compilation, Betty Davis, The Columbia Years, 1968-69, released by Seattle's Light in the Attic Records.

While their marriage only lasted a year (1968-1969), Betty's impact on the immortal jazz trumpeter was tremendous. Her cutting-edge musical tastes and incomparable sense of style were too much for Miles to resist. A self-righteous 23-year old model, Betty conquered the man twice her age with a potent mixture of youth, beauty, and sex. Within a year, she had completely remade Miles in her own youthful image. As she poured herself into him, his playing grew younger, his outlook fresh. She ripped through his closets, tossing out the elegant suits he had worn for years. This was the late '60s, revolution was in the air, and suits were the uniforms of the Establishment. The time had come to get hip, and Betty pointed the way, introducing Miles to the musical and material gods of revolutionary style: Jimi Hendrix and Sly Stone. Anyone with half a grip on the past knows that Miles experienced far more than a wardrobe makeover during his tumultuous Betty year. Deeply influenced by the cosmic rock guitar of Hendrix and the experimental funk of Sly Stone, Miles turned mad genius and unleashed the electrified musical Frankenstein known as Bitches Brew

After the end of her marriage with Davis, Betty moved to London, probably around 1971, to pursue her
modeling career. By the beginning of the '70s, Betty Davis began work on a set of songs and tapped a host of great musicians to bring them to fruition: Greg Errico and Larry Graham from Sly Stone's band, Michael Carabello from Santana, the Pointer Sisters, and members of the Tower of Power horn section. Her self-titled debut album finally appeared in 1973, and though it made no commercial impact at all, it was an innovative collection with plenty of blistering songs. Even more so than a soul shouter like Tina Turner, Davis was a singer for the feminist era. As Betty's lyrics attest, she was not a tragic woman beholden to any man. This was a woman with the strength of a Black Panther, a woman in total control, a predatory feline fully aware of the power that her beauty and sexuality gave her over men, and cooed her way through extroverted material like "Anti Love Song," "Shoo-B-Doop and Cop Him," and "He Was a Big Freak." Religious groups protested many of her concert appearances (several were canceled), and radio outlets understandably refused to play her extreme work.

She had two minor hits on the Billboard R&B chart: "If I'm in Luck I Might Get Picked Up", which reached no. 66 in 1973, and "Shut Off the Lights", which reached no. 97 in 1975. Davis hardly let up with her second and third albums, 1974's They Say I'm Different and 1975's Nasty Gal, but they too made little impact. Though she would have made an excellent disco diva, Betty Davis largely disappeared from the music scene. Unfortunately for Betty, America was not yet ready to embrace a woman with such an explicitly sexual persona. Her outrageously flamboyant image eclipsed her talent. Several of her live shows were boycotted by religious groups and even canceled. Radio steered clear of her unconventional music, judging it too hard for black stations and too black for white ones. Her records didn't sell. Betty vanished from the scene. These days, December 2017, not even one live or even moving clip of her on youtube, bizar.. I guess the male chauvenistic pigs of the day thouroughly managed to keep her out of the picture....

Both Betty Davis (1973) and They Say I'm Different (1974) were re-released by Light in the Attic Records on May 1, 2007. In September 2009, Light in the Attic Records reissued Nasty Gal and her unreleased fourth studio album recorded in 1976, re-titled as Is It Love or Desire?. Both reissues contained extensive liner notes and shed some light on the mystery of why her fourth album, considered possibly to be her best work by many members of her last band (Herbie Hancock, Chuck Rainey, Alphonse Mouzon), was shelved by the record label and remained unreleased for 33 years. After some final recording sessions in 1979 (Crashin' from Passion), Davis eventually stopped making music and returned to Pennsylvania.

Material from the 1979 recording sessions was eventually used for two bootleg albums, Hangin' Out in Hollywood (1995) and Crashin' from Passion (1996). A greatest hits album, Anti Love: The Best of Betty Davis, was released in 2000.

Bay Area music producer Greg Errico knows something about artist buzz. He used to drum for a band called Sly and the Family Stone. But he can't believe the hum he's hearing now about an artist he produced decades ago: the mysterious funk queen and rocker Betty Mabry Davis.

"She never had big commercial success. We did this 35 years ago. And she's been a recluse for large parts of that," he says. But at a recent National Academy of Recording Arts and Sciences function, he adds, veteran musicians were buzzing about her as if she were a brand-new sensation.
This month, the Afroed beauty, circa '73, graces the cover of hipster music journal Wax Poetics magazine, and today, indie label Light in the Attic Records re-releases lovingly packaged versions of her first two albums, "Betty Davis" and "They Say I'm Different," both cut in San Francisco in the early '70s.

Former musical colleagues don't know much about what happened next. "She disappeared for years and years," says Errico, who has spoken to her only a few times in the past two years. "First time I talked to her, she had really seemed like she had come out of some deep, serious seclusion. Very soft-spoken. She wasn't the same person." When asked about what she has done since her retreat from the public eye, Davis becomes diffident. She hints that she took comfort from being close to her parents (who have since passed away) and her younger brother. She adds that she is talking to the media reluctantly. "The guy who runs Light in the Attic, he asked me if I would do interviews, and to help him sell the album I told him I would," she says. But after this interview, she says, the rest will be canceled. Is she pleased by the resurgent interest in her career? "You want your music to sell. You want your work to be heard, regardless of how long ago you did it," she answers. "So, um, it's good." A trace of impatience creeping into her voice, she says, politely, "Have a good day." And the enigmatic woman who always wanted to do it her own way hangs up the phone.

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Betty Davis is best known for being married once to Miles and for being the bitch that inspired the brew. But she is also a talented composer and singer who deserved a more successful solo career.

Betty’s relationship with and eventual marriage to Miles is renowned for the effect she had on him: At 22, she got the pop-detached Miles into the giants of psychedelic rock, including Jimi Hendrix, that would revitalize his inspiration and lead to his revolutionary electric period. Betty wasn’t just a scenester or a hanger-on; she was a tuned-in tastemaker with deep charisma and the kind of attitude that could’ve made her a superstar in a less-anxious world, and she was both quick to learn and driven to direct. It’s one thing that Betty got Miles into Hendrix, but another thing entirely that she got a couple of Hendrix’s fellow band members to record with her—and had them join a group that included some of the key players on Bitches Brew, the album whose name was suggested by Betty herself.  Still, Betty Davis’ story isn't quite as cut-and-dry between her Mabry years and her emergence as the woman touted as too wild for Miles—especially when you explore the actual recorded results of her and Miles’ mutual influence, as the newly unearthed sessions on The Columbia Years 1968-1969 prove.

The inspiration might have radiated both ways; John Ballon’s liner notes point out as much, with Betty vividly recalling Miles as a catalyst and a mentor who’d inspire her later solo run. But her full potential wasn't realized until years after these recordings, which primarily work as a sometimes exciting, sometimes half-sketched prelude to the more iconoclastic things that’d follow in the ’70s. For a set of recordings that feature the Billy Cox/Mitch Mitchell rhythm section of the Jimi Hendrix Experience's final incarnation and some of the most revolutionary players of Miles’ electric period—Harvey Brooks, John McLaughlin, Herbie Hancock, Larry Young, and Wayne Shorter—just about everyone here, Betty Davis included, sounds like they’re just getting warmed up. This hybridized Hendrix/Miles vision of the band hadn't rehearsed prior to the recording session, and it shows: You can actually hear them start to click mid-song as early-take vamping starts to tighten up. Seven of the nine tracks were composed by the 23 year old Betty, 4 of these as the meanwhile Ms.Betty Davis, what followed were 4 years of arrested development before she unleashed her official debut album, and she was still ahead of her time..

Betty Davis - The Columbia Years 1968-1969    (flac  181mb)

01 Hangin' Out 4:56
02 Politician Man 5:46
03 Down Home Girl 5:26
04 Born On The Bayou 3:22
05 I'm Ready, Willing, & Able (Take 1) 1:05
06 I'm Ready, Willing, & Able (Take 9) 3:23
07 It's My Life (Alternate Take) 2:22
08 Live, Love, Learn 2:37
09 My Soul Is Tired 2:07

   (ogg   mb)

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Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Song for song,Betty Davis is actually one of the most extreme sounding debut records of the decade. Like Bitches Brew, it takes equal parts inspiration from Hendrix and Sly Stone. Future Journey guitarist Neal Schon gives the music its distinctly hard rock Hendrix edge. The Sly angle is fleshed out by former Family Stone drummer Gregg Errico, who plays on and produces the entire record. Former Sly bassist Larry Graham adds an even more unmistakable sound with his trademark grooves. The roster of other musicians playing on this record is impressive: Patryce Banks, Willie Sparks, and Hershall Kennedy of Graham Central Station; Tower of Power horn players Greg Adams and Michael Gillette; and the Pointer Sisters. All these musicians come together to form a flexible and propulsive band, laying down heavy beats behind Neal Schon's dominant lead guitar and Betty's shocking vocals. One critic aptly described their sound as something like a cross between Tina Turner, Funkadelic, and Sly & The Family Stone.

Like all original sounding music, Betty's voice eludes description, and must be heard. A friend was struck by how contemporary it sounded. It's pretty obvious that she was a major influence on Macy Gray. Betty was a powerhouse, pushing her vocal cords to the limit on every performance. She gave it all up, unpredictably alternating between sexy breathiness, moans, and full throated screams. Her voice is not for the feint hearted, as she drags the listener on an fiery tour of her bad-ass soul. This take no prisoners style of singing can sometimes be a bit much to handle. Make no mistake, Betty's brand of black music is not pleasantly soulful, it's ecstatically hard. It's hard to tell whether the musicians are pushing so hard because of Davis' performances or if they're egging each other on, but it's an unnecessary question. Everything about Betty Davis' self-titled debut album speaks to Davis the lean-and-mean sexual predator, from songs to performance to backing, and so much the better for it. All of which should've been expected from the woman who was too wild for Miles Davis.

 Betty Davis - Betty Davis    (flac 282mb)

01 If I'm In Luck I Might Get Picked Up 4:51
02 Walkin Up The Road 2:47
03 Anti Love Song 4:24
04 Your Man My Man 3:28
05 Ooh Yea 3:05
06 Steppin In Her I. Miller Shoes 3:10
07 Game Is My Middle Name 5:09
08 In The Meantime 2:39
Bonus Tracks
09 Come Take Me 3:56
10 You Won't See Me In The Morning 3:50
11 I Will Take That Ride 4:43

Betty Davis - Betty Davis  (ogg  111mb )

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For Davis' next album, 1974's "They Say I'm Different," she assumed complete control. She assembled her own band, wrote the music, produced the album and crafted her image. Her sound became bluesier, edgier and even less compromising. Hip-hop fans now consider the rippling riffs of "Shoo-B-Doop and Cop Him" breakbeat gold. Looking like an intergalactic funkstress on the album cover, her only peers on funk's cutting edge were fellow Afronauts Parliament and Funkadelic.She could do both rootsy and raunchy. On the title track, she transformed a roll call of blues men and women and her own blood relatives into a self-mythologizing genealogy. On "He Was a Big Freak," she sang about a man who enjoyed being whipped with a turquoise chain.

It was too much for some. "Don't Call Her No Tramp," a fierce defense of independent-minded women, caused the NAACP to call for a radio boycott. When she celebrated women whom she called "elegant hustlers," others thought she was advocating prostitution. Davis herself had been slandered and dismissed as a groupie by men in the industry, including her ex-husband. But she dealt with the situation with mother wit: "I said that I was colored and they were stopping my advancement!" The song has since taken on a new layer of meaning in the wake of the Don Imus controversy. The openers, "Shoo-B-Doop and Cop Him" and "He Was a Big Freak," are big, blowsy tunes with stop-start funk rhythms and Davis in her usual persona as the aggressive sexual predator. On the title track, she reminisces about her childhood and compares herself to kindred spirits of the past, a succession of blues legends she holds fond -- including special time for Bessie Smith, Chuck Berry, and Robert Johnson. A pair of unknowns, guitarist Cordell Dudley and bassist Larry Johnson, do a fair job of replacing the stars from her first record. As a result, They Say I'm Different is more keyboard-dominated than her debut, with prominent electric piano, clavinet, and organ from Merl Saunders, Hershall Kennedy, and Tony Vaughn. The material was even more extreme than on her debut; "He Was a Big Freak" featured a prominent bondage theme, while "Your Mama Wants Ya Back" and "Don't Call Her No Tramp" dealt with prostitution, or at least inferred it. With the exception of the two openers, though, They Say I'm Different lacked the excellent songs and strong playing of her debut; an explosive and outré record, but more a variation on the same theme she'd explored before.

Betty Davis - They Say I'm Different   (flac 343mb)

01 Shoo-B-Doop And Cop Him 3:56
02 He Was A Big Freak 4:06
03 Your Mama Wants Ya Back 3:25
04 Don't Call Her No Tramp 4:08
05 Git In There 4:43
06 They Say I'm Different 4:14
07 70's Blues 4:59
08 Special People 3:21
Bonus Record Plant Rough Mixes (10/9/73)
09 He Was A Big Freak (Record Plant Rough Mix) 4:43
10 Don't Call Her No Tramp (Record Plant Rough Mix) 4:37
11 Git In There (Record Plant Rough Mix) 4:38
12 70's Blues (Record Plant Rough Mix) 5:02

. Betty Davis - They Say I'm Different  (ogg  134mb)

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Funk diva Betty Davis was supposed to break big upon the release of her third album, Nasty Gal. After all, her Just Sunshine Records contract had been bought up by Chris Blackwell and Island Records, and they were prepared to invest not only big money in the recording, but in the promotion of the 1975 release. Davis and her well-seasoned road band, Funk House, entered the studio with total artistic control in the making of the album. This set contains classic and often raunchy street funk anthems such as the title track (with its infamous anthemic lyric: "...You said I love you every way but your way/And my way was too dirty for ya now...." ), "Talkin' Trash," "Dedicated to the Press," and the musically ancestral tribute "F.U.N.K." It also features the beautiful, moving, uncharacteristic ballad "You and I," co-written with her ex-husband, Miles Davis, and orchestrated by none other than Gil Evans. It's the only track like it on the record, but it's a stunner. The album is revered as much for its musical quality as its risqué lyrical content. This quartet distilled the Sly Stone funk-rock manifesto and propelled it with real force. Check the unbelievable twinning of guitar and bassline in "Feelins" that underscore, note for note, Davis' vocals. The drive is akin to hardcore punk rock, but so funky it brought Rick James himself to the altar to worship (as he later confessed in interviews). And in the instrumental break, the interplay between the rhythm section (bassist Larry Johnson and drummer Semmie "Nicky" Neal, Jr.) and guitarist Carlos Moralesis held to the ground only by Fred Mills' keyboards. In essence, the album is missing nothing: it's perfect, a classic of the genre in that it pushed every popular genre with young people toward a blurred center that got inside the backbone while smacking you in the face. Heard through headphones, its spaced out psychedelic effects, combined with the nastiest funk rock on the block, is simply shocking. The fact that the album didn't perform the way it should have among the populace wasn't the fault of Davis and her band, who went out and toured their collective butts off, or Island who poured tens of thousands of dollars into radio and press promotion, or the press itself (reviews were almost universally positive). The record seemed to rock way too hard for Black radio, and was far too funky for White rock radio. In the 21st century, however, it sounds right on time. Light in the Attic Records has remastered the original tapes painstakingly for the first North American release of this set on CD. As is their trademark, they've done a stellar job both aurally and visually, as the digipack is spectacular. The set also features a definitive historical essay by John Ballon.

Betty Davis - Nasty Gal   (flac 261mb)

This Side
01 Nasty Gal 4:35
02 Talkin Trash 4:40
03 Dedicated To The Press 3:40
04 You And I 2:45
05 Feelins 2:42
That Side
06 F.U.N.K. 4:20
07 Gettin Kicked Off, Havin Fun 3:07
08 Shut Off The Light 3:53
09 This Is It! 3:25
10 The Lone Ranger 6:08

.Betty Davis - Nasty Gal  (ogg  102mb)

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Whatever the reason that Betty Davis' Is It Love or Desire -- also known as Crashin' from Passion -- remained unreleased until 2009 no longer matters. Davis remembers a personal rift with Island's Chris Blackwell. Studio In the Country manager Jim Bateman (in Bogalusa, LA) claims the studio was never paid and therefore refused to release the masters to Island, etc. It makes no difference, because hearing this album, a ten-song set that was to be

Davis' and Funk House's final recording, is a revelation. (In 1976, funk was slowly giving way to the popularity of disco). Hindsight is 20/20, but had this album been released at the time, things might indeed have been different. Musically, Is It Love or Desire is so forward and so complete, it moves the entire genre toward a new margin. It is as groundbreaking in its way as the music Ornette Coleman was making with Prime Time à la Dancing in Your Head, and the blunt-edged fractured jazz-funk James Blood Ulmer laid down on his own a couple of years later on Tales of Captain Black and Are You Glad to Be in America?. The songwriting is top notch; some of it transcends the proto-sexual excesses of her earlier records though that's still in this wild mix, too. The production is so canny, it seems to get at the very essences of singers, songs, and musical arrangements, and then there's the music itself created by Funk House, one of the most amazing funk bands in the history of music. Being Davis' road and studio band had gelled the unit, which also practiced when they weren't working with her in a practice space at home in North Carolina. Check the dark voodoo-groove bassline Larry Johnson plays on "It's So Good," with Carlos Morales guitar filling the spaces with spidery, silvery lines, and the machine-gun snare groove laid down by drummer Semmie Neal, Jr with breaks and pops that underscore the outrageous distorted keyboards of Fred Mills, the band's music director. Speaking of Mills, his duet vocal on "Whorey Angel,"a spooky, psychedelic soul number that is far better than its title, is scary good. Check out the gris-gris choruses by Davis and her backing chorus with all that bass leading the entire band in its slow, backbone-slipping attack. The sheer sonic attack of "Bottom of the Barrel," may be country in its lyric intro, but the music is diamond-hard funk that makes no secret of its-anti disco sentiment. The ballad on the set, "When Romance Says Goodbye," is a steamy, sultry jazz noir number that gives the listener an entirely new aural portrait of Davis - Mills' piano work on the tune, with its sparse chords and spacious approach, gives Davis' natural singing voice -- rather than her sexual growl -- plenty of room to shine here. There's a bluesy number in &"Let's Get Personal," and a strutting rutting, gutter anthem in "Bar Hoppin' with some in excellent interplay between Mills' synth and Morales' guitar. The final track, a nocturnal, midtempo sexy number called "For My Man," features the violin talent of Clarence "Gatemouth" Brown, to boot. It's easy to say that this the best thing Davis ever cut, especially when a record has existed in mythology for as long as this one has, but that makes it no less true. Many thanks to the Light in the Attic imprint for bringing Is It Love or Desire out of the realm of myth and the dustbin of history, and into the hands of music fans.

Betty Davis - Is It Love Or Desire   (flac 227mb)

01 Is It Love Or Desire 2:35
02 It's So Good 3:18
03 Whorey Angel 5:00
04 Crashin' From Passion 3:25
05 When Romance Says Goodbye 3:41
06 Bottom Of The Barrel 3:45
07 Stars Starve, You Know 3:35
08 Let's Get Personal 3:31
09 Bar Hoppin' 3:12
10 For My Man 1:42

.Betty Davis - Is It Love Or Desire  (ogg  91mb)

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Dec 14, 2017

RhoDeo 1750 Re-Ups 125

Hello, in came 11 correct requests this week, here is another batch of 49 re-ups (16 gig)

These days 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, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to December 13th.... N'Joy

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6x Finland NOW In Flac (Erkki Kurenniemi - Äänityksiä Recordings, HIM - And Love Said No, Värttinä - Seleniko, Tenor, Jimi - Europa, Tenhi - Airut-Aamujen, Nightwish - Over the Hills, Bomfunk MC's - In Stereo)

7x Japan NOW in Flac (Ryuichi Sakamoto - Beauty, Haruomi Hosono - Omni Sight Seeing, YMO - Technodon, YMO - Complete Service 1, YMO - Complete Service 2, Hi Tek/No Crime YMO remixed, Senor Coconut - Yellow Fever )

4x Sundaze Back In Flac (Muslimgauze - Azzazin, Muslimgauze - Return Of Black Sept , Muslimgauze - Gun Aramaic,  Muslimgauze - Gun Aramaic 2)

4x Alphabet Soup L NOW In Flac (Led Zeppelin - Physical Graffitti, Led Zeppelin - Physical Graffitti 2, Lamb - Lamb, Laibach - Anthems )

4x Grooves Back In Flac (Sheila E. - In The Glamorous Life,  Sheila E. - In Romance 1600, Sheila E. - Sheila E.Sheila E. - Sex Cymbal)

3x Aetix NOW In Flac (Talking Heads - 77, Talking Heads - More Songs About Buildings and Food , Talking Heads - Fear of Music)

4x Sundaze Back In Flac (Space Night Vol.12 Alpha, Space Night Vol.12 beta, Space Night-The Journey Continues 1, Space Night-The Journey Continues 2)

3x Sundaze Back In Flac (Coil - Moon's Milk (I,II.III), Coil - Moon's Milk (IV+Bonus), Coil - Black Antlers)

8x wavetrain 7-7-7 NOW in Flac (A Certain Ratio - To Each And Everyone, Rip Rig & Panic - Attitude, This Heat - Deceit, Thomas Leer - Contradictions, Bill Nelson - Quit Dreaming And Get On The Beam ) back in ogg (Hector Zazou - La Perversità, 400 Blows - '.....If I Kissed Her I'd Have To Kill Her First, Bill Nelson - Sounding The Ritual Echo (Atmospheres For Dreaming))

3x Aetix NOW In Flac (The Smithereens - Especially for You, The Smithereens - Green Thoughts, The Smithereens - 11)

2x Roots Back In Flac (VA - Sounds and Pressure Vol.2, VA - Sounds and Pressure Vol.4)

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Dec 13, 2017

RhoDeo 1750 Aetix

Hello, the force is strong in this one, I wasn't much impressed with Disney's first take on the Star Wars fairytale, too many ridiculous things going on, as far as I was concerned the Force needn't be reawakened . But in Hollywood when there's money to be made, specially when marketing costs can be kept down in a series, it's inevitable that the fairytale gets milked until the final drop. So now we get The Last Jedi (if only), at IMDB the reviews are very positive (surprise surprise) well, in the end another safe corporate exercise in entertainment, fleecing the gullible.

Today's artists' are one of the U.K.'s most politically outspoken thrash bands. Based in Edinburgh, the band is led by vocalist Wattie Buchan, whose supporting cast has changed several times since the group's inception around the end of the '70s. The band has garnered a sizable hardcore audience in the U.K. for its anti-authoritarian stance and criticism of the government, particularly in the Reagan/Thatcher era. ...N'Joy

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The Exploited are a Scottish punk rock band from Edinburgh, Scotland, formed in 1979 in Edinburgh. The original line-up consisted of: Terry Buchan (vocals), Stevie Ross (guitar), Alan Paget (bass) and Andy McNiven (drums). Formed in the West Granton area of Edinburgh, a large grey council estate on the north side of the city. The band's politics was reflected in its name, coined by drummer and songwriter McNiven, whose father was a Korean War veteran and a Communist. While in the early stages as a band, with little equipment, the band were invited to play their first gig at Craigmuir School. The band seemed to be a victim of their own publicity here. They had spray-painted their band name locally and had stolen Sunday papers, milk, and rolls in the early hours of Sunday morning and redistributed them outside peoples' front door, with a note saying, "a gift from the exploited". Their first gig was on Friday 15 December 1978. The date was recalled by McNiven as it coincided with a performance by the Doomed (the Damned by another name) at Clouds in Edinburgh to which they went after performing their own gig. The gig was attended by Terry's older brother Wattie, who had recently left the army and was a punk in London. Wattie soon replaced Terry, and Andy McNiven and Colin Erskine were dropped from the line-up as well. Jim Park became the drummer in January 1979, first playing on February 3 1979 at the YMCA in Edinburgh, (the day after Sid Vicious died in New York City). After a few gigs in and around Edinburgh, Stevie Ross left after an appearance in Aberdeen supporting the UK Subs. A few months later, he and Terry Buchan formed The Exposed. The Exposed split in 1980 after a gig supporting The Exploited. While Terry left for London, Stevie was prominent in the Edinburgh band scene during the 1980s and fronted bands like Strychnine and Burlesque before becoming lead singer with blues band Roadside Medicine. Now based in West Lothian, he still sings and writes original songs.

Influenced by 1970s punk rock music such as music by the Sex Pistols, the quartet created a simple, no-frills sound characterized by speed and aggression. In 1980, the group founded its own independent record label, Exploited Records, and released their debut EP Army Life, which was #6 in the Indie/Independent charts for eight weeks, then was in the Top 20 for eighteen months. The B-side was called Fuck the Mods / Crashed Out and the record's back cover stated "To all the Edinburgh punks and skins - keep on mod-bashing!!". They then released another single, "Barmy Army", which jumped into the independent charts and remained there for 53 weeks, peaking at #4. Their single "Dead Cities" peaked at #31 on the UK Charts. Their single "Exploited Barmy Army" peaked at #4 on the Independent/Indie chart.

In March 1981, the band signed to Secret Records, and spent a month recording their debut album, Punks Not Dead. The Exploited released the single "Dogs of War", which peaked at #2 in the Independent charts and #63 on the UK Charts. Also in 1981, the band released their first live album, On Stage, recorded during a concert in Edinburgh. Thereafter, the band performed, along with Discharge, Anti-Nowhere League, Anti-Pasti and Chron Gen on a tour called Apocalypse Now, which was recorded and released as a live album. Their album Punks Not Dead, released in April 1981, went to #20 in May, then number 1 on the Independent Charts. During this time, The Exploited appeared on the popular mainstream TV programme, Top of the Pops. A lot of fans of The Exploited were unhappy with the band's decision to appear on the show. The hardcore punk band Conflict wrote the song Exploitation about this appearance, which began a long-standing rivalry between Conflict and The Exploited that divided the punk fan base.

The band released the album Let's Start a War in 1983 and Horror Epics in 1985. The period between these albums was marked by severe discord over the band's musical direction: guitarist Big John Duncan and bassist Gary McCormack both left to form new bands – "bands with disco beats and guitar solos, total shit", in Wattie's words – and the band went through a rapid succession of drummers, one of whom allegedly left after a "nervous breakdown". The band was driven away from the Secret label by new management who demanded unrealistic changes in style and personnel. Their next label, a tiny enterprise named Pax Records, folded after its owner fled with all its assets.

The concert album Live at the White House was recorded in Washington DC in 1985 at the 9:30 Club and was released the following year in 1986. They also released the studio EP Jesus Is Dead in 1986, following up with Live and Loud, a videography of The Exploited performing around Europe and in the United States. During the tour of the USA, Wattie and Karl Morris had a fight on stage, and Karl left shortly afterwards. He was briefly replaced by Mad Mick, who then disappeared without trace. Nigel Swanson was then appointed as the new guitarist.

"Sexual Favours", a single from the album Death Before Dishonour, was released in 1987. The album only ranked in the top 200 of the Britain Alternative Music list. However, the album sold out quickly. The album's cover featured artwork from the American punk artist Pushead, who complained that he was neither paid nor credited for the work. In 1990, The Exploited released their album The Massacre. The album is a crossover thrash album. This album was by far one of the band's most commercially successful. The band went on to release a Singles Collection album in 1993. The Exploited also released the videography Live in Japan in 1993. Their album Beat the Bastards was released in April 1996.

In January 2003, the band released their album Fuck the System on Dream Catcher Records, and also in 2003, they toured in the UK and US. On 14 October 2003, about 500 fans started a riot in Montreal, Canada after an Exploited concert was cancelled due to the band not being allowed into the country. Rioters destroyed eight cars and set them on fire; broke eleven shop windows and caused other damage. The band were banned from playing in Mexico City due to the riot.

In a 2012 interview, Wattie Buchan claimed that a new album was being finished. In February 2014, Wattie Buchan suffered a heart attack on stage during a performance in Lisbon on the band's Taste of Chaos Tour with Hatebreed and Napalm Death. He was taken to a hospital, where he was expected to receive treatment for at least a week. The band signed a deal with Nuclear Blast Records, and was to have many of its albums reissued in March 2014. The band has also confirmed that its first album in a decade will be released during the 2010s. It is currently unknown when the band's next album will be released.

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Originally issued in 1981, Punks Not Dead was the Exploited's first full-length album. They'd issued singles like "Army Life" and "Exploited Barmy Army" previously, and those were re-recorded for what was hailed and/or reviled as a jagged, messy, and more aggressive reaction to the punk "establishment" of the time. The mix of hate and love toward the Exploited was fine by vocalist Wattie Buchan and his revolving cast of bandmembers -- they just wanted a reaction, to get people to really listen. Tracks like "S.P.G.," "Out of Control," and "I Believe in Anarchy" were mush-mouthed dynamos of chanting, ranting, and ragged song structure, early templates of the U.S. hardcore scene to come.

 The Exploited - Punks not dead (flac  233mb)

01 Punks Not Dead 1:51
02 Mucky Pup 1:42
03 Cop Cars 1:53
04 Free Flight 3:34
05 Army Life 2:38
06 Blown To Bits 2:38
07 Sex And Violence 5:09
08 S.P.G. 2:07
09 Royalty 2:07
10 Dole Q 1:49
11 Exploited Barmy Army 2:38
12 Ripper 2:04
13 Out Of Control 2:54
14 Son Of A Copper 2:40
15 I Believe In Anarchy 2:03
16 Dogs Of War 1:43
17 What You Gonna Do 2:18

The Exploited - Punks not dead   (ogg   92mb)

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One of the most riveting British punk rock units of the early 1980s, the Exploited could have cared less about mainstream pop sensibilities and insisted on keeping things raw and hardcore. With the Clash having become more polished, the Damned and Sham 69 having gone downhill and the Sex Pistols having disbanded, the Exploited came to symbolize U.K. punk at its roughest. The Britons never had a major pop hit like the Clash's "Rock the Casbah," but they had no problem commanding a devoted following in the punk underground and among the British working class. Punk doesn't get much more passionate and recklessly fun than On Stage, recorded live in Edinburgh, Scotland in 1981. The sound quality isn't great by any means, but the band's vitality comes through loud and clear on such angry, sneering classics as "I Believe In Anarchy," "Dogs of War" and "Cop Cars." This is material that no punk fan should be without.

The Exploited - On Stage (flac 221mb)

01 Cop Cars 2:22
02 Crashed Out 2:51
03 Dole Q 2:35
04 Dogs Of War 2:18
05 Army Life 4:08
06 Out Of Control 2:57
07 Ripper 2:19
08 Mod Song 2:54
09 Exploited Barmy Army 2:55
10 Royalty 2:40
11 SPG 2:30
12 Sex And Violence 2:30
13 Punk's Not Dead 4:10
14 I Believe In Anarchy 1:28

The Exploited - On Stage   (ogg  82mb)

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Troops of Tomorrow is one of the landmark punk albums to come from Britain. This album is connected to the Exploited possibly more than any other. It came directly after their legendary Top of the Pops performance, and several of these songs would go on to be covered by Slayer and Ice-T for the Judgment Night soundtrack. It may not have the hooks of the Damned or the clever lyrics of the Sex Pistols, but in its place they brought a brainless rage that has been one of the sore points for punk purists for years. Songs like "Sid Vicious Was Innocent" and the uninformed "War" are blatantly idiotic, but work on an entirely different level. These songs are from the gut, and honestly, they were just following in the footsteps of American punk, which had thrown cleverness out the window from the get-go. The thrashing guitars and chugging riffs would go on to influence countless bands, from like-minded American artists like SOD and Agnostic Front to fellow British hardcore heroes Discharge. The lyrics are mostly just politically inspired chanting, but the music laid the groundwork for most of the punk metal that followed. Fans of aggressive hardcore punk should try to add this to their collection. It is a classic of the genre that has held up well through the years.

 The Exploited - Troops Of Tomorrow (flac 221mb)

01 Jimmy Boyle 2:07
02 Daily News 2:57
03 Disorder 2:18
04 Alternative 2:04
05 U.S.A. 3:19
06 Rapist 1:27
07 Troops Of Tomorrow 4:54
08 U.K. 82 2:47
09 Sid Vicious Was Innocent 2:57
10 War 3:47
11 They Won't Stop 2:18
12 So Tragic 1:48
13 Germs 4:38

The Exploited - Troops Of Tomorrow   (ogg  89mb)

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The Exploited's fourth record finds the band with an entirely new lineup (only leader Wattie Buchan remains), but never fear, the new boys prove that they are entirely capable of thrashing and, what's more, they are eager to thrash. Great, thunderous rockers like "Kidology" and "Another Day to Go Nowhere" fulfill the obligatory youth-angst requirement while "Let's Start a War (Said Maggie One Day)" and "Rival Leaders" (among many others) represent the epicenter of the group's familiar antiwar/anti-Thatcher sentiment. Nothing new in the grand scheme of punk rock in general (or the Exploited in particular), Let's Start a War...Said Maggie One Day is what it is -- punk rock comfort food.

The Exploited - Let's Start A War...   (flac  264mb)
01 Let's Start A War (Said Maggie One Day) 2:55
02 Insanity 4:08
03 Safe Below 2:12
04 Eyes Of The Vulture 3:33
05 Should We Can't We 1:46
06 Rival Leaders (Re-Mix) 2:12
07 God Saved The Queen 5:48
08 Psycho 2:05
09 Kidology 2:13
10 False Hopes 1:41
11 Another Day To Go Nowhere 2:36
12 Wankers 2:39

The Exploited - Let's Start A War...     (ogg   95mb)

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Dec 12, 2017

RhoDeo 1750 Roots


Today's artists are an instrumental and vocal Latin American folk music ensemble from Chile. The group was formed in 1967 by a group of university students and it acquired widespread popularity in Chile for their song Venceremos (We shall win!) which became the anthem of the Popular Unity government of Salvador Allende. During their exile in Europe their music took on a multifarious character, incorporating elements of European baroque and other traditional music forms to their rich and colourful Latin American rhythms - creating a distinctive fusion of modern world music. They are perhaps the best internationally known members of the nueva canción movement. .....N'Joy

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For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music -- something few did back then -- and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically -- enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken.

While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a Best Of disc in Italy (not to be confused with the 2000 Best Of on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's Amar de Nuevo looked at the complete spectrum of Latin roots music and its Creole heritage.

In the past the group was musically led by Horacio Salinas and politically led by Jorge Coulon. However, in 2001 there was a controversial split of the group, which started when three key members left the group (José Seves, Horacio Durán and Horacio Salinas). They were replaced by Manuel Meriño (from Entrama), Cristián González and Juan Flores. Due to the importance of departed members, many called into question the ability of the remainder to carry on the Inti-Illimani name. Meanwhile, the three departed members started their own group they call Inti-Histórico. From 2005 there are two groups:

    Inti-Illimani New (Coulon brothers)
    Inti-Illimani Histórico (José Seves, Horacio Durán and Horacio Salinas)

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Sing to the program is the fifth official studio album of the Chilean band Inti-Illimani, originally published in the year 1970. The album is a musicalization of the Government Program of Salvador Allende, made as a tribute to his triumph in the presidential campaign of the same year . Almost all of the lyrics on the album are written by Julio Rojas, who also wrote in Oratorio de los trabajadores in 1972, while the music was composed by Luis Advis and Sergio Ortega, using the cantata form.

On July 1, 2003, around multiple re-editions and remasters of Inti-Illimani's LP records, the Warner Music Chile label re-released this LP in CD format, including at the end the twelve tracks of the 1969 album Si Somos Americanos (If we were Americans) the first official studio album of the Chilean band Inti-Illimani, recorded in La Paz, Bolivia, 2 and published in 1969.

Inti-Illimani - Canto Al Programa+Si Somos Americanos   (flac  295mb)

01 Introducción Musical 1:18
02 Relato 1:04
03 Canción Del Poder Popular 2:49
04 Relato 0:31
05 El Vals De La Profundización De La Democracia 2:32
06 Relato 0:18
07 Cuecas De Las Fuerzas Armadas Y Carabineros 3:31
08 Relato 0:17
09 El Rin De La Nueva Constitución 2:07
10 Relato 0:17
11 Canción De La Propiedad Social Y Privada 3:31
12 Relato 0:08
13 Canción De La Reforma Agraria 2:12
14 Relato 0:22
15 Tonadas Y Sajuriana De Las Tareas Sociales 5:03
16 Relato 0:07
17 Canción de la Nueva Cultura 3:49
18 Relato 0:16
19 Vals De La Educación Para Todos 3:23
20 Relato 0:24
21 Canción De Las Relaciones Internacionales 2:13
22 Relato 0:26
23 Venceremos 2:22

Si Somos Americanos (1969)

24 Si Somos Americanos 1:40
25 Huajra 3:04
26 El Canelazo 2:48
27 Estoy de Vuelta 2:23
28 Juanito Laguna Remonta Un Barrilete 4:03
29 Una Lágrima 3:09
30 Sed De Amor 3:05
31 Zamba De Los Humildes 3:15
32 Lunita Camba 1:42
33 La Naranja 1:56
34 Voy A Remontar Los Montes 3:32
35 Lárgueme La Manga3:17

Inti-Illimani - Canto Al Programa+Si Somos Americanos (ogg  136mb)

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This was not the first album to be released by the Chilean folk group Inti-Illimani, which had originally formed while its members were college students more than six years before Viva Chile! came out in 1973. But it was the first of the group's albums to emerge from a new life as exiles in Rome; so, literally, this spirited music of revolution and rebellion was recorded within a short stroll from the type of hearty lunchtime pasta that is more likely to inspire a siesta. The decisive summarization of thoughts that sometimes occurs as a preamble to dreamland is a nice way to describe the choice of both repertoire and final program sequence. Viva Chile! lays bare the musical roots of this ensemble, in large part a style of folk music from the Andes that has unfortunately become a trifle stereotyped due to overexposure. In the case of Inti-Illimani, the growth from this original starting point has been lush, extending into a challenging form of expression known as nuevo cancion, or new song. Rich emotions and musical surprises bloom almost constantly from these pieces. In combination with politics, as in "Venceremos" or "Cueca de la C.U.T.," it becomes a garden that any lover of protest songs will want to sit in and meditate. Sniffing along while the military industrial complex is overthrown is hardly the only sweet bouquet provided, however. From the very start of the album, intricate and terrifically mixed percussion breaks provide some of the finest moments. "Cueca de la C.U.T." is simply amazing, sounding like small drunken men have invaded the speaker box with wooden mallets. Instrumental pieces involving various combinations of stringed instruments such as guitar, tiple, and charango are also part of the program, a style that the group seems to have downplayed in later releases. "Ramis," "Tatati," and "Subida" are short and simple treats; "Longuita" utilizes a picking style that sounds like country & western, though it is uncertain what country. "Venceremos" is the big vocal hit, an anthem among anthems, and as is typical in the effective sequencing, it is sandwiched between two of the instrumentals. As mentioned in passing, a distinct Andes style involving pan pipes, known as zampona and a certain kind of repetitive melody has been transformed from obscure ethnic music into ghastly kitsch courtesy of Paul Simon and "El Condor Pasa." This style is used somewhat heavily as this album begins, then passes away into a kind of distant mist as the program becomes more political. It is truly sad that someone else's recording career can so jeopardize the experience of understanding a beautiful musical concept, but that's showbiz. Some listeners will have to toil mightily, hefting aside pounds of prejudice and unfortunate indoctrination in order to truly understand what this group is all about. As hard as that is bound to be, it might be of some assistance to present the following image, complete with the caveat that it is presented only a short time after reading a flattering account of Simon's sure and knowing ways while collaborating in the studio with a bunch of vintage gospel entertainers. The traditional Indian music utilized by Inti-Illimani, whose name means Sun God in the Aymaran Indian language, is of a much finer vintage than those old Simon & Garfunkel records in the den. The zampona flutes and various drums and rattles, each carefully used to create maximum impact, have an individual and combined intensity, would be literally be described as muy grande in Spanish, that is really way too big for a Paul Simon record -- a giant, gleaming zampona being inserted in a place where the sun don't shine, where the Sun God never visited.

Inti Illimani - Viva Chile!   (flac  196mb)

01 Fiesta De San Benito 3:31
02 Longuita (Strumentale) 1:55
03 Canción Del Poder Popular 2:58
04 Alturas (Strumentale) 2:56
05 La Segunda Independencia 2:30
06 Cueca De La C.U.T. 1:43
07 Tatati (Strumentale) 3:30
08 Venceremos 2:26
09 Ramis (Strumentale) 2:25
10 "Rin" Del Angelito 2:16
11 Subida (Bailecito) (Strumentale) 1:58
12 Simon Bolivar 2:45

(ogg   mb)

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Inti Illimani achieved to keep the songs soul adding their musical skill. Just that simple. Violeta Parra is behind these songs. Victor Jara is behind these songs. Chile, Latin America are behind these songs. Because the collective unconscious of the human being is behind these songs. That is to say, a soul which gives voice to the universal psyche. Combative, present even in silence, and beautiful.
From the making again of "La partida" (why is it so landscape-ly inner?) till a musical extension of "Run run se fue pal norte", and one of the most significative recordings of "Corazón maldito", along with the reading of the lyrical beauty of "Lo que más quiero":

el árbol que yo más quiero
tiene dura la razón
me priva su fina sombra
bajo los rayos del sol.

Inti-Illimani - La Nueva Cancion Chilena   (flac  195mb)

1 Tocata Y Fuga 2:31
2 Corazón Maldito 2:56
3 Run-Run Se Fué Pa'l Norte 4:36
4 El Aparecido 3:36
5 Asi Como Hoy Matan Negros 2:18
6 Chile Herido 3:00
7 Calambito Temucano 3:02
8 Exilada Del Sur 3:32
9 La Partida 3:30
10 Lo Que Más Quiero 3:10
11 Ya Parte El Galgo Terrible 2:30
12 El Pueblo Unido Jamás Será Vencido 3:00

(ogg   mb)

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Singing of Andean peoples, also called simply as Canto de pueblos andinos , is the eleventh studio album by the Chilean band Inti-Illimani . 3 It was originally released in 1975 by the Italian label Dischi dello Zodiaco , to be later reissued by other European record labels. This is the third studio album recorded and published by the band in Italy , after their exile in that country product of the 1973 coup d'état in Chile Listening to it is like entering into a magic world from a misty mountain pass.This "song of Andean peoples" is intended to show a small part of the extraordinary musical richness that are rooted in the Mediterranean heights of our South America; this music, that being a legacy of centuries will survive but on the other hand, poses a challenge to today 's generation of American musicians. The music of the Andean peoples is alive, current expression, as well as indigenous and popular manifestation as a source of inspiration and creation.

Inti-Illimani - Canto De Pueblos Andinos   (flac  203mb)

01 Huajra 3:45
02 Tema De La Quebrada De Humahuaca (Il Passo Di Humahuaca / Humahuaca Gorge) 2:57
03 Dolencias (Le Mie Pene / My Sorrows) 3:08
04 Lamento Del Indio (Lamento Dell'Indio / Indio's Lament) 2:14
05 Taita Salasaca 2:15
06 La Mariposa (La Farfalla / The Butterfly) 2:08
07 Tinku 3:26
08 Amores Hallarás (Tanti Amori Nella Tua Vita / Many Loves In Your Live) 1:58
09 Papel De Plata (Carta D'Argento / Silver Paper) 2:41
10 Flor De Sancayo (Fior Di Sancayo / Flower Of Sancayo) 2:31
11 Mis Llamitas (I Miei Piccoli Lama / My Little Lamas) 2:47
12 Sicuriadas 3:10

  Inti-Illimani - Canto De Pueblos Andinos (ogg  88mb )

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Firmly rooted in the cultural traditions of their Chilean homeland, the ensemble known as Inti-Illimani also came up in solidarity with politically outspoken musicians like Victor Jara and Quilapayún, artists whose anti-fascist songs and messages were made available to North American listeners on Monitor and Americanto LPs. Forced into exile by the 1973 U.S.-supported military coup during which Jara was mutilated and then murdered as democratically elected president Salvador Allende was literally machine-gunned out of office, Inti-Illimani relocated to Italy (following in the footsteps of their hero, the poet and statesman Pablo Neruda, who unfortunately died in Chile soon after Allende) and recommenced the recording of music that synthesizes ancient tradition, nueva cancion, and unflinching social commentary. Released in 2005, the first volume in Inti-Illimani's Antologia series samples their works dating from the first five years of exile (1973-1978), including material from their albums Vive Chile! (1973) and Resistencia (1977). This is beautiful and movingly sincere music, close to the authentic heart of historic Andean folk, and deeply informed by the social environment in which it originally gestated and came of age.

Inti-Illimani - Antologia I 1973 - 1978   (flac  383mb)

01 Alturas 2:59
02 La Fiesta de San Benito 3:38
03 Rin del Angelito 3:20
04 Tatatí 3:29
05 Simón Bolivar 2:47
06 Exilada del Sur 3:34
07 Lo Que Más Quiero 3:05
08 Run Run Se Fue P'al Norte 4:37
09 Corazón Maldito 2:58
10 El Pueblo Unido Jamás Será Vencido 3:04
11 Dolencias 3:11
12 Papel de Plata 2:45
13 Arriba Quemando el Sol 4:43
14 Señora Chichera 3:45
15 Ojos Azules 2:53
16 América Novia Mía 3:28
17 Juanito Laguna 4:56
18 La Denuncia 2:37

  Inti-Illimani - Antologia I 1973 - 1978 (ogg  156mb )

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Dec 11, 2017

RhoDeo 1750 Chronicles 4


Today's artist  is an English musician, singer, songwriter, and multi-instrumentalist, best known as the lead guitarist, backing vocalist, and principal songwriter for the rock band the Who. His career with the Who spans over 50 years, during which time the band grew to be considered one of the most influential bands of the 20th century.

Townshend is the main songwriter for the Who, having written well over 100 songs for the band's 11 studio albums, including concept albums and the rock operas Tommy and Quadrophenia. He has also written more than 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs. Although known primarily as a guitarist, he also plays keyboards, banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bass guitar, and drums, on his own solo albums, several Who albums and as a guest contributor to an array of other artists' recordings. He is self-taught on all of the instruments he plays and has never had any formal training. Townshend has also contributed to and authored many newspaper and magazine articles, book reviews, essays, books, and scripts, and he has collaborated as a lyricist and composer for many other musical acts. Due to his aggressive playing style and innovative songwriting techniques, .... N'joy.

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Everybody who hasn't been sleeping under an umbrella on some beach in the Greek Islands or on some rock off the coast of New Zealand has heard by now of the Lifehouse Chronicles. Lifehouse was a rock opera Pete Townshend worked on feverishly and then abandoned -- due to outside tinkering and betrayal -- between the issues of Tommy and Quadrophenia. According to legend, Townshend couldn't get anybody interested in his allegedly disjointed ideas. The truth was all wrapped up in music and film-biz politics. Townshend's Lifehouse was to be a rock opera all right, but it was to be a musical for screen with footage of the Who performing the story's soundtrack. This desire of Townshend's to move into film had a practical purpose: in part, it was to get the Who off the endless slogging of the road for sometimes years at a time. It was also Townshend attempting to move himself into other areas like fiction and theater and away from the constrictions placed on him as a "rock musician." This contradicted the ambitions of the Who's then-manager Kit Lambert, who wanted to make a film of Tommy by any means necessary -- even without the approval and participation of Townshend -- as his first feature, a project Townshend wanted nothing to do with. In short, according to Townshend, who had made contact with Universal about Lifehouse, Lambert made his own film, the disastrous Tommy, by derailing the Lifehouse project using his influence with people at the band's label and elsewhere by telling them the entire thing was too big and unruly for pop music, that Lifehouse was unworkable. The project was abandoned, but never let go of. The Who recorded a number of the songs for Lifehouse, produced by Glyn Johns, who talked them out of a concept album and into a strong pop album. Those sessions, minus the classic "Pure and Easy" also recorded then, resulted in the record Who's Next.

Townshend eventually became obsessed with telling the story of his greatest failure, the same great failure that gave us Who's Next, "Pure and Easy," and other Lifehouse ideas such as "Sister Disco" and "Who Are You?" Even later, when Townshend's radio play Psychoderelict was released in 1993 as an album, it contained ideas that had been adapted from the Lifehouse sessions. In 1999, Townshend worked with collaborators to create a two-hour BBC radio play for Lifehouse. The box set tells the story of the failure and presents the evidence for what he believed was possible in 1970 and up until the time Who's Next was recorded and released in 1971.

Lifehouse is the story set in a "near distant" future, where government was no longer interested in interpersonal relationships between humans; their interest was the complete dependence of the individual on the power structure. To that end, they manufactured a story of a pollution crisis so bad, everyone was required to wear "lifesuits." Lifesuits were articles of clothing that simulated all experiences so the person wearing it wouldn't have to leave her or his dwelling place if he or she didn't want to. They were designed, programmed, and plugged into a huge mainframe grid by a media mogul named Jumbo, who was more powerful than the government who appointed him to head this project. His media company provided medicine, sleeping gas, food, and programming so intense and compressed it would allow, according to Townshend's notes, "an individual to live out tens of thousands of lifetimes in a very short period." It also did away with any need for art. (Yep, virtual reality 15 years before William Gibson's novel Neuromancer.

The story begins when a dropout farming family in a remote part of Scotland hears about a subversive rock concert in London that their daughter runs away from home to attend. The farmers don't wear lifesuits because they live far to the north and are supposedly out of the pollution's range. They are tolerated by the power structure because the farmers grow produce the government is only too happy to buy. Bobby is the story's hero. He hacks into the grid and discovers its fatal flaw. He plans to stage a concert called the Lifehouse in which each individual will be able to become a unique, blueprinted part of a piece of music, a song that hacks into the mainframe of the grid, distorts its data, and short circuits its fictions, allowing everyone to shed their suits and start living again. That song would have the power of liberating not only their minds, but also their bodies from the lifesuits as well -- all through the power of rock & roll -- which would have been supplied by the Who, of course. His experiment succeeds better than he could have ever dreamed with totally unexpected results -- I'll leave the rest to those of you actually interested enough to purchase the set.

The Lifehouse Chronicles are six CDs of all the material associated with the project, past and present, including the original demos for the songs Townshend planned to include as he was developing it. It is divided into two CDs of demos of songs such as "Teenage Wasteland" -- that later evolved into "Baba O' Riley" -- with somewhat different lyrics -- at one time an instrumental conceived as a different song altogether. Others include virtually every song from Who's Next, and "Slip Kid," "Let's See Action," "Relay," as well as "Sister Disco" and "Who Are You?" among many, many others.

The first two discs are worth the price of admission alone. There isn't a weak second on either of them, and the sound is pristine, professionally recorded from the jump, and remastered for CD. Perhaps nothing is more revelatory about Townshend that hearing his sketch "Teenage Wasteland" become the "Baba O'Riley" we know -- a nine-minute instrumental version of "Riley" is on the demos, and it's awe inspiring. The song's lyrics and the tune's melody set out the story of a transition so profound it changes everything. It's the story of people moving into something from outside, having no idea what awaits them on the other side of "teenage wasteland." The instrumental track is more anthemic than anything the Who ever recorded. "Pure and Easy," "The Song Is Over," "Behind Blue Eyes," and others are not sketches, but fully realized versions of songs before they were given to the Who. Hearing Townshend sing them sends chills down the spine as the songs take on even deeper meanings. "Sister Disco" is radically different than the one the Who recorded -- the later one served the aims of a pop song far better than Townshend's original -- but in his hands, it's a novel.

Disc three is full of experiments and themes Townshend worked and reworked as he revisited the Lifehouse material years later. There is a remixed version of "Who Are You," and redone versions of "Baba M1" and "M5" as well as a redone "Pure and Easy" that is far superior to the originally released version. All of the material here was recorded in 1998 and 1999 when Townshend was conceiving and working on the radio play.

The fourth disc consists entirely of orchestral themes and arrangements employed both in the original concept and augmented in the radio play. The works are not only by Townshend, but by classical composers Henry Purcell, Corette, and Domenico Scarlatti as well. This CD might seem a stretch as interesting to some, but given Townshend's vision and sense of drama, it fits perfectly inside it. The emotional and dynamic range of the pieces, their colors and textural elegance in this particular sequence make for a deep -- and rousing -- listening experience.

Finally, there are the last two discs that comprise the radio play. These are what everyone is wondering about, if they're "worth it" for the price tag; if it is possible in the "sound and word byte" age to sustain listening to an almost two-hour bit of aural theater. Make no mistake, the radio play is brilliant, an essential addition to the literature of Townshend and the Who. Concept goes out the window when the voice of a young boy introduces the work, and gives way to a short orchestral reading of "Baba O'Riley." What replaces it is pure drama, worthy not only of a radio play, but if reworked slightly, for stage as well, and perhaps even a film. Whoops, been there already, better to let sleeping dogs lie. But the work is so compelling it would be wonderful as a film, with only one catch, finding the proper vintage footage of the Who performing the soundtrack, and melding it in, because it wouldn't work with any other band performing the material. Lifehouse is a chilling vision of a future where control and individuality no longer have a place in everyday life. This is the film the Matrix without the special effects or kung fu, and as a result, Lifehouse is far more subversive and instructive.

The Lifehouse Chronicles is a bit of rock history that finally gets its proper hearing and as a result begs the question in capital letters, "What if?" It's fitting that it's only available from Townshend's own website. The price is a bit steep, but the package was far from cheap to assemble and is a lavishly designed wonder. The set comes in a 12 by 12 box, with a corrugated impressed sleeve with and folds into a triptych. The CDs are laid out in individually colored and lettered glossy sleeves, four on the left panel, two on the right (the play), and a handsome 50-page book slips into its own spot in the middle bridging them. The book, with a long, no-holds-barred introduction by Townshend also contains Matt Kent's own, somewhat more objective history of the project, contains complete lyrics to all the songs, and the script for the radio play. Everything printed lavishly on different colored pages with no regard for expense. There isn't another item on the rock or pop market that resembles The Lifehouse Chronicles or even comes close to its vision or integrity.

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Pete Townshend - Lifehouse Arrangements and Orchestrations (flac  359mb)

01 One Note– Prologue 1:26
02 Fantasia Upon One Note (Quick Movement) 1:01 Henry Purcell
03 Baba O'Riley (Orchestral version) 9:36
04 Sonata K:212 4:18 Domenico Scarlatti
05 Tragedy 4:23
Michel Corrette
06 No. 4 Aria 2:41
07 No. 2 Giga 2:24
08 No. 6 in D Minor 2:37
09 No. 3 Adagio and Allegro 4:31
10 Hinterland Rag 3:33
11 Sonata K:213" 4:25 Domenico Scarlatti
Henry Purcell
12 The Gordian Knot Untied: Overture 3:21
13 The Gordian Knot Untied: Allegro 1:59
14 The Gordian Knot Untied: Air 0:58
15 The Gordian Knot Untied: Rondean Minuet 1:49
16 The Gordian Knot Untied: Air 1:14
17 The Gordian Knot Untied: Jig 1:23
18 The Gordian Knot Untied: Chaconne 2:31
19 The Gordian Knot Untied: Air 0:48
20 The Gordian Knot Untied: Minuet 1:19
21 The Gordian Knot Untied: Overture (Reprise) 3:27
22 Tragedy Explained 6:26
23 One Note – Epilogue 1:20
24 Fantasia Upon One Note 2:48 Henry Purcell

Pete Townshend - Lifehouse Arrangements and Orchestrations (ogg  146mb)

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In 1998, Townshend's dream of bringing Lifehouse to a wide audience finally came true, when BBC Radio approached him with the idea of developing a radio play based on Lifehouse and incorporating the original music written for the project. The play, just under two hours in length, was transmitted on BBC Radio 3 on 5 December 1999.

Lifehouse is the story set in a "near distant" future, where government was no longer interested in interpersonal relationships between humans; their interest was the complete dependence of the individual on the power structure. To that end, they manufactured a story of a pollution crisis so bad, everyone was required to wear "lifesuits." Lifesuits were articles of clothing that simulated all experiences so the person wearing it wouldn't have to leave her or his dwelling place if he or she didn't want to. They were designed, programmed, and plugged into a huge mainframe grid by a media mogul named Jumbo, who was more powerful than the government who appointed him to head this project. His media company provided medicine, sleeping gas, food, and programming so intense and compressed it would allow, according to Townshend's notes, "an individual to live out tens of thousands of lifetimes in a very short period." It also did away with any need for art. (Yep, virtual reality 15 years before William Gibson's novel Neuromancer.)

The story begins when a dropout farming family in a remote part of Scotland hears about a subversive rock concert in London that their daughter runs away from home to attend. The farmers don't wear lifesuits because they live far to the north and are supposedly out of the pollution's range. They are tolerated by the power structure because the farmers grow produce the government is only too happy to buy. Bobby is the story's hero. He hacks into the grid and discovers its fatal flaw. He plans to stage a concert called the Lifehouse in which each individual will be able to become a unique, blueprinted part of a piece of music, a song that hacks into the mainframe of the grid, distorts its data, and short circuits its fictions, allowing everyone to shed their suits and start living again. That song would have the power of liberating not only their minds, but also their bodies from the lifesuits as well -- all through the power of rock & roll -- which would have been supplied by the Who, of course. His experiment succeeds better than he could have ever dreamed with totally unexpected results -- I'll leave the rest to those of you actually interested enough to purchase the set.

Directed and produced by Kate Rowland


Ray ........... David Thredfall
Sally........... Geraldine James
Mary........... Kelly Mcdonald
Hacker........ Shaun Parkes
Caretaker.... Charles Dale
Rayboy........ Phillip Dowling

Pete Townshend - Lifehouse Chronicles 16-19 (flac  126mb)

16 Lifehouse Radio Play No. 16 4:39
17 Lifehouse Radio Play No. 17 4:59
18 Lifehouse Radio Play No. 18 4:32
19 Lifehouse Radio Play No. 19 8:20


Pete Townshend - Lifehouse Chronicles 01-05 (flac  155mb)
Pete Townshend - Lifehouse Chronicles 6-10 (flac  165mb)
Pete Townshend - Lifehouse Chronicles 11-15 (flac  156mb)

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