Oct 18, 2017

RhoDeo 1742 Aetix

Hello, Fra Lippo Lippi is an 1855 dramatic monologue written by the Victorian poet Robert Browning which first appeared in his collection Men and Women. Throughout this poem, Browning depicts a 15th-century real-life painter, Filippo Lippi. The poem asks the question whether art should be true to life or an idealized image of life. The poem is written in blank verse, non-rhyming iambic pentameter.

Well this painter Filippo Lippi, has somehow escaped being made a film about, but a book has been written about him. He sure had a extraordinairy life, becoming an orphan early in life, picked up by the church becoming a priest age 16, leaving that save space age 28 ending up a slave 10 years later after being caught by pirates, but by then displaying his skill in art, picked upon witnessing artists painting at his previous monestry, he maneged have himself bought free, extending a career as a painter. Once Cosimo de' Medici had to lock him up in order to compel him to work, and even then the painter escaped by a rope made of his sheets. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery. His life included many similar tales of lawsuits, complaints, broken promises and scandal. Somehow still close to church at age 48 he worked as a chaplain at a nonnery, 4 years later working on another madonna he fell in love with the 21 year old model Lucrezia Buti (a novice), he took her to his home impregnated her, much to the dismay of the nuns, he had another child with her and age 63 he was poisoned for refusing to marry Lucrezia after getting special dispensation by the Pope Paul II (likely by the 'dishonoured' Buti family).

I wonder how many 15th century orphans made this much out of their lives ?

Today's artists  are a band from Norway. They had several hits in the 1980s, such as "Shouldn't Have to Be Like That", "Everytime I See You" and "Light and Shade", and recorded a new album as late as 2002. The band name is derived from Robert Browning's poem about the Renaissance painter Filippo Lippi..........N'Joy

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Fra Lippo Lippi was founded in Nesodden, Norway in 1978 by bassist Rune Kristoffersen, drummer Morten Sjøberg and keyboardist Bjørn Sorknes. Two years prior, the group was rehearsing under the name Genetic Control. They released a 4-track instrumental EP that year.

In 1981, Sorknes left as the band was writing songs for their debut album. The band, which then consisted of the duo of Kristoffersen and Sjøberg, recorded and released In Silence under Uniton Records. In 1982, Per Øystein Sørensen came on board as the band's lead vocalist for their second album Small Mercies.

Just as the band were preparing a follow-up album, Sjøberg and keyboardist Øyvind Kvalnes departed at the prospect of giving up their day jobs for the uncertain careers as professional musicians, leaving Kristoffersen and Sørensen as the only two members. Songs was released that year to positive reviews, and 5,000 copies were sold in Norway without the aid of singles or promotion.

Months after Songs was released, the band was signed to Virgin Records. Songs was re-recorded and remixed for the international market in 1986. This version of the album also included a new song titled "Everytime I See You". In 1987, the band recorded and released their follow-up album Light and Shade in Los Angeles, CA, with the producing aid of Walter Becker. Shortly after the album's release, they were dropped by Virgin Records.

The band's popularity in the Philippines prompted them to tour the country in 1988. In Manila, their shows sold out six times over two weekends. The band continued to record and release further albums independently, starting with 1989's The Colour Album. A live album titled Crash of Light was released in the Philippines in 1990. In 1995, the band released their first compilation album The Best of Fra Lippo Lippi '85–'95. Selected tracks originally from Songs, Light and Shade and The Colour Album were re-recorded. Two years later, another compilation was released in the Philippines. The Virgin Years - Greatest Hits featured tracks directly licensed from Virgin Records.

In 2002, Kristoffersen retired from the band to focus on his record label Rune Grammofon, and the band released In a Brilliant White which contains mostly Sorensen's works and was initially produced and released only in the Philippines. The first single "Later" became a hit in the Philippines even before the album was released, hence EMI Philippines (now PolyEast Records) decided to produce a full-length album with it. It also features a collaboration single "Wish We Were Two" featuring Per Sorensen and Kyla. This album was also released in Norway eventually, following releases over other countries in Asia.

On September 2009, Sørensen released Våge, his first solo album and his first-ever work in Norwegian. An English version titled Master of Imperfection was released in 2012

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Most of Fra Lippo Lippi's catalog is own by Virgin, but leader Rune Kristoffersen still holds the rights to the group's first two LPs, In Silence (1981) and Small Mercies (1983). Both are integrally reissued here as part of a CD filled to the rim, the first release on Rune Arkiv, a sub-label of Kristoffersen's own, Rune Grammofon. The rift between these two albums and Fra Lippo Lippi's later more mainstream outings has been stressed elsewhere. As is, this collection (which also includes two B-side tracks from 1982, "In a Little Room" and "An Idea") offers a nice epochal slab of Gothic-pop.

Yet another facet of the dark-punk sound was exhibited by Norway's Fra Lippo Lippi. The usual characteristics are there: bass-prominence, cold atmospheres and tribal drums. But Fra Lippo Lippi's sound runs deeper than that. Their songs seem as if they come out of a catacomb, out of some alternate Middle-Ages dimension.
"In Silence" is built around a delicate melody carried by the bass and drums, while the guitar diffracts through mirror melodies of it's own, chanting vocals appear here and there in the background - as if to express the menace that plagues the medieval land, while the singer's ghostly baritone enhances the cursed surroundings.

"Recession" goes even deeper, 4 minutes of bass-heavy morbid monotony, slow besetting ritualistic drums and faint vocals, for an elegiac melody to finally appear through doom-laden synthesizers (as if a spectral presence is taking over), only for the song to end as it began with it's minimalistic cold-wave patterns. "The Inside Veil" goes for a very effective slow/ fast dynamic and contrasting feel between the anaemic and the epic; "I Know" goes for a symphonic coda, and in "Quiet" a humble synth line underlines the singer's feeble cry.

Without a doubt, the album reaches it's apex with "Lost", that starts as a cosmic black hole, then tribal drums kick in and the dark priest chants his ritual, the medium vortex appears courtesy of the choral vox, sub-symphonic keyboards and ecstatic guitar, only for the ceremony to end without a logical conclusion, just everything fading quietly in the brooding horizon. If Joy Division never had existed this would have been a groundbreaking album.

Fra Lippo Lippi - In Silence + Small Mercies   (flac  394mb)

Fra Lippo Lippi - In Silence
01 Out Of The Ruins 3:17
02 A Moment Like This 3:34
03 In Silence 4:37
04 Recession 6:18
05 The Inside Veil 4:24
06 I Know 4:27
07 Quiet 3:34
08 Lost 7:30

Fra Lippo Lippi created the blueprint for the band they'd eventually become on Small Mercies. On this album, the Norwegian group's roots in gothic rock have yet to be severed, especially with the funereal percussion, grim basslines, and sinister vocals on "Barrier." Nevertheless, the melodic, atmospheric keyboards that linger throughout the record would later shape Fra Lippo Lippi's trademark piano-based new wave pop. In fact, the second track on the album, "A Small Mercy," is the genesis of one of Fra Lippo Lippi's future hits, "Everytime I See You." The songs on Small Mercies are moody and depressing, but they're appropriate for rainy days. Like Joy Division, Fra Lippo Lippi were able to crawl into life's bleakest recesses and exit with music that emitted an ominous beauty. On "The Treasure," mournful piano, sullen bass, and hypnotic drums illustrate the story of a crumbling relationship; it is stunningly gorgeous. The wintry "Some Things Never Change" and the picturesque instrumental "French Painter Dead" contribute to the record's somber elegance. If Ian Curtis of Joy Division hadn't hung himself, he would've recorded an album like Small Mercies. Mellow and relentlessly sad, it sounds oppressive in the light of day, but it glows in the dark.

Fra Lippo Lippi - Small Mercies

01 Some Things Never Change 4:55
02 A Small Mercy 3:53
03 Barrier 3:33
04 Sense Of Doubt 5:37
05 The Treasure 5:03
06 Slow Sway 4:11
07 Now And Forever 4:45
08 French Painter Dead 3:51
09 In a Little Room 2:58
10 An Idea 2:42

Fra Lippo Lippi - In Silence + Small Mercies   (ogg    166mb  )

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Fra Lippo Lippi shed their skin on Songs. On Songs, Fra Lippo Lippi leave their gothic past behind, uncovering the pop heart beneath their morose perspective on life. The pulsating new wave beat and sunny chorus of "Come Summer" are exhilarating; "Come Summer" is the opening track on Songs, and it quickly establishes Fra Lippo Lippi's newfound appetite for upbeat melodies. Sad tunes still abound, but vocalist Per Oystein Sorensen expands the emotional scope of the lyrics. Instead of simply sounding depressed, Sorensen evolves into a soulful storyteller; his empathic voice vividly captures the joy and sorrow of the songs' lyrics. The listener can easily feel sympathy for the man pining for his late lover in "Shouldn't Have to Be Like That" and the woman who drowns herself in "Leaving." Musically, Fra Lippo Lippi proceed in the direction hinted at on their previous album, Small Mercies. Piano and synthesizer started becoming essential to Fra Lippo Lippi's style on Small Mercies, and they're promoted to a larger role on Songs. "Shouldn't Have to Be Like That" is elevated with uplifting synthesized hooks. On "The Distance Between Us," crestfallen piano buttresses the agony in Sorensen's voice; the moving keyboards on "Coming Home" sculpt the lyrics' profound resignation. On Songs, Fra Lippo Lippi have basically found themselves, and it's a discovery that is engaging and moving from beginning to end.

Fra Lippo Lippi - Songs (flac 242mb)

01 Come Summer 3:44
02 Shouldn't Have To Be Like That 3:54
03 Even Tall Trees Bend 3:55
04 Just Like Me 4:47
05 Leaving 3:50
06 Regrets 3:48
07 Everytime I See You 4:27
08 Crash Of Light 4:14
09 The Distance Between Us 4:10
10 Coming Home 3:44

Fra Lippo Lippi - Songs   (ogg  87mb)

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"Let's celebrate a brand new day," proclaims vocalist Per Oystein Sorensen on "Crazy Wisdom," and that statement easily sums up Fra Lippo Lippi's surprisingly smooth evolution from gothic rock to reflective, jazzy pop on Light and Shade. Fra Lippo Lippi already began shedding their black clothes on Songs, but Light and Shade has the breezy air and sunny disposition of a walk in the park. Released during a decade wherein yuppies stressed the importance of work and money over love and leisure, Light and Shade mainly focuses on life's simple pleasures. It is an uplifting, stylish LP that swings like a pendulum between joy and sorrow. The fetching "Angel" soars with a sad yet hummable chorus; it features some of Fra Lippo Lippi's most charming piano work. "Some People" recalls the Beatles with its singalong melodies. Much of Light and Shade resembles the late ‘80s efforts of China Crisis, especially its relaxed, mellow grooves and touches of jazz. The lyrics unfold like short stories. In the moving "Beauty and Madness," Sorensen sings about a homeless man and wonders if anybody will ever see his inner worth. Sorensen manages to avoid being either saccharine or preachy because of the sincerity and soulfulness in his voice. On Light and Shade, Fra Lippo Lippi part the curtains and let the sunshine beam through the window.

Fra Lippo Lippi - Light And Shade   (flac 266mb)

 01 Angel 5:11
 02 Freedom 5:18
 03 Don't Take Away That Light 4:36
 04 Beauty and Madness 4:18
 05 Home 4:43
 06 Light and Shade 4:49
 07 Some People 4:26
 08 Crazy Wisdom 4:35
 09 Stardust Motel 4:49
 10 Indifference 5:40

Fra Lippo Lippi - Light And Shade   (ogg  110mb)

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February and March see the recording of their fifth album "The Colour Album" at the famous Rainbow Studio in Oslo. The producer this time is another Swede, Johan Ekelund. A different approach was consciously taken by the duo in the production of this album.. resulting to mixed reviews especially here in the Philippines. It was definitely, different - with a rougher edge.. But still the songs are catchy but back to their melancholic tendencies.."The Colour Album" is cracking and there are some incredibly catchy tracks on there such as "Mother's Little Soldier", which was a single in Europe, "You Bring Me Joy" and "Count On Me". There are some nice downtempo tracks too such as "Childhood Days", which is still pretty haunting to listen to even after all these years.

Fra Lippo Lippi - The Colour Album   (flac 238mb)

01 A Little Rain Must Fall 04:06
02 Mothers Little Soldier 03:38
03 Under the Same Sun 03:52
04 You Bring Me Joy 03:43
05 Love Is a Lonely Harbour 05:10
06 Count on Me 04:09
07 ABC 04:08
08 Childhood Days 06:01
09 Into the Blue 04:17

Fra Lippo Lippi - The Colour Album   (ogg  94mb)

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Oct 17, 2017

RhoDeo 1742 Roots


Today an Argentine composer, pianist, arranger, currently the leading exponent of nuevo tango, thanks to the skills and reputation he gathered while working extensively as Ástor Piazzolla's regular pianist from 1978 until the maestro's retirement for health reasons in 1989. During their collaboration, they performed with Milva, Placido Domingo, Gary Burton among others. His playing style, both sharply percussive and metallically lyrical, is instantly recognizable and bears some similarities to that of Vladimir Horowitz as well as some of the wistfulness of Bill Evans. As a composer he has taken Piazzolla's contrapuntal approach to tango music and added more jazz influence, notably with the regular use of a drumkit, lighter harmonies similar to those used in Bossa Nova, and extended passages of improvisation.     ....N'Joy

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Pianist Pablo Ziegler is known as one of Astor Piazzolla's foremost protégés. He began performing classical music in concert as a teen and became inspired by Dixieland jazz soon thereafter; he combined the two styles in his Pablo Ziegler Trio, which performed classical pieces with jazz arrangements.

After his years with the trio, Ziegler was invited to play with Astor Piazzolla's New Tango Quintet in 1978, and performed and recorded with the group for over a decade. He also performed with international artists like Milva, an Italian singer with whom he collaborated on an homage to Maria Callas at the Arena de Verona, as well as American vibes player Gary Burton.

Ziegler played with Piazzolla throughout the '80s, appearing on albums like New Tango and Astor Piazzolla: The Central Park Concert. After Piazzolla's death in 1992, Ziegler formed the Quintet for New Tango, performing internationally and releasing albums like 1999's self-titled work. He has also collaborated on albums with Emanuel Ax and the Orpheus Chamber Orchestra, both of which showcase Piazzolla's music. From 2000 on, Ziegler spent a great deal of time as a soloist with orchestras all over Europe, Asia, and South America -- especially in Argentina. He also recorded Quintet for New Tango for BMG in 2000, before issuing Bajo Cero: Duo for Tango with guitarist Quique Sinesi and guest bandoneonist Walter Castro on Enja two years later. In 2007 he released the live Tango & All That Jazz with a new quintet that also included vibraphonist Stefon Harris in a guest role.

His orchestral appearances and tours kept him from recording again until 2013, when he signed with the Zoho label. His label debut, Amsterdam Meets New Tango, featured Ziegler as soloist with the Metropole Orkest. Two years later, another duet offering with guitarist Sinesi (with Castro again guesting) resulted in Desperate Dance for Enja's Yellowbird imprint. It was back to Zoho for 2016's Sax to Tango in collaboration with saxist Julio Botti, followed by the all-Piazzolla program Tango Nuevo in duo with American classical pianist Christopher O'Riley a year later.

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The late New Tango composer and bandleader Astor Piazzolla has cast a nearly inescapable shadow over those who have attempted to further his tango innovations. Consider the hurdles for Pablo Ziegler, Piazzolla's pianist for a decade. Remarkably, Ziegler does not shy away from Piazzolla (in fact he revisits several of the master's pieces) and still offers a personal sound. "El Empedrado" runs the gamut from Piazzolla's influence to Ziegler's lush romanticism. "Milonga en el Viento" has a surprisingly traditional feel--paced by jazz style drumming. The ambitious Radio Tango II suggests an intriguing fusion of jazz, rock, Piazzolla, classical music, and traditional tango. Ziegler has quite a challenge before him, but if Asfalto is any evidence, he has the tools, the smarts, and the imagination to inch the New Tango line forward. The most startling difference is the addition of drum set to the tango ensemble. This adds a whole new dimension of drive and excitment, although possibly a step away from the intimacy of Piazolla's ensemble style. Recommend for those who love the Piazolla sound but also enjoy more a more frantic, rhythmic sound.This is music to be appreciated on all levels, intellectual, emotional, and certainly in your groove thang!

Pablo Ziegler - Asfalto-Street Tango   (flac  355mb)

01 Asfalto 5:12
02 La Muerte del Angel 3:08
03 Milonga en el Viento 6:04
04 El Empedrado 5:27
05 La Cumparsola 5:26
06 Soledad 6:04
07 Decarisimo 2:54
08 Radio Tango II 7:20
09 Elegante Canyenguito 5:05
10 Maria Cuidad 7:55
11 Michelangelo '70 3:11
12 Dos Cadencias Sobre "Adiós Nonino" 5:48
13 Elegia Sobre "Adiós Nonino" 3:50

Pablo Ziegler - Asfalto-Street Tango (ogg  150mb)

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The tango nueva has a new champion in pianist Ziegler, who is well qualified since he was with grand master Astor Piazzolla's bands in the last years of Piazzolla's life. This music is even more challenging than Piazzolla's; it's jazz-oriented and not as swinging, less dominated by the bandoneon, with more piano and electric guitar lead. Ziegler's core band is Walter Castro (bandoneon), Enrique Sinesi (guitar), Horatio Hurtado (bass), and Horacio Lopez (drums), they play on ten of the twelve tracks, recorded in Buenos Aires, Two other cuts with a different band featuring tenor saxophonist Joe Lovano were waxed in N.Y.C.. Once again, this is not music strictly in the tango tradition, or following the path carved by Piazzolla, but an entirely new, creative sound inspired by the modern tango. The three selections that pay tribute to Piazzolla are the 6/8 modal, behemoth romp "Imagenes 676," the last piece recorded by Piazzolla and Ziegler and redone here; "Primavera Portena," with its staccato, head-nodding, and spontaneous half-time accents, and Ziegler's "Astor's Place," inspired by a walk with Piazzolla, actually a stealthy, slinky number that speaks directly to the intimacy of their friendship. The rest are Ziegler's riveting compositions: "Conexion Portena" with cinematic dramatism in its ever-shifting tempos, the similar "Ritmico y Nostalgico" jumpy and all over the place in its urgency, and a highlight -- "Alrededor del Choclo" -- an adaptation of the famous classic tango "El Choclo" or "The Corn," using a circle-the-wagons approach to hinting at the theme, but never actually playing it straight out. The purest tango form comes from the sad sax of Lovano during "Muchacha de Boedo" in agreement with the bandoneon of Hector del Curto, and Lovano's other feature, "Once Again...Milonga," is spirited, the tenor's moves and countermoves shadowed by bandoneon and Ziegler's piano. There's also a Chick Corea-inspired dancing figure as the centerpiece of "Sandunga," for Ziegler's wife, and the scatting, darting, daunting sounds of "Desde Otros Tiempos," which starts as a steady midtempo, goes lugubriously slow, then goes frantic with passion, as most romances go.

In the liner notes, the quite informative Fernando Gonzalez (Miami Herald) calls tango a music of "winks and dares, " a perfectly concise description for what you hear on this truly remarkable and beautiful disc of music. Listen to this in contrast to Guillermo Klein's "Los Guachos II" (Sunnyside) for both sides of the emerging sound of creative music born in Argentina, fueled and inspired by jazz improvisation. The results are revelatory. Highly recommended.

Pablo Ziegler - Quintet for New Tango (flac  370mb)

01 Conexión Porteña 6:30
02 Desde Otros Tiempos 5:21
03 Milonguera 7:24
04 Once Again... Milonga 4:25
05 Imágenes 676 4:10
06 Alrededor Del Choclo 4:56
07 El Vals Del Duende 3:13
08 Ritmico y Nostálgico 6:28
09 Astor's Place 6:15
10 Muchacha de Boedo 6:24
11 Sandunga 4:31
12 Primavera Porteña 5:26

Pablo Ziegler - Quintet for New Tango (ogg  153mb)

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On Bajo Cero, the internationally renowned pianist Pablo Ziegler is featured in a highly virtuosic duet setting with guitarist Quique Sinesi. The respected veteran of the vibrant Buenos Aires jazz scene and former member of Astor Piazzolla's highly regarded ensembles also invited Walter Castro to play the bandoneon and round out this great musical program of sultry tango and jazz improvisations. Among the beautiful milongas included on this program are "La Rayuela," "Milonga del Adios," and "Planufer Milonga." These are intelligent reflections of the South American dance songs that remain very popular in the southern part of the continent. To vary the song selection, Ziegler includes two of Astor Piazzolla's rarely recorded compositions: "Chin Chin," a recording dedicated to the piano, and "Fuga y Misterio," one of the most complex fugues ever composed by Piazzolla. "Bajo Cero" is but one of the four great originals penned by Ziegler. It is a standout because of its three-part structure and emotional understatements. As with previous efforts as a pianist, composer, and bandleader on his 1990s releases, Pablo Ziegler is in great form and furthers the tango nuevo movement to a new level of interest.

Pablo Ziegler - Bajo Cero     (flac  279mb)

01 La Rayuela 4:16
02 Flor De Lino 4:11
03 Chin Chin 7:47
04 La Fundicion 6:23
05 Milonga Del Adios 8:10
06 Bajo Cero 7:25
07 Yuyo Verde 4:22
08 Planufer Mionga 6:57
09 Los Mareados 7:03
10 Fuga Y Misterio 4:57

Pablo Ziegler - Bajo Cero   (ogg  134mb )

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Pablo Ziegler spent over a decade as the pianist with bandoneon player Astor Piazzolla's band and after the latter's death, he became one of the major interpreters of the modern tango. With a quartet including Hector del Curto on bandoneon, guitarist Paul Myers, bassist Pablo Aslan and adding a special guest, vibraphonist Stefon Harris on several tracks, the spirit of Piazzolla is very much alive. Two of Piazzolla's compositions are performed, "La Muerte del Angel" and "Michelangelo," both of them intense affairs. Among Ziegler's potent originals are the bittersweet ballad "Milonga en el Viento" and the haunting "Muchacha de Boedo." The presence of Harris invites comparison to Piazzolla's recording with vibraphonist Gary Burton added to his band. Intimately recorded at the Jazz Standard in New York City, the audience is clearly spellbound by the music and keep extremely quiet until offering enthusiastic applause after each number. Highly recommended.

Pablo Ziegler Quartet - Tango & All That Jazz (flac  276mb)

01 La Muerte del Angel 5:40
02 Milonga en el Viento 6:17
03 Pablo's Band Intro 1:14
04 Michelangelo '70 4:58
05 Alredor del Choclo 5:00
06 Desde Otros Tiempos 5:28
07 Once Again...Milonga 5:34
08 Muchacha de Boedo 8:28
09 La Cumparsola 6:32
10 La Rayuela 5:54

Pablo Ziegler Quartet - Tango & All That Jazz (ogg  124mb)

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Oct 16, 2017

RhoDeo 1742 Mars 06


Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 17 There Was An Old Woman (avi  319mb)

A stubborn old woman has spent her entire life defying death; after the Grim Reaper finally pays his call, her ghost tries to reclaim her body from the mortuary.

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The people of Earth are preparing for war—a war that could potentially destroy the planet. Explorers are sent to Mars to find a new place for humans to colonize. Bradbury's Mars is a place of hope, dreams, and metaphor—of crystal pillars and fossil seas—where a fine dust settles on the great empty cities of a silently destroyed civilization. It is here the invaders have come to despoil and commercialize, to grow and to learn—first a trickle, then a torrent, rushing from a world with no future toward a promise of tomorrow. The Earthman conquers Mars...and then is conquered by it, lulled by dangerous lies of comfort and familiarity, and enchanted by the lingering glamour of an ancient, mysterious native race.

Ray Bradbury's The Martian Chronicles is presented here as a full cast audio production with an original music score and thousands of sound effects by the award winning Colonial Radio Theatre on the Air. It marks their fourth collaboration with one of the most celebrated fiction writers of our time—Ray Bradbury.

Ray Bradbury - The Martian Chronicles 06 (mp3  21mb)

06 The Martian Chronicles 25:12

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Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 02 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 03 (mp3  20mb)
Ray Bradbury - The Martian Chronicles 04 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 05 (mp3  21mb)

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Oct 15, 2017

Sundaze 1742


Vidna Obmana is a pseudonym used by Belgian composer and ambient musician Dirk Serries. The name Vidna Obmana, a phrase in Serbian, literally translates to "optical illusion" and was chosen by Serries because he felt it accurately described the music. Obmana's music has often been characterized as anamorphic and organic. He uses the techniques of looping and shaping harmonies, minimizing the configurations to a few notes.....N'Joy

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Belgian producer Dirk Serries, aka Vidna Obmana, is a prolific composer of deep ambient and electro-acoustic music, utilizing slow, shifting electronic figures and sparse environmental recordings to construct long, minimalist, often extremely personal textural works. Taking his nom de plume from the Yugoslavian for "optical illusion" (a concept which carries much weight in his composing, as well), Serries has released material through a wide range of different labels, including Projekt, Amplexus, Extreme, Hic Sunt Leones, Syrenia, ND, and Multimood. Born and raised in Antwerp, Serries began recording experimental noise musics in the late '80s, working solo and in combination with artists such as PBK, exploring the more abrasive side of electronic composition. Beginning with the release in 1990 of Shadowing in Sorrow, however, (the first part of what would come to be known as Vidna's ambient Trilogy) Serries began moving toward an almost isolationist ambient aesthetic, exploring themes of calm, solitude, grief, and introspection in long, moving pieces which tended to chart similar ground as American space music artists such as Robert Rich, Michael Stearns, and Steve Roach (Serries has since collaborated with both Rich and Roach). The first two movements of the Trilogy -- Sorrow, as well as its follow-up Passage in Beauty -- were self-released by Serries in 1990 and 1991, with the third volume, Ending Mirag, appearing the following year on the American ND label. The album was praised as some of the finest post-classical experimental electronic music of its time, and the Stateside connection finally opened his music up to an American audience, leading also to his association with Sam Rosenthal's Projekt label (the entire Trilogy was finally reissued by Projekt sister label Relic as a boxed set in 1996, with several new Vidna releases also appearing in the interim).

Although his textural recordings form the core of his output to date, Serries' more recent solo and collaborative works (such as The Transcending Quest, Echoing Delight, and The Spiritual Bonding) have also found him pushing the minimalism of his earlier works into the Fourth World territories of artists such as Jorge Reyes, Michael Stearns, and Jon Hassell, setting lush, dreamy soundscapes in a larger, more engaging rhythmic framework (usually with contributions from percussionists Djen Ajakan Shean and Steve Roach). Still, as many compilations and retrospectives of his earlier or unreleased work have appeared in recent times so as to confuse somewhat the trajectory of his development, which at any rate seems to trade more or less equally between the freeform conceptual landscapes of his earlier Projekt, Relic, and ND works and the more structured interactivity of the Extreme and Amplexus releases. Collaborations have also increasingly occupied Serries' time, with full-length works with Steve Roach (Well of Souls, The Spiritual Bonding), Robert Rich (The Spiritual Bonding), Asmus Tietchens (a self-titled collaboration for Syrenia), Sam Rosenthal (Terrace Of Memories), and Djen Ajakan Shean (Parallel Flaming) appearing all within the space of only a few years. Both Landscape in Obscurity and The Shape of Solitude followed in 1999, and in the spring of 2000 Obmana returned with Echo Passage and Surreal Sanctuary. Subterranean Collective was issued the following year.

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The first solo Vidna Obmana work in three years is a surprising return to textural composition, particularly since intervening collaborations with Djen Ajakan Shean and Steve Roach have revealed the more restless side of Dirk Serries compositional persona. Still, an overarching focus on melody and dynamics distinguishes Appearance from earlier program works such as the Trilogy, combining mood with movement in far more obviously "musical" ways.

Vidna Obmana - The River of Appearance (flac 288mb)

01 The Angelic Appearance 5:48
02 Ephemeral Vision 8:47
03 A Scenic Fall 10:23
04 Night-Blooming 8:28
05 The Solitary Circle 6:17
06 Weaving Cluster 5:15
07 Streamers Of Stillness 7:25
08 The Ominous Dwelling 6:35

Vidna Obmana - The River of Appearance  (ogg  134mb )

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Recycling is a process wherein a complete piece of music goes "through the wringer." It is more thorough than remixing and more respectful than deconstruction. It allows the processor to maintain a spiritual dialogue with the original composer/performer even if the new piece is unrecognizable (as often happens). Vidna Obmana (aka Dirk Serries) and Asmus Tietchens invented and named the process. Motives for Recycling is their first set of recycled material. This double CD features some of Tietchens' older material (from the '70s and '80s) recycled by Serries. Serries put his minimalist stamp on the process. He also added some experimental and avant-garde sounds to give the set some originality. This highly imaginative album will appeal to fans of Lustmord, Laszlo Hortobagyi, Jeff Greinke, and TUU.

Linea [1+3] was originally released as a cassette in 1988. Recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops, FM noise and feedback. Produced, recorded and mixed at the Serenity Studio, Belgium, in December 1996.

Vidna Obmana and Asmus Tietchens - Motives For Recycling  1 (flac 334mb)

Linea [1+3] (1988) = Linear Writings (1996)
01 Vot 4 20:25
02 Vot 5 10:24
03 Vot 4/2 18:28
04 Vot 6 18:00

Vidna Obmana and Asmus Tietchens - Motives For Recycling  1  (ogg 139mb)


Nachtstücke was released in 1980. Contains pieces recorded between 1975 and 1978 on 2-track Revox and 4-track Teac tape recorders. All sounds were created on the Moog Sonic Six synthesizer, using a Philips reverb and an Echolette tape delay for effects. Composed, arranged and recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops and harmonizers. Produced, recorded and mixed at the Serenity Studio, Belgium, in January 1998.

Vidna Obmana and Asmus Tietchens - Motives For Recycling  2  (flac 294mb)

Nachtstücke (1975-1978) = Nachtstücke Revisited (1998)

01 Opening (First Nachtstück) 5:41
02 Second Night 6:03
03 4th Theme 7:44
04 Swarm 8:18
05 Miniature One 2:57
06 In A Blaze 5:11
07 Revisited 5:50
08 Miniature Two 5:05
09 Vot 7 11:44
10 Towering 12:28

 Vidna Obmana and Asmus Tietchens - Motives For Recycling  2   (ogg  136mb )

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The Surreal Sanctuary is a monumental album from Vidna Obmana , it has seven tracks, and each features Serries showcasing a different instrument, including the human voice. (Jim Cole, an extraordinary overtone singer, is a guest performer on the track "Lamentation.") Serries uses the recycling technique that he and Asmus Tietchens perfected, which involves breaking down a base track and remanufacturing it with different shapes, timbres, and textures. At each step, the music is processed, continuously. It's like processing the process while it's being processed by a process within a process. It is endless and curiously like an endless Frippertronics loop; it just keeps going and going and going, yet it remains interesting. This description sounds like it could apply to dissonant and experimental avant-garde music, but this disc is everything that fans expect of Serries -- cutting-edge electronic ambience. This album will appeal to fans of Steve Roach and Robert Rich, and is essential for all fans of electronic music.

Vidna Obmana - The Surreal Sanctuary (flac  329mb)

01 Infinity 5:10
02 Lamentation 7:15
03 The First Coil 8:52
04 The Profound Isolates 10:05
05 Jewel Of The Underground 7:50
06 The Fragmented Dome 17:53
07 Flame 14:02

Vidna Obmana - The Surreal Sanctuary  (ogg  139mb)

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Echo Passage is a collaboration between the gifted Belgian composer Vidna Obmana and Italy's Alio Die. Both Vidna Obmana and Alio Die are known for this excellent solo and collaborative works in the ambient genre, but Echo Passage sees these two world-renowned artists coming together to create a enigmatic blend of sonic sound space and deep, ethereal ambience. Echo Passage is a single long-running piece that clocks in at just under 69 minutes. This is a lush and fantastic recording that truly demonstrates Vidna Obmana and Alio Die working at the top of their game. The choice of timbres on Echo Passage are impeccable, and the use of silence and melodic subtlety in the compositions is comparable to the works of Steve Roach, Robert Rich, or even the symphonic works of Claude Debussy, particularly "La Mer" and "Nocturnes." This is an excellent recording, and one that is truly representative of both Vidna Obmana and Alio Die's large body of work.

All three movements merge without pause, delivering more than hour incredible immersion, boredom-free, which is not always case when dealing with time superformats Is it for a bird chant or some spacey layer, all sonic events are beautiful and contribute to maintain interest and feed soundscape with multiple degrees of depth ...Final part alone leaves one speechless, redefining what is the core in so-called "religious" or "sacred" music.

Vidna Obmana & Alio Die - Echo Passage (flac  335mb)

01  Echoes Of Light - A Slip Of Darkness - The Passage 68:32

Vidna Obmana & Alio Die - Echo Passage  (ogg  153mb)

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Oct 14, 2017

RhoDeo 1741 Grooves

Hello, yesterdays slip ups have all been smoothed

These past weeks at grooves has been all about Stevland Hardaway Morris, a child prodigy considered to be one of the most critically and commercially successful musical performers of the late 20th century. He has recorded more than 30 U.S. top ten hits and received 25 Grammy Awards, one of the most-awarded male solo artists, and has sold over 100 million records worldwide, making him one of the top 60 best-selling music artists. Blind virtually since birth, his heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge.  ........ N'joy

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Stevland was born in Saginaw, Michigan, in 1950, the third of six children of Calvin Judkins and Lula Mae Hardaway, a songwriter. He was born six weeks premature which, along with the oxygen-rich atmosphere in the hospital incubator, resulted in retinopathy of prematurity (ROP), a condition in which the growth of the eyes is aborted and causes the retinas to detach; so he became blind. When he was four, his mother divorced his father and moved to Detroit with her children. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Wonder has retained Morris as his legal surname. He began playing instruments at an early age, including piano, harmonica and drums. He formed a singing partnership with a friend; calling themselves Stevie and John, they played on street corners, and occasionally at parties and dances.

In 1954, his family moved to Detroit, where the already musically inclined Stevie began singing in his church's choir; from there he blossomed into a genuine prodigy, learning piano, drums, and harmonica all by the age of nine. While performing for some of his friends in 1961, Stevie was discovered by Ronnie White of the Miracles, who helped arrange an audition with Berry Gordy at Motown. Gordy signed the youngster immediately and teamed him with producer/songwriter Clarence Paul, under the new name Little Stevie Wonder. Wonder released his first two albums in 1962: A Tribute to Uncle Ray, which featured covers of Wonder's hero Ray Charles, and The Jazz Soul of Little Stevie, an orchestral jazz album spotlighting his instrumental skills on piano, harmonica, and assorted percussion. Neither sold very well, but that all changed in 1963 with the live album The 12 Year Old Genius, which featured a new extended version of the harmonica instrumental "Fingertips." Edited for release as a single, "Fingertips, Pt. 2" rocketed to the top of both the pop and R&B charts, thanks to Wonder's irresistible, youthful exuberance; meanwhile, The 12 Year Old Genius became Motown's first chart-topping LP.

During 1964, Wonder appeared in two films as himself, Muscle Beach Party and Bikini Beach, but these were not successful either. Sylvia Moy persuaded label owner Berry Gordy to give Wonder another chance. Dropping the "Little" from his name, Moy and Wonder worked together to create the hit "Uptight (Everything's Alright)", and Wonder went on to have a number of other hits during the mid-1960s, including "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "The Tears of a Clown", a No. 1 hit for Smokey Robinson and the Miracles

In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the title Eivets Rednow, which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the US Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her", "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". A number of Wonder's early hits, including "My Cherie Amour", "I Was Made to Love Her", and "Uptight (Everything's Alright)", were co-written with Henry Cosby.

In September 1970, at the age of 20, Wonder married Syreeta Wright, a songwriter and former Motown secretary. Wright and Wonder worked together on the next album, Where I'm Coming From; Wonder writing the music, and Wright helping with the lyrics. They wanted to "touch on the social problems of the world", and for the lyrics "to mean something" 1971 proved a turning point in Wonder's career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I'm Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright), and the first time his keyboard and synthesizer work dominated his arrangements.

Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What's Going On.

Freed from the dictates of Motown's hit-factory mindset, Wonder had already begun following a more personal and idiosyncratic muse. One of his negotiating chips had been a full album completed at his new studio; Wonder had produced, played nearly all the instruments, and written all the material (with Wright contributing to several tracks). Released under Wonder's new deal in early 1972, Music of My Mind heralded his arrival as a major, self-contained talent with an original vision that pushed the boundaries of R&B. The album produced a hit single in the spacy, synth-driven ballad "Superwoman (Where Were You When I Needed You)," but like contemporary work by Hayes and Gaye, Music of My Mind worked as a smoothly flowing song suite unto itself. Around the same time it was released, Wonder's marriage to Wright broke up; the two remained friends, however, and Wonder produced and wrote several songs for her debut album.

For the follow-up to Music of My Mind, Wonder refined his approach, tightening up his songcraft while addressing his romance with Wright. The result, Talking Book, was released in late 1972 and made him a superstar. Song for song one of the strongest R&B albums ever made, Talking Book also perfected Wonder's spacy, futuristic experiments with electronics, and was hailed as a magnificently realized masterpiece. Wonder topped the charts with the gutsy, driving funk classic "Superstition" and the mellow, jazzy ballad "You Are the Sunshine of My Life," which went on to become a pop standard; those two songs went on to win three Grammys between them. Amazingly, Wonder only upped the ante with his next album, 1973's Innervisions, a concept album about the state of contemporary society that ranks with Gaye's What's Going On as a pinnacle of socially conscious R&B. The ghetto chronicle "Living for the City" and the intense spiritual self-examination "Higher Ground" both went to number one on the R&B charts and the pop Top Ten, and Innervisions took home a Grammy for Album of the Year. Wonder was lucky to be alive to enjoy the success; while being driven to a concert in North Carolina, a large piece of timber fell on Wonder's car. He sustained serious head injuries and lapsed into a coma, but fortunately made a full recovery.

Wonder's next record, 1974's Fulfillingness' First Finale, was slightly more insular and less accessible than its immediate predecessors, and unsurprisingly, imbued with a sense of mortality. The hits, however, were the upbeat "Boogie On, Reggae Woman" (a number one R&B and Top Five pop hit) and the venomous Richard Nixon critique "You Haven't Done Nothin'" (number one on both sides). It won him a second straight Album of the Year Grammy, by which time he'd been heavily involved as a producer and writer on Syreeta's second album, Stevie Wonder Presents Syreeta. Wonder subsequently retired to his studio and spent two years crafting a large-scale project that would stand as his magnum opus. Finally released in 1976, Songs in the Key of Life was a sprawling two-LP-plus-one-EP set that found Wonder at his most ambitious and expansive. Some critics called it brilliant but prone to excess and indulgence, while others hailed it as his greatest masterpiece and the culmination of his career; in the end, they were probably both right. The hit "Isn't She Lovely," a paean to Wonder's daughter, became something of a standard. Not surprisingly, Songs in the Key of Life won a Grammy for Album of the Year; in hindsight, though, it marked the end of a remarkable explosion of creativity and of Wonder's artistic prime.


Having poured a tremendous amount of energy into Songs in the Key of Life, Wonder released nothing for the next three years. When he finally returned in 1979, it was with the mostly instrumental Journey Through the Secret Life of Plants, ostensibly the soundtrack to a never-released documentary. Although it contained a few pop songs, including the hit "Send One Your Love," its symphonic flirtations befuddled most listeners and critics. It still made the Top Ten on the LP chart on Wonder's momentum alone -- one of the stranger releases to do so. To counteract possible speculation that he'd gone off the deep end, Wonder rushed out the straightforward pop album Hotter Than July in 1980. The reggae-flavored "Master Blaster (Jammin')" returned him to the top of the R&B charts and the pop Top Five, and "Happy Birthday" was part of the ultimately successful campaign to make Martin Luther King's birthday a national holiday (Wonder being one of the cause's most active champions). Artistically speaking, Hotter Than July was a cut below his classic '70s output, but it was still a solid outing; fans were so grateful to have the old Wonder back that they made it his first platinum-selling LP.

In 1981, Wonder began work on a follow-up album that was plagued by delays, suggesting that he might not be able to return to the visionary heights of old. He kept busy in the meantime, though; in 1982, his racial-harmony duet with Paul McCartney, "Ebony and Ivory," hit number one, and he released a greatest-hits set covering 1972-1982 called Original Musiquarium I. It featured four new songs, of which "That Girl" (number one R&B, Top Five pop) and the lengthy, jazzy "Do I Do" (featuring Dizzy Gillespie; number two R&B) were significant hits. In 1984, still not having completed the official follow-up to Hotter Than July, he recorded the soundtrack to the Gene Wilder comedy The Woman in Red, which wasn't quite a full-fledged Stevie Wonder album but did feature a number of new songs, including "I Just Called to Say I Love You." Adored by the public (it was his biggest-selling single ever) and loathed by critics (who derided it as sappy and simple-minded), "I Just Called to Say I Love You" was an across-the-board number one smash, and won an Oscar for Best Song.

Wonder finally completed the official album he'd been working on for nearly five years, and released In Square Circle in 1985. Paced by the number one hit "Part Time Lover" -- his last solo pop chart-topper -- and several other strong songs, In Square Circle went platinum, even if Wonder's synthesizer arrangements now sounded standard rather than groundbreaking. He performed on the number one charity singles "We Are the World" by USA for Africa and "That's What Friends Are For" by Dionne Warwick & Friends, and returned quickly with a new album, Characters, in 1987. While Characters found Wonder's commercial clout on the pop charts slipping away, it was a hit on the R&B side, topping the album charts and producing a number one hit in "Skeletons." It would be his final release of the '80s, a decade capped by his induction into the Rock & Roll Hall of Fame.

New studio material from Wonder didn't arrive until 1991, when he provided the soundtrack to the Spike Lee film Jungle Fever. His next full album of new material, 1995's Conversation Peace, was a commercial disappointment, thought it did win two Grammys for the single "For Your Love." That same year, Coolio revived "Pastime Paradise" in his own brooding rap smash "Gangsta's Paradise," which became the year's biggest hit. Wonder capitalized on the renewed attention by cutting a hit duet with Babyface, "How Come, How Long," in 1996. During the early 2000s, Motown remastered and reissued Wonder's exceptional 1972-1980 run of solo albums (Journey Through the Secret Life of Plants excepted) and also released The Definitive Collection, a representative single-disc primer.

In 2005, after a decade had transpired without a new studio album, Wonder released A Time to Love, which was bolstered by collaborations with Prince and Paul McCartney, as well as one with daughter and "Isn't She Lovely" inspiration Aisha Morris. His far-reaching influence continued to be felt through samples, cover versions, and reinterpretations, highlighted by Robert Glasper Experiment and Lalah Hathaway's Grammy-winning version of "Jesus Children of America." Well into the late 2010s, Wonder continued to appear on albums by other artists, including Snoop Dogg, Raphael Saadiq, and Mark Ronson. All the while, Wonder regularly toured. From November 2014 through 2015, he celebrated the approaching 40th anniversary of Songs in the Key of Life with lengthy set lists that included all 21 songs of the classic album.

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Look, this album's release marked Stevie's 25th anniversary as a Motown recording artist, 25 years since his remarkable #1 hit, "Fingertips Part II," 20 years since "I Was Made to Love Her," possibly the most joyous recording in the history of mankind, and 15 years since his "Talking Book" album once and for all established what a great one for the ages this "Little Stevie" was. So when a pretty good record like "Characters" comes along, we compare it to what he's done before, rather than what his contemporaries are up to, and frankly, if this album had been recorded by a lesser talent, we might have hailed it as a breakthrough for them.

But this was Stevie The Wonder, the brilliant one whose physical blindness opened his spiritual eyes to planes that we didn't even realize intersected ours. So when he came along with embarrassing lyrics like those of "Don't Drive Drunk" from the "Woman in Red" soundtrack ("mothers against drunk driving are MADD," he sings over and over...and over...) and such a lazy bit of treacle as "I Just Called to Say I Love You" (thank you for saying it in "High Fidelity," Jack Black), well, yes, we were a bit disappointed.

But in retrospect, this is some of the better mainstream pop music to come out of the year 1987 (well, maybe not "Galaxy Paradise"), and I'll take this set any day over whatever Bob Seger's latest retread sounded like, the latest teen sweetheart like Debbie Gibson or Tiffany, or Chicago's pale attempts to sound relevant. The biggest single was the "Superstition"-like dance track "Skeletons" (number 19 pop, number one R&B), and Wonder also charted with the pretty "You Will Know" and an up-tempo duet with Michael Jackson, "Get It.

Stevie Wonder - Characters    (flac  361mb)

01 You Will Know 5:00
02 Dark 'N' Lovely 4:39
03 In Your Corner 4:30
04 With Each Beat Of My Heart 5:28
05 One Of A Kind 5:10
06 Skeletons 5:24
07 Get It (Voc Michael Jackson) 4:31
08 Galaxy Paradise 3:52
09 Cryin' Throught The Night 5:48
10 Free 4:12
11 Come Let Me Make Your Love Come Down 5:20
12 My Eyes Don't Cry 7:05

Stevie Wonder - Characters  (ogg  146mb)

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Jungle Fever is the 1991 soundtrack album by American R&B musician Stevie Wonder to Spike Lee's movie Jungle Fever, a 1991 American romantic drama film written, produced and directed by Spike Lee, and stars Wesley Snipes, Annabella Sciorra, Lee, Ossie Davis, Ruby Dee, Samuel L. Jackson, Lonette McKee, John Turturro, Frank Vincent and Anthony Quinn. As Lee's fifth feature-length film, the film explores an interracial relationship—its conception and downfall—against the urban backdrop of the streets of New York City in the 1990s.
This album was released by Motown Records on May 28, 1991. Despite all of the hype surrounding it, the soundtrack to Jungle Fever is Stevie Wonder's best work in years. Although it can't compare to Wonder's glory days, Jungle Fever is a considerable improvement from his bland late-'80s albums. Wonder still borders on saccharine on his ballads, although even the sappiest of them ("These Three Words") is never as sickening as "I Just Called to Say I Love You." While the keyboard funk of "Chemical Love," "Gotta Have You," and "Queen in the Black" doesn't sound new, it does sound alive, which is better than Wonder has sounded in years.

 Stevie Wonder - Jungle Fever (OST)      (flac 317mb)

01 Fun Day 4:40
02 Queen In The Black 4:46
03 These Three Words 4:54
04 Each Other's Throat 4:17
05 If She Breaks Your Heart 5:03
06 Gotta Have You 6:26
07 Make Sure You're Sure 3:31
08 Jungle Fever 4:56
09 I Go Sailing 3:58
10 Chemical Love 4:26
11 Lighting Up The Candles 4:09

Stevie Wonder - Jungle Fever (OST)  (ogg  115mb )

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Following the relative commercial failure of Conversation Peace, Stevie Wonder rushed out this double-disc live album drawn from an international tour during which he was backed by different symphony orchestras, his older songs featuring string parts in place of the synthesizer lines. He introduced several new songs -- "Dancing to the Rhythm," the instrumental "Stevie Ray Blues," "Stay Gold," and "Ms. & Mr. Little Ones" -- which demonstrated that his melodic muse was still with him and that he remained an awkward lyricist when he was more interested in the political stance than the poetical scansion. But for most of the running time, he acted as a human jukebox, pumping out his bits with enthusiasm and humor before an audibly enthralled audience. That made Natural Wonder entertaining, but inessential.

Stevie Wonder - Natural Wonder 1   (flac 410mb)

01 Dancing To The Rhythm 7:07
02 Love's In Need Of Love Today 6:02
03 Master Blaster (Jammin') 3:36
04 Stevie Ray Blues 2:28
05 Higher Ground 4:00
06 Rocket Love 4:47
07 Stay Gold 4:21
08 Ribbon In The Sky 8:37
09 Pastime Paradise 3:23
10 If It's Magic 3:35
11 Ms. & Mr. Little Ones 4:18
12 Village Ghetto Land 3:26
13 Tomorrow Robins Will Sing 4:25

. Stevie Wonder - Natural Wonder 1  (ogg  154mb)


Stevie Wonder - Natural Wonder 2   (flac 317mb)

01 Overjoyed 3:58
02 My Cherie Amour 3:21
03 Signed, Sealed, Delivered, I'm Yours 2:46
04 Living For The City 4:27
05 Sir Duke 2:46
06 I Wish 4:07
07 You Are The Sunshine Of My Life 2:21
08 Superstition 5:38
09 I Just Called To Say I Love You 4:39
10 For Your Love 5:06
11 Another Star 5:56

. Stevie Wonder - Natural Wonder 2  (ogg  114mb)

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During times of extreme political and social change, Stevie Wonder's voice and songwriting served as cultural and spiritual guideposts to many a listener, often lending insight and a barometer with which to measure the ways of the world. But that was largely during the golden phase of his career, generally regarded as being the late '60s through 1980's Hotter Than July. His work in the mid-'80s through the '90s was marginal in comparison, only hinting at glimpses of former brilliance, sugar-coated by over-polished production and radio-friendly content. So with a decade passing since his last full-length, 1995's Conversation Piece, people waited with bated breath for a sign of his return...and wondered which Wonder would show up: would it be the socially conscious genius who wrote anthems for a generation, or the R&B crooner who dominated quiet storm radio? Thankfully, it's a blend of both. For every forward-moving song with a theme, there's a gentle moment of tranquility to cancel it out. Many of these songs, save for their warm and polished digital production values, could have easily found a home in Talking Book, Music of My Mind, or any of the other albums for which Wonder will forever be praised. In an age when the majority of R&B is about money, drugs, infidelity, or getting it on, Wonder's lyrics (especially during the love songs) recall the simplicity and innocence of early Motown without sounding trite. It's definitely a refreshing change of pace and hopefully something one or two aspiring producers and songwriters are paying attention to. These are love songs of maturity that are carefully crafted, which would more or less explain why it took nearly a decade to get them finalized, with many of them feeling like mature revisitations of the classics. (If "Happier Than the Morning Sun" and "Little Girl Blue" were a pair of teenagers in love, "Sweetest Somebody I Know" is that couple 30 years later at its class reunion.) The jazzy "How Will I Know," featuring Wonder's daughter on lead vocals (the same Aisha sung about nearly 30 years ago on "Isn't She Lovely"), is the gateway to the album's second half, a five-song cycle of ballads and quiet storm jams that will appease fans of Wonder's later work. Especially notable is "My Love Is on Fire," featuring a beautiful guest appearance from jazz flutist Hubert Laws, which exemplifies the other thing that makes A Time to Love the comeback album of the year: the never-ending list of celebrity cameo appearances so extensive it would make Carlos Santana and Clive Davis blush with modesty. Guest appearances from rap pioneer Doug E. Fresh, Bonnie Raitt, Sir Paul McCartney, Kim Burrell, Prince, Kirk Franklin, and India.Arie just scratch the surface of who contributed to this record. It's one Michael Jackson and one Lionel Richie cameo short from being a USA for Africa reunion. But while each artist lends his own style to the mix, the songs definitely remain 100 percent Wonder thanks to his distinctive singing and arrangements. The album begins its landing with "So What the Fuss," a chunky block of funk with a distorted bassline. It served as the lead single and was met with surprisingly little fanfare, especially since it's one of Wonder's most straight-ahead slices of funk in some time. And the album's title track serves as a fitting conclusion to the album, spreading Wonder's message of love and peace as strongly and convincingly as any other song he's ever done. On the whole, A Time to Love is the record Wonder fans have been waiting for, and the wait has more than paid off. Through exploration and balance, A Time to Love finds the two halves of Wonder's adult career finally coming to home to roost in peaceful harmony with one another, and it's one of the finest records he has done in decades.

Stevie Wonder - A Time To Love   (flac 527mb)

01 If Your Love Cannot Be Moved 6:12
02 Sweetest Somebody I Know 4:31
03 Moon Blue 6:45
04 From The Bottom Of My Heart 5:12
05 Please Don't Hurt My Baby 4:40
06 How Will I Know 3:39
07 My Love Is On Fire 6:16
08 Passionate Raindrops 4:50
09 Tell Your Heart I Love You 4:30
10 True Love 3:32
11 Shelter In The Rain 4:19
12 So What The Fuss 5:04
13 Can't Imagine Love Without You 3:45
14 Positivity 5:07
15 A Time To Love 9:17

.Stevie Wonder - A Time To Love  (ogg  188mb)

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Oct 13, 2017

RhoDeo 1741 Re-Ups 117


In came 12 correct requests this week, in short another batch of 33 re-ups (11 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 October 11.... N'Joy

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1x Aetix NOW In Flac (The Cure -  Carnage Visors (The Soundtrack))

4x Roots Back in Flac (Antonio Carlos Jobim - Gabriela (OST), Antonio Carlos Jobim - Passarim, Antonio Carlos Jobim - Antonio Brasilero, Antonio Carlos Jobim - Echoes of Rio )

3x Grooves Back In Flac (Wilson Pickett - In The Midnight Hour / The Exciting, Wilson Pickett - The Wicked Pickett/The Sound Of Wilson Pickett,  Wilson Pickett - I'm In Love / Hey Jude)

3x Beats Back In Flac (Flieg Mit Ellen Allien, Ellen Allien - Weiss Mix, Ellen Allien - My Parade)

3x Alphabet N NOW In Flac (Nicolette - Now Is Early), Nirvana - In Utero, The Notwist - Neon Golden)

3x Beats NOW In Flac (Orbital – Radiccio (EP) + Mutations (EP), Orbital – Snivilisation, Orbital - Blue Album)

3x Grooves Back In Flac (The Isley Brothers - Vol.1  Rockin' Soul , The Isley Brothers - This Old Heart and Soul On The Rocks, The Isley Brothers - Givin It Back )

4x Beats Back In Flac (Underground Resistance - Revolution For Change, Plastikman - Sheet One, Plastikman - Recycled Plastik, Basic Channel - BCD I)

1x Goldy Rhox Back In Flac (Goldy Rhox 132 (Lou Reed - Coney Island Baby))

3x Sundaze Back In Flac ( Terre Thaemlitz - Soil, Theorem - Ion, Pan•American - 360 Business, 360 Bypass)

2x Sundaze Back in Flac   (Gas - Königsforst, Gas - Pop)

3x Roots  NOW in Flac  (Otis Redding - Otis Blue/The Soul Album , Otis Redding - Pain In My Heart/Sings Soul Ballads, Otis Redding - Live In Europe  )

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Oct 11, 2017

RhoDeo 1741 Aetix


Today's artist is a Dutch musician and painter. As a musician he achieved artistic and commercial success in the 1970s and 1980s, and was called "the greatest and only Dutch rock 'n' roll star". Later in life he started a successful career as a painter. Known for his hedonistic lifestyle of "sex, drugs and rock 'n' roll", he was an enfant terrible and a cultural figure  .........N'Joy

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Herman Brood was born in Zwolle, and started playing the piano at age 12. He founded beat band The Moans in 1964, which would later become Long Tall Ernie and the Shakers. Brood was asked to play with Cuby and the Blizzards, but was removed by management when the record company discovered he used drugs. For a number of years Brood was in jail (for dealing LSD), or abroad, and had a number of short-term engagements (with The Studs, the Flash & Dance Band, Vitesse).

In 1976, Brood started his own group, Herman Brood & His Wild Romance, initially with Ferdi Karmelk (guitar), Gerrit Veen (bass), Peter Walrecht (drums), and Ellen Piebes and Ria Ruiters (vocals). They played the club and bar circuit, first in Groningen  In 1977 the band released their first album, Street. The band now played all over the Netherlands, playing as many gigs as possible. And Herman's drug habit became public domain:

They are still best known for their second album, Shpritsz—a play on the German word Spritze for syringe—from 1978. This album contained Brood anthems like "Dope Sucks," "Rock & Roll Junkie," and their first Dutch hit single, "Saturday Night." The band went through many personnel changes over the years; the best-known formation was Freddy Cavalli (bass), Dany Lademacher (guitar) (later replaced with David Hollestelle), and Cees 'Ani' Meerman (drums). A frequent contributor was Bertus Borgers (saxophone).

Brood's outspoken statements in the press about sex and drug use brought him into the Dutch public arena even more than his music. He was romantically involved with the German singer Nina Hagen, with whom he appeared in the 1979 film Cha-Cha. He is reputed to be the subject of her song "Herrmann Hiess Er" (English title "Herrmann Was His Name") from the 1979 Unbehagen album, a song about a drug addict. Brood relished the media attention and became the most famous hard drug user in the Netherlands. "It is quite common for an artist to use drugs, but not for him to tell everybody. I admit that it scared me that my popularity could make people start using drugs," he once said in an interview.

In the summer of 1979, Brood tried to enter the American market, with support from Ariola's US division, which was attempting to expand into rock music. Following on the success of Shpritsz, the band was booked as a support act for The Kinks and The Cars, playing in auditoriums; "Herman Brood and His Wild Romance Tour Cha Cha '79" headlined in New York (Bottom Line) and Los Angeles (Roxy). A re-recorded version of "Saturday Night" peaked at number 35 in the Billboard Hot 100, but the big break Brood hoped for didn't happen. When he returned to the Netherlands in October 1979, his band had begun to fall apart, and soon his popularity went downhill. Go Nutz, the album Brood had recorded while in the States, and the movie Cha-Cha, which finally premiered in December 1979, were considered artistic failures, even though Go Nutz produced three charting singles in the Netherlands and the Cha Cha soundtrack attained platinum status. The 1980 album Wait a Minute... was a minor success, but the follow-up albums Modern Times Revive (1981) and Frisz & Sympatisz (1982) failed to make the Dutch album charts.

Brood continued to record throughout the 1980s and had a few hits—a top-10 single, "Als Je Wint" with Henny Vrienten, and a minor hit with a reggae song, "Tattoo Song," but he spent more and more time on his art work. At the end of the '80s he made a comeback of sorts; Yada Yada (1988), produced by George Kooymans, was well-received, and he toured Germany with a renewed Wild Romance (which saw the return of Dany Lademacher). In 1990, he won the BV Popprijs, one of the highest Dutch awards for popular music, and recorded Freeze with Clarence Clemons of the E Street Band and Tejano accordion player Flaco Jiménez. A live "best of" album, Saturday Night Live, appeared in 1992. His 50th birthday, in 1996, was celebrated with a show at the Paradiso music and cultural center in Amsterdam, and the album (of duets) was released the same year.

After his career in music, Brood turned to painting and became a well-known character in Amsterdam art circles. His art is best described as pop-art, often very colorful and graffiti-inspired screen prints, and he achieved some commercial success and notoriety by, for instance, creating murals in various public spaces in and around Amsterdam. He continued to remain in the public eye, by appearing in the media and by his cooperation with biographical films such as 1994's Rock'n Roll Junkie.

Toward the end of his life, Brood vowed to abstain from most drugs, reducing his drug use to alcohol and a daily shot of speed ("2 grams per day"). In 2001, depressed by the failure of his drug rehabilitation program and facing serious medical problems because of his prolonged drug use, he committed suicide on 11 July by jumping from the roof of the Amsterdam Hilton Hotel at the age of 54. He left a note, stating "Party on. I'll be seeing you. Soon after his suicide, Brood's version of "My Way" spent three weeks as number one in the Dutch singles charts; the market value of his art work also increased greatly. A characteristic note is that Brood's paintings had often been targeted by vandals during his life, but after his death they were stolen for their value. His popularity (or notoriety) was confirmed by the fact that his name turned out to be the strongest brand of the year.

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Street is the first studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance, and the start of a solo career for Herman Brood, who had earlier toured and recorded with Cuby and the Blizzards and made one record with the short-lived band Stud.  If you're a fan of late 70's punk and blues, Television, Johnny Thunders, Dr. John, this is essential. The guitar (Jan Akkerman) and vocals are very treated with flange effects - it's really beautiful at times. The subject is heroin. The songs are really well written stream of conscious - true to the times they evolve from. Not to be missed, 40 years on Street remains essential .

  Herman Brood & His Wild Romance - Street   (flac  226mb)

01 Street 2:45
02 Turn It On 5:22
03 Syrup 3:35
04 Back In Your Love 3:16
05 Crocodile (The Penthouse) 4:15
06 Pop It 7:54
07 Romanza Di Cavalli 1:23
08 Spine Pain 2:00
09 One More Dose (Lonely Pain Part 2) 4:03
10 Feels Like Love 1:22

Herman Brood & His Wild Romance - Street     (ogg    81mb  )

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Shpritsz (the name derives from a colloquial German word for "syringe") is the second studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. Important part of Wild Romance is guitarplayer Danny Lademacher from Belgium. Their collaboration results in the album Shpritsz. In spite of the great playing by Lademacher the real star is the piano played by Brood. The piano is since the 50s a much ignored instrument but Brood revives it with great souplesse and timing. Listen to the hammering underneath Saturday Night (a surprise but deserved hit even in the USA). Second song is Dope Sucks, almost as strong as Saturday Night and very ironic because of Brood's addiction. Of course not all songs are that superb but especially Hit and Rock 'n' Roll Junkie are also great. All songs are direct and in your face and the album is very well produced with a dry and clear rocksound. The album produced two singles. The first, "Rock & Roll Junkie," did not chart. The second, "Saturday Night," charted in Europe and the United States. On the Dutch album chart, the album reached #8 on 3 June 1978, and stayed on the chart for 28 weeks. It was certified gold in 1978, and platinum in 1980.

Herman Brood & His Wild Romance - Shpritsz (flac 288mb)

01 Saturday Night 4:01
02 Dope Sucks 2:09
03 One 1:54
04 Doin' It 2:37
05 Champagne (& Wine) 3:32
06 Back (In Y'r Love) 1:48
07 Hit 2:46
08 R & Roll Junkie 2:48
09 Never Enough 2:31
10 Pain 1:50
11 Get Lost 3:13
12 Hot-Talk 1:44
13 Prisoners 1:38
14 Doreen 2:32
15 Skid Row 2:35

Herman Brood & His Wild Romance - Shpritsz   (ogg  100mb)

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Go Nutz, recorded in the United States, was supposed to follow up on the American success of the single "Saturday Night" (from Shpritsz) and a compilation called Herman Brood & His Wild Romance, made specifically for the American market. The Dutch market was ripe for another Brood album, since the single "Never be Clever" had reached #10 in the Dutch singles chart on 16 June 1979. Herman loved 1960's American soul music; so, for his next US release, he (or his producer) added background-singing chicks, and amped up the production a tad. However, the recording sessions were a disaster; the American producers replaced the rest of the band with session musicians, resulting in the disbanding of the hitherto successful quartet of Brood, Lademacher, Cavalli, and Meerman. The album produced three charting singles in the Netherlands, but failed to chart in the US. But,  the critics (or a critic, who knows?) panned it, were solidair with the Wild Romance--and Herman retreated to Holland, and started painting again. But how often do you agree with professional critics?

Herman Brood & His Wild Romance - Go Nutz   (flac 255mb)

01 Go Nutz 3:05
02 Love You Like I Love Myself 3:32
03 I Don't Need You 3:36
04 I'll Be Doggone 3:43
05 Right On The Money 4:26
06 Hot Shot 3:30
07 Born Before My Time 4:28
08 Beauty Is Only Skin Deep 2:58
09 Easy Pick Up 4:33
10 Laurie 4:05

Herman Brood & His Wild Romance - Go Nutz   (ogg  91mb)

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Wait a Minute is the fourth studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. After the commercial and artistic debacle of Go Nutz and the disastrous recording of that album, the Wild Romance fell apart, though Dany Lademacher and Freddy Cavalli still played on this album, the last recorded with the "old" Wild Romance. On the Dutch album chart, the album reached #26 on 20 September 1980, and stayed on the chart for five weeks.

Herman Brood - Wait A Minute   (flac 212mb)

01 Dynamite 3:21
02 Girl Of My Dreams 2:46
03 Time To Split 2:30
04 Keep Playin' That Rock 'N Roll 3:08
05 Outside Lookin' In 2:42
06 1.000.000 Superstars (Propaganda) 2:45
07 All The Girls 'Re Crazy 3:31
08 Brickyard Blues 3:13
09 Workin' Girl 3:55
10 Voices 0:52
11 Blew My Cool 3:06

Herman Brood - Wait A Minute   (ogg  66mb)

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