Jun 23, 2017

RhoDeo 1725 Re-Ups 103

Hello,


7 correct requests this week, 2 too recent (again !), in short another batch of 25 re-ups, 3 for the first time in Flac.


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 June 22th.... N'Joy

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4x Into BPM NOW In Flac (Orbital - Diversions, Sven Väth - Touch Themes Of... , VA - Wasted (The Best Of Volume 1-1), VA - Wasted (The Best Of Volume 1-2))


4x Sundaze Back in Flac (VA - Space Night Vol. 05 alpha, VA - Space Night Vol. 05 beta, VA - Space Night Vol. 06 alpha, VA - Space Night Vol. 06 beta)


4x Aetix Back In Flac ( Negativland - Negativland, Negativland - Points, Negativland - A Big 10-8 Place, Negativland - Helter Stupid)


3x Aetix Back In Flac ( The Saints - (I'm) Stranded, The Saints - Eternally Yours , The Saints - Prehistoric Sounds)


3x Roots Back In Flac (Franco & TPOK - Francophonic Vol.2-1, Franco & TPOK - Francophonic Vol.2-2, Franco & TPOK Jazz - Le Grand Maitre )


3x Aetix Back In Flac ( Tubeway Army - Tubeway Army, Gary Numan -  Telekon, Gary Numan - Dance )


4x Aetix Back In Flac ( Front 242 - Geography, Front 242 - No comment, Front 242 - Official Version, Front 242 - Front By Front )


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Jun 21, 2017

RhoDeo 1725 Aetix

Hello, as the heatwave continues i decided to have some relaxed Aetix today, airy stuff to cool down to with from a group with a remarkably wrong name, it just didn't do them any justice, what is left is decent 80's output where i felt the last album in that series deserved space despite being the fifth.



Today's artists are an English pop/rock band formed in 1979 in Kirkby, near Liverpool, Merseyside with a core of vocalist/keyboardist Gary Daly and guitarist Eddie Lundon. They were part of a wave of new Liverpool acts in the late 1970s and early 1980s, led by OMD and also including Echo and the Bunnymen, The Teardrop Explodes, A Flock of Seagulls and Frankie Goes to Hollywood. The group had moderate success in the United Kingdom in the 1980s with five Top 40 singles and three Top 40 albums. The band also achieved a modest level of commercial success in Western Europe and Australia, and some minor chart successes in the Americas........N'Joy

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Sharing an affection for Stevie Wonder, Steely Dan, David Bowie, and Brian Eno, Gary Daly and Eddie Lundon played with various Knowsley post-punk groups. Daly then spent time tinkering with synthesizers and a drum machine, along with Lundon, they began writing songs. The pair eventually asked drummer and percussionist Dave Reilly to join them in 1981, and in 1982 they released their debut single "African and White" as China Crisis on the independent record label, Inevitable. In June 1982, they backed Tom Verlaine at The Venue in London..

The band were signed to Virgin Records and recorded their debut album, Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain, which was released in December 1982. A re-release of "African and White" became China Crisis' first hit in the United Kingdom, reaching No 45 in the UK Singles Chart. The follow-up single, "Christian", made UK No 12 in early 1983 and brought them to national prominence. By the time of this success; Reilly had left the band, but had remained with the band long enough to co-write and perform on "Christian", along with session musician Steve Levy playing oboe and saxophone. The album peaked at No 21 in the UK Albums Chart. During this period the band toured supporting Simple Minds.

Adding Gary "Gazza" Johnson (bass guitar) and Waterboys drummer Kevin Wilkinson to the line-up, a second album, Working with Fire and Steel – Possible Pop Songs Volume Two, was released in November 1983. Tracks included the singles "Tragedy and Mystery" (released six months earlier) and "Hanna Hanna" as well as the title track, "Working with Fire and Steel", which became a hit single in Australia. The album was a Top 20 success in the UK, and China Crisis spent 1984 and 1985 making their biggest chart run, beginning with their only UK Top 10 hit single, "Wishful Thinking", which peaked at No 9.

Their third album, Flaunt the Imperfection, was produced by Walter Becker of Steely Dan fame and reached No 9 in the UK Albums Chart in May 1985. China Crisis was so honoured to directly work with Becker that they officially listed him in the group as a quintet consisting of Daly, Lundon, Johnson, Wilkinson, and Becker on the album's credits. Becker was living on Maui, Hawaii, when he was approached by Virgin to work on this project, and he had to leave his expecting partner Eleanor to assist. He never formally appeared with the band (but made important playing contributions on the album) and the subsequent tour featured new keyboard player Brian McNeill. Johnson was now credited as co-writer with Daly and Lundon.

The album was promoted by the No 14 UK hit single "Black Man Ray", which also enjoyed critical acclaim and international success. The follow-up, "King in a Catholic Style (Wake Up)", was a Top 20 UK single at No 19, but it would prove to be the band's last substantial hit. A third release from the album, "You Did Cut Me", stalled at UK No 54. They simultaneously released a video compilation, Showbiz Absurd.

In 1986, the band collaborated with producers Clive Langer and Alan Winstanley (who worked with Madness) on What Price Paradise, which included "Arizona Sky", the album's first single release and another Australian hit. All the band were now credited as songwriters. A second single from the album, "Best Kept Secret", made UK No 36 in early 1987. It was to be the band's final Top 40 hit single.

The five-piece band worked with Becker once more on 1989's Diary of a Hollow Horse, which earned critical acclaim though little commercial success. It fared slightly better than its predecessor, making the UK Top 60, and spawned the singles "St Saviour Square" and "Red Letter Day", both achieving the lower reaches of the UK Singles Chart. Becker produced most of the album's tracks, but this time was not credited as an official band member.

The band's last studio album, Warped by Success, was released in 1994, following the band's parting of ways with the Virgin label. The album produced their final studio chart single, "Everyday the Same", which briefly edged into the UK Top 100. Although Johnson and Wilkinson both made small contributions, the band was now listed as comprising Daly, Lundon, producer Terry Adams and sound engineer Mark Phythian. In 1995 they released a live unplugged album and video entitled Acoustically Yours. This featured a live version of "Black Man Ray", and also saw a return for Johnson, Wilkinson and McNeill.

Since 1992, there have been four compilation albums of their work for the UK and US markets and three live DVDs. The first of these, entitled Collection: The Very Best of China Crisis, made the Top 40 in the UK Albums Chart in 1990.

On 17 July 1999, drummer Kevin Wilkinson committed suicide by hanging himself at the age of 41. Wilkinson had played with a wide variety of bands including The Waterboys, Fish, The Proclaimers, Squeeze and with Howard Jones. In 2000, Daly contributed a track to a tribute compilation to Wilkinson, Green Indians.

Since the late 1990s, China Crisis has concentrated on live performances with only original members Eddie Lundon and Gary Daly being constant throughout; the band alternates between performances either as a duo or with a fluctuating line-up of backing musicians, the most notable of which is Manx guitarist Colin Hinds who spent more than ten years with the band in the early 21st century.

On 16 December 2013, the song "Everyone You Know" was made available as a free download on the Pledge Music website, when pre-ordering the album Autumn in the Neighbourhood announced for release in 2014. As of 5 February 2015, the band had achieved 235% of its pledgemusic target and the album was in final mix and production. Autumn in the Neighbourhood was released on 3 June 2015 via the Pledge Music website. It was their first studio album for 21 years, and contained 11 songs: The band undertook an extensive promotional tour of the UK from the end of September until December 2015, both as a trio and as a full band.


Oddly China Crises despite being a band with high production values has never been remastered yet, could it be they dazed of at Virgin or whoever owns that these days. That would be Universal our planets largest Music Group and China crises rings very different bells in their headquarter.

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Like fellow Liverpudlians O.M.D., China Crisis began life as a synthetic duo who performed brilliantly executed pop songs with quirky edges. And like O.M.D., they seamlessly mixed their love of guitar-based pop with (then) modern musical technology (i.e., synthesizers). Unlike O.M.D., China Crisis' legacy languishes somewhere between there and then with no sign of them ever being considered "hip." Not to say that that is their fault! Gary Daly (the quirky vocalist/keyboardist) and Eddie Lundon (the smooth vocalist/guitarist) made their fascinating debut, Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain, on a low budget, and their magic was already in place, especially on the Steely Dan-ish "No More Blue Horizons," the upbeat groove of "Some People I Know to Lead Fantastic Lives" and "You Never See It," the gorgeous "Christian," and their early hit "African and White." Their quirkiness doesn't quite translate on a few tracks ("Temptation's Big Blue Eyes" and "Are We a Worker"), but the charm of this album will win you over if you like smart, yet slightly eccentric, pop songs. It is plainly obvious that, no matter how uncommercial a particular song may be, the boys in China Crisis put their heart and soul into it, creating something uniquely their own, and building upon it. They would finally work their quirks effortlessly into the music on their sophomore release, but there's plenty for synth fans and '80s fans to find here.



 China Crisis - Difficult Shapes & Passive Rhythms (flac  214mb)

Difficult Side
01 Seven Sports For All 3:18
02 No More Blue Horizons (Fool, Fool, Fool) 3:48
03 Feel To Be Driven Away 2:55
04 Some People I Know To Lead Fantastic Lives 3:33
05 Christian 5:37
Entertainment Side
06 African And White 3:46
07 Are We A Worker 3:30
08 Red Sails 4:43
09 You Never See It 2:57
10 Temptations Big Blue Eyes 3:25
11 Jean Walks In Freshfields 1:53

China Crisis - Difficult Shapes & Passive Rhythms   (ogg  89mb)

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China Crisis main men Gary Daly and Eddie Lundon were great songwriters searching for that one song that would make a difference. "Working with Fire and Steel" was that song. Although they had hits before, and they would have hits after, no other song defined China Crisis' essence more. With its percolating beat, Daly's hiccupping vocals, and a smashing chorus, it was the perfect modern pop song. With that said, there was also so much more to China Crisis than that one song. This, their sophomore album, features songs cut from the same cloth as "...Fire and Steel," including "Animals in Jungles" and "Hanna Hanna," but also reveals a band with deeper meaning and ambitious ideas. Lundon's sweet backing vocals (and lead vocals on the pretty "Wishful Thinking" and "When the Piper Calls") balance out the quirkiness of Daly's voice, creating a perfect combination. Although they were pigeonholed as a 'synth pop' band, China Crisis was much more. All that mattered to them was the song, and this album is chock full of intelligent, well-written pop songs. Producer Mike Howlett added much to the sonic blend, allowing the melodies to shine while toughening up the band's sound (the addition of a full-time drummer and bassist helped to thicken the sound as well). Even the softer moments, like "Here Comes a Raincloud," and "The Soul Awakening" are full of life and excitement. Apart from their own matured sound on this release, there are traces of rock, pop, and jazz floating between the lines. It was only a matter of time before they were compared to Steely Dan. But that came on the next album....



China Crisis - Working With Fire And Steel (flac 262mb)

01 Working With Fire And Steel 3:41
02 When The Piper Calls 4:04
03 Hanna Hanna 3:29
04 Animals In Jungles 3:39
05 Here Come A Raincloud 4:16
06 Wishful Thinking 4:42
07 Tragedy And Mystery 4:03
08 Papua 3:36
09 The Gates Of Door To Door 4:16
10 The Soul Awakening 4:36

China Crisis - Working With Fire And Steel   (ogg  96mb)

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China Crisis underwent a complete change in sound for their third album, completely ditching the heavy dub rhythms and challenging arrangements of 1982's Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain and 1983's Working with Fire and Steel (Possible Pop Songs, Vol. 2) with an altogether smoother and less aggressive sound. That doesn't equal a commercial capitulation, however; if anything, the choice of Walter Becker (of the then-unfashionable Steely Dan) as producer was a more commercially daring maneuver than anything the group had previously attempted. The overall sound is considerably prettier than before -- the placid Eno-like "Black Man Ray? is downright beautiful -- and the arrangements mix synthesizers with traditional instruments in what was for 1985 an unusually graceful way, with neither predominating. Another difference from the earlier albums is that the group's songwriting is much improved, the failed instrumental experiments and tiresome dance workouts that occasionally marred their earlier albums replaced with a newfound melodic sophistication and lyrical acuity. By the time of 1987's What Price Paradise, this sophistication will be unfortunately replaced by callow slickness, but Flaunt the Imperfection is the one album where China Crisis got the balance right.



 China Crisis - Flaunt The Imperfection (flac 238mb)

01 The Highest High 4:16
02 Strength Of Character 2:50
03 You Did Cut Me 4:18
04 Black Man Ray 3:39
05 Wall Of God 5:32
06 Gift Of Freedom 4:38
07 King In A Catholic Style 4:32
08 Bigger The Punch I'm Feeling 4:21
09 The World Spins, I'm Part Of It 4:12
10 Blue Sea 4:46

China Crisis - Flaunt The Imperfection   (ogg  94mb)

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After making a bid to become the '80s version of Steely Dan on the delightful Flaunt the Imperfection, China Crisis offered a fuller and more pop-oriented follow-up the next year. With the duo of Clive Langer and Alan Winstanley (replacing Walter Becker) sharing the producer's chair, the songs on What Price Paradise feature warm, intricate arrangements and prominent brass and strings. But while more than one Langer/Winstanley offering of this era overwhelmed its subject with such treatment -- Elvis Costello's ill-fated Goodbye Cruel World is a good example -- the sophisticated and melodic songs here prosper from the attention to detail. The Motown-ish bounce of "Worlds Apart" and "June Bride" is made even more infectious by punchy horn charts, while "Hampton Beach" offers sweeping melodrama, as Gary Daly's delicate vocals are surrounded with just the right touches. Even the songs that hint at the previous album's jazzy complexities, like disc opener "It's Everything," are more accessible and inviting here and, on "Arizona Sky," China Crisis seemed to have the big American hit that singles like "King in a Catholic Style" didn't quite deliver. Released at a time when many of the group's U.K. new wave contemporaries were being flushed off the charts -- most for good -- What Price Paradise was yet another strong outing from this too-often underrated band.



China Crisis - What Price Paradise (flac  290mb)
 
01 It's Everything 5:09
02 Arizona Sky 5:25
03 Safe As Houses 4:26
04 Worlds Apart 3:35
05 Hampton Beach 4:47
06 The Understudy 5:45
07 Best Kept Secret 4:08
08 We Do The Same 4:21
09 June Bride 3:50
10 A Day's Work For The Dayo's Done 4:17
11 Trading In Gold 4:27

China Crisis - What Price Paradise   (ogg   114mb)

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Reunited with producer Walter Becker, China Crisis made perhaps their most Steely Dan-like album with Diary of a Hollow Horse. Pristinely recorded and brimming with jazzy sophistication, it includes some of the U.K. quintet's best-ever material, including "Sweet Charity in Adoration," a satisfying, complex pop song of the first order that features a lovely flute cameo from sessionman Jim Horn. Yet beyond the FM perfection lurk a few surprises. The group also teamed with producer Mike Thorne (Soft Cell) for a trio of cuts that are among the most simple and direct pop songs in the their catalog. In particular, "St. Saviour Square" and "All My Prayers" have straightforward rhythms and melodies that connect instantly, drawing passionate performances from singer Gary Daly and offering a nice contrast to the more subtle surroundings. Harder to suss is the closer, the Becker-produced "Age Old Need," which sounds like it was lifted from the soundtrack to a medieval morality play. But the album did mark the close of a three-album period (begun with 1985's Flaunt the Imperfection and continued on What Price Paradise the following year) that saw China Crisis at their artistic peak, a summit reached by few of the group's late-'80s peers.



China Crisis - Diary Of A Hollow Horse (flac  256mb)
 
01 St. Saviour Square 4:08
02 Stranger By Nature 3:56
03 Sweet Charity In Adoration 4:51
04 Day After Day 5:07
05 Diary Of A Hollow Horse 3:15
06 Red Letter Day 4:37
07 In Northern Skies 5:02
08 Singing The Praises Of Finer Things 5:20
09 All My Prayers 4:03
10 Age Old Need 3:21
11 Back Home 3:55

China Crisis - Diary Of A Hollow Horse   (ogg   104mb)

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Jun 20, 2017

RhoDeo 1725 Roots

Hello, a tropical heat day here and living downtown means a few extra degrees and less cool down in the night, sigh. Oh well solstice is upon us, just 3 months until autumn..who knows what we'll have to worry about then Mrs Merkel will surely defeat that opportunist Schmidt but if Trump is still in power..let's hope so, that is as long as his idiocy remains harmless.




Today's artist is one of his home country's most enduring national heroes. Though he is most treasured in Argentina, where his outspoken social consciousness and storied past as a fearless protest singer endeared him deeply to those who share his heritage, his appeal extends beyond his homeland: he performs to international audiences regularly and is often described in shorthand as "the Bob Dylan of Argentina."

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Leon Gieco was born on November 20, 1951 in Santa Fe Province, Argentina. At 6 years old, Gieco traveled with his family from the field to the village center due to economic problems. At age 8, Gieco bought his first guitar on credit, and soon began playing music at local events with his father's band. Throughout his childhood, Gieco played with local bands such as a folkloric group called Los Nocheros (The Night Watchers) and Los Moscos (The Flies), a rock band that gained some popularity within Argentina. In 1965, Gieco traveled to Bolivia as an exchange student. He studied music and played guitar at local festivities.

When Gieco turned 18, he went to Buenos Aires to become a full-time musician. There, he took guitar lessons from Gustavo Santaolalla, who introduced him to important people in the Buenos Aires musical community, such as Raúl Porchetto, Charly García, Nito Mestre, and María Rosa Yorio, members of the Argentine supergroup, Porsuigieco. Gieco was given the opportunity to perform in the Buenos Aires Rock Festival in 1971, 1972, and 1973. In 1973, he recorded his first album, "Leon Gieco" ( it was recorded independently with Santaolalla). "En el País de la Libertad" ("In the Country of Freedom"), a hit from his album, demonstrated Gieco's concern for change in Argentina, his concern for social justice.

In 1976 Gieco released El Fantasma de Canterville ("The Ghost of Canterville"). The record suffered a great deal of censorship from the military government forcing him to change the lyrics of 6 songs and remove 3 others altogether. Nevertheless, the record was a success, and he had concerts not only around Argentina, but also in other countries of South America. Two years later he released IV LP, with one of his most famous songs: "Sólo le pido a Dios" ("I only ask of God"). Due to the political situation in Argentina, Gieco moved to Los Angeles, California in 1978 for one year.

On December 20, 1979, the Argentine Minister of Education announced the closing of the National University of Lujan in Buenos Aires. Gieco participated in a protest against the closing by singing "La Cultura es la Sonrisa". His lyrics say, "(Culture) only cries in a country where people can't choose it/it only cries its sadness if a minister closes a school..."

In 1981 Gieco started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people. He gathered material from the different places he visited during the tour, and recorded the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca" in Buenos Aires with various autochthonous musicians in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 were recorded in a mobile studio in different locations of the country.

In 1985, Gieco went to Moscow for the 12th "World Youth and Students' Festival" alongside Juan Carlos Baglietto and Litto Nebbia, representing Argentina. In 1986 and 1987, he held concerts in Germany with his friend Mercedes Sosa, including that of Berlin's Political Song Festival.

Gieco returned to Argentina and performed free concerts, one for 40,000 spectators at the National Flag Memorial in Rosario, and the other for 35,000 people in Buenos Aires. At Boca Juniors' Stadium he had a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan Carlos Baglietto and Sixto Palavecino. At the end of the year he went on a world tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.

In 1988, Gieco performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International Human Rights Now! Tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.

After eight years of touring, Semillas del corazón ("Seeds of the heart") marked his return to the studio in 1989. That same year he performed at the Teatro Ópera in Buenos Aires with United States folk legend Pete Seeger. The following year, Seeger asked him to join a tour that took him to Washington, D.C., Boston and New York City. There he played with David Byrne, whom he had met in Buenos Aires shortly before.

In 1992, he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. In 1997 he participated in the memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, La Renga, Los Piojos, and Attaque 77.

Gieco began his most recent national tour for social justice, Mundo Alas, in 2007. Argentine musicians, dancers, singers, and painters, all with disabilities, performed alongside Gieco, expressing their unique talents and communicating with audiences. He gave these artists the opportunity to live out their dreams as he does. Gieco created a documentary from the road tour which was produced in March, 2009. The film features rock music, folk music, and tango, along with Gieco's original hits.

During his stop in Buenos Aires on his 2013 Wrecking Ball World Tour, Bruce Springsteen filmed a video for a solo acoustic performance of "Sólo le Pido a Dios".

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Gieco is a special musician who, starting from rock bases, uses elements of fusion with the oldest and autochthonous rhythms of Argentina, obtaining a music that can not be imitated or compared. This commitment is musical and poetic. Accompanied by guitar and harmonica, tones beautiful melodies, many of which have had worldwide diffusion, as I only ask God. An almost soloist songwriter, who "paints his village" becoming universal, as there are few in the world. This album shows in full maturity in all aspects with songs worked, careful lyrics and impeccable performances. His country's musician, above all, is precisely what makes it different and attractive, at a time when music seems to be the same all over the world. Here we have a voice and poetry that maintains its autonomy and difference. Recommended for Latinos and all those who like to dive in new rhythms, treated well and with respect. In addition, there is something in these songs that inspires something like hope, faith, energy, breath ...



Leon Gieco - Mensajes del Alma (Soul messages) (flac  298mb)

01 Los Salieris De Charly 6:20
02 Gira Y Gira 4:40
03 Todos Los Días Un Poco 3:30
04 Haleluja 5:25
05 Del Mismo Barro 4:05
06 Mensajes Del Alma 5:25
07 Río Y Mar 4:40
08 Maestras De Jujuy 4:25
09 Cuándo Los Ángeles Viajan 5:30
10 Cinco Siglos Igual 4:05

Leon Gieco - Mensajes del Alma (Soul messages) (ogg  120mb)

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La Historia Esta (the history is) was released in 1998 by Leon's own label, Cañada Records, and the production was jointly produced by Gieco and the Página 12 newspaper. The album consists of seven volumes that compile recordings made by the musician over the years and that form part of his private collection. Most are live and unreleased recordings, or collaborations on albums by other artists



León Gieco - La Historia Esta (Vol. 1)   (flac  349mb)

01 Hombres de hierro (León Gieco) 4:53
En vivo, Acusticazo. Teatro Atlantic Buenos Aires. Junio de 1972.

02 La colina de la vida (León Gieco) 4:37
*En estudio en Alemania. Abril 1988. Del LP "Guantanamera", 1988.

03 Brazo de guitarra (Raul Ellwanger - Paulinho Tapajós) 3:05
*Demo. Tema nunca grabado oficialmente por León Gieco

04 Introducción al recital (Porsuigieco) 1:16
*PorSuiGieco. Grabado en vivo en Tandil, provincia de Buenos Aires, 1975.

05 Viejo, solo y borracho (León Gieco) 3:52
*PorSuiGieco. Grabado en vivo en Tandil, provincia de Buenos Aires, 1975.

06 El fantasma de Canterville (Charly García) 3:18
*PorSuiGieco. Grabado en vivo en Tandil, provincia de Buenos Aires, 1975.

07 Santafecino de veras (Miguel Brascó - Ariel Ramírez) 2:33
Del LP "Santa Fe en tu corazón", 1987

08 Todos los días un poco (León Gieco - Luis Gurevich) 3:48
con Coro Procanto. Del cassette "Una canción debida", 1995

09 Cantando al sur bajo la lluvia (Ariel Prat - Claudio Fernández) 4:50
con Ariel Prat. Del cassette "Y en esa otra ciudad", 1990

10 Sólo le pido a dios (León Gieco) 4:09
con David Byrne. En vivo en Nueva York, Estados Unidos. Octubre de 1990.

11 Río y mar (León Gieco - Luis Gurevich) 3:06
con Lolita Torres. Grabado en el programa televisivo Dale Loly.

12 Camino de llamas (León Gieco - Uña Ramos) 4:35
con Markama. En vivo. Teatro Astral, Buenos Aires, 1991.

13 Otros todos (Isabel Parra) 7:08
con Isabel Parra junto a Celeste Carballo y Piero. Del LP "Enlaces", 1987

14 En la frontera (Isabel Parra) 3:13
con Isabel y Ángel Parra. En vivo. Quito, Ecuador. Del CD "Todas la voces todas", 1997

15 Hasta estallar (Iván Noble) 4:17
con Los Caballeros de la Quema. Del CD "Perros, perros y perros", 1997

16 El que pierde la inocencia (León Gieco) 2:30
con Las Hermanas Vera. Del LP "Simplemente Hermanas Vera", 1987

17 El que queda solo (León Gieco) 2:28
En vivo en el festival Marchemos hacia las fronteras

18 La mamá de Jimmy (León Gieco) 5:03
En vivo en el festival Marche

 León Gieco - La Historia Esta (Vol. 1) (ogg   138mb)

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León Gieco - La Historia Esta (Vol. 2)   (flac  326mb)

01 Plegaria a un labrador (Víctor Jara - Patricio Castillo) 4:10
En estudios. Noviembre de 1997. Tema nunca grabado oficialmente por León Gieco

02 Cuando llegue el alba (Waldo Belloso - Abel Figueroa) 3:36
En estudios. Del CD "Homenaje a Jorge Cafrune", 1993

03 La filosófica (Elpidio Herrera) 2:31
con Elpidio Herrera. Del LP "El sonido del monte", 1993

04 Maturana (Manuel José Castilla - Gustavo Leguizamón) 4:21
En vivo, Nueva York, Estados Unidos, Octubre de 1990.

05 Cien caballos (Daniel Cañueto) 2:29
Grabado en vivo en Berlín, Alemania, Febrero de 1987. Tema nunca grabado oficialmente por León Gieco

06 Cola de amor (León Gieco) 3:12
Grabado en vivo en Berlín, Alemania, Febrero de 1987

07 La chicharra cantora (Solís Pizarro - Francisco Córdoba) [02:00]
Grabado en vivo en Berlín, Alemania, Febrero de 1987

08 Puentecito de mi río 3:14
(Buenaventura Luna - Antonio Tormo - Diego Canales)  con Antonio Tormo. Del CD "20 y 20", 1997

09 El canto del tero (Sixto Palavecino - Cacho Lobo) 1:44
con Sixto Palavecino. En estudios Sicamericana de Buenos Aires, 1984.

10 Chacarera del encuentro (Elpidio Herrera - Sixto Palavecino) 2:13
con Sixto Palavecino. En estudios Sicamericana de Buenos Aires, 1984.

11 Cambalache (Enrique Santos Discépolo) 3:33
En TV. Para el programa Siglo XX Cambalache, Telefe.

12 Guantanamera (León Gieco - Joseíto Fernández) 5:43
con Sonamos. Del CD "El sol nos reconoce", 1997

13 Bajo el sol de Bogotá (León Gieco - Luis Gurevich) 3:43
En vivo, Estadio Obras. Abril de 1981. Versión inédita

14 Soy un pobre agujero (León Gieco) 3:13
En vivo, Estadio Obras. Abril de 1981. Versión inédita

15 Casamiento de negros (Popular chilena - Anónimo - Violeta Parra) 3:31
con Milton Nascimiento. Concierto "Corazón Americano"

16 Por el camino perdido (León Gieco) 3:09
Ensayo en estudios. Abril de 1981. Versión inédita

17 Te recuerdo Amanda (Víctor Jara) 5:53
con Ivan Lins. En vivo en el Luna Park, Setiembre de 1984.

18 Somos cinco mil [Canto que mal me sabes] (Víctor Jara) 5:26
con Pete Seeger. En vivo. Teatro Opera, Buenos Aires, Agosto de 1989.

León Gieco - La Historia Esta (Vol. 2) (ogg  141mb)

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León Gieco - La Historia Esta (Vol. 3) (flac  344mb)

01 El rey lloró (Litto Nebbia) 3:04
Ensayo. En estudios. Abril de 1981. León Gieco

02 Maestras de Jujuy (León Gieco - Luis Gurevich) 3:42
Demo. Versión inédita

03 Romaria (Renato Texeira) 4:16
con Renato Texeira, Almir Sater y Zeze. En vivo. Versión inédita

04 Semillas del corazón (León Gieco - Gabriela Molinari) 3:57
En TV. Programa Badia & Compañía, Setiembre de 1988.

05 Barrio Golondrina (León Gieco) 2:46
En TV. Programa Badia & Compañía, Setiembre de 1988.

06 Río Paraná (Ricardo Iorio) 3:49
con Ricardo Iorio y Flavio Cianciarullo "Peso Argento", 1997

07 Gente necesaria (Hamlet Lima Quintana - Enrique Llopis) 2:46
con Enrique Llopis y Lalo de los Santos. Del LP "Santa Fe en tu corazón", 1987

08 Nuevo tiempo (Ivan Lins) 4:35
con Ivan Lins, Luis Alberto Spinetta y Pedro Aznar. En vivo en el Luna Park, Setiembre de 1984.

09 La lluvia de la ciudad (León Gieco - Gabriel Senanes) 5:36
con Gabriel Senanes. Del LP "Cartón lleno", 1987

10 Che, pibe (Raúl Porchetto) 2:59
con Raúl Porchetto. Del LP "Che pibe", 1982

11 Chacarera de un atardecer (León Gieco) 3:29
En vivo. Estadio Obras. Abril de 1981

12 El rancho e`la cambicha (Mario Millán Medina) 3:33
con Antonio Tormo. Del CD 20 y 20. 1997

13 La del sauce (Eduardo Haspert) 3:46
con Eduardo Haspert. Del cassette "Bailando a la luz de la luna" 1990

14 Bichitos de luz (María Eva Basterra Seoane - León Gieco) 4:31
En Estudios. Del CD "Ponele letra a los famosos" 1997

15 La cuca del hombre (Raul Ellwanger) 3:07
con Raúl Ellwanger. Del LP "La cuca del hombre", 1984

16 María del campo (León Gieco) 3:37
En vivo en Olavarría, Febrero de 1978. Versión inédita

17 Los chacareros de dragones (León Gieco) 2:10
En vivo en Olavarría, Febrero de 1978. Versión inédita

18 Cuando me muera quiero (León Gieco) 4:24
En vivo en Olavarría, Febrero de 1978. Versión inédita

León Gieco - La Historia Esta (Vol. 3) (ogg  143mb)

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Jun 19, 2017

RhoDeo 1725 Tales 01

Hello, a catastrophic fire is still raging in Portugal thus far 61 people died, mainly whilst they were trying to escape via car on B roads. Fleeing by car is only sensible when you can go off-road. Meanwhile at the Grenfell Tower fire, the presumed deathtoll stands at 58, ironically and presumably most died whilst following the script by staying inside their flat until it was too late. Over in France the public voted in hundreds of amateurs representing President Macron's new party "En Marche" which translates as "Working", expect plenty of chaos in the French Parliament the coming years. The unions have already started claiming the votes of the many (50%) that didn't vote today



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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Ray Bradbury’s stories have proven to be a rich source for radio drama on BBC radio. Since the 1950s there has been a continuous stream of oneoff plays and occasional series based on his work. Some of the adaptations have been faithful, almost literal, retellings of his short stories and novels, while others have been reimaginings by some of radio’s leading dramatists, such as Mike Walker and David Calcutt. Bradbury adapts much better for radio than for screen. It may just be luck that the author has been blessed by sympathetic interpreters in radio (and cursed with unsympathetic ones in film and TV). More likely, there is genuinely something more appropriate to his fiction in the sound-only medium. A key factor that disposes Bradbury to radio adaptation is the tendency of his descriptions to evoke rather than depict; and the corresponding preference of radio to evoke through sound effects, and of film to depict through direct representation. That said, some writers who have adapted Bradbury for radio seem to have been drawn to the actual story or plot as much as to the descriptive flourishes. Bradbury’s work had been adapted several times for BBC radio: a short series based on The Golden Apples of the Sun (1954), a few episodes of Thirty-Minute Theatre (1959), a one-off dramatised reading of There Will Come Soft Rains (1962), and Bradbury’s own radio play Leviathan ’99 (1968).

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Here today a series of Ray Bradbury stories specially dramatised for radio with introductions by the author.

Ray enthusiastically agreed and, joined by writer Catherine Czerkawska and director Hamish Wilson (who had collaborated on some Bradbury stories broadcast by BBC Scotland), we embarked on a series of 30-minute plays under the generic title Ray Bradbury's Tales of the Bizarre.

The season debuted at 11:00 pm on 7 December 1995 with my dramatisation of Ray's 'Night Call, Collect'.  Radio Times marked the broadcast with a piece of art by Alan Young (left) and the programme featured a tour de force solo performance by actor, Kerry Shale....... N'Joy


Ray Bradbury - Night Call, Collect (mp3 mb)

01 Night Call, Collect 29:30

A telephone engineer marooned on Mars. A remarkable tale about what one man might achieve (and become) if left completely alone for fifty years with enough wires, cables and electronic equipment to keep him busy. Then one morning - on his 80th birthday - the phone rings.


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previously

A Clockwork Orange part 1 (mp3  72mb)
A Clockwork Orange part 2 (mp3  56mb)
A Clockwork Orange part 3 (mp3  65mb)

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Jun 18, 2017

Sundaze 1725

Hello,


Today's Artist is an American composer, best known for his work scoring films for director David Lynch, notably Blue Velvet, the Twin Peaks saga (1990–1992, 2017), The Straight Story and Mulholland Drive.He received the 1990 Grammy Award for Best Pop Instrumental Performance for his "Twin Peaks Theme", and has received a Lifetime Achievement Award from the World Soundtrack Awards and the Henry Mancini Award from the American Society of Composers, Authors and Publishers.. ....N'Joy

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Badalamenti was born in Brooklyn, New York to an Italian family; his father, who was of Sicilian descent, was a fish market owner. He began taking piano lessons at age eight. By the time Badalamenti was a teenager, his aptitude at the piano earned him a summer job accompanying singers at resorts in the Catskill Mountains. He received a Bachelor of Arts degree from the Eastman School of Music and then earned Master of Arts degrees in composition, French horn, and piano from the Manhattan School of Music in 1960.
Film scoring

Badalamenti scored films such as Gordon's War, and Law and Disorder, but his big break came when he was brought in to be Isabella Rossellini's singing coach for the song "Blue Velvet" in David Lynch's 1986 film Blue Velvet. Inspired by This Mortal Coil's recent cover of Tim Buckley's "Song to the Siren", Lynch had wanted Rossellini to sing her own version, but was unable to secure the rights. In its place, Badalamenti and Lynch collaborated to write "Mysteries of Love", using lyrics Lynch wrote and Badalamenti's music. Lynch asked Badalamenti to appear in the film as the piano player in the club where Rossellini's character performs. This film was the first of many projects they worked on together.

After scoring a variety of mainstream films, including A Nightmare on Elm Street 3: Dream Warriors and National Lampoon's Christmas Vacation, he scored Lynch's cult television show, Twin Peaks which featured the vocals of Julee Cruise. Many of the songs from the series were released on Cruise's album Floating into the Night. From the soundtrack of the television series, he was awarded the Grammy Award for Best Pop Instrumental Performance for the "Twin Peaks Theme".

Other Lynch projects he worked on include the movies Wild at Heart, Twin Peaks: Fire Walk with Me, Lost Highway, Mulholland Drive (where he has a small role as a gangster with a finicky taste for espresso), and The Straight Story as well as the television shows On the Air and Hotel Room. Other projects he has worked in include the television film Witch Hunt, and the films Naked in New York, The City of Lost Children, A Very Long Engagement, The Wicker Man, Dark Water and Secretary. He has also worked on the soundtrack for the video game Fahrenheit (known as Indigo Prophecy in North America).

He was composer for director Paul Schrader on such films as Auto Focus, The Comfort of Strangers and Dominion: Prequel to the Exorcist. In 1998, Badalamenti recorded "A Foggy Day (in London Town)" with artist David Bowie for the Red Hot Organization’s compilation album Red Hot + Rhapsody a tribute to George Gershwin which raised money for various charities devoted to increasing AIDS awareness and fighting the disease. In 2005, he composed the themes for the movie Napola (Before the Fall), which were then adapted for the score by Normand Corbeil. In 2008, he directed the soundtrack of The Edge Of Love, with Siouxsie, Patrick Wolf and Beth Rowley on vocals.

Badalamenti received the Lifetime Achievement Award at the World Soundtrack Awards in 2008. On July 23, 2011, the American Society of Composers, Authors and Publishers presented Badalamenti with the Henry Mancini Award for his accomplishments in film and television music.


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David Lynch's surprisingly direct, heartfelt film The Straight Story features a score by his longtime musical collaborator, Angelo Badalamenti. Elegant guitar pieces and Badalamenti's characteristically moody ambience match the film's unique look at a man who crosses the Midwest on his tractor to visit his ailing brother. Here the orchestrations are atmospheric, but a subtle strain of folk music is evident throughout. "Rose's Theme" is filled with acoustic guitar finger-picking against a string section, "Alvin's Theme" has a fiddle mimicking a locomotive, and "Country Waltz" is just that. "Farmland Tour" is the Twin Peaks theme gone sentimental. A hint of nostalgia, a certain Midwestern innocence, and plenty of vast-sounding passages make this the perfect sonic backdrop for a film set in America's heartland. It's another memorable effort from Badalamenti.



Angelo Badalamenti - O.S.T. the Straight story  (flac 224mb)

01 Laurens, Iowa 2:45
02 Rose's Theme 2:55
03 Laurens Walking 4:11
04 Sprinkler 2:56
05 Alvin's Theme 4:25
06 Final Miles 4:06
07 Country Waltz 2:46
08 Rose's Theme (Variation) 3:07
09 Country Theme :38
10 Crystal 4:07
11 Nostalgia 6:51
12 Farmland Tour 3:09
13 Montage 7:24

Angelo Badalamenti - O.S.T. the Straight story   (ogg 107 mb)

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Angelo Badalamenti's score for Arlington Road is about as ominous and darkly ambient as film music gets. Add two clanging, moody pieces from electronic artist Tomandandy that take things to a brisk industrial apex, and one has the soundtrack to a shadowy nightmare. It's a nightmare that just happens to contain moments of great beauty. The music, though frequently eschewing repeating melodies, is quite accessible when detached from the movie. The overall feel is one of creeping menace, but Badalamenti still contributes a number of lush, emotional pieces. "Values" is as fragile and mournful as the slower moments in Ennio Morricone's Untouchables score, though Badalamenti's work is more techno savvy in this instance. "The Truth Is Out There" almost sounds like meditation music, were it not for the swarming sound effects peppered underneath; when the dance beat crops up, it doesn't dampen the hushed mood. Badalamenti works just as expertly with the background music for the action scenes. "Escape" throbs as if it's a Bernard Herrmann score to a Looney Tunes episode where everyone's favorite roadrunner just manages to outwit the coyote. If the music sometimes gets a bit too busy for home listening, one can't help but admire the stylish complexity and sustained atmosphere of the overall work. Arlington Road is an engrossing listen and a fine addition to Badalamenti's growing list of beautiful film scores.




Angelo Badalamenti - O.S.T. Arlington Road (flac  344mb)

01 Bloody Boy / Neon Reprise 5:50
02 Old Newspapers 1:44
03 Lament For Leah 3:50
04 It's Something Personal 2:06
05 The Party 4:45
06 He Repeats, He Repeats 1:57
07 Discover Troops 2:40
08 Into The Cage 2:04
09 The Yearbook 1:43
10 Copper Creek (Tomandandy) 3:37
11 Values 2:29
12 Cheryl 1:08
13 The Truth Is Out There 3:10
14 The Study 2:04
15 What Message (Tomandandy) 2:26
16 Last Day 7:56
17 Stoplight Flight 1:25
18 Escape 4:50
19 The Bomb 2:02
20 Aftermath 5:30
21 Leah's Theme 3:50

Angelo Badalamenti - O.S.T. Arlington Road  (ogg  137mb)

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Angelo Badalamenti brings his listeners on a voyage to "the beach" and back. Many of these pieces are so stunningly exotic, how could you not feel as if you were traveling to some remote island paradise? The glorious orchestral piece, which first appears in the second cue ‘Swim to Island’ is one of those tracks of music that leaves you reeling. With soaring strings, a solo piano, a children’s choir, and a truly beguiling melody, Badalamenti manages to relate the whole romantic notion of a fantasy island in one single musical moment – exotic, pristine, but almost untouchable due to its unparalleled beauty. Although the theme itself only appears in five of the fifteen tracks (the aforementioned ‘Swim to Island’, the ambient ‘Starnight’, the dreamy ‘Mythical Waters’, the slightly downcast ‘Mystery of Christo’, and towards the end of ‘Waterfall Cascade’), it is worth having this album purely for these few minutes of music. It is, by far, the most attractive thing Badalamenti has ever written.

But The Beach is certainly not just a landscape score. To maintain the film’s vibrant, modernistic tone, Badalamenti worked closely with Barry Adamson, a collaboration which is marked here by the cue ‘Bizarre City’, which pulses and throbs to endless undulating synth loops and a frenetic dance music beat that cleverly captures the garish, neon-lit madness of Bangkok at night. In addition, Badalamenti also contributes plenty of action to the proceedings, illustrating the constant dangers Leo and Co. face while trying to protect their tropical paradise from drug dealers, unwanted guests, and even sharks. ‘Vision of Fantasy’, ‘Killing Fields’, ‘Grassmark’, ‘Pure Victims’ and ‘Pursuit of a Shark’ leave especially positive impressions with their energy and vitality, most of which is generated by mixing the orchestra with Adamson and Phil Marshall’s augmented high-tempo electronic beats and clever, crushing dissonance.



Angelo Badalamenti - O.S.T. The Beach (flac 260mb)

01 Bizarre City (Rmx Barry Adamson) 4:08
02 The Beach Theme (Swim To Island) 3:25
03 Vision Of Fantasy 4:04
04 Mournful Myth 2:12
05 Starnight 1:46
06 Killing Fields 5:42
07 Blue Sex 2:38
08 The Beach Theme (Mythical Waters) 1:59
09 Grassmark 2:45
10 Daffy's Done 2:15
11 Mystery Of Christo 1:53
12 Pure Victims 2:44
13 Pursuit Of A Shark 1:55
14 Waterfall Cascade 3:56
15 Dreamburst 2:47

Angelo Badalamenti - O.S.T. The Beach  (ogg 96mb)

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The Twin Peaks Archive by David Lynch and Angelo Badalamenti is an album with rare and unreleased tracks from both the television series as well as the prequel film.The counter officially stops at a whopping 212. Two hundred and twelve previously unreleased Twin Peaks tracks. The catalog was initially released between 2011 and 2012 via davidlynch.com. None of the 212 songs were —at least in their full-length form— previously included in the Music From Twin Peaks, Twin Peaks Season Two Music And More and   Twin Peaks: Fire Walk with Me soundtracks. So much material here covering both the TV series and film. Everything from familiar cool jazz, and percussion shuffles the series is known for, to the deep brooding synthesizer moods and ambiences of the film score. Listening to it reminds me of again why the show impacted pop culture the way it did. Coincidentally, Death Waltz finally reissued its long awaited vinyl release of the original Twin Peaks soundtrack just days ago, and the liner notes have Mr. Badalamenti remarking Twin Peaks as being his defining work, this compilation showing just how great he is at sculpting these surreal atmospheres.Rare Twin Peaks production stills appeared in the background on David Lynch’s website.

There are currently no plans to release Twin Peaks Archive by Angelo Badalamenti and David Lynch as a physical album, and they’ve been removed from davidlynch.com. But today, you can purchase download the entire catalog of nearly 10 hours of music as a digital download for only US $9.90 . Here, expect every Sundaze posting to end with 70 minutes plus batch of tracks the coming 8 weeks.



Angelo Badalamenti and David Lynch - Twin Peaks Archive part 5   (flac 310mb)

107 Dark Mood Woods (Studio Version) 9:51
108 One Eyed Jack's Parlour Music 2:53
109 Twin Peaks Christmas Greeting 0:12
110 Dance Of The Dream Man (Fast Soprano Clarinet) 3:41
111 Laura Palmer's Theme (Baritone Guitar Punctuation) 4:52
112 Leo Returns 4:06
113  Laura Palmer's Theme (Caroline) 1:14
114  Laura Palmer's Theme (Clarinet Bridge) 0:22
115  Laura Palmer's Theme (Clarinet Strings Bridge) 0:20
116 Laura Palmer's Theme (Dark Synth) 2:15
117 Laura Palmer's Theme (Letter From Harold) 1:18
118 Laura Palmer's Theme (Piano A) (TK1) 1:06
119 Laura Palmer's Theme (Piano A) (TK2) 1:07
120 Laura Palmer's Theme (Piano A) (TK3) 1:13
121 Laura Palmer's Theme (Piano A) (TK4) 1:14
122 Laura Palmer's Theme (Piano B) (TK1) 0:56
123 Laura Palmer's Theme (Piano B) (TK2) 1:33
124 Laura Palmer's Theme (Piano Bridge) 0:20
125 Laura Palmer's Theme (Solo Piano) 4:13
126 Laura Palmer's Theme (Vibraphone) 4:17
127 Abstract Mood 3:07
128 Abstract Mood (Slow Speed) 5:00
129 Slow Speed Orchestra 4 (White Lodge Rumble) 12:13
130 Audrey's Prayer (Flute) 1:48
131 Harold's Theme (Harpsichord) 0:53
132 Audrey's Dance (Clean) 3:40
133 Audrey's Dance (Clean) 5:15

Angelo Badalamenti and David Lynch - Twin Peaks Archive part 5  (ogg  154mb)

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Jun 17, 2017

RhoDeo 1724 Grooves

Hello,

Today's artist is a three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, his greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe". During the course of his career in the music business, he achieved 106 gold albums worldwide, 41 of which also attained platinum status. He is one of the world's best-selling artists of all time. He was at home appearing on Soul Train, guesting with a full band on The Today Show, and appearing in cartoon form in various episodes of The Simpsons. . ..... N'joy

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Born in Galveston, TX, Barry White grew up singing gospel songs with his mother and taught himself to play piano. Shortly after moving from Texas to South Central Los Angeles, White made his recording debut at the tender age of 11, playing piano on Jesse Belvin's "Goodnight My Love." He made his first record when he was 16 with a group called the Upfronts. The song was called "Little Girl" on a local L.A. label called Lummtone Records. Later he worked for various independent labels around Los Angeles, landing an A&R position with Bob Keane, the man responsible for the first pop recordings by Sam Cooke. One of his labels, Mustang, was hot at the time with a group called the Bobby Fuller Four in 1966. White was hired for 40 dollars a week to do A&R for Keane's family of labels: Del-Fi, Mustang and Bronco. During this time, White flirted with the idea of being a recording artist, making a record for Bronco called "All in the Run of a Day." But he chose to stick with his A&R duties. One of the first groups he worked with was the Versatiles who later changed their name to the 5th Dimension. White's first big hit came from an artist familiar to dancefloor denizens -- Viola Wills, whose "Lost Without the Love of My Guy" went Top 20 R&B. His salary went up to 60 dollars a week. White started working with the Bobby Fuller Four. Bob Keene and Larry Nunes -- who later became White's spiritual advisor and true friend -- wanted to cut a female act. White had heard about a singer named Felice Taylor. They had three hit records, "It May Be Winter Outside," "I'm Under the Influence of Love," and "I Feel Love Coming On." They were huge hits in England. White started making 400 dollars a week.

When Bronco went out of business, White began doing independent production. Those were some lean times for White. Veteran arranger Gene Page, who would later arrange or co-arrange White's hits, helped him out, giving him work and non-repayable loans. Then three years later, Paul Politti, who also worked at Bronco, contacted him to tell him that Larry Nunes was interested in starting a business with him. Nunes had started cutting tracks for a concept album he was working on. Meanwhile, White had started working with this girl group who hadn't done any singing professionally. They rehearsed for almost a year. White wrote "Walkin' in the Rain (With the One I Love)" with lyrics that were inspired by conversations with one of the singers, Glodean James (who would later become White's second wife). White christened the group Love Unlimited.

Larry Nunes took the record to Russ Regan, who was the head of the Uni label owned by MCA. Love Unlimited's From a Girl's Point of View became a million-seller. Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni in chaos and Love Unlimited contract-bound with the label, White decided he needed to work with another act. He wanted to work with a male artist. He made three song demos of himself singing and playing the piano. Nunes heard them and insisted that he re-record and release them as a recording artist. They argued for days about it. Then he somehow convinced White to do it. White was still hesitating up to the time the label copy was made. He was going to use the name "White Heat," but the record became the first Barry White album. That first album was 1973's I've Got So Much to Give on 20th Century Records. It included the title track and "I'm Gonna Love You Just a Little More Baby."

White got a release from Uni for Love Unlimited and they joined him over at 20th Century Records. Then he had a brainstorm for another concept album. He told Regan he wanted to do an instrumental album. Regan thought he had lost it. White wanted to call it the Love Unlimited Orchestra. The single, "Love's Theme," went to number one pop, was a million-seller, and was a smash all over the world. The song earned him a BMI award for over three million covers.

For the next five years, from 1974 to 1979, there was no stopping the Barry White Hit Train -- his own Stone Gon, Barry White Sings Love Songs for the One You Love ("It's Ecstasy When You Lay Down Next to Me," "Playing Your Game Baby"), Let the Music Play (title track, "You See the Trouble with Me"), Just Another Way to Say I Love You ("I'll Do for You Anything You Want Me To," "Love Serenade"), The Man ("Your Sweetness Is My Weakness," "Sha La La Means I Love You," "September When We Met," a splendid cover of Billy Joel's "Just the Way You Are"), and Love Unlimited's In Heat ("I Belong to You," "Move Me No Mountain," "Share a Little Love in Your Heart," and "Love's Theme," with lyrics). He also scored a soundtrack for the 20th Century Fox film The Together Brothers, enjoying a resurgence on home video.

His studio band included such luminaries as guitarists Ray Parker, Jr. (pre-Raydio, co-writer with White on "You See the Trouble With Me"), bassist Nathan East, Wah Wah Watson, David T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of the Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary Coleman, and later keyboardist Rahn Coleman. His hit streak seemed, well, unlimited. Then it all derailed. Russ Regan and another ally, Hosea Wilson, left 20th Century Records and White was left with management that he thought of in less than glowing terms.

White left after fulfilling his contract with two more album releases, Love Unlimited Orchestra's My Musical Bouquet and his own I Love to Sing the Songs I Sing. White signed a custom label deal with CBS Records. At the time it was touted as one of the biggest deals ever. He started a label called Unlimited Gold. The roster included White, Love Unlimited, the Love Unlimited Orchestra, Jack Perry, and a teenaged singer named Danny Pearson who charted with a song called "What's Your Sign Girl." He also did a duet album with Glodean James called Barry & Glodean. Aside from the gold album The Message Is Love, most of the albums weren't huge sellers. After eight Barry White albums, four Love Unlimited albums, four Love Unlimited Orchestra albums, constant touring, and dealing with the rigors of the music industry, White decided to take a break.

Then in 1992, White signed with A&M, releasing the albums The Man Is Back, The Right Night & Barry White, and Put Me in Your Mix (which contains a duet with Issac Hayes, "Dark and Lovely"). The Icon Is Love became his biggest-selling album since the '70s releases, going multi-platinum. It includes the platinum single "Practice What You Preach." The production lineup includes Gerald Levert and Tony Nicholas, his godson Chuckii Booker, Jimmy Jam and Terry Lewis, and White and his longtime friend Jack Perry. While some later efforts buried his vocals in whiz-bang electronic effects, on The Icon Is Love, White's deep steam engine baritone pipes are upfront in the mix. Staying Power followed in 1999, showcased in the best tradition of soul music where the focus is the singer and the song. The album earned White two Grammys. White's career took him from the ghetto to international success with 106 gold and 41 platinum albums, 20 gold and ten platinum singles, with worldwide sales in excess of 100 million.

White, who suffered from hypertension and chronic high blood pressure, was hospitalized for kidney failure in September of 2002. He was undergoing dialysis treatment, but the combination of illnesses proved too much and he died July 4, 2003 at a West Hollywood hospital. By the time of his death, Barry White had achieved a near-universal acclaim and popularity that few artists achieve and even fewer within their own lifetime.

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This 1980 release came out half a decade after Barry White's hot run of bedroom soul hits and during a time when the silky, compact production style of disco had left its mark on much of modern R&B music. Sheet Music reveals the downside of the situation with a slew of well-below-the-grade numbers and feeble, redundant grooves. The title track starts things off in desperate fashion as White interjects anesthetized Earth, Wind, & Fire horn riffs over a perfunctory "Rock the Boat" beat. Influence works both ways, though, since Beck used the nasal vocal vamp from the end of this song to comedic effect on his Midnite Vultures cut "Hollywood Freaks." The disappointments continue on Sheet Music as White warms to "The Theme From Love Boat" on "Lady, Sweet Lady," turns the already repetitive "I Believe in Love" into an extended mix, and gives calypso a disco turn on "Rum and Coke." The latter cut does contain one of White's irresistible, sexual-advisory monologues, and infectious grooves do pop up sporadically, but these moments are rare, but Barry White remains a great soul artist.



Barry White - Sheet Music    (flac  251mb)

01 Sheet Music 7:01
02 Lady, Sweet Lady 5:40
03 I Believe In Love 8:04
04 Ghetto Letto 5:56
05 Rum And Coke (Rum And Coca-Cola) 2:31
06 She's Everything To Me 4:03
07 Love Makin' Music 4:57

Barry White - Sheet Music  (ogg    78mb)

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Barry and Glodean White combined for a delightful LP that got overlooked. After the dark, moody opening "Our Theme" the husband and wife team gets busy on the infectious "I Want You," and the Motown ish "You're The Only One For Me." On tracks 4, 5, and 6 they beg the pop/easy listening audience . . . maybe a bit too much, for fans of White's satiny brand of soul. They get back on track with "You," but fall back off with the disjointed "You Make My Life Easy Livin'." Simply lovely is "Didn't We Make It Happen," a Barry White, Danny Pearson composition and one of the album's four strongest tunes. It begins with White's traditional rap, and fans into a beautiful mid-tempo floater. The slow, erotic "Baby," concludes a fine effort.



Barry White - Barry & Glodean    (flac 267mb)

01 Our Theme - Part I 3:18
02 I Want You 4:24
03 You're The Only One For Me 5:05
04 This Love 4:02
05 The Better Love Is (The Worse It Is When It's Over) 4:49
06 You 3:40
07 We Can't Let Go Of Love 3:55
08 You Make My Life Easy Livin' 4:17
09 Didn't We Make It Happen, Baby 5:22
10 Our Theme - Part II 2:42

Barry White - Barry & Glodean  (ogg   95mb)

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The interesting thing about this album is instead of being full of love songs like most of his albums, it's more of a social conscience record. At the time his albums were selling less and less, so he tried something different and it actually works quite well. He took a break after this record and later went back to his more typical love songs approach. Perhaps the most atypical album he did.



Barry White - Dedicated     (flac 251mb)

01 America 5:47
02 Free 5:02
03 Don't Forget ... Remember 5:45
04 Life 3:40
05 Love Song 5:50
06 All In The Run Of A Day 6:55
07 Don't Let 'Em Blow Your Mind 6:48
08 Dreams 4:20

.Barry White - Dedicated  (ogg  101mb)

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In 1983 Barry White and the Love Unlimited Orchestra released their final recording 'Rise'. As stated in an earlier review this album is very much a radical departure from earlier albums that showcased more lush "orchestrated" arrangements. The kind of music that is featured on 'Rise' is a unique and quirky mixture of then-contemporary electro funk (with stripped down new wave overtones) and latin jazz-pop-the first aspect of which actually sounds very very close to the recent music produced by Outkast and Gnarls Barkly. The two opening cuts "Take A Good Look" and "My Laboratory (Is Ready For You)"-the most famous song here are the primary examples of the "new sound"-same goes for the playful "Do It To The Music...Please"-all three feature heavy percussion and blippy keyboards popping in almost as puncuation.The "old" Barry White,with the deep voiced cooing appeal appears (briefly) on "After Five";that and "Anna Lisa" showcase a more ballad sound."In Brazil" is a very rousing 80's Brazillian R&B/funk free-for-all,not that far removed from George Duke and Deodato's forways into the genre."Goodbye Concerto" is another cut more representaive of the LUO's classic sound except the live drumming is replaced with polyrhythmic "syndrums";the overall feel is kind of like electro computer Love Unlimited orchestration. Taken with the times this album probably puzzled most people, especially fans of classic Barry White. But taken with todays music this album this is actually pretty innovative in terms of what is contemporary now. Something tells me...one day (maybe not now) this album will take on the mystique of something like Shuggie Otis's Inspiration Information and be reissued by someone in the context of it's connection to modern music. However it happens this is a big surprise people should know more about.



The Love Unlimited Orchestra - Rise  (flac 290mb)

01 Take A Good Look (And What Do You See?) 6:27
02 My Laboratory (Is Ready For You) 6:18
03 After Five 7:32
04 Do It To The Music . . . Please 5:44
05 In Brazil 5:34
06 Anna Lisa 4:58
07 Goodbye Concerto 4:04

 The Love Unlimited Orchestra - Rise (ogg  101mb)

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Jun 16, 2017

RhoDeo 1724 Re-Up 102

Hello, last time when i posted Aetix i was watching a towering inferno on CNN, the BBC came on later but with much more info,  I watched the unfolding drama for hours. From the images it was clear to see that the fire spread from the outside in. The firebrigade unable to do anything about it, maybe they should have called in the forrestfire airplane to dump loads of water on it, it might have worked to extinguish the fire but it happened to quickly. The cladding once burning torched the building, inside about 600 people, a figure kept back by the BBC as the policy seems to be in the UK to keep victim numbers down, currently the official number is 17 but this number will rise significantly, it's expected to take weeks before all charred remains have been collected and identified, by that time emotions will have waned, even if the number of victims may rise to 100. The blame game has started and well one would think that highrises would have sprinklers considering the whole building had been renovated 2 years earlier, but not here, ironically this renovation was the cause of the fatal fire, meanwhile the cladding company went bust last year. What is clear though that London is a cosmopolitan city with lot's of citizens from allover the world, victims of the Daesh attack 2 weeks earlier were mainly foreigners, this disaster has hit the poorest immigrants, coloured people and muslims notably the first identified victim was a refugee from Syria. The good side of this disaster is that if gave the public to show it's humanity and community spirit bringing everything they could miss to the bereaved survivors......



7 correct requests this week, 2 too recent, in short another batch of 32 re-ups, 14 for the first time in Flac.


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 June 15th.... N'Joy

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11x Scotland NOW In Flac (Jesus & Mary Chain - Darklands, Shamen - Axis Mundi, Shamen - Arbor Bona Arbor Mala, Angelfish - Angelfish, Billy Mackenzie - Outernational, Billy MacKenzie - Beyond The Sun, Wolfstone - Pick of the Litter, Midge Ure - If I Was, VA - Slam - Soma MuzikMix, Simple Minds - Sister Feelings Call)


3x Beats NOW in Flac (Chicks On Speed - 99 ¢, VA - The New Preskriptions Of Dr. Lektroluv, VA - Infekted By Dr. Lektroluv )


3x Sundaze Back In Flac ( The Sushi Club - Sushidelic, The Sushi Club - Neo Sashimi, The Sushi Club - Sakura)


4x Sundaze Back In Flac ( HIA & Biosphere - Polar Sequences, HIA & Biosphere - Birmingham Frequencies, HIA & Namlook - S.H.A.D.O,  HIA & Namlook - S.H.A.D.O 2)

4x Beats Back In Flac (Cosmic Baby - Loops Of Infinity/Heaven's Tears, Cosmic Baby - Fantasia/Blade Runner, Cosmic Baby - Futura EP, Energy 52 - Café Del Mar )


3x Grooves Back In Flac ( Parliament - Funkentelechy vs. the Placebo Syndrome, Parliament – Motor Booty Affair , Parliament – GloryHallaStoopid (Pin The Tale On The Funky) )


4x In From The Cold Back In Flac ( Loreena. McKennitt - The Book of Secrets, Mari Boine - Idjagiedas , Gjallarhorn - Ranarop, Japan - Gentlemen Take Polaroids)


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Jun 14, 2017

RhoDeo 1724 Aetix

Hello, 'emperor' Trump and his sycophantic cabinet, it looked like a bad B movie and these clowns are supposed to run the most powerful nation on Earth, you can hear the roaring laughter in Beijing and Moscow...



Today's artists are an English rock band active during the late 1970s and early 1980s. The group, which lasted from 1977 to 1982, existed in two incarnations, both fronted by Adam Ant. The first, founded in May 1977 and known simply as The Ants until November that year, achieved considerable cult popularity during the transition from the punk rock era to the post-punk and new wave era and were noted for their high camp and overtly sexualised stage performances and songs. The final line-up of this first incarnation left the band in January 1980 at the suggestion of then-de facto manager Malcolm McLaren, to form the instrumentalist personnel of the controversial Bow Wow Wow. The second incarnation of Adam and the Ants featured guitarist Marco Pirroni and drummer-producer Chris Hughes and was noted for its use of Burundi drums. It lasted from February 1980 to March 1982 and achieved major commercial success in the UK and abroad.......N'Joy

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Prior to Adam and the Ants, Adam Ant (born Stuart Leslie Goddard) played bass in pub rock group Bazooka Joe, now primarily known as the band that headlined when Sex Pistols played their first concert on 6 November 1975 at Central Saint Martins College of Art and Design. After witnessing this, Adam quit the band with the intention of forming his own, inspired by Sex Pistols. Tentatively called The B-Sides, they practised regularly over the following months but, lacking a drummer, never managed to play a gig. Meanwhile, Adam Ant had befriended some influential figures in the burgeoning London punk scene, most notably Jordan, who worked in Malcolm McLaren and Vivienne Westwood's SEX boutique shop. The Ants eventually formed in early 1977 consisting of Lester Square (guitar), Andy Warren (bass guitar) and Paul Flannagan (drums). Lester Square left to finish his course at an art school and to later form The Monochrome Set just days after The Ants played their first gig on 5 May 1977, at a bedroom in Muswell Hill. Mark Ryan replaced him on guitar and played the first formal gigs (starting with a performance at the ICA in London on 10 May 1977). In early June, Flannagan was replaced with Dave Barbarossa and the resulting line-up recorded "Plastic Surgery" (along with seven other unreleased demos later dubbed the "Jubilee Demos" by bootleggers) and featured in the film Jubilee as the band of Adam's character Kid, until Ryan was replaced by Johnny Bivouac in October 1977. Shortly after this, the group adopted the longer Adam and the Ants bandname.

The band made their radio debut on the John Peel show with a session recorded on 23 January 1978, including the song "Lou" featuring the group's manager Jordan guesting on lead vocals (as she would regularly do on live performance of the song from mid-1977 until May 1978 when she split from the band). The following day, Adam and the Ants re-recorded "Deutscher Girls" (and overdubbed a guitar solo onto the above-mentioned version of "Plastic Surgery") for the Jubilee soundtrack album, which would be released in April – the two tracks on the album being the group's vinyl debut.

Touring extensively around the UK, often with Siouxsie and the Banshees, they proved to be unpopular with much of the British music press who disliked their fetishistic lyrics and imagery. In response, the group formed a strong – at times ideological – rapport with amateur punk fanzines such as Ripped And Torn which gave them more favourable coverage. The band built up a strong cult following (the early "Antpeople") but struggled to find overground success or even a record deal (apart from the two Jubilee soundtrack songs) until 1978 when they were signed to Decca.

By this time, Adam and the Ants had been through several line-up changes before eventually settling on the stable line-up of Adam Ant (vocals and guitar), Matthew Ashman (guitar), Andy Warren (bass guitar) and Dave Barbe (drums). It would be this line-up that recorded and released their first single "Young Parisians" to confused reviews and little success, along with a total of 21 demo recordings, all bar one of which was recorded at Decca's own studio in West Hampstead. Many of these and other early recordings and demos would eventually surface as bootleg recordings. They also recorded a further two John Peel Sessions in July 1978 and March 1979 and all three sessions were released in 2001 on The Complete Radio 1 Sessions.

Apparently unable to satisfactorily market the band, Decca let them go in early 1979, and the group, still with the same line-up but employing a lighter sound than previously (except for live shows), signed with independent label Do It Records and recorded their second single "Zerox" and debut album Dirk Wears White Sox, before Warren also left to join Lester Square in The Monochrome Set. Ashman also temporarily left the band at this point, and Ant and Barbe recorded a set of nine demos at Solid Gold Sound Studios in London for a putative Ant solo project, using a heavily soul/funk/disco influenced sound. Do It rejected the new songs and Ashman returned to the band shortly thereafter.

Late 1979 saw the release of Dirk Wears White Sox (1979, Do It Records). The title referenced Dirk Bogarde. The album was somewhat dark, with post-punk riffs and some vestiges of glam rock, as well as attempts to fuse this sound with funk and soul. Lyrically it addressed subjects such as fetishism, historical figures like Adolf Hitler, John F. Kennedy and Cleopatra as well as art history, particularly the Futurism movement. It gained a cult following rather than commercial success, leading a frustrated Adam to hire Malcolm McLaren, former manager of the Sex Pistols, in the hope of gaining more widespread recognition.

On 26 January 1980, McLaren convinced the rest of the band – then comprising guitarist Matthew Ashman, bassist Leigh Gorman (who had replaced Warren in November 1979) and drummer Dave Barbe – to leave Adam and the Ants and form Bow Wow Wow, fronted by Annabella Lwin.

During February–April 1980, a new version of Adam and the Ants was formed with Marco Pirroni (an ex-member of Siouxsie and the Banshees, The Models, Rema Rema and Cowboys International) (guitar), Kevin Mooney (bass guitar), and two drummers, Terry Lee Miall and Chris Hughes (ex-The Blitz Brothers, future Tears for Fears producer), who took the pseudonym of "Merrick." Pirroni would become an influential member of the group, co-writing all of their new songs with Adam Ant.

While in the process of assembling the band, Ant and Pirroni re-recorded the Dirk Wears White Sox track "Cartrouble Pt.2" as a contract fulfilling single for Do It, together with future Culture Club drummer Jon Moss and with Hughes producing. The label released the single under the shorter title "Cartrouble" in March 1980 (with Moss credited as "Terry 1+2"), and it reached No. 1 on the UK Independent Singles Chart. The following month, the by-then recruited full band recorded the single "Kings of the Wild Frontier" for prospective record companies.

Without label support, the band carried out a major UK "Ants Invasion" tour, at the end of which, they signed a major label deal with CBS Records and began recording Kings of the Wild Frontier, having first rush-released the title track as a single. That album was a hit in the United Kingdom and put the band at the forefront of the New Romantic movement. The album reached No. 1 on the UK album charts on 24 January 1981.

There were three hit singles from this LP, including "Dog Eat Dog" (reaching No. 4 on the UK singles charts in October 1980), 'Antmusic' (No. 2 in January 1981 – only kept off top spot by recently murdered John Lennon), whereby Antmusic went to No. 1 in Australia, and "Kings of the Wild Frontier" (No. 2 in March 1981, previously No. 48 in August 1980). In addition, 'Antmusic' made it to No. 1 in Australia for five weeks.

Decca and Do It Records both repromoted all of the band's previous output to cash in on the success of the album and its satellite singles. "Young Parisians" reached No. 9 in December 1980 (giving the old Ants band a posthumous UK Top 10 hit single) while Dirk Wears White Sox made it to No. 17 in the album charts in February 1981. "Zerox" and "Cartrouble" also charted that month, making it to No. 33 and No. 45, respectively, in the UK Singles Chart. Bassist Kevin Mooney left the band in 1981, and was replaced with Gary Tibbs, who joined just in time to promote the hit single "Stand and Deliver".

In November 1981, Adam & the Ants released Prince Charming. The band had two United Kingdom No. 1 singles: "Stand and Deliver" was a No. 1 single in the UK for 5 weeks in May 1981, followed by "Prince Charming", which topped the UK charts for 4 weeks in September 1981 "Ant Rap" reached No. 3 in January 1982. There would be a further round of cash-in reissues of early material in early 1982, when the two Jubilee soundtrack songs were reissued in February as a 7-inch single with "Deutscher Girls" as the A Side, reaching No. 13 on the UK singles chart (giving the original Ants band a second posthumous Top 15 hit), while Antmusic EP, a 12" EP of three unused tracks from the Dirk sessions plus a remix of 'Cartouble (Parts 1 & 2)'), was released by Do It in March, reaching No. 46.

In early 1982, the band received a BRIT Award for Best Album (Kings of the Wild Frontier) and a Grammy Award nomination for Best New Artist. In March 1982, feeling certain band members "lacked enthusiasm", Adam Ant disbanded the group. Newspaper articles at the time offered various explanations for the motivations behind the split. Initially Adam was quoted as saying that the split was amicable but later he was to say that "the interest just wasn't there any more. It might have been Adam and the Ants on the billboards but not on stage". In addition, it is said that Pirroni quit as he was tired of touring.[10] A few months after the split Adam Ant launched a solo career (though he retained Marco Pirroni as co-writer), enjoying immediate success with a third UK No. 1 hit single "Goody Two Shoes". Some copies of the single are credited to Adam and the Ants, but only Ant and Pirroni from the band feature, plus also Merrick on the UK single mix (the US release used the album recording featuring Bogdan Wiczling from Ant's new live backing band.). Merrick subsequently rejoined Dalek I Love You and later in 1982 began a successful career as a producer with Tears For Fears.

Adam and the Ants have had a major influence on many artists that have emerged since the band's short career, including Fatboy Slim (Norman Cook) Robbie Williams, The Charlatans, Dirty Pretty Things, Republica, Nine Inch Nails, Suede and Elastica. In early 1995, Adam Ant and Marco Pirroni joined Nine Inch Nails on stage to perform "Physical (You're So)", "Red Scab" and "Beat My Guest", three songs from Adam and the Ants early catalogue. Nine Inch Nails also covered "Physical (You're So)" on their 1992 EP Broken. On 8 May 2006 Hyper released their debut album featuring a cover of "Antmusic", with Leeroy Thornhill of the Prodigy on lead vocals. In April 2009, No Doubt performed a cover of "Stand and Deliver" on an episode of the American TV show Gossip Girl, and performed it at the Bamboozle music festival, New Jersey, in May 2009, although they had no plans to release the song as a single.

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The original Ants lineup released only one LP, Dirk Wears White Sox for Do It in 1979. The album finds a young Adam Ant exploring the sometimes-awkward fusion of punk, glam, and minimalist post-punk with bizarre images and disturbing tales of alienation, sex, and brutality. And while the somewhat pretentious, overly arty lyrics and inexperienced playing are a drawback, the album offers a fascinating look at the Ants' formative years, capturing a raw energy that would be sacrificed for more polish on subsequent releases. [At the height of Antmania, Adam acquired the rights to the album, remixing it, dropping a few tracks, and adding a couple of early tracks for reissue in 1983 with a different cover for Epic.  This here the 2004 original remastered version, with singles.



 Adam And The Ants ‎- Dirk Wears White Sox   (flac  377mb)

Original November 1979 Album Release (Do-It RIDE 3)
01 Cartrouble (Parts 1 & 2) 6:48
02 Digital Tenderness 3:03
03 Nine Plan Failed 5:11
04 Day I Met God 2:56
05 Tabletalk 5:32
06 Cleopatra 3:15
07 Catholic Day 3:05
08 Never Trust A Man (With Egg On His Face) 3:13
09 Animals And Men 3:17
10 Family Of Noise 2:36
11 The Idea 3:25
Original July 1979 7" Release (Do-It DUN 8)
12 Zerox 3:46
13 Whip In My Valise 3:59
Original March 1982 12" E.P. Release (Do-It DUNIT 20)
14 Kick 1:34
15 Physical 3:56
16 Cartrouble (Parts 1 & 2) 6:35
17 Friends 2:38
Original March 1980 7" Release (Do-It DUN 10)
18 Cartrouble 3:24
19 Kick! 2:06

Adam And The Ants ‎- Dirk Wears White Sox   (ogg  170mb)

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Hooking up with Malcolm McLaren was a pivotal moment for Adam Ant, since the manager not only introduced Ant to the thundering, infectious Burundi drum beat that became his signature, he stole his band, too. Adam and the rest of the Ants had just worked up how to exploit the Burundi style when McLaren pirated the boys off to support Annabella Lwin in Bow Wow Wow -- using the very same sound they had developed with Adam Ant. It was now a race to get that sound into the stores first, and Adam lucked out when he joined forces with guitarist Marco Pirroni, who quickly proved to be invaluable. Ant and Pirroni knocked out a bunch of songs that retained some of the dark artiness of Dirk Wears White Sox, largely anchored by those enormous Burundi beats and given great, irresistible pop hooks -- plus a flash sense of style, as the new Ants dressed up in something that looked like American Indians with a velveteen touch of a dandy fop. It was a brilliant, gonzo move -- something that quickly overshadowed Bow Wow Wow -- and the resulting record, Kings of the Wild Frontier, is one of the great defining albums of its time. There's simply nothing else like it, nothing else that has the same bravado, the same swagger, the same gleeful self-aggrandizement and sense of camp. This walked a brilliant line between campiness and art-house chutzpah, and it arrived at precisely the right time -- at the forefront of new wave, so Adam & the Ants exploded into the British popular consciousness. If image was all that they had, they would've remained a fad, but Kings of the Wild Frontier remains a terrific album because it not only has some tremendous songs -- the title track and "Antmusic" are classic hits, while "Killer in the Home" and "Physical (You're So)" are every bit their equal -- but because it fearlessly, imperceptibly switches gears between giddy and ominous, providing nothing short of a thrill ride in its 13 songs. That's why it still sounds like nothing else years after its release.



Adam and the Ants - Kings of the Wild Frontier (flac 365mb)

Original November 1980 Album Release
01 Dog Eat Dog 3:09
02 Antmusic 3:36
03 Feed Me To The Lions 2:59
04 Los Rancheros 3:29
05 Ants Invasion 3:19
06 Killer In The Home 4:20
07 Kings Of The Wild Frontier 3:55
08 The Magnificent Five 3:06
09 Don't Be Square (Be There) 3:32
10 Jolly Roger 2:10
11 Making History 2:57
12 The Human Beings 4:29
13 Antmusic (Alternative Mix) 3:40
Previously Unreleased Demo Recordings
14 Antmusic 3:26
15 Feed Me To The Lions 3:00
16 The Human Beings 2:27
17 S.E.X. 3:53
18 Omelette From Outer Space 3:06

Adam and the Ants - Kings of the Wild Frontier   (ogg  146mb)

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Kings of the Wild Frontier brought Adam and the Ants massive popularity in England, and it brought enormous pressure for Adam and guitarist Marco Pirroni to stand and deliver another slice of dynamite. The first single, the punchy horn-laden "Stand and Deliver," suggested that they were up to the task, but when Prince Charming appeared in late 1981, it was pretty much universally panned and it still stands as the weakest record from Ant's classic period. With its ridiculous song titles and cover photos, which suggest that the Ants were moving away from Native Americans and toward pirates, it's hard not to view it as a descent into camp, yet Adam claims in the liner notes for Antbox that he believes that Prince Charming is "a very serious record based on very classical, historical themes." That may be true on certain tracks, but it's hard to see where "Mile High Club," "S.E.X.," "Mowhok," and "Ant Rap" fit into that scheme, but he's right about the intent -- this is a markedly different record than Kings, intentionally so. The group have not only moved on in image, they've also left behind their signature Burundi beats while upping the cinematic qualities inherent in their music. So, "Five Guns West" and "Mowhok" are given neo-spaghetti western backdrops, while eerie guitars, mariachi horns, and trilling vocals underpin "That Voodoo." There are a lot of little details like that to dwell on in the production -- "Picasso Visita el Planeta de los Simios" sounds absolutely terrific -- but apart from "Scorpios," "Stand and Deliver," and the cheerfully ludicrous "Ant Rap," the songs just aren't there. Kings had style, sound, and songs, while Prince Charming simply has style and sound -- which, in retrospect, isn't all that bad, but it's also not hard to see how it sparked a backlash at the time.



 Adam And The Ants - Prince Charming (flac 313mb)

01 Scorpios 2:46
02 Picasso Visita El Planeta De Los Simios 3:28
03 Prince Charming 3:18
04 Five Guns West 5:02
05 That Voodoo! 4:18
06 Stand And Deliver 3:35
07 Mile High Club 2:42
08 Ant Rap 3:26
09 Mowhok 3:28
10 S.E.X.- The Lost Hawaiians 5:00
Original 1981 Demos And Writing Tapes
11 Prince Charming 3:09
12 Stand And Deliver 3:04
13 Showbiz 3:06
14 Picasso Visits The Planet Of The Apes 3:21
15 Who's A Goofy Bunny Then? 4:24
16 Scorpio Writing 3:20

Adam And The Ants - Prince Charming   (ogg  125mb)

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Adam Ant and Marco Pirroni ditched the rest of the Ants not long after the release of the widely derided Prince Charming, which provided them with the perfect opportunity for a new statement of purpose in the first Ant-less album, 1982's Friend or Foe. They had already begun moving away from Burundi beats and Indians on Prince Charming, but here they ditch any pretense at the underground, favoring big, glitzy glam pop. There's still residual artiness, of course, since Adam and Marco are post-modernists that love to paste together seemingly incongruous strands of pop culture in an attempt to craft something new. The difference is, they've wrapped this instinct in big, big production and cheerful, unabashed pop hooks, best heard on "Place in the Country" and the hits "Friend or Foe," "Desperate But Not Serious," and "Goody Two Shoes," the latter becoming Adam's biggest hit in the U.S. Since these are deliberate pop trifles, several critics laughed off Ant as a silly lightweight, but that's missing the point -- these are intentionally tongue-in-cheek tunes, delivered with an excess of flair and good humor. Though Friend or Foe does lose momentum on the second side and the cover of the Doors' "Hello, I Love You" falls a little flat, this is good, giddy fun, one of Ant's best records and one of the best new wave albums.



Adam Ant - Friend Or Foe (flac  509mb)
 
01 Friend Or Foe 3:23
02 Something Girls 3:52
03 Place In The Country 2:50
04 Desperate But Not Serious 4:15
05 Here Comes The Grump 3:37
06 Hello I Love You 2:39
07 Goody Two Shoes 3:29
08 Crackpot History And The Right To Lie 2:45
09 Made Of Money 3:31
10 Cajun Twisters 2:58
11 Try This For Sighs 3:04
12 Man Called Marco 3:30
Bonus
13 Goody Two Shoes (Single Mix) 3:21
14 Coup D'Etat 3:11
15 Goody Two Shoes 3:12
16 Here Comes The Grump 2:27
17 Little Italy 2:19
18 Made Of Money 2:50
19 Place In The Country 3:01
20 And So You Shall 3:40
21 Yellowbeard 2:26
22 I Know They Know 3:50
23 Gargoyles Are Go 2:23
24 Good Sex Rumples The Clothing 3:01

Adam Ant - Friend Or Foe   (ogg   187mb)

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