May 27, 2017

RhoDeo 1721 Grooves

Hello, the Giro is coming to an exiting finish after race leader Dumoulin showed weekness today and lost his jersey to Quintana, but he is still close second with Nibali and Pinot breathing down his neck, all within a minute with mountain top finish tomorrow and as final a 30k timetrial, all to play for....meanwhile  200 miles to the west it's the Grand Prix of Monaco will it conjure up some drama or not, will Verstappen finish ? Will Ferrari win it ?


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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Barry White turned into such iconic figure that it’s odd to hear his beginnings on his 1973 debut I’ve Got So Much to Give. In a sense, his sound is fully formed -- there’s no mistaking his velvet baritone or his lush, string-draped surrounding, particularly on the album’s closing “I’m Gonna Love You Just a Little More, Baby,” a song so seductive it set the pace for the rest of his career. Still, behind that creamy drapery it’s possible to hear a strong debt to Isaac Hayes throughout I’ve Got So Much to Give, particularly when the whole affair opens a slow, steady, eight-minute crawl through “Standing in the Shadows of Love” that strips all the bounciness out of the Supremes original, just like how all of Hayes reworkings of ‘60s pop hits turned the hit versions inside out on Hot Buttered Soul. Barry may be following in Isaac’s footsteps, but he winds up on his own path, one that isn’t quite as ambitious, one that is fairly hellbent on romance to the exclusion of everything else. Compared to what White did later, I’ve Got So Much to Give does display a fair amount of extraneous frills -- this is all about sex, but there are shifting textures and moods, it’s more serious about its seduction because White’s reputation as a loverman is not secure -- which makes it a richer, more interesting record than much of his body of work, perhaps containing some dead ends, but being all the more captivating for its slight touch of messiness.



Barry White - I've Got So Much To Give    (flac 233mb)

01 Standing In The Shadows Of Love 8:02
02 Bring Back My Yesterday 6:42
03 I've Found Someone 5:54
04 I've Got So Much To Give 8:14
05 I'm Gonna Love You Just A Little More Baby 7:11

Barry White - I've Got So Much To Give  (ogg     90mb)

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Stone Gon' was the second release in an incredible run of sensually charged titles White produced during the first half of the '70s. His patented mix of love monologues and rich vocal dynamics would come to mark the best songs of the period, including the two chart-toppers here, "Honey Please, Can't Ya See" and "Never, Never Gonna Give Ya Up." Of course, White's inventive arrangements and crack band only add to the stock of these soulful pop excursions. And beyond the hits, tracks like "You're My Baby" and "Hard to Believe That I Found You" maintain the high standard, compliments of mesmerizing backdrops and more vocal seduction; with wine and candlelight already casting a spell, it's just a matter of time before White's supremely tranquil delivery and blissed-out wash of strings and saxophone will cause the amatory to completely lose it. Bringing things back to earth, White displays unerring sensitivity on "Girl It's True, Yes I'll Always Love You," a love song as sincere and sanctified as any he's made. Essential listening.



Barry White - Stone Gon'    (flac  229mb)

01 Girl It's True, Yes I'll Always Love You 8:36
02 Honey Please, Can't Ya See 5:11
03 You're My Baby 9:08
04 Hard To Believe That I Found You 6:59
05 Never Never Gonna Give You Up 7:55

Barry White - Stone Gon'    (ogg   89mb)

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The third in White's mostly stellar run of albums on the 20th Century label, Can't Get Enough finds the bedroom alchemist coming up with another solid batch of lush, proto-disco gems. White went from strength to strength during the '70s, collaborating with co-arranger Gene Page on some of the most sophisticated and seamless charts in popular music (Philly soul architects Leon Huff, Kenny Gamble, and Thom Bell also deserve recognition in this regard). And thanks to an amazing succession of hits, White not only impressed the music cognoscenti, but repeatedly scored with the radio faithful, too -- Can't Get Enough features two of his biggest chart toppers, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe." And besides the hits, it's not just all padding here: "I Can't Believe You Love Me" and "Oh Love, Well We Finally We Made It" qualify as two of White's most fetching slow burners, while "Mellow Mood (Pts. 1 & 2)" shows off his knack for layered instrumentals. Another highlight from White's prime.



Barry White - Can't Get Enough   (flac 194mb)

01 Mellow Mood (Pt. I) 1:52
02 You're The First, The Last, My Everything 4:33
03 I Can't Believe You Love Me 10:17
04 Can't Get Enough Of Your Love, Babe 4:30
05 Oh Love, Well We Finally Made It 3:50
06 I Love You More Than Anything (In This World Girl) 4:59
07 Mellow Mood (Pt. II) 1:22

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With his 1973 debut, I've Got So Much Love to Give White redefined the R&B and pop with his grand arrangements and pursuit of studio excellence. The frothy "Love's Theme" from his Love Unlimited Orchestra is considered influential early disco. By the time this was released, the sound was slightly on the wane. With his demanding schedule of cranking out an album or more a year, as well as work from Love Unlimited and Love Unlimited Orchestra This effort shows the strain. The album kicks off with "Heavenly, That's What You Are To Me," and despite its great intro, it ultimately pales in comparison to earlier tracks. On "I'll Do for You Anything You Want Me To" finds White in ragged voice throughout and the onslaught on his grunts and groans didn't help him not be a parody of himself. Just Another Way to Say I Love You seems to cautiously plod along, but White had something innovative planned here. "Love Serenade" has him throwing all caution to the wind with lines like "I don't wanna feel no clothes," followed by the even better, "And take off that brassiere, my dear." As for regular ballads, "Let Me Live My Life Lovin' You Babe" clocks in at a sleep-inducing 10:29. This album closes out with "Love Serenade (Part II)," a bass heavy, libidinous instrumental. This is not a horrible effort, but he no doubt could do much better.



Barry White - Just Another Way To Say I Love You    (flac 244mb)

01 Heavenly, That's What You Are To Me 4:59
02 I'll Do For You Anything You Want To Me 6:07
03 All Because Of You 6:34
04 Love Serenade 4:43
05 What Am I Gonna Do With You 3:36
06 Let Me Live My Life Lovin' You Babe 10:17
07 Love Serenade (Part II) 3:05

 Barry White - Just Another Way To Say I Love You (ogg  95mb)

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May 26, 2017

RhoDeo 1721 Re-Ups 99

Hello,

9 correct requests this week, all fulfilled, in short another batch of 29 re-ups.


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 May 25th.... N'Joy

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3x Sundaze Back in Flac (Astropilot - Solar Walk 2, AstroPilot ‎- Star Walk, Astropilot -  Special Places)


3x Sundaze Back In Flac (Ishvara - Magik Square Of The Sun, Indigo Egg - Ixland, Ishq - Timelapse in Mercury )


3x Roots Back in Flac (VA - To The Music Of Morocco, Groupe Mazagan - Tajine Electrik, VA - The Rough Guide - Rai)


1x Sundaze NOW In Flac ( Philip Glass - Solo Piano)


4x Beats NOW In Flac ( Underworld - Everything, Everything, Underworld - Dark & Long,  Underworld - Dirty Epic-Cowgirl, Underworld - Dubnobasswithmyheadman  )


4x Aetix Back in Flac (Shriekback - The Infinite, Shriekback - Evolution, Shriekback - Oil And Gold, Shriekback - Big Night Music)


5x Sherwoods Back In Flac (Looplizard - Into the Sun, Ministry - Twitch , Primal Scream - Echo Dek,  Medium Medium - Glitterhouse, Suns of Arqa - Revenge of the Mozabites)


3x Aetix Back In Flac ( Richard Hell & The Voidoids - Blank Generation, Richard Hell & The Voidoids - Destiny Street Repaired, Richard Hell - Spurts (The Richard Hell Story))


3x Roots Back In Flac (Souad Massi - Deb (Heart Broken), Souad Massi - Mesk Elil (Honeysuckle),  Souad Massi - Raoui)


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May 24, 2017

RhoDeo 1721 Aetix

Hello, so it was a 22 year old nutter who blew himself up to let us all rejoice in Allah, he could have walked into a sportsbar wednesday night and score more victims, but hey these religious nutters are sexually repressed so killing young women makes much more sense. In the aftermath i'm getting irritated by all those channels repeating, it could have happened at an event near you. Disgusting nitwits projecting terror.....

Meanwhile Britain lost his stylish alpha male, the man that used to beat the bad guys usually with some tongue in cheek. I was a fan of him in Ivanhoe, the Saint and it was self evident he would become 007 a role he played 7 times until at 58 he was retired, but he remained one of the best dressed British men until his death by skin cancer today age 89, Roger Moore, R.I.P.



Today's artists are one of the legendary 4AD label's earliest and most under-recognized acts, that has had their biggest succces in the US ....N'Joy

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Formed in Colchester, Essex, England, in 1979 by Robbie Grey (vocals), Gary McDowell (guitar, vocals), and Michael Conroy (bass, vocals) originally known as the Lepers. The group expanded to "Modern English" when Richard Brown (drums) and Stephen Walker (keyboards) A debut single, "Drowning Man" was released in 1980 on the Limp Records label. The band's full-length Mesh & Lace, released by 4AD Records a year later, was inspired by the stylish gloom of Bauhaus and Joy Division, Modern English released the singles "Swans on Glass" and "Gathering Dust" before recording their 1981 debut LP Mesh & Lace. Boiling with raw anger, dissonant rhythms, and weird noises, Mesh & Lace confused and mesmerized.

The follow-up album After The Snow (1982), recorded by the same line-up, was a minor revelation, as they introduced warmth and strong guitar harmonies (most notably on the hit "I Melt With You"), rejecting the tinny bleakness of the debut. It was well received in the USA, selling 500,000 units, and the band relocated to New York to consolidate a popularity encouraged by college radio. Their album Ricochet Days had a crisper production with hits such as "Ricochet Days" and "Hands Across the Sea". However sales turned out dissapointing, as the label had expected another Melt with you hit. Exhausted from touring, Modern English began falling apart, by the time of Stop Start, released in the US by Sire Records in 1986, Walker and Brown had left (been fired) and Aaron Davidson (keyboards, guitar) had joined.

The band had tried too hard for commercial success, pushed by their label and subsequent producers. Grey returned to England to form a new outfit, but reconvened Modern English in 1990 with Davidson and Conroy. They released Pillow Lips on the TVT label, selling 300,000 units. Robie Grey and band member Ted Mason co-wrote and produced a second release for TVT recording with live strings and multiple harmonies. It received very little enthusiasm from TVT. Locked into contractual obligations with TVT, Grey subsequently put the band on hold to study and travel, and Mason handled the legal issues of getting out of the TVT deal.

Robbie Grey toured the US with a new Modern English lineup from 1998 to 2002 and travelled coast to coast across the US and recorded a new album with Hugh Jones (producer of earlier Modern English records). The songs written with guitarist Steven Walker (not to be confused with the band's original keyboardist) and including Matthew Shipley came together on the road and back home in London between tours. The owner of the masters died, the recordings were lost for a while and the band kind of fizzled out. After a few years on the shelf, this collection of songs, entitled Soundtrack, was released on 24 May 2010 on Darla, with Jon Solomon on drums.

Also in 2010, the original lineup of the band reformed (minus drummer Richard Brown) and toured the US in July and September 2010 and the UK and Paris in June 2011. They were invited by film director Mark Pellington to re-record "I Melt with You" for his movie of the same name. The current reformed line-up of the band includes original members Robbie Grey, Mick Conroy, Gary McDowell and Stephen Walker, augmented by Roy Martin on drums. They also toured the Mesh & Lace album in the U.S. in 2016. They recorded a new album which was funded via Pledge, Take Me to the Trees was recorded, produced and mixed by Martyn Young from Colourbox, who also adds additional keyboards, released late 2016. An excellent comeback..



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The debut album by this overlooked 4AD outfit from Colchester in Essex. In many ways, Modern English helped to define the sound and image of that pioneering label; while admittedly pretentious at times, they were also sharp-edged, intellectual, and obsessed with aestheticism. The standouts here are the title track, "Smiles and Laughter," and "Gathering Dust," an epic post-punk exercise in aural dynamics. The keyboard rush that they employ is one of the punkiest uses of Stephen Walker's synthesizer imaginable -- at least prior to the development of the industrial movement.



Modern English - Mesh & Lace (flac  421mb)

01 Gathering Dust 4:20
02 16 Days 4:33
03 Just A Thought 4:08
04 Move In Light 4:45
05 Grief 6:28
06 The Token Man 6:32
07 A Viable Commercial 4:24
08 Black Houses 5:44
09 Dance Of Devotion (A Love Song) 5:51
Bonus
10 Smiles And Laughter 3:12
11 Mesh And Lace 4:19
12 Tranquility Of A Summer Moment (Vice Versa) 7:02
13 Home 3:50
14 Swans On Glass 4:35
15 Incident 2:38

Modern English - Mesh & Lace   (ogg  140mb)

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"I Melt with You" will forever be the one specific moment that's Modern English's place in pop history, but the album it came from, After the Snow, isn't anything to sneeze at either. Indeed, in transforming from the quite fine but dour young miserabilists on Mesh & Lace to a brighter incarnation who still had a melancholy side, the quintet found exactly the right combination best-suited for their abilities. Like contemporaries B-Movie and the Sound, Modern English used punk and post-punk roots as a chance to introduce a haunting, beautiful take on romance and emotion, while the contributions of Stephen Walker on keyboard helped make the album both of its time and timeless. That said, the secret weapon on the album is the rhythm section of Michael Conroy and Richard Brown, able to shift from the polite but relentless tribal beat clatter on the excellent "Life in the Gladhouse" to the ever more intense punch of the title track, the album's unheralded masterpiece. None of this is to denigrate the contributions of singer Robbie Grey and guitarist Gary McDowell. The former's seemingly mannered singing actually shows a remarkable fluidity at points -- "After the Snow" again is a good reference point, as is the fraught, slow-burn epic "Dawn Chorus" -- while McDowell works around the band's various arrangements instead of trying to dominate them. Some songs, like "Face of Wood," even find Modern English -- often dogged with Joy Division comparisons early on -- predicting where New Order would go before that band got there itself. Still, "I Melt with You" is the main reason most will want to investigate further. A perfect pop moment that didn't have to strain for it, its balance of giddy sentiment and heartfelt passion matched with a rush of acoustic and electric guitar overdubs just can't be beat. After the Snow was re-released with six bonus tracks.



Modern English - After The Snow (flac 435mb)

01 Someone's Calling (4:01)
02 Life In The Gladhouse (4:22)
03 Face Of Wood (5:49)
04 Dawn Chorus (4:40)
05 I Melt With You (4:05)
06 After The Snow (3:45)
07 Carry Me Down (5:21)
08 Tables Turning (4:31)
Bonus Tracks
09 Someone's Calling (Remix) 3:46
10 Life In The Gladhouse (Remix) 5:00
11 I Melt With You (7" Mix) 3:50
12 The Prize 3:32
13 Life In The Gladhouse (12" Mix) 5:56
14 The Choicest View 11:40

Modern English - After The Snow   (ogg  167mb)

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Modern English relocated to New York City and worked on a third album, Ricochet Days. Leaving behind the artistic adventures of their first two albums (particularly impressive was 1982's After the Snow), Ricochet Days begins Modern English's slow decline toward the status of just another synth band. The material, though beautifully produced by the reliable Hugh Jones and boasting some pliable hooks, it was packed with great tunes such as "Rainbow's End", "Spinning Me Round", and "Hands Across the Sea".  The overall tone of the album was brighter than Snow, and it fit the band's sound well.  Even so, i'd still consider this much more 'gothic' than much of the music people call gothic these days - gothic isn't always all about darkness, and the basic feel certainly makes itself known from time to time on this album. Anyone into the whole 4.A.D. sound should enjoy this album, and for those who think this was a one-song band, give this one a listen before you put the period at the end of that sentence.



 Modern English - Ricochet Days (flac 317mb)

01 Rainbow's End 3:07
02 Machines 5:49
03 Spinning Me Round 4:51
04 Ricochet Days 5:13
05 Hands Across The Sea 4:54
06 Blue Waves 4:00
07 Heart 6:58
08 Chapter 12 3:57
Bonus
09 Chapter 12 (Twelve Inch Mix) 4:37
10 Ringing In The Change 4:09
11 Reflection 4:19
12 Breaking Away (Demo) 2:52

Modern English - Ricochet Days   (ogg  122mb)

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This was the group's first album after re-forming around original members Robbie Grey (vocals), Mick Conroy (bass), and ex-March Violets member Aaron Davidson (guitar/keyboards), who had joined in 1986 only to see the current lineup at that time disintegrate. The trio moved to the U.S. and conjured a minor hit single with a remixed version of the portentous "I Melt With You." The diverse record contains some easy-to-like bounce-pop ("Beauty," "Care About You") but other tracks either drift along  or sag under clichéd lyrics. Older fans of the band despaired of their new, slicker variant. Despite their modest breakthrough, the group broke up again in 1991.



Modern English - Pillow Lips (flac  212mb)
 
01 I Melt With You 3:55
02 Llife's Rich Tapestry 4:05
03 Beauty 2:24
04 You're Too Much 2:29
05 Beautiful People 3:10
06 Care About You 2:56
07 Let's All Dream 2:35
08 Coming Up For Air 3:46
09 Pillow Lips 3:30
10 Take Me Away 3:42

Modern English - Pillow Lips   (ogg 86mb)

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May 23, 2017

RhoDeo 1721 Roots

Hello, i want to tell you what a crazy day i had, but tonight in Manchester there was an explosion in the Manchester Arena foyer at the end of a concert by American singer Ariana Grande. Victims mainly youths, waiting parents thusfar 19 dead and 50 wounded, a nailbomb suicide attack just the thing those mentally stuck terrorists will do. But why now and there, when chances are Man United winning the Europaleague cup Wednesdaynight and big crowds would amass, did perhaps this nutcase have a thing with Ariana Grande ? My heart goes out to the victims and bereaved.


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Lalo Schifrin (born June 21, 1932) is an Argentine pianist, composer, arranger and conductor. He is bestknown for his film and TV scores, such as the "Themefrom Mission: Impossible ". He has received four Grammy Awards and six Oscar nominations. Schifrin, associated with the jazz music genre, is also noted for work withClint Eastwood in the late 1960s, 1970s and 1980s, par-ticularly the Dirty Harry films.

Schifrin was born in Buenos Aires to Jewish parents. His father, Luis Schifrin, led the second violin section of the orchestra at the TeatroColón for three decades. At the age of six, Schifrin began a six-year course of study on piano with Enrique Barenboim, the father of the pianist and conductor Daniel Barenboim. At age 16, Schifrin began studying piano with the Greek-Russian expatriate Andreas Karalis, former head of the Kiev Conservatory, and harmony with Argentine composer Juan Carlos Paz. During this time, Schifrin also became interested in jazz. Although Schifrin studied sociology and law at the University of Buenos Aires, it was music that captured his attention.

At age 20, he successfully applied for a scholarship to the Paris Conservatoire. At night he played jazz in the Paris clubs. In 1955, Schifrin played piano with Argentinian bandoneon giant Ástor Piazzolla, and represented his country at the International Jazz Festival in Paris.

After returning home to Argentina, Schifrin formed a jazzorchestra, a16-piece band that became part of a pop-ular weekly variety show on Buenos Aires TV. Schifrin also began accepting other film, television and radio as-signments. In 1956, Schifrin met Dizzy Gillespie and offered to write an extended work for Gillespie’s big band.Schifrin completed the work, Gillespiana, in 1958 (it was recorded in 1960).

Later that year Schifrin began working as an arranger for Xavier Cugat's popular Latin dance orchestra.While in New York in 1960, Schifrin again met Gillespie, who had by this time disbanded his big band for financial reasons. Gillespie invited Schifrin to fill the vacant piano chair in his quintet. Schifrin immediately accepted and moved to New York City. Schifrin wrote a secondextended composition for Gillespie, The New Continent, which was recorded in 1962. In 1963, MGM, which hadSchifrin under contract, offered the composer his first Hollywood film assignment with the African adventure Rhino!
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Schifrin moved to Hollywood late that year. He also radically re-arranged the theme for the popularNBC-TV series  The Man from U.N.C.L.E., altering original composer Jerry Goldsmith's theme to a jazzy melody emphasizing flutes and exotic percussion, which wound up winning the Emmy award for Best TV Theme in1965.One of Schifrin’s most recognizable and enduring com-positions is the theme music for the long-running TV se-ries Mission: Impossible. It is a distinctive tune written inthe uncommon 5/4 time signature. Similarly, Schifrin’s theme for the hugely successful  Mannix private eye TVshow was composed a year later in a 3/4 waltz time; Schifrin composed several other jazzy and bluesy num-bers over the years as additional incidental music for the show. Schifrin’s“Tar Sequence” from his Cool Hand Luke score(also written in 5/4) was the longtime theme for the Eyewitness News broadcasts on NewYork station WABC-TV and other ABC affliates, as well as National Nine News in Australia. CBS Television used part of the the me of his St. Ives soundtrack for its golf broadcasts in the1970s and early 1980s.Schifrin’s score for Coogan’s Bluff in 1968 was the beginning of a long association with Clint Eastwood and di-rector Don Siegel. Schifrin’s strong jazz blues riffs were evident in
 Dirty Harry Schifrin’s working score for 1973’s  The Exorcist was re-jected by the film’s director, William Friedkin. Schifrin had written six minutes of difficult and heavy music for the initial film trailer, but audiences were reportedly frightened by the combination of sights and sounds.Warner Bros. ecutives told Friedkin to instruct Schifr in to tone it down with softer music, but Friedkin did not relay the message. Schifrin’s final score was thrown out in to the parking lot. Schifrin reported in an interview that working with Friedkin was one of the most unpleasant ex-periences in his life.

Over the next decade, Schifrin would score films like The Cincinnati Kid, Bullitt, Cool Hand Luke, Dirty Harry, and Enter the Dragon. As a jazzer, he wrote the well-received "Jazz Mass" suite in 1965, and delved into stylish jazz-funk with 1975's CTI album Black Widow. Schifrin continued his film work all the way through the '90s; during that decade, he recorded a series of orchestral jazz albums called Jazz Meets the Symphony, and became the principal arranger for the Three Tenors, which complemented his now-dominant interest in composing classical music.

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That (then) unknown director George Lucas managed to secure legendary composer Lalo Schifrin for the cerebral, brooding soundtrack to his bleak (pre-Star Wars) science fiction tale THX 1138 is a testament to his legendary industry tenacity. Far removed from his collaborations with John Williams, THX bristles with dissonant choral sections, bursts of Latin-tinged percussion, and a whole lot of mid-'70s echo-laden flute solos. A great deal of the soundtrack's tone resembles Stanley Kubrick's chilly, classically cultivated score for 2001: A Space Odyssey -- Schifrin uses Bach's St. Matthew Passion over the end credits -- and while it's occasionally ironic and lighthearted (the spaghetti Western-themed "Source #4/Third Escape/Morgue Sequence/The Temple/Disruption/LUH's Death"), the bulk of it is just plain disjointed and disturbing -- "Torture Sequence/Prison Talk Sequence," with its cacophony of thumb pianos, bells, and hand drums, wouldn't have sounded out of place on the Wicker Man soundtrack. THX 1138 is a challenging and difficult listen, but fans will be pleased with Film Score Monthly's attention to detail and lovingly penned liner notes, and soundtrack buffs will finally fill a crucial hole in their sci-fi collections.  It has cues that are in there own way hauntingly beautiful and others that are just plain haunting. This album will work for you even if you haven't seen the movie. Once you have heard this score, you'll want to see the movie just to find out what it's all about which is what it was for me. Recommend for Schifrin fans and definitely for film score fans.



Lalo Schifrin - O.S.T. THX 1138 (flac  288mb)

01 Logo 0:08
02 Main Title / What's Wrong? 3:14
03 Room Tone / Primitive Dance 1:46
04 Be Happy / LUH / Society Montage 5:06
05 Be Happy Again (Jingle Of The Future) 0:56
06 Source #1 5:18
07 Loneliness Sequence 1:28
08 SEN / Monks / LUH Reprise 2:44
09 You Have Nowhere To Go 1:12
10 Torture Sequence / Prison Talk Sequence 3:42
11 Love Dream / The Awakening 1:47
12 First Escape 3:01
13 Source #3 3:34
14 Second Escape 1:16
15 Source #4 / Third Escape / Morgue Sequence / The Temple / Disruption / LUH's Death 8:31
16 Source #2 3:17
17 The Hologram 0:56
18 First Chase / Foot Chase / St. Matthew Passion (End Credits) 7:40

Lalo Schifrin - O.S.T. THX 1138 (ogg  144mb)

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In 1973, Lalo Schifrin tackled a new challenge by writing the score for Enter the Dragon, an ambitious martial arts film that was the American debut of cult legend Bruce Lee. The resulting score combined Schifrin's penchant for adding jazz and funk elements to the traditional film scoring style with elements of traditional Chinese music, giving the whole combination a new, ethnic flavor. The best example of this unique fusion is the film's "Main Titles": After establishing itself with a combination of jazzy horn stabs and funky wah-wah guitar, this inventive tune layers a Chinese-style melody played by strings and synthesizers over the insistent rhythms, creating a composition that cuts across several different musical genres while still fulfilling the requirements for an exciting action film theme. Another showcase for the film's fusion of Chinese and jazz styles is "Su Lin (The Monk)," which layers Asian-styled melodic elements over churning jazz rhythms. Other highlights in the action-oriented style include "Bamboo Birdcage," which alternates moody, wind instrument-driven sections with outbursts of horn-driven funk, and "The Big Battle," which restates several of the film's action themes over a percolating bass line. There are also a few quiet interludes, like the sax-driven mid-tempo jazz of "The Gentle Softness." The result is an entertainingly diverse soundtrack whose musical invention makes it just as entertaining when listened to away from the film. Collector's note: This soundtrack was reissued in 1998 by Warner Bros. as part of a deluxe video reissue of the film in an expanded edition that restored all of the film's musical cues to the album.



Lalo Schifrin - O.S.T.Enter the Dragon   (flac  310mb)

01 Prologue - The First Fight 2:36
02 Main Titles 2:20
03 Su-Lin (The Monk) 4:57
04 Sampans And Flashbacks 6:21
05 Han's Island 2:57
06 The Banquet 3:02
07 Headset Jazz 2:10
08 The Gentle Softness 2:40
09 Into The Night 3:44
10 Goodbye Oharra 1:54
11 Bamboo Birdcage 2:32
12 Han's Cruelty 2:09
13 The Human Fly 3:36
14 The Big Battle 4:47
15 Broken Mirrors 5:55
16 End Titles 1:10
17 Main Titles (Alternate) 3:17

 Lalo Schifrin - O.S.T.Enter the Dragon   (ogg   131mb)

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One of the jewels of the Label X library -- and that is saying something, considering what else is in there -- this album represents some of the most exquisite music in Lalo Schifrin's output. The music for Richard Lester's The Four Musketeers has the composer working in a distinctly European mode, very much in the manner of period concert music (ranging across a couple of centuries, as well as embracing the Hollywood and 1950's European film traditions) -- but the scoring and orchestrations, as well as some of the twists in tempo, show a few exotic twists in the details that are pure Schifrin. The result is sort of Schifrin's version of what could have been an Erich Wolfgang Korngold score -- and it's worth every minute of the listening, repeated many times over. The album is filled out with Schifrin's music for two World War II-related subjects, the thriller The Eagle Has Landed and the drama Voyage of the Damned. The former, written for a fictional thriller, relies on rich, frenzied string passages, very much in the manner of early John Barry but more animated, and ultimately -- at least until the end credit music -- very interesting to hear, even divorced from the film. The latter is much more restrained and takes its time getting listeners to where it is going, with scoring that is far more closely tied to its period (1939) and setting -- "effect" music as much as dramatic scoring, with some of the music written in the styles of the times, including a Latin-flavored section for "Hotel Nacionale" and a foxtrot for the end credit music. The quality of the recording of all three scores is excellent, and the transfer improves upon the original LP release.



Lalo Schifrin - O.S.T. The 4 Musketeers (flac  294mb)

The Four Musketeers
01 Overture
02 Atho's Story
03 Chase To The Convent
04 Musketeers Rescue Constance
05 Breakfast At The Bastion
06 A Lovely Adventure
07 Chased From The Louvre
08 Frozen Pond Fight
09 Milady's Theme
10 End Credits
The Eagle Has Landed
11 Main Title
12 The Eagle Grows, Pt.1
13 The Eagle Grows, Pt.2
14 Flight Of The Eagles
15 Eagle Verses Fox
16 End Credits
Voyage Of The Damned
17 Main Title
18 House Painter March
19 Hotel Nacionale
20 Lament
21 Tragedy; Time Pulse
22 Our Prayers Have Been Answered
23 End Credits

Lalo Schifrin - O.S.T. The 4 Musketeers (ogg  132mb)

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Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals. Highlights among the covers include "Quiet Village," which transforms the exotica classic into a slow-burning funk vamp dressed with plenty of spacey synthesizer, and "Moonglow & Theme From Picnic," which reworks these classic film themes by giving them keyboard-driven arrangements that are gently nudged along by an insistent beat. Black Widow also spawned a dancefloor hit with Schifrin's imaginative reworking of "Jaws," which transformed John Williams' spooky monster-movie theme into an ominous, percolating slice of nocturnal funk built on wah-wah guitar and Schifrin's elegantly jazzy keyboard excursions. In terms of the original tunes, the standout is the title track, a keyboard showcase that weaves surging strings around a funky bass groove that is fleshed out with all manner of synth and electric piano shadings. The strong disco edge to the proceedings may turn off jazz purists, but Schifrin's imaginative and stylish arrangements keep the music from succumbing to disco-beat boredom, and his expert backup band (including session stalwarts like Andy Newmark and John Tropea) attacks the material with energy and style to burn. The end result is one of the peak albums in Lalo Schifrin's lengthy catalogue and a necessity for anyone interested in his jazz work.



Lalo Schifrin - Black Widow (flac  382mb)

01 Black Widow 4:11
02 Flamingo 4:31
03 Quiet Village 5:45
04 Moonglow & Theme From " Picnic " 6:13
05 Jaws 6:47
06 Baia 4:49
07 Turning Point 3:29
08 Dragonfly 5:45
Bonus
09 Frenesi 3:53
10 Tabu 4:33
11 Baia (Alt. Take) 7:44
12 Con Alma 6:30

Lalo Schifrin - Black Widow (ogg  159mb)

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May 22, 2017

RhoDeo 1721 "Diane.."

Hello,


Director David Lynch was known for his off beat work and with Twin Peaks his initial goal was to merge a murder mystery with a soap. His main character FBI agent Dale Cooper showed some quirky habits and mystical tendencies, but remaining firmly analytical throughout his investigations. His dictaphone always at hand and always adressing it with Diane who remained his unseen assistant......N'joy.

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Created by David Lynch and Mark Frost, Twin Peaks's pilot episode was first broadcast on April 8, 1990 on the ABC Network, which led to another eleven episodes being produced, and a second season, which aired until June 10, 1991. The show is set in a small fictional Washington town known as "Twin Peaks", and was primarily filmed in the Washington towns of Snoqualmie and North Bend.

After its debut episode on April 8, 1990, Twin Peaks became a top-rating programme and was a critical success both nationally and internationally. Reflecting its devoted cult fan base, the series became a part of popular culture, referenced in other television shows, commercials, comic books, a video game, films and song lyrics. Declining viewer ratings in the long-running second season led to a cancellation. In 1992, the series spawned a prequel to the series, Twin Peaks: Fire Walk with Me (1992), which attempted to connect the events leading up to Laura Palmer's death

On the morning of February 24, in the town of Twin Peaks, Washington state, lumberjack Pete Martell discovers a naked corpse tightly wrapped in a sheet of clear plastic on the bank of a river. Following the arrival of Sheriff Harry S. Truman, his deputies, and Dr. Will Hayward on the scene, the body is discovered to be that of homecoming queen Laura Palmer, the most popular girl at the local high school. FBI Agent Dale Cooper is called in to investigate, his initial examination of Laura's body reveals a tiny typed letter 'R' inserted under her fingernail. He recognizes this as the "calling card" of a killer who took the life of Teresa Banks a year earlier. Cooper quickly establishes that Laura's character and relationships are not as they first appear, and that she's far from the wholesome homecoming queen that those closest to her believed her to be.....

***** ***** ***** ***** *****

Diane, The Twin Peaks Tapes of Agent Cooper

Cooper (played by Kyle MacLachlan) is an FBI agent who arrives in Twin Peaks to investigate the brutal murder of the popular high-school student, Laura Palmer, and falls in love with Twin Peaks and gains a great deal of acceptance within a tight knit community. He displays an array of quirky mannerisms such as giving a 'thumbs up' when satisfied, sage-like sayings, distinct sense of humor, along with his love for a good cherry pie and a "damn fine cup of coffee". One of his most popular habits is recording spoken-word tapes to a mysterious woman called 'Diane' into his dictaphone that he always carries with him, that often contain everyday observations and thoughts on his current case.

Early in season 2, Diane ... The Twin Peaks Tapes of Agent Cooper was released, a cassette-only release performed by Kyle MacLachlan. The tape consisted of newly-recorded Cooper messages to his never-seen assistant, Diane, mixed in with monologues from the original broadcasts. The tape begins with a prologue monologue in which Cooper discusses his pending trip to Twin Peaks, continues with the initial monologue heard in the pilot, and continues to a point after his recovery from being shot.




Diane, The Twin Peaks Tapes of Agent Cooper (mp3  40mb)

01 Diane, The Twin Peaks Tapes of Agent Cooper  43:46

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Previously Terence McKenna - History Ends in Green Pt.1-6

Terence McKenna - History Ends in Green Pt.1 (flac 128mb)
Terence McKenna - History Ends in Green Pt.2 (flac 116mb)
Terence McKenna - History Ends in Green Pt.3 (flac 183mb)
Terence McKenna - History Ends in Green Pt.4 (flac 273mb)
Terence McKenna - History Ends in Green Pt.55 (flac 279mb)
Terence McKenna - History Ends in Green Pt.6 (flac 179mb)

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May 21, 2017

Sundaze 1721

Hello, something big happens this weekend, no not President bloated ego selling hundreds of billions worth of death to those revolting Deash lite creeps from Saudi Arabia, and no it ain't the marriage of that goldigger Pippa Middleton either, despite the (UK) press like to blow up events like that in order to make a bundle in years to come. No it's of cause the return of Twin Peaks ! To celebrate this, the coming months. I will be posting music by Lynch and his house compser Angelo Badalamenti.

Lynch announced on May 15, 2015, via Twitter, that he would indeed be returning to the Twin Peaks revival, as he had sorted out his issues with Showtime. This was later confirmed by Showtime CEO David Nevins, who announced that Lynch would direct every episode of the revival and that the original order of nine episodes had been extended to eighteen episodes. By January 2016, the series was halfway through the shooting schedule and filming was completed by April 2016. The two-episode premiere will air today May 21st 2017

Where we ended 25 years ago, Cooper embarks on a strange and fateful journey into the Black Lodge, which results in his ultimate downfall. Cooper bargains with Earle for Annie's life. BOB appears and takes Earle's soul. Cooper meets his own evil shadow self and his shadow self emerges from the Lodge with the soul of the doppelgänger inhabited by BOB. This Twin Peaks season is set in present day, picking up 25 years after the events of the season two finale....




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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Beautiful and strange, the score to David Lynch's Blue Velvet is a staggering surrealist's nightmare told with the heart of a saint. Dense orchestrations float along whispers of dark, unnerving melodies; an astounding sense of menace coils inside even the most reassuring of moments. This marked the first collaboration between Lynch and Angelo Badalamenti, and its fusion of the sublime and the dangerous is breathtaking. There are Bernard Herrmann violin slashes, revisited classics (Roy Orbison's "In Dreams," Bobby Vinton's title track), and the peak of the whole experience, "Mysteries of Love." This Mortal Coil turned down requests to use their beloved version of "Song to the Siren," but Badalamenti manages to construct a piece of such simplicity, of such beauty, that you wonder why a composer didn't create it before in the first place. Brutally compelling, like one of Jeffrey Beaumont's own mysteries, this is an extraordinary experience filled with both fear and love.



Angelo Badalamenti - O.S.T. Blue Velvet  (flac 187mb)

01 Main Title 1:27
02 Night Streets / Sandy And Jeffrey 3:42
03 Frank 3:34
04 Jeffrey's Dark Side 1:48
05 Mysteries Of Love (French Horn Solo) 2:10
06 Frank Returns 4:39
07 Mysteries Of Love (Instrumental) 4:41
08 Blue Velvet (Voc Isabella Rossellini)/Blue Star 1:55
09 Lumberton U.S.A./Going Down To Lincoln 2:12
10 Akron Meets The Blues 2:40
11 Honky Tonk Part I 3:09
12 In Dreams (Roy Orbison) 2:48
13 Love Letters 2:36
14 Mysteries Of Love (voc. Julee Cruise) 4:22

  (ogg  mb)

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A Nightmare on Elm Street 3: Dream Warriors is an American horror film of the slasher sub-genre directed by Chuck Russell. It is the third film in the A Nightmare on Elm Street franchise and was produced by New Line Cinema and Smart Egg Pictures. It was released theatrically in the United States on February 27th, 1987. This film marks the return of actress Heather Langenkamp, reprising the role of Nancy Thompson from the first A Nightmare on Elm Street. It also marks the acting debut of Patricia Arquette, who takes on the role "Final girl" Kristen Parker. Once again donning the glove, hat and sweater of Freddy Krueger is Robert Englund, ever-ready to slash away at a new group of unsuspecting sleepers. In this installment, Freddy begins tormenting a group of young patients at the Westin Psychiatric Hospital in Springwood. Nancy finagles her way onto the hospital staff in her efforts to protect the "last of the Elm Street children". An interesting sidestep for Badalamenti, though he gets to use very few of his signature ideas in the music for this particular shocker. Listenable enough, even out of context, but not too memorable.



Angelo Badalamenti - O.S.T. Nightmare on Elm Street 3 (flac  154mb)

01 Opening 1:50
02 Puppet Walk 3:18
03 Save The Children 1:25
04 Taryn's Deepest Fear 3:05
05 Deceptive Romance 1:45
06 Snake Attack 1:56
07 Magic Butterfly 1:20
08 The Embrace 0:42
09 Quiet Room/Wheelchair/Icy Bones 2:41
10 Rumbling Room 1:15
11 Dreamspace 0:46
12 The Dream House 1:50
13 Is Freddy Gone?/Trouble Starting/Prime Time TV/Icy Window 4:32
14 Grave Walk 1:11
15 Nursery Theme 1:55
16 Light's Out 1:00

 (ogg  mb)

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Hardcore David Lynch fans knew the album cut "Mysteries of Love" thanks to its appearance in the middle of Blue Velvet but otherwise, Julee Cruise and her singing abilities were total unknowns when Floating into the Night surfaced in 1989. When Twin Peaks took off, however, the album became more or less its unofficial soundtrack thanks to the instrumental adaptation of "Falling" that served as the theme song. Other cuts, like the haunting, moody "Into the Night," and "Rockin' Back Inside My Heart" turned up on the show as well; but as a beautiful, mysterious stand-alone effort, Floating is still that best of surprises, a left-field hit that loses nothing thanks to its fame. The combination of Cruise's sweet, light tones, Lynch's surprisingly affecting lyrics, which play just enough with clichés so as not to seem willfully ironic, and Angelo Badalamenti's combination of retro styles and modern ambience, is a winner throughout. The feeling is one of a '50s jukebox suddenly plunged into a time warp, dressed with extra sparkle and with a just-sleepy-enough, narcotic feeling. At its most upfront, the music can get downright raunchy -- check out the big band/sax blasts on the strutting tearjerker "Rockin' Back Inside My Heart," or the sudden orchestral blast three minutes into "Into the Night." Cruise herself has a wonderfully slow, burning passion that surfaces as well, such as in her whispers on "Floating." But mostly everything is just sedate enough, crystalline rockabilly guitar playing gentle riffs with a slow slinkiness, Cruise's multi-tracked backing vocals and more combining beautifully. "Falling" remains the most well-known number, and a winner it is, too; Badalamenti's synth orchestrations are so affecting that Moby ended up sampling them for "Go," kickstarting his own career. But songs like the just-spooky-enough "The World Spins," and "The Nightingale," with a great performance all around, ensure Floating's success as a through-and-through listen.



Julee Cruise - Floating Into The Night (flac 256mb)

01 Floating 4:51
02 Falling 5:18
03 I Remember 4:11
04 Rockin' Back Inside My Heart 5:45
05 Mysteries Of Love 4:27
06 Into The Night 4:42
07 I Float Alone 4:33
08 The Nightingale 4:54
09 The Swan 2:28
10 The World Spins 6:38

Julee Cruise - Floating Into The Night  (ogg 102mb)

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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. 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 1   (flac 369mb)

001 Deer Meadow Shuffle 5:21
002 Deer Meadow Shuffle (Film Version) 4:39
003 Just You (Instrumental Baritone Guitar) 1:10
004 Twin Peaks Theme (Alternate Version) 1:51
005 Annie And Cooper 2:10
006 Nightsea Wind 5:25
007 Freshly Squeezed (Bass Clarinet) 5:10
008 Twin Peaks Theme (Nostalgia Version) 2:26
009 Twin Peaks Theme (Harp And Guitar) 0:46
010 Twin Peaks Theme (Solo Rhodes) 5:36
011 Mysterioso #1 5:08
012 Mysterioso #1 (Film Version) 3:07
013 Mysterioso #2 4:45
014 Mysterioso #2 (Film Version) 3:27
015 Love Theme (Alternate Version) 5:02
016 Love Theme (Solo Rhodes) 3:31
017 Americana 0:52
018 James Hurley (Outtake) 1:17
019 Mister Snooty 3:03
020 Freshly Squeezed (Fast Cool Jazz Version) 3:39
021 Picking On Country 2:08
022 I'm Hurt Bad (Industrial Symphony No. 1 Version) 2:18
023 Western Ballad 2:46
024 Preparing For M.T. Wentz 1:41

Angelo Badalamenti and David Lynch - Twin Peaks Archive part 1  (ogg  161mb)

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May 20, 2017

RhoDeo 1720 Grooves

Hello,


Today's labels artist conceived last weeks label's name, no recording artist has more impeccable street credentials than Joe Bataan, the originator of the New York Latin soul style that paralleled Latin boogaloo and anticipated disco. His musical experience began with street corner doo wop in the 1950s, and came to include one of the first rap records to hit the charts, 1979's "Rap-O, Clap-O." In between these milestones, he recorded classic albums like Saint Latin's Day Massacre, a perennial favorite in the salsa market, Salsoul, which gave the record label its name and helped spark the national explosion of urban dance music, and Afrofilipino, which included one of the very earliest New York disco hits, an instrumental version of Gil Scott-Heron's "The Bottle."  . ..... N'joy

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Joe Bataan (also spelled Bataán) (born November 15, 1942 in Spanish Harlem, New York City is a Filipino-African American Latin soul musician from New York. He was born Bataan Nitollano and grew up in the 103rd St. and Lexington Ave. part of East Harlem where he briefly led the Dragons, a local Puerto Rican street gang, before being sent to the Coxsackie Correctional Facility to serve time for a stolen car charge. His father was Filipino and his mother was African American.

Upon his release in 1965, he turned his attention to music and formed his first band, Joe Bataan and the Latin Swingers. Bataan was influenced by two musical styles: the Latin boogaloo and African American doo-wop. Though Bataan was neither the first nor only artist to combine doo-wop-style singing with Latin rhythms, his talent for it drew the attention of Fania Records. After signing with them in 1966, Bataan released "Gypsy Woman" in 1967 (the title track is a Latin dance cover of "Gypsy Woman" by The Impressions). He would, in full, release eight original titles for Fania which included the gold-selling Riot!. These albums often mixed energetic Latin dance songs, sung in Spanish, with slower, English-language soul ballads sung by Bataan himself. As a vocalist, Bataan's fame in the Latin music scene at the time was only rivaled by Ralfi Pagan.

Disagreements over money with Fania Records head Jerry Masucci led Bataan to eventually leave the label. While still signed to Fania however, Bataan secretly started Ghetto Records, a Latin music label which got its initial funding from a local gangster, George Febo. Bataan produced several albums for other artists, including Papo Felix, Paul Ortiz and Eddie Lebron.

In 1973, he helped coin the phrase "salsoul", lending its name to his first post-Fania album. Along with the Cayre brothers, Kenneth, Stanley, and Joseph, he co-founded the Salsoul label, though later sold out his interest. He recorded three albums for Salsoul and several singles, including "Rap-O Clap-O" from 1979 which became an early hip hop hit. After his 1981 album, Bataan II, he retired from music-making to spend more time with his family and ended up working as a youth counselor in one of the reformatories he himself had spent time in as a teenager.

In 2005, Bataan teamed up with producer Daniel Collás to break his long hiatus with the release of Call My Name, a well-received album recorded in New York for Spain's Vampisoul label.

Bataan is also the father of Asia Nitollano, winner of Pussycat Dolls Present: The Search for the Next Doll.

In the 2006 video game, Driver Parallel Lines, Joe Bataan's song "Subway Joe" was included in the soundtrack.

In early 2009, Bataan was featured in the Kenzo Digital-produced "beat cinematic" City of God's Son. Bataan was featured as the narrator of the story, playing the part of an older Nas reflecting upon his youth in the street with cohorts Jay-Z, Ghostface Killah, Biggie and Raekwon.

In 2014 he met Osman Jr, from French group Sententa which, in collaboration with promoteur Benjamin Levy, leads him to play for the first time in Paris in June 2015 at "Le théatre des Etoiles", followed by a historic live at the "Jazz Mix de Vienne" in France. In September 2015, Joe Bataan poses his voice on the now classic song " My Rainbow " , a soulful bolero composed by the French band. This title was released in 2016 on the album " Paris to Nueva York " .

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Stunning soul from the great Joe Bataan – a really groundbreaking mix of modes that's right up there with the best of the Spanish Harlem scene of the late 60s! The album is Joe Bataan's debut for the Fania Records label – and the start of an incendiary run of Latin classics that forever changed the face of the New York scene – a mindblowing mix of Latin rhythms and soul-based inspiration, served up in a mix of English and Spanish language lyrics! The title track is a sublime cover of Curtis Mayfield's "Gypsy Woman" – one that's even more heartbreaking than the original – and other titles include "Ordinary Guy", Sugar Guaguanco", "So Fine", "Fuego", and the groovy "Chickie's Trombone" – a tight little jammer that shows that Joe's group also drew plenty of inspiration from the descarga scene too.



Joe Bataan - Gipsy Woman    (flac  203mb)

01 Gypsy Woman 2:30
02 So Fine 3:05
03 Fuego 6:28
04 Campesino 3:44
05 Chickie's Trombone 2:37
06 Too Much Lovin' 2:35
07 Sugar Guaquanco 3:55
08 Figaro 3:57
09 Ordinary Guy 3:20

Joe Bataan - Gipsy Woman  (ogg   89mb)

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Singer/pianist Bataan was one of the shooting stars of Latin-soul, that moment when the bugalú and the jala jala made it look as though a bilingual, Afro-Latin New Yorican sound might be here to stay. The title cut was one of the hits of the time, but this 1969 release attested that there was more to Bataan than one hit even though he never really got the chance to prove it.



Joe Bataan - Subway Joe    (flac 249mb)


01 Subway Joe 2:57
02 Juanito 5:36
03 Mujer Mia 5:54
04 Nuevo Jala Jala 5:00
05 Special Girl 2:51
06 Ponte En Algo 5:22
07 Triste 4:01
08 Magic Rose 4:01

Joe Bataan - Subway Joe  (ogg     104mb)

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Boogaloo was dismissed by a lot of salsa musicians as brainless and overly simplified, but Joe Bataan's Latin soul went several steps beyond party music, and nowhere is that more clear than on this 1972 release. Bataan gets African American soul music, and he gets Afro-Cuban music, too; when he put them together, the sound had a visceral impact that spoke to every demographic in his East Harlem barrio. What's more, it's still speaking: it's impossible to hear a song like "Coco-e" and not find yourself transported. This is the sound that helped birth, for better or worse, disco and a lot more.



Joe Bataan - Saint Latin's Day Massacre   (flac  275mb)

Lifeside
01 Coco-e 3:09
02 I Wish You Love (Part 1) 3:32
03 I Wish You Love (Part 2) 5:49
04 Para Puerto Rico Voy 5:14
05 If I Were A King 3:54
Deathside
06 Charangaringa 4:03
07 Ramona 4:47
08 El Regreso 3:03
09 Mujer 4:32
10 Shaft 5:55

. Joe Bataan - Saint Latin's Day Massacre  (ogg   117mb)

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Bataan would take this tendency even further on his influential Salsoul, which fused funk and Latin influences in slick yet soulful orchestrations. Salsoul remains influential as a rare groove cult item, and pointed to the future at the time of its release. The LP embodied the artist's highly deliberate and culturally aware musical concept. Bataan theorized the '70s next big thing as a hybrid: an Afro Cuban rhythm section playing Brazilian influenced patterns over orchestral funk. In many ways, his vision was on the money, though most of the money would go to others and mainstream stardom would elude him.



Joe Bataan - Salsoul  (flac 241mb)

01 Mi Nube 2:47
02 Muchacho Ordinario 4:12
03 Sunny Gets Blue Mambo 3:48
04 Mujer Mia 4:34
05 Fin 2:56
06 Latin Strut 4:06
07 Johnny 4:41
08 Peace, Friendship, Solidarity 4:07
09 Aftershower Funk 5:14
Bonus
10 Continental Square Dance 5:48

 Joe Bataan - Salsoul (ogg  105mb)

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May 19, 2017

RhoDeo 1720 Re-Ups 98

Hello, the lead singer of the Seattle-based band Soundgarden, Chris Cornell, has killed himself aged 52, he had been one of the trailblazers of the city’s grunge movement in the late 1980s and 90s. Having achieved stardom with that band, he went on to further great success with Audioslave in the new millennium, while also developing a flourishing solo career. At the time of his death, Cornell was in the middle of a tour with Soundgarden, who had re-formed in 2010 after a 13-year hiatus, and had just performed at the Fox theatre in Detroit. He leaves behind his wife, Vicky Karayiannis, whom he married in 2004, their son, Christopher Nicholas, their daughter, Toni, and by a daughter, Lillian, from his first marriage, to Susan Silver, which ended in divorce. Hard to fathom Chris felt he had nothing more to live for....



8 correct requests this week, all fulfilled, in short another batch of 29 re-ups.


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 May 18th.... N'Joy

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4x Sundaze Back in Flac (Eliane Radigue - Kyema, Eliane Radigue - Kailasha, Eliane Radigue - Koume, Eliane Radigue - Transamorem - Transmortem)


3x Aetix Back In Flac (Magazine - Real Life, Magazine - The Correct Use Of Soap, Magazine - Magic, Murder & The Weather )


4x Wavetrain 3 Back in Flac (Magazine - Secondhand Daylight, Polyrock - Polyrock and Changing Hearts, Eyeless In Gaza - Caught In Flux)


3x Beats NOW In Flac ( Plastikman - Consumed, Richie Hawtin - Decks, EFX & 909, Väth & Hawtin - Sound Of  3rd Season)


3x Sundaze Back In Flac ( Philip Glass - Glassworks, Philip Glass - Symphonies No. 2 & 3,  Philip Glass - Orion )


3x Aetix Back in Flac (Camper Van Beethoven - Our Beloved Revolutionary Sweetheart, Camper Van Beethoven - Key Lime Pie, Camper Van Beethoven - Camper Vantiquities )


3x Sundaze Back In Flac (Astropilot - Fruits of the Imagination, Astropilot - Solar Walk,  Astropilot - Here And Now)


6x Roots Back  In Flac ( Steel Pulse - Handsworth Revolution, Doctor Pablo & Dub Syndicate - North Of The River Thames, The Rootsman - In DUB We Trust, Linton Kwesi Johnson - Forces Of Victory, Linton Kwesi Johnson - Bass Culture , Mwanamke Mwfrika - African Woman Abroad)


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May 17, 2017

RhoDeo 1720 Aetix

Hello, after a decade of Aetix, creating posts on one artist/group is getting harder, not that i'm through, but hey i started with several acts in a post, at the time this heightened the chance for a takedown, one reason for me to center my posts on one artist/group. All this created leftovers and acts with just 1 or 2 albums, time to get these out.

Note there's a new host here today subyshare.com, I got decent downloadspeeds (150kps) tell me how it works for you. Meanwhile it looks like Mozilla users don get the captcha shown this makes the 1 min wait for free users irritatingly useless, however Chrome and IE nor Opera have that problem, so if you really want that Colourbox, use another browser.


Tofay's artists are one of the legendary 4AD label's earliest and most under-recognized acts, they were among the first artists outside of the realm of hip-hop to rely heavily on sampling techniques; ultimately, their arty blue-eyed soul -- a fusion of far-ranging influences spanning from classic R&B to dub to industrial -- reached its commercial and creative apotheosis through their work on M/A/R/R/S' seminal "Pump Up the Volume" project, a reflection of the group's longstanding interest in the burgeoning underground dance music scene of the 1980s.....N'Joy

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The band was formed by brothers Martyn and Steve Young, Ian Robbins, and vocalist Debian Curry. Curry and Robbins departed the band in 1983, with the role of vocalist being filled by Lorita Grahame from that point on. Colourbox stood apart from their then-4AD labelmates, their sound was eclectic, drawing from reggae and soul influences (with covers of tracks by U-Roy and Augustus Pablo released as singles), beat-box driven hip-hop rhythms, blue-eyed soul, as well as a fusion of far-ranging influences spanning from classic R&B, to dub and industrial.

Following their debut single "Breakdown" / "Tarantula" in late 1982 (and a 1983 remake with new and permanent vocalist Lorita Grahame), a four-track mini-album simply titled Colourbox was released in November 1983, displaying the band's fledgling experimental sound. After a handful of singles, Colourbox's first full-length studio album—also self-titled—followed in August 1985, which further refined the band's diverse palette, mixing sample-splattered power-punk instrumentals with elegiac piano pieces ("Just Give 'em Whiskey" and "Sleepwalker" respectively), commercial pop ("The Moon Is Blue" and "Suspicion") and more reggae and soul covers (U-Roy's "Say You" and The Supremes' "You Keep Me Hanging On").[citation needed] It was to remain the band's only full-length album.

In 1986, the band issued two completely different singles simultaneously on the same day: one was an instrumental initially intended as a FIFA World Cup anthem of that year ("The Official Colourbox World Cup Theme"); the other, a cover of Jacob Miller's "Baby I Love You So," featured third member Lorita Grahame on vocals. The same year, 4AD issued the 1983 mini-LP on CD for the first time, with the 12" versions of both of these singles added, along with the B-side "Looks Like We're Shy One Horse / Shoot Out" and the previous non-album single "Breakdown".

In 1987, at the behest of 4AD chief Ivo Watts-Russell, the Young brothers teamed with labelmates A.R. Kane as M/A/R/R/S to record a single fusing the rhythms and beats from classic soul recordings with state of the art electronics and production. Complete with scratches by champion mixer Chris "C.J." Mackintosh and London DJ Dave Dorrell, "Pump Up the Volume" -- a breakthrough effort heralding sampling's gradual absorption from hip-hop into dance music and ultimately the pop mainstream -- soon topped the British charts, the first 4AD release to accomplish that feat. Plans for a follow-up never materialized, however; stranger still, despite M/A/R/R/S' success, both the Youngs and Colourbox seemed to vanish, with no future recordings forthcoming. The pressures of sudden success and the long-running litigation caused by the use of samples resulted in the band never recording as Colourbox again.

For a brief time following Colourbox's dissolution, Martyn Young served as a producer on records by acts as diverse as The Christians and fellow labelmates The Wolfgang Press, whilst former singer Lorita Grahame lent her vocals to a record released by short-lived One Little Indian act Hit the Roof (on a cover of Edwin Starr's "Contact"). Since then, little has been heard from any of the group members, save for a brief return to promotional duties for Martyn Young in 2001, to oversee the release of the Colourbox compilation Best of Colourbox 82/87.

4AD released a self-titled box set of four compact discs, compiling all of their catalogue (the full-length album with its companion remix album in full, a 7" mix CD, a 12" mix CD, and the first EP with two BBC Radio sessions and a previously unreleased mix of "Arena") on 21 May 2012. The collection, marking the 30th anniversary of the group, was sequenced by Martyn Young. In 2014, Colourbox were the subject of an exhibition, Music of the Band (1982 - 1987), curated by Wolfgang Tillmans at his Between Bridges gallery in Berlin. A compilation of 16 tracks selected by Tillmans was released by 4AD to tie in with the exhibition.

Martyn Young has been playing additional keyboards, recording, producing and mixing the new Modern English album, Take Me To The Trees came out Sept 2016 (excellent come-back btw). Ian Robbins died in 2014. Martyn's brother Steven Young died on 13 July 2016.

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Colourbox is the debut mini-album from Colourbox, released by 4AD in November 1983. MAD 315 is the album's catalogue number, used to distinguish it from their 1985 self-titled album, although the mini-album is sometimes referred to as Horses Fucking due to the cover image. Colourbox are as revolutionary as they remain unfairly obscure. Mixing soul sensibility (Lorita Grahame's gorgeous vocals) with fundamental eclecticism into a not at all easy sound identifications, this (actually their self titled debut mini LP) is one hell of a tiny experimental episode from their precious vaults. "Justice" demonstrates the creative process without digital equipment available now - which Colourbox pioneered beating down many of their peers. The track leans towards ultimate balladry while at the same time the listener is mercilessly mindwarped to great effect by its subliminal, experimental repetition. Even Grahame's voice is suddenly perverted by a tape-like chewed sound sliding in and out of its massively reverbed melodic focus. Albeit released in 1983, 'Colourbox' mini LP is way ahead of its time.



Colourbox - Colourbox EP 1 + Live (flac  349mb)

01 Shotgun 5:41
02 Keep On Pushing 5:16
03 Nation 10:00
04 Justice 4:50
bonus
05 Arena (Extended Version) 5:02
BBC Jensen Session (11-11-82)
06 Punch 3:53
07 Kill It 3:39
08 Bleach 3:58
09 Water Up The Tap 4:55
BBC Jensen Session (5-6-84)
10 The Look Of Love 2:52
11 You Keep Me Hanging On 2:44
12 The Wanderer 2:44
13 Low Rider 2:59

Colourbox - Colourbox EP 1 + Live   (ogg  140mb)

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The band's sole full length album was, and is, a lost treasure -- though much about its production and general sound firmly places it as a product of the mid-'80s, it was still a stunning debut which covers any number of sounds and styles with aplomb. The result is a unique fusion, where you can't quite guess what will happen from one track to the next, but the sound still resembles the product of one particular vision. The opening songs set the range and ambition of the group straightaway -- from the instrumental "Sleepwalker," a truly beautiful piano piece with some extra production touches, the band slams into the sampling/guitar/rock/dance masterpiece "Just Give 'Em Whiskey." Crammed with samples from the likes of Westworld and The Prisoner, it's a total winner of beat, sound, and arrangement. Lorita Grahame makes her first appearance on the next number, the previously released cover of U-Roy's dancehall classic "Say You" -- her lovely singing provides the anchor for the album as a whole, matching the multiplicity of Colourbox's approaches with skill. The other cover on the record is often cited as its highlight -- a revamping of the Supremes' tremendous "You Keep Me Hanging On," which makes the near contemporaneous take by Kim Wilde seem like the weedy thing it is. There are plenty of other examples of Colourbox reaching for the skies, though: from the mid-century tearjerker gone modern "The Moon is Blue" and the album-closing gentle drama of "Arena" to the aggressive "Manic," which features a snarling guitar solo from William Orbit. There's a slightly curious discrepancy in the album's varying editions -- the vinyl version featured an extra record with other tracks and some alternate versions, only half of which ended up on the album. Those included were another take on "Arena" and the amusing samplefest "Edit the Dragon."



Colourbox - Colourbox (flac 436mb)

01 Sleepwalker 2:15
02 Just Give 'Em Whiskey 4:18
03 Say You 3:57
04 The Moon Is Blue 4:36
05 Inside Informer 4:25
06 Punch 5:00
07 Suspicion 4:27
08 Manic 2:26
09 You Keep Me Hanging On 5:37
10 Arena 4:22
11 Edit The Dragon 2:43
12 Hipnition 3:06
13 We Walk Around The Streets 0:24
14 Arena II 5:00
bonus
15 Manic II 5:53
16 Fast Dump 5:40
17 Sex Gun 4:08

Colourbox - Colourbox   (ogg  161mb)

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Coming alongside the truly epic ‘albums’ collection ‘Colourbox’, this companion record hoovers up all of the legendary 4AD band’s 7” material. For completists and those with limi...ted attention span



 Colourbox - Singles (flac 394mb)

01 Baby I Love You So 3:19
02 The Official Colourbox World Cup Theme 3:07
03 Hot Doggie 2:56
04 The Moon Is Blue 4:34
05 Breakdown 4:13
06 Tarantula 3:45
07 Philip Glass 3:29
08 Looks Like We're Shy One Horse 4:36
09 Say You 4:19
10 Fast Dump 4:07
11 Keep On Pushing 3:47
12 You Keep Me Hanging On 2:39
13 Breakdown 3:58
14 Tarantula 4:15
15 Shadows In The Room 4:57
16 Punch 3:43

Colourbox - Singles   (ogg  146mb)

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Coming alongside the truly epic ‘albums’ collection ‘Colourbox’, this companion record hoovers up all of the legendary 4AD band’s 12” material. The eclectic trio of Martyn and Steve Young and Lorita Grahame was particularly productive in the early 80s, and the non-album 12”s were easily as good as their wildly eclectic album releases. This complilation features the band’s first mini-album in full, as well as the 12”s versions of classics like their legendary cover of Augustus Pablo’s ‘Baby I Love You So’ and doomy, cavernous electro lynchpin ‘Tarantula’. Do yourself a favour, grab the ‘Colourbox’ albums collection , then give yourself an entire afternoon to take all of it in. Insanely essential, don’t miss this!



Colourbox - Twelves (flac  494mb)
 
01 Looks Like We're Shy One Horse / Shoot Out 8:01
02 Baby I Love You So 6:45
03 The Official Colourbox World Cup Theme 5:30
04 Breakdown 6:17
05 Tarantula 7:02
06 Say You 5:31
07 Fast Dump 5:27
08 The Moon Is Blue 6:12
09 You Keep Me Hanging On 5:52
10 Breakdown (2nd Version) 7:53
11 Tarantula (2nd Version) 8:15
12 Punch (12" Version) 5:43

Colourbox - Twelves   (ogg 183mb)

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The people were exposed to House music in 1985/1986 and in 1987 MARRS were building the bridge between the upcoming House craze and the existing Hip Hop music (1988, the "golden" age of HipHop and birth of the sub-genres in House music). MARRS became the blueprint for Coldcut ("Bits & Pieces"), Bomb The Bass, S'Express and the early KLF (aka Timelords aka Ancients of Mu-Mu). It is thinkable that Pump Up The Volume inspired Fast Eddie and Tyree to finally create "Hip House". It is also the first or second case of copyright infringement (the other being Eric B. & Rakim's "I Know You Got Soul"). Nowadays there will never be a dance track again, that will change the way music is being created as MARRS's did. Don't miss the hidden gem Anitina (First Time I See She Dance). An interesting and groovy mid-tempo industrial club track with some solid drum and bass programming, wailing voices, strange samples.



M.A.R.R.S. - Pump Up The Volume (flac  153mb)

01 Pump Up The Volume (Re-Mix) 6:27
02 Pump Up The Volume 5:07
03 Anitina (The First Time I See She Dance) 6:39
04 Anitina (The First Time I See She Dance) (Re-Mix) 7:40


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