Jul 5, 2017

RhoDeo 1727 Aetix

Hello, the French once again showed their disgusting sense of sportmanship, if anyone beliefs that if Peter Sagan was french he would have been penalized by expulsion you are beyond naive. All he did was extend his elbow outwards whilst still keeping a good grip on the handlebar, madman Cavendish got blocked as he was too close to the barriers he couldn't pass and crashed and in the process fractured his shoulder, to blame Sagan for all this smells beyond belief. I guess being very popular and extremely successfull makes you many enemies and all the envious critters howling faul ! faul ! The nitwits on TV feel compelled to howl along, this is how Christ was condemned. Now if they really prevent Sagan from starting tomorrow, it will be an enormous self inflicted wound that could have consequences for years to come, Sagan may say fuck you frenchies i will never ride the Tour again thereby demoting the value of the green jersey for years, but hey the french dramaqueens are always suckers for the grand statement, expulsing the worlds greatest race-cyclist on a whim.

Today's artists were a British music group that formed in April 1977. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity in the mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the globe. In 1993, they changed the name to Babble, to reflect their change in music from new wave to dub-influenced chill-out.

The band was named after the two bumbling detectives Thomson and Thompson in Hergé's comic strip The Adventures of Tintin. At various stages, the band had up to seven members, but their most known incarnation was as a trio between 1982 and 1986. They became a prominent act in the Second British Invasion, and in 1985, the band performed at Live Aid...]N'Joy

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In 1977, the original Thompson Twins line-up consisted of Tom Bailey (born 18 January 1956, Halifax, Yorkshire) on bass and vocals, Pete Dodd on guitar and vocals, John Roog on guitar, and Jon Podgorski (known as "Pod") on drums. Dodd and Roog first met when they were both 13 years old.

Arriving in London with very little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins member Alannah Currie (born 20 September 1957, Auckland, New Zealand) lived in another squat in the same street — which is how she met Bailey. It was in this ramshackle and run-down house that they found an illegal way of "borrowing" electricity from the house next door. Bailey described themselves (laughingly) as spongers back then, as they were living on very little and scavenging everything they could lay their hands on. He even said that the only instruments they had were bought, or had been stolen or borrowed. Dodd managed to get a council flat not far away. Their roadie at that time was John Hade, who lived in the same house, and who later became their manager. As Podgorski had decided to stay in the north, the group auditioned for drummers at the Point Studio in Victoria, London. Andrew Edge joined them on drums for less than one year, and went on to join Savage Progress, who later toured with the Thompson Twins as their support act on the 1984 UK tour.

In 1980, the band (now consisting of Bailey, Dodd, Roog and drummer Chris Bell; who had replaced Edge the previous year) released their first single "Squares and Triangles" on their own Dirty Discs label. A follow-up single, "She's In Love With Mystery", was issued later that year. In 1981, the line-up became Bailey, Dodd, Roog, Bell and two new members: former band roadie Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line-up recorded the first Thompson Twins album A Product of ... (Participation), documented in the film, Listen to London (1981). Currie, who had been associated with the band for a few years, played and sang on the first album, but was not yet a full member.

After the first album, the band's line-up shifted yet again. Saxophonist Jane Shorter left and was replaced by Currie (who also played percussion), and bassist Matthew Seligman, a former member of The Soft Boys and The Fallout Club, joined; leaving Bailey to switch to keyboards; and with Leeway starting to handle vocals on some tracks.The band signed to Arista Records and released the album Set. Thomas Dolby played some keyboards on Set and some live gigs, as Bailey had little experience with synthesizers before then. Set contained the single "In the Name of Love", sung and largely written by Bailey. It became a No. 1 dance club hit in the US, and an album entitled In the Name of Love (consisting mainly of tracks from Set, with two others from A Product Of... (Participation)) was released in the US to capitalize on the song's popularity. It entered the US Billboard 200.

After the success of "In the Name of Love", Bailey, Currie and Leeway, wanting to pursue the single's different sound, toyed with the idea of starting a new band on the side, which they planned to call 'The Bermuda Triangle'. When "In The Name Of Love" (and the parent album Set) failed to make a substantial impact in the UK record charts, this plan was abandoned. However, at the same time, manager Hade convinced Bailey, Leeway and Currie to downsize the Thompson Twins to a core of the three in April 1982. Accordingly, the other four members of the band were notified that the band was breaking up; they were each paid £500 and were allowed to keep their instruments and equipment in exchange for an undertaking not to perform together under the name "Thompson Twins".

The remaining Thompson Twins, who had not in fact "broken up", decided to go abroad to free themselves of any UK influence, as well as to combine the songwriting for their first album as a trio with a long holiday. They first went to Egypt and then to the Bahamas where they recorded at Compass Point Studios in Nassau with the producer Alex Sadkin. Bailey commented on the band's reduction to a trio in a 1983 interview: "When we reformed the band, we were making a statement. We weren't going to be a rock 'n' roll band, we weren't going to have a guitar. We were going to move on. You know, Lou Reed said whenever he played live he ended up going back to heroin music. There are old associations, associations we don't want because they don't reflect the way we feel today. ... Right now, technology is what's important, and that's what our music tries to reflect."

The band broke into the UK Singles Chart and the US Billboard Hot 100 chart at the beginning of 1983 with "Lies" and "Love On Your Side", which became the band's first UK Top 10 single. They then released their third album, Quick Step and Side Kick (called simply Side Kicks in the US), which peaked at number 2 in the UK and was later certified platinum. Further singles followed with "We Are Detective" (another Top 10 UK hit) and "Watching" (UK #33). All three bandmembers received songwriting credits, though the band publicly acknowledged Bailey as the songwriter, with Currie contributing lyrics and Leeway focusing on the stage show. During 1983, the band had the opening spot on The Police concert tour in the US.

"Hold Me Now", was released in late 1983. The song was an international chart success, peaking at No. 4 in their native UK  where it became the band's biggest seller earning a gold disc, and reached No. 3 in the US in the spring of 1984 becoming their biggest American hit. The band's new album, Into the Gap, was released in early 1984 and became one of the year's biggest sellers, selling five million copies worldwide. It topped the UK Albums Chart and was later certified double platinum there. Further hit singles from the album followed with "Doctor! Doctor!" (UK No. 3) and "You Take Me Up" (UK No. 2, their highest UK singles chart placing and which earned a silver disc). Other singles included a new version of the album track "Sister of Mercy" (UK No. 11), and "The Gap" (though this was not released in the UK). The band embarked on a world tour in support of the album, which had also made the US top ten.

A brand new single, "Lay Your Hands on Me", was released in the UK in late 1984 and reached No. 13 in the UK charts. Following this, the band parted company with their producer Alex Sadkin and opted to produce their new album, Here's To Future Days, by themselves in Paris. However, in March 1985, while promoting their new single "Roll Over" and the forthcoming album, Bailey collapsed in his London hotel room from nervous exhaustion. The "Roll Over" single was then cancelled at the last minute and the new album postponed. Though the band had chosen to produce themselves, the postponement caused them to rethink the project and producer Nile Rodgers was subsequently called in to rework the album with them. The album was eventually released in September 1985, reaching the UK Top 5 and US Top 20, though failed to come close to the success of Into The Gap. It was preceded by the single "Don't Mess With Doctor Dream" (UK No. 15) and followed by the single "King For A Day", which peaked at No. 22 in the UK, but reached No. 8 on the US chart.[8] Other singles included a new US version of "Lay Your Hands On Me" (US No. 6), and a cover of The Beatles' 1968 hit "Revolution", which failed to make the UK Top 40.

Prior to the album's release, the Thompson Twins performed on the American leg of Live Aid in July 1985 and were joined onstage by Madonna. The planned summer 1985 tour of the UK (and a headlining appearance at the Glastonbury Festival) had to be cancelled due to Bailey's health problems (fans with tickets received a free live album as compensation), though international dates were rescheduled and the latter half of 1985 saw sell out tours for the band in the US and Japan. A second planned tour of the UK in 1985 was also scrapped due to the promoter declaring bankruptcy.

Leeway left the band in 1986, and the remaining duo of Bailey and Currie carried on making music for another seven years The act's first release as a duo was the North America-only single "Nothing In Common", issued in July 1986. It peaked at a modest #54 US, #68 Canada. 1987 saw the release of Close to the Bone and the single "Get That Love", which climbed to No. 31 in the US[8] but failed in the UK. "In the Name of Love" was given a new lease on life in 1988, after a remix by Shep Pettibone made the Top 50 in the UK. 1989 saw the release of another album, Big Trash, and a new recording contract with Warner Bros. Records. The single "Sugar Daddy" peaked at No. 28 in the US and would be their last brush with mainstream chart success. 1991's Queer would be the band's swansong, and was supported by various techno inspired singles under the moniker of Feedback Max (in the UK) to disguise the identity of the band to club DJs. The single "Come Inside" reached No. 7 in the US Dance Chart and No. 1 in the UK Dance Chart. However, once it was discovered that the Thompson Twins were behind the record, sales dropped and the album never had a UK release.

Prior to this, Bailey and Currie (who were now a couple) had their first child together in 1988, and in the following years they spent a lot of time writing material for other artists including the hit single "I Want That Man" for Debbie Harry in 1989. In 1990, Bailey and Currie contributed the song "Who Wants To Be A Millionaire?" to the Cole Porter tribute album "Red Hot + Blue" produced by the Red Hot Organization. In 1991, Bailey and Currie were married in Las Vegas and the following year moved to New Zealand with their two children. In 1992, the Thompson Twins contributed the song "Play With Me" to the soundtrack of the Ralph Bakshi film Cool World; Bailey alone contributed a second track, "Industry and Seduction". The following year, the duo formally teamed up with engineer Keith Fernley and changed their band name to Babble. They released two albums, in 1993 and 1996.

The Thompson Twins declined to follow the examples of many of their contemporaries and reform to tie-in with a nostalgic rebirth of the 1980s, although Bailey, Currie and Leeway appeared together on the UK Channel 4 show Top Ten Electro Bands in 2001. The Thompson Twins were placed ninth.

After the Twins

Babble released two albums — The Stone (1993) and Ether (1996) — with songs featured in the films Coneheads and With Honors. Three quarters of a third album was recorded, but it remains unreleased. In the mid-1990s, Currie gave up the music business to set up her own glass-casting studio in Auckland. After her sister died of Creutzfeldt–Jakob disease, Currie founded a group in New Zealand called Mothers Against Genetic-Engineering in Food and the Environment (also known as MADGE), which soon had thousands of members. Currie described this group as a "rapidly growing network of politically non-aligned women who are actively resisting the use of genetically-engineered material in our food and on our land". An advert for this group featuring a young woman with four breasts hooked up to a milking machine became famous after appearing on billboards across New Zealand. Bailey and Currie split up in 2003, and are now divorced. They both left New Zealand to live separately in Britain, but are still close friends. In 2011, Currie married Jimmy Cauty (formerly of The KLF) and as of then was a trained upholsterer known professionally as "Miss Pokeno".

In 1999, Bailey produced and played keyboards on the album Mix by the New Zealand band Stellar*, and won the Producer of the Year Award at the 2000 New Zealand Music Awards. He has also arranged soundtracks and has provided instrumental music for several films. He continues to make music under the moniker International Observer and has released the albums Seen (2001), All Played Out (2005), and Felt (2009). He also performs with the Holiwater group from India. He began performing live again as Thompson Twins' Tom Bailey in 2014 and has since toured the UK, North America and Japan. In 2016 he released his debut solo single, 'Come So Far'. Tom remarried artist Lauren Drescher, and he currently resides in France and London.

After leaving the Thompson Twins in 1986, Leeway briefly dabbled in acting and attempted a solo music career, though neither were successful. As of 2006, he resides in Los Angeles, California, and works in the field of hypnotherapy. He is on the staff at the Hypnosis Motivation Institute (HMI) in Tarzana, California, and is also a certified trainer in neuro-linguistic programming.

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Thompson Twins' atmospheric and moody 1984 album Into the Gap was their commercial breakthrough in the United States, and remains a classic as far as '80s new wave pop is concerned. Nearly every song on this set differed from the others, with each track taking the listener on a different musical journey. The song that cemented Thompson Twins as a presence on American Top 40 radio was their earnest ballad (and biggest hit) "Hold Me Now," which years later still sounded as fresh and innocent as when it was first released. The album yielded a couple of other hits, including the feel-good, percussion- and harmonica-heavy "You Take Me Up" and the mysterious, melodramatic "Doctor! Doctor!" "The Gap," the album's final single (and a definite standout), heavily leans toward Middle Eastern influences (as does "Doctor! Doctor!") and ranks as the album's most unstoppable (and unusual) dance cut. Other tracks, including "Sister of Mercy" and "No Peace for the Wicked," rank almost as high as the singles. Thompson Twins were quiet visionaries, blending intelligent lyrics, Eastern sensibilities, and new wave pop to create a wholly unique and unforgettable listening experience and an album that ranks as one of the '80s' most unique.

 Thompson Twins - Into The Gap (flac  472mb)

01 Doctor Doctor 4:39
02 You Take Me Up 4:26
03 Day After Day 3:49
04 Sister Of Mercy 5:07
05 No Peace For The Wicked 4:05
06 The Gap 4:45
07 Hold Me Now 4:45
08 Storm On The Sea 5:32
09 Who Can Stop The Rain 5:44
The Cassette Remixes
10 Leopard Ray 3:19
11 Doctor! Doctor! 7:50
12 Panic Station (Day After Day) 4:43
13 Down Tools 4:23
14 Hold Me Now 9:45
15 Funeral Dance (No Peace For The Wicked) 3:14

Thompson Twins - Into The Gap   (ogg  177mb)


Thompson Twins - Into The Gap Bonus (flac 409mb)

01 Compass Points (The Gap) 4:58
02 Still Water (Storm On The Sea) 3:49
03 You Take Me Up (Machines Take Me Over) (12" Version) 7:22
04 Sisters Of Mercy (12" Version) 9:24
05 Let Loving Start (12" Version) 8:53
06 You Take Me Up (High Plains Mixer) (Francois Kevorkian 12" Remix) 8:28
07 Nurse Shark 4:06
08 Passion Planet 3:43
09 You Take Me Up (Francois Kevorkian Instrumental Remix) 6:18
10 Out Of The Gap (Megamix Extended Version) 8:57

Thompson Twins - Into The Gap bonus   (ogg  156mb)

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 "Here's to Future Days" is the last great album from the Thompson Twins before the band fractured and became a duo instead of a trio. Their previous effort, "Into the Gap", was their huge commercial breakthrough release that rode on the wave of their most popular single "Hold Me Now". But "Here's to Future Days" had a couple of hit songs, "Lay Your Hands on Me" and "King For a Day", a fantastic cover version of the Beatles "Revolution" and a collection of other songs that range from fun ("Love is the Law", "Tokyo") to kinetic and energetic ("Don't Mess With Doctor Dream", "Breakaway") to soulful ballads ("Emperor's Clothes (part1)", "You Killed the Clown") to innovative and creative ("Roll Over", "Future Days"). The Thompson Twins attempt to toughen up their sound, "Here's to Future Days" is more Rock and Roll than one would expect. Nile Rogers produced the album with rock sensibilities and brought Billy Idol's guitarist, Steve Stevens into the mix. The songs are solid, catchy, well played and consistent throughout.

The sound quality is punchy and detailed, not lacking in clarity in any way and free of any discernible hiss or background noise, it has not been mastered with limiting to make it sound very loud. Disc two likewise has flawless sound on all tracks, and many tracks there are. The bonus tracks. Edsel really went to town here and there's at least a couple that I cannot remember having heard before. Perhaps there's one too many versions of Lay Your Hands On Me, but we can't fault them for that. Roll Over was a natural inclusion, but best of all there are extended mixes of all the singles too. All in all, an excellent reissue.

 Thompson Twins - Here's To Future Days (flac 516mb)

01 Don't Mess With Doctor Dream 4:25
02 Lay Your Hands On Me 4:21
03 Future Days 3:00
04 You Killed The Clown 4:52
05 Revolution 4:05
06 King For A Day 5:18
07 Love Is The Law 4:43
08 Emperor's Clothes (Part 1) 4:45
09 Tokyo 3:38
10 Breakaway 3:33
11 Roll Over 4:58
The Cassette Remixes
12 Shoot Out (Don't Mess With Doctor Dream) 6:22
13 Alice (Lay Your Hands On Me) 4:59
14 Heavens Above! (Future Days) 3:19
15 The Kiss (Tokyo) 5:42
16 Desert Dancers (Breakaway) 7:07

Thompson Twins - Here's To Future Days   (ogg  187mb)


Thompson Twins - Here's To Future Days bonus (flac  538mb)
The B-Sides And The 12" Mixes
01 Lay Your Hands On Me (Original Alex Sadkin + Tom Bailey Remix) 6:05
02 The Lewis Carol (Adventures In Wonderland) 4:11
03 Lay Your Hands On Me (US Remix) 6:23
04 Lay Your Hands On Me (Extended Nile Rodgers + Tom Bailey Remix) 5:58
05 Roll Over Again (12") 6:50
06 Fools In Paradise (12") 5:26
07 Don't Mess With Doctor Dream (Smackattack!) (12") 6:05
08 Very Big Business (12") 5:05
09 King For A Day (Extended Mix) 8:01
10 Rollunder (Extended) 6:43
11 King For A Day (US Remix) 7:17
12 The Fourth Sunday 4:17
13 Revolution (12" Remix) 5:58

Thompson Twins - Here's To Future Days bonus   (ogg   191mb)

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