Sep 30, 2017

RhoDeo 1739 Grooves

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

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

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

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

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

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

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

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

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

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

more.....

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

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

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

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

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


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After a promising but uneven debut, Syreeta summoned her creative strengths and worked in tandem with creative partner Stevie Wonder to produce another album in 1974. The result was Stevie Wonder Presents Syreeta, the most delightful and consistent album of her career. As with Syreeta, this album pursues a combination of smooth soul tracks ideally suited to Syreeta's silky vocal range and more experimental outings that are creatively in line with Wonder's then-current solo work. However, the eclecticism that weighed down Syreeta is transformed into a strength on Stevie Wonder Presents Syreeta: the tracks pursue a dazzling array of different pop-soul styles, but everything is kept in check by solid performances from everyone involved and tight arrangements that keep the album's hook-filled songs on track. Highlights on the first side include "Spinnin' and Spinnin'," a clever tune that uses a spiraling, carnival-styled keyboard motif to bring its tale of an unwieldy relationship to life, and "Come And Get This Stuff," a funky pop number built on an infectious sing-along chorus. Another notable track is "Cause We've Ended As Lovers," a delicate breakup ballad with a stunning, ethereal vocal from Syreeta. On the second side, a majority of the running time is devoted to an Abbey Road-style medley of short tracks. Everything here is catchy and well-arranged, but the highlight is "I Wanna Be By Your Side," a heart-melting romantic duet between Syreeta and fellow Motown solo artist G.C. Cameron. All in all, Stevie Wonder Presents Syreeta is the shining moment of Syreeta's solo career and a lost highlight of 1970's soul in general. Any fans of Stevie Wonder owe it to themselve to track this album down because it makes a worthy companion to albums like Talking Book and Innervisions.



Syreeta - Syreeta + Stevie Wonder Presents Syreeta      (flac  474mb)

Syreeta
01 I Love Every Little Thing About You 4:57
02 Black Maybe 4:35
03 Keep Him Like He Is 2:54
04 Happiness 5:21
05 She's Leaving Home 4:20
06 What Love Has Joined Together 3:42
07 How Many Days 3:34
08 Baby Don't You Let Me Lose This 2:58
09 To Know You Is To Love You 6:07
Stevie Wonder Presents Syreeta
10 I'm Goin' Left 3:36
11 Spinnin' And Spinnin' 4:21
12 Your Kiss Is Sweet 4:31
13 Come And Get This Stuff 3:38
14 Heavy Day 4:02
15 Cause We've Ended As Lovers 4:29
16 Just A Little Piece Of You 4:01
17 Waitin' For The Postman 1:47
18 When Your Daddy's Not Around 1:03
19 I Wanna Be By Your Side 4:03
20 Universal Sound Of The World (Your Kiss Is Sweet) 4:07

Syreeta - Syreeta + Stevie Wonder Presents Syreeta  (ogg  184mb)

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When Stevie Wonder applied his tremendous songwriting talents to the unsettled social morass that was the early '70s, he produced one of his greatest, most important works, a rich panoply of songs addressing drugs, spirituality, political ethics, the unnecessary perils of urban life, and what looked to be the failure of the '60s dream -- all set within a collection of charts as funky and catchy as any he'd written before. Two of the highlights, "Living for the City" and "Too High," make an especially deep impression thanks to Stevie's narrative talents; on the first, an eight-minute mini-epic, he brings a hard-scrabble Mississippi black youth to the city and illustrates, via a brilliant dramatic interlude, what lies in wait for innocents. (He also uses his variety of voice impersonations to stunning effect.) "Too High" is just as stunning, a cautionary tale about drugs driven by a dizzying chorus of scat vocals and a springing bassline. "Higher Ground," a funky follow-up to the previous album's big hit ("Superstition"), and "Jesus Children of America" both introduced Wonder's interest in Eastern religion. It's a tribute to his genius that he could broach topics like reincarnation and transcendental meditation in a pop context with minimal interference to the rest of the album. Wonder also made no secret of the fact that "He's Misstra Know-It-All" was directed at Tricky Dick, aka Richard Milhouse Nixon, then making headlines (and destroying America's faith in the highest office) with the biggest political scandal of the century. Putting all these differing themes and topics into perspective was the front cover, a striking piece by Efram Wolff portraying Stevie Wonder as the blind visionary, an artist seeing far better than those around him what was going on in the early '70s, and using his astonishing musical gifts to make this commentary one of the most effective and entertaining ever heard.



Stevie Wonder - Innervisions    (flac 296mb)

01 Too High 4:37
02 Visions 5:17
03 Living For The City 7:26
04 Golden Lady 5:00
05 Higher Ground 3:54
06 Jesus Children Of America 4:04
07 All In Love Is Fair 3:45
08 Don't You Worry 'Bout A Thing 4:55
09 He's Misstra Know-It-All 6:06

Stevie Wonder - Innervisions  (ogg  118mb )

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After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness' First Finale. The cover pictures his life as an enormous wheel, part of which he's looking ahead to and part of which he's already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards). The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it ("Creepin'") to being bashful of it ("Too Shy to Say") to knowing when it's over ("It Ain't No Use"). The two big singles are "Boogie on Reggae Woman," with a deep electronic groove balancing organic congas and gospel piano, and "You Haven't Done Nothin'," an acidic dismissal of President Nixon and the Watergate controversy (he'd already written "He's Misstra Know-It-All" on the same topic). As before, Fulfillingness' First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; "Too Shy to Say" can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie's preaching on "You Haven't Done Nothin'." It's also very refreshing to hear more songs devoted to the many and varied stages of romance, among them "It Ain't No Use," "Too Shy to Say," "Please Don't Go." The only element lacking here, in comparison to the rest of his string of brilliant early-'70s records, is a clear focus; Fulfillingness' First Finale is more a collection of excellent songs than an excellent album.



Stevie Wonder - Fulfillingness' First Finale   (flac 283mb)

01 Smile Please 3:27
02 Heaven Is 10 Zillion Light Years Away 5:01
03 Too Shy To Say 3:28
04 Boogie On Reggae Woman 4:55
05 Creepin' 4:19
06 You Haven't Done Nothin' 3:20
07 It Ain't No Use 3:57
08 They Won't Go When I Go 5:54
09 Bird Of Beauty 3:45
10 Please Don't Go 4:04

.Stevie Wonder - Fulfillingness' First Finale    (ogg  111mb)

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Songs in the Key of Life was Stevie Wonder's longest, most ambitious collection of songs, a two-LP (plus accompanying EP) set that -- just as the title promised -- touched on nearly every issue under the sun, and did it all with ambitious (even for him), wide-ranging arrangements and some of the best performances of Wonder's career. The opening "Love's in Need of Love Today" and "Have a Talk with God" are curiously subdued, but Stevie soon kicks into gear with "Village Ghetto Land," a fierce exposé of ghetto neglect set to a satirical Baroque synthesizer. Hot on its heels comes the torrid fusion jam "Contusion," a big, brassy hit tribute to the recently departed Duke Ellington in "Sir Duke," and (another hit, this one a Grammy winner as well) the bumping poem to his childhood, "I Wish." Though they didn't necessarily appear in order, Songs in the Key of Life contains nearly a full album on love and relationships, along with another full album on issues social and spiritual. Fans of the love album Talking Book can marvel that he sets the bar even higher here, with brilliant material like the tenderly cathartic and gloriously redemptive "Joy Inside My Tears," the two-part, smooth-and-rough "Ordinary Pain," the bitterly ironic "All Day Sucker," or another classic heartbreaker, "Summer Soft." Those inclined toward Stevie Wonder the social-issues artist had quite a few songs to focus on as well: "Black Man" was a Bicentennial school lesson on remembering the vastly different people who helped build America; "Pastime Paradise" examined the plight of those who live in the past and have little hope for the future; "Village Ghetto Land" brought listeners to a nightmare of urban wasteland; and "Saturn" found Stevie questioning his kinship with the rest of humanity and amusingly imagining paradise as a residency on a distant planet. If all this sounds overwhelming, it is; Stevie Wonder had talent to spare during the mid-'70s, and instead of letting the reserve trickle out during the rest of the decade, he let it all go with one massive burst. (His only subsequent record of the '70s was the similarly gargantuan but largely instrumental soundtrack Journey Through the Secret Life of Plants.)



Stevie Wonder - Songs In The Key Of Life   (flac 292mb)

01 Love's In Need Of Love Today 7:05
02 Have A Talk With God 2:42
03 Village Ghetto Land 3:25
04 Contusion 3:45
05 Sir Duke 3:52
06 I Wish 4:12
07 Knocks Me Off My Feet 3:35
08 Pastime Paradise 3:20
09 Summer Soft 4:16
10 Ordinary Pain 6:22

. Stevie Wonder - Songs In The Key Of Life  (ogg  112mb)

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Stevie Wonder - Songs In The Key Of Life 2   (flac 443mb)

01 Isn't She Lovely 6:33
02 Joy Inside My Tears 6:29
03 Black Man 8:29
04 4Ngiculela - Es Una Historia - I Am Singing 3:48
05 If It's Magic 3:11
06 As 7:07
07 Another Star 8:19
A Something's Extra Bonus
08 Saturn 4:54
09 Ebony Eyes 4:10
10 All Day Sucker 5:06
11 Easy Goin' Evening (My Mama's Call) 3:58

. Stevie Wonder - Songs In The Key Of Life 2  (ogg  166mb)

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Sep 28, 2017

RhoDeo 1739 Re-Ups 115

Hello, another week and no less then 4 too early requests, 12 months it really is higher maths to some, requesting at the right page is still an issue for some too. And some make a meal of it requesting 5 or more pages on a day.


Remains 12 correct requests this week, in short another batch of 41 re-ups (more than 13gig)


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 September 27th.... N'Joy

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2x Roots NOW In Flac (U Roy – Version Of Wisdom, Augustus Pablo – DJs From 70s & 80s)

4x Sundaze Back in Flac (Klaus Schulze - Mirage (dlx ed.), Klaus Schulze - Dune (dlx ed.),  Klaus Schulze - X, Klaus Schulze - X 2)


3x Aetix Back In Flac (Mink DeVille - Cabretta, Mink DeVille - Return To Magenta,  Mink Deville - Le Chat Bleu)


3x Aetix Back In Flac (Foetus Corruptus - Rife, Foetus Inc. - 'Sink', Clint Ruin & Lydia Lunch - Stinkfist-Reaper)


4x Sundaze NOW In Flac (H Wolff & N Hennings – Tibetan Bells I, William Buhlman - Exploring Past Lives I+II, Steve Roach 1 Mystic Chords and Sacred Spaces, Steve Roach - 2 Labyrinth )


3x Roots NOW In Flac (The Heptones - On Top,  The Heptones and Their Friends - Meet The New Generation!, The Skatalites - Ska-Boo-Da-Ba)


4x Aetix Back In Flac (The Creatures - A Bestiary Of The Creatures, Siouxsie And The Banshees - Tinderbox, Siouxsie and The Banshees - Through The Looking Glass , Siouxsie and The Banshees - Kaleidoscope)


3x Aetix Back In Flac (Blondie - Blondie, Blondie - Plastic Letters, Blondie - Parallel Lines)


3x Roots Back In Flac (VA - Next Stop Soweto Vol 2, Mzwakhe Mbuli - Resistance is Defence, Lucky Dube - The Way It Is)


4x Aetix Back In Flac ( Eurythmics - In The Garden, Eurythmics - Sweet Dreams, Eurythmics - Be Yourself Tonight , Eurythmics - 1984 )



3x Aetix Back in Flac   (D.A.F - Die Kleinen und Die Bösen, Liaisons Dangereuses - Liaisons D, Pyrolator - Ausland)


4x Alphabet Soup  NOW in Flac  (Recoil - Bloodline, Rollins Band - Weigh, Ruby - Salt Peter, Ruby - Revenge, The Sweetest Fruit )



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Sep 27, 2017

RhoDeo 1739 Aetix

Hello,


Today's artists are a Belgian rock band founded in 1980 in Brussels. Centered on singer Arno Hintjens and guitarist Jean-Marie Aerts, the band played a kind of music sometimes referred to as "eurorock", containing various styles including new wave, blues, funk, hard rock, avant-garde and French chanson. The group was especially acclaimed for its live performances, with the intense singer Arno Hintjens singer.The band released four studio albums and attained a measure of commercial and popular success, and disbanded in 1986.  .........N'Joy

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The band has its origin in the duo Tjens-Couter, composed of Arno Hintjens and guitarist Paul Decoutere, which played rhythm and blues since the early 1970s, and in 1974 were augmented with Ferre Baelen (bass) and Rudy Cloet (drums), and in 1977 with Serge Feys (keyboards). Two albums were released, Who Cares (1975) and Plat du Jour (1978). In 1980, the group was renamed TC Matic (apparently for a Yugoslav surrealist poet named Matić); Decoutere was soon replaced by Jean-Marie Aerts, who cooperated with Hintjens in the majority of the band's compositions and produced the first three albums. Their debut album, TC Matic, was described as a mixture between Killing Joke and Gang of Four; they scored an early hit in Belgium with "Oh La La La" in 1981, and another with "Putain Putain" from 1983's Choco.

In 1984, the Dutch bass player Michael Peet replaced Ferre Baelen. In 1985, the band toured Europe, opening for the Simple Minds, a tour which proved that Belgian bands could attain commercial success outside the country. A final album, Ye Ye (1985), was produced by Howard Gray. The band broke up in 1986.

Their eclectic mix and experimental approach to music would have a great impact on Belgian bands such as dEUS and Zita Swoon

Arno's lyrics were a crossover of different european languages (flemish, italian, french, english, german) sometimes all of them in the same song which adds to the originality of TC Matic's sound. Let's not forget Arno's voice. It's incredible with that kind of Dylan's singsong on many tracks. Arno's scorched voice is always about to burst (self-composition "I"m Not Gonna Listen") and simple musical canvas weft by the musicians permits him to emphasise his guttural blues soaked voice. His childish voice is sometimes really funny on songs like the raw "Que Pasa" No wonder Arno was (and still is) a great and authentic performer and TC Matic was probably "the most intense live act ever to come out of Belgium, delivering excellent heavy variété"




After the breakup
Arno Hintjes started a solo career, under the name Arno. He continued to cooperate with Jean-Marie Aerts, who went on to work mainly as a producer (for Jo Lemaire and the Urban Dance Squad, among others), and with two other ex-TC Matic-members, drummer Rudy Cloet and keyboard player Serge Feys.




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Belgian rock band of the eighties that was inspired by american music (a strong bluesy influence) but wanted to create original european music. In fact, TC Matic (after the name of the singer Arno Hin tjens and Paul Couter, a friend with whom Arno made a fun and energy duet in the seventies : Tjens-Couter, Matic being an inscription written on a fridge !!!) was a band that managed to meddle different styles as blues, funk, hard rock, avantgarde, chanson française and 80ies new wave. How possible to conjugate the opposites, that remains a mystery but Arno's musical background is huge (he was 30 something at that time and a member of different belgian bands by the past). Arno's lyrics were a crossover of different european languages (flemish, italian, french, english, german) sometimes all of them in the same song. Brilliant case study of Dance-Punk



  T.C. Matic - T.C. Matic   (flac  290mb)

01 Bye Bye Till The Next Time 3:25
02 L'Union Fait La Force 2:34
03 With You 4:11
04 Stop Rock 3:50
05 The Parrot Brigade 3:53
06 I'm Not Like That 2:30
07 Give Them A Leader 5:02
08 Viva Boema 4:25
09 O La La La 3:17
10 Pitie Pour Lui 3:16
Bonussss
11 O La La La (extended) 4:56

T.C. Matic - T.C. Matic     (ogg    108mb  )

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TC Matic were a Belgian rock band of the eighties which was inspired by american music but wanted to create original european music. In fact, TC Matic was a band which managed to mix styles such as as blues, funk, hard rock, avantgarde, chanson française and 80's new wave to create their very own trademark sound. How did they do that remains a mistery but Arno's musical background was huge (he was 30 something at that time and a member of have been an active member of the Belgian rock scene since the early 70s).
L'Apache, released in 1982, is the band's second album, but, in my humble opinion, the band's masterpiece. Filled with great songs, it succeeds at creating a brand of rock music like never heard before. Where their self-titled debut was too heavily influenced by Joy Division's music, this 82's delivery is more melodic but paradoxically rougher ("I'm Not Gonna Listen") and always entertaining thanks to unexpected moments ("les Zazous") and a rich musical contribution by hard rock guitarist Jean-Marie Aerts and keyboardist Serge Feys. Typical 80's' sound effects sometimes give a misterious and threatening tone to TC Matic's bare and minimalist bluesy music ("Que Pasa", "Rip-Off Popoff") even if they can be seen as dated in 2010. And let's not forget Arno's incredible singing, it seems as if his scorched voice was always about to burst and the simple (yet not simplistic) musical canvas crafted by the musicians permit him to emphasise his guttural blues soaked voice to a point where one could think of Tom Waits or a more relaxed Screaming Jay Hawkins.
No wonder why Arno was (and still is) a great and authentic performer and TC Matic was probably "the most intense live act ever to come out of Belgium, delivering excellent heavy variété" A european rock reference!



T.C. Matic - L'Apache (flac 227mb)

01 Middle Class And Blue Eyes 3:16
02 Que Pasa 2:45
03 Touch Me 2:59
04 Rip-Off Poppoff 2:40
05 Mon Ami Louis 2:23
06 Just Another Joke 2:50
07 Le Java 3:30
08 I'm Not Gonna Listen 3:46
09 Les Zazous 2:53
10 Stay Scared, Stay Alive 3:04
11 La-Bas 3:31

T.C. Matic - L'Apache   (ogg  85mb)

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TC Matic with their third album Choco make a big step forward. Ha ha refers still to the first releases, but also illustrates the magic word of this record. Rock stripped to the bid, which the vicious guitar work of Jean-Marie Aerts comes to its best advantage. she steps out of the straitjacket of the New Wave. If You Wanna Dance Rhythm And Blues is much more than alternative Wave. With screaming guitars, background vocals of Julia Loko and a wonderful Hammond organ they present an almost entirely swinging. Call Me Up has a riff that reminds you of Hot StuffThe Rolling Stones , but also keep any similarity. Once again stripped of all embellishment. They Never Make You Laugh almost brooding tension. With L'Amour n'est pas Avec Moi they produce a real ballad, but then brightened with hammered lush guitar sounds Aerts. Putain Putain has become a classic, with the well-known euro hymne subtly integrated. Arrividerci Solo contains one of Aerts solo that passes through its simplicity to the marrow. Actually, there is simply no explore dissonance in Choco. This album marks the culmination of TC Matic. Ye Ye successor stores go wrong in many ways, and to stop the band decides it. Thankfully keep Serge Feys and Arno Hintjens the memory alive by TC Matic still live to interpret classics from the band.



 T.C. Matic - Choco   (flac 229mb)

01 If You Wanna Dance, Dance, If You Don't, Don't 3:14
02 Ha Ha 4:05
03 L'Amour N'Est Pas Avec Moi 2:53
04 Arrividerci Solo 3:20
05 Living On My Instinct 3:58
06 Call Me Up 3:23
07 Putain Putain 4:22
08 Being Somebody Else 3:32
09 They Never Make You Laugh 6:00

T.C. Matic - Choco   (ogg  89mb)

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The last record of TC-Matic, a swan song, a goodbye in beauty. With pearls like the stupid stupid loud rocking Cook Me, the beautiful ballad Elle Adore Le Noir (Pour Sortir Le Soir), and songs like Get Wet and I'm A Man.
Yé Yé suffers from heavy duty, swollen production courtesy of Howard Gray. Fortunately, the Pearl Elle Adore Le Noir does not suffer from this!.

TC-Matic participated in the tour of Simple Minds, so the chance to break through internationally was there that way.  Unfortunately, in the same period the band broke down. One of the best, possibly the very best live group ever produced in the Low Countries. Salut !



 T.C. Matic - Yé Yé  (flac  274mb)
 
01 Cook Me 3:01
02 Who's That Girl 3:41
03 Act Like A Dog 4:41
04 Chi Boem 3:24
05 Elle Adore Le Noir (Pour Sortir Le Soir) 4:20
06 Pauvre Con 2:40
07 Fed My Dreams 3:55
08 Let Me Out 3:23
09 I'm A Man 3:24
10 Get Wet 4:27

T.C. Matic - Yé Yé   (ogg  81mb )

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Sep 26, 2017

RhoDeo 1739 Roots

Hello,

Today's artist is an Argentine singer-songwriter, musician and producer. Within his vast career he formed some of the bands long considered as the most popular in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros. Since the 80's García has worked mostly as a solo musician. His main instruments is the piano, together with guitar and keyboards. García is widely considered by critics as one of the most influential rock artists in the Spanish rock scene, and  as "The Father of Argentinian Rock" ....N'Joy

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Charly García is one of the most talented and influential figures of Argentine and Latin rock. He composed many generational songs and was obsessed with expanding the boundaries of pop music, along with musician's role itself.

At the age of four he started taking piano lessons. He was deeply into classical music. All that changed when he discovered the Beatles and the Byrds. While he attended secondary school, he met Nito Mestre, with whom he formed Sui Generis in the early '70s. They only released three studio albums, but it was enough to establish García as a key figure in the nascent rock scene. Sui Generis disbanded in 1975, and a year later Garcia played in PorSuiGieco with other folk-rock figures. It wasn't really a proper band, and they released just one album. La Máquina de Hacer Pájaros was Garcia's next group, clearly influenced by symphonic rock.

Between 1978 and 1982, Charly García was part of Serú Girán, one of the key bands in the Argentinian rock movement. They recorded five albums while the country was under a sordid dictatorship. The band provided a subtle offering of resistance. García's solo career began in 1982. He was asked by film director Raúl de la Torre to compose the soundtrack to the film Pubis Angelical. Simultaneously, Garcia recorded Yendo de la Cama al Living. Some highly intimate songs can be heard here, like "Inconsciente Colectivo" and "Yo No Quiero Volverme Tan Loco." At the end of that year, the album was released to excellent reviews, proving that García was on the right track.

In 1983, Garcia produced Los Twist's debut album, La Dicha en Movimiento, and recorded his own follow-up solo work, Clics Modernos, at the Electric Ladyland studios in New York. Clics Modernos had a pop/rock-oriented structure, and was simpler than previous works. The album sold extremely well but generated some controversy among critics for the sudden change in style. On this album, however, he began his longtime collaboration with producer Joe Blaney. At the end of that year, he was caught up in his most well-known scandal: he pulled down his trousers in front of a hostile audience. This was the beginning of a string of controversies and helped make him a major public figure, beyond just the music scene.

An essential trilogy was completed with Piano Bar, launched at the end of 1984. It was recorded by one of his best touring bands, formed, among others, by GIT members and Fito Paéz on keyboards. Both the public and critics liked the album, which contained hymns like "Demoliendo Hoteles" and "Raros Peinados Nuevos." In 1985, he tried to collaborate with another local rock hero, Luis Alberto Spinetta. The project didn't go far, with only the song "Rezo por Vos" recorded. That year he took part in the Rock & Pop Festival, along with some international figures like Nina Hagen, INXS, and John Mayall. With Pedro Aznar (also a former member of Seru Girán), he recorded Tango in 1986, a six-song maxi-single that incorporated technological elements.

Parte de la Religión, released in 1987, was recorded almost entirely by García himself. An exception was "Rap de las Hormigas," on which the Brazilian group Os Paralams do Succeso took part. The record was clearly a masterpiece and showed Prince's influence. Songs like "No Voy en Tren," "Buscando un Símbolo de Paz," and "En la Ruta del Tentempié" became Top Ten hits. In October of 1988, an Amnesty International Tour ended in Bueños Aires. More than 80,000 people attended the concert. Peter Gabriel, Sting, Bruce Springsteen, Tracy Chapman, and Youssou N'Dour where there, and León Gieco and Charly García represented Argentina.

After composing the soundtrack for the film Lo Que Vendrá in 1988 (in which he also played a nurse), García worked on a solo album, Cómo Conseguir Chicas, largely comprised of old, previously unrecorded material. Filosofía Barata y Zapatos de Goma, released in 1990, was a good collection and included the Spanish version of the Byrds' classic "I'll Feel a Whole Lot Better." Another scandal was just around the corner, however: Garcia was accused of a patriotic symbols offense because the LP included a version of the Argentine national anthem.

In 1991, he reunited with Pedro Aznar and recorded Tango 4. The idea was to record an album with Soda Stereo's singer and composer Gustavo Cerati. Although they worked on a couple of songs, they never finished the LP. No reasons were made public. In the middle of that year, rumors indicated that García had overdosed, a fact that would later be confirmed when he entered a drug rehabilitation program.

In 1992, García reunited with Serú Girán to record a collection of brand-new songs, Serú '92, and perform a series of concerts in Cordoba, Rosario, and Buenos Aires. A live double album was also released but didn't go anywhere, and García returned to his solo career. In July of 1994, he released the rock opera La Hija de la Lágrima. It included many instrumental passages and guest musicians. The public's response was great, especially when the album was presented live.

From 1995 until 2001, García moved forward toward a more abstract and vanguard field embodied in an alter ego: Say No More. Although his shows were always sold out, his records didn't sell well and were poorly received by the critics. Estaba en Llamas Cuando Me Acosté, released in 1995, was an album largely comprised of covers. The same year, he recorded and released MTV Unplugged -- a short-lived comeback to a more classic structure. In 1996, he released the chaotic Say No More, and the next year he reworked some of his songs with the Latin folk singer Mercedes Sosa on the album Alta Fidelidad. García seemed to be out of control and completely confused. Some old-time followers gave up on him but curiously, at the peak of his own chaos, he gained a new teenage public.

All of that seemed to change in the summer of 1999 when he performed a free concert attended and acclaimed by more than 150,000 people. The show was captured on that year's Demasiado Ego release, which was his best-selling album from the Say No More era. The same year he again courted controversy by playing a show for Argentinian president Carlos Menem. The performance was recorded as Charly & Charly, a limited-edition disc that never went public; just a few copies were printed.

In March of 2000, he was again on the covers of newspapers for non-musical reasons. This time he'd jumped from a hotel's ninth floor into a swimming pool in Mendoza. That year, he reunited Sui Generis. They launched a new album, Sinfonía Para Adolescentes. They also performed a comeback show which was registered and released as a double CD, intensely modified and reworked in the studio. With the release of Influencia in 2002, he returned to a more classic song-oriented sound, where all mixing and sound experiments where set aside. This certainly marked a farewell to the Say No More phase.

The following year, before entering the studio, longtime guitarist Maria Gabriela Epumer passed away after a heart attack. The loss was profound for Garcia; he soldiered on to complete Rock and Roll, Yo, a recording as notable for its covers -- "Pretty Ballerina" and Stevie Wonder's "Love's in Need of Love" -- as for its originals, but his heart wasn't in it. Epumer's death left a great void that the audience could feel during Garcia's live shows. Not sure he would -- or could -- continue, he didn't release another record for six years, and only performed publicly twice during that period. He wasn't idle, however. In 2006, a demo began to circulate on the internet entitled Kill Gil. As a result of the music's leak, EMI refused to release it, but that was probably as much for its raw, uncommercial presentation as it was for the leak. In 2011, a much slicker finished product was submitted and issued along with a live DVD. The following year, Garcia edited and produced the live 60x60 box to commemorate his own 60th birthday, along with the book Parallel Lines: Artificio Imposible. In 2017, Garcia released Random, marking his return to Sony. The record achieved gold status in Argentina and scored a Top Three single with "La Máquina de Ser Feliz."

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Garcia came from acting and composing music for a movie ('what will come') and making his album 'how to get girls' (made in NY based on demos in English and things that were left over there). 'Philosophy' is basically one of his last albums recorded in a 'usual' way (that is: rehearsals-demos-recording), and it is noticeable in the execution of the themes: there is a certain dragged load that confuses Garcia, or better said, it takes away desire and freshness to what it tries to transmit.

However, there is nothing that merits deterioration nor any other mishap that makes this record something smaller: there are superb songs, as always. 'Filosofia' is the patriotic record par excellence, not only for its end but also for the establishment that people created around Garcia and each of their movements ...  That is why the demos are extremely useful, much more authentic, and from there also (gives me the feeling) should come the question of having written in the booklet the date and time of recording of each of the songs that compose the album . A transitional record, without doubt, but balanced.  Filosofia is,  the registered document of a person with talent who happened to be to other people's eyes an indisputable producer ... And if you have doubts about this, listen to the version of the hymn and its subsequent reactions ...



Charly Garcia - Filosofia Barata y Zapatos de Goma     (flac  254mb)

01 De Mi 3:06
02 Filosofia Barata Y Zapatos De Goma 3:51
03 Reloj De Plastilina 4:41
04 Gato De Metal 3:14
05 No Te Mueras En Mi Casa 3:31
06 Curitas 5:36
07 Solo Un Poquito No Mas 3:28
08 Me Siento Mucho Mejor (I Fell Much Better) 3:04
09 Siempre Puedes Olvidar 3:50
10 La Cancion Del Indeciso 3:02
11 Himno Nacional Argentino 4:35

Charly Garcia - Filosofia Barata y Zapatos de Goma (ogg  99mb)

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The begining of the "Say No More" era, is a great album, quite long, but very pleasant. Should be treated as a whole, but has some great singles as "La Sal No Sala" and " Chipi-Chipi".
This is his most risky album before chaotic Say No More, as it contains many atmospheric themes to guide the concept of the disc.  The album has its share of good unfinished tracks in a sticky pop as in other solo albums, its key moments Love is Love, Fax U, Waitin, Calle (Taxi) and the hit single Chipi Chipi the discography so that it has a commercial track in the disc and the letter just speaks of those exigencias. The concept of the disc, simply a search of new paths of an already consecrated artist, of an everyday anecdote and without sense Charly takes out an album with concept included. The only bad point of the album is that later the same Charly would be involved in the chaos to get the experimental Say No More and get lost between drugs and television cliches.



Charly Garcia - La Hija de la Lagrima (flac  439mb)

01 Overture
02 Víctima
03 Jaco Y Chofi
04 Atlantis
05 La Sal No Sala
06 Chipi Chipi
07 Calle [TAXI]
08 Love Is Love
09 Tema De Amor
10 Fax U
11 Lament
12 Intermedio
13 Workin' In The Morning
14 Waitin
15 Kurosawa
16 Chiquilín
17 Andan (Excerpt)
18 James Brown
19 Intraterreno
20 No Sugar
21 Atlantis
22 Locomotion
23 Andan [COMPLETE]

Charly Garcia - La Hija de la Lagrima (ogg  152mb)

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When Charly García recorded this unplugged performance he was going through his chaotic "Say No More" era. Strangely this album is classically arranged and García seems pretty controlled. Tidy, sounding in control, perfect in one word, with an explosive band, lead by the now dead María Gabriela Epumer shining in his lead guitarist/second voice role. It contains songs from almost all his solo albums while "Viernes 3 AM" and "Eti Leda" belong to Serú Girán's repertoire. It was recorded in Miami on May 4, 1995, and aired by MTV Latin in July. There are some differences between the broadcasted show and the album released at the end of the year: García re-recorded some parts because he wasn't entirely happy with the final result. This album isn't a must, but it's a pretty good record, a great opportunity to hear García in good shape reinterpreting his classic songs like "No Voy en Tren," "Cerca de la Revolución," "Yendo de la Cama al Living," and "Demoliendo Hoteles." Certainly a peak in the MTV Unplugged cycle.



Charly García - Unplugged- Hello     (flac  375mb)

01 Yendo De La Cama Al Living 4:22
02 Rezo Por Vos 4:48
03 Fanky 4:27
04 Pasajera En Trance 3:23
05 Serú Giran Medley: Eiti Leda / Viernes 3 A M 6:56
06 Cerca De La Revolución 5:06
07 Promesas Sobre El Bidet 3:06
08 No Soy Un Extraño 4:22
09 Los Dinosaurios 3:40
10 Chipi Chipi 3:43
11 La Sal No Sala 4:44
12 Nos Siguen Pegando Abajo (Pecado Mortal) 3:21
13 Ojos De Video Tape 4:06
14 Demoliendo Hoteles 5:29
15 Fifteen Forever 2:52

Charly García - Unplugged   (ogg  156mb )

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Influencia marks the great return of the King (or should I say father?) of Spanish Rock. After Hija de la Lagrima, Charly produced some chaotic records, playing around with styles. Influencia is sort of a Concept Album, showcasing his mastery of different styles. This could have been an EP. It has 13 songs, but only SIX new songs! Four of the songs have reprises.  Three of the other songs are re-recordings of earlier song, of which only one is significantly different from the earlier recordings. And there's a cover Charly's version of Influence (todd rundgren track) is incredible, even better than the original. Here we find an album worthy of being heard from beginning to end, not without clenching in some moments (few), but enjoying - in general - a solid pop rock more or less dirty and moderately crazy.



Charly Garcia - Influencia (flac  292mb)

01 Tu Vicio 4:06
02 I'm Not In Love 2:50
03 Influencia 5:30
04 Encuentro Con El Diablo 4:58
05 El Amor Espera 4:12
06 Película Sordomuda 2:01
07 Mi Nena 2:49
08 Tu Vicio (Gospel) 1:03
09 Demasiado Ego (One To One) 3:14
10 Influenza 3:33
11 I'm Not In Love (Acústico) 1:51
12 I'm Not In Love (Remix) 3:42
13 Happy And Real 3:25

Charly Garcia - Influencia (ogg  97mb)

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Sep 25, 2017

RhoDeo 1739 Mars 03

Hello, well today's worldchampionship roadrace despite being 280 km and with climbs included ended in a sprint for the title 3 topsprinters ended up on the podium and for the third time in succession Peter Sagan took the honors, local hero Alexander Kristoff lacked 20cm to win, Michael Matthews was considerably further back but still got a bronze for his efforts, next year the championships are in Innsbruck Austria expect Sagan to win again so close to home (Slovakia). Meanwhile over in Germany the xenofoob party won 13% in the elections, which was about the percentage that was lost By Merkel's CDU and Schulz's SPD the socalled big coaltionparties that have created so much room at the margins, left and right each have 2 parties now well established in parliament, looks like Merkel will pick the least extreme from both sides Greens and the FDP Liberals, with the biggest shouters left and right Linke and Afd (interestingly parties that are popular in the former DDR) at the sidelines.



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

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

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

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

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

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The Ray Bradbury Theater 14 On the Orient North (avi  317mb)

A nurse accompanies a "dying" ghost on a train ride across Europe to Great Britain in search of a place of refuge where people still believe in the supernatural.


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

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



Ray Bradbury - The Martian Chronicles 03 (mp3  20mb)

03 The Martian Chronicles 23:28



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previously

Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 02 (mp3  22mb)


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Sep 24, 2017

Sundaze 1739

Hello, i watched the worldchampionship cycling for females this afternoon, wonderful setting in Bergen Norway, there were 2 big favorites from the Netherlands one of these clearly didn't want the other one to win Van Vleuten had already secured the world time trial title and she doesn't ride for a dutch cycling team, the leading group refused to ride with her in it, the second time same story but this was the last lap so another dutch girl who just about managed to cling onto the leading group was told to go for the break , the rest of the leading group refused to do anything about it and Van Vleuten couldn't as it was her countrywoman Crystal Blaak that was winning. I say fuck you Van De Breggen you got that Olympic Title, because of that dramatic crash Van Vleuten had and to ride like you did to prevent Van Vleuten to win is... well if it had been men i'm sure a fight would have broken out after the finish. Tomorrow it's the men's ride, looks like if the best riders want to win they will have to attack sooner than later it's a 280km race so i'd say attack at 200k..Go Tom Dumoulin or who knows Peter Sagan might say yes i like to keep that rainbow jersey for another year..



Today's Artists are a hypnotic chillgaze electronic outfit from Australia. Their music is atmospheric and spacey and if you ever find yourself longing for the era where trip-hop bands were dishing out beat-driven noir, then you may want to check out this Australian trio.....slow, cinematic, trip-hop....ambient textures derived from sources like Neu! and Eno, which gives their music a wide open feeling ....N'Joy

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All India Radio is the project by Martin Kennedy and Aidan Halloran, both ex-members of Pray TV, one of Australia´s most critically acclaimed indie bands. Pray TV released albums across the world beginning in the late 80´s with legendary Aussie labels Mr Spaceman and Au Go Go Records,  and were acclaimed by international media including Melody Maker, CMJ,Alternative Press, Puncture, Gavin & Rolling Stone and more.

All India Radio are a partially live band and partially studio-based project. The founding (and constant) member of the band is Martin Kennedy, they have released sixteen albums since 2000 and their music has been featured in film and TV including CSI: Miami, One Tree Hill, Sicko, Till Human Voices Wake Us, Big Brother Australia, Bondi Rescue and Recruits. Kennedy with All India Radio and Steve Kilbey provided the original soundtrack music for the Australian post-apocalypse film, The Rare Earth.

They were nominated for Australian recording industry award (ARIA) and have collaborated with Steve Kilbey, Graham Lee (The Triffids), Ed Kuepper (The Saints, Nick Cave & The Bad Seeds guitarist) and David Bridie (Not Drowning Waving) among others.

WIRED magazine describe All India Radio perfectly: "Since the turn of the 21st century, All India Radio has mashed the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation with the instantly recognizable guitar soundtracking of Ennio Morricone and Angelo Badalamenti. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."

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Steve Kilbey is a whirling dirvish of activity, a more than slightly mad genius and true force of nature. Next to Kilbey's work with the late, great Grant McLennan on the two Jack Frost records, the teaming with Martin Kennedy is the most interesting musical pairing. And of the two records that these guys have recorded White Magic is the best. Clocking in at a concise 38 minutes or so White Magic is a beautiful, trippy dreamscape of an album. My advice is to give the album a few listens for it to really sink into your pores. This stuff is better with age, like a fine wine. Kilbey is the lyricist here and Martin Kennedy is the composer. And Kennedy, the mastermind behind ambient musical group All India Radio, has really outdone himself with White Magic. There are 11 amazing tracks on White Magic. Kilbey is in fine voice throughout. Kudos to Martin Kennedy for a wonderful job recording and mixing the music and to Jorden Brebach for recording Kilbey's mellifluous voice. To add to the whole experience, check-out the Kilbey/Kennedy website for Martin Kennedy's really clever animated videos of a few of these songs.



Steve Kilbey & Martin Kennedy - White Magic (flac 226mb)

01 The Demo 3:48
02 Close 3:52
03 Intense 3:22
04 Inner Country 3:32
05 Unfocused 4:01
06 Mountain 3:30
07 Hope 3:37
08 Dreamstate 3:24
09 Sumer 3:30
10 Messiah Around 3:11
11 The Broken Sea 3:03

Steve Kilbey & Martin Kennedy - White Magic  (ogg  90mb )

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Behind The Sky was originally a bonus CD that came with the vinyl edition of our 2012 album Red Shadow Landing. This is the first time it has been available in digital form with artwork.

It features the entire Red Shadow Landing album remixed to remove certain instruments then slowed down and reversed. Fripp & Eno did it to brilliant effect on their reissue of No Pussyfooting, and I thought I'd give it a go! I especially love what slowing and reversing does to guitar sounds and George Ellis' wonderful strings.



All India Radio - Behind the Sky (flac 259mb)

01 Behind the Sky Part 1 18:43
02 Behind the Sky Part 2 16:58
03 Behind the Sky Part 3 18:06

All India Radio - Behind the Sky  (ogg 111mb)

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Music from the forthcoming Australian post-apocalypse film The Rare Earth, "as surrealistic as any David Lynch movie, and as slippery to grasp. (Director) Stevenson is a cinematic visionary who instinctively recognises that cinema is primarily and profoundly about images, images with music" Soundtrack by Martin Kennedy of All India Radio as well as music from his acclaimed collaboration with Steve Kilbey, front man of The Church

Features new, remixed and previous album tracks by All India Radio and Steve Kilbey & Martin Kennedy.




All India Radio - The Rare Earth (Original Soundtrack)  (flac 359mb)

01 Opening Title Sequence 3:57
02 Heat Morning 4:45
03 Lorelei (with Steve Kilbey) 3:53
04 Moonlight Sonata 5:41
05 Steel Miocene 3:00
06 The Tale of Thomas Tipp 2:34
07 Brother Moon Sister Sun (with Steve Kilbey) 3:42
08 Grey 4:15
09 Drone Appointment 3 2:56
10 Can't Get Free (with Steve Kilbey) 4:26
11 Nightfevers Desert 2:12
12 Crows in the Machine 3:06
13 East Side West Side (Instumental) (with Steve Kilbey) 4:10
14 Losing Houston 3:24
15 Unfocused (with Steve Kilbey) 4:01
16 Finale (Instrumental) (with Steve Kilbey) 4:16
17 Strange Days 5:26
18 Final Sun Flares 3:37
19 Intense (with Steve Kilbey) 3:22
20 An Epilogue 1:05

 All India Radio - The Rare Earth (Original Soundtrack)   (ogg  160mb )

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Four years in the making The Slow Light is All India Radio's tenth studio album. The Slow Light features artwork by 1960s visionary artist Victor Atkins (who won the 1969 Society of Illustrators Illustrator Award for his striking 'Miles in The Sky' Miles Davis LP cover). The Slow Light is the first LP cover Atkins has produced in decades.

All India Radio's Martin Kennedy infuses the album's fuzzy dreamgaze and slow motion beats with "distinctive shadings of Ennio Morricone and Brian Eno"  and "the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."



All India Radio - The Slow Light + Bonus (flac  499mb)
 
01 Blueshift 02:49
02 Dark Star 04:58
03 Can You Hear The Sound (feat Selena Cross) 04:16
04 The Slow Light 04:11 video
05 Sunburst 04:46
06 Redshift 05:39
07 Galaxy of Light 04:42
08 Twelve 03:49
09 Time 04:03
10 The Embers 02:25
bonus
11 Downtempo Groove 5:46
12 Warped Ring Theory 5:11
13 The Space Race 5:02
14 Can You Hear The Sound (Chillwave Mix feat. Selena Cross) 4:15
15 Space Funck 5:02
16 Dark Star (Ambient Mix) 4:13
17 Saucer (2015 Remix) 5:12
18 Time (Extended Version) 6:16
19 Saturn's Child (Bonus Track) 3:58
20 The Slow Light (Ambient Mix) 3:19
21 Can You Hear The Sound (Ambient Mix feat. Selena Cross) 4:20

All India Radio - The Slow Light + Bonus  (ogg  202mb)

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Demo and lofi cassette recordings from Martin Kennedy, writer and guitarist with All India Radio & Kilbey/Kennedy. Desert Tapes 1984 - 1994 consists of soundscapes, tape manipulations and electronic doodles from the early 1980’s to the mid 1990’s. Most of these songs were originally recorded on reel to reel and cassette tapes and were mastered from those same tapes, complete with hiss, pops, dropouts and dodgy editing. I have restored them where possible but many of the blemishes remain audible.



Martin Kennedy - Desert Tapes 1984 - 1994 (flac 182mb)

01 Little Desert Ambient 3:40
02 Gone 1:43
03 1987 Ambient 1 2:38
04 Dx7 Heaven 2:10
05 Twisted Metal Mind 3 2:52
06 Twisted Metal Mind 1 1:52
07 Rust 1 2:20
08 Rust 2 1:03
09 Rust 3 2:42
10 Analogue 1984 1 3:37
11 1994 Ambient 3:15
12 Radio 3:41
13 1987 Ambient 2 1:12
14 Analogue 1984 2 1:44
15 Pensive 2:54
16 1987 Ambient 3 2:33
17 Twisted Metal Mind 2 1:14
18 Untitled 1994 1:04
19 1985 Ambient 2:01

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Sep 23, 2017

RhoDeo 1738 Grooves

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

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

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

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

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

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

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

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

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

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

more later..

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Stevie Wonder was beginning to rebel against the Motown hit factory mentality in the early '70s. While he certainly hadn't lost his commercial touch, Wonder was anxious to address social concerns, experiment with electronics, and not be restricted by radio and marketplace considerations. Still, he gave the label another definitive smash with the title track, while sneaking in a cover of the Beatles' "We Can Work It Out" and penning more intriguing tunes like "I Can't Let My Heaven Walk Away" and "Never Had a Dream Come True."



Stevie Wonder - Signed, Sealed And Delivered    (flac  248mb)

01 Never Had A Dream Come True 3:13
02 We Can Work It Out 3:19
03 Signed, Sealed, Delivered I'm Yours 2:41
04 Heaven Help Us All 3:15
05 You Can't Judge A Book By Its Cover 2:34
06 Sugar 2:54
07 Don't Wonder Why 4:58
08 Anything You Want Me To Do 2:21
09 I Can't Let My Heaven Walk Away 2:52
10 Joy (Takes Over Me) 2:12
11 I Gotta Have A Song 2:34
12 Something To Say 3:26

Stevie Wonder - Signed, Sealed And Delivered  (ogg  94mb)

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One month before he turned 21, Stevie Wonder released Where I'm Coming From, the most distinctive record of his young career, and one that looked forward -- in its breadth of material as well as its futuristic production aesthetic -- to his many successes later in the '70s. There's a fabulous song here for nearly every type of fan; the soothing love ballad ("Think of Me as Your Soldier"), a gritty, apocalyptic funk extravanganza ("Do Yourself a Favor"), a kinetic, refreshing nod to the pop charts (the Top Ten hit "If You Really Love Me"), and an agonizing piece of heartache soul ("Never Dreamed You'd Leave in Summer" (slightly reworked for "Superwoman" on his next album Music of My Mind). Still, there are a few echoes of his occasionally pedestrian '60s work, and a pair of songs on the flipside sound especially anachronistic. The first is a piece of inspirational fluff called "Take up a Course in Happiness" with an odd arrangement pitched halfway between Sammy Davis, Jr. and Sgt. Pepper's, the second a jokey pick-up number named "I Wanna Talk to You" (complete with leering old-man vocals). Those two however, are the exceptions; the rules are uniformly excellent. The set closers "Never Dreamed You'd Leave in Summer" and "Sunshine in Their Eyes" are bravura performances, Stevie summoning his purest register to convey heartbreak and hopefulness, respectively, in equal measure. For all the great material included, there was little chance of these songs hanging together as a proper album, and Berry Gordy's misgivings about releasing a record like this on a Motown label were, temporarily, well-placed. Still, Where I'm Coming From was a frequently astonishing album from Motown's new genius of the recording studio.



Stevie Wonder - Where I'm Coming From    (flac 229mb)

01 Look Around 2:48
02 Do Yourself A Favor 6:11
03 Think Of Me As Your Soldier 3:41
04 Something Out Of The Blue 3:04
05 If You Really Love Me 3:04
06 I Wanna Talk To You 5:21
07 Take Up A Course In Happiness 3:17
08 Never Dreamed You'd Leave In Summer 2:58
09 Sunshine In Their Eyes 6:58

Stevie Wonder - Where I'm Coming From  (ogg  89mb )

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With a new contract from Motown in his hand, Stevie Wonder released Music of My Mind, his first truly unified record and, with the exception of a single part on two songs, the work of a one-man-band. Everything he had learned about musicianship, engineering, and production during his long apprenticeship in the Snakepit at Motown Studios came together here (from the liner notes: "The sounds themselves come from inside his mind. The man is his own instrument. The instrument is an orchestra.") Music of My Mind was also the first to bear the fruits of his increased focus on Moog and Arp synthesizers, though the songs never sound synthetic, due in great part to Stevie's reliance on a parade of real instruments -- organic drumwork, harmonica, organs and pianos -- as well as his mastery of traditional song structure and his immense musical personality. The intro of the vibrant, tender "I Love Every Little Thing About You" is a perfect example, humanized with a series of lightly breathed syllables for background rhythm. And when the synthesizers do appear, it's always in the perfect context: the standout "Superwoman" really benefits from its high-frequency harmonics, and "Seems So Long" wouldn't sound quite as affectionate without the warm electronics gurgling in the background. This still wasn't a perfect record, though; "Sweet Little Girl" was an awkward song, with Stevie assuming another of his embarrassing musical personalities to fawn over a girl.



Stevie Wonder - Music Of My Mind   (flac 283mb)

01 Love Having You Around 7:21
02 Superwoman (Where Were You When I Needed You) 8:04
03 I Love Every Little Thing About You 3:46
04 Sweet Little Girl 4:54
05 Happier Than The Morning Sun 5:18
06 Girl Blue 3:35
07 Seems So Long 4:27
08 Keep On Running 6:35
09 Evil 3:35

.Stevie Wonder - Music Of My Mind    (ogg  116mb)

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After releasing two "head" records during 1970-71, Stevie Wonder expanded his compositional palette with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances -- altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Stevie's not always singing a tender ballad here -- in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs -- but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material. The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta contributed two great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder album before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.



Stevie Wonder - Talking Book   (flac 265mb)

01 You Are The Sunshine Of My Life 2:45
02 Maybe Your Baby 6:45
03 You And I (We Can Conquer The World) 4:39
04 Tuesday Heartbreak 3:09
05 You've Got It Bad Girl 4:55
06 Superstition 4:40
07 Big Brother 3:35
08 Blame It On The Sun 3:28
09 Lookin For Another Pure Love 4:45
10 I Believe (When I Fall In Love It Will Be Forever) 4:48

. Stevie Wonder - Talking Book  (ogg  111mb)

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