Sep 20, 2017

RhoDeo 1738 Aetix

Hello,


Today's artists were a South London-based post-punk band that welded the impassioned urgency of early Killing Joke to the graceful but pained atmospheric flourishes of the Chameleons. Marcus Bell, Mark Long, and Ralph Hall formed the band in 1979  ........N'Joy

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The Opposition is a London group of cold wave. They are Ralph Hall, Marcus Bell, Mark Long, later years with Sterling Campbell, Lol Ford, Terence Devine King and Jean-Daniel Glorioso. Founded in 1979, The Opposition released its first single Very Little Glory on the independent label Double Vision Records. The single has a very good press; will follow the release of the first album Breaking the Silence in 1981 and a tour in England and France.

They then record Intimacy still on Double Vision Records. With a very positive welcome from the press, the band has gone from an indie label to a major, Charisma Records, on which promises first, in 1984, with a tour of a few dates in the United States in the first part of Thomas Dolby and a major tour in Europe. It was then the release, in 1985, of the album Empire Days with their sound engineer Kenny Jones joined for the occasion by John Porter.

Meanwhile, Charisma Records is bought by Phonogram, which in turn will be devoured by Virgin. Without changing their contract, the group finds themselves with their third record company. It is time to begin a change.
In 1987, the group paused. Bell and Long take advantage of it to work on more commercial songs [What?] Under the name of So. Ralph Hall is replaced on this project by Sterling Campbell on drums. Their album Horseshoe in the Glove with the single "Are you sure" has met with some success in the United States. They have a very good media coverage, many passages on rock radio and a nomination for the MTV Video of the Week, Are you sure ranks 41st in the Billboard Hot 100.

After this American experience and two years of touring, Marcus Bell and Mark Long resumed Opposition and released, in 1990, a very intimate album Blue Alice Blue, recorded again, with Kenny Jones. In 1990, under the new label Mrs Jones Records they released War Begins at Home (1994) and EP One (1995). Sterling Campbell then left the group to play with David Bowie; he is replaced by Jean-Daniel Glorioso on Blinder (2004) In 2005 they released the Lost album this basically debut album was held back by their first major Arista who forbade them to even do anything with it, ah yes the recordindustry. They compiled Arc - The Charisma Years and Hive compiling EP´s, B-Sides and Remixes, EP2 (2010). In 2011 a digital only album was released Love & Betrayal it has been the last sigh of the band, 3 years later December 2014 Marcus Bell died.


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It's hard to classify Opposition's sound, although the production values on all their records is top notch. It is very rhythm heavy, with a lot of pounding drums and chunky basslines, with the guitar and occasional keyboards swirling around in the background to fill out the arrangements. It's mostly the vocals that lend the music an incredible intensity that I really haven't heard from anyone else. Ever. It's a truly unique style that comparisons could never really do justice to. That said, if you're a fan of The Comsat Angels, Joy Division, Chameleons or even early Shreikback, I think you might really like these guys, too. You just need to give yourself a few listens to get into it and I'm confident it will reward you amply. I really can't recommend this band highly enough, they are unique and simply brilliant. That success eluded them is a great travesty because I'm sure if I'd discovered them in the 80s I'd still love them today.



  Opposition - Promises   (flac  243mb)

01 Fall Into Line 3:40
02 Small Talk 3:18
03 I Already Know 5:06
04 Innocent 3:36
05 Alternatives 5:10
06 Searching For A Home 3:49
07 Factory Gate 3:14
08 Don't Forget To ... 4:43
09 I Dream In Colour 4:08
10 Stranded 3:18

Opposition - Promises     (ogg    97mb  )

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The Opposition have a reputation for being one of the major undiscovered dark-wave bands, but you wouldn't be able to tell from this album, which basically contains atmospheric pop-rock like "Five Minutes" and "First Suspect", and radio-friendly passionate statements such as "Abusing Words" and "Fool For You", that if anything sound like mid-80's Alphaville or Comsat Angels. There's nothing particularly bad about this record. It's all very professionally made, but a bit artificial and pompous (typical of it's era you could say). The highlight is "The World's First Vitaphone Announcement", an elegant soundscape rich in ambiance and texture, a track that rivals The Blue Nile at their most ambitious. Empire Days was made to be utterly likable and Opposition is surely in control here.



Opposition - Empire Days (flac 297mb)

01 Five Minutes 5:14
02 Abusing Words 3:21
03 Fool For You 3:42
04 First Suspect 4:06
05 Susan Gets By On Love 2:33
06 If That Wasn't Love 3:41
07 Someone To Talk To 3:25
08 Mr Cleanum 3:34
09 War Zone 3:48
10 Who's Been Telling You Lies? 5:19
11 The World's First Vitaphone Announcement 3:49
12 Empire Days 4:53

Opposition - Empire Days   (ogg  114mb)

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After South London's Mark Long and Marcus Bell made their fourth post-punk record with Ralph Hall as the Opposition, they took some time off from what was a busy recording schedule and reappeared as the duo So in 1988. So's material differed from the Opposition's with a much slicker production slant and a big sound that pointed toward the chart pop of the time with a foot in the pair's past; consider the Blue Nile, Simple Minds, as periodic points of reference sound-wise. In the end it was a betrayal to the all old Opposition's fans, this record it's so poppy. 'Are You Sure' was even a hit in America, 'Burning the Bush', 'Capitol Hill' are very good pop-rock tracks with nice melodies & strong rhythm. 'Dreaming' & 'Would You Die For Me' are excellent ballads. 'Villains' is a quite interesting experiment with loops & moods. & my favorite 'Tips on Crime' reminds me Wang Chung & their soundtrack to 'To Live & Die in LA', it's sounds like a background to the movie. There's no weak track, if you like this kind of pop-rock music, even if they are closer here to Deacon Blue than to The Chameleons.



 SO - Horseshoe in the Glove   (flac 359mb)

01 Are You Sure 4:44
02 Dreaming 5:29
03 Burning Bush 4:29
04 Horseshoe In The Glove 4:58
05 Capitol Hill 4:45
06 Tips On Crime 7:01
07 Villains 4:10
08 Would You Die For Me 4:29
09 Are You Sure (12" Mix) 6:58
10 First Of May 5:30
11 Dreaming (Cocktail Mix) 5:15

SO - Horseshoe in the Glove   (ogg  134mb)

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Alice Blue is a pale blue to grayish blue that is redder and stronger than forget-me-not.

Blue Alice Blue features a combination of acoustic and electronic sounds; singing can be a bit strained and emotive; the tones range from warm and comforting to cool, rain-soaked, and urban; the word Blue...This album does have its own very special appeal. Take "Digging for Water" - features a synthesized drum beat and somewhat mechanical rhythm that's accentuated by more organic elements, like chiming guitar and fluid synthesizer flourishes. That sounds like kind of a simple formula but, like the other tracks, it makes for a quite moving combination. Another special track - "Do You Know How That Feels" might be the best entry point with its very catchy chorus. This album is a bit of an anomaly in the wider discography of The Opposition, which started out as more of a post-punk band with very impassioned singing. You wouldn't really know it to hear this album, and it's unfortunate that this period didn't last longer (although their other albums are worth checking out and might appeal to fans of dark, guitar-driven synthpop).



 Opposition - Blue Alice Blue  (flac  206mb)
 
01 The Man Who Almost Shaves 4:56
02 Calling Home 4:03
03 Do You Know How That Feels ? 4:08
04 Crawl To Me 3:27
05 War Cries 3:03
06 Deep Down Blue 5:28
07 Her First Migraine 4:36
08 Digging For Water 3:54
09 Blue To Grey 2:27

Opposition - Blue Alice Blue   (ogg  81mb )

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Sep 19, 2017

RhoDeo 1738 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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Astonishingly eighties, in the sense that it is full of old-fashioned and cheesy cheap keyboard arrangements of those who sold in the eighties. I find it hard to believe that this production was at one point considered to be in the making. Now, of course, Charly is a great musician and often writes good songs. "Dinosaurs" is an evocative piano ballad that has no pretense sample. It's just pop done well. "Video tape eyes" is almost the same, were it not for the antiseptic background synthesizer and the fact that there is some pretense hidden there. The jewel of the album, however, is the opening "We're Still Sticking (Deadly Sin)" aka one of Bowie's best songs when collaborating with Eno. Charly sings like the madman we all know and the minimalist synth riff crawls into the groove like chewing gum to the shoe. Something is always happening in that song. The very best track is the epic finale "Ojos de Video Tape". When it comes down to it, the man just knows how to make a really pretty song. He sings that one beautifully. And the melody is perfect. The perfect ending to a wild ride of an album that's only slightly longer than 30-minutes.



Charly García - Clics Modernos   (flac  259mb)

01 Nos Siguen Pegando Abajo (Pecado Mortal) 3:25
02 No Soy Un Extraño 3:17
03 Dos Cero Uno (Transas) 2:01
04 Nuevos Trapos 4:07
05 Bancate Ese Defecto 4:56
06 No Me Dejan Salir 4:24
07 Los Dinosaurios 3:27
08 Plateado Sobre Plateado (Huellas En El Mar) 5:00
09 Ojos De Videotape 3:42

Charly García - Clics Modernos   (ogg  79mb)

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Charly García recorded this album under the influence of the new wave trend, preached by bands like Joy Division or Talking Heads, but maintaining the format of the pop / rock songs that he had used throughout his career, with which it reached a sound that was looked more like Todd Rundgren's albums, though now, more efficiently.
   The percussion beat, which could be predicted from going from the bed to the living room, is the key along with his ever-present keyboard dexterity. On this musical basis, he adds once again, letters in which there are continuous political references that boast in favor of a more individual, alternative thinking. A thought for the conception of a different model of man, from the observation of the ideals of Hippism (Rare new hairstyles), the socialists, totalitarian repression (Near the revolution) and manifests itself against the prohibitions of freedom of expression (I will not call my love) and for tolerance ("I did not choose this world, but I learned to love"). Sometimes, through allusions and metaphors like love, woman, madness. Others, being quite more direct.
   If this selection becomes the most outstanding of his solo career is because they are in greater number those songs of his that, as a characteristic feature, contain that particular search of the melody of the cult pop - think in David Bowie, Ray Davies and in the John Lennon himself. Notable songs like the classic Raros Peinados Nuevos (Rare New Hairstyles) or the beautiful Piano Bar, the well-weighted Near the Revolution and the masterful No Te Animás A Despegar (Do not you dare to take off)and Total Interference. Good melodies are practically present throughout the album. In this sense, is a high point.



Charly Garcia - Piano Bar   (flac  206mb)

01 Demoliendo Hoteles 2:16
02 Promesas Sobre El Bidet 2:46
03 Raros Peinados Nuevos 3:55
04 Piano Bar 5:12
05 No Te Animás A Despegar 3:55
06 No Se Va A Llamar Mi Amor 2:10
07 Tuve Tu Amor 3:58
08 Rap Del Exilio 2:42
09 Cerca De La Revolución 4:41
10 Total Interferencia 5:12
Bonus
11 Canción Para Mi Muerte 4:04

Charly Garcia - Piano Bar (ogg  80mb)

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This album, recorded by Charly before he "lost it" (like a Syd Barrett of sorts), is packed with gems. It's one of those precious moments in Rock en Español. One very long moment that doesn' die out all through the album. From "Necesito tu Amor", into "Buscando un Simbolo de Paz" and the title track, including tracks where he accompanies himself by Brazilian rock grands, Paralamas, and almost alternating between upbeat and more quiet songs all through to the warm "La Ruta del Tentempie", the album can only grow on you. You will find yourself (Spanish-speaking or not) humming the tunes, some of rock's best tunes just about anywhere, wondering where has this awesome artist been all your life. Definitely the most Pop album by Charly, an excellent record that almost every Argentinean has heard.



Charly Garcia - Parte de la Religion   (flac  254mb)

01 Necesito Tu Amor 3:36
02 Buscando Un Simbolo De Paz 4:45
03 Parte De La Religion 3:08
04 Rap De Las Hormigas 3:16
05 Adela En El Carrusel 5:20
06 No Voy En Tren 3:06
07 Rezo Por Vos 4:30
08 El Karma De Vivir Al Sur 3:36
09 Ella Adivino 3:54
10 La Ruta Del Tentempie 4:21

Charly Garcia - Parte de la Religion   (ogg  97mb )

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Clearly an essential work within the repertoire of Charly Garcia and perhaps one of his best works next to the monumental Piano Bar,  great production, drums sounds excellent, the bass is alive and the voice is very well mixed.. Full of innate hits, it does not have a bad song, however, it is worth noting the answer to No Toquen, the charlyesque You Will not See Me on the Subway and especially the sublime trilogy She is Dancer, Anhedonia and Suicida (ten minutes of energetic music but deep, fast and indispensable especially in those moments when we are about to surrender if we fight, stop if we run or pull the trigger and unplug our brains, as Sabina says, when the mirror of life spits the truth to our face). In How to Get Girls, Charly talks to the bass, sings with the piano and creates a solid, complete, desperate, deep but above all classic disc: "we are statues of salt we want to return ... sho sha do not look back ... sha I do not have much more ...



Charly Garcia - Como Conseguir Chicas (How to Get Girls) (flac  237mb)

01 No Toquen 3:23
02 Zocacola 2:38
03 Fanky 4:39
04 No Me Veras En El Subte 4:59
05 Ella Es Bailarina 2:52
06 Anhedonia 4:03
07 Suicida 3:07
08 Fantasy 2:55
09 A Punto De Caer 2:57
10 Shisyastawuman 4:24

Charly Garcia - Como Conseguir Chicas (ogg  90mb)

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Sep 18, 2017

RhoDeo 1738 Mars 02

Hello, that was a depressing start at the F1 race today, Raikonnen had superstart overtaking Verstappen but then had nowhere to go and neither had Verstappen as Vettel, fearing Max immediately blocked him turning left this left Verstappen sandwiched between 2 Ferrari's what followeded was a big crash and Hamilton who had a great start too, only needed to evade Vettel's car to take the lead and never look back to win the race, Ricciardo who had a bad start just needed to follow Hamilton to pick up another podium finish, the amount of luck this guy has had this season is almost frightening. I decided to watch Chelsea-Arsenal but that didn't lift my spirits either. In all a depressing sportsday for me.



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 13 Punishment Without Crime (avi  317mb)

George Hill is stunned when he is sentenced to death--for murdering a robot facsimile of his adulterous young wife.


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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 02 (mp3  22mb)

02 The Martian Chronicles 25:09



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previously

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

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Sep 17, 2017

Sundaze 1738

Hello, .it's F1 weekend again and this time on a track where Mercedes plays 2nd fiddle, not enough straights at Singapore, all weekend thusfar Red Bull were leading the way but when it counted Vettel showed his superskill and left Verstappen and Ricciardo in his wake, Hamilton 5th on the grid and now his fans hoping that Verstappen will take Vettel out, ah yes fans rarely are sportsman like. Anyway hopefully a good race tomorrow ,could be a thunderstorm mixing things up as well, over here we've had the coldest (12C) 16th September since records began, to think a year ago it was 30 Celsius and all this in the temperate sea-climate.



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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All India Radio return to the lush atmospheric and instrumental music of earlier albums on their album A Low High. Special guests include Graham Lee (The Triffids) on pedal steel guitar, Jen Anderson on strings and some evocative ambient sounds from Australian rock legend Ed Kuepper (The Saints and now Nick Cave & The Bad Seeds guitarist). Past ARIA nominees score another winner with album number six.



All India Radio - A Low High+Ambient  (flac 337mb)

01 Solstice 3:23
02 Black Satin 3:47
03 Intrigue 5:26
04 Lucky 4:01
05 Under Moon 3:15
06 Heat 2 4:22
07 Gravel 1:40
08 Lo Fi Groovy (Mk Mix) 3:34
09 Lightship 2:38
10 Little Emu 4:51
11 A Low High 3:53
12 White Satin 2:55
13 Air 2:48
14 Lucky (video-edit) 3:15

15 A Low High (ambient mix) 02:38
16 Lightship (ambient mix) 02:40
17 Basque (ambient mix) 02:52
18 Gravel (ambient mix) 01:42
19 Fire (ambient mix) 01:23
20 Birth 03:27

 All India Radio - A Low High+Ambient   (ogg  140mb )

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Piano & Ambience is All India Radio’s ‘lost’ album recorded in 2004 but never released. Collaborating with piano player Josh Roydhouse, All India Radio have created an album of understated music utilising grand piano, grainy electronic soundscapes and field recordings, with nods to Brian Eno, Harold Budd and Max Ritcher.

Recorded at David Bridie's (Not Drowning Waving) studio by Byron Scullin (Midnight Juggernauts), elements of these songs were used in later All India Radio albums and collaborations with Steve Kilbey (The Church). This is the first time the songs are presented in their full original form.



All India Radio - Piano and Ambience (flac 151mb)

01 Piano & Ambience 1 04:34
02 Piano & Ambience 2 03:22
03 Piano & Ambience 3 03:42
04 Piano & Ambience 4 03:17
05 Piano & Ambience 5 03:18
06 Piano & Ambience 6 02:54
07 Piano & Ambience 7 04:39
08 Piano & Ambience 8 03:46
09 Piano & Ambience 9 03:29

   (ogg  )

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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."

The album features the voice of Professor Don Gurnett, famous for his NASA ‘space sounds’ (used by the Kronos Quartet on their famous Sun Ring recordings) and a cameo by The Church’s Steve Kilbey (Under The Milky Way).



All India Radio - The Silent Surf + The Silent (flac  458mb)
 
01 Rippled 03:29 video
02 The Bomb (feat Steve Kilbey) 02:41
03 Night 03:20
04 Saucer 03:05
05 Crystal Waves 03:22
06 Clouds 04:00
07 Purple Sky 02:54
08 Shimmer 02:58
09 Ratbags 03:06
10 Silk 04:01
11 Voices 01:51
12 Ghost Song 04:45
13 The Bomb (Dub Mix) 02:56
14 Drone (Unreleased Track) 03:55
15 Over Now (Unreleased Track) 02:56
16 Crystal Waves (8 Track Mix) 03:28
17 Night (Early Jazzy Mix) 04:34
18 The Bomb (Ambient Mix) 02:25
19 Shimmer (early version) 03:53
The Silent
20 Old Ambient 02:16
21 Precious 02:10
22 Stars 02:34
23 Submerge 03:08
24 Phoenix 02:23
25 Saucer 02:07
26 Miocene 02:40
27 Pleasant Shores 01:34
28 Basque 02:52
29 Grey 04:16

All India Radio - The Silent Surf + The Silent    (ogg  207mb)

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There are an incredible number of moments of transcendence sprinkled throughout the 11 songs that make up the disc. Epic. Momentous. Breathtaking. Magnum opus. This is music designed to take the listener anywhere they wish to go, indeed the score to our outer space voyage, an extraordinary piece of work.

The line up includes long time band members Martin Kennedy and bass player Mark Wendt along with new members Kaz Seiger on keys and Michael Evans-Barker on drums, vibes, and percussion. Guests include renowned classical composer George Ellis and pedal steel guitar legend Graham Lee (The Triffids).



All India Radio - Red Shadow Landing (flac 244mb)

01 The North Sky 3:35
02 The Original 4:47
03 Owlpaccas In Flight 3:26
04 Golden 4:38
05 Transcede 4:06
06 Tomorrowland 2:11
07 The Lie 4:32
08 When You Are Here 4:14
09 Don't Leave 4:21
10 Like A Butterfly 6:15
11 Afterlight 2:38

All India Radio - Red Shadow Landing  (ogg  101mb )

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Sep 16, 2017

RhoDeo 1737 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's debut album, released when he was 11, is still an amazing musical document, showcasing his skills as a percussionist (drums and bongos), chromatic harmonica player, keyboardist (piano and organ), and composer -- and he was prodigious in all four categories. All of these skills are highlighted throughout this record, and Wonder's youthful, exuberant voice had a maturity suggesting that greatness was around the corner. Perhaps most surprising to contemporary listeners will be the emphasis on instrumentals, which made this a fairly unusual album by Motown standards to begin with. Apart from a few shouts in the background in some of the more free-form tracks, there's not a vocal to be heard here, yet the sounds are rich and diverse enough that one never misses them. What's more, a lot of what's here is extremely sophisticated instrumental music for its time, and the "jazz" reference in the title is not a matter of optimistic convenience or self-aggrandizement -- a lot of this is legitimate jazz.



Stevie Wonder - The Jazz Soul Of Little Stevie    (flac  180mb)

01 Fingertips,2:55
02 Square 2:59
03 Soul Bongo 2:17
04 Manhattan At Six 3:44
05 Paulsby 2:44
06 Some Other Time 5:07
07 Wondering 2:49
08 Session Number 112 3:15
09 Bam 3:33

   (ogg   mb)

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Stevie Wonder began demonstrating his production skills and compositional acumen on his first of two albums in 1966. Although still just a teenager, Wonder was already anxious to do more than simply grind out love tunes. He covered Bob Dylan's "Blowin' in the Wind" and also contributed "Pretty Little Angel" alongside the monster hits "Nothin's Too Good for My Baby" and the title song. It was also a signal Wonder had moved beyond simply paying homage to Ray Charles and now wanted to establish his own musical identity.



Stevie Wonder - Up-Tight    (flac 222mb)

01 Love A Go-Go 2:46
02 Hold Me 2:36
03 Blowin' In The Wind 3:46
04 Nothing's Too Good For My Baby 2:39
05 Teach Me Tonight 2:39
06 Uptight (Everything's Alright) 2:55
07 Ain't That Asking For Trouble 2:49
08 I Want My Baby Back 2:49
09 Pretty Little Angel 2:12
10 Music Talk 2:52
11 Contract On Love 2:06
12 With A Child's Heart 3:08

Stevie Wonder - Up-Tight  (ogg  88mb )

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Stevie Wonder's third album signaled more artistic growth, but was the first of his career that didn't make much commercial headway. It didn't contain a single big hit, something that wouldn't happen again to Wonder for many, many years. There were moments of uncertainty and awkwardness on such songs as "Angel Baby (Don't You Ever Leave Me)" and "Lonesome Road." Wonder was laying the groundwork for numerous classics that routinely came throughout the 1970s and '80s; his voice was losing its cuteness and beginning to gain the richness and edge that punctuated many of his future albums.



Stevie Wonder - Down To Earth   (flac 195mb)

01 A Place In The Sun 2:52
02 Bang Bang 2:42
03 Down To Earth 2:50
04 Thank You Love 2:55
05 Be Cool Be Calm (And Keep Yourself Together) 2:43
06 Sylvia 2:34
07 My World Is Empty Without You 2:53
08 The Lonesome Road 3:06
09 Angel Baby (Don't You Ever Leave Me) 2:45
10 Mr. Tambourine Man 2:30
11 Sixteen Tons 2:42
12 Hey Love 2:41

.    (ogg   mb)

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Notable for containing Wonder's then-most recent Top Ten hit, the title track, and its follow-up, "Yester-Me, Yester-You, Yesterday," this album otherwise contains contemporary filler like "Light My Fire," plus a peculiar arrangement of "Hello, Young Lovers" from The King and I that makes it sound like "For Once In My Life."



Stevie Wonder - My Cherie Amour   (flac 230mb)

01 My Cherie Amour 2:55
02 Hello Young Lovers 3:15
03 At Last 2:51
04 Light My Fire 3:44
05 The Shadow Of Your Smile 2:44
06 You And Me 2:46
07 Pearl 2:47
08 Somebody Knows, Somebody Cares 2:35
09 Yester-Me Yester-You, Yesterday 3:08
10 Angie Girl 3:03
11 Give Your Love 3:47
12 I've Got You 2:34

. Stevie Wonder - My Cherie Amour  (ogg  90mb)

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Rather than rushing out an album in the spring of 1968, when "Shoo-Be-Doo-Be-Doo-Da-Day" (Number 9 Pop, Number One R&B) hit, Motown waited, through the modest summer success of "You Met Your Match" (Number 35 Pop, Number Two R&B), until "For Once in My Life" (Number Two Pop and R&B) became Wonder's next mammoth single, to release an album. As a result, this album contained all three hits, making it one of Wonder's more consistent albums of the '60s, even with filler like "Sunny" and "God Bless the Child." The real find, however, is the driving "I Don't Know Why," which, when placed on the B-side of Wonder's next single, "My Cherie Amour," became a hit on its own, going to Number 39 (Pop) and Number 16 (R&B).



Stevie Wonder - For Once In My Life   (flac 215mb)

01 For Once In My Life 2:16
02 Shoo-Be-Doo-Be-Doo-Da-Day 2:44
03 You Met Your Match 2:36
04 I Wanna Make Her Love Me 2:53
05 I'm More Than Happy (I'm Satisfied) 2:55
06 I Don't Know Why 2:43
07 Sunny 3:10
08 I'd Be A Fool Right Now 2:53
09 Ain't No Lovin' 2:32
10 God Bless The Child 3:05
11 Do I Love Her 2:55
12 The House On The Hill 2:36

.  Stevie Wonder - For Once In My Life  (ogg  87mb)

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Sep 14, 2017

RhoDeo 1737 Re-Ups 113

Hello, must be the time of the season (and the autumn weather) all of a sudden i'm inundated with re-up requests, and i'm not counting that anon that manages to request 5 Brazilian pages within 30 minutes (this aint no sweatshop you get one request per week), the usual too recent was there too.


Remains 15 correct requests this week, in short another batch of 58 re-ups (that's more than 17 gig)


These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to September 12th.... N'Joy

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4x Inside Out Back In Flac (Brainwave Sync - Kundalini Awakening, Stephan Micus - Wings Over Water,  Stephan Micus - East Of The Night, Stephan Micus - The Music Of Stones)

3x Aetix Back in Flac (The Raincoats - I, The Raincoats - Kitchen Tapes, Kim Wilde - Select)


4x Grooves Back In Flac (Sam & Dave - Double Dynamite, Sam & Dave - Hold On + Soul Man,  Sam & Dave - Sweat 'N' Soul Anthology)


4x Sundaze Back In Flac (Trentemøller - Early Worx WEB, Trentemøller - The Trentemøller Chronicles I, Trentemøller - Lost, Trentemøller - Lost Reworks)


3x Aetix Back In Flac (Skinny Puppy - Remission, Skinny Puppy - Bites, Skinny Puppy - Mind The Perpetual Intercourse)


4x Alphabet-Soup G NOW In Flac (Genesis - The Lamb Lies Down On Broadway 1 + 2 , Martin L.Gore - Counterfeit 1 & 2, Godspeed You Black Emperor - Yanqui U.X.O  )


4x Sundaze Back In Flac ( Klaus Schulze - Irrlicht, Klaus Schulze - Cyborg I, Klaus Schulze - Cyborg II, Klaus Schulze - Timewind)


6x Roots NOW In Flac (Horace Andy - Good Vibes, Tenor Saw - Fever, Bim Sherman - It Must Be A Dream, Sly & Robbie - Language Barrier, Black Uhuru - The Dub Factor, Chaka Demus & Pliers - All She Wrote)


4x Grooves NOWIn Flac (Material - One Down, Nona Hendryx - Nona, still in ogg Shango - Shango Funk Theology, VA - Rap It !)



4x Sundaze Back In Flac ( Holger Czukay - Movies, Holger Czukay - Rome Remains Rome +  Der Osten Ist Rot, Holger Czukay - La Luna, Holger Czukay - The Peak Of Normal) Note Holger died on the 5th of september age 79



5x Aetix Back in Flac   (Simple Minds - Real To Real Cacophony, Simple Minds - Empires And Dance, Simple Minds - Sons And Fascination, Simple Minds - Sister Feelings Call, Simple Minds - New Gold Dream ) Note all remastered and extended editions now


3x Aetix  Back in Flac  (Throwing Muses - Throwing Muses, Throwing Muses - House Tornado, Throwing Muses - Hunkpapa)


4x Roots  Back in Flac  (Gilberto Gil - Um Banda Um, Gilberto Gil - Parabolicamará, Ernie Watts & Gilberto Gil - Afoxe, Gilberto Gil - Unplugged )


3x Alphabet-Soup H NOW in Flac   (James Hall - My Love, Sex And Spirit, Helicopter Girl - How To Steal The World, Topper Headon - Waking Up)


3x Sundaze Back in Flac   (Jansen Barbieri Karn - Beginning to Melt, Jansen Barbieri Karn - Ism, Jansen Barbieri Karn - Playing In A Room With People)


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Sep 13, 2017

RhoDeo 1737 Aetix

Hello,


Today's artist were a South London-based post-punk band that welded the impassioned urgency of early Killing Joke to the graceful but pained atmospheric flourishes of the Chameleons. Marcus Bell, Mark Long, and Ralph Hall formed the band in 1979  ........N'Joy

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The Opposition is a London group of cold wave. They are Ralph Hall, Marcus Bell, Mark Long, later years with Sterling Campbell, Lol Ford, Terence Devine King and Jean-Daniel Glorioso. Founded in 1979, The Opposition released its first single Very Little Glory on the independent label Double Vision Records. The single has a very good press; will follow the release of the first album Breaking the Silence in 1981 and a tour in England and France.

They then record Intimacy still on Double Vision Records. With a very positive welcome from the press, the band has gone from an indie label to a major, Charisma Records, on which promises first, in 1984, with a tour of a few dates in the United States in the first part of Thomas Dolby and a major tour in Europe. It was then the release, in 1985, of the album Empire Days with their sound engineer Kenny Jones joined for the occasion by John Porter.

Meanwhile, Charisma Records is bought by Phonogram, which in turn will be devoured by Virgin. Without changing their contract, the group finds themselves with their third record company. It is time to begin a change.
In 1987, the group paused. Bell and Long take advantage of it to work on more commercial songs [What?] Under the name of So. Ralph Hall is replaced on this project by Sterling Campbell on drums. Their album Horseshoe in the Glove with the single "Are you sure" has met with some success in the United States. They have a very good media coverage, many passages on rock radio and a nomination for the MTV Video of the Week, Are you sure ranks 41st in the Billboard Hot 100.

After this American experience and two years of touring, Marcus Bell and Mark Long resumed Opposition and released, in 1990, a very intimate album Blue Alice Blue, recorded again, with Kenny Jones. In 1990, under the new label Mrs Jones Records they released War Begins at Home (1994) and EP One (1995). Sterling Campbell then left the group to play with David Bowie; he is replaced by Jean-Daniel Glorioso on Blinder (2004) In 2005 they released the Lost album this basically debut album was held back by their first major Arista who forbade them to even do anything with it, ah yes the recordindustry. They compiled Arc - The Charisma Years and Hive compiling EP´s, B-Sides and Remixes, EP2 (2010). In 2011 a digital only album was released Love & Betrayal it has been the last sigh of the band, 3 years later December 2014 Marcus Bell died.

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The very first version of the Opposition march-december 79 recorded this, tape Mark uncovered from the early days at Scarf studio. Recorded at Scarf Studios and part of an album that was not released at the time. This release was the only one for this version of the band whilst it was extant. When the this band fell apart, Mark and Ralph sat down and decided to carry on, but to do so they needed a bassist. Failed adverts in Melodymaker were followed by an introduction through friends that lead to Marcus Bell joining the band and the new and most recognised Opposition was born.



  Opposition - Scarf Sessions   (flac  142mb)

01 Get A Job 3:44
02 Weakdays Tv Ways 2:25
03 Alternative World 2:59
04 This Year 4:36
05 I Wanna Taste 2:51
06 Breaking Point 7:10

    (ogg   )

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The "Lost Album" harks back to the early eighties when the band changed labels and left an album on the shelf, tied up in contractual wilderness, but the tapes were kept by Mark. At last now available, it features two versions of their popular single, "This Year" and a host of other tracks unheard of before now. Very first steps from opposition, beautiful effort from the first members..., the music is quite enjoyable and melodic, with bass, batteries and saxophon present, and very inspired at times. Remastered and digitised under the caring hands of lead singer Mark Long, "Lost Album" is a vital piece of rock history.



Opposition - Lost Album (flac 376mb)

01 Safety Valve 3:32
02 This Year 4:15
03 Counting Minutes 4:27
04 Left You Still Moving 3:58
05 Last Time 2:59
06 Sticking To My Story 3:36
07 Tonight 3:31
08 You Better Leave Now 3:37
09 Punishment Of Luxury 3:24
10 Breaking Point 6:33
11 This Year (Single Version) 3:33
12 Punishment Of Luxury (Other Version) 3:05
13 Tonight (EP Version) 3:01
14 I Wanna Waste 2:40
15 Give You Rhythm 3:36
16 Untitled Instrumental 1:48

Opposition - Lost Album   (ogg  153mb)

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The album that first showed the direction the band were moving in as a three piece. It was recorded after hours at Nomis in London as a project with Kenny Jones who was working as an apprentice engineer and was allowed a personal project as part of the process. It starts with a guitar lullaby on the background of key, bass murmur, some birds in the left channel and drums, strong, decisive, spatial and extended. And this rhythm is rocking everything, carrying, merging, is strong and light at the same time. Well, this emotional, shouting vocalist on the border. This is how one of the most interesting music rolls of the 80s begins. Debut unnoticed, skipped, for a good matter known only to a few. Three ambitious idealists, with a lot of ideas in their heads, with energy, with sensitivity, with uncompromisingness - as the name implies - are in opposition to plastic disco-dance and synthpop, reigning at radio and TV stations. High ability to master instruments, ability to build intriguing melodic lines, harmony of harmony, ability to build atmosphere. "Breaking The Silence" even after 30 years, makes a shiver of excitement. There is something in the recordings that arose between May and July 1981 at Matrix Studio in London something incredibly authentic, something that is based on time. There are times when the heart beats harder when the silence breaks down Ralph Hall's growing drumbeat as the guitar penetrates deep into the sound stage, and the voice of Mark Long hurls painfully and frantically into the listener's face ... This album is quite powerful and enjoyable, though perhaps not the most memorable from the era.  Still, it's good to know there are still fine bands that have yet to be discovered from this great era, and it's a shame they will probably never get their due.



 Opposition - Breaking the Silence   (flac 326mb)

01 Paddy Fields 5:39
02 War Games 4:06
03 Moving Targets 2:56
04 A Thirst 2:04
05 Breaking The Silence 4:47
06 Black And White 3:55
07 Waiting 4:17
08 In My Eyes 4:55
09 Very Little Glory 8:14
10 She Said 3:18
11 Open The Door 4:24

Opposition - Breaking the Silence   (ogg  123mb)

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This is an impressive, almost perfect post-punk record, full of nostalgia, taste and mood. If you are into The Chameleons, The Danse Society, Josef K, Sad Lovers and the Giants, etc, you cannot miss this.
Intimacy is very moody and there are plenty of moments when it becomes outright cold. "How do you think I feel? I can see tomorrow and it's making me ill. We can go on pretending it will be all right but there's really no point in me staying the night. You learn to live with these things. Make up my own world one day in the future". But the music is brilliant and all the songs shine the way the fields of ice may shine in the sun. "Never trust strangers cause they'll blame you. You can't blame me for the state I'm in. Never trust blind men cause they'll lead you, they suck you in then they spit you out"



 Opposition - Intimacy  (flac  231mb)
 
01 The Voice Has Changed 3:45
02 A Day In The Future 3:29
03 Aching Arms 3:37
04 I Became A New Man 1:33
05 In The Heart 6:01
06 Life's Blood 3:42
07 Sand And Glue 3:16
08 My Room Is White 3:31
09 New Homes 5:02
10 Big Room, Small View 6:38

Opposition - Intimacy   (ogg  90mb )

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Sep 12, 2017

RhoDeo 1737 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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Sui generis is a Latin phrase, meaning "of its (his, her, or their) own kind; in a class by itself; unique".
The term is widely used to refer to more esoteric entities in a number of disciplines, fi in creative arts, for artistic works that go beyond conventional genre boundaries.

Sui Generis was formed in 1969 from the merger of two bands: To Walk Spanish, originally led by Carlos Alberto "Charly" García Moreno and The Century Indignation, originally led by Carlos Alberto "Nito" Mestre. The newly formed band's members were Charly (piano), Nito (flute), Alberto Rodríguez (drums), Alejandro Correa (bass guitar) (later replaced by Rolando Fortich), Juan Carlos Bellia (guitar) and Carlos Piégari (guitar and vocals).

In its early life, Sui Generis experimented with psychedelic music but would eventually refine and change its sound and is now generally classified as folk-rock. Infamously, at Sui Generis' first big performance, none of the members but Charly and Nito appeared. Despite the poor showing, they went ahead with the show, García playing the piano, with Nito accompanying on the flute. Amazingly, the audience still loved them. García's simple songs of adolescence contained substantial poetic elements that showed through the limited instrumentation. After this they decided to continue as a duet with Charly composing songs and playing the piano, Nito playing the flute and both at vocals and guitar.

Soon after Sui Generis started to gain fame, García, then 20 years old, had to take a break from the band to fulfill his mandatory military service. Unhappy in the service, he pulled outrageous stunts, such as reportedly taking a corpse in a wheelchair for a walk in the sun because "he was too pale". Eventually, García swallowed a large dose of amphetamines and faked a heart attack, in an apparent attempt to cut short his military service. Garcia was hospitalized, and it was there that he composed two of the band's most famous songs: "Botas Locas" ("Crazy boots"), censored when first released, and "Canción para mi muerte" ("Song for my death"). Garcia was released from the military due to "mental health problems".

In 1972, Sui Generis released its first LP, Vida (Life), which became instantly popular, especially among Argentinian teenagers. Confesiones de Invierno (Winter Confessions), their second LP, was released in 1973. This album had higher production values and better studio equipment and was also a huge commercial success.




Sui Generis - Vida (flac  206mb)

01 Canción Para Mi Muerte 2:35
02 Necesito 2:16
03 Dime Quien Me Lo Robó 5:30
04 Estación 1:28
05 Toma Dos Blues 1:41
06 Natalio Ruiz 3:50
07 Maribel Y El Capital 2:41
08 Amigo Vuelve A Casa Pronto 3:25
09 Quizás, Porque 2:17
10 Cuando Comenzamos A Nacer 2:40
11 Posludio 0:50

Sui Generis - Vida   (ogg  80mb)

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Confesiones de Invierno (Winter Confessions) is the second album of Argentine folk rock group Sui Generis, released on 1973. It was recorded during the 1973 Winter, and it is a perfect picture of idyllic times, of picnicking by the Palermo Lakes and backpacking to El Bolsón -hippie fétiches to the Buenos Aires youth. However, although the general flavour of Confesiones de Invierno is that of sweet nostalgia, the entire album is a glimpse of the last golden seasons prior to the 1976 disaster, the beginning of the darkest times for Argentina. Many presages can be found in songs like "Confesiones de Invierno" ("the bail was paid by a friend/the wounds were done by the officer") or "Tribulaciones, lamentos y ocaso de un tonto rey imaginario (o no)". Either pictures of isolation or narrations of exile, most of the songs can be read as resigned intuition of what was going to happen when the military forces had taken the government. Long gone was the naïve charm of Vida: here, even though he was still in the process of reaching his finest point as a songwriter, a young Charly García combines the purest innocence of his previous works with an intelligent observation of reality (and even acid humour) to achieve an immaculate work of art.

The album opens with one of its most desolate songs, "Cuando ya me empiece a quedar solo", which immediately introduces us to the grey atmosphere of this grey Winter. It is followed by a rather cheerful melody, "Bienvenidos al tren", which can either be a metaphor of a hippie journey or a forced exile -both apply to the general concept of the album. Now comes a delicate poem of great fantasy -"Un hada, un cisne". A sad love story that can perhaps be acknowledged as the most idealistic song in the album. Following this lovely picture of an impossible love comes the title track, "Confesiones de Invierno". Charly's voice and guitar, being the only sounds we hear, make it the most personal and profound song of the lot. A dark sequence of images of failure and loneliness is sprinkled with social and political uncertainty. "I only die on Sundays, and by Monday I feel alright" is quite possibly the best way of putting into words the horrible feeling that overcomes an artist when life turns its back on them.
"Rasguña las piedras" is the song that opens the B side. This beautiful piece has continued to be a hymn for the Argentinian youth for over thirty years. A strong (and unforgettable) melody, fierce lyrics of desperation and orgasmic orchestral arrangements make it the highest peak of the album. "Lunes otra vez" seems to calm one's spirits after its explosive predecessor by painting another grey panorama in a much lighter -though ambiguous- way. Then comes "Aprendizaje", another bonfire jewel. Simplicity and inspired lyricism prove to be a great combination again. "Mr. Jones, o pequeña semblanza de una familia tipo americana" is the only antidote our ears can hope for after such wintry negativity. Bizarre but essential. And finally, symbolism reaches its high point with "Tribulaciones...". A fable of apparent innocence that is loaded with messages of political nature; an orgasmic ending for a brilliant album. Consequently, Confesiones de Invierno is undoubtedly of great importance when it comes to comprehend the history of Argentina, as seen through young, rebellious eyes. It is pure, innocent and raw, but thanks to the immense talent of Charly García, it is also profound and timeless.



Sui Generis - Confesiones de Invierno (flac  206mb)

01 Cuando Ya Me Empiece A Quedar Solo 3:41
02 Bienvenidos Al Tren 3:13
03 Un Hada, Un Cisne 6:28
04 Confesiones De Invierno 4:06
05 Rasguña Las Piedras 3:14
06 Lunes Otra Vez 3:07
07 Aprendizaje 4:18
08 Mr. Jones, O Pequeña Semblanza De Una Familia Tipo Americana 1:44
09 Tribulaciones, Lamentos Y Ocaso De Un Tonto Rey Imaginario, O No 5:28

Sui Generis - Confesiones de Invierno (ogg  80mb)

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1974 was a turning point for Sui Generis: Charly was sick of "the piano and the flute" sound and decided that Sui Generis needed a change. He pursued a more traditional rock sound, with bass and drums, for which purpose he recruited Rinaldo Rafanelli and Juan Rodríguez respectively. The new album was originally titled Instituciones (Institutions), but Sui Generis' producer suggested they change the name to Pequeñas Anécdotas sobre las Instituciones (Little Anecdotes about the Institutions), reflecting the unstable nature of Argentine social and political institutions at the time. Charly's initial concept was to write a song for every influential traditional institution: the Catholic Church, the government, the family, the judicial system, the police, the Army, and so on. However, two songs, "Juan Represión" ("John Repression") about the police and military dictators (a specific reference to dictator Juan Carlos Onganía), and "Botas locas" ("Crazy Boots") about the army, were eliminated from the album by the music label, afraid of the growing political violence of the time. Two more had to be partly changed, "Las increíbles aventuras del Señor Tijeras" ("The incredible adventures of Mr. Scissors"), a song about the person in charge of film censorship at that time, and "¿Para quién canto yo entonces?" ("Who am I singing for, then?"), both about censorship itself, while "Música de Fondo para Cualquier Fiesta Animada", about the judiciary system had to be completely rewritten. Even though Charly achieved a different, more mature sound with Instituciones, the public rejected the change. They preferred the old folk-rock sound



Sui Generis - Pequeñas Anecdotas sobre las Instituciones   (flac  300mb)

01 Instituciones 4:51
02 Tango En Segunda 3:33
03 El Show De Los Muertos 6:04
04 Las Increíbles Aventuras Del Señor Tijeras 5:51
05 Pequeñas Delicias De La Vida Conyugal 3:42
06 El Tuerto Y Los Ciegos 2:04
07 Música De Fondo Para Cualquier Fiesta Animada 4:35
08 Tema De Natalio 6:07
09 Para Quien Canto Yo Entonces 3:42
10 Juan Represión 3:28
11 Botas Locas 4:55

Sui Generis - Pequeñas Anecdotas sobre las Instituciones   (ogg  116mb )

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After having gone through 3 great bands, which stood out for different reasons (I will not go into that here), Charly decides to be in solitaire and to consolidate all the sonic and lyrical elements that she used after 12 years of collectives. Thus fused the vein of the modern urban troubadour, the rocky contestatario and the exquisite camera composer, all under a familiar wave filter very typical of this subcontinent
The songs have the virtue of being accessible, sophisticated and succulent at the same time. There is a lot of attention to detail, such as the delicate vocal harmonies (by far, his best work in that aspect) and the precise brushstrokes of keyboards that adorn unforgettable melodies. Stellar guests are plenty, like his old buddy Nito; the other great Argentine genius, the Flaco Spinetta; Leon Gieco, or even the one who was a great collaborator of Garcia later, Pedro Aznar.

"Pubis angelical" (1982) is a brilliant, sophisticated instrumental work made for cinema and brings in brilliant works such as "Yendo de la cama al living". Incised in the spring of '82 and published in the fall, it appears, in part, a direct continuation of the fervor of the Girán quartet; elsewhere, Garcia takes on new brilliant musical intuitions. Equipped with unparalleled melodic impulse and synthetic synthesis and timbre varieties, Garcia, phantomically in déshabillé from its "living" style and grint as never before. The album is a melancholic notebook and dull looks at the present: the Malvinas regime and the Malvinas war are underway with the United Kingdom, shaking the artistic sensibility.
Between afflicted with love and anger ("..las agonias del passado"), there is the surreal and the desire. Harmonic colors and instrumental fantasies surround the walls. There is an individual, evasion scorn.
The wind of the new blows in the sensual digital cadence of the opening title-track. Escape to live and find yourself. "No bombardeen buenos aires" and "yo no quiero volverme tan loco" are two singles who repeat the verve and facies of "La grasa de las capitales", violent rancors and pop pop elitists.
Some of the best shots are in distant places, as in "superhéroes," which is lurking in a tune of keyboards or in the intense shining reflections of "cancion de dos por tres". Almost two extensions of "Peperina", reminiscent of the passionate spirit. Since 1992, "Yendo de la cama al living" is printed in CD with the predecessor, "Pubis angelical".



Charly Garcia - Pubis Angelical - Yendo de la cama al living (flac  353mb)

01 Operación Densa 2:04
02 Despertar De Mambo 2:32
03 Rejas Electrificadas 0:59
04 Pubis Angelical 2:27
05 Monóculo Fantástico 2:00
06 All I Do Is Dream Of You 1:46
07 Sereno Fantástico 3:03
08 Transatlántico Art Deco 3:28
09 Caspa De Estrellas 3:14
10 Crimen, Divina, Productor 2:54
11 Pubis Angelical (Vocal I) 0:53
12 Pubis Angelical (Vocal II) 0:59
13 Futuro Pobre 3:28
14 Tribunas Del Futuro Pobre 3:11
15 Todos Los Pubis Juntos 2:28

16 Yendo De La Cama Al Living 4:43
17 Superhéroes 4:25
18 No Bombardeen Buenos Aires 4:01
19 Vos También Estabas Verde 3:06
20 Yo No Quiero Volverme Tan Loco 5:08
21 Canción De Dos Por Tres 4:03
22 Peluca Telefónica 4:59
23 Inconsciente Colectivo 3:54

Charly Garcia - Pubis Angelical - Yendo de la cama al living (ogg  154mb)

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