Jun 24, 2018

Sundaze 1825

Hello, the UK saw another 'Royal' wedding today, The King Of The North got married to a 'wildling' . We all witnessed the stormy intense romance where the wildling feeling betrayed plugged Jon Snow full of arrows, but hey nothing stops that guy. The marriage took place at the 900 year old family castle of the bride in front of the queen of dragons, his Stark half sisters, the one good Lannister had come all the way from the states and several other members of the Game Of Thrones cast. When fiction becomes fact..... A bit like that last minute goal that saved Germany from going out at the first hurdle, a deserved win against the Swedes that had one man extra. I still reckon they might retain the worldtitle. The Belgians showed attacking flair and missed plenty of chances but still scored 5 against a Tunesia that only bowed to the English after a late goal by another candate for the golden boot, Harry Kane, I expect him to score 2 more against the weakest team in the group,Panama later today.

Today's artist is an American composer of space music, a genre of ambient electronic music, and New Age music. He has recorded at least 18 albums and worked on projects for Lucasfilm, IMAX Corporation, NASA, the United States Navy, Hayden Planetarium, Expo Seville, and CNN.

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Serrie has been composing and performing music for planetariums since the early 1980s. His first widely available album, And the Stars Go With You, was in memory of the astronauts lost in the Space Shuttle Challenger disaster in 1986. The following album, Flightpath, contains six songs that commemorate the pre-space-age test pilots of Edwards Air Force Base in the 1950s. Jonn is a pilot with advanced instrument and commercial ratings and flies for the Civil Air Patrol as a search-and-rescue pilot.

Serrie's next album, Tingri, was based on a remote village in Tibet. It was his way of infusing more spiritual and romantic emotion into his music. In so doing, he strayed a bit from his space music roots but without sacrificing his trademark sound. In 1992 and 1994, he made two albums in which he put his earlier planetarium work from the 1980s on CD, on Planetary Chronicles, Volume 1 and Planetary Chronicles, Volume 2. In between, in 1993 and 1995, Serrie composed his own musical science fiction story based on a fictional Century Princess in Midsummer Century and Ixlandia. In 1993, he submitted a song from his planetarium collection called "Soft Landing" to a Various Artists album sponsored largely by Steve Roach, another prominent new age musician. This song is only available on this recording. In 1997, Serrie's first Christmas album Upon a Midnight Clear was released; he rearranged known and less-known Christmas songs from around the world in his unique style. Due to its popularity, Serrie released two more Christmas albums, Yuletides in 2001 and Merrily on High in 2004.

In 1998, Serrie collaborated with David Carradine on his tai chi video series and released a CD soundtrack based on the videos, called "Dream Journeys". Also in 1998, he took a trip to shamanic America, which resulted in his musical collaboration with several Native American elders on "Spirit Keepers". In 1999, Serrie appeared as a special guest of honor at the 30th anniversary of the Apollo 11 moon landing mission, which was held in Cape Canaveral. As the final act of the after-dinner entertainment, he played a specially composed song "Out of the Blue", which has not been officially released.

The year 2000 brought Serrie's "best of" space music compilation, Century Seasons. On this album two new songs appeared, although "Deep Mystery" reappeared on "Lumia Nights" two years later in a slightly shorter version. The other bonus track, "Andromeda Dream", appeared on this album. In 2000 Serrie collaborated with flutist Gary Stroutsos on the Narada label, on an album called Hidden World. Since 2000, several of Serrie's albums have appeared on independent labels. 2002 brought Lumia Nights, a space romance release on Valley Entertainment, composed in the style of Ixlandia and Midsummer Century. In 2003, he signed a contract with New World Music, a major label in England, which included the reissue of his earlier Miramar releases. 2003 also brought The Stargazer's Journey with liner notes from famed astronomer David H. Levy. This was a return to form in Serrie's more traditional space music style.

Serrie took an interesting musical turn in 2005 with Epiphany, Meditations on Sacred Hymns, featuring his arrangement of traditional hymns and psalms, which he dedicated to his grandmother, his primary childhood church organ and piano teacher. He followed this up in 2006 with Sunday Morning, an independent release for autistic children and their parents. A portion of the profits from this album goes to support for autism organizations in the United States. Also in 2006, music from one of his albums was used in the hit Hollywood movie What the Bleep Do We Know!? Serrie scored the award winning IMAX short film Hubble: Galaxies Across Space and Time as well as the popular astronomy software program Starry Nights and Space.com's Eyes on Mars DVD. In 2009, Serrie released the album Thousand Star.

In 2011 the album Sunday Morning was expected be released, available worldwide. In 2014 the album "Day Star" was released available worldwide on New World Music In 2017 the album "The Sentinel" was released available worldwide on New World Music. Jonn Serrie founded the Galaxy Music Scholarship in 2001, a US$1000 annual scholarship for graduating high school seniors desiring a career in new age and space music composition. He lives in Atlanta, Georgia.

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Jonn Serrie is at his best when he composes and performs deep space music as opposed to contemporary instrumental new age. And the Stars Go With You is one of his gems. From the cover artwork on through the languid minimalism, this is special music. The timbres and textures are surreal and the atmospheres are sci-fi and warm. They invite listeners to go on a ride to the stars. Once out there in deep space, Serrie hooks into the stars and the stars are on the ride too. This is essential space music. It will appeal to fans of Stephanie Sante, Don Slepian, Constance Demby, and Michael Stearns.

Jonn Serrie - And The Stars Go With You  (flac 240mb)

01 Gentle; The Night 7:42
02 Fantasy Passages 7:52
03 And The Stars Go With You 4:22
04 The Far River 10:01
05 Stratos 10:40

Jonn Serrie - And The Stars Go With You  (ogg   98mb)

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Jonn Serrie is a veteran space music composer and performer. It is totally appropriate that he would create a album acknowledging the aviation pioneers whose exploits begat the space age. Flightpath addresses the activities at Muroc Airbase (later renamed Edwards Air Force Base) during the '40s and '50s. Serrie's soundscapes and atmospheres have sci-fi timbres and textures that give them spacescape attitudes. This is a good album with some great moments.

Jonn Serrie - Flightpath  (flac 233mb)

01 Flightpath 4:35
02 Sky Safari 10:28
03 Muroc 6:46
04 Outreach 4:30
05 Deep Starship 10:50
06 Glyder 9:12

Jonn Serrie - Flightpath  (ogg  229mb)

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Jonn Serrie is a well-rounded e-music long-timer. His gentle sound design has elements of classic new age and hypnotic space music. Tingri is one of his most popular and accessible CDs. The melodic atmospheres surround exotic synth washes as energetic rhythms carry them around and through the soundscapes. Each composition has its own integrity and structure. This disc will appeal to fans of John Flomer, Patrick O'Hearn, and Kevin Braheny.

Jonn Serrie - Tingri  (flac 221mb)

01 Tingri 4:18
02 Where Lovers Walk 4:21
03 Remembrance 4:16
04 Iridani 3:46
05 Winter's Chapel 6:32
06 Tingri Maiden 9:46
07 Annie By The Sea 11:19

Jonn Serrie - Tingri  (ogg   95mb)

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The release of Planetary Chronicles, Vol. 1 marks the first availability of the library and commissioned works of Jonn Serrie. The five compositions are from his planetarium soundtracks. The original compositions were created on analog synths and two-track analog tape. Serrie added digital enhancements during the final mixing and mastering while preserving the original flavor and intent. The imagery is vivid and clear; the sound is crisp and austere. Deep listeners will be able to close their eyes and see the planetarium show. This is a great album from the space musician's space musician.

Jonn Serrie - Planetary Chronicles vol. 1 (flac 225mb)

01 Mystery Road 6:16
02 Dawn Trader 8:13
03 The Straits Of Madigann 9:32
04 Starmoods 16:02
05 The Auran Vector 5:58

Jonn Serrie - Planetary Chronicles vol. 1 (ogg 96mb)

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Jun 22, 2018

RhoDeo 1824 Grooves

Hello, summer started today and here it was marked by the coolest day in 6 weeks, go figure. At the Worldcup France picked up another half-deserved win, poor Peru will go home next week, Australia worked their socks off for a draw with Denmark and still have a chance for the second round. Argentina fell thru the cracks and got humiliated by Croatia 3-0, poor Messi fantastic footballer but no leader.

Today's artists are an American acid jazz-funk band. In 2007 they were nominated for a Grammy Award for Best Contemporary Jazz Album of the Year for the release People People Music Music ..... 'N Joy

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The acid jazz outfit Groove Collective was formed in downtown New York City in 1990 by flutist Richard Worth, DJ Smash, and rapper Nappy G, all three staples of a nomadic dance club called Giant Step. In time, the trio was joined by keyboardist Itaal Shur, drummer Gengi Siraisi, and bassist Jonathan Maron, earning a growing cult following and eventually attracting the attention of Steely Dan vibist Bill Ware, who soon signed on along with saxophonist Jay Rodriguez, trombonist Josh Roseman, trumpeter Fabio Morgera, and percussionist Chris Theberge.  After witnessing an early show, producer Gary Katz negotiated the band's signing to Reprise Records, and produced their eponymous debut album in 1993.

In 1994, they appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool, alongside other prominent jazz artists, Herbie Hancock and Roy Ayers. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. They scored two minor dance instrumental and adult contemporary hits in 1996 with a cover of The Beatles' "I Want You (She's So Heavy)"  and "Lift Off"

Groove Collective's musical style reflects the wide-ranging backgrounds and interests of its individual members. Commenting on the group's 1996 release, We the People, critic Michael Casey referred to the numerous influences at work in Groove Collective's sound, specifically the presence of Afro-pop, Latin jazz, hip-hop, and traditional jazz stylings. This mix is born of the members' varying influences, including bebop, funk, old-school hip-hop and classic soul. Bassist and co-founder Jonathan Maron has acknowledged the importance of a DJ aesthetic in the music, stating that "(Groove Collective's) goal has always been to emulate the range of music a DJ plays during the course of the night at a packed club....A great DJ knows the songs that can ignite the room and fill the dance floor. Some of my favorite musical experiences have been in clubs, where you listen and realize how well all of these styles blend together into one big idiom of its own." Central to the group's ethic is its insistence on live instrumentation and its ability to create and sustain grooves for a dance floor audience.

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In the mid-'90s there have been many attempts to combine jazz with dance music in hopes of making creative music more accessible to younger listeners. Most of these projects have flopped due to the jazz being watered down but this effort from the ten-piece Groove Collective is one of the more successful hybirds. Not counting a pair of juvenile raps, the music is strong from the jazz standpoint and the funky rhythms are generally infectious, resulting in a set of intelligent jazz-oriented dance music.

Groove Collective - Groove Collective     (flac 374mb)

01 Rentstrike 6:07
02 Balimka 3:57
03 Nerd 6:29
04 Rahsaanasong 5:03
05 Ms. Grier 4:36
06 Whatchugot 6:10
07 El' Golpé Avisa 9:52
08 Genji Monogatari 6:49
09 Buddha Head 3:59
10 Saturday Afternoon 10:29

Groove Collective - Groove Collective   (ogg  150mb)

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In the late '90s, it looked like the concept of "acid jazz" was going to catch on. The idea was to create jazz so funky and rhythmic that it would be danced to in clubs and perhaps even catch on big commercially. Most groups that became involved in acid jazz de-emphasized the jazz in favor of mundane rhythms, going for the potential money at the expense of the music. Groove Collective struck a better balance, keeping the funk going much of the time (when they were not playing Afro-Cuban jazz), but also having some sound explorations and some strong solos. The lineup of musicians featured on We the People includes such notables as trombonist Josh Roseman, trumpeter Fabio Morgera, and vibraphonist Bill Ware III. The problem with We the People, other than the throwaway rap on "I Am," is that none of the pieces is particularly worthy. The playing is stronger than the writing and, while one can enjoy the grooves and some of the more colorful moments, there is nothing about this music that is particularly memorable. It probably worked much better in dance clubs but, even then, if the songs had been more distinctive and catchy, it might have resulted in acid jazz becoming a significant style of music instead of just a nice try.

Groove Collective - We The People    (flac 454mb)

01 Jay Wrestles The Bari Constrictor Pt.1 1:20
02 Loisaida 5:41
03 Lift Off 4:25
04 Everybody (We The People) 5:10
05 Fly 7:50
06 Sneaky 6:45
07 I Am 4:25
08 Caterpillar 4:15
09 Hide It 4:51
10 Anthem 5:06
11 Sedate 5:16
12 Jay Wrestles The Bari Constrictor Pt.2 4:28
13 Nightwaves 0:58

Groove Collective - We The People  (ogg  173mb )

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With their brand of acid jazz, the Groove Collective mix the spirit of horn bands like Earth, Wind & Fire with the snap of hip-hop and the edge of hard bop on Dance of the Drunken Master. While jazz purists might wince at the gurgling rhythms, most will find it hard to keep still with the thick funk on these tracks. This is music with a sense of fun.

 Groove Collective - Dance of the Drunken Master    (flac  431mb)

01 Out The Door 6:49
02 Deal With It 3:41
03 Floating 4:48
04 Bionic 4:42
05 St. Gallen 5:39
06 Peep Show 6:28
07 Que Te Pasa'ti 3:39
08 Anna Christina 6:19
09 Drunken Master 4:20
10 Tangenziale 4:42
11 Runaway Child 5:00
12 Sending 5:07
13 World Bank 5:20
14 Hey 4:18

Groove Collective - Dance of the Drunken Master  (ogg  153mb)

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Jun 21, 2018

RhoDeo 1824 Re-Up 145

Hello,  first teams that can start packing are the 3 sunni muslim teams Marokko, Egypt and Saoudi Arabia hmmm...

7 correct requests for this week, alas no less than 3 that ignored my 12 months limit, whatever another batch of 22 re-ups (7 gig)

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

Looka here , requests fulfilled up to June 13th.... N'Joy

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3x Roots Back In Flac (King Bruce and The Black Beats - Golden Highlife Classics, S. E. Rogie - Dead Men Don't Smoke, VA - African Scream Contest)

4x Sundaze Now In Flac (David Lynch - OST Wild At Heart , Angelo Badalamenti - Fire walk with me, Angelo Badalamenti - Twin Peaks, Badalamenti & Lynch Archive part 2)

4x Aetix NOW in Flac (Japan ‎- Adolescent Sex, Japan - Obscure Alternatives, Japan - Quiet Life, Japan - Gentlemen Take Polaroids)

3x Grooves Back In Flac (Curtis Mayfield - There's No Place Like America Today, Curtis Mayfield - Give, Get, Take Have, Curtis Mayfield - Do It All Night)

2x Aetix Back in Flac (Public Image Ltd - Metal Box, still in ogg Public Image Ltd. -  This Is Not A Love Song EP)

3x RootsBack in Flac (Rough Guide To Music of South Africa, Ladysmith Black Mambazo - Liph'iqiniso, Ladysmith Black Mambazo - The Star And Wiseman)

3x Sundaze Back In Flac (Koan - Legends Inhale, Koan - Legends Exhale,  Koan - The Fables Of Belovodye )

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Jun 20, 2018

RhoDeo 1824 Aetix

Hello, it couldn't have happened to a more deserving country, Poland got beaten by the only African team that won in the first round. Russia's draw made sure they were up against 2 weaker countries for starters and now they are the first team qualified for the 2nd round, Putin,Putin Putain.... Anyway that idiot Columbian defender will be happy Escobar no longer runs the place,  Columbia might still get further as neither Senegal nor Poland impressed much.

Today's artist is not to be confused with the Aum Shinrikyo scientist Masami Tsuchiya, who was sentenced to death for his involvement in the 1995 Sarin gas attacks on the Tokyo subway, this Masami is much more happy to walk around in space-age stewardess outfits and unleash face melting guitar solos on the unsuspecting public .. ..............N'Joy

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Tsuchiya formed Ippu-Do in 1979 along with keyboardist Akira Mitake and percussionist Shoji Fujii and the group released their first album, "Normal," that same year (with the name " Ippppu-Do" on the cover) Crafted with standard New Wave sensibilities, their debut can be a bit of a frustrating listen as Tsuchiya's generally painful vocals, backed by a plodding rhythm section and numbing production, occasionally give way to sharp synthesizer programming, groovy rhythms and supreme guitar shredding. It's a bit like Japan's first album, actually, since Ippu-Do find themselves sticking to second-fiddle rock archetypes more often than to their own, and much stronger, ideas.

Their next two albums, 1980's "Real" and 1981's "Radio Fantasy," followed the same general pattern, mixing low-tier New Wave with moments of occasionally brillant technopop. These records come off equally as frustrating, as it's clear the band isn't playing to their full potential.

Ippu-Do finally seemed to get their act together with the 1982 single "Sumire September Love," a light hearted pop track that reached #2 in Japan, sold 800,000 copies and was used in a Kanebo Cosmetics commercial . Masami like how David Sylvian totally changed his vocals for Japan's "Quiet Life," Tsuchiya's vocals are completely calmed down on "...September Love." Without the phony rock howl, Tsuchiya comes off as a much more comfortable and confident singer (though his voice is still pretty limited), and it leaves a lot more room in the mix for the track's punchy synthesizers and out-of-nowhere violin solo.

Following "...September Love's" success, Ippu-Do took a short break for Tsuchiya to record his first solo album, "Rice Music," and play guitar with Japan during their Sons of Pioneers tour in 1982. One of Tsuchiya's best efforts, "Rice Music," is a consistent set of songs with somewhat avant leanings. Tsuchiya thows in the ususal East vs. West, traditional vs. modern stuff one would expect from someone working in the shadow of Yellow Magic Orchestra, but he, along with his cast of excellent guest musicians, uses those themes to great effect. It's worth tracking down a copy of the album just for the guests, who include Steve Jansen, Mick Karn, Ryuichi Sakamoto (on the track "Kafka"), Bill Nelson and Percy Jones. Tsuchiya even has photographer Masayoshi Sukita (famous for his pictures of David Bowie in the 70s) "playing" a Polaroid SX-70 on the album!

After returning from his tenure as Japan's tour guitarist, Tsuchiya re-formed Ippu-Do with Akira Mitake to record a fourth album, 1983's "Night Mirage." Percussionist Shoji Fujii didn't return to the band for this album, and they instead enlisted Steve Jansen to play drums. Richard Barbieri also contributed to the album, and his synth programming can be heard all over the track "Moon Mirage." Tsuchiya's time touring with Japan clearly influenced him substantially, and the LP plays as a fantastic companion to the material on Japan's "Gentlemen Take Polaroids" and "Tin Drum." The album is filled with similarities to Japan's work, from jilted East/West funk to Erik Satie inspired compositions. However, the LP still stands extremely strong on its own and is likely Tsuchiya and Mitake's finest recording.

Ippu-Do called it quits after releasing a live album in 1984 and Tsuchiya and Mitake managed fairly well with their solo careers through the end of the 80s. His subsequent output includes solo work and collaborations. Tsuchiya has worked with artists as diverse as English new wave rockers Japan and Bill Nelson, Japanese electronica composer Ryuichi Sakamoto, Duran Duran side-project Arcadia, and Japanese rock band Buck-Tick. Masami released (1982) Rice Music, (1983) Alone - book with flex disc records, (1985) Tokyo Ballet, (1986) Life In Mirrors, (1988) Horizon , (1989) Time Passenger, (1998) Forest People

In March 2008, Tsuchiya formed the rock band Vitamin-Q along with Kazuhiko Kato, Gota Yashiki, Rei Ohara and Anza. However, after Kato's suicide on October 17, 2009, the fate of the group is uncertain. In June 2010, following news of former collaborator Mick Karn's (former Japan bassist) cancer diagnosis, Tsuchiya reunited with former bandmates Gota Yashiki, Vivian Hsu, and Masahide Sakuma (of Japanese new wave group Plastics) and recorded two songs for a proposed September 2010 release to raise funds for Karn and his family. The musicians had recorded together as The d.e.p. in the early 2000s, releasing the album "Shinkei Stop" in 2001.
In April 2017, Tsuchiya married his cat 'Holmes' in a small ceremony at Fujikyu Highlands resort, miauwww !

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"Rice Music is Masami Tsuchiya's debut solo album, he's a multi-instrumentalist who plays guitar, bass, drums,synthesizers, percussion, koto, yokin and sings on this album.The cover might be misleading because Masami is male.(In a stewardess costume ?) But anyway this kind of look wasn't strange in the 80's. Just remember David Sylvian's Wave band"Japan" whose members Mick Karn (bass) and Steve Jansen (drums)appear as guest musicians on this record. Just as Bill Nelson(guitars) and Percy Jones (bass). Also remarkable: a Ryuichi Sakamoto performing all instruments (besides the guitars, whichis played by Masami himself) on the track "Kafka".This album has lots of traditional Japanese elements mixed with electronics.The lyrics are mainly in Japanese, but also some english passagesor even songs.

Masami Tsuchiya - Rice Music (flac  279mb)

01 Rice Music 4:00
02 Se! Se! Se! 4:17
03 Haina-Haila 4:34
04 Tao-Tao 4:03
05 Neo-Rice Music 2:02
06 Kafka 4:26
07 Rice Dog Jam 4:31
08 Secret Party 4:11
09 Silent Object 2:20
10 Night In The Park 6:00
11 Sumire September Love 3:52
12 Lunatic Shadows 3:03

Masami Tsuchiya - Rice Music   (ogg  110mb)

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In the early eighties, Tsuchiya ended Ippu-Do, his first solo album came out while he was still in the band, . Tokyo Ballet came out three years later, the development in computer sound being most remarkable.The difference between the two albums is drastic enough to suggest that the original intent was to have an experimental side-protect instead of a fully fledged solo career.

Tokyo Ballet features fairly mellow tracks, again, largely deviating from Tsuchiya's previous sound. While the most upbeat numbers, "Suddenly" and "Silent Hunters," start us off, "Like a Foreigner" changes everything. "The Forever Hour," "Tokyo Ballet," "Alien" "Mannequin," and "Unknown Soldier" indicate that Tsuchiya felt that he was an outsider, but whether it was in his home country, his previous band, Japan with David Sylvian, or within the music business is anyone's guess. Tsuchiya's albums are the emotion that he puts into singing and playing guitar, which he does better than most American, especially in pop music.

Masami Tsuchiya - Tokyo Ballet  (flac  282mb)
01 Suddenly
02 Silent Hunters
03 Like A Foreigner
04 The Forever Hour
05 Night In The Babylon
06 Tokyo Ballet
07 Alien
08 Mannequin
09 Saijokai No Butterfly
10 Unknown Soldier
11 Fu-Seki

Masami Tsuchiya - Tokyo Ballet     (ogg  99mb)

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Yet another fantastic album from Masami Tsuchiya. While I enjoyed Tokyo Ballet, Life in mirrors is more reminiscent of the later Ippu-do/RiceMusic sound, which I prefer. Also it doesn't hurt when David Sylvian and Mick Karn (Japan), John Taylor (Duran Duran) and Andy Mackay (Roxy Music) lend their talents to the mix. Great Stuff

 Masami Tsuchiya - Life In Mirrors   (flac  292mb)

01 Stay In Heaven 4:39
02 Don't Stop Loving 4:44
03 Khaos Town 4:35
04 Hotel Atlantis 4:30
05 Perfect Days 3:41
06 Daydreams Of You 5:36
07 One Day A Thousand Nights 5:17
08 Lapis 2:18
09 Because 5:22
10 Planet Mirrors 4:05

 Masami Tsuchiya - Life In Mirrors    (ogg  112mb)

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Masami Tsuchiya latest albums features two or three rocker songs, and the rest are slower numbers. He was never a schmaltzy pop star, but Tsuchiya knew how to put together a sophisticated ballad. Welcome to Horizon.

The first song is called "Masked Night " The guitar part that introduces the entire Horizon record is not dissimilar to a Richard Thompson lick, but with more of a Japanese feel. Ironically, most of the tune is made of fretless bass and synthesizer. While not a ball-to-the-wall rock song, this is one of the heavier songs on the album. "Forbidden Flowers," one of the grooviest songs, points us in a different direction. Will Horizon be an upbeat Japanese funk album? Hardly. This songs definitely rivals The Talking Heads, though. I hate to use the same word again, but it's sophisticated. The title track transforms the entire album. There's an eighties ambiance, but the soundscape reminds us that the decade was not devoid of incredible artistry. The rest of the songs all fall in line with "Horizon" as if they tell a cohesive story. Masami Tsuchiya rivals Brian Wilson in the studio; he is a genius.

Masami Tsuchiya - Horizon   (flac  293mb)

01 Masked Night
02 Forbidden Flowers
03 Horizon
04 Wind, Sand And Water
05 Hummingbird's Dream
06 Silhouette
07 Rose In Winter
08 Bird's Eye
09 Too Many Tears
10 Diamond

Masami Tsuchiya - Horizon   (ogg  113mb)

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Mitake received piano lessons at the age of four.  He studied music at the Nihon University - College of Fine Arts and graduated there in 1986. He then studied at the Berklee College of Music in Boston and in 1992 obtained his Master of Music in composition.  Later he was promoted to Ph.D.  (Philosophiæ Doctor).  He is a member of the "Japan Society of Composers".

 As a pianist and keyboardist, from 1979 onwards he joined Masami Tsuchiya, Takafumi Akao, Shoji Fujii and Kengo Hirata in the pop and techno band "Ippu-Do".  This ensemble created in 1982 with "Sumire September Love" a song for the cosmetics producer Kanebo and found entrance in the popcharts. In 83  he released his first solo album Out Of Reach. After the farewell of Ippu Do he concentrated mainly on composing, specially for movies..

Akira Mitake - Out Of Reach (flac  300mb)

01 Violation
02 Can't Touch, Even Watch
03 Lonely Man
04 Modern System
05 Circus
06 Tokyo Great Town
07 Glass Talk
08 Hold On Me
09 Mr. Junk
10 Do You Really Want To Hurt Me
11 Daybreak Pavement

Akira Mitake - Out Of Reach   (ogg  111mb)

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Jun 19, 2018

RhoDeo 1824 Roots


Today one of the biggest Latinmusic male artists, who founded a metalrock band age 16 year and 10 years later found a solo career was the way forward and he never looked back....N Joy

The music of Colombia is an expression of Colombian culture, which contains diverse music genres, both traditional and modern, according with the features of each geographic region, although it is not uncommon to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of African, native Indigenous, and European (especially Spanish) influences, as well as more modern American. Colombia has a vibrant collage of talent that touches a full spectrum of rhythms ranging from Pop music and Classical music to Salsa and Rock music. Colombia is known as "The land of a thousand rhythms" but actually holds over 1,025 folk rhythms. Some of the best known genres are cumbia and vallenato... N'Joy

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Juan Esteban Aristizábal Vásquez (born August 9, 1972), known professionally as Juanes, is a Colombian musician who was a member of the rock band Ekhymosis and is now a solo artist. In 2000, his solo debut album Fíjate Bien won three Latin Grammy Awards. According to his record label, Juanes has sold more than 15 million albums worldwide.

Raised in Colombia, Juanes began playing guitar at age seven. When Juanes was 15, he started his first band, Ekhymosis, in 1988, which went on to release five albums, achieving recognition in his native country of Colombia. The track "Sólo" from the album Niño Gigante in 1992 was very popular. In 1997 after the band broke up, Juanes continued solo and in 2000 he released the album, Fíjate Bien, which earned him three Latin Grammys. His follow-up album, Un Día Normal, was released in 2002 and was later certified platinum in multiple countries throughout Latin America. Juanes' third album, Mi Sangre (2004), which became an international bestseller, managing to position well in a number of countries around the world, achieved success due to the single "La Camisa Negra". He has since released La Vida... Es Un Ratico (2007) and P.A.R.C.E. (2010). On May 29, 2012 Juanes released the album Juanes MTV Unplugged.

According to his label, Universal Music, Juanes has won, among others, twenty Latin Grammy Awards (5 wins in the Grammy Awards on November 13, 2008) and two Grammy Awards. Juanes received the BMI President's Award at the 2010 BMI Latin Awards. Presented By James Edward Taylor  Juanes is also known for his humanitarian work, especially with aid for Colombian victims of anti-personnel mines through his NGO Fundacion Mi Sangre. On April 2013, Juanes released an autobiography titled Chasing The Sun in which he tells his story through narratives and pictures.


Juanes was born in Carolina del Príncipe, Antioquia, Colombia. When he was seven years old, his father and brothers began to teach him how to play guitar. His passion for the instrument led him to discover simple genres of music such as traditional sounds such as tango and Vallenato, as well as Russian folk music. He grew up in Medellín during the height of drug kingpin Pablo Escobar's reign, when the city had the highest homicide rate in the world. During his childhood, Juanes witnessed a civil war in which hundreds were killed. His cousin was killed by kidnappers, and gunmen also executed a close friend. To add further to Juanes' grief and desperation, his father died from cancer. This period shaped Juanes' social consciousness, saying "Colombia has suffered so much that the only way to go forward is to imagine a better country."

As a teenager, Juanes was greatly influenced by rock and metal acts such as The Beatles and Metallica. He started the rock band Ekhymosis in 1988, and it released its debut album, Niño Gigante, that same month. The band released seven studio albums during its career and shared the stage with acts including Alejandro Sanz, Aterciopelados, and Ricky Martin; however in Juanes' words, the band "couldn't get out of Colombia" and remained "very local and confined to the Colombian market." Juanes disbanded the group in 1998 so that he could pursue a solo career.

In 2000, Juanes released his solo debut Fíjate Bien (Take a Good Look), produced by Gustavo Santaolalla. The album fared well in Colombia, spending ten weeks at the number one position, but was unsuccessful in other countries. The album earned him three Latin Grammys for Best New Artist, Best Rock Solo Vocal Album, and Best Rock Song, and Juanes performed at the award show. Later that night, Juanes brought demos for over forty new songs to Santaolalla's studio, ready to begin work on another album.

The follow-up, Un Día Normal (A Normal Day), also produced by Gustavo Santaolalla who signed him with his first solo album, was released in 2002 and was highly successful in Latin America. The album was certified gold in Colombia during its first day of sales and was certified platinum and multi-platinum in countries including Colombia, Mexico, and Spain. The album spent 92 weeks in the top ten of Billboard's Top Latin Albums chart, setting a new record, and spent a total of two years on the chart. The album was released after the eligibility deadlines for the 2002 Latin Grammy Awards, but the advance airdate for the lead single, "A Dios le Pido" ("To God I Pray"), allowed it to be nominated for three awards and win Best Rock Song.

"A Dios le Pido" topped the singles charts of twelve countries and spent 47 consecutive weeks on the Billboard Hot Latin Tracks. The album also featured "Fotografía" ("Photograph"), a duet with Portuguese Canadian pop singer Nelly Furtado about the isolation between lovers. Juanes later worked with Furtado on a remix of "Powerless (Say What You Want)", the lead single from her 2003 album Folklore, and on "Te busqué" ("I Looked for You"), a single from her 2006 album Loose. Juanes won the most awards at the 2003 Latin Grammy Awards, where he won each of the 5 awards for which he had been nominated, including Song of the Year, Record of the Year, and Album of the Year.

Mi Sangre (My Blood), was released in September 2004 and debuted at number one on the Billboard Top Latin Albums. The album produced three consecutive number one singles, which held the top chart position for a combined 6 months. The album's third single, "La Camisa Negra" ("The Black Shirt"), was used in Italy in support of neo-fascism by relating it to the uniform used under the regime of Benito Mussolini. In response, left-wing media network Indymedia called for a boycott of the song. Juanes later stated that "'La Camisa Negra' has got nothing to do with fascism or Mussolini... People can interpret music in all kinds of ways I guess."

At the 2005 Latin Grammy Awards, Juanes won three additional awards to his nine previous Grammy awards. He took the award for Best Rock Song for "Nada Valgo Sin Tu Amor" ("I am Worthless Without Your Love"), Best Rock Solo Album for Mi Sangre and Best Music Video for "Volverte a Ver" ("To See You Again").[19] On December 9, 2005, Juanes performed "La camisa negra" at an international gala in Germany celebrating the 2006 FIFA World Cup Final Draw evening. In 2006, he recorded a duet of "The Shadow of Your Smile" with Tony Bennett for Bennett's Duets: an

In June 2006, Juanes began a year-long sabbatical to spend time with his wife, model Karen Martínez, and their daughters Luna and Paloma. He was working on an album that was released on October 23, 2007. When asked about the possibility of recording an album in English, Juanes responded, "singing in Spanish is very important because it's the language in which I think and feel. I respect people that sing in English, but for now I'll keep my Spanish." Juanes planned to launch his own music label, named 4J, in October 2007, to be distributed by the Universal Music Group. He was also working on a new album, titled La Vida... Es Un Ratico (Life is a Little Moment).
La Vida... Es Un Ratico was released on October 23, 2007 with the first single being "Me Enamora" (I fall in love). The second single was "Gotas de Agua Dulce" (drops of sweet water), and the third single became the vallenato fusion of "Tres" (three).

On December 11, 2007, Juanes performed at the Nobel Peace Prize Concert in Oslo, Norway together with a variety of artists, which was broadcast live to over 100 countries. On November 24, 2008, Juanes re-released the album as "La vida... es un ratico (en vivo)"  The album aside the 14 original songs, contains two previously unreleased songs: "Falsas Palabras" (false words) and "Odio Por Amor" (hate for love) which is also the current single. This new re-edition also includes seven live versions of songs played during his U.S. La Vida Tour. .

In 2010, Juanes performed in the 2010 FIFA World Cup Kickoff Concert, as well as the Macy's Thanksgiving Day Parade in New York. In addition, he released his album P.A.R.C.E. which featured the #1 Billboard hit Yerbatero and the top-ten hit Y No Regresas. February 17, Juanes performed live on the third single from their fifth studio album Regalito in the delivery of the Premios Lo Nuestro. The album has sold 1 million copies worldwide. In February 2012, the Colombian singer Juanes took the stage at Juanes MTV Unplugged to record a live album at the direction of Juan Luis Guerra. On March 6, Juanes will release "La Señal" as an unreleased song from his Unplugged.
On March 11, 2014 Juanes released his sixth studio album by Universal Music Latino Loco de amor. It is his first studio album since P.A.R.C.E. (2010). At the Latin Grammy Awards of 2014, the album won the Best Pop/Rock Album. Loco de Amor was nominated for Lo Nuestro Award for Pop Album of the Year. It was nominated for a Grammy Award for Best Latin Pop Album in 2015.

Juanes has said that: "these are your people, young people, people with families, and four or five of them are dying every day." Juanes established the Mi Sangre Foundation to help victims of anti-personnel mines In 2005, he was named by Time as one of the world's 100 most influential people. Juanes has supported former Colombian president Álvaro Uribe, stating that "with this new government of Álvaro Uribe my country seems in better shape." On November 15, 2005, he was honored at the annual benefit gala for Sir Paul McCartney's Adopt-A-Minefield for his work as a Goodwill Ambassador for United for Colombia, a non-profit organization that raises awareness about the impact of land mines within Colombia.

On April 19, 2006, Juanes performed before the European Parliament, as part of a campaign to increase awareness against the use of landmines around the world, including in his native Colombia. He was first singer to perform in the hemicycle where the European Parliament holds its plenary sessions. The Parliament gave a symbolic gift of €2.5 million to demine Colombia and to rehabilitate victims of the landmines. In honor of his work and his music, he was given an escopetarra (a decommissioned AK-47 converted into a guitar) by peace activist César López; he later sold it at a fundraiser in Beverly Hills for US$17,000. Juanes held a benefit concert on May 24, 2006 in conjunction with KLVE and Univision which raised roughly US$350,000 to care for injured children and provide prosthetics, wheelchairs, and land rehabilitation.

On July 19, 2006, French Culture Minister Renaud Donnedieu de Vabres awarded Juanes with the highest cultural honor given by France, L'Ordre des Arts et des Lettres, declaring him "Knight in the order of Arts and Letters" for his work in social activism. In December 2006, work began on a recreational park for the rehabilitation of the handicapped named "Parque Juanes de la Paz" in Medellín. The 68,000-square-meter facility will cost COL$10.6 billion, financed in part by the government of Medellín, completed by May 2007.

On August 5, 2009, it was announced that Juanes would hold his second "Peace Without Borders" concert in Havana's storied Plaza de la Revolución on September 20, 2009. Prior to the concert, Juanes received criticism by some in the Cuban-American/Cuban exile community in Miami who believed it would be seen as an act of support for the communist government of Cuba. Juanes expressed in an interview for Univision that he had no affiliation whatsoever to the Cuban government or their political views and that he saw it only as an artistic performance and nothing more. On August 20, 2009, Juanes announced that he had considered canceling the peace concert citing "fears for his safety as well as his family", who reside with him in Miami on Key Biscayne. Juanes closed it along with 15 other Cuban and international artists and with more than one million people attending the concert."

Personal life

Juanes met model/actress Karen Martínez during the filming of his video "Podemos Hacernos Daño". On August 6, 2004, they were married. The couple separated in May 2007, after three years of marriage due to unresolved differences, but reconciled four months later. They have three children together, two daughters: Luna Aristizábal Martínez (born September 6, 2003), Paloma Aristizábal Martínez (born June 2, 2005), and one son, Dante Aristizábal Martínez (born September 12, 2009). Juanes is a vegetarian and currently lives in Key Biscayne, Florida

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By the time of his fourth album, La Vida...Es un Ratico, it was difficult to imagine Juanes being any more acclaimed or popular. He'd already won trophy cases of awards, from numerous Grammys to France's highest cultural honor, L'Ordre des Arts et des Lettres, and he'd already topped charts in a diverse range of countries, including not only the entire Spanish-speaking world, but also such unlikely markets as Germany, where his 2005 single "La Camisa Negra" was a number one hit. Plus, he'd toured the world seemingly without end in support of Mi Sangre (2004), expanding his fan base to such an extent that Universal chose to release "Me Enamora," the lead single from La Vida...Es un Ratico, to media outlets in 77 countries. All of this was accomplished without singing a word of English, for despite his renown and multinational appeal, Juanes chose to sing only in his native Spanish, not even recording alternate versions of his songs for the enormous English-language market. Eagerly anticipated by fans and industry insiders alike, La Vida...Es un Ratico is a step forward for the Columbian rocker in terms of artistry. As expected, the album brims with earnest songwriting, heartfelt singing, dexterous guitar playing, and glimmering production. An undercurrent of Latin rhythm is well evident on most songs, especially "Me Enamora," "Báilala," and "Tres," and there's a good balance of rockers as well as ballads; for instance, the album opener, "No Creo en el Jamás," kick-starts the album with a surge of forward momentum, while the back-to-back sequencing of "Minas Piedras" and "Tú y Yo" is a lulling mid-album pivot. Sequenced before that mid-album pivot is a run of standout songs ("Me Enamora," "Hoy Me Voy," "La Vida...Es un Ratico," "Gotas de Agua Dulce," "La Mejor Parte de Mí"), each stylistically distinct and memorably melodic. The centerpiece of this run (i.e., the title track) is also the centerpiece of the album; a passionate piano ballad about life, love, and family, and about how time is fleeting, the song "La Vida...Es un Ratico" (which, in English, translates to "Life Is a Moment") is among the most striking and poetic of Juanes' career to date, up there with "A Dios Le Pido." As a whole, La Vida...Es un Ratico is as just impressive as his past albums, though following the incredible acclaim and popularity of Un Día Normal (2002) and Mi Sangre, it's no surprise at this point in time that Juanes is capable of such mastery, not only as a singer/songwriter, but as a guitarist and co-producer. If anything, the distinction to be drawn between La Vida...Es un Ratico and its predecessors is that Juanes has turned his focus inward here, writing more about his own life than the world surrounding it, and also that his songs are increasingly driven by his lyrics rather than his guitar.

Juanes - La Vida... Es Un Ratico   (flac  367mb)

01 No Creo En EL Jamás 3:34
02 Clases De Amor 3:55
03 Me Enamora 3:14
04 Hoy Me Voy 3:24
05 La Vida... Es Un Ratico 4:05
06 Gotas De Agua Dulce 3:10
07 La Mejor Parte De Mí 3:44
08 Minas Piedras feat.Calamaro 4:05
09 Tú Y Yo 4:28
10 Báilala 3:33
11 Difícil 4:02
12 Tres 3:27
13 Bandera De Manos feat.Campino 4:05
14 Bandera De Manos 4:00

Juanes - La Vida... Es Un Ratico (ogg   122mb )

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Recorded in Miami Beach, Florida in front of a live audience that seems to know every word to every song on the set list, Tr3s Presents Juanes: MTV Unplugged is an uplifting celebration of the Colombian artist's work that also offers a rare mix of spectacular and organic. The filled-with-hits set list and the brimming-with-love audience offer the spectacular bit, while the organic feel comes from Juanes' warm and humble presentation, sounding like the most talented camp counselor ever heard with thousands of fans gathered round the campfire. There's a career-spanning selection of prime material with known rockers like "Me Enamora" and "A Dios Le Pido" adapting to their acoustic arrangements without a hitch. Lead single "La Señal" is the best of the three new numbers that premiered here, although "Todo en Mi Vida Eres Tú" and the duet with Joaquín Sabina, "Azul Sabina," are both very welcome, and while it's so beloved in its studio version, singer Paula Fernandes does a fine job filling in for Colbie Caillat on this live take of "Hoy Me Voy." Fans can think of Unplugged as a necessary souvenir that gives new angles to familiar material, but newcomers should consider it too, especially if they prefer live and loose over studio perfection.

Juanes - Juanes MTV Unplugged     (flac  379mb)

01 Ahi Le Va 3:27
02 Para Ser Eterno 5:04
03 Volcan 3:33
04 Podemos Hacernos Daño 3:46
05 Destino 3:33
06 Nada 3:53
07 Fijate Bien 4:55
08 Vulnerable 4:27
09 Soñador 3:25
10 Ficcion 4:14
11 Para Que 3:35
12 Me Da Igual 4:12

Juanes - Juanes MTV Unplugged   (ogg  143mb)

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Loco de Amor is a very different kind of album for Colombia's Juanes. He recorded it in Los Angeles, with famed British producer Steve Lillywhite (his first Latin recording), assisted by Emmanuel "Meme" del Real of Mexico's shapeshifting rock act Café Tacvba, who also plays keyboards. Lillywhite has worked with everyone from U2 and the Rolling Stones to the Killers and the Dave Matthews Band. The core band here is smaller (though there are numerous guest appearances), though the sound is hardly stripped down. Juanes plays more acoustic guitar than electric here, and he's enlisted former Ekhymosis bandmate Fernando Tobon to play tiple throughout, adding a traditional texture to a decidedly provocative mix. Drummer Abe Laboriel, bassist Brian Ray, and percussionist Richard Bravo round out the band. Opener "Mil Pedazos" is a typical alternative Latin rocker with a big hooky chorus and a piano vamp worthy of Bruce Springsteen's E Street Band, though the pulsing, zig-zagging synths underneath add an edge. The title track, with its call-and-response voice and female chorus, blends Latin rock, tropical, and dance-pop, Colombian salsa, and cumbia. It's a stormer. Speaking of cumbia, the album's first single, "La Luz," melds 21st century EDM to Colombian cumbia and Latin alt-rock in a driving, infectious dancefloor groover with some killer falsetto from Juanes. The swaying, Spanish-tinged, midtempo rock of "Laberinto" features one of the finest melodies on the record, while "Persiguiendo el Sol" commences with 12-string and tiple. With its buzzing bass throb and rim-shot snare, it becomes an urgent, affirmative, nearly transcendent rock & roll song. "Corazón Invisible" commences as a bossa-tinged ballad gently caressed by acoustic guitars and lithe percussion, but becomes a pop song with graceful cello, a slippery backbeat, and soulful bassline underneath the vocal. "Me Enamoré de Ti" initially seems like an introspective acoustic ballad, but eventually builds into a hooky rocker (with a Baroque string-drenched bridge), and becomes a fist-pumping anthem. Loco de Amor offers longtime fans plenty of Juanes' signature sound to satisfy, That said, its provocative blur of genres, styles, and traditions delivers some bracing new sounds that should attract a wider range of listeners.

 Juanes - Loco de Amor ( flac  283mb)

01 Mil Pedazos 3:12
02 Loco De Amor 3:20
03 La Luz 2:57
04 La Verdad 3:03
05 Una Flor 3:48
06 Delirio 4:12
07 Laberinto 3:24
08 Persiguiendo El Sol 3:44
09 Corazón Invisible 3:20
10 Me Enamoré De Ti 4:24
11 Radio Elvis 3:13

 Juanes - Loco de Amor (ogg  96mb)

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Aside from the hundreds of thousands of global fans who've attended his concerts, the millions of albums sold, and awards received, Juanes remains unwavering in his commitment to artistic growth and constant reinvention, which isn't easy for any pop star to achieve.

Mis Planes Son Amarte was conceived and created as an audio-visual album, the first by a Latin artist. Each of its 12 tracks accompanies a scene in a film directed by Kacho Lopez Mari. Juanes is its conceptualist, writer, and star. Its loose-knit thematic plot finds a lonely astronaut/internal traveler making a life journey -- through time and space -- to find and understand love. There are scenes shot in forests, in space, in cities, in deserts, at home. Juanes, female lead Aluna, and other characters are not only human entities, but psychological and spiritual archetypes through whom the story unfolds. Mis Planes Son Amarte intersperses animation, green screen, and "real" shots, -- it's trippy, elastic, and utterly engaging, with a wonderfully indulgent narrative (is any film work that comes from rock -- Quadrophenia, Under the Cherry Moon, Yellow Submarine, et. al -- not?). It's gorgeous to watch as it morphs from one scenic reality to another (for Anglos, there are subtitles).

Mis Planes Son Amarte's songs bind these fluid images. Juanes recorded and produced the album in Colombia. His co-producers are Sky & Mosty and Bull Nene Cano. The seamless sonics range stylistically from cumbia ("Fuego"), Latin funk ("Angel"), tropical pop ("Es Tarde"), reggaeton ("El Ratico" feat. Kali Uchis), and steamy dance rock ("Hermosa Ingrata") to 21st century bolero ("Alguna Vez" feat. Fonseca). The set's production aesthetic is defined by opener "Perro Viejo" as ambient sounds create open space around guitars, vocals, synth, and percussion to create a dreamy, pillowy atmospheric backdrop for his singing. Juanes lets the listener know he's primed for travel in outer and innerspace: "I have no concerns/My suitcase is light...." As his journey unfolds, he discovers love's transformative power, how we fight it with petty attachments, and how its pure state juxtaposes our connected technological world: The latter passes away, the former is who we are. The title track is a jazz-inflected Steely Dan-kissed number shot in both a club and space; its lyric underscores our human dilemma: "I don't know where to begin, the silence invades us/I want to love you, you want to go to the moon." He follows with its nadir, "Goodbye for Now," his first-ever song in English. A bouncy, Auto-Tuned radio pop number, it nonetheless carries a weighty message about love's difficulties, its insistence on freedom, and its eternal return on its own terms. He closes/emerges with the dubby cumbia stepper "Esto No Acaba," with stinging guitar fills, a bumping bassline, and infectious hooks. Lyrically, it's a reminder that neither Juanes the artist nor his character ever surrender. Despite -- or perhaps because of -- its sense-altering format and creative indulgence, Mis Planes Son Amarte not only breaks ground on every aesthetic frontier, but results in the finest outing in Juanes' career to date.

 Juanes - Mis Planes Son Amarte   (flac  247mb)

01 Perro viejo 3:16
02 Ángel 3:52
03 Fuego 2:46
04 Alguna vez (feat. Fonseca) 2:59
05 El ratico (feat. Kali Uchis) 2:45
06 Hermosa ingrata 3:01
07 Bendecido 3:37
08 Es tarde 3:29
09 Actitud 3:06
10 Mis planes son amarte 3:29
11 Goodbye For Now 2:47
12 Esto no acaba 2:41

Juanes - Mis Planes Son Amarte (ogg  97mb)

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Jun 18, 2018

RhoDeo 1824 Space F 10

Hello, the Worldcup has seen unconvincing matches by the favourites thusfar, France managed a win but Spain, Brazil and Argentina could only draw against minor opposition, Germany had a serious opponent and the Mexicans went totally 'Arriba !' on them and it worked they deservedly beat the lackluster Cup defenders 1-0. Remains to be seen what Belgium and England bring tomorrow clear wins could set them on a path to victory.

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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy

Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.

Space Force 10 (mp3  25mb)

10 A Test of Endurance 28:13

King Ra tells the crew that they are to serve him until death and beyond.

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Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)
Space Force 9 (mp3  25mb)

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Jun 17, 2018

Sundaze 1824


Today's artist is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

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Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

Formed in Austin, Texas in 1993, SOTL is composed of two members: Brian McBride and Adam Wiltzie. McBride said in an interview that the band's name refers to "your own personal cinema, located between your eye and eyelid", suggesting the colors and patterns one can see with closed eyes (either phosphenes or closed-eye hallucinations). They recorded their debut album Music for Nitrous Oxide throughout 1993 and 1994 with third musician Kirk Laktas, and released the album in 1995 on the Sedimental label. Laktas did not continue with the group, and the duo of McBride and Wiltzie steadily continued with Gravitational Pull vs. the Desire for an Aquatic Life in 1996, The Ballasted Orchestra in 1997, Per Aspera Ad Astra in 1998, and Avec Laudenum in 1999, as well as the limited edition EP Maneuvering the Nocturnal Hum and a split single with Windsor for the Derby, both in 1998.

Stars of the Lid then released their first double album, The Tired Sounds of Stars of the Lid, in late October 2001. Nearly six years later, the duo released their second double album, And Their Refinement of the Decline, in April 2007 to widespread critical acclaim. Stars of the Lid toured worldwide throughout 2007 and 2008 in support of the album; throughout their European tour, they were joined live by a string trio featuring Lucinda Chua of Felix on cello, Noura Sanatian on violin, and Ela Baruch on viola. Their North American line-up included Julia Kent on cello.

The duo have been active pursuing side-projects and solo releases since And Their Refinement of the Decline. A teaser trailer for a possible Stars of the Lid feature film surfaced on the internet in 2008, but as of August 2017, the group has yet to release any new material.
Solo and side-projects

Brian McBride and Adam Wiltzie have both released material outside of Stars of the Lid. McBride released his first solo album When the Detail Lost Its Freedom in November 2005, then released The Effective Disconnect in October 2010, which serves as a soundtrack to the documentary Vanishing of the Bees, a film about colony collapse disorder. McBride teamed up with musician Kenneth James Gibson and began recording and releasing new music under the name Bell Gardens; their debut EP Hangups Need Company was released in May 2010, their first full-length album Full Sundown Assembly followed in November 2012, and their second album Slow Dawns for Lost Conclusions was released in October 2014 via Rocket Girl.

Wiltzie has been involved in several collaborative projects: The Dead Texan (with visual artist Christina Vantzou), Aix Em Klemm (with Robert Donne from Labradford), and A Winged Victory for the Sullen (with composer Dustin O'Halloran). Wiltzie currently lives in Brussels, Belgium, and McBride in Los Angeles, California.

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The self-titled debut from Aix Em Klemm delivers some sonic peace and thick, slow movement to a noisy world. The result of a collaboration between Adam Wiltzie (Stars of the Lid) and Bobby Donne (Labradford), fans of both groups should find little surprise -- yet definite enjoyment -- in this rather peaceful and melodic release on the Kranky label. Heavily atmospheric, warm, and soothing, Aix Em Klemm features drawn-out chords that fade as they're overlapped by the next, occasional lovely guitar work, hypnotic electronic samples, pulses, and breathy vocals that intermittently drift in and away. Overall, the effect is calming and brings to mind everything from the musicians' own bands to Windy & Carl and Spiritualized.

Aix Em Klemm - Aix Em Klemm  (flac 174mb)

01 The Girl With The Flesh Colored Crayon 6:32
02 3X2 (Exit) 6:06
03 Sophteonal 8:05
04 Prue Lewarne 7:19
05 The Luxury Of Dirt 6:26
06 Sparkwood And Twentyone 7:01

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Having always made records that exist at the margins of descriptive language, this project by Austin, Texas' most spaced-out duo, Stars of the Lid, is their most ambitious to date, featuring 11 tracks parceled over two CDs (or three LPs), four of which are multi-part suites. Taking a step further down the road they embarked upon with Avec Laudanum, the duo have expanded the pure space and black hole vistas they offered on Music for Nitrous Oxide and The Ballasted Orchestra to embrace small melodic fragments that seemingly endlessly repeat through minimally varying textures. The effect can either be soothing ("Requiem for Dying Mothers"), hypnotic ("Broken Harbors"), or unsettling ("Austin Texas Mental Hospital"). The trademark analogue guitar/tape cut ups are ever present; what would normally be considered the sound of a guitar is nowhere in aural earshot. Traces of piano, strings, and even horns are layered into the mix, primarily on the second disc on "Mulholland," "Fac 21" (not a reference to an obscure record on the legendary Factory label, but a classroom on the University of Texas campus where Radio, Television and Film classes were taught), and "Piano Aquieu." The final two suits, "Ballad of Distances" and "A Lovesong (For Cubs)," are based on single and double-note piano intros that are heavily treated and meet minimal accompaniment by strings shimmering in the background in haunting melodies and droning ambient backdrops. There is a progression in all the music here, but it is so subtle, so quiet and un-intrusive, the listener would have to pay very careful attention to everything that is happening. More realistic, however, is for those who take pleasure in SOTL's music and inner space explorations -- for this truly is a music of the inner terrain -- to offer themselves little distraction other than a comfortable chair or resting place in order to let this music enter at will, naturally and expand until it takes you over the edge into something resembling sleep, but far more delicious. Despite its more songlike structures, More Tired Songs is actually for those who are tired of songs, period, and are looking for something less, something unspeakably beautiful and determinedly unmentionable in its vast and luxuriant erasure from any musical category.

Stars Of The Lid - The Tired Sounds Of Stars Of The Lid  (flac 427mb)

Requiem For Dying Mothers
01 Part 1 6:37
02 Part 2 7:37
03 Down 3 5:46
Austin Texas Mental Hospital
04 Part 1 2:48
05 Part 2 12:18
06 Part 3 5:47
Broken Harbors
07 Part 1 3:31
08 Part 2 6:47
09 Part 3 9:16

10 Mullholland 6:49
11 The Lonely People (Are Getting Lonelier) 10:05
12 Gasfarming 3:18
13 Piano Aquieu 10:56
14 Fac 21 3:08
Ballad Of Distances
15 Part 1 3:36
16 Part 2 3:00
A Lovesong (For Cubs)+
17 Part 1 6:45
18 Part 2 8:05
19 Part 3 7:45

Stars Of The Lid - The Tired Sounds Of Stars Of The Lid  (ogg  229mb)

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The solo entry from Adam Wiltzie -- best known as one-half of Stars of the Lid -- comes under the nom de rock the Dead Texan and exists as less of a song cycle than an imaginary movie score. Accompanied with a DVD of seven videos made by filmmaker Christina Vantzos only asserts this notion, but Wiltzie's guitar-based art is equally if not better suited to stand on its own. Beautiful, slumbering compositions get peculiar titles like "The 6 Million Dollar Sandwich" and "A Chronicle of Early Failures." If the lush, piano-flushed "La Ballade d'Alain Georges" is the finest of the instrumental tracks, Wiltzie's two intimate vocal pieces (the organ-bolstered "Glenn's Goo" and the ambient shoegazer-ish "The Struggle") are easily the disc's highlights.

The Dead Texan - The Dead Texan  (flac 190mb)

01 The 6 Million Dollar Sandwich 3:02
02 Glen's Goo 4:07
03 A Chronicle Of Early Failures Pt. One 5:43
04 A Chronicle Of Early Failures Pt. Two 5:47
05 Taco Me Manque 2:37
06 Aegina Airlines 2:48
07 When I See Scissors, I Cannot Help But Think Of You 3:59
08 Girth Rides A (Horse 2:33
09 La Ballade D'Alain Georges 6:23
10 Beatrice Pt. Two 4:04
11 The Struggle 5:28

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After the near symphonic exercise of engaging the void that was Tired Sounds of Stars of the Lid in 2001, it was hard to believe there was anything left to do. Wrong. Brian McBride and Adam Wiltzie emerged from the studio in early 2007 with the equally huge And Their Refinement of the Decline. The notion of symphonic here is, without doubt, still present, but not in any normal way. Over two very differently themed discs, and three LPs, Stars of the Lid engage long conceptual ideas from a place one can only call micro-minimalism. An obsession with drones fading in and out on all kinds of instruments is what takes precedent here, whether that be a string section, a solo cello, harp, trumpet or a children's choir. (Yes, all of them are here, and more.) Don't worry, all this deep fixation with drones and classical music doesn't mess up Stars of the Lid's sense of humor. The titles are still hilarious in places (the set opens with a piece titled "Dungtitled (In A Major)"). The sound of drones is prevalent on disc one, though the drones change and are actually held notes. Whether they are played live or simply articulated and then manipulated by electronics doesn't matter. The feeling of being washed over, being gently pulled under water to someplace where language no longer makes sense, feelings get all folded together and an overwhelming calm takes over -- especially at loud volumes -- as single notes are held by the strings for as long as five minutes. The aforementioned piece is like this, as are "The Evil That Never Arrived," and "Apreludes (In C Major)," which moves through one note for minutes at a time with an ever increasing dynamic and textural array of sounds and instruments and begins to feel like the opening theme of 2001: A Space Odyssey.

Yet the real bottom line in these pieces, and to a lesser but no less relevant extent, is that these cuts feel like a part of an opening whole that is also at the end of something, like quiet exits from a long-form work, with the feelings of being finished, exhausted, lulled by the lack of energy and motion. It's impossible to say, but when engaging disc two, it feels almost as if it is a mirror image to Gavin Bryars' magnificent "The Sinking of the Titantic" (the second version). Here, where melody dissipates and disappears or never even arrives, as in "The Daughters of Quiet Minds," or the in-and-out of the ether feel in "That Finger on Your Temple Is the Barrel of My Raygun," where actual oceanic and perhaps ship sounds can be heard washing through the mix; and the piece is merely three notes in scale. The sense of drama and restless experimentation are portrayed in back to back pieces ("Humectez la Mouture" and "Tippy's Demise") where on the former a voice in French speaks out of an indescribable series of spaces and noises, and on the latter a cello harmonically plays with the all but absent "orchestra" who have disappeared into the actual feel of the piece rather than remained in its mechanical parts. The set's final cut, "Hunting for Vegetarian Fuckface" begins with voices, muted yet telling, washed into the emerging sound, where chords express themselves, shift and change shape, color and dimension, becoming both something more and something less in the process. At over 17 minutes, more instruments are added, they emerge louder and are more "present" but remain under the guise of absence, as that thing that has already been wiped away. The single- and two-note lines that emerge from the slow, turtle-like pace of the track never move toward anything else even though they assert the theme in various dynamic ways on occasions before re-entering the shadow world of sound.

Everything here is rounded. There are no edges on either disc, it's all fuzzy and yet brilliant to hear at the same time. It's music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. There are detractors -- or better yet, cynics -- who wonder why, and how, music like this, music that simply is, that evolves and returns to silence over and over again, is even necessary. The answer is simple: because the sound on And Their Refinement of the Decline is the sound of everything already after it has fallen apart. It is not a sound that dares to rebuild anything, speak anything, or declare anything. It simply wants to document what happens when it all goes to hell, and in that space, that quiet space, Stars of the Lid emerges with a sound that is as hopeful as it is funereal. It is simply the sound of "is-ness," something that becomes nothing, only to become something again. And Their Refinement of the Decline is deeply moving. Stars of the Lid doesn't give a damn about any experimental "indie" scene nonsense either. This will appeal to fans of Eno's ambient work (though it speaks volumes louder and yet is gentler), Philip Glass, Morton Feldman, Bryars, Steve Reich and Charlemagne Palestine, but is completely its own bag of sonic tricks. It's an awesome thing, this album, and anyone, virtually anyone who encounters it will be in some way moved by the impure music it contains. Achingly beautiful....

Stars Of The Lid - And Their Refinement Of The Decline (flac 497mb)

01 Dungtitled (In A Major) 5:54
Articulate Silences
02 Part 1 5:24
03 Part 2 5:37
04 The Evil That Never Arrived 5:04
05 Apreludes (In C Sharp Major) 3:44
06 Don't Bother They're Here 10:10
07 Dopamine Clouds Over Craven Cottage 5:54
08 Even If You're Never Awake (Deuxième) 9:20
09 Even (Out) + 4:51
10 A Meaningful Moment Through A Meaning(less) Process 4:32
11 Another Ballad For Heavy Lids 4:32
12 The Daughters Of Quiet Minds 13:21
13 Hiberner Toujours 1:49
14 That Finger On Your Temple Is The Barrel Of My Raygun 5:04
15 Humectez La Mouture 5:31
16 Tippy's Demise 8:18
17 The Mouthchew 3:40
18 December Hunting For Vegetarian Fuckface 17:45

Stars Of The Lid - And Their Refinement Of The Decline (ogg 237mb)

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This was sold at Stars of the Lid shows. It is an excellent compilation of previously unreleased out-takes, mixes, and a few songs that have never been released in any form. A very, very limited edition that is a musr for fans of the band. It fits in well with all the other SOTL albums but has an overall sad ambience to it. References to the death of someone are evident in the song titles: R.I.P., Requiem, Funeral, and, of course, the music fits. The long "Virginia (20.03)" is unique in that it contains what sounds like percussion and other found objects. The song, like most of SOTL's long ones, slowly washes through several different tones. If you like SOTL, this album is comparable to their others of which I can say none are my favorites (because they all are). My actual review is 4.5 stars because of the added radio vocals on the second song because it detracts from the meditative calm of most of their music, but the music that follows that British radio introduction is quite lovely.

Stars of the Lid - Carte-De-Visite (flac 194mb)

01 The Mouthchew (Part 2) 3:45
02 JPRIP 4:37
03 Requiem String Melody 2:46
04 Porch (Version#28) 5:00
05 The Kraut 9:42
06 Slight On The Childproof 5:01
07 Virginia 20:05
08 Hunting For Pops 5:24
09 The Funereal 2:27

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Jun 15, 2018

RhoDeo 1823 Grooves

Hello, in the battle between the orthodoxies the oldest one showed it's heels to the upstarts, clearly rolling heads isn't the answer. Putin must have been delighted, sitting beside the enemy of his Arabian friends (Syria, Iran) and see his boys humiliate 5-0 the Ramadamned Saudis, next wednesday Egypt's Salah will become the prime target in an all or nothing game between the muslim brethren, expect plenty of cards....

Today's artists are arguably the most multi-cultural band in Britain (current and past members hailing from a remarkable list of 32 different countries!), they was initially formed back in 1979 by Mauritius-born Jean-Paul Maunick, known to all since childhood as a Bluey . The son of Edouard Maunick - a distinguished African poet and writer - Bluey first moved to London in 1969 at the age of nine. By the mid-Seventies, his fascination with watching US bands like Earth, Wind & Fire, Weather Report and Kool & The Gang soon led to him hanging around with key players in the UKâ  s then-emerging jazz/funk scene - including groups like Gonzales, Hi-Tension and Average White Band - before going on to form his own aforementioned combo. With their debut album Jazz Funk (released through British independent Ensign Records in 1981) immediately establishing them at the forefront of London's then-thriving black music underground, the band however did not reach their commercial peak until signing with Phonogram's hip Talkin Loud label in 1990. ..... 'N Joy

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An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito were originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito. A decade separated their first and second albums, but from the early '90s through the early 2010s, the group recorded at a steady rate and stuck to their colorful hybrid sound.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. Their 1991 update of Ronnie Laws' "Always There," featuring lead vocals by Jocelyn Brown, became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added vocalist Maysa Leak to the lineup. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain.

In 1994, Incognito appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine. In 1996, the band contributed "Water to Drink" to the AIDS-benefit album Red Hot + Rio, also produced by the Red Hot Organization. Their song "Need to Know" is the theme song for progressive radio and television news program Democracy Now!.

Late 1994 Leak unsuccessfully attempted a solo career with Blue Note, leading to temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. During the latter half of the decade, Incognito expanded their discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future.

The group's first two albums of the 2000s, Life Stranger Than Fiction (2001) and Who Needs Love (2002), were made without Leak. The latter, the first of several releases for the Dome label, featured Brazilian vocalist Ed Motta. Leak returned for Adventures in Black Sunshine (2004), a set that also boasted a guest appearance from longtime Incognito inspiration George Duke. Bees + Flowers + Things (2006) was a mix of cover versions along with re-recordings of four Incognito classics. More Tales Remixed (2008) involved remixes from Dimitri from Paris and Mark de Clive-Lowe, among others.

Incognito began the 2010s by acknowledging a major group milestone, most notably with the two-CD Live in London: The 30th Anniversary Concert, as well as their 14th studio set, Transatlantic R.P.M., featuring performances from Chaka Khan, Mario Biondi, Leon Ware, Ursula Rucker, and Leak. Surreal (2012) was followed by Bluey's first proper solo album, Leap of Faith (2013), while Amplified Soul (2014) -- one of the group's several releases to exceed an hour in length -- showed that their productivity was hardly on the wane. 2016 saw the band release its 17th studio long-player, In Search of Better Days, which featured guest artists pianist Avery Sunshine, drummer Richard Spaven, percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei.

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However fans choose to label Incognito's sound in the post-acid jazz world of 2008, it was clear that wherever the group performs, its feisty mix of retro soul, brass, funk, and jazz truly lived up to the title of 2004's Narada Jazz disc Adventures in Black Sunshine. Founder Jean-Paul "Bluey" Maunick and his often rotating "collective" group averaged an incredible six months a year on the road, wowing crowds throughout Europe and Asia, where they're biggest in Japan and Indonesia. Incognito's uniquely funky, retro soul sound is so urban that it may have at first seemed odd to call their equally infectious, constantly grooving Heads Up debut Tales from the Beach -- 'til we realize that the beaches Maunick is referring to are those on his native island of Mauritius (off the coast of Madagascar). That's where he got wind of hotel bands and others playing around bonfires and cookouts; the loose, happy flow of Incognito's bouncy, horn inflected tunes here completely reflects that wistful reference. While Maunick's crisp, jangling guitar work, Francis Hylton's bubbling bass, and those old-school soul atmospheres and horns inhabit every melody and groove, these tales are told by a shimmering array of sensual R&B singers. The most well-known of these to longtime Incognito and smooth jazz fans is Maysa, who took time from her building solo career to grace four tracks with her rich and sexy, dark toned vocals: the soaring, percussive dance gem "I've Been Waiting," the dreamy melancholy meets joy-infused "I Remember a Time," the fast rolling jazz tune "Never Look Back," and the sensuous chill rocker "When Words Are Just Words." At a generous 15 tracks, Tales from the Beach gives ample tracking to a handful of lead vocalists who are lesser known than Maysa but equally as heart tugging and soul-spiced: Joy Rose, Tony Momrelle, and Imaani. The three of them team up on the brass and vibes-tinged anthem "Feel the Pressure," perfectly showcasing the true ensemble energy that's made Incognito such a powerful force in post-acid jazz groove music for so many years.

Incognito - Tales From The Beach     (flac 518mb)

01 Step Aside 5:58
02 I've Been Waiting 4:28
03 When The Sun Comes Down 4:46
04 Love, Joy, Understanding 6:44
05 I Come Alive (Rimshots And Basses) 3:54
06 Happy People 4:16
07 N.O.T. 6:10
08 Freedom To Love 6:45
09 I Remember A Time 5:29
10 It May Rain Sometime 2:06
11 Never Look Back 6:44
12 When Words Are Just Words 6:12
13 Feel The Pressure 4:46
14 Silence Of My Mind 3:54
15 Tales From The Beach 1:42

Incognito - Tales From The Beach   (ogg  177mb)

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Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's lone cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance.

Incognito - Transatlantic R.P.M    (flac 489mb)

01 Lowdown 4:31
02 Everything That We Are 3:59
03 1975 4:41
04 Your Sun My Sky 4:07
05 Line In The Sand 4:25
06 Gotta 4:15
07 Let's Fall In Love Again 4:26
08 The Song 5:11
09 Put A Little Lovin' In Your Heart 5:27
10 All Of My Life 4:51
11 Expresso Madureira 5:29
12 Life Ain't Nothing But A Good Thing 6:02
13 Make Room For Love 6:05
14 Can't Get Enough 4:02
15 The Winter Of My Springs 0:44
16 Tell Me What To Do 5:20

Incognito - Transatlantic R.P.M  (ogg  173mb )

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After collaborating with the likes of Chaka Khan, spoken word artist Ursula Rucker, and Italian soul singer Mario Biondi on 2010's Transatlantic RPM, British acid jazz pioneers Incognito hand over the vocal reins to a younger crowd for their 15th studio album, Surreal. It's an inspired move showing that, 30 years on from their debut album, bandleader Jean-Paul "Bluey" Maunick still has his finger on the pulse. While longtime singers Maysa and Vanessa Haynes remain a vital part of the setup, the former kicking off proceedings in style with the bass-driven funk of "The Less You Know," the latter channeling the divas of the Studio 54 era on a cover of Queen Yahna's '70s cult disco classic "Ain't It Time," it's the new recruits who steal the show. German-born vocalist Mo Brandis displays a maturity and soulfulness far beyond his 26 years on the John Legend-esque lead single "Goodbye to Yesterday" and the summery jazz of "Don't Wanna Know," while Ronnie Scott's regular Natalie Williams justifies the Erykah Badu/Jill Scott comparisons on the gorgeously slinky chillout of "Restless as We Are" and the dreamy bossa nova of "The Stars from Here." If they can hang on to this highly talented lineup, then Incognito's future appears to be in very safe hands indeed.

 Incognito - Surreal      (flac  452mb)

01 The Less You Know 5:01
02 Goodbye To Yesterday 4:19
03 Above The Night 4:04
04 Ain't It Time 5:19
05 Capricorn Sun 3:50
06 Don't Wanna Know 4:16
07 Restless As We Are 4:42
08 Rivers On The Sun 5:20
09 Don't Break Me Down 4:21
10 The Stars From Here 2:12
11 To Be With You 6:17
12 This Must Be Love 3:32
13 The Way You Love 6:09
14 Thoughtful Fantasies 6:11

Incognito - Surreal  (ogg  153mb)

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In 2013, Jean-Paul "Bluey" Maunick stepped out with his first solo album, Leap of Faith -- a stylistically varied set on which he performed the lead vocals -- but he quickly went to work on fresh material with the group he has led for over four decades. Leap of Faith evidently didn't drain his creativity, as Amplified Soul is another double-length Incognito album, 70 minutes in duration. Though it doesn't feature Maysa Leak or any collaborator on the level of Transatlantic R.P.M. contributors Chaka Khan, Leon Ware, and Al McKay, it certainly isn't short on powerful and uplifting lead vocal turns. Maunick works with some names familiar to Incognito fans and continues to keep it fresh with new voices. Most notably, there's the underexposed Deborah Bond on "I See the Sun," a gorgeously rolling number near the end that could just as easily follow the album's introduction. Melonie Crosdale leads "Rapture," another beaming, kicked-back groove that stands with the group's best work. They take it back a little farther than their typical mid-'70s to early-'80s well of inspiration for the strutting "Hats (Makes Me Wanna Holler)," one of their funkier straight-R&B songs. At this point, even the most casual listener knowledgeable about the group's inspirations won't be surprised that a piece titled "Wind Sorceress" resembles Mizells-era Donald Byrd. And yet, despite the obvious likeness, it's fully enjoyable, filled with little details that make it more than a mere tribute. As usual, Maunick either wrote or co-wrote all the original material, and there's a cover -- a festive version of Atlantic Starr's 1985 single "Silver Shadow," fronted by Vanessa Haynes.

 Incognito - Amplified Soul    (flac  494mb)

01 Amplify My Soul (Part 1) 2:17
02 I Couldn't Love You More 4:28
03 Rapture 5:00
04 Hands Up If You Wanna Be Loved 3:57
05 Hats (Makes Me Wanna Holler) 4:07
06 Silver Shadow 5:00
07 Deeper Still 3:38
08 Amplify My Soul (Part 2) 3:04
09 Something 'Bout July 6:06
10 Day Or Night 3:05
11 Wind Sorceress 2:45
12 Another Way 4:37
13 I See The Sun 5:47
14 Never Known A Love Like This 5:28
15 The Hands Of Time 4:20
16 Stop Running Away 6:11

Incognito - Amplified Soul  (ogg  164mb)

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