Apr 30, 2018

RhoDeo 1817 Space F

Hello,




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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 3 (mp3  23mb)

03 The Silver Strangers 25:04


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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)

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Apr 29, 2018

Sundaze 1817

Hello, the F1 circus is having streetraces in Baku this weekend. Vettel who hadn't been near pole all weekend thusfar maneged to get it when it counts, followed by the Mercedes's and Red Bulls where Ricciardo who won last years chaotic race maneged to outqualify Verstappen who had been the faster of the two until that point, 6th Raikonen was on the fastest lap when a small mistake cost him. Hard to predict the order they will roll over the finish tomorrow.


Today's artist is an Italian guitarist, producer, arranger, sound designer, and experimentalist, and plays in many bands. His musical career commenced during the late '70s, when he played guitar for various independent punk bands. By the mid-'80s, he'd co-founded the ongoing conceptual audio art project Sigillum S (with Paolo Bandera and Luca Digiorgio) that evolved into an internationally celebrated cult act  ....N'joy

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After attending the exclusive High School Scuola Europa and the State University of Milan at the Faculty of Law for three years, he starting to work for a company of electronic engineers who design advanced systems and installations of maximum safety for the Italian government. Eraldo Bernocchi started his career in the late 1970s as a guitarist in independent punk bands. In the mid 1980s, together with Paolo Bandera and Luca di Giorgio, Eraldo co-founded the conceptual audio project Sigillum-S, which grew into a highly acclaimed international cult act and remains the longest running project Bernocchi is involved with.

In the 90s, he and his wife, visual artist Petulia Mattioli, established Verba Corrige Productions, which became the base for a raft of notable audio visual projects and co-operations. During the 1990s and 2000s, he expanded his base of collaborators greatly, both within Italy and throughout the world. Some of these included Mick Harris (Harris releasing Bernocchi's SIMM debut on his own Possible Recs imprint and working with Black Engine as well as two collaborative albums under their names), Almamegretta, Balázs Pándi, Bill Laswell, Colin Edwin, DJ Disk, DJ Olive, Gaudi, Giovanni Lindo Ferretti, Harold Budd, Lorenzo Esposito Fornasari, Markus Stockhausen, Nils Petter Molvaer, Professor Shebab, Raiz, Robin Guthrie, Russell Mills, Sensational, Spectre, Thomas Fehlmann, Toshinori Kondo, and Zu (as Black Engine).

In addition to regular work scoring music for adverts and other multimedia projects, he has composed film music for Academy Award winner Gabriele Salvatores and produced numerous art installations with Petulia Mattioli, as well as other artists, including Russell Mills and Harold Budd. He is known for being invited to play and organize several special events for the Dalai Lama in Italy.

In 2008, Bernocchi and music Giacomo Bruzzo founded RareNoiseRecords, a label based in London which aims to showcase a wide range of cutting edge music. The label has since become an important conduit championing several forward thinking and original artists, as well as releasing a number of Eraldo’s own recordings, including ambient guitar duo Parched (with Davide Tiso from Ephel Duath fame), Somma with Nils Petter Molvaer, Bill Laswell, Raiz and Lorenzo Esposito Fornasari), Owls (again with Fornasari and Tony Wakeford), Metallic Taste of Blood (with Colin Edwin from Porcupine Tree, Balázs Pándi and Jamie Saft) and Obake, a doomtronic quartet with Jason Konhen/Bong Ra on bass, Lorenzo Esposito Fornasari and Balázs Pándi.

Notable projects

The project Sigillum S was created on 23 December 1985. It has had, since the beginning, the aim to be totally against the logic of the "band". It was conceived as an open structure in which people could work and research different subjects. Formed by Eraldo Bernocchi (guitars, electronic treatments, voice, and programmation) Paolo Bandera (electronic treatments, bass, and voice) and Luca Di Giorgio (keyboards), the project has always been a double faced creature, mixing together on the same level precise ritual and ethnic aspects with a noisy music.

Since the beginning, Sigillum S had as path to be followed the knowledge and the total war against any kind of limit or taboo, refusing any kind of relationship with political/religious structures. During the first 10 years they toured quite extensively through all Europe and Canada, taking on stage a multimedia attack based on videos, slides and artworks used as a part of the stage. Having pared down along the way to consist of only Eraldo and Paolo as core members, they collaborated with different groups in different situations, like: Ain Soph, The Sodality, Gerstein, Iugula-Thor, Dive, Outoff Body Experience, Team Spam, the sculptor Milo Sacchi, the multimedia/artist PM.Koma and many others.

After a slew of releases through their first 15 years, they released the album Abstraction on Daft Records. This proved to be their last release for a number of years. In 2007, Verba Corrige announced the completion of 23|20, a celebration of the history of Sigillum S. The release was done in two different formats (Digipak CD and gatefold vinyl) featuring different track lists and sequences for each. The release featured all new material and collaborations with artists such as Toshinori Kondo, Bill Laswell, SH Fernando/WordSound, Prof. Shehab/Baboon Records, Martino Nicoletti, Lorenzo Esposito Fornasari, the band Zu, Xabier Iriondo, Ephel Duath, various members of Crisis, Mark Solotroff, Thomas Fehlmann, Gudrun Gut, Andrea Marutti, Claudio Agostoni, and many others.

Since the release of 23|20 Sigillum S has continued to perform live, welcoming Luca Di Giorgio back into the fold and adding Petulia Mattioli as a fourth member. Much of their back catalog is now available through Bandcamp with new recordings and archival material forthcoming, both in physical and digital mediums.
Ashes

Ashes was started in 1990 essentially as an Eraldo solo project. The basic idea was to produce works that would be out of context for Sigillum S, as Ashes was a very personal project based on a strong individual introspection. The first release was recorded between 1990 and 1992, finally being released on the newly founded Verba Corrige label. This release, entitled Ashland was based on the guitar treatments, which are often used as a mantra for newly born mind paths. 1996 saw Ashes grow beyond the context of a solo project to include the bass and production of Bill Laswell and vocals of Raiz from Italian group Almamegretta. After a silence of almost 10 years, the project returned with a new album called Unisono, expanding on the core trio to include contributions from Lorenzo Esposito Fornasari, Antonio Denti and Paolo Mongardi.

SIMM is a beat and bass oriented project owing a debt to the sound of Mick Harris' Scorn project, whom Eraldo had played a batch of live shows with. The project released one full-length release on Mick Harris' short-lived Possible Recs label as well as a 12" on the same label. Additionally, the moniker provided some tracks for a few compilations from around the same time period. In 2012 it was announced that the long-awaited follow up to Welcome was announced for release by Vital Records. After some production delays and personal issues within the label, the release (Visitor) has now shifted to the OHM Resistance label and has been released October 31, 2013.

The Somma project was conceived by Petulia Mattioli and Eraldo Bernocchi. The concept behind Somma is the real interaction among different cultures with the aim to contaminate and explore ancient traditions connecting new electronic music and technology with jazz, dub, and mantric concepts. Unlike several so called "world music" issues and experiments, Somma (Sacred Order of Magic Music and Art ) aims to have real interaction between different worlds, both sonically and visually. This approach rejects the traditional meaning of the moniker "world music" and avoids ethnic cliches, proposing that each event held be different, where participants will be building a sonic and visual ritual using both ancient and modern tools. Ranging from acoustic to electric to electronic, Somma aims for the creation of new rituals for a contemporary age, the interaction of the sacred and dub, a digital mantra for a new sacred ground.

Entirely improvised, every event/concert of Somma ties together two theoretically distant worlds using interaction between eastern and western musicians who look for a different concert/event for each performance. Tibetan culture is not at all used as a folkloristic or curious event, as too many times happens in the west, but as living part of the creative process. Visuals are also totally improvised and constructed in real time according to what is happening musically on stage to close the circle erasing any difference between past and future.

Since 1996 Bernocchi and Mattioli involved well known New York producer/bass legend Bill Laswell and start to work on the first studio recording of the combo together with 7 Tibetan monks. The album, Hooked Light Rays came out for Low Records, a division of Pete Namlook's Fax label, gaining positive reviews. In 1998 the album was reprinted by Felmay/New Tone an Italian label specialized in traditional/modern musics.

With the encouragement of Musica 90, one of the most renowned booking/production agencies in Europe, Somma's first public appearance took place on November 26, 1996 at Teatro Regio in Torino Italy in front of 1600 people. (Eraldo Bernocchi - treated guitars and electronics, Bill Laswell - bass, Petulia Mattioli - stage design and visuals, Oz Fritz - sound engineering and space dislocations, 7 Tibetan monks - vocals, horns, bells, drums) In 2001, on occasion of the official visit of the Dalai lama, Somma performed in Trento at the Centro Santa Chiara theatre, in front of a gathering 2000 people. Somma continues to grow and expand, most recently playing on May 28, 2007 at Teatro Dal Verme in Milan adding Lorenzo Esposito Fornasari, Nils Petter Molvaer and the vocal group Faraualla to the mix. This show received release in 2010 through Eraldo's RareNoise label.

Obake is one of Bernocchi's newer ongoing projects, meant to be the place where the energies of Doom and Drone Metal fuse with ambient electronica, noise, the exactness of math-rock, the groove of blues undercurrents harking back to the dawn of hard-rock and the fluid lyrical delivery and musings of a commanding operatic voice. The initial release on RareNoise consisted of Eraldo Bernocchi and Lorenzo Esposito Fornasari, Massimo Pupillo of the group Zu on bass and drummer Balazs Pandi. After some internal shifting (including a short tour with Trevor Dunn (Mr. Bungle, Secret Chiefs 3) filling in on bass, new member Jason Köhnen of Bong-Ra fame was announced in 2013 as the permanent bassist with new recordings commencing this year.

In 2007/2008, it was announced that Eraldo and partner Giacomo Bruzzo created a new record label to be based out of the UK, called RareNoiseRecords. The label officially began releasing albums at the end of the first half of 2009. The initial slate of releases kicked off with the debut release of Meditronica – a project by Ashtech and Polcari which also featured the talents of Raiz, Eraldo Bernocchi and Dub Gabriel. Other releases through the end of 2009 include The Mantra ATSMM, a Method of Defiance live album and DVD from 2007 featuring the then line-up of Bill Laswell, Bernie Worrell, Dr. Israel, Toshinori Kondo and Guy Licata, the long-awaited Buckethead side project Death Cube K's Torn From Black Space and Parched, an atmospheric guitar project from Eraldo and Davide Tiso.

As 2010 opened, a live recording of a 2007 show from Somma (held back from 2009 due to perfecting artwork issues) was released and the label released albums and/or EPs by Italian groups Echo and The Mantra ATSMM.

Over the last 2 years the label has expanded its artist and release base, with critically acclaimed releases from Eraldo related groups such as electronica/neo-folk project OWLS (with Tony Wakeford and Lorenzo Esposito Fornasari), Metallic Taste of Blood (Jamie Saft, Colin Edwin and Balazs Pandi) and Obake as well as Eraldo's collaboration with Harold Budd and Robin Guthrie. Aside from Eraldo projects, the label has also released albums by Brainkiller, Bob Belden's Animation, David Fiuczynski, Slobber Pup, InterStatic, Lorenzo Feliciati, Martin Schulte, Mole (Productions) and Naked Truth.

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The project Sigillum S was created on 23 December 1985. It has had, since the beginning, the aim to be totally against the logic of the "band". It was conceived as an open structure in which people could work and research different subjects. Formed by Eraldo Bernocchi (guitars, electronic treatments, voice, and programmation) Paolo Bandera (electronic treatments, bass, and voice) and Luca Di Giorgio (keyboards), the project has always been a double faced creature, mixing together on the same level precise ritual and ethnic aspects with a noisy music.

Since the beginning, Sigillum S had as path to be followed the knowledge and the total war against any kind of limit or taboo, refusing any kind of relationship with political/religious structures. During the first 10 years they toured quite extensively through all Europe and Canada, taking on stage a multimedia attack based on videos, slides and artworks used as a part of the stage. Having pared down along the way to consist of only Eraldo and Paolo as core members, they collaborated with different groups in different situations, like: Ain Soph, The Sodality, Gerstein, Iugula-Thor, Dive, Outoff Body Experience, the sculptor Milo Sacchi, the multimedia/artist PM.Koma and many others.

After a slew of releases through their first 15 years, they released the album Abstraction on Daft Records. This proved to be their last release for a number of years. In 2007, Verba Corrige announced the completion of 23/20, a celebration of the history of Sigillum S. The release was done in two different formats (Digipak CD and gatefold vinyl) featuring different track lists and sequences for each. The release featured all new material and collaborations with artists such as Toshinori Kondo, Bill Laswell, SH Fernando/WordSound, Prof. Shehab/Baboon Records, Martino Nicoletti, Lorenzo Esposito Fornasari, the band Zu, Xabier Iriondo, Ephel Duath, various members of Crisis, Mark Solotroff, Thomas Fehlmann, Gudrun Gut, Andrea Marutti, Claudio Agostoni, and many others.

Probably the best their job.  The industrial garments leave the space to an oriental ritualism (as presaged by the title) that accompanies the whole work.  A well done record, atmospheric, dark, ominous, cryptic, hypnotic, nocturnal, ritualistic, sparse, cold, minimalistic, suspenseful, mysterious. Perfect to use as the soundtrack to your haunted house Halloween party.



Sigillum S - Bardo Thos-Grol + Terror Auto-Obstetrics EP  (flac 417mb)

01 Dharmaraja, Skandha, Snang-Ba Yab La Stong-Pa Yum 20:12
02 Nirmanakāya, Sambhogakāya, Tchöd, Yidam 25:48

Terror Auto-Obstetrics EP
01 Terror Auto-Obstetrics 6:00
02 Transkathartick Endoscopy 6:55
03 Suck Inside Thee Ov Bulb 7:53
04 Purulence Peaks, Hairy Knobs, And Death Disturbances 6:50

Sigillum S - Bardo Thos-Grol + Terror Auto-Obstetrics EP  (ogg  162mb)

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This album’s intention is to set nerves on white-ice-fire and to chill you to the heart - and to this end they achieve their aims. The first track, “Mother Sow Giving Birth Under A Lab Balcony” slithers through the speakers like a drugged thug threat, chilling you to the core. “Tox... By Folding The Spine” is a portrait of madness, painted in sound, maniacal laughter, lunatic music, cacophonic noise, all thrown together by some crazed sadist. “Fastened Metempsychosis" is a grating, startling bank of noise. "She Loves Drinking Herself" sounds not unlike Edgard Varese’s “Poeme Electronique” with all the pregnant pauses filled in with something black and pungent “Countless Beauty Survivals” thumps through with a continual metal beat, guitar punctuating while some wind instrument severs reality. “Human Chainsaw’ has bright keyboards which cut through the ears & into the brain,while the vocalist cries out the title in as much agony as we, the listeners feel. “Fingerprints Of Memory lmmortality" is a much more grand piece, huge sweeping keyboards shroud the grey landscape while a synthesized brass sound pierces through to improvise itself into a dozen shaped and positions, before dying in a black cloud of dread. “Emergency Is A Process” is a voice loop speaking the title while instruments scatter & frolic over the top, although nothing here is without some danger. “Allocation And Paradox” again sounds not unlike a metal beat type thing - a darker version of something off Test Dept’s “Beating The Retreat” album, changing direction, turning uncomfortably warm, then chilly with every few moments. “Nevropolis” is next, an unsteady instrumental piece, which threatens to topple & bring the whole structure down. It’s circus music, but from what blighted carnival could this arise, before it finally smooths out into something calmer - blessed relief.  This is a genuinely disturbing album - they managed to create a deep-reaching chill which emanates from the speakers and into your bones. They seem to be good musicians, playing their instruments more for effect than for musical structure. This one should worry the neighbours.



Sigillum S - Cyvertantrick Quantum Leaps    (flac 311mb)

01 Mother Sow Giving Birth Under A Lab Balcony 8:22
02 Tox...By Folding The Spine 3:47
03 Fastened Metempsychosis 1:54
04 4She Loves Drinking Herself 5:15
05 Countless Beauty Survivals 4:20
06 Human Chainsaw 3:44
07 Fingerprints Of Memory Immortality 6:19
08 Emergency Is A Processor 3:39
09 Allocation And Paradox 5:37
10 Nevropolis 7:14

Sigillum S - Cyvertantrick Quantum Leaps    (ogg  107mb)

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Started in 1990 as a solo project of Eraldo Bernocchi, Sigillum S founder member. The basic idea was to produce works that would be out of context for Sigillum S, as Ashes is a very personal project, based on a strong individual introspection. After some time it has been developping its own identity, remaining at the same time an open situation. Mainly based on the guitar treatments, which are often used as a mantra for newly born mind paths, Ashes now as its line up. Different musicians are collaborating with; the use of electronics together with the use of natural sounds as stones or stalagmites organs, and acustic instruments as saxophone or violin. Technology used as tool for new environments.



Ashes - Ashland (flac 207mb)

01 Now I Have Three Mouths To Laugh 5:52
02 Ashland 5:59
03 Why Must I Always Say Something 2:18
04 Namib 6:56
05 The War Is Laughing: Beyond Time 6:44
06 Dark Water 3:33
07 A Gift Of Particles 9:46
08 Endless Drug Reflecting 2:57
09 Mirrored Female Multiplying 2:30

Ashes - Ashland   (ogg  99mb)

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This is a powerful example of slow drum and bass with haunting vocals in Napoletan - Raiz is from that Southern Italy city. The compositions are varied, some clealry DnB and some more pointing to electronic-oriental style. You find some familiar themes in Laswell's production. This is a great example of the artistry of both Laswell and Bernocchi, augmented by the haunting lyrics of Raiz, which will interest the fans of both artists.



Ashes - Corpus (flac 216mb)

01 Shoah 5:02
02 Devozione 5:04
03 Dharma 5:17
04 Unioneillusione 5:23
05 Ambush 5:22
06 Corpus - The Hallway Of Shadows 11:34
07 Tutte Le Acque... 5:23

Ashes - Corpus (ogg  93mb)

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Apr 27, 2018

RhoDeo 1816 Grooves

Hello, 6 albums that got President Obama hot under the collar even though he probably wasn't wearing one when he was schmoozing his way into the groove.


Today an African American singer, songwriter and record producer, best known for recording a series of soul hit singles in the early 1970s, including "Take Me to the River", "Tired of Being Alone", "I'm Still in Love with You", "Love and Happiness", and his signature song, "Let's Stay Together". Inducted to the Rock and Roll Hall of Fame in 1995, he was referred to on the museum's site as being "one of the most gifted purveyors of soul music". He has also been referred to as "The Last of the Great Soul Singers". Green was included in the Rolling Stone list of the 100 Greatest Artists of All Time, ranking at No. 65. ..... 'N Joy

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Al Green was the first great soul singer of the '70s and arguably the last great Southern soul singer. With his seductive singles for Hi Records in the early '70s, Green bridged the gap between deep soul and smooth Philadelphia soul. He incorporated elements of gospel, interjecting his performances with wild moans and wails, but his records were stylish, boasting immaculate productions that rolled along with a tight beat, sexy backing vocals, and lush strings. The distinctive Hi Records sound that the vocalist and producer Willie Mitchell developed made Al Green the most popular and influential soul singer of the early '70s, influencing not only his contemporaries, but also veterans like Marvin Gaye. Green was at the peak of his popularity when he suddenly decided to join the ministry in the mid-'70s. At first, he continued to record secular material, but by the '80s, he was concentrating solely on gospel. During the late '80s and '90s, he occasionally returned to R&B, but he remained primarily a religious performer for the rest of his career. Nevertheless, Green's classic early- '70s recordings retained their power and influence throughout the decades, setting the standard for smooth soul.

Green was born in Forrest City, AR, where he formed a gospel quartet, the Green Brothers, at the age of nine. The group toured throughout the South in the mid-'50s, before the family relocated to Grand Rapids, MI. The Green Brothers continued to perform in Grand Rapids, but Al's father kicked the boy out of the group after he caught his son listening to Jackie Wilson. At the age of 16, Al formed an R&B group, Al Green & the Creations, with several of his high-school friends. Two Creation members, Curtis Rogers and Palmer James, founded their own independent record company, Hot Line Music Journal, and had the group record for the label. By that time, the Creations had been re-named the Soul Mates. The group's first single, "Back Up Train," became a surprise hit, climbing to number five on the R&B charts early in 1968. The Soul Mates attempted to record another hit, but all of their subsequent singles failed to find an audience.

In 1969, Al Green met bandleader and Hi Records vice president Willie Mitchell while on tour in Midland, Texas. Impressed with Green's voice, he signed the singer to Hi Records, and began collaborating with Al on his debut album. Released in early 1970, Green's debut album, Green Is Blues, showcased the signature sound he and Mitchell devised -- a sinewy, sexy groove highlighted by horn punctuations and string beds that let Green showcase his remarkable falsetto. While the album didn't spawn any hit singles, it was well-received and set the stage for the breakthrough success of his second album. Al Green Gets Next to You (1970) launched his first hit single, "Tired of Being Alone," which began a streak of four straight gold singles. Let's Stay Together (1972) was his first genuine hit album, climbing to number eight on the pop charts; its title track became his first number one single. I'm Still in Love With You, which followed only a few months later, was an even greater success, peaking at number four and launching the hits "Look What You Done for Me" and "I'm Still in Love With You."

By the release of 1973's Call Me, Green was known as both a hitmaker and an artist who released consistently engaging, frequently excellent, critically-acclaimed albums. His hits continued uninterrupted through the next two years, with "Call Me," "Here I Am," and "Sha-La-La (Make Me Happy)" all becoming Top Ten gold singles. At the height of his popularity, Green's former girlfriend, Mrs. Mary Woodson, broke into his Memphis home in October 1974 and poured boiling grits on the singer as he was bathing, inflicting second-degree burns on his back, stomach, and arm; after assaulting Green, she killed herself with his gun. Green interpreted the violent incident as a sign from God that he should enter the ministry. By 1976, he had bought a church in Memphis and had become an ordained pastor of the Full Gospel Tabernacle. Though he had begun to seriously pursue religion, he had not given up singing R&B and he released three other Mitchell-produced albums -- Al Green Is Love (1975), Full of Fire (1976), Have a Good Time (1976) -- after the incident. However, his albums began to sound formulaic, and his sales started to slip by the end of 1976, with disco cutting heavily into his audience.

In order to break free from his slump, Green stopped working with Willie Mitchell in 1977 and built his own studio, American Music, where he intended to produce his own records. The first album he made at American Music was The Belle Album, an intimate record that was critically acclaimed but failed to win a crossover audience. Truth and Time (1978) failed to even generate a major R&B hit. During a concert in Cincinnati in 1979, Green fell off the stage and nearly injured himself seriously. Interpreting the accident as a sign from God, Green retired from performing secular music and devoted himself to preaching. Throughout the '80s, he released a series of gospel albums on Myrrh Records. In 1982, Green appeared in the gospel musical Your Arms Too Short to Box With God with Patti Labelle. In 1985, he reunited with Willie Mitchell for He Is the Light, his first album for A&M Records.

Green tentatively returned to R&B in 1988 when he sang "Put a Little Love in Your Heart" with Annie Lennox for the Bill Murray comedy Scrooged. Four years later, he recorded his first full-fledged soul album since 1978 with the U.K.-only Don't Look Back. Al Green was inducted to the Rock & Roll Hall of Fame in 1995. That same year, he released Your Heart's in Good Hands, an urban contemporary record that represented his first secular album to be released in America since Truth and Time. Though the album received positive reviews, it failed to become a hit. Green did achieve widespread recognition eight years later with his first album for Blue Note, I Can't Stop. One and a half years later, he followed it with Everything's OK. His third Blue Note album, 2008's Lay It Down, featured an updated sound that still echoed the feel of his classic earlier soul style.



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The first album linking the soul-singing greatness of Al Green with the production brilliance and expertise of Willie Mitchell. The results were mutually beneficial; Green got the great production, arrangements, and backing from the Hi Rhythm section that often turned good songs into classics, and he sang with the conviction and talent that provided the final component in an artistically and commercially satisfying union. After Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next to You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' "I Can't Get Next to You," which turns the original inside out.



Al Green Is Blues and Gets Next To You   (flac 415mb)

Al Green Is Blues
01 One Woman
02 Talk To Me
03 My Girl
04 The Letter
05 I Stand Accused
06 Gotta Find A New World
07 What Am I Gonna Do With Myself
08 Tommorow's A Dream
09 Get Back Baby
10 Get Back
11 Summertime
Bonus
12 I Want To Hold Your Hand
Al Green Gets Next To You
13 I Can't Get Next To You
14 Are You Lonely For Me Baby
15 God Is Standing By
16 Tired Of Being Alone
17 I'm A Ram
18 Driving Wheel
19 Light My Fire
20 You Say It
21 Right Now, Right Now
22 All Because
Bonus
23 Ride Sally Ride
24 True Love

.Al Green Is Blues and Gets Next To You  (ogg  160mb)

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Prior to this album, Al Green never had a number one song. The title track, "Let's Stay Together," achieved that status and held it for nine consecutive weeks. Green's ingenuity produced one of the all-time classics, which has the bounce of a dance cut and the passion of a ballad. The dynamic soul singer's whispers, animated cries, and riffing enhance his already stirring delivery. This album was sold on the strength of the title track as there were no other selections to grace the Billboard charts. However, this album includes the timeless gem "How Can You Mend a Broken Heart" and lesser-known beauties like the exulting "Judy," the cookin' testimonial "I Never Found a Girl," and the soothing blues effort "It Ain't No Fun to Me." The Arkansas native and his creative partner Willie Mitchell season these selections with lucid rhythm arrangements complemented by the faint strums of a guitar and brawn, unchiding horns. I'm Still in Love With You shares many surface similarities with its predecessor, Let's Stay Together; from Al Green and Willie Mitchell's distinctive, sexy style to the pacing and song selection. Despite those shared traits, I'm Still in Love With You distinguishes itself with its suave, romantic tone and its subtly ambitious choice of material. Green began exploring country music with this album by performing a startling version of Kris Kristofferson's "For the Good Times," as well as a wonderful, slow reinterpretation of Roy Orbison's "Oh Pretty Woman." And the soul numbers are more complex than they would appear -- listen to how the beat falls together at the beginning of "Love and Happiness," or the sly melody of the title track. There isn't a wasted track on I'm Still in Love With You, and in many ways it rivals its follow-up, Call Me, as Green's masterpiece.


Al Green, Let's Stay Together ~ I'm Still In Love With You    (flac 415mb)

Al Green - Let's Stay Together
01 Let's Stay Together
02 La-La For You
03 So You're Leaving
04 What Is This Feeling
05 Old Time Lovin'
06 I've Never Found A Girl
07 How Can You Mend A Broken Heart
08 Judy
09 Ain't No Fun To Me
Al Green - I'm Still In Love With You
10 I'm Still In Love With You
11 I'm Glad You're Mine
12 Love And Happiness
13 What A Wonderful Thing Love Is
14 Simply Beautiful
15 Oh, Pretty Woman
16 For The Good Times
17 Look What Your Done For Me
18 One Of These Good Old Days

Al Green, Let's Stay Together ~ I'm Still In Love With You  (ogg  152mb )

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Al Green reached his creative peak with the brilliant Call Me, the most inventive and assured album of his career. So silky and fluid as to sound almost effortless, Green's vocals revel in the lush strings and evocative horns of Willie Mitchell's superbly intimate production, barely rising above an angelic whisper for the gossamer "Have You Been Making Out O.K.." With barely perceptible changes in mood, Call Me covers remarkable ground, spanning from "Stand Up" -- a call to arms delivered with characteristic understatement -- to renditions of Hank Williams' "I'm So Lonesome I Could Cry" and Willie Nelson's "Funny How Time Slips Away," both of them exemplary fusions of country and soul. Equally compelling are the album's three Top Ten hits -- "You Ought to Be With Me," "Here I Am (Come and Take Me)," and the shimmering title cut. A classic. Livin' for You is Green's sixth album, and the fourth to be certified gold. Each of his albums with Willie Mitchell are singular, with their own distinct style, and Livin' for You is no exception. It takes a more relaxed approach and offers some of his best ballads; the title track is Green at his most engaging, even when he sang potentially mood-interrupting lines like "I'm tired of your bright ideas about leaving me." "Home Again" and "So Good to Be Here" are romantic if not hypnotic, offering subtle drumming, economical keyboards, and gentle vocals. The biggest track here, the proficient and smooth "Let's Get Married," has Green being a little wishy-washy as he sings, "I didn't mean to say all the things I said/The way I felt in my heart it came out that way." Although the originals here rank with his best, Green also did good cover work too. The often useless "Unchained Melody" shows up and benefits from Green's methodical delivery. In many ways, Livin' for You is the perfect, intimate album for his fans



 Al Green, Call Me ~ Livin' For You    (flac  469mb)

Al Green - Call Me
01 Call Me (Come Back Home) 3:03
02 Have You Been Making Out OK 3:42
03 Stand Up 3:25
04 I'm So Lonesome I Could Cry 3:10
05 Your Love Is Like The Morning Sun 3:09
06 Here I Am (Come And Take Me) 4:14
07 Funny How Time Slips Away 5:33
08 You Ought To Be With Me 3:15
09 Jesus Is Waiting 5:36
Al Green - Livin' For You
10 Livin' For You 3:10
11 Home Again 3:56
12 Free At Last 3:26
13 Let's Get Married 5:33
14 So Good To Be Here 2:44
15 Sweet Sixteen 3:26
16 Unchained Melody 5:33
17 My God Is Real 2:43
18 Beware 8:19

Al Green, Call Me ~ Livin' For You  (ogg  165mb)

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Apr 26, 2018

RhoDeo 1816 Re-Ups 138

Hello,



14 correct requests for this week and as usual, requests that totally ignore my 12 months limit, whatever another batch of 52 re-ups (16,7 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 April 13nd.... N'Joy

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3x Sundaze Back In Flac ( The KLF - Chill Out,  The KLF - Space, The KLF - Waiting For The Rites Of Mu)


6x Spaced Back  In Flac (Bill Nelson - Duplex, Bill Nelson - Duplex Instrumental, Jam & Spoon - 2002 Tripomatic Fairytales, VA - Vor der Flut, Jalal - Mankind, ON U - Celebration)


3x Aetix Back in Flac (Crass - The Feeding of the 5000, Crass - Stations of the Crass, Crass - Penis Envy + Peel Sessions)


3x Grooves Back In Flac (Funkadelic - Standing on the Verge of, Funkadelic - Let's Take It to the Stage, Funkadelic - Hardcore Jollies)


4x Aetix Back in Flac ('Til Tuesday  - Voices Carry, 'Til Tuesday - Welcome Home, 'Til Tuesday - Everything's Different Now, 'Til Tuesday - The Spit, Boston 1 03 84)


3x Grooves NOW in Flac (Sam Cooke - A Man And His Music, Smokey Robinson - Going To A Gogo, Smokey Robinson - Tears Of A Clown)


3x Grooves  NOW in Flac  (The Undisputed Truth - I, The Undisputed Truth - Face To Face,  The Undisputed Truth - Law Of The Land)


5x Aetix Back In Flac (The Waterboys - A Pagan Place, The Waterboys - This Is the Sea 1, The Waterboys - This Is the Sea 2, The Waterboys - Fisherman's Blues, The Waterboys - Fisherman's Bonus)


4x Aetix Back In Flac (James Chance and The Contortions - Buy, James White and the Blacks - Off White, James White and The Blacks - Sax Maniac, James Chance and The Contortions - Soul Exorcism Redux )


3x Beats Back In Flac ( Two Lone Swordsmen - Tiny Reminders, Two Lone Swordsmen - Swimming Not Skimming, Two Lone Swordsmen VA - Peppered With Spastic Magic)


3x Beats Back In Flac ( The Aloof - Cover The Crime, Eat Static - Implant, The Grid - Evolver )


4x Roots Back In Flac ( Gilberto Gil - Louvação, Gilberto Gil - 1968 (with Os Mutantes), Gilberto Gil - Cérebro Eletrónico, Gilberto Gil - Copacabana Mon Amour)


5x Aetix Back In Flac ( Nina Hagen Band - Unbehagen, Nina Hagen - Nunsexmonkrock, Nina Hagen - Fearless, Nina Hagen - In Ekstasy, Nina Hagen Band - Nina Hagen B )


3x Roots Back In Flac ( Oumou Sangare - Moussolou,  Oumou Sangare - Worotan,  Oumou Sangare - Laban)

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Apr 25, 2018

RhoDeo 1816 Aetix

Hello, another Mohammed Salah show again tonight, Liverpool must be over the moon with last summers transfer from tonights opponent AS Roma, when he left the field after 75 min it was 5-0, clearly this caused some concentration lapses because 10 min later it was 5-2, which offers the Romans some hope for next weeks return.

Today's artists with idealistic spirit, a powerhouse live show, and bigger-than-big hair, were part of an early-'80s wave of bands (the Call, Big Country, and the Waterboys among them) who dealt in soaring anthems inspired by the righteous idealism of punk. Clearly influenced by the impassioned political fervor of the Clash, the band also worked in a mostly acoustic, folk-punk vein that provided a counterpoint to their hard-driving guitar rockers. Their stage look was unquestionably a product of the '80s, with enormous spiked-up hair accompanying a cowboy/old-time cavalry wardrobe. Yet the numerous comparisons to U2 in the press were not unfounded; despite a more conservative sonic palette, the Alarm had much the same earnest intensity, the same messianic ambitions, even the same vague spirituality. The British music press habitually savaged their records as derivative and pretentious, but this meant little to their zealous following, who supported the band to the tune of over five-million sales worldwide and 16 Top 50 U.K. singles..............N'Joy

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The Alarm was formed in Rhyl, Wales in 1981 by vocalist/guitarist Mike Peters, who'd started out in a local punk band called the Toilets along with Alarm drummer Nigel Twist (b. Nigel Buckle). When that band broke up, Peters -- then playing bass -- formed a new outfit called Seventeen (after the Sex Pistols song) with guitarists Eddie MacDonald and Dave Sharp (b. Dave Kitchingman), both local scenesters and longtime friends. Seventeen was initially influenced by the Pistols, the Clash, the mod-revival punk of the Jam, and the punk-pop of ex-Pistol Glen Matlock's Rich Kids. As their songwriting interests grew more socially conscious, and in early 1981, the group reinvented itself as the Alarm, taking the name from a Seventeen song called "Alarm Alarm." Later that year, they moved to London and self-released their debut single, a Peters/MacDonald-penned political rocker called "Unsafe Building," backed with Sharp's folk-punk tune "Up for Murder." By this time, MacDonald and Peters had switched instruments, with Peters taking up rhythm guitar and MacDonald moving to bass.

In 1982, the Alarm signed with IRS and issued another single, "Marching On." On the strength of their live shows, U2 tapped them to open their 1983 supporting tour for War, which helped make the group's next single, the Stephen King retelling "The Stand," into an underground hit. The Alarm's self-titled debut EP appeared later in 1983, compiling previous single releases, and setting the stage for the release of their first proper album, Declaration, in 1984. A Top Ten U.K. hit, Declaration spun off several popular singles, including the Seventeen holdover "Sixty-Eight Guns" (which made the pop Top 20), "Where Were You Hiding When the Storm Broke?" (which just missed), "The Deceiver," and the live staple "Blaze of Glory." Non-LP singles followed in a cover of "The Bells of Rhymney," the new wave dance tune "The Chant (Has Just Begun)," and the British Top 40 hit "Absolute Reality."

The Alarm's sophomore effort, 1985's Strength, was another U.K. success, and brought them into the Top 40 of the U.S. album charts for the first time; additionally, the single "Spirit of '76" was a Top 40 U.K. hit. Strength displayed greater subtlety and maturity in both their songwriting and arrangements, and was often hailed as the group's best overall album. The Alarm took a break after the supporting tour, and returned in 1987 with Eye of the Hurricane, which featured more polished, mainstream production reminiscent of U2. The gambit helped them gain some rock radio play in America with the singles "Presence of Love," "Rescue Me," and especially the more danceable "Rain in the Summertime," and they landed a tour slot supporting Bob Dylan. A concert EP, Electric Folklore: Live, followed in 1988.

1989's Change was an homage to the group's native Wales, and was accompanied by an alternate Welsh-language version, Newid. Produced by Tony Visconti, Change spawned the group's biggest modern rock radio hit in America, the bluesy "Sold Me Down the River," which also put them in the U.S. pop Top 50 for the first and only time. "Devolution Working Man Blues" and "Love Don't Come Easy" also earned radio airplay, and the track "A New South Wales" boasted an appearance by the Welsh Symphony Orchestra. Although it was hugely popular in Wales, it didn't sell as well as the group's earlier works, and internal band dissension -- exacerbated by deaths in both Peters and Twist's families -- made 1991's Raw the original Alarm's final effort. "The Road" was their final radio hit, but with the band's impending breakup, IRS found little reason to promote it.

Mike Peters and Dave Sharp both embarked on solo careers. Sharp issued albums in 1991 and, after relocating to New Orleans, in 1996. Peters, meanwhile, issued his solo debut in 1995 and was subsequently diagnosed with lymphoma; fortunately, the "cancer" turned out to be benign, and Peters completed two more solo records before forming Colorsound with former Cult guitarist Billy Duffy. Peters subsequently reunited the original Alarm lineup for several live appearances, and then formed a new unit consisting of guitarist James Stevenson (Gene Loves Jezebel, Chelsea), bassist Craig Adams (the Cult, the Mission UK, Sisters of Mercy), and drummer Steve Grantley (Stiff Little Fingers). In February 2004, this lineup of the Alarm pulled off a masterful hoax on the British music industry by issuing a garagey punk-pop single, "45 RPM," under the fictitious name the Poppy Fields. Peters, having gotten positive feedback on the song, decided to disassociate it from his veteran band to have it judged on its own merits, and recruited a young Welsh group called the Wayriders to lip-sync the song in the video. The so-called Poppy Fields took "45 RPM" into the U.K. Top 30 before the hoax was revealed, setting the stage for the new Alarm's first album together, In the Poppy Fields. Soon after the album's release, production for a film based on Peters' manipulating of the music industry began with Shrek producer John H. Williams backing the project.

In 2006, another iteration of the band released Under Attack, which featured the hit single "Superchannel." They returned two years later with Guerilla Tactics, and in the same year, Sharp formed another version of the band, AOR - The Spirit of the Alarm. The band put out Direct Action and The Sound and the Fury in 2010 and 2011, respectively. The latter was a collection of re-recorded tracks from the band's and Mike Peters' catalog. 2014 saw the band and Peters create the soundtrack for the film Vinyl, which also featured guest vocals from the film's stars Phil Daniels and Keith Allen.

In 2014, Peters began to record reimagined version of the Alarm's albums as a means of updating them for the 21st century. He began with Declaration, and followed that with Peace Train, which was comprised of re-recorded B-sides. By 2017 he had also re-recorded both Strength and Majority, and that same year he released the two-album project Blood Red and Viral Black.


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The Alarm’s first ever recordings are included on the remastered ‘Eponymous 1981-1983’. Painstakingly put together by Mike Peters from original sources, the Eponymous 1981-1983 album brings together the first four Alarm singles and B-sides including all the tracks that featured on the band’s self titled debut US EP release, and for a first time since 1983, a reissue of the rare – Sixty Eight Guns [Part Two] b-side. Everything has been re-mastered from the original master tapes by mastering engineer Pete Maher (u2, White Stripes….) under the supervision of Mike Peters. It features an iconic cover photo that has been sourced from one of the eras leading photographers – Erica Echenberg.

It comes with complete lyrics, recording and production information, plus comprehensive sleeve notes with quotes from original band members, also features many additional and unseen photographs exclusive to the format making it the most comprehensive in Alarm history.



The Alarm - Eponymous 1981-1983 (flac  594mb)
 
01 Unsafe Biulding (Electric)
02 Up For Murder (Acoustic)
03 Reason 41 (EMI Demo)
04 The Deceiver (EMI Demo)
05 Lie Of The Land (EMI Demo)
06 Sixty Eight Guns (Demo Version)
07 What Kind Of Hell (Demo Version)
08 Marching On (Single Version)
09 Lie Of The Land
10 Across The Border
11 The Stand (Single Version)
12 Blaze Of Glory (Long Version)
13 Sixty Eight Guns (Single Version)
14 Thoughts Of A Young Man (Part One)
15 Sixty Eight Guns (Part Two)
16 The Stand (Long Version)
Bonus
17 For Freedom (Live)
18 Reason 41 (Live)
19 The Deceiver (Live)
20 Third Lght (Live)
21 Lie Of The Land (Live)
22 Legal Matter (Live)
23 Marching On (Live)

The Alarm - Eponymous 1981-1983   (ogg  195mb)

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With hair bigger than Bono's ego and an anthemic, socially aware repertoire, The Alarm never really escaped the shadow of Clash and U2 comparisons. But unlike their Irish counterparts who merely thought their music had the power to alter the course of human history, this Welsh foursome was a legit heir to Strummer and company's warrior legacy. Declaration, The Alarm's 1984 full-length debut, was largely comprised of singles recorded throughout the band's infancy, and as such it burns with youthful idealism and a bold purpose bordering on pretension. Every song comes off like an intended anthem – the barnstorming set list closer that incites an enthralled crowd to go home and change the world, to overcome the forces that oppress by any means necessary. Such aspirations would be hard to stomach…if the songs weren't so freaking good! Who can manage to listen to "Sixty Eight Guns" and not want to immediately run out into the street and start kicking the oppressors' asses? Not I! With its rousing chorus and indelible melody, it's not just a call to arms – it's a great, even classic, rock n' roll song.

Previously a punk band out of Rhyl, Wales called Seventeen, The Alarm adopted a new moniker to go with an evolved sound and a more pronounced political angle. But while the Top 20 U.K. hit "Sixty Eight Guns" is an obvious nod to punk's high-powered indignation, much of the album favors an acoustic/folk approach that's more Dylan than Clash, more Woody Guthrie than The Jam. "Blaze of Glory" demonstrates that you don't need high voltage to make a soaring anthem, while "Tell Me" improves immensely upon the early U2 blueprint. And the songs that rock really rock. "Where Were You Hiding When the Storm Broke?" is like "Sixty Eight Guns" V.2; "Marching On" is pure jangly adrenaline. These anthems, while vague about specific social ills, call for a collective fight against all that ails the world. Lyrics about fighting the good fight and standing up against the powers-that-be abound - and with music this convincing, who could possibly resist joining The Alarm's army?

Here now a reissue from Welsh new wave band with 25 tracks includes acoustic & alternate versions. The release contains album tracks, singles & b-sides plus rarities from the groups seminal debut full length LP of 1984. Remastered from the original master tapes under the supervision of singer Mike Peters with extensive sleeve notes featuring contributions from original members. Package includes original art & unseen photos.



The Alarm - Declaration (flac  349mb)
 
01 Declaration 0:45
02 Marching On 3:35
03 Where Were You Hiding When The Storm Broke? 2:56
04 Third Light 3:25
05 Sixty Eight Guns 5:49
06 We Are The Light 3:16
07 Shout To The Devil 4:10
08 Blaze Of Glory 6:04
09 Tell Me 3:14
10 The Deceiver 5:05
11 The Stand (Prophecy) 1:15
12 Howling Wind 6:44

The Alarm - Declaration   (ogg  113mb)

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The Alarm - Declaration Bonus   (flac  391mb)

01 Peace Train
02 Where Were You Hiding When The Storm Broke? [Take One]
03 Sixty Eight Guns [Drum Take Version]
04 Unbreak The Promise [Acoustic Version]
05 Howling Wind [Acoustic Version]
06 What Kind Of Hell
07 Pavilion Steps
08 Reason 41
09 Second Generation
10 The Chant Has Just Begun [Single Version]
11 Bells Of Rhymney
12 Bound For Glory
13 The Chant Has Just Begun [12" Version]
14 Absolute Reality [Single Version]
15 Reason 36
16 Room at the Top

The Alarm - Declaration Bonus   (ogg  132mb)

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Revolution or evolution, pretty much the end result is the same, things change and the old order is wept away; sometimes into obscurity, at others into the realms of fondness and nostalgia. Whichever way is chosen, what is always needed in the dark days after the shots have been fired and before the new way forges ahead, is Strength. For Mike Peters, strength is a word that is keenly associated with him, it is a bond, a undeniable connection that just keeps on getting stronger with every passing gig or every new record, evolution or revolution, both serve the same purpose in the end. For Mike Peters it arguably acts as a catalyst in which to return once more to the back catalogue of The Alarm and re-imagine the songs that made up the band’s second album, Strength.

Following on in very much the same vein that saw Declaration once more enter the thoughts of the long term fan but more importantly grasp hold of a new generation in which to share the future with, Strength is an album of character, of burning desire and anger. It has the added attraction that 30 years can change an outlook somewhat, it can either add fuel to the fire of revolution or can bring harmony through evolution; both are viable, both have The Alarm strewn through every fibre and corpuscle.

Where Strength differs from the re-imagining from Declaration is in the inevitability that it is realised in songs such as The Day The Ravens Left The Tower and Deeside whilst hope abounds in the changing of lyrics of the classic Spirit of ’76. The Day The Ravens Left The Tower is a melancholic wonder, the darkening of the angst and spirit, the inevitable of the fall of the house of England at some point is wistful, affirming but also strangely hypnotic. The song captures the rawness and shortness of Empire and as tides can change history, so superstition and folklore have a habit of being at one when the past becomes greater than the prospect of the future.

In Spirit of ’76, the opposite is true; a song which dealt in the bleakness of memory and the falsehood of empty promises is given a fresh look. Not everything that happens in the past can forever tarnish and to hear the evolution of the man called Johnny, no longer hampered with dead eyes at the prospect of having spent time in Walton Jail, is something to take hold of and dare to dream that as listeners, we too can escape whatever jail we place ourselves into. With songs such as Walk Forever By Your Side, the excellence of Father To Son and the addition of the songs Last Train and Absolute Reality thrown into the melting pot, The Alarm have once more added to the conundrum of whether revolution or evolution is the key to change, perhaps as Mike Peters shows, it is both.




The Alarm - Strength (flac  440mb)

01 Knife Edge 5:08
02 Strength 5:35
03 Dawn Chorus 5:24
04 Spirit Of '76 7:06
05 Deeside 3:10
06 Father To Son 4:05
07 Only The Thunder 4:08
08 The Day The Ravens Left The Tower 4:46
09 Absolute Reality 3:27
10 Walk Forever By My Side 3:35
Bonus
11 Knife Edge 5:05
12 Howling Wind 4:20
13 Caroline Isenberg 2:56
14 Unbreak The Promise 2:26

The Alarm - Strength   (ogg  138mb)

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During the early '80s, the Alarm were seen as rivals to U2 -- a Welsh variation of the passionate Dublin quartet, driven by the same righteous anger, anthemic hooks, and love for the Clash. They never quite matched their inspirations in terms of sales or critical respect, despite a series of acclaimed records that were minor sensations during the '80s. By the time the career retrospective Standards was released in late 1990, the band had already been somewhat forgotten, partially because they never had a big crossover hit, and also because they were forever tied to the Reagan/Thatcher era. Consequently, the Alarm were relegated to also-ran status and nearly forgotten by anyone who didn't actively read the music press in the '80s -- not an entirely fair fate, yet not an entirely undeserved one either. Listening to Standards, a thoroughly representative, basic collection of their singles and significant album tracks, confirms that the band were certainly not without talent or charms, but they suffered at the hands of state-of-the-art record production. They have a number of solid anthemic songs -- "Sixty Eight Guns," "Marching On," "Spirit of '76," "Sold Me Down the River," among them -- but it's hard to hear them as anything other than a product of their times, largely due to the glossy, shiny production. Such studio skills were evidently designed to make the band sound a bit like U2, but the band's music didn't have the jagged edges of U2 -- it was straight-ahead, driving rock, derived from the earnestness of folk-rock and the Clash's huge, rallying sound. This is not necessarily a bad thing, and it did produce some satisfying music, all of which is included here. But it ultimately produced music that was a sign of the times, not music that transcended it. The Alarm remain an interesting footnote because, ironically, while they strove to make music mean something in a slick commercial age, they were constantly plagued by overly slick productions -- an irony only the '80s could produce, actually.



The Alarm - Standards (flac  448mb)

01 The Road (Rmx Mick Glossop) 3:13
02 Unsafe Building 4:07
03 The Stand 4:43
04 Sixty Eight Guns 3:15
05 Where Were You Hiding When The Storm Broke? 2:57
06 Absolute Reality 3:26
07 Strength 5:35
08 Spirit Of '76 7:06
09 Rain In The Summertime 5:11
10 Rescue Me 3:20
11 Sold Me Down The River 4:10
12 Devolution Workin' Man Blues 4:11
13 Happy Christmas (War Is Over) 3:41
14 Marching On 3:32
15 Blaze Of Glory 6:04

The Alarm - Standards   (ogg  149mb)

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Apr 24, 2018

RhoDeo 1816 Roots

Hello, well I returned home from my caretaker duties, however i expect to have to return in the coming weeks


Today's artists stem from Bolivia

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The music of Bolivia has a long history. Out of all the Andean countries, Bolivia remains perhaps the most culturally linked to the indigenous peoples. Like most of its neighbors, Bolivia was long dominated by Spain and its attendant culture. Even after independence, Bolivian music was largely based on European forms. In 1952, a revolution established nationalistic reforms which included cultural and political awareness of the Aymara and Quechua natives. Intellectuals in the country began wearing ponchos and otherwise associating themselves with native cultures, and the new government promoted native folklore by, among other methods, establishing a folklore department in the Bolivian Ministry of Education.

Awareness of native music, spirituality and art continued into the 1960s. In 1965, Edgar 'Yayo' Jofré formed a quartet called Los Jairas in La Paz. With Bolivian folk music gaining popularity throughout the country, Jofré, along with Alfredo Dominguez, Ernesto Cavour Julio Godoy, and Gilbert Favre used traditional music in modified forms to appeal to urban-dwellers and Europeans. Later groups like Wara, Khanata, Paja Brava, Savia Andina, and especially Los Kjarkas and Kalamarka helped further refine this fusion. Following a close but different path, groups and singers like Luzmila Carpio, Ruphay, and Grupo Aymara started touring abroad and gained international praise for their compositions, tunes that have brought indigenous Bolivian culture and history to the world's attention.

Los K'jarkas consists of 3 brothers, the Hermosas, who play primarily Huayño or, more rarely, sayas. These are both dance music influenced both by native forms as well as African music imported to Bolivia with slavery. Los K'jarkas are known internationally for their Caporales classic "Llorando se fue", which was adopted and transformed to the popular beginning of the lambada dance craze of the 1980s, along with forró and carimbo in northern Brazil. The song was popularized by a French group, resulting in a successful lawsuit from the Hermosa brothers. Kalamarka was founded in 1984 by Hugo Gutierrez and Rodolfo Choque. They fusion folk instruments such as Zampoña, Quena, Charango and Bombo with modern instruments, creating a beautiful musica andina. Their famous songs are 'Cuando Florezca el Chuño' and 'Ama, Ama, Amazonas'. In the 1980s, Chilean nueva canción was imported to Bolivia and changed into canto nuevo, which was popularized by performers like Emma Junaro.

Traditional Bolivian (and other South American) musical instruments include the charango, charangón, ronroco, hualaycho, zampoña, quena, bombo, huancara, reco reco, chiapya box, pinquillo, tarka, toyos, pututu, Andean saxophone, and sheep hooves formed into a kind of shaker, as well as European musical instruments such as the violin and guitar.

Musical forms such as the Bailecito, Kullawada, Tonada (or, directly Tinku), Taquirari, Carnavalito, Lamento, Afro-Bolivian Saya, Tuntuna, Taki Taki and Cueca are prominently featured in Bolivia's cultural music.


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Los Kjarkas is a Bolivian band from the Capinota province in the department of Cochabamba, and one of the most popular Andean folk music bands in the country's history. Among the styles they play are Saya, tuntuna, huayno, and carnavales. The instruments they use include the charango, quena, zampona, ronroco, guitar, and bombo.

The band's leader has always been singer, guitarist, and songwriter Gonzalo Hermosa González, who formed the band with his brothers Élmer Hermosa González and Ulises Hermosa González, as well as Gastón Guardia Bilboa and Ramiro de la Zerda. De la Zerda left group to form Grupo Fortaleza and Ulises Hermosa died of cancer in 1992, being replaced by Eduardo Yáñez Loayza, Rolando Malpartida Porcel and José Luis Morales Rodríguez. By 2002, Lin Angulo, Gonzalo Hermosa Camacho, and Japanese-born Makoto Shishido had replaced Yáñez, Porcel, and Rodríguez. Makoto joined the band after seeing them play in Japan. In the later 2000s, Élmer Hermosa was diagnosed with diabetes.  In 2010, Edwin Castellanos, who was in the band from 1983 to 1995, became mayor of the city of Cochabamba.

Kjarkas have founded two schools teaching Andean folk music: the Musical School of Kjarkas (Lima, Peru) and La Fundación Kjarkas (Ecuador). They have toured across Japan, Europe, Scandinavia, the United States, South America, and Australia, and have composed over 350 songs. Among their most popular are "Imillitay", "Al Final", "Canto a la mujer de mi pueblo", and "Pequeño Amor".

An unauthorized translation of their song "Llorando se fue" by French producers Jean Karakos and Olivier Lorsac resulted in Kaoma's hit "Lambada". After a successful lawsuit, Kaoma paid to license the song. The song was also sampled on Don Omar's "Taboo" and on Jennifer López's single "On the Floor". Also "Wayayay" was covered by Tarkan as "Gelip Te Halimi Gördün Mü ?" ("Did You Ever Come To See My Situation ?" in Turkish) at "Yine Sensiz" ("Without You Again" in Turkish), whose debut album in 1992.

The group's music was also used for the Argentine-Dutch film Bolivia (2001). The group's cultural heritage is passed down in the next generation of Hermosa blood with the popular youth group band Chila Jatun, made up by the sons of this influential Bolivian group.



 Los Kjarkas - 35 Años   (flac  333mb)

01 Fria 3:36
02 Canción Para Mi Hija 3:57
03 A Tu Ventana 4:18
04 No Te Puedo Olvidar 4:02
05 Kamanchaca 3:11
06 Tuna Papita 3:51
07 Mi Vida Sin Tu Amor 3:56
08 Huellas En Mi Alma 4:05
09 Mentiroso Corazon 4:40
10 Saya Cochabamba 3:12
11 Loco Por Ti 3:43
12 Munasquechay 4:13
13 Cotagaiteña (Tonada Chicheña) 3:21
14 Morenada Chacaltaya (Morenada) 3:21

Los Kjarkas - 35 Años (ogg   146mb )

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Performing on 19 instruments, Los Calchakis has expanded on the Spanish-Incan musical traditions of the Andes Mountains. Led by lyricist, vocalist, flute, and percussion player Hector Miranda, the Buenos Aires-based quintet has been one of Argentina's most heralded bands. The group received a prestigious award from the Academy Charles Cros in 1971 and performed the Mikis Theodorakis-penned soundtrack of Costa-Gravas' film State of Seige. Although they remain rooted in traditional music, Los Calchakis focuses almost exclusively on original material. Their lengthy list of hits include such tunes as "Eldorado," "Mundo Nuevo," "Hombre Libre," and "Puerto de Palos."



Los Calchakis - Au pays de la Diablada   (flac  189mb)

01 Diablo Bailarin 3:34
02 Tuntuneando 3:06
03 Ramon 3:10
04 Diablos En Marcha 2:47
05 Tierra Aymara 3:01
06 Selvas Y Valles 2:45
07 Mariposa Morena 3:04
08 Recuerdo Azul 2:36
09 Negra Tuntuna 3:30
10 Soledades 3:25
11 Alfarero 3:19
12 Amankay 2:28

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Ah yes back in 74, the future looked brighter for this Bolivian progband but we know now most SouthAmerican countries would be suffering decades of suffering at the hands of the CIA inspired military, meanwhile most countries have stabilized (apart from Venezuela).
The album starts off a bit laid back in an organ-heavy sort of way, but the flip has lots of fuzz guitar and small flood references (among many other things) that's quite appealing.



Estrella De Marzo - A Los Ninos Con Amor   (flac  199mb)

01 Maestro 5:21
02 Claro Dia 5:43
03 Naturaleza Sonrieme 5:01
04 Casi Nada Falta Ya 3:27
05 Encuentro 4:46
06 Los Duendes 4:58
07 Cancion De Cuna 4:53

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Los Jairas are a folk music band from Bolivia. They have worked with Los Condores. Their work features the charango, a stringed instrument from Bolivia. They were formed in 1965 by Gilbert Favre, founder of the folklore cabaret La Pena Naira in La Paz .

Members of the band:

    Ernesto Cavour - charango
    Edgar Joffré - voice, drums, zampoña
    Julio Godoy
    Gilbert Favre - quena

On several of their albums, they featured Alfredo Dominguez, one of the finest Bolivian guitar players who wrote and composed many songs. His appearance on the album Grito de Bolivia was the highlights of Los Jairas' research into neo-folklore.



 Los Jairas - Los Jairas ( flac  158mb)

01 Condor Pasa
02 Dos Amigos (El Llanto De Una Madre)
03 Estudio Para Charango
04 Quisiera Un Puñal
05 Kjosinaira
06 Sarkaway
07 Alborozo Kolla
08 Llamerada
09 Kullawas
10 Sikuriada
11 La Platita

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Apr 23, 2018

RhoDeo 1816 Space F 2

Hello,




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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 2 (mp3  23mb)

02 Towards The Unknown 25:29


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previously

Space Force 1 (mp3  23mb)

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Apr 22, 2018

Sundaze 1816

Hello,



Today's artist is a Tokyo-based ambient musician and mastering engineer who creates chiming, shimmering soundscapes with acoustic instruments (including guitar, vibraphone, and piano) and laptop processing. His works often evoke scenes from nature, and appropriately include an abundant amount of field recordings and other organic sounds. Since the release of his well-received debut album, Minima Moralia, in 2006, he has been remarkably prolific as both a solo artist and collaborator, and his work has always maintained a consistently high quality..... N'joy

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Chihei Hatakeyama is a musician and an organizer who was born in 1978, and lives in the outskirts of Tokyo. He has performed for years under his given name and also as one half of the electroacoustic duo Opitope, along with Tomoyoshi Date. Hatakeyama got involved in playing music through strumming a guitar in a few rock-oriented bands in his teenage years. Subsequently a laptop computer superseded his bands as his main platform. Hatakeyama polychromes memory-evoking soundscapes with various recorded materials of acoustic instruments such as guitars, vibraphone, and piano; mostly played by hand and processed time and time again via laptop. His first album Minima Moralia was commissioned for release by the Chicago-based label kranky in early 2006.

Hatakeyama originally began making music as part of various hardcore and metal bands, and his interests gradually drifted toward experimental rock and classical music. He formed a duo called Opitope in 2002 with Tomoyoshi Date. Kranky issued Hatakeyama's solo debut in 2006, and Opitope released their first full-length, Hau, on Spekk the following year. Hatakeyama's second solo album, Dedication, appeared on Magic Book Records in 2008. From 2009 on, his release schedule was relentless, with albums on Hibernate (The River), Room40 (Saunter, Mirror), Home Normal (A Long Journey), and numerous other ambient/experimental labels.

Opitope actively organizes a continuous live performance event named Kuala Mute Geek in Tokyo (Kuala means "a crossing point of streams" in Malay). The event is powered by hand-made vacuum tube amplifiers and speakers in up to eight channel settings. Electroacoustic and improvisational artists such as Taylor Duepree, Christopher Willits, Toshimaru Nakamura, Christophe Charles, Hans Reichel, Uchihashi Kazuhisa, Tamaru, Carl Stone, Keiichi Sugimoto, Tetsuro Yasunaga, Boris D Hegenbart, Yoshio Machida and many more have performed. Kuala Mute Geek creates possibilities for interaction and dialogue among the artists and listeners.

In 2010, he began releasing music digitally through his White Paddy Mountain label; gradually, the label began issuing CDs by other artists (such as Celer, Machinefabriek, and Aaron Martin), which were mixed and mastered by Hatakeyama himself. He continued to release albums on other labels, including Rural Colours, Small Fragments, and Airplane Label, in addition to collaborations with artists like Asuna, Hakobune, and Federico Durand. Hatakeyama released six albums in 2015 alone, including Frozen Silence (a collaboration with Sakana Hosomi), Mist, Five Dreams, and his third album for Lawrence English's Room40 label, Moon Light Reflecting Over Mountains. In 2017, he returned to Room40 with Mirage. Recorded over a five-year period, the album found Hatakeyama exploring the relationship between architecture and music.

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Chihei Hatakeyama - Bare Strata (flac 226mb)

01 Bare Strata 30:40
02 Returning 19:59

Chihei Hatakeyama - Bare Strata (ogg  92mb)

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Chihei Hatakeyama - Alone by the Sea (flac 334mb)

01 Alone By The Sea 10:30
02 Alone By The Sea II 11:11
03 Alone By The Sea III 7:54
04 In Dreams 29:51

Chihei Hatakeyama - Alone by the Sea (ogg  116mb)

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Chihei Hatakeyama was influenced by Fudaraku-tokai. It is a form of the ascetic practice of sacrifice performed in medieval Japan. A monk undertaking this practice would set out to sea in a small, single-sailed (but oar-less and rudderless) boat in the hope of arriving at the southern paradise of the Bodhisattva of Compassion (Avalokitesvara; Guanyin; Kannon). The Fudaraku Tokai was carried out over twenty times between the eleventh and seventeenth centuries.

Mist" is inspired from such beauty of fog like phenomena which reflects the thin light to fine mist.Superimposed on the drone of layer, Hawaii Oahu bird cries, coast of sound waves of Bellingham and rain sound in Takao-san in Hachioji has been used in songs. "Nangoku"in the "Mist" has been published as installation work at Super Deluxe in December 2014 by 24chPA system.this album was produced at the request of the fashion brand "MIKU FUKAMITSU". it is making accessories by the natural materials and colors in concept.



Chihei Hatakeyama – Mist (flac 261mb)

01 Spherulite 9:59
02 Lone Wolf In A Heavy Snow 5:58
03 Glitter 5:53
04 A Silver Fence To Prevent The Entrance Of Horses 7:47
05 Here And Sapphire Day 2:51
06 Nangoku 11:59
Bonus
07 Fetfatzidis 7:35
08 Salpingidis 4:35
09 Giannakopoulos 5:33

Chihei Hatakeyama – Mist (ogg  111mb)

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This Japanese-Belgian coalition definitely keeps on blossoming, because January 2016 sees "The Storm Of Silence" CD on respected Italian label Glacial Movements. Dirk Serries, the giant behind unforgettable vidnaObmana, is another highly prolific artist, who constantly keeps on exploring the fascination of challenging collaborative projects. "The Storm Of Silence" CD comes in elegantly minimal 4-panel digipak, exhibiting visual mastery of Norwegian photographer Bjarne Riesto and layout skills by Dirk's kindred Dutch drone soul, Machinefabriek's Rutger Zuydervelt. Wow, what a beauty, the magic of desolate Nordic winter sceneries fully unfolds, even before hitting the play button...

"Kulde", a 7-plus minutes long track, reveals this strikingly intense journey with slowly invading cyclical drones continuously concealed by hissy curtains. Persistently pinnacling reverberating subtleties clandestinely coalesce with warmer elegiac tides of long-burried memories. The listener is enwrapped by the silent awe of the rolling untamed landscapes. Immerse yourself and feel the "Cold"!!! "Uvaer", which clocks to a 10 and a half minutes mark, delves deeply into magnificently monochromatic terrains, meticulously reinforced by euphorically meandering evocativeness. Exquisitely mindscaping sonic reflections constantly commingle with jaw-droppingly emotional sonorousness. "Uvaer" as "Storm" showcases a gloriously monumental, yet sublimely tranquilizing soundforging of both protagonists, who fully utilize and amalgamate their creative insignias into an epic soundscape unlocking the gates of the Drone Eden!!! Bravo, gentlemen!!! "Fryst", with 12:41 the longest piece on album, unfolds with peaceful nuances, which calmly evolve into more monolithic scenario highlighted by flatlined, yet utterly scenic desolate "Frozen" panoramas. Masterfully spiced by inconspicuously emerging climaxes, no matter if intriguingly ear-tickling or splendiferously mind-blowing. 11-minute "Hvit" closes this deeply profound journey with rawer, nearly transcendental helixes, which are soon imbued by eternal tides of majestically intensified magnitudes and warmly embracing cinematic vistas. "White" is a breathtakingly prodigious and consonantly resonant masterpiece, a truly rewarding epic finale!!! Kudos to you, Dirk & Chihei!!!

I could easily journey for another 20-30 minutes, however, "The Storm Of Silence" is a masterful collaborative long distance effort, displaying staggeringly ingenious drone manipulations of two sound explorers par excellence!!! Mixed by Dirk and mastered by Chihei, "The Storm Of Silence" is another deeply focused gem on Glacial Movements, a must-have for all drone connoisseurs and aficionados of the overwhelming grace of treacherous icy landscapes.



Chihei Hatakeyama & Dirk Serries - The Storm Of Silence    (flac 174mb)

01 Benetnasch 20:52
02 Rigel 0:50
03 Mizar 8:35
04 Betelgeuse 2:12
05 Merak 19:21
06 Algenib 6:37

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