Hello, my Aetix partition lost it's NTFS file system, that's 1 gig of non american aetix, now apparently this can be mended, but it needs to be rewritten on a fresh partition with enough space, which i don't have, and then i suspect, will take many many hours. Then there's google who no longers supports XP, Mozilla does but does mess with my posting some what, add to that a frustrating re-up with Blogger itself (i'm beginnning to think blogger is't profitable enough) .It means i finally have to say goodbye to XP hmmm Windows 7 then and yes i know it's no longer supported by Microsoft... n-joy
Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is diminishing day by day. I'm doing my best to fulfill requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.
8 correct requests for this week , 1 ! too early, no double, whatever another batch of 27 re-ups (9.6 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 January 4th... N'Joy
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<a href="https://rho-xs.blogspot.com/2016/06/rhodeo-1622-grooves.html">4x Grooves</a> Back in Flac (Carmel - Set Me Free, Carmel - Good News , Carmel - World's Gone Crazy, Carmel - Live at Ronnie Scott's)
<a href="https://rho-xs.blogspot.com/2007/05/japan-sayonara.html">6x Japan</a> Back in Flac (Ken Ishii - Future in light, DJ Krush - Jaku, Nobukazu Takemura - Tenth, Ghost - Hypnotic Underworld, Aoki Takamasa - Indigo Rose, Sketch Show - LoopHole)
<a href="https://rho-xs.blogspot.com/2015/07/rhodeo-527-aetix.html">4x Aetix </a> Flac (The Cars - The Cars, The Cars - Candy O ,The Cars - Shake It Up,, The Cars - Heartbeat City)
<a href="https://rho-xs.blogspot.com/2015/07/sundaze-1529.html">3x Aetix</a> Back in Flac (Ryuichi Sakamoto - Soundbytes (81–86), Ryuichi Sakamoto - Esperanto, Ryuichi Sakamoto - Neo Geo)
<a href="https://rho-xs.blogspot.com/2008/05/sundaze-32.html">3x Sundaze </a>Back in Flac (H Budd - The Pavilion Of Dreams, Budd & Eno - The Plateaux Of Mirror, Harold Budd & Brian Eno - The Pearl)
<a href="https://rho-xs.blogspot.com/2016/09/rhodeo-1639-roots.html">4x Roots</a> Back in Flac ( Milton Nascimento - Geraes, Milton Nascimento - Journey To Dawn , Milton Nascimento - Sentinela, Nascimento - Encontros e Despedidas)
<a href="https://rho-xs.blogspot.com/2008/04/eight-x-25.html">3x Aetix</a> Back in Flac (Jerry Harrison - The Red And The Black , Silencers - Blues For Buddah,
Fine YC - The Raw & The Cooked)
As mentioned please return if you have it
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Showing posts sorted by date for query Jerry Harrison. Sort by relevance Show all posts
Showing posts sorted by date for query Jerry Harrison. Sort by relevance Show all posts
Jan 6, 2021
RhoDeo 2102 Re Up 268
Jul 5, 2019
RhoDeo 1926 Grooves
Hello, as Trump gets the military parade his dictator friends in Russia and North Korea are accustomed to, Americans can rejoice their country is technologically backward compared to China because Trump and co. would create a police state where any descent sees you interned in a re-education camp.
Meanwhile at Rho-Xs, Aetix and Roots re-ups are still out of order so please refrain from such requests.
Today's Artists at the beginning of their career, they were squarely a jazz-funk fusion band, contemporaries of fellow Brit funk groups like Atmosfear, Light of the World, Incognito, and Beggar & Co. By the end of the '80s, however, the band -- whose music was instantly recognizable from Mark King's thumb-slap bass technique and associate member Wally Badarou's synthesizer flourishes -- had crossed over to the point where they were often classified as sophisti-pop and dance-rock, that made polished, upbeat, danceable pop/rock. The band's commercial peak came with 1985's World Machine, but they continued to record and tour sporadically throughout the '90s and 2000s.. . ...... N Joy
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Mark King and the Gould brothers (Phil and Rowland, the latter generally known by his nickname "Boon") were all brought up on the Isle of Wight and played together in various bands during their teenage years. Phil Gould went on to study at London's Guildhall School of Music and Drama, where he met keyboard player Mike Lindup in a percussion course. Both musicians found that they shared musical heroes: Miles Davis, John McLaughlin, Keith Jarrett and Jan Hammer.
By 1979, Phil Gould and Mark King were both based in London and became involved in Robin Scott's pop project M. While working with M, they became acquainted with Afro-French keyboard player Wally Badarou, who played synthesizer on M's US number one single "Pop Muzik". In late 1979, Phil Gould introduced Mark King and Mike Lindup to each other, and all of them began playing together in loose rehearsal sessions, developing their own jazz-funk fusion style. The developing band's original guitarist was Dominic Miller (later to find fame playing with Sting), but he was replaced by Boon Gould on the latter's return from working in the United States.
Initially, instrumental roles were flexible, with Boon Gould also playing bass guitar and saxophone and Lindup doubling on keyboards and drums. Mark King was primarily a drummer (although he also played guitar) but had recently sold his drum kit to pay for transport back to the UK after an ill-fated European venture. With Phil Gould and Boon Gould established (respectively) as the most accomplished drummer and guitarist in the quartet, King opted to learn bass guitar instead. At the time, King was working in a London music store. A notably flexible musician and quick learner, he had observed visiting American funk players demonstrating the thumb-slap bass guitar technique and developed his own take on the style in a matter of weeks.
The developing band (at this point, entirely an instrumental act) took the name Level 42 and settled on a working line-up of King (bass guitar, percussion), Lindup (keyboards, percussion), Boon Gould (guitar, saxophone) and Phil Gould (drums). The name of the band is a reference to the novel The Hitchhiker's Guide to the Galaxy by Douglas Adams, in which "42" is the answer to "the ultimate question of life, the universe, and everything."[5] Having maintained their links with Wally Badarou, Phil Gould and Mark King invited him to work with Level 42. Although he never formally joined the band, Badarou would become a fifth member in all but name: co-writing songs, playing keyboards and synthesisers in the studio and co-producing the records.
After they were seen jamming together, Level 42 were invited to sign to Elite Records (a small independent label) in 1980. They were also encouraged to branch out into vocal music. Having considered recruiting a singer, the band eventually settled on giving King and Lindup the vocal role. The two men developed a complementary style, with Lindup's falsetto frequently used for harmonies and choruses while King's deep tenor led the verses (although Lindup would also sing entire songs on his own). Lyrics were generally written by the Gould brothers while King, Badarou and Lindup concentrated on Level 42's music. The Elite Records single "Love Meeting Love" brought the band to the attention of Polydor Records, with whom they signed their second recording contract. In 1981, they released their first Polydor single, "Love Games", which became a Top 40 hit. They then cut their critically acclaimed self-titled debut album, which was an immediate success throughout Europe.
The band quickly established themselves as concert favourites on the budding British and European jazz-funk scene, taking advantage of the musical expertise and performance skills of all four members.[citation needed] Polydor capitalised on the band's success by releasing a second album, The Early Tapes later in the same year. This was a compilation of material from the Elite Records period (and is also known by an alternate name, Strategy). In 1982, Level 42 released their third album The Pursuit of Accidents. This was a further development of the Level 42 formula, maintaining their instrumental jazz-funk skills and styling but also experimenting further with pop songs. Both of the singles from the album — "Weave Your Spell" and "The Chinese Way" — charted. The latter, in particular, rose high in the charts and gained the band a much wider audience than before.
A fourth album, Standing in the Light, was released in 1983. Produced by Larry Dunn and Verdine White (of Earth, Wind & Fire), this album began a new era for the band, being less experimental and less jazzy than previous releases. It provided them with their first UK Top Ten hit, "The Sun Goes Down (Living It Up)". Notably, the album featured no instrumental tracks, with the band now focusing heavily on songs. (The band would not release another instrumental on an album until 1988's Staring at the Sun). The 1984 album True Colours continued the band's development away from straightforward jazz funk, veering stylistically between funk, power pop, mid-tempo rock and moody ballads. It yielded the singles "The Chant Has Begun" and "Hot Water". The latter was a Top 20 hit in Britain and a Top 5 hit in the Netherlands where the band became popular (the song reached also No. 7 in Belgium). During the same year, Mark King released his first solo album Influences on which he played the majority of the instruments (with a guest appearance by Aswad's Drummie Zeb, and with Lindup guesting on additional keyboards). By this time, Level 42 were known for their power as a live band (as showcased on the 1985 double live album A Physical Presence). For live gigs the band added saxophonist Krys Mach, who toured with the group from 1984 to 1988 and contributed to some album recordings.
By this time, the band were well established in their mainstream pop/R&B sound, as evidenced on their next studio album, World Machine, released later in 1985. King's dextrous bass playing and Lindup and Badarou's chugging keyboards acted as templates for pop songs such as "Something About You" and "Leaving Me Now", which were both UK Top 20 hits (Top 40 hits in the Netherlands). Significantly, "Something About You" was also their first (and only) US Top 10 the following year; also reaching the Top 5 in Canada and the Top 20 in Italy and New Zealand. "Leaving Me Now" was the second hit from this album, peaking at No. 15 in the United Kingdom but proving less successful in Europe. Elements of Level 42's roots could still be found in the funky "Coup d'État" and "Dream Crazy" on the UK version of the album, as well as a long instrumental track named "Hell," which was also recorded during the World Machine sessions
World Machine gained positive reviews from critics, with AllMusic journalist William Cooper, in a retrospective review, describing it as "one of the finest pop albums of the mid-'80s." During the recording of the album, the first major tensions between Phil Gould and Mark King began to surface over musical direction, production and their personal relationship. This clashing led to Gould leaving the band for a week. Allan Holdsworth's drummer Gary Husband was lined up as a potential replacement, but Gould and King's dispute was subsequently patched up and the group went on to enjoy their most successful year to date. Released in early 1986 (and initially recorded to keep up the band's European chart momentum while the band was busy touring the United States), "Lessons in Love" was an international hit and became Level 42's biggest selling single.[citation needed] It gave the band their first number one in Denmark, Germany, Switzerland and South Africa, increasing the band's popularity considerably. It also placed at No. 2 in Italy, the Netherlands and Sweden, No. 3 in the UK and in Ireland, No. 4 in Austria, No. 10 in Norway, No. 12 in the US in 1987, No. 18 in New Zealand and No. 22 in France).
"Lessons in Love" became the lead single on 1987's Running in the Family album, recorded to capitalise on the impact. With the band now at the peak of their success, the album added further gloss to Level 42's polished pop sound (despite adding to Phil Gould's disquiet). Further singles from the album continued and built on the band's existing profile: "To Be With You Again" (No. 6 in the Netherlands and in Ireland), the ballad "It's Over" (No. 3 in Ireland and No. 7 in the Netherlands) and Running In The Family's title track (No. 1 in Denmark, No. 3 in the Netherlands, No. 4 in Ireland, No. 5 in Switzerland, No. 7 in Norway and No. 9 in New Zealand).[8] The album itself was a major international success, reaching the Top 10 in numerous countries.
By now a leading British pop band, Level 42 played at the Prince's Trust concert in June 1987, with Eric Clapton standing in on lead guitar for a performance of "Running in the Family". King and Lindup also performed with artists including Ben E. King on "Stand By Me" and George Harrison and Ringo Starr on "While My Guitar Gently Weeps". Despite the success, Level 42 were on the brink of splitting up. Although Phil Gould was the most visibly dissatisfied member, it was Boon Gould who was the first to leave, departing in late 1987, following a support slot on a Madonna tour. The quietest member of the band, Boon surprised both King and Lindup with his sudden departure. However, he had been suffering from nervous exhaustion and also wanted to leave the lifestyle of a constantly touring musician in order to settle down and spend more time with his wife and children. Boon's relationship with the band remained amicable and, although he would not return to Level 42 as a performing or recording member, he continued to write lyrics for the band following his departure.
In December 1987, midway through the tour, Phil Gould finally left Level 42 permanently. Like his brother, he was suffering from exhaustion, but his relationship with King had broken down once again and they now found it difficult to work together. Phil was also reportedly dissatisfied with the band's direction in terms of their newer "pop" sound, and King and Lindup failed to convince him to stay. To complete the tour dates, the band hired Prefab Sprout drummer Neil Conti to fill in. Following the tour, Level 42 recruited Gary Husband as the band's new full-time drummer. He in turn recommended Steve Topping as a replacement guitarist. However, Topping and King's personalities clashed and Topping eventually left the band in early 1988 after initial writing and rehearsing sessions in Dublin. Most of the next Level 42 album, Staring at the Sun, was recorded without a permanent guitarist. Rhythm guitar on the studio recordings was handled either by the band's old friend Dominic Miller or by an uncredited Mark King. In April 1988, towards the end of the sessions, the band recruited lead guitarist Alan Murphy (a session guitarist who had worked extensively with Kate Bush and had also been a member of Go West).
Staring at the Sun was released in 1988, reaching number 2 in the UK and the top ten in several European charts. It included the hit-single "Heaven in My Hands" (number 12 in the UK and also top twenty in the Netherlands, Norway, Switzerland). Boon Gould had co-written many of the tracks with King, Lindup and Badarou, while Gary Husband was credited with his first co-write with King on "Tracie" (a tribute to King's childhood sweetheart). To promote the album, Level 42 embarked on a four-month European tour, culminating in six sell-out nights at Wembley Arena. These latter dates were recorded for what would become the band's second live album, Live At Wembley (eventually released in 1996).
Although the band seemed to have maintained their momentum and recovered well from the split of the original lineup, they were about to be hit by a serious tragedy. Unknown to the rest of Level 42, guitarist Alan Murphy was suffering from AIDS, something which he himself may have been aware of before joining the band. At the time, his previous band Go West had been stalled by internal disagreements, and one of Murphy's reasons for joining Level 42 was to ensure that he spent his last days playing the music that he loved. During 1989, Murphy contracted pneumonia: weakened by his existing condition, his decline was rapid and he died on 19 October 1989. Devastated, Level 42 took a year off to regroup and rethink. To cover the gap and to fulfil the band's contract with Polydor Records, Level Best (a greatest hits compilation) was released at the end of 1989; also marking a decade since the band's beginnings. During the break, Mike Lindup also recorded and released his debut solo album, Changes (featuring Dominic Miller, Pino Palladino on bass and Manu Katché on drums).
]The band signed a new contract with RCA Records in 1990, for whom they produced their next album, Guaranteed. Although most of the rhythm guitar work was once again handled by Dominic Miller, Gary Husband asked Allan Holdsworth to provide some guitar work (notably on "A Kinder Eye"). As well as drumming, Husband also played keyboards and increased his songwriting role, co-writing many tracks with King, Lindup and Badarou. The album features the only track entirely written by Husband – "If You Were Mine" – which also featured on the "Guaranteed" single release. Mark King also collaborated with lyricists Drew Barfield and George Green to expand the songwriting. Guaranteed was well received by American music critics. However, the album did not get good reviews in the UK (despite reaching No. 3 in the UK charts while the title track reached No. 17 in the singles charts) and was ultimately less commercially successful than previous efforts.
After the recording of Guaranteed and a week-long promotional tour, Level 42 were in need of a permanent guitarist. Mark King assumed (erroneously) that Allan Holdsworth would not be interested in taking the position. Instead the band recruited well-respected art-pop guitarist, session player and sometime solo artist Jakko Jakszyk: the former frontman for 64 Spoons, he'd also collaborated with Tom Robinson, Sam Brown and Stewart/Gaskin among others. Although he did not play on Guaranteed, Jakszyk appeared on the album's cover photo and took part in promotional duties and the tour for the album, as well as playing on two B-sides from this era ("At This Great Distance" and "As Years Go By").Unlike Husband, Jakszyk never became a full legal member of the band (apparently due to "record company politics"). However, following the end of promotion for Guaranteed, the King-Lindup-Husband-Jakszyk line began writing and recording new material together, with at least two songs ("Fire" and "Free Your Soul") completed. Following the next development in the band's history, this work was shelved and remains unreleased.
In early 1993, Gary Husband left Level 42, leading to the return of group founder member Phil Gould as Level 42's drummer (and principal lyricist) for 1994's Forever Now album. Further changes to the band were evident in that Jakko Jakszyk did not play on the album: all guitars were performed by the American session guitarist Danny Blume. Although Forever Now was a critical success, the reunion of Gould and the group was short-lived. When Level 42 began to promote the new album (with Jakszyk returning to the live band for concerts and TV appearances), Gould played only one promotional gig and did not go on the road for the Forever Now tour. He was replaced as live drummer by Jaksyk's friend and frequent collaborator Gavin Harrison (who later played drums for both Porcupine Tree and King Crimson). It was announced halfway through the Forever Now tour, on the day of the Manchester Apollo gig, that the band would be disbanding permanently following their concert commitments. Level 42 played their last gig at the Albert Hall in London on 14 October 1994. According to Jakszk, the band recorded tapes for a live album during the final 1994 shows at the Albert Hall and the Brighton Dome which "sounded fantastic", but the album was never released
In 1996, Mark King signed to Virgin Records and released a solo single "Bitter Moon" (with Lyndon Connah playing keyboards). This was followed up by his second solo album One Man, featuring lyrics by Boon Gould. The album was not a big commercial success. King later toured as a solo act, playing his own new compositions and some Level 42 favourites. In 1999, he played some shows at the Jazz Cafe in London under the name of "The Mark King Group" with a band including Husband, Jakszyk and Jakszyk's fellow former 64 Spoons colleague Lyndon Connah on keyboards. Jakszyk left the band after the Jazz Cafe shows, to be replaced on guitar by Nathan King (Mark King's younger brother). King continued to tour with this band, now renamed "Grupo Mark King", over the next couple of years, augmenting the line-up with saxophone player Sean Freeman.
Although Mark King was by now two albums into a solo career, his previous band's music proved to be persistently popular and he found that he was playing more and more old Level 42 tracks at live shows. In late 2001, King came to a business agreement with Mike Lindup and bought the rights to the name Level 42. Although Lindup agreed to play on future albums, he did not want to tour. King announced the return of Level 42 with a new line-up which also happened to be the musicians from his current live band: himself, Husband, Connah, Freeman and Nathan King. On 12 July 2002, the first official Level 42 concert for six years was played at The Circus Tavern in Purfleet, Essex. While not recording any new material, for the next few years the band settled into a regular pattern of touring and playing old hits.Over the course of the year there was a burst of reissue activity. Two Rockpalast shows from 1983 and 1984 were released on DVD, followed by two CD releases: The River Sessions (a live show from 1983 recorded in Scotland) and a new compilation called The Ultimate Collection II.
In February 2006, after twelve years without releasing a new studio album, Level 42 announced the release of Retroglide. While billed as a band album, it was chiefly recorded and produced by King at his home studio, with Gary Husband, Lyndon Connah, Sean Freeman and Nathan King all contributing. Retroglide also featured input from two previous Level 42 members. Erstwhile guitarist Boon Gould provided the album's lyrics (as well as contributing a guitar solo on "Ship") and the band was effectively expanded to a six-piece via extensive guest performances by Mike Lindup, who added prominent keyboard parts and vocals to many tracks. Although Phil Gould was uncredited on the album, the track "Ship" is the first song since 1986 worked on by all four original members, as Phil originally arranged the track with his brother Boon. However, Retroglide was also the first Level 42 album not to feature any contributions from Wally Badarou. In May 2006, Level 42 announced that Mike Lindup would return full-time to replace Lyndon Connah on keyboards. Retroglide was promoted via a supporting tour throughout the UK, Netherlands, Germany and several other European countries during October 2006. On 26 August 2007, Level 42 played an outdoor gig at the Arundel Festival in West Sussex: the band's only UK show of the year. In 2008, Level 42 played a twenty-date UK tour.
In 2010, Husband stepped down as Level 42's drummer for the second time, due to prior commitments with John McLaughlin. Husband was replaced by Pete Ray Biggin. In 2012, Level 42 toured the UK and mainland Europe, in celebration of the 25th anniversary since the release of Running In The Family, by playing the whole album, with a whole array of other hits. Also included in the shows was an acoustic set, with Mike Lindup playing the accordion. In October 2012, on Mark King's birthday during a gig in Bristol, Boon Gould joined the band on stage.
On 20 and 21 September 2013, Level 42 (joined by an expanded brass section), performed three new songs at London's Indigo O2 Arena - "Where's Yo' Head At", "Too Much Time", and "Sirens". All of these appeared on the band's first new release for seven years, the six-song studio EP "Sirens" (released on 31 October 2013, and the first output from the band's new self-owned label Level 42 Records). Mixed by the American DJ John Morales, the EP also contained "Mind On You", "My Independence Day" and "Build Myself a Rocket" (with King's daughter Marlee providing the backing vocals on the last of these tracks). Musically, it built on the production approach of Retroglide while allying the band with contemporary developments in R&B and dance electronica.
On 3 December 2013, the band announced 'The Sirens Tour' - a 30 date tour, starting in October 2014 and taking in the UK, Netherlands, Germany and Italy. In the summer of 2014, the band performed at a number of festivals across Europe including headline performances at Let's Rock Bristol and Rochester Castle. They also played at Rewind festivals. At a performance in Bournemouth, ex-drummer Gary Husband returned due to Pete Ray Biggin being unavailable. In 2015, the band appeared at a number of UK and European festivals headlining at 'Let's Rock The Moor' and 'Carfest' concerts. They also played two nights at the Indigo2 in London where the band once again featured a larger brass section consisting of Dan Carpenter (trumpet) and Nicol Thomson (trombone) as well as regular saxophonist Sean Freeman. In 2016, Level 42 performed at a number of festivals across the UK and Europe as well as in Curaçao, Chile and Argentina before embarking on a UK, Netherlands and Scandinavian tour in order to promote the "Sirens II" EP.
On 1 May 2019, it was announced that Boon Gould had been found dead at his home in Dorset. He was 64
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Level 42 actually started out as an instrumental jazz-funk band, before eventually bringing in the vocals of Mark King and keyboardist Mike Lindup, and that is demonstrated on this debut, where three of the eight tracks are instrumental. Throughout their successful career, the band was notable mostly for King's slap-bass playing, which gave them a distinctive, funky sound that was instantly recognisable for anyone who was familiar with them, although the pleasant vocals were also capable of drawing the listener in, as well as, of course, some catchy songs.
Featuring a decent blend of the bass, shimming keyboards and occasional lively guitar moments, this record's tree most notable tracks here are the opening "Turn It On" , "Almost There" and Love Games, while the instrumentals are reasonable overall, although it almost sounds like the band are still trying to settle on what their sound should be, and there are moments of over indulgence as a result. But this has some original and really funky stuff on it and is still enjoyable to listen to 30 years later.
In 2000, Polydor reissued the first eight studio albums by Level 42 in two-for-one sets with remastered sound and bonus tracks. The packaging for each release is drab, but the series offered a convenient way to obtain the majority of the band's back catalog. This release features the first two albums: Level 42 (1981) and The Early Tapes (aka Strategy, 1982). There are several bonus tracks split between the two discs, containing B-sides and alternate mixes (including "Forty-Two," "Foundation & Empire," and "Instrumental Love"), as well as live versions ("Dune Tune," "Sandstorm," "Mr. Pink").
Level 42 - Level 42 (flac 489mb)
01 Turn It On 4:40
02 43 7:00
03 Why Are You Leaving? 4:32
04 Almost There 5:41
05 Heathrow 4:41
06 Love Games 5:13
07 Dune Tune 4:49
08 Starchild 5:57
Bonus
09 Forty-Two 6:37
10 Beezer One 7:09
11 Foundation & Empire 8:26
12 Dune Tune (Live) 5:02
13 Goodbye Ray Schmidt-Volk 2:07
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Before becoming British pop superstars, Level 42 was a four-piece jazz/fusion band influenced by artists like Stanley Clarke and Herbie Hancock's Headhunters. The band became phenomenally successful in England, with a series of Top Ten albums and pop hits to its credit, and Level 42 also achieved brief success in the United States with the MTV staples "Lessons in Love" and "Something About You." Level 42's success didn't happen overnight, however. After achieving critical acclaim for its live shows, Level 42 was signed to Andy Sojka's independent Elite label in 1980, and Elite issued the band's first two singles, "Love Meeting Love" and "Wings of Love," both of which became post-disco hits in British dance clubs before crossing over to the U.K. pop chart, where they performed modestly. Both tunes were included on the band's debut release, Strategy (produced by Sojka and Jerry Pike), and the album was augmented by six other disco-influenced jazz/fusion workouts. Recorded in London in the summer of 1980, Strategy is a showcase for the stunning instrumental capabilities of the band's members. Mark King's Stanley Clarke-influenced, thumb-slapping bass-playing technique is the backbone of the band's sound, but the other bandmembers also have an opportunity to shine. Drummer Phil Gould takes center stage on the percussive instrumental "Woman," and Mike Lindup contributes stellar keyboard work on the album's eight tunes. Strategy also includes contributions from saxophonist Dave Chambers and percussionist Leroy Williams (Sonny Stitt, Barry Harris), as well as keyboardist Wally Badarou (who would become an unofficial "fifth member" of the band, as he plays on every album Level 42 ever released). Level 42 began as an all-instrumental outfit, but the band was later convinced of the importance of adding vocals as an important step into commercial success. Predictably, the vocals on Strategy are tentative. Only three tracks even contain vocals; Mark King had not yet developed into a confident singer, and Mike Lindup's falsetto vocal style was severely underdeveloped in the early stages of the band's career. Still, their contributions are charming, making "Love Meeting Love," "Wings of Love," and "Autumn" more accessible than the instrumentals. Strategy is lacking in diversity, as all the funk-oriented tunes sound the same after awhile. But the impressive playing that has always been a Level 42 trademark is definitely intact. Strategy is far from the best of Level 42's large body of work, but it is an interesting listen as it shows the band in the very earliest stages of its existence. Level 42 later signed to Polydor, and the label re-issued Strategy as The Early Tapes in 1982 and extended and remastered in 2000.
Level 42 - The Early Tapes (flac 544mb)
01 Sandstorm 4:41
02 Love Meeting Love 6:23
03 Theme To Margaret 3:59
04 Autumn (Paradise Is Free) 4:43
05 (Flying On The) Wings Of Love 6:55
06 Woman 4:35
07 Mr. Pink 5:05
08 88 5:09
Bonus
09 Piano 2:25
10 Instrumental Love 8:08
11 (Flying On The) Wings Of Love ('81 Remix) 8:01
12 Sandstorm (Live) 6:00
13 Mr. Pink (Live) 5:19
14 88 (Live) 5:19
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The Pursuit Of Accidents continues Level 42's pop/funk style that they struck out with on their self-titled debut from the year before, but with more in the way of notable songs with distinctive melodies. There are still two instrumentals here ("The Pursuit Of Accidents" and "Shapeshifter"), and they are really the lesser of the tracks. I'm not a fan of instrumental pieces that seem to be little more than excuses for jamming together, and, while there is a bit in the way of melody in them both (particularly the title song), there's just not enough to win me over. And they're both too long.
However, the actual songs found elsewhere offer much to like, thanks to the opening "Weave Your Spell", "Last Chance" and, most of all, the concluding "The Chinese Way", the latter one being a good demonstration of how the band manages to put in a catchy chorus that repeats itself, yet doesn't become boring, since there are enough other factors present to keep things interesting. Mark King and Mike Lindup's vocals work very nicely together as well.A strong album still not as good as their debut but an effort to be proud of. The singles are great as are a couple of non singles "last chance" and "you can't blame louis" although the latter is a little goofy! What let this album down when comparing to the debut istoo many instrumentals.
Level 42 - The Pursuit Of Accidents (flac 319mb)
01 Weave Your Spell 5:30
02 The Pursuit Of Accidents 7:44
03 Last Chance 4:30
04 Are You Hearing (What I Hear)? 4:58
05 You Can't Blame Louis 5:05
06 Eyes Waterfalling (The Prodigy) 5:58
07 Shapeshifter 5:09
08 The Chinese Way 5:53
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Standing in the Light was Level 42's first major success in the U.K., hitting the top ten in 1983 and beginning a string of successful recordings that would continue throughout the band's career. The band's previous releases were pleasant but somewhat tepid exercises in jazz-lite; Standing in the Light not only marked a significant change of direction, but proved Level 42 could truly be an ace pop band.
Level 42's first three releases Level 42 (1981), The Pursuit of Accidents (1982), and The Early Tapes (a compilation of material recorded in 1980, prior to the band's signing to Polydor) revealed a promising young band with undeniable talent and melodic instincts. Despite modest success with strong singles such as "Turn it On" and "The Chinese Way," pointless instrumentals and slick production added unnecessary weight to these albums. Standing in the Light was different for two main reasons : the songs were shorter and more accessible, and for the first time, all the songs included vocals. The group began as an all-instrumental jazz outfit; in order for Level 42 to become more commercially viable, bassist Mark King and keyboardist Mike Lindup eventually began to open their mouths and sing. Never a strong vocalist, King nevertheless was an engaging frontman, becoming more relaxed and self assured as the band's career progressed, while Lindup's falsetto backing vocals added a distinctive touch. "Micro Kid," the opening cut here, is a good example of their approach; the synth-heavy track also prominently features Lindup's brilliant keyboard work.
Produced by Larry Dunn and Verdine White of Earth, Wind and Fire (one of Level 42's obvious influences), Standing in the Light contains a number of strong tracks; the funky British top-ten hit "The Sun Goes Down" and the midtempo ballad "People" are highlights, and the band's amazing musicianship is always a pleasure to hear. Only the goofy "A Pharaoh's Dream (of Endless Time)" bogs down the album, and Mark King's trademark thumb-slapping bass playing technique makes even that tune worth hearing. Like most early-to-mid 80's albums, Standing in the Light also suffers from a somewhat dated sound, but it is one of the most impressive offerings in Level 42's strong body of work.
Level 42 - Standing In The Light (flac 247mb)
01 Micro-Kid 4:44
02 The Sun Goes Down (Living It Up) 4:15
03 Out Of Sight, Out Of Mind 5:12
04 Dance On Heavy Weather 4:27
05 A Pharaoh's Dream (Of Endless Time) 4:21
06 Standing In The Light 3:42
07 I Want Eyes 4:59
08 People 4:55
09 The Machine Stops 4:15
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Meanwhile at Rho-Xs, Aetix and Roots re-ups are still out of order so please refrain from such requests.
Today's Artists at the beginning of their career, they were squarely a jazz-funk fusion band, contemporaries of fellow Brit funk groups like Atmosfear, Light of the World, Incognito, and Beggar & Co. By the end of the '80s, however, the band -- whose music was instantly recognizable from Mark King's thumb-slap bass technique and associate member Wally Badarou's synthesizer flourishes -- had crossed over to the point where they were often classified as sophisti-pop and dance-rock, that made polished, upbeat, danceable pop/rock. The band's commercial peak came with 1985's World Machine, but they continued to record and tour sporadically throughout the '90s and 2000s.. . ...... N Joy
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Mark King and the Gould brothers (Phil and Rowland, the latter generally known by his nickname "Boon") were all brought up on the Isle of Wight and played together in various bands during their teenage years. Phil Gould went on to study at London's Guildhall School of Music and Drama, where he met keyboard player Mike Lindup in a percussion course. Both musicians found that they shared musical heroes: Miles Davis, John McLaughlin, Keith Jarrett and Jan Hammer.
By 1979, Phil Gould and Mark King were both based in London and became involved in Robin Scott's pop project M. While working with M, they became acquainted with Afro-French keyboard player Wally Badarou, who played synthesizer on M's US number one single "Pop Muzik". In late 1979, Phil Gould introduced Mark King and Mike Lindup to each other, and all of them began playing together in loose rehearsal sessions, developing their own jazz-funk fusion style. The developing band's original guitarist was Dominic Miller (later to find fame playing with Sting), but he was replaced by Boon Gould on the latter's return from working in the United States.
Initially, instrumental roles were flexible, with Boon Gould also playing bass guitar and saxophone and Lindup doubling on keyboards and drums. Mark King was primarily a drummer (although he also played guitar) but had recently sold his drum kit to pay for transport back to the UK after an ill-fated European venture. With Phil Gould and Boon Gould established (respectively) as the most accomplished drummer and guitarist in the quartet, King opted to learn bass guitar instead. At the time, King was working in a London music store. A notably flexible musician and quick learner, he had observed visiting American funk players demonstrating the thumb-slap bass guitar technique and developed his own take on the style in a matter of weeks.
The developing band (at this point, entirely an instrumental act) took the name Level 42 and settled on a working line-up of King (bass guitar, percussion), Lindup (keyboards, percussion), Boon Gould (guitar, saxophone) and Phil Gould (drums). The name of the band is a reference to the novel The Hitchhiker's Guide to the Galaxy by Douglas Adams, in which "42" is the answer to "the ultimate question of life, the universe, and everything."[5] Having maintained their links with Wally Badarou, Phil Gould and Mark King invited him to work with Level 42. Although he never formally joined the band, Badarou would become a fifth member in all but name: co-writing songs, playing keyboards and synthesisers in the studio and co-producing the records.
After they were seen jamming together, Level 42 were invited to sign to Elite Records (a small independent label) in 1980. They were also encouraged to branch out into vocal music. Having considered recruiting a singer, the band eventually settled on giving King and Lindup the vocal role. The two men developed a complementary style, with Lindup's falsetto frequently used for harmonies and choruses while King's deep tenor led the verses (although Lindup would also sing entire songs on his own). Lyrics were generally written by the Gould brothers while King, Badarou and Lindup concentrated on Level 42's music. The Elite Records single "Love Meeting Love" brought the band to the attention of Polydor Records, with whom they signed their second recording contract. In 1981, they released their first Polydor single, "Love Games", which became a Top 40 hit. They then cut their critically acclaimed self-titled debut album, which was an immediate success throughout Europe.
The band quickly established themselves as concert favourites on the budding British and European jazz-funk scene, taking advantage of the musical expertise and performance skills of all four members.[citation needed] Polydor capitalised on the band's success by releasing a second album, The Early Tapes later in the same year. This was a compilation of material from the Elite Records period (and is also known by an alternate name, Strategy). In 1982, Level 42 released their third album The Pursuit of Accidents. This was a further development of the Level 42 formula, maintaining their instrumental jazz-funk skills and styling but also experimenting further with pop songs. Both of the singles from the album — "Weave Your Spell" and "The Chinese Way" — charted. The latter, in particular, rose high in the charts and gained the band a much wider audience than before.
A fourth album, Standing in the Light, was released in 1983. Produced by Larry Dunn and Verdine White (of Earth, Wind & Fire), this album began a new era for the band, being less experimental and less jazzy than previous releases. It provided them with their first UK Top Ten hit, "The Sun Goes Down (Living It Up)". Notably, the album featured no instrumental tracks, with the band now focusing heavily on songs. (The band would not release another instrumental on an album until 1988's Staring at the Sun). The 1984 album True Colours continued the band's development away from straightforward jazz funk, veering stylistically between funk, power pop, mid-tempo rock and moody ballads. It yielded the singles "The Chant Has Begun" and "Hot Water". The latter was a Top 20 hit in Britain and a Top 5 hit in the Netherlands where the band became popular (the song reached also No. 7 in Belgium). During the same year, Mark King released his first solo album Influences on which he played the majority of the instruments (with a guest appearance by Aswad's Drummie Zeb, and with Lindup guesting on additional keyboards). By this time, Level 42 were known for their power as a live band (as showcased on the 1985 double live album A Physical Presence). For live gigs the band added saxophonist Krys Mach, who toured with the group from 1984 to 1988 and contributed to some album recordings.
By this time, the band were well established in their mainstream pop/R&B sound, as evidenced on their next studio album, World Machine, released later in 1985. King's dextrous bass playing and Lindup and Badarou's chugging keyboards acted as templates for pop songs such as "Something About You" and "Leaving Me Now", which were both UK Top 20 hits (Top 40 hits in the Netherlands). Significantly, "Something About You" was also their first (and only) US Top 10 the following year; also reaching the Top 5 in Canada and the Top 20 in Italy and New Zealand. "Leaving Me Now" was the second hit from this album, peaking at No. 15 in the United Kingdom but proving less successful in Europe. Elements of Level 42's roots could still be found in the funky "Coup d'État" and "Dream Crazy" on the UK version of the album, as well as a long instrumental track named "Hell," which was also recorded during the World Machine sessions
World Machine gained positive reviews from critics, with AllMusic journalist William Cooper, in a retrospective review, describing it as "one of the finest pop albums of the mid-'80s." During the recording of the album, the first major tensions between Phil Gould and Mark King began to surface over musical direction, production and their personal relationship. This clashing led to Gould leaving the band for a week. Allan Holdsworth's drummer Gary Husband was lined up as a potential replacement, but Gould and King's dispute was subsequently patched up and the group went on to enjoy their most successful year to date. Released in early 1986 (and initially recorded to keep up the band's European chart momentum while the band was busy touring the United States), "Lessons in Love" was an international hit and became Level 42's biggest selling single.[citation needed] It gave the band their first number one in Denmark, Germany, Switzerland and South Africa, increasing the band's popularity considerably. It also placed at No. 2 in Italy, the Netherlands and Sweden, No. 3 in the UK and in Ireland, No. 4 in Austria, No. 10 in Norway, No. 12 in the US in 1987, No. 18 in New Zealand and No. 22 in France).
"Lessons in Love" became the lead single on 1987's Running in the Family album, recorded to capitalise on the impact. With the band now at the peak of their success, the album added further gloss to Level 42's polished pop sound (despite adding to Phil Gould's disquiet). Further singles from the album continued and built on the band's existing profile: "To Be With You Again" (No. 6 in the Netherlands and in Ireland), the ballad "It's Over" (No. 3 in Ireland and No. 7 in the Netherlands) and Running In The Family's title track (No. 1 in Denmark, No. 3 in the Netherlands, No. 4 in Ireland, No. 5 in Switzerland, No. 7 in Norway and No. 9 in New Zealand).[8] The album itself was a major international success, reaching the Top 10 in numerous countries.
By now a leading British pop band, Level 42 played at the Prince's Trust concert in June 1987, with Eric Clapton standing in on lead guitar for a performance of "Running in the Family". King and Lindup also performed with artists including Ben E. King on "Stand By Me" and George Harrison and Ringo Starr on "While My Guitar Gently Weeps". Despite the success, Level 42 were on the brink of splitting up. Although Phil Gould was the most visibly dissatisfied member, it was Boon Gould who was the first to leave, departing in late 1987, following a support slot on a Madonna tour. The quietest member of the band, Boon surprised both King and Lindup with his sudden departure. However, he had been suffering from nervous exhaustion and also wanted to leave the lifestyle of a constantly touring musician in order to settle down and spend more time with his wife and children. Boon's relationship with the band remained amicable and, although he would not return to Level 42 as a performing or recording member, he continued to write lyrics for the band following his departure.
In December 1987, midway through the tour, Phil Gould finally left Level 42 permanently. Like his brother, he was suffering from exhaustion, but his relationship with King had broken down once again and they now found it difficult to work together. Phil was also reportedly dissatisfied with the band's direction in terms of their newer "pop" sound, and King and Lindup failed to convince him to stay. To complete the tour dates, the band hired Prefab Sprout drummer Neil Conti to fill in. Following the tour, Level 42 recruited Gary Husband as the band's new full-time drummer. He in turn recommended Steve Topping as a replacement guitarist. However, Topping and King's personalities clashed and Topping eventually left the band in early 1988 after initial writing and rehearsing sessions in Dublin. Most of the next Level 42 album, Staring at the Sun, was recorded without a permanent guitarist. Rhythm guitar on the studio recordings was handled either by the band's old friend Dominic Miller or by an uncredited Mark King. In April 1988, towards the end of the sessions, the band recruited lead guitarist Alan Murphy (a session guitarist who had worked extensively with Kate Bush and had also been a member of Go West).
Staring at the Sun was released in 1988, reaching number 2 in the UK and the top ten in several European charts. It included the hit-single "Heaven in My Hands" (number 12 in the UK and also top twenty in the Netherlands, Norway, Switzerland). Boon Gould had co-written many of the tracks with King, Lindup and Badarou, while Gary Husband was credited with his first co-write with King on "Tracie" (a tribute to King's childhood sweetheart). To promote the album, Level 42 embarked on a four-month European tour, culminating in six sell-out nights at Wembley Arena. These latter dates were recorded for what would become the band's second live album, Live At Wembley (eventually released in 1996).
Although the band seemed to have maintained their momentum and recovered well from the split of the original lineup, they were about to be hit by a serious tragedy. Unknown to the rest of Level 42, guitarist Alan Murphy was suffering from AIDS, something which he himself may have been aware of before joining the band. At the time, his previous band Go West had been stalled by internal disagreements, and one of Murphy's reasons for joining Level 42 was to ensure that he spent his last days playing the music that he loved. During 1989, Murphy contracted pneumonia: weakened by his existing condition, his decline was rapid and he died on 19 October 1989. Devastated, Level 42 took a year off to regroup and rethink. To cover the gap and to fulfil the band's contract with Polydor Records, Level Best (a greatest hits compilation) was released at the end of 1989; also marking a decade since the band's beginnings. During the break, Mike Lindup also recorded and released his debut solo album, Changes (featuring Dominic Miller, Pino Palladino on bass and Manu Katché on drums).
]The band signed a new contract with RCA Records in 1990, for whom they produced their next album, Guaranteed. Although most of the rhythm guitar work was once again handled by Dominic Miller, Gary Husband asked Allan Holdsworth to provide some guitar work (notably on "A Kinder Eye"). As well as drumming, Husband also played keyboards and increased his songwriting role, co-writing many tracks with King, Lindup and Badarou. The album features the only track entirely written by Husband – "If You Were Mine" – which also featured on the "Guaranteed" single release. Mark King also collaborated with lyricists Drew Barfield and George Green to expand the songwriting. Guaranteed was well received by American music critics. However, the album did not get good reviews in the UK (despite reaching No. 3 in the UK charts while the title track reached No. 17 in the singles charts) and was ultimately less commercially successful than previous efforts.
After the recording of Guaranteed and a week-long promotional tour, Level 42 were in need of a permanent guitarist. Mark King assumed (erroneously) that Allan Holdsworth would not be interested in taking the position. Instead the band recruited well-respected art-pop guitarist, session player and sometime solo artist Jakko Jakszyk: the former frontman for 64 Spoons, he'd also collaborated with Tom Robinson, Sam Brown and Stewart/Gaskin among others. Although he did not play on Guaranteed, Jakszyk appeared on the album's cover photo and took part in promotional duties and the tour for the album, as well as playing on two B-sides from this era ("At This Great Distance" and "As Years Go By").Unlike Husband, Jakszyk never became a full legal member of the band (apparently due to "record company politics"). However, following the end of promotion for Guaranteed, the King-Lindup-Husband-Jakszyk line began writing and recording new material together, with at least two songs ("Fire" and "Free Your Soul") completed. Following the next development in the band's history, this work was shelved and remains unreleased.
In early 1993, Gary Husband left Level 42, leading to the return of group founder member Phil Gould as Level 42's drummer (and principal lyricist) for 1994's Forever Now album. Further changes to the band were evident in that Jakko Jakszyk did not play on the album: all guitars were performed by the American session guitarist Danny Blume. Although Forever Now was a critical success, the reunion of Gould and the group was short-lived. When Level 42 began to promote the new album (with Jakszyk returning to the live band for concerts and TV appearances), Gould played only one promotional gig and did not go on the road for the Forever Now tour. He was replaced as live drummer by Jaksyk's friend and frequent collaborator Gavin Harrison (who later played drums for both Porcupine Tree and King Crimson). It was announced halfway through the Forever Now tour, on the day of the Manchester Apollo gig, that the band would be disbanding permanently following their concert commitments. Level 42 played their last gig at the Albert Hall in London on 14 October 1994. According to Jakszk, the band recorded tapes for a live album during the final 1994 shows at the Albert Hall and the Brighton Dome which "sounded fantastic", but the album was never released
In 1996, Mark King signed to Virgin Records and released a solo single "Bitter Moon" (with Lyndon Connah playing keyboards). This was followed up by his second solo album One Man, featuring lyrics by Boon Gould. The album was not a big commercial success. King later toured as a solo act, playing his own new compositions and some Level 42 favourites. In 1999, he played some shows at the Jazz Cafe in London under the name of "The Mark King Group" with a band including Husband, Jakszyk and Jakszyk's fellow former 64 Spoons colleague Lyndon Connah on keyboards. Jakszyk left the band after the Jazz Cafe shows, to be replaced on guitar by Nathan King (Mark King's younger brother). King continued to tour with this band, now renamed "Grupo Mark King", over the next couple of years, augmenting the line-up with saxophone player Sean Freeman.
Although Mark King was by now two albums into a solo career, his previous band's music proved to be persistently popular and he found that he was playing more and more old Level 42 tracks at live shows. In late 2001, King came to a business agreement with Mike Lindup and bought the rights to the name Level 42. Although Lindup agreed to play on future albums, he did not want to tour. King announced the return of Level 42 with a new line-up which also happened to be the musicians from his current live band: himself, Husband, Connah, Freeman and Nathan King. On 12 July 2002, the first official Level 42 concert for six years was played at The Circus Tavern in Purfleet, Essex. While not recording any new material, for the next few years the band settled into a regular pattern of touring and playing old hits.Over the course of the year there was a burst of reissue activity. Two Rockpalast shows from 1983 and 1984 were released on DVD, followed by two CD releases: The River Sessions (a live show from 1983 recorded in Scotland) and a new compilation called The Ultimate Collection II.
In February 2006, after twelve years without releasing a new studio album, Level 42 announced the release of Retroglide. While billed as a band album, it was chiefly recorded and produced by King at his home studio, with Gary Husband, Lyndon Connah, Sean Freeman and Nathan King all contributing. Retroglide also featured input from two previous Level 42 members. Erstwhile guitarist Boon Gould provided the album's lyrics (as well as contributing a guitar solo on "Ship") and the band was effectively expanded to a six-piece via extensive guest performances by Mike Lindup, who added prominent keyboard parts and vocals to many tracks. Although Phil Gould was uncredited on the album, the track "Ship" is the first song since 1986 worked on by all four original members, as Phil originally arranged the track with his brother Boon. However, Retroglide was also the first Level 42 album not to feature any contributions from Wally Badarou. In May 2006, Level 42 announced that Mike Lindup would return full-time to replace Lyndon Connah on keyboards. Retroglide was promoted via a supporting tour throughout the UK, Netherlands, Germany and several other European countries during October 2006. On 26 August 2007, Level 42 played an outdoor gig at the Arundel Festival in West Sussex: the band's only UK show of the year. In 2008, Level 42 played a twenty-date UK tour.
In 2010, Husband stepped down as Level 42's drummer for the second time, due to prior commitments with John McLaughlin. Husband was replaced by Pete Ray Biggin. In 2012, Level 42 toured the UK and mainland Europe, in celebration of the 25th anniversary since the release of Running In The Family, by playing the whole album, with a whole array of other hits. Also included in the shows was an acoustic set, with Mike Lindup playing the accordion. In October 2012, on Mark King's birthday during a gig in Bristol, Boon Gould joined the band on stage.
On 20 and 21 September 2013, Level 42 (joined by an expanded brass section), performed three new songs at London's Indigo O2 Arena - "Where's Yo' Head At", "Too Much Time", and "Sirens". All of these appeared on the band's first new release for seven years, the six-song studio EP "Sirens" (released on 31 October 2013, and the first output from the band's new self-owned label Level 42 Records). Mixed by the American DJ John Morales, the EP also contained "Mind On You", "My Independence Day" and "Build Myself a Rocket" (with King's daughter Marlee providing the backing vocals on the last of these tracks). Musically, it built on the production approach of Retroglide while allying the band with contemporary developments in R&B and dance electronica.
On 3 December 2013, the band announced 'The Sirens Tour' - a 30 date tour, starting in October 2014 and taking in the UK, Netherlands, Germany and Italy. In the summer of 2014, the band performed at a number of festivals across Europe including headline performances at Let's Rock Bristol and Rochester Castle. They also played at Rewind festivals. At a performance in Bournemouth, ex-drummer Gary Husband returned due to Pete Ray Biggin being unavailable. In 2015, the band appeared at a number of UK and European festivals headlining at 'Let's Rock The Moor' and 'Carfest' concerts. They also played two nights at the Indigo2 in London where the band once again featured a larger brass section consisting of Dan Carpenter (trumpet) and Nicol Thomson (trombone) as well as regular saxophonist Sean Freeman. In 2016, Level 42 performed at a number of festivals across the UK and Europe as well as in Curaçao, Chile and Argentina before embarking on a UK, Netherlands and Scandinavian tour in order to promote the "Sirens II" EP.
On 1 May 2019, it was announced that Boon Gould had been found dead at his home in Dorset. He was 64
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Level 42 actually started out as an instrumental jazz-funk band, before eventually bringing in the vocals of Mark King and keyboardist Mike Lindup, and that is demonstrated on this debut, where three of the eight tracks are instrumental. Throughout their successful career, the band was notable mostly for King's slap-bass playing, which gave them a distinctive, funky sound that was instantly recognisable for anyone who was familiar with them, although the pleasant vocals were also capable of drawing the listener in, as well as, of course, some catchy songs.
Featuring a decent blend of the bass, shimming keyboards and occasional lively guitar moments, this record's tree most notable tracks here are the opening "Turn It On" , "Almost There" and Love Games, while the instrumentals are reasonable overall, although it almost sounds like the band are still trying to settle on what their sound should be, and there are moments of over indulgence as a result. But this has some original and really funky stuff on it and is still enjoyable to listen to 30 years later.
In 2000, Polydor reissued the first eight studio albums by Level 42 in two-for-one sets with remastered sound and bonus tracks. The packaging for each release is drab, but the series offered a convenient way to obtain the majority of the band's back catalog. This release features the first two albums: Level 42 (1981) and The Early Tapes (aka Strategy, 1982). There are several bonus tracks split between the two discs, containing B-sides and alternate mixes (including "Forty-Two," "Foundation & Empire," and "Instrumental Love"), as well as live versions ("Dune Tune," "Sandstorm," "Mr. Pink").
Level 42 - Level 42 (flac 489mb)
01 Turn It On 4:40
02 43 7:00
03 Why Are You Leaving? 4:32
04 Almost There 5:41
05 Heathrow 4:41
06 Love Games 5:13
07 Dune Tune 4:49
08 Starchild 5:57
Bonus
09 Forty-Two 6:37
10 Beezer One 7:09
11 Foundation & Empire 8:26
12 Dune Tune (Live) 5:02
13 Goodbye Ray Schmidt-Volk 2:07
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Before becoming British pop superstars, Level 42 was a four-piece jazz/fusion band influenced by artists like Stanley Clarke and Herbie Hancock's Headhunters. The band became phenomenally successful in England, with a series of Top Ten albums and pop hits to its credit, and Level 42 also achieved brief success in the United States with the MTV staples "Lessons in Love" and "Something About You." Level 42's success didn't happen overnight, however. After achieving critical acclaim for its live shows, Level 42 was signed to Andy Sojka's independent Elite label in 1980, and Elite issued the band's first two singles, "Love Meeting Love" and "Wings of Love," both of which became post-disco hits in British dance clubs before crossing over to the U.K. pop chart, where they performed modestly. Both tunes were included on the band's debut release, Strategy (produced by Sojka and Jerry Pike), and the album was augmented by six other disco-influenced jazz/fusion workouts. Recorded in London in the summer of 1980, Strategy is a showcase for the stunning instrumental capabilities of the band's members. Mark King's Stanley Clarke-influenced, thumb-slapping bass-playing technique is the backbone of the band's sound, but the other bandmembers also have an opportunity to shine. Drummer Phil Gould takes center stage on the percussive instrumental "Woman," and Mike Lindup contributes stellar keyboard work on the album's eight tunes. Strategy also includes contributions from saxophonist Dave Chambers and percussionist Leroy Williams (Sonny Stitt, Barry Harris), as well as keyboardist Wally Badarou (who would become an unofficial "fifth member" of the band, as he plays on every album Level 42 ever released). Level 42 began as an all-instrumental outfit, but the band was later convinced of the importance of adding vocals as an important step into commercial success. Predictably, the vocals on Strategy are tentative. Only three tracks even contain vocals; Mark King had not yet developed into a confident singer, and Mike Lindup's falsetto vocal style was severely underdeveloped in the early stages of the band's career. Still, their contributions are charming, making "Love Meeting Love," "Wings of Love," and "Autumn" more accessible than the instrumentals. Strategy is lacking in diversity, as all the funk-oriented tunes sound the same after awhile. But the impressive playing that has always been a Level 42 trademark is definitely intact. Strategy is far from the best of Level 42's large body of work, but it is an interesting listen as it shows the band in the very earliest stages of its existence. Level 42 later signed to Polydor, and the label re-issued Strategy as The Early Tapes in 1982 and extended and remastered in 2000.
Level 42 - The Early Tapes (flac 544mb)
01 Sandstorm 4:41
02 Love Meeting Love 6:23
03 Theme To Margaret 3:59
04 Autumn (Paradise Is Free) 4:43
05 (Flying On The) Wings Of Love 6:55
06 Woman 4:35
07 Mr. Pink 5:05
08 88 5:09
Bonus
09 Piano 2:25
10 Instrumental Love 8:08
11 (Flying On The) Wings Of Love ('81 Remix) 8:01
12 Sandstorm (Live) 6:00
13 Mr. Pink (Live) 5:19
14 88 (Live) 5:19
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The Pursuit Of Accidents continues Level 42's pop/funk style that they struck out with on their self-titled debut from the year before, but with more in the way of notable songs with distinctive melodies. There are still two instrumentals here ("The Pursuit Of Accidents" and "Shapeshifter"), and they are really the lesser of the tracks. I'm not a fan of instrumental pieces that seem to be little more than excuses for jamming together, and, while there is a bit in the way of melody in them both (particularly the title song), there's just not enough to win me over. And they're both too long.
However, the actual songs found elsewhere offer much to like, thanks to the opening "Weave Your Spell", "Last Chance" and, most of all, the concluding "The Chinese Way", the latter one being a good demonstration of how the band manages to put in a catchy chorus that repeats itself, yet doesn't become boring, since there are enough other factors present to keep things interesting. Mark King and Mike Lindup's vocals work very nicely together as well.A strong album still not as good as their debut but an effort to be proud of. The singles are great as are a couple of non singles "last chance" and "you can't blame louis" although the latter is a little goofy! What let this album down when comparing to the debut istoo many instrumentals.
Level 42 - The Pursuit Of Accidents (flac 319mb)
01 Weave Your Spell 5:30
02 The Pursuit Of Accidents 7:44
03 Last Chance 4:30
04 Are You Hearing (What I Hear)? 4:58
05 You Can't Blame Louis 5:05
06 Eyes Waterfalling (The Prodigy) 5:58
07 Shapeshifter 5:09
08 The Chinese Way 5:53
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Standing in the Light was Level 42's first major success in the U.K., hitting the top ten in 1983 and beginning a string of successful recordings that would continue throughout the band's career. The band's previous releases were pleasant but somewhat tepid exercises in jazz-lite; Standing in the Light not only marked a significant change of direction, but proved Level 42 could truly be an ace pop band.
Level 42's first three releases Level 42 (1981), The Pursuit of Accidents (1982), and The Early Tapes (a compilation of material recorded in 1980, prior to the band's signing to Polydor) revealed a promising young band with undeniable talent and melodic instincts. Despite modest success with strong singles such as "Turn it On" and "The Chinese Way," pointless instrumentals and slick production added unnecessary weight to these albums. Standing in the Light was different for two main reasons : the songs were shorter and more accessible, and for the first time, all the songs included vocals. The group began as an all-instrumental jazz outfit; in order for Level 42 to become more commercially viable, bassist Mark King and keyboardist Mike Lindup eventually began to open their mouths and sing. Never a strong vocalist, King nevertheless was an engaging frontman, becoming more relaxed and self assured as the band's career progressed, while Lindup's falsetto backing vocals added a distinctive touch. "Micro Kid," the opening cut here, is a good example of their approach; the synth-heavy track also prominently features Lindup's brilliant keyboard work.
Produced by Larry Dunn and Verdine White of Earth, Wind and Fire (one of Level 42's obvious influences), Standing in the Light contains a number of strong tracks; the funky British top-ten hit "The Sun Goes Down" and the midtempo ballad "People" are highlights, and the band's amazing musicianship is always a pleasure to hear. Only the goofy "A Pharaoh's Dream (of Endless Time)" bogs down the album, and Mark King's trademark thumb-slapping bass playing technique makes even that tune worth hearing. Like most early-to-mid 80's albums, Standing in the Light also suffers from a somewhat dated sound, but it is one of the most impressive offerings in Level 42's strong body of work.
Level 42 - Standing In The Light (flac 247mb)
01 Micro-Kid 4:44
02 The Sun Goes Down (Living It Up) 4:15
03 Out Of Sight, Out Of Mind 5:12
04 Dance On Heavy Weather 4:27
05 A Pharaoh's Dream (Of Endless Time) 4:21
06 Standing In The Light 3:42
07 I Want Eyes 4:59
08 People 4:55
09 The Machine Stops 4:15
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May 13, 2019
RhoDeo 1919 Re-Up 188
Hello,
18 correct requests for this week, 3 too early , whatever another batch of 64 re-ups (20.9 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 May 5th !... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
4x Aetix Back in Flac (Stranglers - No More Heroes, Stranglers - Black & White, Stranglers - The Raven, Stranglers - Rattus Norvegicus)
5x Aetix Back In Flac (The Specials - The Specials, The Specials - More, The Special A.K.A. - In The Studio, The Fun Boy Three - The FB 3, The Fun Boy Three - Waiting)
3x Aetix Back In Flac (Buggles - The Age Of Plastic, The Passions - Michael & Miranda, T. Dolby - The Golden Age Of Wireless)
3x Aetix Back in Flac (Lloyd Cole & Commotions - Rattlesnakes, Felt - Stains on a Decade, Prefab Sprout - Langley Park To Memphis)
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 ( The Compact 2 Tone Story 1, The Compact 2 Tone Story 2 , The Compact 2 Tone Story 3, The Compact 2 Tone Story 4)
4x Roots Back In Flac (Badi Assad - Solo, Badi Assad - Rhythms, Badi Assad - Echoes of Brazil, Badi Assad - Verde)
3x Aetix Back in Flac (Jerry Harrison - The Red And The Black, Jerry Harrison - Casual Gods, Jerry Harrison - Walk On Water)
4x Sundaze Back In Flac (Eliane Radigue - Kyema, Eliane Radigue - Kailasha, Eliane Radigue - Koume, Eliane Radigue - Transamorem - Transmortem)
4x Sundaze Back in Flac (Variant - The Setting Sun, Variant - Falling Stars, Variant - Aurora's Dream Solar Mix, Variant - Aurora's Dream Polar Mix)
3x Sundaze NOW in Flac (Nils Petter Molvaer - Solid Ether, Biosphere - Autour De La Lune, Röyksopp – Senior)
3x Sundaze Back in Flac (DeepChord - Vantage Isle Sessions, DeepChord Echospace - Silent World, DeepChord Echo - Silent World (O.S.T.))
2x Sundaze Back in Flac (Deepchord - The Coldest Season, Craig & Von Oswald - Recomposed 3)
3x Roots NOW in Flac (Fela Kuti - Afrodisiac, Fela Kuti - Zombie, Fela Kuti - Opposite People + Sorrow Tears and Blood )
4x Grooves Back in Flac (The Rebirth Of Cool Vol. 1, The Rebirth Of Cool Vol. 2, The Rebirth Of Cool Vol. 3, The Rebirth Of Cool Vol. 4)
4x Aetix NOW in Flac (Shriekback - The Infinite, Shriekback - Evolution, Shriekback - Oil And Gold, Shriekback - Big Night Music)
4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)
4x Aetix Back in Flac (Siouxsie & The Banshees - The Scream, Siouxsie & The Banshees - The Scream Bonus, Siouxsie & The Banshees - Join Hands, Siouxsie & The Banshees - Kaleidoscope)
xxxxx xxxxx xxxxx xxxxx xxxxx
18 correct requests for this week, 3 too early , whatever another batch of 64 re-ups (20.9 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 May 5th !... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
4x Aetix Back in Flac (Stranglers - No More Heroes, Stranglers - Black & White, Stranglers - The Raven, Stranglers - Rattus Norvegicus)
5x Aetix Back In Flac (The Specials - The Specials, The Specials - More, The Special A.K.A. - In The Studio, The Fun Boy Three - The FB 3, The Fun Boy Three - Waiting)
3x Aetix Back In Flac (Buggles - The Age Of Plastic, The Passions - Michael & Miranda, T. Dolby - The Golden Age Of Wireless)
3x Aetix Back in Flac (Lloyd Cole & Commotions - Rattlesnakes, Felt - Stains on a Decade, Prefab Sprout - Langley Park To Memphis)
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 ( The Compact 2 Tone Story 1, The Compact 2 Tone Story 2 , The Compact 2 Tone Story 3, The Compact 2 Tone Story 4)
4x Roots Back In Flac (Badi Assad - Solo, Badi Assad - Rhythms, Badi Assad - Echoes of Brazil, Badi Assad - Verde)
3x Aetix Back in Flac (Jerry Harrison - The Red And The Black, Jerry Harrison - Casual Gods, Jerry Harrison - Walk On Water)
4x Sundaze Back In Flac (Eliane Radigue - Kyema, Eliane Radigue - Kailasha, Eliane Radigue - Koume, Eliane Radigue - Transamorem - Transmortem)
4x Sundaze Back in Flac (Variant - The Setting Sun, Variant - Falling Stars, Variant - Aurora's Dream Solar Mix, Variant - Aurora's Dream Polar Mix)
3x Sundaze NOW in Flac (Nils Petter Molvaer - Solid Ether, Biosphere - Autour De La Lune, Röyksopp – Senior)
3x Sundaze Back in Flac (DeepChord - Vantage Isle Sessions, DeepChord Echospace - Silent World, DeepChord Echo - Silent World (O.S.T.))
2x Sundaze Back in Flac (Deepchord - The Coldest Season, Craig & Von Oswald - Recomposed 3)
3x Roots NOW in Flac (Fela Kuti - Afrodisiac, Fela Kuti - Zombie, Fela Kuti - Opposite People + Sorrow Tears and Blood )
4x Grooves Back in Flac (The Rebirth Of Cool Vol. 1, The Rebirth Of Cool Vol. 2, The Rebirth Of Cool Vol. 3, The Rebirth Of Cool Vol. 4)
4x Aetix NOW in Flac (Shriekback - The Infinite, Shriekback - Evolution, Shriekback - Oil And Gold, Shriekback - Big Night Music)
4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)
4x Aetix Back in Flac (Siouxsie & The Banshees - The Scream, Siouxsie & The Banshees - The Scream Bonus, Siouxsie & The Banshees - Join Hands, Siouxsie & The Banshees - Kaleidoscope)
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Mar 22, 2018
RhoDeo 1811 Re-Ups 136
Hello, 10 correct requests for this week and as usual requests that totally ignore my 12 months limit, whatever another batch of 32 re-ups (10 gig)
These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.
Looka here , requests fulfilled up to March 22nd.... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
4x Grooves Back In Flac ( The Temptations - Meet The Temptations, The Temptations - Sing Smokey, The Temptations - Cloud Nine, The Temptations - Puzzle People)
3x Aetix Back In Flac (John Foxx - Metamatic bonus, John Foxx - The Garden bonus, John Foxx - The Golden Section Bonus)
3x Aetix Back in Flac (Adrian Belew - Lone Rhino/Twang Bar King, Adrian Belew - Desire Caught By The Tail, Adrian Belew - Young Lions )
5x Beats NOW In Flac (808 State - Quadrastate, Dreadzone - 360, Transglobal Underground-International, previously Dreadzone - Second Light, Transglobal Underground - Dream Of 100 Nations)
3x Sundaze Back in Flac (Celtic Cross - Hicksville, Kumba Mela Experiment - East Of The River Ganges, Dub Trees - Nature Never Did Betray The Heart That Loved Her )
1x Grooves NOW in Flac (Gilles Peterson - Broken Folk Funk Latin Soul)
4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)
2x Beats Back In Flac (VA - Future Sound of Paris, VA - Pierre Henry and Michel Colombier - Métamorphose - Messe Pour Le Temps Présent)
3x Aetix NOW In Flac ( Jerry Harrison - The Red And The Black, Silencers - Blues For Buddah, Fine Young Cannibals - The Raw & The Cooked )
4x Sundaze NOW In Flac ( Steve Reich 05 Eight Lines-Tehillim, Steve Reich 06 The Desert Music, Steve Reich 07 New York Counterpoint - Sextet - The Four Sections, Steve Reich 08 Different Trains - Electric Counterpoint - Three Movements)
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.
Looka here , requests fulfilled up to March 22nd.... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
4x Grooves Back In Flac ( The Temptations - Meet The Temptations, The Temptations - Sing Smokey, The Temptations - Cloud Nine, The Temptations - Puzzle People)
3x Aetix Back In Flac (John Foxx - Metamatic bonus, John Foxx - The Garden bonus, John Foxx - The Golden Section Bonus)
3x Aetix Back in Flac (Adrian Belew - Lone Rhino/Twang Bar King, Adrian Belew - Desire Caught By The Tail, Adrian Belew - Young Lions )
5x Beats NOW In Flac (808 State - Quadrastate, Dreadzone - 360, Transglobal Underground-International, previously Dreadzone - Second Light, Transglobal Underground - Dream Of 100 Nations)
3x Sundaze Back in Flac (Celtic Cross - Hicksville, Kumba Mela Experiment - East Of The River Ganges, Dub Trees - Nature Never Did Betray The Heart That Loved Her )
1x Grooves NOW in Flac (Gilles Peterson - Broken Folk Funk Latin Soul)
4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)
2x Beats Back In Flac (VA - Future Sound of Paris, VA - Pierre Henry and Michel Colombier - Métamorphose - Messe Pour Le Temps Présent)
3x Aetix NOW In Flac ( Jerry Harrison - The Red And The Black, Silencers - Blues For Buddah, Fine Young Cannibals - The Raw & The Cooked )
4x Sundaze NOW In Flac ( Steve Reich 05 Eight Lines-Tehillim, Steve Reich 06 The Desert Music, Steve Reich 07 New York Counterpoint - Sextet - The Four Sections, Steve Reich 08 Different Trains - Electric Counterpoint - Three Movements)
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.
Oct 27, 2015
RhoDeo 1543 Re-Ups 36
Hello, with 32 re-ups today a substantial part of the requests have been fullfilled, meanwhile there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. That said i've seen a number of requests for music i posted earlier this year 2015, these are on the long list simply because most visitors here have already had these choices recently, my priority lies with older posts (i've been posting for 9 years now)
Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!
Looka here another batch of 25 re-ups .. ...N' Joy
Something for the Cramps, Young Marble Giants, Thin White Rope, Rhythm & Sound & Tikiman, Macro Dub Infection, David Sylvian, Heaven 17 and then some..more for fans today
3x The Cramps Back In Flac (Songs The Lord Taught Us, Psych Jungle & Gravest Hits, Smell of Female)
3x Young Marble Giants Back In Flac (YMG - Colossal Youth + Peel Session, YMG - Singles And Salad Days, Weekend - La Varieté)
3x Thin White Rope Back in Flac (Moonheady, In The Spanish Cave, Sack Full of Silver)
1x Rhythm & Sound & Tikiman Back in Flac ( Showcase)
4x VA - Macro Dub Infection Back in Flac (VA - Macro Dub Infection vol 1-1, 1-2, VA - Macro Dub Infection vol 2-1, 2-2)
5x David Sylvian Back In Flac (Brilliant Trees, Secrets of the Beehive, Dead Bees on a Cake, Camphor, Damage)
3x Harmonia Back In Flac (Musik Von Harmonia, Deluxe , Eno-Moebius-Roedelius - After The Heat)
3x Aetix NOW In Flac (Jerry Harrison - The Red And The Black, Silencers - Blues For Buddah, Fine YC - The Raw & The Cooked)
xxxxx xxxxx xxxxx xxxxx xxxxx
Looka here another batch of 25 re-ups .. ...N' Joy
Something for the Cramps, Young Marble Giants, Thin White Rope, Rhythm & Sound & Tikiman, Macro Dub Infection, David Sylvian, Heaven 17 and then some..more for fans today
3x The Cramps Back In Flac (Songs The Lord Taught Us, Psych Jungle & Gravest Hits, Smell of Female)
3x Young Marble Giants Back In Flac (YMG - Colossal Youth + Peel Session, YMG - Singles And Salad Days, Weekend - La Varieté)
3x Thin White Rope Back in Flac (Moonheady, In The Spanish Cave, Sack Full of Silver)
1x Rhythm & Sound & Tikiman Back in Flac ( Showcase)
4x VA - Macro Dub Infection Back in Flac (VA - Macro Dub Infection vol 1-1, 1-2, VA - Macro Dub Infection vol 2-1, 2-2)
5x David Sylvian Back In Flac (Brilliant Trees, Secrets of the Beehive, Dead Bees on a Cake, Camphor, Damage)
3x Harmonia Back In Flac (Musik Von Harmonia, Deluxe , Eno-Moebius-Roedelius - After The Heat)
3x Aetix NOW In Flac (Jerry Harrison - The Red And The Black, Silencers - Blues For Buddah, Fine YC - The Raw & The Cooked)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 20, 2015
RhoDeo 1524 Grooves
Hello,
Today you'll get a never-ending stream of notes that make you feel unworried and thirsty for thew 5th and last time, not that the well has dried our man released no less then 50 albums in his long career but let's face it it's time to move on, meanwhile i finish with more highlights from the Night trippers career. ... N'joy
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Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
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Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction -- Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here.
Dr. John - Going Back To New Orleans (flac 401mb)
01 Litanie Des Saints 4:44
02 Careless Love 4:10
03 My Indian Red 4:47
04 Milneburg Joys 2:39
05 I Thought I Heard Buddy Bolden Say 2:29
06 Basin Street Blues 4:27
07 Didn't He Ramble 3:28
08 Do You Call That A Buddy? 3:54
09 How Come My Dog Don't Bark When You Come 'Round 4:09
10 Good Night, Irene 4:11
11 Fess Up 3:12
12 Since I Fell For You 3:32
13 I'll Be Glad When You're Dead, You Rascal You 3:25
14 Cabbage Head 3:59
15 Goin' Home Tomorrow 3:01
16 Blue Monday 3:01
17 Scald Dog 2:58
18 Goin' Back To New Orleans 4:08
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Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.
Dr. John with the Donald Harrison Band - Funky New Orleans (live) (flac 351mb)
01 Hu-Ta-Nay 6:17
02 Big Chief 5:17
03 Shave 'Em Dry 5:17
04 Ja-Ki-Mo-Fi-Na-Hay 6:52
05 Mamzelle Zizi 5:43
06 Livin' On Borrowed Time 9:18
07 You Ain't So Such A Much 6:36
08 Hu-Ta-Nay 9:16
09 Walkin' Home 2:23
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N'Awlinz: Dis Dat or d'Udda is a very good record, but it could have been a great one. One has to wonder if the idea of having all these high-profile guest vocalists was Dr. John's, Blue Note's, or producer Stewart Levine's, in order to follow the 21st century trendiness of having "celebrity" guests on a session. This is Mac Rebennack's homeboy album, a tribute to his city and its players. He's recorded some in New Orleans, to be sure, but never has he been able to make use of the Crescent City's greatest arranger, Wardell Quezergue, to such an extent. In addition, the great Doctor was able to enlist Earl Palmer, Smokey Johnson, Nicholas Payton, Dave Bartholemew, Eddie Bo, Walter Wolfman Washington, Snooks Eaglin, the Dirty Dozen Brass Band, Alfred "Uganda" Roberts, Willie Tee, and a huge slew of players to help him out on canonical N.O. repertoire. The sheer number of percussionists on this set is staggering and welcome. On nuggets like "When the Saints Go Marching In," sung funeral style, the Davell Crawford Singers and the Quezergue horns kick it with the rhythm section and front line. "St. James Infirmary" has Bo second-lining the band as he duets with Mac. The Cousin Joe (Pleasant Joseph) tunes like "Life's a One Way Ticket," Bartholomew's "The Monkey," and Mac's own brilliant "Shango Tango" smolder with that strutting, finger-poppin' R&B. So what's the problem? The lame, completely lifeless vocals of Randy Newman, a track with B.B. King and Willie Nelson, and Nelson on his own on three tracks that will remain nameless mar something so beautifully done that it otherwise might have been one of the finest New Orleans records since the early '60s. There are other guest vocalists who bring home the bacon on duets with Dr. John -- Mavis Staples on "Lay My Burden Down," Cyril Neville on the amazing read of Robert Gurley's "Marie Laveau," and Rebbenack's closer, "I'm Goin" Home," are stellar. And King even rises to the occasion on his duet with Mac on "Hen Layin' Rooster." Dr. John is in amazing voice here, his piano playing is knife-edge tough and funky, and his performances are so inspired that they are perhaps career-defining. Three out of 18 cuts is minuscule after all, and the rest of this set is so badass that it should be purchased regardless. After all, what is the remote control for? It's a contender to be sure, but it could have been a champion.
Dr. John - N'Awlinz Dis, Dat or D'udda (flac 458mb)
01 Quatre Parishe 2:14
02 When The Saints Go Marching In 4:52
03 Lay My Burden Down 4:32
04 Marie Laveau 6:49
05 Dear Old Southland 2:41
06 Dis, Dat Or D'Udda 4:20
07 Chickee Le Pas 4:02
08 The Monkey 3:49
09 Shango Tango 1:27
10 I Ate Up The Apple Tree 3:34
11 You Ain't Such A Much 3:11
12 Life Is A One Way Ticket 4:25
13 Hen Layin' Rooster 3:35
14 Stakalee 4:34
15 En Las Bas 2:35
16 St. James Infrimary 4:40
17 Time Marches On 4:19
18 I'm Going Home 2:21
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Today you'll get a never-ending stream of notes that make you feel unworried and thirsty for thew 5th and last time, not that the well has dried our man released no less then 50 albums in his long career but let's face it it's time to move on, meanwhile i finish with more highlights from the Night trippers career. ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
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Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction -- Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here.
Dr. John - Going Back To New Orleans (flac 401mb)
01 Litanie Des Saints 4:44
02 Careless Love 4:10
03 My Indian Red 4:47
04 Milneburg Joys 2:39
05 I Thought I Heard Buddy Bolden Say 2:29
06 Basin Street Blues 4:27
07 Didn't He Ramble 3:28
08 Do You Call That A Buddy? 3:54
09 How Come My Dog Don't Bark When You Come 'Round 4:09
10 Good Night, Irene 4:11
11 Fess Up 3:12
12 Since I Fell For You 3:32
13 I'll Be Glad When You're Dead, You Rascal You 3:25
14 Cabbage Head 3:59
15 Goin' Home Tomorrow 3:01
16 Blue Monday 3:01
17 Scald Dog 2:58
18 Goin' Back To New Orleans 4:08
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Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.
Dr. John with the Donald Harrison Band - Funky New Orleans (live) (flac 351mb)
01 Hu-Ta-Nay 6:17
02 Big Chief 5:17
03 Shave 'Em Dry 5:17
04 Ja-Ki-Mo-Fi-Na-Hay 6:52
05 Mamzelle Zizi 5:43
06 Livin' On Borrowed Time 9:18
07 You Ain't So Such A Much 6:36
08 Hu-Ta-Nay 9:16
09 Walkin' Home 2:23
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N'Awlinz: Dis Dat or d'Udda is a very good record, but it could have been a great one. One has to wonder if the idea of having all these high-profile guest vocalists was Dr. John's, Blue Note's, or producer Stewart Levine's, in order to follow the 21st century trendiness of having "celebrity" guests on a session. This is Mac Rebennack's homeboy album, a tribute to his city and its players. He's recorded some in New Orleans, to be sure, but never has he been able to make use of the Crescent City's greatest arranger, Wardell Quezergue, to such an extent. In addition, the great Doctor was able to enlist Earl Palmer, Smokey Johnson, Nicholas Payton, Dave Bartholemew, Eddie Bo, Walter Wolfman Washington, Snooks Eaglin, the Dirty Dozen Brass Band, Alfred "Uganda" Roberts, Willie Tee, and a huge slew of players to help him out on canonical N.O. repertoire. The sheer number of percussionists on this set is staggering and welcome. On nuggets like "When the Saints Go Marching In," sung funeral style, the Davell Crawford Singers and the Quezergue horns kick it with the rhythm section and front line. "St. James Infirmary" has Bo second-lining the band as he duets with Mac. The Cousin Joe (Pleasant Joseph) tunes like "Life's a One Way Ticket," Bartholomew's "The Monkey," and Mac's own brilliant "Shango Tango" smolder with that strutting, finger-poppin' R&B. So what's the problem? The lame, completely lifeless vocals of Randy Newman, a track with B.B. King and Willie Nelson, and Nelson on his own on three tracks that will remain nameless mar something so beautifully done that it otherwise might have been one of the finest New Orleans records since the early '60s. There are other guest vocalists who bring home the bacon on duets with Dr. John -- Mavis Staples on "Lay My Burden Down," Cyril Neville on the amazing read of Robert Gurley's "Marie Laveau," and Rebbenack's closer, "I'm Goin" Home," are stellar. And King even rises to the occasion on his duet with Mac on "Hen Layin' Rooster." Dr. John is in amazing voice here, his piano playing is knife-edge tough and funky, and his performances are so inspired that they are perhaps career-defining. Three out of 18 cuts is minuscule after all, and the rest of this set is so badass that it should be purchased regardless. After all, what is the remote control for? It's a contender to be sure, but it could have been a champion.
Dr. John - N'Awlinz Dis, Dat or D'udda (flac 458mb)
01 Quatre Parishe 2:14
02 When The Saints Go Marching In 4:52
03 Lay My Burden Down 4:32
04 Marie Laveau 6:49
05 Dear Old Southland 2:41
06 Dis, Dat Or D'Udda 4:20
07 Chickee Le Pas 4:02
08 The Monkey 3:49
09 Shango Tango 1:27
10 I Ate Up The Apple Tree 3:34
11 You Ain't Such A Much 3:11
12 Life Is A One Way Ticket 4:25
13 Hen Layin' Rooster 3:35
14 Stakalee 4:34
15 En Las Bas 2:35
16 St. James Infrimary 4:40
17 Time Marches On 4:19
18 I'm Going Home 2:21
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Jun 13, 2015
RhoDeo 1523 Grooves
Hello,
Today you'll get a never-ending stream of notes that make you feel unworried and thirsty. ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
xxxxx xxxxx xxxxx xxxxx xxxxx
Dr. John was always respected as a consummate pianist, but he didn't make a solo, unaccompanied piano record until 1981's Dr. John Plays Mac Rebennack. The wait was well worth it. His music had always been impressive, but this is the first time that his playing had been put on full display, and it reveals that there's even more depth and intricacies to his style than previously expected. More importantly, the music simply sounds good and gritty, as he turns out a set of New Orleans R&B (comprised of both originals and classics) that is funky, swampy and real.
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume One (flac 210mb)
01 Dorothy 3:20
02 Mac's Boogie 3:50
03 Memories Of Professor Longhair 3:50
04 The Nearness Of You 3:49
05 Delicado 4:10
06 Silent Night 5:16
07 Dance A La Negres 4:00
08 Wade In The Water 4:00
09 Honey Dripper 2:40
10 Big Mac 5:02
11 New Island Midnight 4:44
12 Saints 4:42
13 Pinetop 3:09
14 Careless Love 7:15
15 Deep Blues 2:59
16 Ti-Na-Na 3:45
17 Dorothy (Take 2) 4:18
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume One (ogg 111mb)
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In the summer of 1981, Mac Rebennack, a.k.a. Dr. John, a.k.a. The Night Tripper, walked into a New York City rehearsal studio to record his first solo piano LP. No band, no overdubs, no gris gris, no studio tricks, just Mac at the piano and at his very best. The results of these historic sessions were released on the small but highly respected jazz label Clean Cuts Records as "Dr. John Plays Mac Rebennack." Though no one at the time could have predicted that his first Clean Cuts session would mark the beginning of an exciting new chapter in Mac's long and varied musical career, Dr. John Plays Mac Rebennack was widely heralded by music critics and aficionados everywhere as one of the seminal touchstones of New Orleans piano style. From a full page of coverage in Time, to Record of the Month in Stereo Review, to Keyboard, Playboy, Rolling Stone, People and Billboard (the record spent considerable time on the Billboard Jazz charts) .... Everyone noticed! When a year passed and Mac's recording and solo performances garnered the highest praise, he returned to the same piano in Chelsea for his second solo date. This session, which yielded the album "The Brightest Smile In Town," is now re-released and re-mastered with the inclusion of six previously unreleased tracks as "The Legendary Sessions Volume Two."
The second of back-to-back solo albums cut in the early '80s, Dr. John Plays Mac Rebennack: The Legendary Sessions Volume Two (originally released as The Brightest Smile in Town) presents a more balanced mix of vocal and instrumental tracks than its predecessor, Dr. John Plays Mac Rebennack. While it's fun to hear the great New Orleans pianist romp through "Box Car Boogie" and patiently work his way through the twilight blues of "Pretty Libby," the unexpected treats are the best: a heartsick version of Jimmy Rodgers's "Waiting for a Train;" a Doc Pomus cover, "Average Kind of Guy," that sounds like Randy Newman on a particularly good day; and "Marie La Veau," a highly syncopated bow to one of the Crescent City's many voodoo queens. By the time Rebennack ends Brightest Smile with two gorgeous instrumentals--a lovely take on Harold Arlen's "Come Rain or Come Shine" and "Suite Home New Orleans"--you're reminded just how encyclopedic his knowledge of American music is. (The 2006 reissue adds six previously unreleased bonus tracks.)
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume Two (flac 266mb)
01 Saddled the Cow 2:51
02 Boxcar Boogie 5:18
03 The Brightest Smile in Town 3:14
04 Waiting for a Train 3:23
05 Monkey Puzzle 4:42
06 Touro Infirmary 4:47
07 Medley: Just a Closer Walk With Thee / Didn't He Ramble 6:32
08 Your Average Kind of Guy 3:34
09 Pretty Libby 3:15
10 Marie La Veau 3:58
11 Come Rain or Come Shine 4:45
12 Suite Home New Orleans 3:53
13 Key to the Highway 3:48
14 Mississippi Mud 2:00
15 Lowdown, Worried and Blue 3:50
16 Sippiana Midnight 2:15
17 Rockin' Pneumonia and the Boogie Woogie Flu 3:55
18 Yesterdays 1:34
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume Two (ogg 142mb)
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On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one.
Dr. John - In A Sentimental Mood (flac 220mb)
01 Makin' Whoopee! 4:09
02 Candy 5:33
03 Accentuate The Positive 3:55
04 My Buddy 3:50
05 In A Sentimental Mood 4:05
06 Black Night 4:12
07 Don't Let The Sun Catch You Cryin' 4:52
08 Love For Sale 5:18
09 More Than You Know 4:40
Dr. John - In A Sentimental Mood (ogg 94mb)
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Today you'll get a never-ending stream of notes that make you feel unworried and thirsty. ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
xxxxx xxxxx xxxxx xxxxx xxxxx
Dr. John was always respected as a consummate pianist, but he didn't make a solo, unaccompanied piano record until 1981's Dr. John Plays Mac Rebennack. The wait was well worth it. His music had always been impressive, but this is the first time that his playing had been put on full display, and it reveals that there's even more depth and intricacies to his style than previously expected. More importantly, the music simply sounds good and gritty, as he turns out a set of New Orleans R&B (comprised of both originals and classics) that is funky, swampy and real.
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume One (flac 210mb)
01 Dorothy 3:20
02 Mac's Boogie 3:50
03 Memories Of Professor Longhair 3:50
04 The Nearness Of You 3:49
05 Delicado 4:10
06 Silent Night 5:16
07 Dance A La Negres 4:00
08 Wade In The Water 4:00
09 Honey Dripper 2:40
10 Big Mac 5:02
11 New Island Midnight 4:44
12 Saints 4:42
13 Pinetop 3:09
14 Careless Love 7:15
15 Deep Blues 2:59
16 Ti-Na-Na 3:45
17 Dorothy (Take 2) 4:18
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume One (ogg 111mb)
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In the summer of 1981, Mac Rebennack, a.k.a. Dr. John, a.k.a. The Night Tripper, walked into a New York City rehearsal studio to record his first solo piano LP. No band, no overdubs, no gris gris, no studio tricks, just Mac at the piano and at his very best. The results of these historic sessions were released on the small but highly respected jazz label Clean Cuts Records as "Dr. John Plays Mac Rebennack." Though no one at the time could have predicted that his first Clean Cuts session would mark the beginning of an exciting new chapter in Mac's long and varied musical career, Dr. John Plays Mac Rebennack was widely heralded by music critics and aficionados everywhere as one of the seminal touchstones of New Orleans piano style. From a full page of coverage in Time, to Record of the Month in Stereo Review, to Keyboard, Playboy, Rolling Stone, People and Billboard (the record spent considerable time on the Billboard Jazz charts) .... Everyone noticed! When a year passed and Mac's recording and solo performances garnered the highest praise, he returned to the same piano in Chelsea for his second solo date. This session, which yielded the album "The Brightest Smile In Town," is now re-released and re-mastered with the inclusion of six previously unreleased tracks as "The Legendary Sessions Volume Two."
The second of back-to-back solo albums cut in the early '80s, Dr. John Plays Mac Rebennack: The Legendary Sessions Volume Two (originally released as The Brightest Smile in Town) presents a more balanced mix of vocal and instrumental tracks than its predecessor, Dr. John Plays Mac Rebennack. While it's fun to hear the great New Orleans pianist romp through "Box Car Boogie" and patiently work his way through the twilight blues of "Pretty Libby," the unexpected treats are the best: a heartsick version of Jimmy Rodgers's "Waiting for a Train;" a Doc Pomus cover, "Average Kind of Guy," that sounds like Randy Newman on a particularly good day; and "Marie La Veau," a highly syncopated bow to one of the Crescent City's many voodoo queens. By the time Rebennack ends Brightest Smile with two gorgeous instrumentals--a lovely take on Harold Arlen's "Come Rain or Come Shine" and "Suite Home New Orleans"--you're reminded just how encyclopedic his knowledge of American music is. (The 2006 reissue adds six previously unreleased bonus tracks.)
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume Two (flac 266mb)
01 Saddled the Cow 2:51
02 Boxcar Boogie 5:18
03 The Brightest Smile in Town 3:14
04 Waiting for a Train 3:23
05 Monkey Puzzle 4:42
06 Touro Infirmary 4:47
07 Medley: Just a Closer Walk With Thee / Didn't He Ramble 6:32
08 Your Average Kind of Guy 3:34
09 Pretty Libby 3:15
10 Marie La Veau 3:58
11 Come Rain or Come Shine 4:45
12 Suite Home New Orleans 3:53
13 Key to the Highway 3:48
14 Mississippi Mud 2:00
15 Lowdown, Worried and Blue 3:50
16 Sippiana Midnight 2:15
17 Rockin' Pneumonia and the Boogie Woogie Flu 3:55
18 Yesterdays 1:34
Dr John Plays Mac Rebennack, The Legendary Sessions, Volume Two (ogg 142mb)
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On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one.
Dr. John - In A Sentimental Mood (flac 220mb)
01 Makin' Whoopee! 4:09
02 Candy 5:33
03 Accentuate The Positive 3:55
04 My Buddy 3:50
05 In A Sentimental Mood 4:05
06 Black Night 4:12
07 Don't Let The Sun Catch You Cryin' 4:52
08 Love For Sale 5:18
09 More Than You Know 4:40
Dr. John - In A Sentimental Mood (ogg 94mb)
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Jun 6, 2015
RhoDeo 1522 Grooves
Hello, I admit I'm somewhat surprised of the lack of requests for re-ups, sure some individuals don't feel inhibited to ask (a lot sometimes) but considering the number of people passing thru here everyday i'd expected a much more varied bunch of re-up requests, come on don't be shy....
Today even more from that American singer-songwriter, pianist and guitarist, whose music combines blues, pop, jazz as well as zydeco, boogie woogie and rock and roll. Active as a session musician since the late 1950s, he gained a cult following in the late 1960s following the release of his album Gris-Gris.... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
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see last week
Today even more from that American singer-songwriter, pianist and guitarist, whose music combines blues, pop, jazz as well as zydeco, boogie woogie and rock and roll. Active as a session musician since the late 1950s, he gained a cult following in the late 1960s following the release of his album Gris-Gris.... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
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see last week
May 30, 2015
RhoDeo 1521 Grooves
Hello, Sepp Blatter or how you can stay on forever as long as you play Santa Claus with FIFA money.... oh oh.
Today more from that American singer-songwriter, pianist and guitarist, whose music combines blues, pop, jazz as well as zydeco, boogie woogie and rock and roll. Active as a session musician since the late 1950s, he gained a cult following in the late 1960s following the release of his album Gris-Gris.... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
clearly someone leeching from dr John fears his/her cut is running to thin therefore this page has been more or less deleted...
Today more from that American singer-songwriter, pianist and guitarist, whose music combines blues, pop, jazz as well as zydeco, boogie woogie and rock and roll. Active as a session musician since the late 1950s, he gained a cult following in the late 1960s following the release of his album Gris-Gris.... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in New Orleans, Louisiana, United States, Dr. John's Acadian ancestry traces back to the imperial territory of Alsace-Lorraine. He claims that his lineage took root in New Orleans sometime in the early 1800s. Growing up in the Third Ward, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister and cousins who played piano. He did not take music lessons before his teens, and only endured a short stint in choir before getting kicked out. His father, the owner of an appliance store and record shop, exposed him as a young boy to prominent jazz musicians like King Oliver and Louis Armstrong, who inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father's connections enabled him access to the recording rooms of burgeoning rock artists such as Little Richard and Guitar Slim. From these exposures he advanced into clubs and onto the stage with varying local artists, most notably, Professor Longhair.
When he was about 13 or 14 years old, Rebennack met Professor Longhair, which started a period in his life that would mark rapid growth as a musician and the beginnings of his entry into professional music. He describes his initial impression of Professor Longhair with note, not only of his musical prowess, but of his style: "I was also fascinated that he was sitting out there in a turtleneck shirt with a beautiful gold chain with a watch hangin' on it, and an Army fatigue cap on his head.
Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate exclusively on keyboards. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he was capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed up with the Black Keys' Dan Auerbach to produce and record Locked Down. It was issued in the spring of 2012. Two years later, he released the third album in his tribute series, a collection of songs by and associated with Louis Armstrong entitled Ske-Dat-De-Dat: Spirit of Satch. It featured guest appearances from Bonnie Raitt, Ledisi, and the McCrary Sisters, and Blind Boys of Alabama, and appeared in August of 2014.
clearly someone leeching from dr John fears his/her cut is running to thin therefore this page has been more or less deleted...
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