RhoDeo 1340 Aetix

Hello,  news of the day was the OECD report that England and US lag behind most of the Western world in their mastering of the basic skills of literacy, numeracy and IT, according to an influential study published today. It shows there has been no improvement in performance in the basic between today's 16 to 24-year-olds and their grandparents' age (55 to 65-year-olds). They are the only ones in the western world to fare worse than their older peers. Clearly this doesn't bode well to how their future society can function, if the rest of the world leaves them behind. In this study Finland and the Netherlands were 2 and 3 overall and Japan no 1 but the rest of Asia is catching up fast and sheer numbers will make the rest of the worlds input in our collective future of less and less importance. It's becoming clearer that without all that virtual money flowing through London and New York, it's societies could collapse rather quickly with nothing much to fall back upon...

As we continue the females in the eighties today, today an American singer, songwriter, who's nominally started out as part of a band but whose personality clearly alowed the men around her only play second fiddle, hence over the years she must have used at least a dozen different 'backing' line ups. Charismatic they say, sounds rather eufemistic to me. Well it's about the music here and at the beginning there was plenty .....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Led by the charismatic Martha Davis, the Motels were one of the most successful and acclaimed bands to emerge from the fertile Los Angeles new wave scene, reaching the Top Ten in 1982 with their biggest hit, "Only the Lonely." Davis formed the group in 1972 while living in Berkeley, California, recruiting guitarist Dean Chamberlain and bassist Richard d'Andrea; originally dubbed the Warfield Foxes, they became the Motels upon relocating to L.A., but despite interest from a number of record labels, the group suffered through endless lineup changes, finally disbanding in 1976.

In March 1978, Davis and lead guitarist Jeff Jourard (formerly of a pre-fame version of Tom Petty and the Heartbreakers) decided to reform The Motels. Extensive auditions resulted in a new line-up of the band being formed, consisting of Jourard's brother Marty, who played both the saxophone and keyboards, Michael Goodroe on bass, and Brian Glascock on drums. Short on funds, the band shared rehearsal space with The Go-Go's at L.A.'s notorious punk basement, The Masque, and they played in Chinatown, at Madame Wong's restaurant/nightclub with such regularity that they were almost considered the house band. The Motels began to draw faithful crowds around the L.A. music scene and on Mother's Day 1979 the group signed with Capitol Records, releasing their debut album The Motels four months later. Their first single, "Closets and Bullets", made no impact on the charts, but their second single release, "Total Control", found its way to the Top 20 in France and the Top 10 in Australia.

The band hired record producer Val Garay for their third album, Apocalypso. It was scheduled to be released in November 1981, but after Capitol Records heard the final product, they rejected it for being "not commercial enough" and "too weird".[9][13] The band attempted to go back and re-record the entire album but in the process, Davis and McGovern's relationship dissolved and by December 1981 McGovern was no longer in the band (McGovern subsequently formed the band Burning Sensations). The rest of the band members forged on to finish recording the new album, utilizing studio musicians to fill in for McGovern on several of the tracks.  The album was released on April 5, 1982 under the title All Four One.

The first single from All Four One was "Only the Lonely", which reached No. 9 on the Billboard Hot 100 and No. 6 on the Billboard Top Tracks chart. The song "Mission of Mercy" also received enough airplay to reach No. 23 on the Top Tracks chart. The release of All Four One, the band's first successful U.S. album, coincided with the emergence of MTV, which led to music videos being created for both "Only the Lonely" and "Take the L". Davis won an award in the Best Performance in a Music Video category at the American Music Awards in 1982 for her performance in the "Only the Lonely" video. During 1982, the band added keyboardist/guitarist Scott Thurston formerly of Iggy and The Stooges to their touring line-up.

Producer Val Garay was now firmly in control of album and video production for the band and had also become their new manager, following the band's decision to dispense with their previous management company, Fritz Turner Management. In January 1983 The Motels appeared on Saturday Night Live. The band returned to the recording studio in February 1983 and released the album Little Robbers later that same year. The first single from the album, "Suddenly Last Summer", was a Top 10 hit in the United States, with the album eventually going gold in America, Canada, and a number of other countries. The first leg of the Little Robbers tour started in January 1984 but ended abruptly in February with the firing of Garay as manager for personal reasons. Drummer Platshon was dropped and Glascock resumed his spot on the drum chair.

In late 1984, Capitol Records brought in producer Richie Zito, in an attempt to maintain the band's commercialism. After more than a year of recording, the group finally released their fifth album, Shock, in September 1985. The first single from the album was "Shame", which reached No. 21 on the Billboard Hot 100.  From early 1986 to February 1987 The Motels worked on songs for a planned sixth album. However, on February 13, 1987, Martha Davis took each member of the band in turn to a local bar to notify them that she had decided to dissolve the band and go solo.

Davis released her first solo album entitled Policy in November 1987. Musicians who worked with her included Clarence Clemons, Kenny G and Charlie Sexton. In November, she had a No. 8 hit in Australia with "Don't Tell Me the Time", but in the U.S. the song only reached No. 80. the album's critical reception was lukewarm, with many reviewers praising Davis' voice but noting that the album sounded lightweight and lacking atmospheric punch. Soon afterwards, Davis asked to be released from her contract with Capitol Records.

In 1997, Martha Davis began appearing live with a band members of the Motels that kept on changing in the years that followed. As of 2006 the Motel's occupants included Davis on vocal and guitar, Nick Johns (bass/keyboard), Eric Gardner (drums), Clint Walsh (guitar), and Jon Siebels (guitar). In 2005 Davis and the new Motels released an independent CD titled So the Story Goes which sold out.[24] Sony Records also released a live album titled Standing Room Only, which was recorded live in 2006 at the famed Coach House Club in San Juan Capistrano. The Motels featuring Martha Davis also appeared on the U.S. version of Hit Me, Baby, One More Time and toured the U.S. and Australia in 2007.

The album Clean Modern and Reasonable, issued in September 2007, was the first release under the banner "The Motels" in 22 years. The album contains acoustic versions of past hits, B-sides and Davis solo material, including new recordings of "Take The L", "Only the Lonely", and "Suddenly Last Summer". In April 2008 Martha Davis/The Motels released two new albums on the same day; The Motels' new studio album This and the Martha Davis solo project Beautiful Life. The solo album was billed as a darkly autobiographical journey through Davis' life. The lost album Apocalypso would finally see release in 2011, thanks to the archival label Omnivore.

At the end of 2012, Martha Davis and The Motels opened for The Go-Go's at the Hollywood Bowl, their first performance at this venue. This was the beginning of a rise in the band's popularity and success. Davis began the year 2013, on January 25, performing at the NAMM convention in their “Living Legends” special concert series on their Main Stage. During the 2013 tour the band was listed in flyers and websites as "Martha Davis and the Motels, latest occupants of The Martha Davis Motel are Nick Johns (bass/keyboard), Eric Gardner (drums), Clint Walsh (guitar), and Brady Wills (bass).

xxxxx xxxxx xxxxx xxxxx xxxxx

1979's self-titled debut release from the California band the Motels comes across as what a less pretentious Doors might have sounded like had they emerged during the new wave era. The Motels is a fairly cold, almost robotic affair which trades in lyrics that explore the darker side of life in Los Angeles. There are a few tracks that bear repeated listens like the frantic "Kix" and "Celia," a warning to a woman involved with the wrong guy. "Total Control," a big hit for the band in Australia and later covered by Tina Turner, is the album's standout with its menacing lyrics of possession delivered by Martha Davis. Although she tends to over-sing at times, Davis is a riveting and sensual vocalist and her vocals hint at the potential in the band. With their second release, the Motels make steps toward a more seamless style of new wave-inflected pop. Careful kicks off with the perky, sax-driven "Danger," and there are more hits than misses. The lyrics still lean toward the darker side as on the moody, watercolor melody of the title track, but there are also moments that are pop gems like the Europop-styled "Bonjour Baby," the midtempo rock of "Days Are O.K. (But the Nights Were Made for Love), which features the album's catchiest hook, and the uptempo "Cry Baby." Martha Davis, with her distinctive vocals, is still the band's trump card, but this time around the band gives her a little more backing.

The Motels - I + Careful  (flac 459mb)

01 Anticipating 3:50
02 Kix 2:13
03 Total Control 5:51
04 Love Don't Help 1:56
05 Closets & Bullets 4:20
06 Atomic Café 2:46
07 Celia 3:04
08 Porn Reggae 4:17
09 Dressing Up 5:02
10 Counting 4:30
Careful
11 Danger 3:22
12 Envy 3:23
13 Careful 3:26
14 Bonjour Baby 3:36
15 Party Professionals 3:13
16 Days Are O.K. 3:30
17 Cry Baby 3:24
18 Whose Problem? 3:47
19 People, Places And Things 2:42
20 Slow Town 4:14

xxxxx xxxxx xxxxx xxxxx xxxxx

The Motels' third album All 4 One finds the group working the fine line between mainstream arena-rock and quirky new wave pop. Their roots lie in the sleek, polished Californian hard rock that dominated late-'70s and early-'80s album-oriented radio, but All Four One has a shiny new wave production, complete with keyboards and processed guitars. Still, it plays like arena rock, especially since Martha Davis oversings each track, but its best moments -- "Take the L" (out of lover and it's over) and the single "Only the Lonely" -- are embarrassingly catchy guilty pleasures that make the album an entertaining nostalgia piece.

The Motels - All Four One  (flac 340mb)

01 Mission Of Mercy 3:02
02 Take The L 3:42
03 Only The Lonely 3:16
04 Art Fails 3:12
05 Change My Mind 3:21
06 So L.A. 3:26
07 Tragic Surf 3:32
08 Apocalypso 3:31
09 He Hit Me (And It Felt Like A Kiss) 2:28
10 Forever Mine 3:22
Bonus Tracks
11 So L. A. (Apocalypso Version) 3:34
12 Schneekin (Apocalypso Version) 4:10
13 Mission Of Mercy (Apocalypso Version) 3:36
14 Who Could Resist That Face (Apocalypso Version) 4:11
15 Only The Lonelly (Live) 3:19

xxxxx

Little Robbers, the follow-up to the Motels' commercial breakthrough All 4 One, is nearly as consistent as its predecessor, finding the perfect balance between mainstream rock conventions and quirky new wave flourishes. Again, the singles are the best parts of the record, with the hazy "Suddenly Last Summer" deservedly reaching the Top Ten and "Remember the Nights" being a fine AOR workout, but the remainder of the album suffers from undistinguished material and a distinct lack of hooks.

The Motels - Little Robbers  (flac 263mb)

01 Where Do We Go From Here (Nothing Sacred) 3:35
02 Suddenly Last Summer 3:40
03 Isle Of You 4:03
04 Trust Me 3:07
05 Monday Shutdown 3:40
06 Remember The Nights 3:10
07 Little Robbers 4:00
08 Into The Heartland 3:27
09 Tables Turned 3:33
10 Footsteps 3:40

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1340 Roots

Hello, we still find ourselves in an environment that gave rise to the worlds monotheistic religions be that on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water useally tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes. And the moon became their God.

Today more from Mali, after all it has one of the most intensely musical cultures in all Africa. Today's artist sort of announced himself the previous weeks, he is unique not only because of his reputation as the "Golden Voice of Africa" but because he has albinism aswell, a bad omen in supersticious Africa. But then he was of royal heritage alas this meant that under the Malian caste system, he should never have become a singer, which was deemed to be a griot’s role. In short a most unlikely career was what followed here today compilations of his seventies work. ......N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Salif Keita gave up a lot to pursue his dreams of a career in music. Keita was born in the village of Djoliba. He was cast out by his family and ostracized by the community because of his albinism, a sign of bad luck in Mandinka culture (and the rest of Africa). Born (August 25, 1949) to royal lineage, with ancestral roots going back to Soundjata Keita, the founder of the Malian Empire in 1240, Keita was disowned by his father after announcing his plans to play music. Keita's dreams, however, were too strong to be shattered.

Moving to the capitol city of Bamako in 1967, he was soon playing in nightclubs with one of his brothers. Within two years, he was invited to join the Rail Band. A popular, government-sponsored group that played regularly at the Buffet Hotel de la Gare, the Rail Band featured influential Malian guitar player Kante Manfila. Keita's soulful singing soon brought the band to a much higher plateau. In 1973 Keita joined the group, Les Ambassadeurs. Keita and Les Ambassadeurs fled political unrest in Mali during the mid-1970s for Abidjan, Ivory Coast and subsequently changed the group's name to "Les Ambassadeurs Internationaux".

In 1977, Keita received the prestigious National Order of Guinea from President Ahmed Sekou Toure. Encouraged to pursue a solo career, Keita moved to Paris in 1984. Settling in the city's Montreuil section, he found a thriving community of more than 15,000 transplanted Malians. Predictions of success proved true with the release of Keita's debut solo album, Soro, in 1987. Produced by Ibrahim Sylla, the album combined African, jazz, funk, Europop, and R&B influences.

Musical instruments that are commonly featured in Keita's work include balafons, djembes, guitars, koras, organs, saxophones, and synthesizers. In 1990, Keita contributed "Begin the Beguine" to the Cole Porter tribute/AIDS benefit album Red Hot + Blue, produced by the Red Hot Organization. Keita found success in Europe as one of the African stars of world music, but his work was sometimes criticised for the gloss of its production.

Keita continued his recording career with several releases for Mango throughout the '90s, including the Mansa of Mali anthology, before moving to Blue Note for Papa in 1999. Shortly after the turn of the Millennium he returned to Bamako in Mali to live and record. His first work after going home, 2002's Moffou was hailed as his best album in many years nd he received a Grammy nomination for the album. Keita was inspired to build a recording studio in Bamako, which he used for his album M'Bemba, released in October 2005.

Keita's album, La Différence, was produced around the end of 2009. The work is dedicated to the struggle of the world albino community (victims of human sacrifice), for which Keita has been crusading all his life. La Différence is unique in that for the first time Keita has clearly and boldly combined different melodic influences to produce a highly original musical feel. The album was recorded between Bamako, Beirut, Paris, and Los Angeles. The album won Keita one of the biggest musical awards of his career: the Best World Music 2010 at the Victoires de la musique.


xxxxx xxxxx xxxxx xxxxx xxxxx

In the spring of 1973 Salif Keita left the Rail Band to join Les Ambassadeurs du Motel. About the move he states (in Florent Mazzoleni's "Salif Keita - La voix du Mandingue): "With the Rail Band I learned nothing, we only played what we heard. Les Ambassadeurs were more experienced: we weren't playing modernised folklore. Les Elephants Noirs* were intellectuals. Arriving at the group I signed an apprenticeship contract to study music. We really played all kinds of music. We were like a real family, I really felt more at ease with Les Ambassadeurs. We rehearsed and studied the songs from 10 a.m. to 2 p.m. and played them the same evening."

So Les Ambassadeurs were sophisticated and 'hip',  leader of the hip team was Guinean guitarist Manfila Kanté, who had joined the orchestra a year before Salif, coming from Ivory Coast. He succeeded Malian sax player Moussa 'Vieux' Sissoko as chef d'orchestre. Among the other team members were Tagus Traoré (trumpet) from Guinea and singer Ousmane Dia, a Senegalese who had played with the legendary Star Band. But the majority came from Mali, with organist Idrissa Sumaoro (who will the subject of a future post), rhythm guitarist Amadou Bagayoko (of Amadou & Mariam fame), multi-instrumentalist (flute, balafon, violin) Keletigui Diabaté and singer Beidy Sacko.

Les Ambassadeurs Feat Salif Keita - African Classics (flac  429mb)

01 DJandjon 12:01
02 DJougouya 8:16
03 Kibaru 20:50
04 Bara Willile 8:04
05 Wara 8:43
06 Wassolon Foli 7:36
07 Mandjougoulon 6:44

Les Ambassadeurs Feat Salif Keita - African Classics  (ogg 144mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

From the Wrasse label comes this compilation of works featuring the great Mansa of Mali in his earlier days. The album essentially covers the years up to 1984, when Les Ambassadeurs broke up. The coverage is of the old Rail Band days with Mory Kante, the Ambassadeurs days (from Bamako and Abidjan) with Kante Manfila, and some of the early solo work from Salif Keita. The instrumental work is outstanding, as both of the bands of which Keita was a member were known for their musicality (as well as taking Mandingo music electric and mixing in some Cuban sounds). The highlight is, of course, Keita's powerful vocals, though at the time of some of these recordings, he still hadn't spent much time listening to American singers (Stevie Wonder, Ray Charles, and Tina Turner are often cited as influences), so the sound isn't developed to the stage it was at later. If there is any problem to be had with the album, it's that the recording quality is at times mildly less than perfect (though still not too bad). The music is good, and Keita's singing exceptional.

Salif Keita - The Best Of The Early Years (flac 436mb)

01 Tiramakan 4:01
02 Djigui  8:08
03 Seydou Bathili 9:19
04 N'Toman 8:19
05 Soundiata 10:29
06 Soyomba 7:18
07 Kankoun 7:09
08 Super Coulou 8:34
09 Mandjou 12:42

Salif Keita - The Best Of The Early Years (ogg 178mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

How do you make a compilation of the early years of Salif Keita, one of Mali's golden voices, without his classic "Mandjou"? The answer is, you don't, and it's included on 1969-1980. The tracks mostly come from the latter half of the period, after he'd left the Super Rail Band and set up with les Ambassadeurs. Recorded in Abidjan and Washington, D.C., it's stirring stuff from one of the great, if underrated, African bands. Under the leadership of Kante Manfila, les Ambassadeurs had it all -- the swing and roots, and the jazz abilities equal to anybody, anywhere. But Keita's voice was the icing on the cake, as he proved again and again, not only on "Mandjou," but also tracks like "Mana-Mani" and "Sidiki." He might not have been born into a griot family, but his voice possessed all the magic of a griot, ranging easily from rough to silky, with a staggering emotional range that's amply demonstrated in these songs. If you only know Keita from his solo work -- some of which has been very patchy -- you owe it to yourself to go back and discover his excellent roots.

Salif Keita - 69.80   (flac  371mb)

01 Mana Mani 6:39
02 Mandjou 12:36
03 Primpin 8:26
04 Walé 10:01
05 4V 6:00
06 Sidiki 8:10
07 N'Toman 8:16
08 Marfa 7:16

Salif Keita - 69.80   (ogg 151mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1340 Aliens 01

Hello, well I hope you enjoyed the sunday, there were the worldchampion gymnastics if that's your thing and admittedly it looks spectacular but then what's the use of all those acrobatics. The Tarzan title once again went to the Flying Dutchman who unlike most competitors trains only part time as he has to do his rounds in hospital as well, doing his internship. Respect ! Meanwhile on the other side of the world Sebastian Vettel drove to the brink of his fourth consecutive World Championship title with his eighth victory of the season and fourth in a row in the Korean Grand Prix – but behind him smoke, fire and controversy raged. It was an entertaining race not much was seen of Vettel, but then there was plenty of wheel-to-wheel racing, a high-speed tyre blowout, two safety cars, a fire and a fire truck that bizarrely led the race for a short time.. and still socalled fans complain just because their man can't win. Lets hope England will be able to beat tiny Montenegro this week otherwise the 'sportsfans' might go beserk.


The coming weeks a six-part BBC radio drama starring none other than Peter Cushing and Vincent Prince, who between them became two of the most famous horror film stars of the 1950s and 1960s. "Aliens in the Mind" is based on a story by the then-foremost "Doctor Who" script editor Robert Holmes. It centres around the discovery, on a remote Scottish island, of a community of 'human mutants' capable of telepathy. A plan is in place to use them to control the British Government, and friends Curtis Lark (Vincent Price) and Hugh Baxter (Peter Cushing) join forces to combat them.  ... NJoy

 xxxxx xxxxx xxxxx xxxxx xxxxx

Aliens in the Mind began life as a submission for Doctor Who in the late 1960s by the now legendary Robert Holmes.  Initially titled Aliens in the Blood, it would have featured the second Doctor, Jamie, and presumably Zoe. For various reasons,  the script was never  picked up, but several years later its outline was, and used  to form the basis of this radio serial. Holmes was apparently unable to write the script himself, and it was instead handled by one Rene Basilico - although, having been unable to find any further information on this individual, he may be a pseudonym for all I know.

Rewritten in its entirety, the story is centred  around two academics, Professor Curtis Lark and  John Cornelius,  who are  played by two absolute legends of horror and sci-fi. The more stoic and mild-mannered Cornelius is played by movie Doctor Peter Cushing, while  his witty American parapsychologist  foil  is voiced by Vincent Price. Cushing is, of course, perfect in his role as a gentlemanly surgeon, while Price is as wonderfully fruity and sardonic as ever. The duo are old acquaintances, reunited when their friend, Dr Hugh Dexter, is killed under mysterious circumstances.

Travelling to the remote Hebridean island of Lerwigh, the doctorish duo find that Dexter’s death is just one part of a far greater mystery. For the Lerwigh is plagued by something known as ‘island sickness’ - a strange affliction that affects the locals minds in their teens. Further investigation reveals that this is merely the maturation stage for a race of mutants - human anomalies with telepathic tendencies. Tendencies that even they, for the most part, are unaware of. They’d be harmless were it not for the occasional second-stage mutation, the so-called Controllers or Masters, who have the ability to psychically control the main mutant populace.

Uncovering the signs of a conspiracy, the pair take the young Flora (Sandra Clarke) away for examination. To all appearances, she is nothing more than a mentally-disabled young adult, but is, in fact, a budding Controller, able to call her fellow mutants from anywhere within a mile radius to obey her every command. In London, they discover that the emigration from Lerwigh has created a greater threat to humanity than they could ever have realised.

It’s a slow-paced drama, concerned with gently racking up the tension rather than providing action and thrills. It’s perhaps  too slow at times, dragging in the middle episodes, although continual revelations and plot developments maintain interest. Cushing and Price dominate a fair-sized cast, their voices always distinct against the array of Scots accents. Scenes which have them simply sitting down to dinner are used to summarise the plot, with  just  a smattering of banter to  help  keep it diverting. There are flashes of Holmesian wit, but the dialogue does sometimes slip into dry exposition. Nonetheless, the tension gradually mounts to a chilling finale, which manages to tie up the immediate threat, while leaving the ending open to the greater consequences. Who fans will enjoy hearing Richard Hurndall in the cast, bringing two substitute first Doctors together. There’s some subtle but effective sound work, including some very restrained gunshots, but the main strength of the play lies in Price and Cushing’s earnest depiction of the concepts, which take in telepathy; hypnotism; slavery; politics; and eugenics.

This renowned production from 1976 is sure to delight fans of science fiction, archive radio, horror films and "Doctor Who." Six episodes of 30 minutes each - First broadcast in 1977.

With:
-----
Peter Cushing
Vincent Price
Sandra Clarke

xxxxx xxxxx xxxxx xxxxx xxxxx


Aliens On The Mind 01 Island Genesis (25mb)

01 Island Genesis 27:30

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1340

Hello, as i posted the last of the Inside Out's for the moment last week, I would like to have some feedback on the 'specials' i posted, after all a good number of you downloaded the Brainwave syncs, the meditation series got plenty of interest too. Sharing some of your experiences is not just for my interest but for all interested visitors, so please let me hear from you.

xxxxx xxxxx xxxxx xxxxx xxxxx

Today's artists continually develop the quality of the sound of their projects,  these guys are seriously keen on contemporary sound technics of chill-out ambient and also folk and world motifs - their music is transforming, develops and is always full of new ideas and concepts, the future sound of Moscow .. ... N'Joy

xxxxx

Koan is the Duo comprised of Daniel Roeth and William Grey, and are based in Moscow, Russia. Daniel had been spinning vinyl since 1993 in local clubs; mainly Acid and Hard Techno. In 1995 he met William, who already had some experience in music making and sampler technologies. Together they founded two projects, “Koan” for Downtempo and “Vacuum Stalkers” for more Progressive/Tech stuff. Daniel soon left his career as a DJ and put all of his energy into the studio work. William took on the role of Sampler Programming/Producer.

During 1995-2005 they wrote and recorded a lot of tracks, some of which disappeared in time bubbles and some of which were released and had a lot of success in local Moscow clubs. The real success came after the release of their first album “Talking Stones” (2005) at the same label When Invisible Becomes Visible EP (2005) and mix-album Signs (2006) were released. It expands borders of Koan's creativity offering absolutely other sight on ethnic lounge, than we have heard on the first album. In the same 2006 there was the first international-published solo disk Koan under the name Two Moon Butterflies (2006). The release has offered listeners the whole new sound quality level. Some indelible hits made album completely sold in no time by all large Internet psy shops. Many top labels released their tracks that year and Koan guys also spends active summer, participating in the European festivals. In 2007 musicians got a little break, fiercely working over the new style, a new sound and new ideas. The release of 5 tracks Fulfilled Wish EP (2007) at fresh perspective Russian studio became an intermediate result of year. Also released out a project composition at the compilation again. Koan was issued also on Blue Tunes Rec. In 2008 digital 4 tracks release Watermarks Remixes - which includes remix from Behind Blue Eyes.

They released “When the Silence is Speaking” in late 2009. In 2010 they were very productive releasing basically 2 double albums   The Signs: Entanglement and Inhale/Exhale. The next year saw the light of day for ‎The Fables Of Belovodye  ‎as well as 2 EP's   Circe's Touch Remixes vol.1 & 2 In 2012 Koan released Argonautica, the Mitakuye Oyasin EP and the six versions La Incertezza EP. 2013 has been relatively quiet thusfar just the Red Path EP and one double album When The Silence Is Speaking / When The Silence Is Moving. You could say these guys have been very productive and all to a very high standard wouldn't they have come from
Russia they'd probably be called a supergroup by now....

xxxxx xxxxx xxxxx xxxxx xxxxx

Daniel Roeth and William Grey, known as the Moscow Koan is a duo, which arose in the early 1990s. "Legends" consists of 2 parts: "Inhale" and "Exhale", a collection of works 2002-2008. For the connoisseur of electronic, breaks, liquid, melodic, down-tempo and dub style music. This album has it all, absolutely exceptional. The Sequence of the tracks through out the album truly tells a story of its own. Highly recommend

Koan - Legends: Inhale (95 min  607mb)

01 Invisible Guide 1:23
02 Forgiveness 3:05
03 Empty Plain 4:08
04 Fire 0:46
05 Wandering Minestrel 9:15
06 Unique Moment (Green Mix) 6:56
07 Hidden Place (Green Mix) 8:07
08 Underwater Moonlight (Green Mix) 11:09
09 Innuendo (Green Mix) 9:54
10 Spirits Of The Old Lake 10:39
11 Immortal (Green Mix) 7:25
12 Wanderers From Earthsea (Green Mix) 7:21
13 Night Flight On A Sea Dragon (Green Mix) 5:33
14 There Is No Begin, There Is No End (Green Mix) 3:59
15 Where The Intention Leads (Tribute)(Green Mix) 4:08
16 Inhale 1:35

xxxxx xxxxx xxxxx

Koan - Legends: Exhale (79 min  499mb)

01 The Sky 1:05
02 Invisible Answers (Green Mix) 6:08
03 Fearless 5:41
04 Smooth Movements (Green Mix) 4:21
05 Exempting From The Spell 7:06
06 Winged Knights 9:05
07 The Earth 1:31
08 White Fire Of Mount Kailash 7:49
09 On The Ship Of The Ninth Heaven 5:58
10 Wing Of Changes (Green Mix) 4:02
11 Morgana's Amulet 4:13
12 Avariel's Heaven City (Green Mix) 9:22
13 Water 1:12
14 Last Meeting With White Wolf (Green Mix) 6:04
15 I Shall Return (Tribute)(Green Mix) 3:14
16 Exhale 2:29

xxxxx xxxxx xxxxx xxxxx xxxxx

The Fables Of Belovodye is the third album by the Russian duo, which has become one of the greatest acts in the post-2005 psychill scene. The hugely addictive rhythms and the brilliant psycho-acoustic sound effects are all here, crystal clear and beautiful as ever. But with this effort, Koan takes it to a much deeper level. The listener is immersed in a far-away land, swirling in and above misty white oceans and organic landscapes every bit as surreal and wondrous as the sculpture on the front cover. From the beginning to the end the album has an excellent structure in dynamism, fast-after-slow works perfectly.Fables of Belovodye evokes moods as a soundtrack might do, but yet each piece brings a different story entirely. There really is quite nothing out there that sounds like this album. In that sense, and considering that Koan is still mostly unknown in many parts of the world, it seems this is music a couple of generations ahead of its time.

Koan - The Fables Of Belovodye (77 min. 472mb)

01 Citadel Of Velimudr 1:35
02 Going To Shining Svarga 8:27
03 Buyan Island 8:07
04 Dusk Above Arkona 10:17
05 Arctic Whispers (Blue Mix) 9:31
06 Syverian Lake (Phoenix Spellbound Mix) 5:34
07 Radomir Flights 6:50
08 Flying Cities 9:08
09 In The Makarian Gardens 7:36
10 When We Left Arkaim (Blue Mix) 10:03

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1339 Beats

Hello,

These months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artists feature the cross prominently, hence gaining entry to the US market was much easier, and with a much media sampled track called Genesis the cynical as well as the believers can rejoice. Meanwhile the French way of catholic over the top pretence filled their coffers. Well you decide ....... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Justice (stylised as Jus†ice) is a French electronic music duo consisting of Gaspard Michel Andre Augé (born 21 May 1979 in Besançon, Doubs) and Xavier de Rosnay (born 2 July 1982 in Ozoir-la-Ferrière, Seine et Marne). Justice first produced tracks together for Musclorvision's "Hits Up to You", a concept compilation where tracks were designed to sound like they were meant for the Eurovision song contest. The compilation included two of their songs, and a track by Augé's alter-ego Microloisir. Justice first came to prominence through their 2003 remix of Simian's track "Never Be Alone", created for a Paris college radio station's remix contest. The remix resulted in the group being signed to Ed Banger (who released it) and became a hit in clubs and on the Internet.

After the original release of "We Are Your Friends" Justice worked on remixes for a number of French groups (Vicarious Bliss, Scenario Rock, and Gambit) as well as for larger mainstream acts such as Britney Spears, N*E*R*D, Fatboy Slim, and Daft Punk.[ Justice's first solo single, "Waters of Nazareth", was released on Ed Banger Records in September 2005 and was championed by DJs such as Erol Alkan, Eddy Temple-Morris, Tiga, 2 Many DJ's, and Ivan Smagghe. The track was re-released in 2006 with additional remixes. The duo's prolific remix work continued, as they turned in mixes for Franz Ferdinand, Mystery Jets, Soulwax, and Mr. Oizo.

Their debut album, titled †, was released on Ed Banger Records on 11 June 2007. The album was released in the United States on Downtown/Ed Banger. The album was preceded by the D.A.N.C.E. EP, released on 28 May 2007, which featured the tracks "Phantom" and their own remix of "D.A.N.C.E." titled "B.E.A.T". "D.A.N.C.E." was nominated for "Video of the Year" at the 2007 MTV Video Music Awards. Justice appeared as a Live PA at the 2007 Parklife and festivals around Australia, the 2008 Coachella festival; the 2007 and 2008 Sónar festival in Barcelona; Fuji Rock Festival in Niigata, Japan and basically all big festivals across Europe. Apart from the disco and funk influences of electro house, their style has some heavy metal influence. Justice combines cut-up basslines with compressed and distorted synth sounds.

In July 2008, Justice was revealed to have done a mix for the Dior Homme Summer 2009 Fashion Show, much like Daft Punk did for Louis Vuitton in 2007. The track, now known as Planisphere, was released in four parts on the band's MySpace page, with an extra final cut that did not make it into the fashion show mix (known as "Planisphere IV", or "Planisphere Final"). On 25 August 2008, the band announced via MySpace that their next major release would be a DVD documentary/concert film titled A Cross the Universe. The announcement was also tied in with an invitation for fans to e-mail photos, images and artwork to an address so that the received photos could be compiled for use as artwork for the release. An iconic scene in A Cross The Universe happens in Las Vegas, where, as a homage to Axl Rose, Gaspard marries a groupie whom he had met three hours previously.

On 28 March 2011, the Justice single, "Civilization" was released as a one week iTunes exclusive, in full, as a premier for the release of the single on 4 April. On the 27 May, the duo released the official music video for the single on YouTube. In August 2011, the band announced that their sophomore record, Audio, Video, Disco, would be released 24 October 2011.[36] In an interview with French magazine Tsugi, the duo disclosed the 11 song tracklist of the album, and described it as "a progressive rock record, played by guys that don't know how to play".

In March 2012, the band played mainstage at Ultra Music Festival in Miami, Florida. The duo played many of their hits from their critically acclaimed debut album †, as well as many of the new tracks off of Audio, Video, Disco. In April 2012, Justice was also a headlining act at Coachella Valley Music Festival in Indio, California. Justice headlined at Montreal's Osheaga on August 3, 2012 and Chicago's Lollapalooza on Sunday, August 5. Justice also played at San Francisco's Outside Lands Music Festival on Friday, August 10. In October 2012, the band played at Voodoo Experience in New Orleans, Louisiana. Justice completed their world tour of the live show on November 10, 2012 playing at One Festival in Mexico City, Mexico. On 7 May 2013, the band released their second live album, Access All Arenas, which was recorded at the Arena of Nîmes in France on 19 July 2012.



xxxxx xxxxx xxxxx xxxxx xxxxx

Before Justice first album release the boyz had been busy making a name for them selves, specially their version of Simian's Never Be Alone made a big splash. It opened many a door hence lot's of interesting remix requests, collected here together with their first singles/compilation entries. A must have for the fan but finding a hard copy won't be easy, but then we like it digital here....

Justice - Productions & Remixes ( flac 350mb)

01 Justice vs. Simian - Never Be Alone 4:23
02 Justice - Waters Of Nazareth 4:46
03 Justice - Let There Be Light 5:00
04 Justice - Carpates 5:34
05 Justice - One Minute To Midnight 3:42
Justice Remixes
06 Vicarious Bliss - Theme From... (Justice Remix) 4:56
07 Scenario Rock - Skitzo Dancer (Justice Remix) 4:54
08 Death From Above 1979 - Blood On Our Hands (Justice Remix) 3:58
09 Soulwax - NY Excuse (Justice Remix) 4:55
10 Fatboy Slim - Don't Let The Man (Justice Remix) 4:12
11 Mystery Jets - You Can't Fool Me Dennis (Justice Remix) 4:09
12 Daft Punk - Human After All (Justice Remix) 4:05
13 Britney Spears - Me Against The Music (Justice Remix) 3:50
14 Franz Ferdinand - The Fallen (Justice Remix) 3:57
15 Mr. Oizo - Nazi (Justice Remix) 3:49

xxxxx xxxxx xxxxx xxxxx xxxxx

French boys Xavier de Rosnay and Gaspard Augé originally got their start in the music scene playing in bad Metallica and Nirvana cover bands, and the album art of Cross makes it look like a doomy metalcore release, but the record is anything but metal. In fact, it's almost everything but metal. It's a grimy mix of dancehall, techno, '80s R&B, and lounge with Clockwork Orange synths, deadly static crunches, hard-hitting kicks, grinding groans, and a spliced Off the Wall slap-popping bass. Scattered and chopped to all hell, the songs often feel revolutionary. This is partially due to the duo's "anything goes" attitude. It's as if Justice is reacting to complacency in latter-day electronic music and seeing how far they can take their slicing and dicing before the chopped up compositions fall apart. At certain moments, samples are dissected into such little snippets that it's hard to even decipher the instrument from the clicks and pops in-between the splices. Usually when the songs unravel to this point, they suddenly halt and get reeled back in to cohesion with the sudden snapback of a fishing lure that has been swept into the rapids. Instead of using their laptops to keep their beats tight and precise, Justice uses them to shake up their songs to such a gnarled, jittery point that they sometimes sound like mistakes. These happy accidents give the tunes a humanistic touch, like futuristic beats deconstructed by cavemen. While the instrumentals are often sinister and melancholy, as if they were concocted in a cold, cavernous atmosphere (which they were, in Rosnay's basement), the tracks with vocals are perfectly designed for a hot nightclub. "DVNO" has disco handclaps and bouncy vocals that could have been ripped from Oingo Boingo, "D.A.N.C.E." is tricked out with a Go! Team double-dutch flavor, and "Ththhee Ppaarrttyy" incorporates a cute-voiced rapper coaxing her friends to get "drunk and freaky fried" over a keyboard potentially lifted from Journey Through the Secret Life of Plants. At the darker end of the dance spectrum, "Stress" is an exhausting exercise in patience with a teapot whistle screaming over a tension-building Space Invaders type bassline, and "Waters of Nazareth" combines a crunchy church organ with a bottom-heavy synthesizer rolling in gravel. Admirably random samples dug up from underground sources like '70s Italian prog-rockers Goblin, combined with a reckless abandon and an adherence to melodic hooks, makes Cross one of the most interesting electro-crossovers since Ratatat, and the guys in Justice do an excellent job building on Daft Punk's innovative foundation.

Justice - † (flac 354mb)

01 Genesis 3:54
02 Let There Be Light 4:55
03 D.A.N.C.E. 4:02
04 New Jack 3:36
05 Phantom 4:22
06 Phantom Pt. II 3:20
07 Valentine 2:56
08 The Party 4:03
09 DVNO 3:56
10 Stress 4:58
11 Waters Of Nazareth 4:25
12 One Minute To Midnight 3:40

xxxxx xxxxx xxxxx xxxxx xxxxx

Designed to perpetuate their image as arena metal rock stars of the electro age, Justice's second release, A Cross the Universe, exposes the French duo's ability to whip a live audience to a frenzy by using a massive stack of Marshalls to amplify their laptops. The soundboard recording of their 2008 San Francisco performance, loaded with crowd noise, proves that you don't need a wealth of material, live instruments, or even microphones to put on an explosive show -- just an über-successful album with killer beats, a beast of a sound system, and a venue packed with people who like to D.A.N.C.E. Capitalizing on the critical and commercial acclaim of their debut, Cross, Gaspard and Xavier's set is almost completely made up of material from their 2007 release, and the only tracks left off the bill are "Newjack" and "Valentine." While this may sound like it's merely Cross with additional background screams, it's far from anything that conventional. Here, the pre-recorded sequences of fan favorites "DVNO," "Tthhee Ppaarrttyy," and "D.A.N.C.E." are born again, flipped and redecorated with aggressive house beats to the point that they feel fresh, but they still retain enough familiarity to get fists pumping and mouths singing along. Moods are brought to a peak as the parts build frenetically into strobe-like pulses, then die down into relieving ballads.

Justice - A Cross the Universe ( flac 544mb)

01 Intro 0:39
02 Genesis 7:20
03 Phantom P† I 2:50
04 Phantom P† I.5 4:45
05 D.A.N.C.E. 2:44
06 D.A.N.C.E. P† II 2:40
07 DVNO 2:58
08 Waters Of Nazareth (Prelude) 2:15
09 Two Minutes To Midnight 3:52
10 Tthhe Ppaarrttyy 2:47
11 Let There Be Lite 3:26
12 Stress 7:38
13 We Are Your Friends (Reprise) 3:42
14 Waters Of Nazareth 6:47
15 Phantom P† II 9:54
16 Encore 1:08
17 NY Excuse 6:13
18 Final 2:58

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1339 Goldy Rhox 128

Hello, today the 128th post of GoldyRhox, classic pop rock, in the darklight a UK band, are an English rock band formed in 1964 by Roger Daltrey (lead vocals, guitar, harmonica), Pete Townshend (guitar, vocals, keyboards), John Entwistle (bass, brass, vocals) and Keith Moon (drums, vocals). They became known for energetic live performances which often included instrument destruction.They have sold about 100 million records, and have charted 27 top forty singles in the United Kingdom and United States, as well as 17 top ten albums, with 18 Gold, 12 Platinum and 5 Multi-Platinum album awards in the United States alone

They were inducted into the Rock and Roll Hall of Fame in 1990, their first year of eligibility; the display describes them as "Prime contenders, in the minds of many, for the title of World's Greatest Rock Band. They have seven albums on Rolling Stone's 500 Greatest Albums of All Time

***** ***** ***** ***** *****

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the is the fourth album by today's band, released 23 May 1969 by Track Records and Polydor Records in the UK and Decca Records/MCA in the US. A double album telling a loose story about a "deaf, dumb and blind kid", it was the first musical work to be billed overtly as a rock opera. Released in 1969, the album was mostly composed by Pete Townshend. In 1998, it was inducted into the Grammy Hall of Fame for "historical, artistic and significant value". It has sold over 20 million copies worldwide.

When it was released, critics were split between those who thought the album was a masterpiece, the beginnings of a new genre, and those that felt it was exploitative. The album was banned by the BBC and certain US radio stations. Ultimately, the album became a commercial success, as did band's frequent live performances of the rock opera in the following years, elevating them to a new level of prestige and international stardom. Musically, today's mystery album is a complex set of pop-rock arrangements, generally based upon Townshend's acoustic guitar and built up with many overdubs by the four members of the band using many instruments, including bass, electric and acoustic guitars, piano, organ, drum kit, gong, timpani, trumpet, French horn, three-part vocal harmonies, and occasional doubling on vocal solos. In 2003, Rolling Stone magazine ranked today's mystery album number 96 on its list of the 500 greatest albums of all time, and it appeared in the book 1001 Albums You Must Hear Before You Die. It's been made into a film and brought to the stage as a musical. Here the 2003 remaster.



Goldy Rhox 128   (flac 493mb)

Goldy Rhox 128   (ogg 190mb)

***** ***** ***** ***** *****
previously , all re-upped
 1150
Goldy Rhox 50   (flac 250mb)

Goldy Rhox 50   (ogg 104mb)
1305
Goldy Rhox 94   (flac 515mb)

Goldy Rhox 94   (ogg 190mb)

***** ***** ***** ***** *****

RhoDeo 1339 Aetix

Hello, as Tea Party dances around as they feel they hurt Pres. Obama, it's the ordinary Federal employee that faces hardship. American politics has become a joke, it's why a third party is essential, maybe the republicans will split. That would be a good outcome new Republicans to the middle and Tea Party (republicans) to the right. In two weeks this confused party could bring the US crashing down if they refuse to raise the debt ceiling, how gun ho would that be ? Panic in the streets of London, and this whilst the western media have kept Fukushima out of the limelight, they start removing partly damaged fuel rods in November, the chances of a catastrophe are high, it could even become a global catastrophe, yet the task will be done by nervous company-men. And this ain't no Hollywood blockbuster, don't expect the Fab-Four or aliens come to the rescue. All of a sudden the silly predictions of a global war in 2015 look a little less unlikely.

As we continue the females in the eighties today, today an American singer, songwriter, she went through a punk rock phase, wearing a Mohawk hairdo and squatting in abandoned buildings in San Francisco, plenty of streetcred then, her success started in a most unusual way, the UK took a shine to an album she didn't know existed as it's recording was done in a most informal way. The first real album was a success however she didn't want to take that path and these days walks born again with god. But thiis here is about her eighties work. .....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Michelle Shocked was born Michelle Johnston in Dallas, TX, in 1962, where she spent her early childhood traveling around army bases. In 1977, she ran away from her Mormon fundamentalist mother to live with her father, who introduced her to country bluesmen Big Bill Broonzy and Leadbelly, as well as contemporary songwriters Guy Clark and Randy Newman. She spent the next several years exploring the folk underground, spending the early '80s in Austin, where she began honing her own songwriting skills. After dropping out of the University of Texas, she moved to San Francisco, where she quickly embraced the city's punk scene. When she returned home, her mother had her committed to a psychiatric hospital. She was released when her insurance ran out. Shocked left Texas in 1983, traveled throughout the U.S., and became an activist in the squatters movement in New York. In 1984, she moved to Amsterdam. In 1984, Shocked adopted the stage name "Michelle Shocked", often 'misquoted' as "Miss Shell Shocked" or "Me-Shell-Shocked" (delibarate ambivilance for sure)

In 1986, Shocked returned to the U.S. and, while volunteering at the Kerrville Folk Festival, English producer Pete Lawrence was impressed by her campfire-side playing and recorded her on his Sony Walkman. The recordings surfaced in the fall of that year as The Texas Campfire Tapes on Cooking Vinyl Records and became a surprise hit in England, eventually topping the independent charts. The success led to her signing with Mercury Records in 1988. Short Sharp Shocked, produced by Pete Anderson in 1988, displayed even more talent, combining the informal, tradition-rooted folkiness of The Texas Campfire Tapes with a strong postmodern feminist perspective and punk attitude. The album quickly earned her respect among the alternative community and critics.

In an unexpected move, Shocked returned in 1989 with Captain Swing, a '40s-style big band swing outing that surprised her fans initially but had no shortage of strong material. In 1992, she took something of a step back with Arkansas Traveler, a rootsy collection of songs based on the blackface minstrelsy that covered all forms of early American, homegrown music.That same year Shocked married journalist Bart Bull (they divorced in 2004). In 1993, Mercury finally became fed up with her confusing style jumping and refused to release her proposed gospel album. She then left on a solo tour, selling her newly recorded, independently produced (with Tony Berg) Kind Hearted Woman. Late in 1995, Shocked began legal action against Mercury Records to break her contract.

By 1996, Shocked was released from Mercury and embarked on the First Annual Underground Test Site Tour, with Fianchna O'Braonain. Another independent release, Artists Make Lousy Slaves, was sold at the shows. Kind Hearted Woman was picked up for commercial re-release by Private Music in 1996, and as a condition of her release from Mercury, her old label released a "best-of" compilation, Mercury Poise: 1988-1995, the same year.

In the mid-1990s, Shocked joined the choir of the West Angeles Church of God in Christ. After attending for several years, she became a born again Christian. Since her religious conversion, Shocked has made statements against homosexuality, linking this stance to her religious beliefs. After laying low for several years, in 2002 Shocked re-emerged with a new album, the gospel-influenced Deep Natural, and her own record label, Mighty Sound. In addition to releasing new work from Shocked, Mighty Sound began a program of expanded reissues of her back catalog, which she gained control of following her release from Mercury.

In mid-2005, Shocked audaciously released a trilogy of albums called Threesome (Don't Ask Don't Tell, Mexican Standoff and Got No Strings) she clearly had lots to sing about. To Heaven U Ride, a collection of covers and originals recorded live from Shocked's 2003 performance at the Telluride Bluegrass Festival, appeared in 2007, followed by Soul of My Soul, an all-new set of poppy originals in 2009.

While performing at the Wild Goose Festival in June 2011, a Christian event at which the inclusion of gay Christians was debated, Shocked responded to an audience member's question about homosexuality by saying "Who drafted me as a gay icon? You are looking at the world's greatest homophobe. Ask God what He thinks." On March 17, 2013, Shocked made an impromptu speech against same-sex marriage during a concert at Yoshi's nightclub in San Francisco, which led some audience members to leave in protest, and club management to end the show. At least eight venues cancelled scheduled performances in response to reports of Shocked's remarks. But let's remember she's been committed to a psychiatric hospital by her religiously fanatic mother, becoming one, though without children, was always on the cards, sad.

xxxxx xxxxx xxxxx xxxxx xxxxx

This album contains recordings of Michelle Shocked during a serendipitous meeting between English music enthusiast and wannabe record label exec Pete Lawrence and Shocked. The story goes that they were both attending the 1986 Kerrville Folk Festival in Texas when, during a walk around the campgrounds, Lawrence heard Shocked playing and asked if she would sing some of her songs for him. He produced a Sony Walkman cassette recorder and off they went. Shocked apparently thought nothing more of it until she received word that her new album had charted in England. She made the most of the opportunity and performed her very first professional gig at the Queen Elizabeth Hall in London. The album's lo-to-no fidelity actually works in favor of overall ambience as it creates a palpably organic backdrop for Shocked's uniformly enchanting tales. Her honestly executed material provides stripped-down authenticity that perfectly matches the singer/songwriter's original voice. The ultimately informal performance allows Shocked to effortlessly segue songs together into mini-medleys and give brief spoken explanations of tracks such as "The Incomplete Image" -- which seems to be more of a description of the fragmented work than an arbitrary title. Musically, Shocked seems to deeply draw upon the ramblin' imagery of Pete Seeger and Woody Guthrie on tracks such as "Down on Thomas Street" or her Bay Area ode "Fogtown." In 2003 Shocked and producer Cheryl Pawelski reissued a complete version of these recordings titled Texas Campfire Takes (2003) .

Michelle Shocked - The Texas Campfire Tapes  (flac 189mb)

01 5 A.M. In Amsterdam 2:08
02 The Secret Admirer 2:30
03 The Incomplete Image 2:31
04 Who Cares? 3:34
05 Down On Thomas St. 2:20
06 Fogtown 3:30
07 Steppin' Out 1:50
08 The Hep Cat 2:34
09 Necktie 2:19
10 (Don't You Mess Around With) My Little Sister 1:57
11 The Ballad Of Patch Eye And Meg 2:49
12 The Secret To A Long Life (Is Knowing When It's Time To Go) 2:16  

 
Michelle Shocked - The Texas Campfire Tapes Live Bonus  (flac 286mb)

01 5A.M. In Amsterdam  2:18
02 Fogtown 3:44
03 4/4 Troubador 2:4
04 Steppin' Out 1:40
05 Hold Me Back  3:41
06 Fool For Cocaine 2:03
07  Down On Thomas St./Hardly Gonna Miss Him 5:47
08 Hepcat 2:50
09 Necktie 2:16
10 My Little Sister 3:05
11 Patcheye And Meg  2:48
12 Secret To A Long Life 2:17
13 When I Grow Up 3:04
14 Ghost Town 5:11
15 Secret Admirer  2:44
16 Black Widow 1:08
17 Chain Smoker 2:41
18 Old Time Feeling 3:46
19 Stranded In A Limousine 1:46
20 Goodnight Irene 2:27
21 C.C. Rider 1:30
22 Contest Coming 2:59
23 Lagniappe/Memories Of East Texas 6:19
 

xxxxx xxxxx xxxxx xxxxx xxxxx

Short Sharp Shocked released in 1988 was remastered and reissued in 2003 as a two-CD set by Shocked's own label, Mighty Sound. The title is a combination of her last name, and the behavioral science phrase short, sharp shock meaning "punishment that is quick and severe." The album finds Shocked taking a semi-fond trip back to an East Texas childhood, and all of the defined roles, limited expectations, claustrophobia, and ultimate rebellion coming from that environment. Musically, she tackles the spectrum of rootsy folk in a warm way that shows not only a love for, but also a great deal of knowledge of the forms (producer Pete Anderson added a Nashville gloss to the recordings that shouldn't go unnoticed). The songs have a very personal, almost diary feel, but at the same time, they speak a universal language -- none so poignant as the album's centerpiece, "Anchorage," a touching letter from an old friend. The cover photo, which shows Shocked restrained by police officers during a protest, indicates little about the music found within (save for the uncredited album closer, the hardcore punk work-up of "Fog Town" featuring MDC), but the music certainly reveals much about the protestor.

Michelle Shocked - Short Sharp Shocked  (flac 237mb)

01 When I Grow Up 3:31
02 Hello Hopeville 2:56
03 Memories Of East Texas 3:35
04 (Make The Run To) Gladewater 3:06
05 Graffiti Limbo 3:40
06 If Love Was A Train 4:07
07 Anchorage 3:24
08 The L & N Don't Stop Here Anymore 4:09
09 V.F.D. 2:49
10 Black Widow 2:45
11 Fogtown 2:25

xxxxx

A second disc of radio sessions, live recordings and studio out-takes.

Michelle Shocked - Short Sharp Shocked Bonus (flac 438mb)

01 When I Grow Up 3:16
02 Memories Of East Texas 5:46
03 Yamboree Queen 4:25
04 Strawberry Jam 4:07
05 Graffiti Limbo 4:27
06 If Love Was A Train 3:31
07 Anchorage 4:14
08 The L & N Don't Stop Here Anymore 4:09
09 V.F.D. 2:56
10 Black Widow 4:11
11 Leaving Louisiana In The Broad Daylight 3:23
12 Disoriented 4:14
13 Lovely Rita 2:19
14 Ballad Of Penny Evans 3:39
15 Remodeling The Pentagon 2:27
16 Fred's Winter Song 3:21
17 Prince Of Darkness 2:59
18 One Piece At A Time 3:36
19 5 A.M. In Amsterdam 4:17
20 Campus Crusade 5:13
21 Goodnight Irene 3:13
xxxxx xxxxx xxxxx xxxxx xxxxx

Shocked made a big jump from The Texas Campfire Tapes to Short Sharp Shocked, but no one expected the direction she would take for Captain Swing. Rather than continuing as a folky singer/songwriter, she opted instead to take on western swing and big-band music, complete with horn-heavy arrangements and bright orchestration. And although the cartoon image of her on the cover gives a smirk and a sly wink, the album is surprising devoid of irony. She treats the genre with affection and she's obviously having a good time swinging. Captain Swing may have confused fans of Short Sharp Shocked, but the album has several great moments, and most of all, it offers a good time.

Michelle Shocked - Captain Swing  (flac 201mb)

01 Change Of Heart 4:24
02 Maybe He'll Know 4:24
03 Boy Blue 4:45
04 True Colors 3:46
05 Calm Inside The Storm 3:54
06 What's Going On 4:38
07 Iko Iko 2:10
08 The Faraway Nearby 2:59
09 911 3:15
10 One Track Mind 3:39

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1339 Roots

Hello, we still find ourselves in an environment that gave rise to the worlds monotheistic religions be that on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water useally tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes. And the moon became their God.

Today more from Mali, after all it has one of the most intensely musical cultures in all Africa. Today's band was one of the first West African acts to combine this mature Afro-Latin sound with traditional instruments and styles. In their case, this was built upon the Mande Griot praise singer tradition, along with Bambara and other Malian and Guinean musical traditions. Their distinctive sound came from combining electric guitar and jazz horns with soaring Mandinka and Bamabara lyrical lines, African and western drums, and local instruments such as the kora and the Balafon. At their height of fame in the 1970s, they played to sold out venues and even stadia across West Africa, and launched solo careers for many of its members, including the legendary vocalist Salif Keita........N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

The Super Rail Band, or the Super Rail Band of the Buffet Hotel de la Gare, Bamako, to give them their full name, might be Mali's best-kept secret. Loved by world music cognoscenti, they've never found a general audience, due in large part to having only a few, poorly-distributed records. But as well as being an incubator for some of the country's great singing talent, they've also become an institution and a legend.

It all began in 1970, when Mali's Ministry of Information decided to sponsor a band in the country's capital, Bamako. Since Mali gained independence in the early '60s, the government had sponsored music to emphasize the local culture, but now it was cutting back on some of the programs, and this seemed a cheap alternative to the more ambitious plans. They had a venue -- the Buffet Hotel at the city's train station -- and with the musicians in place, the gigs became regular events.

The first lineup centered around guitarist Djelimady Tounkara, who remained a constant throughout the band's tenure, and original singer Salif Keita. The albino Keita, whose lineage was that of royal blood, was so embarrassed by his albino looks and to be doing a griot's work of singing at their first show, that he sang from the back of the stage with a towel over his head. The band worked in the Malian Manding tradition, with some touches of Congolese rumba, and became a smash, thanks to the mix of vocals and long workout instrumentals, where Tounkara quickly established himself as one of the continent's best axemen -- the equivalent of any Western guitar god. Keita quickly adjusted to being on display, and soon was one of the centerpieces of the band with his high, wailing voice, leaving two years later to start a rival group, Les Ambassadeurs du Motel.

He was replaced by another great voice, Mory Kante, who would go on to become a major solo star. The tenure of the first two vocalists was commemorated on Rail Band, where the none-too-hi fidelity recordings still managed to capture the energy of the ensemble on griot classics like "Soundiata." However, they essentially remained a live, local group, and it wasn't until 1985's New Dimensions in Rail Culture, on the Globestyle label, that they were properly recorded. By then the band had turned over personnel, with a new set of singers and players behind Tounkara.

As the popularity of world music increased in the late '80s and early '90s, the Rail Band became known by critics and lauded. But their music wasn't widely available, which meant that the general public never had much chance to become acquainted with their very sophisticated sound. A U.S. tour in 1990 helped somewhat, but with no follow-up and no new product, any momentum they had was lost. the Rail Band didn't return to the studio until 1994, releasing Djoungouya Magni on the French Indigo label, then releasing Mansa, also on Indigo, a year later. Mansa was by far the best recording they'd made, both sonically and musically, capturing the full range of their sound, from the griot epics to the funk they'd taken on board over the years, and even incorporating touches of jazz in the antiphonal phrasing between Tounkara's guitar and the horns. Since then they've toured in Europe, but released no more recordings, although Tounkara was the central figure in author Banning Eyre's book In Griot Time.

There's a 20 page booklet included that gives you more on the bands history

xxxxx xxxxx xxxxx xxxxx xxxxx


The Rail Band's leader was the great Tidiani Koné, an outstanding musician who was also a griot (a kind of religious leader/ influent personality), who decided to give his chance at this time to a young albino singer, Salif Keita, that would become world famous in the future.
A masterpiece with a heavy influence from the West of funky, use of stringed instruments, sax full of poetic sentiment of Dijiani Kone , a perfect combination! Remarkable as the initial recording of Keita. Recommended and funk tune "Numu-Nanthan" that - "Diolo Moko", a fragrance Ethiopian to Afro funk  It is one piece of frontier rare groove, with a transcendent, twinkling sound.

Rail Band - Buffet Hotel de la Gare   (flac  138mb)

01 Jurukan 7:59
02 Marabayasa 5:21
03 Bajala Malé 4:50
04 Sunan 6:25
05 Duga 7:55
06 Tidiani Koné 4:40
07 Nantan 4:57
08 Moko Jolo 5:54

xxxxx xxxxx xxxxx xxxxx xxxxx


3rd and final volume in the critically-acclaimed series that tells the 13-year story - from 1970 to 1983 - of Mali's legendary group. In 1970s Africa, the Rail Band was THE band against which all others were measured. Compiled by renowned producer Ibrahim Sylla and carefully remastered from the original tapes, these tracks range from impassioned epic guitar workouts to chugging afrobeat, jaunty adverts for skin cream and arrangements influenced by the Hindi Bollywood films that were so popular throughout Africa at the time. These albums feature seminal performances by such stars as Salif Keita, Mory Kante, Djelimady Tounkara & Djelimady Sissoko.

The styles on this album vay from traditional Manding music to Congolese rumba to a take on Afrobeat, Sinsimba. In my opinion , some of the best tracks are the rumba influenced tracks from 1983: Foliba, Talassa, and Bedianomogo. The horns lines as in the best rumba cut a beautiful melody across the complex rythm laid down below them. It is on these track that Djelimady Tounkara's guitar work really shines. While Franco, another amazing guitarist, always played within the confines of the rumba formula keeping his solos restrained, Tounkara's solo's absolutely dazzle as they play with the rhythm track beneath them, fluttering around then soaring above with Tounkara's amazingly fast appegios.

Rail Band - Belle Epoque 3 - Dioba 1 (flac  307mb)

01 Bedianomogo 8:38
02 Sinsimba 8:06
03 Kadia Kandian 4:59
04 Wale Numa Lombaliya 13:29
05 Diby 6:23
06 Maki 7:53
07 Djamban 4:56
08 Mady Guindo 5:10
09 Den Nadiya 4:57

xxxxx

Rail Band - Belle Epoque 3 - Dioba 2 (flac 288mb)

10 Kibaru 6:37
11 Mariba Yassa 5:07
12 Dioba 5:20
13 Tidiane Kone 4:26
14 Diabate 9:06
15 Foliba 7:27
16 Soyomba 7:18
17 Karitea 5:13
18 Jurukan 7:38
19 Talassa 7:20

xxxxx xxxxx xxxxx xxxxx xxxxx

Mali's Super Rail Band are the stuff of African legend, certainly one of the most-revered groups ever to emerge from the continent, with guitarist and leader Djelimady Tounkara finally deified as one of the world's guitar heroes. It's a status he cements on Kongo Sigui, if only for his work on "Dakan," where he spirals the excitement higher and higher. But while he's the focus and famous name of the band, it's worth remembering that he's only one member of the group -- something he seems to understand more than his fans. And, as on most of their albums, they're a very electric outfit ("Sory" being the unplugged exception, where two guitars and some dizzying kora work interlace beautifully). With four singers -- two lead, two backing -- the voices offer potent power, which comes to the fore on the aching "Tunga," while the rhythm section offers a strong fluidity that still manages to leave plenty of space for all the musicians -- which they use well. There is, naturally, a pair of praise songs, "Sada Diallo" and "Balla Moussa Keita," and the Mande mood that's been the Rail Band's hallmark for over 30 years is still in full, positive effect. They may not release new albums too often, but when they do, they make it count. Like all their work, this is vital.

Super Rail Band de Bamako - Kongo Sigui   (flac  333mb)

01 Jurukan 7:59
02 Marabayasa 5:21
03 Bajala Malé 4:50
04 Sunan 6:25
05 Duga 7:55
06 Tidiani Koné 4:40
07 Nantan 4:57
08 Moko Jolo 5:54

xxxxx xxxxx xxxxx xxxxx xxxxx