RhoDeo 1405 Beats

Hello, as the world focuses on the games of fire and ice, meanwhile most of the cacao farmers have no clue what happens with their beans, let alone ever tasted chocolate. Such a strange planet for the coming weeks the champs will be under pressure to deliver, failure will be bad for the nations economic output. The US has a big team this when considering most events with skies they are at best scoring 3 medals. Jumping-no show, Biathlon-no show (most odd for a triggerhappy country) Cross country another no show. They are happy on snowboards as having started the format they still had a slight edge although most of that will be shown to have eroded by now. I predict a very disappointing medal tally for the USA, Germany as always will do well, expect the Russians to give their utmost, Norway will once again prove their athlete's have incredible stamina on the cross country events. Middle European countries like Switzerland, Austria and Slovenia will pick up most medals of the downhill skiing events. The Dutch as usual will pick up most of the speedskating medals. Interestingly the 5 countries i mention here are all small in populations size, this means there's still a world out there not competing. Yet 88 countries have sent their athlete's regularly outnumbered by officials. Some oddballs return like the Jamaican Bobsled team, a guy from Tonga even had his name changed into the name of his sponsor. But the guy from India going down in the luge must be the bravest athlete of them all, maybe you'll pick up on his training runs going downhill in the Himalaya straight thru regular traffic on his purpose build contraption. He must have a strong faith in his karma, alas luge is not just daredevil but there's plenty of technique and the sleds aren't all that equal either.


These months the French 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 industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artist, although his music has found little acceptance in his home country, where racial tension has stratified the hip-hop community into rigid definitions of what the music is -- and who should be making it (our man is white) -- audiences in the U.K., Japan, and America have begun picking up on his style. These days as a mainstay of the French Touch (he started his career in the 1990s together with Daft Punk, Air, Cassius, Bob Sinclar...), he has released six albums, helmed a number mixalbums and other side projects and given countless performances all around the world, helping him to acquire global notoriety. Now where do I begin.. ....... N'joy

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Parisian hip-hop devotee Laurent Daumail is one of a few but growing number of French artists updating hip-hop for the chill-out crowd, drawing on the beats'n'samples groundwork of producers such as Rakim, DJ Premier, and Prince Paul and combining it with broad, impressionistic strokes of dub, jazz, and soundtrack-y ambience. Like countrymen the Mighty Bop and la Funk Mob, Cam is stylistically closest to Mo'Wax artists such as DJ Shadow and DJ Krush; minimalist, downbeat instrumental hip-hop built from obscure samples and stomp-box turntable accompaniment, bent and twisted into new, artfully arranged compositions. His debut, 1994's Underground Vibes, was released on the tiny French label Street Jazz and was followed by a live recording for the Inflammable imprint (one of only a few "live" recordings in a genre so reliant on the temporal concessions of the recording studio). Dubbed Underground Live, the album featured performed extrapolations of many of the tracks from his debut, as well as a few new and improvised tracks. Now nearly impossible to find, those first two albums were reissued in America by Shadow Records, packaged together as the single-CD priced Mad Blunted Jazz. It was revolutionary for it's time, featuring familiar jazz samples and loads of vibe samples and heavy hip-hop influences, "Undergound Vibes"got him noticed by the international music press. DJ Cam's style coined as abstract hip hop merges blunt street rhythms with languid samples and atmospheric soundscapes.

In 1996 Cam was featured on, among many others, the sprawling Mo'Wax compilation Headz 2, remixed tracks for such artists as Tek 9 and la Funk Mob, and most recently collaborated on live and in-studio projects with Snooze and DJ Krush (he co-wrote a few tracks on the latter's 1997 Mo'Wax release, Mi Sound). Cam released Substances on Inflammable in 1997. "Substances" experimented with a change of direction from DJ Cam's previous albums. The tracks on "Substances" were more melancholy in feel than usual, featuring a variety of slick cool-jazz samples from the likes of Alice Coltran. The next year, his major-label debut, The Beat Assassinated, appeared on Columbia Records. In 2000, he released a three-volume series named The Loa Project. Cam dropped HoneyMoon, a smooth mix album that combined jazz and underground hip hop, at the close of 2001.

In 2003, he departed his regular sound for the Soulshine LP, which featured an appearance by Gang Starr's Guru (Credited as Baldhead Slick). He went back to his hip-hop roots in 2004 with Liquid Hip-Hop, in 2006, he released an iTunes exclusive Best Of compilation, featuring a new song at the end. With Seven (2011), DJ Cam served up his most personal album since the acclaimed Substances. Inspired as ever by the original jazz and hip-hop influences that helped him become one of the founders of the trip-hop scene back in 1995, this latest album is also full of exciting new musical and visual influences.

DJ Cam is now based in Los Angeles, where his musical and visual projects can converge, including production and remixes (Michael Jackson, Serge Gainsbourg, Air, Miles Davis...), sound design (Louis Vuitton, Cartier, Sephora, Agnès b...), soundtracks for both TV (CSI: Miami...) and cinema (Gus Van Sant, Wayne Wang...). Seven has touches of well-crafted pop and folk (Swim, with vocals by Stateless’ Chris James and a video directed by Sonia Sieff, reminds one of Radiohead, one of the album’s major influences. And Chris James is also present on Ghost and Uncomfortable), hints of old school electronica (Dreamcatcher), and cinematic ambient tracks that invite you to dream (Seven, California Dreaming). For a feminine touch, DJ Cam adds the vocals of Inlove, a new signing on his Inflammable label, and Nicolette, long-time collaborator with Massive Attack, the legendary group that DJ Cam feels closer to now than ever before, and to whom he dedicates the album. DJ Cam: “After the acoustic album Soulshine and various projects with high-profile collaborations and large groups, I wanted to get back to the essentials of being a producer: going into the studio alone, having total freedom, and allowing my inspiration free reign [sic]. Seven has turned out to be so intimate because I approached it in the same way as my earliest tracks; with experimentation and pleasure as the prime motivation.” Written in Paris and Los Angeles, Seven is an album whose enveloping, melancholic tone and wide-open soundscapes are supposed to help make your mind wander. The release of the album is the moment for DJ Cam – who admits to spending as much time in art galleries as he does listening to and composing music – to show us his talents as a photographer through the Landscape Architecture project, a series of mysterious landscapes where nature and architecture intermingle in a ghost-like world. An exhibition is planned, and the visuals will be projected on a big screen during DJ Cam’s concerts, as revealed for the first time at the SXSW festival last March.


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Electronica producers like the Orb had been mining the ideas of minimalist and house producers for years, and DJ Cam's fusion of jazz and hip-hop was creative and artistically successful in much the same way -- instead of Tangerine Dream or Steve Reich, substitute Ahmad Jamal or Bobby Hutcherson and Gang Starr. Cam's vision of the late-night creep encompassed lots of oddly tuneful piano or vibes samples and the type of simple East Coast beats favored by DJ Premier and the like. The American Shadow label combined his first two records, the studio Underground Vibes and the live Underground Live, to create a two-fer that's very necessary for those interested in early trip-hop. DJ Cam wasn't a crate-digger like DJ Shadow; he much preferred creating a reflective atmosphere around a chosen few samples, usually familiar. While simplistic (especially early in his career), it was often very effective, as the best tracks here illustrate. "Sang-Lien" has only vibes, a fragment of a flute line, and muted trumpet, but Cam still creates something very special with the addition of a French chanteuse. "Mad Blunted Jazz" switches it up a bit, moving between multiple drum tracks and samples. Most of these are little more than background hip-hop tracks that the average rapper wouldn't even consider rhyming over, but in the grand tradition of ambient music (from Satie to Eno), DJ Cam's productions ranked near the top.

Cam's debut collection of "abstract hip-hop" finds similar company in artists such as DJ Krush, Howie B., and the Solid Doctor, with pitched down, echo-chamber beats, sparse jazz and funk quotes, and turntable atmospherics combining into a smooth, impressionistic affair. The album was reissued by Shadow records--together with his live Inflammable follow-up, Underground Live--as Mad Blunted Jazz in 1996.

DJ Cam - Underground Vibes ( flac 332mb)

01 Abstract Intro 0:19
02 Gangsta Shit 4:24
03 Mad Blunted Jazz 5:10
04 Suckers Never Play That 2:08
05 Sang-Lien 6:00
06 Underground Vibes 4:31
07 Romantic Love 4:39
08 The Return Of The Jedï 5:29
09 Other Aspect 5:07
10 Dieu Reconnaîtra Les Siens 6:02
11 Free Your Turntable And Your Scratch Will Follow 7:37
12 Pure Pleasure 6:26

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Live hip-hop albums are hardly common, but then neither is Cam's approach here, seamlessly blending loping, downtempo breaks with thick, dubby basslines, deft, heavily treated scratching, and instrumental samples and vocal drop-ins which make for a solid, tight flow. Cam presents live, tricked-up improvisations of tracks from his debut album, Underground Vibes, as well as a few new ones. The album was reissued as disc two of the domestic Shadow label's double Cam release, Mad Blunted Jazz.

DJ Cam - Underground Live Act  (flac 259mb)

01 Experience 1:56
02 Hip Hop Opera 5:04
03 Underground Vibes 3:20
04 Meera 5:18
05 Dieu Reconnaitra Les Siens 4:17
06 Mad Blunted Jazz 3:21
07 Lost Kingdom 3:55
08 Gangsta Shit 4:09
09 London 1995 5:25

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This delivers exactly what it says on the label, Soulshine !, the production work of Frenchman DJ Cam has become much smoother and closer in sound and execution to the British acid jazz scene. It's his smoothest record yet, opening with a breezy jazz dancer ("Summer in Paris") with a live band sporting a crossover groove while vocalist Anggun enthuses about the unique Parisian vibes. Cam also cultivates his American R&B connection, drafting Cameo's Larry Blackmon and Nathan Leftenant for a serviceable Roy Ayers impression, while "Condor (Espionage)" features Guru (aka Baldhead Slick) relaxing over a live cut. For DJ Cam, musical maturity seems to mean arrangements utilizing a live band, and though Soulshine has them throughout, there's much less of innovation happening here than on his early work. Two tracks that work are the pair of real hip-hop tracks: "Bounce" and "Voodoo Child," the latter a tough remix by DJ Premier with Afu Ra on vocals. His 2002 single Summer in Paris with Anggun sold over a million copies and remains an emblematic tune of the Parisian dolce vita. Soulshine is DJ Cam's return to greatness, on which he manages to reintegrate his loves: hip-hop, jazz, and soul.

Dj Cam - Soulshine  (flac 538mb)

01 Summer In Paris 5:58
02 Welcome To Soulshine 1:10
03 Love Junkee 5:58
04 For Aaliyah 0:50
05 Condor (Espionage) 4:24
06 To Be Continued 0:52
07 Child's Play 3:48
08 The Show 0:50
09 Bounce 7:28
10 Soulshine 3:53
11 3/4 Interlude 0:59
12 He's Gone 7:57
13 Afu Ra Interlude 1:10
14 Voodoo Child (DJ Premier Remix) 3:42
15 Elevation 8:45
Bonus Disc
16 Summer In Paris (Instrumental) 5:58
17 Elevation (Filet Of Soul Remix) 4:23
18 Love Junkee (Dub Mix) 5:56
19 He's Gone (Kid Loco Remix) 5:19
20 Camsoulshinechat 12:31

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previously

France, Paris 2

DJ Cam Substances (ogg  111mb)

DJ Cam Substances (flac  252mb)

Rhotation 28

DJ Cam - Revisited By ( 06 ^ 154mb)

DJ Cam - Revisited By ( flac 393mb)

Sundaze 1147

VA - DJ Kicks ( DJ Cam) gg (97 147mb)

VA - DJ Kicks ( DJ Cam ) (flac 400mb)

RhoDeo 1405 Goldy Rhox 146

Hello, today the 118th post of GoldyRhox, classic pop rock,  in the darklight an American rock band consisting of core members Donald Fagen and Walter Becker. The band's popularity peaked in the late 1970s, with the release of seven albums blending elements of jazz, rock, funk, R&B, and pop. Rolling Stone has called them "the perfect musical antiheroes for the Seventies.". The band's music is characterized by complex jazz-influenced structures and harmonies played by Becker and Fagen along with a revolving cast of rock and pop studio musicians. Their"cerebral, wry and eccentric lyrics, often filled with sharp sarcasm, touch upon such themes as drugs, love affairs, and crime. The pair is well known for their near-obsessive perfectionism in the recording studio.

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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 the sixth album from the group, and was released on September 23, 1977, by ABC Records.
With today's mystery album, Walter Becker and Donald Fagen's obsession with sonic detail and fascination with composition reached new heights. A coolly textured and immaculately produced collection of sophisticated jazz-rock, the album has none of the overt cynicism or self-consciously challenging music that distinguished their previous records. Instead, it's a measured and textured album, filled with subtle melodies and accomplished, jazzy solos that blend easily into the lush instrumental backdrops. But today's mystery album isn't just about texture, since Becker and Fagen's songs are their most complex and musically rich set of songs -- even the simplest song, the sunny pop of "Peg," has layers of jazzy vocal harmonies. Todays album is a shining example of jazz-rock at its finest.

It became the group's best-selling album. Peaking at No. 3 on the U.S. charts and No. 5 in the United Kingdom, it was the band's first platinum album, eventually selling over 5 million copies. In July 1978, the album won the Grammy Award for Best Engineered Non-Classical Recording. In 2003, the album was ranked number 145 on Rolling Stone's "The 500 Greatest Albums of All Time" list. The cover photo by Hideki Fujii features Japanese model/actress Sayoko Yamaguchi. On April 6, 2011, the album was deemed by the Library of Congress to be "culturally, historically, or aesthetically important" and added to the United States National Recording Registry. Here today its remastered 30th Anniversary Edition


Goldy Rhox 146  (flac 217mb)

Goldy Rhox 146   (ogg 91mb)

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previously

 RhoDeo 1246 (Nov 12)
Goldy Rhox 82   (flac 261mb) re-upped

Goldy Rhox 82   (ogg 98mb)

 RhoDeo 1329 (July 13)
Goldy Rhox 118  (flac 211mb) re-upped

Goldy Rhox 118   (ogg 81mb)

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RhoDeo 1405 Aetix

Hello, still stuck in Minneapolis a beautiful midwestern town built between lakes and woods by those who felt right at home there, Germans and Scandinavians still make up almost halve of its 400,000 citizens. The Minneapolis park system has been called the best-designed, best-financed, and best-maintained in America. The city's Chain of Lakes, consisting of seven lakes and Minnehaha Creek, is connected by bike, running, and walking paths and used for swimming, fishing, picnics, boating, and ice skating. A parkway for cars, a bikeway for riders, and a walkway for pedestrians runs parallel along the 52 miles (84 km) route of the Grand Rounds Scenic Byway. Public transport is well supported and it's one of the cleanest cities on the planet.

It has a very culture minded populace , the region is second only to New York City in live theater per capita and is the third-largest theater market in the U.S. after New York City and Chicago. Many performing arts groups and art museums/galleries. The man usually known as Prince the towns most famous musical progeny lights up it's music scene. It really is a very cultured city.... hence Republicans play second fiddle despite the presence of many affluent white citizens. Philanthropy and charitable giving are part of the community. More than 40% of adults in the Minneapolis–Saint Paul area give time to volunteer work, the highest such percentage of any large metropolitan area in the United States.

Today's artists unlike many of their underground contemporaries, played "heart-on-the-sleeve" rock songs that combined Westerberg's "raw-throated adolescent howl," with self-deprecating lyrics. They were a notoriously wayward live act, part of the mystique of todays artists was the fact that the audience never knew until the start of a concert if the band would be sober enough to play and it was not uncommon for the group to play entire sets of cover versions . . ....N'Joy

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The Replacements' history began in Minneapolis in 1978 when nineteen-year-old Bob Stinson gave his eleven-year-old brother Tommy Stinson a bass guitar to keep him off the streets. That year Bob met Mars, a high school dropout. With Mars playing guitar and then switching to drums, the trio called themselves "Dogbreath" and began covering songs by Aerosmith, Ted Nugent and Yes without a singer.
After being impressed by the band's performance, Westerberg regularly listened in after work. Dogbreath auditioned several vocalists, Westerberg joined the band, Dogbreath often drank and took various drugs during rehearsals, playing songs as an afterthought. In contrast to the rest of the band, the relatively disciplined Westerberg appeared at rehearsals in neat clothes and insisted on practicing songs until he was happy with them. After the band members discovered first-generation English punk bands like The Clash, The Jam, The Damned and The Buzzcocks, Dogbreath changed its name to The Impediments and played a drunken performance without Tommy Stinson at a church hall gig in June 1980. After being banned from the venue for disorderly behaviour, they changed the name to the Replacements.

In their early days, they sounded quite similar to Hüsker Dü, the leaders of the Minneapolis punk scene. However, The Replacements were wilder and looser than the Hüskers and quickly became notorious for their drunken, chaotic gigs. After they built up a sizable local following the Minneapolis Jesperson signed them, he was the manager of Oar Folkjokeopus, a punk rock record store in Minneapolis, and had also founded Twin/Tone Records with a local recording engineer named Paul Stark. With the agreement of Stark and the rest of the band, the Replacements signed to Twin/Tone Records in 1980. Jesperson's support of the band was welcomed, and they asked him to be their manager after their second show.

When the band's first album, Sorry Ma, Forgot to Take Out the Trash, finally appeared in August 1981, it received positive reviews in local fanzines. Option's Blake Gumprecht wrote, "Westerberg has the ability to make you feel like you're right in the car with him, alongside him at the door, drinking from the same bottle." The album contained the band's first single, "I'm in Trouble", Westerberg's "first truly good song".[18] Sorry Ma included the song, "Somethin to Dü", a homage to another Minneapolis punk band Hüsker Dü. The Replacements had a friendly rivalry with the band, which started when Twin/Tone chose the Replacements over Hüsker Dü, interestingly the Replacements began playing faster and became more influenced by Dü's hardcore punk. Despite this, the band did not feel part of the hardcore scene.

Sometime in late 1981, the Replacements played a song called "Kids Don't Follow". Jesperson was convinced the song sounded like a hit and pleaded with the Twin/Tone co-owners Stark and Hallman, "I will do anything to get this out. I will hand-stamp jackets if I have to." The partners agreed to fund the recording, but Jesperson and virtually everyone he knew had to hand-stamp ten thousand white record jackets The band recorded eight tracks within a week, with Jesperson as producer. Their "balls-to-the-wall hardcore punk attempt", their first EP Stink, containing "Kids Don't Follow" and seven other songs, was released in June 1982, six months after the Chicago show.

The Replacements began to distance themselves from the hardcore punk scene after the release of Stink. "We write songs rather than riffs with statements," Westerberg later stated. Inspired by other rock subgenres, he had been writing songs that incorporated a wide range of musical styles. He even wrote an acoustic ballad, "You're Getting Married One Night", but when he played it to the rest of the band, it was met with silence. "Save that for your solo album, Paul," Bob Stinson said. "That ain't the Replacements". The track remained unreleased for years. Westerberg realized his toughest audience was the band itself, later saying, "If it doesn't rock enough, Bob will scoff at it, and if it isn't catchy enough, Chris won't like it, and if it isn't modern enough, Tommy won't like it."

With a batch of new songs, the Replacements entered a warehouse in Roseville, Minnesota, to record their next album, with the Twin/Tone co-owner Stark engineering. Westerberg wrote songs in stops and starts, so it took several sessions of recording to finish the album. Hootenanny, the band's second studio album, was released in April 1983. Hootenanny saw Westerberg expand his songwriting capabilities, In songs such as "Willpower", with echoed vocals and a sparse arrangement, and "Within Your Reach", which features Westerberg on all instruments, he revealed a more sensitive side. It was a much more mature album than Stink and Sorry Ma, Forgot to Take Out the Trash. Hootenanny was played on over two hundred radio stations across the country, with critics acclaiming the album.

By Hootenanny's release, The Replacements had begun to attract a following outside of Minneapolis. The band embarked on its first tour of the U.S. in April 1983, Tommy Stinson dropped out of tenth grade to join the rest of the band on tour. The Replacements toured venues in the East Coast of the United States. The band supported R.E.M. on an eight-date tour later that summer, deciding that they should alienate the audience as much as possible. It was not a successful tour; by the end, various members had threatened to leave The Replacements. Band morale was low, and Westerberg later stated, "We'd much rather play for fifty people who know us than a thousand who don't care.

For the recording of their next studio album, The Replacements decided to return to Blackberry Way Studios in late 1983. The band considered R.E.M.'s guitarist Peter Buck as producer, but when they met him in Athens, Georgia, they did not have enough material to begin recording. Instead, Jesperson and Steve Fjelstad co-produced the album. The new material placed more of a focus on songwriting and the music was influenced by heavy metal, arena rock and Chicago blues. Instruments such as piano, twelve-string guitar and mandolin featured throughout the album. The new album included songs such as "I Will Dare", which featured Buck playing lead guitar, "Androgynous", with Westerberg on piano, and "Unsatisfied", where, according to writer Michael Azerrad, Westerberg "had hit upon a moving new way to declare that he can't get no satisfaction." Let It Be was released in October 1984 to critical acclaim.

It's release attracted attention from the major record labels, and by late 1984 several had expressed an interest in signing the band. Financially, the band was not doing well; they were not selling enough records to recoup their expenses, and money from shows went to recording costs, hotels, travel and instrument repairs. Twin/Tone was not being paid reliably by distributors and the sales of Let It Be were not high enough to justify extra promotion. "It was time for a major label to take over," according to the label's co-owner Stark. The band was close to a major label contract, but often alienated label representatives by intentionally performing badly in concert; their 1985 live album, The Shit Hits the Fans, was an example of their concert performances at the time.

One label, the Warner Bros. Records subsidiary Sire Records, eventually signed The Replacements. The band admired the label head Seymour Stein, who had managed the Ramones. The Replacements' first major-label album, Tim, was scheduled to be produced by Westerberg's idol, Alex Chilton, but the sessions fell through; the album was produced by former Ramone Tommy Erdelyi. Upon its release in 1985, Tim garnered rave reviews that equalled those for Let It Be. Though the band was poised for a popular breakthrough, they were unsure about making the leap into the mainstream.  As a result, they never let themselves live up to their full potential. The Replacements landed a spot on Saturday Night Live, but they were roaring drunk throughout their performances and Westerberg said "f*ck" on the air. Their concerts had became notorious for such drunken, sloppy behavior. Frequently, the band was barely able to stand up, let alone play, and when they did play, they often didn't finish their songs. The Replacements also refused to make accessible videos -- the video for "Bastards of Young" featured nothing but a stereo system, playing the song -- thereby cutting themselves off from the mass exposure MTV could have granted them.

After the tour for Tim, the Replacements fired Bob Stinson, partly for being unwilling to play the band's "less rocked-out" material, and partly for being too drunk to try. They also fired Jesperson the same year. "It was like being thrown out of a club that you helped start," Jesperson later commented. The Replacements recorded their next album as a trio in Memphis, TN, with former Big Star producer Jim Dickinson. The resulting album, Pleased to Meet Me, was more streamlined than their previous recordings. Again, the reviews were uniformly excellent upon its spring 1987 release, but the band didn't earn many new fans. During the tour for Pleased to Meet Me, guitarist Slim Dunlap filled the vacant lead guitarist spot and he became a full-time member after the tour.

Two years later, the band returned in the spring of 1989 with Don't Tell a Soul, The Replacements' last bid for a mainstream audience. The bandmembers had cleaned up, admitting that their years of drug and alcohol abuse were behind them, and were now willing to play the promotional game. Don't Tell a Soul boasted a polished, radio-ready production and the group shot MTV-friendly videos, beginning with the single "I'll Be You." Initially, the approach worked -- "I'll Be You" became a number one album rock track, crossing over to number 51 on the pop charts. However, Don't Tell a Soul never really took off and failed to establish the band as a major commercial force.

Defeated from the lackluster performance of Don't Tell a Soul, Paul Westerberg planned on recording a solo album, but Sire rejected the idea. Consequently, the next Replacements album, All Shook Down, was a solo Westerberg record in all but name. Recorded with a cast of session musicians as well as the band, All Shook Down was a stripped-down, largely acoustic affair that hinted at the turmoil within the band. Chris Mars left shortly after its fall 1990 release, claiming that Westerberg had assumed control of the band; he would launch a solo career two years later. The Replacements toured in support of All Shook Down, with Steve Foley, formerly of the Minneapolis-based Things Fall Down, as their new drummer. Neither the tour nor the album were successful, and The Replacements quietly disbanded in the summer of 1991.

Tommy Stinson quickly followed his time in The Replacements with the short-lived but fan favorite bands Bash & Pop and Perfect. He has been the bass guitarist for Guns N' Roses since 1998, replacing the original member Duff McKagan. In 2004, he released a solo CD, Village Gorilla Head, followed in 2011 by One Man Mutiny. Dunlap released a solo album in 1993. Bob Stinson died February 15, 1995, from a drug overdose. Westerberg began a solo career slowly, releasing two songs on the Singles ("Dyslexic Heart," "Waiting for Somebody") soundtrack in 1992; he also scored the film. He released his debut solo album, 14 Songs, in the summer of 1993 to mixed reviews. Paul Westerberg's second solo album, Eventually, was released in the spring of 1996.

On April 22, 2008, Rhino released re-mastered deluxe editions of the band's four Twin/Tone albums with rare bonus tracks. On September 24, 2008, Rhino similarly released the four Sire albums as deluxe editions. On October 3, 2012, it was announced that The Replacements had reformed and that Westerberg and Tommy Stinson were in the studio recording an EP containing song cover versions. Titled Songs for Slim, the EP was sold in a 250-copy edition of 10" vinyl and auctioned online to benefit former bandmate Dunlap, who had suffered a stroke. The Replacements played their first shows in 22 years at Riot Fest in Toronto (24–25 August 2013), Chicago (13–15 September) and Denver (21–22 September). Dave Minehan, guitarist/vocalist, and drummer Josh Freese rounded out the line-up for these shows.

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All things considered, Tim was an easy transition to the majors for the Replacements, at least as far as the making of the album goes: things went wrong after the release, as the band botched big showcases like its Saturday Night Live spot, leading up to the dismissal of Bob Stinson at the conclusion of the Tim tour. The dust hadn't settled when the 'Mats headed down to Memphis to record Pleased to Meet Me with producer Jim Dickinson at Ardent Studios -- or to phrase it in Alex Chilton-speak, to record with Big Star's 3rd producer at the studio where all three Big Star albums were made. All this fanboy worship perhaps naturally led to a full-blown mash note to Paul Westerberg's idol, who also turned up to play a couple of licks on a finally finished "Can't Hardly Wait," which initially was attempted with Chilton as a producer before Tim, but Pleased to Meet Me didn't resemble either the crystalline pop of #1 Record or the narcissistic black hole of 3rd. Dickinson gave the Replacements a full-blooded, muscular production, cranking up guitars, hauling out an upright bass for Tommy Stinson, and bringing in horns -- even strings -- to flesh out Westerberg's songs. This was the Replacements as professionals and, ever the contrarians, they strained against it -- albeit only sporadically and underneath the surface -- with Westerberg's outsider stance calcifying into the invigorating bitterness of "I.O.U." and "I Don't Know." These two proto-slacker anti-anthems -- quite the inverse of the call to arms of "Bastards of Young" and "Left of the Dial" -- are the only times the group's self-sabotage surfaces here, as the bandmembers pretty much give themselves over to Dickinson's studio savvy, leading to the ominous pulse of "The Ledge" and the brilliant, shining power pop of "Never Mind," "Alex Chilton," and "Valentine," along with such left-field twists as the mock jazz of "Nightclub Jitters."

 This kind of colorful, almost cinematic production -- even the greasy rocker "Shooting Dirty Pool" is enhanced by the sound of breaking glass -- was unheard of on a Replacements record and it all came to a head on "Can't Hardly Wait," which was glossed over with swelling strings and the Memphis Horns. All these fancy accoutrements would seem like the antithesis of the Replacements' spirit, but Dickinson's grand production merely blows the 'Mats up to epic scale, leaving their essence intact: Westerberg even gets a lovely fragile acoustic moment in "Skyway" and there are down-and-dirty rockers like "Shooting Dirty Pool" and "Red Red Wine" that feel like throwaways, but are necessary to the spirit of the record. the Replacements never sounded better with a bigger production than they did on Pleased to Meet Me, so it's hard not to see it as the one that got away, the record that should have been the breakthrough, especially in the year when fellow American underground rockers R.E.M. leaped into the Top Ten (but, it's also true that "The Ledge" may not have been the best single choice, as songs about suicides don't often provide entry into the Top 40). Then again, the Replacements don't make sense as a success story, so the failure of the gleaming, glistening Pleased to Meet Me winds up making its polish kind of heart-rending. As it turns out, this was the last time they could still shoot for the stars and seem like their scrappy selves and, in many ways, it was the last true Replacements album.

The Replacements - Pleased To Meet Me  (flac 202mb)

01 I.O.U. 2:57
02 Alex Chilton 3:12
03 I Don't Know 3:19
04 Nightclub Jitters 2:44
05 The Ledge 4:04
06 Never Mind 2:47
07 Valentine 3:31
08 Shooting Dirty Pool 2:20
09 Red Red Wine 2:59
10 Skyway 2:04
11 Can't Hardly Wait 3:02

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Two albums into their major-label contract and the Replacements had yet to have a hit -- they racked up some respectable sales but they were still a cult college band, never coming close to the Top Ten success R.E.M. had with Document. This lack of hits certainly weighed heavily on the band's label, which exerted a slightly heavier pressure than the chorus of fans and critics lamenting the group's lack of success, but all of this pressure from supporters and suits led the band to place a big bet on Don't Tell a Soul, a highly lacquered dilution of the 'Mats that is as misguided a crossover attempt as can be imagined. Matt Wallace's enormous, bottomless production -- as fathomless and dull as a muddy lake -- is merely a symptom of the illness that infected the Replacements during the making of Don't Tell a Soul, an illness that left the bandmembers with little sense of themselves. Blame for this can't be placed on the shoulders of Slim Dunlap, a Minneapolis rock fixture belatedly replacing Bob Stinson almost four years after his departure, as the guitarist is an easy, comfortable fit, lending nice country grace notes to ballads and goosing rockers with understated leads. So, does the blame for Don't Tell a Soul lay at the feet of Paul Westerberg? In part, yes, but not because the lead Replacement comes up with a set of substandard songs. Yes, a couple of his worse numbers are here -- none more egregious than the bewildering ham-fisted funk of "Asking Me Lies," and the muddled anthem "We'll Inherit the Earth" isn't far behind -- but so are a couple of his finest, including the lovely "Achin' to Be," the haunted "Rock 'n' Roll Ghost," the sweetly self-mythologizing "Talent Show," and "I'll Be You," whose urgency masks its melancholy.

 Taken as an overall set of tunes, though, the songs on Don't Tell a Soul reveal a writer who is becoming self-conscious of his role as a writer, over-thinking his constructions and rewriting too carefully, dampening the over-spilling emotion that was always one of his finest characteristics; he's writing with his reputation in mind. Perhaps such overly considered songs deserve an overly considered production, but Wallace's inflated renderings of Westerberg's fussy tunes are absurdly large, pointing out that Westerberg's ballads always were endearing because they were fragile, an element acutely missing from Don't Tell a Soul. But what's really missed here is any sense that this is the work of a band: this is a record that's been assembled track to track, lacking any spark or spontaneity. This is what the Replacements would sound like if they weren't a rock & roll band, something that is painfully evident on the one straight-ahead rocker, the stiff and embarrassing "I Won't," a tune that the 'Mats could have tossed off with abandon at any other time. "I Won't" is one of only a handful of songs with a sprightly tempo, as the rest of the record ranges from anonymous album rock to mannered writerly ballads. The other fast one is, of course, "I'll Be You," the song that did manage to crawl into modern rock charts and pop up on MTV, but it failed to bring the record any further up the charts. Ultimately, that's the saddest thing about Don't Tell a Soul: it's a transparent sellout that failed to sell.

The Replacements - Don't Tell A Soul  (flac 246mb)

01 Talent Show 3:29
02 Back To Back 3:18
03 We'll Inherit The Earth 4:15
04 Achin' To Be 3:40
05 They're Blind 4:32
06 Anywhere's Better Than Here 2:46
07 Asking Me Lies 3:37
08 I'll Be You 3:25
09 I Won't 2:36
10 Rock 'N' Roll Ghost 3:20
11 Darlin' One 3:39

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Battered and broken from the debacle of Don't Tell a Soul -- the album's failure to take off, followed by a disastrous tour supporting Tom Petty & the Heartbreakers -- the Replacements were on their last legs when it came time for 1990's All Shook Down, so worn down that the band ceased to exist for most intents and purposes. Paul Westerberg even began recording the album as a solo project with R.E.M. producer Scott Litt, gradually turning it into the final Replacements album. It may bear the band's name, but All Shook Down never quite shakes the feeling of a solo album; above all, it's a writers album, with the focus placed entirely on the songs. To a certain extent, that was true of the ballad-heavy Don't Tell a Soul, but that felt over-thought from its conception to execution, where there is a light touch to All Shook Down, despite its plethora of guest musicians, including John Cale's viola on "Sadly Beautiful," Heartbreaker Benmont Tench, Terry Reid, and a duet with Concrete Blonde's Johnette Napolitano on "My Little Problem." Instead of aiming for a crossover hit, Westerberg has now resigned himself to his status as an also-ran, even embracing it to some extent, so there are no sops to rock radio aside from "My Little Problem," whose bluster is jarring amidst the nimble folk-pop of the rest of the record.

 All the acoustic guitars and skipping electric guitars push All Shook Down far outside of the nascent Zeitgeist of grunge, or the sound of college rock in 1990; although Westerberg would soon be back in the thick of things with his Singles soundtrack -- sounding not too dissimilar to this record -- this finds him retreating from the rat race, reflecting on what he's been through. All Shook Down is designed as a coda to the Replacements' career, with Westerberg looking back to "When It Began," pleading that "Someone Take the Wheel" and wrapping the whole thing up with "The Last," as self-aware a final song as the Beatles' "The End." Westerberg balances these self-referential slices of autobiography with his self-deprecation and heartbreak, but all this melancholy never feels heavy, not even when he dips into thick sorrow on "Sadly Beautiful" or the disembodied spookiness of "All Shook Down." There's a palpable sense of relief to All Shook Down, as if Westerberg realized he dodged a bullet by not becoming a true rock star. This lightness is appealing, especially as it surfaces in his writing, which is surely more considered than it was even on Pleased to Meet Me, but it has an offhand quality, recalling the casual virtuosity of Let It Be and Tim -- it's the same guy, only older but maybe not too much wiser. And as it's true to that spirit, All Shook Down winds up being a note-perfect denouement to the Replacements' career, even if it's quiet and careful in a way the band never was at its peak.

The Replacements - All Shook Down  ( flac 258mb)

01 Merry Go Round 3:36
02 One Wink At A Time 3:02
03 Nobody 3:08
04 Bent Out Of Shape 3:42
05 Sadly Beautiful 3:14
06 Someone Take The Wheel 3:37
07 When It Began 3:05
08 All Shook Down 3:14
09 Attitude 2:43
10 Happy Town 2:52
11 Torture 1:51
12 My Little Problem 4:00
13 The Last 2:54

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An extra for the fans lovely leftovers..

Tracks 1-4 "All Shook Down" outtakes, TRack 5 "When The Shit Hits The Fan" Cassette, Tracks 6-15 single B-sides and outtakes

The Replacements - Beat Girl  ( flac 377mb)

01 Kissing In Action 2:58
02 Ought To Get Love 3:02
03 Satellite 3:46
04 Like A Rolling Pin 3:13
05 Can't Hardly Wait 15:51
06 Date To Church 4:02
07 If Only You Were Lonely 2:42
08 Nowhere Is My Home 4:12
09 Route 66 3:03
10 Election Day 3:06
11 Tossin' And Turnin' 2:26
12 Jungle Rock 2:41
13 Cool Water 2:44
14 Cruella DeVille 2:18
15 20th Century Boy 3:29

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RhoDeo 1405 Roots

Hello,

Zimbabwe was formerly known as Southern Rhodesia (1923), Rhodesia (1965), and Zimbabwe Rhodesia (1979). The first recorded use of "Zimbabwe" as a term of national reference was in 1960, when it was coined by the black nationalist Michael Mawema, whose Zimbabwe National Party became the first to officially use the name in 1961. The name "Zimbabwe" is based on a Shona term for Great Zimbabwe, an ancient ruined city in the country's south-east whose remains are now a protected site. There are two theories on the origin of the word. Various sources hold that the word is derived from dzimba-dza-mabwe, translated from the Karanga dialect of Shona as "large houses of stone" (dzimba = plural of imba, "house"; mabwe = plural of bwe, "stone").

The Kingdom of Mapungubwe was the first in a series of sophisticated trade states developed in Zimbabwe by the time of the first European explorers from Portugal. They traded in gold, ivory and copper for cloth and glass. From about 1300 until 1600, Mapungubwe was eclipsed by the Kingdom of Zimbabwe. This Shona state further refined and expanded upon Mapungubwe's stone architecture, which survives to this day at the ruins of the kingdom's capital of Great Zimbabwe. From c. 1450–1760, Zimbabwe gave way to the Kingdom of Mutapa. This Shona state ruled much of the area that is known as Zimbabwe today, and parts of central Mozambique.

As a direct response to increased European presence in the interior, a new Shona state emerged, known as the Rozwi Empire. Relying on centuries of military, political and religious development, the Rozwi (meaning "destroyers") expelled the Portuguese from the Zimbabwean plateau by force of arms. Around 1821, the Zulu general Mzilikazi of the Khumalo clan successfully rebelled against King Shaka and created his own clan, the Ndebele. The Ndebele fought their way northwards into the Transvaal, leaving a trail of destruction in their wake and beginning an era of widespread devastation known as the Mfecane. By 1838, the Rozwi Empire, along with the other petty Shona states were conquered by the Ndebele and reduced to vassaldom.

After losing their remaining South African lands in 1840, Mzilikazi and his tribe permanently settled the southwest of present-day Zimbabwe in what became known as Matabeleland, establishing Bulawayo as their capital. Mzilikazi then organised his society into a military system with regimental kraals, similar to those of Shaka, which was stable enough to repel further Boer incursions. Mzilikazi died in 1868 and, following a violent power struggle, was succeeded by his son, Lobengula.

In the 1880s, civilized theft arrived with Cecil Rhodes's British South Africa Company. In 1888, Rhodes obtained a concession for mining rights from King Lobengula of the Ndebele peoples. He presented this concession to persuade the government of the United Kingdom to grant a royal charter to the company over Matabeleland, and its subject states such as Mashonaland as well. Rhodes used this royal charter in 1890 to justify sending the Pioneer Column, a group of Europeans protected by well-armed British South Africa Police (BSAP) through Matabeleland and into Shona territory to establish Fort Salisbury (now Harare), and thereby establish company rule over the area. In 1893 and 1894, with the help of their new Maxim guns, the BSAP would go on to defeat the Ndebele in the First Matabele War. Rhodes additionally sought permission to negotiate similar concessions covering all territory between the Limpopo River and Lake Tanganyika, then known as "Zambesia".

In accordance with the terms of aforementioned concessions and treaties, mass settlement was encouraged, with the British maintaining control over labour as well as precious metals and other mineral resources. In 1895 the BSAC adopted the name "Rhodesia" for the territory, in honour of Rhodes. In 1898 "Southern Rhodesia" became the official denotation for the region south of the Zambezi, which later became Zimbabwe. The region to the north was administered separately and later termed Northern Rhodesia (now Zambia).  Several revolts followed but Rhodes backed by machineguns managed to strike down the uprisings. And for the next 80 years whites ruled and extracted lots of value from the land (above and below). Then in 1980 a black dictator had himself 'elected' he's still sitting on his throne unable to grasp what he was supposed to do....

After this short history lesson time for some music  ....N'joy

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Originally recorded in the 1970s and making its first appearance on CD in 1995, this Nonesuch compilation of Zimbabwean mbira music (or, as it is known elsewhere, the 'Kalimba' or 'African Thumb Piano') is a revelatory little volume, covering the various styles and uses of the instrument. Soul of Mbira music CDs Compilation producer Paul Berliner writes extensive liner notes not only on the music and the players, but on the songs themselves. These are field recordings of the highest order to be sure, but as music they are simply gorgeous. While the mbira is plainly a percussion instrument, depending on its size and whether it has one, two, or even three sets of keys, it is also a melody and harmony instrument. The sound is wonderfully warm and full despite the conditions some of this music was recorded under, and these performances do not sound out of time and space, but wonderfully within a still living and thriving tradition of folk and popular music

Zimbabwe - The Soul of Mbira   (flac  259mb)

01 Nhemamusasa (Hakurotwi Mude) 7:04
02 Taireva (Erick and Mondrek Muchena) 4:05
03 Nyamaropa (Ephraim Mutemasango) 6:23
04 Kuyadya Hove Kune Mazove (Joseph Katvayire, Mrs. Fatsika) 4:28
05 Mbiriviri (Simon Mashoko) (Gweniyambira) 5:57
06 Nhimutimu (John Kunaka) (Maridzambira) 4:04
07 Nyamaropa YeVana Vave Mushonga (Muchatera Mujuru) 5:04
08 Dangurangu  (Mubayiwa Bandambira) 4:25
09 Kumakudo (Simon Mashoko) 3:08

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Thomas Mapfumo was born in Marondera, Rhodesia (what is now Zimbabwe) on July 2, 1945. He is of the Shona people, and grew up in a fairly traditional Shona farming community. He began his musical career playing covers of American rock and soul music before joining Hallelujah Chicken Run Band, where he began adapting traditional music of the Shona to modern instrumentation and techniques. This process included transcribing the scales and sounds of the mbira to electric guitar.

The deeply evocative and mesmerizing Chimurenga sound of Thomas Mapfumo and the Blacks Unlimited played an important part of the Zimbabwean revolutionary struggle for independence in the 1970s. The interlacing melodic polyrhythmic counterpoints in “Tongosienda” which feature the mbira, electric guitar and voice is nothing short of stunning. This is special considering that Shona, the language in which all of the album is sung, is not widely spoken outside of Zimbabwe. Another track “Madiro”, which in Shona refers to the freedom to do and to be without fear or constraint, is so rich and full of musical gems, that it is practically begging to be re-versioned. It is the kind of song that had it been created in the hyper economical musical environment of 1970s Jamaica, its riddims would be classics.

In the late 1970s, Thomas Mapfumo released a record called "Hokoyo!", which means "Look Out!" in Shona, which had very politically charged lyrics. The Rhodesian government threw him into prison in 1979, and banned his song from the radio. Naturally, the song became even more of a hit, and eventually large demonstrations were held, demanding his release. Mapfumo's imprisonment and the uproar it caused among the Shona majority were major links in the chain that ultimately led to free elections in 1980.

Thomas Mapfumo and his band, Blacks Unlimited, provided the soundtrack of rebellion in Zimbabwe. His records and concerts helped fuel the fire and kept the spirit alive, and his chimurenga ("struggle") music -- rooted in Shona tradition, but still sounding thoroughly modern -- packed an emotional punch -- enough to get him jailed for three months by the colonial authorities. After independence in 1980, Mapfumo's songs were in praise of the new leaders (although that would change later in the decade). This collection of his Zimbabwe singles comes from a prolific and emotional period when the music most definitely did matter in a very vital way. While his sound was based on the mbira, or thumb piano, Mapfumo used guitars to imitate the repetitive parts during this period, to good, even startling, effect. The lyrics, especially on the earlier songs, are made up of Shona deep proverbs, which would make no sense to white authorities, but which the rebels understood all too well. Also listen for the cock-a-doodle.

In the 1980 elections, Robert Mugabe was elected Prime Minister, and Rhodesia became Zimbabwe. Initially, Thomas Mapfumo was supportive of the new Shona leadership, but over the next decade, became increasingly disillusioned, as many of Mugabe's exclusionary policies were as damaging to the Shona people as the white government's had been. When Thomas Mapfumo began to actively sing about the issues with Mugabe's government in the late 1980s, he quickly became the target of numerous bogus government investigations. Ultimately, the constant harassment proved too difficult, and Mapfumo emigrated to the United States. He continues to sing and speak about the issues with Zimbabwe's government, and remains a cultural hero and icon in Zimbabwe.

Thomas Mapfumo - Singles 1977-86   (flac  453mb)

01 Pidigori 4:03
02 Ngoma Yekwedu 5:02
03 Pemberai 4:48
04 Nyamutamba Nemombe 4:53
05 Zeve Zeve 3:17
06 Pachinyakare 7:27
07 Taireva 4:40
08 Haruna 4:31
09 Tombi Wachena 3:20
10 Kuyaura 4:05
11 Madhebhura 3:53
12 Ruva Rangu 3:44
13 Dangurangu 6:27
14 Madiro 5:01
15 Tongosienda 4:59
16 Makandiwa 3:56

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Chiwoniso Maraire (5 March 1976 – 24 July 2013) was a Zimbabwean singer, songwriter, and exponent of Zimbabwean mbira music. She was the daughter of Zimbabwean mbira Master and teacher Dumisani Maraire (and former officer in the Zimbabwe Ministry of Sports and Culture in the early 1980s). Describing the mbira, an instrument traditionally used by male musicians, she said, "[it] is like a large xylophone. It is everywhere in Africa under different names: sanza, kalimba, etc. For us in Zimbabwe it is the name for many string instruments. There are many kinds of mbiras. The one that I play is called the nyunga nyunga, which means sparkle-sparkle."

Chiwoniso was born in Olympia, Washington, U.S. on March 5, 1976, the eldest in what would grow to be a family of five. Her late father Dr. Dumisani Maraire taught marimba and mbira in America between 1972 and 1990, while Linda, her late mother, was a soulful singer, dancer and traditional drummer. In 1990, when she was age 15, Chiwoniso’s family relocated back to Zimbabwe, where she went on to enroll as a student at Mutare Girls High School before joining her first musical group, A Peace Of Ebony. P.O.E, whose members came from Zimbabwean, German, American, Russian and Malawian ethnic backgrounds, were a group which redefined the essence of international African rap. Composing their lyrics in English, Shona and French, they used the sounds of the mbira and marimba as the core of most of their revolutionary recordings.

Barely three short years later Peace of Ebony was recognized by Alliance Française Harare, and as a result entered the Radio France International contest, “Les Découvertes”, in 1994. The group won the ‘Best New Group out of Southern Africa’ award and were invited to perform in Madagascar, where they were offered a recording contract by the French-based company LusAfrica Sarl.

In 1995, Keith Farquharson, who had worked with Chiwoniso on the Peace of Ebony project, introduced her to a Zimbabwean guitarist by the name of Andy Brown. They recorded the album ‘Let The Children Play’, after which Andy Brown returned to South Africa, where he was working from. Four months later Andy came back to Zimbabwe and asked Chiwoniso to join his group, The Storm, and she accepted. 1999 saw Chiwoniso leading the Storm at the MASA festival in Abidjan, Côte d’Ivoire, where she won the UNESCO Price for Arts. In the same year, she was one of the nominees for the KORA Best Female Vocals of Africa Awards.

Chiwoniso fronted her acoustic group Chiwoniso & Vibe Culture for several years. Her first album, Ancient Voices, was released to international acclaim in 1995 and she went on to record three more albums:Timeless (2004), Hupenyu Kumusha, Life at Home, Impilo Ekhaya. The Collaboration: Volume 1 (2006), and Rebel Woman (2008). From 2001 to 2004, she was also a core member of the multinational all-women band Women's Voice, whose original members hailed from Norway, Zimbabwe, Tanzania, America, Israel and Algeria.[5] Chiwoniso also starred in film, having worked on the soundtracks for movies and documentaries by an array of Zimbabwean writers and film producers in the last ten years.

Maraire died on 24 July 2013 at South Medical Hospital in Chitungwiza, Zimbabwe, aged 37. According to her manager Cosmas Zamangwe, she had been admitted to hospital 10 days earlier suffering from chest pains. The cause of death was the result of suspected pneumonia, just a year after the death of her ex-husband, Andy Brown, also a prominent musician. The couple leave two daughters, Chengeto and Chiedza. She was buried at her rural home in Chakohwa village in Mutambara

Chiwoniso - Rebel Woman (flac  336mb)

01 Vanorapa 4:05
02 Matsotsi 5:05
03 Gomo 4:26
04 Nguva Ye Kufara 4:38
05 Kurima 5:30
06 Listen To The Breeze 3:49
07 Wakashinga 4:15
08 Irobukairo 4:36
09 Pamuromo 2:42
10 Nerudo 4:22
11 Only One World 4:20
12 Rebel Woman 4:31

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RhoDeo 1405 The Ring 04

Hello, last weeks insight " when a capitalist economy is young, the human virtues do indeed govern earning power. But that correlation does not endure because inherited wealth, in later generations, skews the distribution of rewards in favor of those who inherit much, thereby breaking the link between wealth owned and wealth earned. Eventually, the possession of wealth overshadows every innate human virtue: at last, even intelligence. The measure of man moves from his genes to his bank accounts, or from his blood to his wallet, and while this is going on the quality of man as a biological organism dwindles. " is still relevant, and banksters are still greedy beyond belief and why would they change their ways, feebleminded politicians won't do thing and the general public is kept at bay by the security apparatus. Paymasters rule.. Chance of public hanging of banksters..zero alas


In 1981, the BBC again tackled "The Lord of the Rings", this time in a serial of twenty six 30-minute episodes.  This production was not a condensed version, although it does leave out a number of events. Still, it is about as faithful to the book as one could reasonably expect. The characterizations are excellent and music is very nicely done. The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. .  NJoy

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In 1981 the UK radio station BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo installments. The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator. The 1981 trilogy was adapted for radio by Brian Sibley and Michael Bakewell.  It was directed by Jane Morgan and Penny Leicester.  It is voiced by some very fine British actors including Ian Holm as Frodo, Michael Hordon as Gandalf and Peter Woodthorpe as Gollum among others.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues.

The re-edited version was released on both cassette tape and CD sets which also included the soundtrack album (noticeably taken from a vinyl copy). Incidentally, episode 8 of the series, The Voice of Saruman was labelled as The Voice of Sauron on the cassette & CD box sets.

Cast and credits

Narrator: Gerard Murphy
Frodo Baggins: Ian Holm
Gandalf the Grey/Gandalf the White: Michael Hordern
Aragorn (Strider): Robert Stephens
Sam Gamgee: Bill Nighy
Meriadoc Brandybuck (Merry): Richard O'Callaghan
Peregrin Took (Pippin): John McAndrew
Legolas: David Collings
Gimli: Douglas Livingstone
Boromir: Michael Graham Cox
Galadriel: Marian Diamond
Celeborn: Simon Cadell
Arwen Evenstar: Sonia Fraser
Saruman the White: Peter Howell
Elrond: Hugh Dickson
Bilbo Baggins: John Le Mesurier
Gollum/Sméagol: Peter Woodthorpe

Dramatisation: Brian Sibley and Michael Bakewell
Music: Stephen Oliver
Radiophonic sound: Elizabeth Parker
Produced and directed by Jane Morgan and Penny Leicester

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Lord Of The Rings 04 - The Ring Goes South (55 min 63mb)

4-01 The Company of Nine 13:10
4-02 The Climb to Caradhras 8:04
4-03 Gandalf is Here ! 9:20
4-04 The Mines of Moria 6:54
4-05 Gimli's poem on Moria 8:14
4-06 Drums in the Deep 9:02

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previously,
Lord Of The Rings 01 - The Shadow Of The Past (56 min 65mb)
Lord Of The Rings 02 - The Black Riders (56 min 64mb)
Lord Of The Rings 03 - The Knife In The Dark (57 min 65mb)

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Sundaze 1405

Hello,

 "...üNN stems from the name of the studio, which is called '184.8 üNN', as when today's artist is working on music and visuals in his studio his brain is exactly 184.8 metres above mean sea level..." N'Joy

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üNN

üNN is the solo project of Frank Rueckert, also known as one half of Rauschfaktor. Frank started to develop a deeper interest in music at the age of 11 or 12, being bored and irritated by the stuff which was emanating from his sister’s bedroom (Abba, The Sweet, The Bay City Rollers and all that). „The first time that I heard bands like Human League, Kraftwerk and Depeche Mode I was fascinated by their electronic sound.“ As an early ‚Space Invaders’ junkie he soon discovered the sound chip in his home computer. A few years later he got his first synthesizer and started to produce own tracks. After some techno/industrial-releases as 'Tribantura' in the early 90s, it was his solo project ueNN that definitely put him on the map of electronic music. Focusing on ambient sounds, chill out stuff, electro and experimental music he soon gained a great reputation with his trademark ‚autobiographical’ sound. Frank Rueckert is a musical storyteller who loves to work on his tracks in a spontaneous way. „I’m improvising a lot and often the best songs arise unexpectedly and surprisingly. The songs that are brought to life in those ‚precious moments’ are definitely the best!“ His two highly acclaimed üNN albums on Elektrolux covered a wide range of musical emotions. ‚Delay’ was darker and more melancholic, while the floow up „Relief“ felt more optimistic and uplifting. Besides his work with ueNN and Rauschfaktor Frank has also performed as a VJ and produced several video clips that are constantly featured on the legendary tv program ‚Flowmotion’.

Elektro has the reputation of sometimes neglecting the emotional impact of music in favour of emphasising mechanical sounds. This, however, is not true for üNN, the main project of the Frankfurt multimedia artist Frank Rückert. Working as VJ for Sven Väth, Pascal FEOS, DJ Hell or Monika Kruse, the computer scientist is an integral part of the international Techno Club scene. After his albums 'Delay' (Elektrolux, 1999), 'Relief' (Elektrolux, 2000), 'Electronic Music' (Mikrolux, 2002), he closes the gap between sensual ambient and motor-comprehensible elektro of his previous releases by his longplayer 'Silence'.in 2006. Two years later he released Exit as well as an an EP of remixes

In 2010 Frank became The Atmosphere Experience and released two ambient albums on the Bloodsugar label, Journey To Another World and in december that year Arrival

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After üNN's Elektro 12' Make me listen, as well as various exclusive tracks on both Elektrolux Compilations Elektro.Codes.Two and Ambient.Diary.Two , Elektrolux is releasing üNN's experimental debut album "Delay". Creating minimal soundstructures with his fx gear, "Delay" still surprises with chilly atmospheres and fluffy sequences.

üNN - Delay (flac  395mb)

01 feedback 4:33
02 make me listen 2:58
03 just for a minute 1:59
04 make me think 2:35
05 there's some truth in it 3:25
06 make me delay 3:36
07 transition 5:52
08 machinery 6:44
09 blue 4:08
10 for the secondary 4:08
11 running 5:13
12 arrival 4:45
13 if we could be stars 5:28
14 as cs ds 6:56
15 marathon 4:36
16 someday 6:31

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Typical representatives of this cool grooving melange is the Frankfurt project ÜNN, who with "Relief" presents his second work for Electrolux. The 16 tracks are extremely remember the scene that is innovative, and stimulating in sequences sounding like Tangerine Dream and Kraftwerk, but using enough own spacey abstractions, to pass as original. Unn's second release sits in the grey area of lush layered ambient noise, 80's electro and crystal clear electronica. Beginning with darkambient melodies over downtempo beats the album changes midway through finding it's electro-feel, still on the lower tempo scale. Production is of the highest standard and the tracks really immerse the listener especially with headphones on.

With two prime time selections ("Reopen" and "Sensor King") and fully eight mid/down-tempo pieces ("Sphere," "Blue Sky," "Two," "Retro Rocket,"
 "Stone," "Hybrid Elements," "This Time Tomorrow," "Three Pilots" and  "Ease") that are spin-worthy early/late or in anyone's chill room, the
pleasant surprise upon receiving this fine electro-break release has still not yet sunk in. The best advice on this one is... search it out, listen to
it but before you do (as the Funketeer George Clinton said) "free your mind and your ass will follow."

üNN - Relief (flac 486mb)

01 reopen 4:09
02 sphere 5:36
03 blue sky 6:17
04 two 4:51
05 retro-rocket 5:33
06 magnetic 4:18
07 stone 4:29
08 sensor kling 6:47
09 hybrid elements 5:48
10 repetitive ego 5:05
11 harmonic/discordant 5:34
12 this time tomorrow 3:47
13 chemical 4:49
14 three pilots 3:48
15 ease 2:38
 
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Frank Rückert aka üNN presents his album 'Electronic Music’. Despite of all musical evolution, Frank Rückert stays true to his roots which between ambient and electro music, charming melodies and experimental sound explorations. And it is especially one fact that all of the eighteen tracks on 'Electronic Music’ have in common:Musical landscapes between dream and reality displayed in harsh light and pastel tones all of them are highly infective.

üNN - Electronic Music (flac 380mb)

01 pronounce 0:07
02 overflowing 4:49
03 passengers 5:15
04 reality 4:50
05 summersky 5:35
06 life 5:20
07 hypnosis 5:02
08 pictures 4:52
09 starlight 6:08
10 fear 5:03
11 scanner 5:17
12 dice 4:37
13 the search 3:02
14 friendship 2:03
15 repeat 1:30
16 pressure 3:33
17 destination 1:11
18 recovery 3:45

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RhoDeo 1404 Beats

Hello, "If you want justice, you've come to the wrong planet"

These months the French 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 industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. As for today's artists, some say they are a genetic mix of Daft Punk, Aphex Twin & The Stooges. Anyhow they are part of the new French "electro sound", together with Justice, Para One, Modeselektor & a few others. And they know how to blow up any dancefloor. . ....... N'joy

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Ever heard about Teenage Bad Girl ?

Greg Kazubski and Guillaume Manbell are Teenage Bad Girl. Based in Paris, they are part of the new French electro scene and like to describe their style as Hard/Dirty Electro. Some say they are a genetic mix of Daft Punk, Aphex twin and The Stooges. The duo's first release, the 12" "Hands of a Stranger", quickly reached the dancefloor charts & since the beginning of their short career, they’ve been supported and playlisted by Mylo, Chloé, Paul Woolford, Erol Alkan, Ian Pooley, Justice, DJ Hell, Digitalism, Arthur Baker, Adam Freeland, Ewan Pearson, Vitalic, Boys Noize, Yuksek, etc.

Teenage Bad Girl are not your usual type of group. They met trading files on Soulseek, the famous peer-to-peer musical network. Guillaumme asked Greg to download a few tracks...then Greg saw his shared files, told him ‘cool taste’ and the rest is history! Then after a few weeks of chat and trade, Guillaumme proposed to Greg to remix a track on his own label Archibell (which had already released the first Teenage Bad Girl).
Guillaume Manbell had created in 2004 his own label Archibell and  would describe Greg as somebody extremely creative, who lives music till the fingertips of feet, and who master keyboards perfectly. He also has a great feeling of harmonies and melodies. Greg : Guillaume is both performant in music creation and art design, he knows how to associate artworks and music, and that's really important.

The duo immediately became part of the new wave electro French, never far from the electro rock, and is first to know via his remixes. "I Do not Feel Like Dancing" by Scissor Sisters is their first time brightness, Teenage Bad Girl is quickly signed on the label of Vitalic. They use lot of old vinyl samples to create a warm atmosphere, and use these samples with analog synthesizers or digital effects like VST plug-in for example, melting different types of sounds in order to obtain something weird and particular at the end.

Cocotte released in 2007 and welcomes the electro creative amateurs. This first album was soon followed by Cocotte 2.0 , which includes ten original tracks and remixes. Teenage Bad Girl also continues to be a duo known remixers, requested by Boys Noize and Chromeo. The second full-length album, Backwash, Teenage Bad Girl released in 2011, preceded by the title "Tonton Funk" and "Keep Us With You."

They went two times to Japan, first time it was just to play at Fuji Rock Festival. It was so amazing to play in such an extraordinary place that we forgot we just arrived in the afternoon and were totally destroyed. Then they came back for a little tour, very successful, the audience was so receptive and willing to party till the end. The ambitious duo is actively touring in dj sets as well as with their new live act & scenography, based on laser technology created in collaboration with French collective Digital Slaves, that should hit a major festival near you soon! Or is it ? Nothing much has been heard of them since May 2012

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The French electro has the good sense to remember its recent roots, especially those of the French Touch movement of ninety years. If the stars have since then often transferred to the French house, the new electro wave approaches her electro rock. Whether Justice, Yuksek or Teenage Bad Girl is good vibration rock that support this new sound electro. Cocotte and its title so frenchy does not escape the trend, Teenage Bad Girl playing most famously on numerous breaks that make "Hands of a Stranger" sound more captivating maze. duo fun of a "Fuckin 'Frog' nà resonance sounds good market for video games old way. Obviously, Teenage Bad Girl does not seek the tube at any price, Cocotte is more an album of artistic research quest of glory. "Vacuum" nrenvoie the delusions of experimental rock sound, bringing some violence and a welcome to the dark about Teenage Bad Girl. Not necessarily accessible, Cocotte goes far beyond electro productions kilometer pollute cyberspace with emphasis .Still, there's plenty of fun to be had with 'F**in' Frog' and Italo stompalong 'Ghost House'. Probably the most flagrant leap onto the Parisian electrohouse bandwagon is 'Tales From The Pigs' which is headspinningly choppy and quite the hoot, so there's not much to complain about really. Bonus tracks come from Boys Noize and Hystereo remixes. An album in which they blend the punk spirit from their musical debut in rock & roll bands with the broken rhythm of underground hip-hop and the efficiency of a half French Touch half Detroit old school techno.

Teenage Bad Girl - Cocotte ( flac 537mb)

01 Intro 0:53
02 Cocotte 4:22
03 USB Dick (Plug Me In) 4:04
04 Hands Of A Stranger 5:16
05 Fuckin' Frog 4:39
06 Break Out The Wheel 6:18
07 Vacuum 3:49
08 Ghost House 4:50
09 Tales From The Pigs 3:52
10 Beel 6:50
11 Du, Meine Sonne 6:04
12 D'RAN 0:46
13 Franz Shubert 4:44
14 Aviateur (Remix G.Kazubski) 6:34
15 Cocotte (Boys Noize Rework) 6:13
16 Cocotte (Hystereo Rebrand) 8:44

Teenage Bad Girl - Cocotte  (ogg 183mb)

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Teenage Bad Girl have been pushing a blend of distortion-heavy electro since 2005. While they haven't been privy to the widespread and often mainstream attention many of their Parisian counterparts continue to receive—Justice, Busy P et al—Manbell and Kazubski have remained a staple of the French electro wave, albeit with a lower profile. This latest album for which they’ve opted for a more simplistic and open approach, carried by robotic vocals from Greg Kazyo, Rye Rye, Todd Fink (former singer of The Faint) as well as Illa J.  from Slum Village (J Dilla’s brother). In terms of sound, their palette doesn't stray too far from what you'd expect from many of their European electro contemporaries, generally employing the aggressive analogue synth lines and syncopated percussion their scene has become renowned for.

Teenage Bad Girl - Backwash   (flac 326mb)

01 Fight Night 4:34
02 Keep Up With You 5:16
03 The Wave 4:21
04 Black Hole 3:48
05 Heart Zero Beating 2:22
06 X Girl 3:26
07 Hold Me Tight 4:10
08 Fast Blood Delivery 5:03
09 Tonton Funk 4:09
10 Boogie Toy 4:42
11 Backwash 2:33
12 Jumping Judas 3:46

Teenage Bad Girl - Backwash   (ogg 117mb)

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Vitalic is the alter ego of Pascal Arbez, a French programmer/multi-instrumentalist who blends electro, techno, and house -- as well as elements of classical, rock, Italo-disco, and '70s electronic music -- into a sound that recalls the work of fellow countrymen Daft Punk and Air, but has its own hard-edged playfulness. Arbez played trombone as a child and young adult, but became fascinated with dance music when he heard Daft Punk in the mid-'90s. Inspired by them as well as Giorgio Moroder, Arbez switched to analog synths and began writing and recording as Dima. He released his first 12" in 1996 on Citizen Records, a label started by Arbez and like-minded friends. Arbez used the Dima moniker (as well as the alias Hustler Pornstar) until 2000, when he switched to the name Vitalic.

After sending a demo to International Deejay Gigolo, the label released Vitalic's Poney EP in 2001. The EP's expansive yet hard-hitting sound made its three tracks staples in sets by DJs as varied as Aphex Twin, Princess Superstar, and 2 Many DJ's. However, despite some collaborations and remixes, Arbez took a while to release any new Vitalic material. The Fanfares EP arrived late in 2004, signaling a heavier, less atmospheric bent to Arbez's work than the Poney EP; spring 2005 saw the release of the single My Friend Dario, by far the poppiest Vitalic track yet.

Most of Vitalic's key singles and tracks were collected on the long-awaited debut album OK Cowboy (the title of which alluded to Vitalic's maverick stance and Arbez's preference to live in the French countryside), which arrived in Europe later that spring and was released in the U.S. that summer. Early in 2007, the mix album The Sound of Citizen -- which included tracks by Arbez's inspirations as well as artists on the Citizen roster -- was released. Late that year, V Live arrived a live recording preserving a set Vitalic spun at an event in Belgium in the fall of 2006; capturing the music as well as the excitement of the crowd, V Live includes the tracks "Bambalec," "Follow the Car," "My Friend Dario," "The 30,000 Feet Club," and many more. Disco was a strong influence on 2009's Disco Terminateur EP and the single "Your Disco Song," both of which arrived before his second full-length, Flashmob, appeared that fall. For 2012's Rave Age, Arbez collaborated with members of Shitdisco, Sexy Sushi, and Stephane "Alf" Briat, whose mixing contributed to the album's more streamlined direction.

Vitalic - V Live (flac 441mb)

01 Polkamatic 2:05
02 Disco Nouveau-Live Intro 2:15
03 Bambalec 1:57
04 Anatoles 4:37
05 Follow The Car 4:08
06 Bells 5:19
07 The 30000 Feet Club 5:35
08 Rhythm In A Box 1 & 2 4:44
09  La Rock 01 7:43
10 Filth'n'Dirt - Go Ahead (Vitalic Garage Mix) 4:04
11 My Friend Dario 3:58
12 No Fun (Play The Guitar Johnny) 5:57
13 Fast Lane 2:33
14 Valletta Fanfares Live Version Outro 4:18

Vitalic - V Live  (ogg 146mb)

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previously France, Paris I (12/19/06)

Vitalic - Ok Cowboy (flac * 360mb)

Vitalic - Ok Cowboy (ogg * 129mb)

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