RhoDeo 1602 Aetix

Hello,


Today's artist released under the various project names of Foetus, Wiseblood, Steroid Maximus, Baby Zizanie, Manorexia and others—it includes elements of 20th century classical music, noise, big band, Americana, jazz, punk rock, African and Cuban percussion, and epic/horror film soundtracks. Much of his aural output is built on a percussive, rock music-type structure, though to call it rock music would be inaccurate. His music employs elements of many genres: with an often frenzied aesthetic, his music combines percussion, strings, distortion, brass, electric guitars, electronic sounds and voice. Recurring lyrical themes include destruction, persecution, anxiety, abuse, incest, masochism, angst, self-destruction, self-abuse, lust, prejudice, murder, failure and machismo, often expressed using American colloquialism and black humour.  N'Joy

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James George Thirlwell (born 29 January 1960) – also known as Clint Ruin, Frank Want, Foetus among other names – is an Australian singer, composer, and record producer. He is known for juxtaposing a variety of different musical styles.
Thirlwell was born in Melbourne, Australia. He briefly studied Fine Art at Melbourne State College before moving to London, England in 1978, where he played with the post-punk band prag VEC and formed the first of his numerous musical projects, Foetus. In the 1980s, under the pseudonyms Clint Ruin and Frank Want, he contributed to various releases by Nurse With Wound, Marc Almond, The The and Nick Cave. He released his first 7" single, OKFM/Spite Your Face, in 1981, on his own Self-Immolation record label in his first incarnation as Foetus. Over the next few years, he would release two more singles, a 12" EP, and four full-length albums, Deaf, Ache, Hole and Nail Some Bizzare Records . After visiting the United States during a live stint with the Immaculate Consumptive (Lydia Lunch, Nick Cave and Marc Almond) Thirlwell settled in New York City, where he is still based. Since his move he has released several singles, fourteen EPs (including Stinkfist, with fellow New York artist Lydia Lunch and Thurston Moore), and seventeen full-length albums.

In addition to being a prolific artist in his own right, Thirlwell has remixed and produced numerous pieces for artists including Faith No More, Nine Inch Nails, Pantera, Jon Spencer Blues Explosion, The The, Zola Jesus and Swans. He has also done voice-over work for MTV and other entities.

Since 2000 Thirlwell has become more active as a composer, having written commissions for Bang on a Can, League of Electronic Musical Urban Robots and Kronos Quartet, and scoring the Adult Swim cartoon The Venture Bros. He also revived his primary instrumental project, Steroid Maximus, and initiated a more experimental instrumental project in Manorexia. He continues to write and perform regularly as a solo artist and with various ensembles. He is also a member of the freq_out sound art collective, and has created solo sound installations in Kaliningrad, Santarcangelo and Vienna.

Throughout the span of his career, Thirlwell has toyed with his own identity by releasing music in the guise of numerous alter egos. During the earliest phases of his recording, Thirlwell's "groups" were composed of a plethora of fictional characters: Foetus Under Glass supposedly consisted of Frank Want, Phillip Toss and two Brazilian statistics collectors; Scraping Foetus off the Wheel was claimed to be the work of Want and Clint Ruin. Furthering the confusion, Thirlwell adopted these personas outside of his own recordings; for example, Frank Want can be found on The The's Soul Mining and on releases by Orange Juice, with whom he appeared on Top of the Pops.

Thirlwell's persona of Clint Ruin was particularly notable. During the mid-1980s and early-1990s Thirlwell exclusively went by this pseudonym, even conducting interviews as Ruin. As Ruin, Thirlwell was a member of Wiseblood with Roli Mosimann and Flesh Volcano with Marc Almond. He also recorded two collaborative EPs with Lydia Lunch, and starred in and scored films of Richard Kern under the Ruin alias. Ruin is also credited on numerous releases for a variety of roles with Boss Hog, Coil, Fur Bible, Annie Hogan, Nurse With Wound, Pigface, Sonic Youth, Workdogs and others.
This practice seems to have been discontinued since 1995, and "JG Thirlwell" is credited on all subsequent musical recordings.

Thirlwell's projects.

Foetus:  From 1981's single 'OKFM' until 2013's 'Soak', most Foetus songs featured lead vocals. Though popularly known as simply "Foetus", Thirlwell released albums under diverse variations of the name, including: Foetus Art Terrorism; Foetus Über Frisco; Foetus Corruptus; Foetus In Excelsis Corruptus Deluxe; Foetus Inc.; Foetus Interruptus; Foetus Over Frisco; Foetus Under Glass; Philip and His Foetus Vibrations; Scraping Foetus Off the Wheel; The Foetus All-Nude Revue; The Foetus of Excellence; The Foetus Symphony Orchestra; and You've Got Foetus On Your Breath.
Steroid Maximus: Primary instrumental project.
Manorexia: Experimental instrumental project.
Wiseblood: Collaboration with Roli Mosimann.
Flesh Volcano: Collaboration with Marc Almond.
Baby Zizanie: Collaboration with Jim Coleman.
Hydroze Plus: Collaboration with Electronicat.
Garage Monsters: Collaboration with skater artist the P!zz. (Sympathy for the Record Industry)
The Immaculate Consumptive: Touring ensemble with Lydia Lunch, Nick Cave, and Marc Almond
The Venture Bros.: Musical score by Thirlwell.

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Nail is possibly the best Foetus album; it apparently hopes to piss off all potential listeners by working through as many warped sounds and styles as possible. Nail focuses, Ruin observes, feels-ruminations of hellish, turbulent death, agony, murder and down, black-mind opens and lets loose the darkness. Music soars, crashes, Again. Again. Again. “Descent Into The Inferno” pops, rolls, reels, tumbles down and up, up, up and around and ends…Death as glorious end to hellish agony, “Enter The Exterminator”…Music: “The Theme From Pigdom Come” “Private War”…Words: “Isn’t it a pity what a town without pity can do” “I can do any goddamn thing I want”…Satanic poetry. The Horror, The Horror. The sheer range of this music is hard to believe.

Scraping Foetus Off The Wheel - Nail  (flac 239mb)

01 Theme From Pigdom Come 1:53
02 The Throne Of Agony 5:18
03 !-Pigswill 0:04-6:13
04 Descent Into The Inferno 6:14
05 Enter The Exterminator 4:43
06 DI-1-9026 4:40
07 The Overture From Pigdom Come 3:01
08 Private War 1:06
09 Anything (Viva!) 6:47

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Wiseblood is an electronic noise-rock band formed by Clint Ruin (aka J. G. Thirlwell) and Roli Mosimann. In Ruin’s words, Wiseblood is violent macho American music made by non-Americans. The material tends toward the realm of the darkest and most sexual Foetus songs, with Mosimann’s Swans lineage showing in the slow, crushing pacing of many tracks. Thematically, Wiseblood’s lyrics center around the misanthropic exertion of power, typically via murder, sex or assault. Wiseblood existed on-and-off from the mid 1980s through early 1990s. Fans of either band should enjoy this 1986 album.

Wiseblood - Dirtdish (flac 441mb)

01 Prime Gonzola 5:36
02 0-0 (Where Evil Dwells) 5:20
03 Stumbo 7:05
04 Someone Drowned In My Pool 7:37
05 Godbrain 6:58
06 The Fudge Punch 6:34
07 Motorslug 9:37
08 Stumbo 12" Version 6:34
09 Death Rape 2000 7:29

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Although the aural assaults of Foetus could never be described as commercial, on 1988's Thaw, Jim Thirlwell reaches his most accessible. All the traditional harsh, machine-based noise is still present, but in slightly more conventional patterns than before. Opening track "Don't Hide It Provide It" rides on a mutant disco groove that many of Thirlwell's contemporaries would sell their souls to come up with, but it's something that he manages to do several times on the album. Not all of Thaw is danceworthy, and some of it is almost unlistenable -- "Asbestos" is three minutes of screeching violins -- but songs like "Barbedwire Tumbleweed" demonstrate just how far ahead of the pack Thirlwell is. When he's on this kind of form, he's one of the best.

Foetus Interruptus - Thaw (flac  247mb)

01 Don't Hide It Provide It 4:29
02 Asbestos 5:01
03 Fin 0:37
04 English Faggot / Nothin Man 3:38
05 Hauss - On - Fah 5:56
06 Fratricide Pastorale 1:59
07 The Dipsomaniac Kiss 4:12
08 Barbedwire Tumbleweed 3:26
09 ¡Chingada! 3:16
10 A Prayer For My Death 7:02

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RhoDeo 1602 Re-Up 45

Hello, little did i know yesterday that at the time i was writing it Bowie lay dying, as i said yesterday it was clear to me his Blackstar album was about death. I know i'm somewhat sentient and playing Lazarus and the album several times even after each other is very unusual for me. Bowie was the first artist i admired and followed ever since i got my first ever LP, Aladdin Sane 42 years ago, he refused to be pigeonholed, i suppose this blog follows in those footsteps. Anyway i was shocked when i read the news of his death and yes I cried a little and that this great man had to succumb to cancer adds insult to injury. Yesterday i wrote that i hoped Lazarus would be released as a single, well it has been.. I wonder if he prepared something for his funeral.

True art lasts an eternity, and Bowie and his work will live in the hearts of millions of fans for longer than time itself. At yesterday's post you can still >> Convince Yourself



With 22 re-ups today most of the current requests have been fulfilled, however there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. That said i've seen a number of requests for music i posted earlier this year 2015, these are on the long list simply because most visitors here have already had these choices recently, my priority lies with older posts (i've been posting for 9 years now)

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 22 re-ups, requests fullfilled up to January 3rd ...N' Joy


3x In The Beginning NOW In Flac (Various Passion Sources, Songs Of Taize, African Sanctus=still ogg)


3x Sundaze NOW In Flac (Roedelius - Selbstportrait I , Roedelius - Jardin Au Fou, Moebius & Beerbohm - Double Cut)


In The Nursery - Koda Back In ogg


4x Aetix - Gang Of Four NOW in Flac (Hard, Solid Gold & Another Day, Another Dollar, The Peel Sessions Album, and Songs of the Free)


3x Aetix Nick Cave & The Bad Seeds Back in Flac ( The First Born Is Dead, Kicking Against The Pricks, The Good Son)


Cabaret Voltaire - The Conversation 2 Back in Flac

3x Tokyo Ska Paradise Orchestra NOW in Flac ( Justa Record Comp. Vol 1.1, Justa Record Comp. Vol 1.2,  Ska Me Crazy ( Best of))

4x The Go-Betweens Back in Flac (Send Me A Lullaby + Bonus, Before Hollywood + Bonus, Tallulah + Spring Hill Fair(still ogg))

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RhoDeo 1602 Quest 24

Hello, my musictrack of the week has been Lazarus by David Bowie, a wonderful dirge of sorts with an early eighties Cure intro and outro some relaxed King Crimson inbetween and Bowie's voice, an extraordinairy mix should get a fitting video and single release. That's not all, Bowie's Blackstar is the best album he made in decades. To me it's a concept album as in Bowie's coming to terms with the aftermath of his heart attack, a creative guy like him will have had some weird dreams, like the title track a 10min song he insisted must be the first single. Anyway why don't you Convince Yourself



Elven Quest...  It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. So what do you think will happen in today's final episode ? ... N'Joy

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Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


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Elven Quest 24 The Great Escape (mp3  25mb)

24 The Great Escape 27:24


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previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)
Elven Quest Season 3 (13-18) (mp3  152mb)
Elven Quest Season 4 (19-24) (mp3  152mb)


Elven Quest 19 Queen Eleanor (mp3  25mb)
Elven Quest 20 The Magnificent Five (mp3  25mb)
Elven Quest 21 The Fat Hog (mp3  25mb)
Elven Quest 22 The Underworld (mp3  25mb)
Elven Quest 23 The Bard (mp3  25mb)


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Sundaze 1602

Hello, let's continue the new year with in a sense is the concept behind sundaze music; Ataraxia is a Greek term used by Pyrrho and Epicurus for a lucid state of robust tranquility, characterized by ongoing freedom from distress and worry.


Today's artists are master of the neo-period ambient darkwave sound that comes from combining medieval liturgical chants and subdued Gothic influences. Ataraxia often uses authentic French minstrel material as the basis for their songs. They use simple drum rhythms, basic acoustic guitar sounds, and the nostalgic sound of free flute to accompany the multilingual renaissance harmonies of vocalists Francesca Nicoli and Vittorio Vandelli. They have dedicated their lives to art, to explore the nobleness of centuries in many possible ways (music, poetry, theatre, and photography). They are an Italian neoclassical band who combine modern technology with archaic instrumentation over various media, founded by Francesca Nicoli and Michele Urbano in November, 1985. In the first five years there were many musicians in the band, until finally Francesca Nicoli, Vittorio Vandelli, and Giovanni Pagliari became the basic line-up until today. Defined as 'craftsmen of the sound' because they create an unusual mix of sacred and profane, atmospheric and experimental, contemporary and early music, using acoustic and electric instruments as well, always with such language which fits best to the actual work.....N'joy

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Within the music of the so-called ‘Gothic’ movement they do exist many various tendencies. For example there is a clear, huge difference between the ‘Post punk’ and the ‘Ethereal’ front While the Post punk, deriving directly from Punk music, deals with a classic Rock set (bass, guitar, drums and voice, sometimes with key-boards), the Ethereal current is not so easily classifiable. When describing the Ethereal musical set, it is easier to list what is missing rather than what is part of it: it lacks the electric guitar, for example In its place we often find an acoustic twelve string guitar. Keyboards are important  There are no drums, however various types of percussion find their place. Very often there is no bass guitar. In few words, the Ethereal approach has no, or at least not much, ‘Rock’ attitude. Furthermore, it is to be said that the label ‘Ethereal’ is not such a good one and it is going to be used within this context only because at present we are lacking a better description. We could also talk about ‘Neo-classical’ bands for example, or ‘Neo-Medieval’, or ‘Neo-Folk’ as well but also ‘Dark Wave’ and so on, picking one of the many conventional labels that journalists have used in the past in the attempt to create a classification. In any case it is undeniable that those bands of the ‘Gothic’ movement that have the Middle Ages among their main references
are usually clustered under the label ‘Ethereal’

Among the so-called ‘Ethereal’ bands, the reference to the Middle Ages is not exclusive. In their careers these bands show a particular interest for the past in general, for myth and for the unusual and often also for the ethnic exploration As we can read in Ataraxia’s words below, lead singer Francesca Nicoli often says things like these:

"We are interested in history in its whole entirety; we travel across the ages to propose again, in current times, the spirit of
Time, seeping through our sensitivity  We have embraced several historical periods, the Middle Ages and the Renaissance,
Classic Greece, the Baroque era and the Nineteenth Century; soon we will go back as far as 10 000 years from now to achieve Atlantis "

It is correct and, for many years of their long career, reviewers have recognized many references to the Middle Ages in Ataraxia’s works  For Ataraxia, this has been the key of their musical evolution throughout the Nineties, at least until the beginning of the second millennium. With reference to the first album, Simphonia Sine Nomine (1994): ATARAXIA’s interesting combination of Classical, Medieval, Choral & mood music has appealed to me from the moment I first heard it
With reference to the second album, Ad Perpetuam Rei Memoriam (1994):After Ordo Equitum Solis or Black Rose, Italy presents us ATARAXIA, another band that walks into medieval reigns

The apex of Medieval references in the Ataraxia’s production was reached with Historiae (1988) and Sueños (2000)  The following sentence, The CD, almost as if it was a time-machine, carries us onto a theatre of ancient sounds and emotions, typical of the Media Aetas, 6 where «Media Aetas» literally means «Middle Ages». Ataraxia have reported many quotations of medieval music in their career

Ataraxia is an Italian neo-classical band who combine modern technology with archaic instrumentation over various media. They describe their music as a cross "between sacred and profane, ethereal and neo-classical, contemporary and early music". They make researches into the European legends crossing the Greek and Latin myths. Contemplation, dreamy experiences, elegiac atmospheres, ritual movements float in a mysterious garden where contemporary textures of notes meet the embracing echo of classic sounds. Their lyrics are written in many ancient and contemporary languages as they try to bring to surface the hidden treasures and revelations that each language owns. Many of their performances take place in locations the band professes to possess specific spiritual qualities.Since the beginning of the group in the late 80's, they released some 25 albums.

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La Malediction d'Ondine takes inspiration on the Greek mythology

On the album concept....
 ...envelopped by the waves, dragged by the streams of the rivers, sucked by the gloomy overflowingats of the laOnkes the echo of the up and down of many female souls repeats itself an infinite number of times, we've heard that dirge, we've transformed it into some songs and we are repeating the same tune like the echo of an echo to you, oh listener...

Ondine were nymphs of the streams, of the marshes, of the lacustrine surfaces, they were both women and Goddesses, a medley far from perfection, Ondine could kill dragging us in the whirlpool of their pain and death, always consumed by water, Ondine could love passionately, just like women, with all the sublime burden of their primordial instinct. La malédiction d' Ondine it's also a curse, the neurologists describe it as an apnoea that happens while sleeping, if someone doesn't wake-up in time it will probably wake-up somewhere else, anchored to the seaweeds braids of a deep sea or stranded on a branckish smell beach....

Ataraxia - La Malediction d'Ondine (flac 407mb)

01 Medusa 2:34
02 Sybil 4:41
03 Flora 3:29
04 Blanche 5:41
05 Annabell Lee 2:43
06 Astimelusa 6:47
07 June 2:51
08 Lubna 2:59
09 Ligeia 2:33
10 Ophélie 4:22
11 Lucretia 8:03
12 Zelia (The City In The Sea) 5:43
13 Lucrecia 3:52
14 Ondine 4:34

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Once I danced on the cliffs, amongst the sea-lilies, and the moon gave me its singing, while swinging on the April chair... time is over, life lived. Now I m the autumn, a red mournful dirge under the November moon. Flames, I pray you, carve the hieroglyphics of instinct and pleasure on my skin and deeper inside, on my heart. I m cold, and it s November. Words got dried, submerged relicts, the only holds of instants bitten to the core... The first part of the album, dedicated to Springtime and the awakening of nature, features passionate songs evoking mysterious airy escapades. The silent dance of this music reminds the bright spirals of fire-flies and gives serenity. We listen to unforeseeable musical trajectories that only the souls of children can perceive. The atmospheres full of spleen distemper into a visionary lightness. The well-known ballad «Rocking Chair of Dreams» is an irresistible movement that depicts spring as the cradle of dreams. The second part of the album, inspired by Autumn, opens with a sacred hymn to reach a very hazardous level of experimentation in «Spiritus ad Vindictam». «The Moon Sang On The April Chair» is a work that leaves a mark. Ataraxia have been inspired and led by two seasons so rich in nuances, chiaroscuro, and half tones, phases intimately linked to their peculiar way to feel and live music. The album features a bonus track: Post-Nuclear Obitus, dedicated to the harsh damages that nuclearization has caused on mother-earth and mankind.

Ataraxia - The Moon Sang On The April Chair  (flac  281mb)

The Moon Sang On The April Chair
01 The Moon Sang On The April Chair 6:28
02 Verdigris Wounds 4:36
03 The Tale Of The Crying Fire-Flies 4:56
04 Colouring Nocturnal Lemons 3:51
05 Rocking Chair Of Dreams 4:34
Red Deep Dirges Of A November Moon
06 Satis Vixi 4:08
07 Lady Lazarus 2:26
08 Spiritus Ad Vindictam 5:35

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Francesca Nicoli's voice is the main protagonist of the spiritual manifestation that is Ataraxia. Her voice, at times low and soothing, at times airy and etherial, tops the complex and fragile musical arrangements. Amazing acoustic guitar work and transparent, gusty keyborards intertwine with the chilling ambience, that comes straight from within the ancient walls of S.Ruffino, the sanctum of Ataraxia creativity. The lyrics are in Latin, Portugese, French and English. One curious aspect of Il Fantasma Dell'Opera is that it contains a cover of Kate Bush's "Wuthering Heights", turned into "La nuova Margherita" and sounding nothing like the original :) This is one of the rare albums that is purely brilliant from begining to end.

Ataraxia - Il Fantasma dell'Opera (flac 276mb)

01 È Il Fantasma? Part. 1 (Is It The Phantom?) Chapter 1 0:54
02 È Il Fantasma? Part. 2 (Is It The Phantom?) Chapter 1 1:50
03 La Nuova Margherita (The New Marguerite) Chapter 2 4:39
04 Il Palco N. 5 (The Box N. 5) Chapter 4 3:52
05 Il Violino Incantato (The Enchanted Vion) Chapter 6 3:55
06 Faust In Una Sala Maledetta (Faust In A Cursed Hall) Chapter 8 2:30
07 Al Ballo Mascherato (To The Bal Masque) Chapter 13 2:23
08 La Lira Di Apollo (Apollo's Lyre) Chapter 13 6:18
09 Il Signore Delle Botole (The Lord Of The Trap-doors) Chapter 14 3:36
10 Nei Sotterranei Dell'Opera (In The Opera's Vaults) Chapter 21 5:49
11 Le Ore Rosa Di Mazenderan (The Pink Hours Of Mazenderan) Chapter 25 5:15
12 Fine Degli Amori Del Mostro (End Of The Monster's Loves) Chapter 28 5:13

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RhoDeo 1601 Grooves

Hello, the stock-exchanges had their worst first week of the year ever, expectations, expectations the driving force of the whole gambling lot, the end of free money in sight with the ridiculous policy of quantitative easing which defacto rewarded the bastards that caused the recession in the first place, had the money transferred to them been distributed amongst the people the economy would have grown big time, but then some of those crooked banks would have gone bust and their backroom lobby is so much stronger than the supposed peoples lobby-parliament-specially in the US those members do not serve the people, only interest groups that provide them with money to be re elected, a very vicious circle. In that light i would strongly recommend the movie I watched yesterday "The Big Short" it's Oscar nominated and its about why we got into this mess and the completely immoral nature of the banking system that's been ruling -nah ruining this world.


The Jackson 5 are an American popular music family group from Gary, Indiana. Formed in 1964 under the name the Jackson Brothers, the founding members were Jackie, Tito and Jermaine. Marlon and Michael would later join, and the band's name would be changed to The Jackson 5. After participating in talent shows and the chitlin' circuit, they entered the professional music scene in 1967 as The Jackson Five, signing with Steeltown Records and releasing two singles. In 1969, they left Steeltown Records in order to sign with Motown. They were among the first groups of black American performers to attain a crossover following.  ... N'joy

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The Jackson 5 were one of the biggest phenomenons in pop music during the early '70s, and the last great group to come out of the Motown hitmaking machine before Marvin Gaye and Stevie Wonder shifted the label's focus to more individual visions. The Jackson 5's infectious brand of funky pop-soul was a definite departure from the typically smooth, elegant Motown sound, as befitting the group's youth and the dawn of a new decade. That youth, coupled with the merchandising juggernaut that sprang up behind them, inevitably got them tagged a bubblegum group. But they were far more talented musically than that label would suggest, especially lead singer Michael, and their material, while sunny and upbeat, didn't pander to its audience. Solo careers and overexposure gradually weakened The Jackson 5, but their best music still holds up surprisingly well as some of the most vibrant mainstream pop/R&B of its era.

Originally, The Jackson 5 were composed of brothers Jackie (born Sigmund Jackson, May 4, 1951), Tito (guitar, born Toriano Jackson, October 15, 1953), Jermaine (bass, lead vocals, born December 11, 1954), Marlon (born March 12, 1957), and Michael (lead vocals, born August 29, 1958). By all accounts, the Jackson family's upbringing in Gary, IN, was strict; their mother Katherine was a devout Jehovah's Witness, and their father Joe was a stern, temperamental disciplinarian. Allowed few outside interests, the boys gravitated to music, which was in their blood -- prior to his job as a crane operator for a steel company, Joe had played guitar in an R&B group called the Falcons (not the same group that launched Wilson Pickett's career). One night, Joe discovered that Jackie, Tito, and Jermaine had been playing his treasured old guitar without permission; though initially furious, he quickly discovered that his sons had genuine talent, and began to conceive of a family singing group that might eventually get them out of their tough working-class life in Gary. The eldest three sons began performing around the area together in 1962, teamed with two cousins (Johnny Jackson and Ronnie Rancifer), who were replaced by Marlon and five-year-old Michael. Supervised by Joe, who became their manager and began working only part-time, the group practiced and rehearsed often, and improved as dancers, singers, and instrumentalists at a rapid rate. In particular, Michael proved himself a dynamic performer, soon replacing Jermaine as the featured lead vocalist, and establishing himself as a nimble dancer able to mimic talents like James Brown. At first, the group was known as Ripples & Waves Plus Michael, then the Jackson Brothers, and finally The Jackson 5.

 In 1966, The Jackson 5 won an important local talent competition with a Michael-led rendition of the Temptations' "My Girl." Their father, who had been chauffeuring them to out-of-state performances, also booked their first paid professional gigs that year. In 1967, the group won an amateur talent competition at Harlem's legendary Apollo Theater, where they earned an influential fan in Gladys Knight (probably the first person to recommend the group to Motown). At the end of the year, The Jackson 5 made their first studio recordings for the small Gary-based Steeltown label, and their single "Big Boy" became something of a local hit. Championed again to Motown by Bobby Taylor, a member of the Vancouvers who'd seen the group in Chicago, and Diana Ross, The Jackson 5 finally got a chance to audition for the label in the summer of 1968. Desperately needing new blood, an impressed Berry Gordy signed the group and flew them out to his new headquarters in Los Angeles, where he and his assistants groomed them to be the label's next breakout stars. Having lost his famed Holland-Dozier-Holland songwriting team, Gordy formed a new partnership with Freddie Perren, Fonce Mizell, and Deke Richards dubbed the Corporation, which set about crafting material for the group.


 In August 1969, shortly before Michael turned 11, The Jackson 5 opened for Diana Ross at the L.A. Forum, and in December, they issued their debut album, Diana Ross Presents the Jackson 5. On October 7, 1969, The Jackson 5 released their first single, "I Want You Back," a Corporation composition that had originally been intended for Gladys Knight. It was an instant smash, hitting number one on both the pop and R&B charts. So did their next two singles, "ABC" and "The Love You Save" (both from their second album, ABC), which solidified the group's so-called bubblegum-soul sound and certified them as pop sensations. Third Album was released before year's end, spawning the hit ballad "I'll Be There," which not only proved that the group (and lead singer Michael) were more mature and versatile than their bright, bouncy initial singles let on, but also made them the first group in pop history to have their first four singles hit number one. It also became the best-selling single in Motown history, spending a stellar five weeks at number one. And it had still been less than a year since the group's national debut.


A virtual Jackson 5 cottage industry sprang up in the wake of their success, producing everything from dolls to a cartoon show on -- what else? -- the ABC network (during the summer of 1971). Younger and younger listeners were brought into the fold, adding to an already broad appeal that transcended color lines, and the record label that once billed itself as "the Sound of Young America" could once again lay legitimate claim to the title. Meanwhile, following their four straight number ones, The Jackson 5 opened 1971 with a pair of number two hits, "Mama's Pearl" and the ballad "Never Can Say Goodbye"; "Maybe Tomorrow" was their first single not to make the pop Top Ten, though it still reached the R&B Top Five. That year, Motown executives began grooming Michael and Jermaine for solo careers that would run concurrently with The Jackson 5. Michael was the first to debut on his own (toward the end of 1971), and was an instant success; his first two singles, "Got to Be There" and "Rockin' Robin," both made the Top Five, and later in 1972 he scored his first pop number one with "Ben." Jermaine debuted at the end of 1972, and his first single, "Daddy's Home," reached the Top Ten, though the follow-ups didn't sustain the momentum as well as Michael.

 In the meantime, the fantastically hyped Jackson 5 craze was beginning to cool down. Their prolific LP release schedule slowed a bit, and while their singles continued to perform reliably well on the R&B charts, they were no longer a sure-fire bet for the pop Top Ten. After a relatively lengthy drought, The Jackson 5 scored what would be their last major smash for Motown, the 1974 number two hit "Dancing Machine," a nod to the emerging sound of disco (it also topped the R&B charts). The group's frustrations with Motown had been building -- not only did the label seem less interested in their career, but they still refused to allow the Jacksons to write or choose their own material, or play their own instruments on their records. Finally, in early 1976, they left Motown to sign with Epic. When the legal battles finally ended, Motown won a breach-of-contract settlement and retained rights to the Jackson 5 name, forcing the group to become the Jacksons. They also lost Jermaine, whose marriage to Berry Gordy's daughter Hazel made it extremely impractical for him to join his brothers. He was replaced by younger brother Randy (born Steven Randall Jackson, October 29, 1961), who had been appearing (unofficially) with the group as a percussionist for some time.

In 1997, The Jackson 5 were inducted into the Rock & Roll Hall of Fame.

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Less than two weeks before the 1960s were left to be deciphered in the history books, Motown unleashed Diana Ross Presents the Jackson 5 (1969) and in doing so fittingly marked the beginning of a new era in crossover pop and soul. For all intents and purposes, this dozen-song disc introduced the world to the sibling talents of Jackie, Tito, Jermaine, Marlon, and most significantly of all, a prepubescent powerhouse named Michael Jackson. The brothers' inextricably tight vocal harmonies were fueled by the ebullience of youth and inexperience while the flames of their collective success were stoked with the funkified vibe of urban America. Immediately evident is the influence that Sly & the Family Stone (whose "Stand!" is an unmitigated zenith in the Jackson 5's care), James Brown, and even Funkadelic had on the J5. In fact, the quintet would actually cover George Clinton's "I Bet You" on their sophomore effort, ABC (1970). The burgeoning sounds coming out of Philly were having a similarly sizable impact, as evidenced by the addition of the Thom Bell/William Hart track "Can You Remember," which is one of the album's highlights. Another discernibly affective force was found closer to home, as they also drew on the considerable Motown back catalog with "My Cherie Amour," "Standing in the Shadows of Love," and a powerful reading of "(I Know) I'm Losing You." Under the moniker of "the Corporation," Motown staffers and artists including Bobby Taylor, instrumentalists Deke Richards (guitar), Freddie Perren (keyboard) , and Fonce Mizell (keyboards), and the label's co-founder, Berry Gordy, came up with a handful of dominant originals. Prominent among them are the midtempo "Nobody" and their double-sided chart-topping single "I Want You Back" b/w the Smokey Robinson-penned "Who's Lovin' You."

The Jackson 5 - Diana Ross Presents The Jackson 5  (flac 256mb)

01 Zip A Dee Doo Dah 3:08
02 Nobody 2:46
03 I Want You Back 2:56
04 Can You Remember 2:56
05 Standing In The Shadows Of Love 4:02
06 You've Changed 3:00
07 My Cherie Amour 3:37
08 Who's Loving You 3:55
09 Chained 2:44
10 (I Know) I'm Losing You 2:12
11 Stand 2:31
12 Born To Love You 2:26

The Jackson 5 - Diana Ross Presents    (ogg 100mb)

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Not even six months after the Jackson 5  issued their debut long-player, Diana Ross Presents, the vocal quintet returned with ABC (1970), arguably the brothers' most solid effort of the early '70s. The Jacksons' collective (and respective) talents, coupled with exemplary material and the finest behind the scenes crew Motown had to offer, were directly responsible for the enormous success that placed the LP at the crest of the R&B chart and into the Top Five of the pop survey, while the title track and the double-sided hit single "The Love You Save" b/w "I Found That Girl" all went directly to the number one position across the board. Not too shabby for a group whose oldest member was barely in his teens. Granted, the familiar tunes are undeniably the focal point, making it easy to overlook some of the other stellar selections. As was customary, Motown's cache of house composers provide the lion's share of the songs, most notably the Holland-Dozier-Holland-penned "(Come 'Round Here) I'm the One You Need" -- brought to prominence by Smokey Robinson & the Miracles -- and Stevie Wonder's "Never Had a Dream Come True," which Wonder himself had recently included on his own Signed, Sealed & Delivered (1970). There are also a few contemporary nuggets from beyond the boundaries of Detroit, as "La-La (Means I Love You)" is derived from the up-and-coming Philly soul movement and "I'll Bet You" was gleaned from George Clinton's incipient incarnation of Funkadelic. However, the cuts credited to "the Corporation" -- with Bobby Taylor and instrumentalists Deke Richards (guitar), Freddie Perren (keyboard), and Fonce Mizell (keyboards), as well as Motown founder Berry Gordy -- were of primary significance not only on the ABC album, but within the entire Jackson 5 oeuvre.

The Jackson 5 - ABC  (flac 252mb)

01 The Love You Save 2:59
02 One More Chance 2:56
03 ABC 2:55
04 2-4-6-8 2:54
05 (Come 'Round Here) I'm The One You Need 2:40
06 Don't Know Why I Love You 3:45
07 Never Had A Dream Come True 2:57
08 True Love Can Be Beautiful 3:24
09 La-La Means I Love You 3:27
10 I'll Bet You 3:16
11 I Found That Girl 2:56
12 The Young Folks 2:49

The Jackson 5 - ABC   (ogg 99mb)

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Less than three months following the release of ABC came the Jackson 5's aptly titled follow-up, Third Album. This two-fer CD also includes their subsequent long-player, Maybe Tomorrow. As with their predecessors, these albums contain a diverse mixture of R&B, funk, and soul styles, all the while remaining vibrant, fresh, young, and most definitely pop. Although still formulaic in approach, the Corporation -- consisting of Motown founder Berry Gordy along with Deke Richards, Freddie Perren, and Fonce Mizell -- were able to garner significant success by blending a few well-placed cover songs, such as "Bridge Over Troubled Waters" and "16 Candles," with continued contributions from Philly soul stylists Thom Bell and William Hart on "Ready or Not (Here I Come)." As the Jackson 5 phenomenon continued, however, the Corporation became increasingly dependant upon their own skills and formidable credentials. Not only were all four singles -- two from each album -- written and produced by the team, they also provided the majority of the material for Maybe Tomorrow. Tracks such as "I'll Be There," "Goin' Back to Indiana," "Mama's Pearl," and "Sugar Daddy" would become well-known performance staples and fan favorites. The secondary layer of material is equally matched for the high-energy soul antics of Michael's imposing talent. That is not to dismiss the formidable contributions of the other brothers, especially on "It's Great to Be Here" and "My Little Baby." Their increased role as support and co-leads were forging new boundaries.

The Jackson 5 - Third Album  (flac 262mb)

01 I'll Be There 4:01
02 Ready Or Not Here I Come (Can't Hide From Love) 2:35
03 Oh How Happy 2:17
04 Bridge Over Troubled Water 5:53
05 Can I See You In The Morning 3:10
06 Goin' Back To Indiana 3:34
07 How Funky Is Your Chicken 2:42
08 Mama's Pearl 3:09
09 Reach In 3:29
10 The Love I Saw In You Was Just A Mirage 4:23
11 Darling Dear 2:38

The Jackson 5 - Third Album (ogg 97mb)

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Maybe Tomorrow (1971) was the Jackson Five's fourth long-player in less than two years, actually their fifth if you count the excellent holiday offering Jackson 5 Christmas Album (1970). Tito, Jermaine, Marlon, Randy and Michael continue their prolific run, building off the same combination of swooning slow jams and funky rockers that had catapulted their previous outings into the Top Five R&B and Pop Album surveys. No doubt influenced by the recent success of "I'll Be There," the focus tunes extracted as singles were the heartfelt and Michael-led ballads "Never Can Say Goodbye," as well as the title track "Maybe Tomorrow." Although the youngest member of the Jackson 5, he consistently turned in precociously age-defying performances. Once again Motown's self-inclusive team of Bobby Taylor, instrumentalists Deke Richards (guitar), Freddie Perren (keyboard), Fonce Mizell (keyboards) and the label's co-founder Berry Gordy -- known collectively as the Corporation -- supplied a majority of the grooves. However, it was increasingly the tunes brought in from elsewhere that were gaining the most attention. Actor/composer/performer Clifton Davis supplied "Never Can Say Goodbye," while Hal Davis' mid-tempo arrangement of the Crests' 1958 hit "16 Candles" is a perfect vehicle for Jermaine. He would return to his R&B ancestry for the significant solo side, a cover of Shep & the Limelites' "Daddy's Home"." Standouts from the Corporation's contributions are the fun, though admittedly lightweight "My Little Baby," the harder driving "It's Great to Be Here" and the upbeat funk vibe "I Will Find a Way" that concludes the platter.

The Jackson 5 - Maybe Tomorrow  (flac 249mb)

01 Maybe Tomorrow 4:46
02 She's Good 2:59
03 Never Can Say Goodbye 2:56
04 The Wall 3:01
05 Petals 2:30
06 16 Candles 2:45
07 (We've Got) Blue Skies 3:12
08 My Little Baby 2:55
09 It's Great To Be Here 2:59
10 Honey Chile 2:47
11 I Will Find A Way 2:58

The Jackson 5 - Maybe Tomorrow (ogg 89mb)

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RhoDeo 1601 Goldy Rhox 243

Hello, today the 243rd post of GoldyRhox, classic pop rock, in the darklight is an English rock musician, singer, songwriter, producer, guitarist and multi-instrumentalist (born 22 April 1950). He was previously associated with the bands Humble Pie and The Herd. His international breakthrough album was today's mystery album.Since then he has released several major albums. He has also worked with David Bowie and both Matt Cameron and Mike McCready from Pearl Jam, among others. Our man is best known for such hits as "Breaking All the Rules", "Show Me the Way", "Baby, I Love Your Way", "Do You Feel Like We Do", and "I'm in You", which remain staples on classic rock radio. He has also appeared as himself in television shows such as The Simpsons and Family Guy. Our man is known for his work as a guitar player and particularly with a Talkbox and his tenor voice.

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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 a double live album by our mystery manreleased in 1976, and one of the best-selling live albums in the United States. Following four solo albums with little commercial success, today's mystery album was a breakthrough for the artist. Released on January 6, 1976, it debuted on the charts at 191. The album reached number one on the Billboard 200 the week ending April 10, 1976, and was in the top spot for a total of 10 weeks. It was the best-selling album of 1976, selling over 6 million copies in the US and becoming one of the best-selling live albums to date, with estimated sales of 11 million worldwide. It was voted "Album of the year" in the 1976 Rolling Stone readers poll. It stayed on the chart for 97 weeks and was still No. 14 on Billboard's 1977 year-end album chart.

The most recognisable songs from the album are "Show Me the Way", "Baby, I Love Your Way", and "Do You Feel Like We Do", all of which were released as singles, and continue to receive much airplay on classic rock radio stations. The album was recorded in summer and fall 1975, primarily at Winterland in San Francisco and the Long Island Arena in Commack, New York, as well as a concert on the SUNY Plattsburgh campus in Plattsburgh, New York. The Winterland recordings were recorded on a 24 track master recorder. Other concerts were recorded on a 16 track recorder. Recordings from four different shows were used for the original album. The live album was originally intended as a single album, but at the suggestion of A&M Records additional shows were recorded and the album expanded to a double album for release. Here today the 1996 MFSL Ultradisc II™ 24 KT Gold cd remaster...N'Joy


Goldy Rhox 243   (flac 508mb)

Goldy Rhox 243   (ogg 198mb)


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RhoDeo 1601 Aetix

Hello, well the year's just started and Germany got to know the true nature of unbound muslim fugitives a 1000 ! of them went out to assault women on new years eve.  Yes true cowards, let's see how many the German police gets hold off hopefully they understand that this kind of gathering in 3 cities can only have been organised thru social media, this will have left plenty of traces. This is what you get when muslim sons are entitled beyond belief compared to their sisters, suddenly they feel short changed in the west, on top of that gays are known to be momma's boys, hardly a surprise than that being gay is strongly repressed within islam.


Today's artist released under the various project names of Foetus, Wiseblood, Steroid Maximus, Baby Zizanie, Manorexia and others—it includes elements of 20th century classical music, noise, big band, Americana, jazz, punk rock, African and Cuban percussion, and epic/horror film soundtracks. Much of his aural output is built on a percussive, rock music-type structure, though to call it rock music would be inaccurate. His music employs elements of many genres: with an often frenzied aesthetic, his music combines percussion, strings, distortion, brass, electric guitars, electronic sounds and voice. Recurring lyrical themes include destruction, persecution, anxiety, abuse, incest, masochism, angst, self-destruction, self-abuse, lust, prejudice, murder, failure and machismo, often expressed using American colloquialism and black humour.  N'Joy

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James George Thirlwell (born 29 January 1960) – also known as Clint Ruin, Frank Want, Foetus among other names – is an Australian singer, composer, and record producer. He is known for juxtaposing a variety of different musical styles.
Thirlwell was born in Melbourne, Australia. He briefly studied Fine Art at Melbourne State College before moving to London, England in 1978, where he played with the post-punk band prag VEC and formed the first of his numerous musical projects, Foetus. In the 1980s, under the pseudonyms Clint Ruin and Frank Want, he contributed to various releases by Nurse With Wound, Marc Almond, The The and Nick Cave. He released his first 7" single, OKFM/Spite Your Face, in 1981, on his own Self-Immolation record label in his first incarnation as Foetus. Over the next few years, he would release two more singles, a 12" EP, and four full-length albums, Deaf, Ache, Hole and Nail Some Bizzare Records . After visiting the United States during a live stint with the Immaculate Consumptive (Lydia Lunch, Nick Cave and Marc Almond) Thirlwell settled in New York City, where he is still based. Since his move he has released several singles, fourteen EPs (including Stinkfist, with fellow New York artist Lydia Lunch and Thurston Moore), and seventeen full-length albums.

In addition to being a prolific artist in his own right, Thirlwell has remixed and produced numerous pieces for artists including Faith No More, Nine Inch Nails, Pantera, Jon Spencer Blues Explosion, The The, Zola Jesus and Swans. He has also done voice-over work for MTV and other entities.

Since 2000 Thirlwell has become more active as a composer, having written commissions for Bang on a Can, League of Electronic Musical Urban Robots and Kronos Quartet, and scoring the Adult Swim cartoon The Venture Bros. He also revived his primary instrumental project, Steroid Maximus, and initiated a more experimental instrumental project in Manorexia. He continues to write and perform regularly as a solo artist and with various ensembles. He is also a member of the freq_out sound art collective, and has created solo sound installations in Kaliningrad, Santarcangelo and Vienna.

Throughout the span of his career, Thirlwell has toyed with his own identity by releasing music in the guise of numerous alter egos. During the earliest phases of his recording, Thirlwell's "groups" were composed of a plethora of fictional characters: Foetus Under Glass supposedly consisted of Frank Want, Phillip Toss and two Brazilian statistics collectors; Scraping Foetus off the Wheel was claimed to be the work of Want and Clint Ruin. Furthering the confusion, Thirlwell adopted these personas outside of his own recordings; for example, Frank Want can be found on The The's Soul Mining and on releases by Orange Juice, with whom he appeared on Top of the Pops.

Thirlwell's persona of Clint Ruin was particularly notable. During the mid-1980s and early-1990s Thirlwell exclusively went by this pseudonym, even conducting interviews as Ruin. As Ruin, Thirlwell was a member of Wiseblood with Roli Mosimann and Flesh Volcano with Marc Almond. He also recorded two collaborative EPs with Lydia Lunch, and starred in and scored films of Richard Kern under the Ruin alias. Ruin is also credited on numerous releases for a variety of roles with Boss Hog, Coil, Fur Bible, Annie Hogan, Nurse With Wound, Pigface, Sonic Youth, Workdogs and others.
This practice seems to have been discontinued since 1995, and "JG Thirlwell" is credited on all subsequent musical recordings.

Thirlwell's projects.

Foetus:  From 1981's single 'OKFM' until 2013's 'Soak', most Foetus songs featured lead vocals. Though popularly known as simply "Foetus", Thirlwell released albums under diverse variations of the name, including: Foetus Art Terrorism; Foetus Über Frisco; Foetus Corruptus; Foetus In Excelsis Corruptus Deluxe; Foetus Inc.; Foetus Interruptus; Foetus Over Frisco; Foetus Under Glass; Philip and His Foetus Vibrations; Scraping Foetus Off the Wheel; The Foetus All-Nude Revue; The Foetus of Excellence; The Foetus Symphony Orchestra; and You've Got Foetus On Your Breath.
Steroid Maximus: Primary instrumental project.
Manorexia: Experimental instrumental project.
Wiseblood: Collaboration with Roli Mosimann.
Flesh Volcano: Collaboration with Marc Almond.
Baby Zizanie: Collaboration with Jim Coleman.
Hydroze Plus: Collaboration with Electronicat.
Garage Monsters: Collaboration with skater artist the P!zz. (Sympathy for the Record Industry)
The Immaculate Consumptive: Touring ensemble with Lydia Lunch, Nick Cave, and Marc Almond
The Venture Bros.: Musical score by Thirlwell.

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Recording under the moniker You've Got Foetus on Your Breath, Jim Thirwell, aka Foetus, released his first album, Deaf, in 1981. Thirwell's eccentric trademark sound -- a confrontational sonic tapestry based on harshly recorded instruments, noises, samples, and voices -- is firmly established on Deaf. The songs are twisted heaps of sound that sometimes resemble Frank Zappa outtakes being pummeled to death by Einstürzende Neubauten -- and Thirwell's scatological, antisocial lyrics only add to the bizarreness. If you've got the stomach for it, Deaf can be rewarding -- but it's also a great way to clear the room at a party.

You've Got Foetus On Your Breath - Deaf  (flac 354mb)

01 New York Or Bust! 2:00
02 Is That A Line 7:09
03 Why Can't It Happen To Me 3:14
04 I Am Surrounded By Incompetence 4:52
05 What Have You Been Doing ? 5:32
06 Today I Started Slogging Again 5:48
07 Harold McMillan 3:35
08 Thank Heaven For Push Button Phones 4:26
09 Flashback 3:37
10 Negative Energy 15:55

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Although some may dismiss Jim Thirwell, aka Foetus, as a confrontational, rabble-rousing noisemaker (which he is), his eccentric and wide-ranging talent is usually overlooked; the trouble is, most listeners simply don't have the patience to find Thirwell's genius amongst the deranged sound sculptures that are his songs. Ache, Thirwell's second album (recorded under the You've Got Foetus on Your Breath pseudonym), sounds like it was recorded in the same time and place of its predecessor, Deaf, and bears exactly the same top-heavy, abrasive production stamp of that album. Seemingly a musical omnivore, Thirwell devours everything -- from swing to Krautrock -- and spits it back out in a scrap heap of sonic chaos, twisted beyond recognition. His oblique yet subversive lyrical themes don't make Ache any more palatable for the faint of heart. This is the sound of unfiltered imagination, absolutely unencumbered by notions of commerce or accessibility. Brilliant

You've Got Foetus On Your Breath - Ache (flac 267mb)

01 Dying With My Boots On 2:16
02 J.Q. Murder 4:21
03 Gums Bleed 4:21
04 Mark Of The Ostracizor 5:59
05 Exit The Man With Nine Lives 3:34
06 Get Out Of My House 5:05
07 Wholesome Town 4:24
08 Whole Wheat Rolls 0:59
09 Kid Hate Kid 5:24
10 Instead... I Became Anenome 4:37

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Belying the fact that J.G. Thirlwell was long pigeonholed as an industrial artist, Hole veers from downtown blues to surf-raunch to paranoid industrial dance and back with few pauses. Listeners expecting to catch their breath at some point may be a bit startled, since Hole never lets up and resists easy classification. Highlights include "Clothes Hoist" and "I'll Meet You in Poland Baby."

Scraping Foetus Off The Wheel - Hole (flac 306mb)

01 Clothes Hoist 3:26
02 Lust For Death 3:37
03 I'll Meet You In Poland Baby 4:50
04 Hot Horse 3:31
05 Sick Man 5:21
06 Street Of Shame 3:28
07 Satan Place 3:22
08 White Knuckles 4:30
09 Water Torture 3:42
10 Cold Day In Hell 7:00

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RhoDeo 1601 Quest 23

Hello, today the penultimate episode of our Quest

Elven Quest... A series that will be running into the new year, 24 episodes of Elvenquest. It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. I wonder how much fun there is to be had in The Underworld.. N'Joy

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Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


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Elven Quest 23 The Bard (mp3  25mb)

23 The Bard 27:44


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previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)
Elven Quest Season 3 (13-18) (mp3  152mb)

Elven Quest 19 Queen Eleanor (mp3  25mb)
Elven Quest 20 The Magnificent Five (mp3  25mb)
Elven Quest 21 The Fat Hog (mp3  25mb)
Elven Quest 22 The Underworld (mp3  25mb)

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Sundaze 1601

Hello, let's start the new year with what in a sense is the concept behind sundaze music; Ataraxia is a Greek term used by Pyrrho and Epicurus for a lucid state of robust tranquility, characterized by ongoing freedom from distress and worry.

For Epicureanism, ataraxia was synonymous with the only true happiness possible for a person. It signifies the state of robust tranquility that derives from eschewing faith in an afterlife, not fearing the gods because they are distant and unconcerned with us, avoiding politics and vexatious people, surrounding oneself with trustworthy and affectionate friends and, most importantly, being an affectionate, virtuous person, worthy of trust.

For Pyrrhonism, given that neither the sense impressions nor the intellect, nor both combined, is a sufficient means of knowing and conveying truth, one suspends judgement on dogmatic beliefs or anything non-evident. It is from this suspension of belief ataraxia arises as one realizes one thing is 'no more' than that. No more up than down, no more wet than dry, no more hot than cold, no more night than day.


Today's artists are master of the neo-period ambient darkwave sound that comes from combining medieval liturgical chants and subdued Gothic influences. Ataraxia often uses authentic French minstrel material as the basis for their songs. They use simple drum rhythms, basic acoustic guitar sounds, and the nostalgic sound of free flute to accompany the multilingual renaissance harmonies of vocalists Francesca Nicoli and Vittorio Vandelli.


Today's artists have dedicated their lives to art, to explore the nobleness of centuries in many possible ways (music, poetry, theatre, and photography). They are an Italian neoclassical band who combine modern technology with archaic instrumentation over various media, founded by Francesca Nicoli and Michele Urbano in November, 1985. In the first five years there were many musicians in the band, until finally Francesca Nicoli, Vittorio Vandelli, and Giovanni Pagliari became the basic line-up until today. Defined as 'craftsmen of the sound' because they create an unusual mix of sacred and profane, atmospheric and experimental, contemporary and early music, using acoustic and electric instruments as well, always with such language which fits best to the actual work.....N'joy

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Within the music of the so-called ‘Gothic’ movement they do exist many various tendencies. For example there is a clear, huge difference between the ‘Post punk’ and the ‘Ethereal’ front While the Post punk, deriving directly from Punk music, deals with a classic Rock set (bass, guitar, drums and voice, sometimes with key-boards), the Ethereal current is not so easily classifiable. When describing the Ethereal musical set, it is easier to list what is missing rather than what is part of it: it lacks the electric guitar, for example In its place we often find an acoustic twelve string guitar. Keyboards are important  There are no drums, however various types of percussion find their place. Very often there is no bass guitar. In few words, the Ethereal approach has no, or at least not much, ‘Rock’ attitude. Furthermore, it is to be said that the label ‘Ethereal’ is not such a good one and it is going to be used within this context only because at present we are lacking a better description. We could also talk about ‘Neo-classical’ bands for example, or ‘Neo-Medieval’, or ‘Neo-Folk’ as well but also ‘Dark Wave’ and so on, picking one of the many conventional labels that journalists have used in the past in the attempt to create a classification. In any case it is undeniable that those bands of the ‘Gothic’ movement that have the Middle Ages among their main references
are usually clustered under the label ‘Ethereal’

Among the so-called ‘Ethereal’ bands, the reference to the Middle Ages is not exclusive. In their careers these bands show a particular interest for the past in general, for myth and for the unusual and often also for the ethnic exploration As we can read in Ataraxia’s words below, lead singer Francesca Nicoli often says things like these:

"We are interested in history in its whole entirety; we travel across the ages to propose again, in current times, the spirit of Time, seeping through our sensitivity  We have embraced several historical periods, the Middle Ages and the Renaissance, Classic Greece, the Baroque era and the Nineteenth Century; soon we will go back as far as 10 000 years from now to achieve Atlantis "

It is correct and, for many years of their long career, reviewers have recognized many references to the Middle Ages in Ataraxia’s works  For Ataraxia, this has been the key of their musical evolution throughout the Nineties, at least until the beginning of the second millennium. With reference to the first album, Simphonia Sine Nomine (1994): ATARAXIA’s interesting combination of Classical, Medieval, Choral & mood music has appealed to me from the moment I first heard it
With reference to the second album, Ad Perpetuam Rei Memoriam (1994):After Ordo Equitum Solis or Black Rose, Italy presents us ATARAXIA, another band that walks into medieval reigns

The apex of Medieval references in the Ataraxia’s production was reached with Historiae (1988) and Sueños (2000)  The following sentence, The CD, almost as if it was a time-machine, carries us onto a theatre of ancient sounds and emotions, typical of the Media Aetas, 6 where «Media Aetas» literally means «Middle Ages». Ataraxia have reported many quotations of medieval music in their career


Ataraxia is an Italian neo-classical band who combine modern technology with archaic instrumentation over various media. They describe their music as a cross "between sacred and profane, ethereal and neo-classical, contemporary and early music". They make researches into the European legends crossing the Greek and Latin myths. Contemplation, dreamy experiences, elegiac atmospheres, ritual movements float in a mysterious garden where contemporary textures of notes meet the embracing echo of classic sounds. Their lyrics are written in many ancient and contemporary languages as they try to bring to surface the hidden treasures and revelations that each language owns. Many of their performances take place in locations the band professes to possess specific spiritual qualities.Since the beginning of the group in the late 80's, they released some 25 albums.


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The very first edition of Nosce Te Ipsum, was released personally in a very limited edition in cassette format in 1991, before Ataraxia signed to the Energeia label. This here it's 08 remaster

a music which deserves a much wider audience. Comparisons with such people as the Cocteau Twins, Enya, Clannad are inevitable but these influences (if such they are) show through rarely - and the vocalist sounds a little more like a lighter, more melodic Nico, although again, this is an easy cop out, for your humble reviewer - her voice is probably stronger than any of those mentioned below.

The album opens with "Aigues Mortes" - large and dramatic music built around a thudding bass drum. The vocalist has a strong voice which follows the music perfectly while choral backing adds just the right amount of colour. "Te Es La Force Du Silence" follows with a sort of crossover between the Cocteau's and the Brith gof / Test Dept album sound - melodic yet retaining a spine of pure granite. "Fleè Et Fabian" follows this, again like the Guthrie / Frazer partnership, but somehow this reaches further, goes beyond mere music to tap human emotion, showing us some place of beauty and inspiration we didn't know we were missing. It ends leaving you feeling empty with loss in the visceral seat of your soul. "Nosce Te Ipsum", the last track on side one begins a little Folksy/Medieval, then gains a good running pace, carrying the listener along on a tide of intense music.

"Zweistimmenstauschung" starts side two, another fastish-paced, massive piece of music which diversifies in style and composition at intervals, keeping a hard, tight sound while making occasional forays into the field of tense madness. "Torquemada" - which may be about that nice Spanish guy - has a chilling hardness with a rising sound which might give members of Whitehouse bad dreams. It has a Middle-Ages feel to it, which certainly adds to the atmosphere. "In Articulo Mortis" closes the album with a medium-paced track - fully-fleshed out but somehow loose, closer to improvisation, this time the vocalist bringing Siouxie to mind, even to the point of gritty flanged guitar.

Ataraxia - Nosce Te Ipsum (flac 257mb)

01 Prophetia 1:37
02 Aigues Mortes 6:20
03 Tu Es La Force Du Silence 4:19
04 Flée Et Fabian 4:43
05 Nosce Te Ipsum 6:23
06 Zweistimmenstäuschung 6:19
07 Torquemada 4:40
08 Incabala 3:31

Ataraxia - Nosce Te Ipsum (ogg   91mb)

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Ataraxia's interesting combination of Classical, Medieval Choral & mood music has appealed to me from the moment I first heard it. This 11 track album, the first they released as a cd is a slow-grower, lacking the immediacy of the previous cassette only releases. But the sound, presented here more for it's strident strength & energy than it's often beautific images, slowly invades the mind, seducing the listener with forceful songs which combine Nico's flat strength with martial music which could come from Death In June or Test Dept circa "Gododdin". Where many of their previous works give the impressions of shifting diaphanous walls of time, religious obsession, darkly mysterious happenings, and beauty - always beauty - this album sounds almost like protest music, an often clever Folk music backing of acoustic guitars and simple hammered sounds, mixed with sweeping keyboard strings driven often by the fast martial drumming. But it's always, Always those layers of voice which make them so distinctly Ataraxia. Ataraxia are always worth seeking out for those gorgeous waves of female voice which wash over the listener in wraith-like waves, like ghostly Nuns plain chanting through time & dimension. I'm not totally convinced they chose their material well enough to show the world how highly they should be regarded.

Ataraxia - Simphonia Sine Nomine  (flac  301mb)

01 Preludio 0:46
02 Entrata Solenne 3:38
03 Canzona 3:19
04 Inno Corale 3:06
05 Fuga Trionfale 3:36
06 Preghiera 6:10
07 Marcia Cerimoniale 4:14
08 Elevazione 4:38
09 Pastorale 4:34
10 Ode 4:43
11 Vespertilia 6:37

Ataraxia - Simphonia Sine Nomine   (ogg   103mb)

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The combination of ancient instruments and modern technology convinces across the board. As a highlight exceptional is the unusually deep vocals of frontwoman Francesca Nicoli and the skilled use of flutes. Ataraxia have not yet the maturity of the gods of the genre, Deal Can Dance, as succeeded to significant pieces make but curious for more Anyone who is interested in even remotely for Gothic, Neo-Classic or Ethereal, this should not be missed under any circumstances. You can almost feel the warmth of the Mediterranean sun and listens quietly in the distance the sound of the sea. The deep, rich voice of Francesca Nicoli robs you, like on any of Ataraxia's albums, of your breath  .

Ataraxia - Ad Perpetuam Rei Memoriam (flac 409mb)

01 Prophetia 1:37
02 Anno Domini MDLVI 5:53
03 Aigues Mortes 6:21
04 Tu Es La Force Du Silence 4:21
05 Flée Et Fabian 4:44
06 Nosce Te Ipsum 6:21
07 Zweistimmenstäuschung 6:20
08 Torquemada 4:41
09 Bleumarine 3:05
10 Vitrage 4:05
11 Aquarello 9:10
12 Emeraude 7:50

Ataraxia - Ad Perpetuam Rei Memoriam  (ogg   150mb)

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RhoDeo 1552 Grooves

Hello I hope you had a great old & new, why not on a daily basis and if you lack the stumach for that intense an celebration of life you could at least try monthly old & new parties..start a facebook action !


The Jacksons is an American popular music family group from Gary, Indiana. Formed in 1964 under the name the Jackson Brothers, the founding members were Jackie, Tito and Jermaine. Marlon and Michael would later join, and the band's name would be changed to The Jackson 5. After participating in talent shows and the chitlin' circuit, they entered the professional music scene in 1967 as The Jackson Five, signing with Steeltown Records and releasing two singles. In 1969, they left Steeltown Records in order to sign with Motown. They were among the first groups of black American performers to attain a crossover following. In 1976 they left Motown and were reborn as "The Jacksons" ... N'joy

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Jackie (b. Sigmund Esco Jackson, 4 May 1951, Gary, Indiana, USA), Tito (b. Toriano Adaryll Jackson, 15 October 1953, Gary, Indiana, USA), Marlon (b. Marlon David Jackson, 12 March 1957, Gary, Indiana, USA), Michael (b. Michael Joseph Jackson, 29 August 1958, Gary, Indiana, USA) and Randy Jackson (b. Steven Randall Jackson, 29 October 1962, Gary, Indiana, USA) changed their collective name from the Jackson Five to the Jacksons in March 1976, following their departure from Motown Records. At the same time, Randy Jackson replaced his brother Jermaine Jackson, handling percussion and backing vocals. The group’s new recording contract with Epic offered them a more lucrative agreement than they had enjoyed with Motown, although at first they seemed to have exchanged one artistic strait-jacket for another. Their initial releases were written, arranged and produced by Gamble And Huff, whose expertise ensured that the Jacksons sounded professional, but slightly anonymous. ‘Enjoy Yourself’ and ‘Show You The Way To Go’ were both major hits in the US charts, and the latter also topped the UK sales listing.

The group’s second album with Gamble And Huff, Goin’ Places, heralded a definite decline in popularity. Destiny saw the Jacksons reassert control over writing and production, and produced a string of worldwide hit singles. ‘Blame It on The Boogie’ caught the mood of the burgeoning disco market, while the group’s self-composed ‘Shake Your Body (Down To The Ground)’ signalled Michael Jackson’s growing artistic maturity. The success of Michael’s first adult solo venture, Off The Wall in 1979, switched his attention away from the group. On Triumph, they merely repeated the glories of their previous album, although the commercial appeal of anything bearing Michael’s voice helped singles such as ‘Can You Feel It?’, ‘Heartbreak Hotel’ and ‘Lovely One’ achieve success on both sides of the Atlantic. The Jacksons’ 1981 US tour emphasized Michael’s dominance over the group, and the resulting Live included many of his solo hits alongside the brothers’ joint repertoire. Between 1981 and the release of Victory in 1984, Michael issued Thriller, which regularly heads the bestselling album of all time list. When the Jacksons’ own effort was released, it became apparent that he had made only token contributions to the record, and its commercial fortune suffered accordingly. ‘State Of Shock’, which paired Michael with Mick Jagger, was a US hit, but sold in smaller quantities than expected. Hysteria surrounded the group’s ‘Victory Tour’ in the summer of 1984; adverse press comment greeted the distribution of tickets, and the Jacksons were accused of pricing themselves out of the reach of their black fans. Although they were joined onstage by their brother Jermaine for the first time since 1975, media and public attention was focused firmly on Michael.

Realizing that they were becoming increasingly irrelevant, the other members of the group began to voice their grievances in the press; as a result, Michael Jackson stated that he would not be working with his brothers in the future. The Jacksons struggled to come to terms with his departure, and it was five years before their next project was complete. 2300 Jackson Street highlighted their dilemma: once the media realized that Michael was not involved, they effectively boycotted its release. Randy Jackson was sentenced to a one-month jail sentence in November 1990 for assaulting his wife. In 1992, ABC aired the five-hour mini-series The Jacksons: An American Dream.

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After the commercial reprieve of the innovative "Dancing Machine" single (and album of the same name), the Jackson 5's successful five-year relationship with Motown and Berry Gordy ended. Their last Motown effort, Moving Violation, had barely made a dent. After an acrimonious split, brother Jermaine Jackson stayed at Motown, and Gordy fought and won, keeping the Jackson 5 moniker. The Jacksons isn't only their Epic label debut, it's the first album to feature youngest brother Randy Jackson. To ensure chart success, the group was teamed with Philadelphia producers Kenneth Gamble and Leon Huff, as well as their staff of writers and players. Despite the promise, The Jacksons is hampered by derivative tracks and a lack of knowing what to do with the group, particularly lead singer, Michael Jackson. The big hit here, the jerky "Enjoy Yourself," perfectly captured Michael Jackson's late adolescence, with his newfound vocal tics and inflections. "Show You the Way to Go" best captures the Philly sound, with a pretty melody and a great vocal from Michael, but it's a weak lyric. The Dexter Wansel-written and -produced "Keep on Dancing" matches a substandard discofied track to Michael Jackson's singular vocals. The last track, the graceful "Blues Away" marks the writing debut of the group and is a great match between artists and producers. For the most part, The Jacksons gives the guys by-the-numbers Philly tracks that could have been easily done by Lou Rawls. Despite the best songs, The Jacksons misses more than it hits.

The Jacksons - The Jacksons  (flac 219mb)

01 Enjoy Yourself 3:23
02 Think Happy 3:07
03 Good Times 4:57
04 Keep On Dancing 4:30
05 Blues Away 3:12
06 Show You The Way To Go 5:29
07 Living Together 4:25
08 Strength Of One Man 3:56
09 Dreamer 3:04
10 Style Of Life 3:18

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The Jacksons' move to Epic regenerated their enthusiasm and spirit for several years. The Gamble & Huff team brought them fresh material and new production ideas, as well as better tracks and arrangements than they'd gotten in quite a while on Motown. This album got them R&B and pop hits and kept the family act in the spotlight for a little while longer.

The Jacksons - Goin' Places  (flac 208mb)

01 Music's Takin' Over 4:36
02 Goin' Places 4:35
03 Different Kind Of Lady 3:36
04 Even Though You're Gone 4:35
05 Jump For Joy 4:34
06 Heaven Knows I Love You, Girl 3:59
07 Man Of War 3:13
08 Do What You Wanna 3:32
09 Find Me A Girl 4:35

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The brothers' third post-Motown album as the Jacksons was their most successful release, both commercially and creatively, since 1974's Dancing Machine. Their first two Epic albums, where they aligned with Gamble, Huff, and other Philly soul stalwarts, had some strong singles but were very uneven and somewhat awkward in stretches, and this time out, they wrote and produced on their own. Backed by an arsenal of up-and-coming and veteran L.A. session musicians -- including guitarists Michael Sembello and Paul Jackson, Jr., drummer Rick Marotta, arranger Thomas "Tom Tom 84" Washington, and keyboardist Greg Phillinganes, the last of whom played on just about everything involving a Jackson family member through the early '90s -- Destiny did much more than set the stage for Michael's Off the Wall. The sunny "Blame It on the Boogie" and the dazzling Off the Wall prelude "Shake Your Body (Down to the Ground)" were the album's only singles, upbeat numbers that peaked at number three on the Black Singles chart, but the mature Michael showcase ballad "Push Me Away" (pointing toward "I Can't Help It" and "Human Nature") and the alternately somber and uplifting "Bless His Soul," containing a startling confession from Michael ("There is no life for me at all/'Cause I give myself at beck and call") added an impressive level of depth to the Jacksons' discography.

The Jacksons - Destiny  (flac 395mb)

01 Blame It On The Boogie 3:36
02 Push Me Away 4:19
03 Things I Do For You 4:06
04 Shake Your Body (Down To The Ground) 8:01
05 Destiny 4:53
06 Bless His Soul 4:57
07 All Night Dancin' 6:10
08 That's What You Get (For Being Polite) 4:59
Bonus Tracks
09 Blame It On The Boogie (John Luongo Disco Mix) 7:01
10 Shake Your Body (John Luongo Disco Mix) 8:38

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Released during the summer of 1980, just as the hits from Michael's Off the Wall were sliding off the charts, Triumph became the Jacksons' first Top Ten pop album since 1972's Lookin' Through the Windows. This despite the album-opening "Can You Feel It," promoted with a spectacle of a video that made the Jacksons into gigantic superheroes capable of transforming bridges into bendable rainbow tubing, stalling at number 77 on the Hot 100. It didn't make much of an impact on the R&B chart either, but then again, its supernatural anthemic stomp is more a fireworks program finale than something as small scale as a mere single. As on 1978's Destiny, the Jacksons wrote and produced the material, this time with keyboardist Greg Phillinganes bumped up to associate producer, and with an uptick in star backing -- including but not limited to Ronnie Foster, Phil Upchurch, Webster Lewis, Michael Boddicker, and Ollie Brown, as well as Triumph holdovers Michael Sembello, Thomas Washington, and Nathan Watts. The other singles, including "Lovely One" (very nearly "Don't Stop 'Til You Get Enough" reheated) and "This Place Hotel" (an elaborate six-minute affair, written and arranged by Michael, that could have easily swollen to greater length) propelled the album into sales greater than that of Destiny, and it's equally durable (and markedly slicker) all around.

The Jacksons - Triumph  (flac 436mb)

01 Can You Feel It 5:58
02 Lovely One 4:51
03 Your Ways 4:32
04 Everybody 5:00
05 This Place Hotel (A/K/A Heartbreak Hotel) 5:44
06 Time Waits For No One 3:24
07 Walk Right Now 6:29
08 Give It Up 4:21
09 Wondering Who 4:19
Bonus Tracks
10 This Place Hotel (A/K/A Heartbreak Hotel) (Single Version) 4:54
11 Walk Right Now (John Luongo Disco Mix) 7:37
12 Walk Right Now (John Luongo Instrumental Mix) 6:58

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Happy New Year !

BEST WISHES TO YOU ALL ! Not forgetting Mother EARTH

Alas 2016 looks to be a rough year, the Daesh will be defeated, but with that it will release hundreds of insane suiciders eager to take as many with them as possible. Meanwhile the financial system is still shaky, an investment in bitcoin could be wise... But then for most of us, it's all about what's happening to you and your friends and family that's really important. HAPPY NEW YEAR 2016 !