RhoDeo 1702 Vibrations 3

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

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Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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Alpha brainwaves are those most frequently found when you are in a meditational state. The presence of alpha waves indicates that you are in a relaxed, soothing state of mind, removed from the hustle and bustle of your normal, waking "Beta-mindstate".

There are no vocals on any of the tracks so you can use this Series for whatever purposes you desire. The background audioscape is that of a mild tide of seawash along with the specifically chosen embedded brainwave frequencies.

There are 12 tracks on this Series (72 minutes total playing time) plus one Bonus Track that entrains you to the pulse of the planet, the Schumann Resonance. Of the 12 Alpha tracks, they vary from simple Alpha level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. Each track is designed to be played in loop/repeat mode so in effect you have 12 different programs or 12 different settings to test, evaluate and determine which works best specifically for you...or you can listen to the whole Series (all tracks in a row) and progressively "tune" your brainwaves into deeper and deeper alpha levels.

Alpha brainwaves have been linked to states
of relaxation and have been found to be present during most meditational states.
By using Series III and entraining to ALPHA, you can add a brainwave boost to your meditations or simply summon an Alpha state for any activity that requires inner relaxation, a 'silencing of the mind', or simply a sense of stillness & mental calm.

You can use this
as if it were your own set of
meditational "training wheels".
After experiencing the ALPHA
mindstate you will be that much
more likely toreproduce this
ALPHA-state simply by
intending to do so...

By having the passive assistance of alpha brainwave entrainment you can make the most of your meditations.
Whether you are a beginner or an advanced meditator you can immediately benefit from this Series by achieving concrete, consistent, reliable results & maximizing your overall progress by reducing the initial learning curve.

Brainwave Mind Voyages (Series III) - The Alpha Brainwaves (flac  258mb)

01 Upper Level Alphawaves 5:59
02 Upper Alpha with Mid-Level Mix 5:59
03 Upper Alpha with Low-Level Mix 5:59
04 UpperMiddle Level Alphawaves 5:59
05 UpperMid Alpha with Upper Mix 5:59
06 UpperMid Alpha with Lower Mix 5:59
07 LowerMiddle Level Alphawaves 5:53
08 LowerMid Alpha with Upper Mix 5:52
09 LowerMid Alpha with  Lower Mix 5:53
10 Lower Level Alphawaves 5:59
11 Lower Alpha with Upper Mix 5:59
12 Lower Alpha with Upper Theta Mix 6:00

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)


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Sundaze 1702

Hello,

Today's artists are a Scottish post-rock band, formed in 1995 in Glasgow. The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. The band were for several years signed to renowned Glasgow indie label Chemikal Underground, and now use their own label Rock Action Records in the UK, and Sub Pop in North America. The band were frequently championed by John Peel from their early days......N'Joy

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The cosmic post-rock band Mogwai was formed in Glasgow, Scotland in 1996 by guitarist/vocalist Stuart Braithwaite, guitarist Dominic Aitchison, and drummer Martin Bulloch, longtime friends with the goal of creating "serious guitar music." Toward that end, they added another guitarist, John Cummings, before debuting in March 1996 with the single "Tuner," a rarity in the Mogwai discography for its prominent vocals; the follow-up, a split single with Dweeb titled "Angels vs. Aliens," landed in the Top Ten on the British indie charts. Following appearances on a series of compilations, Mogwai returned later in the year with the 7" "Summer," and after another early 1997 single, "New Paths to Helicon," they issued Ten Rapid, a collection of their earliest material.

Around the time that Mogwai recorded the superb 1997 EP 4 Satin, former Teenage Fanclub and Telstar Ponies member Brendan O'Hare joined the lineup in time for the recording of Mogwai's debut studio LP, Mogwai Young Team. He exited a short time later -- returning to his primary projects Macrocosmica and Fiend -- to be replaced by Barry Burns. Mogwai next issued 1998's Kicking a Dead Pig, a two-disc remix collection; the No Education = No Future (Fuck the Curfew) EP appeared a few months later. In 1999, they released Come on Die Young. Rock Action arrived in early 2001. Late that year, Mogwai released the My Father, My King EP; two years later, they issued the ironically titled Happy Songs for Happy People. Government Commissions: BBC Sessions 1996-2004 arrived early in 2005.

Mr. Beast, which was released in 2006, found the band going in a softer, more reflective direction. Late that year, the band's collaboration with Clint Mansell on the soundtrack to The Fountain arrived; Mogwai also crafted the score for Douglas Gordon's Zidane: A 21st Century Portrait, which was released in the U.K. in 2006 and in the U.S. the following spring. The Batcat EP, which featured a collaboration with garage-psych legend Roky Erickson, arrived in late summer 2008, heralding the release of The Hawk Is Howling -- which reunited the band with producer Andy Miller for the first time in a decade -- that fall. In 2010, Mogwai released their first live album, Special Moves, as a package with the Vincent Moon-directed concert film Burning.

Hardcore Will Never Die, But You Will For 2011's Hardcore Will Never Die, But You Will, the band reunited with Young Team producer Paul Savage for a more streamlined set of songs. Later that year, they followed up with an EP of unreleased material from the Hardcore sessions, Earth Division, released on Sub Pop. Late in 2012, the band issued A Wrenched Virile Lore, a collection of Hardcore Will Never Die, But You Will remixes. Early the following year, the first taste of their score to the French zombie TV series Les Revenants (which was based on the 2004 film of the same name) arrived as a four-song EP; in February 2013, the full-length album appeared.

Mogwai filled the rest of the year with recording their eighth proper album, Rave Tapes, at their Castle of Doom studio, live performances of their Zidane: A 21st Century Portrait score in Glasgow, Manchester, and London, and other live performances. Rave Tapes, which boasted a more streamlined and electronic direction than Mogwai's recent albums, was released in early 2014. Late that year, the band issued the Music Industry 3. Fitness Industry 1 EP, a collection of Rave Tapes remixes as well as new songs.

Cummings left the band in 2015 to work on his own solo projects. Mogwai's first release after his departure was 2016's Atomic, a collection of reworked tracks from their music for Mark Cousins' BBC 4 documentary Atomic: Living in Dread and Promise. They returned later that year with a number of compositions on the collaborative soundtrack for Fisher Stevens and Leonardo DiCaprio's documentary about the impact of climate change, Before the Flood.

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At first glance, the album title Happy Songs for Happy People seems almost as ironic as the name of their previous album, Rock Action. After listening to the album, however, it's apparent that its title isn't just meant as a joke. Though "happy" isn't necessarily the first word that springs to mind when describing the band's intricate, brooding style, it is a word and emotion that is both simple and profound, much like the direction Mogwai's music takes here. Happy Songs for Happy People takes the focus and restraint of Rock Action to greater lengths, but it never feels like a rehash of their previous work. The palette of sounds the band uses -- which includes rolling guitars and pianos, swelling strings, persuasive but un-showy drumming, and occasional forays into distortion and electronics -- is a relatively small one, but the band uses it wisely on tracks as diverse as the lovely, understated "Kids Will Be Skeletons" (arguably the "happiest" song on the album) and the gloriously dense finale, "Stop Coming to My House," which piles layers and layers of distorted drums, guitars, and synths atop each other. Mogwai also employs its usual quietly beautiful/explosively noisy dynamic formula expertly, particularly on the gorgeous "Killing All the Flies," which feels much longer (in a good way) than four and a half minutes.
Old-school Mogwai fans disappointed by the relative brevity of most of Happy Songs for Happy People's songs should be pleased by "Ratts of the Capital," which, over the course of eight minutes, nearly reaches the epic proportions of the Young Team/Come on Die Young era. Once again, though, it's not merely a return to their old sound: The track begins with darkly chiming guitars and xylophones and then builds to a crushing climax, but even its heaviest moments are leavened with beauty, and its nearly symmetrical rise and fall make it fit perfectly with the rest of the album. Fortunately, though, the new techniques Mogwai explores on this album are just as satisfying, if not more so, than the band's familiar ones: "Golden Porsche"'s richly mellow bass and pianos sound more akin to Americana than post-rock, while "I Know You Are But What Am I?"'s shuffling, piston-like rhythm and twinkling synths are both brooding and childlike. A strangely dreamy, reverent feel winds through the album, surfacing on the Spiritualized-esque "Boring Machines Disturbs Sleep" and "Moses? I Amn't," which has a buzzing synth bass so deep it makes your brain vibrate. In some ways, Happy Songs for Happy People is almost too consistent -- by the time its second half rolls around, it's easy to take its dense beauty for granted. The upside is that it's one of those rare albums where you're convinced that you've just heard the song that is going to be your favorite -- until you hear the next song, and then the song after that. With Happy Songs for Happy People, Mogwai gets to have it both ways -- it's ironic and sincere, concise and expansive, challenging and accessible, and it's one of the band's best albums, no two ways about it.

Mogwai - Happy Songs for Happy People  (flac  260mb)

01 Hunted By A Freak 4:18
02 Moses? I Amn't 2:59
03 Kids Will Be Skeletons 5:29
04 Killing All The Flies 4:35
05 Boring Machines Disturbs Sleep 3:05
06 Ratts Of The Capital 8:27
07 Golden Porsche 2:49
08 I Know You Are But What Am I ? 5:17
09 Stop Coming To My House 4:53

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Government Commissions: BBC Sessions 1996 -- 2003 collects some of Mogwai's best performances on John Peel and Steve Lamacq's programs. The compilation's track selections are inspired: taking two songs from each of the band's albums (except Rock Action, from which only "Secret Pint" appears here) and a handful of tracks from their mid-'90s EPs, Government Commissions gives a good idea of how Mogwai's sound evolved. Pieces like 4 Satin's "Superheroes of BMX" and "New Paths to Helicon Pt I" reflect the band's spare, elongated early work, while "Hunted By a Freak" and "Stop Coming to My House," both of which are from 2003's Happy Songs for Happy People and bookend Government Commissions, are lush, dense and shimmering. The album's sequencing also underscores the band's mastery of dynamics. It builds from subtly taut tracks like "R U Still In 2 It" and "Kappa" to the album's centerpiece, an 18-minute version of "Like Herod" that shows off the song's tense quiet and beautifully ugly guitar mayhem, and then winds down with more reflective songs. The album's live atmosphere, which includes voice-overs from the much-missed Peel, adds to its organic ebb and flow, which is all the more remarkable considering that it spans seven years' worth of performances. Though die-hard Mogwai fans are probably the most likely to pick this up, Government Commissions works so well that it could also double as a Mogwai greatest-hits collection -- something that can't be said about many other live compilations.

Mogwai - Government Commisssions, BBC Sessions 1996-2003  (flac  395mb)

01 Hunted By A Freak 4:09
02 R U Still In 2 It 6:19
03 New Paths To Helicon Pt II 2:53
04 Kappa 4:26
05 Cody 6:08
06 Like Herod 18:30
07 Secret Pint 4:45
08 Superheroes Of BMX 7:30
09 New Paths To Helicon Pt I 8:13
10 Stop Coming To My House 4:42

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Possibly the most accessible yet sophisticated album Mogwai has released, Mr. Beast strips away most of the electronic embellishment of their recent work in favor of a back-to-basics sound that returns to and expands on the approach they pioneered on Young Team. Mr. Beast is also a surprisingly spontaneous-sounding album -- in the best possible sense, its freshness makes it feel like a recorded practice session and also helps give relatively delicate pieces like "Team Handed" the same amount of impact that heavy, searing tracks like the closer, "We're No Here," have. Interestingly, more of Mr. Beast tends toward the former kind of song than the latter; "Friend of the Night," "Emergency Trap," and the glorious, slow-burning album opener, "Auto-Rock," give the album an unusually refined, even elegant feel that is underscored by the prominent use of piano and lap steel in the arrangements. On songs like "Acid Food" and the magnificent "I Chose Horses" -- which features cavernously deep bass and spoken word vocals by Tetsuya Fukagawa from the Japanese hardcore band Envy -- Mr. Beast feels downright pastoral. However, Mogwai doesn't give up their heavy side entirely, as the aforementioned "We're No Here" and "Glasgow Mega-Snake" show; any song that has either "mega" or "snake" in the title should rock, and this one does, kicking off with a claustrophobic snarl of guitars that makes this one of the most intense pieces Mogwai has ever recorded. Mr. Beast manages to be immediate without sounding dumbed-down..

Mogwai - Mr. Beast  (flac  254mb)

01 Auto Rock 4:18
02 Glasgow Mega-Snake 3:35
03 Acid Food 3:40
04 Travel Is Dangerous 4:01
05 Team Handed 3:58
06 Friend Of The Night 5:30
07 Emergency Trap 3:31
08 Folk Death 95 3:34
09 I Chose Horses 5:13
10 We're No Here 5:39

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Mogwai's Zidane: A 21st Century Portrait doesn't have much in the way of catchy melodies, and its tracks tend to blend into each other -- but these are precisely the reasons why this score is so effective. Droning, hypnotic, but subtly tense, this album is about crafting and sustaining a mood, even more so than the band's collaboration with Clint Mansell on the music for The Fountain. It's understandable why fans expecting another Young Team or even Mr. Beast might find Zidane too monochromatic: on tracks such as "Black Spider," Mogwai shift their famously wide-ranging dynamics into neutral, concentrating on the band's shimmering, introspective side; it's only toward the end of the over 20-minute hidden track tacked onto "Black Spider 2" that Mogwai approach heavier territory. Meanwhile, the moody piano and guitar themes repeat on "Half Time" and "Time and a Half," giving the score a unity that could seem monotonous separated from the film's context. However, while most of Zidane: A 21st Century Portrait is the musical equivalent of a faint but still distinct shadow, several tracks are standouts, albeit subtle ones. "Wake Up and Go Berserk" -- which follows in the footsteps of other ironically named Mogwai works like Rock Action and Happy Songs for Happy People -- is a thing of bleak beauty, mingling vapor-trail electric guitar textures with looping acoustic guitar melodies. Likewise, "7:25" and "I Do Have Weapons" are also sublimely poignant, without ever feeling like they're pandering. It's easy and true enough to say that this album will appeal mostly to Mogwai diehards, but it's such a quietly accomplished musical portrait of one of soccer's most complex and controversial personalities that Zidane: A 21st Century Portrait could very well add some soundtrack buffs and sports aficionados to the band's ranks of fans.

Mogwai - Zidane; A 21st Century Portrait  (flac  322mb)

01 Black Spider 5:04
02 Terrific Speech 2 4:08
03 Wake Up And Go Berserk 4:45
04 Terrific Speech 4:47
05 7:25 5:13
06 Half Time 6:49
07 I Do Have Weapons 4:16
08 Time And A Half 5:56
09 It Would Have Happened Anyway 2:34
10 Black Spider 2 4:12
11 Untitled 23:02

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RhoDeo 1701 Grooves

Hello,

Today's artist started singing in doo-wop and R&B groups as a teenager in his hometown of Buffalo, New York. More than a decade later, in the late '70s, when the fortunes of Motown Records seemed to be flagging, our man came along and rescued the company, providing funky hits that updated the label's style and saw it through into the mid-'80s. His epitath states "I've had it all, I've done it all, I've seen it all. It's all about love – God is love  ..... ..... N'joy

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James Ambrose Johnson, Jr. was born on February 1, 1948, in Buffalo, New York, to Mabel (née Sims) and James Ambrose Johnson, Sr. He was one of eight children. James' father, an autoworker, left the family when James was ten. His mother was a dancer for Katherine Dunham, and later ran errands for a Mafia-connected mob, just to feed her family. James' mother would take him on her collecting route, and it was in bars where she worked that James got to see performers such as John Coltrane, Miles Davis, and Etta James perform. James claimed later in the autobiography, Glow, that he lost his virginity at "age 9 or 10" to a 14-year-old local girl, claiming his "kinky nature came in early". James eventually attended Orchard Park High School and Bennett High School prior to dropping out. James was introduced to drugs at an early age and, as a young teen, was busted for burglary. Due to his stints in jail for theft, James entered the United States Navy at 14 or 15, lying about his age, to avoid the draft. During that time, he also became a drummer for local jazz groups in New York City. Due to him missing his twice-monthly Reserve sessions at the USS Enterprise, he found himself ordered to Vietnam.

In 1965, he fled for Toronto, where he made friendships with then-local musicians Neil Young and Joni Mitchell. To avoid being caught by military authorities, James went under the assumed name, "Ricky James Matthews". That same year, James formed the Mynah Birds, a band that produced a fusion of soul, folk and rock music. In 1965, the band briefly recorded for the Canadian division of Columbia Records, releasing the single, "Mynah Bird Hop"/"Mynah Bird Song". At one point, Nick St. Nicholas of later Steppenwolf fame was a member; eventually bassist Bruce Palmer replaced him by the time "Mynah Bird Hop" was recorded. James and Palmer would recruit guitarists Tom Morgan and Xavier Taylor and drummer Rick Mason to form a new Mynah Birds lineup, and soon traveled to Detroit to record with Motown. Before the group began recording their first songs for the label, Morgan left, unhappy about the label's attitude towards the musicians. Neil Young eventually took his place. It was while in Detroit that James met his musical heroes, Marvin Gaye and Stevie Wonder. After meeting Wonder and telling him his name, Wonder felt the name "Ricky James Matthews" was "too long", and instead told James to shorten it to "Ricky James".

After James got involved in a fight with the group's financial backer in Toronto, the Navy was given a tip regarding James' whereabouts and the singer was soon arrested. Afterwards, Motown dropped the band from the label, and James spent a year in prison. After his release, James moved to California where he resumed his musical career. After forming a duo with musician Greg Reeves, Reeves was soon hired to work as a musician for the rock supergroup, Crosby, Stills, Nash & Young. James returned to Motown as a songwriter in 1968, under the assumed name "Rickie Matthews", and worked with acts such as The Miracles, Bobby Taylor and the Vancouvers, and The Spinners. According to James, he briefly got involved in pimp activity during this time, but stopped because he felt he wasn't qualified for it due to the harsh activity and the abuse of women there. Returning to California from Toronto in 1969, James got involved with hair stylist Jay Sebring, who agreed to invest in James' music.

In late 1968, James formed the rock band Salt and Pepper. James and S&P member Ed Roth later were included in Bruce Palmer's solo album The Cycle is Complete. The duo also recorded as part of the group Heaven and Earth in Toronto. Heaven and Earth eventually changed their name to Great White Cane and recorded an album for Los Angeles label, Lion Records, in 1972, though it was later shelved. James formed another band, Hot Lips, afterwards. In 1973, James signed with A&M Records, where his first single under the name Rick James, "My Mama", was released, becoming a club hit in Europe. In 1976, James returned to Buffalo, New York, and formed the Stone City Band and recorded the song "Get Up and Dance!", which was his second single to be released. In 1977, James and the Stone City Band signed a contract with Motown's Gordy Records imprint, where they began recording their first album in New York City.

In April 1978, James released his debut solo album, Come Get It!, which included the Stone City Band. The album launched the top 20 hit, "You and I", which became his first number-one R&B hit. The album also included the hit single, "Mary Jane". It eventually sold two million copies, launching James' musical career to stardom, and helping out Motown Records at a time when label fortunes had dwindled. In early 1979, James' second album, Bustin' Out of L Seven, followed the previous album's success, eventually selling a million copies. A third album, Fire It Up, was released in late 1979 going gold. Around that same period, James launched his first headlining tour, the Fire It Up Tour, and agreed to invite the then-upcoming artist, Prince, as well as singer Teena Marie, as his opening act. James had produced Marie's successful Motown debut album, Wild and Peaceful and was featured on the hit duet, "I'm a Sucker (For Your Love)". James was credited with naming Marie, "Lady Tee", on the song, a nickname that stuck with Marie for the rest of her career. The Fire It Up tour led to James developing a bitter rivalry with Prince, after he accused the musician for ripping off his act.

Following the end of the tour in 1980, James released the ballads-heavy Garden of Love, which became his fourth gold record. In 1981, James recorded his best-selling album to date, Street Songs, which like his previous four albums, was a concept album. Street Songs featured a fusion mix of different genres, including rock and new wave, as well as James' brand of crossover funk, enabling James' own style of "punk funk". The album featured hit singles such as "Ghetto Life", the Teena Marie duet "Fire and Desire", "Give It to Me Baby", and his biggest crossover hit to date, "Super Freak", which peaked at number sixteen on the Billboard Hot 100, and sold over a million copies. Street Songs peaked at number one R&B and number three pop, and sold over three million copies alone in the United States. Following up that success, James released two more gold albums, 1982's Throwin' Down and 1983's Cold Blooded.

During this period, envious of Prince's success as producer of other acts including The Time and Vanity 6, James launched the acts Process and the Doo-Rags, and the Mary Jane Girls, featuring his former background singer Joanne "JoJo" McDuffie as the lead vocalist and background performer, finding success with the latter group, due to the hits, "All Night Long", "Candy Man", and "In My House". In 1982, James produced the Temptations' Top Ten R&B hit, "Standing On The Top". In 1983, James recorded the hit duet, "Ebony Eyes", with singer Smokey Robinson. In 1985, James produced another hit for entertainer Eddie Murphy with the song "Party All The Time". That same year he appeared on an episode of The A-Team with Isaac Hayes. After the release of his ninth solo album, The Flag, in 1986, James signed with Warner Bros. Records, which released the album Wonderful in 1988, featuring the hit, "Loosey's Rap".

James' controversial and provocative image became troublesome sometimes. During his heyday, James had presented his songs to the then-fledging music video channel, MTV, only to be turned down because James' music didn't fit the network's rock playlist. James accused the network of racism. When MTV and BET both avoided playing the video for "Loosey's Rap" because of its graphic sexual content, James considered the networks hypocritical in light of them still playing provocative videos by Madonna and Cher.

In 1989, James' eleventh album, Kickin', was released only in the UK. By 1990, he had lost his deal with Warner Bros. and James began struggling with personal and legal troubles. That year MC Hammer released his hit signature song, "U Can't Touch This", which sampled the prominent opening riff from "Super Freak". James and his co-writer on "Super Freak", Alonzo Miller, successfully sued Hammer for shared songwriting credit and all three consequently received the 1990 Grammy Award for Best R&B Song. In 1997, James released Urban Rapsody, his first album since his release from prison on assault charges, and he toured to promote the album. That same year, he discussed his life and career in interviews for the VH1 musical documentary series, Behind the Music, which aired in early 1998. James' musical career slowed again after he suffered a minor stroke during a concert. In 1999, James accepted an offer by Eddie Murphy himself to appear in his film, Life

James had three children. With Syville Morgan, a former singer and songwriter, he had daughter Ty and son Rick, Jr. In 1989, James met 17-year-old partygoer Tanya Hijazi. The two began a romance in 1990. In 1993, the couple welcomed the arrival of their only child and James' youngest, Tazman. Following their releases from prison for assaulting Mary Sauger and Frances Alley, the couple married in 1996 and divorced in 2002. On the morning of August 6, 2004, James' caretaker found him dead in James' Los Angeles home at the Oakwood Toluca Hills apartment complex, just outside Burbank. He had died from pulmonary failure and cardiac failure, associated with his various health conditions of diabetes, a stroke, pacemaker, and heart attack. His autopsy found alprazolam, diazepam, bupropion, citalopram, hydrocodone, digoxin, chlorpheniramine, methamphetamine, and cocaine in his blood.

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After returning to the U.S. from London, where he fronted the blues band Mainline, Rick James cut one album with White Cane before he turned to his own solo venture. By 1977, he'd begun working with the Stone City Band, emerging at the end of the year with an album's worth of delicious funk-rock fusion. Released in spring 1978, Come Get It! was a triumphant debut, truly the sum of all that had gone before, at the same time as unleashing the rudiments of what would become not only his trademark sound, but also his mantra, his manifesto -- his self proclaimed punk-funk. Packed with intricate songs that are full of effusive energy, Come Get It! is marvelously hybridized funk, so tightly structured that, although they have the outward feel of funk's freewheeling jam, they never once cross the line into an uncontrolled frenzy. This is best demonstrated across the monumental, eight-plus-minute "You and I." With enough funk bubbling under the surface to supplant the outward disco sonics of the groove, but brought back to earth via James' vocal interpolations, "You and I" became James' first R&B chart hit, effortlessly slamming into the top spot. "Mary Jane," meanwhile, was James' homage to marijuana -- honoring the love affair through slang, it dipped into the Top Five in fall 1978. More importantly, though, it also offered up a remarkable preview of his subsequent vocal development. With nods to Earth, Wind & Fire on "Sexy Lady," Motown sonics on "Dream Maker," the passionate "Hollywood," and the classic club leanings of "Be My Lady," it's obvious that James was still very much in the throes of transition, still anticipating his future onslaught of hits and superstardom. Many of the songs here have a tendency toward the disco ethics that were inescapable in 1978, and have been faulted as such; nevertheless, what James achieved on this LP was remarkably fresh, and would prove vitally important to funk as it grew older during the next decade.

Rick James - Come Get It    (flac  242mb)

01 Stone City Band, Hi ! 3:27
02 You And I 8:04
03 Sexy Lady 3:50
04 Dream Maker 5:14
05 Be My Lady 4:47
06 Mary Jane 4:58
07 Hollywood 7:27
08 Stone City Band, Bye ! 1:11

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Rick James' second album, Bustin' Out of L Seven, maintained his status among R&B fans, almost topping the LP chart and spawning hits in the title track, "High on Your Love Suite," and "Fool on the Street," though none of them matched the popularity of the debut album's "You and I" or "Mary Jane." James managed an effective amalgam of recent R&B big-band styles, from Sly & the Family Stone to Earth, Wind & Fire and Funkadelic, overlaying the result with his jeeringly rendered sex-and-drugs philosophy. What was missing this time was a real pop crossover -- if Come Get It! had suggested he could have the pop success of Earth, Wind & Fire, Bustin' Out of L Seven threatened that his work would find as restricted an audience as Funkadelic, and without the critical cachet.

Rick James - Bustin' Out of L Seven   (flac  319mb)

01 Bustin' Out 5:20
02 High On Your Love Suite / One Mo Hit (Of Your Love) 7:26
03 Love Interlude 1:52
04 Spacey Love 5:24
05 Cop 'N' Blow 5:03
06 Jefferson Ball 7:20
07 Fool On The Street 7:47
08 Bustin' Out (12 Extended Mix) 7:19

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With Art Stewart gone, from this point on James produced all his own work. All the experimentation of the previous release is gone, but the P-Funk ripoffs continue. Rick's third album in 18 months may have spread the funk a little thin (or saturated the market), since Fire It Up was not as effective as his first two efforts. The usual mix of rock and R&B had some disco added, which dulled the music's edge and made it more formulaic. At the same time, James's single-entendre come ons, notably the album's biggest single, "Love Gun," were beginning to sound less provocative than just smutty. James had all the weapons for success in his arsenal, but he hadn't yet figured out a unified plan of attack, and Fire It Up was a holding action.

Rick James - Fire It Up  (flac 346mb)

01 Fire It Up 3:59
02 Love Gun 5:44
03 Lovin' You Is A Pleasure 4:08
04 Love In The Night 6:22
05 Come Into My Life 7:10
06 Stormy Love 2:05
07 When Love Is Gone 7:32
Bonus
08 Love Gun (12-Inch Version) 10:46

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Without a doubt, Garden of Love was Rick James' most underrated release. The album went gold and was far from a flop, but Motown wanted double- or triple-platinum, and anything less was disappointing. And when funk fans reminisce, Garden isn't one of the albums they mention. A departure from the type of hard and rowdy funk that defined Come Get It!, Bustin' Out of L Seven, and Fire It Up, Garden boasted only one major hit ("Big Time") and was surprisingly laid-back by James' standards. The album contains more ballads than usual, and James uses subtlety to his artistic advantage on songs ranging from the clever "Mary Go Round" to the haunting "Summer Love." Unfortunately, some mistook subtlety for wimpiness. But make no mistake: the songs are first-rate, though they lack the type of immediacy he was known for. Those who overlooked Garden need to give it a closer listen.

Rick James - Garden of Love   (flac 343mb)

01 Big Time 6:25
02 Don't Give Up On Love 6:08
03 Island Lady 4:07
04 Gettin' It On (In The Sunshine) 3:03
05 Summer Love 6:18
06 Mary -Go- Round 6:59
07 Gettin' It On (In The Sunshine) Reprise 1:39
Bonus
08 Big Time (Extended Version) 11:40
09 Gypsy Girl (Demo) 3:41

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RhoDeo 1701 Aetix

Hello,

Today's artists are sounding like howling witches burning at the stake, their ghoulish shrieks of the 1982 debut single "Incubus Succubus" immediately won the approval of goth rock connoisseurs. However, they weren't able to maintain its black-clad sound, selling out to pop before the inevitable breakup, but they competed with Siouxsie & the Banshees for goth royalty. The band was formed in Hamburg, Germany, in 1980 in an all-girl lineup,.  ......N'Joy

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Xmal Deutschland was formed in 1980 by Anja Huwe (vocals), Manuela Rickers (guitar), Fiona Sangster (keyboards), Rita Simonsen (bass guitar) and Caro May (drums) in Hamburg, Germany. Their first single, "Schwarze Welt" was released a year later on Alfred Hilsberg’s ZickZack label. The band also contributed to the label compilation Lieber Zuviel Als Zuwenig (ZZ 45). Around this time Rita Simonsen was replaced by Wolfgang Ellerbrock.

In 1982, the band released the goth classic "Incubus Succubus". Drummer Caro May left the band and formed a new band, and the vacant drummer position was filled by Manuela Zwingmann the same year. While German audiences were less than receptive at first, a United Kingdom tour opening for the Cocteau Twins resulted in a deal with independent label 4AD Records. Their debut album, Fetisch and the singles "Qual" and "Incubus Succubus II" were released in 1983, all three making the UK Independent Chart, even though the band wrote and performed in German.

Manuela Zwingmann left the band after that year, being replaced by Peter Bellendir. This lineup, Huwe/Rickers/Sangster/Ellerbrock/Bellendir was the longest lasting. The single "Reigen" and the album Tocsin were released in 1984, followed by a world tour in 1985. Tocsin reached number 86 in the UK Albums Chart.
The Sequenz EP was essentially a remake of a John Peel session, which had been originally recorded on 30 April 1985, and broadcast on 13 May 1985. The EP contained the tracks "Jahr Um Jahr II", "Autumn" (the band’s first song with English lyrics, apart from brief snatches of English that appeared in "Qual", "Young Man" and "Tag für Tag") and "Polarlicht" but omitted "Der Wind", which was played at the Peel sessions.

"Matador", produced by Hugh Cornwell of The Stranglers, was released in 1986. Xmal Deutschland also opened for The Stranglers at a concert in Wembley Arena, London. Their follow-up album, Viva was recorded in Hamburg and was released in 1987, followed by the single "Sickle Moon". Viva contains a large number of English lyrics, among others a poem by Emily Dickinson.

After the release of Viva, Manuela Rickers, Fiona Sangster and Peter Bellendir left the group. Anja Huwe and Wolfgang Ellerbrock continued to work with Frank Z (of Abwärts) on guitar. Producer Henry Staroste played keyboards and studio drummer Curt Cress completed the line-up that recorded the 1989 LP Devils, and the singles "Dreamhouse" and "I'll Be Near You". This also proved to be the last release of Xmal Deutschland, showing a change of direction towards mainstream pop. The group made a few live appearances in 1990, but eventually the group split up.

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Xmal Deutschland's Fetisch is the kind of album that Batman would listen to while patrolling Gotham City. A dismal, often creepy LP, Fetisch snags the dissonant gloom of early Siouxsie & the Banshees, Bauhaus, and Joy Division and gives it a German accent. Unfortunately, while the album bursts with ferocious energy, the songs are mostly repetitive and monotonous. Rabid goth collectors will probably savor every sinister groove on Fetisch, but nothing here can touch the hellish beat of Xmal's "Incubus Succubus" 12" single. Vocalist Anja Huwe sounds like a Siouxsie Sioux doppelgänger; however, even Sioux's bleakest numbers with the Banshees had keen hooks. Unfortunately, Xmal Deutschland utilizes the same eerie riffs throughout Fetisch. The album is listenable in limited doses. The dense, fuzzy guitars of "Qual" are somewhat hypnotic, and the brooding basslines of "Young Man" and "Orient" certainly catch the ear. Played loud, the shrieking riffs of "Orient" are thrillingly raucous. Xmal Deutschland knows how to bring the noise, but the eerie clamor of Fetisch is Xmal Deutschland lost in the dark.There was no confusion over the German delivery - Anja Huwe epitomized the voice as instrument. (...) the album reached no.3 in the independent charts behind the pulp pop of New Order and Aztec Camera. It stayed there. The seductive foreplay had begun."

Xmal Deutschland - Fetisch (flac  315mb)

01 Qual 3:50
02 Geheimnis 3:19
03 Young Man 3:18
04 In Der Nacht 3:44
05 Orient 4:06
06 Hand In Hand 3:08
07 Kaempfen 2:48
08 Danthem 4:59
09 Boomerang 3:46
10 Stummes Kind 5:15
11 Qual (12" Remix) 6:41
12 Zeit 4:06
13 Sehnsucht 4:40

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Xmal Deutschland's second full-length album is a creative high point, a Teutonic marriage of Siouxsie & the Banshees' inviting Goth-pop and the majestic sonic spaces of the Cocteau Twins. Less offputtingly bleak than the quartet's earlier records, but without the unfortunate candy coating of the albums that followed, these 11 songs are precariously balanced between neo-psychedelic pop in the traditional 4AD style -- the opening "Mondlicht" would not sound out of place on a This Mortal Coil album -- and the more aggressive, artsy sound of their first EPs. The former is clearly winning; "Incubus Succubus II," a much glossier remake of the song that first garnered U.K. attention for the group, features a less tortured (but still German-language) vocal from Anja Huwe over a smooth, throbbing pulse that trades in the spiky scrappiness of the original for a clean, but not antiseptic thrust. The clash of styles actually works quite well, giving Tocsin a palpable creative tension that adds a frisson of intensity to what might otherwise be just another collection of Goth-pop tunes.

Xmal Deutschland - Tocsin (flac 290mb)

01 Mondlicht 5:03
02 Eiland 5:31
03 Reigen 3:59
04 Tag Fur Tag 4:51
05 Augen•Blick 3:50
06 Begrab Mein Herz 3:01
07 Nachtschatten 3:56
08 Xmass In Australia 3:14
09 Derwisch 4:32
10 Incubus Succubus II 4:45
11 Vito 4:26

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This is a collection of four of the most powerful songs Xmal have ever recorded. The unique guitar textures, the evil vocals and the hypnotic bass, all intertwine to make these songs unmistakably Xmal's. Anja Huwe (Vocals), Manuela Rickers (Guitar), Fiona Sangster (Keyboards), Wolfgang Ellerbrock (Bass), Peter Bellendir (Drums) were recorded: 30th April 1985, first transmission: 13th May 1985.

Xmal Deutschland - Peel Sessions (flac 101mb)

01 Polarlicht 3:35
02 Der Wind 3:49
03 Jahr Um Jahr 2:58
04 Autumn 4:23

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Viva represents how Xmal Deutschland mellowed with age. No longer kicking and screaming like Siouxsie & the Banshees in their punk days, Xmal Deutschland tone down the dissonance and funereal atmospherics in Viva. Fans of the group's chaotic early records might disagree, but Viva is Xmal Deutschland's finest moment. Xmal Deutschland aren't trying to be scary anymore -- their 1982 single "Incubus Succubus" was creepy stuff -- just beautifully depressed. The opening track, "Matador," recalls the band's old gothic fury; however, it's more focused and accessible. The jumpy new wave drums and dreamy mid-'80s keyboards of "Matador" edge the group closer to pop, recalling the Cure in their transformation from the horsemen of the apocalypse to melodic gloom-rockers. "Matador," the band's catchiest single since "Incubus Succubus," was remixed for the clubs as well, but only the original can be found on the Viva album. It's inevitable that vocalist Anja Huwe would be compared to Siouxsie Sioux; the similarities are striking, like Ian McCulloch and Jim Morrison. Nevertheless, Huwe has found her own voice on Viva, hitting the high notes on "Matador" with palpable passion. "Sickle Moon" and "Feuerwerk (31.dez)" are haunted by Joy Division's dense guitars and foreboding basslines; they display Xmal Deutschland's more mature approach of crafting songs instead of slamming people over the head with repetitive drones. The abundance of synthesizers also give Viva a lighter feel, preventing the music from becoming overwhelmingly bleak, especially on "Eisengrau," "If Only," and "Illusion (Version)," the latter only appearing on the CD. Although Xmal Deutschland went downhill from here they're kings of the castle on Viva.

Xmal Deutschland - Viva (flac  329mb)

01 Matador 4:03
02 Eisengrau 2:59
03 Sicklemoon 3:37
04 If Only 4:14
05 Feuerwerk (31- Dez) 6:01
06 Illusion (Version) 4:10
07 Morning (Will There Really Be) 6:05
08 Manchmal 3:41
09 Polarlicht 3:18
10 Ozean 4:52
11 Dogmai 4:12
12 4 2:56

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RhoDeo 1701 Roots

Hello,


The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

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For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

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The Beat Of Brazil was released in 1967. Sergio Mendes (piano) is featured with Sebastiao Neto (bass), Edson Maciel (trombone), Raulzinho (valve trombone), Hector Bisignani or Aurino Ferrara (tenor sax) and Edison Machado (drums). This must be the heaviest bossa-samba-jazz album Sergio Mendes ever made. Recorded in Brazil and released in the US on Atlantic it's simply some of the toughest bossa jazz ever recorded with the finest of Rio's musicians in the line-up. Check "Primitivo" and 'Neurotico" - mind-blowing stuff!

Sergio Mendes - The Beat of Brazil   (flac  159mb)

01 Nana 2:22
02 Amor Em Paz (Love In Peace) 2:54
03 Garota De Ipanema (The Girl From Ipanema) 3:18
04 Coisa No.2 2:45
05 Primitivo 4:04
06 Ela É Carioca (She's A Carioca) 2:25
07 Corcovado 4:10
08 Noa Noa 2:21
09 Desafinado 3:18
10 Neurótico 2:23

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Featuring Mendes's trademark arrangements, the disc soars, as it is an instrumental journey into the sultry music that typified the decade. Dave Grusin arranged, conducted and played organ on these sessions. Sérgio is heard on piano, harpsichord and electric piano. Tom Scott, on loan from ABC, plays flute, soprano sax and piccolo. John Pisano, guest guitarist on Brasil '66's A&M debut album, is here on guitar. Larry Knechtel plays fender bass, Joe Mondragon, bass. Dom Um Romeo's the drummer, Joao Donato and Moacir Santos, percussionists. Highlights are "My Favorite Things, " "I Say a Little Prayer," the Dionne Warwick hit, "Comin' Home Baby," and "Boa Palavra (The Good Word)." Should Mike Myers decide to have his alter-ego "Austin Powers" take another trip back to groovy days of the late 60's, this will be the perfect music with which he can travel.

Sergio Mendes - Favorite Things   (flac  172mb)

01 My Favorite Things 2:52
02 Tempo Feliz (Happy Times) 2:34
03 Ponteio 2:26
04 Veleiro (The Sailboat) 3:21
05 A Banda (Parade) 2:30
06 I Say A Little Prayer 2:08
07 Comin' Home Baby 3:00
08 Boa Palavra (The Good Word) 3:08
09 O Mar É Meu Chão 3:24
10 So What's New 3:01

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Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil '66 at the peak of its form. Here Mendes released himself from any reliance upon Antonio Carlos Jobim and rounded up a wealth of truly great material from Brazilian fellow travelers: Gilberto Gil's jet-propelled "Roda" and Joao Donato's clever "The Frog," Dori Caymmi's stunningly beautiful "Like a Lover," Harold Lobo's carnival-esque "Tristeza," and Mendes himself (the haunting "So Many Stars" and the title track). Mendes was also hip enough to include "With a Little Help From My Friends" from the Beatles' Sgt. Pepper LP. As things evolved, though, the one track that this album would be remembered for is the only other non-Brazilian tune, Burt Bacharach's "The Look of Love," in an inventive, grandiose arrangement with a simplified bossa beat. The tune just laid there on the album until Mendes and company performed it on the Academy Awards telecast in 1968. The performance was a sonic disaster, but no matter; the public response was huge, a single was released, and it become a monster, number four on the pop charts. So much for the reported demise of bossa nova; in Sergio Mendes' assimilating, reshaping hands, allied with Herb Alpert's flawless production, it was still a gold mine.

Sergio Mendes & Brazil 66 - Look Around (flac 177mb)

01 With A Little Help From My Friends 2:33
02 Roda 2:22
03 Like A Lover 3:51
04 The Frog 2:42
05 Tristeza (Goodbye Sadness) 2:52
06 The Look Of Love 2:42
07 Pradizer Adeus (To Say Goodbye) 3:03
08 Batucada (The Beat) 2:19
09 So Many Stars 4:25
10 Look Around 2:59

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Having hit upon another smash formula -- cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping -- Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace). Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records. Cultural note: the striking foldout cover art, depicting Brasil '66 at sunset seated on top of a nude woman, somehow made it past the uptight censors of the day and no doubt boosted sales; it was Mendes' highest-charting album at number three.

Sergio Mendes & Brasil '66 - Fool On The Hill     (flac  195mb)

01 Fool on the Hill 3:17
02 Festa 4:20
03 Casa Forte 4:07
04 Canto Triste 4:20
05 Upa, Neguinho 2:57
06 Lapinha 3:11
07 Scarborough Fair 3:21
08 When Summer Turns to Snow 5:10
09 Laia Ladaia (Reza) 3:12

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RhoDeo 1701 Vibrations 2

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

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Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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This flac can be used as one long induction program or it could be looped on whatever track you find works best. There are several tracks that were designed to played at night while you are sleeping so the messages can slip into your dreaming awarenesss and hopefully, induce an out-of-body experience.

The selected menu of brainwave entrainment on this particular BRAINWAVE MIND VOYAGES CD is similar to that of the Series I: The Lucid Dreaming Version, but with deeper delta in parts and a slightly increased alpha and increased termittantly timed waking beta entrainment to prevent the slumber of deeper delta levels and to maximize the odds of awakening your awareness.

This journey takes you deep into a viable, non-physical or non-ordinary reality. Soothing seawash, relaxing ripples and hypnotic audioscapes are some of the backdrops for the guided journey into the OBE Astral Realm.
Several different guided vocal approaches, techniques and a few unique, perceptual "reality-benders" provide the ideal environment for inducing an out of body experience.

This psychoacoutic album is a perceptual tool that needs to be experienced to be believed. The entire process takes about 70 minutes, but if you are successful at fully transferring your awareness, you can explore the Non-Physical Realm for as long as you desire. MANY people have had documented OBEs using this CD, and hopefully this it will work for you too!

Brainwave Mind Voyages (Series II) Astral Trance - Out Of Body Experiences Aid (flac  342mb)

01 Brainwave Intro 1:44
02 Out Of Body Experiences Intro 5:29
03 Belief Expansion Aid 5:55
04 Wave Of Relaxation 7:27
05 Awaken The Energy Body 7:13
06 Sense The Energy Body 6:06
07 Stretch The Energy Body 6:24
08 Reposition The Energy Body 9:21
09 Transfer Awareness 12:45
10 Out Of Body Induction All Night Loop 1 3:01
11 Out Of Body Induction All Night Loop 2 3:56

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)



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Sundaze 1701

Hello, 2017 it's hard to imagine we'll loose more big names in the musicscene as last year, it could spell the end for the Daesh too certainly in Iraq and Syria, something to consider as we drift into the new year, a year where Europeans feel uncertain, in contrast to those in brash America we'll see how far it goes, meanwhile the Chinese have made a goodwill move by prohibiting the trade in ivory, smart move by them after all isn't the elefant the logo of the Republicans.....


Today's artists are a Scottish post-rock band, formed in 1995 in Glasgow. The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. The band were for several years signed to renowned Glasgow indie label Chemikal Underground, and now use their own label Rock Action Records in the UK, and Sub Pop in North America. The band were frequently championed by John Peel from their early days......N'Joy

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The cosmic post-rock band Mogwai was formed in Glasgow, Scotland in 1996 by guitarist/vocalist Stuart Braithwaite, guitarist Dominic Aitchison, and drummer Martin Bulloch, longtime friends with the goal of creating "serious guitar music." Toward that end, they added another guitarist, John Cummings, before debuting in March 1996 with the single "Tuner," a rarity in the Mogwai discography for its prominent vocals; the follow-up, a split single with Dweeb titled "Angels vs. Aliens," landed in the Top Ten on the British indie charts. Following appearances on a series of compilations, Mogwai returned later in the year with the 7" "Summer," and after another early 1997 single, "New Paths to Helicon," they issued Ten Rapid, a collection of their earliest material.

Around the time that Mogwai recorded the superb 1997 EP 4 Satin, former Teenage Fanclub and Telstar Ponies member Brendan O'Hare joined the lineup in time for the recording of Mogwai's debut studio LP, Mogwai Young Team. He exited a short time later -- returning to his primary projects Macrocosmica and Fiend -- to be replaced by Barry Burns. Mogwai next issued 1998's Kicking a Dead Pig, a two-disc remix collection; the No Education = No Future (Fuck the Curfew) EP appeared a few months later. In 1999, they released Come on Die Young. Rock Action arrived in early 2001. Late that year, Mogwai released the My Father, My King EP; two years later, they issued the ironically titled Happy Songs for Happy People. Government Commissions: BBC Sessions 1996-2004 arrived early in 2005.

Mr. Beast, which was released in 2006, found the band going in a softer, more reflective direction. Late that year, the band's collaboration with Clint Mansell on the soundtrack to The Fountain arrived; Mogwai also crafted the score for Douglas Gordon's Zidane: A 21st Century Portrait, which was released in the U.K. in 2006 and in the U.S. the following spring. The Batcat EP, which featured a collaboration with garage-psych legend Roky Erickson, arrived in late summer 2008, heralding the release of The Hawk Is Howling -- which reunited the band with producer Andy Miller for the first time in a decade -- that fall. In 2010, Mogwai released their first live album, Special Moves, as a package with the Vincent Moon-directed concert film Burning.

Hardcore Will Never Die, But You Will For 2011's Hardcore Will Never Die, But You Will, the band reunited with Young Team producer Paul Savage for a more streamlined set of songs. Later that year, they followed up with an EP of unreleased material from the Hardcore sessions, Earth Division, released on Sub Pop. Late in 2012, the band issued A Wrenched Virile Lore, a collection of Hardcore Will Never Die, But You Will remixes. Early the following year, the first taste of their score to the French zombie TV series Les Revenants (which was based on the 2004 film of the same name) arrived as a four-song EP; in February 2013, the full-length album appeared.

Mogwai filled the rest of the year with recording their eighth proper album, Rave Tapes, at their Castle of Doom studio, live performances of their Zidane: A 21st Century Portrait score in Glasgow, Manchester, and London, and other live performances. Rave Tapes, which boasted a more streamlined and electronic direction than Mogwai's recent albums, was released in early 2014. Late that year, the band issued the Music Industry 3. Fitness Industry 1 EP, a collection of Rave Tapes remixes as well as new songs.

Cummings left the band in 2015 to work on his own solo projects. Mogwai's first release after his departure was 2016's Atomic, a collection of reworked tracks from their music for Mark Cousins' BBC 4 documentary Atomic: Living in Dread and Promise. They returned later that year with a number of compositions on the collaborative soundtrack for Fisher Stevens and Leonardo DiCaprio's documentary about the impact of climate change, Before the Flood.

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Ten Rapid compiles the bulk of the singles Mogwai released between 1995 and 1997, but the tone of the music is so consistent, it could have all come from the same session. Like a post-rock band, Mogwai is about subtle, shifting sonics and repetition, but they are hardly as precious or cerebral as any post-rock group. Each of their songs sounds as if it goes around in a circle, surrounding itself in interlocking, mathematical patterns. While there are waves of feedback washing over the album, the music itself sounds like it's in the distance. Their habit of burying vocals (which aren't featured that often in the first place) also keeps Mogwai from reach, and nothing on Ten Rapid is immediately engaging, even though it is intriguing. With repeated listens, the album reveals its hidden layers, and the music becomes hypnotic in its gradual, deliberate pace and interwoven guitars.

Mogwai - Ten Rapid  (flac  168mb)

01 Summer 4:26
02 Helicon 2 2:38
03 Angels Versus Aliens 5:50
04 I Am Not Batman 3:31
05 Tuner 2:58
06 Ithica 27-9 2:58
07 A Place For Parks 2:14
08 Helicon 1 6:00
09 End 2:43

   (ogg  mb)

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Like Ten Rapid but with a more awkward name, Mogwai [EP+6] collects some of the experimental rock titans' singles and EPs with such a natural feel that it almost seems like it was designed as an album. In this case, 1997's 4 Satin EP is joined with 1999's self-titled EP and "Xmas Steps," the single version of Come on Die Young's track. The 13-and-a-half-minute "Stereodee" is just as compelling an epic as any of the tracks that wound up on either of those albums, showcasing the band's masterful way with ebbing, flowing, letting a song explode, and pulling it back together again. "Xmas Steps" -- which is a minute longer than the album version of the song -- also shows how expertly Mogwai can play with time and dynamics as they scale a mountain of sound that turns out to be a volcano when they get to the top. This pair of tracks makes up the heart of Mogwai [EP+6], but "Stanley Kubrick"'s limpid pedal steel and "Burn Girl Prom Queen" round out its melancholy soul. These tracks surrounding the Young Team/Come on Die Young era show that Mogwai distribute their wealth pretty equally among their long and short-form releases, and make this collection necessary for any fan who doesn't own these songs already.

Mogwai - EP+6  (flac  395mb)

01 Superheroes Of BMX 8:05
02 Now You're Taken 7:00
03 Stereodee 13:39
04 Xmas Steps 11:14
05 Rollerball 3:47
06 Small Children In The Background 6:51
07 Stanley Kubrick 4:19
08 Christmas Song 3:26
09 Burn Girl Prom Queen 8:33
10 Rage Man 5:05

Mogwai - EP+6    (ogg 149mb)

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Sripping away much of the noodling and noise of their earlier work in favor of tighter structures, more immediate melodies, and vocals, on Rock Action Mogwai recaptures the excitement that surrounded their first releases. Like so many groups stuck with the post-rock tag, Mogwai needed a way to expand beyond the term without changing their sound completely, and aided by guests like producer Dave Fridmann and Super Furry Animals' Gruff Rhys, they've found it. Rock Action incorporates bristling distortion, propulsive drums, and electronic textures similar to Tortoise's Standards -- particularly on the opening track "Sine Wave" -- but the album's most remarkable moments revisit and reinvent more traditional sounds. Buoyed by lush string arrangements and Fridmann's detailed, warm production, the brooding ballads "Take Me Somewhere Nice" and "Dial: Revenge" couldn't be further from "rock action," but they display the album's refreshing restraint and immediacy. In particular, "Dial: Revenge" -- so named because "dial" is the Welsh word for "revenge" -- benefits from Rhys' emotive yet cryptic vocals in his mother tongue, but the general emphasis on vocals adds to the album's organic, emotive feel. Nowhere is this more evident than the nine-minute epic "2 Rights Make One Wrong": With its lush layers of brass, strings, banjo, guitars, and vocals, it sounds like the rock-oriented cousin of Jim O'Rourke's pocket symphonies. Meanwhile, "You Don't Know Jesus" uses its eight-minute length to reaffirm that the group is still at the top of its game when it comes to guitar-driven catharsis. "Secret Pint" sends the album out on a serene note, proving that in the proper hands, the quietest ballad is just as commanding as the loudest rock action; Rock Action shows that Mogwai have mastered both styles.

Mogwai - Rock Action  (flac  306mb)

01 Sine Wave 4:55
02 Take Me Somewhere Nice 6:57
03 O I Sleep 0:55
04 Dial: Revenge 3:28
05 You Don't Know Jesus 8:02
06 Robot Chant 1:03
07 2 Rights Make 1 Wrong 9:31
08 Secret Pint 3:37

Mogwai - Rock Action   (ogg  114mb)

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It doesn't get much weirder than seeing indie rock darlings Mogwai and Magoo do a split EP of classic Black Sabbath songs, but it really does exist. It seems as though both bands just wanted to rock out, and that's exactly what they do with these metal anthems. Magoo is up to bat first and takes on "Black Sabbath," one of the best numbers in Sabbath's catalogue. Magoo actually covers the song faithfully, but the outer space vocals and lo-fi production make it a very interesting take. Mogwai also plays it pretty straight, although their cover of the marijuana anthem "Sweet Leaf" seems even murkier and drug induced than the original. The sticker on the disc is intriguing enough, calling it a "companion to their recent Rock Action album" and "two parts serenity and one part death metal." My Father My King is a single track of the same name that lasts over 20 minutes. The meat is somewhat similar to the band Earth's sludgy, monotone feedback or Caspar Brötzmann Massaker sans singing, with a nicely noisy production job from a man accustomed to such things, Steve Albini, bookended with relative tranquility. Call it mood music for mood swings and unlike anything the Scottish troupe has endeavored, but it still retains the experimental, arty flair Mogwai is identified with.

Mogwai - 4 EP's  (flac  388mb)

Do The Rock Boogaloo
01 Magoo - Black Sabbath 5:50
02 Mogwai - Sweet Leaf 5:55
Travels In Constants
03 Untitled 6:07
04 Quiet Stereo Dee 4:06
05 Arundel 2:59
My Father My King.
06 My Father My King 20:12
UK Tour EP
07 Close Encounters 3:57
08 Drum Machine 3:31
09 D To E 6:06
10 You Don't Know Jesus (Live) 6:14
11 Helicon (Live) 7:53

Mogwai - 4 EP's    (ogg  155mb)

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Can't get enough of these last century Mogwai EP's  have another one, it's New Years day after all. Four versions of "Mogwai Fear Satan," the closing track from the band's 1997 release, Young Team, are offered up here from the likes of Surgeon and My Bloody Valentine's Kevin Shields, while the first and best remix was actually prepared by the band itself. Drenched in echo and high-contrast flute melodies, this track features the group's familiar and quite satisfying undulating half-crescendos. Unfortunately, the remaining treatments amount to three flavors of white noise, for only the most extreme of art rock lovers to contemplate. The overall abrasiveness of Mogwai Fear Satan Remixes is probably too much for casual Mogwai fans. For the collectors and fanatics...

Mogwai - Fear Satan Remixes  (flac  262mb)

01 Fear Satan (Mogwai Remix) 9:50
02 Fear Satan (µ-Ziq Remix) 7:21
03 Fear Satan (Surgeon Remix) 6:26
04 Fear Satan (My Bloody Valentine Remix) 16:12


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