RhoDeo 1707 Grooves

Hello,

Today's artists was a pool of more than thirty studio musicians based at Philadelphia’s famed Sigma Sound Studios. They worked closely with the production team of Gamble and Huff and producer/arranger Thom Bell, and backed up such groups as Harold Melvin & the Blue Notes, The O'Jays, The Stylistics, The Spinners, Wilson Pickett, and Billy Paul. In 1972, they began recording as a named act for the Philadelphia International label. "TSOP (The Sound of Philadelphia)" also known as the Soul Train theme was their first and most successful single.   ..... N'joy

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Best known for recording the hit theme to Soul Train, MFSB were the pre-eminent instrumental outfit of Philadelphia soul, backing numerous Kenny Gamble/Leon Huff productions while recording regularly on their own throughout the '70s. The group's name stood for Mother Father Sister Brother, and prior to their formation in 1971 as the house band at Gamble and Huff's Sigma Sound studios, some of the core personnel had been working together as early as 1968. Guitarists Norman Harris and Bobby Eli, bassist Ronnie Baker, and drummer Earl Young had an uncredited dance hit with "The Horse," the instrumental flip side of singer Cliff Nobles' "Love Is All Right." As the Horse dance craze swept Philadelphia, the group also backed singers the Fantastic Johnny C and (as the James Boys) Jesse James, while also issuing singles as the Music Makers and Family.

With the rise of the lush, orchestrated Philly soul sound at the dawn of the '70s, business was booming at Gamble and Huff's Philadelphia International, and there was plenty of session work to be had. Harris, Eli, Baker, and Young formed an important part of the label's regular studio group; other prominent musicians included guitarists Roland Chambers and James Herb Smith, bassist Larry Moore, drummers/percussionists Karl Chambers, Miguel Fuentes, Quinton Joseph, and Larry Washington, saxophonist Zach Zachary, organist/keyboardist Lenny Pakula, and vibraphonist Vince Montana, plus a rotating cast of strings, horns, and other personnel that depended on availability and were often directed by Don Renaldo. MFSB provided backing on a bevy of Philadelphia International hits, most prominently for the O'Jays and Harold Melvin & the Blue Notes, as well as other Philly soulsters like the Stylistics and the Spinners. They began cutting their own sessions in 1973, releasing a self-titled debut full of extended, sometimes jazzy soul grooves.

Later in 1973, TV host Don Cornelius approached Gamble about writing an original theme for his newly nationally syndicated dance show Soul Train. Gamble convened MFSB in the studio with arranger Bobby Martin and supporting vocal group the Three Degrees, and the theme song that grew out of the session proved hugely popular when it debuted on the show. Gamble pushed Cornelius to release it as a single, and when it finally appeared in early 1974 under the title "T.S.O.P." ("The Sound of Philadelphia"), it rocketed to the top of both the pop and R&B charts; it also won a Grammy for Best R&B Instrumental. The accompanying MFSB album, Love Is the Message, was a gold-selling Top Ten hit (and a number one R&B album); moreover, the title track became an underground hit on the New York disco scene several years later. The group's next album, 1975's Universal Love, produced another R&B hit in "T.L.C. (Tender Lovin' Care)," and moved MFSB further into the emerging disco movement with tracks like "Sexy" and "Let's Go Disco."

MFSB recorded five more albums for Philadelphia International over the remainder of the '70s, becoming a full-fledged disco group when they began working heavily with arranger/producer Dexter Wansel in 1978. The previous year, they contributed a cover of the Nite-Liters' "K-Jee" to the mammoth-selling Saturday Night Fever soundtrack, but the late '70s brought mostly diminished commercial returns. The title track of MFSB's final album, 1980's Mysteries of the World, was a hit in the U.K., but with the heyday of both Philly soul and disco slipping away, the group disbanded in 1981.

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MFSB's debut album was more of a soul-funk mix than the kind of disco for which the band would become known with their "T.S.O.P." hit. There's less of a thumping rhythm and a greater inclination to lengthy, occasionally jazzy instrumental grooves, as on the seven-minute cover of "Freddie's Dead" that opens the set. The group also made a fair instrumental workout of Sly Stone's "Family Affair," and put the flute in the lead for much of the arrangement of "Back Stabbers." It's pretty well-crafted instrumental soul that's not quite super-slick, though your attention might eventually wander if you're not using it as dance fodder. The lush pop inclinations that would form part of the bed of their later work (both as MFSB and backing numerous Philly soul artists) come more to the fore on some other tracks, particularly the grandiose "Poinciana," though even that breaks up the soaring violins with some tasty jazz-blues piano and guitar. The 2002 CD reissue on Epic/Legacy adds a live version of "T.S.O.P. (The Sound of Philadelphia)" (which is not, incidentally, otherwise represented on the album), with the Three Degrees on vocals.

MFSB - MFSB    (flac  233mb)

01 Freddie's Dead 7:13
02 Family Affair 4:23
03 Something For Nothing 3:00
04 Back Stabbers 6:32
05 Lay In Low 3:45
06 Poinciana 5:54
Bonus
07 T.S.O.P. (The Sound Of Philadelphia) (Live) 3:53

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Most prominently featuring "Love Is the Message" and "T.S.O.P.," this 1975 album by MFSB serves as a landmark LP for Philadelphia's mid-'70s soul movement. While "T.S.O.P." became a giant hit for the group at the time of its release, forever being associated with the television show Soul Train, "Love Is the Message" would go on to be an enormous underground hit in New York's late-'70s disco scene, championed by influential DJs such as Larry Levan (becoming an anthem at Levan's Paradise Garage). In addition, the album also features the orchestra's take on "Touch Me in the Morning," a song popularized by Diana Ross that was another proto-disco classic. The other tracks here -- "Cheaper to Keep Her," "My One and Only Love," and "Bitter Sweet" -- are also wonderful tracks exemplifying the group's uplifting, massive sound but aren't nearly as timeless as the three aforementioned songs. Sony's Love Is the Message: The Best of MFSB is still the best and most readily available showcase for this group's influential accomplishments as a proto-disco group, while this album is arguably their strongest non-compilation release and one of Kenny Gamble and Leon Huff's shining moments.

MFSB - Love Is The Message   (flac  360mb)

01 Zack's Fanfare 0:23
02 Love Is The Message 6:36
03 Cheaper To Keep Her 6:53
04 My One And Only Love 4:33
05 TSOP (The Sound Of Philadelphia) 3:43
06 Zack's Fanfare (I Hear Music) 0:50
07 Touch Me In The Morning 6:22
08 Bitter Sweet 5:29
Bonus
09 Love Is The Message (Single Version) 2:38
10 TSOP (The Sound Of Philadelphia) (A Tom Moulton Mix) 5:44
11 Love Is The Message (A Tom Moulton Mix) 11:24

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MFSB was the legendary multicultural house band for the label Philadelphia International. Debuting as an act in 1973, the band released seminal early-disco tracks like "TSOP," "Love Is the Message," and the ballad "Something For Nothing." Although this effort didn't reach the heights of its predecessor, Love Is the Message, Universal Love has the band exhibiting even more skill as a hitmaking enterprise. As with the earlier hits, seven out of the eight tracks on Universal Love were arranged by Bobby Martin, who always got a classic sound out of any Philly production. The tracks "Sexy" and "T.L.C. (Tender Lovin' Care)" both effortlessly employ intonations of big band that came from the horn charts and Zach Zachery's tenor sax solos. At this point the gloss and rhythm style of the MFSB players, primarily the sound of bassist Ron Baker and drummer Earl Young, helped to initiate disco. Although they were no doubt influential, the songs "MFSB" and the hard-driving "Let's Go Disco" have an inimitable production. MFSB was no doubt known as a dance outfit, but this effort also displays its skill with ballads. The last track, the reflective "My Mood," with a vibes solo from Vince Montana, all but sums up what made this particular incarnation of the band arguably the best. Although it often doesn't make the list of Philadelphia International classics, Universal Love perfectly captures the grace of MFSB and the Philly sound.

MFSB - Universal Love   (flac 248mb)

01 Sexy 3:33
02 MFSB 3:42
03 Human Machine 3:52
04 Love Has No Time Or Place 6:18
05 T.L.C. (Tender Lovin' Care) 3:41
06 Let's Go Disco 4:14
07 K-Jee 4:15
08 My Mood 4:10

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While they didn't exactly set the world on fire, they DID leave the listener with no doubt as to just how talented the musicians that made up MFSB were and that they could tackle everything from Disco to Funk to Soul to MOR-Pop with grace, class and musical virtuosity. This album captures the magic of the Philadelphia Soul sound at a time when it had truly reached its apex.

MFSB - Philadelphia Freedom  (flac 288mb)

01 Zach's Fanfare #2 1:03
02 Get Down With The Philly Sound 4:29
03 Philadelphia Freedom 6:00
04 South Philly 4:28
05 Ferry Avenue 4:01
06 Interlude 1 0:52
07 When Your Love Is Gone 4:11
08 Morning Tears 5:15
09 Brothers And Sisters 3:50
00 Smile Happy 5:52
10 The Zip 3:51

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RhoDeo 1707 Re-Ups 87

Hello,

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here another batch of 19 ! re-ups, requests fullfilled up to Februari 15th.

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7x roots Back in Flac (VA - Under African Skies II, Mandingo - Watto Sitta, Zani Diabate and the Super Djata band - I, Khaled - Khaled, Ali Farka Toure ft Ry Cooder - Talking Timbuktu, VA - RAI, VA - Passion Sources)


3x Roots Back in Flac (Zimbabwe - The Soul of Mbira, Thomas Mapfumo - Singles 1977-86, Chiwoniso - Rebel Woman)


3x Beats Back in Flac (DJ Cam - Underground Vibes, DJ Cam - Underground Live Act, Dj Cam - Soulshine)


3x Beats NOW In Flac (System 7 - System Express, Various - I ♥ Serge ( Electronica Gainsbourg),  DJ Cam - Revisited By)


3x Roots Back in Flac (The Disciples - Hail H.I.M. In Dub, The Disciples - Infinite Density Of Dub, Alpha and Omega Meets The Disciples - The Sacred Art Of Dub)

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RhoDeo 1707 Aetix

Hello, what a Valentines day Paris the city of love trashed Barcelona 4-0 , unheard of but absolutely deserved win, which couldn't be said of Benfica who defended at home and were witnessing Borrusia Dortmund miss chance after chance only to see a rare corner score them a 1-0 victory.


Today's artists issued a blitz of records that were ruthless in both their unrelenting sociopolitical screeds and their amelodic crash of noise. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself -- all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music. In addition to putting out their own fiercely independent records (though the majors were certainly not knocking at their door), they also formed an anarchist commune that worked with other artists and labels, and on the behalf of various political causes. Here are the brittlest and most hard-line radical of the first wave of British punk bands.........N'Joy

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Crass were an English art collective and punk rock band formed in 1977 which promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism and environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films. Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros. The band was critical of punk subculture and youth culture in general. Crass promoted an anarchism which became more common in the punk-music scene. They are considered art punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation.

The band was based around Dial House, an open-house community near Epping, Essex, and formed when Dial House founder Penny Rimbaud began jamming with Steve Ignorant (who was staying in the house at the time). Ignorant was inspired to form a band after seeing The Clash perform at Colston Hall in Bristol, whilst Rimbaud, a veteran of avant garde performance art groups such as EXIT and Ceres Confusion, was working on his book Reality Asylum. They produced "So What?" and "Do They Owe Us A Living?" as a drum-and-vocal duo. They briefly called themselves Stormtrooper before choosing Crass in reference to a line in the David Bowie song "Ziggy Stardust" ("The kids was just crass").

Other friends and household members joined (including Gee Vaucher, Pete Wright, N. A. Palmer and Steve Herman), and Crass played their first live gig at a squatted street festival in Huntley Street, North London. They planned to play five songs, but a neighbour "pulled the plug" after three. Guitarist Steve Herman left the band soon afterwards, and was replaced by Phil Clancey, aka Phil Free. Joy De Vivre and Eve Libertine also joined around this time. Other early Crass performances included a four-date tour of New York City, a festival gig in Covent Garden and regular appearances with the U.K. Subs at The White Lion, Putney and Action Space in central London. The latter performances were often poorly attended: "The audience consisted mostly of us when the Subs played and the Subs when we played".

Crass played two gigs at the Roxy Club in Covent Garden, London. According to Rimbaud, the band arrived drunk at the second show and were ejected from the stage; this inspired their song, "Banned from the Roxy", and Rimbaud's essay for Crass' self-published magazine International Anthem, "Crass at the Roxy". After the incident the band took themselves more seriously, avoiding alcohol and cannabis before shows and wearing black, military surplus-style clothing on and offstage. They introduced their stage backdrop, a logo designed by Rimbaud's friend Dave King. This gave the band a militaristic image, which led to accusations of fascism. Crass countered that their uniform appearance was intended to be a statement against the "cult of personality", so (in contrast to many rock bands) no member would be identified as the "leader".

Conceived and intended as cover artwork for a self-published pamphlet version of Rimbaud's Christ's Reality Asylum the Crass logo was an amalgam of several "icons of authority" including the Christian cross, the swastika, the Union Jack and a two-headed Ouroboros (symbolising the idea that power will eventually destroy itself). Using such deliberately mixed messages was part of Crass' strategy of presenting themselves as a "barrage of contradictions", challenging audiences to (in Rimbaud's words) "make your own fucking minds up". This included using loud, aggressive music to promote a pacifist message, a reference to their Dadaist, performance-art backgrounds and situationist ideas.

The band eschewed elaborate stage lighting during live sets, preferring to play under 40-watt household light bulbs; the technical difficulties of filming under such lighting conditions partly explains why there is little live footage of Crass. They pioneered multimedia presentation, using video technology (back-projected films and video collages by Mick Duffield and Gee Vaucher) to enhance their performances, and also distributed leaflets and handouts explaining anarchist ideas to their audiences.

Crass' first release was The Feeding of the 5000 (an 18-track, 12" 45 rpm EP on the Small Wonder label) in 1978. Workers at the record-pressing plant refused to handle it due to the allegedly blasphemous content of the song "Asylum", and the record was released without it. In its place were two minutes of silence, entitled "The Sound of Free Speech". This incident prompted Crass to set up their own independent record label, Crass Records, to prevent Small Wonder from being placed in a compromising position and to retain editorial control over their material. A re-recorded, extended version of "Asylum", renamed "Reality Asylum", was shortly afterwards released on Crass Records as a 7" single and Crass were investigated by the police due to the song's lyrics. The band were interviewed at their Dial House home by Scotland Yard's vice squad, and threatened with prosecution; however, the case was dropped. "Reality Asylum" retailed at 45p (when most other singles cost about 90p), and was the first example of Crass' "pay no more than..." policy: issuing records as inexpensively as possible. The band failed to factor value added tax into their expenses, causing them to lose money on every copy sold. A year later Crass Records released new pressings of "The Feeding of the 5000" (subtitled "The Second Sitting"), restoring the original version of "Asylum".

In 1979 the band released their second album (Stations of the Crass), financed with a loan from Poison Girls, a band with whom they regularly appeared. This was a double album, with three sides of new material and a fourth side recorded live at the Pied Bull in Islington. The next Crass single, 1980's "Bloody Revolutions", was a benefit release with Poison Girls which raised £20,000 to fund the Wapping Autonomy Centre. Crass released their third album, Penis Envy, in 1981. This marked a departure from the hardcore-punk image The Feeding of the 5000 and Stations of the Crass had given the group. It featured more-complex musical arrangements and female vocals by Eve Libertine and Joy De Vivre (singer Steve Ignorant was credited as "not on this recording"). The album addressed feminist issues, attacking marriage and sexual repression.

The last track on Penis Envy, a parody of an MOR love song entitled "Our Wedding", was made available as a white flexi disc to readers of Loving, a teenage romance magazine. Crass tricked the magazine into offering the disc, posing as "Creative Recording And Sound Services". Loving accepted the offer, telling their readers that the free Crass flexi would make "your wedding day just that bit extra special". A tabloid controversy resulted when the hoax was exposed, with the News of the World stating that the title of the flexi's originating album was "too obscene to print". Despite Loving's annoyance, Crass had broken no laws. The album was banned by the retailer HMV, and in 1984 copies of the album were seized from the Eastern Bloc record shop by Greater Manchester Police under the direction of Chief Constable James Anderton. The shop owners were charged with displaying "obscene articles for publication for gain". The judge ruled against Crass in the ensuing court case, although the decision was overturned by the Court of Appeal (except the lyrics to one song, "Bata Motel", which were upheld as "sexually provocative and obscene").

more next week...


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Perhaps the most uncompromising early British punk record, though a long way from the best. This is far more interesting for its form than its content; super-brief, incoherent rants over pummeling drums and incomprehensible vocals were made into a hardcore cliché by the early '80s, but were impossibly radical and noisy in 1978. If you're at all left-of-center, you can find a good deal to sympathize with in the lyrics, addressing class warfare, social hypocrisy, organized religion, and punk rock itself with serious venom. It's not without humor at times, either, as on the famous chorus, "Do they owe us a living? Of course they f*cking do!" (A lyric sheet, always an essential item for Crass releases, is provided.) But the melodic and textural qualities of the record, not to mention the throat-full-of-vomit vocals, are so unrelentingly harsh and monotonous that it's difficult to imagine anybody playing this for pleasure. With a band such as this, that might indeed be the point, but it doesn't make for lasting art. The most enduring piece, actually, had relatively little to do with traditional punk rock: On "Asylum," the spoken female voice delivers a vitriolic attack on Christianity over disquieting guitar feedback

Crass - The Feeding of the 5000   (flac  500mb)

01 Asylum (Voc Eve Libertine) 2:05
02 Do They Owe Us A Living ? 1:24
03 End Result 2:04
04 They've Got A Bomb 3:48
05 Punk Is Dead 1:48
06 Reject Of Society 1:07
07 General Bacardi 1:01
08 Banned From The Roxy 2:14
09 G's Song 0:35
10 Fight War Not Wars 0:34
11 Women (Voc Joy de Vivre) 1:14
12 Securicor 2:25
13 Sucks 1:44
14 You Pay 1:45
15 Angels 2:08
16 What A Shame 1:10
17 So What? 3:04
18 Well, Do They? 1:26
Ignorant & Rimbaud In Duo [Stormpooper]
19 Do They Owe Us A Living? 5:43
20 Blackburn Rovers - Thread Track 0:57
Crass In Soho
21 Heartbeat Of The Mortuary 1:45
22 Do They Owe Us A Living? 2:17
23 Demolition 1:55
24 I Don't Like It 5:03
25 Pissedorf - Thread Track 1:05
Crass In Demo
26 End Result 2:48
27 G's Song 0:42
28 General Bacardi 1:08
29 Securicor 1:55
30 Angela Rippon 1:04
31 Major General Despair 1:20
32 Do They Owe Us A Living? 1:45
33 Punk Is Dead 4:34
34 Come To Southern Studios - Run Out Track 0:20

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"They said that we were trash/Well the name is Crass, not Clash." So goes the opening of the coruscating "White Punks on Hope," and with Stations Crass takes things to an even more vicious level than on Feeding. The opening yelps and screams from Ignorant on "Mother Earth" over a slow-building burn show that there was already much more to Crass than simple crash and bash punk, and with the rest of the album the collective moves between full-on assault and an ever increasing agit-snarl experimentation. Originally released as two vinyl discs, the conclusion of the second consists of a live show in Islington the summer of 1979, with the band tearing through new and old cuts with passion, including such fierce anthems as "Do They Owe Us a Living?" and "Shaved Women." The studio tracks, including versions of some cuts from the live show, all come from a one-day session four days after the concert, and while some tracks are almost fragments, surprisingly things aren't as constantly monochrome or as rushed as one might think. Whether stripping things down to dub-tinged bass, drums, and repetitive guitar snarls or blends of staccato rhythms and found-sound noise (or even, on "Walls," trying a bit of disco), Crass creates a unique brand of fierce, inspirational music. Libertine and De Vivre make impressive cameos alongside Ignorant's lead vocals, making the perfect argument through performance that passion trumps technical skill when the chips are down. The sheer amount of issue tackling and blunt speaking throughout ranges from political statements of purpose over every aspect of the status quo to relentless self-examination. One running attack against the band was always that their words were better read than listened to, but hearing the seething hatred projected by Ignorant on "Big Man, Big M.A.N." is enough to convince one otherwise. One of the funniest tracks is the vivisection of music press figure Garry Bushell, "Hurry Up Garry," which uncannily predicts his eventual descent into right-wing tabloid idiocy.

Crass - Stations of the Crass (flac 503mb)

01 Mother Earth 4:11
02 White Punks On Hope 2:22
03 You've Got Big Hands 1:42
04 Darling 1:56
05 System 0:56
06 Big Man, Big M.A.N. 2:46
07 Hurry Up Garry 1:11
08 Fun Going On 2:16
09 Crutch Of Society 1:52
10 Heard Too Much About 1:08
11 Chairman Of The Bored 1:18
12 Tired 3:19
13 Walls 2:59
14 Upright Citizen 3:15
15 The Gasman Cometh 3:17
16 Demoncrats 3:20
17 Contaminational Power 2:01
18 Time Out 2:16
19 I Ain't Thick, It's Just A Trick 4:24
20 Outro Poem 1:20
Live At The Pied Ball. Islington. London. 7th August 1979
21 System / Big Man Big M.A.N / Banned From The Roxy / Hurry Up Garry / Time Out / They've Got A Bomb / Fight War Not Wars 12:51
22 Women / Shaved Women / You Pay / Heard Too Much About 7:10
23 Angels / What A Shame / So What / G's Song 7:19
24 Do They Owe Us A Living? 2:05
25 Punk Is Dead 1:56

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Libertine takes the lead vocals throughout Crass' third album (the one exception being de Vivre's turn on the unnerving portrayal of hospitals and waiting for death, "Health Surface"). A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, "Bata Motel," as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling romance ("Smother Love") to gender stereotyping ("Systematic Death") and back again, lyrically the sharpest cut is toward those who choose to accept such a system rather than reacting back against it. Libertine's delivery places her as one of punk and post-punk's most distinct vocalists; if her atypical approach to singing has parallels to everyone from Poly Styrene to Pauline Murray, she consciously avoids sugaring the pill as the album continues on its way. One of her finest moments comes on "Where Next Columbus," a smart, blackly humorous riff on notions of discovery and control, on every level from economic and political to personal and back again. If immediate musical variety isn't as evident on Penis Envy as on Stations of the Crass' studio cuts, more than a few twists and turns are evident. There's the sudden burst of noise and layered series of voices on the environmental lament "What the Fuck," the nervous crawl into aggro charge on "Poison in a Pretty Pill," even a pretty little guitar figure to start off "Berkertex Bride." Phil Free's lead guitar work is especially effective, often a trebly white sheet of electric aggression, while Penny Rimbaud's drumming gets more varied and interesting as well. Crass' always blunt cover art reaches new but gut-wrenching heights as well, featuring a prepackaged sex doll on the front and gutted pigs on the back. The conceptual effort closes with "Our Wedding," an intentionally sappy romantic number done for a mainstream magazine as a prank.

Crass - Penis Envy (flac 299mb)

01 Bata Motel 3:31
02 Systematic Death 3:57
03 Poison In A Pretty Pill 3:36
04 What The Fuck? 6:45
05 Where Next Columbus? 3:10
06 Berkertex Bribe 3:19
07 Smother Love 1:45
08 Health Surface 3:28
09 Dry Weather 3:04
10 Our Wedding 2:03
Peel Session 7"
11 G's Song
12 Mother Earth
13 Tired
14 Shaved Women
15 Fight War Not Wars
16 Bomb

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RhoDeo 1707 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 became popular with the songs Se Acaso Você Chegasse, her first single, Mas Que Nada, A Carne, and other well-known samba songs. She was nominated to the Grammy Awards and was elected by the BBC London as "the singer of the millennium." In 2007, Soares was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Panamerican Games. In 2016, she performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang O Canto de Ossanha, a classic by Baden Powell and Vinícius de Moraes......N'Joy

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Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers. Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Soares always had her artistic career complicated by her personal life, which certainly impeded her enjoyment of a more widespread popularity. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help.

Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha.

Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub.

Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, having been awarded with a Sharp Prize award as the Best Samba Singer of 1997. Soares also recorded in duet with Caetano Veloso on his album, Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer.Her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others.  In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda). In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.

Do Cóccix Até O Pescoço In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janiero" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.

Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50), focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016.


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Here, the makeover into a roots-samba diva is complete and quite convincing... Soares gets slinky and soulful, with some wonderful, utterly authentic batucada percussion woven in throughout the record. This is really fine stuff, right up there with Clara's best work. Elza keeps the pace up, and the band (wish they were credited!) is totally solid. Also, no egregious dips into pop or romantic schmaltz, just solid samba from end to end. Highly recommended!
She still imitating Clara here, and at last the pop side asserts itself, with a more pronounced soul style emerging in the mix... Saxophonist Paulo Moura plays assists with the arrangements, and much of this record feels a bit like Gonzaguinha's samba-MPB work of the time. Some of it's a bit cloying, but for the most part this is another fine album. Also, her vocal phrasing really seems to have stretched out, and her softer passages work much better than before. Worth checking out!

Elza Soares - Nos Braços do Samba , Lição de Vida (flac  458mb)

01 Primeiro Eu
02 Nem Vem
03 Viagem De Jangada
04 Quem É Bom Já Nasce Feito
05 Debruçado Em Meu Olhar
06 Confesso Que Chorei
07 Lendas E Festas Das Yabás
08 Nos Braços Do Samba
09 Auera
10 Saudade Da Minha Inimiga
11 Deixa Pra Deus Resolver
12 Cansada De Esperar
Lição de Vida
13 Malandro
14 Cipriano
15 Lição de vida
16 Pinta e borda
17 Rainha dos sete mares
18 A rosa
19 Curumbandê
20 Nó na tristeza
21 Deus e viola
22 Estou com raiva de você
23 Samba, minha raiz
24 Sal e pimenta - Mulata assanhada - Beija-me

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With her career getting more and more erratic, Elza Soares moves further away from the sambajazz and embraces the high party in Pilão + Raça = Elza., Disc in which she says goodbye to the Tapecar. Without leaving any success, the album brings three compositions of Elza, two of them in partnership with the producer Gerson Alves, The samba-song Enredo de Pirraça is the highlight.  and another one of Jorge Aragão (Forgiveness love).

Elza Soares - Pilão+Raça=Elza , Voltei   (flac  480mb)

01 Língua de pilão
02 Enredo de pirraça
03 Aldeia de Okarimbé
04 Sombra confidente
05 Perdão Vila Isabel
06 Perdão amor
07 De pandeiro na mão
08 Só tem um jeito agora
09 Amor aventureiro
10 Compositor
11 Prezado amigo
12 Só uma lágrima
Voltei
13 Pot-pourri-Voltei-Bom-dia Portela-Malandro
14 Doce acalanto
15 Amor sublime
16 Plenitude
17 Erê
18 Lá vem você
19 Sem ilusão
20 Ânsia louca
21 Coisa da gente
22 Nesse trem

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These last weeks i've posted Negra the stunning, definitive CD box set that gathers nearly all of Soares' albums from 1961 to 2003, including an added disc of rarities and singles. The albums are combined, two on each disc, including A Bossa Negra (1961), O Samba E Elza Soares (1961), Sambossa (1963), Na Roda De Samba (1964), Um Show De Elza (1965), Com A Bola Branca (1966), O Maximo Em Samba (1967), Elza, Miltinho E Samba (1967), Baterista: Wilson Das Neves (1968), Elza, Miltinho E Samba, v.2 (1968), Elza, Carnaval E Samba (1969), Elza, Miltinho E Samba, v.3 (1969), Sambas E Mais Sambas (1970), Pede Passagem (1972), Sangue, Suor E Raca (1972), Elza Soares (1973), Elza Soares (1974), Nos Brancos Do Samba (1975), Licao De Vida (1976), Pilao + Raca = Elza (1977), Voltei (1988), and the rarities disc Sambas e Mais Sambas Vol. 2.Tracks released only on singles, and on special projects, between 1968-1977. If you really want to check out her ouvre, this is your best shot.

Elza Soares - Sambas e Mais Sambas Vol. 2 (flac 412mb)

01 Bloco de sujo.flac
02 Dá licença.flac
03 A flor e o samba.flac
04 Lendas e mistérios da Amazònia.flac
05 Pro que der e vier.flac
06 Vida.flac
07 Grade do amor.flac
08 Rainha de roda.flac
09 Lendas do Abaeté.flac
10 Já era.flac
11 Rio Zé Pereira.flac
12 Acorda Portela.flac
13 Se eu jurei.flac
14 Mangueira em tempo de folclore.flac
15 Maledicência.flac
16 A festa do divino.flac
17 Do jeito que o rei mandou.flac
18 A grande verdade.flac
19 Capital do tempo.flac
20 Pr´o esporte.flac
21 Mangueira, minha alegria.flac
22 Vale ouro.flac

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RhoDeo 1707 Vibrations 8

Hello,

What is Remote Viewing? Here's a Simple Explanation ...

Remote viewing is a controlled and trainable mental process involving psi (or psychic ability). It is used to transfer perceptual information across time and space. It is clear that remote viewing works in complete violation of the accepted "laws" of quantum and relativistic physics, therefor those "laws" are incomplete. Remote-viewing procedures were originally developed in laboratories funded by the United States military and intelligence services and used for espionage purposes. The scientific understanding of the remote-viewing phenomenon has greatly advanced in recent years, and as a result the process of remote viewing can now be reliably demonstrated in both laboratory and operational settings. There are a number of styles of remote-viewing procedures that are popularly practiced, such as Scientific Remote Viewing (SRV), Controlled Remote Viewing (CRV), as well as a few others. Remote viewers use one or more of these styles to gather descriptive data of a "target," which is usually some place or event at some point in time. Remote viewing is always done under blind conditions, which means that the remote viewer must know nothing about the target when conducting the remote-viewing session. All of the various styles of remote viewing require both training and regular practice in order for a remote viewer to become proficient. Remote viewing is normally considered a controlled shifting of awareness that is performed in the normal waking state of consciousness, and it does not typically involve an out-of-body experience, hypnosis, an altered state of consciousness, or channeling.



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 Remote Viewing Tool contains two tracks. The first track, Cooling Down, contains an entrancing semi-guided relaxation period which leads into the second track, Remote Perception.

This Series uses embedded brainwave entrainment guidance to steer the user into a centered and receptive state of mind.The split-ear scripted subliminal messages selectively target either the right or left hemisphere with messages depending on the message's intent. The subliminal cues are focused on increasing your receptive nature, suspending judgment and imagination, boosting mental speeds for quick processing and collecting of mental imagery and raw perceptions that are commonly experienced during a typical remote viewing session.

Due to the need for mental clarity and a lack of external subjective leading when it comes to remote viewing, only the first track (almost 20 mins.) contains audible guided vocals geared at relaxing, releasing and reengaging your awareness into a state of mind that is conducive to remote awareness. The second, more lengthy track (almost 60 mins.) contains no audible vocals and simply uses the split ear subliminals and the power of the brainwave entrainment to guide the user into a receptive, trance-like altered state of consciousness.

Brainwave Mind Voyages (Series VIII) - Remote Viewing (flac  405mb)

01 Cooling Down 19:44
02 Remonte Perception 58:42

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)
Brainwave Mind Voyages (Series VII) (flac  343mb)

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Sundaze 1707

Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, is the trigger for these Sundaze. The so-called “motorik” beat, a minimalist, relentless form of rhythm practised by groups including Neu! and Kraftwerk, became one of the most distinctive trademarks of Germany’s postwar rock groups. Liebezeit, a founding member of the Cologne-based quintet Can, was also a skilled practitioner of the motorik approach, but he was much more besides. He was able to incorporate a range of moods and styles into his playing, from African and funk rhythms to violent thrashing grooves, while always maintaining meticulous rhythmic control.

His playing could veer from the heavy, pulverising beat he created on You Doo Right, from Can’s debut album Monster Movie (1969), to the lithe, off-kilter feel he brought to One More Night, from Ege Bamyasi (1972). On the title track of Flow Motion (1976), Liebezeit delivered a lesson in lean, bare-bones funkiness. So precise and unswerving was Liebezeit’s playing, which included an ability to repeat drum patterns with uncanny precision, that he was likened to a human drum machine. To this he retorted that “the difference between a machine and me is that I can listen, I can hear and I can react to the other musicians, which a machine cannot do”. His particular gift was the ability to refine his drumming down to a compact, streamlined essence, so that when he did eventually add a fresh accent or extra beat it became a musical event of startling significance.



Today's artists are a German experimental rock band formed in Cologne, West Germany in 1968. The group cycled through several lineups in subsequent years, including vocalists Malcolm Mooney and Damo Suzuki. Drawing from backgrounds in avant-garde and jazz music, Can incorporated rock, minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music.They have been widely hailed as pioneers of the German krautrock scene, exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music. ......N'Joy

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 Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970's Soundtracks, a collection of film music, introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the group's best-known compositions. With 1971's two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.

1972's Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzuki's swan song, traveled even further afield into minimalist, almost ambient territory. With 1974's Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karoli's shrieking violin. 1976's Unlimited Edition and 1977's Saw Delight proved equally restless, and drew on a wide range of ethnic musics.

When the band split in 1978 following the success of the album Flow Motion and the hit "I Want More," they left behind a body of work that has proven surprisingly groundbreaking; echoes of Can's music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Can's music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.

Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland record's compilation album Pop 2000. In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Michael Karoli died of cancer on November 17, 2001. Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006. Jaki Liebezeit died of pneumonia on January 22, 2017.

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The follow-up to Tago Mago is only lesser in terms of being shorter; otherwise the Can collective delivers its expected musical recombination act with the usual power and ability. Liebezeit, at once minimalist and utterly funky, provides another base of key beat action for everyone to go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the rhythm box/keyboard action on "Spoon." The latter song, which closes the album, is particularly fine, its sound hinting at an influence on everything from early Ultravox songs like "Hiroshima Mon Amour" to the hollower rhythms on many of Gary Numan's first efforts. Liebezeit and Czukay's groove on "One More Night," calling to mind a particularly cool nightclub at the end of the evening, shows that Stereolab didn't just take the brain-melting crunch side of Can as inspiration. The longest track, "Soup," lets the band take off on another one of its trademark lengthy rhythm explorations, though not without some tweaks to the expected sound. About four minutes in, nearly everything drops away, with Schmidt and Liebezeit doing the most prominent work; after that, it shifts into some wonderfully grating and crumbling keyboards combined with Suzuki's strange pronouncements, before ending with a series of random interjections from all the members. Playfulness abounds as much as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly keyboards end "Vitamin C"; and rollicking guitar highlights "I'm So Green." The underrated and equally intriguing sense of drift that the band brings to its recordings continues as always. "Sing Swan Song" is particularly fine, a gentle float with Schmidt's keyboards and Czukay's bass taking the fore to support Suzuki's sing-song vocal.

Can - Ege Bamyasi  (flac  259mb)

01 Pinch 9:28
02 Sing Swan Song 4:18
03 One More Night 5:35
04 Vitamin C 3:34
05 Soup 10:25
06 I'm So Green 3:03
07 Spoon 3:03

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On Future Days, Can fully explored the ambient direction they had introduced into their sound on the previous year's Ege Bamyasi, and in the process created a landmark in European electronic music. Where Ege Bamyasi had played fast and loose with elements of rock song structure, Future Days dispensed with these elements altogether, creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys. Vocalist Damo Suzuki turns in his final and most inspired performance with the band. His singing, which takes the form here of a rhythmic, nonsensical murmur, is all minimal texture and shading. Apart from the delightfully concise single "Moonshake," the album is comprised of just three long atmospheric pieces of music. The title track eases us into the sonic wash, while "Spray" is built around Suzuki's eerie vocals, which weave in and out of the shimmering instrumental tracks. The closing "Bel Air" is a gloriously expansive piece of music that progresses almost imperceptibly, ending abruptly after exactly 20 minutes. Aptly titled, Future Days is fiercely progressive, calming, complex, intense, and beautiful all at once. It is one of Can's most fully realized and lasting achievements.

Can - Future Days  (flac  412mb)

01 Future Days 9:34
02 Spray 8:28
03 Moonshake 3:02
04 Bel Air 20:00

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With Suzuki departed, vocal responsibilities were now split between Karoli and Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Czukay sounds like he's throwing in some odd movie samples on that particular track, though perhaps it's just heavy flanging on Schmidt's vocals. Karoli's guitar achieves near-flamenco levels on the song, an attractive development that matches up nicely with the slightly lighter and jazzier rhythms the band comes up with on tracks like "Splash." Also, his violin work -- uncredited on earlier releases -- is a bit more prominent here. Musically, if things are a touch less intense on Babaluma, the sense of a band perfectly living in each other's musical pocket and able to react on a dime hasn't changed at all. "Chain Reaction," the longest track on the album, shows that the combination of lengthy jam and slight relaxation actually can go together rather well. After an initial four minutes of quicker pulsing and rhythm (which sounds partly machine provided), things downshift into a slower vocal section before firing up again; Karoli's blistering guitar work at this point is striking to behold. "Chain Reaction" bleeds into Babaluma's final song, "Quantum Physics," a more ominous piece with Czukay's bass closer to the fore, shaded by Schmidt's work and sometimes accompanied by Liebezeit. It makes for a nicely mysterious conclusion to the album.

Can - Soon Over Babaluma  (flac  236mb)

01 Dizzy Dizzy 5:40
02 Come Sta, La Luna 5:44
03 Splash 7:47
04 Chain Reaction 11:12
05 Quantum Physics 8:33

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Expanding the original Limited Edition release to a full double-LP/single-CD set, Unlimited is very much a dog's breakfast -- albeit a highly entertaining one -- of previously unreleased performances. Suzuki and Mooney take the spotlight on some songs, while on others the key foursome go at it in their usual way. A number of songs are mere snippets, like the vaguely tribal-sounding "Blue Bag," while one tune, the 20-minute "Cutaway," from 1969, is a sprawling pastiche of oddities. (Keep an ear out for the very formal request to keep modulations in frequency with other bandmembers!) Five cuts are listed as part of the band's continuing Ethnological Forgery Series, on which they recreate or interpret a variety of world musics through their own vision. The majority of songs come from 1968-1971 -- manna from heaven for those interested in the band's roots. Many cuts show off the varying abilities of the players. Leibezeit plays wind instruments on five separate cuts, while Schmidt is credited with "schizophone" on the Mooney-sung funk-soul of "The Empress and the Ukraine King." Though a few tracks are seemingly here to fill space, a lot of what's present easily stands up on its own, and with the band's legend as well. The opening cut, "Gomorrha," recorded after Suzuki's departure, is quite fine, an understated but still epic piece with lovely keyboards from Schmidt and intoxicating Karoli guitar. On the Suzuki-era cut "I'm Too Leise," Leibezeit's medieval flutes and light percussion add to a half-folk/half-something-else vibe. Mooney gets an interesting moment of glory with "Mother Upduff," a spoken-word tale of tourists in Europe that turns increasingly strange after the encounter with the octopus.

Can - Unlimited Edition    (flac  453mb)

01 Gomorrha 5:47
02 Doko E 2:28
03 LH 702 (Nairobi / München) 2:13
04 I'm Too Leise 5:11
05 Musette 2:14
06 Blue Bag (Inside Paper) 1:18
07 E.F.S. No. 27 1:49
08 TV Spot 3:02
09 E.F.S. No. 7 1:06
10 The Empress And The Ukraine King 4:42
11 E.F.S. No. 10 2:02
12 Mother Upduff 4:29
13 E.F.S. No. 361:58
14 Cutaway 17:11
15 Connection 2:59
16 Fall Of Another Year 3:24
17 E.F.S. No. 8 1:37
18 Transcendental Express 4:40
19 Ibis 9:20

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RhoDeo 1706 Grooves

Hello,

Today's artist is an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles. He received post mortem a Grammy Lifetime Achievement Award in 2012.  ..... N'joy

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One of the most important progenitors of rap music, Gil Scott-Heron's aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career, backed by increasingly contemporary production courtesy of Malcolm Cecil and Nile Rodgers (of Chic). Born in Chicago but transplanted to Tennessee for his early years, Scott-Heron spent most of his high-school years in the Bronx, where he learned firsthand many of the experiences that later made up his songwriting material. He had begun writing before reaching his teenage years, however, and completed his first volume of poetry at the age of 13. Though he attended college in Pennsylvania, he dropped out after one year to concentrate on his writing career and earned plaudits for his novel, The Vulture.

Encouraged at the end of the '60s to begin recording by legendary jazz producer Bob Thiele -- who had worked with every major jazz great from Louis Armstrong to John Coltrane -- Scott-Heron released his 1970 debut, Small Talk at 125th and Lenox, inspired by a volume of poetry of the same name. With Thiele's Flying Dutchman Records until the mid-'70s, he signed to Arista soon after and found success on the R&B charts. Though his jazz-based work of the early '70s was tempered by a slicker disco-inspired production, Scott-Heron's message was as clear as ever on the Top 30 single "Johannesburg" and the number 15 hit "Angel Dust." Silent for almost a decade, after the release of his 1984 single "Re-Ron," the proto-rapper returned to recording in the mid-'90s with a message for the gangsta rappers who had come in his wake; Scott-Heron's 1994 album Spirits began with "Message to the Messengers," pointed squarely at the rappers whose influence -- positive or negative -- meant much to the children of the 1990s.

In a touching bit of irony that he himself was quick to joke about, Gil Scott-Heron was born on April Fool's Day 1949 in Chicago, the son of a Jamaican professional soccer player (who spent time playing for Glasgow Celtic) and a college-graduate mother who worked as a librarian. His parents divorced early in his life, and Scott-Heron was sent to live with his grandmother in Lincoln, TN. Learning musical and literary instruction from her, Scott-Heron also learned about prejudice firsthand, as he was one of three children picked to integrate an elementary school in nearby Jackson. The abuse proved too much to bear, however, and the eighth-grader was sent to New York to live with his mother, first in the Bronx and later in the Hispanic neighborhood of Chelsea.

Though Scott-Heron's experiences in Tennessee must have been difficult, they proved to be the seed of his writing career, as his first volume of poetry was written around that time. His education in the New York City school system also proved beneficial, introducing the youth to the work of Harlem Renaissance poet Langston Hughes as well as LeRoi Jones. After publishing a novel called The Vulture in 1968, Scott-Heron applied to Pennsylvania's Lincoln University. Though he spent less than one year there, it was enough time to meet Brian Jackson, a similarly minded musician who would later become a crucial collaborator and integral part of Scott-Heron's band.

Given a bit of exposure -- mostly in magazines like Essence, which called The Vulture "a strong start for a writer with important things to say" -- Scott-Heron met up with Bob Thiele and was encouraged to begin a music career, reading selections from his book of poetry Small Talk at 125th & Lennox while Thiele recorded a collective of jazz and funk musicians, including bassist Ron Carter, drummer Bernard "Pretty" Purdie, Hubert Laws on flute and alto saxophone, and percussionists Eddie Knowles and Charlie Saunders; Scott-Heron also recruited Jackson to play on the record as pianist. Most important on the album was "The Revolution Will Not Be Televised," an aggressive polemic against the major media and white America's ignorance of increasingly deteriorating conditions in the inner cities. Scott-Heron's second LP, 1971's Pieces of a Man, expanded his range, featuring songs such as the title track and "Lady Day and John Coltrane," which offered a more straight-ahead approach to song structure (if not content).

The following year's Free Will was his last for Flying Dutchman, however; after a dispute with the label, Scott-Heron recorded Winter in America for Strata East, then moved to Arista Records in 1975. As the first artist signed to Clive Davis' new label, much was riding on Scott-Heron to deliver first-rate material with a chance at the charts. Thanks to Arista's more focused push on the charts, Scott-Heron's "Johannesburg" reached number 29 on the R&B charts in 1975. Important to Scott-Heron's success on his first two albums for Arista (First Minute of a New Day and From South Africa to South Carolina) was the influence of keyboardist and collaborator Jackson, co-billed on both LPs and the de facto leader of Scott-Heron's Midnight Band.

Jackson left by 1978, though, leaving the musical direction of Scott-Heron's career in the capable hands of producer Malcolm Cecil, a veteran producer who had midwifed the funkier direction of the Isley Brothers and Stevie Wonder earlier in the decade. The first single recorded with Cecil, "The Bottle," became Scott-Heron's biggest hit yet, peaking at number 15 on the R&B charts, though he still made no waves on the pop charts. Producer Nile Rodgers of Chic also helped on production during the 1980s, when Scott-Heron's political attack grew even more fervent with a new target, President Ronald Reagan. (Several singles, including the R&B hits "B Movie" and "Re-Ron," were specifically directed at the President's conservative policies.) By 1985, however, Scott-Heron was dropped by Arista, just after the release of The Best of Gil Scott-Heron. Though he continued to tour around the world, Scott-Heron chose to discontinue recording. He did return, however, in 1993 with a contract for TVT Records and the album Spirits.

For well over a decade, Scott-Heron was mostly inactive, held back by a series of drug possession charges. He began performing semi-regularly again in 2007, and one year later, announced that he was HIV-positive. He recorded an album, I'm New Here, released on XL in 2010. In February of 2011, Scott-Heron and Jamie xx (Jamie Smith of xx) issued a remixed version of the album, entitled We're New Here, also issued on XL. Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip, consider an airline cabin is always a cocktail of virusses and bacteria which proved to be too much for the weakened by HIV elderly man.

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In 1980, Gil Scott-Heron had a nice opportunity to promote his Real Eyes album when he became the opening act on Stevie Wonder's Hotter Than July tour. On his own, Scott-Heron usually played small clubs, but opening for Wonder gave him the chance to perform in front of thousands of Wonder fans in major stadiums and sports arenas. Many of Wonder's white fans seemed to be unfamiliar with Scott-Heron (who had never had a major pop hit), while a lot of Wonder's black fans at least knew him for "The Bottle" and "Angel Dust" even if they hadn't bought a lot of his albums. Opening for all those Wonder fans certainly didn't hurt Scott-Heron's career, but it didn't make him a superstar either. While it's possible that some Wonder fans enjoyed Scott-Heron's opening sets enough to go out and purchase Real Eyes, most of the people who acquired this LP were already confirmed Scott-Heron fans. Unfortunately, Real Eyes lacked a hit single, although the material is excellent nonetheless. As usual, Scott-Heron has a lot of sociopolitical things on his mind -- "The Train From Washington" concludes that the working class can't depend on the U.S. government for anything, while "Not Needed" angrily points the finger at companies who consider longtime employees expendable. And the album's less sociopolitical songs are equally memorable. "Your Daddy Loves You" is a touching ode to Scott-Heron's daughter Gia Louise (who was only a child in 1980), and the jazz-oriented "A Legend in His Own Mind" is a humorous, clever put-down of a wannabe "Casanova" who isn't nearly the ladies' man he brags about being. Scott-Heron's love of jazz serves him well on "A Legend in His Own Mind" and the smoky "Combinations," but make no mistake: Real Eyes is an R&B album more than anything.

Gil Scott-Heron - Real Eyes    (flac  190mb)

01 (You Can't Depend On) The Train From Washington 4:49
02 Not Needed 3:57
03 Waiting For The Axe To Fall 4:49
04 Combinations 3:42
05 Legend In His Own Mind 3:42
06 You Could Be My Brother 6:23
07 The Klan 4:51
08 Your Daddy Loves You (For Gia Louise) 3:20

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Although a major across-the-board hit always eluded the poet, singer, and activist Gil Scott-Heron, this album does contain one of his best-known songs. "B-Movie," an extended attack on Ronald "Ray-gun," unleashes 12 minutes of vitriol about the then recently elected president. Beginning with the declaration "Mandate, my ass," it's a laundry list of fears about Reagan, fantasizing that his election meant "we're all actors" in some surreal film. Delivered over a taut funk groove, parts of it are still funny. Elsewhere, Scott-Heron takes an early stab at endorsing firearm control on "Gun"; slows things down for "Morning Thoughts"; and explores reggae's rhythms and revolutionary power on "Storm Music," a direction he'd pursue more fully on his next album, Moving Target. The disc also includes a pair of covers that offer varying degrees of success: Bill Withers' "Grandma's Hands" is a natural for Scott-Heron's warm baritone and a bright soul-jazz arrangement from the Midnight Band, but the version of Marvin Gaye's "Inner City Blues," while it swings convincingly, has a lengthy spoken-word riff that fails to embellish on the pain implicit in the original. Overall, Reflections doesn't capture Scott-Heron at the peak of his game, though anyone who enjoyed the other works from his Arista period certainly won't be disappointed.

Gil Scott-Heron - Reflections   (flac  281mb)

01 Storm Music 4:51
02 Grandma's Hands 5:24
03 Is That Jazz? 3:43
04 Morning Thoughts 4:37
05 Inner City Blues (Poem: "The Siege Of New Orleans) 5:46
06 Gun 4:00
07 "B" Movie 12:10
Bonus
08 Re-Ron 6:47

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With Spirits, Gil Scott-Heron made a triumphant return to the studio after a 12-year absence. Though the politically charged R&B singer's voice had deteriorated, much of his soulfulness comes through. His songwriting is consistently excellent, and songs ranging from "Message to the Messengers" (which advises young rap artists to use their power wisely) to "Work for Peace" leave no doubt that his sociopolitical observations are as sharp as ever. One of the most riveting cuts is "The Other Side," an extended remake of his early-'70s classic "Home Is Where the Hatred Is" (which describes a drug addict's struggle). The East Coaster had been battling addiction himself during his absence from recording, and this heartfelt song isn't for the squeamish. Scott-Heron had successfully dabbled in jazz over the years, and in fact, among the CD's many strong points are the lyrics he adds to John Coltrane's "Spirits." One cannot help but wish Scott-Heron still had a great voice to go with this material, but even so, Spirits is powerful listening.

Gil Scott-Heron - Spirits  (flac 328mb)

01 Message To The Messengers 4:57
02 Spirits 7:49
03 Give Her A Call 5:44
04 Lady's Song 3:14
05 Spirit's Past 3:00
06 The Other Side, Part I 5:25
07 The Other Side, Part II 6:11
08 The Other Side, Part III 6:40
09 Work For Peace 7:33
10 Don't Give Up 5:58

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A previously unreleased live set recorded at London’s legendary Town and Country club and available for the first time. By the late 80s years of substance abuse had left Gil Scott-Heron rotten-toothed and out of it a lot of the time. In 1987 he missed a gig at London's Town & Country Club completely, turning up long after the venue had shut. The T&CC stuck with him though, booking him again in 1988 and hoping for the best. By then he'd gained a new manager, Freddie Cousaert, who had been responsible for turning the career of Marvin Gaye round in the early 80s, getting him off cocaine and back into the studio.

Gil might not have stuck to the straight and narrow in the years to come, but he was most in his element at live shows, and for this night he was on top form, running through old favourites like "Home Is Where The Hatred Is", "Save The Children", "Winter In America", "Angel Dust" and "Johannesburg", as well as chatting to the crowd and telling stories between songs. Gil is on fire throughout and obviously having a good night.

Gil Scott-Heron - Live At The Town and Country   (flac 552mb)

01 Black Men And Monster Movies 6:36
02 Space Song 5:57
03 We Almost Lost Detroit 4:17
04 Home Is Where The Hatred Is 11:12
05 Save The Children 9:18
06 The Vibemasphere 12:43
07 Angel Dust 13:22
08 The Blackground 13:48
09 Winter In America 9:06
10 The Spirit 18:51
11 Johannesburg 6:59

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RhoDeo 1706 Re-Ups 86

Hello,


These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up.

Looka here another batch of 34 ! re-ups, requests fullfilled up to Februari 7th.

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3x Sundaze Back in Flac (Robin Guthrie - Imperial , Robin Guthrie - Continental + Everlasting EP, Robin Guthrie - Carousel + 2 EP's)


4x Beats NOW in Flac (The KLF - (12"singles) 1-2-3, 4-5-6, 7-8-9, The KLF - Ultra Rare Trax)


3x Aetix Back in Flac (The Comsat Angels - Waiting For A Miracle, The Comsat Angels - Sleep No More, The Comsat Angels - Unravelled)


3x Aetix Back In Flac (Cocteau Twins - Treasure, Cocteau Twins - Blue Bell Knoll,  Cocteau Twins - Heaven Or Las Vegas)


4x Aetix Back in Flac (Xymox - Subsequent Pleasures, Clan Of Xymox - The Peel Sessions, Clan Of Xymox - Medusa, Xymox - Twist Of Shadows)


3x Aetix Back in Flac (Poison Girls - Songs of Praise + Later Recordings, Au Pairs - Playing With A Different Sex, Au Pairs - Sense And Sensuality)


5x Aetix NOW in Flac (YMO – Faker Holic ( London-Paris), YMO – Faker Holic  (New York ), Ryuichi Sakamoto - B-2 Unit , Yellow Magic Orch - Naughty Boys, Yellow Magic Orchestra - BGM)


9x Roots   NOW in Flac ( Franco et Pepe - Anjela, Dark City Sisters, Flyin' Jazz Queens, VA - Under African Skies I, VA - Out Of Africa, Konono no1 - Congotronics, Kanda Bongo Man - Kwassa, still in ogg Bibi Den's Tshibayi  - Sensible, VA - Witchcraft and Ritual, VA - New Africa )


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