Sundaze 1739

Hello, i watched the worldchampionship cycling for females this afternoon, wonderful setting in Bergen Norway, there were 2 big favorites from the Netherlands one of these clearly didn't want the other one to win Van Vleuten had already secured the world time trial title and she doesn't ride for a dutch cycling team, the leading group refused to ride with her in it, the second time same story but this was the last lap so another dutch girl who just about managed to cling onto the leading group was told to go for the break , the rest of the leading group refused to do anything about it and Van Vleuten couldn't as it was her countrywoman Crystal Blaak that was winning. I say fuck you Van De Breggen you got that Olympic Title, because of that dramatic crash Van Vleuten had and to ride like you did to prevent Van Vleuten to win is... well if it had been men i'm sure a fight would have broken out after the finish. Tomorrow it's the men's ride, looks like if the best riders want to win they will have to attack sooner than later it's a 280km race so i'd say attack at 200k..Go Tom Dumoulin or who knows Peter Sagan might say yes i like to keep that rainbow jersey for another year..



Today's Artists are a hypnotic chillgaze electronic outfit from Australia. Their music is atmospheric and spacey and if you ever find yourself longing for the era where trip-hop bands were dishing out beat-driven noir, then you may want to check out this Australian trio.....slow, cinematic, trip-hop....ambient textures derived from sources like Neu! and Eno, which gives their music a wide open feeling ....N'Joy

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All India Radio is the project by Martin Kennedy and Aidan Halloran, both ex-members of Pray TV, one of Australia´s most critically acclaimed indie bands. Pray TV released albums across the world beginning in the late 80´s with legendary Aussie labels Mr Spaceman and Au Go Go Records,  and were acclaimed by international media including Melody Maker, CMJ,Alternative Press, Puncture, Gavin & Rolling Stone and more.

All India Radio are a partially live band and partially studio-based project. The founding (and constant) member of the band is Martin Kennedy, they have released sixteen albums since 2000 and their music has been featured in film and TV including CSI: Miami, One Tree Hill, Sicko, Till Human Voices Wake Us, Big Brother Australia, Bondi Rescue and Recruits. Kennedy with All India Radio and Steve Kilbey provided the original soundtrack music for the Australian post-apocalypse film, The Rare Earth.

They were nominated for Australian recording industry award (ARIA) and have collaborated with Steve Kilbey, Graham Lee (The Triffids), Ed Kuepper (The Saints, Nick Cave & The Bad Seeds guitarist) and David Bridie (Not Drowning Waving) among others.

WIRED magazine describe All India Radio perfectly: "Since the turn of the 21st century, All India Radio has mashed the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation with the instantly recognizable guitar soundtracking of Ennio Morricone and Angelo Badalamenti. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."

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Steve Kilbey is a whirling dirvish of activity, a more than slightly mad genius and true force of nature. Next to Kilbey's work with the late, great Grant McLennan on the two Jack Frost records, the teaming with Martin Kennedy is the most interesting musical pairing. And of the two records that these guys have recorded White Magic is the best. Clocking in at a concise 38 minutes or so White Magic is a beautiful, trippy dreamscape of an album. My advice is to give the album a few listens for it to really sink into your pores. This stuff is better with age, like a fine wine. Kilbey is the lyricist here and Martin Kennedy is the composer. And Kennedy, the mastermind behind ambient musical group All India Radio, has really outdone himself with White Magic. There are 11 amazing tracks on White Magic. Kilbey is in fine voice throughout. Kudos to Martin Kennedy for a wonderful job recording and mixing the music and to Jorden Brebach for recording Kilbey's mellifluous voice. To add to the whole experience, check-out the Kilbey/Kennedy website for Martin Kennedy's really clever animated videos of a few of these songs.

Steve Kilbey & Martin Kennedy - White Magic (flac 226mb)

01 The Demo 3:48
02 Close 3:52
03 Intense 3:22
04 Inner Country 3:32
05 Unfocused 4:01
06 Mountain 3:30
07 Hope 3:37
08 Dreamstate 3:24
09 Sumer 3:30
10 Messiah Around 3:11
11 The Broken Sea 3:03

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Behind The Sky was originally a bonus CD that came with the vinyl edition of our 2012 album Red Shadow Landing. This is the first time it has been available in digital form with artwork.

It features the entire Red Shadow Landing album remixed to remove certain instruments then slowed down and reversed. Fripp & Eno did it to brilliant effect on their reissue of No Pussyfooting, and I thought I'd give it a go! I especially love what slowing and reversing does to guitar sounds and George Ellis' wonderful strings.

All India Radio - Behind the Sky (flac 259mb)

01 Behind the Sky Part 1 18:43
02 Behind the Sky Part 2 16:58
03 Behind the Sky Part 3 18:06

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Music from the forthcoming Australian post-apocalypse film The Rare Earth, "as surrealistic as any David Lynch movie, and as slippery to grasp. (Director) Stevenson is a cinematic visionary who instinctively recognises that cinema is primarily and profoundly about images, images with music" Soundtrack by Martin Kennedy of All India Radio as well as music from his acclaimed collaboration with Steve Kilbey, front man of The Church

Features new, remixed and previous album tracks by All India Radio and Steve Kilbey & Martin Kennedy.

All India Radio - The Rare Earth (Original Soundtrack)  (flac 359mb)

01 Opening Title Sequence 3:57
02 Heat Morning 4:45
03 Lorelei (with Steve Kilbey) 3:53
04 Moonlight Sonata 5:41
05 Steel Miocene 3:00
06 The Tale of Thomas Tipp 2:34
07 Brother Moon Sister Sun (with Steve Kilbey) 3:42
08 Grey 4:15
09 Drone Appointment 3 2:56
10 Can't Get Free (with Steve Kilbey) 4:26
11 Nightfevers Desert 2:12
12 Crows in the Machine 3:06
13 East Side West Side (Instumental) (with Steve Kilbey) 4:10
14 Losing Houston 3:24
15 Unfocused (with Steve Kilbey) 4:01
16 Finale (Instrumental) (with Steve Kilbey) 4:16
17 Strange Days 5:26
18 Final Sun Flares 3:37
19 Intense (with Steve Kilbey) 3:22
20 An Epilogue 1:05

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Four years in the making The Slow Light is All India Radio's tenth studio album. The Slow Light features artwork by 1960s visionary artist Victor Atkins (who won the 1969 Society of Illustrators Illustrator Award for his striking 'Miles in The Sky' Miles Davis LP cover). The Slow Light is the first LP cover Atkins has produced in decades.

All India Radio's Martin Kennedy infuses the album's fuzzy dreamgaze and slow motion beats with "distinctive shadings of Ennio Morricone and Brian Eno"  and "the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."

All India Radio - The Slow Light + Bonus (flac  499mb)
 
01 Blueshift 02:49
02 Dark Star 04:58
03 Can You Hear The Sound (feat Selena Cross) 04:16
04 The Slow Light 04:11 video
05 Sunburst 04:46
06 Redshift 05:39
07 Galaxy of Light 04:42
08 Twelve 03:49
09 Time 04:03
10 The Embers 02:25
bonus
11 Downtempo Groove 5:46
12 Warped Ring Theory 5:11
13 The Space Race 5:02
14 Can You Hear The Sound (Chillwave Mix feat. Selena Cross) 4:15
15 Space Funck 5:02
16 Dark Star (Ambient Mix) 4:13
17 Saucer (2015 Remix) 5:12
18 Time (Extended Version) 6:16
19 Saturn's Child (Bonus Track) 3:58
20 The Slow Light (Ambient Mix) 3:19
21 Can You Hear The Sound (Ambient Mix feat. Selena Cross) 4:20

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Demo and lofi cassette recordings from Martin Kennedy, writer and guitarist with All India Radio & Kilbey/Kennedy. Desert Tapes 1984 - 1994 consists of soundscapes, tape manipulations and electronic doodles from the early 1980’s to the mid 1990’s. Most of these songs were originally recorded on reel to reel and cassette tapes and were mastered from those same tapes, complete with hiss, pops, dropouts and dodgy editing. I have restored them where possible but many of the blemishes remain audible.

Martin Kennedy - Desert Tapes 1984 - 1994 (flac 182mb)

01 Little Desert Ambient 3:40
02 Gone 1:43
03 1987 Ambient 1 2:38
04 Dx7 Heaven 2:10
05 Twisted Metal Mind 3 2:52
06 Twisted Metal Mind 1 1:52
07 Rust 1 2:20
08 Rust 2 1:03
09 Rust 3 2:42
10 Analogue 1984 1 3:37
11 1994 Ambient 3:15
12 Radio 3:41
13 1987 Ambient 2 1:12
14 Analogue 1984 2 1:44
15 Pensive 2:54
16 1987 Ambient 3 2:33
17 Twisted Metal Mind 2 1:14
18 Untitled 1994 1:04
19 1985 Ambient 2:01

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RhoDeo 1738 Grooves

Hello, the coming weeks at grooves it's all about Stevland Hardaway Morris, a child prodigy considered to be one of the most critically and commercially successful musical performers of the late 20th century. He has recorded more than 30 U.S. top ten hits and received 25 Grammy Awards, one of the most-awarded male solo artists, and has sold over 100 million records worldwide, making him one of the top 60 best-selling music artists. Blind virtually since birth, his heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge.  ........ N'joy

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Stevland was born in Saginaw, Michigan, in 1950, the third of six children of Calvin Judkins and Lula Mae Hardaway, a songwriter. He was born six weeks premature which, along with the oxygen-rich atmosphere in the hospital incubator, resulted in retinopathy of prematurity (ROP), a condition in which the growth of the eyes is aborted and causes the retinas to detach; so he became blind. When he was four, his mother divorced his father and moved to Detroit with her children. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Wonder has retained Morris as his legal surname. He began playing instruments at an early age, including piano, harmonica and drums. He formed a singing partnership with a friend; calling themselves Stevie and John, they played on street corners, and occasionally at parties and dances.

In 1954, his family moved to Detroit, where the already musically inclined Stevie began singing in his church's choir; from there he blossomed into a genuine prodigy, learning piano, drums, and harmonica all by the age of nine. While performing for some of his friends in 1961, Stevie was discovered by Ronnie White of the Miracles, who helped arrange an audition with Berry Gordy at Motown. Gordy signed the youngster immediately and teamed him with producer/songwriter Clarence Paul, under the new name Little Stevie Wonder. Wonder released his first two albums in 1962: A Tribute to Uncle Ray, which featured covers of Wonder's hero Ray Charles, and The Jazz Soul of Little Stevie, an orchestral jazz album spotlighting his instrumental skills on piano, harmonica, and assorted percussion. Neither sold very well, but that all changed in 1963 with the live album The 12 Year Old Genius, which featured a new extended version of the harmonica instrumental "Fingertips." Edited for release as a single, "Fingertips, Pt. 2" rocketed to the top of both the pop and R&B charts, thanks to Wonder's irresistible, youthful exuberance; meanwhile, The 12 Year Old Genius became Motown's first chart-topping LP.

During 1964, Wonder appeared in two films as himself, Muscle Beach Party and Bikini Beach, but these were not successful either. Sylvia Moy persuaded label owner Berry Gordy to give Wonder another chance. Dropping the "Little" from his name, Moy and Wonder worked together to create the hit "Uptight (Everything's Alright)", and Wonder went on to have a number of other hits during the mid-1960s, including "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "The Tears of a Clown", a No. 1 hit for Smokey Robinson and the Miracles

In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the title Eivets Rednow, which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the US Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her", "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". A number of Wonder's early hits, including "My Cherie Amour", "I Was Made to Love Her", and "Uptight (Everything's Alright)", were co-written with Henry Cosby.

In September 1970, at the age of 20, Wonder married Syreeta Wright, a songwriter and former Motown secretary. Wright and Wonder worked together on the next album, Where I'm Coming From; Wonder writing the music, and Wright helping with the lyrics. They wanted to "touch on the social problems of the world", and for the lyrics "to mean something" 1971 proved a turning point in Wonder's career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I'm Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright), and the first time his keyboard and synthesizer work dominated his arrangements.

Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What's Going On.

Freed from the dictates of Motown's hit-factory mindset, Wonder had already begun following a more personal and idiosyncratic muse. One of his negotiating chips had been a full album completed at his new studio; Wonder had produced, played nearly all the instruments, and written all the material (with Wright contributing to several tracks). Released under Wonder's new deal in early 1972, Music of My Mind heralded his arrival as a major, self-contained talent with an original vision that pushed the boundaries of R&B. The album produced a hit single in the spacy, synth-driven ballad "Superwoman (Where Were You When I Needed You)," but like contemporary work by Hayes and Gaye, Music of My Mind worked as a smoothly flowing song suite unto itself. Around the same time it was released, Wonder's marriage to Wright broke up; the two remained friends, however, and Wonder produced and wrote several songs for her debut album.

For the follow-up to Music of My Mind, Wonder refined his approach, tightening up his songcraft while addressing his romance with Wright. The result, Talking Book, was released in late 1972 and made him a superstar. Song for song one of the strongest R&B albums ever made, Talking Book also perfected Wonder's spacy, futuristic experiments with electronics, and was hailed as a magnificently realized masterpiece. Wonder topped the charts with the gutsy, driving funk classic "Superstition" and the mellow, jazzy ballad "You Are the Sunshine of My Life," which went on to become a pop standard; those two songs went on to win three Grammys between them. Amazingly, Wonder only upped the ante with his next album, 1973's Innervisions, a concept album about the state of contemporary society that ranks with Gaye's What's Going On as a pinnacle of socially conscious R&B. The ghetto chronicle "Living for the City" and the intense spiritual self-examination "Higher Ground" both went to number one on the R&B charts and the pop Top Ten, and Innervisions took home a Grammy for Album of the Year. Wonder was lucky to be alive to enjoy the success; while being driven to a concert in North Carolina, a large piece of timber fell on Wonder's car. He sustained serious head injuries and lapsed into a coma, but fortunately made a full recovery.

Wonder's next record, 1974's Fulfillingness' First Finale, was slightly more insular and less accessible than its immediate predecessors, and unsurprisingly, imbued with a sense of mortality. The hits, however, were the upbeat "Boogie On, Reggae Woman" (a number one R&B and Top Five pop hit) and the venomous Richard Nixon critique "You Haven't Done Nothin'" (number one on both sides). It won him a second straight Album of the Year Grammy, by which time he'd been heavily involved as a producer and writer on Syreeta's second album, Stevie Wonder Presents Syreeta. Wonder subsequently retired to his studio and spent two years crafting a large-scale project that would stand as his magnum opus. Finally released in 1976, Songs in the Key of Life was a sprawling two-LP-plus-one-EP set that found Wonder at his most ambitious and expansive. Some critics called it brilliant but prone to excess and indulgence, while others hailed it as his greatest masterpiece and the culmination of his career; in the end, they were probably both right. The hit "Isn't She Lovely," a paean to Wonder's daughter, became something of a standard. Not surprisingly, Songs in the Key of Life won a Grammy for Album of the Year; in hindsight, though, it marked the end of a remarkable explosion of creativity and of Wonder's artistic prime.

more later..

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Stevie Wonder was beginning to rebel against the Motown hit factory mentality in the early '70s. While he certainly hadn't lost his commercial touch, Wonder was anxious to address social concerns, experiment with electronics, and not be restricted by radio and marketplace considerations. Still, he gave the label another definitive smash with the title track, while sneaking in a cover of the Beatles' "We Can Work It Out" and penning more intriguing tunes like "I Can't Let My Heaven Walk Away" and "Never Had a Dream Come True."

Stevie Wonder - Signed, Sealed And Delivered    (flac  248mb)

01 Never Had A Dream Come True 3:13
02 We Can Work It Out 3:19
03 Signed, Sealed, Delivered I'm Yours 2:41
04 Heaven Help Us All 3:15
05 You Can't Judge A Book By Its Cover 2:34
06 Sugar 2:54
07 Don't Wonder Why 4:58
08 Anything You Want Me To Do 2:21
09 I Can't Let My Heaven Walk Away 2:52
10 Joy (Takes Over Me) 2:12
11 I Gotta Have A Song 2:34
12 Something To Say 3:26

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One month before he turned 21, Stevie Wonder released Where I'm Coming From, the most distinctive record of his young career, and one that looked forward -- in its breadth of material as well as its futuristic production aesthetic -- to his many successes later in the '70s. There's a fabulous song here for nearly every type of fan; the soothing love ballad ("Think of Me as Your Soldier"), a gritty, apocalyptic funk extravanganza ("Do Yourself a Favor"), a kinetic, refreshing nod to the pop charts (the Top Ten hit "If You Really Love Me"), and an agonizing piece of heartache soul ("Never Dreamed You'd Leave in Summer" (slightly reworked for "Superwoman" on his next album Music of My Mind). Still, there are a few echoes of his occasionally pedestrian '60s work, and a pair of songs on the flipside sound especially anachronistic. The first is a piece of inspirational fluff called "Take up a Course in Happiness" with an odd arrangement pitched halfway between Sammy Davis, Jr. and Sgt. Pepper's, the second a jokey pick-up number named "I Wanna Talk to You" (complete with leering old-man vocals). Those two however, are the exceptions; the rules are uniformly excellent. The set closers "Never Dreamed You'd Leave in Summer" and "Sunshine in Their Eyes" are bravura performances, Stevie summoning his purest register to convey heartbreak and hopefulness, respectively, in equal measure. For all the great material included, there was little chance of these songs hanging together as a proper album, and Berry Gordy's misgivings about releasing a record like this on a Motown label were, temporarily, well-placed. Still, Where I'm Coming From was a frequently astonishing album from Motown's new genius of the recording studio.

Stevie Wonder - Where I'm Coming From    (flac 229mb)

01 Look Around 2:48
02 Do Yourself A Favor 6:11
03 Think Of Me As Your Soldier 3:41
04 Something Out Of The Blue 3:04
05 If You Really Love Me 3:04
06 I Wanna Talk To You 5:21
07 Take Up A Course In Happiness 3:17
08 Never Dreamed You'd Leave In Summer 2:58
09 Sunshine In Their Eyes 6:58

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With a new contract from Motown in his hand, Stevie Wonder released Music of My Mind, his first truly unified record and, with the exception of a single part on two songs, the work of a one-man-band. Everything he had learned about musicianship, engineering, and production during his long apprenticeship in the Snakepit at Motown Studios came together here (from the liner notes: "The sounds themselves come from inside his mind. The man is his own instrument. The instrument is an orchestra.") Music of My Mind was also the first to bear the fruits of his increased focus on Moog and Arp synthesizers, though the songs never sound synthetic, due in great part to Stevie's reliance on a parade of real instruments -- organic drumwork, harmonica, organs and pianos -- as well as his mastery of traditional song structure and his immense musical personality. The intro of the vibrant, tender "I Love Every Little Thing About You" is a perfect example, humanized with a series of lightly breathed syllables for background rhythm. And when the synthesizers do appear, it's always in the perfect context: the standout "Superwoman" really benefits from its high-frequency harmonics, and "Seems So Long" wouldn't sound quite as affectionate without the warm electronics gurgling in the background. This still wasn't a perfect record, though; "Sweet Little Girl" was an awkward song, with Stevie assuming another of his embarrassing musical personalities to fawn over a girl.

Stevie Wonder - Music Of My Mind   (flac 283mb)

01 Love Having You Around 7:21
02 Superwoman (Where Were You When I Needed You) 8:04
03 I Love Every Little Thing About You 3:46
04 Sweet Little Girl 4:54
05 Happier Than The Morning Sun 5:18
06 Girl Blue 3:35
07 Seems So Long 4:27
08 Keep On Running 6:35
09 Evil 3:35

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After releasing two "head" records during 1970-71, Stevie Wonder expanded his compositional palette with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances -- altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Stevie's not always singing a tender ballad here -- in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs -- but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material. The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta contributed two great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder album before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.

Stevie Wonder - Talking Book   (flac 265mb)

01 You Are The Sunshine Of My Life 2:45
02 Maybe Your Baby 6:45
03 You And I (We Can Conquer The World) 4:39
04 Tuesday Heartbreak 3:09
05 You've Got It Bad Girl 4:55
06 Superstition 4:40
07 Big Brother 3:35
08 Blame It On The Sun 3:28
09 Lookin For Another Pure Love 4:45
10 I Believe (When I Fall In Love It Will Be Forever) 4:48

. Stevie Wonder - Talking Book  (ogg  111mb)

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RhoDeo 1738 Re-Ups 114

Hello,


Remains 12 correct requests this week, in short another batch of 37 re-ups (more than 9 gig)

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 , requests fulfilled up to September 20th.... N'Joy

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5x Sunshine, Cruise NOW In Flac (Joe Arroyo - Rebellion, VA - Tropical Extravaganza, VA - Cumbia Cumbia, back in ogg VA - Socatrain, Los Muchachos - Fiesta)

4x Roots Back in Flac (Prince Jammy - Crucial In Dub, Prince Jammy - Kamikazi Dub,  Prince Jammy - Uhuru In Dub, Prince Jammy - Osbourne In Dub)


4x Aetix Back In Flac (Grauzone - Die Sunrise Tapes, Altered Images - Happy Birthday ...Plus,  The Cult - Dreamtime, The Cult - Dreamtime Live At The Lyceum)


4x Aetix Back In Flac (James Chance and The Contortions – Buy, The Lounge Lizards - The Lounge Lizards, Bush Tetras - Boom in the Night, VA - No New York)


4x Roots Back In Flac (Antonio Carlos Jobim - Black Orpheus, Antonio Carlos Jobim - The Composer of Desafinado Plays, Antonio Carlos Jobim - The Wonderful World Of, Antonio Carlos Jobim - Wave)


1x Afterpost NOW In Flac (Akufen - My Way)


4x Sundaze NOW In Flac (Henry Wolff & Nancy Hennings – Tibetan Bells II, Steve Roach - 3 Recent Future, Steve Roach - 4 Piece Of Infinity, in mp 3 William Buhlman - Exploring Your Past Lives #3,4,5)



3x Roots NOW In Flac (Sly & Robbie – Disco Dub , Sly & Robbie - This Is Crucial Reggae, Various - Raiders Of The Lost Dub)


3x Roots bAck In Flac (Vibronics - Dub Italizer, Vibronics - Dubliftment, Vibronics - UK Dub Story)


1x Roots NOW In Flac ( Mediæval Bæbes - Mirabilis )


2x Aetix Back in Flac   (Le Mystère Des Voix Bulgares , Le Mystère Des Voix Bulgares vol 2)


2x Sundaze  Back in Flac  (Four Tet - Rounds, Four Tet - Ringer)



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.

RhoDeo 1738 Aetix

Hello,


Today's artists were a South London-based post-punk band that welded the impassioned urgency of early Killing Joke to the graceful but pained atmospheric flourishes of the Chameleons. Marcus Bell, Mark Long, and Ralph Hall formed the band in 1979  ........N'Joy

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The Opposition is a London group of cold wave. They are Ralph Hall, Marcus Bell, Mark Long, later years with Sterling Campbell, Lol Ford, Terence Devine King and Jean-Daniel Glorioso. Founded in 1979, The Opposition released its first single Very Little Glory on the independent label Double Vision Records. The single has a very good press; will follow the release of the first album Breaking the Silence in 1981 and a tour in England and France.

They then record Intimacy still on Double Vision Records. With a very positive welcome from the press, the band has gone from an indie label to a major, Charisma Records, on which promises first, in 1984, with a tour of a few dates in the United States in the first part of Thomas Dolby and a major tour in Europe. It was then the release, in 1985, of the album Empire Days with their sound engineer Kenny Jones joined for the occasion by John Porter.

Meanwhile, Charisma Records is bought by Phonogram, which in turn will be devoured by Virgin. Without changing their contract, the group finds themselves with their third record company. It is time to begin a change.
In 1987, the group paused. Bell and Long take advantage of it to work on more commercial songs [What?] Under the name of So. Ralph Hall is replaced on this project by Sterling Campbell on drums. Their album Horseshoe in the Glove with the single "Are you sure" has met with some success in the United States. They have a very good media coverage, many passages on rock radio and a nomination for the MTV Video of the Week, Are you sure ranks 41st in the Billboard Hot 100.

After this American experience and two years of touring, Marcus Bell and Mark Long resumed Opposition and released, in 1990, a very intimate album Blue Alice Blue, recorded again, with Kenny Jones. In 1990, under the new label Mrs Jones Records they released War Begins at Home (1994) and EP One (1995). Sterling Campbell then left the group to play with David Bowie; he is replaced by Jean-Daniel Glorioso on Blinder (2004) In 2005 they released the Lost album this basically debut album was held back by their first major Arista who forbade them to even do anything with it, ah yes the recordindustry. They compiled Arc - The Charisma Years and Hive compiling EP´s, B-Sides and Remixes, EP2 (2010). In 2011 a digital only album was released Love & Betrayal it has been the last sigh of the band, 3 years later December 2014 Marcus Bell died.


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It's hard to classify Opposition's sound, although the production values on all their records is top notch. It is very rhythm heavy, with a lot of pounding drums and chunky basslines, with the guitar and occasional keyboards swirling around in the background to fill out the arrangements. It's mostly the vocals that lend the music an incredible intensity that I really haven't heard from anyone else. Ever. It's a truly unique style that comparisons could never really do justice to. That said, if you're a fan of The Comsat Angels, Joy Division, Chameleons or even early Shreikback, I think you might really like these guys, too. You just need to give yourself a few listens to get into it and I'm confident it will reward you amply. I really can't recommend this band highly enough, they are unique and simply brilliant. That success eluded them is a great travesty because I'm sure if I'd discovered them in the 80s I'd still love them today.

  Opposition - Promises   (flac  243mb)

01 Fall Into Line 3:40
02 Small Talk 3:18
03 I Already Know 5:06
04 Innocent 3:36
05 Alternatives 5:10
06 Searching For A Home 3:49
07 Factory Gate 3:14
08 Don't Forget To ... 4:43
09 I Dream In Colour 4:08
10 Stranded 3:18

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The Opposition have a reputation for being one of the major undiscovered dark-wave bands, but you wouldn't be able to tell from this album, which basically contains atmospheric pop-rock like "Five Minutes" and "First Suspect", and radio-friendly passionate statements such as "Abusing Words" and "Fool For You", that if anything sound like mid-80's Alphaville or Comsat Angels. There's nothing particularly bad about this record. It's all very professionally made, but a bit artificial and pompous (typical of it's era you could say). The highlight is "The World's First Vitaphone Announcement", an elegant soundscape rich in ambiance and texture, a track that rivals The Blue Nile at their most ambitious. Empire Days was made to be utterly likable and Opposition is surely in control here.

Opposition - Empire Days (flac 297mb)

01 Five Minutes 5:14
02 Abusing Words 3:21
03 Fool For You 3:42
04 First Suspect 4:06
05 Susan Gets By On Love 2:33
06 If That Wasn't Love 3:41
07 Someone To Talk To 3:25
08 Mr Cleanum 3:34
09 War Zone 3:48
10 Who's Been Telling You Lies? 5:19
11 The World's First Vitaphone Announcement 3:49
12 Empire Days 4:53

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After South London's Mark Long and Marcus Bell made their fourth post-punk record with Ralph Hall as the Opposition, they took some time off from what was a busy recording schedule and reappeared as the duo So in 1988. So's material differed from the Opposition's with a much slicker production slant and a big sound that pointed toward the chart pop of the time with a foot in the pair's past; consider the Blue Nile, Simple Minds, as periodic points of reference sound-wise. In the end it was a betrayal to the all old Opposition's fans, this record it's so poppy. 'Are You Sure' was even a hit in America, 'Burning the Bush', 'Capitol Hill' are very good pop-rock tracks with nice melodies & strong rhythm. 'Dreaming' & 'Would You Die For Me' are excellent ballads. 'Villains' is a quite interesting experiment with loops & moods. & my favorite 'Tips on Crime' reminds me Wang Chung & their soundtrack to 'To Live & Die in LA', it's sounds like a background to the movie. There's no weak track, if you like this kind of pop-rock music, even if they are closer here to Deacon Blue than to The Chameleons.

 SO - Horseshoe in the Glove   (flac 359mb)

01 Are You Sure 4:44
02 Dreaming 5:29
03 Burning Bush 4:29
04 Horseshoe In The Glove 4:58
05 Capitol Hill 4:45
06 Tips On Crime 7:01
07 Villains 4:10
08 Would You Die For Me 4:29
09 Are You Sure (12" Mix) 6:58
10 First Of May 5:30
11 Dreaming (Cocktail Mix) 5:15

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Alice Blue is a pale blue to grayish blue that is redder and stronger than forget-me-not.

Blue Alice Blue features a combination of acoustic and electronic sounds; singing can be a bit strained and emotive; the tones range from warm and comforting to cool, rain-soaked, and urban; the word Blue...This album does have its own very special appeal. Take "Digging for Water" - features a synthesized drum beat and somewhat mechanical rhythm that's accentuated by more organic elements, like chiming guitar and fluid synthesizer flourishes. That sounds like kind of a simple formula but, like the other tracks, it makes for a quite moving combination. Another special track - "Do You Know How That Feels" might be the best entry point with its very catchy chorus. This album is a bit of an anomaly in the wider discography of The Opposition, which started out as more of a post-punk band with very impassioned singing. You wouldn't really know it to hear this album, and it's unfortunate that this period didn't last longer (although their other albums are worth checking out and might appeal to fans of dark, guitar-driven synthpop).

 Opposition - Blue Alice Blue  (flac  206mb)
 
01 The Man Who Almost Shaves 4:56
02 Calling Home 4:03
03 Do You Know How That Feels ? 4:08
04 Crawl To Me 3:27
05 War Cries 3:03
06 Deep Down Blue 5:28
07 Her First Migraine 4:36
08 Digging For Water 3:54
09 Blue To Grey 2:27

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RhoDeo 1738 Roots

Hello,

Today's artist is an Argentine singer-songwriter, musician and producer. Within his vast career he formed some of the bands long considered as the most popular in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros. Since the 80's García has worked mostly as a solo musician. His main instruments is the piano, together with guitar and keyboards. García is widely considered by critics as one of the most influential rock artists in the Spanish rock scene, and  as "The Father of Argentinian Rock" ....N'Joy

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Charly García is one of the most talented and influential figures of Argentine and Latin rock. He composed many generational songs and was obsessed with expanding the boundaries of pop music, along with musician's role itself.

At the age of four he started taking piano lessons. He was deeply into classical music. All that changed when he discovered the Beatles and the Byrds. While he attended secondary school, he met Nito Mestre, with whom he formed Sui Generis in the early '70s. They only released three studio albums, but it was enough to establish García as a key figure in the nascent rock scene. Sui Generis disbanded in 1975, and a year later Garcia played in PorSuiGieco with other folk-rock figures. It wasn't really a proper band, and they released just one album. La Máquina de Hacer Pájaros was Garcia's next group, clearly influenced by symphonic rock.

Between 1978 and 1982, Charly García was part of Serú Girán, one of the key bands in the Argentinian rock movement. They recorded five albums while the country was under a sordid dictatorship. The band provided a subtle offering of resistance. García's solo career began in 1982. He was asked by film director Raúl de la Torre to compose the soundtrack to the film Pubis Angelical. Simultaneously, Garcia recorded Yendo de la Cama al Living. Some highly intimate songs can be heard here, like "Inconsciente Colectivo" and "Yo No Quiero Volverme Tan Loco." At the end of that year, the album was released to excellent reviews, proving that García was on the right track.

In 1983, Garcia produced Los Twist's debut album, La Dicha en Movimiento, and recorded his own follow-up solo work, Clics Modernos, at the Electric Ladyland studios in New York. Clics Modernos had a pop/rock-oriented structure, and was simpler than previous works. The album sold extremely well but generated some controversy among critics for the sudden change in style. On this album, however, he began his longtime collaboration with producer Joe Blaney. At the end of that year, he was caught up in his most well-known scandal: he pulled down his trousers in front of a hostile audience. This was the beginning of a string of controversies and helped make him a major public figure, beyond just the music scene.

An essential trilogy was completed with Piano Bar, launched at the end of 1984. It was recorded by one of his best touring bands, formed, among others, by GIT members and Fito Paéz on keyboards. Both the public and critics liked the album, which contained hymns like "Demoliendo Hoteles" and "Raros Peinados Nuevos." In 1985, he tried to collaborate with another local rock hero, Luis Alberto Spinetta. The project didn't go far, with only the song "Rezo por Vos" recorded. That year he took part in the Rock & Pop Festival, along with some international figures like Nina Hagen, INXS, and John Mayall. With Pedro Aznar (also a former member of Seru Girán), he recorded Tango in 1986, a six-song maxi-single that incorporated technological elements.

Parte de la Religión, released in 1987, was recorded almost entirely by García himself. An exception was "Rap de las Hormigas," on which the Brazilian group Os Paralams do Succeso took part. The record was clearly a masterpiece and showed Prince's influence. Songs like "No Voy en Tren," "Buscando un Símbolo de Paz," and "En la Ruta del Tentempié" became Top Ten hits. In October of 1988, an Amnesty International Tour ended in Bueños Aires. More than 80,000 people attended the concert. Peter Gabriel, Sting, Bruce Springsteen, Tracy Chapman, and Youssou N'Dour where there, and León Gieco and Charly García represented Argentina.

After composing the soundtrack for the film Lo Que Vendrá in 1988 (in which he also played a nurse), García worked on a solo album, Cómo Conseguir Chicas, largely comprised of old, previously unrecorded material. Filosofía Barata y Zapatos de Goma, released in 1990, was a good collection and included the Spanish version of the Byrds' classic "I'll Feel a Whole Lot Better." Another scandal was just around the corner, however: Garcia was accused of a patriotic symbols offense because the LP included a version of the Argentine national anthem.

In 1991, he reunited with Pedro Aznar and recorded Tango 4. The idea was to record an album with Soda Stereo's singer and composer Gustavo Cerati. Although they worked on a couple of songs, they never finished the LP. No reasons were made public. In the middle of that year, rumors indicated that García had overdosed, a fact that would later be confirmed when he entered a drug rehabilitation program.

In 1992, García reunited with Serú Girán to record a collection of brand-new songs, Serú '92, and perform a series of concerts in Cordoba, Rosario, and Buenos Aires. A live double album was also released but didn't go anywhere, and García returned to his solo career. In July of 1994, he released the rock opera La Hija de la Lágrima. It included many instrumental passages and guest musicians. The public's response was great, especially when the album was presented live.

From 1995 until 2001, García moved forward toward a more abstract and vanguard field embodied in an alter ego: Say No More. Although his shows were always sold out, his records didn't sell well and were poorly received by the critics. Estaba en Llamas Cuando Me Acosté, released in 1995, was an album largely comprised of covers. The same year, he recorded and released MTV Unplugged -- a short-lived comeback to a more classic structure. In 1996, he released the chaotic Say No More, and the next year he reworked some of his songs with the Latin folk singer Mercedes Sosa on the album Alta Fidelidad. García seemed to be out of control and completely confused. Some old-time followers gave up on him but curiously, at the peak of his own chaos, he gained a new teenage public.

All of that seemed to change in the summer of 1999 when he performed a free concert attended and acclaimed by more than 150,000 people. The show was captured on that year's Demasiado Ego release, which was his best-selling album from the Say No More era. The same year he again courted controversy by playing a show for Argentinian president Carlos Menem. The performance was recorded as Charly & Charly, a limited-edition disc that never went public; just a few copies were printed.

In March of 2000, he was again on the covers of newspapers for non-musical reasons. This time he'd jumped from a hotel's ninth floor into a swimming pool in Mendoza. That year, he reunited Sui Generis. They launched a new album, Sinfonía Para Adolescentes. They also performed a comeback show which was registered and released as a double CD, intensely modified and reworked in the studio. With the release of Influencia in 2002, he returned to a more classic song-oriented sound, where all mixing and sound experiments where set aside. This certainly marked a farewell to the Say No More phase.

The following year, before entering the studio, longtime guitarist Maria Gabriela Epumer passed away after a heart attack. The loss was profound for Garcia; he soldiered on to complete Rock and Roll, Yo, a recording as notable for its covers -- "Pretty Ballerina" and Stevie Wonder's "Love's in Need of Love" -- as for its originals, but his heart wasn't in it. Epumer's death left a great void that the audience could feel during Garcia's live shows. Not sure he would -- or could -- continue, he didn't release another record for six years, and only performed publicly twice during that period. He wasn't idle, however. In 2006, a demo began to circulate on the internet entitled Kill Gil. As a result of the music's leak, EMI refused to release it, but that was probably as much for its raw, uncommercial presentation as it was for the leak. In 2011, a much slicker finished product was submitted and issued along with a live DVD. The following year, Garcia edited and produced the live 60x60 box to commemorate his own 60th birthday, along with the book Parallel Lines: Artificio Imposible. In 2017, Garcia released Random, marking his return to Sony. The record achieved gold status in Argentina and scored a Top Three single with "La Máquina de Ser Feliz."

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Astonishingly eighties, in the sense that it is full of old-fashioned and cheesy cheap keyboard arrangements of those who sold in the eighties. I find it hard to believe that this production was at one point considered to be in the making. Now, of course, Charly is a great musician and often writes good songs. "Dinosaurs" is an evocative piano ballad that has no pretense sample. It's just pop done well. "Video tape eyes" is almost the same, were it not for the antiseptic background synthesizer and the fact that there is some pretense hidden there. The jewel of the album, however, is the opening "We're Still Sticking (Deadly Sin)" aka one of Bowie's best songs when collaborating with Eno. Charly sings like the madman we all know and the minimalist synth riff crawls into the groove like chewing gum to the shoe. Something is always happening in that song. The very best track is the epic finale "Ojos de Video Tape". When it comes down to it, the man just knows how to make a really pretty song. He sings that one beautifully. And the melody is perfect. The perfect ending to a wild ride of an album that's only slightly longer than 30-minutes.

Charly García - Clics Modernos   (flac  259mb)

01 Nos Siguen Pegando Abajo (Pecado Mortal) 3:25
02 No Soy Un Extraño 3:17
03 Dos Cero Uno (Transas) 2:01
04 Nuevos Trapos 4:07
05 Bancate Ese Defecto 4:56
06 No Me Dejan Salir 4:24
07 Los Dinosaurios 3:27
08 Plateado Sobre Plateado (Huellas En El Mar) 5:00
09 Ojos De Videotape 3:42

Charly García - Clics Modernos   (ogg  79mb)

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Charly García recorded this album under the influence of the new wave trend, preached by bands like Joy Division or Talking Heads, but maintaining the format of the pop / rock songs that he had used throughout his career, with which it reached a sound that was looked more like Todd Rundgren's albums, though now, more efficiently.
   The percussion beat, which could be predicted from going from the bed to the living room, is the key along with his ever-present keyboard dexterity. On this musical basis, he adds once again, letters in which there are continuous political references that boast in favor of a more individual, alternative thinking. A thought for the conception of a different model of man, from the observation of the ideals of Hippism (Rare new hairstyles), the socialists, totalitarian repression (Near the revolution) and manifests itself against the prohibitions of freedom of expression (I will not call my love) and for tolerance ("I did not choose this world, but I learned to love"). Sometimes, through allusions and metaphors like love, woman, madness. Others, being quite more direct.
   If this selection becomes the most outstanding of his solo career is because they are in greater number those songs of his that, as a characteristic feature, contain that particular search of the melody of the cult pop - think in David Bowie, Ray Davies and in the John Lennon himself. Notable songs like the classic Raros Peinados Nuevos (Rare New Hairstyles) or the beautiful Piano Bar, the well-weighted Near the Revolution and the masterful No Te Animás A Despegar (Do not you dare to take off)and Total Interference. Good melodies are practically present throughout the album. In this sense, is a high point.

Charly Garcia - Piano Bar   (flac  206mb)

01 Demoliendo Hoteles 2:16
02 Promesas Sobre El Bidet 2:46
03 Raros Peinados Nuevos 3:55
04 Piano Bar 5:12
05 No Te Animás A Despegar 3:55
06 No Se Va A Llamar Mi Amor 2:10
07 Tuve Tu Amor 3:58
08 Rap Del Exilio 2:42
09 Cerca De La Revolución 4:41
10 Total Interferencia 5:12
Bonus
11 Canción Para Mi Muerte 4:04

Charly Garcia - Piano Bar (ogg  80mb)

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This album, recorded by Charly before he "lost it" (like a Syd Barrett of sorts), is packed with gems. It's one of those precious moments in Rock en Español. One very long moment that doesn' die out all through the album. From "Necesito tu Amor", into "Buscando un Simbolo de Paz" and the title track, including tracks where he accompanies himself by Brazilian rock grands, Paralamas, and almost alternating between upbeat and more quiet songs all through to the warm "La Ruta del Tentempie", the album can only grow on you. You will find yourself (Spanish-speaking or not) humming the tunes, some of rock's best tunes just about anywhere, wondering where has this awesome artist been all your life. Definitely the most Pop album by Charly, an excellent record that almost every Argentinean has heard.

Charly Garcia - Parte de la Religion   (flac  254mb)

01 Necesito Tu Amor 3:36
02 Buscando Un Simbolo De Paz 4:45
03 Parte De La Religion 3:08
04 Rap De Las Hormigas 3:16
05 Adela En El Carrusel 5:20
06 No Voy En Tren 3:06
07 Rezo Por Vos 4:30
08 El Karma De Vivir Al Sur 3:36
09 Ella Adivino 3:54
10 La Ruta Del Tentempie 4:21

Charly Garcia - Parte de la Religion   (ogg  97mb )

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Clearly an essential work within the repertoire of Charly Garcia and perhaps one of his best works next to the monumental Piano Bar,  great production, drums sounds excellent, the bass is alive and the voice is very well mixed.. Full of innate hits, it does not have a bad song, however, it is worth noting the answer to No Toquen, the charlyesque You Will not See Me on the Subway and especially the sublime trilogy She is Dancer, Anhedonia and Suicida (ten minutes of energetic music but deep, fast and indispensable especially in those moments when we are about to surrender if we fight, stop if we run or pull the trigger and unplug our brains, as Sabina says, when the mirror of life spits the truth to our face). In How to Get Girls, Charly talks to the bass, sings with the piano and creates a solid, complete, desperate, deep but above all classic disc: "we are statues of salt we want to return ... sho sha do not look back ... sha I do not have much more ...

Charly Garcia - Como Conseguir Chicas (How to Get Girls) (flac  237mb)

01 No Toquen 3:23
02 Zocacola 2:38
03 Fanky 4:39
04 No Me Veras En El Subte 4:59
05 Ella Es Bailarina 2:52
06 Anhedonia 4:03
07 Suicida 3:07
08 Fantasy 2:55
09 A Punto De Caer 2:57
10 Shisyastawuman 4:24

Charly Garcia - Como Conseguir Chicas (ogg  90mb)

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RhoDeo 1738 Mars 02

Hello, that was a depressing start at the F1 race today, Raikonnen had superstart overtaking Verstappen but then had nowhere to go and neither had Verstappen as Vettel, fearing Max immediately blocked him turning left this left Verstappen sandwiched between 2 Ferrari's what followeded was a big crash and Hamilton who had a great start too, only needed to evade Vettel's car to take the lead and never look back to win the race, Ricciardo who had a bad start just needed to follow Hamilton to pick up another podium finish, the amount of luck this guy has had this season is almost frightening. I decided to watch Chelsea-Arsenal but that didn't lift my spirits either. In all a depressing sportsday for me.



Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 13 Punishment Without Crime (avi  317mb)

George Hill is stunned when he is sentenced to death--for murdering a robot facsimile of his adulterous young wife.


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The people of Earth are preparing for war—a war that could potentially destroy the planet. Explorers are sent to Mars to find a new place for humans to colonize. Bradbury's Mars is a place of hope, dreams, and metaphor—of crystal pillars and fossil seas—where a fine dust settles on the great empty cities of a silently destroyed civilization. It is here the invaders have come to despoil and commercialize, to grow and to learn—first a trickle, then a torrent, rushing from a world with no future toward a promise of tomorrow. The Earthman conquers Mars...and then is conquered by it, lulled by dangerous lies of comfort and familiarity, and enchanted by the lingering glamour of an ancient, mysterious native race.

Ray Bradbury's The Martian Chronicles is presented here as a full cast audio production with an original music score and thousands of sound effects by the award winning Colonial Radio Theatre on the Air. It marks their fourth collaboration with one of the most celebrated fiction writers of our time—Ray Bradbury.

Ray Bradbury - The Martian Chronicles 02 (mp3  22mb)

02 The Martian Chronicles 25:09



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previously

Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)

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Sundaze 1738

Hello, .it's F1 weekend again and this time on a track where Mercedes plays 2nd fiddle, not enough straights at Singapore, all weekend thusfar Red Bull were leading the way but when it counted Vettel showed his superskill and left Verstappen and Ricciardo in his wake, Hamilton 5th on the grid and now his fans hoping that Verstappen will take Vettel out, ah yes fans rarely are sportsman like. Anyway hopefully a good race tomorrow ,could be a thunderstorm mixing things up as well, over here we've had the coldest (12C) 16th September since records began, to think a year ago it was 30 Celsius and all this in the temperate sea-climate.



Today's Artists are a hypnotic chillgaze electronic outfit from Australia. Their music is atmospheric and spacey and if you ever find yourself longing for the era where trip-hop bands were dishing out beat-driven noir, then you may want to check out this Australian trio.....slow, cinematic, trip-hop....ambient textures derived from sources like Neu! and Eno, which gives their music a wide open feeling ....N'Joy

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All India Radio is the project by Martin Kennedy and Aidan Halloran, both ex-members of Pray TV, one of Australia´s most critically acclaimed indie bands. Pray TV released albums across the world beginning in the late 80´s with legendary Aussie labels Mr Spaceman and Au Go Go Records,  and were acclaimed by international media including Melody Maker, CMJ,Alternative Press, Puncture, Gavin & Rolling Stone and more.

All India Radio are a partially live band and partially studio-based project. The founding (and constant) member of the band is Martin Kennedy, they have released sixteen albums since 2000 and their music has been featured in film and TV including CSI: Miami, One Tree Hill, Sicko, Till Human Voices Wake Us, Big Brother Australia, Bondi Rescue and Recruits. Kennedy with All India Radio and Steve Kilbey provided the original soundtrack music for the Australian post-apocalypse film, The Rare Earth.

They were nominated for Australian recording industry award (ARIA) and have collaborated with Steve Kilbey, Graham Lee (The Triffids), Ed Kuepper (The Saints, Nick Cave & The Bad Seeds guitarist) and David Bridie (Not Drowning Waving) among others.

WIRED magazine describe All India Radio perfectly: "Since the turn of the 21st century, All India Radio has mashed the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation with the instantly recognizable guitar soundtracking of Ennio Morricone and Angelo Badalamenti. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."

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All India Radio return to the lush atmospheric and instrumental music of earlier albums on their album A Low High. Special guests include Graham Lee (The Triffids) on pedal steel guitar, Jen Anderson on strings and some evocative ambient sounds from Australian rock legend Ed Kuepper (The Saints and now Nick Cave & The Bad Seeds guitarist). Past ARIA nominees score another winner with album number six.

All India Radio - A Low High+Ambient  (flac 337mb)

01 Solstice 3:23
02 Black Satin 3:47
03 Intrigue 5:26
04 Lucky 4:01
05 Under Moon 3:15
06 Heat 2 4:22
07 Gravel 1:40
08 Lo Fi Groovy (Mk Mix) 3:34
09 Lightship 2:38
10 Little Emu 4:51
11 A Low High 3:53
12 White Satin 2:55
13 Air 2:48
14 Lucky (video-edit) 3:15

15 A Low High (ambient mix) 02:38
16 Lightship (ambient mix) 02:40
17 Basque (ambient mix) 02:52
18 Gravel (ambient mix) 01:42
19 Fire (ambient mix) 01:23
20 Birth 03:27

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Piano & Ambience is All India Radio’s ‘lost’ album recorded in 2004 but never released. Collaborating with piano player Josh Roydhouse, All India Radio have created an album of understated music utilising grand piano, grainy electronic soundscapes and field recordings, with nods to Brian Eno, Harold Budd and Max Ritcher.

Recorded at David Bridie's (Not Drowning Waving) studio by Byron Scullin (Midnight Juggernauts), elements of these songs were used in later All India Radio albums and collaborations with Steve Kilbey (The Church). This is the first time the songs are presented in their full original form.

All India Radio - Piano and Ambience (flac 151mb)

01 Piano & Ambience 1 04:34
02 Piano & Ambience 2 03:22
03 Piano & Ambience 3 03:42
04 Piano & Ambience 4 03:17
05 Piano & Ambience 5 03:18
06 Piano & Ambience 6 02:54
07 Piano & Ambience 7 04:39
08 Piano & Ambience 8 03:46
09 Piano & Ambience 9 03:29

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Since the turn of the 21st century, All India Radio has mashed the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation with the instantly recognizable guitar soundtracking of Ennio Morricone and Angelo Badalamenti. The resulting narcotic musical textures are capable of floating listeners to galaxies far, far away."

The album features the voice of Professor Don Gurnett, famous for his NASA ‘space sounds’ (used by the Kronos Quartet on their famous Sun Ring recordings) and a cameo by The Church’s Steve Kilbey (Under The Milky Way).

All India Radio - The Silent Surf + The Silent (flac  458mb)
 
01 Rippled 03:29 video
02 The Bomb (feat Steve Kilbey) 02:41
03 Night 03:20
04 Saucer 03:05
05 Crystal Waves 03:22
06 Clouds 04:00
07 Purple Sky 02:54
08 Shimmer 02:58
09 Ratbags 03:06
10 Silk 04:01
11 Voices 01:51
12 Ghost Song 04:45
13 The Bomb (Dub Mix) 02:56
14 Drone (Unreleased Track) 03:55
15 Over Now (Unreleased Track) 02:56
16 Crystal Waves (8 Track Mix) 03:28
17 Night (Early Jazzy Mix) 04:34
18 The Bomb (Ambient Mix) 02:25
19 Shimmer (early version) 03:53
The Silent
20 Old Ambient 02:16
21 Precious 02:10
22 Stars 02:34
23 Submerge 03:08
24 Phoenix 02:23
25 Saucer 02:07
26 Miocene 02:40
27 Pleasant Shores 01:34
28 Basque 02:52
29 Grey 04:16

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There are an incredible number of moments of transcendence sprinkled throughout the 11 songs that make up the disc. Epic. Momentous. Breathtaking. Magnum opus. This is music designed to take the listener anywhere they wish to go, indeed the score to our outer space voyage, an extraordinary piece of work.

The line up includes long time band members Martin Kennedy and bass player Mark Wendt along with new members Kaz Seiger on keys and Michael Evans-Barker on drums, vibes, and percussion. Guests include renowned classical composer George Ellis and pedal steel guitar legend Graham Lee (The Triffids).

All India Radio - Red Shadow Landing (flac 244mb)

01 The North Sky 3:35
02 The Original 4:47
03 Owlpaccas In Flight 3:26
04 Golden 4:38
05 Transcede 4:06
06 Tomorrowland 2:11
07 The Lie 4:32
08 When You Are Here 4:14
09 Don't Leave 4:21
10 Like A Butterfly 6:15
11 Afterlight 2:38

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RhoDeo 1737 Grooves

Hello, the coming weeks at grooves it's all about Stevland Hardaway Morris, a child prodigy considered to be one of the most critically and commercially successful musical performers of the late 20th century. He has recorded more than 30 U.S. top ten hits and received 25 Grammy Awards, one of the most-awarded male solo artists, and has sold over 100 million records worldwide, making him one of the top 60 best-selling music artists. Blind virtually since birth, his heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge.  ........ N'joy

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Stevland was born in Saginaw, Michigan, in 1950, the third of six children of Calvin Judkins and Lula Mae Hardaway, a songwriter. He was born six weeks premature which, along with the oxygen-rich atmosphere in the hospital incubator, resulted in retinopathy of prematurity (ROP), a condition in which the growth of the eyes is aborted and causes the retinas to detach; so he became blind. When he was four, his mother divorced his father and moved to Detroit with her children. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Wonder has retained Morris as his legal surname. He began playing instruments at an early age, including piano, harmonica and drums. He formed a singing partnership with a friend; calling themselves Stevie and John, they played on street corners, and occasionally at parties and dances.

In 1954, his family moved to Detroit, where the already musically inclined Stevie began singing in his church's choir; from there he blossomed into a genuine prodigy, learning piano, drums, and harmonica all by the age of nine. While performing for some of his friends in 1961, Stevie was discovered by Ronnie White of the Miracles, who helped arrange an audition with Berry Gordy at Motown. Gordy signed the youngster immediately and teamed him with producer/songwriter Clarence Paul, under the new name Little Stevie Wonder. Wonder released his first two albums in 1962: A Tribute to Uncle Ray, which featured covers of Wonder's hero Ray Charles, and The Jazz Soul of Little Stevie, an orchestral jazz album spotlighting his instrumental skills on piano, harmonica, and assorted percussion. Neither sold very well, but that all changed in 1963 with the live album The 12 Year Old Genius, which featured a new extended version of the harmonica instrumental "Fingertips." Edited for release as a single, "Fingertips, Pt. 2" rocketed to the top of both the pop and R&B charts, thanks to Wonder's irresistible, youthful exuberance; meanwhile, The 12 Year Old Genius became Motown's first chart-topping LP.

During 1964, Wonder appeared in two films as himself, Muscle Beach Party and Bikini Beach, but these were not successful either. Sylvia Moy persuaded label owner Berry Gordy to give Wonder another chance. Dropping the "Little" from his name, Moy and Wonder worked together to create the hit "Uptight (Everything's Alright)", and Wonder went on to have a number of other hits during the mid-1960s, including "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "The Tears of a Clown", a No. 1 hit for Smokey Robinson and the Miracles

In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the title Eivets Rednow, which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the US Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her", "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". A number of Wonder's early hits, including "My Cherie Amour", "I Was Made to Love Her", and "Uptight (Everything's Alright)", were co-written with Henry Cosby.

In September 1970, at the age of 20, Wonder married Syreeta Wright, a songwriter and former Motown secretary. Wright and Wonder worked together on the next album, Where I'm Coming From; Wonder writing the music, and Wright helping with the lyrics. They wanted to "touch on the social problems of the world", and for the lyrics "to mean something" 1971 proved a turning point in Wonder's career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I'm Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright), and the first time his keyboard and synthesizer work dominated his arrangements.

Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What's Going On.

Freed from the dictates of Motown's hit-factory mindset, Wonder had already begun following a more personal and idiosyncratic muse. One of his negotiating chips had been a full album completed at his new studio; Wonder had produced, played nearly all the instruments, and written all the material (with Wright contributing to several tracks). Released under Wonder's new deal in early 1972, Music of My Mind heralded his arrival as a major, self-contained talent with an original vision that pushed the boundaries of R&B. The album produced a hit single in the spacy, synth-driven ballad "Superwoman (Where Were You When I Needed You)," but like contemporary work by Hayes and Gaye, Music of My Mind worked as a smoothly flowing song suite unto itself. Around the same time it was released, Wonder's marriage to Wright broke up; the two remained friends, however, and Wonder produced and wrote several songs for her debut album.

For the follow-up to Music of My Mind, Wonder refined his approach, tightening up his songcraft while addressing his romance with Wright. The result, Talking Book, was released in late 1972 and made him a superstar. Song for song one of the strongest R&B albums ever made, Talking Book also perfected Wonder's spacy, futuristic experiments with electronics, and was hailed as a magnificently realized masterpiece. Wonder topped the charts with the gutsy, driving funk classic "Superstition" and the mellow, jazzy ballad "You Are the Sunshine of My Life," which went on to become a pop standard; those two songs went on to win three Grammys between them. Amazingly, Wonder only upped the ante with his next album, 1973's Innervisions, a concept album about the state of contemporary society that ranks with Gaye's What's Going On as a pinnacle of socially conscious R&B. The ghetto chronicle "Living for the City" and the intense spiritual self-examination "Higher Ground" both went to number one on the R&B charts and the pop Top Ten, and Innervisions took home a Grammy for Album of the Year. Wonder was lucky to be alive to enjoy the success; while being driven to a concert in North Carolina, a large piece of timber fell on Wonder's car. He sustained serious head injuries and lapsed into a coma, but fortunately made a full recovery.

Wonder's next record, 1974's Fulfillingness' First Finale, was slightly more insular and less accessible than its immediate predecessors, and unsurprisingly, imbued with a sense of mortality. The hits, however, were the upbeat "Boogie On, Reggae Woman" (a number one R&B and Top Five pop hit) and the venomous Richard Nixon critique "You Haven't Done Nothin'" (number one on both sides). It won him a second straight Album of the Year Grammy, by which time he'd been heavily involved as a producer and writer on Syreeta's second album, Stevie Wonder Presents Syreeta. Wonder subsequently retired to his studio and spent two years crafting a large-scale project that would stand as his magnum opus. Finally released in 1976, Songs in the Key of Life was a sprawling two-LP-plus-one-EP set that found Wonder at his most ambitious and expansive. Some critics called it brilliant but prone to excess and indulgence, while others hailed it as his greatest masterpiece and the culmination of his career; in the end, they were probably both right. The hit "Isn't She Lovely," a paean to Wonder's daughter, became something of a standard. Not surprisingly, Songs in the Key of Life won a Grammy for Album of the Year; in hindsight, though, it marked the end of a remarkable explosion of creativity and of Wonder's artistic prime.

more later..

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Stevie Wonder's debut album, released when he was 11, is still an amazing musical document, showcasing his skills as a percussionist (drums and bongos), chromatic harmonica player, keyboardist (piano and organ), and composer -- and he was prodigious in all four categories. All of these skills are highlighted throughout this record, and Wonder's youthful, exuberant voice had a maturity suggesting that greatness was around the corner. Perhaps most surprising to contemporary listeners will be the emphasis on instrumentals, which made this a fairly unusual album by Motown standards to begin with. Apart from a few shouts in the background in some of the more free-form tracks, there's not a vocal to be heard here, yet the sounds are rich and diverse enough that one never misses them. What's more, a lot of what's here is extremely sophisticated instrumental music for its time, and the "jazz" reference in the title is not a matter of optimistic convenience or self-aggrandizement -- a lot of this is legitimate jazz.

Stevie Wonder - The Jazz Soul Of Little Stevie    (flac  180mb)

01 Fingertips,2:55
02 Square 2:59
03 Soul Bongo 2:17
04 Manhattan At Six 3:44
05 Paulsby 2:44
06 Some Other Time 5:07
07 Wondering 2:49
08 Session Number 112 3:15
09 Bam 3:33

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Stevie Wonder began demonstrating his production skills and compositional acumen on his first of two albums in 1966. Although still just a teenager, Wonder was already anxious to do more than simply grind out love tunes. He covered Bob Dylan's "Blowin' in the Wind" and also contributed "Pretty Little Angel" alongside the monster hits "Nothin's Too Good for My Baby" and the title song. It was also a signal Wonder had moved beyond simply paying homage to Ray Charles and now wanted to establish his own musical identity.

Stevie Wonder - Up-Tight    (flac 222mb)

01 Love A Go-Go 2:46
02 Hold Me 2:36
03 Blowin' In The Wind 3:46
04 Nothing's Too Good For My Baby 2:39
05 Teach Me Tonight 2:39
06 Uptight (Everything's Alright) 2:55
07 Ain't That Asking For Trouble 2:49
08 I Want My Baby Back 2:49
09 Pretty Little Angel 2:12
10 Music Talk 2:52
11 Contract On Love 2:06
12 With A Child's Heart 3:08

Stevie Wonder - Up-Tight  (ogg  88mb )

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Stevie Wonder's third album signaled more artistic growth, but was the first of his career that didn't make much commercial headway. It didn't contain a single big hit, something that wouldn't happen again to Wonder for many, many years. There were moments of uncertainty and awkwardness on such songs as "Angel Baby (Don't You Ever Leave Me)" and "Lonesome Road." Wonder was laying the groundwork for numerous classics that routinely came throughout the 1970s and '80s; his voice was losing its cuteness and beginning to gain the richness and edge that punctuated many of his future albums.

Stevie Wonder - Down To Earth   (flac 195mb)

01 A Place In The Sun 2:52
02 Bang Bang 2:42
03 Down To Earth 2:50
04 Thank You Love 2:55
05 Be Cool Be Calm (And Keep Yourself Together) 2:43
06 Sylvia 2:34
07 My World Is Empty Without You 2:53
08 The Lonesome Road 3:06
09 Angel Baby (Don't You Ever Leave Me) 2:45
10 Mr. Tambourine Man 2:30
11 Sixteen Tons 2:42
12 Hey Love 2:41

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Notable for containing Wonder's then-most recent Top Ten hit, the title track, and its follow-up, "Yester-Me, Yester-You, Yesterday," this album otherwise contains contemporary filler like "Light My Fire," plus a peculiar arrangement of "Hello, Young Lovers" from The King and I that makes it sound like "For Once In My Life."

Stevie Wonder - My Cherie Amour   (flac 230mb)

01 My Cherie Amour 2:55
02 Hello Young Lovers 3:15
03 At Last 2:51
04 Light My Fire 3:44
05 The Shadow Of Your Smile 2:44
06 You And Me 2:46
07 Pearl 2:47
08 Somebody Knows, Somebody Cares 2:35
09 Yester-Me Yester-You, Yesterday 3:08
10 Angie Girl 3:03
11 Give Your Love 3:47
12 I've Got You 2:34

. Stevie Wonder - My Cherie Amour  (ogg  90mb)

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Rather than rushing out an album in the spring of 1968, when "Shoo-Be-Doo-Be-Doo-Da-Day" (Number 9 Pop, Number One R&B) hit, Motown waited, through the modest summer success of "You Met Your Match" (Number 35 Pop, Number Two R&B), until "For Once in My Life" (Number Two Pop and R&B) became Wonder's next mammoth single, to release an album. As a result, this album contained all three hits, making it one of Wonder's more consistent albums of the '60s, even with filler like "Sunny" and "God Bless the Child." The real find, however, is the driving "I Don't Know Why," which, when placed on the B-side of Wonder's next single, "My Cherie Amour," became a hit on its own, going to Number 39 (Pop) and Number 16 (R&B).

Stevie Wonder - For Once In My Life   (flac 215mb)

01 For Once In My Life 2:16
02 Shoo-Be-Doo-Be-Doo-Da-Day 2:44
03 You Met Your Match 2:36
04 I Wanna Make Her Love Me 2:53
05 I'm More Than Happy (I'm Satisfied) 2:55
06 I Don't Know Why 2:43
07 Sunny 3:10
08 I'd Be A Fool Right Now 2:53
09 Ain't No Lovin' 2:32
10 God Bless The Child 3:05
11 Do I Love Her 2:55
12 The House On The Hill 2:36

.  Stevie Wonder - For Once In My Life  (ogg  87mb)

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