RhoDeo 1504 Aetix

Hello, such a disappointing blizzard but hey CNN and other media outlets got another field-day at fear-mongering. Meanwhile in Europe it was all Aus-witz today, the number of survivors that have popped up over the years and today always astonished me but then that 6 million was always a cynical joke on those 'guilty' goyim, the initial 4 million for Aus-witz have been officially 'adjusted' to 1,5 million which means the mythical 6 million figure isn't reached. Maybe it's time to reset and tell the truth, according to the Red Cross (after the war) 400,000 Jews were murdered by the Nazi's. This is in line with Jewish caucus data taken in 1938 and again in 1948, obviously there was huge displacement in that period. If I was German I could go to jail for posting this, as alas the Germans are still as blind to the truth concerning Jews as they were before the second world war. On a side note Aus means exit /endand witz is german/jewish(jiddisch) for joke yes Aus witz translates as exit/end joke... you couldn't make it up


Today, though he's hardly a cult persona, Jerry Harrison has failed to be recognized as a crucial figure in the history of punk rock, a portion of the music which influenced it, and the styles which had grown out of punk more than 15 years later. Best known as the keyboard player and occasional guitarist of Talking Heads during the 1980s, Harrison had begun his career ten years before, playing with Jonathan Richman's seminal Modern Lovers during the early '70s. He recorded several solo albums while on occasional hiatus from Talking Heads in the '80s, but when the band disintegrated in the late '80s, Harrison resumed his busy production schedule, working with some hot alternative acts. .....N'Joy

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Jeremiah Griffin Harrison was born on 21 February 1949 in Milwaukee, Wisconsin. He has a long history of playing in bands, beginning at High School in Milwaukee with a group called The Walkers. Jerry graduated and moved east to attend Harvard University. There he formed a band called Albatross, in September 1967. They were all students and did some original numbers, through mostly they relied on Steve Miller and Jimi Herdrix songs. The band, with Ernie Brooks playing bass, lasted two years, playing at parties and college dances in the Boston/Cambridge area. It folded in May 1969, when college broke up for the summer, but singer Jim Mahoney and Ernie Brooks went on to form Catfish Black with a number of other musicians. This band lasted from July '69 to July '70.

The next move was for Ernie Brooks and Jerry Harrison to re-unite, which they did in September 1970, to form a band called The Eagles. They lasted two months, finally splitting in November 1970. Still in the Boston area, Jerry and Ernie ran into a guy named Jonathan Richman at a party and Richman began a lengthy campaign for them to join a band with him. It was to be called The Modern Lovers.

In the spring of 1972, they found themselves out in Los Angeles recording a demo for Warner Brothers with John Cale producing it. After a number of legal complexities, this set of demos was released in 1976 on Beserkley records, long after Jerry had left the Modern Lovers. Towards the end of Jerry's stint with the band, he decided to pick up the guitar "because I got frustrated with Johnathan's playing". In the end, Jonathan was getting too crazy for the band and the original line-up of The Modern Lovers broke up in March 1974, having survived for exactly 3 years. Jerry returned to Boston from LA and got a job teaching at Harvard.

Upon the dissolution of The Modern Lovers, Harrison joined up with songwriter Elliott Murphy for the album Night Lights (1976) and its associated tour; brief tenures with a handful of other bands followed, but ultimately he chose to resume his study of architecture at Harvard. His schooling was soon interrupted a second time by an invitation to join Talking Heads, and after completing one more semester Harrison was lured, once and for all, into the life of a professional musician. By the time of his membership, the trio configuration of Talking Heads had already established themselves on the New York City club circuit and released the single Love Goes to a Building on Fire on Sire Records; but it was as a four-piece that the band's popularity expanded to an international scale, particularly with the release of their debut full-length Talking Heads: 77 and the single Psycho Killer.

It wasn't till April 1976 that Jerry first saw Talking Heads play at a concert in Boston. He was impressed: "I saw something in them and I knew straight away. I saw what the group needed: me !". The first time Jerry played with the band was in September 1976, at the lower Manhattan Ocean Club.

During a break from band activity in 1981, Harrison recorded his first solo effort The Red and the Black, an album which featured contributions from guitarist Adrian Belew, former P-Funk keyboardist Bernie Worrell and vocalist Nona Hendryx (all participants in the expanded Heads line-up that had recorded Remain in Light). The release was not given as much attention as his bandmate's extra-curricular projects (David Byrne's Catherine Wheel score and his Brian Eno collaboration My Life in the Bush of Ghosts, Chris Frantz and Tina Weymouth's album as Tom Tom Club), and it would be six years before the appearance of his second solo album Casual Gods (1987).

The interim between the two was primarily filled by his work on three further studio albums and two film projects with Talking Heads, although 5 Minutes -- a one-off recording with Bernie Worrell and Bootsy Collins working under the name Bonzo Goes to Washington -- was issued in 1984. During this period Harrison also launched a parallel career as a record producer, helming sessions for The Blind Leading the Naked by The Violent Femmes, Milwaukee by Elliott Murphy, and producing several tracks for the Jonathan Demme film Something Wild (all three of which took place between 1985 and 1986).

After the release of the Talking Heads' final album Naked in 1988, the focus of Jerry Harrison's activities shifted to his production work (although a third solo album Walking on Water and its associated tour were realized in 1990). In the 90s his credits (and industry standing) as a producer grew to considerable proportions through involvement with platinum-selling releases by acts such as Live, Crash Test Dummies, The Verve Pipe, and Kenny Wayne Shepherd. His extensive resume also included albums by Poi Dog Pondering (Volo Volo, 1991), Black 47 (Home of the Brave, 1994), Fatima Mansions (Lost in the Former West, 1995), Rusted Root (Remember, 1996) and Bijou Phillips (I'd Rather Eat Glass, 1999).

A short-lived musicial reunion with Frantz and Weymouth came about in 1996 when the three formed The Heads, a project originally intended as a Talking Heads reunion and then altered when Byrne refused to participate; consequently, the group's sole album No Talking, Just Head made use of several replacement vocalists ranging from Debbie Harry to Andy Partridge. A proper reunion of the full band did eventually take place (although only for a single evening) on the occasion of their induction into the Rock and Roll Hall of Fame in 2002. Harrision has since continued to concentrate on his career as a producer for other artists, in addition to maintaining his role as Chairman of the Board for Garageband.com (an internet music resource he co-founded in 1999).

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While the myth has been widely propagated that David Byrne was the sole creative presence of any consequence among his Talking Heads cohorts, The Red and the Black makes perhaps the strongest case against such a claim. Jerry Harrison, no musical novice by any stretch (check out his work with the early Modern Lovers), proves his formidable talent as a multi-instrumentalist and songwriter for the first time in this close-up. There's little doubt that Harrison's debut is informed most directly by the last few Talking Heads albums, particularly the genre-defining Remain in Light. The polyrhythmic exercises, spoken word interludes, and Enoesque knob twiddling are standard parts of Harrison's palette. He's also free to indulge in some impressive keyboard pyrotechnics, much of which hints at the arena funk of Stop Making Sense. Denser, more abrasive, and yet more musical than Remain in Light, The Red and the Black mines the same musical terrain, but it does so with more urgency and focus. While David Byrne sounded like a man suffocating under the weight of the modern world, Harrison takes a more sober, straightforward approach. He's able to discriminate the desirable parts from the undesirable, and to celebrate the whole.

While Byrne's persona was strictly that of an observer, Harrison isn't afraid to get his hands dirty. His baritone warble may lose pitch or escape as a helpless bark on occasion, but there's warmth and humanity to his timbre, a yearning to connect rather than to distance. This is reflected most immediately in Harrison's no-nonsense pep talks that pop up in the middle of a few songs, just when the intensifying rhythms and synth lines become almost too cacophonous to bear. "Have you ever been in a traffic jam?," he inquires in "Slink." "Have you ever needed a gram? I have, but I got over it." When Harrison shifts the focus from third person to second, the effect is jarring and surprisingly effective. On "Magic Hymie" he grows more impatient with us: "There's a way out of that corner you painted yourself into...you gotta decide you wanna do it, and then you're just gonna do it." Throughout much of the album, Harrison continues to lay heavy condemnation upon modern attitudes of helplessness and irresponsibility. Modern, particularly urban, life has its pitfalls, he seems to say, but we're all equipped to deal with them if we accept some accountability. Besides the relentless attack of fired-up synthesizers and frenzied rhythms, Harrison incorporates a cast of soulful female background vocalists, many of whom would end up on the next Talking Heads record and following tour. Not surprisingly given Harrison's brainy and self-conscious approach, the singers add little soul, but serve rather as a Greek chorus, repeating Harrison's lyrical motifs and bringing substantial drama to his already tense and paranoid compositions. Elsewhere, on "Worlds in Collision," he throws in samples of barking hounds and Hitlerian rally cries to punctuate the monotone din of the rest of the song. The Red and the Black more than holds its own against the rest of Talking Heads' oeuvre, and shows where the band could have gone, had they not opted for a more minimalistic approach later in their career. As a solo project, Harrison's debut is phenomenal. The album's complex and funky musical style has aged impressively, as have Harrison's observations on the modern condition.

Jerry Harrison - The Red And The Black  (flac 254mb)

01 Things Fall Apart 4:58
02 Slink 4:17
03 The New Adventure 5:05
04 Magic Hymie 4:48
05 Fast Karma / No Questions 3:55
06 Worlds In Collision 5:03
07 The Red Nights 4:03
08 No More Reruns 4:23
09 No Warning, No Alarm 3:35

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With Talking Heads having split, guitarist Jerry Harrison released his second solo effort with 1987's Casual Gods. In addition to playing guitar, keyboards, and singing, Harrison also produced the release which featured players like Bernie Worrel on keyboards and Chris Spedding and Robbie McIntosh playing guitar. Harrison's vocals have a quality similar to David Byrne and the music is reminiscent of Fear of Music-era Talking Heads. "Rev It Up" was an AOR hit and deservedly so. The song lives up to its name with a funky, loose groove, snaky guitar, and throbbing bass. "Man With a Gun" is just one of many great lyrics on Casual Gods with a series of wry observations ("A pretty girl can walk anywhere/All doors open for her") over a moody rhythm punctuated by guitar twitches. Casual Gods is a pleasure for Talking Heads fans, but manages to stand on its own.

Jerry Harrison - Casual Gods  (flac 343mb)

01 Rev It Up 4:10
02 Song Of Angels 3:36
03 Man With A Gun 4:39
04 Let It Come Down 4:53
05 Cherokee Chief 4:42
06 A Perfect Lie 4:29
07 Are You Running? 3:55
08 Breakdown In The Passing Lane 4:36
09 A.K.A. Love 4:23
10 We're Always Talking 4:53
11 Bobby 4:04
12 Bobby (Extended Mix) 6:58

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Jerry Harrison was so impressed with the performance of his backup band on his 1988 tour that he brought them back around to share billing on his third album, Walk on Water. It's ironic, then, that none of his star players and partisans feature audibly on the recording. The soulful backing of vocalists Dollette McDonald and Nona Hendryx creep into the mix from time to time, as does Bernie Worrell's blistering keyboard work, but it's clear that Harrison has chosen Walk on Water, his first post-Talking Heads album, to be a stylistic departure from his earlier works. For one, the dense, syncopated textures from his previous albums have given way to a significantly more laid-back and monorhythmic feel. No doubt Harrison felt a simpler, pop-oriented approach would seem less self-conscious than his tense, meticulous early material. Tension, however, has always been an important quality in Jerry Harrison's music. Without it, his songs suffer here, as listenable but vaguely unremarkable tunes. Harrison brings his political activism to the fore, too, most notably in "I Cry for Iran" and "Cowboy's Got to Go." Unfortunately, the lyrics come across heavy-handed and lack personality, hardly benefiting from the sparser production. It's only when Harrison truly lets his guard down that Walk on Water succeeds. A handful of surprisingly tender ballads manage to buoy the album up from mediocrity. "If the Rains Return" is an affectionate ode to a lover with a lush tropical backdrop, while the exquisite lullaby "Sleep Angel" seems to channel Chris Isaak with its silvery steel guitar and husky vocal delivery.

Jerry Harrison - Walk On Water  (flac 362mb)

01 Flying Under Radar 3:49
02 Cowboys Got To Go 4:52
03 Kick Start 3:51
04 I Don't Mind 3:29
05 Sleep Angel 6:05
06 I Cry For Iran 6:01
07 Confess 3:10
08 Never Let It Slip 3:18
09 Facing The Fire 4:35
10 If The Rain Returns 4:23
11 The Doctors Lie 5:39

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Eight-X (25)

Hello, Eight-X time again, the weeks seem to fly by..Well last week i presented Modern English, General Public and Fingerprintz i announced then i'd get back to the latter two, so why not this week. From the ashes of the Fingerprintz a new band was born, The Silencers, after a good start their populairity back home waned to cult, whilst on mainland europe they remained popular. I present here their 2nd album Blues for Buddah..such a great title...General Public was formed from the ashes of The Beat, and amazingly, there arose another band from these ashes that would become the most successful of all, The Fine Young Cannibals, they scored a number of big hits, specially from the album i present here, just 35 min long but one of the most exciting albums of the decade , The Raw and The Cooked. I added some extensive remix exercises by masterchef Arthur Baker.... As it happens my third offering today was involved-productionwise with that album. Back in 81 he was a Talking Head with time on his hands when Byrne was busy with Eno recording Bush of Ghost and The Catherine Wheel-see last Sundaze. Jerry Harrison is the man im talking about here and his first soloalbum The Red And The Black, certainly has it moments sounding like Talking Heads without the manic singing of Byrne......

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Jerry Harrison - The Red And The Black ( 81 ^ 253mb)

Born in 1949 in Milwaukee, Jerry Harrison began playing with bands while in high school, and continued his work after graduation, while studying architecture at Harvard during the late '60s. By the beginning of the decade, Harrison and bandmate Ernie Brooks were encouraged to form a band by local Boston friend Jonathan Richman. Named the Modern Lovers, the group moved quickly and recorded demos in 1972 with John Cale. Finally released in 1976, the songs proved to be a major influence on underground bands in New York; the Modern Lovers had broken up by that time, though, with Harrison going back to Harvard to teach. In April of 1976, however, he attended a Talking Heads show in Boston and convinced them to let him join. The band signed to Sire just one year later, and became one of the most intelligent alternative bands of the 1980s, recording an astounding variety of material and even earning several pop hits.

Harrison's second full solo album, appeared in 84, Casual Gods had a similar fell to his debut, with loose funk-rock grooves and an open-ended song structure (which suited Harrison's vocals well) but boasted more tuneful songs. Talking Heads was effectively disbanded by that time, and Harrison had already begun producing in 1986, with the Bodeans and Violent Femmes. During the 1990s, Harrison became an important and respected producer, working on popular albums by Live, Crash Test Dummies, and the Verve Pipe. In 1996, he played with Talking Heads alumni Tina Weymouth and Chris Frantz as the Heads.

During an extended Talking Heads vacation during 1981, whilst Byrne and Eno were losing themselves in the bush of ghosts, Harrison recorded his first solo album, The Red and the Black. The album was recorded with Bernie Worrell, Nona Hendryx and Adrian Belew -- all of whom had appeared on Talking Heads' Remain in Light. While the myth has been widely propagated that David Byrne was the sole creative presence of any consequence among his Talking Heads cohorts, The Red and the Black makes perhaps the strongest case against such a claim. Jerry Harrison, proves his formidable talent as a multi-instrumentalist and songwriter for the first time in this close-up. There's little doubt that Harrison's debut is informed most directly by the last few Talking Heads albums, particularly the genre-defining Remain in Light. The polyrhythmic exercises, spoken word interludes, and Enoesque knob twiddling are standard parts of Harrison's palette. Besides the relentless attack of fired-up synthesizers and frenzied rhythms, Harrison incorporates a cast of soulful female background vocalists, many of whom would end up on the next Talking Heads record and following tour. The Red and the Black holds its own against the rest of Talking Heads' oeuvre, and shows where the band could have gone, had they not opted for a more minimalistic approach later in their career.The album's complex and funky musical style has aged impressively, as have Harrison's observations on the modern condition.



01 - Things Fall Apart (4:58)
02 - Slink (4:15)
03 - The New Adventure (4:59)
04 - Magic Hymie (4:44)

05 - Fast Karma - No Questions (3:54)
06 - Worlds In Collision (5:06)
07 - The Red Nights (3:57)
08 - No More Reruns (4:17)
09 - No Warning, No Alarm (3:28)

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Silencers - Blues For Buddah ( ^329mb)

Before forming The Silencers, vocalist Jimme O'Neill and guitarist Cha Burns were active in London's new wave music scene.
In 1979 they met and formed a post-punk/new wave project called Fingerprintz, and released three albums under that moniker: The Very Dab, Distinguishing Marks, and Beat Noir. They earned some critical recognition and notable appearances on John Peel's radio show. The group split in 1985.

Soon O'Neill and Burns were playing music together again, this time joined by drummer Martin Hanlin and bass player Joseph Donnelly, a cousin of Simple Minds singer Jim Kerr. They demoed three new songs: "Painted Moon," "I See Red," and "I Can't Cry." The demos earned them a contract with RCA, and their song "Painted Moon," about O'Neill's personal reaction to the Falklands War, was included on the soundtrack to the film The Home Front, and then released as their first single in April 1987. Their first album A Letter from St. Paul included re-recorded versions of all three demos. The Pretenders invited the band to support them on their European tour, and then the success of Painted Moon across the pond induced a tour of America on their own, and later with Squeeze.

In 1988 The Silencers toured Europe with The Alarm , the band moved back to Scotland and recorded second album A Blues for Buddha at CaVa Studios in Glasgow, with Flood producing. The standout tracks were "Scottish Rain," about love and fallout from Chernobyl, and the fan favourite, the optimistic, horn-driven "The Real McCoy" (the "be do, do be do do, be do do" is infectious) and the surging, pop-savvy "Razorblades of Love". Even though they had a minor radio hit with "Scottish Rain.", A Blues for Buddha didnt do aswell as their debut. The band then toured Europe with Simple Minds for four months.

After the tour, the band began work on third album Dance to the Holy Man, but personal conflict derailed the process. Joseph Donnelly and Martin Hanlin left the band, and were replaced by Tony Soave on drums and Lewis Rankine on bass. The album, a departure from the band's "guitar-based atmosphere pop," was recorded during the summer of 1990. It included funk, blues, and Celtic strains. Single "Bulletproof Heart" became a big hit in Spain and France, where the band had a huge success at that time, but album sales lagged back in the United Kingdom. Coatbridge-born jj gilmour joined the band as a second male vocalist before another tour of Europe, and Stevie Kane joined the band, replacing Rankine during the tour .

Deeply in debt to RCA and not having the expected success in England, The Silencers were in danger of being dropped by their label despite their success throughout Europe. However, after label representatives saw an impressive live show they allowed the band to begin work on fourth album Seconds of Pleasure. Single "I Can Feel It" was, true to form, a hit in Europe and ignored in England. In 1994 The Silencers signed to new labels: Permanent for Britain and BMG for France. That summer they recorded the song "Wild Mountain Thyme," featuring O'Neill's daughter Aura on vocals. It became a hit in Scotland after featuring in a tourism board advertising campaign. Soon after, they completed fifth album So Be It.

After a mid-1996 tour of Europe, Gilmour and Soave left the band. Jim McDermott joined on drums and Aura McNeill became a permanent member of the band. The year 1996 brought the release of singles compilation Blood & Rain, and The Silencers took several years off from recording. In 1999 the band worked on seventh album Receiving, which was financed by money from festival appearances in Europe. Speaking of the new record, O'Neill said, "Some of the new tracks were recorded as if this was a different band. I wanted to forget about everything we'd done before and some of what came out reminded me of Fingerprintz - new wave for the nineties!"

In 2001 the band released their first live album, A Night of Electric Silence, recorded in Glasgow in 2000, with McDermott on drums, Kane on bass, Phil Kane on keyboards, O'Neill on guitar and vocals, Milla on violin and Aura O'Neill on vocals. In November 2004 Come was released, featuring standout tracks "Siddharta," "Let It Happen" and "Head." Today, most of the band's albums are out of print and available only at inflated prices. Charles Burns died on March 26th 2007, in Prestatyn, Wales [UK], following a battle with lung cancer. He was 50.



01 - Answer Me (4:56)
02 - Scottish Rain (5:19)
03 - The Real McCoy (6:03)
04 - A Blues For Buddha (3:00)
05 - Walk With The Night (5:00)
06 - Razor Blades Of Love (4:49)
07 - Skin Game (5:48)
08 - Wayfaring Stranger (3:10)
09 - Sacred Child (7:32)
10 - My Love Is Like A Wave / Razor Blade Reprise (6:09)
11 - Sand And Stars (1:30)

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Fine Young Cannibals - The Raw and The Cooked ( 88 * 412mb)

When the Beat split in 1983, it came as a surprise to guitarist Dave Cox and bassist David Steele. The first time they realized that the group's vocalists, Ranking Roger and Dave Wakelin, had gone off to form General Public without them, was when their accountant phoned to finalize the divorce. Cox and Steele set about creating something new of their own. Apart from a vague notion of adding both jazz and soul to the Beat's ska roots, they also decided to feature a strong vocalist. However finding one proved to be difficult, then they remembered a singer whose band had once supported the Beat. They found Roland Gift singing with a barroom R&B band named the Bones. He was everything they had remembered; he was their man. Gift had spent his teenage years in youth theatre, until the advent of punk made music his main passion. As punk gave way to the two-tone ska which gave rise to groups like Madness and, ultimately, the Beat, Gift took up saxophone and singing in a local band.

The Fine Young Cannibals signed to London Records in early 1985, their name came from an obscure 1960 film starring Robert Wagner and Natalie Wood. the Fine Young Cannibals released a demo version of "Johnny Come Home" as their first single. Its instant success allowed them to team up with a compatible producer, Robin Miller, for the first Fine Young Cannibals album, also containing the group's trademark overstated version of Elvis Presley's "Suspicious Minds." For the Johnathan Demme film Something Wild, they reached back into Gift's punk past with a version of the Buzzcocks' classic "Ever Fallen in Love." Five years later, a second album emerged, The Raw and the Cooked, the raw side made up mostly of songs the group had contributed to Barry Levinson's film Tin Men, in a mere ten songs and 35 minutes the Fine Young Cannibals created a masterpiece. Remaining true to the FYC's vision of tying past and present musical styles together into artful new pop packages, The Raw & the Cooked features a shopping list of genres. Mod, funk, Motown, British beat, R&B, punk, rock, and even disco are embedded within the songs, while the rhythms, many synthetically created, are equally diverse. In less delicate hands this would be nothing more than an everything including the kitchen sink motley mess, but FYC manage this mix with subtly and elan. Every one of Raw's tracks simmers with creativity, as the hooks, sharp melodies, and irrepressible beats are caressed by nuanced arrangements and sparkling production.

Since then, the Fine Young Cannibals have remained elusive. Cox and Steele continue to work together under various names, while Roland Gift's hoped-for film career never quite took off. Fine Young Cannibals briefly returned to the studio in 1996 to record a new single The Flame which would complement their greatest hits compilation The Finest released that year. Gift reactivated the band name and toured in the 2000s as Roland Gift and the Fine Young Cannibals, releasing his debut self-titled solo album in 2002.



01 - She Drives Me Crazy (3:35)
02 - Good Thing (3:22)
03 - I'm Not The Man I Used To Be (4:20)
04 - I'm Not Satisfied (3:46)
05 - Tell Me What (2:45)
06 - Don't Look Back (3:36)
07 - It's Ok (It's Alright) (3:29)
08 - Don't Let It Get You Down (3:20)
09 - As Hard As It Is (3:10)
10 - Ever Fallen In Love (3:52)
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11 - You Never Know
12 - Social Security
13 - Ever Fallen In Love [John Potoker Extended Mix]
14 - It's OK (It's Alright) [Ploeg Club Mix]
15 - Ever Fallen In Love (Arthur Baker Senseless mix) (9:22)


diet
Fine Young Cannibals - The Raw & The Cooked ( 88 * 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

RhoDeo 1919 Re-Up 188

Hello,



18 correct requests for this week, 3 too early , whatever another batch of 64 re-ups (20.9 gig)


These days i'm making an effort to re-up, it will satisfy a smaller 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 May 5th !... N'Joy

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4x Aetix Back in Flac (Stranglers - No More Heroes, Stranglers - Black & White, Stranglers - The Raven, Stranglers - Rattus Norvegicus)


5x Aetix Back In Flac (The Specials - The Specials, The Specials - More, The Special A.K.A. - In The Studio, The Fun Boy Three - The FB 3,  The Fun Boy Three - Waiting)


3x Aetix Back In Flac (Buggles - The Age Of Plastic, The Passions - Michael & Miranda, T. Dolby - The Golden Age Of Wireless)


3x Aetix Back in Flac (Lloyd Cole & Commotions - Rattlesnakes, Felt - Stains on a Decade, Prefab Sprout - Langley Park To Memphis)


3x Grooves Back in Flac (Funkadelic - Standing on the Verge of .., Funkadelic - Let's Take It to the Stage, Funkadelic - Hardcore Jollies)


4x Aetix Back in Flac ( The Compact 2 Tone Story 1, The Compact 2 Tone Story 2 , The Compact 2 Tone Story 3, The Compact 2 Tone Story 4)


4x Roots Back In Flac (Badi Assad - Solo, Badi Assad - Rhythms, Badi Assad - Echoes of Brazil, Badi Assad - Verde)


3x Aetix Back in Flac (Jerry Harrison - The Red And The Black, Jerry Harrison - Casual Gods, Jerry Harrison - Walk On Water)


4x Sundaze Back In Flac (Eliane Radigue - Kyema, Eliane Radigue - Kailasha, Eliane Radigue - Koume, Eliane Radigue - Transamorem - Transmortem)


4x Sundaze  Back  in Flac (Variant - The Setting Sun, Variant - Falling Stars, Variant - Aurora's Dream Solar Mix, Variant - Aurora's Dream Polar Mix)


3x Sundaze NOW in Flac (Nils Petter Molvaer - Solid Ether, Biosphere - Autour De La Lune, Röyksopp – Senior)



3x Sundaze Back in Flac (DeepChord - Vantage Isle Sessions, DeepChord Echospace - Silent World, DeepChord Echo - Silent World (O.S.T.))



2x Sundaze Back in Flac (Deepchord - The Coldest Season, Craig & Von Oswald - Recomposed 3)



3x Roots NOW in Flac (Fela Kuti - Afrodisiac, Fela Kuti - Zombie, Fela Kuti  - Opposite People + Sorrow Tears and Blood )



4x Grooves Back in Flac (The Rebirth Of Cool Vol. 1, The Rebirth Of Cool Vol. 2, The Rebirth Of Cool Vol. 3, The Rebirth Of Cool Vol. 4)


4x Aetix NOW in Flac (Shriekback - The Infinite, Shriekback - Evolution, Shriekback - Oil And Gold, Shriekback - Big Night Music)


4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)


4x Aetix Back in Flac (Siouxsie & The Banshees - The Scream, Siouxsie & The Banshees - The Scream Bonus, Siouxsie & The Banshees - Join Hands, Siouxsie & The Banshees - Kaleidoscope)

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RhoDeo 1439 Aetix

Hello, we're really early Aetix today but hey it's awesome..

Today's band is an American rock band that originally existed from 1970 to 1974 but their recordings were not released until 1976 or later. It featured Richman and bassist Ernie Brooks with drummer David Robinson (later of the Cars) and keyboardist Jerry Harrison (later of Talking Heads). The sound of the band owed a great deal to the influence of the Velvet Underground, and is now sometimes classed as "protopunk". It pointed the way towards much of the punk rock, new wave, alternative and indie rock music of later decades.  Later, between 1976 and 1988, Richman used the name Modern Lovers for a variety of backing bands, always billed as "Jonathan Richman and the Modern Lovers". These bands were quieter and featured more low-key, where Richman drew on folk-rock and other genres.  .  ....N'Joy

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Singer/songwriter Jonathan Richman is sufficiently well-established as a solo artist, and it's easy to overlook the fact that the moniker sometimes used for his backing band, the Modern Lovers, was once connected to a coherent group of which Richman was a member. The Boston-based group the Modern Lovers is of such significance to American underground rock that they deserve separate consideration from Richman's own body of work, although many of the songs they recorded carried over into Richman's solo career and were used as the flagstones on which it was built.

After graduating from high school in 1969, Jonathan Richman relocated to New York City. Totally infatuated with the sound of the Velvet Underground, Richman made his entrée to New York with a couple of weeks sleeping on Velvets manager Steve Sesnick's sofa, and afterward moved into the rodent-infested Hotel Albert. After nine months in New York, Richman decided he'd had enough and moved back to his native Boston, but with the intention of forming a rock band modeled after what he'd learned from observing the Velvets. Back home, Richman swiftly organized a band with childhood friend John Felice as guitarist, David Robinson on drums, and Rolfe Anderson on bass. the Modern Lovers played their first date in September 1970, barely a month after Richman's return.

In early 1971 Anderson and Felice departed, although Felice would rejoin the group later down the road. Anderson was replaced by bassist Ernie Brooks, and keyboardist Jerry Harrison would also come into the band at this point, completing the classic lineup of the Modern Lovers. The group proved popular at live gigs in Boston, and word about them spread. In the fall of 1971 the Modern Lovers got their first nibble from a label -- Stuart Love of Warner Bros. came calling, and organized the band's first multi-track session at Intermedia Studio in Boston. The recording of the song "Hospital" on the Beserkley album The Modern Lovers originates from this session.

This demo tape generated some buzz in the industry, and pretty soon A&M was interested in the Modern Lovers as well. So in April 1972 the band traveled to Los Angeles to make their best, and most representative, recordings in the form of two multi-song demos, the first being a date with John Cale producing for Warner Bros. and another with Alan Mason at the controls for A&M. These two sessions comprise the balance of the posthumous album The Modern Lovers, although tape copies of the Cale session circulated widely before it was released, even to the U.K. In June 1972 producer Kim Fowley decided he wanted a piece of their action and traveled to Boston to produce some poor-quality demos that were ultimately released in 1981 on an album misleadingly titled The Original Modern Lovers.

The Modern Lovers' success as a live act continued unhindered, but as far as getting a record deal was concerned, the band was always a bridesmaid, never a bride. A second session held in Los Angeles in September 1973 with Cale producing went badly, producing nothing usable in terms of recordings. Fowley took them into Gold Star Studios shortly afterward with much better luck than he'd had in Boston, but by this time the band was on its last legs, and Richman had already decided to quit. By December 1973 the Modern Lovers were a done deal, and Richman was recording demos on his own. Jerry Harrison ultimately joined Talking Heads, David Robinson became drummer for the Cars, John Felice formed the Real Kids, and Ernie Brooks ended up with David Johansen. Richman retained use of the band name "the Modern Lovers" but often performs solo, prefers acoustic instruments, and has no plans to undertake another group like them.

 In 1975 Richman moved to California to begin his association with Beserkley Records. Beserkley collected the various demos they could access of Richman's earlier group and pulled them together into the album The Modern Lovers, which was released on Beserkley's Home of the Hits subsidiary in 1976. Given the piecemeal nature of its assemblage, Richman does not recognize it as his "first album," awarding that distinction instead to 1977's Jonathan Richman & the Modern Lovers, an album with a wholly different band, vibe, and approach. But The Modern Lovers was instantly recognized as a classic, and still came out in enough time to strongly influence aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose cover version of "Road Runner" is one of the high points in their otherwise largely dismal sophomore effort, The Great Rock 'n' Roll Swindle. It is not out of merely idle adulation that Trouser Press critic Ira Robbins once dubbed the Modern Lovers "one of the truly great art rock albums of all time." the Modern Lovers was at one time the hottest unsigned live act in America, and their surviving work forms a pivotal link between the Velvet Underground and the punk rock movement that was yet to emerge.

Eventually, Richman formed a new, acoustic Modern Lovers with guitarist Leroy Radcliffe, Rubinoos bassist Greg "Curly" Keranen and drummer Robinson. In 1977, they debuted with Jonathan Richman & the Modern Lovers, which emphasized the doo-wop flavor and wry pop melodies that remained hallmarks of Richman's career. That same year, the group issued Rock 'N' Roll With the Modern Lovers (with D. Sharpe on drums) and scored a major European hit with the instrumental "Egyptian Reggae." A year later, Richman went solo, and in 1979 issued Back in Your Life.

After a period of self-imposed exile, he resurfaced in 1983 with Jonathan Sings A series of strong pop records followed, including 1985's Rockin' & Romance, 1986's It's Time for Jonathan Richman & the Modern Lovers (recorded with Andy Paley), and Modern Lovers 88. In 1990, he released the self-explanatory Jonathan Goes Country; later, he made another left turn with 1993's Jonathan, Te Vas a Emocionar!, a collection of Latin-influenced songs performed entirely in Spanish. No matter what path his music took, however, Richman's cult following remained fiercely loyal, and saw its ranks expand courtesy of his frequent appearances on the NBC program Late Night With Conan O'Brien; in 1998, he was also prominently featured in the hit film comedy There's Something About Mary. I'm So Confused appeared later that year. Richman began dipping his toes into slightly more sophisticated musical forms with 2001's Her Mystery Not of High Heels and Eye Shadow, which also documented his continuing interest in the Spanish language, as did 2004's Not So Much to Be Loved as to Love.

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Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed's jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "I'm Straight" are just as nasty, made all the more edgy by the Modern Lovers' amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976.

The Modern Lovers - I  (flac 410mb)

01 Roadrunner 4:06
02 Astral Plane 3:01
03 Old World 4:01
04 Pablo Picasso 4:22
05 She Cracked 2:56
06 Hospital 5:32
07 Someone I Care About 3:39
08 Girlfriend 3:55
09 Modern World 3:45
Bonus Tracks
10 Dignified & Old 2:29
11 I'm Straight 4:19
12 Government Center 2:04
13 I Wanna Sleep In Your Arms 2:32
14 Dance With Me 4:27
15 Someone I Care About (Alternate Version) 2:59
16 Modern World (Alternate Version) 3:17
17 Roadrunner (Alternate Version) 4:55

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Richman's second collection of Modern Lovers, over which he was billed (eventually, the group name would be dropped) had a lighter rock & roll sound than the first. In fact, as often as not, Richman played acoustic guitar. And his lyrical concerns had similarly lightened up, to the point of childlike whimsy on such songs as "Hey There Little Insect" and "Here Come the Martian Martians." But the focus was still Richman's unabashed vocalizing (the word "sings" is put in quotes on the back cover), giving the whole album an amateurish charm.

Jonathan Richman and The Modern Lovers - I  (flac 295mb)

01 Rockin' Shopping Center 3:33
02 Back In The USA 2:22
03 Important In Your Life 3:36
04 New England 2:22
05 Lonely Financial Zone 3:00
06 Hi Dear 3:21
07 Abominable Snowman In The Market 2:25
08 Hey There Little Insect 3:08
09 Here Come The Martian Martians 3:13
10 Springtime 3:52
11 Amazing Grace 2:51
Bonus Tracks
12 It Will Stand 2:35
13 Government Center 2:15
14 The New Teller 1:39
15 Roadrunner (Once) 4:42

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This album (Rock and Rock with the Modern Lovers) was the second he recorded in this style, and he's pretty much kept to this ever since. Why he didn't rename the band is a mystery (all the original members except for him were gone by this time), but probably is just Jonathan's way of having some fun by thwarting our expectations. In fact, even the name of this album is misleading; these songs don't sound anything like any rock and roll you are probably used to. There are several instrumentals or near-instrumentals, and most of the other songs are more like children's music than rock. I think this is intentional; the title is either ironic or subversive (who says that children's music _can't_ be rock and roll, huh?). Regardless of this, try to approach the music with an open mind and you'll be rewarded. I think of this style as "children's music for adults"; what children's music would be if it were 1000 times better than any children's music you've ever heard. Jonathan sings with childlike wonder and delight, evoking images of a simpler time. Sure, his singing is nasal and occasionally slightly out-of-tune, and the band was apparently recorded in a bathroom, but that just adds to the DIY charm. And the songs are amazing! They combine goofy, funny and painfully sincere lyrics with great tunes, and there is not one bad song in the bunch. I particularly like "Roller Coaster By The Sea", "Rockin' Rockin' Leprechauns" (who have apparently come back to rock and roll), and the classic "Ice Cream Man", which he would expand to about seven minutes on the "Modern Lovers Live!" album by way of a ridiculous number of encores. I only recently rediscovered Jonathan's music because I have a two-year-old son, and somehow these tunes are great for both of us to listen to. If you have a toddler, I would recommend this album; it sure is more fun than listening to Raffi over and over. And even if you don't, you should still get it, because Jonathan is singing to the child inside each of us, and nobody does it better than he does.

Rock'n'Roll With The Modern Lovers (flac 187mb)

01 The Sweeping Wind (Kwa Ti Feng) 2:00
02 Ice Cream Man 3:02
03 Rockin' Rockin' Leprechauns 2:12
04 Summer Morning 3:50
05 Afternoon 2:49
06 Fly Into The Mystery 3:17
07 South American Folk Song 2:37
08 Roller Coaster By The Sea 2:06
09 Dodge Veg-O-Matic 3:49
10 Egyptian Reggae 2:37
11 Coomyah 2:09
12 The Wheels On The Bus 2:28
13 Angels Watching Over Me 1:51

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RhoDeo 1501 Aetix

Hello, well there's been a big Talking Heads posting earlier October 2006, damn yes that's more than 8 years ago and although the posting was kept alive for a long time, it's been dodo for sometime too. Files at the time couldn't be larger than a 100mb... yes that old. Anyway it will be flac and ogg 9 to choose from this time...

The new wave style of today's Aetix band combined elements of punk rock, art rock, funk, avant-garde, pop music, world music, and Americana. Frontman and songwriter David Byrne contributed neurotic, whimsical lyrics to the band's songs, and emphasized their showmanship through various multimedia projects and performances. They were described as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time.....N'Joy

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At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.

And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals.

For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.

After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions.

After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, and Harrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey.


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The musical transition that seemed to have just begun with Fear of Music came to fruition on Talking Heads' fourth album, Remain in Light. "I Zimbra" and "Life During Wartime" from the earlier album served as the blueprints for a disc on which the group explored African polyrhythms on a series of driving groove tracks, over which David Byrne chanted and sang his typically disconnected lyrics. Remain in Light had more words than any previous Heads record, but they counted for less than ever in the sweep of the music. David Byrne and his band were in the greatest shape , Brian Eno contributed to the whole and in the field of production , he really did his utmost , many super guests marched over through the whole album , lyrics are sophisticatedly social-political and the music is so dense , intricate and layered , blending art punk and new wave , innovative electronics and world and ethnic elements .

The album's single, "Once in a Lifetime," flopped upon release, but over the years it became an audience favorite due to a striking video, its inclusion in the band's 1984 concert film Stop Making Sense, and its second single release (in the live version) because of its use in the 1986 movie Down and Out in Beverly Hills, when it became a minor chart entry. Even without a single, Remain in Light was a hit, indicating that Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential, it was no wonder. However, despite their artistic developments before or after, 'Remain in Light' truly remains an all time masterpiece of modern American pop music, a very , very unique album !!!

Talking Heads - Remain In Light  (flac 372mb)

01 Born Under Punches (The Heat Goes On) 5:46
02 Crosseyed And Painless 4:45
03 The Great Curve 6:26
04 Once In A Lifetime 4:19
05 Houses In Motion 4:30
06 Seen And Not Seen 3:20
07 Listening Wind 4:42
08 The Overload 6:00
Bonus Tracks
09 Fela's Riff (Unfinished Outtake) 5:15
10 Unison (Unfinished Outtake) 4:58
11 Double Groove (Unfinished Outtake) 4:28
12 Right Start (Unfinished Outtake) 4:07

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Talking Heads found a way to open up the dense textures of the music they had developed with Brian Eno on their two previous studio albums for Speaking in Tongues, and were rewarded with their most popular album yet. Ten backup singers and musicians accompanied the original quartet, but somehow the sound was more spacious, and the music admitted aspects of gospel, notably in the call-and-response of "Slippery People," and John Lee Hooker-style blues, on "Swamp." As usual, David Byrne determinedly sang and chanted impressionistic, nonlinear lyrics, sometimes by mix-and-matching clichés ("No visible means of support and you have not seen nothin' yet," he declared on "Burning Down the House," the Heads' first Top Ten hit), and the songs' very lack of clear meaning was itself a lyrical subject. "Still don't make no sense," Byrne admitted in "Making Flippy Floppy," but by the next song, "Girlfriend Is Better," that had become an order -- "Stop making sense," he chanted over and over. Some of his charming goofiness had returned since the overly serious Remain in Light and Fear of Music, however, and the accompanying music, filled with odd percussive and synthesizer sounds, could be unusually light and bouncy. The album closer, "This Must Be the Place (Naive Melody)," even sounded hopeful. Well, sort of. Despite their formal power, Talking Heads' preceding two albums seemed to have painted them into a corner, which may be why it took them three years to craft a follow-up, but on Speaking in Tongues, they found an open window and flew out of it.

Talking Heads - Speaking In Tongues  (flac 379mb)

01 Burning Down The House 4:00
02 Making Flippy Floppy 4:36
03 Girlfriend Is Better 4:25
04 Slippery People 3:30
05 I Get Wild / Wild Gravity 4:06
06 Swamp 5:09
07 Moon Rocks 5:04
08 Pull Up The Roots 5:08
09 This Must Be The Place (Naive Melody) 4:56
Bonus Tracks
10 Two Note Swivel (Unfinished Outtake) 5:51
11 Burning Down The House (Alternate Version) 5:09

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Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable "A Clean Break" and "Love Goes to a Building on Fire," as well as early versions of "Memories Can't Wait" and "Air." The second LP comes from the Remain in Light tour, recorded in 1980 and 1981. In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. "Drugs" gets revamped for live performance, and "Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on "The Great Curve" and "Crosseyed and Painless," where his deranged feedback soloing has never sounded better. At this point in their career, Talking Heads were still basically an underground band; it was "Burning Down the House" that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases.

Talking Heads - The Name Of This Band Is Talking Heads (77-79)  (flac 551mb)

01 New Feeling 3:09
02 A Clean Break (Let's Work) 5:05
03 Don't Worry About The Government 3:03
04 Pulled Up 4:04
05 Psycho Killer 5:31
06 Who Is It? 1:44
07 The Book I Read 4:22
08 The Big Country 5:09
09 I'm Not In Love 4:57
10 The Girls Want To Be With The Girls 3:44
11 Electricity (Drugs) 3:28
12 Found A Job 5:35
13 Mind 4:55
14 Artists Only 3:49
15 Stay Hungry 4:05
16 Air 4:01
17 Love -> Building On Fire 3:46
18 Memories (Can't Wait) 3:44
19 Heaven 4:31

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Talking Heads - The Name Of This Band Is Talking Heads (80-81)  (flac 546mb)

01 Psycho Killer 5:33
02 Warning Sign 5:39
03 Stay Hungry 3:56
04 Cities 5:00
05 I Zimbra 3:30
06 Drugs (Electricity) 4:41
07 Once In A Lifetime 5:57
08 Animals 4:05
09 Houses In Motion 6:54
10 Born Under Punches (The Heat Goes On) 8:24
11 Crosseyed And Painless 5:58
12 Life During Wartime 4:54
13 Take Me To The River 6:33
14 The Great Curve 6:42

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RhoDeo 1452 Aetix

Hello, well there's been a big Talking Heads posting earlier October 2006, damn yes that's more than 8 years ago and although the posting was kept alive for a long time, it's been dodo for sometime too. Files at the time couldn't be larger than a 100mb... yes that old. Anyway it will be flac and ogg 9 to choose from this time...

The new wave style of today's Aetix band combined elements of punk rock, art rock, funk, avant-garde, pop music, world music, and Americana. Frontman and songwriter David Byrne contributed neurotic, whimsical lyrics to the band's songs, and emphasized their showmanship through various multimedia projects and performances. They were described as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time.....N'Joy

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At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.

And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals.

For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.

After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions.

After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, and Harrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey.


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Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal. Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on "Psycho Killer," Byrne's supreme statement of demented purpose. Amazingly, that song made the singles chart for a few weeks, evidence of the group's quirky appeal, but the album was not a big hit, and it remained unclear whether Talking Heads spoke only the secret language of the urban arts types or whether that could be translated into the more common tongue of hip pop culture. In any case, they had succeeded as artists, using existing elements in an unusual combination to create something new that still managed to be oddly familiar. And that made Talking Heads: 77 a landmark album.

Talking Heads - 77  (flac 365mb)

01 Uh-Oh, Love Comes To Town 2:48
02 New Feeling 3:09
03 Tentative Decisions 3:04
04 Happy Day 3:55
05 Who Is It? 1:41
06 No Compassion 4:47
07 The Book I Read 4:06
08 Don't Worry About The Government 3:00
09 First Week / Last Week... Carefree 3:19
10 Psycho Killer 4:19
11 Pulled Up 4:29
Bonus Tracks
12 Love → Building On Fire 2:57
13 I Wish You Wouldn't Say That 2:36
14 Psycho Killer (Acoustic) 4:30
15 I Feel It In My Heart 3:19
16 Sugar On My Tongue 2:36

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The title of Talking Heads' second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band's sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before. Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing. Where Talking Heads had largely been about David Byrne's voice and words, Eno moved the emphasis to the bass-and-drums team of Tina Weymouth and Chris Frantz; all the songs were danceable, and there were only short breaks between them. Byrne held his own, however, and he continued to explore the eccentric, if not demented persona first heard on 77, whether he was adding to his observations on boys and girls or turning his "Psycho Killer" into an artist in "Artists Only." Through the first nine tracks, More Songs was the successor to 77, which would not have earned it landmark status or made it the commercial breakthrough it became. It was the last two songs that pushed the album over those hurdles. First there was an inspired cover of Al Green's "Take Me to the River"; released as a single, it made the Top 40 and pushed the album to gold-record status. Second was the album closer, "The Big Country," Byrne's country-tinged reflection on flying over middle America; it crystallized his artist-vs.-ordinary people perspective in unusually direct and dismissive terms, turning the old Chuck Berry patriotic travelogue theme of rock & roll on its head and employing a great hook in the process

Talking Heads - More Songs About Buildings and Food  (flac 397mb)

01 Thank You For Sending Me An Angel 2:11
02 With Our Love 3:30
03 The Good Thing 3:03
04 Warning Sign 3:54
05 The Girls Want To Be With The Girls 2:38
06 Found A Job 5:01
07 Artists Only 3:34
08 I'm Not In Love 4:34
09 Stay Hungry 2:39
10 Take Me To The River 5:02
11 The Big Country 5:39
Bonus Tracks
12 Stay Hungry (1977 Version) 3:47
13 I'm Not In Love (Alternate Version) 5:17
14 The Big Country (Alternate Version) 5:03
15 Thank You For Sending Me An Angel ("Country Angel" Version) 2:11

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By titling their third album Fear of Music and opening it with the African rhythmic experiment "I Zimbra," complete with nonsense lyrics by poet Hugo Ball, Talking Heads make the record seem more of a departure than it is. Though Fear of Music is musically distinct from its predecessors, it's mostly because of the use of minor keys that give the music a more ominous sound. Previously, David Byrne's offbeat observations had been set off by an overtly humorous tone; on Fear of Music, he is still odd, but no longer so funny. At the same time, however, the music has become even more compelling. Worked up from jams (though Byrne received sole songwriter's credit), the music is becoming denser and more driving, notably on the album's standout track, "Life During Wartime," with lyrics that match the music's power. "This ain't no party," declares Byrne, "this ain't no disco, this ain't no fooling around." The other key song, "Heaven," extends the dismissal Byrne had expressed for the U.S. in "The Big Country" to paradise itself: "Heaven is a place where nothing ever happens." It's also the album's most melodic song. Those are the highlights. What keeps Fear of Music from being as impressive an album as Talking Heads' first two is that much of it seems to repeat those earlier efforts, while the few newer elements seem so risky and exciting. It's an uneven, transitional album, though its better songs are as good as any Talking Heads ever did.

Talking Heads - Fear of Music  (flac 389mb)

01 I Zimbra 3:08
02 Mind 4:13
03 Paper 2:38
04 Cities 4:17
05 Life During Wartime 3:41
06 Memories Can't Wait 3:30
07 Air 3:34
08 Heaven 4:01
09 Animals 3:30
10 Electric Guitar 3:01
11 Drugs 5:20
Bonus Tracks
12 Dancing For Money (Unfinished Outtake) 2:41
13 Life During Wartime (Alternate Version) 4:07
14 Cities (Alternate Version) 5:30
15 Mind (Alternate Version) 4:26
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RhoDeo 1502 Aetix

Hello, well there's been a big Talking Heads posting earlier October 2006, damn yes that's more than 8 years ago and although the posting was kept alive for a long time, it's been dodo for sometime too. Files at the time couldn't be larger than a 100mb... yes that old. Anyway it will be flac and ogg 9 to choose from this time...

For the last and final time today's Aetix band combined elements of punk rock, art rock, funk, avant-garde, pop music, world music, and Americana. Frontman and songwriter David Byrne contributed neurotic, whimsical lyrics to the band's songs, and emphasized their showmanship through various multimedia projects and performances. They were described as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time.....N'Joy

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At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.

And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals.

For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.

After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions.

After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, and Harrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey.


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Talking Heads' most immediately accessible album, Little Creatures eschewed the pattern of recent Heads albums, in which instrumental tracks had been worked up from riffs and grooves, after which David Byrne improvised melodies and lyrics. The songs on Little Creatures, most of which were credited to Byrne alone (with the band credited only with arrangements) sounded like they'd been written as songs. Perhaps as one result, the band had been streamlined, with extra musicians used only for specific effects rather than playing along as an ensemble. Byrne, who was singing in his natural range for once, frequently was augmented with backup singers. The overall result: ear candy. Little Creatures was a pop album, and an accomplished one, by a band that knew what it was doing. True, Byrne's lyrics were still intriguingly quirky, but even his subject matter was becoming more mature. "I've seen sex and I think it's okay," he sang on "Creatures of Love," and suddenly the geek had become a man. Where he had once pondered the hopes of boys and girls, he was now making observations about children. And even if his impulses remained strange -- "I wanna make him stay up all night," he declared about a baby (presumably not his own) in "Stay Up Late" -- he retained his charm and inventiveness. Little Creatures was, in a sense, Talking Heads lite. It was hard to think of this as the same band that produced "Psycho Killer." But for the band's expanding audience, who made this their second platinum album, that was okay. And their popularity was being accomplished with no diminution in their creativity.

Talking Heads - Little Creatures  (flac 318mb)

01 And She Was 3:36
02 Give Me Back My Name 3:20
03 Creatures Of Love 4:12
04 The Lady Don't Mind 4:03
05 Perfect World 4:26
06 Stay Up Late 3:51
07 Walk It Down 4:42
08 Television Man 6:10
09 Road To Nowhere 4:19
Bonus
10 And She Was (Extended mix) 4:53
11 The Lady Don't Mind (Extended mix) 6:50

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Time hasn't been kind to Talking Heads' ancillary soundtrack to David Byrne's oddball directorial debut. Though it generated one of the band's biggest radio hits ("Wild Wild Life"), it's well-known the quartet was beginning to splinter apart around the time of the sessions. Byrne himself has said that he regretted the whole notion of releasing True Stories with his own vocals, a decision made at the behest of the film's financial backers: All along, he intended for the lyrics to be sung, in character, by Pops Staples, John Goodman, and the rest of the cast. Despite its perfunctory nature, however, True Stories is not without its charms. Though an obvious swipe at consumerism, "Love for Sale" boasts one of the band's best hooks, and it's easily their hardest-rocking tune since the Fear of Music days. "Radio Head" is a successful continuation of some of the regional-American motifs Byrne explored on Little Creatures (and bears the distinction of inspiring Thom Yorke, Jonny Greenwood, and company to name their band after it). Free from the movie's weird patina of irony, "Dream Operator" is one of the most affecting tunes Talking Heads ever recorded; the closing-credits theme "City of Dreams" is similarly touching. Elsewhere, there is filler -- touching upon gospel, country-western, zydeco, and sundry other Byrne influences -- but the band's skill at arranging an album and maintaining a mood remains intact. So while True Stories may remain a regrettable chapter in the band's history, it's certainly not an embarrassing one.

Talking Heads - True Stories  (flac 422mb)

01 Love For Sale 4:30
02 Puzzlin' Evidence 5:23
03 Hey Now 3:42
04 Papa Legba 5:54
05 Wild Wild Life 3:39
06 Radio Head 3:14
07 Dream Operator 4:39
08 People Like Us 4:26
09 City Of Dreams 5:06
Bonus Tracks
10 Wild Wild Life (Extended Mix) 5:30
11 Papa Legba (Pops Staples Vocal Version) 6:19
12 Radio Head (Tito Larriva Vocal Version) 4:11
13 Love For Sale (Love Dub) 3:11

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Talking Heads' last proper studio album before their protracted breakup finds them returning to the dynamic that produced their best work, with inspired results. As swan songs go, Naked proves to be a pretty good one: Alternately serious and playful, it once again allows frontman David Byrne to worry about the government, the environment, and the plight of the working man as it frees up the rest of the band to trade instruments and work with guest musicians. It's closest in spirit to Remain in Light -- arguably too close: The first side is a collection of funky, syncopated, almost danceable tunes; the second, a murky, darkly philosophical rumination on identity and human nature. The major difference is a Latin influence replacing Light's African rhythm experimentation, most evident on the album openers "Blind" and "Mr. Jones," as well as in drummer Chris Frantz's decision to use brushes and softer percussion instruments (as opposed the big beat sound he offered up on Little Creatures and True Stories). With the venerable Steve Lillywhite behind the boards and such luminaries as Johnny Marr, Kirsty MacColl, and Yves N'Djock punctuating the credits, the album sounds technically perfect, but there's little of the loose, live feel the band achieved with former mentor Brian Eno. It's quite a feat to pull of a late-career album as ambitious as Naked, and the Heads do so with style and vitality. But no matter how much the liner notes may boast of free-form invention and boundless creativity, the album's elegiac, airtight tone betrays the sound of four musicians growing tired of the limits they've imposed on one another.

Talking Heads - Naked  (flac 440mb)

01 Blind 4:58
02 Mr. Jones 4:18
03 Totally Nude 4:10
04 Ruby Dear 3:48
05 (Nothing But) Flowers 5:31
06 The Democratic Circus 5:01
07 The Facts Of Life 6:25
08 Mommy Daddy You And I 3:58
09 Big Daddy 5:37
10 Bill 3:21
11 Cool Water 5:10
Bonus
12 Blind (Extended Mix) 7:40
13 Nothing But Flowers (Lillywhite Mix) 7:34
14 Ruby Dear (Bush Mix) 3:23

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Stop Making Sense is a live 1984 album by Talking Heads, the soundtrack to the film of the same name. The original release of the album features only nine of the songs from the movie, many of them heavily edited. The album spent more than two years (118 weeks) on the Billboard 200 chart. In 1999, a 16-track re-release coincided with the concert's 15th anniversary.

While there's no debating the importance of Jonathan Demme's classic film record of Talking Heads' 1983 tour, the soundtrack released in support of it is a thornier matter. Since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive. The nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. Cries for a double-album treatment -- à la 1982's live opus The Name of This Band Is Talking Heads -- were sounded almost immediately; more enterprising fans merely dubbed the VHS release of the film onto cassette tape. So, until a 1999 "special edition" cured the 1984 release's ills, fans had to make do with the Stop Making Sense they were given -- which is, by any account, an exemplary snapshot of a band at the height of its powers. Even with some of his more memorable tics edited out, Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes (the hard-driving, elliptical "What a Day That Was") as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset as well as its biggest failing: Knob-tweakers Chris Frantz and Jerry Harrison play up their parts at the expense of the treblier aspects of the performance, and fans would have to wait almost 15 years for reparations. Still, for a generation that may have missed the band's seminal '70s work, Stop Making Sense proves to be an excellent primer.

In 1999 - to correspond with the theatrical re-release of the movie - the album was extended and remastered, restoring all of the songs from the movie with only very minor edits. The newly included tracks and one original track, "What a Day That Was", feature Frantz's original drumming from the concert recordings. In 2003, the album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Talking Heads - Stop Making Sense  (flac 507mb)

01 Psycho Killer 4:25
02 Heaven 3:41
03 Thank You For Sending Me An Angel 2:10
04 Found A Job 3:15
05 Slippery People 4:01
06 Burning Down The House 4:06
07 Life During Wartime 5:51
08 Making Flippy Floppy 4:40
09 Swamp 4:30
10 What A Day That Was 6:01
11 This Must Be The Place (Naive Melody) 4:57
12 Once In A Lifetime 5:25
13 Genius Of Love (Tom Tom Club) 4:31
14 Girlfriend Is Better 5:06
15 Take Me To The River 5:33
16 Crosseyed And Painless 6:11

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