RhoDeo 1704 Vibrations 5

Hello,

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

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

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

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

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

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

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

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

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

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

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

THE TWO HEMISPHERES OF THE BRAIN

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

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

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

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

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If you have insomnia or have trouble getting deep restful sleep, these flacs will have you fast asleep in no time! If you have an insomniac friend who needs some deep sleep, this is the answer to their prayers ! I have been using to put my new infant to sleep when she is fussy and it works like magic, literally!

Becoming entrained to Delta brainwaves can be one of the easiest ways to fall asleep, so if you or anyone you know has trouble getting deep restful sleep then this Series is a must have. Almost everyone knows of someone who is an insomniac or someone who has trouble sleeping, and this will put you to sleep whether you have insomnia or not!

Delta brainwaves have also been linked with an increase in the body's production of growth hormones which plays a vital part in the body's natural ability to heal and rejuvenate. The whole program progressively slows your waking Beta brainwaves into a soothingly relaxed Delta brainwave state. There are 13 tracks on this Series (61:45 minutes total playing time) including the Bonus Delta Holovibe Track.

The tracks vary from simple Delta level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. Each track is designed to be played in loop/repeat mode so in effect you have 4 different programs or 4 different settings to test, evaluate and determine which works best specifically for you.


When you experience the BMV Series 5: The Delta Brainwaves CD, your mind will naturally float inwards and your consciousness will expand as you listen to the mesmerizing sounds of the ocean shoreline. Your awareness will become free to explore new states of clarity and new modes of perception as you experience the effects of the embedded brainwave entrainment technology. Your conscious awareness will become free to take flight into your mind's eye.

You will explore new depths as the embedded brainwave entrainment ensures that you will enter the ideal brainwave range for maximizing your inner explorations. This BMV flac is an excellent audio tool for biofeedback training and consciousness development.

There are no guided vocals (*no spoken words) so it can be used for any meditational purposes or simply as a tool for experiencing profound states of relaxation. You can repeat your favorite track or loop the entire psychoacoustic playlist for amazing results!

Every time you use these flacs, you will become more and more relaxed. With time and practice, you can learn to access these profound states of awareness at will. In the meanwhile, you can be assured that your brainwaves will be tuned to the correct frequency ranges to maximize your results.

By simply listening to this CD for 10 minutes or less, your physical body will be so relaxed that you will ready for any type of inner work: meditation, creativity, reverie, problem solving, brainstorming, trancework and more. Over time, you can learn to achieve this state of ultra-deep physical relaxation, naturally and instantaneously. Like the magical beat of a shaman's drum, the embedded brainwave entrainment frequencies slow down your brainwaves to induce deeply expanded states of consciousness.

The brainwave stimulation techniques are based upon EEG readings of brainwave activity experienced by experienced meditators, Buddhist monks, healers and other adepts. You now have the physical relaxation and the required brainwave activity to complete the process. Now, you can experience these powerful brainwave patterns, simply by listening to this BMV flac!

Brainwave Mind Voyages (Series V) - The Delta Brainwaves (flac  265mb)

01 Upper Level Deltawaves
02 Upper Delta with Mid-Level Mix
03 Upper Delta with Low-Level Mix
04 UpperMiddle Level Deltawaves
05 UpperMid Delta with Upper Mix
06 UpperMid Delta with Lower Mix
07 LowetMiddle Level Deltawaves
08 LowerMid Delta with Upper Mix
09 LowerMid Delta with Lower Mix
10 Lower Level Deltawaves
11 Lower Delta with Upper Mix
12 Lower Delta with upper Delta Mix
13 The Holovibe The Schumann Resonance (7.8 Hz)

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)

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Sundaze 1704

Hello,


Today's artist is an English composer and musician whose work exists in the unknown territories between delay-heavy, tape saturated, dub influenced studio sessions, and excursions into modern classical music and more traditional composition. On his first albums he delved into long-form, slowly unravelling crescendos for strings, piano and other orchestral instrumentation, all accentuated with subtle electronics and processing to form a wall of sound where each element became indistinguishable.......N'Joy

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Greg Haines is an English musician and composer who has been living in Berlin since 2008. He was born in a small town in the south of England in the 1980s, where he began from a young age to develop an interest in sound and the devices used to create it. Around this time, an enthusiastic music teacher began to introduce Haines to the works of 'Minimalist' composers such as Steve Reich, Gavin Bryars and Philip Glass, who had a profound influence over his musical trajectory. At this point, Greg began to develop his piano (and eventually cello) playing, feeling the desire to pursue his interest in textural, subtle music. Shortly after, Haines discovered the work of Arvo Pärt, and in it found his biggest inspiration to date. Pärt's intricate use of both space and density informed Gregs first solo release, 'Slumber Tides', released on the Norwegian Miasmah label in 2006. The album was critically acclaimed worldwide, leading Musique Machine to state:

“This is music to fall into and let it embrace your heart and soul. Be warmed and sadden by its slow unfolding beauty and grace. Clearly one of the most luxurious and emotional rich debut albums you are likely to come across this year, or any other year for that matter.”

Later, the opening track from the album, 'Snow Airport', would be used on the Universal/Point Music compilation 'Reflections on Classical Music', alongside compositions from some of the very composers who inspired it, such as Gavin Bryars and Philip Glass.

In the wake of his debut, Greg toured extensively and began to develop as a live performer, and in particular as an improviser with a wide range of various musicians. To date, Greg has toured throughout Europe, Japan, Australia and the USA.

In March 2010, Berlin's Sonic Pieces label released 'Until the Point of Hushed Support', a forty- eight minute composition written for string quintet, church organ, piano, percussion, electronics and a whole array of other sounds and textures that were carefully constructed over the past two years. Later, in March 2012, "Digressions" was released on Australia's Preservation label. The album includes performances by Peter Broderick and violinist Iden Reinhart, as well as an 18 piece ensemble. The album was largely seen as a great success, with one reviewer for Fluid Radio writing:

“What drives a connection? It’s usually only dimly understood by the people experiencing it, and so it is with Greg Haines’ third album ‘Digressions’ and me. Well over a month I’ve been listening to it, and I still cannot for the life of me work out why I think it is one of the best records I have ever heard, one that has clicked with me like few else recently. Music is subjective, and what is a masterpiece to me may sound like nothing of the sort to you; an assessment based solely on my opinion and little else. Still, if I was to put money on it, I’d say that ‘Digressions’ is going to be talked about for some years, and will in hindsight be the point where the Haines’ trajectory will be seen to trend sharply upwards.”

Since 2008, he has also been working regularly as a composer for dance, creating music for choreographers such as Meg Stuart (Berlin), Ina Christel Johannessen (Oslo), and the MD Collective (Cologne). In 2009 and 2010, Greg was invited to be composer in residence at the Theale School of Performing Arts for two years running, creating pieces and working with students from all kinds of musical backgrounds.

In February 2012, Greg premiered day4 with contemporary ballet choreographer David Dawson, the Holland Symfonia and the Dutch National Ballet as part of their 50th anniversary celebrations. The collaboration with David Dawson continued in the following year and resulted in two world premieres, Opus.11 and The Human Seasons for Royal Ballet, aqs well as “Empire Noir” (2015, Dutch National Ballet, Amsterdam).

Haines has toured extensively around Europe, as well as in the USA, Japan and Australia. His brand of live improvisation on his constantly evolving set-up of synthesizers, signal processors and piano led to his involvement in two live ensembles for pure improvisation: the languid, micro-seismic “Alvaret Ensemble” and the adventurous upbeat endeavors of “The Group”. The Group does not record, only playing live, and usually consists of permanent members Casper Clausen (Efterklang) and the producer/musician Francesco Donadello, as well as a constantly mutating cast of other musicians from around the world.
 
After many years living in Berlin, Greg now lives in the italian countryside. He continues to travel, record and perform around the world. Recent experiments in the studio led to the “Greg Gives Peter Space” EP with Peter Broderick, released on Erased Tapes in 2014. Further releases are expected in the near future.

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Slumber Tides is Greg's debut album recorded and released when he was merely a teenager seemingly tapping into a timeless wisdom where age makes no difference. It might have made more sense if Slumber Tides was the work of a composer at the end of his life creating that final display of all the things he wanted to say but for some reason never did . . . but since we love things that don't make sense many music lovers around the world embraced the reserved yet bold music of this fresh young talent. The five sprawling tracks here introduce not only Greg's knack for experimentation with different instruments and atmospheric textures but also his gift for heartbreaking compositions perhaps only comparable to the groundshaking works of Arvo Part.

Greg Haines - Slumber Tides  (flac  198mb)

01 Snow Airport 4:59
02 Submergence 9:51
03 Tired Diary (Revised) 12:59
04 Arups Gate 10:41
05 Caesura 7:39

     (ogg  mb)

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Though it has been over three years since the release of his debut, Slumber Tides, these years have seen Haines traveling around the world and refining his craft, performing as a solo artist, improvising with other musicians, creating music for contemporary dance, and finally arriving at this new album, a beautifully contemplative forty-eight minute piece for string quintet, church organ, piano, percussion, and electronics.

For the most part, this album was recorded in the Grunewald Church in Berlin with the assistance of friend and fellow musician, Nils Frahm. Together, Haines and Frahm assembled a team of musicians to bring the score alive. More processed sounds (mostly assembled at Haines’ Berlin studio, The Electricity Works) were even played back into the church and re-recorded, to truly add to the acoustic nature of the album.

Whereas Slumber Tides played out as a gorgeous exploration of sound and composition by a curious musician with fresh ears, Until the Point of Hushed Support comes across as a bold statement from a unique modern composer. Throughout the four sections of the piece, we are taken seamlessly through an incredibly powerful dynamic range. With an assortment of sounds collected and processed over the last two years combined with the live instrumentation, Haines creates his own orchestra; a unique sonic world where the sound of a dying radio is just as important as a mournful violin. Whereas the first album comes across as a curious exploration of sound Until The Point Of Hushed Support is a bold statement from a music lover who spent four years refining his craft. The beauty in this music is an ancient one one which is only reached with dedication and patience.

Greg Haines - Until The Point Of Hushed Support  (flac  207mb)

01 Industry Vs. Inferiority 4:13
02 Marc's Descent 10:45
03 In The Event Of A Sudden Loss 14:06
04 Until The Point Of Least Resistance 18:53

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Greg Haines' 2012 album for Preservation grows out of a collaboration, in this case with a school orchestra. That may sound a bit counterintuitive, but the result makes you wonder if he would ever need a top-flight one given the enjoyable, tactile results. The understated combination of ambience and orchestration calls to mind an expected range of performers but also perhaps a wild card or two -- "Caden Cotard," with its slow electronic/string wash and rise, could almost be something from a late-'90s Black Tape for a Blue Girl album as much as it could be Harold Budd when it comes to the piano that follows it. Beginning with "Emetti"'s soft tones, feeling like a new age church organ warmup increasingly mixed with slow string resonance and beauty, Digressions partially lives up to its name thematically in that nearly everything feels like distinct but still clearly related parts of a whole. The emphasis on piano as a key element throughout, whether as an increasingly core rhythmic element on "Azure" or setting a stage of thorough calmness on "Nuestro Pueblo," adds a gentle calm to everything. In turn, notable violin parts, especially the lead on "183 Times," add a slightly unearthly feeling, caught between stateliness and a suffused swirl of sound. The sense of steady progression upward that recurs throughout Digressions -- particularly but not exclusively as in the swelling rise to the beyond at the end of "Caden Cotard" -- adds to the album's compelling feeling.

Greg Haines - Digressions  (flac  239mb)

01 Ernetti 3:47
02 Caden Cotard 12:56
03 183 Times 9:08
04 Azure 14:14
05 Nuestro Pueblo 15:25

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With Where We Where Haines made a step ahead. This album is a modern classical and ambient composition with dub beat elements as the previous albums but the combinations of these elements with acoustic instruments such as percussion and vibraphone makes it something new, a step forward in his music path. Approximately 45 minutes spread over 8 tracks is the journey that the British artist is offering to us.

‘The Intruder’ opens this album as only Greg Haines can do: the music come up and the melodies slowly rise in the air and become classic. It’s an intimate, welcoming and cozy track. Something happens in the following track where the minimal piano that characterize the intro to the album is now substituted by beat-driven dub-techno joined by electro-acoustic instruments. The sound changes completely towards the half of the tune where a mix of jungle, house and dub brings us in the new incredible Greg Haines music style. This is ‘Something Happened’ and no other title could fit better to this song. ‘So It Goes’ and ‘Trasimeno’ are aligned with ‘The Intruder’. Greg Haines put apart the beats of the second track and come back to his classical composition. Characteristics of these two tracks are the delicate strings and the soft piano that rise in a flourish of astral ambient waves and ethereal loveliness. With its 7:17 minutes, ‘So It Goes’ is the longest track of the album. ‘Trasimeno’, instead, is the shortest and seems to be the continuous of the previous song. Together they result in a meditative and cinematic, numinous atmosphere.

Let’s go back to the new dub-techno we discovered in ‘Something Happened’ with ‘The Whole’. The rhythm is sustained and pursuing: you cannot avoid to follow it! After so many beats and ethereal sounds, ‘Wake Mania Without End II’ leave us speechless in a suspended atmosphere for almost 6 minutes. The notes themselves are suspended in the space till when they achieve a peak of energy that slowly and gently decline just after it. I recommend to listen to this track again and again. Where We Were ends with ‘Habenero’ and ‘Habenero (Version)’ confirming the step ahead of Greg Haines music world. The high velocity of the rhythm of the these two tracks is opposite to the notes that characterize his previous works. ‘Habenero’ and its ‘Version’ will blow your mind and will drag you in their phenomenal rhythm. The percussion in ‘Habenero’ is brilliant and make it a rhythmically propulsive tracks. The counterpart ‘Habenero (Version)’ is the continuous of ‘Habenero’ without the percussion but with the same dense atmosphere and tense energy. The last minute of the album is engulfing. A meditative ending and a meditative starting for an album that has a lot in it.

Greg Haines - Where We Were  (flac  233mb)

01 The Intruder 6:27
02 Something Happened 5:40
03 So It Goes 7:17
04 Trasimeno 2:33
05 The Whole 4:04
06 Wake Mania Without End II 5:37
07 Habenero 6:30
08 Habenero (Version) 7:13

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RhoDeo 1703 Grooves

Hello, did you feel that shift in 'the force' today, the US will no longer borrow from their future-fat chance- no it's America will be great again, like it was before the Vietnam war (i assume), when the militairy industrial complex was still relatively weak, question is does president Trump and his Breitbart friends see it this way, and should they, how to get control over this extremely dangerous leech that bleeds the US dry and what to do about those corporations that hardly pay tax. It's the enemy within that endangers the US, not China or those insane Daesh clowns. I predict that Trump will succumb to paranoia before a patsy bullit strikes him...



Today's artists interacted with numerous music industry personalities, one in particular was Motown producer Norman Whitfield. Whitfield gradually became associated with the group by hiring it for recording sessions; the group also worked with Yvonne Fair, the Undisputed Truth, and the Temptations through Whitfield's influence. After a couple of years of seasoning, the group began production on its debut album under Whitfield's supervision. Also during this time, MCA Records was seeking an artist for the soundtrack to the movie Car Wash. Whitfield convinced executives that the band was more than competent for the job. So the material that Whitfield had assembled for the group's debut album became the soundtrack's material, and the start of their music career..... N'joy

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The Los Angeles-based group originally comprised Henry Garner (drums), Terral "Terry" Santiel (congas), Lequeint "Duke" Jobe (bass), Michael Moore (saxophone), Kenny Copeland (trumpet, lead vocals), Kenji Brown (guitar, lead vocals), Freddie Dunn (trumpet), and Victor Nix (keyboards). The group began in the early 1970s, when members of several backup bands from the Watts and Inglewood areas of Los Angeles united under the name Total Concept Unlimited. In 1973, this collective toured England and Japan behind Motown soul star Edwin Starr. Starr introduced them to Norman Whitfield, Motown's 'psychedelic shaman' who was responsible for bringing a progressive funk-rock slant to the company, via such productions as Starr's "War", The Undisputed Truth's "Smiling Faces Sometimes" and The Temptations' "Papa Was A Rolling Stone".

Whitfield, after a decade at Motown, wanted to start a company of his own. He took the T.C.U. octet under his wing and signed them to his label. The group, now called Magic Wand, began working with Yvonne Fair and became the studio and concert band for The Undisputed Truth. During a tour stop in Miami, Undisputed Truth leader Joe Harris stumbled upon a singer named Gwen Dickey, then a member of a local group called The Jewels. Harris informed Whitfield of his discovery and Dickey was flown to Los Angeles to audition. In Dickey, Whitfield found the ingredient he felt was missing in Magic Wand: a charismatic female singer. He gave her the stage name Rose Norwalt. The original band lineup, now complete, prepared their debut album.

During this time Whitfield was contacted by film director Michael Schultz, fresh from the success of his first feature, Cooley High. Schultz offered Whitfield the opportunity to score his next picture, Car Wash. Whitfield would utilize the film to launch his new group, and began composing music based on script outlines. He and the band visited the film set, soaking up the atmosphere. This was one of the rare instances in Hollywood in which the music was composed concurrently with the picture instead of after the fact. In the spirit of the soundtrack, the band's name was changed one final time to 'Rose Royce'. The name not only referenced the movie's automotive theme, but it also placed Gwen "Rose" Dickey front and center. Further, it hinted at a touch of class the band strove to bring to 1970s soul-funk.

The movie Car Wash and the soundtrack were great successes, bringing the group national fame. Whitfield won the Best Music award at the Cannes Film Festival, and the album received the Grammy for Best Motion Picture Score Album of the Year. Released in late 1976, the soundtrack featured three Billboard R&B Top Ten singles: "Car Wash," "I Wanna Get Next to You," and "I'm Going Down." The first of these was also a number one single on the Billboard popular music charts, and "I Wanna Get Next to You" reached number ten.

The group's follow-up album, Rose Royce II: In Full Bloom, produced two Top Ten singles, "Do Your Dance" and "Ooh Boy". It also included "Wishing on a Star", which for Rose Royce was a top-10 hit only in the UK; it became notable elsewhere through its cover versions, including The Cover Girls' Top Ten single in 1992. During 1978, they released their third album, entitled Rose Royce III: Strikes Again!, and it featured "I'm in Love (And I Love the Feeling)" and "Love Don't Live Here Anymore". Both singles entered the Billboard R&B Top Five. "Love Don't Live Here Anymore" was a #2 smash hit in the UK, and would later gain greater exposure through its cover versions, most notably by Madonna in 1984 and 1995.

The group followed with a series of modest successes that reached the charts, but never gained the status that their previous songs did. Dickey left the group in April 1980 and the band temporarily disbanded. However, the remaining members regrouped, adjusted the line-up, and kept the group somewhat popular in the UK, where they remained a marquee attraction. Rose Royce was featured in the TV One's seasonal series, Unsung during the spring of 2010. The story featured the successes and internal bickering of the group. Dickey, Copeland, Jobe, Moore and Garner were the only members of the band who gave interviews throughout the program. Dickey now performs as a solo artist in the UK, but mentioned during the interview that she would not mind performing with the group once again.

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Inspiration can hit at any moment; even while you're eating chicken. Songwriter/producer Norman Whitfield had hits with such Motown acts as the Temptations, Marvin Gaye, Gladys Knight and the Pips, and Undisputed Truth. While playing a basketball game, he stopped to write down lyrics on a bag of Kentucky Fried Chicken. He'd been trying to write music for Car Wash, an upcoming movie from Universal Pictures starring Richard Pryor, Franklin Ajaye, George Carlin, Ivan Dixon, and Bill Duke. Whitfield was initially less than thrilled about being involved with the project, but was wooed by director Michael Schultz (Cooley High, Krush Groove), the salary, and its use as a good exposure tool for a new group that was working with called Rose Royce. The group was allowed to watch the filming of the movie and kept Whitfield abreast of its plot line. Written and produced by Whitfield, Rose Royce's "Car Wash" went platinum, selling over two million copies, holding the number one R&B spot for two weeks while going to number one pop in late 1976. The movie, made at a cost of two million, grossed 20 million. The Car Wash soundtrack went gold, spawning the R&B/pop Top Ten hit "I Wanna Get Next to You" and "I'm Going Down."

Rose Royce - Car Wash (OST)    (flac  425mb)

01 Car Wash 5:06
02 6 O'Clock DJ (Let's Rock) 1:09
03 I Wanna Get Next To You 3:58
04 Put Your Money Where Your Mouth Is 3:25
05 Zig Zag 2:30
06 You're On My Mind 3:27
07 Mid Day DJ Theme 1:43
08 Born To Love You 3:06
09 Daddy Rich 3:24
10 Richard Pryor Dialogue 5:05
11 You Gotta Believe (Voc Pointer Sisters) 2:51
12 I'm Going Down 3:36
13 Yo Yo 4:17
14 Sunrise 10:46
15 Righteous Rhythm 2:30
16 Water 3:31
17 Crying 2:57
18 Doin' What Comes Naturally 3:10
19 Keep On Keepin' On 6:39

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As strong as any of the songs featured on 1976's Car Wash soundtrack, Rose Royce's 1977 outing,II: In Full Bloom, allowed them to fully shine in their own right and on their own terms. Although their early incarnation as Total Concept Unlimited had paired them with Motown labelmates the Temptations and given them clout in the label stable, it was the addition of powerhouse vocalist Gwen Dickey and continued pairing with über-producer Norman Whitfield that brought the band into their own. Packed with tight funk jams and horn-heavy construction, tempered only occasionally by Dickey's sweet ballads, II: In Bloom is a disco-funk masterpiece -- a pure fusion of both genres that works better than it has a right to, courtesy of both the band's own confidence and Whitfield's artful magic. The wistful and absolutely sublime ballad "Wishing on a Star" opens the set and should have been a chart-heavy hitter. In fact, it reached only number 52 on the R&B charts, proving that the band's fans were truly in the mood to dance. Rose Royce wouldn't disappoint, as the nine-minute funk monster "Do Your Dance" was uncaged. Shaved to a four-minute highlights version, the song gave the band a Top Five R&B hit. The full album version, however, is a far superior workout, while the equally funky "You Can't Please Everybody" and eight-minute epic "It Makes You Feel Like Dancin'" keep the groove moving smoothly. Rose Royce may have shot to stardom with the Car Wash craze, but they are far better without the celluloid glitter covering up their own pure gold.

Rose Royce - In Full Bloom   (flac  365mb)

01 Wishing On A Star 4:52
02 You Can't Please Everybody 3:50
03 Ooh Boy 4:16
04 Do Your Dance 9:18
05 You're My World Girl 4:11
06 Love, More Love 3:17
07 Funk Factory 3:07
08 It Makes You Feel Like Dancin' 8:49
Bonus
09 Do Your Dance (Part 1) 3:30
10 Ooh Boy (Single Version) 3:50
11 Wishing On A Star (Single Version) 3:59
12 It Makes You Feel Like Dancin' (Single Version) 4:27

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Rose Royce's third album contains two killer ballads: "I'm in Love (And I Love the Feeling)," and the much recorded "Love Don't Live Here Anymore" which Gwen Dickey works like Mary J. Blige wishes she could. Norman Whitfield's productions often included doses of classical elements and this album is no exception, the sampling and borrowing occur frequently. "Angel in Disguise," another sweet ballad, sounds a bit contrived. As effective on upbeat tunes "That's What's Wrong with Me," "Do It, Do It," and "First Come First Serve," are first-class movers and shakers. A carnival barker on the intro mars the opening cut "Get Up Off Your Fat."

Rose Royce - Strikes Again  (flac 323mb)

01 Get Up Off Your Fat 4:35
02 Do It, Do It 4:09
03 I'm In Love (And I Love The Feeling) 3:41
04 First Come, First Serve 3:19
05 Love Don't Live Here Anymore 3:55
06 Angel In The Sky 4:56
07 Help 3:53
08 Let Me Be The First To Know 3:52
09 That's What's Wrong With Me 6:37
Bonus
10 First Come, First Serve (Single Version) 3:27
11 Love Don't Live Here Anymore (Single Version) 3:51
12 That's What's Wrong With Me (Single Version) 5:33

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Rose Royce continued releasing quality music into the early eighties. This included 1982 Stronger Than Ever, which was remastered and rereleased by BBR Records on 20 February 2012. Stronger Than Ever was Rose Royce’s first and only album for Epic Records, after leaving Whitfield Records, owned by their producer Norman Whitfield. However, although they’d left Whitfield Records, Norman Whitfield was still producing their albums, helping Rose Royce to produce their own brand of soulful, funky music, music that lit up dance-floors since their debut single Car Wash in 1976.

Stronger Than Ever was Rose Royce’s seventh album in seven years, and final album for a major label. It was recorded at the Fort Knox Recording Studio in Los Angeles. As usual, Norman Whitfield was producing the album, hoping to turn round the group’s fortunes. Ever since their fourth album, Rose Royce IV: Rainbow Connection, Rose Royce’s popularity had declined. Both Rose Royce and Norman Whitfield were keen to see an upturn in the group’s fortunes. Stronger Than Ever was an album that deserved to do much better, given the standard of music on the album. There isn’t a poor track on the album, with two beautiful ballads in Sometimesy Lady and Somehow We Made It Through the Rain, sitting comfortably next to the uplifting, emotive sound of the singles Best Love and Still In Love. To me, they’re two of the highlights of Stronger Than Ever. That’s not forgetting the trio of funky tracks Dance With Me, Fire In the Funk and Talk To Me. As if that’s not enough, BBR Records remastered rerelease of Stronger Than Ever features four bonus tracks.

Rose Royce - Stronger Than Ever     (flac 327mb)

01 Dance With Me 3:58
02 Sometimesy Lady 2:24
03 Best Love 3:54
04 Still In Love 5:39
05 You Blew It 4:14
06 Somehow We Made It Through The Rain 4:39
07 Fire In The Funk 5:37
08 Talk To Me 4:32
Bonus
09 Best Love (12" Version) 5:02
10 Still In Love (Single Version) 3:57
11 Fire In The Funk (Single Version) 4:11
12 Dance With Me (12" Version) 5:21

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RhoDeo 1703 Re-Up 83

Hello,

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

Looka here another batch of 33 re-ups, requests fullfilled up to January 18th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

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3x Sundaze Back in Flac (Field Rotation - Licht Und Schatten, Field Rotation - Acoustic Tales, Field Rotation - And Tomorrow I Will Sleep)


4x Aetix NOW in Flac (Echo and the Bunnymen - Heaven Up Here, Echo And The Bunnymen - Ocean Rain, Echo and The Bunnymen - Crocodiles, Echo and The Bunnymen - Porcupine)


3x Aetix NOW in Flac (Modern English - After The Snow, General Public - All The Rage, still in ogg Fingerprintz - The Very Dab)


3x Aetix NOW In Flac (Thompson Twins - Into The Gap extended, Echo and The Bunnymen - Porcupine extended, still in ogg Nasmak - Silhoutte +Flexi)


4x Roots Back in Flac (UB40 - Present Arms, UB40 - Present Arms In Dub, Musical Youth - Anthology, + UB40 - Signing Off )


3x Roots Back in Flac (Linton Kwesi Johnson ‎- Tings An' Times, Linton Kwesi Johnson - More Time, Linton Kwesi Johnson - Live In Paris)


3x Aetix Back in Flac (Anna Domino - Anna Domino, Anna Domino - This Time, Anna Domino - Mysteries Of America)


3x Aetix NOW in Flac (The Pop Group - Y, The Pop Group - For How Much Longer Do We Tolerate Mass Murder, VA - In The Beginning There Was Rhythm)

7x Wavetrain Back in Flac ( The Future and The Human League - The Golden Hour Of The Future, Human League - Travelogue , Heaven 17 - Endless, Clock DVA - Thirst, Cabaret Voltaire - Drinking Gasoline, still in ogg Hula - Cut From Inside, In The Nursery - Koda)

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RhoDeo 1703 Aetix

Hello,

Today's artists influenced future hardcore punk bands with their fast-paced, energetic playing style and attitude. Along with the Sex Pistols and the Clash, they helped to spearhead the punk movement in the United Kingdom. They are sometimes referred to as British punk's "band of firsts," having made accomplishments mentioned previously, as well as other "firsts" like the first punk band to break up and come back........N'Joy

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With punk's history having entered a new millennium, the impact of the band initially judged "the least likely to" seems to grow ever more each day. The Ramones hold deserved pride of place for kick-starting the whole thing, while the Sex Pistols -- and to a lesser extent, the Clash -- helped take it to an even more notorious level, serving as role models for many young bands to this day. But arguably just as important and memorable were the Damned, London contemporaries of the Pistols and Clash that made their own mark from the start. Eschewing political posing, ill-fitting outside rhetoric, and simply doing the same thing over and over again, the group -- which lacked anything like a stable lineup -- took punk's simplicity and promise as a starting point and ran with it. The end result, at the group's finest: a series of inspired, ambitious albums and amazing live shows combining full-on rock energy, a stylish sense of performance, and humorous deadpan cool. Not necessarily what anyone would have thought when Ray Burns and Chris Millar met in 1974, when both ended up working backstage at the Croydon Fairfield Hall.

Burns and Millar -- more famously known in later years as guitarist/singer Captain Sensible and manic drummer Rat Scabies -- kept in touch as both struggled in the stultifying mid-'70s London scene. Things picked up when Scabies talked his way into a rehearsal with London S.S., the shifting lineup ground zero of U.K. punk that nearly everybody seemed to belong to at one point or another. There he met guitarist Brian James, while in a separate venture overseen by Malcolm McLaren, casting about for his own particular group to oversee, Scabies first met theatrical singer Dave Vanian, still working through his New York Dolls/Alice Cooper obsession. Vanian's own history allegedly included singing "I Love the Dead" and "Dead Babies" while working as a gravedigger, but whatever the background, he proved to be a perfect frontman. Scabies put Sensible in touch with Vanian and James and the Damned were born, with Sensible switching over to bass while James handled guitar and songwriting.

Though the Sex Pistols became the most publicized of all the original London punk groups, forming and playing before everyone else, the Damned actually ended up scoring most of the firsts on its own, notably the first U.K. punk single -- "New Rose" -- in 1976 and the first album, Damned Damned Damned, the following year. Produced by Nick Lowe, both were clipped, direct explosions of sheer energy, sometimes rude but never less than entertaining. The group ended up sacked from the Pistols' cancellation-plagued full U.K. tour after only one show, but rebounded with a opening slot on the final T. Rex tour, while further tweaking everyone else's noses by being the first U.K. act to take punk back to America via a New York jaunt. Things started to get fairly shaky after that, however, with Lu Edmonds drafted in on second guitar and plans for the group's second album, Music for Pleasure, not succeeding as hoped for. The members wanted legendary rock burnout Syd Barrett to produce, but had to settle for his Pink Floyd bandmate Nick Mason. The indifferent results and other pressures convinced Scabies to call it a day, and while future Culture Club drummer Jon Moss was drafted in to cover, the group wrapped it up in early 1978.

Or so it seemed; after various go-nowhere ventures (Sensible tried the retro-psych King, Vanian temporarily joined glam-too-late oddballs the Doctors of Madness), all the original members save James realized they still enjoyed working together. Settling the legal rights to the name after some shows incognito in late 1978, the group, now with Sensible playing lead guitar (and also the first U.K. punk band to reunite), embarked on its most successful all-around period. With a series of bassists -- first ex-Saints member Algy Ward, then Eddie & the Hot Rods refugee Paul Gray and finally Bryn Merrick -- the Damned proceeded to make a run of stone-cold classic albums and singles. There'd be plenty of low points amidst the highs, to be sure, but it's hard to argue with the results. Vanian's smart crooning and spooky theatricality ended up more or less founding goth rock inadvertently (with nearly all his clones forgetting what he always kept around -- an open sense of humor). Sensible, meanwhile, turned out to be an even better guitarist than James, a master of tight riffs and instantly memorable melodies and, when needed, a darn good keyboardist, while Scabies' ghost-of-Keith Moon drumming was some of the most entertaining yet technically sharp work on that front in years.

Machine Gun Etiquette The one-two punch of Machine Gun Etiquette, the 1979 reunion record, and the following year's The Black Album demonstrated the band's staying power well, packed with such legendary singles as the intentionally ridiculous "Love Song," the anthemic "Smash It Up," and "Wait for the Blackout" and the catchy Satanism (if you will) of "I Just Can't Be Happy Today." On the live front, the Damned were unstoppable, riding out punk's supposed death with a series of fiery performances laden with both great playing and notable antics, from Sensible's penchant for clothes-shedding to Vanian's eye for horror style and performance. Released in 1982, Strawberries found the Damned creating another generally fine release, but to less public acclaim than Sensible's solo work, the guitarist having surprisingly found himself a number one star with a version of "Happy Talk" from South Pacific. While the dual career lasted for a year or two more, the Damned found themselves starting to fracture again with little more than a hardcore fan base supporting the group work -- Sensible finally left in mid-1984 after disputes over band support staff hirings and firings. Second guitarist Roman Jugg, having joined some time previously, stepped to the lead and the band continued on.

Phantasmagoria To everyone's surprise, not only did the Damned bounce back, they did so in a very public way -- first by ending up on a major label, MCA, who issued Phantasmagoria in 1985, then scoring a massive U.K. hit via a cover of "Eloise," a melodramatic '60s smash for Barry Ryan. It was vindication on a commercial level a decade after having first started, but the Anything album in 1986, flashes of inspiration aside, felt far more anonymous in comparison, the band's worst since Music for Pleasure.

After a full career retrospective release, The Light at the End of the Tunnel, the band undertook a variety of farewell tours, including dates with both Sensible and James joining the then-current quartet. The end of 1989 brought a final We Really Must Be Going tour in the U.K., featuring the original quartet in one last bow, which would seem to have been the end to things. Anything but. The I Didn't Say It tour arrived in 1991, with Paul Gray rejoining the band to play along with the quartet. It was the first in a series of dates and shows throughout the '90s which essentially confirmed the group as a nostalgia act, concentrating on the early part of its career for audiences often too young to have even heard about them the first time around. It was a good nostalgia act, though, with performances regularly showing the old fire (and Sensible his legendary stage presence, often finishing shows nude). After some 1992 shows, the Damned disappeared again for a while -- but when December 1993 brought some more dates, an almost all-new band was the result. Only Scabies and Vanian remained, much like the late '80s lineup; their cohorts were guitarists Kris Dollimore and Alan Lee Shaw and bassist Moose.

This quintet toured and performed in Japan and Europe for about two years, also recording demos here and there that Vanian claimed he believed were for a projected future album with both Sensible and James contributing. Whatever the story, nothing more might have happened if Scabies hadn't decided to work out a formal release of those demos as Not of This Earth, first appearing in Japan in late November 1995. Vanian, having reestablished contact with Sensible during the former's touring work with his Phantom Chords band, responded by breaking with Scabies, reuniting fully with Sensible and recruiting a new group to take over the identity of the Damned. Initially this consisted of Gray once again, plus drummer Garrie Dreadful and keyboardist Monty. However, Gray was replaced later in 1996 following an on-stage tantrum by, in a totally new twist, punk veteran Patricia Morrison, known for her work in the Gun Club and the Sisters of Mercy among many other bands. Scabies reacted to all this with threats of lawsuits and vituperative public comments, but after all was said and done, Vanian, Sensible, and company maintained the rights to the name, occasional billing as "ex-members of the Damned" aside, done to avoid further trouble.

Since then, this latest version of the Damned has toured on a fairly regular basis, though this time with instability in the drumming department (Dreadful left at the end of 1998, first replaced by Spike, then later in 1999 by Pinch). While Vanian continued to pursue work with the Phantom Chords, for the first time in years, the Damned started to become a true outfit once again, the lineup gelling and holding together enough to warrant further attention. The capper was a record contract in 2000 with Nitro Records, the label founded and run by longtime Damned fanatic Dexter Holland, singer with the Offspring (who covered "Smash It Up" for the Batman Forever soundtrack in the mid-'90s). In a fun personal note, meanwhile, Morrison and Vanian married, perhaps making them the ultimate punk/goth couple of all time. Grave Disorder By 2001, the Vanian/Sensible-led Damned looked to be in fine shape, releasing the album Grave Disorder on Nitro and touring to general acclaim. Knowing the fractured history of the band -- captured in the literally endless series of releases, authorized and otherwise, from all periods of its career, live, studio, compilations, and more -- only a foolish person would claim things would stay on an even keel for the future.

Permanently losing Scabies would seem to have been a killer blow on first blush, but the group has soldiered on regardless, a welcome influence from the past as well as a group of fine entertainers for the present. The year 2005 found both eras of the band being represented. While the new lineup was touring and working on a new album, the original lineup was honored by the three-disc box set Play It at Your Sister, which was released on the Sanctuary label. The limited-edition set covered the years 1976-1977, featuring all the tracks from the first two albums along with John Peel sessions and live material. It soon came time for the new lineup to issue its own album, which arrived in 2008 in the form of a slick, pop-influenced record titled So, Who's Paranoid? Extensive touring ensued, and in early 2015, with Sensible present, a documentary titled The Damned: Don't You Wish That You Were Dead premiered at the SXSW Film Festival. Merrick, who had been performing in a Ramones tribute band, died later that year of cancer.

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While the Sex Pistols will always have a prominent place in the story of U.K. punk, the Damned did nearly everything first, including the first single, the smoking "New Rose," and the first album, namely this stone classic of rock & roll fire. At just half an hour long, Damned Damned Damned is a permanent testimony to original guitarist Brian James' songwriting (ten of the 12 tracks are his) and the band's take-no-prisoners aesthetic. Starting with Captain Sensible's sharp bassline for "Neat Neat Neat," which rapidly explodes into a full band thrash, the Damned left rhetoric for the theoreticians and political posing for the Clash. All the foursome wanted to do was rock, and that they do here. Dave Vanian already has his spooky-voiced theatrics down cold; "Feel the Pain" indulges his Alice Cooper fascination while the band creates some creepy fun behind him. Most of the time, he's yelping with the best of them, but with considerably more control than most of the era's shouters. Scabies' considerable reputation as a drummer starts here; comparisons flew thick and fast to Keith Moon, and not just for on-stage antics (of which there were plenty). His sense of stop-start rhythm and fills is simply astounding, whether on "So Messed Up" or in his own one-minute goof, "Stab Yer Back." Though the Captain doesn't get his full chance to shine on bass, he's more than adequate, while James just cranks the amps and lets fly. Concluding with a version of the Stooges' "I Feel Alright" that sounds hollower than the original but no less energetic, Damned Damned Damned is and remains rock at its messy, wonderful best.

The Damned - Damned Damned Damned (flac  222mb)

01 Neat Neat Neat 2:46
02 Fan Club 2:59
03 I Fall 2:08
04 Born To Kill 2:37
05 Stab Your Back 1:03
06 Feel The Pain 3:37
07 New Rose 2:44
08 Fish 1:38
09 See Her Tonite 2:29
10 1 Of The 2 3:10
11 So Messed Up 1:55
12 I Feel Alright 4:26

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Produced, for numerous arcane reasons, by Pink Floyd drummer Nick Mason, the second Damned album, Music for Pleasure, was considered a disaster at the time and led to their being dropped from Stiff and their first break-up. In retrospect, however, it's quite a respectable punk artifact, though the Damned themselves rejected it and never performed any of its songs again. More a historical document than a great LP, Music for Pleasure's highlights include "Politics," "Alone," "Your Eyes," and "Creep (You Can't Fool Me)." There's some great Lol Coxhill sax wailing on "You Know," and Beatles completists will be interested in the band's cover of "Help." Not essential, but a good solid album for collectors of '70s punk.

The Damned - Music For Pleasure   (flac 259mb)

01 Problem Child 2:13
02 Don't Cry Wolf 3:15
03 One Way Love 3:44
04 Politics 2:26
05 Stretcher Case 1:52
06 Idiot Box 5:00
07 You Take My Money 2:04
08 Alone 3:37
09 Your Eyes 2:53
10 Creep (You Can't Fool Me) 2:12
11 You Know 5:05
12 Help 1:45
13 Sick Of Being Sick 2:32
14 Singalong A Scabies 0:59

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Rejoining forces without Brian James, who pursued his own interests from then on (only hooking up with the band again for a late-'80s "farewell" show), the remaining three brought in young Saints veteran Ward on bass, recorded an album, and hoped for the best. That best proved much better than expected; while singles ended up on the charts, Machine Gun Etiquette itself was deservedly hailed as another classic from the band. Over time, its reputation has grown to equal the original Damned Damned Damned; while no less strong than that record, the Damned here bring in a wide variety of touches and influences to create a record that most of their contemporaries could never have approached. The group's wicked way around witty punk hadn't ebbed a bit; the opening cut, "Love Song," is a hilarious trashing of romantic clichés (sample lyric: "I'll be the rubbish, you'll be the bin!") that barely lasts two minutes, while "Noise, Noise, Noise" and "Liar" work in the same general vein. These, however, only scratch the surface. "Melody Lee," written by the Captain for a favorite comic character, starts with a lovely piano intro, whereas the celebratory angst of "I Just Can't Be Happy Today" chugs along with garagey élan and keyboards á la the Electric Prunes. Other prime standouts include "Plan 9 Channel 7," a Grand Guignol of an epic about James Dean and Vampira with a fantastic Vanian vocal; the merry mayhem of "These Hands" (belonging to a killer circus clown, with appropriate carnival music, of course); and a great rip through the MC5's "Looking at You." The best moment was saved for last, though: "Smash It Up," a two-part number divided between an affecting instrumental tribute to longtime supporter and Captain hero Marc Bolan, and a perfect trash-the-rules-and-party pop/punk/R&B scorcher

The Damned - Machine Gun Etiquette (flac 432mb)

01 Love Song 2:21
02 Machine Gun Etiquette 1:48
03 I Just Can't Be Happy Today 3:42
04 Melody Lee 2:07
05 Anti-Pope 3:19
06 These Hands 2:02
07 Plan 9 Channel 7 5:08
08 Noise, Noise, Noise 3:09
09 Looking At You 5:07
10 Liar 2:43
11 Smash It Up (Parts 1 & 2) 5:11
Bonus Tracks
12 Love Song (Ed Hollis Version) 2:03
13 Noise, Noise, Noise (Ed Hollis Version) 3:25
14 Suicide 3:18
15 Smash It Up (Part 2) (Backing Track - Singalonga Damned) 2:56
16 Smash It Up (Part 4) 1:57
17 Burglar 3:33
18 I Just Can't Be Happy Today (DJ Edit) 3:00
19 Ballroom Blitz 3:28
20 Turkey Song 1:32

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The fact that one of its songs is called "Hit or Miss" is quite appropriate for the double-vinyl Black Album; while not perfect, it's definitely got some high points on it. Given the intentionally parodic reference to the Beatles' own two-disc sprawler, perhaps the semi-schizophrenia is perfectly intentional. Some of the numbers show the band following their original punk vein, but by this point the four (joined here by a new bassist, Paul Gray) were leaving straight, three-chord thrash to the cul-de-sac revivalists. The album begins with a Damned classic, "Wait for the Blackout," a dramatic psych/punk surge infected with Vanian's glorious croon, celebrating the joys of the night while steering clear of overtly-serious goth affectations. After that, things start to vary, but tracks of note are still thick on the ground, including "Lively Arts," a nicely barbed take on culture with some harpsichord to match, and the goofy but still enjoyable "Drinking About My Baby." Regardless, things get a bit restful at points, and while Vanian often steps forward to continue carrying it along, sometimes even the band isn't happy with the results. "History of the World (Part One)" has always carried the credit "overproduced by Hans Zimmer" because they felt the guest synth player did just that! However, the final two studio tracks are doozies: "Therapy," a Sensible/Vanian-sung romp with a great chorus, and the sidelong "Curtain Call," perhaps the most unlikely thing the Damned ever did. That said, it's still a surprisingly good blast, a tour de force for Vanian particularly and a chance for the band to try everything from straightforward rock to gentler atmospherics.

The Damned - The Black Album (flac  368mb)

01 Wait For The Blackout 3:51
02 Lively Arts 2:55
03 Silly Kid's Games 2:15
04 Drinking About My Baby 3:27
05 Twisted Nerve 4:35
06 Hit Or Miss 2:36
07 Dr Jeckyll And Mr Hyde 4:31
08 Sick Of This And That 1:47
09 The History Of The World (Part 1) 3:52
10 13th Floor Vendetta 5:04
11 Therapy 6:11
12 Curtain Call 17:12

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The Damned - The Black Album bonus (flac  343mb)

01 Love Song (Live) 2:10
02 Second Time Around (Live) 1:46
03 Smash It Up Parts 1 & 2 (Live) 4:24
04 New Rose (Live) 1:50
05 I Just Can't Be Happy Today (Live) 3:55
06 Plan 9 Channel 7 (Live) 5:12
07 White Rabbit 3:00
08 Rabid (Over You) 3:43
09 Seagulls 2:36
10 The History Of The World (Part 1) (Single Version) 3:48
11 I Believe The Impossible 2:54
12 Sugar And Spite 1:30
13 There Ain't No Sanity Clause 2:27
14 Looking At You (Live) 5:51
15 White Rabbit (Extended Version) 5:22

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RhoDeo 1703 Roots

Hello,

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


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

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

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

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

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

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

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

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

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Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.

Sergio Mendes & Brasil '77 - Pais Tropical (flac  222mb)

01 País Tropical 2:42
02 So Many People 3:20
03 Morro Velho 4:24
04 Zanzibar 4:55
05 Tonga (A Tonga da Mironga Do Kabulete) 4:25
06 Gone Forever 3:35
07 Asa Branca 2:15
08 I Know You 4:07
09 After Midnight 4:36
10 Pais Toropical(Japanese Version) 2:36

Sergio Mendes & Brasil '77 - Pais Tropical    (ogg  84mb)

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In the mid- to late '60s, Sergio Mendes & Brasil '66 were one of the most successful acts doing stark Latin pop for A&M. By the early '70s, the members of the classic Brasil '66 lineup had moved on and styles had changed. Mendes ended up on Elektra/Asylum in the mid- to late '70s, when the label was best-known for its laid-back and polished pop/rock artists like Carly Simon, the Eagles, and Jackson Browne. For this 1977 set, Mendes didn't pick up an acoustic guitar and sign on Waddy Watchel, however. Sergio Mendes & the New Brasil '77 has Mendes in a fully updated, glossy R&B/pop/jazz mode. For fans that might not be the best news. The covers of "Love Me Tomorrow" and "Mozambique" have all of the accoutrements of stylish late-'70s R&B/jazz and most of their facelessness. The sleek cover of "If You Leave Me Now" does have Mendes' trademark close, halting harmonies, and an inventive arrangement. Stevie Wonder contributes two B+ tracks, "Love City" and "The Real Thing," and both warmly bear his harmonic signatures. Players who were part of Wonder's great '70s band Wonderlove also contribute tracks, like the aforementioned "Mozambique" and the playful "P-Ka-Boo." Like many artists doing albums like this, Mendes all but disappears in the gloss of the mix. The results are fair to good, but anyone liking his '60s work can't help but feel disappointed.

Sergio Mendes e The New Brasil 77   (flac  207mb)

01 Love Me Tomorrow 3:30
02 Love City 3:32
03 Mozambique 3:02
04 If You Leave Me Now 3:50
05 Penninsula 2:14
06 Why 3:29
07 The Real Thing 4:45
08 P-Ka-Boo 3:56
09 Life 3:53

Sergio Mendes e The New Brasil 77      (ogg   78mb)

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At long last, Sergio Mendes seemed to be getting a bit weary of the constant chore of chasing hits in the North American pop field, and the siren call of his native Brazil beckoned. So while the overall sound of Arara remains mostly stuck in Mendes' '80s dance-pop manner, the material is all Brazilian and the CD is sometimes open to more complex rhythms than what Mendes had been using since the mid-'70s. In other words, this is not far away from the concept that The Manhattan Transfer tried on its Brasil album, but not nearly as bold nor as moving. As in the '60s, Mendes draws from the top of the deck of Brazilian writers -- Ivan Lins, Djavan, Milton Nascimento, Jorge Ben, Gilberto Gil, Dori Caymmi -- for material. There is also a remake from the Brasil '66 days, a "Mas Que Nada" electronically updated for the end of the '80s -- a little stiffer, perhaps, but the tune shines through anyway. Though only a partial return to Brazil, this record nevertheless signaled a welcome trend in Mendes' work, where he would return more and more to his roots in the future.

Sergio Mendes - Arara (flac 260mb)

01 Sarara (Bring Me The Sunlight) 4:00
02 Mas Que Nada 3:50
03 Some Morning 3:46
04 Nightlife 3:37
05 Cinnamon And Clove (Cravo E Canela) 3:30
06 Balafon 3:28
07 Surrender 4:21
08 Keep This Heart 3:28
09 Toucan's Dance (Instrumental) 3:48
10 The Island 3:37

Sergio Mendes - Arara    (ogg  95mb)

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What 1989's Arara hinted at, 1991's Brasileiro delivers with a vengeance, for at long last, here is a genuine, back-to-Brazil tour de force by expatriate Mendes. Taking up the long-abandoned thread of his prophetic Primal Roots album of 1972, Mendes went back to the taproots of his heritage, calling upon a plethora of explosive Brazilian rhythms and sounds recorded mostly in Brazil. Though he returned to California to pile on additional tracks from L.A. sessionmen and give the production a finished sheen, there is no sense of any watering down; the thrust of the music bears the added weight and polish easily. With the rat-a-tat opening of thunderous Bahian-influenced percussion from the streets of Rio, "Fanfarra (Cabua-Le-Le)" gets the CD off to a tremendous start, and "Magalenha" continues the assault directly from the hands of Bahian percussionists. Energetic fusions of this and that abound on this recording. Combining forro and samba reggae with Indiado stomps and shouts (the convincing horn riffs are performed on synths), "What Is This" -- good question -- is a romping Bahian take on hip-hop, and "Kalimba" grafts Portuguese vocals onto a swinging American funk groove. Mendes once again draws upon the giants and comers of Brazilian songwriting -- Ivan Lins, Gilberto Gil, Joao Bosco, Carlinhos Brown, and Guinga -- and the unusual 3/4-meter samba "Pipoca" is the creation of do-everything mystery man Hermeto Pascoal. Dominating the signature Mendes vocal blend is Gracinha Leporace (Mrs. Mendes), who sounds more vibrant than ever on these tracks, and bassist Sebastian Neto also returns to the Mendes fold. This was Mendes' most electrifying album in at least two decades; you have to go back all the way to -- well -- Primal Roots to hear this artist operating at such a peak.

Sergio Mendes - Brasileiro     (flac  353mb)

01 Fanfarra (Cabua-le-le) 4:01
02 Magalenha 3:37
03 Indiado 4:16
04 What Is This? 4:44
05 Lua Soberana 4:13
06 Sambadouro 3:15
07 Senhoras Do Amazonas 4:40
08 Kalimba 4:18
09 Barabare 3:23
10 Esconjuros 3:39
11 Pipoca 3:09
12 Magano 4:34
13 Chorado 3:23
14 Fanfarra (Despedida) 0:29

Sergio Mendes - Brasileiro      (ogg   137mb)

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RhoDeo 1703 Vibrations 4

Hello,

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

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

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

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

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

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

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

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

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

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

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

THE TWO HEMISPHERES OF THE BRAIN

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

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

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

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

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The BMV Series 4: The Theta Brainwaves flac combines the power of audio brainwave training with recent biofeedback research and brainwave entrainment technologies to allow you experience deep states of meditation, quickly and easily. You can use this powerful flac to take advantage of the numerous benefits that Theta Brainwave Training has to offer. It's an open-ended audio mind tool that can allow you to choose which levels of Theta brainwave entrainment that you would like to experience.

The whole program progressively slows your waking Beta brainwaves into a soothingly relaxed Theta brainwave state. The tracks vary from simple Theta level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. You can listen to the whole Series (all tracks in a row) and progressively tune your brainwaves into deeper and deeper Theta levels. Theta brainwaves have been linked to states of relaxation and have been found to be present during most meditational states. Theta brainwaves are most common right before going to bed and immediately upon waking from sleep, and they can be used to enhance your perceptual functioning and boost your holistic thought-flowing ability.

Theta brainwaves have been linked to states of mental reverie, deep relaxation, increased visualization abilities, increased levels of creativity, highly free-flowing holistic thought, brainstorming, problem solving and many other positive influences. Theta brainwaves have also been linked to benefits of the physical body like decreased levels of stress, decreased levels of certain stress-related chemicals in your bloodstream such as adrenalin and hydrocortisol. Theta brainwaves often create increased visualization ability, free-flowing thoughts and access to "Eureka !" moments when the perfect solutions and needed answers just pop into your head.

By using this powerful BMV flac and entraining to Theta, you can add a brainwave boost to your meditations or simply summon an Theta state for any activity that requires inner relaxation, silencing of the mind, or simply a sense of stillness & mental calm. The whole program progressively slows your waking Beta brainwaves into an expanded, holistic, visualistic Theta brainwave range.



Brainwave Mind Voyages (Series IV) - The Theta Brainwaves (flac  263mb)

01 Upper Level Thetawaves
02 Upper Theta with Mid-Level Mix
03 Upper Theta with Low-Level Mix
04 UpperMiddle Level Thetawaves
05 UpperMid Theta with Upper Mix
06 UpperMid Theta with Lower Mix
07 LowetMiddle Level Thetawaves
08 LowerMid Theta with Upper Mix
09 LowerMid Theta with Lower Mix
10 Lower Level Thetawaves
11 Lower Theta with Upper Mix
12 Lower Theta with upper Delta Mix
13 The Holovibe The Schumann Resonance (7.8 Hz)

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)


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