Oops ! I forgot to pay my provider in time, and despite the bill saying i would be cut off this weekend they disconnected me already..obviously my mistake. Anyway I am currently on a very feeble hi-jacked wi-fi connection unable to upload anything, looks like it could be a few days or a week before i'm back...until then.
Rho
Sep 21, 2011
Sep 20, 2011
RhoDeo 1138 Roots
Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.
Today's artist singer, musician, composer, and rebel Peter Tosh cut a swathe through the Jamaican musical scene, both as a founding member of the Wailers and as a solo artist. He toured with the Rolling Stones and was shot dead by a low life he previously had tried to help.
Those that live of his legacy have ordered me to take down this page sigh...
***** ***** ***** ***** *****
Today's artist singer, musician, composer, and rebel Peter Tosh cut a swathe through the Jamaican musical scene, both as a founding member of the Wailers and as a solo artist. He toured with the Rolling Stones and was shot dead by a low life he previously had tried to help.
Those that live of his legacy have ordered me to take down this page sigh...
***** ***** ***** ***** *****
Sep 19, 2011
Illuminatus 1138 The Golden Apple 7
Hello, on the brink of another exiting week at the global banks casino, who's going to be stuck with the hot potato (Greece), make no mistake the Americans are deep into that, as they've been underwriting a lot of that bad debt, an enormous pressure is applied via the back channels mainly, but finance minister Geithner came in person to tell the Europeans to swallow that hot potato themselves. Germany however is still angry over the billions that were stolen by Wall Street in 2008 and is in no mood to bail out the American underwriters. All the propaganda in the press about the dire consequences if Greece gets dropped is a nonsense rumor spread by the banksters to get them bailed out once more.
Today the last chapters of the 7th Trip Netzach
xxxxx xxxxx xxxxx
The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.
The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.
The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!
xxxxx xxxxx xxxxx xxxxx xxxxx
The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.
xxxxx xxxxx xxxxx xxxxx xxxxx
The Golden Apple, Confusion, Tipareth, 7th trip (7-9) (62 min, 22mb)
07-07 Atlantis History (19:38)
07-08 Atlantis History 2 (22:27)
07-09 Otto FUCKUP (20:03)
xxxxx xxxxx xxxxx xxxxx xxxxx
previously
The Eye In The Pyramid Chaos, Discord (183mb)
The Golden Apple, Confusion, Bureaucracy ( 195mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Today the last chapters of the 7th Trip Netzach
xxxxx xxxxx xxxxx
The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.
The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!
xxxxx xxxxx xxxxx xxxxx xxxxx
The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.
xxxxx xxxxx xxxxx xxxxx xxxxx
The Golden Apple, Confusion, Tipareth, 7th trip (7-9) (62 min, 22mb)
07-07 Atlantis History (19:38)
07-08 Atlantis History 2 (22:27)
07-09 Otto FUCKUP (20:03)
xxxxx xxxxx xxxxx xxxxx xxxxx
previously
The Eye In The Pyramid Chaos, Discord (183mb)
The Golden Apple, Confusion, Bureaucracy ( 195mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Sep 18, 2011
Sundaze 1138
Hello, hope you all have a good weekend and are looking for a somewhat mind expanding finale to the weekend. Spacetime Continuum will take that task upon themselves here. Themselves is plural for one multitalented man, Jonah Sharp, during the nineties he released 4 albums , 10 12" and a compilation, not much was heard of him musically until in 2009 he returned as Reagenz (a collaboration with Move D) and released a well received Playtime.
Todays musix is both in ogg and flac and i point you here to the alien dreamtime album i posted 4 years ago it's available in flac too right here !
xxxxx xxxxx xxxxx xxxxx xxxxx
Ambient techno innovator Jonah Sharp has recorded several albums and EPs as Spacetime Continuum and played an important role in consolidating the San Francisco experimental ambient and techno scenes through his Reflective imprint. A London native and an acid jazz drummer before embarking on his career in electronic music, Sharp was an in-demand session drummer until the rigours of the club scene and the mawkish obsolescence of the genre had him experimenting with other styles. Going onto ambient and techno as a DJ, Sharp was a founding member of the periodic Spacetime parties, held in a hologram factory in London and hosted early ambient luminaries.
Sharp left London for America in the early '90s, settling in San Francisco, where he established his Reflective label and recorded the bulk of his work to date. Although that work has been split over a number of different project headings (Emit Ecaps, Alien Community, Reagenz, Electro Harmonix, and others), his most consistently visible work has been as Spacetime Continuum. Sharp signed a non-exclusive multi-album deal with Astralwerks in 1992 and released his first full-length work -- a live recording of a collaboration with visionary author Terrence McKenna and didgeridoo player Stephen Kent -- Alien Dreamtime
The largely ambient Sea Biscuit followed in 1994, and was released through the Fax label in Europe (Sharp has recorded a number of collaborative projects for Fax). Emit Ecaps, released in early 1996, returned to Sharp's dancefloor roots, incorporating elements of techno. It also spawned a remix album, Remit Recaps, featuring work by Autechre, Plaid, and others. In addition to a smattering of Sharp-related releases (including the collectible Flurescence EP), the Reflective label issued albums by Subtropic, Velocette, Kid Spatula (aka Mike Paradinas), and Single Cell Orchestra, as well as a stream of 12-inches. The next Spacetime Continuum full-length, Double Fine Zone, appeared in 1999.
He had recorded the first eponymous album, 'Reagenz' in 1994 after meeting David Moufang (Move D) before an Autechre show in San Francisco. In May 2008 they met up again, having not seen each other for 13 years, in Tokyo (again at an Autechre show!) and managed to spend productive days in a studio owned by a Japanese analog synth collector. They did another session in Heidelberg and David also visited Jonah in early 2009, finalizing "Playtime" .
Jonah Sharp has also released collaborations with Tetsu Inoue, Bill Laswell, Mixmaster Morris, Pete Namlook, David Moufang, and Plaid. He has remixed songs from Nine Inch Nails, Meat Beat Manifesto, Ponga, Teknostep, Susumu Yokota, and Matt Herbert. He has produced songs for Ursula Rucker and Paradise Boys. In addition to music production and remixing, he is a DJ. His work has had a clear influence on contemporary psybient artists, such as Shpongle and others.
xxxxx xxxxx xxxxx xxxxx xxxxx
Sharp's first album-length solo work is full of expansive, fluffy environments, a bit sugary at times and with a tendency to go nowhere in particular. Interesting, engulfing arrangements place, it's beauty, soulfullness and genius makes it an outstanding piece of sound scape. Listened to on mushrooms it borders on enlightenment!
Spacetime Continuum - Sea Biscuit (flac 449mb)
01 Pressure 10:25
02 Subway 12:00
03 Ping Pong 6:33
04 Voice Of The Earth 11:33
05 Floatilla 9:08
06 Q 11 11:08
07 A Low Frequency Inversion Field 13:07
xxxxx xxxxx xxxxx xxxxx xxxxx
Jonah Sharp's second studio album keeps much of the atmospheric beauty of Sea Biscuit intact, but the material usually works only as an introduction to devastating beat work on tracks like "Kairo" and "Funkyar," both of which recall the chunkier side of electro quite convincingly. All in all, Emit Ecaps is a fascinating fusion of rhythm and ambient.
Spacetime Continuum – Emit Ecaps (flac 402mb)
01 Iform 6:42
02 Kairo 11:48
03 Simm City 3:37
04 Funkyar 5:36
05 Swing Fantasy 6:58
06 Movement # 2 6:38
07 Vertigo 7:27
08 Twister 4:20
09 Pod 6:26
10 String Of Pearls 6:42
xxxxx xxxxx xxxxx xxxxx xxxxx
elsewhere and still essential after 2 decades
Terence McKenna with Spacetime Continuum - Alien Dreamtime (flac 404mb ~New !)
xxxxx xxxxx xxxxx xxxxx xxxxx
Todays musix is both in ogg and flac and i point you here to the alien dreamtime album i posted 4 years ago it's available in flac too right here !
xxxxx xxxxx xxxxx xxxxx xxxxx
Ambient techno innovator Jonah Sharp has recorded several albums and EPs as Spacetime Continuum and played an important role in consolidating the San Francisco experimental ambient and techno scenes through his Reflective imprint. A London native and an acid jazz drummer before embarking on his career in electronic music, Sharp was an in-demand session drummer until the rigours of the club scene and the mawkish obsolescence of the genre had him experimenting with other styles. Going onto ambient and techno as a DJ, Sharp was a founding member of the periodic Spacetime parties, held in a hologram factory in London and hosted early ambient luminaries.
Sharp left London for America in the early '90s, settling in San Francisco, where he established his Reflective label and recorded the bulk of his work to date. Although that work has been split over a number of different project headings (Emit Ecaps, Alien Community, Reagenz, Electro Harmonix, and others), his most consistently visible work has been as Spacetime Continuum. Sharp signed a non-exclusive multi-album deal with Astralwerks in 1992 and released his first full-length work -- a live recording of a collaboration with visionary author Terrence McKenna and didgeridoo player Stephen Kent -- Alien Dreamtime
The largely ambient Sea Biscuit followed in 1994, and was released through the Fax label in Europe (Sharp has recorded a number of collaborative projects for Fax). Emit Ecaps, released in early 1996, returned to Sharp's dancefloor roots, incorporating elements of techno. It also spawned a remix album, Remit Recaps, featuring work by Autechre, Plaid, and others. In addition to a smattering of Sharp-related releases (including the collectible Flurescence EP), the Reflective label issued albums by Subtropic, Velocette, Kid Spatula (aka Mike Paradinas), and Single Cell Orchestra, as well as a stream of 12-inches. The next Spacetime Continuum full-length, Double Fine Zone, appeared in 1999.
He had recorded the first eponymous album, 'Reagenz' in 1994 after meeting David Moufang (Move D) before an Autechre show in San Francisco. In May 2008 they met up again, having not seen each other for 13 years, in Tokyo (again at an Autechre show!) and managed to spend productive days in a studio owned by a Japanese analog synth collector. They did another session in Heidelberg and David also visited Jonah in early 2009, finalizing "Playtime" .
Jonah Sharp has also released collaborations with Tetsu Inoue, Bill Laswell, Mixmaster Morris, Pete Namlook, David Moufang, and Plaid. He has remixed songs from Nine Inch Nails, Meat Beat Manifesto, Ponga, Teknostep, Susumu Yokota, and Matt Herbert. He has produced songs for Ursula Rucker and Paradise Boys. In addition to music production and remixing, he is a DJ. His work has had a clear influence on contemporary psybient artists, such as Shpongle and others.
xxxxx xxxxx xxxxx xxxxx xxxxx
Sharp's first album-length solo work is full of expansive, fluffy environments, a bit sugary at times and with a tendency to go nowhere in particular. Interesting, engulfing arrangements place, it's beauty, soulfullness and genius makes it an outstanding piece of sound scape. Listened to on mushrooms it borders on enlightenment!
Spacetime Continuum - Sea Biscuit (flac 449mb)
01 Pressure 10:25
02 Subway 12:00
03 Ping Pong 6:33
04 Voice Of The Earth 11:33
05 Floatilla 9:08
06 Q 11 11:08
07 A Low Frequency Inversion Field 13:07
xxxxx xxxxx xxxxx xxxxx xxxxx
Jonah Sharp's second studio album keeps much of the atmospheric beauty of Sea Biscuit intact, but the material usually works only as an introduction to devastating beat work on tracks like "Kairo" and "Funkyar," both of which recall the chunkier side of electro quite convincingly. All in all, Emit Ecaps is a fascinating fusion of rhythm and ambient.
Spacetime Continuum – Emit Ecaps (flac 402mb)
01 Iform 6:42
02 Kairo 11:48
03 Simm City 3:37
04 Funkyar 5:36
05 Swing Fantasy 6:58
06 Movement # 2 6:38
07 Vertigo 7:27
08 Twister 4:20
09 Pod 6:26
10 String Of Pearls 6:42
xxxxx xxxxx xxxxx xxxxx xxxxx
elsewhere and still essential after 2 decades
Terence McKenna with Spacetime Continuum - Alien Dreamtime (flac 404mb ~New !)
xxxxx xxxxx xxxxx xxxxx xxxxx
Sep 16, 2011
RhoDeo 1137 Grooves
Hello, i made it, despite my connection going down for an hour and later during uploading dropping out, i managed to get today's 1.3 gig of Cypress Hill out there in flac and ogg, now aren't you all lucky. I don't know how many of you have found out by now that the Multiuploadlink though not always there as one of the options, if it is, it's a fast speed, no waiting choice.
xxxxx xxxxx xxxxx
The original incarnation of Cypress Hill, formed in 1986 when Cuban-born brothers Sen Dog (born Senen Reyes, November 20, 1965) and Mellow Man Ace hooked up with fellow Los Angeles residents Muggs (born Lawrence Muggerud, January 28, 1968) and B Real (born Louis Freese, June 2, 1970). The group began pioneering a fusion of Latin and hip-hop slang, developing their own style by the time Mellow Man Ace left the group in 1988. Renaming themselves Cypress Hill after a local street, the group continued to perform around L.A., eventually signing with Ruffhouse/Columbia in 1991.
Cypress Hill were notable for being the first Latino hip-hop superstars, but they became notorious for their endorsement of marijuana, which actually isn't a trivial thing (in the US) . Not only did the group campaign for its legalization, but their slow, rolling bass-and-drum loops pioneered a new, stoned funk that became extraordinary influential in '90s hip-hop — it could be heard in everything from Dr. Dre's G-funk to the chilly layers of English trip-hop. DJ Muggs crafted the sound, and B Real, with his pinched, nasal voice, was responsible for the rhetoric that made them famous. The pro-pot position became a little ridiculous over time, but there was no denying that the actual music had a strange, eerie power, particularly on the band's first two albums.
With its stoned beats, and cartoonish violence, the group's eponymous debut became a sensation in early 1992, several months after its initial release. The group's public pro-marijuana stance earned them many fans among the alternative rock community. Cypress Hill followed the album with Black Sunday in the summer of 1993, and while it sounded remarkably similar to the debut, it nevertheless became a hit, entering the album charts at number one and spawning the crossover hit "Insane in the Brain." With Black Sunday, Cypress Hill's audience became predominantly white, collegiate suburbanites, which caused them to lose some support in the hip-hop community. The group didn't help matters much in 1995, toured with the fifth Lollapalooza prior to the release of their third album, Temples of Boom. A darker, gloomier affair than their first two records, Temples of Boom was greeted with mixed reviews upon its fall 1995 release.
Cypress Hill slowly fell apart. Sen Dog left in early 1996 and Muggs spent most of the year working on his solo album. Muggs Presents the Soul Assassins was released to overwhelmingly positive reviews in early 1997, leaving Cypress Hill's future in much doubt until the release of IV in 1998. Sen Dog had come back for the record. Two years later, the group released the double-disc set Skull & Bones, which featured a disc of hip-hop and a disc of their more rock-inspired material. Appropriately, the album also included rock and rap versions of the single "Superstar," bringing Cypress Hill's quest for credibility and crossover hits full circle. In the winter of 2001, the group came back with Stoned Raiders, another album to incorporate rock music. Three years later, the band issued Till Death Do Us Part, which incorporated several styles of Jamaican music. In 2010 they announced their signing to Priority Records thanks to the label’s creative director, Snoop Dogg. The label released their eighth studio album, Rise Up, that same year.
xxxxx xxxxx xxxxx
It's hard enough to transform an entire musical genre -- Cypress Hill's eponymous debut album revolutionized hip-hop in several respects. Along with Beastie Boys and Public Enemy, Cypress Hill were also one of the first rap groups to bridge the gap with fans of both hard rock and alternative rock. And, most importantly, they created a sonic blueprint that would become one of the most widely copied in hip-hop. In keeping with their promarijuana stance, Cypress Hill intentionally crafted their music to sound stoned -- lots of slow, lazy beats, fat bass, weird noises, and creepily distant-sounding samples. The sound and style of Cypress Hill was hugely influential, particularly on Dr. Dre's boundary-shattering 1992 blockbuster The Chronic; yet despite its legions of imitators, Cypress Hill still sounds fresh and original today, simply because few hip-hop artists can put its sound across with such force of personality or imagination.
Cypress Hill - Cypress Hill ( 256mb)
01 Pigs 2:50
02 How I Could Just Kill A Man 4:08
03 Hand On The Pump 4:03
04 Hole In The Head 3:33
05 Ultraviolet Dreams 0:41
06 Light Another 3:17
07 The Phuncky Feel One 3:28
08 Break It Up 1:07
09 Real Estate 3:45
10 Stoned Is The Way Of The Walk 2:46
11 Psycobetabuckdown 2:59
12 Something For The Blunted 1:15
13 Latin Lingo 3:58
14 The Funky Cypress Hill Shit 4:01
15 Tres Equis 1:54
16 Born To Get Busy 3:00
xxxxx xxxxx xxxxx
Black Sunday made Cypress Hill's connection to rock & roll more explicit, with its heavy metal-like artwork and noisier, more dissonant samples.. It's a slightly darker affair than its groundbreaking predecessor, with the threats of violence more urgent and the pot obsession played to the hilt. Apart from those subtle distinctions, the sound of Black Sunday is pretty much the same as Cypress Hill, refining the group's innovations into an accessible bid for crossover success. Black Sunday still sounds vital and lively, it's overall a consistent, engaging listen, especially the flawless first half or so.
Cypress Hill - Black Sunday ( 251mb)
01 I Wanna Get High 2:54
02 I Ain't Goin' Out Like That 4:27
03 Insane In The Brain 3:29
04 When The Sh-- Goes Down 3:08
05 Lick A Shot 3:23
06 Cock The Hammer 4:25
07 Lock Down 1:16
08 3 Lil' Putos 3:40
09 Legalize It 0:46
10 Hits From The Bong 2:40
11 What Go Around Come Around, Kid 3:42
12 A To The K 3:27
13 Hand On The Glock 3:32
14 Break 'Em Off Some 2:44
xxxxx xxxxx xxxxx
Ten years after the release of their first album, Cypress Hill have maintained a distinctive personality that has stuck around through several different musical directions. Never a band that has been afraid to experiment, the rock-rap sound they attempted on Skull & Bones is again one of the driving forces of the album. DJ Muggs and live drummer Bobo do a meticulous job of finding unique beats for the record. "Kronologik" is a spellbinding retelling of Cypress Hill's history that adds some clever insight into some of the notable events in their career. But many of the other rap songs simply do not have the beats or the choruses to keep them interesting, a problem that would seem unthinkable considering how incredibly unique and catchy their first two albums are. Overall, Stoned Raiders is a good album despite its varying quality, and should appeal to those who enjoyed their previous album's experiments with rock.
Cypress Hill - Stoned Raiders ( 400mb)
01 Intro 1:03
02 Trouble 5:00
03 Kronologik 4:45
04 Southland Killers 3:25
05 Bitter 4:20
06 Amplified 3:54
07 It Ain't Easy 4:13
08 Memories 4:08
09 Psychodelic Vision 4:27
10 Red, Meth & B 3:45
11 Lowrider 6:41
12 Catastrophe 3:25
13 L.I.F.E. 4:43
14 Here Is Something You Can't Understand 4:30
xxxxx xxxxx xxxxx
xxxxx xxxxx xxxxx
The original incarnation of Cypress Hill, formed in 1986 when Cuban-born brothers Sen Dog (born Senen Reyes, November 20, 1965) and Mellow Man Ace hooked up with fellow Los Angeles residents Muggs (born Lawrence Muggerud, January 28, 1968) and B Real (born Louis Freese, June 2, 1970). The group began pioneering a fusion of Latin and hip-hop slang, developing their own style by the time Mellow Man Ace left the group in 1988. Renaming themselves Cypress Hill after a local street, the group continued to perform around L.A., eventually signing with Ruffhouse/Columbia in 1991.
Cypress Hill were notable for being the first Latino hip-hop superstars, but they became notorious for their endorsement of marijuana, which actually isn't a trivial thing (in the US) . Not only did the group campaign for its legalization, but their slow, rolling bass-and-drum loops pioneered a new, stoned funk that became extraordinary influential in '90s hip-hop — it could be heard in everything from Dr. Dre's G-funk to the chilly layers of English trip-hop. DJ Muggs crafted the sound, and B Real, with his pinched, nasal voice, was responsible for the rhetoric that made them famous. The pro-pot position became a little ridiculous over time, but there was no denying that the actual music had a strange, eerie power, particularly on the band's first two albums.
With its stoned beats, and cartoonish violence, the group's eponymous debut became a sensation in early 1992, several months after its initial release. The group's public pro-marijuana stance earned them many fans among the alternative rock community. Cypress Hill followed the album with Black Sunday in the summer of 1993, and while it sounded remarkably similar to the debut, it nevertheless became a hit, entering the album charts at number one and spawning the crossover hit "Insane in the Brain." With Black Sunday, Cypress Hill's audience became predominantly white, collegiate suburbanites, which caused them to lose some support in the hip-hop community. The group didn't help matters much in 1995, toured with the fifth Lollapalooza prior to the release of their third album, Temples of Boom. A darker, gloomier affair than their first two records, Temples of Boom was greeted with mixed reviews upon its fall 1995 release.
Cypress Hill slowly fell apart. Sen Dog left in early 1996 and Muggs spent most of the year working on his solo album. Muggs Presents the Soul Assassins was released to overwhelmingly positive reviews in early 1997, leaving Cypress Hill's future in much doubt until the release of IV in 1998. Sen Dog had come back for the record. Two years later, the group released the double-disc set Skull & Bones, which featured a disc of hip-hop and a disc of their more rock-inspired material. Appropriately, the album also included rock and rap versions of the single "Superstar," bringing Cypress Hill's quest for credibility and crossover hits full circle. In the winter of 2001, the group came back with Stoned Raiders, another album to incorporate rock music. Three years later, the band issued Till Death Do Us Part, which incorporated several styles of Jamaican music. In 2010 they announced their signing to Priority Records thanks to the label’s creative director, Snoop Dogg. The label released their eighth studio album, Rise Up, that same year.
xxxxx xxxxx xxxxx
It's hard enough to transform an entire musical genre -- Cypress Hill's eponymous debut album revolutionized hip-hop in several respects. Along with Beastie Boys and Public Enemy, Cypress Hill were also one of the first rap groups to bridge the gap with fans of both hard rock and alternative rock. And, most importantly, they created a sonic blueprint that would become one of the most widely copied in hip-hop. In keeping with their promarijuana stance, Cypress Hill intentionally crafted their music to sound stoned -- lots of slow, lazy beats, fat bass, weird noises, and creepily distant-sounding samples. The sound and style of Cypress Hill was hugely influential, particularly on Dr. Dre's boundary-shattering 1992 blockbuster The Chronic; yet despite its legions of imitators, Cypress Hill still sounds fresh and original today, simply because few hip-hop artists can put its sound across with such force of personality or imagination.
Cypress Hill - Cypress Hill ( 256mb)
01 Pigs 2:50
02 How I Could Just Kill A Man 4:08
03 Hand On The Pump 4:03
04 Hole In The Head 3:33
05 Ultraviolet Dreams 0:41
06 Light Another 3:17
07 The Phuncky Feel One 3:28
08 Break It Up 1:07
09 Real Estate 3:45
10 Stoned Is The Way Of The Walk 2:46
11 Psycobetabuckdown 2:59
12 Something For The Blunted 1:15
13 Latin Lingo 3:58
14 The Funky Cypress Hill Shit 4:01
15 Tres Equis 1:54
16 Born To Get Busy 3:00
xxxxx xxxxx xxxxx
Black Sunday made Cypress Hill's connection to rock & roll more explicit, with its heavy metal-like artwork and noisier, more dissonant samples.. It's a slightly darker affair than its groundbreaking predecessor, with the threats of violence more urgent and the pot obsession played to the hilt. Apart from those subtle distinctions, the sound of Black Sunday is pretty much the same as Cypress Hill, refining the group's innovations into an accessible bid for crossover success. Black Sunday still sounds vital and lively, it's overall a consistent, engaging listen, especially the flawless first half or so.
Cypress Hill - Black Sunday ( 251mb)
01 I Wanna Get High 2:54
02 I Ain't Goin' Out Like That 4:27
03 Insane In The Brain 3:29
04 When The Sh-- Goes Down 3:08
05 Lick A Shot 3:23
06 Cock The Hammer 4:25
07 Lock Down 1:16
08 3 Lil' Putos 3:40
09 Legalize It 0:46
10 Hits From The Bong 2:40
11 What Go Around Come Around, Kid 3:42
12 A To The K 3:27
13 Hand On The Glock 3:32
14 Break 'Em Off Some 2:44
xxxxx xxxxx xxxxx
Ten years after the release of their first album, Cypress Hill have maintained a distinctive personality that has stuck around through several different musical directions. Never a band that has been afraid to experiment, the rock-rap sound they attempted on Skull & Bones is again one of the driving forces of the album. DJ Muggs and live drummer Bobo do a meticulous job of finding unique beats for the record. "Kronologik" is a spellbinding retelling of Cypress Hill's history that adds some clever insight into some of the notable events in their career. But many of the other rap songs simply do not have the beats or the choruses to keep them interesting, a problem that would seem unthinkable considering how incredibly unique and catchy their first two albums are. Overall, Stoned Raiders is a good album despite its varying quality, and should appeal to those who enjoyed their previous album's experiments with rock.
Cypress Hill - Stoned Raiders ( 400mb)
01 Intro 1:03
02 Trouble 5:00
03 Kronologik 4:45
04 Southland Killers 3:25
05 Bitter 4:20
06 Amplified 3:54
07 It Ain't Easy 4:13
08 Memories 4:08
09 Psychodelic Vision 4:27
10 Red, Meth & B 3:45
11 Lowrider 6:41
12 Catastrophe 3:25
13 L.I.F.E. 4:43
14 Here Is Something You Can't Understand 4:30
xxxxx xxxxx xxxxx
Sep 15, 2011
RhoDeo 1137 Goldy Rhox 40
Hello, today the 40th post of GoldyRhox, classic pop rock, in the darklight a US group that slowly build an audience and scored their first gold album with their 5th album, with their 7th (todays mystery album) they started a run of 4 multiple platinum albums. Being a bit of a prog rocker at the time (mid seventies) i already scored most of their vinyl before their big breakthrough and let them go after their '78 8th album, music by that time had moved on for me.
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Todays mystery album was released 7/7/77, hardly an accident then, as it turned out it proved to bring good fortune to a band who under this moniker had released 6 albums in the 5 years before, and considering the core of the band had been making music together since 1961 these guys knew what they were doing. Progrock isn't something that Americans use as a label, perceived as too intellectual, and lyrics that imply thinking aren't called for. Remarkably todays band broke through at all, i guess the excellent guitarwork made them easier to label as hard rock, but these guys certainly weren't hardrock. Consider these deeply unamerican lyrics " so if you think your life is complete confusion, 'cause your neighbor's got it made, just remember that it's a grand illusion, and deep inside we're all the same". I suppose those were different days and the sixties still near. The album scored 3 hits and still sounds remarkably fresh. The name of the band is taken from the line (river) that separates life and death (the way the Greeks saw it).
Goldy Rhox 40 (flac 239mb)
Goldy Rhox 40 (ogg 89mb)
***** ***** ***** ***** *****
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Goldy Rhox 40 (flac 239mb)
Goldy Rhox 40 (ogg 89mb)
***** ***** ***** ***** *****
Sep 14, 2011
RhoDeo 1137 Aetix
Hello, todays Aetix stays at that great southern land . But first something about flac i note an increasing appetite for that format when i offer a choice, whether i give a choice depends on the size of the flac i post. Believe it or not flac is far faster to code then ogg (the way i do it) as a rule of thumb Files below 250mb won't be coded in Ogg.
The name of todays band reflects L.P. Hartley's classic novel, The Go-Between. They were a critics favorite but never made the commercial breakthrough in exchange they kept their integrity and wrote and played great music together upon the sudden death of Grant McLennan half of the duo that formed the core of The Go-Betweens
xxxxx xxxxx xxxxx xxxxx xxxxx
Robert Forster and Grant McLennan began as a pair of teenagers obsessed with the earthy rock of Dylan, CCR, and the Velvet Underground and encouraged by the Australian punk of the Saints. As collected on The Able Label Singles, their first two singles show a fondness for scruffy, British Invasion/new wave-influenced pop/rock. The Go-Betweens were perhaps the quintessential cult band of the '80s: they came from an exotic locale (Brisbane, Australia), moved to a major recording center (in their case, London) in a sustained bid to make a career out of music, and earned considerable critical praise and a small but fervent international fan base.
The band's first official album, Send Me a Lullaby, produced by The Go-Betweens and Tony Cohen, on Missing Link in Australia, was released as an eight-track mini-album in November 1981. Rough Trade, released the album in the UK, three months later, with four tracks added.Morrison provided the album title, in preference to Two Wimps and a Witch, from a Zelda Fitzgerald novel Save Me the Waltz.The group had developed a subtler sound consisting of dry semi-spoken vocals, complex lyrics and melodic but fractious guitar pop
The Go-Betweens returned to UK and recorded their second album, Before Hollywood (May 1983), with John Brand producing. It established them as cult favourites while "Cattle and Cane" was released as a single and was "arguably the band's absolute highlight of its earliest years". The Go-Betweens were mostly ignored by Australian commercial pop radio and never gained a broad national audience.
Robert Vickers joined on bass guitar in late 1983—freeing McLennan for lead guitar work. Their next album Spring Hill Fair (September 1984) was acclaimed as "the sound was bolder and more confident. Liberty Belle and the Black Diamond Express, released in March 1986 on Beggars Banquet Records, received favourable reviews, and showed the band gradually moving towards a smoother and more contemporary sound, while retaining elements of their idiosyncratic early style.
Amanda Brown on violin, oboe, guitar, keyboards and backing vocals joined later in the year. Within a few months, Brown and McLennan were lovers—many of McLennan's new lyrics were about this relationship. Tallulah (June 1987), produced by The Go-Betweens contained their "most winsome and hummable songs,
16 Lovers Lane (1988), was the group's most commercial offering, providing the alternative radio hit "Streets of Your Town", which became the band's biggest chart hit in both the UK and Australia peaking in the Top 100. The follow-up single "Was There Anything I Could Do?" was a No. 16 hit on US Modern Rock radio stations. These minimal successes were hardly the hoped-for commercial breakthrough for the band, and after recording six albums, Forster and McLennan disbanded The Go-Betweens in December 1989.
Although the Go-Betweens were absent throughout the '90s before re-forming in the new millennium, both of the band's songwriters embarked on respectable solo careers in the interim.
In 2000 the band reunited and released a new album, The Friends of Rachel Worth, which also featured all three members of Sleater-Kinney. It wasn't just a fluke, as the band recorded follow-up albums released in 2003 (Bright Yellow Bright Orange) and 2005's Oceans Apart, winning an ARIA award for 'Best Adult Contemporary Album. Documenting a 2005 concert in their hometown, the DVD/CD package That Striped Sunlight Sound arrived in early 2006, just a few months before the death of McLennan on 6 May 2006 of a heart attack, Robert Forster subsequently announced that The Go-Betweens were no more. Forster has continued to perform and records as a solo artist and has also produced well-received music criticism.
xxxxx xxxxx xxxxx xxxxx xxxxx
The first official album from the Go-Betweens, after a slew of earlier recordings and initial singles, was described by Forster and McLennan in later years as sounding like a practice room session, "metallic folk in a way." It's a fair assessment, and certainly while it's the work of a young band, Send Me a Lullaby is still a promising start, showing that the original trio had an aesthetic and the talent to carry its work over an album's length. Notably the singing of Forster and McLennan, investing even the sharpest songs and most cutting rhythms with a sometimes desperate and sometimes withdrawn emotion. Rather than sounding like they're trying to recodify rock and roll or the like, it's a series of often gentle explorations in restraint, saying more with less.
The Go-Betweens - Send Me a Lullaby (flac 420mb)
01 Your Turn, My Turn (3:03)
02 One Thing Can Hold Us (3:17)
03 People Know (2:11)
04 The Girls Have Moved (2:26)
05 Midnight To Neon (2:31)
06 Eight Pictures (4:52)
07 Careless (2:34)
08 All About Strength (2:12)
09 Ride (3:30)
10 Hold Your Horses (2:14)
11 Arrow In A Bow (2:00)
12 It Could Be Anyone (4:30)
bonus album
201 Sunday Night (2:50)
202 One Word (2:02)
203 I Need Two Heads (2:34)
204 The Clowns Are In Town (2:13)
205 Serenade Sound (2:23)
206 Hope (2:03)
207 Stop Before You Say It (2:57)
208 World Weary (1:41)
209 Distant Hands (2:01)
210 Undo What You Did (2:01)
211 Cracked Wheat (3:54))
212 After The Fireworks (4:27)
xxxxx xxxxx xxxxx xxxxx xxxxx
The Go-Betweens hit full creative stride on their second LP, Before Hollywood, an uncompromising, beautiful and consistently inventive slice of darkly-lit anti-pop. Headed by two gifted songwriters, Robert Forster and Grant McLennan, each of whom pulled the band in different thematic directions, one of the most striking things about Before Hollywood is the way it all coheres so seamlessly together, achieving, in the process, a sustained and unconventionally melodic attack on pop music paradigms. While "Cattle and Cane," is certainly deserving of all the attention it gets as one of the best songs of the decade, it makes it easy to overlook just how consistently brilliant the entirety of Before Hollywood actually is.
The Go-Betweens - Before Hollywood (flac 414mb)
01 A Bad Debt Follows You (2:25)
02 Two Steps, Step Out (3:28)
03 Before Hollywood (3:45)
04 Dusty in Here (4:10)
05 Ask (5:15)
06 Cattle and Cane (4:21)
07 By Chance (2:20)
08 As Long as That (5:25)
09 On My Block (3:49)
10 That Way (4:08)
Before Hollywood bonus
01 Hammer The Hammer 2:49
02 Heaven Says 4:06
03 Just A King In Mirrors 2:57
04 A Peaceful Wreck 2:31
05 Man O'Sand To Girl O'Sea 3:24
06 Near The Chimney 3:39
07 This Girl, Black Girl 3:32
08 The Exception Of Deception 1:49
xxxxx xxxxx xxxxx xxxxx xxxxx
Tallulah, the Go-Betweens fifth album, was supposed to be the band's breakthrough recording in America. That said, its sound is nearly a full-on break with the edginess that began to fade on 1986's Liberty Belle and the Black Diamond Express. More lush, rounded, polished, it sounds like a record made in the mid-'80s thanks in large part to Lindy Morrison's use of drum programs in addition to her trap kit. Add to this the contributions of new member Amanda Brown on violin, oboe, and backing vocals and one has a revamped band. Fans didn't take to the new sound with kindness initially, but the songwriting of Forster and McLennan was so much more focused and taut, it more than compensates for production errors. Along with Liberty Belle and the Black Diamond Express and 16 Lovers Lane, Tallulah makes up the trilogy that defines the Go-Betweens massive if under-recognized contribution to pop.
The Go-Betweens - Tallulah ( flac 497mb)
01 Right Here 3:50
02 You Tell Me 3:35
03 Someone Else's Wife 4:07
04 I Just Get Caught Out 2:13
05 Cut It Out 3:55
06 The House That Jack Kerouac Built 4:46
07 Bye Bye Pride 4:04
08 Spirit Of A Vampyre 3:53
09 The Clarke Sisters 3:16
10 Hope Then Strife 4:59
bonus
11 Time In The Desert
12 I Just Get Caught Out (Early Version)
13 Don't Call Me Gone
14 Right Here (Early Version)
15 If I Was A Rich Man / The House That Jack Kerouac Built (Radio Session)
16 When People Are Dead
17 The Clarke Sisters (Early Version)
18 A Little Romance
19 Bye Bye Pride (Radio Session)
20 Doo Wop In 'A' (Bam Boom)
xxxxx xxxxx xxxxx xxxxx xxxxx
The name of todays band reflects L.P. Hartley's classic novel, The Go-Between. They were a critics favorite but never made the commercial breakthrough in exchange they kept their integrity and wrote and played great music together upon the sudden death of Grant McLennan half of the duo that formed the core of The Go-Betweens
xxxxx xxxxx xxxxx xxxxx xxxxx
Robert Forster and Grant McLennan began as a pair of teenagers obsessed with the earthy rock of Dylan, CCR, and the Velvet Underground and encouraged by the Australian punk of the Saints. As collected on The Able Label Singles, their first two singles show a fondness for scruffy, British Invasion/new wave-influenced pop/rock. The Go-Betweens were perhaps the quintessential cult band of the '80s: they came from an exotic locale (Brisbane, Australia), moved to a major recording center (in their case, London) in a sustained bid to make a career out of music, and earned considerable critical praise and a small but fervent international fan base.
The band's first official album, Send Me a Lullaby, produced by The Go-Betweens and Tony Cohen, on Missing Link in Australia, was released as an eight-track mini-album in November 1981. Rough Trade, released the album in the UK, three months later, with four tracks added.Morrison provided the album title, in preference to Two Wimps and a Witch, from a Zelda Fitzgerald novel Save Me the Waltz.The group had developed a subtler sound consisting of dry semi-spoken vocals, complex lyrics and melodic but fractious guitar pop
The Go-Betweens returned to UK and recorded their second album, Before Hollywood (May 1983), with John Brand producing. It established them as cult favourites while "Cattle and Cane" was released as a single and was "arguably the band's absolute highlight of its earliest years". The Go-Betweens were mostly ignored by Australian commercial pop radio and never gained a broad national audience.
Robert Vickers joined on bass guitar in late 1983—freeing McLennan for lead guitar work. Their next album Spring Hill Fair (September 1984) was acclaimed as "the sound was bolder and more confident. Liberty Belle and the Black Diamond Express, released in March 1986 on Beggars Banquet Records, received favourable reviews, and showed the band gradually moving towards a smoother and more contemporary sound, while retaining elements of their idiosyncratic early style.
Amanda Brown on violin, oboe, guitar, keyboards and backing vocals joined later in the year. Within a few months, Brown and McLennan were lovers—many of McLennan's new lyrics were about this relationship. Tallulah (June 1987), produced by The Go-Betweens contained their "most winsome and hummable songs,
16 Lovers Lane (1988), was the group's most commercial offering, providing the alternative radio hit "Streets of Your Town", which became the band's biggest chart hit in both the UK and Australia peaking in the Top 100. The follow-up single "Was There Anything I Could Do?" was a No. 16 hit on US Modern Rock radio stations. These minimal successes were hardly the hoped-for commercial breakthrough for the band, and after recording six albums, Forster and McLennan disbanded The Go-Betweens in December 1989.
Although the Go-Betweens were absent throughout the '90s before re-forming in the new millennium, both of the band's songwriters embarked on respectable solo careers in the interim.
In 2000 the band reunited and released a new album, The Friends of Rachel Worth, which also featured all three members of Sleater-Kinney. It wasn't just a fluke, as the band recorded follow-up albums released in 2003 (Bright Yellow Bright Orange) and 2005's Oceans Apart, winning an ARIA award for 'Best Adult Contemporary Album. Documenting a 2005 concert in their hometown, the DVD/CD package That Striped Sunlight Sound arrived in early 2006, just a few months before the death of McLennan on 6 May 2006 of a heart attack, Robert Forster subsequently announced that The Go-Betweens were no more. Forster has continued to perform and records as a solo artist and has also produced well-received music criticism.
xxxxx xxxxx xxxxx xxxxx xxxxx
The first official album from the Go-Betweens, after a slew of earlier recordings and initial singles, was described by Forster and McLennan in later years as sounding like a practice room session, "metallic folk in a way." It's a fair assessment, and certainly while it's the work of a young band, Send Me a Lullaby is still a promising start, showing that the original trio had an aesthetic and the talent to carry its work over an album's length. Notably the singing of Forster and McLennan, investing even the sharpest songs and most cutting rhythms with a sometimes desperate and sometimes withdrawn emotion. Rather than sounding like they're trying to recodify rock and roll or the like, it's a series of often gentle explorations in restraint, saying more with less.
The Go-Betweens - Send Me a Lullaby (flac 420mb)
01 Your Turn, My Turn (3:03)
02 One Thing Can Hold Us (3:17)
03 People Know (2:11)
04 The Girls Have Moved (2:26)
05 Midnight To Neon (2:31)
06 Eight Pictures (4:52)
07 Careless (2:34)
08 All About Strength (2:12)
09 Ride (3:30)
10 Hold Your Horses (2:14)
11 Arrow In A Bow (2:00)
12 It Could Be Anyone (4:30)
bonus album
201 Sunday Night (2:50)
202 One Word (2:02)
203 I Need Two Heads (2:34)
204 The Clowns Are In Town (2:13)
205 Serenade Sound (2:23)
206 Hope (2:03)
207 Stop Before You Say It (2:57)
208 World Weary (1:41)
209 Distant Hands (2:01)
210 Undo What You Did (2:01)
211 Cracked Wheat (3:54))
212 After The Fireworks (4:27)
xxxxx xxxxx xxxxx xxxxx xxxxx
The Go-Betweens hit full creative stride on their second LP, Before Hollywood, an uncompromising, beautiful and consistently inventive slice of darkly-lit anti-pop. Headed by two gifted songwriters, Robert Forster and Grant McLennan, each of whom pulled the band in different thematic directions, one of the most striking things about Before Hollywood is the way it all coheres so seamlessly together, achieving, in the process, a sustained and unconventionally melodic attack on pop music paradigms. While "Cattle and Cane," is certainly deserving of all the attention it gets as one of the best songs of the decade, it makes it easy to overlook just how consistently brilliant the entirety of Before Hollywood actually is.
The Go-Betweens - Before Hollywood (flac 414mb)
01 A Bad Debt Follows You (2:25)
02 Two Steps, Step Out (3:28)
03 Before Hollywood (3:45)
04 Dusty in Here (4:10)
05 Ask (5:15)
06 Cattle and Cane (4:21)
07 By Chance (2:20)
08 As Long as That (5:25)
09 On My Block (3:49)
10 That Way (4:08)
Before Hollywood bonus
01 Hammer The Hammer 2:49
02 Heaven Says 4:06
03 Just A King In Mirrors 2:57
04 A Peaceful Wreck 2:31
05 Man O'Sand To Girl O'Sea 3:24
06 Near The Chimney 3:39
07 This Girl, Black Girl 3:32
08 The Exception Of Deception 1:49
xxxxx xxxxx xxxxx xxxxx xxxxx
Tallulah, the Go-Betweens fifth album, was supposed to be the band's breakthrough recording in America. That said, its sound is nearly a full-on break with the edginess that began to fade on 1986's Liberty Belle and the Black Diamond Express. More lush, rounded, polished, it sounds like a record made in the mid-'80s thanks in large part to Lindy Morrison's use of drum programs in addition to her trap kit. Add to this the contributions of new member Amanda Brown on violin, oboe, and backing vocals and one has a revamped band. Fans didn't take to the new sound with kindness initially, but the songwriting of Forster and McLennan was so much more focused and taut, it more than compensates for production errors. Along with Liberty Belle and the Black Diamond Express and 16 Lovers Lane, Tallulah makes up the trilogy that defines the Go-Betweens massive if under-recognized contribution to pop.
The Go-Betweens - Tallulah ( flac 497mb)
01 Right Here 3:50
02 You Tell Me 3:35
03 Someone Else's Wife 4:07
04 I Just Get Caught Out 2:13
05 Cut It Out 3:55
06 The House That Jack Kerouac Built 4:46
07 Bye Bye Pride 4:04
08 Spirit Of A Vampyre 3:53
09 The Clarke Sisters 3:16
10 Hope Then Strife 4:59
bonus
11 Time In The Desert
12 I Just Get Caught Out (Early Version)
13 Don't Call Me Gone
14 Right Here (Early Version)
15 If I Was A Rich Man / The House That Jack Kerouac Built (Radio Session)
16 When People Are Dead
17 The Clarke Sisters (Early Version)
18 A Little Romance
19 Bye Bye Pride (Radio Session)
20 Doo Wop In 'A' (Bam Boom)
xxxxx xxxxx xxxxx xxxxx xxxxx
Sep 13, 2011
RhoDeo 1137 Roots
Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.
Today's artists are known as Da Riddem Twins or sometimes jokingly credited as "Robbie Bassspeare" and "Sly Drumbar." Being a rhythm section they've grown to great heights considering where they came from. One could say they are on a mission, considering the relentless way they've been involved in making and producing music these past 40 years. As a rhythm section dub music came naturally and here today are a few samples of their work in flac and an ogg
***** ***** ***** ***** *****
Drummer Lowell 'Sly' Dunbar (getting his nick Sly from listening to Sly Stone) and bassplayer Robert Shakespeare meet in the mid seventies. Dunbar already had quite a reputation as a drummer. He had played on several Jamaican hit records, a.o. Double Barrel by organist Ansell Collins. His rhythmic innovations to reggae drumming were becoming a trade mark for Channel One when he got acquainted with Aston 'familyman' Barrett's youthful protege bassplayer Robbie Shakespeare. Shakespeare had already done a good deal of studio work, like 'Stir it up' from Bob Marley and some stuff with the Aggrovators. When they heard each other playing, it didn't take very long for them to decide to form a rhythmic drum-'n-bass partnership, and Sly & Robbie was a fact.
Their first major project was providing backing for the late singer/songwriter Peter Tosh in his backing band Word Sound and Power. In this period they scored their first major worldwide nr 1 hitsingle with Peter Tosh and Mick Jagger: (Keep on walking) Don't Look Back. They recorded five albums with Peter Tosh: Equal Rights, Legalize it, Bush Docor, Mystic Man and Wanted Dread and Alive. While on a world tour with Peter, they lived on bread and water to save money to be able to start their own record label: TAXI Productions.
When they returned from touring, they indeed raised the TAXI label. They joined the band Black Uhuru and from there things really started. Black Uhuru, consisting of singers Ducky Simpson, Puma Jones and lead singer Michael Rose (now known as Mykall Rose) and Sly & Robbie on drum and bass turned out to become the most progressive sounding reggaeband of that time. In this line up 6 albums were released: Showcase, Sinsemilla, Red, Chill Out, The Dub Factor, and Anthem, each album being a large step forward towards innovating reggae music. After Anthem, Michael Rose left the group and was replaced by Junior Reid and two more albums were produced Brutal and Positive.
Far from restricting themselves to the Jamaican scene, (in which they have played for virtually every prominent Jamaican musical artist, they have became one of pop music's most sought after rhythm sections.
An artist with whom they were recording was Grace Jones. Sly & Robbie played on three albums. Everybody knows songs like 'I've seen that face before (libertango)' and 'Pull up to the Bumper'. The work with Grace Jones was the start of a heap international artists wanting Sly & Robbie to produce and/or provide the drum 'n bass backing for their songs and albums. Joe Cocker, Mick Jagger, Bob Dylan, Ian Dury, Herbie Hancock, Maxi Priest, Cindy Lauper, Barry Reynolds, Carly Simon... In reggae they backed and produced a talented new singer, Ini Kamoze, who's first album was a massive hit among the reggae audience.
They changed the face of Reggae several times: in 1976, they introduced a harder beat called "Rockers", which quickly replaced the then prevalent "One drop" style, then introduced the "rub a dub" sound in the early 1980s. Sly and Robbie were important in developing the trend towards computer assisted music and programming in the mid 1980s. Presented here, Language Barrier is an onslaught of aural alarms and craziness. Yet, holding it down like a rock are the inimitable Sly and Robbie. This is a great record. Very urban, self assured insanity, in a weird way. An album that has Bob Dylan on it, not to mention BIll Laswell, Wally Badarou, Herbie Hancock, et. al. . Daring stuff and i guess thats why they are still out there doing there thing.
Around 1990 a new turn in reggae music came up: raggamuffin or ragga. The drum computer became an important ingredient and started to replace live drumming on studio recordings. The Rhythm Twins released 'The Summit'in 1988, which is a record that contains eight instrumental tracks. Hard to define whether it's live drums or a drum computer (it is live drums), and this album can be seen as the last one on which Sly & Robbie play their instruments. From now on, Sly focuses on drum programming and production (Robbie still plays the bass), and again they produce a gigantic world wide hit: Murder she Wrote by Chaka Demus and Pliers.
They continued to innovate during the 1990s and early 2000s, fusing Dancehall and Latin music sounds (La Trenggae) or Dancehall and hip hop/R&B (their 2004 Big Up riddim). In 1999, their "Strip to the Bone" album paired them with electro producer Howie B, and together they explored new dub territories.
In 2006, they recorded with their original group, the Revolutionaries, to produce Horace Andy's new album "Livin' it up" and produced several hits for Cherine Anderson.In 2009, Movin' On, the new album by Bitty McLean, which they produced with Bitty and their longtime friend and associate Guillaume Bougard, came out and was immediately acclaimed as the best Reggae album of the year. They toured Japan, Morocco (Mawazine festival) and Europe with Bitty to showcase the album
Sly and Robbie may well be the most prolific recording artists ever. One estimate is that they have played on or produced some 200,000 songs, considering that some of their riddims such as "Revolution" have been used on over 100 songs. After almost 40 years together, they still tour and record relentlessly.
***** ***** ***** ***** *****
'Disco Dub' is a rare LP by the great Jamaican riddim duo ,t doesn't play long, a mere 24 minutes, but it packs a punch. The LP only appeared on Jamaican pressings. Notable for the psychedelic lead guitar stylings of Carl 'Douggie' Bryan featuring a very rare use of the 'E-bow'. Musical highlights include the first track 'Sidewalk Doctor' a trippy re-working of the Jackie Mittoo classic, and 'Depth Charge', a recut to the 'No, No, No' rhythm. Short but sweet.
Sly and Robbie – Disco Dub (flac 126mb)
01 Side Walk Doctor (6:12)
02 War Of The Gods (4:45)
03 Depth Charge (4:50)
04 Mickey Mouse (3:42)
05 Battle Of The Titans (4:12)
***** ***** ***** ***** *****
The so-called "Rhythm Twins" have had a hand in constructing over 200,000 sides and counting since they began playing together, an astounding number that is made even more amazing by the sheer high quality and steadiness of the duo's playing. Sly & Robbie lock in place like few rhythm sections before or since, but they also have shown a solid flair for studio production as well These dozen tracks drawn from sessions held between 1978 and 1985 is of course just an eyelash's length sample of the duo's output, but it illustrates perfectly their professional and frequently brilliant exactness and ends up being a pretty darn good dub album for good measure. In spite of being drawn from various sessions and sources, it sounds like a seamless and ever changing dub suite. Bright, clear and wonderfully ever-changing and definitely late-night trippy, these dubs may not be crucial, as the title states, but they sure as hell feel and sound pretty cool.
Sly and Robbie – This Is Crucial Reggae (flac 235mb)
01 Soon Forward Dub 2:59
02 Rock Me In Dub 3:22
03 Marijuana 2:43
04 Slave Driver Dub 3:04
05 Thompson In Dub 3:33
06 Rasta Man Chant 4:06
07 Revolution Dub 3:51
08 Roots Dub 3:20
09 Herb 3:29
10 Going Downtown Dub 2:58
11 Channel One In Dub 3:42
12 Stepping Out A Space 3:42
***** ***** ***** ***** *****
Spacy dubs on this 81 sampler, Raiders Of The Lost Dub, this meanwhile rare vinyl available here in it's losslessly digitized format. The title looks like a bit of a non sense but study the song titles, and an Indiana Jones fan should recognize scenes from the movies. Compiled by Paul "Groucho" Smykle and Trevor Wyatt, largely produced by Sly & Robbie (tracks: 03, 06-10).
Various – Raiders Of The Lost Dub ( 81 flac 206mb)
01 The Paragons – Indiana Jones 3:19
02 Ijahman – Whip That Tarantula 3:47
03 Black Uhuru – The Monkey Is A Spy 3:30
04 Burning Spear – Pit Of Snakes 3:52
05 Wailing Souls – Well Of Souls 2:51
06 The Viceroys – The Dub Of Gold 3:46
07 Black Uhuru – Who's In The Tomb 3:35
08 Black Uhuru – Convoy Hijack 4:16
09 Junior Delgado – Bazooka Blast 4:20
10 Black Uhuru – Fire And Brimstone 3:40
xxxxx xxxxx xxxxx xxxxx xxxxx xxxxx
Today's artists are known as Da Riddem Twins or sometimes jokingly credited as "Robbie Bassspeare" and "Sly Drumbar." Being a rhythm section they've grown to great heights considering where they came from. One could say they are on a mission, considering the relentless way they've been involved in making and producing music these past 40 years. As a rhythm section dub music came naturally and here today are a few samples of their work in flac and an ogg
***** ***** ***** ***** *****
Drummer Lowell 'Sly' Dunbar (getting his nick Sly from listening to Sly Stone) and bassplayer Robert Shakespeare meet in the mid seventies. Dunbar already had quite a reputation as a drummer. He had played on several Jamaican hit records, a.o. Double Barrel by organist Ansell Collins. His rhythmic innovations to reggae drumming were becoming a trade mark for Channel One when he got acquainted with Aston 'familyman' Barrett's youthful protege bassplayer Robbie Shakespeare. Shakespeare had already done a good deal of studio work, like 'Stir it up' from Bob Marley and some stuff with the Aggrovators. When they heard each other playing, it didn't take very long for them to decide to form a rhythmic drum-'n-bass partnership, and Sly & Robbie was a fact.
Their first major project was providing backing for the late singer/songwriter Peter Tosh in his backing band Word Sound and Power. In this period they scored their first major worldwide nr 1 hitsingle with Peter Tosh and Mick Jagger: (Keep on walking) Don't Look Back. They recorded five albums with Peter Tosh: Equal Rights, Legalize it, Bush Docor, Mystic Man and Wanted Dread and Alive. While on a world tour with Peter, they lived on bread and water to save money to be able to start their own record label: TAXI Productions.
When they returned from touring, they indeed raised the TAXI label. They joined the band Black Uhuru and from there things really started. Black Uhuru, consisting of singers Ducky Simpson, Puma Jones and lead singer Michael Rose (now known as Mykall Rose) and Sly & Robbie on drum and bass turned out to become the most progressive sounding reggaeband of that time. In this line up 6 albums were released: Showcase, Sinsemilla, Red, Chill Out, The Dub Factor, and Anthem, each album being a large step forward towards innovating reggae music. After Anthem, Michael Rose left the group and was replaced by Junior Reid and two more albums were produced Brutal and Positive.
Far from restricting themselves to the Jamaican scene, (in which they have played for virtually every prominent Jamaican musical artist, they have became one of pop music's most sought after rhythm sections.
An artist with whom they were recording was Grace Jones. Sly & Robbie played on three albums. Everybody knows songs like 'I've seen that face before (libertango)' and 'Pull up to the Bumper'. The work with Grace Jones was the start of a heap international artists wanting Sly & Robbie to produce and/or provide the drum 'n bass backing for their songs and albums. Joe Cocker, Mick Jagger, Bob Dylan, Ian Dury, Herbie Hancock, Maxi Priest, Cindy Lauper, Barry Reynolds, Carly Simon... In reggae they backed and produced a talented new singer, Ini Kamoze, who's first album was a massive hit among the reggae audience.
They changed the face of Reggae several times: in 1976, they introduced a harder beat called "Rockers", which quickly replaced the then prevalent "One drop" style, then introduced the "rub a dub" sound in the early 1980s. Sly and Robbie were important in developing the trend towards computer assisted music and programming in the mid 1980s. Presented here, Language Barrier is an onslaught of aural alarms and craziness. Yet, holding it down like a rock are the inimitable Sly and Robbie. This is a great record. Very urban, self assured insanity, in a weird way. An album that has Bob Dylan on it, not to mention BIll Laswell, Wally Badarou, Herbie Hancock, et. al. . Daring stuff and i guess thats why they are still out there doing there thing.
Around 1990 a new turn in reggae music came up: raggamuffin or ragga. The drum computer became an important ingredient and started to replace live drumming on studio recordings. The Rhythm Twins released 'The Summit'in 1988, which is a record that contains eight instrumental tracks. Hard to define whether it's live drums or a drum computer (it is live drums), and this album can be seen as the last one on which Sly & Robbie play their instruments. From now on, Sly focuses on drum programming and production (Robbie still plays the bass), and again they produce a gigantic world wide hit: Murder she Wrote by Chaka Demus and Pliers.
They continued to innovate during the 1990s and early 2000s, fusing Dancehall and Latin music sounds (La Trenggae) or Dancehall and hip hop/R&B (their 2004 Big Up riddim). In 1999, their "Strip to the Bone" album paired them with electro producer Howie B, and together they explored new dub territories.
In 2006, they recorded with their original group, the Revolutionaries, to produce Horace Andy's new album "Livin' it up" and produced several hits for Cherine Anderson.In 2009, Movin' On, the new album by Bitty McLean, which they produced with Bitty and their longtime friend and associate Guillaume Bougard, came out and was immediately acclaimed as the best Reggae album of the year. They toured Japan, Morocco (Mawazine festival) and Europe with Bitty to showcase the album
Sly and Robbie may well be the most prolific recording artists ever. One estimate is that they have played on or produced some 200,000 songs, considering that some of their riddims such as "Revolution" have been used on over 100 songs. After almost 40 years together, they still tour and record relentlessly.
***** ***** ***** ***** *****
'Disco Dub' is a rare LP by the great Jamaican riddim duo ,t doesn't play long, a mere 24 minutes, but it packs a punch. The LP only appeared on Jamaican pressings. Notable for the psychedelic lead guitar stylings of Carl 'Douggie' Bryan featuring a very rare use of the 'E-bow'. Musical highlights include the first track 'Sidewalk Doctor' a trippy re-working of the Jackie Mittoo classic, and 'Depth Charge', a recut to the 'No, No, No' rhythm. Short but sweet.
Sly and Robbie – Disco Dub (flac 126mb)
01 Side Walk Doctor (6:12)
02 War Of The Gods (4:45)
03 Depth Charge (4:50)
04 Mickey Mouse (3:42)
05 Battle Of The Titans (4:12)
***** ***** ***** ***** *****
The so-called "Rhythm Twins" have had a hand in constructing over 200,000 sides and counting since they began playing together, an astounding number that is made even more amazing by the sheer high quality and steadiness of the duo's playing. Sly & Robbie lock in place like few rhythm sections before or since, but they also have shown a solid flair for studio production as well These dozen tracks drawn from sessions held between 1978 and 1985 is of course just an eyelash's length sample of the duo's output, but it illustrates perfectly their professional and frequently brilliant exactness and ends up being a pretty darn good dub album for good measure. In spite of being drawn from various sessions and sources, it sounds like a seamless and ever changing dub suite. Bright, clear and wonderfully ever-changing and definitely late-night trippy, these dubs may not be crucial, as the title states, but they sure as hell feel and sound pretty cool.
Sly and Robbie – This Is Crucial Reggae (flac 235mb)
01 Soon Forward Dub 2:59
02 Rock Me In Dub 3:22
03 Marijuana 2:43
04 Slave Driver Dub 3:04
05 Thompson In Dub 3:33
06 Rasta Man Chant 4:06
07 Revolution Dub 3:51
08 Roots Dub 3:20
09 Herb 3:29
10 Going Downtown Dub 2:58
11 Channel One In Dub 3:42
12 Stepping Out A Space 3:42
***** ***** ***** ***** *****
Spacy dubs on this 81 sampler, Raiders Of The Lost Dub, this meanwhile rare vinyl available here in it's losslessly digitized format. The title looks like a bit of a non sense but study the song titles, and an Indiana Jones fan should recognize scenes from the movies. Compiled by Paul "Groucho" Smykle and Trevor Wyatt, largely produced by Sly & Robbie (tracks: 03, 06-10).
Various – Raiders Of The Lost Dub ( 81 flac 206mb)
01 The Paragons – Indiana Jones 3:19
02 Ijahman – Whip That Tarantula 3:47
03 Black Uhuru – The Monkey Is A Spy 3:30
04 Burning Spear – Pit Of Snakes 3:52
05 Wailing Souls – Well Of Souls 2:51
06 The Viceroys – The Dub Of Gold 3:46
07 Black Uhuru – Who's In The Tomb 3:35
08 Black Uhuru – Convoy Hijack 4:16
09 Junior Delgado – Bazooka Blast 4:20
10 Black Uhuru – Fire And Brimstone 3:40
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Sep 12, 2011
RhoDeo 1137 Illuminatus ! 7
Hello, i'm a bit lost for words, must be all that news i read, makes me sigh, these spirals of negativity how to break that mold or do we accept free will can mean violence. deceit , abuse, theft, murder. Personally i'm inclined to say our free will needs upgrading, too often we (re) act in a primitive way driven by primal instincts, animalistic. The knowledge is there, we must break with the past, it's institutions (church-king-state-banks) have given us nothing but misery in exchange for perceived safety from lawlessness. Who's law ? See the problem here ?
The current situation is very unstable order could break down and how do we react then ? Will we rampage and loot those shops that sold us distractions, or would make the less self defeating choice of burning down the banks and government buildings, in that case expect a much better defended situation. Which goes to show who's side the government is on...it's own side (perpetuate power). The way we respond to chaos will determine if we will be able to bring about real change in the way we live with eachother.
Today the next chapters of the 7th Trip Netzach
xxxxx xxxxx xxxxx
The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.
The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.
The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!
xxxxx xxxxx xxxxx xxxxx xxxxx
The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.
xxxxx xxxxx xxxxx xxxxx xxxxx
The Golden Apple, Confusion, Tipareth, 7th trip (4-6) (69 min, 25mb)
07-04 Tree That Coon (28:55)
07-05 Sub Shenanigans (19:40)
07-06 Fnords & Martinis (21:02)
xxxxx xxxxx xxxxx xxxxx xxxxx
previously
The Eye In The Pyramid Chaos, Discord (183mb)
The Golden Apple, Confusion, Bureaucracy ( 195mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The current situation is very unstable order could break down and how do we react then ? Will we rampage and loot those shops that sold us distractions, or would make the less self defeating choice of burning down the banks and government buildings, in that case expect a much better defended situation. Which goes to show who's side the government is on...it's own side (perpetuate power). The way we respond to chaos will determine if we will be able to bring about real change in the way we live with eachother.
Today the next chapters of the 7th Trip Netzach
xxxxx xxxxx xxxxx
The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.
The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!
xxxxx xxxxx xxxxx xxxxx xxxxx
The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.
xxxxx xxxxx xxxxx xxxxx xxxxx
The Golden Apple, Confusion, Tipareth, 7th trip (4-6) (69 min, 25mb)
07-04 Tree That Coon (28:55)
07-05 Sub Shenanigans (19:40)
07-06 Fnords & Martinis (21:02)
xxxxx xxxxx xxxxx xxxxx xxxxx
previously
The Eye In The Pyramid Chaos, Discord (183mb)
The Golden Apple, Confusion, Bureaucracy ( 195mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Sep 11, 2011
Sundaze 1137
Hello, after a week of 9/11 outrageous lies presented by the corporate media and the subservient BBC i'm glad that's out of the way. When i saw what happened that day i immediately understood that the WTC buildings were demolished, those airplanes were for the show, hi rises like the WTC have to withstand enormous windforces they just don't collapse like that (almost free fall ). What happened afterwards was the government going after anyone who dared to challenge the fairytale of the bad cavemen attacking king Bush and his subjects. The Americans have never been the brightest or bravest of nations but they were cowed pretty easily.
In the weeks and months that followed more proof came to the fore that this had been an inside job, with clear motivations behind it. 1 To kick start the American century (global dominance), 2 to force thru the Patriot Act which had already been written prior to the attack, even going as far as to intimidate the congress with the anthrax posting (anthrax that turned out to have come from a military biolab). 3 start some wars and line the deep pockets of the military industrial complex 4 To obscure a 2 trillion dollar hole in the Pentagon budget ( announced by Rumsfeld the night before) BTW the Pentagon attack hit those who had done the accounting (precision strike !) 5 To get rid of the asbestos infested WTC hi rises (much much to expensive to renovate). 6 Have a laugh on the expense of all those little people (remember those responsible are psychopaths, sociopaths at best)
I thought in line with this sad day the Dead Can Dance would be abt, (btw the dead do but without music it's more like syncing together) DCD's big sound has been remastered by Perry and available here in lossless flac and ogg
xxxxx xxxxx xxxxx xxxxx xxxxx
Dead Can Dance (sometimes referred to as DCD) were an ambient, world music band which formed in Melbourne, Australia, in August 1981. Its mainstays were Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998, but reunited temporarily for a world tour in 2005. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty... with African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras and art-rock".
Dead Can Dance formed in Melbourne, Australia, in August 1981 with Paul Erikson on bass guitar, Lisa Gerrard (ex-Microfilm) on vocals, Simon Monroe (Marching Girls) on drums and Brendan Perry on vocals and guitar. Gerrard and Perry were also a domestic couple and they left Erikson and Monroe in Australia when they moved to London in May 1982, where they signed with alternative rock label 4AD Records. With the duo, the initial United Kingdom line-up were James Pinker, Scott Rodger and Peter Ulrich. The group's debut album, Dead Can Dance, which appeared in February 1984, was produced by the band. The artwork, which depicts a ritual mask from New Guinea, "provide[s] a visual reinterpretation of the meaning of the name Dead Can Dance". The album "featured drum-driven, ambient guitar music with chanting, singing and howling".They followed with a four-track extended play, Garden of the Arcane Delights in August.which saw them plunging into a wider range of music and style, in fact it set them on their musical style.
For their second album, Spleen and Ideal, the group comprised the core duo of Gerrard and Perry with cello, trombones and tympani added in by session musicians. It appeared in November 1985 and was co-produced by the duo with John A. Rivers Raggett describes it as "a consciously medieval European sound ... like it was recorded in an immense cathedral". The group built a following in Europe, and this album reached No. 2 on the UK indie charts. By 1989, Gerrard and Perry had separated domestically – Gerrard returned to Australia and Perry moved to Ireland – but they still wrote, recorded and performed together as Dead Can Dance.
For the next two years, Dead Can Dance were relatively quiet, releasing only two new songs in 1986, both which appeared on the 4AD compilation Lonely Is an Eyesore. Within the Realm of a Dying Sun, the group's third album, appeared in 1986. In 1988, the band released their fourth album, The Serpent's Egg, and wrote the score for the Agustin Villarongas film El Nino de la Luna, which also featured Lisa Gerrard in her acting debut. Aion, Dead Can Dance's fifth album, was released in 1990. Also in 1990, the group toured America for the first time, earning rave reviews. The following year, the group was involved in various festivals and theatrical productions. In 1991, the compilation A Passage in Time was released on Rykodisc, making it the first American release of Dead Can Dance music. Early in 1993, the group provided the score to Baraka and contributed songs to Zazou's Sahara Blue.
Their sixth studio album, Into the Labyrinth, was issued in September 1993 and dispensed with guest musicians entirely; it sold 500,000 copies worldwide and appeared on the Billboard 200. It was a cult success throughout the U.S. and Europe, making them 4AD's highest selling act.They followed with a world tour in 1994 and recorded a live performance in California which was released as Toward the Within, with video versions on Laserdisc and VHS (later on DVD). Many unofficial bootlegs of concerts spanning their career exist, containing several rare songs that were only performed live. Toward the Within is the duo's only official live album. Gerrard released her debut solo recording, The Mirror Pool, and recombined with Perry for the Dead Can Dance studio album, Spiritchaser, in 1996.The album also charted on Billboard 200 and reached No. 1 on the Top World Music Albums Chart.
In 1998, Dead Can Dance planned a follow-up to Spiritchaser, but the band separated before it was realised. One song from the recording sessions, "The Lotus Eaters", was eventually released on the box set Dead Can Dance (1981-1998) and on the 2-disc compilation Wake (2003). Gerrard teamed with Pieter Bourke (Snog, Soma) to issue Duality in April 1998. Perry released Eye of the Hunter in October 1999. DCD reunited in 2005 and released limited-edition recordings of 13 shows from its European tour, and 8 recordings from the subsequent North American tour, as well as a compilation titled Selections from Europe 2005. These concerts were recorded and released on The Show record label.
On 28 March 2010, in an interview for Bulgaria’s Katehizis.com online music magazine, Perry revealed the possibility of a future Dead Can Dance reunion: "Yes, I’ve been talking about it with Lisa [Gerrard]. Maybe in the end of next year we’ll start work again. We’ve been talking about doing something like taking a small chamber orchestra – 10 or 15 people – and tour with them. And we have to write songs. We have to write new material – totally new – so the whole, entire set will be a new album. Then we’ll go into the studio after the tour, record, produce and release a record as well.
xxxxx xxxxx xxxxx xxxxx xxxxx in the slightest
Perry and Gerrard continued to experiment and improve with The Serpent's Egg, Right from the first track, "The Host of Seraphim." epic images are called up , its use in films some years later no surprise. Gerrard takes flight with a seemingly wordless invocation of power and worship -- her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. "Ullyses," the album's closing track, makes for a fine ending as much as "The Host of Seraphim" did an opening, Perry's delivery almost like a reading from a holy book, the arrangement of strings and percussion rhythmic, addictive and lovely. In remastered lossless flac
Dead Can Dance - The Serpent's Egg (flac 219mb)
01 The Host Of Seraphim 6:18
02 Orbis De Ignis 1:35
03 Severance 3:22
04 The Writing On My Father's Hand 3:50
05 In The Kingdom Of The Blind The One-Eyed Are Kings 4:11
06 Chant Of The Paladin 3:48
07 Song Of Sophia 1:24
08 Echolalia 1:17
09 Mother Tongue 5:16
10 Ullyses 5:09
xxxxx xxxxx xxxxx xxxxx xxxxx
Spiritchaser, Dead Can Dance's final album sees Perry and Gerrard's personal and creative tensions just below the surface, it didn't stop them from creating another fine album though.Spiritchaser is a summing up rather than a push forward; it features all the usual elements.. Toward the Within contributors Ronan O'Snodaigh and Lance Hogan, as well as previous collaborator Peter Ulrich, appear on some tracks here, laden with lots of percussion -- Both Perry and Gerrard are in fine voice throughout, their strong singing still the centerpiece of their work, but there's almost an air of predictability to their approaches at this point Spiritchaser ends on a strong note, the gentle, mysterious "Devorzhum," a Gerrard-sung number that makes for a grand conclusion. It turned out the group had finally reached a logical end. In remastered lossless flac or bitesize ogg 9
Dead Can Dance - Spiritchaser (flac 325mb)
01 Nierika 5:45
02 Song Of The Stars 10:13
03 Indus 9:23
04 Song Of The Dispossessed 4:55
05 Dedicacé Outò 1:14
06 The Snake And The Moon 6:11
07 Song Of The Nile 8:00
08 Devorzhum 6:15
xxxxx xxxxx xxxxx xxxxx xxxxx
In the weeks and months that followed more proof came to the fore that this had been an inside job, with clear motivations behind it. 1 To kick start the American century (global dominance), 2 to force thru the Patriot Act which had already been written prior to the attack, even going as far as to intimidate the congress with the anthrax posting (anthrax that turned out to have come from a military biolab). 3 start some wars and line the deep pockets of the military industrial complex 4 To obscure a 2 trillion dollar hole in the Pentagon budget ( announced by Rumsfeld the night before) BTW the Pentagon attack hit those who had done the accounting (precision strike !) 5 To get rid of the asbestos infested WTC hi rises (much much to expensive to renovate). 6 Have a laugh on the expense of all those little people (remember those responsible are psychopaths, sociopaths at best)
I thought in line with this sad day the Dead Can Dance would be abt, (btw the dead do but without music it's more like syncing together) DCD's big sound has been remastered by Perry and available here in lossless flac and ogg
xxxxx xxxxx xxxxx xxxxx xxxxx
Dead Can Dance (sometimes referred to as DCD) were an ambient, world music band which formed in Melbourne, Australia, in August 1981. Its mainstays were Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998, but reunited temporarily for a world tour in 2005. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty... with African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras and art-rock".
Dead Can Dance formed in Melbourne, Australia, in August 1981 with Paul Erikson on bass guitar, Lisa Gerrard (ex-Microfilm) on vocals, Simon Monroe (Marching Girls) on drums and Brendan Perry on vocals and guitar. Gerrard and Perry were also a domestic couple and they left Erikson and Monroe in Australia when they moved to London in May 1982, where they signed with alternative rock label 4AD Records. With the duo, the initial United Kingdom line-up were James Pinker, Scott Rodger and Peter Ulrich. The group's debut album, Dead Can Dance, which appeared in February 1984, was produced by the band. The artwork, which depicts a ritual mask from New Guinea, "provide[s] a visual reinterpretation of the meaning of the name Dead Can Dance". The album "featured drum-driven, ambient guitar music with chanting, singing and howling".They followed with a four-track extended play, Garden of the Arcane Delights in August.which saw them plunging into a wider range of music and style, in fact it set them on their musical style.
For their second album, Spleen and Ideal, the group comprised the core duo of Gerrard and Perry with cello, trombones and tympani added in by session musicians. It appeared in November 1985 and was co-produced by the duo with John A. Rivers Raggett describes it as "a consciously medieval European sound ... like it was recorded in an immense cathedral". The group built a following in Europe, and this album reached No. 2 on the UK indie charts. By 1989, Gerrard and Perry had separated domestically – Gerrard returned to Australia and Perry moved to Ireland – but they still wrote, recorded and performed together as Dead Can Dance.
For the next two years, Dead Can Dance were relatively quiet, releasing only two new songs in 1986, both which appeared on the 4AD compilation Lonely Is an Eyesore. Within the Realm of a Dying Sun, the group's third album, appeared in 1986. In 1988, the band released their fourth album, The Serpent's Egg, and wrote the score for the Agustin Villarongas film El Nino de la Luna, which also featured Lisa Gerrard in her acting debut. Aion, Dead Can Dance's fifth album, was released in 1990. Also in 1990, the group toured America for the first time, earning rave reviews. The following year, the group was involved in various festivals and theatrical productions. In 1991, the compilation A Passage in Time was released on Rykodisc, making it the first American release of Dead Can Dance music. Early in 1993, the group provided the score to Baraka and contributed songs to Zazou's Sahara Blue.
Their sixth studio album, Into the Labyrinth, was issued in September 1993 and dispensed with guest musicians entirely; it sold 500,000 copies worldwide and appeared on the Billboard 200. It was a cult success throughout the U.S. and Europe, making them 4AD's highest selling act.They followed with a world tour in 1994 and recorded a live performance in California which was released as Toward the Within, with video versions on Laserdisc and VHS (later on DVD). Many unofficial bootlegs of concerts spanning their career exist, containing several rare songs that were only performed live. Toward the Within is the duo's only official live album. Gerrard released her debut solo recording, The Mirror Pool, and recombined with Perry for the Dead Can Dance studio album, Spiritchaser, in 1996.The album also charted on Billboard 200 and reached No. 1 on the Top World Music Albums Chart.
In 1998, Dead Can Dance planned a follow-up to Spiritchaser, but the band separated before it was realised. One song from the recording sessions, "The Lotus Eaters", was eventually released on the box set Dead Can Dance (1981-1998) and on the 2-disc compilation Wake (2003). Gerrard teamed with Pieter Bourke (Snog, Soma) to issue Duality in April 1998. Perry released Eye of the Hunter in October 1999. DCD reunited in 2005 and released limited-edition recordings of 13 shows from its European tour, and 8 recordings from the subsequent North American tour, as well as a compilation titled Selections from Europe 2005. These concerts were recorded and released on The Show record label.
On 28 March 2010, in an interview for Bulgaria’s Katehizis.com online music magazine, Perry revealed the possibility of a future Dead Can Dance reunion: "Yes, I’ve been talking about it with Lisa [Gerrard]. Maybe in the end of next year we’ll start work again. We’ve been talking about doing something like taking a small chamber orchestra – 10 or 15 people – and tour with them. And we have to write songs. We have to write new material – totally new – so the whole, entire set will be a new album. Then we’ll go into the studio after the tour, record, produce and release a record as well.
xxxxx xxxxx xxxxx xxxxx xxxxx in the slightest
Perry and Gerrard continued to experiment and improve with The Serpent's Egg, Right from the first track, "The Host of Seraphim." epic images are called up , its use in films some years later no surprise. Gerrard takes flight with a seemingly wordless invocation of power and worship -- her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. "Ullyses," the album's closing track, makes for a fine ending as much as "The Host of Seraphim" did an opening, Perry's delivery almost like a reading from a holy book, the arrangement of strings and percussion rhythmic, addictive and lovely. In remastered lossless flac
Dead Can Dance - The Serpent's Egg (flac 219mb)
01 The Host Of Seraphim 6:18
02 Orbis De Ignis 1:35
03 Severance 3:22
04 The Writing On My Father's Hand 3:50
05 In The Kingdom Of The Blind The One-Eyed Are Kings 4:11
06 Chant Of The Paladin 3:48
07 Song Of Sophia 1:24
08 Echolalia 1:17
09 Mother Tongue 5:16
10 Ullyses 5:09
xxxxx xxxxx xxxxx xxxxx xxxxx
Spiritchaser, Dead Can Dance's final album sees Perry and Gerrard's personal and creative tensions just below the surface, it didn't stop them from creating another fine album though.Spiritchaser is a summing up rather than a push forward; it features all the usual elements.. Toward the Within contributors Ronan O'Snodaigh and Lance Hogan, as well as previous collaborator Peter Ulrich, appear on some tracks here, laden with lots of percussion -- Both Perry and Gerrard are in fine voice throughout, their strong singing still the centerpiece of their work, but there's almost an air of predictability to their approaches at this point Spiritchaser ends on a strong note, the gentle, mysterious "Devorzhum," a Gerrard-sung number that makes for a grand conclusion. It turned out the group had finally reached a logical end. In remastered lossless flac or bitesize ogg 9
Dead Can Dance - Spiritchaser (flac 325mb)
01 Nierika 5:45
02 Song Of The Stars 10:13
03 Indus 9:23
04 Song Of The Dispossessed 4:55
05 Dedicacé Outò 1:14
06 The Snake And The Moon 6:11
07 Song Of The Nile 8:00
08 Devorzhum 6:15
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Sep 9, 2011
RhoDeo 1136 Grooves
Hello, two weeks ago i posted some Whitfield-Undisputed Truth work here, noting some interest i decided to go for some more Whitfield, this time when he guided The Temptations over a period of 4 years when he steered the course of contemporary black music into the psychedelic era, inspired by Sly & The Family Stone he took what was basically the biggest selling black group of the times and showed them a new way to express themselves, when within a relatively short period they produced 8 albums; Cloud Nine (69), Puzzle People, Psychedelic Shack, Solid Rock, Sky's The Limit, All Directions, Masterpiece & 1900 (73) .
It has to be said Whitfield left the Temptations hanging when thereupon he left Motown and started his own record company. The Temptations entered a dry spell, Atlantic couldn't advance them and by the eighties the world had changed and they no longer commanded an audience. Line up changes have occurred all thru the years but these guys could really sing so no surprise then they are still on the road, although the current senior member, Ron Tyson joined in 1983 a far cry from the original line up then. Today 3 albums in lossless flac from the psychedelic era Cloud Nine (69), Psychedelic Shack (70) and All Directions (72) enjoy..
xxxxx xxxxx xxxxx
When smooth David Ruffin was replaced by a 'rougher' Dennis Edwards, Whitfield restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" type sound. However, ballads in the traditional style of the group were still being recorded as B-sides and album fillers. Most other recordings from this period in 1968–1970 such as "Cloud Nine" and "Psychedelic Shack" featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo and other sound effects. The majority of these songs feature at least two lead singers and often, all five Temptations sang lead, trading bars à la the Family Stone. Dennis Edwards often featured prominently on most of these recordings.
Inspired heavily by the concurrent works of Sly Stone, the lyrics for these songs centered primarily around then-current social issues such as integration, the Vietnam War, and self-consciousness. In addition, in an attempt to get the social message contained therein across to their audiences more clearly, many of the psychedelic soul recordings of this period were presented in mixes of extended length, often up to twice, triple or quadruple the length of the typical three-minute Motown song.
Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes. At the insistence of Norman Whitfield, a large portion of the additional running time for each song consisted of instrumental passages without vocals. For example, the hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes, featuring an instrumental intro that was almost two minutes, a rarity for songs of that era.
"Psychedelic soul" soon gave way to "cinematic soul", highlighting a further series of lengthy recordings featuring detailed orchestration, extended instrumental introductions and bridging passages. Often focusing on lyrics about the ghettos and inner cities of black America, these songs were heavily influenced by the work of singer-songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield however, the Temptations had no creative control over their recordings, and were in no way fond of the twelve- and thirteen-minute long songs being forced upon them by Norman Whitfield, whose contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiece.
xxxxx xxxxx xxxxx
Best known for their silky soul vocals and smooth-stepping routines, the Temptations were firmly entrenched as the undisputed kings of Barry Gordy's Motown stable when cutting-edge producer Norman Whitfield walked into the studio and announced that it was time to shake things up. The resulting freakout became the first half of the stellar Cloud Nine, an album that would become one of the defining early funk sets, with songs that not only took Motown in a new direction, but helped to shape a genre as well. On one side and across three jams, Whitfield and the Temptations would give '70s-era funk musicians a broad palette from which to draw inspiration. The title track, with its funky soul bordering on psychedelic frenzy, was an audacious album opener, and surely gave older fans a moment's pause. After shaking up the record-buying public with these three side 1 masterpieces, the Temptations brought things back to form for side two. Here, their gorgeous vocals dominated slick arrangements in short it was Temptations business as usual. The dichotomy of form between old and new between sides shattered the doorway between past and present as surely as the decade itself imploded and smooth soul gave way to blistering funk.
The Temptations - Cloud Nine ( 206mb)
01 Cloud Nine 3:27
02 I Heard It Through The Grapevine 3:00
03 Run Away Child, Running Wild 9:38
04 Love Is A Hurtin' Thing 2:28
05 Hey Girl 2:38
06 Why Did She Have To Leave Me (Why Did She Have To Go) 2:56
07 I Need Your Lovin' 2:35
08 Don't Let Him Take Your Love From Me 2:31
09 I Gotta Find A Way (To Get You Back) 2:56
10 Gonna Keep On Tryin' Till I Win Your Love 2:32
The Temptations - Cloud Nine ( 92mb)
xxxxx xxxxx xxxxx
1970's Norman Whitfield-produced Psychedelic Shack -- while perhaps a system shock to those fans who grooved to the band's lame-suited, Motown dance-routined R&B classics -- was a magnificent stretch into an epic and ultimately emerged as another in a long line of enduring sets. The Temptations broke their own mold with the acid-drenched party chant: "Psychedelic shack/That's where it's at." The Whitfield-penned classic "War" best known from ex Temptation Edwin Starr who etched what is now considered to be the definitive version of the song , didn't prevent the Temptations to add their own inspired spin to it. This is an outstanding album -- one which has stood the test of time, sounding as fresh as it did upon initial release.
The Temptations - Psychedelic Shack ( 233mb)
01 Psychedelic Shack 3:50
02 You Make Your Own Heaven And Hell Right Here On Earth 2:45
03 Hum Along And Dance 3:55
04 Take A Stroll Thru Your Mind 8:35
05 It's Summer 2:34
06 War 3:11
07 You Need Love Like I Do (Don't You) 3:57
08 Friendship Train 7:48
The Temptations - Psychedelic Shack ( 93mb)
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A monster album, the one that put them back in the spotlight and signaled that Norman Whitfield had saved the day. Damon Harris had replaced Eddie Kendricks, and there were many doubters convinced the band was finished. Instead, Whitfield revitalized them via the majestic single, "Papa Was a Rollin' Stone." Despite its length, Whitfield's decision to open with an extensive, multi-layered musical suite and tease listeners was a master stroke. By the time Dennis Edwards' voice came rushing in, no one would dare turn it off.
The Temptations - All Directions ( 196mb)
01 Funky Music Sho Nuff Turns Me On 3:05
02 Run Charlie Run 3:01
03 Papa Was A Rollin' Stone 11:45
04 Love Woke Me Up This Morning 2:22
05 I Ain't Got Nothin' 3:32
06 The First Time Ever (I Saw Your Face) 4:11
07 Mother Nature 3:09
08 Do Your Thing 3:32
xxxxx xxxxx xxxxx
It has to be said Whitfield left the Temptations hanging when thereupon he left Motown and started his own record company. The Temptations entered a dry spell, Atlantic couldn't advance them and by the eighties the world had changed and they no longer commanded an audience. Line up changes have occurred all thru the years but these guys could really sing so no surprise then they are still on the road, although the current senior member, Ron Tyson joined in 1983 a far cry from the original line up then. Today 3 albums in lossless flac from the psychedelic era Cloud Nine (69), Psychedelic Shack (70) and All Directions (72) enjoy..
xxxxx xxxxx xxxxx
When smooth David Ruffin was replaced by a 'rougher' Dennis Edwards, Whitfield restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" type sound. However, ballads in the traditional style of the group were still being recorded as B-sides and album fillers. Most other recordings from this period in 1968–1970 such as "Cloud Nine" and "Psychedelic Shack" featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo and other sound effects. The majority of these songs feature at least two lead singers and often, all five Temptations sang lead, trading bars à la the Family Stone. Dennis Edwards often featured prominently on most of these recordings.
Inspired heavily by the concurrent works of Sly Stone, the lyrics for these songs centered primarily around then-current social issues such as integration, the Vietnam War, and self-consciousness. In addition, in an attempt to get the social message contained therein across to their audiences more clearly, many of the psychedelic soul recordings of this period were presented in mixes of extended length, often up to twice, triple or quadruple the length of the typical three-minute Motown song.
Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes. At the insistence of Norman Whitfield, a large portion of the additional running time for each song consisted of instrumental passages without vocals. For example, the hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes, featuring an instrumental intro that was almost two minutes, a rarity for songs of that era.
"Psychedelic soul" soon gave way to "cinematic soul", highlighting a further series of lengthy recordings featuring detailed orchestration, extended instrumental introductions and bridging passages. Often focusing on lyrics about the ghettos and inner cities of black America, these songs were heavily influenced by the work of singer-songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield however, the Temptations had no creative control over their recordings, and were in no way fond of the twelve- and thirteen-minute long songs being forced upon them by Norman Whitfield, whose contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiece.
xxxxx xxxxx xxxxx
Best known for their silky soul vocals and smooth-stepping routines, the Temptations were firmly entrenched as the undisputed kings of Barry Gordy's Motown stable when cutting-edge producer Norman Whitfield walked into the studio and announced that it was time to shake things up. The resulting freakout became the first half of the stellar Cloud Nine, an album that would become one of the defining early funk sets, with songs that not only took Motown in a new direction, but helped to shape a genre as well. On one side and across three jams, Whitfield and the Temptations would give '70s-era funk musicians a broad palette from which to draw inspiration. The title track, with its funky soul bordering on psychedelic frenzy, was an audacious album opener, and surely gave older fans a moment's pause. After shaking up the record-buying public with these three side 1 masterpieces, the Temptations brought things back to form for side two. Here, their gorgeous vocals dominated slick arrangements in short it was Temptations business as usual. The dichotomy of form between old and new between sides shattered the doorway between past and present as surely as the decade itself imploded and smooth soul gave way to blistering funk.
The Temptations - Cloud Nine ( 206mb)
01 Cloud Nine 3:27
02 I Heard It Through The Grapevine 3:00
03 Run Away Child, Running Wild 9:38
04 Love Is A Hurtin' Thing 2:28
05 Hey Girl 2:38
06 Why Did She Have To Leave Me (Why Did She Have To Go) 2:56
07 I Need Your Lovin' 2:35
08 Don't Let Him Take Your Love From Me 2:31
09 I Gotta Find A Way (To Get You Back) 2:56
10 Gonna Keep On Tryin' Till I Win Your Love 2:32
The Temptations - Cloud Nine ( 92mb)
xxxxx xxxxx xxxxx
1970's Norman Whitfield-produced Psychedelic Shack -- while perhaps a system shock to those fans who grooved to the band's lame-suited, Motown dance-routined R&B classics -- was a magnificent stretch into an epic and ultimately emerged as another in a long line of enduring sets. The Temptations broke their own mold with the acid-drenched party chant: "Psychedelic shack/That's where it's at." The Whitfield-penned classic "War" best known from ex Temptation Edwin Starr who etched what is now considered to be the definitive version of the song , didn't prevent the Temptations to add their own inspired spin to it. This is an outstanding album -- one which has stood the test of time, sounding as fresh as it did upon initial release.
The Temptations - Psychedelic Shack ( 233mb)
01 Psychedelic Shack 3:50
02 You Make Your Own Heaven And Hell Right Here On Earth 2:45
03 Hum Along And Dance 3:55
04 Take A Stroll Thru Your Mind 8:35
05 It's Summer 2:34
06 War 3:11
07 You Need Love Like I Do (Don't You) 3:57
08 Friendship Train 7:48
The Temptations - Psychedelic Shack ( 93mb)
xxxxx xxxxx xxxxx
A monster album, the one that put them back in the spotlight and signaled that Norman Whitfield had saved the day. Damon Harris had replaced Eddie Kendricks, and there were many doubters convinced the band was finished. Instead, Whitfield revitalized them via the majestic single, "Papa Was a Rollin' Stone." Despite its length, Whitfield's decision to open with an extensive, multi-layered musical suite and tease listeners was a master stroke. By the time Dennis Edwards' voice came rushing in, no one would dare turn it off.
The Temptations - All Directions ( 196mb)
01 Funky Music Sho Nuff Turns Me On 3:05
02 Run Charlie Run 3:01
03 Papa Was A Rollin' Stone 11:45
04 Love Woke Me Up This Morning 2:22
05 I Ain't Got Nothin' 3:32
06 The First Time Ever (I Saw Your Face) 4:11
07 Mother Nature 3:09
08 Do Your Thing 3:32
xxxxx xxxxx xxxxx
Sep 8, 2011
RhoDeo 1136 Goldy Rhox 39
Hello, today the 39th post of GoldyRhox, classic pop rock, in the darklight a group that made a big unsuspected splash upon arrival on the scene spring 69 (fruitful times). They really produced an amazing classic from the word go, enjoyable to this date and danceable must have been amazing back in the day. It's a double album so no flac version this time.
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Upon the band's 1967 inception, they were initially called "The Missing Links". Then changed its name to "The Big Thing" (or Sound whenevr the sexpolice was out to save the innocents from their dirty mind.before adopting the moniker they are known for, that said they had to cut the big thing short as smallminded officials from the windy city objected to the inclusion of Authority..much disputed in the late sixties remember ? or would that be un-american. They had a steady stream of hits throughout the 1970s and 1980s. Second only to The Beach Boys in terms of Billboard singles and albums chart success among American bands, todays band is one of the longest running and most successful pop/rock and roll groups
Todays remastered mystery album was released in April 1969, it proved to be an immediate hit, reaching #17 in the US and #9 in the UK. While critical reaction was also strong, the eponomously titled album initially failed to produce any hit singles, with the group seen as an album-oriented collective. However, in 1970 and 1971 it would still score 3 belated hits. Buoyed by the success of their later albums, the album stayed on the charts for a then-record 171 weeks, and was certified gold (and later platinum and double platinum). As this had been their debut album and a double one at that, their record company demanded they take a royalty cut- i sure hope they agreed on a breakeven number (likely not). Anyway one of 1001 albums you should have heard before you die..and hopefully remember in the hereafter.
Goldy Rhox 39 (266mb)
***** ***** ***** ***** *****
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Todays remastered mystery album was released in April 1969, it proved to be an immediate hit, reaching #17 in the US and #9 in the UK. While critical reaction was also strong, the eponomously titled album initially failed to produce any hit singles, with the group seen as an album-oriented collective. However, in 1970 and 1971 it would still score 3 belated hits. Buoyed by the success of their later albums, the album stayed on the charts for a then-record 171 weeks, and was certified gold (and later platinum and double platinum). As this had been their debut album and a double one at that, their record company demanded they take a royalty cut- i sure hope they agreed on a breakeven number (likely not). Anyway one of 1001 albums you should have heard before you die..and hopefully remember in the hereafter.
Goldy Rhox 39 (266mb)
***** ***** ***** ***** *****
Sep 7, 2011
RhoDeo 1136 Aetix
Hello, todays Aetix moves towards that great southern land to a band who had international appeal on the back of the European star status of The Birthday Party, Crime & The City Solution. They certainly molded their own niche and released 6 albums, the last one The Adversary was a live album I posted earlier on the Sunshine Outback page that was deleted but the link at the bottom is still live. Anyway as i have them all i selected the first two, the mini album Just South of Heaven and the first full album Room of Lights in it's expanded cd version. Furthermore the final studio album, Paradise Discotheque, which shows the growth and personal changes the band had gone thru during the 4 years and 2 albums ( Shine & The Bride Ship) that had gone before.
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Crime and The City Solution were formed in 84 by singer and songwriter Simon Bonney. He contacted former Birthday Party members Mick Harvey and Rowland S. Howard after the group's breakup, and following the addition of Howard's brother, bassist Harry Rowland, the most successful and famed lineup of Crime & the City Solution was born.
In 1985, the quartet debuted with The Dangling Man, a self-produced EP quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime after the EP's release, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, Just South of Heaven. Their full-length bow, Room of Lights, appeared in 1986 and featured the remarkable "Six Bells Chime," which so impressed the acclaimed filmmaker Wim Wenders that he invited the band to perform the song live in his 1988 masterpiece Wings of Desire.
After Room of Lights, the Howard brothers and Soundtracks exited to form These Immortal Souls, leaving Bonney, Harvey, and violinist Bronwyn Adams (also Bonney's wife and songwriting partner) to relocate to Berlin, where they recruited a number of local musicians, including Einsturzende Neubauten guitarist Alexander Hacke, to cut 1988's ornate, intoxicating Shine. Even more Baroque was the follow-up, 1989's The Bride Ship.
In 1990, Crime returned to the studio one final time to record Paradise Discotheque, a record built around Bonney's ambitious four-part suite "The Last Dictator," a song cycle inspired by the downfall of Romanian warlord Nicolae Ceaucescu. After contributing "The Adversary" to the soundtrack of Wenders' Until the End of the World, Crime & the City Solution disbanded; while Harvey rejoined former Birthday Party mate Nick Cave in the Bad Seeds, Bonney began work on his 1992 solo debut, Forever. As an epitath a live album was released, recorded in from Paris at New Morning, 19th December 1990 , with as opener The Adversary, recorded for Wim Wenders' film "Until The End Of The World" .
xxxxx xxxxx xxxxx xxxxx xxxxx
After their debut EP The Dangling Man quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, the mini album (28min) Just South of Heaven it further established them as a band to watch-literally as their live shows would become legandairy over the years.
Crime and The City Solution – Just South Of Heaven (flac 184mb)
01 Rose Blue 4:50
02 The Coal Train 5:55
03 Stolen & Stealing 3:20
04 Five Stone Walls 4:15
05 Trouble Come This Morning 4:30
06 The Wailing Wall 5:30
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Following on the heels of two successful EPs, Crime & the City Solution turned around to record some of their best material for Room of Lights. With violinist Bronwyn Adams added to the camp, the band acted as dynamically jagged counterparts to their peers; post-punk's forgotten kings. Nothing had the vibrant impact of the sound slammed home on this album. Its urgency jangles, its cacophony is dichotomous, and, at times, the underlying energy is breathtaking as the band storms through a great set. And if there could be a breakaway hit on an album like this, "Six Bells Chime" fits the bill. Director Wim Wenders included the band and song in his now classic 1986 film Wings of Desire.
This CD reissue boasts a clutch of bonus tracks taken from the Just South of Heaven and The Dangling Man EPs, an opportunity for the full scope of the band's early material to be fully sampled.
Crime and The City Solution – Room Of Lights (84 387mb)
01 Right Man, Wrong Man 4:15
02 No Money, No Honey 3:10
03 Hey Sinkiller 3:20
04 Six Bells Chime 5:40
05 Adventure 3:30
06 Untouchable 5:05
07 The Brother Song 3:35
08 Her Room Of Lights (For Lisa) 3:50
extended
09 Rose Blue 4:50
10 The Coal Train 5:55
11 Five Stone Walls 4:15
12 The Wailing Wall 5:30
13 Trouble Come This Morning 4:30
14 The Dangling Man 4:00
xxxxx xxxxx xxxxx xxxxx xxxxx
What turned out to be Crime & the City Solution's final album was, in the end, its most unique and striking record, foreshadowing Simon Bonney's equally impressive solo career. Lead single and opening track "I Have the Gun" shows the band's new power in particular, shifting between a countryesque blend of jump blues and sorrowful twang, and a snarling, forceful electric guitar build. The band's collective grasp of mood and style make Paradise both the most varied and most attractive Crime album of the lot -- everything's a little more on edge, tensions are higher in performance and delivery, and the mood is not simply building doom, but threatening plenty along the way.The last half of the album is a fitting farewell bow for the band -- like the concluding part of The Bride Ship, it's an extended multi-song piece, called "The Last Dictator." With Bonney's portrayal of the titular character at the center, it's a tour de force for both band and singer.(In Flax & Ogg 9)
Crime and The City Solution – Paradise Discothequea ( flac 220mb)
01 I Have The Gun 3:34
02 The Sly Persuaders 4:10
03 The Dolphins And The Sharks 4:43
04 The Sun Before The Darkness 5:15
05 Motherless Child 3:49
06 The Last Dictator I 4:40
07 The Last Dictator II 5:01
08 The Last Dictator III 4:33
09 The Last Dictator IV 2:48
Crime & The City Solution – Paradise Discotheque ( 88mb)
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once elsewhere (Sunshine Outback)
Crime & The City Solution - The Adversary - Live ( 93 * 96 mb)
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xxxxx xxxxx xxxxx xxxxx xxxxx
Crime and The City Solution were formed in 84 by singer and songwriter Simon Bonney. He contacted former Birthday Party members Mick Harvey and Rowland S. Howard after the group's breakup, and following the addition of Howard's brother, bassist Harry Rowland, the most successful and famed lineup of Crime & the City Solution was born.
In 1985, the quartet debuted with The Dangling Man, a self-produced EP quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime after the EP's release, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, Just South of Heaven. Their full-length bow, Room of Lights, appeared in 1986 and featured the remarkable "Six Bells Chime," which so impressed the acclaimed filmmaker Wim Wenders that he invited the band to perform the song live in his 1988 masterpiece Wings of Desire.
After Room of Lights, the Howard brothers and Soundtracks exited to form These Immortal Souls, leaving Bonney, Harvey, and violinist Bronwyn Adams (also Bonney's wife and songwriting partner) to relocate to Berlin, where they recruited a number of local musicians, including Einsturzende Neubauten guitarist Alexander Hacke, to cut 1988's ornate, intoxicating Shine. Even more Baroque was the follow-up, 1989's The Bride Ship.
In 1990, Crime returned to the studio one final time to record Paradise Discotheque, a record built around Bonney's ambitious four-part suite "The Last Dictator," a song cycle inspired by the downfall of Romanian warlord Nicolae Ceaucescu. After contributing "The Adversary" to the soundtrack of Wenders' Until the End of the World, Crime & the City Solution disbanded; while Harvey rejoined former Birthday Party mate Nick Cave in the Bad Seeds, Bonney began work on his 1992 solo debut, Forever. As an epitath a live album was released, recorded in from Paris at New Morning, 19th December 1990 , with as opener The Adversary, recorded for Wim Wenders' film "Until The End Of The World" .
xxxxx xxxxx xxxxx xxxxx xxxxx
After their debut EP The Dangling Man quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, the mini album (28min) Just South of Heaven it further established them as a band to watch-literally as their live shows would become legandairy over the years.
Crime and The City Solution – Just South Of Heaven (flac 184mb)
01 Rose Blue 4:50
02 The Coal Train 5:55
03 Stolen & Stealing 3:20
04 Five Stone Walls 4:15
05 Trouble Come This Morning 4:30
06 The Wailing Wall 5:30
xxxxx xxxxx xxxxx xxxxx xxxxx
Following on the heels of two successful EPs, Crime & the City Solution turned around to record some of their best material for Room of Lights. With violinist Bronwyn Adams added to the camp, the band acted as dynamically jagged counterparts to their peers; post-punk's forgotten kings. Nothing had the vibrant impact of the sound slammed home on this album. Its urgency jangles, its cacophony is dichotomous, and, at times, the underlying energy is breathtaking as the band storms through a great set. And if there could be a breakaway hit on an album like this, "Six Bells Chime" fits the bill. Director Wim Wenders included the band and song in his now classic 1986 film Wings of Desire.
This CD reissue boasts a clutch of bonus tracks taken from the Just South of Heaven and The Dangling Man EPs, an opportunity for the full scope of the band's early material to be fully sampled.
Crime and The City Solution – Room Of Lights (84 387mb)
01 Right Man, Wrong Man 4:15
02 No Money, No Honey 3:10
03 Hey Sinkiller 3:20
04 Six Bells Chime 5:40
05 Adventure 3:30
06 Untouchable 5:05
07 The Brother Song 3:35
08 Her Room Of Lights (For Lisa) 3:50
extended
09 Rose Blue 4:50
10 The Coal Train 5:55
11 Five Stone Walls 4:15
12 The Wailing Wall 5:30
13 Trouble Come This Morning 4:30
14 The Dangling Man 4:00
xxxxx xxxxx xxxxx xxxxx xxxxx
What turned out to be Crime & the City Solution's final album was, in the end, its most unique and striking record, foreshadowing Simon Bonney's equally impressive solo career. Lead single and opening track "I Have the Gun" shows the band's new power in particular, shifting between a countryesque blend of jump blues and sorrowful twang, and a snarling, forceful electric guitar build. The band's collective grasp of mood and style make Paradise both the most varied and most attractive Crime album of the lot -- everything's a little more on edge, tensions are higher in performance and delivery, and the mood is not simply building doom, but threatening plenty along the way.The last half of the album is a fitting farewell bow for the band -- like the concluding part of The Bride Ship, it's an extended multi-song piece, called "The Last Dictator." With Bonney's portrayal of the titular character at the center, it's a tour de force for both band and singer.(In Flax & Ogg 9)
Crime and The City Solution – Paradise Discothequea ( flac 220mb)
01 I Have The Gun 3:34
02 The Sly Persuaders 4:10
03 The Dolphins And The Sharks 4:43
04 The Sun Before The Darkness 5:15
05 Motherless Child 3:49
06 The Last Dictator I 4:40
07 The Last Dictator II 5:01
08 The Last Dictator III 4:33
09 The Last Dictator IV 2:48
Crime & The City Solution – Paradise Discotheque ( 88mb)
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once elsewhere (Sunshine Outback)
Crime & The City Solution - The Adversary - Live ( 93 * 96 mb)
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Sep 6, 2011
RhoDeo 1136 Roots
Hello, we're still on that island with a huge place in the global music catalog, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.
Today's artists are no longer with us physically, yet their voices can still be heard. First up, Dennis Brown, during his prolific career, which began in the late 1960s when he was aged eleven, he recorded more than 75 albums and was one of the major stars of lovers rock, Bob Marley dubbed him "The Crown Prince of Reggae", and true to his title he would become hugely influential on future generations of reggae singers. The Voice of Thunder meanwhile has 'unfortunately' remained actual as there seems no end to misery, (moral) corruption and crime of which Prince Far I became a victim after he was shot and killed in his Kingston home 15 September 1983.
***** ***** ***** ***** *****
Dennis Brown was born on 1 February 1957 in Kingston, Jamaica. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a fan of American balladeers He cited Nat King Cole as one of his greatest early influences. His first Stuxio One session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. It became a big hit throughout Jamaica. Brown recorded up to a dozen sessions at Dodd's Studio One, amounting to around thirty songs, it spawned two albums, No Man is an Island and If I Follow my Heart
In 1972, Brown began an association that would result in his breakthrough as an internationally successful artist; He was asked by Joe Gibbs to record an album for him, and one of the tracks recorded as a result, "Money in my Pocket" in fact produced by Winston "Niney" Holness, was a hit with UK reggae audiences and quickly became a favourite of his live performances. Brown and Holness became close, even sharing a house in Pembroke Hall. Brown followed this with another collaboration with Holness on "Westbound Train", which was the biggest Jamaican hit of summer 1973. Brown followed this success with "Cassandra" and "No More Will I Roam", and tracks such as "Africa" and "Love Jah", displaying Brown's Rastafari beliefs, became staples on London's sound system scene.
Brown toured the United Kingdom for the first time in late summer 1974 as part of a Jamaican showcase. Februari 75 he was back in the UK, now with Holness in tow as his business manager, to negotiate a record deal with Trojan Records, the first Brown album to be released as a result being Just Dennis. The years that followed saw much distribution and recordlabel troubles. Resulting in the relationship with Niney had cooled enough for him to record with Gibbs again. The first album from this arrangement, the 1977 release Visions of Dennis Brown, gave him his biggest success so far, blending conscious themes and love songs, and confirming Brown's transformation from child star to grown up artist.
In 1978, Brown moved to live in London, to relaunch the DEB Music label with Castro Brown, with artists featured on the label including Junior Delgado, 15.16.17, Bob Andy, Lennox Brown, and later, Gregory Isaacs. Brown's next two albums were both released on DEB - So Long Rastafari and Joseph's Coat of Many Colours, although the label was closed down in 1979, after which Brown again did the rounds of Jamaica's top producer. With continuing commercial success, Brown signed an international deal with A&M Records in 1981, and now based permanently in the UK, his first album release for the label was the Gibbs-produced Foul Play, it was the first of a trio of albums that would get mixed reviews. He'd left Jamaica too long dance hall was the new vogue and as it turned out it would suit his singing very well.
Brown released a huge amount of work through the 1980s, including the 1986 Jammy-produced album The Exit, but his biggest success of the decade came in 1989 with the Gussie Clarke-produced duet with Isaacs "Big All Round", and the album Unchallenged.He continued to record prolifically in the 1990s, notably on the Three Against War album in 1995 Brown's 1994 album Light My Fire was nominated for a Grammy Award, as was the last album recorded by Brown, Let Me Be the One (in 2001)
In the late 1990s, Brown's health began to deteriorate, with longstanding respiratory problems exacerbated by cocaine use leading to him being taken ill in May 1999, after touring in Brazil with other reggae singers, where he was diagnosed with pneumonia. After returning to Kingston, Jamaica, on the evening of June 30, 1999, he was rushed to Kingston's University Hospital, suffering from cardiac arrest. 42 year old Brown died the next day. Sitting Jamaican Prime Minister P. J. Patterson and his predecessor, serving at the time as opposition leader, Edward Seaga both spoke at Brown's funeral, which was held on July 17, 1999 in Kingston. He was survived by his wife Yvonne and thirteen children.
Dennis Brown - The Niney Years (Best Of) (155mb)
01 Westbound Train 3:02
02 Cassandra 2:45
03 Tenement Yard 3:47
04 Tribulation 3:07
05 Africa 5:37
06 Here I Come /Jah Come Here (Feat.I Roy) 5:01
07 Whip Them Jah Jah 2:31
08 Wolf And Leopards / Step On The Dragon 7:17
09 Give A Helping Hand 3:04
10 Run Too Tuff 2:41
11 Created By The Father 2:42
12 Black Liberation 4:48
13 Oh What A Day 3:38
14 Spellbound 3:48
15 Coming Home Tonight 4:01
16 Give Me Your Loving 4:01
17 Can't Take Another Day 4:24
18 My Whole World 3:32
***** ***** ***** ***** *****
Prince far I ( Michael James Williams) actually started his career in the sound systems, DJing that didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. There the bouncer got to take the mic standing in, the end result was the "Queen of the Minstrel" released under the moniker King Cry Cry,
The career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark. Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. On his new album, Under Heavy Manners, Prince Far I delivered Rastafarian diatribes and scathing political comments, supported by The Roots Radics that laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere. It got him a cult following in europe and a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor.
Prince Far I launched his own label, Cry Tough in 1978, as a home for his own work and for other artists with a similar philosophy. Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles.Meanwhile back in Britain, Adrian Sherwood, established his own Hit Run label, domestically releasing Cry Tuff singles. In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office, the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Prince Far I obviously was not very happy with Front Line and having now fulfilled his contract with them, he moved on.. To Trojan but from then on he would work alongside Adrian Sherwood. with the Creation Rebel and Singers and Players, he recorded a number of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, aka Dub Syndicate.also recorded for On U)
The following year's Voice of Thunder , with "Ten Commandments" of particular note is released aswell as the third and fourth volumes of Cry Tuff Dub Encounter featuring further scintillating voyages into the heaviest of dub's doom. In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. The plans for future recordings with the Sons of Arqa never came about as on September 15, 1983, Prince Far I's lfe came to an abrupt end when he was killed during a robbery at his home. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I lived on providing the thunderous vocals to the group's musical set.
Prince Far I - Under Heavy Manners ( 126mb)
01 Rain A Fall 2:41
02 Big Fight 3:31
03 You I Love And Not Another 3:45
04 Young Generation 3:06
05 Shine Eye Gal 2:41
06 Boz Rock 2:51
07 Show Me Mine Enemy 3:23
08 Shadow 3:20
09 Deck Of Cards 3:16
10 Heavy Manners 2:58
11 Heavyweight Version 3:27
12 Johnny Reggae 3:18
13 ET Version 3:21
14 Same Knife 2:59
15 Different Dagger 2:59
16 Emmanuel Road (Goosie Gander) 3:29
17 Mighty Two Version 3:33
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elsewhere
Prince Far I - Silver & Gold 1973-1979 ( 05 * 98mb)
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Today's artists are no longer with us physically, yet their voices can still be heard. First up, Dennis Brown, during his prolific career, which began in the late 1960s when he was aged eleven, he recorded more than 75 albums and was one of the major stars of lovers rock, Bob Marley dubbed him "The Crown Prince of Reggae", and true to his title he would become hugely influential on future generations of reggae singers. The Voice of Thunder meanwhile has 'unfortunately' remained actual as there seems no end to misery, (moral) corruption and crime of which Prince Far I became a victim after he was shot and killed in his Kingston home 15 September 1983.
***** ***** ***** ***** *****
Dennis Brown was born on 1 February 1957 in Kingston, Jamaica. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a fan of American balladeers He cited Nat King Cole as one of his greatest early influences. His first Stuxio One session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. It became a big hit throughout Jamaica. Brown recorded up to a dozen sessions at Dodd's Studio One, amounting to around thirty songs, it spawned two albums, No Man is an Island and If I Follow my Heart
In 1972, Brown began an association that would result in his breakthrough as an internationally successful artist; He was asked by Joe Gibbs to record an album for him, and one of the tracks recorded as a result, "Money in my Pocket" in fact produced by Winston "Niney" Holness, was a hit with UK reggae audiences and quickly became a favourite of his live performances. Brown and Holness became close, even sharing a house in Pembroke Hall. Brown followed this with another collaboration with Holness on "Westbound Train", which was the biggest Jamaican hit of summer 1973. Brown followed this success with "Cassandra" and "No More Will I Roam", and tracks such as "Africa" and "Love Jah", displaying Brown's Rastafari beliefs, became staples on London's sound system scene.
Brown toured the United Kingdom for the first time in late summer 1974 as part of a Jamaican showcase. Februari 75 he was back in the UK, now with Holness in tow as his business manager, to negotiate a record deal with Trojan Records, the first Brown album to be released as a result being Just Dennis. The years that followed saw much distribution and recordlabel troubles. Resulting in the relationship with Niney had cooled enough for him to record with Gibbs again. The first album from this arrangement, the 1977 release Visions of Dennis Brown, gave him his biggest success so far, blending conscious themes and love songs, and confirming Brown's transformation from child star to grown up artist.
In 1978, Brown moved to live in London, to relaunch the DEB Music label with Castro Brown, with artists featured on the label including Junior Delgado, 15.16.17, Bob Andy, Lennox Brown, and later, Gregory Isaacs. Brown's next two albums were both released on DEB - So Long Rastafari and Joseph's Coat of Many Colours, although the label was closed down in 1979, after which Brown again did the rounds of Jamaica's top producer. With continuing commercial success, Brown signed an international deal with A&M Records in 1981, and now based permanently in the UK, his first album release for the label was the Gibbs-produced Foul Play, it was the first of a trio of albums that would get mixed reviews. He'd left Jamaica too long dance hall was the new vogue and as it turned out it would suit his singing very well.
Brown released a huge amount of work through the 1980s, including the 1986 Jammy-produced album The Exit, but his biggest success of the decade came in 1989 with the Gussie Clarke-produced duet with Isaacs "Big All Round", and the album Unchallenged.He continued to record prolifically in the 1990s, notably on the Three Against War album in 1995 Brown's 1994 album Light My Fire was nominated for a Grammy Award, as was the last album recorded by Brown, Let Me Be the One (in 2001)
In the late 1990s, Brown's health began to deteriorate, with longstanding respiratory problems exacerbated by cocaine use leading to him being taken ill in May 1999, after touring in Brazil with other reggae singers, where he was diagnosed with pneumonia. After returning to Kingston, Jamaica, on the evening of June 30, 1999, he was rushed to Kingston's University Hospital, suffering from cardiac arrest. 42 year old Brown died the next day. Sitting Jamaican Prime Minister P. J. Patterson and his predecessor, serving at the time as opposition leader, Edward Seaga both spoke at Brown's funeral, which was held on July 17, 1999 in Kingston. He was survived by his wife Yvonne and thirteen children.
Dennis Brown - The Niney Years (Best Of) (155mb)
01 Westbound Train 3:02
02 Cassandra 2:45
03 Tenement Yard 3:47
04 Tribulation 3:07
05 Africa 5:37
06 Here I Come /Jah Come Here (Feat.I Roy) 5:01
07 Whip Them Jah Jah 2:31
08 Wolf And Leopards / Step On The Dragon 7:17
09 Give A Helping Hand 3:04
10 Run Too Tuff 2:41
11 Created By The Father 2:42
12 Black Liberation 4:48
13 Oh What A Day 3:38
14 Spellbound 3:48
15 Coming Home Tonight 4:01
16 Give Me Your Loving 4:01
17 Can't Take Another Day 4:24
18 My Whole World 3:32
***** ***** ***** ***** *****
Prince far I ( Michael James Williams) actually started his career in the sound systems, DJing that didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. There the bouncer got to take the mic standing in, the end result was the "Queen of the Minstrel" released under the moniker King Cry Cry,
The career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark. Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. On his new album, Under Heavy Manners, Prince Far I delivered Rastafarian diatribes and scathing political comments, supported by The Roots Radics that laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere. It got him a cult following in europe and a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor.
Prince Far I launched his own label, Cry Tough in 1978, as a home for his own work and for other artists with a similar philosophy. Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles.Meanwhile back in Britain, Adrian Sherwood, established his own Hit Run label, domestically releasing Cry Tuff singles. In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office, the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Prince Far I obviously was not very happy with Front Line and having now fulfilled his contract with them, he moved on.. To Trojan but from then on he would work alongside Adrian Sherwood. with the Creation Rebel and Singers and Players, he recorded a number of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, aka Dub Syndicate.also recorded for On U)
The following year's Voice of Thunder , with "Ten Commandments" of particular note is released aswell as the third and fourth volumes of Cry Tuff Dub Encounter featuring further scintillating voyages into the heaviest of dub's doom. In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. The plans for future recordings with the Sons of Arqa never came about as on September 15, 1983, Prince Far I's lfe came to an abrupt end when he was killed during a robbery at his home. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I lived on providing the thunderous vocals to the group's musical set.
Prince Far I - Under Heavy Manners ( 126mb)
01 Rain A Fall 2:41
02 Big Fight 3:31
03 You I Love And Not Another 3:45
04 Young Generation 3:06
05 Shine Eye Gal 2:41
06 Boz Rock 2:51
07 Show Me Mine Enemy 3:23
08 Shadow 3:20
09 Deck Of Cards 3:16
10 Heavy Manners 2:58
11 Heavyweight Version 3:27
12 Johnny Reggae 3:18
13 ET Version 3:21
14 Same Knife 2:59
15 Different Dagger 2:59
16 Emmanuel Road (Goosie Gander) 3:29
17 Mighty Two Version 3:33
xxxxx xxxxx xxxxx xxxxx xxxxx xxxxx
elsewhere
Prince Far I - Silver & Gold 1973-1979 ( 05 * 98mb)
xxxxx xxxxx xxxxx xxxxx xxxxx xxxxx
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