Jul 31, 2014

RhoDeo 1430 Goldy Rhox 171

Today the 171th post of GoldyRhox, classic pop rock, in the darklight today an American blues rock band that was highly popular during the 1970s. The band toured to packed arenas worldwide. David Fricke of Rolling Stone magazine once said "You cannot talk about rock in the 1970's without talking about them!" A popular take on the band during its heyday was that, although the critics hated them, audiences loved them.[1] The band's name is a play on words of the Grand Trunk Western Railroad, a railroad line that ran through the band's home town of Flint, Michigan.

Originally a trio, the band was formed in 1969 by Mark Farner (guitar, vocals) and Don Brewer (drums, vocals) from Terry Knight and the Pack, and Mel Schacher (bass) from Question Mark & the Mysterians; Knight soon became the band's manager. First achieving recognition at the 1969 Atlanta Pop Festival, the band was signed by Capitol Records. After a raucous, well-received set on the first day of the festival, the group was asked back to play at the Second Atlanta Pop Festival the following year. Patterned after hard rock power trios such as Cream, the band, with Terry Knight's marketing savvy, developed its own popular style. In 1969, the band released its first album titled On Time, which sold over one million copies, and was awarded a gold record in 1970. In the same year, a second album,"The Red Album", was awarded gold status. The hit single "I'm Your Captain (Closer to Home)", from the album Closer to Home, released in 1970, was considered stylistically representative of Terry Knight and the Pack's recordings. In 1970, they sold more albums than any other American band and became a major concert attraction. By 1971, they broke The Beatles' Shea Stadium attendance record by selling out in just 72 hours.

Although highly successful in the mid-1970s, tensions mounted within the band due to personal issues, burn-out, and musical direction. Despite these issues, they forged ahead. Needing two more albums to complete their record deal with Capitol, they embarked on a major tour and decided to record a double live album, Caught in the Act. The double album should have fulfilled the contract with Capitol; however, because it contained previously released material, Capitol requested an additional album to complete their contractual obligation. While pressures between the band members still existed, the members agreed to move forward and complete one more album for Capitol to avoid legalities similar to the ones that they endured with their management in 1972. The band recorded Born to Die and agreed not to release any information regarding their impending breakup in 1976

Following the breakup, Farner began a solo career and signed with Atlantic Records which resulted in two albums: Mark Farner (1977) and No Frills (1978). Brewer, Schacher and Frost remained intact and formed the band Flint. Flint released one album on Columbia Records; a second record was finished but never released. In 1996, the band's three original members once again reunited and played to 250,000 people in 14 shows during a three-month period. In 1997, the band played three sold-out Bosnian benefit concerts. These shows featured a full symphony orchestra that was conducted by Paul Shaffer (from the David Letterman Late Show). The band released a live two-disc benefit CD called Bosnia recorded in Auburn Hills, Michigan.

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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.

Today's mystery album is the seventh studio album by the mystery American hard rock band . The album was released by Capitol Records on July 15, 1973 and was certified gold by the Recording Industry Association of America a little over a month after its release. Two singles were released from the album. The first single, "We're an American Band", was released on July 2, 1973 and the second, "Walk Like a Man", was released on October 29, 1973. Both singles were sung by drummer Don Brewer. The album cover was originally covered in gold-colored foil on the outside, and the initial run of pressings were pressed in clear, dark-yellow vinyl. The album has been reissued many times. The album is #200 of the National Association of Recording Merchandisers (NARM) Definitive 200 albums of all time.

Today's mystery album was the group's first collaboration with producer/engineer Todd Rundgren. Rundgren and the band recorded the album at Criteria Studios in Miami, Florida on June 13–15, 1973. Rundgren would go on to produce the band's next album too, before the band switched to Jimmy Ienner. The album's original issue, as well as of the "We're an American Band" single, was on translucent yellow vinyl, symbolic of a "Gold record." The album labels, above the side numbers, instructed listeners to play "at full volume." It included four stickers (two blue, and two red) with the "Pointing Finger" logo. Upon the album's release, it became the band's best received album by critics, so far. Here a 2002 remaster

Goldy Rhox 171   (flac 258mb)

Goldy Rhox 171     (ogg 93mb)

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Jul 30, 2014

RhoDeo 1430 Aetix


Today's act was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. The band experienced relative commercial success and critical acclaim throughout their existence, continuing partly into the new millennium, including signing to major label DGC in 1990 and headlining the 1995 Lollapalooza festival. The band have been praised for having "redefined what rock guitar could do", using a wide variety of unorthodox guitar tunings and preparing guitars with objects like drum sticks and screwdrivers to alter the instruments' timbre. The band is considered to be a pivotal influence on the alternative rock and indie rock movements......N'joy !

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Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do.

The band's trio of independent late-'80s records -- EVOL, Sister, Daydream Nation -- became touchstones for a generation of indie rockers who either replicated the noise or reinterpreted it in a more palatable setting. As their career progressed, Sonic Youth grew more palatable as well, as their more free-form songs began to feel like compositions and their shorter works began to rock harder. During the '90s, most American indie bands, and many British underground bands, displayed a heavy debt to Sonic Youth, and the group itself had become a popular cult band, with each of its albums charting in the Top 100.

Such success was unthinkable when guitarists Thurston Moore and Lee Ranaldo formed Sonic Youth with bassist Kim Gordon in 1981. Moore had spent his childhood in Bethel, Connecticut; Ranaldo was from Long Island. Both guitarists arrived in Manhattan during the height of the New York-based post-punk no wave movement, and began performing with the avant-garde composer Glenn Branca, whose dissonant, guitar-based music provided the basis for much of Sonic Youth's early music. Moore's girlfriend Gordon had been active in the avant and no wave scenes for some time, and the pair helped stage the Noise Festival, in which the band made its live debut during the summer of 1981. At the time, Sonic Youth also featured keyboardist Anne DeMarinis and drummer Richard Edson. DeMarinis left the band shortly afterward, and the quartet recorded its eponymous debut EP, which was released on Branca's Neutral Records the following year. During 1983, Edson left the band to pursue an acting career and he was replaced by Bob Bert, who drummed on the group's debut album, Confusion Is Sex (1983). The band supported the album with its first European tour. Later that year, the group released the EP Kill Yr Idols on the German Zensor label.

Early in 1984, Moore attempted to land the band a contract with the British indie label Doublevision, but the label rejected the demos. Paul Smith, one of the owners of Doublevision, decided to form Blast First Records in order to release Sonic Youth records. Soon, he received a distribution deal from the hip U.K. indie label Rough Trade, and the band had its first label with strong distribution. During all these record label negotiations in 1984, the cassette-only live album Sonic Death: Sonic Youth Live was released on Ecstatic Peace. Bad Moon Rising, the group's first album for Blast First, was released in 1985 to strong reviews throughout the underground music press. The album was markedly different from their earlier releases -- it was the first record they made that incorporated their dissonant, feedback-drenched experimentations within relatively straightforward pop song structures. Following the release of the Death Valley '69 EP, Bert was replaced by Steve Shelley, who became the group's permanent drummer.

Bad Moon Rising had attracted significant attention throughout the American underground, including some offers from major labels. Instead, Sonic Youth decided to sign with SST, home of Hüsker Dü and Black Flag, releasing EVOL in 1986. With EVOL, the group a became fixture on college radio, and its status grew significantly with 1987's Sister, which was heavily praised by mainstream publications like Rolling Stone. The group's profile increased further with the 1988 Ciccone Youth side project The Whitey Album, which was a tongue-in-cheek tribute to Madonna and other parts of mainstream pop culture.

The band's true breakthrough came later in 1988 with the double album Daydream Nation. Released on Enigma Records, it was a tour de force that was hailed as a masterpiece upon its fall release, and it generated a college radio hit with "Teenage Riot." Though the album was widely praised, Enigma suffered from poor distribution and eventually bankruptcy, which meant the album occasionally wasn't available in stores. These factors contributed heavily to the band's decision to move to the major label DGC in 1990.

Signing a contract that gave them complete creative control, as well as letting them function as pseudo-A&R reps for the label, Sonic Youth established a precedent for alternative bands moving to majors during the '90s, proving that it was possible to preserve indie credibility on a major label. Released in the fall of 1990, Goo, the band's first major-label album, boasted a more focused sound, yet it didn't abandon the group's noise aesthetics. The result was a college radio hit, and the group's first album to crack the Top 100. Neil Young invited Sonic Youth to open for him on his arena tour for Ragged Glory, and though they failed to win over much of the rocker's audience, it represented their first major incursion into the mainstream; it also helped make Young a cult figure within the alternative circles during the '90s.

For their second major-label album, Dirty, Sonic Youth attempted to replicate the sloppy, straightforward sound of grunge rockers Mudhoney and Nirvana. The band had been supporting those two Seattle-based groups for several years (and had released a split single with Mudhoney and brought Nirvana to DGC Records), and while the songs on Dirty were hardly grunge, it was more pop-oriented and accessible than earlier Sonic Youth records. Produced by Butch Vig, who also produced Nirvana's Nevermind, Dirty became an alternative hit upon its summer 1992 release, generating the modern rock hits "100%," "Youth Against Fascism," and "Sugar Kane." Sonic Youth quickly became hailed as one of the godfathers of the alternative rock that had become the most popular form of rock music in the U.S., and Dirty became a hit along with the exposure, eventually going gold.

Sonic Youth again worked with Vig for 1994's Experimental Jet Set, Trash and No Star, which entered the U.S. charts at number 34 and the U.K. charts at number ten, making it their highest-charting album ever. The high chart position was proof of their popularity during the previous two years, as it received decidedly mixed reviews and quickly fell down the charts. Later in 1994, Moore and Gordon -- who had married several years before -- had their first child, a daughter named Coco Haley. Sonic Youth agreed to headline 1995's American Lollapalooza package tour, using the earnings to build a new studio. Following the completion of the tour, Sonic Youth released Washing Machine, which received their strongest reviews since Daydream Nation. After a series of experimental EPs issued on their own SYR label, they resurfaced in 1998 with the full-length A Thousand Leaves. NYC Ghosts & Flowers, which featured Jim O'Rourke as a producer and musician, followed in the spring of 2000. O'Rourke became a full member of the group, touring with the band and appearing on and producing 2002's Murray Street.

The five-piece Sonic Youth returned in 2004 with Sonic Nurse; one year later, however, O'Rourke departed the band to pursue a career as a film director. Late in 2005, the remaining bandmates issued SYR 6, a recording of a benefit concert for the Anthology Film Archives that Sonic Youth had played alongside percussionist Tim Barnes. Rather Ripped, a fusion of the mellow, sprawling feel of the band's previous two albums with a more stripped-down sound, was released in 2006. In 2008, the band resurrected the SYR series: J'Accuse Ted Hughes arrived that spring as a vinyl-only release, while Andre Sider Af Sonic Youth chronicled an improvised performance at 2005's Roskilde Festival. They also assembled a compilation album for Starbucks, Hits Are for Squares, featuring the previously unreleased track "Slow Revolution." Before the busy year concluded, Sonic Youth made additional headlines by leaving the Geffen label and signing with Matador, which prepared to issue the band's 16th album, The Eternal, during the following spring. The year 2010 was relatively quiet for the band, with members concentrating on individual projects like Shelley's Vampire Blues label; they also recorded the soundtrack to French director Fabrice Gobert's film Simon Werner a Disparu, which was released early in 2011. Moore and Gordon announced their impending divorce in the fall of 2011, creating doubt about the band's future past their year-end South American tour. Apparently the split after 27 years has created so much bad blood that it's unlikely Sonic Youth will go on...

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Sonic Youth is the only Sonic Youth release in which the guitars predominantly use standard tuning. The album is also largely representative of their early No Wave roots. The production is also professional, with a crisp sound quality that wouldn't be heard in the band's music until their early-'90s major label releases. Drum-wise, the songs feature the more "downtown" roto-tom-addled stylings of Richard Edson, approaching the quasi-funk/hip-hop rhythms of 99 Records bands like ESG and Liquid Liquid. The bass guitar, though often playing minor key riffs, is almost funk-based, which was a common feature of post-punk and no wave music. The clean guitar tones contain little of the trademark noise that Sonic Youth would eventually become known for. Awkward and rather formative, the record sounds like a fusion of no wave and an early Factory band. A couple tracks ("The Burning Spear," "I Don't Want to Push It") match the best of Confusion Is Sex, steeping itself in death disco and minimal scree. Thurston Moore yelps, Kim Gordon rambles, and the guitars go plink-plink-plink.

Sonic Youth - Sonic Youth ( flac 380mb)

01 The Burning Spear 3:24
02 I Dreamed I Dream 5:14
03 She Is Not Alone 4:02
04 I Don't Want To Push It 3:31
05 The Good And The Bad 7:49
Early Live (September 18, 1981)
06 Hard Work 3:19
07 Where The Red Fern Grows 5:47
08 The Burning Spear 3:23
09 Cosmopolitan Girl 3:35
10 Loud And Soft 6:48
11 Destroyer 5:32
12 She Is Not Alone 3:29
Early Studio (October 1981)
13 Where The Red Fern Grows 6:45

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Abrasive and archaic, theatrical and confrontational, Confusion Is Sex marks the opening strides that Sonic Youth made during their long slog through the American underground scene of the '80s. And yes, this album is underground if anything; it's lo-fi to the point of tonal drabness, as the instruments seem to ring out in only one tone, that of screechy noise. Yet that tone in itself is part of the album's style, which is one of antithesis. The album isn't comprised of songs but rather soundscapes, while the instruments are your traditional guitar-bass-drums-vocals lineup but are performed most untraditionally. Taken as a whole, Confusion Is Sex is a spellbinding listen, especially the first time through. If you're a bona fide Sonic Youth fan, chances are you'll find it especially spellbinding -- the more of the band's albums you've heard, the better. However, if you're unfamiliar with the band, or a casual fan at most, chances are you're going to be thoroughly tested: this is not an easy album to enjoy. This album features a guitar sound often reminiscent of clocks and bells. This is created by using prepared guitars with screwdrivers stuck between the fretboard and the strings. Notable songs where Ranaldo and Moore used this 3rd bridge technique are "Protect Me You", "The World Looks Red" and "Lee Is Free". The band also used this technique on their debut EP. On later albums the group abandoned the technique and shifted to a deeper focus on alternate tunings. The group got the idea of the prepared guitar techniques from their experiences with Glenn Branca, who also published this album on his label Neutral Records. As inaccessible as it may be, however, Confusion Is Sex is a cornerstone of Sonic Youth's career, their true opening salvo toward underground heroism, though miles and miles away from such highly regarded albums as Daydream Nation (1988) or Dirty (1992).

Sonic Youth - Confusion Is Sex + Kill Your Idols  (flac 289mb)

01 (She's In A) Bad Mood 5:36
02 Protect Me You 5:28
03 Freezer Burn / I Wanna Be Your Dog 3:39
04 Shaking Hell 4:06
05 Inhuman 4:02
06 The World Looks Red 2:43
07 Confusion Is Next 3:28
08 Making The Nature Scene 3:01
09 Lee Is Free 3:37
Kill Yr. Idols
10 Kill Yr. Idols 2:51
11 Brother James 3:17
12 Early American 6:07
13 Shaking Hell (Live) 3:17

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An album quite unlike any other in the colorful Sonic Youth canon, Bad Moon Rising captures the New York band in 1985 during its most morose phase, one that is quite forbidding yet fascinating all the same. The proper album is an eight-song tapestry of droning guitar feedback, distant clattering percussion, and dreamy vocal mumblings, all of it woven together by sullen interludes of ambient noise. With the exception of the closing "Death Valley '69," nothing really stands out per se. Each song shares the same late-night shadowy feel as the others, with no outright singalong hooks to be found anywhere; it's just one ambling slab of dark noise rock. "Death Valley '69" then brings it all to a feverish close, driven by runaway guitar riffs and a frantic vocal duet by Thurston Moore and Lydia Lunch. It's a piercing capstone to an otherwise hazy album and is no doubt one of the highlights of Sonic Youth's overall output. Overall, this music is a definite leap forward from what Sonic Youth had been doing previously on Confusion Is Sex (1983) and Kill Yr. Idols (1983); it plays as one long piece, a work that perhaps reflects the spirit of the time, American gothic through the glassy eyes of willful moonlit paranoia. And as such, it's certainly a step toward EVOL (1986), the band's successive release, which is likewise obsessed with the dark side of America and likewise informed by sweeping waves of ambient guitar noise, but much more song-based and focused than Bad Moon Rising's dreamscape feel.

Sonic Youth - Bad Moon Rising  (flac 273mb)

01 Intro 1:11
02 Brave Men Run (In My Family) 3:36
03 Society Is A Hole 5:58
04 I Love Her All The Time 7:28
05 Ghost Bitch 5:40
06 I'm Insane 4:08
07 Justice Is Might 4:21
08 Death Valley '69 5:10
09 Satan Is Boring 5:06
10 Flower 3:36
11 Hallowe'en 5:00
12 Echo Canyon 1:09

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Jul 29, 2014

RhoDeo 1430 Roots

Hello, Like all of Africa, save Liberia (which was very nearly a U.S. colony), Ghana was once ruled by distant Europeans with no vested interest in the well-being of the local populace. The British colonial authority in Ghana (they called it the Gold Coast, because its huge gold deposits were what they wanted it for) wasn't among the worst colonial governments, but foreign rule is always a dead-end street for the locals, and in 1957, Ghana became one of the first European holdings in Africa to assert its independence, taking the name from an ancient and powerful trading empire that once controlled vast swaths of West Africa. Ghana's boundaries are, of course, artificial, and Ghanaian society consists of no fewer than eight major ethnolinguistic groups, but the country has managed to remain peaceful in spite of numerous coups and failed experiments with democracy in its history.

In recent years, there’s been an explosion of interest in African pop music from the ‘60s and ‘70s.  One of the most important reasons for this newfound enthusiasm is the increased availability of high-quality compilation albums that showcase the vast body of excellent, genre-melding music that’s been produced across Africa in the last 50 years. N'joy

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The popularity of Ethiopiques—2009 marked the release of the 25th volume in the series—has spurred a number of other labels to follow suit by releasing collections of once-popular, now hard-to-find African music, largely from East and West African countries, and primarily from the ‘60s and ‘70s. Among those labels, Soundway Records has consistently put out some of the best compilations, starting in 2003 with Ghana Soundz: Afrobeat, Funk and Fusion in 70’s Ghana, the first entry in a two-volume series, which featured mostly out-of-print recordings from the ‘70s by long-forgotten African artists influenced by everyone from Fela Kuti to James Brown to Santana. Like Ethiopiques, the music on Ghana Soundz—mostly dubbed “highlife” in Ghana—is an exciting mix of soul, jazz, rock, and Afrobeat. Soundway’s latest compilation of African music, Ghana Special: Modern Highlife, Afro-Sounds, and Ghanaian Blues, 1968-81, continues right where the Ghana Soundz series left off, giving us more recordings, primarily from the ‘70s, by no less than 33 different artists, several of whom appeared on Ghana Soundz. Compared with Ghana Soundz, the tracks on Ghana Special are bluesier, more downtempo affairs, with fewer jams and more traditional songs, but all the hallmarks that made Ghana Soundz successful are retained.  This collection is no less essential for fans of world and soul music.

Nearly every song on Ghana Special is a keeper, but a handful of gems shine brighter than the rest. “You Can Go”, by Bokoor Band, is a pop masterpiece with jangly electric guitars, soaring harmonica (played by British émigré and band cofounder John Collins), and the call-and-response vocals characteristic of Afrobeat. It’s sure inspiration for bands like NOMO and Vampire Weekend. “Obi Agye Me Dofo,” by Vis a Vis, is a midtempo jam, anchored by staccato hand drums, a buzzing Funk Brothers bass groove, synth string accents, and jazzy horn solos. “Twer Nyame”, from highlife progenitor Ebo Taylor, would sound perfectly at home on the Buena Vista Social Club soundtrack, with its pitter-patter percussion, hot horn section, and stellar vocal harmonies. “Dr. Solutsu”, by Basa Basa Soundz, is a swinging, minor key romp featuring the wailing saxophone of Afrobeat ambassador Fela Kuti.

According to Soundway’s web site, Ghana Special was the result of nearly ten years of extensive research in cities across the West African coastal nation and involved visiting everyone from DJs and music store owners to ardent collectors and the musicians themselves. The collection, available as a two-CD or five-LP set, comes in a handsome booklet filled with photos, artist information, and essays.

The sound selection and production quality on Ghana Special is as good as anything in the Ethiopiques series, making it highly recommended and one of the best collections of African highlife—and popular African music from the ‘60s and ‘70s—available today.

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The 70s marked an era of relative tolerance in Ghana, one in which the massive explosion of creativity that engulfed Western popular music in the late 60s found its way to Ghana. There, Western music infused itself into Ghana's prevailing pop music style, Highlife, a gumbo of jazz, traditional rhythms and Liberian sailor songs that had dominated the popular music scene in urban Ghana since the 30s. It's worth noting that Fela Kuti's earliest bands were essentially Highlife bands-- Nigeria and Ghana shared heritage as former British possessions and the music scenes in both countries often moved in parallel, though Nigeria's was far better funded and more visible.

The experimental bands that sprung up in Ghana, taking on funk, psychedelia and fusion, never really deposed Highlife from the top of the Ghanaian charts (if such a thing can really be said to have existed), but hundreds of highly unique recordings nonetheless found their way onto locally pressed shellac discs in Ghana in the mid-70s and the era left behind a spoil of riches that's only beginning to come back to light, thanks largely to this disc, the first in what promises to be a series of three volumes.

These songs tread a startling range of ground, but a few things hold true across all of them: they're ebullient and virtually apolitical, and the rhythm is the key. The compilation kicks off with three breakneck, fantastic funk tracks that are impossible not to groove to. The Third Generation Band's "Because of Money" is full of tribal percussion and hypnotic guitar, but it's really "Bukom Mashie" by Oscar Sulley & The Uhuru Dance Band that brings things into high gear. The song slams in with a killer drum vamp and before you can even fully wrap your head around how awesome it is, the bassist drops this fantastically buoyant line that'll have you looking around for someone to high-five. A huge, sax-dominated horn section blasts out an odd mixture of hot jazz, spy theme-ish drama and dancehall celebration that sucks the breath from your lungs.

 It's incredible how excellent each song here is. Marijata's "Mother Africa" is one of the best funk tracks I've ever heard, raw and filthy and tumbling along at ramjet tempo. Another personal favorite is Gyedu Blay Ambolley & The Steneboofs' "Simigwado", a strange tune built on a funky vamp that veers into spoken word passages (I'm not sure of the language) where Ambolley's flow picks up the rhythmic momentum and becomes the song's primary driving force. Honny & The Bees Band are the most overtly Western-influenced band here-- the backing vocals between verses sound almost like a Yardbirds guitar part. And then there's the shocking ring-modulated synthesizer solos that show up in the offerings from K. Frimpong & His Cubano Fiestas and a band called The African Brothers. Rob's "Make It Fast, Make It Slow" practically sounds like a D'Angelo track, with its slow, trunk-rattling beat anticipating every sleazy bed track that ever cropped up on a hip-hop album.

You have to hear for yourself to truly understand the magnitude of what was happening in Ghanaian music in the 70s, unbeknownst to the rest of the world. This music sears, and the track selection here is impeccable. I've heard so many cheap-ass "world music" comps over the years that it's truly refreshing to hear one quite so expertly assembled-- it's not even presented as a world music compilation, so much as a collection of little-heard tracks that happen to be from Ghana. Ghana Soundz shines a long-overdue light on the best kind of music scene-- one in which creativity and simple joy took precedence over sales or posturing.

Pounding rhythms, blaring horns and pumping vocals – the music is a document of a time forgotten when flares and Cuban heels strutted the streets and night-spots of Accra, the sizzlingly hot and humid capital of Ghana.  Influenced as much by traditional rhythms and local highlife as by the music of Fela Kuti, James Brown and Santana, these tunes had almost become extinct – until now! Ghana Soundz was the first of three collections of rare afro-beat, afro-funk and afro-fusion that Miles Cleret painstakingly travelled the length and breadth of Ghana to assemble,

VA - Ghana Soundz  (flac  309mb)

01 The 3rd Generation Band - Because Of Money 5:50
02 Oscar Sulley & The Uhuru Dance Band - Bukom Mashie 5:05
03 Marijata - Mother Africa 4:52
04 Ebo Taylor - Heaven 6:02
05 Gyedu Blay Ambolley & The Steneboofs - Simigwado 4:28
06 The Sweet Talks - Eyi Su Ngaangaa 4:59
07 The Ogyatanaa Show Band - Ageisheka 4:59
08 Honny & The Bees Band - Psychedelic Woman 4:31
09 K. Frimpong & His Cubano Fiestas - Hwehwe Mu Na Yi Wo Mpena 7:49
10 The Apagya Show Band - Kwaku Ananse 3:09
11 African Brothers - Self Reliance 8:31
12 Rob - Make It Fast, Make It Slow 5:24
13 Alex Konadu - W'awu Do Ho No 3:28
14 The Black Star Sound - Nite Safarie 3:24

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VA - Ghana Special I  (flac  301mb)

01 Mercury Dance Band - Kai Wawa 3:01
02 T.O. Jazz - Owuo Adaadaa Me 2:52
03 Christy Azuma & Uppers International - Din Ya Sugri 7:03
04 The Barbecues - Aaya Lolo 3:48
05 Asaase Ase Ohiani Sua Efir 4:02
06 St. Peter & The Holymen - Bofoo Beye Abowa Den 3:15
07 City Boys Band - Nya Asem Hwe 4:51
08 Hedzoleh Soundz - Edinya Benya 3:17
09 Cutlass Dance Band - Hwehwe Mu Yi Mpena 3:18
10 Dr. K. Gyasi & His Noble Kings - Sei Nazo 3:02
11 Kyeremateng Atwede & The Kyeremateng Stars - I Go Die For You 5:23
12 Vis A Vis - Obi Agye Me Dofo 9:51
13 Ebo Taylor - Twer Nyame (excerpt) 5:22
14 The Big Beats - Mi Nsumõõ Bo Dõnn 3:39
15 Pa Steele's African Brothers - Odo Mmera 3:01
16 Ogyatanaa Show Band - You Monopolise Me 3:14


VA - Ghana Special II  (flac  350mb)

01 African Brothers International Band - Wompe Masem 4:19
02 Gyedu-Blay Ambolley & His Creations - Akoko Ba 5:26
03 The Sweet Talks - Akampanye 4:27
04 Houghas Sorowonko - Enuanom Adofo 3:10
05 Oscar Sulley's Nzele Soundz - Bukom 3:28
06 Bokoor Band - You Can Go 3:22
07 K. Frimpong & His Cubano Fiestas - Kyenkyen Bi Adu M'Awu 6:57
08 Basa Basa Soundz Feat. Fela Anikulapo Kuti - Dr. Solutsu 3:22
09 Pagadeja - Tamale 3:11
10 Hedzoleh Soundz - Omusus Da Fe M'musu 4:58
11 The Uhuru Dance Band - Yahyia Mu 4:11
12 Dr. K. Gyasi & His Noble Kings - Noble Kings (Yako Aba) 5:46
13 The Wellis Band - Bindiga 3:25
14 Boombaya - Boombaya 3:39
15 Sawaaba Soundz - Owuo 4:20
16 Cutlass Dance Band - Them Go Talk Of You 3:30
17 Honny & The Bees Band - Sisi Mbon 6:47

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Jul 28, 2014

RhoDeo 1430 Cabin P 16

Hello, the F1 saw some serious racing today those in front before the first crash and safety car never saw the podium again yes it was a bizar race and once again Ricciardo got the run on his strategy and once again Vettel drew the short straw strategy wise, he must be wondering by now what is going on at Red Bull. Meanwhile Hamilton proved once again he's a loose cannon only in it for himself, Mercedes should sack him (if only). The Tour De France finished and Nibali won, it remains a pity he didn't get  the chance to beat the pre-race contenders Froome and Contador they fell by the wayside. It's a tough race and Sky that dominated the previous 2 editions was nowhere in 2014. The French got their pride back with 2 riders flanking Nibali, oddly enough that nitwit president Hollande was probably too busy with his mistresses to give an act the presence.

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Cabin Pressure is a radio situation comedy series written by John Finnemore. Its first series was broadcast on BBC Radio 4 in 2008. The show follows the exploits of the oddball crew of the single aeroplane owned by "MJN Air" as they are chartered to take all manner of items, people or animals across the world. The show stars Stephanie Cole, Roger Allam, Benedict Cumberbatch and John Finnemore.

The principal cast, the 4-person crew, is the following:

As part of her last divorce settlement, Carolyn Knapp-Shappey (Stephanie Cole) received a mid-size (16 seat) jet aeroplane named "GERTI" (a "Lockheed McDonnell 312", registration G-ERTI). As a result, she founds her very own single plane charter airline, "MJN Air" ("My Jet Now"), which is crewed by an oddball mixture of characters who fly to various cities around the world, encountering a variety of situations.

The airline's only Captain, Martin Crieff (Benedict Cumberbatch), has wanted to be a pilot since he was six years old (before which he wanted to be an aeroplane). He suffers, however, from a distinct lack of natural ability in that department. He was rejected by at least one flight school, and had to put himself through the required coursework, barely qualifying for his certification – on his seventh attempt. He took the job with MJN for no salary at all, as long as he could be Captain. He appears to have no outside interests beyond flying. He is a stickler for procedures and regulations, but is more prissy than pompous. At the end of series two he tells Douglas that he survives financially by running a delivery service using the van he inherited from his father (running two different jobs largely explaining the lack of hobbies). This was his only inheritance (apart from a tool kit and multimeter) because his father believed he would waste any money he received trying to become a pilot. He has two siblings, Caitlin, now a traffic warden and Simon, a council administrator who often frustrates Martin with his annoying superiority. This isn't helped by his Mother's constant admiration of Simon, often saying that "Simon knows best".

First Officer Douglas Richardson (Roger Allam) is, on the other hand, a quite competent pilot who worked for Air England – until he was fired for smuggling. He chafes at his subordinate position to Martin, and misses no opportunity to flaunt his superiority in the younger pilot's face. In later episodes, it is revealed that Douglas, ashamed of his second-rate job, dresses in Captain's uniform for his wife Helena's benefit, changing to First Officer's uniform before he gets to work. Douglas is, however, something of a smooth operator who knows all of the dodges available to airline officers, and enjoys taking part in all of them.

Carolyn's son Arthur Shappey (John Finnemore) is an eager and cheery dimwit aged 29, who is supposed to be the flight attendant but usually manages to get in everyone's way. He is half-English and half-Australian; Carolyn is his English mother, and Gordon, Carolyn's ex-husband, his Australian father (original owner of Gertie). Arthur is a relentless optimist, whose biggest claim to fame is being the inventor (or at least discoverer) of fizzy yoghurt (the recipe for which is yoghurt plus time). He also celebrates Birling day, Birling day eve, Gertie's birthday and Summer Christmas, and is a definite polar bear enthusiast and expert. He is very allergic to dragon fruit and strawberries, but frequently forgets, having eaten strawberry mousse on occasion.

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Cabin Pressure - 304 - Ottery St Mary (ogg 25mb)

304 - Ottery St Mary 28:02

When Martin sprains his ankle and can't complete a piano delivery for his second job, Douglas and Arthur agree to help, but forgotten addresses, missing van keys, and Arthur's game of Yellow Car make the trip much more complicated than expected. Back in Fitton, Herc and Carolyn go out for lunch and an eventful dog-walk.

previously, alas those mediafirelinks are down but i compiled season 1 and 2

Cabin Pressure - 301 Qikiqtarjuaq (ogg 25mb)
Cabin Pressure - 302 Paris (ogg 25mb)
Cabin Pressure - 303 Newcastle (ogg 25mb)

Cabin Pressure - Season 1 (ogg 153mb)

Cabin Pressure - Season 2 (+Xmas bonus) (ogg 179mb)

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Jul 27, 2014

Sundaze 1430

Hello, it's another F1 weekend and once again Hamilton was in luck, like last week he didnt make it to a finish line but hey he gets to start tomorrow, had his troubles beset him on the day of the race it would have been..zero point, very lucky man mr Hamilton. Not that his fans can see it that way. They scream conspiracy and accuse Mercedes of sabotaging their own driver because he's a coloured brit, obviously the Germans prefer one of their own master race to win and after 4 years of herr Vettel its time for Rosberg in that German supercar by Mercedes..Really, much has been said about the sportsmanship behaviour of the Brits but it's socalled fans seem to lack any sense...

It is not hard to tell that Ukrainian-American composer Gregory Kyryluk absorbed a lot of old-school German spacemusic in his formative years. We can be thankful he did because, along with fellow Americans like Jonn Serrie and the group Spacecraft, he's grown into one of the world's most sensitive practitioners of ambient spacemusic, whether new-school or old. His one-man project Alpha Wave Movement has taken the classic Berlin sound across the Atlantic and into the 21st century without succumbing to either brazen recycling or moving it too far from its sonic roots. . .....N'Joy

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Alpha Wave Movement is the project of Gregory Kyryluk. Alpha Wave Movement began in 1990 when Kyryluk released a track called "Blink of an Eye" for a small AM-radio talk show in Jacksonville, FL. "Blink of an Eye" was rhythmic and melodic, but quite obscure. It was, however, this release that began Alpha Wave Movement and started a string of releases. Between these initial forays into electronic music, Alpha Wave Movement was Gregory Kyryluk's preferred mode of electronic music experimentation. 1994 yielded Alpha Wave Movement's first compilation contribution and first commercial release with Silent Records' From Here to Tranquility, Vol. 4 compilation. Between this release and Alpha Wave Movement's first full-length release, Gregory Kyryluk experimented more and more with his sound, trying to achieve a bridge between American electronic music and the Berlin-school style of electronic music, along the lines of Tangerine Dream, Ashra, and the always notable Klaus Schulze. In 1995, he came the closest that he had come to achieving this sort of "über musik" that would be his own, yet reminiscent of the electronic music that he had come to love and enjoy; this release was Transcendence on Gregory Kyryluk's own Harmonic Resonance Recordings label. As mentioned, this CD was a definite step toward the sound environments that Gregory Kyryluk enjoyed dwelling in, and his sonic experimentation continued further.

Gregory Kyryluk and his Alpha Wave Movement project began to focus more on the cosmic, spacious, and reflective aspects of his musical persona. It was this direction, whether he knew it or not at the time, that would certainly elevate his work to more and more audiences. Around this time, Gregory Kyryluk began listening to explorations into classic Arabic music both popular and traditional, as well as hybrid ethno-Indian music like that of Sheila Chandra and Michael Brook's projects with vocalist Nusrat Fateh Ali Khan. This exotic music left an indelible impression on Gregory Kyryluk and he felt the urge to incorporate the rhythmic pulse and atmosphere of this music into his own electronic inspirations. Following the successful debut of Alpha Wave Movement's Transcendence, several other recordings in the same vein were released over the course of the next half decade; including 1996's The Edge of Infinity on the Groove Unlimited label, as well as 1998's Concept of Motion and 2000's Drifted Into Deeper Lands, both of which were also featured on the Groove Unlimited label. 2001 saw Gregory Kyryluk and Alpha Wave Movement doing a very successful and well-received collaboration with Jim Cole of Spectral Voices fame by the name of Bislama. This work truly brings to life some Gregory Kyryluk's interests in Arabic and Far Eastern ethnic music, only it's brought to life by a wide and panoramic stereo field that seems to suck the listener in. Alpha Wave Movement and Gregory Kyryluk continue to go strong.

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Smooth waves of synthetic sound and soft pulses of rhythms call to you in a journey for the mind and body. Influenced by Brian Eno, Steve Roach and 1970's electronic music pioneers. Electronic music accessable to everyone with an open mind!
transcendence is for diehard ambient fans. there are parts,such as "artifacts and prophecies" that are really quite haunting. the last track "veil of the twilight moon" is standard synth washes. some of the tracks, although well performed and well written, just do not have a "pleasing" sound. another person might feel differently. what i do is program past the cuts i dont like, which makes for a really cool 25 minutes. try "open canvas"- "nomadic impreessions" for kyryluks'[the artist]more polished work.
Transcendence is a good starting point of Gregory Kyryluk's career as an Ambient artist. You hear throughout the album that budgetary reasons prevented him from using the megalomaniac wealth of synthesizers that were utilized by such likeminded acts as The Orb or Robert Rich & Steve Roach. The album is all in all spacey, rather cold and simply blue, to say it with the vocabulary of synesthesia. The clear winner of this album is the warm and unexpectedly bright outro Veil Of The Twilight Moon, while the opener The Passage Of Moments moves successfully into Far Eastern territory and maintains a cleaning aura of contentment and concentration; it is also hiding the limited resources with which the album was created. Even though Transcendence sounds definitely dated, the compositions themselves stand the test of time if you are willed to forgive them their lack of hightech gadgetry and the bold inclusion of New Age flavors. The majority of the tracks doesn't present any field recordings, and yet the album sounds cozy due to the analogue synths in all of its tracks.

 Alpha Wave Movement -  Transcendense (flac 234mb)

01 The Passage Of Moments 6:40
02 Transcendences 8:57
03 Melting Boundaries 2:51
04 Terra Nocturna (Eros) 6:50
05 Artifacts & Prophecies 7:12
06 Gateway 4:37
07 Veil Of The Twilight Moon 10:54

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Alpha Wave Movement's The Edge of Infinity is a wonderfully crafted excursion into the more German side of ambient/space music, a la Tangerine Dream, Ashra, and Klaus Schulze. With The Edge of Infinity Alpha Wave Movement has created a very warm electronic recording. There's nothing cold and clinical about this recording, as there sometimes is with music coming from the German school of electronic music. Instead, Gregory Kyryluk, the gifted composer behind Alpha Wave Movement has created a recording that has the almost organic synthesized feel of a Steve Roach recording while at the same time maintaining an almost down-tempo feel comparable to Grand Tourism or the Chilled Euphoria series of recordings on the U.K.-based Tel-Star label. Fans of Alpha Wave Movement will definitely enjoy this recording, as The Edge of Infinity is fairly representative of the Alpha Wave Movement catalog.

Alpha Wave Movement - The Edge Of Infinity  (flac 317mb)

01 Monolith 4:29
02 The Edge Of Infinity 6:18
03 Travel Into The Nexus 5:43
04 Binary Code 51 6:42
05 Reflective Synapse 6:31
06 Vistas Of Magnificence 6:40
07 Dusk Descending 6:12
08 Distant Visitation 5:25
09 Purge 6:01

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The music of "Drifted Into Deeper Lands" was inspired by Gregory’s dreams and journeys into the Great Southwestern deserts of Arizona and New Mexico. It contains more extended tracks compared to his previous work, dwelling in a slightly Steve Roach-like ambient style. It is free form soundscape music with occasional use of percussion, creating a beautiful tranquil, introspective feel which shines through all pieces. Ambient guitarist Jeff Pearce joins Gregory on two tracks of the album.

There are only six tracks on Drifted Into Deeper Lands and each is a wonderful and varied example of what ambient music is all about. The lengthy opener and title track is truly the showcase piece here, and progresses naturally from a spacey soundscape to a gently pulsing rhythm that is both exciting and relaxing at the same time. It is this sort of duality that makes this album so interesting to listen to. Guitarist Jeff Pearce makes an appearance on "Awakening the Sand Spirits" and "Another Time... Another Place", and his special flavor of playing is a great contrast to Kyryluk's sonic backgrounds. "Another Time... Another Place" strikes me as almost tribal in its presentation, and the percussion (assumed to be electronic) found here does much to enhance that imagery." Suspended in the Hanging Gardens" closes the album, and the title of his track should be enough to tell you what to expect. This is a slow and drifting piece of ambient that capitalizes on its subtlety and grace to bring an appropriate ending to an album of this caliber and style. This desert immersion is created with quite an original range of sounds which I think no ambient fan should miss.

Alpha Wave Movement - Drifted Into Deeper Lands (flac  250mb)

01 Drifted Into Deeper Lands 14:11
02 Silent Promise 9:38
03 Awakening The Sand Spirits  (Ambient Guitar, Jeff Pearce) 8:33
04 That Which Remains 8:10
05 Another Time... Another Place  (Ambient Guitar, Jeff Pearce) 8:38
06 Suspended In The Hanging Gardens 7:03

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Jul 26, 2014

RhoDeo 1429 Grooves


These weeks it's all about "Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" -- those are mighty titles, but no one can question that today's artist earned them more than any other performer. James was a guy who had self motivation written all over his back and front. And it came out of every pore of his music. The J.B.'s were the legendary supporting cast of musicians behind James Brown, earning a well-deserved reputation as the tightest, best-drilled instrumental ensemble in all of funk. The name J.B.'s is most often associated with three hornmen in particular -- saxophonists Maceo Parker, Alfred "Pee Wee" Ellis, and trombonist Fred Wesley. One of the key sonic architects of funk, Maceo Parker first became a legend for his work with James Brown, whose impassioned shouts for a sax solo ("Maceo! Blow your horn!") would make Parker the Godfather of Soul's most famous sideman, though Parker would continue to enjoy a successful career long after leaving Brown's employ. ......N'joy

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One of the key sonic architects of funk, Maceo Parker first became a legend for his work with James Brown, whose impassioned shouts for a sax solo ("Maceo! Blow your horn!") would make Parker the Godfather of Soul's most famous sideman, though Parker would continue to enjoy a successful career long after leaving Brown's employ.

Maceo Parker was born on February 14, 1943 in Kinston, North Carolina. Parker's mother and father both had an appreciation for music and sang in their church's choir, but it was his uncle who had the strongest influence on the youngster's musical development. Parker's uncle led a local jazz and R&B band called the Blue Notes, and Maceo would sometime watch them rehearse; in time, Maceo would take up the saxophone, while his brothers Melvin and Kellis respectively learned to play the drums and trombone. Their uncle was impressed enough with the youngsters' abilities that he dubbed them "the Junior Blue Notes" and had them perform between sets at Blue Notes shows. The Parker brothers were seasoned professionals by the time they enrolled at North Carolina A&T, where they studied music. In 1963, Melvin Parker had graduated and was offered an audition with James Brown, who was looking for a new drummer; Melvin landed the gig, and when he asked if Brown could use a new sax player as well, Maceo was also offered a spot in the band.

Originally playing baritone sax, Maceo eventually switched over to tenor, and his style on the instrument was ideal for the band -- rich, rhythmic, and full of sharp, staccato lines that meshed with Brown's taut and funky sound. After lending an inspired solo to Brown's 1965 smash "Papa's Got a Brand New Bag," Maceo became of the key members of Brown's recording and touring band, and his solos were an integral part of some of Brown's best-known songs, including "I Got You (I Feel Good)," "Mother Popcorn," "Sex Machine," and "Cold Sweat." However, Brown's well-documented reluctance to part with a dollar and firm hand over his sidemen led most of Brown's band to quit en masse in 1970; Maceo was one of the musicians who walked, and he soon formed his own group, Maceo & All the King's Men, with his brother Melvin on drums. Maceo & All the King's Men had released an album by the year was out, titled Doin' Their Own Thing, but despite the strength of their live show, they didn't fare as well as they had hoped commercially. In 1973, Maceo rejoined Brown's touring band, though he found time to cut a solo album, Us, in 1974. The following year saw another revolt sweep through the ranks of Brown's group, and Maceo, trombonist Fred Wesley, and bassist Bootsy Collins all jumped ship to work with George Clinton's various projects, including Parliament and Funkadelic.

By 1984, Clinton's Parliament-Funkadelic empire was in tatters, and Maceo signed back on with James Brown for another four years, though he appeared as a guest on several of Clinton's solo albums from this period, and when Clinton produced the Red Hot Chili Peppers' sophomore album, Freaky Styley, Maceo stopped by to contribute some trademark sax solos. In 1988, Keith Richards invited Maceo to perform on his debut solo album, Talk Is Cheap, and as hip-hop acts began recycling James Brown's potent grooves, Parker found himself in demand with contemporary acts such as Deee-Lite, Living Colour, and Material, all of whom brought him in to play on their sessions.

In 1990, Maceo Parker stepped out as a solo act, releasing a jazz-oriented album called Roots Revisited through Verve Records and hitting the road in support. With funk back in fashion, Parker found he had a ready audience for his new music, and another jazz-flavored set, Mo' Roots, appeared in 1991. Parker upped the funk factor on the 1992 live set Life on Planet Groove, which featured fellow James Brown alumni Fred Wesley and Pee Wee Ellis, and it documented the powerful show Maceo and his band were playing up to 150 nights a year. Through the 1990s, Parker released a steady stream of solo records and made guest appearances on albums by De La Soul and Brooklyn Funk Essentials, as well as less likely collaborations with 10,000 Maniacs and Bryan Ferry. In 1999, noted funk enthusiast Prince recruited Maceo to play on his album Rave Un2 the Joy Fantastic, and he would be a regular contributor to Prince's studio projects over the next decade, as well as performing with his live ensemble. Alternative folk diva Ani DiFranco also persuaded Maceo to sit in with her, with the sax man contributing to the albums To the Teeth and Reveling: Reckoning. And in 1998, Maceo and his band were the opening act on a concert tour by the Dave Matthews Band; Maceo would often join in with the headliners, and one of the shows from that tour was belatedly released in 2001 as Live in Chicago 12.19.98 at the United Center.

In 2004, Parker's impressive live show was documented on film for the documentary My First Name Is Maceo, which featured interviews with Maceo discussing his life and music along with extensive footage of him and his group in full flight. In 2007, Parker performed a series of concerts in Europe with the German ensemble the WDR Big Band; highlights from the tour appeared on the album Roots & Grooves, including a set of tunes made famous by Ray Charles, one of Parker's early influences. And Parker paid homage to a handful of other R&B greats on another collaboration with the WDR Big Band, 2012's Soul Classics, with Maceo putting his stamp on classic numbers by Stevie Wonder, Aretha Franklin, Isaac Hayes, and his former employer James Brown.

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Maceo Parker, best-known for his R&B recordings with and without James Brown, plays strictly jazz on his Novus CD and he is in peak form. Parker's alto sounds close to Hank Crawford at times but with a phrasing of his own. On this well-rounded and consistently memorable release, Parker sticks mostly to funky blues but is also impressive on a boppish version of "The Way You Look Tonight." He splits his time between fronting an organ combo, leading a reunion with fellow Brown alumni trombonist Fred Wesley and tenor-saxophonist Pee Wee Ellis, and on two songs he is joined by the enthuisastic Rebirth Brass Band. Parker only takes one vocal so the emphasis throughout is on his soulful alto, making this among his most rewarding jazz recordings.

Maceo Parker - Southern Exposure  (flac 367mb)

01 Blues For Shorty Bill 6:46
02 Keep On Marching 6:31
03 Mercy, Mercy, Mercy 6:28
04 Every Saturday Night 5:18
05 The Way You Look Tonight 6:11
06 Splashin' 7:00
07 Walking Home Together 4:57
08 Sister Sanctified 6:39
09 Fun In The Sun 5:50

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Regrettably, Maceo's studios albums, even by turning up the volume, do not almost retranscribe the masterful slap which imposes us Jamal Thomas in his cymbals, nor the demonic humming of the riff of bass, and the sax tenor of Maceo seems to fight alone in the middle of the desert. Experimental space-time, Maceo Soundtrack, recorded in Hamburg in 1994 comes under a serious mastery of funk. A solid groove, a homogeneous sound material, a complicity between artists which works in the perfection: Fred Wesley and Pee Wee Elis are beside the guitarist Bruno Speight, the bass player Jerry Preston, the drummer Jamal Thomas and Will Boulware in the organ Hammond B3. This album is also marked by George Clinton's seal invited on "C Jam Funk". Psychedelic, intoxicating and captivating atmosphere. Vocal improvisation and dancing riff. Musical moments happening. Musical beaches which all run , with the exception of two (" Knock we wood " and " song New "), more than 7 minutes. The great classics of soul are interpreted and transcended by a musical material which frees itself from words whereas the voices of James Brown and Aretha Franklin resound in us on "Cold Sweat" and " Doh right woman, doh right man ". "Chameleon", composition of Herbie Hancock and David Rubinson who opens the album Head Hunters (Columbia, on 1973), is interpreted here brilliantly. The subject is enriched, harmonized and accompanied by counterpoints, the brass section alternates riffs and solos. Shaped by James Brown and George Clinton, Maceo Parker and his accomplices became confirmed artists who assert here their own musical identity. Make it Funcky!

Maceo Parker - Soundtrack (Live in Hamburg)  (flac 466mb)

01 Cold Sweat 9:07
02 Knock On Wood 4:27
03 New Moon 7:24
04 House Party 7:37
05 New Song 5:11
06 Do Right Woman Do Right Man 4:25
07 Chameleon 10:39
08 Make It Funky - Funky Good Time - There Was A Time 15:01
09 C Jam Funk 11:50

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Having steered the mothership and worked as a triggerman for the Godfather of Soul, storied sax man Maceo Parker now brings his own tight rhythm and soul sound to vinyl (er, plastic) in undeniable proof that he's still "got it." Combining his smoking horn with the backing of fellow legends such as trombonist Fred Wesley and new bloods such as son Corey (whose intermittent raps colorfully enhance the album's youthful vibrance), Maceo works through the familiar funk and soul lines of his Parliament and JB days and adds new twists to such classics as Marvin Gaye's "Let's Get It On" and "Inner City Blues," Stevie Wonder's "Tell Me Something Good," and Sly Stone's "Sing a Simple Song," while offering a number of his own well-orchestrated and well-seasoned compositions. "Youth of the World" features Maceo on a lead vocal reminiscent of Kool Moe Dee or Kurtis Blow, while "Do You Love Me" rises like Tower of Power before the sultry Chicago lines of closer "Going in Circles." Though Maceo's original lyrical attempts may be a bit immature, his years of experience and hard work shine through with every brassy attack and smooth soul note.

Maceo Parker - Funk Overload  (flac 333mb)

01 Maceo's Groove 5:24
02 Uptown Up 4:16
03 Sing A Simple Song 3:38
04 Tell Me Something Good 3:40
05 Elephant's Foot 4:19
06 Let's Get It On 3:49
07 Youth Of The World 3:36
08 We're On The Move 4:13
09 Inner City Blues 4:23
10 Going In Circles 6:53
11 Do You Love Me 3:58

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Jul 24, 2014

RhoDeo 1429 Goldy Rhox 170

Today the 170th post of GoldyRhox, classic pop rock, in the darklight today an American blues guitarist, multi-instrumentalist, singer, and producer. Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Our man also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, he recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

Our man was born in Beaumont, Texas on February 23, 1944 he, along with his musician brother Edgar (born 1946), were nurtured at an early age by their parents in musical pursuits, both of whom were born with albinism, began performing at an early age. When he was ten years old, he appeared on a local children's show, playing ukulele and singing Everly Brothers songs with his brother.

His recording career began at the age of fifteen, when his band Johnny and the Jammers released "School Day Blues" on a Houston record label. During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days our man would sometimes sit in with Roy Head and the Traits when they performed in the Beaumont, Texas area, and in 1967, he recorded a single with the Traits: "Tramp" backed with "Parchman Farm" (Universal Records 30496). In 1968, he released his first album The Progressive Blues Experiment, on Austin's Sonobeat Records.

Our man was professionally active until the time of his death near Zurich, Switzerland on July 16, 2014. He was found dead in his hotel room two days after his last performance, at the Cahors Blues Festival in France on July 14, at the age of 70. The cause of his death is not clear. He was scheduled to begin a United States tour beginning August 1, 2014 at the NYCB Theatre at Westbury in Westbury, New York.

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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.

Today's mystery album, was released on October 27, 1969, today's artist put his own unique Texas-born stamp upon Highway 61 Revisited. Fitted with a rampaging rhythmic groove — one which Dylan himself later would adapt for his own concert renditions of the tune — as well as a string of searing slide guitar licks, the song served as the centerpiece of today's mystery album, an 11-song, three-sided album released in late 1969 that many still consider to be the finest studio effort of today's artist career. Indeed, save for a trio of adrenaline-soaked, but otherwise unremarkable interpretations of tunes by Little Richard (Slippin’ and Slidin’ and Miss Ann) and Chuck Berry (Johnny B. Goode), there was nary a misstep on the collection, which largely featured a thunderous display of blues, rock, and psychedelia that sounds as fresh and inspired today as it did when it was originally released. In particular, a cover of Percy Mayfield’s Memory Pain was rendered as a raw, blistering meltdown of blazing guitar, while the frenzied assault of keyboards and electric mandolin that graced I’m Not Sure as well as the heavy turbulence that propelled Dennis Collins’ The Good Life offered further proof that today's mystery album was anything but a sophomore slump. Even the famed guitarist’s own compositions — the rousing swing of I Hate Everybody, the rapid-fire charge of Hustled Down in Texas, the burning bite of I Love Everybody, and the improvisational freak-out of Fast Life Rider — were marked improvements over those on his self-titled debut. This here is the 2004 Legacy Edition

Goldy Rhox 170   (flac 363mb)

Goldy Rhox 170    (ogg 129mb)

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Jul 23, 2014

RhoDeo 1429 Aetix

Hello, US intelligence officials accused Moscow of "creating the conditions" that resulted in the death of 298 people aboard the Malaysian Airlines jet shot down last week over a part of Ukraine controlled by Russia-backed separatists. We're all so short on memory who created the conditions for the downfall of the legaly elected Ukranian president ? Yes it was the US and those nincompoop EU politicians promising plenty of money to those nasty neo nazis and other rightwing trash to create chaos and chase out the president, and now all this political powerplay has resulted in the death of innocents. Let's not forget there's a war going on there many more die, all for the bloodlust of the US demons that consider themselves beyond good and evil. Yes so blaming Russia is a sick joke, alas many in the west can't see through this propaganda.

Today at Aetix a conjuring a fiendish witches' brew of primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex, and the detritus and effluvia of 50 years of American pop culture, the Cramps are a truly American creation much in the manner of the Cadillac, the White Castle hamburger, the Fender Stratocaster, and Jayne Mansfield. Often imitated, but never with the same psychic resonance as the original, the Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, not unlike an enchanted gingerbread house on the Las Vegas strip. The entire psychobilly scene would be unthinkable without them, and their prescient celebration of the echoey menace of first-generation rock & roll had a primal (if little acknowledged) influence on the rockabilly revival and the later roots rock movement.....N'joy !

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The Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex. They have influenced countless subsequent bands in the garage, punk and rockabilly revival subgenres, and helped create the psychobilly genre, a term coined by The Cramps, although Lux Interior maintained that the term did not describe their own style.

Lux Interior (Erick Lee Purkhiser) and Poison Ivy (hitchiking Kristy Marlana Wallace) met in Sacramento, California in 1972. Shared common artistic interests and devotion to record collecting, had them pair up and decide to form The Cramps. Lux took his stage name from a car ad, and Ivy claimed to have received hers in a dream (initially Poison Ivy Rorschach). In 1973, they moved to Akron, Ohio, and then to New York in 1975, soon entering into CBGB's early punk scene. The lineup in 1976 was Poison Ivy Rorschach, Lux Interior, Bryan Gregory (guitar), and his sister Pam "Ballam" Gregory (drums). In a short period of time, the Cramps changed drummers twice, something that would follow the bands path..the rhythm section (bass,drums) changed ever so often 7 times each in fact over their 33 years as a band.

In June 1978 they gave a landmark free concert for patients at the California State Mental Hospital in Napa, recorded on a Sony Portapak video camera by the San Francisco collective Target Video and later released as Live at Napa State Mental Hospital. They released the two singles again on their 1979 Gravest Hits EP, before Chilton brought them back that year to Memphis to record their first full length album, Songs The Lord Taught Us.

The Cramps relocated to Los Angeles in 1980 and hired guitarist Kid Congo Powers of The Gun Club. While recording their second LP, Psychedelic Jungle, the band and Miles Copeland began to dispute royalties and creative rights. The ensuing court case prevented them from releasing anything until 1983, when they recorded Smell of Female live at New York's Peppermint Lounge; Kid Congo Powers subsequently departed. Their first European tour, after having veen cancelled twice, was a success.

With the release of 1986's A Date With Elvis, the Cramps permanently added a bass guitar to the mix, but had trouble finding a suitable player, so Ivy temporarily filled in as the band's bassist. Fur joined them on the world tour to promote the album. Their popularity in the UK was at its peak (many sell out dates throughout the UK) . It was not until late 86 that the Cramps found a suitable permanent bass player: Candy del Mar, who made her recorded debut on the raw live album "RockinnReelininAucklandNewZealandxxx", which was followed by the studio album Stay Sick in 1990.

The Cramps hit the top 40 singles chart in the UK for the first and only time with "Bikini Girls with Machine Guns"; Ivy posed as such both on the cover of the single and in the promotional video for the song. The Cramps went on to record more albums and singles through the 1990s Look Mom, No Head! (91), Flame Job (94), Big Beat From Badsville (97) for various labels.

In honor of the excess of The Cramps, the Rock and Roll Hall of Fame has on display a shattered bass drum head that Lux's head went through during a live show. On January 10, 2001, Bryan Gregory died at of complications following a heart attack. He was 47. In 2002, The Cramps released their final studio album, "Fiends of Dope Island" on their own label, Vengeance Records. Two years later followed by a compilation, How to Make a Monster.

On February 4, 2009 at 4:40 AM PST, Lux Interior died at the Glendale Memorial Hospital after suffering an aortic dissection (rupture) which, contrary to initial reports about a pre-existing condition, was "sudden, shocking and unexpected, leaving his partner of 37 years (Poison Ivy) behind.

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After Psychedelic Jungle, the Cramps experienced personnel and record label difficulties; they would not release another studio album until this one, four years later. Gone here are the tinny sound quality and horror-flick-based lyrics of prior releases, replaced by clearer sonics and an often hilarious obsession with sex (examples of the latter can be found on "What's Inside a Girl?," "The Hot Pearl Snatch," "Cornfed Dames," "(Hot Pool of) Womanneed," "How Far Can Too Far Go?," and the uproarious single "Can Your Pussy Do the Dog?"). There are numerous sly references in the verses to high and low cultural icons, including "Shake it one time for me" (a line from Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On"), "I'll be dancing through the flames/Like a devil in disguise" (a nod to the Elvis Presley hit), and "Now there's more things in Tennessee/Than is dreamed of in your philosophy" (a paraphrase of a line from Shakespeare's Hamlet). Most of the songs here are in various rockabilly-derived styles featuring either garage rock fuzz or Duane Eddy twanging guitar from Poison Ivy. Vocalist Lux Interior is in excellent form here, exhibiting a fair bit of variety within his usual 1950s-derived approach. "Kizmiaz" is unique in the band's oeuvre, being a smarmy parody of 1960s hippie feel-good music; Ivy joins Interior on vocals here. Intonation is off in a few numbers (notably on "Kizmiaz," "The Hot Pearl Snatch," and "Can Your Pussy Do the Dog?"), but this is not enough to detract from the overall excellence. This rollicking and energetic platter in particular is the equal of any in their canon, and an essential listen.

The Cramps - A Date With Elvis ( flac 269mb)

01 How Far Can Too Far Go? 4:10
02 The Hot Pearl Snatch 3:19
03 People Ain't No Good 3:46
04 What's Inside A Girl? 3:22
05 Can Your Pussy Do The Dog? 3:21
06 Kizmiaz 3:00
07 Cornfed Dames 5:27
08 Chicken 1:40
09 (Hot Pool Of) Womanneed 3:09
10 Aloha From Hell 2:35
11 It's Just That Song 2:34

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This British compilation includes the entirety of the Cramps' first release, the Gravest Hits EP, along with selections that cover the years 1979-1983, a formative period in the band's long career. Ten of the tracks can also be found on the domestic compilation Bad Music for Bad People, which was released the following year. Although the bulk of the material consists of covers, you can hardly tell (barring an intimacy with any of the originals). Once the Cramps get hold of a song, they always make it their own -- even the more recognizable numbers like "Surfin' Bird," "Lonesome Town," and "Fever." All benefit from Lux Interior's vocal prowess. He's a proto-punk screamer like Screamin' Jay Hawkins or the Sonics' Gerry Roslie on the rockin' numbers, but can caress a ballad like mid-period Elvis when the need arises. None of the songs sound as if they could possibly have been written anytime after the '60s. Alex Chilton produced the first ten tracks, the Cramps the remaining seven. [The cover art for ...Off the Bone has varied over the years; the 1987 Illegal edition is rendered -- appropriately enough -- in 3-D.

The Cramps - Off The Bone  (flac 316mb)

01 Human Fly 2:16
02 The Way I Walk 2:40
03 Domino 3:08
04 Surfin' Bird 5:07
05 Lonesome Town 3:03
06 Garbageman 3:30
07 Fever 4:19
08 Drug Train 2:37
09 Love Me 2:02
10 I Can't Hardly Stand It 2:43
11 Goo Goo Muck 3:06
12 She Said 3:17
13 The Crusher 1:48
14 Save It 2:57
15 New Kind Of Kick 3:31
16 Uranium Rock 2:28
17 Good Taste (Live) 3:31

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The Cramps waited four years after their top-notch A Date with Elvis before releasing their next studio album. The result is, unfortunately, one of the weakest platters in their canon. Most all the songs here follow the same rockabilly-based formula of previous releases; unfortunately, much of the group's usual fire is missing. Too many of the selections (such as "Daisys Up Your Butterfly," "Everything Goes," "All Women Are Bad," and a cover of "Muleskinner Blues") are cast in a moderate jogging tempo, and the instrumental playing shows minimal song-to-song contrast, lacking the manic craziness of their best work. Lux Interior's vocals are comparatively reserved (though there are some exceptions, such as the snarling cover of "Shortnin' Bread") and are often somewhat submerged in the sound mix. Lyrics, too, are a bit tame by Cramps standards, the major exception being "Mama Oo Pow Pow," which has gleefully tacky verses about spanking and discipline that rival their most tasteless. "God Damned Rock 'N' Roll" is, for all practical purposes, a middling parody of Bob Seger's "Old Time Rock and Roll." The biggest surprise is the atypically soaring vocal on the better-than-average song "Journey to the Center of a Girl."

The Cramps - Stay, Sick!  (flac 401mb)

01 Bop Pills 2:26
02 God Damn Rock 'N' Roll 2:38
03 Bikini Girls With Machine Guns 3:18
04 All Women Are Bad 3:08
05 The Creature From The Black Leather Lagoon 3:10
06 Shortnin' Bread 2:45
07 Daisys Up Your Butterfly 2:28
08 Everything Goes 3:46
09 Journey To The Center Of A Girl 4:49
10 Mama Oo Pow Pow 2:28
11 Saddle Up A Buzz Buzz 2:40
12 Muleskinner Blues 2:45
Bonus Tracks
13 Her Love Rubbed Off 2:58
14 Her Love Rubbed Off (Live) 5:04
15 Bikini Girls With Machine Guns (Live) 3:30
16 Beat Out My Love 2:15
17 Jailhouse Rock 2:28
18 Jackyard Backoff 3:18

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Jul 22, 2014

RhoDeo 1429 Roots


Lagos, Nigeria, in a lengthy 2006 New Yorker article, is depicted as a post-industrial wasteland, an environmental, economic, and social disaster, fueled by corruption, crime, and the entropy of over eight million people (and counting) vying for limited space and resources. Lagos is considered a 21st century "megacity" teetering on the brink of total chaos when it's not already embroiled in it. "As a picture of the urban future, Lagos is fascinating only if you're able to leave it."

Lagos wasn't always like this, nor was Nigeria as a whole. In fact, just about 40 years ago, following the end of the Biafran War, Nigeria briefly experienced a huge economic and cultural boom, its oil revenues generating billions, the nation thriving, and the country producing an impressive number of artists, writers, and musicians. As far as the musicians go, many still only know Nigeria for Afrobeat pioneer Fela Kuti. Some are also familiar with some combination of juju masters King Sunny Adé and Ebenezer Obey, the perfectly nicknamed highlife star Christogonus Ezebuiro "Sir Warrior" Obinna of the nebulous Oriental Brothers International Band, but they still represent just the tip of a vast West African iceberg.

Proof of this creative seventies explosion here to N'joy

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Get ready to discover a whole new realm of African Funk – because this collection digs deeper than any we've ever had before! The mighty Soundway Records have come up with a blistering batch of grooves that push way past the bigger hits on the global scene – to the real roots of the Afro Funk sound of the 70s, an assortment of Nigerian recordings that have an undeniable combination of African rhythms and American funk! Percussion is at the forefront of the set – and most tracks feature lots of skittish drum work, topped off by hard riffing on sax, guitar, and keyboards. The whole thing's very much in the best tradition of our favorite grooves by Fela – and titles include "Asa Sa" by Fred Fisher, "No Wrong Show" by Thony Shorby Nyenwi, "Omelebele" by Dr Victor Olaiya's International All Stars, "Afro Baby" by Stephen Osita Amaechi & His Afro Rhythm Skies, "Ochonma" by Martins Brothers Dance Band, "Alikali Adajo" by Sahara All Stars, "Lagos Sisi" by Bola Johnson, "Ire" by Don Isaac Ezekiel Combination, and "Son Of Mr Bull Dog" by The Mebusas.

VA - Afro Baby  (flac  380mb)

01 Sahara All Stars - Alikali Adajo 8:56
02 Bola Johnson - Lagos Sisi 3:19
03 Mebusas - Son Of Mr Bull Dog 5:20
04 Fela Ransome Kuti & Africa 70 - Fogo Fogo 8:55
05 Don Isaac Ezekiel Combination - Ire 3:18
06 Tunji Oyelana & The Benders - Ipasan 5:18
07 Fred Fisher - Asa-Sa 8:06
08 Orlando Julius & His Afro Sounders - Mura Sise 6:58
09 Thony Shorby Nyenwi - No Wrong Show 5:39
10 Victor Olaiya & His International All Stars - Omelebele 5:50
11 Stephen Osita Amaechi & His Afro-Rhythm-Skies - Afro Baby 3:05
12 Martins Brothers Dance Band - Ochonma 2:55

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..The Sound of the Underground Lagos Dancefloor 1974-79. Lagos, Nigeria, 1974-1979: the funk & disco capital of West Africa. More nightclubs, bars, spots and dancefloors than any place along the coast from Dakar all the way to Kinshasa. Nigeria Disco Funk Special is an amazing collection of heavy dancefloor grooves from urban Lagos in the '70s -- hot and driving slices of funk, disco and boogie that show just how vibrant the music scene was in one of West Africa's most populous and culturally diverse cities. In the '70s, it wasn't just James Brown who influenced the musicians playing in the nightspots of Lagos -- the loose-structured and elongated jams that he was pioneering in America had been a part of Nigerian music much longer than that. This album is the sound of Cuban-heeled and micro-minied Lagos youth soaking up the sound of the American discotheque and putting their own inimitable twist on the proceedings. The CD and double gatefold vinyl include rare tracks from famous musicians like Bongos Ikwue & The Groovies and Mono Mono's Joni Haastrup, as well as selections from cult bands like Asiko Rock Group, SJOB Movement and Jay-U Experience. Other artists include: The Sahara All Stars, T-Fire, Voices Of Darkness and Dr. Adolf Aonotu. If you're already a fan of funky West African music, I recommend these sets to you without reservation. Go get them. More broadly, anyone into funk in general or the subtle permutations of vintage global pop music would be well-advised to dig this as well. From the royalty structure to the sound to the packaging to the research and of course the music, Afrofunk fans could hardly have asked for more.

VA - Nigeria Disco Funk Special  (flac  346mb)

01 Sahara All Stars - Take Your Soul 7:07
02 T-Fire - Will Of The People 5:48
03 Asiko Rock Group - Lagos City 3:57
04 Johnny Haastrup - Greetings 6:12
05 Bongos Ikwue & The Groovies - You've Gotta Help Yourself 4:10
06 Jay-U Experience - Some More 7:08
07 Voices Of Darkness - Mota Ginya 6:59
08 Dr. Adolf Aonotu - Ijere 3:59
09 S-Job Movement - Love Affair 6:45

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Last year was a disorienting, somewhat disconnected time if you were looking for any kind of lucid pop music narrative, but one thing was for sure in 2008: All you had to do was wait a month or so, and you'd get the chance to hear yet another entry in an incredible influx of compilations, reissues, and revivals of the music of West Africa in the 1970s. There was Soundway's (so far) three-part Nigeria Special series, which gathered a bountiful collection of highlife, Afrobeat, funk, rock, and disco, and they followed it up with the eye-opening Sir Victor Uwaifo compilation Guitar Boy Superstar. Germany's freshly-minted Analog Africa label assembled a number of incredible highlife/funk/psych songs from Togo and Benin under the title African Scream Contest, then put together the staggering Orchestre Poly-Rhythmo de Cotonou highlight reel The Vodoun Effect: Funk and Sato from Benin's Obscure Label. And amidst all of this, Fela Kuti's son Seun reunited with his father's band Egypt 80 to record his debut full-length Many Things, taking the Afrobeat revival one step further by creating one of the genre's best new records of the last 25 years. All that, and Strut's ceaselessly entertaining Nigeria 70: Lagos Jump, too-- that's a ridiculously bountiful collection of music.

But even amidst all those releases,  Nigeria 70: Lagos Jump isn't an afterthought-- it is, after all, the followup to one of the most crucial Afrobeat comps, 2001's  Nigeria 70: The Definitive Story of 1970's Funky Lagos. The original  Nigeria 70 was released four years after Fela Kuti's death and in the midst of a renewed interest in Afrobeat-- Femi Kuti's Fight to Win enlisted Mos Def and Common in a hip hop crossover bid, and Antibalas was really starting to pick up steam-- so it served as one of the most contextually important collections of the genre as it stood in its original heyday. With this reissue, it still holds that status:  Nigeria 70 assembles a potent collection of names that were already famous among aficionados of African music (Fela; Tony Allen; King Sunny Ade), augments them with lesser-known musicians that those aficionados would also likely enjoy, and subsequently captures a cross-section of Nigerian culture that covers that country's adaptations of nearly everything that was going on in black music at the time.

Nigeria 70 starts with Monomono's "Loma Da Nigbehin", where the groove is stepped up, the rhythm guitar emphasized, the percussion denser yet livelier, the horn and organ solos heavier-- all developments created in the wake of Fela's revolution in militant funk. Afrobeat in that familiar vein is widely covered here, both inside and outside of the Kalakuta Republic. Two of Fela's greatest Africa '70-era recordings appear in "Upside Down" and "Jeun Ko Ku (Chop 'n' Quench)",  while Afrobeat's rhythmic architect and Africa '70 alumnus Tony Allen is represented by his glimmering 1980 recording "No Discrimination".  And many of the highlights from less-famous musicians-- Peter King's "Shango"; Orlando Julius Ekemode's "Alo Mi Alo"; Afro Cult Foundation's "The Quest"-- take Kuti's sounds and tweak them playfully until they become a bit more concise or abstract.

But what makes Nigeria 70  particularly compelling is its sonic diversity. Anyone expecting two and a half hours of music that sounds directly informed by Fela might be surprised to find out just how many musicians saw his music as a starting point than the sum of their sound. There's nods to psychedelic rock, both heavily fuzzed-out (Ofo & the Black Company's stomping, wailing "Allah Wakbarr") and Deadhead-friendly mellow (BLO's eerily beautiful reverie "Chant to Mother Earth"). A few forays into the late 1970s and early 80s note a disco influence that informs cuts like Joni Haastrup's 1977 song "Greetings" and Shina Williams & His African Percussionists' 1984 electro-funk workout "Agboju Logun" without removing their Afrobeat backbone. And if you're wondering how Parliament-Funkadelic was received in Nigeria, William Onyeabor's 1978 anti-imperialist synthesizer opus "Better Change Your Mind" is an intriguing hint. You could while away some time trying to figure out just how much or how little of it came from black music in America, and how much of black music in America actually owed to these sounds in the first place-- as cross-cultural development of pop music goes, the Nigerian sound is fascinatingly tangled. And now, even after the West African reissue glut of 2008, Nigeria 70 still sounds illuminating.

VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 1  (flac  383mb)

01 Monomono Tire - Loma Da Nigbehin
02 Blo - Chant To Mother Earth
03 Fela Ransome Kuti & The Africa 70 - Jeun Ko Ku (Chop 'N' Quench)
04 Tunji Oyelana & The Benders - Ifa
05 Bala Miller & The Great Music Pyrameeds Of Afrika - Ikon Allah
06 Segun Bucknor & His Revolution - La La La
07 Peter King - Shango
08 Tony Allen & His African Messengers - No Discrimination
09 Sir Victor Uwaifo & His Melody Maestroes - Akayan Ekassa
10 William Onyeabor - Better Change Your Mind
11 Bongos Ikwue - Woman Made The Devil


VA - Nigeria 70, The Definitive Story of 1970’s Funky Lagos 2 (flac 456mb)

01 Orlando Julius & The Afro Sounders - Alo Mi Alo
02 Ofo The Black Company - Allah Wakbarr
03 Sahara All Stars Band Jos - Enjoy Yourself
04 Funkees - Dancing Time
05 Afro Cult Foundation - The Quest
06 Joni Haastrup - Greetings
07 Gasper Lawal - Kita Kita
08 Lijadu Sisters - Orere Elejigbo
09 Anikulapo Kuti & The Africa 70* with Sandra Akanke Isidore - Upside Down
10 Shina Williams & His African Percussionists - Agboju Logun
11 Sunny Ade and His African Beats - Ja Fun Mi (Instrumental)

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