Oct 30, 2014

RhoDeo 1443 Goldy Rhox 184

Hello, today the 184th post of GoldyRhox, classic pop rock in the darklight a singer /filmdirector and composer, a bit of a side step as we're talking soundtrack here. Although this hit soundtrack was recorded with cheap '70s synthesizers, the simple scores composed are acclaimed masterpieces. Our man sets the mood for his horrific movie with such tracks as "The Shape Stalks," "Laurie's Theme," and, of course, his main theme, which consists of the beating out of a 5-4 rhythm. A definite first pick for those interested, this soundtrack even bests most scary music albums.

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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.

For fans of the 1978 classic slasher film, this 20th anniversary soundtrack is a must-have. When the director set out to write his own music for the low budget horror flick, little did we know that he was about to bring us a stirring, gripping score, in the spirit of master suspense composer Bernard Herrmann, himself.

The story of today's mystery movie is pretty familiar to most people, especially to those most likely to look into getting this soundtrack. Michael Myers was a young boy who brutally stabbed and murdered his sister back in 1963. He was taken to a mental hospital and was put under the care of Dr. Sam Loomis (the name being an homage to a character in Hitchcock's "Psycho"). In 1978, Michael Myers breaks free, returns to his hometown of Haddonfield, IL., and terrorizes a teenage babysitter named Laurie Strode. All of the frenzied, harrowing action takes place on Halloween night. The small town setting evokes the loneliness of Autuman well: leaves descend from their trees and blow through the streets, and jack-o-lanterns line the porches of the nice, quiet homes. Michael Myers shatters all of that serenity once night falls. The film is a suspenseful, pulse-pounding exercise in terror and fear. This is all enhanced greatly by its excellent score.

Our mystery man, with just a few sparse notes, manages to interpose urgency, dread, fear, and evil presence, ever so exceptionally into the foreboding film. Visual and aural cues work brilliantly together to form a near-perfect blend of synchronous fright. Michael Myers turns the staircase, the music reflects it. He suddenly sits up, the music is right there. He is spotted across the street from Laurie Strode's school, the score hauntingly emanates. It is simple, but effective.

One should be aware of a couple of things about this this 20th anniversary soundtrack. It is 28 tracks long, and as the score is somewhat simple, there is a bit of repetition involved. Also, the dialogue for each score segment is included on this soundtrack. If you are wanting just the music, then this is not for you. Personally, I think the inclusion of the dialogue adds to the suspense. This soundtrack is a must-have for the *fans* of the film. It is a good companion-piece to the movie. In fact, one could almost say that it *is* the movie. Few scores have been able to so definitively evoke the atmosphere of their films as well as "today's gruesome mystery" has. Sit back, listen, and be scared.

Goldy Rhox 184 (flac 283mb)

Goldy Rhox 184 (ogg 119mb)

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Oct 29, 2014

RhoDeo 1443 Aetix

Hello, still in limbo i'm not sure how things are at your end but i keep seeing lot's of browser crashes-thats how my misery started in windows but these happen on macs and linux too, it looks to me that it's the websites that cause computer misery and i think this is by design, commercial forces are very eager to have their own completely controlled fast internet leaving the biggest possible heap of corrupted webshite behind. Still it's irritating that this computer refuses my OS discs...

Last week Skinny Puppy's eighties output came to an end but Canada had another
electro-industrial/synthpop group that started manifesting in the same timeframe. Psyche are centered on singer Darrin Huss, who has been the only constant member, with various line-ups including his brother Stephen Huss, later followed by David Kristian, Per-Anders Kurenbach, and Remi Szyszka, all recording albums with Darrin under the name Psyche.....N'Joy

FLACS re-upped 2nd of December 2014
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Psyche was formed by brothers Darrin and Stephen Huss[1] in Edmonton, Alberta, named after the B-Side of Killing Joke's Wardance single as well as being chosen for the meaning of the word. The band's debut performance was on December 13, 1982 with Dwayne Goettel on additional keyboards. During this period, Psyche were known for their bizarre live shows wherein Darrin performed nude (except for being covered in shaving cream) while talk-singing and shouting over the music. The performance idea was inspired by pictures seen of Fad Gadget in British Music magazines.

While demos were recorded during this period of collaboration with Dwayne Goettel, no albums were released until 1985's Insomnia Theatre, after Goettel's departure. After Insomnia Theatre achieved moderate success in Europe, Psyche tested the waters with a couple single releases followed up by a new studio album, Unveiling the Secret, in 1986. To promote the record, Psyche performed as the opening act for Suicide, at Élysée Montmartre in Paris, then as headliners on their own proper European tour.

After the release of their third studio album, Mystery Hotel, Stephen Huss was forced to take a hiatus from the group due to being diagnosed with schizophrenia. During this period Darrin began collaborating with David Kristian, leading to a new album, The Influence, in 1989. This album introduced new elements to Psyche's sound, with samples created by Kristian, and being performed entirely on the Casio FZ1.

A visit home to Waterloo in 1991 reunited the Huss brothers and, the subsequent recording sessions produced 1991's Daydream Avenue. Though Psyche returned to tour Europe with German keyboardist Johannes Haeusler in support of English poetic artist Anne Clark, Stephen Huss stayed behind in Canada due to his illness.

A follow-up wouldn't come until 1994s Intimacy, produced in collaboration with Joseph Watt (of Razormaid). Feeling that this new album lacked powerful dance numbers, Psyche released the Private Desires EP as a companion, featuring a cover of Soft Cell's classic Sex Dwarf. While the group embarked on a small German tour, the future of the group was unclear due to Stephen Huss remaining in Canada, leaving Darrin to find new collaborators in Germany.

After another hiatus while dabbling in side projects, Psyche resumed activities in 1996 with Per-Anders Kurenbach joining as a new member. Together with Kurenbach, Psyche released Strange Romance, which took a musical shift toward an accessible, upbeat pop sound to bring listeners up to date with the personal events described in Darrin's lyrics. After playing for the first time in Oslo, Norway and a return to Sweden, Psyche released a live video featuring highlights from their Strange Romance Tour. 1998 saw the beginning of a new record label partnership, and in June of that year Psyche released their eighth official album on the StrangeWays label out of Hamburg, Germany. The album Love Among the Ruined added a few more experimental touches to the pop side of Psyche's style.

At the beginning of 2000, Psyche signed to Art of Fact Records in North America. The specially-compiled release of Misguided Angels contained material from 1983 through 2000 as a re-introduction of Psyche back on their original continent. It contained the last material from Per-Anders Kurenbach, and Darrin as well as some rare mixes. By this point Kurenbach has left the group and was replaced by Remi Szyszka.

The new line-up made its debut on Accession Records with a new single, Sanctuary, released in April 2001. After a series of successful concerts in both Europe and North America, ninth studio album The Hiding Place was released and well-received, charting fourth in the year-end Top 100 of the German Alternative Charts. To capitalize on The Hiding Place's success, a new remix album entitled Endangered Species was released mid-2002. The success continued into 2003 with a string of live performances and the release of a new album, Babylon Deluxe, which found its way in the German Alternative Top Ten once again.

The 11th Hour, Psyche's 11th album, saw the return of previous collaborator Per-Anders Kurenbach, but including a farewell track with Remi Szyszka, and a guest appearance by Christian Wirsig. The 11th Hour was released through Accession Records in Europe, Metropolis Records in North America, and Irond Records in Russia making it the widest release in the band's history. The album topped the German Alternative Charts (DAC).

In 2006, after nearing the 25-year mark of Psyche's existence, a DVD collection documenting Psyche's appearances in every incarnation from 1983–2005 was released. Containing 23 tracks in all, with at least 1 song from every album ever released, Imaginary Life was released on May 26, 2006. It contains music videos and performances covering the very beginning from "The Crawler" on an Edmonton TV station in 1983 through to 2005. Plus an audio commentary track and bonus features such as Darrin and Stephen Huss being interviewed backstage in Sweden after their debut concert in Gothenburg in 1988.

Following The 11th Hour, Psyche shifted their focus to touring rather than recording, playing shows and festivals across Europe, North and South America, and South Africa. During this phase of Psyche's career, no new studio albums were released, with the band opting instead to release remix albums (Unveiling the Secret 2.0, Until The Shadows, Halloween EP), compilations of old and unreleased materials (Re-Membering Dwayne, Unknown Treasures, As The Brain Collapses, Rare Mixes & B-Sides), and multiple live albums. In addition, several early albums received re-releases.

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The debut album of the Huss brothers with the ground breaking Brain Collapses, Mr. Eyeball Ooze, Wrench, Maggots and several other wonderful horror-synth classics. On Unveiling The Secret, Psyche reached a Europe-wide club hit with the title track and set a whole new style with such titles as "Prisoner To Desire" and "The Saint Became A Lush".

Psyche - Insomnia Theatre - Unveiling The Secret  (flac 464mb)

01 Mr.Eyeball Doze 5:12
02 Maggots 4:37
03 Wrench 3:34
04 Brain Collapse 4:10
05 Eating Violins 2:43
06 On The Edge 5:07
07 Why Should I? 5:03
08 Thundershowers 5:15
09 Lord Unleashed 3:20
10 Caught In The Act 5:37
11 Prisoner To Desire 5:40
12 The Saint Became A Lush 6:12
13 Black Panther 3:47
14 Taking Chances 4:45
15 Unveiling The Secret 7:11
16 The Crawler 2:31

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"Uncivilized" got modest airplay on the new wave radio stations that said much of their work never got the heavy rotation that Psyche deserved. This late 80s electro-industrial/synthpop band That sometimes sounds like a darker, almost industrial Depeche Mode of the same era. However, most noticeable is their similarities to the experimental sounds of early Softcell. The singer, in fact, sounds very much like Marc Almond at times, and if you see some of their videos, he also kind of borrows Almond's look and fashion sense. If you love electro-industrial/synthpop from this era, definitely book into Psyche's Mystery Hotel.

Psyche - Mystery Hotel  (flac 337mb)

01 Make No Mistake 4:08
02 Insatiable 4:41
03 Wake The Flood Unconscious 2:55
04 The Outsider 4:23
05 You're The Only One 3:25
06 Uncivilized 3:40
07 Ride On 2:47
08 Dreamstreet 5:16
09 Nocturnal Passenger (Extended) 6:08
10 Eternal 4:18
Bonus Tracks
11 Uncivilized (Instrumental) 3:37
12 Black Panther 3:47
13 Prisoner To Desire (Version 1) 4:38

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In 1989, Darrin teamed up with David Kristian to create a new Psyche album entitled 'The Influence'. The album was performed completely using the Casio FZ1 and David incorporated his own samples that gave Psyche a new sound. Electronic and darker in context, The Influence revitalized the gothic scene. Even though no tracks were released as singles from the album, it proved to be a classic as Lights of Euphoria covered the song Misery on their debut album.

Psyche - The Influence (flac 321mb)

01 Psyche Theme 2:46
02 Haunted 4:09
03 Misery 4:03
04 The Dark Pool 4:50
05 Salvation Stranger 3:52
06 The Sundial 2:56
07 Illusion 4:20
08 Twilight 4:30
09 The Influence 4:17
10 Misery's Return 4:58
11 Haunted (Hill House Mix) 5:49
12 The Sundial (Hospital Mix) 3:34
13 Eleanor (Instrumental) 3:40

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This compilation of early recordings by Psyche dates from 1982-1987 and is dedicated to those who still believe that one's humanity in art should not necessarily be rated by an industry standard.  Featuring  the "harder"  industrial side of Psyche represented here by the likes of "The Crawler", "Screamin' Machine", "Another Billion Eyes", and "Waiting For The Stranger" (no one will ever top that monster).  The tracks seem more about effect, ambience and mood than developed ideas. These slices of mood are pretty effective, though--enough to sustain interest for a short time--and they are diverse from track to track, at least as much as one can expect and still stay in a dark, semi-gothic, industrial dance vein. A chance then to experience the ground floor of the developing electro-industrial genre; going to dark clubs and getting weird with anti-establishment youth.

Psyche - Tales From The Darkside (flac 325mb)

01 I'm A Gentleman 3:33
02 Eraserhead 3:50
03 Wrench II 3:18
04 Another Billion Eyes 2:51
05 Empty Spirit 3:13
06 A Threat 3:49
07 The Brain Collapses 4:04
08 Children Carry Knives 4:47
09 Theme For Runaways 2:14
10 Screamin' Machine 4:22
11 Cheated 2:43
12 The Crawler 2:20
13 Mind Over... 4:30
14 Waiting For The Stranger 2:42
15 The Darkside 2:00
16 Psychic Vampire 4:28

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Oct 28, 2014

RhoDeo 1443 Roots

Hello, I thought a USB key with a new XP3 iso would do it but nada my windows 7 discs refuse to expand and my old xp3 discs dont do anything anymore so still stuck with this linux life disc unfortunately I cant't use the software im used to using, so no ogg files or cue sheet looks like I will have to look if I can repair my old pc- not looking for ward to that  i'm no wizard there

Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children. Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled.

Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution. The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959. Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the name of the spirit most appealed to for the protection of these independence fighters.

Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi. Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project. The band would become politically charged. It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity. It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. The success of the new orchestra was almost immediate.

Ok its 30th of November and all these flacs have been re-upped with a 'cured' machine

In early 1980, the group went for its only recording sessions in Lisbon. People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida." Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping. It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal. It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.

 .. ... N'joy

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Super Mama Djombo is a band from Guinea Bissau who sing in Guinea-Bissau Creole.[1] The band was formed in the mid-1960s, at a Boy Scout camp, when the members were only children (the youngest was six years old). [2] Mama Djombo is the name of a spirit that many fighters appealed to for protection during Guinea-Bissau's War of Independence.[3]

In 1974, the politically conscious band leader Adriano Atchutchi joined. The group became immensely popular in the young country, which had gained its independence the same year. They would often play at President Luís Cabral's public speeches, and their concerts were broadcast live on radio.[2]

In 1978 group traveled to Cuba and appeared on the eleventh youth music festival in Havana.[citation needed] Early in 1980, they went to Lisbon and recorded six hours of material. The first album Na cambança was released the same year, and the song Pamparida, which was based on a children's song, became a huge hit throughout West Africa. In 1980 Cabral was overthrown, and the new regime under João Bernardo Vieira no longer supported the band. They had fewer opportunities to perform, and broke up in 1986.[2] However, the soundtrack to Flora Gomes' film Udju Azul di Yonta (The blue eyes of Yonta) (1993) was recorded by Adriano Atchutchi and other members of the original band under the name of Super Mama Djombo.[4]

In 2012, Super Mama Djombo toured Europe.[5] The band included several of the original members, drummer Zé Manel, guitarist Miguelinho N'Simba, percussionist Armando Vaz Pereira and Djon Motta,[6] together with new members such as solo guitarist Fernando Correia from the band Freaky Sound. Although Adriano Atchutchi, the original lead composer and bandleader, is not part of the current line up, the military coup in April resulted in him having to leave his post as a provincial governor when the military took over the functions of the government, so he was able to attend rehearsals to help the band prepare for the tour. The band said they hoped the tour would "show people that Guinea-Bissau's loudest sound is not that of gunfire, but that of music."

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Here's a wonderful little slice of history from the tiny country of Guinea-Bissau. From its beginnings in a boy scout camp, Super Mama Djombo emerged to become one of the country's leading bands during the late '70s and into the earliest part of the '80s. The 14 tracks here are the product of their only recording session, in 1980, six glorious hours that produced some amazing music, including the West African hit "Pamparida," based on a children's song, a track that made them into regional stars. But it's only one of the great things here. There's some searing music, some beautiful singing, and a very electric atmosphere throughout. There are also some unusual details, like the strange whistling on "Pansau Na Isna," for example; it's jarring and completely unexpected, but it works. Across the whole album there's plenty of driving percussion, always understated, and the guitars offer a mesh of sound that happily owes little to Congolese rhumba -- the fretwork is harder. Inevitably, there are Cuban elements in the music, as in the opener, "Faibe Guiné," but the African element is always highly evident -- "Ordem Do Dia" couldn't be from anywhere else, with its gorgeous guitar arpeggios and ineffable harmonies. Six of these tracks have never been released before, making this a vital document of one of the most important African bands of the late '70s. 

Super Mama Djombo - Id  (flac  478mb) re re-up

01 Faibe Guiné 4:57
02 Dissan Na M'Bera 5:14
03 Gardessi 6:33
04 Júlia 6:54
05 Seiango 4:05
06 Seya 4:42
07 Pamparida 5:52
08 Aboku Boku Bandi 4:31
09 Ordem Do Dia 4:28
10 Assalariado 6:04
11 Guiné-Cabral 6:09
12 Djuana 6:54
13 Pansau Na Isna 4:57
14 Indicativo 2:29

Super Mama Djombo - Id   (ogg 190mb)

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Born in 1966 in Basse, West Africa, Juldeh Camara is a Gambian griot and master musician. His blind father received the gift of music from forest spirits who took the use of his eyes in return. Playing the Ritti, a one- stringed fiddle, he participated as a griot in traditional Fula society. Camara has been recognised as the leading ritti player in the world. Camara has played with Ifang Bondi, The Blind Boys of Alabama, Batanai Marimba, Knut Reiersrud, kora player Seckou Keita and Tunde Jegede's African Classical Ensemble, where in 2009 he performed at St. Denis Cathedral in Paris which included Oumou Sangare, Toumani Diabate, Kasse Mady Diabate, Sambou Susso and the Brodsky Quartet. More recently he has establised a successful partnership with Justin Adams, releasing their collaborative albums "Soul Science", "Tell No Lies" in May 2009 and "The Trance Sessions" EP in February 2010."

Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language.who has worked with the likes of Robert Plant, Jah Wobble, Tinariwen and Sinead O'Connor.

Justin Adams, was first introduced to the exuberant sounds of Juldeh Camara, a member of the griot caste of wandering minstrels, played live over the phone. Their subsequent pairing has produced two acclaimed albums.

In person, the splicing of Adams' bluesy playing with Camara's adaptable dexterity on the riti, a one-string fiddle, and his elastic vocals made for an effortless, often hypnotic hybrid. Adams would strike up an African riff, then drop in some rock'n'roll phrasing and Camara would skilfully roll with the changes, providing rapid-fire chants as well as a lightning natural facility on a number of stringed instruments. Accompanied by a drummer tapping on a tea chest, they also moved their focus eastwards, dipping into the meditative, minimalist mantras of the Saharan blues.

Soul Science was nominated for "best album" in the "Culture Crossing" category at the annual BBC World Music Awards, and was selected among the "top 100 albums of the year".

Juldeh Camara – Soul Science  (flac  316mb)

01 Yerro Mama
02 Ya Ta Kaaya
03 Sanakubay
04 Njatigi
05 Naafigi
06 Blue Man Returns
07 Subuhanalaii
08 Ngamen
09 Nayo
10 Yo Lay Lay
11 Me Wiri Bainguray Am

Juldeh Camara – Soul Science  (ogg 121mb)

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It's hard not to approach an album like this with some trepidation. Guitarist Justin Adams works in tandem with Gambian griot Juldeh Camara to create grooves that consciously blend the sounds of American rock and blues with those of West African traditional music; Camara plays the riti (a one-stringed spike fiddle), and the bologo (a sort of two-stringed banjo), and sings, while Adams accompanies on guitars and occasional percussion and keyboard. The duo are on the record as being enthusiastic about the fact that so much of their music is improvised in the moment in the studio; one or the other will play a riff, the other will pick up on it, and they move forward from there.  At its best, this is music that can induce a sort of trance without being boring or obnoxiously repetitive. But when it isn't at its best, it can be pretentious (notice the truly wanky guitar on "Sahara") or derivative (the Bo Diddley lick on which "Kele Kele (No Passport No Visa)" is based is entirely too literal). There are some great moments on this album, but too few of them to make it solidly recommendable to any but the most die-hard desert blues fanatics. 

Juldeh Camara - Tells No Lies  (flac  363mb)

01 Sahara
02 Tonio Yima
03 Kele Kele (No Passport No Visa)
04 Fulani Coochie Man
05 Achu
06 Madam Mariama
07 Gainako
08 Nangu Sabeh
09 Banjul Girl
10 Chukaloy Dayoy
11 Futa Jalo

Juldeh Camara-Tells No Lies   (ogg 145mb)

1. Sahara 
I sing for the Sahara, a land of sand and beauty, a land of camels and great people. As the evening falls the sand cools from the rays of the sun and it feels like magic. People of Sahara I greet you, for you have kept your culture and traditions against all odds. If you travel to Mali or Timbuktu you will know what I mean for you will meet the great men and find the history of their nation which has long been preserved. 

2. Tonio Yima 
Pardon me, my friend, we are in a big gathering and there are many people, I might step on you but it is not my intention to do so. Someone might spit on you but do not be rude to them, just put your point across without spoiling the fun for the rest. 

Pardon me, my dear, pardon me, I might push you while I make my way through the crowd but I do not mean to hurt you. The gathering will soon be over and we will all go our separate ways, so spare me the insults, I just want to have fun. Sorry if I have done anything wrong but I just want to enjoy myself. 

3. Kele Kele (No Passport No Visa) 
Hear my cry, the cry of my people for a passport and visa. They go to and from visa offices, pay huge application fees just to end up with no refund and no visa. So they pay a captain and board an unsafe ship hoping to enter Europe, the land of their dreams. Listen my friend, think carefully before you start this journey of pain and suffering which can lead to your untimely death. You may be going through a hard time, but Africa our motherland has a lot to offer, so be patient in your search for treasures. Visa authorities, allow me to bring the plight of my people in sweet melody, although you cannot grant everyone a visa there must be a way to ease the pain, suffering and loss. 

4. Fulani Coochie Man 
Aid for the poor countries, donated for the poor and needy because they have nothing. Lets make sure this aid is distributed evenly to the ones who need it. Do not sit on a lump sum and keep it for your own use, neither must you use the aid to enjoy a lavish lifestyle while the real owners of this aid still live in anguish. Others have more than they need because of greed, the rich get richer and the poor get poorer. Let us refuse injustice to the poor. 

5. Achu 
Listen, O listen, listen to me with your minds and listen carefully. 

6. Madam Mariama 
Mariama you are kind, Mariama you are jolly, Mariama you are wealthy and your riches you freely give. Your company is always filled with fun and laughter, praise singers proclaim your kindness in various tunes. Let me also sing a song for Mariama the woman of my dreams. Marie, some of them call you, Marie, your skin glows, you are wonderful, I will never stop singing of your beauty. 

7. Gainako 
I dedicate this song to the youths, for I want them to know the importance of knowing their roots. Find out about your ancestors - the things they did, the things they talked about, their traditions and what they believed in, for all this will lead you in the right direction. As for me, I can't stop reflecting on my heritage for it inspires me and gives me joy. That's why I want to honour the scholars of Medina Gunasi, whom God has blessed with wisdom and knowledge. They never cease from shepherding the flock entrusted to them, their prayers never fail and that is why I urge you all to seek their blessing at all times. 

8. Nangu Sobeh 
Head of house, it's you I am talking to, for I want to remind you that you need to show a bright example to your family. Hard work is the key to success so let's not be lazy, nothing good comes easy therefore we have to be ready and willing to work. When the rains are here get up and till the soil, show the children what they can reap from the farms so that they will learn from you. If you steal, the children will do the same and if you beg, they will, so work hard head of house there are many eyes watching every move you make. 

9. Banjul Girl 
Banjul girl, you are born beautiful, I am in love with you. Come and talk to me my dear, let's talk about love. You are full of tact, you are so wonderful I cannot stop loving you. Talk to me Banjul girl, beauty is in your nature. Come on and dance with me Banjul girl, come on and talk to me for I am in love with you beautiful Banjul girl. 

10. Chukaloy Dayoy 
Teenage girls of this generation I challenge you to seek knowledge and you will not regret it. Let the parents support the young minds of our nations so that the dumping of newborn babies will cease. Babies need care, bringing them up means a lot of spending, so think about it teenage girl for you need support yourself. Do not engage in ways that will cause you regrets, stop now and save a life. 

11. Futa Jalo 
History tells us about our past for we should not forget our heritage as it makes us who we are. I call on the nation to preserve the culture as it is the only thing that defines people. Let us not replace our traditional praise singers, neither should we find an alternative to the fiddle, kora or flutes because they tell our story. I will not forget my origin, I am born from parents of a tradition I am proud of, my grandfather is from Cumbria in Futa Jalo and my mother is from Benani near Dallaba. 

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Oct 27, 2014

RhoDeo 1443 Blake

Hello, still troubled and last night even the linux disc crashed...so not sure if i manage a full posting tomorrow we'll see

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Ok so the coming weeks we'll have some Blake's audio drama's

In the third century of the second calendar, the galactic Federation, once a beacon of democracy and peace, has become a corrupt tyranny. Freedom and Justice are things of the past. Roj Blake stood up for the ordinary people. When the establishment tried intimidation he laughed in their faces. When they tried to crush him he fought back. When they tried to brainwash him into obedience, he broke their conditioning. Finally they framed him and sentenced him to permanent exile on the notorious prison planet Cygnus Alpha. The Federation thinks it has seen the last of Roj Blake. The Federation will wish it had... And now Roj Blake is on the run... He has a ship, but the ship has plans of its own. He has a crew, but who are his friends and who are his enemies? Blake thought space meant freedom, but space is cold, cruel and steeped in blood. The power of the federation reaches further and deeper then Blake dared imagine... Freedom is nowhere to be found.

The Federation’s grip is tightening. Roj Blake and the crew of the Liberator have nowhere left to hide. As time runs out, old friendships are shattered and new alliances are forged. Choices are made, and battle lines are drawn across the galaxy. A path of betrayal, lies and deceit leads to only one destination, towards a deadly confrontation that will change everything.

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Blake's 7 - Liberator (ogg 54mb)

Liberator 56:58

Derek Riddell as Blake, Daniela Nardini as Servalan, Colin Salmon as Avon, Carrie Dobro as Jenna, Craig Kelly as Travis and Doug Bradley.

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Blake's 7 - The SevenFold Crown (ogg 83mb)
Blake's 7 - The Syndeton Experiment (ogg 52mb)
Blake's 7 - Rebel (ogg 53mb)
Blake's 7 - Traitor (ogg 53mb)

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Oct 26, 2014

Sundaze 1443

Hello, it's that time of the year again and i'm not talking about resetting the clock this night, no i'm talking Samhain, it is known by most folks as Halloween, but for many modern Pagans it's considered a Sabbat to honor the ancestors who came before us, marking the dark time of the year. It's a good time to contact the spirit world with a seance, because it's the time when the veil between this world and the next is at its thinnest. 

The Christians as usual wrote over Pagan feast days hence they created their own spin on Samhain's ghostly aspect by honoring their left over saints...The word Halloween or Hallowe'en dates to about 1745 and is of Christian origin. The word "Halloween" means "hallowed evening" or "holy evening". It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day). In Scots, the word "eve" is even, and this is contracted to e'en or een. Over time, (All) Hallow(s) Eve(n) evolved into Halloween. Anyway, keeping the ones that died that year happy has been the main objective these past supersticious centuries. These days is kids going for the trick and treats and the older ones about dressing up in prefarbly scary outfits.. All these activities need a scary soundtrack and that's where this and next week's posts come in..

Today's band is an American neoclassical, dark ambient musical duo, formed in 2003 by Joseph Vargo and William Piotrowski. Their name in Latin translates to "mysteries of the night." All of their music is released independently on the Monolith Graphics label, a publishing company owned by Joseph Vargo. They specializes in concept albums based on original stories, as well as gothic fiction and classic horror literature. Some of their albums also make reference to medieval themes and ancient mythology. . ...N'Joy

Sadly blogger was ordered to block this posting, oh well the mysteries of the night stay just that mysteries..

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In addition to the storytelling aspect of each album, hidden puzzles and interactive quests are incorporated into the album artwork and into the music itself. Their music is often used to provide atmosphere for films, public events, role-playing games and during Halloween at theme parks, several of which have based haunted attractions on Nox Arcana's original theme albums.

Nox Arcana's music is melodic and moody, focusing on a dominant melody line. Instrumentation varies with each album as appropriate to the theme or time period of the album concept, and typically includes piano, bells, violin, pipe organ, harpsichord, timpani drums and other percussion. Some albums also include cymbals, lutes, acoustic guitars, bagpipes and glockenspiel, depending on the theme of a given album.

Their music is generally classified as dark wave or dark ambient, "sometimes sandwiched into the gothic music genre" and aptly labeled "atmospheric gothic." The moods associated with Nox Arcana music describe it as ominous, romantic, lush, epic, otherworldly, menacing, spooky and eerie, Nox Arcana's music covers a broad range of sub-genres within the rock and alternative music categories. 

Joseph Vargo explained Nox Arcana's style to a blogger from Gnostics.com: "Our music is mainly classically based instrumental, although we do incorporate chanting choirs and spoken narratives for dramatic effect to achieve a blend of darkly haunting melodies that encompass the complete gothic spectrum the romantic, the mysterious, and the horrific. We utilize a variety of instruments such as piano, pipe organ, violin, acoustic guitar, drums and tolling bells to achieve symphonic orchestrations. Our concept has always been to create moody and melody-driven gothic soundscapes that take the listener on a musical journey through various dark realms of fantasy." 

Carnival of Lost Souls though primarily a dark cabaret-style album, also contains a heavy metal song, while the music on the Blood of Angels album blends industrial dance and tribal rhythms with ethereal-style vocals. Their trilogy of winter-themed albums feature a range of ethereal-style choirs, Gregorian-style chanting, classical music, and Celtic new-age instrumentation.

Vocals and narratives are also used sparingly to help relate a story or serve as introduction to a musical piece, for example, the voice of "Jonathan Harker" and whispered female voices of "Dracula's brides" that beckon to the listener, a carnival barker with the indistinct sounds of an audience in the distance, or "Edgar Allan Poe" and a voice calling out from the grave after being prematurely buried, the gravelly voice of a "witch" casting a spell, and a variety of low Gregorian-style chanting and choirs.

Beginning with the Blood of the Dragon CD in 2006, Vargo began a tradition of incorporating a quest or adventure within the album artwork and sometimes leaving clues in his narratives. He later went back and did the same for some of the earlier CDs. Now more than half of Nox Arcana's CDs contain some sort of hidden puzzle, which is left to the listener to discover.

Nox Arcana is influenced by new age, classical, ambient music, rock music, and film soundtracks, citing other composers such as John Carpenter, Danny Elfman, AC/DC, Wojciech Kilar, Enya, Loreena McKennitt, Beethoven, Jerry Goldsmith, and Hans Zimmer. Their literary references include H. P. Lovecraft, Bram Stoker, The Brothers Grimm, Ray Bradbury, and Edgar Allan Poe.

Nox Arcana released twenty albums between 2003 and 2013, an average of two each year, and have never recorded the same song twice. Their Winter's Knight album, released in 2005, peaked at #8 on the Billboard chart for Top Holiday Album in 2006 and 2007. Three albums, Blood of Angels, Zombie Influx, and House of Nightmares were recorded as side-projects with other artists or vocalists. Joseph Vargo wrote and recorded solo for seven of the albums, Blackthorn Asylum, Winter's Eve, Theater of Illusion, The Dark Tower, Winter's Majesty, Legion of Shadows, and Ebonshire. William Piotrowski released a solo film soundtrack, Crimson Winter.

Nox Arcana support a wide variety of independent productions like radio dramas and student films to which they lend their music. A number of professional performances of gothic plays, such as Frankenstein, The Legend of Sleepy Hollow, Alice's Adventures in Wonderland, Dracula and Richard III have featured music by Nox Arcana.

In 2013, a young Corsican filmmaker Ariakina Ettori won first place in the L'Institut Régional du Cinéma et de l'Audiovisuel (IRCA) with her modern version of "Little Red Riding Hood" inspired by Nox Arcana's song "Night of the Wolf." The film school credits Joseph Vargo and Nox Arcana for their unconditional support. [16]

William Piotrowski wrote the score for a local production entitled Ghosts of Ohio, a video documentary about Mary Ann Winkowski, a real-life medium who inspired the CBS television show Ghost Whisperer.[17] In 2013, William wrote and performed the motion picture soundtrack for the vampire film Crimson Winter.[18]

Nox Arcana's music is used by theme parks such as Busch Gardens, Six Flags, Knott's Scary Farm and Universal Studios during Halloween for scenes and haunted houses based upon their album themes. Nox Arcana's music is featured exclusively on the TV show America Haunts for the Travel Channel, which has aired throughout the Halloween weekend each year since 2009. Music from Nox Arcana's Transylvania album was featured on the FOX TV show So You Think You Can Dance.

Nox Arcana's sound has been used by other performing artists to introduce their albums or live shows. Joseph Vargo recorded the vocal Intro for the 2008 album Witchtanic Hellucinations by Acid Witch.  He also provided the intro music and vocals for Legion of the Damned albums Cult of the Dead (2008) and Decent Into Chaos (2011). LOTD also opened their 2010 "Slaughtering" tour with Nox Arcana's song "Circus Diabolique" from their album Carnival of Lost Souls. In 2013, Blood on the Dance Floor opened their Bad Blood tour with "Essence of Evil" from Nox Arcana's Blackthorn Asylum album.

Monolith Graphics publishes and distributes Nox Arcana music worldwide. The publishing company is owned by Joseph Vargo, who became world-renowned as a gothic-fantasy artist in the early 1990s with work ranging from album covers and books to posters and other products Before forming Nox Arcana in 2003, Joseph Vargo produced two albums for Midnight Syndicate but left the band in 2000 to co-write Tales from the Dark Tower, a book that follows the exploits of a vampire during the First Crusade. Over the next 8 years, he published Dark Realms magazine, released a best-selling card deck, The Gothic Tarot, and wrote a book based on his original story for Nox Arcana's debut album, Darklore Manor.[34] In 2011, Vargo released, Beyond the Dark Tower, a sequel to Tales from the Dark Tower along with The Dark Tower album based on 

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Darklore Manor is the debut album by gothic horror musical duo Nox Arcana. It released on December 15, 2003 on the Monolith Graphics label. It features a style of music that bears a similarity to Joseph Vargo's earlier work on the album Born of the Night with Midnight Syndicate, a group that he helped to establish in 1998 prior to his founding of Nox Arcana. This album was inspired by a real-life haunted house located near Salem, Massachusetts, an old Victorian mansion built in 1889. According to local legend, a curse befell the Darklore family, resulting in many mysterious deaths. Then in 1941, the last of the bloodline, Damon Darklore, his wife Elizabeth, and their daughter Belladonna disappeared without any explanation.

Over the years, the abandoned Darklore Manor became a local haunt, something to scare kids on Halloween and a place for daring teenagers to hang out. In 1968, three teens disappeared after holding a seance there on Halloween. The old manor finally burned to the ground in 1971.

Nox Arcana - Darklore Manor  (flac 260mb)

01 Legend 1:49
02 Darklore Manor 2:27
03 Threshold Of The Dead 1:18
04 Trespassers 2:52
05 Veil Of Darkness 1:55
06 Sanctuary Of Shadows 3:12
07 The Grande Hall 1:55
08 Remnants 2:06
09 Phantom Procession 1:46
10 Belladonna 2:41
11 Nursery Rhyme 0:40
12 Music Box 2:08
13 The Forgotten 2:44
14 Nightmare 1:56
15 No Rest For The Wicked 3:12
16 Omen 0:43
17 Seance 2:56
18 Beyond Midnight 3:04
19 Darkness Immortal 3:39
20 Incantation 1:55
21 Resurrected 2:13

Nox Arcana - Darklore Manor  (ogg 104mb)

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Necronomicon is the second album by Neoclassical darkwave/dark ambient musical duo Nox Arcana published by Monolith Graphics on October 10, 2004. The music is inspired by the stories of horror writer H. P. Lovecraft and is a tribute to the Cthulhu Mythos. Contents fan new or old of Delerium. Early Delerium lovers will enjoy immensely this classic album. 

Orchestra, string instruments, drums, pipes, guitars and choirs are accented by ominous chanting, strange sound effects and brief narratives that combine to tell the story of an alchemist who dares to raise an ancient race of otherworldly beings.

The "language of the Old Ones" developed by Lovecraft as a literary plot element but considered by many to be unpronouncable, is effectively spoken aloud by Joseph Vargo on several of the tracks. Vargo, who is a huge fan of Lovecraft's work, also illustrated the CD packaging to appear as he imagined the famed fictional book to be from Lovecraft's descriptions. A hidden track on the CD also contains the phrase "Klaatu barada nikto", a well-known quote from the film The Day the Earth Stood Still and Army of Darkness, which in turn borrowed thematic elements from Lovecraft

Some of the songs titles are also titles of Lovecraft stories, such as "The Nameless City" and "The Haunter of the Dark", while others song titles such as Azathoth, Dagon, Nyarlathotep, Cthulhu and the Great Old Ones are the names of gods, demons or other supernatural entities from Lovecraft's fiction. A chapter in the book, The Strange Sound of Cthulhu: Music Inspired by the Writings of H. P. Lovecraft was devoted to this album. Nox Arcana's Necronomicon along with their later tribute to the Cthulhu mythos Blackthorn Asylum received mention in Gordon Kerr's book Cthulhu: Dark Fantasy, Horror & Supernatural Movies.

Nox Arcana - Necronomicon (flac  249mb)
01 Mythos 1:58
02 The Nameless City 3:38
03 Alhazred's Vision 2:55
04 Necronomicon 2:03
05 Ancient Shadows 2:28
06 Azathoth 0:28
07 The Black Throne 2:01
08 Nyarlathotep 0:40
09 Temple Of The Black Pharaoh 3:50
10 Eldritch Rites 1:33
11 The Haunter Of The Dark 2:38
12 The Awakening 2:59
13 Yog-Sothoth 1:00
14 Guardian Of The Gate 3:26
15 Lords Of Darkness 2:08
16 Dagon 0:35
17 The Stars Align 1:57
18 Cthulhu 0:55
19 Ritual Of Summoning 1:21
20 Cthulhu Rising 2:38
21 The Great Old Ones 4:06

Nox Arcana - Necronomicon (ogg 101mb)

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Transylvania is the fourth album by gothic duo Nox Arcana. This album is an musical tribute to Bram Stoker's Dracula. The duo employs their musical storytelling concept to take their listeners through chapters of the classic novel—beginning with Jonathan Harker's voyage into the Carpathian Mountains, a ride in Dracula's ominous black coach, arriving at Castle Dracula, a rendezvous with Dracula's brides, and a foray into a gypsy encampment, and finally into the lair of the vampire. This album will haunt you, thrill you and at times chill you to the bone. The compositions range from eerie piano melodies of "Nocturne" and "Gossamer Mist" to the to the pipe organ refrains of "Castle Dracula" and the brooding orchestrations and chanting that fill "Night of the Wolf." "Grande Masquerade" and "Gothic Sanctum" will more than satisfy any dark music lover's classical appetite, while "Gypsy Caravan" has a mystical percussive rhythm that is musically hypnotic. Several creepy vocal interludes accent the story to further immerse you in this macabre and shadowy realm. Creatures of the night howl at the full moon and unearthly voices of sentinel gargoyles warn trespassers away while the whispers of Dracula's brides lure the listener deeper into the lair of the vampire. This is a phenomenal cd that is the perfect soundtrack to any dark soul's gothic dreams or nightmares. 

As with previous albums, the booklet artwork is supplied by Joseph Vargo, with illustrations and quotes from Harker and Van Helsing. The duo's website also offers some historical background for the inspiration of their album. Nox Arcana took their subject matter very seriously when composing the music for Transylvania. The album was also used to score a televised edition of the 1922 silent film Nosferatu.

Nox Arcana -  Transylvania   (flac 253mb)

01 Transylvania Overture 2:01
02 The Voyage 2:54
03 Gossamer Mist 2:39
04 The Black Coach 2:35
05 Sentinels Of Stone 0:44
06 Into The Shadows 2:59
07 Castle Dracula 2:56
08 Visitors In The Night 0:57
09 Brides To Darkness 2:34
10 Grande Masquerade 4:14
11 Memento Mori 2:28
12 The Howling 1:20
13 Nocturne 2:55
14 Bats In The Belfry 0:35
15 Gothic Sanctum 2:43
16 Gypsy Caravan 4:13
17 From Dusk Till Dawn 0:53
18 Night Of The Wolf 3:59
19 Echoes From The Crypt 2:37
20 Shadow Hunters 2:51
21 Lair Of The Vampire 3:18

Nox Arcana -  Transylvania   (ogg 106mb)

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Oct 25, 2014

RhoDeo 1442 Grooves

Hello, my computer OS has gotten from bad to worse at a certain point i entered a loop with re-installation ended up crashing and a bluescreen suggesting i disable bios memory options such as caching or shadowing, unfortunately these options are no longer part of a modern mobo..hello microsoft...anyway i did manege to to adjust start up order so i could run my linux life disk and you lot get another dose of grooves, as it happens i had a number of posts preprepared but it remains troublesome as linux can't open my rtf files... all in all depressing shite

Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the '70s. They continued to score hits on the R&B charts through much of the '80s as well, making for a career longevity that no one would have predicted for Stax's formerly star-crossed number-two house band.   ......N'joy

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The Bar-Kays were formed in Memphis, TN, in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis soul instrumental outfits like the Mar-Keys and Booker T. & the MG's, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson, Jr., the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG's on occasion. That spring, the Bar-Kays cut their first single, "Soul Finger," a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. "Soul Finger" reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, "Give Everybody Some," barely scraped the R&B Top 40). Producer Allen Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer.

Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, WI, Redding's plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles' "A Hard Day's Night," was virtually ignored. Nonetheless, with Allen Jones' help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Harvey Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart.

With 1971's Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Isaac Hayes' hit Shaft soundtrack, Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles "Scoop" Allen and guitarist Vernon Burch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix's "Foxy Lady" dubbed "Copy Cat." The follow-up, another good-humored goof on a recent hit, was "Son of Shaft," which in 1972 became the group's first Top Ten R&B hit since "Soul Finger." That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn't enough to keep their commercial momentum going, especially as Stax/Volt headed toward eventual bankruptcy in 1975.

Armed with new guitarist Lloyd Smith (who'd joined when Burch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut, Too Hot to Stop, was a hit, powered by the smash R&B single "Shake Your Rump to the Funk." The group consolidated their success by opening for George Clinton's P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays' brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band's first gold record, and Money Talks -- a Fantasy reissue of some previously unreleased Stax material -- produced another Top Ten hit in "Holy Ghost" the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979's Injoy (which featured the Top Five R&B hit "Move Your Boogie Body"), 1980's As One, 1981's Nightcruising (which spawned two hits in "Hit and Run" and "Freaky Behavior"), and 1982's Propositions (more hits in "Do It (Let Me See You Shake)" and "She Talks to Me With Her Body"). All of those albums, save for As One, went gold.

In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early '80s. 1984's Dangerous produced one of the group's biggest hits, "Freakshow on the Dancefloor," and a couple more R&B chart hits in "Dirty Dancer" and "Sex-O-Matic." Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson, and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with "Certified True." When their contract with Mercury was up, the Bar-Kays called it quits with 1988's Animal. Dodson and original bassist James Alexander put together a short-lived new version of the Bar-Kays for the 1994 album 48 Hours, released on the small Basix label.

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The Bar-Kays spent much of 1976 as the opening attraction supporting the Parliament-Funkadelic traveling circus, and the P-Funk influence seeps into every pore of Too Hot to Stop. While lacking the cosmic reach and freak-show genius of George Clinton, this is nevertheless The Bar-Kays' last stab at greatness, delivering hard-driving funk with all the energy and conviction of their classic Stax sides. The grooves here are vacuum-packed, exhibiting the telepathic interplay born solely from years of collaboration. Indeed, the quality of the performances more than makes up for Too Hot to Stop's often pedestrian melodies, although to its credit the band covers a wide stretch of ground spanning from breakneck funk ("Whitehouseorgy") to slow jams ("You're So Sexy") to ballads ("Summer of Our Love").

Bar-Kays - Too Hot to Stop (flac 205mb)

01 Too Hot To Stop (Part 1) 6:27
02 Cozy 3:31
03 Bang, Bang (Stick'em Up) 3:44
04 Spellbound 5:04
05 Shake Your Rump To The Funk 3:49
06 You're So Sexy 3:48
07 Summer Of Our Love 4:22
08 Whitehouseorgy 4:00

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Although the Bar-Kays stuck with the Stax Records until its demise in 1976, the label stopped releasing the group's recordings after 1973. However, when they re-emerged as a success on the Mercury label with hits like "Shake Your Rump to the Funk," some unreleased recordings they made between 1974 and 1976 were released as an album entitled Money Talks. Although this repackaging was obviously designed to cash in on the group's success, Money Talks stands up as a solid and consistent album in its own right. This material lays the groundwork for the Bar-Kays' post-Stax style by trading live-in-the-studio jams for a carefully produced sound and blending in standout pop hooks into the funky grooves. The best example is "Holy Ghost," a hard-grooving monster of a jam where elaborate horn arrangements dance around a thick synthesizer bassline as Larry Dodson lays down a salacious vocal about his lover's otherworldly romantic skills. It became a big R&B hit when released as a single in 1978 and was later sampled by M/A/R/R/S on their club classic "Pump Up the Volume." Other memorable tracks include the title track, a high-stepping tune that showcases the chops of the horn players, and "Mean Mistreater," an unlikely but effective Grand Funk Railroad cover that transforms the minimalist original tune into a spooky yet sexy mood piece built on some languid keyboard work. None of the other tracks are as strong as "Holy Ghost" (which is so good that it bookends the album in two versions), but they are all listenable and flow together surprisingly well as an album. All in all, Money Talks is a fine slab of vintage funk that will please anyone who loves old-school grooves.

Bar-Kays - Money Talks (flac 195mb)

01 Holy Ghost 3:56
02 Feelin' Alright 4:56
03 Monster 6:51
04 Money Talks 6:51
05 Mean Mistreater 5:45
06 Holy Ghost (Reborn) 6:01

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Its title a snazzy double play, the Bar-Kays' 1979 classic Injoy LP was the first and most successful of a quintet of albums that swept the band to the top of the charts and into the stratosphere of superstardom for half a decade. An energetic and primarily funk-driven set, Injoy was dominated by the supreme "Move Your Boogie Body," an eminently danceable, pop-friendly slab that cut the bass with strings, powered home the excellent vocals, added some Euro-disco synth, and soared into the Top Five to give the Bar-Kays their highest-to-date spot on the charts. But while that track may have captured the public heart, the bandmembers had even better tricks up their very flashy sleeves, powering through the classic funk of "More and More" and "Up in Here" -- a song of unmitigated old-school proportions that reprises the Moroder-isms deep in the mix. Elsewhere, the band toned it down with several ballads, including "Girl I'm on Your Side" and "Running In and Out of My Life." With the Bar-Kays at the top of their form, there was little that could detract from this set. And, while Injoy just missed the top spot on the R&B chart, it still got a nation off the couch and onto the dancefloor.

Bar-Kays - Injoy (flac 273mb)

01 More And More 4:34
02 Move Your Boogie Body 6:18
03 Running In And Out Of My Life 4:49
04 Girl I'm On Your Side 4:03
05 Loving You Is My Occupation 5:03
06 Today Is The Day 3:14
07 You've Been 4:06
08 Up In Here 5:17

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