RhoDeo 1508 Grooves

Hello, Vulcan is in mourning today, their most famous intergalactic ambassador has died, his partly earth genes severely shorted his live, as a fullblood Vulcan can reach 200, Spock as a halfbreed had to make do with 83 years. He saved his crew many a time and was well loved even if his ruthless logic drove many a crewmember into the curtains (if they had any). He was the perfect antidote to the American way of shoot first, ask questions later  Live long and prosper Leonard..


Ok so as i wrap up the stax related music for the moment after 25 posts. Its not that there's nothing much left I still have The Complete Stax-Volt Singles 28 albums but those will remain in posting limbo (likely for at least 1 or 2 years, yes i do have long term planning here. And now for some some absolutely blistering funk! .....N'joy

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Founded in 1957 as Satellite Records, the label changed its name to Stax Records in 1961. It was a major factor in the creation of the Southern soul and Memphis soul music styles, also releasing gospel, funk, jazz, and blues recordings. While Stax is renowned for its output of African-American music, the label was founded by two business siblings, Jim Stewart and his sister Estelle Axton (STewart/AXton = Stax). It featured several popular ethnically-integrated bands, including the label's house band, Booker T. & the M.G.'s, and a racially integrated team of staff and artists unheard of in that time of racial strife and tension in Memphis and the South.

Following the death of Stax's biggest star, Otis Redding, in 1967, and the severance of the label's distribution deal with Atlantic Records in 1968, Stax continued primarily under the supervision of a new co-owner, Al Bell. Over the next five years, Bell expanded the label's operations significantly, in order to compete with Stax's main rival, Motown Records in Detroit. During the mid-1970s, a number of factors, including a problematic distribution deal with CBS Records, caused the label to slide into insolvency, resulting in its forced closure in late 1975.

In 1977, Fantasy Records acquired the post-1968 Stax catalog, as well as selected pre-1968 recordings. Beginning in 1978, Stax (now owned by Fantasy) began signing new acts and issuing new material, as well as re-issuing previously recorded Stax material. However, by the early 1980s no new material was being issued on the label, and for the next two decades, Stax was strictly a re-issue label.

After Concord Records acquired Fantasy in 2004, the Stax label was reactivated, and is today used to issue both the 1968–1975 catalog material and new recordings by current R&B/soul performers. Atlantic Records continues to hold the rights to the vast majority of the 1959–1968 Stax material.

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Goes to show that Stax was responsible for some of THE funkiest choons back in the day. Some of the selections here are absolute classics (and don't often feature on other compilations), particularly the Bar-Kays 'Holy Ghost' (the heaviest, fattest, downright funkiest funk tune ever!!) and 'Son Of Shaft', 'Mr Big Stuff', and the two FLB tracks. Guaranteed to get any respectable crowd groovin'!

VA - Stax Funk: Get Up and Get Down (flac 397mb)

01 Isaac Hayes - Theme From Shaft 4:36
02 Dynamic Soul Machine - Moving On 2:38
03 Fat Larry's Band - Castle Of Joy 3:02
04 Sho-Nuff - Funkasize You 2:45
05 Sons Of Slum - What Goes Around (Must Come Around) 3:09
06 Bar-Kays - Holy Ghost 3:38
07 Sir Mack Rice - Dark Skin Woman Part 1/2 4:52
08 Sho-Nuff - You Choose Me 2:24
09 Dramatics - Whatcha See Is Whatcha Get 3:19
10 Isaac Hayes - Theme From The Men 3:57
11 Bar-Kays - Son Of Shaft 3:32
12 Inez Foxx - Circuits Overloaded 3:49
13 Roy Lee Johnson & The Villagers - The Dryer Part 1 & 2 3:53
14 Fat Larry's Band - FLB 4:07
15 Bernie Hayes - Cool Strut Part 1 2:51
16 Mar-Keys - Black 2:37
17 Jean Knight - Mr Big Stuff 2:46
18 Dramatics - Get Up & Get Down 3:09

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Every one of us has a favourite record label. I think for many of us at Ace towers, Stax is pretty much at the top of the pile. The independently owned Memphis label recorded soul for 15 years, both up-tempo and impassionately down. It scored hits in the USA and around the world and gave the world the iconic star quality of both Otis Redding and Isaac Hayes to name but two of its finest. The roll call beyond them is legendary and could take up a whole sleeve note but Booker T and the MGs, Johnnie Taylor, Rufus and Carla Thomas, Sam and Dave, the Bar Kays, William Bell and the Staple Singers all made the label known to fans of good music the world over. But we're record collectors, vinyl extremists and, maybe the odd anorak has an involvement as well, so what really gets us going are the obscurities, the ones that got away. So this is the Memphis Sound, only the funkiest Memphis sound you will ever hear.

VA - Stax Funx  (flac  417mb)

01 24 Carat Black - Ghetto: Misfortune's Wealth 3:42
02 Isaac Hayes - Run Fay Run 2:46
03 Bar-Kays - Coldblooded 3:07
04 The T.S.U. Toronadoes - My Thing Is A Moving Thing 2:50
05 Johnny Taylor - Hi-Jacking Love 3:19
06 Art Jerry Miller - Grab A Handfull 2:08
07 The South Memphis Horns - L.A.S. 4:12
08 Shack - Too Many Lovers 2:44
09 L. V. Johnson - One Pair Of Pants 3:47
10 Rufus Thomas - Rock Back 5:33
11 March Wind - Do The Sweetback 3:02
12 Melvin Van Peebles - Sweetback's Theme 7;33
13 Chico Hamilton - Fancy 3:12
14 Sons Of Truth - I Feel Good 3;19
15 Harvey Scales - Broadway Freeze Part 1 & 2 4:06
16 Rudy Robinson & Hungry 5 - Got It Together Part 1 3:07
17 Chuck Brooks - Love's Gonna Tear Your Playhouse Down Part 1 3:19
18 John Kasandra - (What's Under) The Natural Do 3:03
19 Sweet Inspirations - Dirty Tricks 3:04
20 Soul Merchants - Wes 3:09
21 Isaac Hayes - End Theme/Truck Turner 2:04

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Funky genius from the legendary Stax studios! During the 60s, Stax was well known for their work in the soul music field – turning out hit singles by the likes of Otis Redding, Sam & Dave, and others – but after 1968, when the label finished their deal with Atlantic, they really started getting down and dirty, and hitting on all burners in the funk department. This tasty set features 21 tracks from those exiting years –many of them only ever issued on singles, and a few of them by some of the label's more famous LP artists – but all of them with a nice Memphis funky groove! Titles include "Turn Your Damper Down" by Rufus Thomas, "Broadway Freeze" by Harvey Scales, "Life Is Funky" by Round Robin Monopoly, "The Dryer" by Roy Lee Johnson, "She's My Old Lady Too" by Lee Sain, "Slipped & Tripped" by The Sweet Inspirations, "Brothers & Sisters" by Kim Weston, "Movin Dancer" by Bobby Holley, "Eli's Pork Chop" by Little Sonny, "A Man Never Knows" by Chris & Shack, "Grab A Handful" by Art Jerry Miller, "I'll Kill A Brick (About My Man)" by Hot Sauce, "Watch The Dog That Brings The Bone" by Inez Foxx, "Sock Soul" by The Bar Kays, and "Getting Funky Round Here" by Black Nasty!

VA - Stax Of Funk. The Funky Truth (flac   409mb)

01 Jean Knight - Do Me 2:48
02 Roy Lee Johnson - Patch It Up 2:27
03 Rufus Thomas - Turn Your Damper Down 2:49
04 Lee Sain - She's My Old Lady Too 2:39
05 Bobby Holley - Movin' Dancer 3:19
06 Kim Weston - Brothers & Sisters 2:47
07 Mable John - Running Out 2:07
08 The Sweet Inspirations - Slipped And Tripped 2:55
09 Inez Foxx - Watch The Dog That Brings The Bone 3:05
10 Hot Sauce - I'll Kill A Brick 2:45
11 Chris & Shack - A Man Never Knows 4:27
12 Little Sonny - Eli's Pork Chop 6:38
13 Bar-Kays - Sock Soul 2:22
14 Art Jerry Miller - Grab A Handful 2:05
15 Harvey Scales - Broadway Freeze 4:03
16 Rufus Thomas - Funky Hot Grits 4:39
17 Mario Van Peebles - Hoppin' John 2:24
18 Roy Lee Johnson - The Dryer 2:20
19 Black Nasty - Getting Funky Round Here 2:41
20 Round Robin Monopoly - Life Is Funky 3:46
21 Soul Children - Who Is She 5:11

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Our first BGP Stax Of Funk gathered up fine reviews and good sales as people discovered that it wasn't just one man operations out of Texas that released great funk. Volume 2 finds us resuming our search for more and what do you know we've come up trumps. Not only that but we have proved this time what a wide spectrum of sounds the funky part of the world encompasses.

This 21-track collection focuses on some of the more obscure and funk-oriented music Stax put out in the first half of the 1970s. There are a few big names here and there, though not represented by famous tracks, such as the Staple Singers, the Bar-Kays, Albert King, and Rufus Thomas, and more moderately famous performers like Sir Mack Rice, Inez Foxx, the Emotions, the Sweet Inspirations, and Jimmy McCracklin. But a lot of the music is by artists most won't have remembered as being on the Stax roster, or on any other for that matter. On the whole it's OK, but not first-division period soul-funk crossover, sometimes recalling other, bigger artists too obviously, as Bernie Hayes does James Brown on "Cool Strut" (complete with "hit it!" exhortations). the Emotions' "From Toys to Boys" certainly sounds influenced by the kind of very early-'70s Motown production heard on some Jackson 5 records, as do to a lesser degree a couple of the other songs. As for the better moments, the blues-tinged "Big Leg Woman" by Israel "Popper Stopper" Tolbert was an actual 1970 R&B Top 20 hit that doesn't show up on many compilations, and the Bar-Kays' "Cold Blooded" is a cool, largely instrumental James Brown-like tune whose arrangement bears influences from both Philly soul and Santana. There's also Albert King's curious 1974 funk remake of "Crosscut Saw." The one previously unissued track is Rufus Thomas' "Do the Side Saddle."

VA - Stax Of Funk Vol. 2 (More Funky Truth)  (flac  406mb)

01 Calvin Scott - Shame On The Family Name 2:49
02 Bernie Hayes - Cool Strut 2:55
03 Reggie Miller - Soul Machine 2:26
04 Sir Mack Rice - Bump Meat 2:43
05 Rudy Robinson & The Hungry Five - Got It Together (Parts 1 & 2) 3:06
06 Israel "Popper Stopper" Tolbert* With The C A Warren Players - Big Leg Woman (With A Short Short Mini Skirt) 3:27
07 Sweet Inspirations - Dirty Tricks 3:03
08 Katie Love - How Can You Mistreat The One You Love 2:45
09 The Emotions - From Toys To Boys 2:31
10 Inez Foxx - Circuits Overloaded 3:45
11 The Staple Singers - Brand New Day 3:53
12 The Bar-Kays - Cold Blooded 3:10
13 Black Nasty - Talking To The People 2:45
14 The Wrecking Crew - Bump And Boogie 2:57
15 Sir Mack Rice - Dark Skin Woman 3:10
16 John Kasandra - Ain't No Sin (To Have Fun) 4:10
17 Rufus Thomas - Do The Side Saddle 4:05
18 Jimmy McCracklin - Stay Away From That Monkey 3:56
19 Albert King - Crosscut Saw 2:50
20 Lee Sain - Them Hot Pants 3:07
21 Stu Gardner - Devil In A Man 4:21

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RhoDeo 1508 Goldy Rhox 198

Hello, today the 198th post of Goldy Rhox, classic pop rock. Todays artist in the blacklight is a contemporary jazz-rock American music group, active throughout the later part of the 20th century and still into the 21st. They are well known for their music throughout the late 1960s to early 1970s, and they are noted as well for their combination of brass and rock band instrumentation. Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz and Bobby Colomby formed the original band. The group recorded songs by rock/folk songwriters such as Laura Nyro, James Taylor, The Band, the Rolling Stones, as well as Billie Holiday and Erik Satie. They also incorporated music from Thelonious Monk and Sergei Prokofiev into their arrangements.

They were originally formed in 1967 in New York City. Since their beginnings, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. What the band is most known for, from its start, is the fusing of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as "jazz-rock". Unlike "jazz fusion" bands, which tend toward virtuostic displays of instrumental facility and some experimentation with electric instruments, the songs of today's mystery band merged the stylings of rock, pop and R&B/soul music with big band, while also adding elements of 20th Century Classical and small combo jazz traditions.

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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 released December 11, 1968 is the group's self-titled second album, was produced by James William Guercio and released in late 1968. The album was much more pop-oriented, featuring decidedly fewer compositions from within the band. The record quickly hit the top of the charts, winning Album of the Year at the Grammy Awards over The Beatles' Abbey Road, among other nominees. The mystery album was among the very first 16-track recordings released to the public, it spawned three major hit singles: a cover of Berry Gordy and Brenda Holloway's "You've Made Me So Very Happy", Clayton-Thomas' "Spinning Wheel", and a version of Laura Nyro's "And When I Die." All three singles reached #2 on Billboard Magazine 's Hot 100 chart. The commercial and critical acclaim enjoyed by the band in 1969 culminated in an appearance at the Woodstock Festival, in which the band enjoyed headliner status. The Woodstock Movie camera crew even caught the band's opening number, "More and More", as they took to the stage. But the band's manager at the time, Bennett Glotzer, ordered the movie crew to turn off the cameras and leave the stage since the band had not agreed nor been paid to be filmed.

Today's mystery album was a huge commercial success, rising to the top of the U.S. charts for a collective seven weeks and yielding three successive Top 5 singles. It received a Grammy Award for Album of the Year in 1970 and has been certified quadruple platinum by the RIAA with sales of more than four million units in the U.S.  The Audiofile remaster is here for you to...N'Joy


Goldy Rhox 198 (flac 266mb)

Goldy Rhox 198 (ogg 112mb)

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RhoDeo 1508 Aetix

Hello,

Anton Fier's revolving-door band is the record which most reflects the group's downtown New York origins. Recalling the avant-funk of Material, The Golden Palominos spotlights a core roster of Fier, guitarists Arto Lindsay and Fred Frith, bassist Bill Laswell, and multi-instrumentalist John Zorn; the music is wildly experimental, incorporating turntables and other hip-hop staples.....N'Joy

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The Golden Palominos were not a group per se, but rather the revolving-door project of drummer, programmer, and bandleader Anton Fier. Born June 20, 1956, in Cleveland, Ohio, Fier first made his mark as the drummer on the Feelies' seminal 1980 debut Crazy Rhythms. After leaving the group, he joined the punk-jazz unit the Lounge Lizards before returning home to Cleveland, where he was recruited by the legendary new wave band Pere Ubu for the album Song of the Bailing Man. After exiting Ubu, Fier again relocated to downtown New York City, where he founded the first Golden Palominos lineup in 1981. In its primary live incarnation, the band was an avant-funk supergroup comprised of Fier and another drummer, David Moss, saxophonist John Zorn, guitarist Arto Lindsay, and a pair of bassists, Bill Laswell and Jamaaladeen Tacuma; on their self-titled 1983 debut, the Palominos were augmented by Fred Frith, Nicky Skopelitis, and Mark Miller.

Their self-titled debut album was released on New York's Celluloid Records in 1983, the album is notable for having some of the first recorded turntable scratching outside of rap music, courtesy of Laswell and M.E. Miller.  Over the next few years, Fier moved away from the first record's experimental noise into far more traditional pop territory; simultaneously, he largely jettisoned the first album's lineup in favor of an ever-changing collection of punk legends, post-punk superstars, up-and-comers, and N.Y.C.-scene vets. Of the band members that were on the first record, only Fier and Arto Lindsay had remained.

After enlisting ex-Raybeat Jody Harris to help him co-write much of the music, Fier recruited vocalists ranging from R.E.M.'s Michael Stipe and Cream's Jack Bruce to PIL's John Lydon and newcomer Syd Straw. Rounded out by musicians like former dB Chris Stamey, guitar greats Richard Thompson and Henry Kaiser, and P-Funk alumni Bernie Worrell and Mike Hampton, the revamped Golden Palominos reached an early peak with 1985's Visons of Excess, a diverse yet cogent collection highlighted by a cover of Moby Grape's "Omaha" and the original "Boy (Go)."

Blast Of Silence was released the following year, carrying on in much of the same vein as Visions Of Excess and with appearances by many of the same personnel. With 1986's Blast of Silence, the group flirted with elements of country and folk; while Stipe and Lydon were noticeably absent, many of the other players featured on Visions of Excess remained, along with new additions including guitarist T-Bone Burnett, Numbers Band singer Robert Kidney, artist/producer Don Dixon, singer/songwriter Peter Blegvad, Matthew Sweet, and Flying Burrito Brothers alum Sneaky Pete Kleinow.

 A Dead Horse (1989) carried on in the sound of its predocessors slightly, but some of the songs also crossed into a darker, more ambient and ethereal sound, a sound which would dominate the Palomino records of the 1990s. Syd Straw had moved on and was no longer in the band, with most of the vocals now handled by Amanda Kramer. It saw the return of Bill laswell who brought Bernie Worrell and Aiyb Dieng along. Drunk With Passion marked the first record not on Celluloid Records, with its sound taking from some of the darker cues heard on A Dead Horse and also using more processed and electronic sounds, giving many of its songs an ethereal feel. This album could be argued was more influenced by its guest appearances than any of the others, who included Hüsker Dü's Bob Mould, Richard Thompson, and Michael Stipe.

 This Is How It Feels, released in 1993, continued on in much of the ambient sound of Drunk With Passion, but it also incorporated many elements of club and trance music. It also marked the introduction of new lead vocalist Lori Carson, who co-wrote nine of the CD's tracks with Anton Fier. Bill Laswell's production work on this and on the following record, Pure, would heavily influence his own remix work of the late 90's, as seen on the CDs Emerald Ather and City Of Light. Pure, released a year later, is seen by many as the band's most focused work, due much to the strong contributions once again of Carson, Laswell, and Skopelitis. Tracks such as "No Skin" and "Pure" continue in the dance/ambient style of the previous album. The CD would also stir a minor controversy over the bare female breast on its cover. The song "Little Suicides", from Pure showed much of same sparse sound, production, and strong yet quiet vocals (albeit less electronic) that would influence Carson's solo work. Anton Fier would produce Carson's 1995 solo record, Where It Goes.

 Dead Inside (1996) was another stylistic turnaround for the Palominos, and their last proper album. This time, the record had a deathly, industrial sound, with the line-up consisting only of Fier, multi-instrumentalist Knox Chandler (who before joining the Palominos, was also in a band with Lori Carson), Nicky Skopelitis, and poet Nicole Blackman. Much of the Golden Palominos work has become increasingly hard to find, and compilations do not provide a complete overview of their work.


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The first effort from Anton Fier's revolving-door band is the record which most reflects the group's downtown New York origins. Recalling the avant-funk of Material, The Golden Palominos spotlights a core roster of Fier, guitarists Arto Lindsay and Fred Frith, bassist Bill Laswell, and multi-instrumentalist John Zorn; the music is wildly experimental, incorporating turntables and other hip-hop staples (a rather adventurous notion back in 1983) as well as other oddball ideas (clarinets played underwater and the like) which miss the mark as often as they hit, but make for fascinating listening nevertheless.

The Golden Palominos - The Golden Palominos  (flac 246mb)

01 Clean Plate 6:32
02 Hot Seat 5:13
03 Under The Cap 5:32
04 Monday Night 6:29
05 Cookout 4:38
06 I.d. 6:45
07 Two Sided Fist 7:42

The Golden Palominos - The Golden Palominos  (ogg 95mb)

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The first in a long series of about-faces and left turns, Visions of Excess forgoes the noise-funk of the Golden Palominos' debut in favor of more pop-oriented material and staggering lineup of underground luminaries. Built around a nucleus of Anton Fier, bassist Bill Laswell, guitarist Jody Harris, and keyboardist Bernie Worrell, the album recruits vocalists from Jack Bruce to John Lydon to, most impressively, Michael Stipe, who turns in striking performances on the opening "Boy (Go)" (featuring guitarist Richard Thompson), the Jefferson Airplane-like "Clustering Train," and a cover of Moby Grape's "Omaha." The real find of the record is singer Syd Straw, who makes her debut on the lovely "(Kind of) True" and "Buenos Aires" and more than holds her own with the big guns.

The Golden Palominos - Visions Of Excess  (flac 230mb)

01 Boy (Go) 5:27
02 Clustering Train 6:05
03 Omaha 3:10
04 The Animal Speaks 4:05
05 Silver Bullet 5:07
06 (Kind Of) True 4:45
07 Buenos Aires 3:45
08 Only One Party 4:30

The Golden Palominos - Visions Of Excess (ogg 80mb)

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By and large, A Dead Horse tosses out the supersession approach of previous Golden Palominos efforts to concentrate on a steady core roster of Anton Fier, Bill Laswell, and Nicky Skopelitis; vocal chores are evenly divided among the Numbers Band's Robert Kidney and Amanda Kramer, formerly of Information Society. A subdued, moody effort, A Dead Horse lacks the energy and spark of the group's earlier work; only Kramer's lovely "Darklands" makes much of a lasting impression.

The Golden Palominos - A Dead Horse  (flac 259mb)

01 Wild River 4:43
02 Shattered Image 5:25
03 Angel Of Death 4:44
04 Lucky 4:56
05 Darklands 6:48
06 A Letter Back 7:04
07 Over7:38

The Golden Palominos - A Dead Horse  (ogg 99mb)

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previously at http://rho-xs.blogspot.nl/2008/06/sundaze-38.html

The Golden Palominos - Drunk With Passion   (flac 326mb)

The Golden Palominos - Drunk With Passion   (ogg  113mb)

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RhoDeo 1508 Roots

Hello,  so the Oscar's went to Birdman, not for the actors who were nominated as well, but very serious competition there. Eddie 'Hawking' Redmayne made for a convincing ALS professor, interestingly Julianne Moore won the Oscar for portraying a very convincing professor struck by Alzheimer, it looks like Hollywood has grown a heart (or is this part of the 2012 shift).The Budapest hotel picked up most remaining technical Oscars  As for the show after a tear-jerking performance, John Legend and Common predictably won the Oscar for “Glory” from the film, “Selma.”. Bizarrely Lady Gaga performed a medley of songs from The Sound Of Music at the Oscars last night, not sure if she's been struck by a Barbara Streisand complex-that other ugly duckling , well I wasn't impressed....


Here's the final Roots episode out of Africa, i'm not sure yet if i will cross over to Brazil next, musicaally this post kinda shows the way ...N'Joy.

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Cape Verdean guitarist, songwriter, and singer Teofilo Chantre was introduced to world music audiences via his compositions, many of which were popularized by the great Césaria Évora. Later in his career Chantre used that momentum and recognition to launch his career as a performer. Teofilo Chantre was born in 1964 on the island of Sao Nicolau, later moving to São Vicente. He was surrounded by music and arts early on, brought up by a father who was a renowned lyricist in Cape Verde's bustling arts hub of Mindelo. In his early teens Teofilo relocated to France, where he began to experiment with guitar and composition. Only a few short years later the budding artist took an interest in the music of his homeland. As Chantre grew as a writer he garnered the attention of professionals in the Portuguese music community, such as producer Jose DaSilva.

In 1991 DaSilva included a number of Chantre's compositions on Césaria Évora's record Miss Perfumado, which went on to be a smash success. A lasting relationship between Chantre and Évora developed, resulting in widespread popularity for the previously unknown songwriter. It was not long before Chantre had the clout necessary to release high-quality solo recordings, the first of which was Terra & Cretcheu (1993). On his debut record listeners were treated to not only standard Cape Verdean fare, but a rich mixture of elements, including Brazilian, Caribbean, Spanish, and jazz-influenced musics. Having spent a number of years living in Paris, Chantre had been exposed to a world of ideas that he now integrated with his native Afro-Portuguese musical heritage. His sophomore effort was entitled Di Alma (1997), followed three years later by Rodatempo (2000). Following a live record in 2002, Chantre's 2007 recording, Azulando, enjoyed a lasting presence on world music charts throughout Europe and the States.



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Teofilo Chantre is probably best known for the songs of his that the incomparable Césaria Evora has recorded. But he's also a very gifted performer, as Azulando (in actual fact his fourth -- or possibly fifth -- album) makes clear. While from Cape Verde, he's a longtime Parisian who's absorbed plenty of styles, and is equally adept at them all, whether extracting the morna from a ballad swinging on some rumba, or even venturing into chamber music. Evora and Angolan Bonga lend their talents to the disc, but in truth they're hardly needed. Chantre's wispy voice works perfectly on his material, bolstered by his astonishingly good guitar work that swings even in the gentlest mood, quite capable of offering a gentle lilt. He even essays a French lyric to good effect, but it's in Portuguese that he's completely at home, carrying a rare beauty and poignancy in his tone. He may not be in Evora's class as a singer, but on the evidence of this, he's not far behind, and when it comes to songwriting, there are few to even touch him.

Teofilo Chantre - Azulando  (flac  380mb)

01 Bola Azul (Blue Ball) 4:19
02 Nada Mas Nada Menos (Nothing More Nothing Less) 4:00
03 Des Bleuets Dans Les Blés (Cornflowers in the Wheat) 2:50
04 Mãe Pa Fidje (From Mother to Son) 4:02
05 Amor Dum Sô (Love Just for One) 4:34
06 Canta Cabo Verda (Sing Cape Verde) 4:58
07 Promessa (Promise) 3:55
08 Segredo Na Luar (Secret in the Moonlight) 5:38
09 Hoje (Today) 4:27
10 Vadiamundo (Vagabond) 4:39
11 Fonte Di Nha Sodade (The Source of My Nostalgia) 5:38
12 Encanto Di Cretcheu (Enchantment) 6:03
13 Um Novo Amor (A New Love) 3:28
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Teofilo Chantre - Azulando  (ogg 149mb)

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Cape Verdean songstress and author Mayra Andrade made a name for herself as a songwriter and performer in her adolescence. By her early twenties she was an established talent, known throughout the Parisian world music scene for her keen writing and adept vocals. Mayra spent her earliest years globetrotting. Born in Cuba, she moved to Senegal, then Angola, followed by Germany, before settling on her parent's native island of Cape Verde. By her early teens Mayra displayed significant talent. Her victory in the songwriting competition at the Francophone Games in Canada at age 16 confirmed her position as a rising star. She performed throughout the Portuguese-speaking world, taking the stage in Praia, Mindelo, and Lisbon. Settling in Paris in 2002, Andrade worked her way up the ladder, performing at acoustic venues in various cities before eventually headlining major festivals. Her reputation earned opportunities to share both stage and studio with established veterans such as Charles Aznavour and Césaria Évora. Andrade released her debut solo record in 2005, entitled Navega. The album, distributed by media giant Sony BMG, enjoyed a lasting presence on World Music Charts Europe, among others.

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Cape Verdean singer Mayra Andrade has enjoyed a very healthy climb to stardom with this impressive debut. Certainly the last thing anyone thinks of when listening to her is a comparison with her countrywoman Césaria Évora. But Andrade hasn't rushed into the studio to record -- this album has had a six-year gestation. This is revealed right from the start, as the subtle "Dimokransa" shows the influence of Brazil in a transparently obvious but beautifully fashioned manner -- there's definite sophistication at work here. But that's not to say she ignores her roots -- far from it, as she proves with "Dispidia," "Nha Nobréza," and the title cut, with all derived airily from her native land. Even when she moves into French, as she does on "Comme S'il en Pleuvait," the rootedness of the music is apparent, and the connection with Brazil is perfectly natural. Andrade herself exudes a lovely, passionate warmth in her singing, and a very easy command that sidles rather than leaps out of the speakers. She has quality, and even more important, that elusive star quality. The next release will be major, no doubt about it.

Mayra Andrade - Navega  (flac  304mb)

01 Dimokransa 4:26
02 Lapidu Na Bo 4:23
03 Mana 4:35
04 Tunuka 3:45
05 Comme S'Il En Pleuvait 3:43
06 Nha Sibitchi 3:44
07 Lua 3:07
08 Navega 6:12
09 Poc Li Dente É Tcheu 3:52
10 Dispidida 4:31
11 Nha Nobreza 3:50
12 Regasu 6:17

Mayra Andrade - Navega  (ogg 121mb )

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Seemingly coming out of nowhere in 2007, singer Mayra Andrade single handedly rebooted the prevailing stereotype of Cape Verdean music with her debut album, Navega (Sterns). Sunny and gorgeously melodic, the disc provided a counterweight to the anguished oeuvre of Cesaria Evora, the "Barefoot Diva" who had been the international voice of Cape Verdean popular music since the late 1980s. To date, Navega has sold 70,000 copies and rising, quite an achievement for an unknown artist on a roots-based specialist label who's still only 24 years old.

Andrade, of course, didn't really come out of nowhere. She and her music came out of Cuba, where she was born to Cape Verdean parents; Angola, Senegal and Germany, where she was brought up; and Paris, where she had been living since 2003. The mix of cultures was further enriched by a hefty dose of samba, reflecting the historic "trade winds" relationship between Brazil and Cape Verde, both once Portuguese colonies.

With her second album, Storia Storia, Andrade maintains the same eclectic groove that she introduced on Navega, with balmy strings and cool horn arrangements raising the Brazilian quotient. She's accompanied by the same core trio of musicians—Cape Verdean multi-instrumentalist Kim Alves, Cameroonian bassist Etienne M'Bappe, and Brazilian percussionist Ze Luis Nascimento—and another small host of guest musicians scattered around the 13 tracks (cellists, flautists, reed and brass players, drummers and percussionists, guitarists, pianists, accordionists and kora players).

Cape Verdean, Brazilian and African rhythmic retentions add a depth to Andrade's unapologetically pretty music, felt in cross-rhythms and beat-shifting meter changes. Sometimes, as in Alves' "Nha Domaxa," these are central to the arrangement; mostly they're more subtle. But they're always present. Another flavor is provided by modern French chanson, reflected in the melody and the use of accordion on "Mon Carrousel." Pianist Roberto Fonseca and tres master Pancho Amat bring Cuba to fore on "Lembransa." And cellist Jaques Morelenbaum's offers the occasional, soulful echo of Evora. elegant and vibrant in equal measure.

Mayra Andrade - Storia, Storia  (flac  275mb)

01 Storia, Storia 2:52
02 Tchapu Na Bandera 3:53
03 Seu 3:57
04 Juana 2:56
05 Konsiensia 4:08
06 Odjus Fitchadu 3:41
07 Nha Damaxa 2:47
08 Mon Carrousel 4:11
09 Badiu Si 3:37
10 Morena, Menine Linda 4:06
11 Palavra 3:14
12 Turbulensa 3:40
13 Lembransa 3:13

Mayra Andrade - Storia, Storia   (ogg  113mb)

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RhoDeo 1508 A New Hope 11

Hello, it's Oscar night, funny thing it's raining in LA they prayed for that all year just not now.. Anyway i'm not sure who tought it a good idea to have a plain 6 ft2 black woman interview the stars, she really towers over all of them, it's embarrassing. Ok i found out shes called Robin Roberts and according to IMDB she's 5' 10" and i say no way or she's on 6" stilts. In a way all this makes it even worse or who knows all this is a deliberate way to put down the stars. And all those add breaks-mindboggling for one who rarely gets confronted by that shite...


A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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Produced by National Public Radio, with the cooperation of Lucasfilm, Ltd.

When this series was first broadcast on National Public Radio in 1981, it generated the largest response in the network's history: 50,000 letters and phone calls in a single week, an audience of 750,000 per episode, and a subsequent 40-percent jump in NPR listenership.

This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. Director John Madden guided a splendid cast—including Mark Hamill and Anthony Daniels, reprising their film roles as Luke Skywalker and the persnickety robot See Threepio—through an intense 10 day dialogue recording session. Then came months of painstaking work for virtuoso sound engineer Tom Voegeli, whose brilliant blending of the actors' voices, the music, and hundreds of sound effects takes this intergalactic adventure into a realm of imagination that is beyond the reach of cinema.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

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Many of the actors involved in the movie were unavailable to reprise their roles. Mark Hamill and Anthony Daniels returned to reprise their roles as Luke Skywalker and C-3PO respectively. Recorded in 1981 at Westlake Recording Studios in West Hollywood, California.

With among others:
    Mark Hamill as Luke Skywalker
    Ann Sachs as Princess Leia Organa
    Perry King as Han Solo
    Bernard Behrens as Obi-Wan Kenobi
    Brock Peters as Lord Darth Vader
    Anthony Daniels as C-3PO
    Keene Curtis as Grand Moff Tarkin
    John Considine as Lord Tion
    Stephen Elliott as Prestor – more widely known as Bail Organa
    David Ackroyd as Captain Antilles



A New Hope 111 The Jedi Nexus (mp3  25mb)

111 The Jedi Nexus 27:06


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previously

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)


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Sundaze 1508

Hello,

Today's Sundazers invariance and template-drivenness are evidently part of a steadfastly held to mission statement. In terms of sub-genre, Quantec does not seek to re-invent, more to refine and deepen, and lend a different colour and texture, making ambiance the area where his take on dub-techno finds more of a voice of its own. It is indeed a sound which is appealing enough to be dwelt on, a zone deserving of due time to get properly zoned-out in .......N'joy

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Quantec aka Sven Scheinhammer is a prolific and highly respected producer from germany who has been releasing high quality house and techno tracks since the mid-90’s on an array of well respected labels including !K7, Echocord, Styrax, Millions of Moments,Meanwhile and many others His sub-aquatic grooves span the music of Detroit and Berlin, referencing the classic sound of Basic Channel and catching the ears of the main players in various sub genres currently flirting with the crossover sounds of dub techno and housemusic.

Sven Schienhammer grew up in the '80s. Producing and remixing electronic music since 1995 first using hardware tools such as Rolands MC 505 and a 303 with some efx tools. Now the studio is hardware and software in symbiosis. Using some oldschool synths from the 70's & 80's for the love of the lo-fi feeling of those machines! The sounds are digitized thoughts and emotions.

Since 2005, the experienced techno scene a gradual change. Minimum is no longer dominant. Instead, many producers have now proven their tracks with all sorts of dubby effects. The Danish label Echocord is one of the hallmarks of the new dub-techno movement. It serves many producers like Brendon Moeller , Rod model , DJ Lab, Fairmont and Mikkel Metal as a platform for their releases. There, in the summer of 2008, Quantec aka Sven Schienhammer released his first album "Unusual Signals". The tracks from " Unusual signal "are clearly in the tradition of early ambient releases, which characterize Gas, Porter Ricks and Basic Channel genre far beyond the borders of Germany.

Personal favourite styles in music include detroit and dubby electronics, deep house, dub, roots reggae, drones, ambient and some experimental stuff. He also releases music as Sven Schienhammer and Monoaxial.

In quick succession, then more Quantec Maxis appear on Echocord, Meanwhile, Small Fish and Quietus Recordings. Cauldron Subsidence is followed by Journey Of Mind both well received albums. In 2012 he released 1000 Vacuum Tubes on the famous E(lektro)lux label. These past years he's released a  steady stream of EP's too 26 in total

Personal favourite styles in music include detroit and dubby electronics, deep house, dub, roots reggae, drones, ambient and some experimental stuff. He also releases music as Monoaxial and Sven Schienhammer.

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Quantec's second full-length finds Sven Schienhammer infusing more variety into his signature sound, this album moving from spacey, psychedelic bliss to straight-up bangers. In contrast to Unusual Signposts, which seemed tailored for deep headphone listening sessions, Cauldron Subsidence places the debut's ethereal wash of synthesizers and dub chords over a heavier, more propulsive pulse. His minimal sound is rooted in the tried and true Basic Channel tradition, with a purity that harks back to KMS Records, but there's still plenty of subtle experimentation going on. From the Detroit-meets-Berlin opener "Absolute Level" and the sun-baked "Profound Experiences" (complete with congas) to the weighty Rhythm & Sound-inspired dub of "Deep Rooted" or the heady broken house of "Magic Potion," Schienhammer plays with layers of sound and beats and even throws in some vocals without sacrificing the underlying ambience of his Quantec productions. What results is an album that further cements his reputation as one of the best producers in the dub-tech and dubstep worlds.

Quantec - Cauldron Subsidence  (flac 328mb)

01 Absolute Level 6:55
02 Deep Rooted 6:01
03 Profound Experiences 6:47
04 Fall Into Oblivion 6:26
05 Obstacles 6:17
06 Satisfied 7:59
07 Magic Potion 5:59
08 Pandemonium 6:27
09 Transmitters 6:35
10 Plateau 6:38

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I’ll start off this review by saying that I believe this is Quantec’s best work since his wonderful Quietus release - without a shadow of a doubt in fact. It’s good to hear him putting out this layered, atmospheric and predominantly ambient kind of sound and I really think it suits the style of his music as well as being perfect for the label. That’s not to say it doesn’t have beats, of course, because it does, but they’re in that low-key, unobtrusive style that allows you to just get on with the serious business of feeling the sounds and enjoying the space and form. One thing that’s quite clear from the outset is that this is a deeply hypnotic set of tracks and there’s a distinct split between ambient flow, a lightly drone-esque feel and then those trademark 4/4 sections. If you check out the samples you’ll hear it immediately – you’ll be taken in and enveloped in a single chord which resonates serenely before being gently nudged by an insistent pulsating rhythm in the next track. The overall feel is of darkness and melancholy which is exactly the way I like it and even though it has an expansive texture I’ll stress that at all times there’s room all over the place for the sound design to shine through. There are highlights, naturally, and they come in the shape of the haunting, disembodied voice in ‘The Unknown’ which is beautifully spooky when combined with the chord and static that accompanies it. The seemingly static groove of ‘Depth Of Immersion’ is another as it rolls along dreamily with more reverb than is probably legally allowed in a track like this – talk about echoes! And the final track ‘Atmospheric Noise’ is just straight-up a killer slice of thoughtful minimalism par excellence. But as ever with this kind of music it’s about the whole journey rather than the individual moments – you’ll find your favourite bits, I’m sure, but it all gels together into yet another wonderful album of the highest calibre. Mastered by Relapxych.0 and strictly limited to 100 copies, this is *definitely* not one to miss out on. Superb work.

Quantec - Journey Of Mind  (flac  332mb)

01 Mind Wandering 9:26
02 Motionless 7:13
03 The Mystic Moon 8:19
04 The Unknown 8:51
05 Depth Of Immersion 9:01
06 Perfect Stranger 8:20
07 Stay Up All Night 5:42
08 Atmospheric Noise 8:37

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With Imaginary Flight Quantec shows no major change to his  ace style, just thick, dreamy House rhythms rendered in spacious, minimalist dub style.Sweet release, particularly the B-side, "Easing Of Tension". It eases tension indeed with its soothing soft chords and numbing stabs... just a dreamy cut  Plus a limited edition vinyl only release of this deep and dubby moth-chasing journey by Quantec.

Dimensions Beyond The Known Having made himself a name and having created his trademark sound with his acclaimed releases on labels like ‘Meanwhile’, ‘Styrax’, ‘Millions of Moments’ and ‘Echochord’, Sven Schienhammer’s ‘Quantec’ outfit is legitimately dropped in the same breath with dub tech icons like ‘Basic Channel’, ‘Moritz von Oswald’, ‘Maurizio’ or ‘Deep Chord’.  4 fat dub tech tunes on vinyl and 2 more deep and dubby bonustracks for download. Commenting on his release on Elux Records, Sven admits “as I was 16 years old, I always watched ‘Space Night’ on German tv channel ‘br tv’ to chill and come down. The music has not only influenced and sensibilized me, but above all extremely impressed me.

Quantec ‎– Imaginary Flight/Moonstruck/ Dimensions Beyond The Known  (flac  376mb)

Imaginary Flight
01 Sub-System 7:06
02 Substratum 7:58
03 Easing Of Tension 9:19
Moonstruck EP
01 Lunar Orbiter 8:01      
02 Lunar Orbiter (Version) 6:40      
03 Crescent Moon 7:11
Dimensions Beyond The Known
01 Cosmogonic 7:56
02 Mia's Tea 7:14
03 Permasmile 8:12
04 K-Hole 5:30

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RhoDeo 1507 Grooves

Hello, The Watts Riots (or Watts Rebellion) was a race riot that took place in the Watts neighborhood of Los Angeles from August 11 to 17, 1965. The six days of racially fueled violence and unrest resulted in 34 deaths, 1,032 injuries, 3,438 arrests, and over $40 million in property damage. It was the most severe riot in the city's history, and is considered by some to be a key turning point in the African-American Civil Rights Movement.

It wasn't just the music-it was the connection the groups made with the crowd that made Wattstax such a glorious event. Calling this August 1972 concert comprised exclusively of Stax artists "Wattstock" or even the "black Woodstock" pushes the boundaries of the day-long event past its breaking point. But there is no doubt that Wattstax, held in a jittery post-riot Watts atmosphere, was an iconic cultural milestone deserving of a better recorded legacy than the two double albums that initially emerged from it, both of which were surreptitiously padded with studio tracks to enhance the roster. This three-disc, nearly four-hour-long deluxe 35th anniversary edition gets it right--or more right--by excluding the bogus material, adding a over an hour of previously unreleased music, and presenting it in an expanded package that includes a detailed essay by Stax historian Rob Bowman.  .....N'joy

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In 1972, Stax Records was second only to Motown as America's most successful black-owned record company, and as part of an ambitious bid to grow into a multimedia empire, the Memphis-based label had opened offices in Los Angeles and was eager to announce its presence in the community. The Watts Summer Festival was an annual celebration staged in the beleaguered Watts neighborhood of L.A., a mostly African-American community that had been scarred by race riots in the late '60s, and in 1972 Stax did something special for the occasion: it staged an all-day concert at the Los Angeles Coliseum on the final day of the Watts festival, with nearly every artist on the Stax roster appearing live on-stage and tickets priced at only a dollar. Over 110, 000 people attended the show, a camera crew was on hand to capture the proceedings for a feature film, and a mobile recording truck committed the whole show to tape. Two albums featuring material from the Wattstax festival appeared in 1972 and 1973, but both contained studio recordings along with material from the concert, and Wattstax: Music from the Wattstax Festival and Film is a three-CD set that brings together the lion's share of the previously released live material from the show along with a handful of previously unreleased performances recorded that day. This set tries to give a sense of the size, shape, and flow of the massive concert, opening with "Salvation Symphony" (a grand-scale orchestral piece written by Dale Warren, who led the big band that backed most of the performers) and an invocation by the Rev. Jesse Jackson, and closing with headliner Isaac Hayes winding up the crowd with "Theme from Shaft." Along the way, the festival attempted to showcase the breadth of both the African-American musical experience and the Stax artists, touching on gospel, blues and several flavors of rhythm & blues, though the jazz acts which appeared at the show didn't make the cut for this set. While these three discs feel a bit overstuffed, there's a wealth of memorable music here and some pleasant surprises, too.

Despite the absence of Yvonne Staples, who was sick that day, the Staple Singers turn in an engaging and deeply moving set, especially on "I Like the Things About Me," and while Lee Sain, William Bell, and Eddie Floyd only get one song each, they all make the most of their time on-stage. The Emotions offer a mesmerizing take on "Peace Be Still" in a performance recorded at an L.A. storefront church. The Bar-Kays tear into a deliriously funky set with the frantic "Son of Shaft" and "I Can't Turn You Loose," and David Porter makes a rare live appearance showing he was as strong a vocalist as he was a songwriter. The Rance Allen Group's strong gospel-funk is impressive, as is the Soul Children's furious "I Don't Know What This World Is Coming To" (the latter nearly steal the show with their second number, the raucous "Hearsay"). Carla Thomas sounds like soul royalty in her five-song set, and her dad Rufus Thomas throws the party into high gear as he and his band percolate through "The Funky Chicken" and "The Breakdown." Isaac Hayes was clearly the star attraction, and the crowd goes nuts as he lays into "Theme from Shaft," and it's a shame we don't get to hear more of him, though his Wattstax set appears in full on an album of its own. As good as the music is, and most of it's very good, what's most special about this collection is the sense of optimism and hope in a society struggling with the social ills of the early '70s that pervades these performances; at a time when the hope born of the Civil Rights Movement was starting to fade and cynicism was taking its place, Jesse Jackson's chant of "I am somebody," taken up by the 110,000 in attendance, sounds like a defiant cry for a better world, and that higher purpose makes this more than just another recording of classic '70s soul and funk, but a celebration of both life and music.

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As it is with the multiple Woodstock soundtrack albums, it's hard to keep up with what's on the soundtrack discs bearing the name Wattstax in the title, counting the two initial volumes that came out in the 1970s, and now this three-CD package. Making matters more confusing is how, as the title of this set infers, the albums mix music from the festival with music from, or somehow associated with, the film Wattstax (which had some scenes, musical and otherwise, that actually didn't take place at the Wattstax festival itself). And to make matters yet more confusing, Music from the Wattstax Festival & Film, for all its generous length, isn't simply a combination of the Wattstax music that appeared in the '70s on either Wattstax, The Living Word: Live Concert Music from the Original Movie Soundtrack or Wattstax: The Living Word, Vol. 2. A lot of tracks from those albums do appear on these three CDs, but some don't; plus, Music from the Wattstax Festival & Film adds 17 previously unreleased songs, as well as one (Isaac Hayes' "Theme from Shaft") that previously appeared on Isaac Hayes at Wattstax. It's something of a head-hurting exercise to keep it all straight. But ultimately, the most important thing to bear in mind is that Music from the Wattstax Festival & Film is the best, and certainly most bountiful, of the Wattstax-spawned discs, though it's marred by the exclusion of some previously issued tracks from the other Wattstax releases.

Most of this was indeed recorded at the Wattstax festival on August 20, 1972, featuring live soul from many artists on the Stax label. Most of the best performances from the previous Wattstax iterations were retained, among them well-recorded selections by the Staple Singers (whose four songs include "Respect Yourself" and "I'll Take You There"), Eddie Floyd (doing "Knock on Wood"), the Bar-Kays (whose nine-minute "Son of Shaft/Feel It" is a highlight), Albert King, Carla Thomas, Johnnie Taylor (with an eight-minute "Steal Away"), the Emotions, and Rufus Thomas. Some of the best cuts, however, are found in the dynamic previously unreleased material by lesser-known Stax artists, like Louise McCord's "Better Get a Move On," Lee Sain's "Them Hot Pants," Little Sonny's funk-blues "Wade in the Water," the Newcomers' Jackson Five-like "Pin the Tail on the Donkey," and Mel & Tim's hit "Backfield in Motion." The addition of some gospel songs also reflects the breadth of music at the festival, though the gospel tunes aren't as inspiring as the soul ones. On the whole, it's an important document of some of the better, live-'70s soul recordings.

Music From The Wattstax Festival & Film 1 (flac 438mb)

101 Dale Warren & The Wattstax '72 Orchestra - Salvation Symphony 7:56
102 Rev. Jesse Jackson - Introduction 5:50
103 Kim Weston - Lift Every Voice And Sing 3:39
104 The Staple Singers - Heavy Makes You Happy (Sha-Na-Boom-Boom) 3:39
105 The Staple Singers - Are You Sure 4:03
106 The Staple Singers - I Like The Things About Me 5:55
107 The Staple Singers - Respect Yourself 4:37
108 The Staple Singers - I'll Take You There 5:16
109 Deborah Manning - Precious Lord, Take My Hand 4:25
110 Louise McCord - Better Get A Move On 4:01
111 Lee Sain - Them Hot Pants 4:11
112 Little Sonny - Wade In The Water 4:21
113 William Bell - I Forgot To Be Your Lover 2:35
114 The Temprees - Explain It To Her Mama 2:50
115 Frederick Knight - I've Been Lonely (For So Long) 3:54
116 The Newcomers - Pin The Tail On The Donkey 2:48
117 Eddie Floyd - Knock On Wood 3:41

Music From The Wattstax Festival & Film 1 (ogg 161mb)

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Music From The Wattstax Festival & Film 2 (flac 451mb)

201 The Emotions - Peace Be Still 9:07
202 The Golden 13 - Old Time Religion 3:41
203 The Rance Allen Group - Lying On The Truth 3:39
204 The Rance Allen Group - Up Above My Head 4:04
205 The Bar-Kays - Son Of Shaft / Feel It 9:19
206 The Bar-Kays - In The Hole 2:57
207 The Bar-Kays - I Can't Turn You Loose 3:48
208 The David Porter Show - Introduction 4:03
209 David Porter - Ain't That Loving You (For More Reasons Than One) 3:32
210 David Porter - Can't See You When I Want To 10:29
211 David Porter - Reach Out (And Touch Somebody's Hand) 3:14
212 Richard Pryor - Niggas 2:22
213 Richard Pryor - Arrest / Lineup 2:40
214 The Emotions - So I Can Love You 6:09
215 The Emotions - Group Introduction / Show Me How 5:35

Music From The Wattstax Festival & Film 2 (ogg   157mb)

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Music From The Wattstax Festival & Film 3  (flac  489mb)

301 Little Milton - Open The Door To Your Heart  7:01
302 Mel & Tim - Backfield In Motion 5:29
303 Johnnie Taylor - Steal Away 8:13
304 Albert King - Killing Floor 3:49
305 Carla Thomas - Pick Up The Pieces 2:54
306 Carla Thomas - I Like What You're Doing (To Me) 3:34
307 Carla Thomas - B-A-B-Y 2:50
308 Carla Thomas - Gee Whiz (Look At His Eyes) 3:08
309 Carla Thomas - I Have A God Who Loves 4:44
310 Rufus Thomas - The Breakdown 4:38
311 Rufus Thomas - Do The Funky Chicken 4:34
312 Rufus Thomas - Do The Funky Penguin 5:51
313 The Soul Children - I Don't Know What This World Is Coming To 6:53
314 The Soul Children - Hearsay 7:28
315 Isaac Hayes - Theme From Shaft 4:42

Music From The Wattstax Festival & Film 3 (ogg  166mb)

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Isaac Hayes was the final act on the Wattstax music festival bill. Although he was the headliner, prior to this collection only the medley of "Ain't No Sunshine"/"Lonely Avenue" had been made available on the soundtrack album. Over three decades on, this appropriately titled release features the entire Isaac Hayes at Wattstax (2003). The show was held at the Los Angeles Memorial Coliseum on August 20, 1972, and also included contributions from Eddie Floyd, the Staple Singers, Rufus Thomas and daughter Carla Thomas, as well as William Bell, Jimmy Jones, Albert King, and others. By the time Hayes hit the stage the crowd had swelled to over 112,000, and along with his righteously funkified Isaac Hayes Movement, the Black Moses of Soul delivers one bad mutha of an hour-plus set. After a spirited introduction from Rev. Jesse Jackson, the band leaps headlong into a note-perfect and hard-driving version of "Theme from Shaft" -- complete with orchestration conducted and scored by the terminally funky Onzie Horne, who would also work on Hayes' Live at the Sahara Tahoe (1973). Another Shaft soundtrack inclusion follows with the bleak social balladry of perpetual urban sprawl dubbed "Soulsville." The performance continues with a handful of the best tracks from Black Moses (1971) and includes a slinky and stirring reading of "Never Can Say Goodbye," which he dedicates to "all the lovers who quarrel...sometimes...all the time...and to the lovers who say they never quarrel at all." The fluid wah-wah fretwork of Charlie Pitts is complemented by Emerson Able's soaring flute and Gary Jones' laid-back conga inflections. Sadly, "Part Time Love" is presented sans lead vocals, as the master tapes are either missing or irreparably damaged. However, clearly audible in the appropriate locations are the female backing vocal trio known as Hot, Buttered and Soul. They also add counterpoint to Hayes' spoken introduction rap on the languid "Your Love Is So Doggone Good." While the centerpiece is undoubtedly the quarter-hour "Ain't No Sunshine" and "Lonely Avenue" combo with a wailing sax solo from Hayes, not far behind is the tormented angst of "I Stand Accused." In terms of sheer emotion, it is hard to beat his wrenching vocals as he throws himself into the song to a degree not delivered on the Isaac Hayes Movement version. This disc concludes on an inspirational note as Rev. Jackson returns for a rousing invocation and prayer along with Jimmy Jones, who leads a gospel-fueled rendering of "If I Had a Hammer."

Isaac Hayes - Live At Wattstax '72  (flac  384mb)

01 Theme From Shaft 4:38
02 Soulsville 4:37
03 Never Can Say Goodbye 5:16
04 Part Time Love 5:56
05 Your Love Is So Doggone Good 8:17
06 Ain't No Sunshine / Lonely Avenue 17:06
07 I Stand Accused 6:24
08 Finale: Rev. Jesse Jackson / Jimmy Jones: If I Had A Hammer 9:25

Isaac Hayes - Live At Wattstax '72 (ogg  142mb)

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RhoDeo 1507 Goldy Rhox 197

Hello, today the 197th post of Goldy Rhox, classic pop rock. Todays artist in the blacklight is a Canadian singer-songwriter and musician. He began performing in a group covering Shadows instrumentals in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield together with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash in 1969. He released his first album in 1968 and has since forged a successful and acclaimed solo career, spanning over 45 years and 35 studio albums, with a continuous and uncompromising exploration of musical styles.The Rock and Roll Hall of Fame website describes our mystery man as "one of rock and roll's greatest songwriters and performers". He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.

Our mystery man's music is characterized by his distinctive guitar work, deeply personal lyrics and characteristic alto or high tenor singing voice. Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound. While he has experimented with differing music styles throughout a varied career, including swing and electronic music, most of his best known work is either acoustic folk-rock and country rock or electric, amplified hard rock.

He has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). Our man is an environmentalist and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. Today's mystery artist has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy (note rarely a genetic disease, ususally an environmental cause), and daughter Amber Jean who, like Young, has epilepsy. He lives on his ranch in La Honda, California.

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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 are defacto two separate albums released sept 70 and Valentine's day 72, both albums became Platinum sellers.

First up the third studio album by today's Canadian mystery musician .The album peaked at number eight on the Billboard Top Pop Albums chart; the two singles taken from the album, "Only Love Can Break Your Heart" and "When You Dance I Can Really Love", made it to number 33 and number 93 respectively on the Billboard Hot 100. Critics were not initially impressed with the album. Songs on the album were inspired by the Dean Stockwell-Herb Berman screenplay for the unmade film. Today's mystery artist had read the screenplay and asked Stockwell if he could produce the soundtrack. Tracks being written specifically for the film are "After the Gold Rush" and "Cripple Creek Ferry."The script has since been lost, though has been described as "sort of an end-of-the-world movie." Stockwell said of it, "I was gonna write a movie that was personal, a Jungian self-discovery of the gnosis... it involved the Kabala (sic), it involved a lot of arcane stuff." In 2003, Rolling Stone named the album the 71st greatest album of all time, his highest ranking on this list.

The fourth album by the Canadian mystery musician , released on February 14, 1972 on Reprise Records, it featured the London Symphony Orchestra on two tracks and vocals by the noted guests David Crosby, Graham Nash, Linda Ronstadt, Stephen Stills, and James Taylor. It topped the Billboard 200 album chart for two weeks, and spawned two hit singles, "Old Man", which peaked at #31 on the Billboard Hot 100, and "Heart of Gold", which reached #1. It was the best-selling album of 1972 in the United States. Like the previous album reviews were not overwhelmingly favorable at the time.More recent evaluations of the album have been far more positive. Rolling Stone named it the 78th greatest album of all time. In 2007, today's second mystery album was named the #1 Canadian Album of All Time by Bob Mersereau in his book The Top 100 Canadian Albums.

Both mystery albums were remastered and released on HDCD-encoded CD and digital download on July 14, 2009 as part of the mystery artist's Archives Original Release Series. Here for you to...N'Joy


Goldy Rhox 197 (flac 388mb)

Goldy Rhox 197 (ogg 169mb)

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RhoDeo 1507 Aetix

Hello,

Ambitious Lovers were a musical group composed of guitarist/singer Arto Lindsay and keyboardist Peter Scherer, active from the mid-1980s to the early '90s. Their music incorporated elements from No Wave, Synthpop, Bossa Nova, Post-punk, Soul Music, P-Funk and Art rock. Despite strong reviews from critics for their three albums, Ambitious Lovers found little success with mainstream audiences. Time to make your own mind up .....N'Joy

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Although Lindsay was born in the United States, he spent many years in Brazil with his missionary parents and came of age during the influential Tropicália movement of Brazilian culture, which included musicians Caetano Veloso, Gal Costa, Os Mutantes and Gilberto Gil, as well as the visual artists Hélio Oiticica, Lygia Clark and Antonio Dias. This time of cultural experimentation and artistic cross-pollination made an enduring impact on the young Lindsay.

In New York, Lindsay began his artistic ambitions as a writer, but quickly became interested in the art and music scenes that were evolving out of the New York punk rock scene at the time. In the late 1970s, he co-formed the seminal no wave group DNA with Ikue Mori and Robin Crutchfield, although Tim Wright of Pere Ubu fame would soon replace Crutchfield. In 1978, DNA was featured on the four-band sampler No New York (produced by Brian Eno) which brought an early taste of international notoriety to the group, and which quickly became the essential document of No Wave. The famous rock critic Lester Bangs once described the group's ritualistic vocals, and deliberately primitive, speaker-shredding guitar as “horrible noise.”

In the early 1980s, Lindsay, and his particular style of guitar work and singing featured prominently in the early recordings of The Lounge Lizards and The Golden Palominos. These groups continued to break down distinctions between rock music, pop music, improvisation and avant-garde experimentalism. It was during this time that Lindsay established a collaborative friendship with John Zorn, playing in a number of his ensembles including Locus Solus.

After leaving the Lounge Lizards, Lindsay formed the Ambitious Lovers with keyboardist Peter Scherer. This music was decidedly more pop influenced and featured more prominent attention to Brazilian music, like samba and bossa nova. In an interview with BOMB magazine, Lindsay explained, "Listen to the Ambitious Lovers, the whole idea was Al Green and samba. That against this; this against that; not a blend, a juxtaposition, loud/soft. There's no particular point in putting these things together. The point is what comes out in the end."  Although their three albums, Greed, Envy, and Lust were Lindsay's first forays with a major record label, these albums genre-bending pop never caught on in the mainstream. The Ambitious Lovers disbanded in 1991, although Lindsay continued a strong working relationship with Scherer, and continued to record with him.

Most of their albums featured appearances from many prominent New York-based musicians, including guitarists Marc Ribot, Vernon Reid and Bill Frisell; Brazilian music legend Caetano Veloso; percussionists Nana Vasconcelos and Joey Baron; bassist Melvin Gibbs; and Nile Rodgers. Their legacy helped promote the modernization and globalization of world music under a singular brand and helped forward careers of many performers, who have since recorded for record labels like Nonesuch Records and Luaka Bop. Their song "It Only Has to Happen Once" was featured in the 1990 film Wild Orchid.

In the early 1990s. Lindsay began to rarefy his singing voice and launched a solo career which was significantly more oriented toward his Brazilian roots, singing in Portuguese more frequently, throwing in occasional covers of bossa nova classics like [Tom JObim]'s "Este Seu Olhar", and updating his sound from 1980s new wave to more current types of electronica. Lindsay worked extensively with bassist Melvin Gibbs, guitarist Vinicius Cantuária, and producer Andres Levin to help create his sound.  Throughout the late 1980s and through the 1990s, Lindsay also composed a number of soundtracks, dance commissions and continued in a No Wave- related styles most notably with the Arto Lindsay Trio, with Gibbs and Dougie Bowne, who released Aggregates 1-26 on the Knitting Factory label in 1995. He performed on the track "Counting the Roses," featured in the video game D2.

Over the years, Lindsay has lent his musical talents to – and collaborated with – such artists asCaetano Veloso,Marisa Monte, David Byrne, Laurie Anderson, Alain Bashung, Marc Ribot, Gal Costa Cibo Matto, Bill Frisell, Animal Collective, Ryuichi Sakamoto, IlIe AiyIe Krisma, and Kip Hanrahan, to name but a few. In 1998, he collaborated with Arnaldo Antunes and Davi Moraes on the track "Sem Você" for the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization. In 2004, he co-produced and played with Seb el Zin on the Anarchist Republic of Bzzz album, also featuring Marc Ribot, Mike Ladd and Sensational.

From Lindsay's early days in New York amidst the burgeoning art and music scene of the East Village, he was able to befriend and collaborate with a number of visual artists who have gone on to important careers in art. With Diego Cortez (born James Curtis) — who would become the art director for all his solo endeavors starting in the mid-1990s — Lindsay became immersed in an art community that included Jean-Michel Basquiat and Vito Aconci. Since then, Lindsay has included the work of Nan Goldin, Kara Walker, Matthew Barney, Philip Taaffe and Frédéric Bruly Bouabré on his albums.

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One of the great bands of the short-lived New York City-based "no wave" avant-garde punk scene of the late '70s, DNA had what barely amounts to a recording career, yet still managed to produce some crucial music. Originally comprised of guitarist Arto Lindsay, keyboardist Robin Crutchfield, and drummer Ikue Mori, DNA's music was sparse, loud, and noisy -- washes of keyboards punctuated by Lindsay's atonal, free-form guitar explosions. DNA made their recording debut in 1978 on a sampler of no wave bands produced by Brian Eno (No New York), and, along with being one of the more interesting bands on the record, also exhibited the most promise. By the time they released their first record, Crutchfield had formed a new band, the far less interesting Dark Day, and DNA had replaced him with bassist Tim Wright, an original member of the seminal Cleveland band Pere Ubu. Now a power trio, and with Lindsay's guitar the manic focal point of their challenging music, DNA seemed poised to become one of the most exciting bands in American avant-garde rock. Instead, they became increasingly enigmatic, rarely played outside of New York, and never recorded again. After breaking up in 1982, Lindsay formed the exciting Ambitious Lovers.

DNA - On DNA  (flac 356mb)

01 You & You 2:07
02 Little Ants 2:06
03 Egomaniac's Kiss 2:11
04 Lionel 2:08
05 Not Moving 2:39
06 Size 2:15
07 New Fast 1:14
08 5:30 1:04
09 Blonde Red Head 1:52
10 32123 0:54
11 New New 2:49
12 Lying On The Sofa Of Life 1:52
13 Grapefruit 5:00
14 Taking Kid To School 1:31
15 Young Teenagers Talk Sex 1:05
16 Delivering The Good 2:09
17 Police Chase 1:38
18 Cop Buys A Donut 1:09
19 Detached (Early Version) 1:45
20 Low 1:56
21 Nearing 2:14
22 5:30 (Early Version) 1:54
23 Surrender 3:48
24 Newest Fastest 1:14
25 Detached 1:20
26 Brand New 2:13
27 Horse 2:47
28 Forgery 0:59
29 Action 1:04
30 Marshall 1:52
31 A New Low 1:43
32 Calling To Phone 2:15

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Despite its smooth rhythms and concessions to pop, Envy more or less picks up where DNA left off. Arto's guitar wanders in and out of noiseland, producing some ear-shattering effects, but mostly this begins his musical odyssey with the sounds of his youth -- that is, Brazilian music. In fact, Lindsay occasionally sings in Portuguese. Which begs another point: Lindsay is not the greatest singer in the world, but the twists and turns that make this album uniquely wonderful help smooth over any problems one may have with his vocals. A startling and very successful debut.

Ambitious Lovers - Envy  (flac 173mb)

01 Cross Your Legs 5:05
02 Trouble Maker 2:25
03 Pagode Americano 2:12
04 Nothings Monstered 1:00
05 Crowning Roar 1:00
06 Too Many Mansions 3:52
07 Let's Be Adult 4:18
08 Venus Lost Her Shirt 1:55
09 My Competition 0:45
10 Badú 1:06
11 Dora 2:55
12 Beberibe1:00
13 Locus Coruleus 5:06

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Despite guitarist vocalist Arto Lindsay and keyboardist Pete Scherer's reputation for dissonant noise rock that pushes the limits of listenability, this second in a proposed series of seven albums (the idea was to do an album for each of the seven deadly sins), is, at times, rather catchy and almost mainstream. For example, the herky-jerky verses of both "Copy Me" and "Privacy" give way to two very hummable, radio friendly choruses, and the funk basslines and Brazilian tempos that underlay most of the songs on Greed almost make you want to get up and do a jig.

Ambitious Lovers - Greed  (flac 239mb)

01 Copy Me 3:44
02 Privacy 3:44
03 Caso 2:41
04 King 4:35
05 Omotesando 1:35
06 Too Far 3:01
07 Love Overlap 4:39
08 Admit It 3:44
09 Steel Wool 1:01
10 Para Não Contrariar Voce 2:37
11 Quasi You 4:24
12 It Only Has To Happen Once 3:40
13 Dot Stuff 0:58

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Try to imagine pseudo-jazz warbler Michael Franks fronting a band consisting of Steely Dan's Donald Fagen on Fender Rhodes and assorted keyboards, Sonic Youth's Thurston Moore on guitar, and jazz-funk bassist supreme Melvin Gibbs, and you'll have some idea what this record sounds like. Lust consists primarily of keyboardist Peter Scherer and guitarist/Franksophile Arto Lindsay -- Fagen and Moore don't participate, but Gibbs and the skronky guitarist Marc Ribot do, to good effect. The music they make is smart, funky, and danceable, in a late-'80s kinda way. The noisy, non-tonal guitar work made famous by Lindsay and Ribot is frequently placed so far back in the mix as to be almost completely absent, which is too bad, since it adds an edge that puts this music over the top. When it does come to the fore (as on the world pop-ish "Ponta de Lanca Africano Umbabarauma" and the George Clinton-esque "Monster") and Gibbs' energetic, bouncing funkiness is allowed free rein, an otherwise better-than-ordinary album becomes something special.

Ambitious Lovers - Lust  (flac 306mb)

01 Lust 4:56
02 It's Gonna Rain 4:44
03 Tuck It In 4:30
04 Ponta Da Lança Africano (Umbabarauma) 4:57
05 Monster 4:39
06 Villain 4:54
07 Half Out Of It 4:56
08 Slippery 3:42
09 Make It Easy 3:50
10 More Light 5:25
11 É Preciso Perdoar 2:30

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