Apr 30, 2016

RhoDeo 1617 Grooves

Hello, blues grooves here today to cleanse your soul..

Today an American jazz musician and singer-songwriter with a career spanning nearly thirty years. Nicknamed "Lady Day" by her friend and music partner Lester Young, she had a seminal influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills, which made up for her limited range and lack of formal music education. While there were other jazz singers with equal talent, Billie Holiday had a voice that captured the attention of her audience ... N'joy

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The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie
Holiday changed the art of American pop vocals forever. More than a half-century after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.

With her spirit shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life -- a series of abusive relationships, substance addictions, and periods of depression -- undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century -- easily the equal of Ella Fitzgerald or Frank Sinatra -- was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.

Billie Holiday's chaotic life reportedly began in Baltimore on April 7, 1915 (a few reports say 1912) when she was born Eleanora Fagan Gough. Her father, Clarence Holiday, was a teenaged jazz guitarist and banjo player later to play in Fletcher Henderson's Orchestra. He never married her mother, Sadie Fagan, and left while his daughter was still a baby. (She would later run into him in New York, and though she contracted many guitarists for her sessions before his death in 1937, she always avoided using him.) Holiday's mother was also a young teenager at the time, and whether because of inexperience or neglect, often left her daughter with uncaring relatives. Holiday was sentenced to Catholic reform school at the age of ten, reportedly after she admitted being raped. Though sentenced to stay until she became an adult, a family friend helped get her released after just two years. With her mother, she moved in 1927, first to New Jersey and soon after to Brooklyn.

In New York, Holiday helped her mother with domestic work, but soon began moonlighting as a prostitute
for the additional income. According to the weighty Billie Holiday legend (which gained additional credence after her notoriously apocryphal autobiography Lady Sings the Blues), her big singing break came in 1933 when a laughable dancing audition at a speakeasy prompted her accompanist to ask her if she could sing. In fact, Holiday was most likely singing at clubs all over New York City as early as 1930-31. Whatever the true story, she first gained some publicity in early 1933, when record producer John Hammond -- only three years older than Holiday herself, and just at the beginning of a legendary career -- wrote her up in a column for Melody Maker and brought Benny Goodman to one of her performances. After recording a demo at Columbia Studios, Holiday joined a small group led by Goodman to make her commercial debut on November 27, 1933 with "Your Mother's Son-In-Law."

Though she didn't return to the studio for over a year, Billie Holiday spent 1934 moving up the rungs of the competitive New York bar scene. By early 1935, she made her debut at the Apollo Theater and appeared in a one-reeler film with Duke Ellington. During the last half of 1935, Holiday finally entered the studio again and recorded a total of four sessions. With a pick-up band supervised by pianist Teddy Wilson, she recorded a series of obscure, forgettable songs straight from the gutters of Tin Pan Alley -- in other words, the only songs available to an obscure black band during the mid-'30s. (During the swing era, music publishers kept the best songs strictly in the hands of society orchestras and popular white singers.) Despite the poor song quality, Holiday and various groups (including trumpeter Roy Eldridge, alto Johnny Hodges, and tenors Ben Webster and Chu Berry) energized flat songs like "What a Little Moonlight Can Do," "Twenty-Four Hours a Day" and "If You Were Mine" (to say nothing of "Eeny Meeny Miney Mo" and "Yankee Doodle Never Went to Town"). The great combo playing and Holiday's increasingly assured vocals made them quite popular on Columbia, Brunswick and Vocalion.

During 1936, Holiday toured with groups led by Jimmie Lunceford and Fletcher Henderson, then returned to New York for several more sessions. In late January 1937, she recorded several numbers with a small group culled from one of Hammond's new discoveries, Count Basie's Orchestra. Tenor Lester Young, who'd briefly known Billie several years earlier, and trumpeter Buck Clayton were to become especially attached to Holiday. The three did much of their best recorded work together during the late '30s, and Holiday herself bestowed the nickname Pres on Young, while he dubbed her Lady Day for her elegance. By the spring of 1937, she began touring with Basie as the female complement to his male singer, Jimmy Rushing. The association lasted less than a year, however. Though officially she was fired from the band for being temperamental and unreliable, shadowy influences higher up in the publishing world reportedly commanded the action after she refused to begin singing '20s female blues standards.

At least temporarily, the move actually benefited Holiday -- less than a month after leaving Basie, she was hired by Artie Shaw's popular band. She began singing with the group in 1938, one of the first instances of a black female appearing with a white group. Despite the continuing support of the entire band, however, show promoters and radio sponsors soon began objecting to Holiday -- based on her unorthodox singing style almost as much as her race. After a series of escalating indignities, Holiday quit the band in disgust. Yet again, her judgment proved valuable; the added freedom allowed her to take a gig at a hip new club named Café Society, the first popular nightspot with an inter-racial audience. There, Billie Holiday learned the song that would catapult her career to a new level: "Strange Fruit."

The standard, written by Café Society regular Lewis Allen and forever tied to Holiday, is an anguished reprisal of the intense racism still persistent in the South. Though Holiday initially expressed doubts about adding such a bald, uncompromising song to her repertoire, she pulled it off thanks largely to her powers of nuance and subtlety. "Strange Fruit" soon became the highlight of her performances. Though John Hammond refused to record it (not for its politics but for its overly pungent imagery), he allowed Holiday a bit of leverage to record for Commodore, the label owned by jazz record-store owner Milt Gabler. Once released, "Strange Fruit" was banned by many radio outlets, though the growing jukebox industry (and the inclusion of the excellent "Fine and Mellow" on the flip) made it a rather large, though controversial, hit. She continued recording for Columbia labels until 1942, and hit big again with her most famous composition, 1941's "God Bless the Child." Gabler, who also worked A&R for Decca, signed her to the label in 1944 to record "Lover Man," a song written especially for her and her third big hit. Neatly side-stepping the musician's union ban that afflicted her former label, Holiday soon became a priority at Decca, earning the right to top-quality material and lavish string sections for her sessions. She continued recording scattered sessions for Decca during the rest of the '40s, and recorded several of her best-loved songs including Bessie Smith's "'Tain't Nobody's Business If I Do," "Them There Eyes," and "Crazy He Calls Me."

Though her artistry was at its peak, Billie Holiday's emotional life began a turbulent period during the mid-'40s. Already heavily into alcohol and marijuana, she began smoking opium early in the decade with her first husband, Johnnie Monroe. The marriage didn't last, but hot on its heels came a second marriage to trumpeter Joe Guy and a move to heroin. Despite her triumphant concert at New York's Town Hall and a small film role, as a maid (!) with Louis Armstrong in 1947's New Orleans, she lost a good deal of money running her own orchestra with Joe Guy. Her mother's death soon after affected her deeply, and in 1947 she was arrested for possession of heroin and sentenced to eight months in prison.

Unfortunately, Holiday's troubles only continued after her release. The drug charge made it impossible for her
to get a cabaret card, so nightclub performances were out of the question. Plagued by various celebrity hawks from all portions of the underworld (jazz, drugs, song publishing, etc.), she soldiered on for Decca until 1950. Two years later, she began recording for jazz entrepreneur Norman Granz, owner of the excellent labels Clef, Norgran, and by 1956, Verve. The recordings returned her to the small-group intimacy of her Columbia work, and reunited her with Ben Webster as well as other top-flight musicians such as Oscar Peterson, Harry "Sweets" Edison, and Charlie Shavers. Though the ravages of a hard life were beginning to take their toll on her voice, many of Holiday's mid-'50s recordings are just as intense and beautiful as her classic work.

During 1954, Holiday toured Europe to great acclaim, and her 1956 autobiography brought her even more fame (or notoriety). She made her last great appearance in 1957, on the CBS television special The Sound of Jazz with Webster, Lester Young, and Coleman Hawkins providing a close backing. One year later, the Lady in Satin LP clothed her naked, increasingly hoarse voice with the overwrought strings of Ray Ellis. During her final year, she made two more appearances in Europe before collapsing in May 1959 of heart and liver disease. Still procuring heroin while on her death bed, Holiday was arrested for possession in her private room and died on July 17, her system completely unable to fight both withdrawal and heart disease at the same time.

1961-dated sleeve notes:
Billie Holiday died in Metropolitan Hospital, New York, on Friday, July 17, 1959, in the bed in which she had been arrested for illegal possession of narcotics a little more than a month before, as she lay mortally ill; in the room from which a police guard had been removed – by court order – only a few hours before her death, which, like her life, was disorderly and pitiful. She had been strikingly beautiful, but she was wasted physically to a small, grotesque caricature of herself. The worms of every kind of excess – drugs were only one – had eaten her. The likelihood exists that among the last thoughts of this cynical, sentimental, profane, generous and greatly talented woman of 44 was the belief that she was to be arraigned the following morning. She would have been, eventually, although possibly not that quickly. In any case, she removed herself finally from the jurisdiction of any court here below.

Her cult of influence spread quickly after her death and gave her more fame than she'd enjoyed in life. The 1972 biopic Lady Sings the Blues featured Diana Ross struggling to overcome the conflicting myths of Holiday's life, but the film also illuminated her tragic life and introduced many future fans. By the digital age, virtually all of Holiday's recorded material had been reissued: by Columbia (nine volumes of The Quintessential Billie Holiday), Decca (The Complete Decca Recordings), and Verve (The Complete Billie Holiday on Verve 1945-1959).

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Billie Holiday's first recordings for Norman Granz' Clef Records present a vocalist truly at the top of her craft, although she would begin a rapid decline soon thereafter. This 1952 recording (originally issued as a 10" LP, Billie Holiday Sings) places Holiday in front of small piano and tenor saxophone-led groups including jazz luminaries such as Oscar Peterson and Charlie Shavers, where her gentle phrasing sets the tone for the sessions, evoking lazy evenings and dreamy afternoons. The alcoholism and heroin use that would be her downfall by the end of this decade seems to be almost unfathomable during these recordings since Holiday is in as fine a voice as her work in the '30s, and the musical environment seems ideal for these slow torch songs. Solitude runs as the common theme throughout these 16 tracks; the idle breathiness of "These Foolish Things (Remind Me of You)" finds the vocalist casually reminiscing, and Barney Kessel's warm guitar lines frame the title track beautifully. Several of Holiday's best-known recordings came from this session, including outstanding versions of "I Only Have Eyes for You" and a darkly emotional "Love for Sale," making this album far and away the best work of her later years, and certainly a noteworthy moment of her entire career.

Billie Holiday - Solitude   (flac 111mb)

01 East Of The Sun (West Of The Moon) 2:56
02 Blue Moon 3:30
03 You Go To My Head 2:56
04 You Turned The Tables On Me 3:28
05 Easy To Love 3:01
06 These Foolish Things (Remind Me Of You) 3:35
07 I Only Have Eyes For You 2:54
08 Solitude 3:31
09 Everything I Have Is Yours 3:45
10 Love For Sale 2:58
11 Moonglow 3:00
12 Tenderly 3:25

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Long out-of-print, Billie Holiday’s brilliant 1956 LP, Velvet Mood, released on Clef (soon-to-be Verve) Records, captures the 41-year-old Holiday backed by a sextet that featured Benny Carter on alto sax and Harry “Sweets” Edison on trumpet. Although hard living had already begun to take its toll on Holiday (who died just three years later), she was still a huge international star at this time, giving sold out concerts at Carnegie hall and touring Europe. 1956 also marked the year that her legendary biography, Lady Sings the Blues was released.

Billie Holiday - Velvet Mood   (flac  226mb)

01 Prelude To A Kiss 5:36
02 When Your Lover Has Gone 4:59
03 Please Don't Talk About Me When I'm Gone 4:22
04 Nice Work If You Can Get It 3:52
05 I've Got A Right To Sing The Blues 5:53
06 What's New 4:19
07 I Hadn't Anyone Till You 4:05
08 Everything I Have Is Yours 4:32

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Taken from a pair of sessions taped during 1955-1956, Lady Sings the Blues finds Holiday in top form and backed by the sympathetic likes of tenor saxophonist Paul Quinichette, trumpeters Charlie Shavers and Harry Edison, pianist Wynton Kelly, and guitarists Kenny Burrell and Barney Kessel. And while these autumnal sides bear some of the frayed vocal moments often heard on Holiday's '50s Verve sides, the majority here still ranks with her best material. This is especially true of the cuts from the June 1956 date, which produced unparalleled versions of "No Good Man," "Some Other Spring," and "Lady Sings the Blues." See why many fans prefer the "worn out" Holiday heard here to the more chipper singer featured on those classic Columbia records from the '30s.

Billie Holiday - Lady Sings The Blues   (flac 146mb)

01 Lady Sings The Blues 3:45
02 Trav'lin' Light 3:08
03 I Must Have That Man 3:03
04 Some Other Spring 3:35
05 Strange Fruit 3:02
06 No Good Man 3:18
07 God Bless The Child 3:57
08 Good Morning Heartache 3:27
09 Love Me Or Leave Me 2:33
10 Too Marvelous For Words 2:11
11 Willow Weep For Me 3:06
12 I Thought About You 2:46
Lady Sings The Blues (Billie Holiday auto bio).epub

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This was Billie Holiday's penultimate album, recorded when her body was telling her enough was enough. During the sessions with arranger Ray Ellis she was drinking vodka neat, as if it were tap water. Despite her ravaged voice (the sweetness had long gone), she was still an incredible singer. The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. "You've Changed" and "I Get Along Without You Very Well" are high art performances from the singer who saw life from the bottom up.

Billie Holiday - Lady In Satin   (flac 315mb)

01 I'm A Fool To Want You 3:24
02 For Heaven's Sake 3:26
03 You Don't Know What Love Is 3:48
04 I Get Along Without You Very Well 2:59
05 For All We Know 2:52
06 Violets For Your Furs 3:24
07 You've Changed 3:17
08 It's Easy To Remember 4:04
09 But Beautiful 4:29
10 Glad To Be Unhappy 4:07
11 I'll Be Around 3:23
12 The End Of A Love Affair 4:47
13 I'm A Fool To Want You 3:24
14 The End Of A Love Affair 4:51
15 Fine And Mellow 6:20

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Apr 29, 2016

RhoDeo 1617 Re-Ups 55

Hello, well I reached the point where requests have dried up, that is, some groove requests are still outstanding, as my groove partition has spontaneously decided that it no longer is in NTFS thereby making it unreadable a state that looks more stable alas. Doing something about it takes a lot of time and i need to expand my back up system, an extra HD is easy enough, but i need to add 3.0 USB connections. A lot of work, disconnecting everything and i have a solid state drive that needs installing thats even more work, i should upgrade my OS aswell. Daunting stuff as i am no expert and if things go wrong there's no help, no internet as I ain't got a tablet (currently looking for one, but without perceived great need apart as a back up pc)

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 14 re-ups, requests fullfilled up to April 27th ...N' Joy

8x Wavetrain, 7-7-7 avanti NOW in Flac (A Certain Ratio - To Each And Everyone, Rip Rig & Panic - Attitude, This Heat - Deceit, Thomas Leer - Contradictions, Bill Nelson - Quit Dreaming And Get On The Beam ) back in ogg (Hector Zazou - La Perversità, 400 Blows - '.....If I Kissed Her I'd Have To Kill Her First, Bill Nelson - Sounding The Ritual Echo (Atmospheres For Dreaming))

3x Roots Back In Flac (J. Clegg & Savuka - Third World Child, J. Clegg & Savuka - Anthology, Clegg & Savuka - Heat, Dust & Dreams)

3x Aetix Back In Flac (Camper V Beethoven - Key Lime Pie, Camper V Beethoven - Beloved Revolutionary Sweetheart , Camper V Beethoven - Camper Vantiquities )

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Apr 27, 2016

RhoDeo 1617 Aetix

Hello, well another landslide for Trump 5 more states in the bag and should the GOP be so stupid to nominate another candidate, he will undoubtely run as an independent. Clinton picked up 3 states but in that rigged democrate party primary system Sanders was chance less from the start.

Meanwhile over in Sheffield UK the worldchampionship snooker reached the quarterfinal state, of the top 7 seated players just # 2 is left. It could be an all Chinese final this year Ding already dispatched former worldchampion Williams with 13-2 and Fu is making mincemeat of his opponent 7-1 thusfar, looks like they've ingested a wonder drug which sees the pickets like lasers and steady the hands, some amazing potting by these guys, when in the past nerves often took the better of them. Viewing figures in China will rocket for the semis, that's for sure.

Today an influential German electropunk/Neue Deutsche Welle band from Düsseldorf, formed in 1978 featuring Gabriel "Gabi" Delgado-López (vocals), Robert Görl (drums, percussion, electronic instruments), Kurt "Pyrolator" Dahlke (electronic instruments), Michael Kemner (bass-guitar) and Wolfgang Spelmans (guitar). Kurt Dahlke was replaced by Chrislo Haas (electronic instruments, bass guitar, saxophone) in 1979. Since 1981, the band has consisted of Delgado-López and Görl.

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Deutsch Amerikansiche Freundschaft ("German American Friendship"; most commonly abbreviated to D.A.F.) was founded as a five-piece industrial noise outfit in Düsseldorf in 1978, but ultimately winnowed down to a two-man group consisting of vocalist/lyricist Gabi Delgado and drummer/electronic musician Robert Görl. Their early development is linked to the Düsseldorf based group Der Plan, whose members all played in D.A.F. on its first album, Ein Produkt der DAF, minus Delgado, then a member but absent for these recording sessions. Released on the German AtaTak label in 1979 and later re-issued on Mute, Ein Produkt der D.A.F. heralded the beginning of the German branch of industrial music: the first recordings by Einstürzende Neubauten, made two years later, bear a striking resemblance to it.

By the time Ein Produkt der DAF made its bow, Delgado and Robert Görl had already decided to split off from the larger group, which re-formed as Der Plan without them. For a time, Delgado sang and played near-atonal guitar while Görl played drums and synthesizer, and a gig of this type held in 1979 at the Electric Ballroom in London takes up the second side of their debut LP on Mute, Die Kleinen und die Bösen ("The Small Ones and the Evil Ones.") The first side consists of a studio recording, the last session made by the larger D.A.F. and produced by Conny Planck, who would have a significant impact on their sound in subsequent projects. The anger and ferocity of Die Kleinen und die Bösen was remarkable even in the midst of punk -- German icons were viciously sent up, such as in their rabid cover of "Ich Bin die Fesche Lola" (one of Marlene Dietrich's fetching songs from The Blue Angel). "Die Lüstigen Stiefel Marschiren über Polen," ("The Funny Little Boots Are Marching over Poland') was an angry and hard yet tongue in cheek, atonal disco song about the invasion of Poland by the Nazis; such material was deliberately calculated as offensive in the politically liberal, historically humiliated, terrorist-plagued society current in Germany circa 1980.

By 1980, D.A.F. had settled in London and Delgado had permanently retired his guitar; they signed with Virgin Records who sent them back to Planck to produce their masterpiece Alles Ist Gut, which exploded in the rock underground in the middle of 1981. D.A.F. had narrowed its instrumentation down to just Delgado's voice, Görl's monolithic drums, and a 16-voice sequencer that put out a single repeating pattern for whole songs; in doing so, they had moved out of art-punk and into what they called "Electronic Body Music" or EBM. Planck's crisp production, in addition to some subtle, well-placed effects, produced in Alles Ist Gut an electronic dance album that was state-of-the-art in 1981; "Der Mussolini" became an international hit and a monster in the dance clubs. Delgado's lyrics, equating fascism, religion and dance music, were edgy, his singing both macho and raw. Görl's drumming and sequencing was unrelenting in its funkiness, authority and experimentalism -- though outwardly professing themselves as "apolitical" (nonsense!), D.A.F. were reclaiming Nazi-styled jingoism for the gay German disco clubs, complete with a marching boot beat -- it was politically "wrong," yet irresistible.

Despite their innovations, solid technical ability and raves from the critics, D.A.F. were certainly never ready for prime time. When other artists in the club genre were dancing around the issue of alternative sexuality, D.A.F. was fairly "out" about it -- their album covers were blatantly homoerotic and lyrics often dealt with sadomasochism. While D.A.F.'s big, industrial-inspired dance sound certainly had some measure of commercial potential, the group didn't, and they were way ahead of their time -- too far ahead. Gold und Liebe followed, much in the vein of Alles Ist Gut, though offering some further refinements in terms of sound and style. Some critics argue that Gold und Liebe represents D.A.F.'s "personal best," though Alles Ist Gut is such a defining statement in retrospect it would seem hard to top. With 1982s Gold und Liebe, D.A.F. decided to disband amicably, as the sequencer they used proved too limited to sustain them artistically beyond what they had already done.

For a time, both Delgado and Görl pursued solo careers, which proved a mixed blessing; Görl's weak singing sank his best efforts, whereas Delgado's lone solo outing suffered from equally weak musicianship. In 1985, they temporarily re-formed to record another album of house music, this time in English, 1st Step to Heaven, which disappeared without much fanfare. Although Görl and Delgado kept the door open for more collaboration the opportunity did not arise until 2003, when they recorded "15 Neue D.A.F. Lieder" including "The Sheriff," an anti-George W. Bush song. D.A.F. also played a limited number of festivals in Germany that year, mostly to the embarrassment of the other acts on the festival bill, so intense and timely their performances were. Unfortunately, this did not lead to a full-scale reunion, and in early 2007, Delgado declined to join the group for another round of dates. Delgado was replaced, with his blessing, by another singer, and the band renamed D.A.F. Partei.

Though their impact on the emergent forms of house and techno was huge, D.A.F. has never achieved the recognition they so richly deserve. Nevertheless, for the longest time even Kraftwerk weren't recognized for their contribution to hip-hop, and perhaps ultimately D.A.F. will get their due: they represent one of a very few direct links between avant-garde punk and techno, and flung their lance into the future farther even than Throbbing Gristle.

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Ein Produkt der Deutsch-Amerikanischen Freundschaft (A Product of German-American Friendship) is the first album by the German electronic music group Deutsch Amerikanische Freundschaft. It was the second release, and first album, on Kurt Dahlke's Ata Tak label (then called Warning) in 1979. The album consists of 22 untitled instrumental experimental pieces, in styles from punk rock to industrial music, simultaneously repellent and compelling. Singer Gabi Delgado had temporarily left the band after early recordings had not worked out, so the other members recorded the album as instrumentals between February and April 1979. Members on the recording were Kurt Dahlke (keyboards), Robert Görl (drums), Michael Kemner (bass) and Wolfgang Spelman (guitar). Shortly after the album's release, Dahlke left D.A.F. to pursue personal projects (Pyrolator). He was replaced by Chrislo Haas. The album was reissued on Mute Records in 1999 and on Bureau B/Ata Tak in 2012.

Deutsch Amerikanische Freundschaft - Produkt Der Deutsch-Amerikanischen Freundschaft (flac 210mb)

01 Bild Nr. 01 0:44
02 Bild Nr. 02 1:03
03 Bild Nr. 03 0:19
04 Bild Nr. 04 2:35
05 Bild Nr. 05 1:07
06 Bild Nr. 06 0:45
07 Bild Nr. 07 0:43
08 Bild Nr. 08 1:48
09 Bild Nr. 09 0:55
10 Bild Nr. 10 3:17
11 Bild Nr. 11 1:01
12 Bild Nr. 12 1:20
13 Bild Nr. 13 0:36
14 Bild Nr. 14 1:41
15 Bild Nr. 15 0:25
16 Bild Nr. 16 1:47
17 Bild Nr. 17 1:24
18 Bild Nr. 18 2:08
19 Bild Nr. 19 1:32
20 Bild Nr. 20 1:13
21 Bild Nr. 21 0:31
22 Bild Nr. 22 3:07

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After the near-apocalyptic shrieks of Ein Produkt, DAF toned down just a touch, but only just, for Kleinen und die Bösen. Coming out on Mute as the album did, it helped not merely in establishing the group's cachet, but the label's and, in turn, the whole genre of experimental electronic music in the '80s and beyond. The cover art alone, with the group's name boldly printed white-on-black in all capitals, next to part of a Soviet propaganda poster, practically invented a rapidly overused industrial music design cliché. At the time, though, the group was ironically the most rock they would ever get, with bassist Chrislo Haas and guitarist W. Spelmans joining Robert Görl and Gabi Delgado (aka Gabi Delgado-Lopez). The first half of Kleinen was a studio recording with Krautrock-producing legend Conrad Plank, who did his usual fantastic job throughout. The beats are sometimes hollow and always ominous, treated with studio touches to make them even more so, while the squalling, clipped guitar sounds often make nails-on-chalkboards sound sweet in comparison. Delgado's husky vocals and Görl's spare-but-every-hit-counts drumming on "Osten Währt Am Längsten" are particularly strong, while the electronic rhythms of "Co Co Pino" (Delgado's vocal trills are a scream) and all-out slam of "Nacht Arbeit" can't be resisted. The live side, recorded at London's Electric Ballroom, is even more all-out most of the time, starting with the complete noise fest "Gewalt," and then shifting into a series of short, brusque tracks. Delgado pulls off some blood-curdling screams (and Görl some fairly nutty harmonies as well -- check the opening to "Das Ist Liebe") over the din. The musicians themselves sound like they decided to borrow Wire's sense of quick songs while cranking the amps to ten; the resultant combination of feedback crunch and electronic brutality is, at times, awesome to behold.

Deutsch Amerikanische Freundschaft ‎- Die Kleinen Und Die Bösen (flac 219mb)

01 Osten Währt Am Längsten 5:45
02 Essen Dann Schlafen 1:06
03 Co Co Pino 3:25
04 Kinderfunk 3:02
05 Nacht Arbeit 1:53
06 Ich Gebe Dir Ein Stück Von Mir 1:41
07 De Panne 2:34
08 Gewalt 1:24
09 Gib's Mir 1:01
10 Auf Wiedersehen 2:03
11 Das Ist Liebe 1:18
12 Was Ist Eine Welle 1:15
13 Anzufassen Und Anzufassen 1:44
14 Volkstanz 0:48
15 Die Lustigen Stiefel 1:49
16 Die Kleinen Und Die Bösen 1:05
17 Die Fesche Lola 1:41
18 El Basilon 2:52
19 Y La Gracia 2:03

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Stripped down to the core duo of Robert Görl and Gabi Delgado and with Conny Plank again behind the boards with crisp, focused production, with Alles Ist Gut (Everything Is Fine) DAF turned into an honest-to-goodness German hit machine, as detailed in the 1998 Mute reissue's liner notes by Biba Kopf. Even more important and impressive was how they did it -- keeping the electronic brutality that characterized them, but stripped down to nothing but Görl's massive drumming, electronic bass and synth tones, and Delgado's deep, commanding singing. The result was and remains massively influential -- Nitzer Ebb, to mention one later industrial disciple, would be nothing without this album as a template, while the genre of electronic body music, or EBM, got its undisputed start with the doom-laden death disco here. It isn't all just because of machines and politics, either. Delgado's lyrical fascination seems to be as much with sex as with power, thus the grunting sounds throughout "Mein Herz Macht Bum" (My Heart Goes Boom), to pick one point. Add to that the striking, simple cover design -- Delgado on the front, Görl on the back, stripped to the skin and covered in sweat -- and maybe Wax Trax never needed to exist in the first place. "Der Mussolini," DAF's breakthrough hit, still sounds fantastic years later. A perfect case could be made for it as the ultimate industrial music song, with Delgado's at once insistent and sensual singing, lyrics referencing not just Mussolini but any number of fascist figures (as titles of dance crazes, no less!), and Görl's astonishing percussion crunch and bassline. DAF wisely vary things at points, thus the slow, deliberate pulse of "Rote Lippen" or the twinkly keyboard line throughout "Der Räuber und der Prinz." With songs like "Als Wär's das Letzte Mal" and "Alle Gegen Alle" leading the way, though, DAF mainly concentrate on head-on assaults to brilliant effect.

D.A.F. - Alles Ist Gut   (flac  211mb)

01 Sato-Sato (Sato-Sato) 2:49
02 Der Mussolini (The Mussolini) 3:54
03 Rote Lippen (Red Lips) 2:42
04 Mein Herz Macht Bum (My Heart Goes Boom) 4:28
05 Der Räuber Und Der Prinz (The Robber And The Prince) 3:29
06 Ich Und Die Wirklichkeit (Me And Reality) 3:05
07 Als Wär's Das Letzte Mal (As If It Were The Last Time) 3:23
08 Verlier Nicht Den Kopf (Don't Lose Your Head) 3:17
09 Alle Gegen Alle (Everybody Fights Everybody) 3:56
10 Alles Ist Gut (Everything Is Good) 3:26

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Apr 26, 2016

RhoDeo 1617 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today, one of Brazil's greatest jazz and ballad singers of the 1960s and '70s, a highly-regarded but tragic artist who was something like her country's version of Edith Piaf. She hosted a popular television show ("O Fino Do Fino") and used her fame to boost the careers of many of the best new Brazilian composers of the era. Before her untimely death at the age of thirty-six, she was widely regarded as Brazil's greatest living popular vocalist. She was noted for her vocalization, as well as for her personal interpretation and performances in shows... .....N'Joy

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Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land) and her second LP, "Poema", employing a number of popular musical styles of the era.

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net) by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música popular brasileira or Brazilian Popular Music), distinguished from the previous bossa nova and other preceding musical styles, although samba is very much at its core. Most of her entire 20 year recorded discography is still available.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque, Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper"), opening a window on both her singing style and personality.

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator, pianist/composer/arranger César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger César Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction. More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.

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"..Em Pleno Verao" (At The Height of Summer) is another Big Performance from Elis Regina. One year after the amazing "Aquarela do Brasil", Elis is caught at the top of her game as Brazil's pre-eminent female singer in a series of big band and live perfomances that captivated Brazil and showcased her supreme abilities as a 'singer's singer'. Not only that but she, in turn, showcases several already/soon-to-be famous songwriters, such as Baden Powell, Jorge Ben, Gilberto Gil, AC Jobim, and Caetano Veloso, among others.

Powell's "Vou Deitar E Rolar" with it's now famous "quaquaraquaqua" refrain starts off the album in a joyous manner (musically, at least, subject matter aside), with Elis having a lot of fun with the refrain and expertly surfing over the big band arrangement. Note how she runs the song through several nuances, including a dead stop in mid-song, and a wild riff. Also note her 'time management', how she plays with it, stretches it: it's impeccable. Jorge Ben's "Bicho Do Mato" is likewise upbeat and downright raucous with Elis' distinctive 'vamp' stamp.

The most outstanding 'Pieces D'Resistance' on this album begin with the mysterious "Verao Vermelho" (Red Summer), with Elis literally joining the orchestra in a wordless tour de force that ends much too soon. Those who eschew the fact that Elis was a jazz singer at heart, note this performance (and any of her performances of "Wave"). Jazz plays a major part in Musica Popular Brasilera. On Veloso's "Nao Tenha Medo" (Have No Fear), Elis grabs us immediately and pulls us into the song. "These Are The Songs", a rare and wonderful performance by Elis in English/Portuguese, is a 'Do Wop' tribute sung individually and in duet with platinum-selling Tim Maia (using a wild but poignant vibrato). This song grows on one with each hearing. "Comunicacao" is one of the best performances, with the jazzy walking bass, tuba/piano unison, flutes, and soaring violins all playing an integral role in the proceedings: a fabulous performance. And the final 'Piece D'Resistance' is the airy "Copacabana Velha De Guerra" musically ending on an up note. Score another wonderful album for Elis Regina.

Elis Regina - Em Pleno Verao  (flac  192mb)

01 Vou Deitar E Rolar (Quaquaraquada) 3:24
02 Bicho Do Mato 3:25
03 Verão Vermelho 1:38
04 Até Aí Morreu Neves 2:16
05 Frevo 2:31
06 As Curvas Da Estrada De Santos 3:41
07 Fechado Pra Balanço 2:40
08 Não Tenha Medo 2:46
09 These Are The Songs 3:09
10 Comunicação 2:46
11 Copacabana Velha De Guerra 2:59

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When Ella Fitzgerald came to Rio de Janeiro in 1971, she got impressed by a track she listened to from a cassette tape someone had presented her. It was the smash hit of the moment - "Madalena" by composer Ivan Lins as sung by Elis Regina. It was 1971 and Ella has recorded it live in 1972 in her Jazz the Philharmonica concert at the Santa Monica Civic. The master Elis Regina counted on the great Chiquinho de Morais as her arranger for this album. Another smash hit from this album was Marcos Valle's "Black is Beautiful".

Elis Regina - Ela (flac 200mb)

01 Ih! Meu Deus Do Céu 3:08
02 Black Is Beautiful 5:22
03 Cinema Olympia 2:53
04 Golden Slumbers 2:35
05 Falei E Disse 3:06
06 Aviso Aos Navegantes 2:33
07 Mundo Deserto 2:36
08 Ela 4:50  
09 Madalena 2:37
10 Os Argonautas 3:08
11 Estrada Do Sol 2:14

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The Brazilian diva Elis Regina was considered to be the representative singer of MPB (Musica Popular Brasileira) throughout the '70s. Elis, from 1972, is one of her best albums, the smooth production values never spilling over into the ersatz disco sound which marred too much of Brazilian pop during the MPB period of the '70s and especially '80s. It's worth comparing Regina's version of Tom Jobim's masterpiece "Aguas de Marco" with João Gilberto's on his spare 1991 album João Gilberto. Though both interpretations are superb, Regina just might have the edge on the great bossa nova master. She later got to do yet another with the composer himself on the classic Elis & Tom, recorded in Los Angeles in 1979.

Elis Regina - Elis-20 Anos (flac 172mb)

01 20 Anos Blue 3:13
02 Bala Com Bala 3:15  
03 Nada Será Como Antes 2:44
04 Mucuripe 2:30
05 Olhos Abertos 2:36
06 Vida de Bailarina 2:29
07 Aguas de Março 3:08  
08 Atrás Da Porta 2:51
09 Cais 3:19
10 Me Deixa Em Paz 2:11
11 Casa No Campo 2:53  
12 Boa Noite, Amor 2:30  
13 Entrudo 2:50

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This solid 1974 studio session has great songs, at least three of her smash hits come from this album: "Dois pra La, Dois pra Ca" and "Mestre-Sala dos Mares" both by composer Joao Bosco and "Amor ate o Fim" by Gilberto Gil. She also sings Milton Nascimento's "Travessia" (aka 'Bridges'). plus a rare recording of "Na Batucada da Vida" by Ary Barroso. It includes complete Portuguese lyrics. Arrangements by the master Cesar Camargo Mariano.

Elis Regina - Elis-Na Batucada (flac 194mb)

01 Na Batucada da Vida 3:23
02 Travessia  5:30
03 Conversando No Bar  4:14
04 Ponta de Areia  2:57
05 O Mestre-Sala Dos Mares 3:08
06 Amor Até O Fim 3:49
07 Dois Pra lá, Dois Pra Cá 4:27
08 Maria Rosa 3:56
09 Caça À Raposa 3:34
10 O Compositor Me Disse 1:51

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Apr 25, 2016

RhoDeo 1617 Foundation

Hello,  at this moment season six of Game Of Thrones is running, was it just a vision, will he live, is the red witch capable of bringing John Snow back and has she all she needs for that (royal blood). Some say he's the halfbrother of the Kaleeshi (dragonblood) then there are those that believe there's a relation to the king of the white walkers (likely as his nemesis). In short he cannot die. I can see a 'failed' attempt by Melissandre and him rising from the funeral pyre, that would have those stuck up nightwatch traitors pissing their pants. (i should write scripts). Meanwhile there's plenty of other issues in the realm.
I expect first downloads come available in an hour

Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the future Foundation where they will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

  • that the population whose behaviour was modeled should be sufficiently large
  • that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

Asimov presents the Prime Radiant, a device designed by Hari Seldon and built by Yugo Amaryl, as storing the psychohistorical equations showing the future development of humanity. The Prime Radiant projects the equations onto walls in some unexplained manner, but it does not cast shadows, thus allowing workers easy interaction. Control operates through the power of the mind, allowing the user to zoom in to details of the equations, and to change them. One can make annotations, but by convention all amendments remain anonymous.

A student destined for speakerhood has to present an amendment to the plan. Five different boards then check the mathematics rigorously. Students have to defend their proposals against concerted and merciless attacks. After two years the change gets reviewed again. If after the second examination it still passes muster the contribution becomes part of the Seldon Plan.

  • The Radiant, as well as being interactive, employs a type of colour-coding to equations within itself for ready comprehension by Psychohistorians.
  • Seldon Black are the original Seldon Plan equations developed by Seldon and Amaryl during the first four decades of Seldon's work at the University of Streeling, and define Seldon Crises, the Plan's duration, and the eventuation of the Second Galactic Empire.
  • Speaker Red are additions to the plan by Speakers (Senior Mentalic Psychohistorians of the Second Foundation) since the time of Seldon.
  • Deviation Blue are observed deviations away from Psychohistorical projections with a deviation in excess of 1.5 standard deviation of predicted outcomes (1.5 σ). The Era of Deviations, at the rise of the Mule, produced deviations in the Seldon Plan in excess of .5 through 10 sigmas, and the resolution of this period required a full century of labour on the part of the Second Foundation to return the Galaxy to the Plan.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)

The Foundation Trilogy 1 - Psychohistory and Encyclopedia   ... 56:34

The opening episode begins on Trantor, capital of the Galactic Empire, with the meeting of Hari Seldon and Gaal Dornick, their trial, and their exile to Terminus. The action then jumps forward fifty years, to the first Seldon Crisis, where the repercussions of the recent independence of the Four Kingdoms of the Periphery are being felt on Terminus, and are handled by the first Mayor, Salvor Hardin.

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Watchmen 01 At Midnight, All the Agents... (avi  233mb)
Watchmen 02 Absent Friends... (avi  233mb)
Watchmen 03 The Judge of All the Earth... (avi  233mb)
Watchmen 04 Watchmaker... (avi  233mb)
Watchmen 05 Fearful Symmetry... (avi  233mb)
Watchmen 06 The Abyss Gazes Also... (avi  233mb)
Watchmen 07 A Brother to Dragons... (avi  233mb)
Watchmen 08 Old Ghosts... (avi  233mb)
Watchmen 09 The Darkness of Mere Being... (avi  233mb)
Watchmen 10 Two Riders Were Approaching... (avi  233mb)
Watchmen 11 Look on My Works, Ye Mighty...... (avi  233mb)
Watchmen 12 A Stronger Loving World...... (avi  233mb)

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Apr 24, 2016

Sundaze 1617


Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy

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According to a blessing Milarepa uttered towards the end of his life, anyone who but hears the name Milarepa even once attracts an instant blessing and will not take rebirth in a lower state of existence during seven consecutive lifetimes. This was prophesied by Saints and Buddhas of the past even before his lifetime.

Milarepa of Tibet
Milarepa is one of the most widely known Tibetan Saints. In a superhuman effort, he rose above the miseries of his younger life and with the help of his Guru, Marpa the Translator, took to a solitary life of meditation until he had achieved the pinnacle of the enlightened state, never to be born again into the Samsara (whirlpool of life and death) of worldly existence. Out of compassion for humanity, he undertook the most rigid asceticism to reach the Buddhic state of enlightenment and to pass his accomplishments on to the rest of humanity. His spiritual lineage was passed along to his chief disciples, Gambopa and Rechung. It was Rechung who recorded in detail the incidents of Milarepa's life for posterity. The narrative of his life has thus been passed down through almost a millennium of time and has become an integral part of Tibetan culture. In addition to Rechung's narrative of his life, summarized below, Milarepa extemporaneously composed innumerable songs throughout his life relevant to the dramatic turns of events of himself and his disciples in accordance with an art form that was in practice at the time. These songs have been widely sung and studied in Tibet ever since and have been recorded as the Hundred Thousand Songs of Milarepa. His faithful devotion, boundless religious zeal, monumental forbearance, superhuman perseverance, and ultimate final attainment are a great inspiration today for all. His auspicious life illumined the Buddhist faith and brought the light of wisdom to sentient beings everywhere.

Milarepa was born into the family of Mila-Dorje-Senge in the year 1052. His father was a trader in wool and had become wealthy by the standards of the time when his wife bore a son. The son was named Thopaga which means delightful to hear, and Thopaga, later known as Mila-repa (Mila, the cotton clad), lived up to his name as he had a beautiful voice and charmed his companions with his singing. The family lived in a large stone house that consisted of three stories held in place by a large central pillar and supporting columns - a mansion in comparison to the modest homes of his neighbors. During this period the family enjoyed the admiration and attention of their neighbors, ate only the finest food and wore nothing but fancy clothes and jewelry.

About this time the father, Mila-Dorje-Senge, became gravely ill and accepting his impending death, called together the extended family and made known to all that he wanted his entire estate and all possessions put into the care of his brother and sister until such time as Milarepa had grown and married Zesay, one of the neighboring girls who had been betrothed to him in childhood according to the tradition of the times.

When his father died, Milarepa's uncle and aunt took all of the family's wealth. At his mother's demand, Milarepa left home and studied sorcery. While his aunt and uncle were having a party to celebrate the impending marriage of their son, he took his revenge by summoning an earthquake to demolish their house, killing 35 people, although the uncle and aunt are supposed to have survived. The villagers were angry and set off to look for Milarepa, but his mother got word to him, and he sent a hailstorm to destroy their crops.

Milarepa later lamented his evil ways in his older years in conversation with Rechungpa: "In my youth I committed black deeds. In maturity I practised innocence. Now, released from both good and evil, I have destroyed the root of karmic action and shall have no reason for action in the future. To say more than this would only cause weeping and laughter.

"If you do not acquire contentment in yourselves,
 Heaped-up accumulations will only enrich others.

 If you do not obtain the light of Inner Peace,
 Mere external ease and pleasure will become a source of pain.

 If you do not suppress the Demon of Ambition,
 Desire for fame will lead to ruin and to lawsuits"


Milarepa's lama was Marpa Lotsāwa, whose guru was Naropa, whose guru in turn was Tilopa. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness.[citation needed]

Milarepa's life represented the ideal bodhisattva, and is a testament to the unity and interdependency of all Buddhist teachings – Theravada, Mahayana and Vajrayana. He showed that poverty is not a deprivation, but rather a component of emancipating oneself from the constrictions of material possessions; that Tantric practice entails discipline and steadfast perseverance; that without resolute renunciation and uncompromising discipline, as Gautama Buddha Himself stressed, all the sublime ideas and dazzling images depicted in Mahayana and Tantric Buddhism are no better than magnificent illusions. He also had many disciples, male and female, including Rechung Dorje Drakpa and Gampopa His female disciples include Rechungma, Padarbum, Sahle Aui and Tsheringma. It was Gampopa who became Milarepa's spiritual successor, continued his lineage, and became one of the main lineage masters in Milarepa's tradition.

Nyanang Phelgyeling Monastery, also known as Sonam Gompa later in Nepal, which later became very famous in Nepal, is a Tibetan Buddhist monastery in a tiny village called Nyanang in Tibet near the border of Nepal. Fortunately Nyanang Phelgyeling Monastery has the rare statue of Milerapa which was created by his own disciple (Bhu Rechung Pa ). The statue was created in the life time of Milarepa. The cave is consecrated to Milarepa. It is built around the cave where he once lived. "It was destroyed but has now been rebuilt and decorated by Nepali artisans. This is one of many caves associated with Milarepa between Langtang and Jomolungma."

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Double album of all 5 of Radigue's songs in tribute to the Tibetan saint and poet from the eleventh century. Two of the tracks date from an 1983 LP (Radigue's first release), two are previously unreleased and the final 62-minute track was previously issued as Mila's Journey Inspired By A Dream in 1987. The material is performed by Radigue (synthesizer and recording), Robert Ashley (English voice) and Lama Kunga Rinpoche (Tibetan voice). Deeply meditative and compassionate.

Milarepa is a great saint and poet of Tibet who lived in the 11th Century. Through years dedicated to meditation and related practices in the solitude of the mountains, Milarepa achieved the highest attainable illumination and the mental power that enabled him to guide innumerable disciples. His ability to present complex teachings in a simple, lucid style is astonishing. He had a fine voice and loved to sing. When his patrons and disciples made a request or asked him a question, he answered in spontaneously composed free-flowing poems or lyric songs. It is said that he composed 100,000 songs to communicate his ideas in his teachings and conversations.

Eliane Radigue - Songs of Milarepa I  (flac  275mb)

01 Mila's Song In The Rain 19:10
02 Song Of The Path Guides 21:00
03 Elimination Of Desires 17:21
04 Symbols For Yogic Experience 19:27


Eliane Radigue - Songs of Milarepa II  (flac  252mb)

05 Mila's Journey Inspired By A Dream 62:21

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Jetsun Mila is inspired by the life of Milarepa, a great yogi and poet of Tibet who lived in the 11th Century. The story of his life as told to his closest disciple, Rechungpa, represents one of the most famous works within Tibetan culture. The Mila Kabum, or Namthar, has been translated into several Western languages, including English and French. Eliane Radigue's 84-minute musical evocation of Milarepa's life is in nine sections, with prelude, which correspond to major periods of the life of this famous yogi. The sections flow from one to the other without breaks, one giving birth naturally to the next.

Jetsun Mila eschews text in favor of a purely electronic treating of his storied life via nine passages that slowly and seamlessly flow into one another. Radigue is one of the most perceptually disorienting composers I've ever heard, her exploration of inaudible subharmonics and overtones has a way of physically changing the landscape of the room her music inhabits, and it becomes difficult to sort out what the reality is between what you're perceiving and actually hearing. Jetsun Mila is deeply meditative, with some passages conjuring the random patterns of bells blowing in the stark mountains and valleys of Tibet, while others have the sustained power and near violence of Tibetan ritual horns. Her genius is that she achieves those effects through allusion rather than mimicry, trusting in the listener's ability to pursue the truth just as Milarepa did with his inscrutable words of wisdom. The sections flow from one to the other without breaks, one giving birth naturally to the other.

Eliane Radigue - Jetsun Mila (flac 287mb)

Jetsun Mila 1 44:24
Birth And Youth
Meeting The Guru
Jetsun Mila 2 39:56
Visiting The Homeland
Realization / Meditation
Death / Nirvana

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Apr 23, 2016

RhoDeo 1616 Grooves

Hello, divine grooves here today to cleanse your purple pain..

Today's music is from male gospel singer groups, who performed in many lineups over these past 50 years. ... N'joy

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Five Blind Boys Of Alabama are an American gospel group, from Alabama, United States. They first sang together in 1944. Since then, the group's output has spanned seven decades of tours and appearances, and produced a successful discography including winning five Grammy Awards. The performing core of the group consists of eight musicians, including four blind singers, original founding member Jimmy Carter, Ben Moore, Eric "Ricky" McKinnie, and Paul Beasley, the guitarist and musical director, Joey Williams, and a keyboard player, a bass player, and a drummer. One of the surviving founding members of the group, Clarence Fountain, is unable to tour with the band due to health concerns.

The band had its genesis when long-time Statesmen Quartet member Jake Hess retired from that group on December 7, 1963. Hess wanted to start a new group recognized as "king" of the Southern gospel field and thought the "Imperials" would be a good moniker. After getting the go-ahead from Marion Snider for permission to use the name, (Snider had previously operated an Imperial Quartet named after its sponsor Imperial Sugar), he gathered together pianist Henry Slaughter from the Weatherford Quartet, ex-Oak Ridge Boys baritone Gary McSpadden, the Weatherford Quartet's bass singer Armond Morales and Speer Family tenor Sherrill (Shaun) Neilsen to join him. After signing with Benson Records in 1964, the group recorded their first of many albums on the Heart Warming Records label. The following year, the quartet organization moved from Atlanta to Nashville, Tennessee. After 2 years with the group, tenor Nielsen was first to go and Jim Murray would replace him. Murray's past included stints with the Stamps Trio, Inspirationals, and Orrell Quartet. About this time, Slaughter also departed with Joe Moscheo of the Harmoneers replacing him at the keyboard. Health issues also forced Hess to retire and McSpadden chose to leave as well.

Since their formation, Blind Boys of Alabama have made it their self-proclaimed goal to "spiritually uplift audiences". The gospel group has been a source of inspiration for those with disabilities. In the words of one of the group’s blind members, Ricky McKinnie, “Our disability doesn’t have to be a handicap. It's not about what you can't do. It's about what you do. And what we do is sing good gospel music."

Five Blind Boys Of Alabama - Platinum Gospel   (flac 191mb)

01 Hold Me In The Heart Of Your Hand
02 Alone And Motherless
03 A Great Camp Meeting
04 So Sweet To Be Saved
05 Running For My Life
06 Lord Search My Heart
07 Reach Out & Touch Somebody's Hand
08 It's Alright
09 Oh Happy Day
10 Motherless Child
11 I'm Willing To Run

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The Swan Silvertones are an American gospel music group that first achieved popularity in the 1940s and 1950s under the leadership of Claude Jeter. Jeter formed the group in 1938 as the "Four Harmony Kings" while he working as a coal miner in West Virginia. After moving to Knoxville, Tennessee and obtaining their own radio show, the group changed its name to the "Silvertone Singers" in order to avoid confusion with another ensemble known as the "Four Kings of Harmony." They added the name Swan shortly thereafter, since Swan Bakeries sponsored their show. Their wide exposure through radio brought them a contract with King Records.

At this early stage, the Silvertones already embodied an amalgam of two styles: the close barbershop harmonies that they had featured when starting out in West Virginia, and virtuoso leads supplied by Jeter and Solomon Womack. The group later lost Womack, but added Paul Owens in 1952 and Louis Johnson in 1955. The three singers with their sharply contrasting styles — Jeter a tenor who could sing falsetto without losing his lyric control, Owens a crooner, and Johnson a hard shouter — played off each other to great effect in songs such as "Mary Don't You Weep."

The group recorded for Specialty Records from 1951 to 1955, when it switched to Vee-Jay Records. They recorded one album with Hob Records after Vee-Jay shut down in 1965, at which point Jeter left the group for the ministry. When interviewed by Dick Cavett in April 1970, Paul Simon credited the group with inspiring him to write the song "Bridge Over Troubled Water." The Swan Silvertones were inducted into the Vocal Group Hall of Fame in 2002.

The Swan Silvertones - Love Lifted Me My Rock   (flac 287mb)

Love Lifted Me
01 Trouble In My Way 2:33
02 How I Got Over 2:51
03 After Awhile 2:46
04 Prayer In My Mouth 2:57
05 Glory To His Name 3:00
06 I'm A-Rollin' 2:10
07 Let's Go 2:07
08 Jesus Changed This Heart Of Mine 2:52
09 I'm Coming Home 2:58
10 Love Lifted Me 2:41
11 Heavenly Light Shine On Me 2:55
12 The Day Will Surely Come 2:52
My Rock
13 My Rock 2:57
14 Since Jesus Came Into My Heart 2:32
15 I Cried 2:19
16 What Do You Know About Jesus? 2:39
17 Milky White Way 2:58
18 He Won't Deny Me 2:23
19 Jesus Is A Friend 2:27
20 Motherless Child 3:07
21 Man In Jerusalem 2:39
22 Keep My Heart 2:52
23 Oh, How I Love Jesus 2:34
24 This Little Light Of Mine 3:01

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The Imperials are an American Christian music group that has been active for over 50 years. Originating as a southern gospel quartet, the innovative group would become pioneers of contemporary Christian music in the 1960s. There have been many changes for the band in membership and musical styles over the years. They would go on to win four Grammys, and be inducted into the Gospel Music Hall of Fame.

Little Anthony And The Imperials - 25   (flac 344mb)

01 Tears on My Pillow (2:18)
02 Two People in the World (2:36)
03 So Much (2:25)
04 The Diary (2:33)
05 It's Not for Me (2:18)
06 Wishful Thinking (2:42)
07 A Prayer and a Jukebox (2:28)
08 I'm Alright (2:26)
09 Shimmy Shimmy Ko Ko Bop (2:09)
10 My Empty Room (2:31)
11 I'm Taking a Vacation From Love (2:04)
12 Please Say You Want Me (2:48)
13 Traveling Stranger (2:04)
14 I'm on the Outside Looking In (3:02)
15 Goin' Out of My Head (2:28)
16 Hurt So Bad (2:18)
17 Take Me Back (2:40)
18 I Miss You So (2:36)
19 Out of Sight, Out of Mind (2:41)
20 Hurt (2:09)
21 The Ten Commandments of Love (3:05)
22 Better Use Your Head (2:49)
23 Gonna Fix You Good (Every Time You're Bad) (2:31)
24 I'm Hypnotized (2:57)
25 Yesterday Has Gone (2:46)

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Apr 22, 2016

RhoDeo 1616 Re-Ups 54

Hello, Mozart died today, again decades early, clearly an intensely creative life with lots of live performances whilst giving it all takes its toll on the body, even if the mind keeps firing on all cylinders. He was a brilliant multi instrumentalist as well as an obsessive perfectionist. You may find it odd that I considered Prince a reincarnation of Mozart but i've felt this way for a long time and the fact that he too died young is almost confirming my thoughts. It's currently unclear what has been the cause of his death, he was briefly hospitalized last week for a flu emergency  but gave a playing 'acte de presance' last Saturday at a party at his Paisley Park estate. Like Mozart he was a relatively small man with a body that showed nothing much in reserve. He's released 5 albums the last 2 years. In the end I'm afraid his fire burnt too bright.(4 hours sleep a night) and today his flame was extinguished. He leaves the world his wonderful music and apparently there's lots in his vault that hasn't been released, it will be interesting to see who gets to curate all that. Meanwhile his memoirs were planned to be released next year that will likely be sooner know. Feeling rather emotional now, tributes going on, this guy really meant something to me, and not just because he occupies the largest section for one artist in my collection. All of us have been blessed living when he was there for us.

As it happens there was a timely request for a re-up of Prince-go figure

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 17 re-ups, requests fullfilled up to April 17th ...N' Joy

3x Grooves Now In Flac (Prince - Black Album, Prince - I Wish You Heaven - Scandelous, Prince & The Revolution - Twelves)

4x Aetix Back In Flac (Hüsker Dü - Land Speed Record+Metal circus, Hüsker Dü - Everything Falls Apart And More, Hüsker Dü - Zen Arcade, Hüsker Dü - New Day Rising)

3x Aetix Back In Flac (Pere Ubu - 390° Of Simulated Stereo, Vol. 2, Pere Ubu - Cloudland, Pere Ubu - Terminal Drive (Cleveland Rarities) )

3x Alphabet-Q 1x Now In Flac 2x Back in ogg( Quintessence - Oceans of Bliss, Quando Quango - Pigs And Battleships, Queens Of The Stoneage - Id )

3x Into BPM NOW in flac ( Transglobal Underground - Dream of a Nations, Dubnology; Journeys Into Outer Bass 1 & 2)

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Apr 20, 2016

RhoDeo 1616 Aetix

Hello, on the presidential race,Trump takes New York by a landslide, looks like all delegates go to him (winners takes all if above 50%) After telling us too close to call in exitpoll  (50-48) within 45min after some 60-40 results the Clinton News Network (CNN) declared a rich cow the winner (Hindu's rejoice !). Morally Sanders who had been completely ! ignored in 2015 is off cause the winner, by the time voting started in February his numbers were low and Clinton easily won every 'black' state (being told what to do by mama was always gonna win it over daddy). Looking at Clinton now giving her victory speech, she's clearly delighted, a happy little princess. Many tens of thousands of Sanders supporters were no so happy as they didn't get to vote because they hadn't re-registered 6 months in advance (when Sanders was still largely unknown) and there was hardly any real choice besides Clinton. The people have once again been misled. Had Sanders and Clinton had the same MSN exposure Sanders nomination would have been secured by now. Looks like 8 more years for Bill Clinton in the White House, but this time without easy interns, he''ll have to make do with the wives of foreign heads of state.....

Today's artists an industrial group whose members prefer to be known as a collective rather than reveal individual names; they've been seen as fascists and of practicing Germanophilia because of their music's Wagnerian thunder and their military attire. According to them, "We are fascists as much as Hitler was a painter." Since fascism needs a scapegoat to flourish, the members mocked it by becoming their own scapegoat and willingly sought alienation. Showing a ridiculous lust for authority, their releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the group's live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character... ..N'Joy

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Some early Laibach albums were pure industrial, with hard industrial percussion, heavy rhythms, and roaring vocals. Later in the mid-80s, the Laibach sound became more richly layered with samples from classical music including from Gustav Holst’s The Planets. The band began their tradition of cover songs in 1987 with the album Opus Dei, where their sound changed again.

Laibach's cover versions are often used to subvert the original message or intention of the song — a notable example being their version of the song "Live is Life" by Opus, an Austrian arena rock band. Laibach recorded two new interpretations of the song, which they titled Leben Heißt Leben, and Opus Dei. The first of these, the opening song on the Laibach album Opus Dei (1987), was sung in German. The second was promoted as a single, and its promotional video (which used the title "Live is Life") was played extensively on American cable channel MTV. Opus Dei retained some of the original song's English lyrics, but was delivered in a musical style that left the meaning of the lyrics open to further interpretation. Whereas the original is a feel-good pop anthem, Laibach's subversive interpretation twists the melody into a triumphant military march. With the exception of the promotional video, the refrain is at one point translated into German, giving an example of the sensitivity of lyrics to their context. The Opus Dei album also features a cover of Queen's "One Vision" with lyrics translated into German under the title '"Geburt einer Nation" ("Birth of a Nation"), revealing the ambiguity of lines like "One race one hope/One real decision". In NATO (1994), Laibach also memorably re-worked Europe's glam metal anthem "The Final Countdown" as a bombastic disco epic.

Other notable covers include the Beatles album Let It Be (1988), and their maxi-single Sympathy for the Devil (1988) which deconstructs the Rolling Stones song of the same name with seven different interpretations.In 2004, Laibach covered the song Ohne Dich by Rammstein in a significantly altered version. Unlike the solo male vocals in the Rammstein original, this cover features both male and female vocals (supplied by Laibach's Milan Fras and Mina Špiler from the band Melodrom), and the orchestral sound of the original has been supplemented — and in some sections even replaced — by a more electronic element. The lyrics of the song were also subtly altered, most noticeably in the chorus: the original version was "Ohne dich kann ich nicht sein" (roughly: "without you I cannot exist"), whereas Laibach's reworked chorus declares "Ohne mich kannst du nicht sein" (roughly: "Without me you cannot exist").

Laibach not only reference modern artists through reinterpretation, but also sample or reinvent older musical pieces. For example, their song "Anglia" is based on the national anthem of the United Kingdom, God Save the Queen. This song, and other based on national anthems are released on Volk album, which is a collection of Laibach's versions of national anthems of countries such as the United States and Russia. On this album they also included an anthem for their NSK State in Time, which is based on their song The Great Seal from the Opus Dei album.

They have also toured with an audio-visual performance centered on Johann Sebastian Bach's Die Kunst der Fuge. Since this work has no specifications of acquired instruments and is furthermore based on mathematical principles, Laibach has argued that the music can be seen as proto-techno. Therefore, the band found Die Kunst der Fuge to be ideal for an interpretation using computers and software.

In 2009 Laibach also reworked Richard Wagner's Overture to Tannhäuser, Siegfried-Idyll and The Ride Of The Valkyries in collaboration with the symphonic orchestra RTV Slovenia, conducted by Izidor Leitinger. Laibach's version is titled "VolksWagner". In addition to cover songs, Laibach has remixed songs by other bands. These include two songs by the Florida death metal band Morbid Angel that appear on the Morbid Angel EP Laibach Re-mixes. In 2009 Laibach made new versions of their own songs from the early 1980s such as Brat moj, Boji and Smrt za smrt. They have been performed live and will be released on the album Laibach Revisited.

Although primarily a musical group, Laibach have sometimes worked in other media. In their early years, especially before the founding of Neue Slowenische Kunst (NSK), Laibach produced several works of visual art. A notable example was MB 84 Memorandum (1984) an image of a black cross that served as a way to advertise Laibach's appearances during a period in the 1980s when the government of Yugoslavia banned the name "Laibach". Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications.

The visual imagery of Laibach's art (or 'Laibach Kunst', as it calls itself) has been described as "radically ambiguous". An early example of this ambiguity would be the woodcut entitled The Thrower, also known as Metalec (The Metal Worker). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word 'LAIBACH', evoking memories of the Nazi occupation of Slovenia (when the capital city was briefly known by its original German language name of Laibach). This piece was featured prominently during a TV interview of Laibach in 1983, during which the interviewer Jure Pengov called Laibach "enemies of the people."

Laibach has frequently been accused of both far left and far right political stances due to their use of uniforms and totalitarian-style aesthetics. They were also accused of being members of the neo-nationalism movement, which reincarnates modern ideas of nationalism. When confronted with such accusations, Laibach are quoted as replying with the ambiguous response "We are fascists as much as Hitler was a painter". The members of Laibach are notorious for rarely stepping out of character. Some releases feature artwork by the Communist and early Dada artist/satirist John Heartfield. Laibach concerts have sometimes aesthetically appeared as political rallies. When interviewed, they answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.

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Probably the band's most famous release in the English-speaking world, Laibach's Let It Be -- unlike the Replacements' album -- didn't just name itself after the Beatles' swan song, it full-on covered every last bit of it, with the notable exception of the title track ("Maggie Mae" gets a Slovenian folk tune substituted for it). Having spent some time beforehand drawing any number of parallels of right-wing extremism with their home country's government and the West alike, especially when it came to the resemblance of big rock concerts to totalitarian rallies, all Laibach had to do was tackle what they felt was the Beatles' worst album. In some respects, Let It Be wasn't that hard of an effort -- songs like "Get Back," "I Me Mine," and "One After 909" simply had to have the Laibach elements applied (growled vocals, martial drums, chanting choirs, overpowering orchestrations, insanely over-the-top guitar solos) to be turned into bizarre doppelgängers. The sheer creepiness of hearing such well-known songs transformed, though, is more than enough reason to listen in -- "Dig It" in particular becomes a full-on Third Reich chant, only to be trumped by the meta-metal fake-live recording blast of "I've Got a Feeling." In a more subtle way, "Across the Universe" easily trumps the original, only a female choir, harpsichord, and organ turning it into a disturbed anthem of acquiescence. Meanwhile, other efforts like "Two of Us" have a smooth, strong passion to their arrangements -- the sheer appeal of the commanding delivery in its own way helps explain the appeal of stage-managed demonstrations and performance. It's a joke endlessly folded in on itself, a killing joke and then some. Happily, it's just as funny as it is disturbing, and points for the hilariously unsettling cover art as well.

Laibach - Let It Be (flac 262mb)

01 Get Back 4:25
02 Two Of Us 4:05
03 Dig A Pony 4:40
04 I Me Mine 4:41
05 Across The Universe 4:15
06 Dig It 1:30
07 I've Got A Feeling 4:30
08 The Long And Winding Road 1:53
09 One After 909 3:20
10 For You Blue 5:24
11 Maggie Mae (Auf Der Luneburger Heide & Was Gleicht Wohl Auf Erden) 3:42

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Part of Laibach's two-pronged attack on rock & roll via two of its most omnipresent icons -- the Beatles' Let It Be being the other source of ire -- Sympathy for the Devil is indeed a collection of versions of the Rolling Stones song. The weirdly ecstatic shimmer and shake of the original gets demolished and reconstructed thoroughly, Laibach's by-now trademark approach of Wagner-ian stomp and bombast and growled vocals turning the tune into something else again. If the alternate versions were just remixes of a core take, Sympathy for the Devil wouldn't be half as interesting as it is, but Laibach demonstrates their abilities with a range of approaches throughout, always seeming like they're laughing with and at their potential audience at the same time. Some are more straight-up industrial/electronic body music takes for clubs -- spiked with the de rigueur samples expected for such things, including song subject John Kennedy and spoken bits from the Stones themselves -- while others have the hints of psychedelia from the original's era, including bits of sitar and the like. Sometimes the lyrics are delivered in harrowing, strained German, other times in guttural English, the "woo-woos" turn into wordless invocations of marching doom. Hilariously and presumably intentionally cheesed-out corp rock guitar crops up here, weirdly creeped-out female vocals take the lead there, and the end result all seems perfectly calculated to make classic rock fans die several times over of coronaries. There is one near-instrumental non-cover, the dramatic swirling-string and vocalless-choir electronic rhythm assault of "Anastasia," but that also takes a fair amount of inspiration as the title indicates. In the end, seven versions of the same song are more than a little overwhelming, but as an extended experiment Sympathy for the Devil stands up more or less on its own two feet -- and the cover art is some of the most grimly hilarious stuff Laibach ever used.

Laibach - Sympathy for the Devil (flac 312mb)

1 Sympathy For The Devil (Time For A Change) 5:33
2 Sympathy For The Devil (Dem Teufel Zugeneigt) 5"00
3 Anastasia by Dreihunderttausend Verschiedene Krawalle 5"29
4 Sympathy For The Devil (Who Killed The Kennedys - Instrumental) by Germania 5:51
5 Sympathy For The Devil (Who Killed The Kennedys) by Germania 7:00
6 Sympathy For The Devil (Soul To Waste) by Dreihunderttausend Verschiedene Krawalle 4:50
7 Sympathy For The Devil 4:50
8 Sympathy For The Devil (Soul To Waste - Instrumental) by Dreihunderttausend Verschiedene Krawalle 7:52

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Shortly before the Sympathy for the Devil/Let It Be phase of the band's existence, another group of Laibach members was pursuing more explicitly high-art goals, specifically in following up Baptism by providing the soundtrack to another experimental theater production. Said production, an adaptation of Shakespeare's Macbeth, featured two members of the band performing the music directly on-stage with the actors. The resulting album couldn't feature that aspect, obviously, but there's just over 30 minutes of music that makes for an interesting experience on its own, if a somewhat forbidding one even for Laibach. As a soundtrack, Macbeth is much more strident and high impact than Baptism -- more than once it seems unclear as to how the actors could deliver any lines over the music. Alternating in an irregular fashion between quieter and much more overbearing sections, Macbeth in many ways feels like one endless march forward, however occasionally punctuated by string/horn-only parts or by sample collages featuring everything from crying babies to hoarse chants to screeching metal. Those who appreciate the collapsing chaos of such groups as Nurse With Wound and earlier Krautrock luminaries like Faust may well enjoy such parts, as well as when the tape audibly speeds up and makes everything even more of an edgy, live-wire mess. On balance, only those fans who enjoyed Baptism should consider getting Macbeth, and even then many will find it fairly impenetrable, but it's still a grand, large enough listen. In a slightly annoying mastering note, the whole disc is mastered as one track; individual track listings are provided on the back cover, but it's anyone's guess as to what goes where.

Laibach - Macbeth   (flac  222mb)

[NJC 11]
01 Preludium 1:02
02 Agnus Dei (Acropolis) 4:33
03 Wutach Schlucht 4:27
04 Die Zeit 1:14
05 Ohne Geld 3:52
06 U.S.A. 0:50
07 10.5.1941 0:31
08 Expectans Expectavos 5:13
09 Coincidentia Oppositorum 4:21
10 Wolf 1:03
11 Agnus Dei (Exil Und Tod) 4:54

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Compared to the 2004 compilation Anthems (which was a two disc set, but with one disc given up to remixes) this 2012 overview of Laibach has eight extra years to cover, and with one bonafide career highlight occurring during that time, the absolutely epic "B Mashina", which was a key feature of the Nazis-on-the-moon, dark comedy film Iron Sky. If getting "B Mashina" is a "pro", then losing the jackbooted techno monster called "Tanz Mit Laibach" from the tracklist is certainly a "con", but true to their titles, the older Anthems focused on the "greatest hits" of the group, while this one goes for the full, avant-garde Laibach picture. At least as much as can fit on a one disc overview, since this group that some see as Rammstein in fascist garb are much more than a Germanic techno band who do absurd cover versions. For one, they're Slovenian, and their cover versions ironically twist pop and rock, often into totalitarian anthems, like morphing Queen's "One Vision" into the industrial propaganda hit "Geburt Einer Nation". Opus' positive Euro-hit "Live Is Life" becomes the stern work song "Leben Heißt Leben" and Europe's hair metal standard "Final Countdown" becomes a Kraftwerk-meets-KMFDM-styled embrace of the New World Order and military strength, all of it fun or funny at face value, but they are wry and snide stabs at the politics of the Western world as well. An art collective rather than a traditional band, Laibach were formed before the Yugoslavian breakup and had considered themselves Slovenian the whole time, but with that collective state issue settled to some degree, their commenting on the one world empire and its cultural invasion of the world continued with a disc of national anthems done Laibach-style ("Germania" and "Anglia" are included here), while pop icons like Bob Dylan (their sinister "Ballad Of A Thin Man" gets at the grimness of the song) and Nana Mouskouri/Bino (the version "Mama Leone" is angelic and cold, all at once) were also explored. An Introduction To gives a taste of it all, and adds to it a great "Tanz Mit Laibach" alternative with "Warme Lederhaut", a razor-sharp cover of the Normal's "Warm Leatherette", a conceptional move in itself since it was written by their record company's (Mute Records) label boss (Daniel Miller). As to the "why?" of it all, "Laibach doesn't function as an answer, but a question", so it is fitting that this Introduction is less satisfying and sharp, but more enlightening than the crowd-pleasing Anthems.

Laibach - An Introduction To..   (flac  455mb)

01 Warme Lederhaut 2:55
02 Ballad Of A Thin Man 5:33
03 Germania 4:02
04 Anglia 3:38
05 Mama Leone 4:51
06 B Mashina 3:52
07 Bruderschaft 4:13
08 God Is God 3:43
09 Final Countdown 5:40
10 Alle Gegen Alle 3:53
11 Across The Universe 4:00
12 Get Back 4:24
13 Leben Heißt Leben 5:29
14 Geburt Einer Nation 4:21
15 Opus Dei 5:03

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