Sundaze 1631

Hello, it's the final race before the summer break in F1 and Mercedes still leads the pack not as clearcut as previously, Red Bull is making a move on them whilst passing Ferrari who are still close. Rosberg is on poll and needs a good start because Hamilton will be eager to steal his glory in Germany. Verstappen and Riccardio will battle for third, with Ferrari trying to outsmart them with a better strategy. Could be an interesting race with plenty possibility of overtaking.


About today's artists, they shared the same label 'Extreme' both produced a shortlived excellent blip in the mid nineties. One uses electronic music to create a ethereal, multi-textured sound that builds around an electric bass core. Their mixture of organic and electronic instrumentation help them achieve a depth and complexitity of composition that is somewhat rare in ethno-ambient music. The other creates organic influence wrapped around electro sensibilities, it creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. They nest layers of acoustica and electronica to create their unique and variable tone.......N'Joy

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The duo known as Mo Boma (named after a pygmy girl's lullaby), is comprised of Carsten Tiedemann, a native of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee College of Music in Boston. Tiedemann's studies in classical composition structures and ethnic music traditions feature prominently in Mo Boma's style, which uses electronic music to create a ethereal, multi-textured sound that builds around Sverrisson's electric bass core. Sverrisson's own experience as a jazz bassist and improvisational musician also makes a major impact on Mo Boma's sound. The mixture of organic and electronic instrumentation help Mo Boma acheive a depth and complextity of composition that is somewhat rare in ethno-ambient music. Their debut album, Jijimuge, was issued in 1992, but perhaps the best example of their unique sound is their 1996 album, Myths of the Near Future, Vol. 1, which was vaguely inspired by the works of J.G. Ballard. It weaves percussive sections around a calm, shimmering vortex, anchored always by Sverrisson's bass. Mo Boma issued two more volumes of the Myths of the Near Future series in the mid-'90s, each featuring similar sounds, but playing tribute to their own unique themes.

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A very nice blend of percussive, bass guitar-rooted rhythms with field recordings from Africa and a variety of synthesizer and sampler tones and textures. Mo Boma are based mainly in Sweden, though this album was recorded in a number of locations including South Africa. It's a fascinating blend of world and trance music, with part of its heart in the works of J.G. Ballard. Musically, the entire album has a tendency to shift slowly and gracefully around a calm center, sliding from drifting tones to percussive sections in a remarkably seamless manner. There's a lot happening in these tracks, whether it's the percussion, the environmental sounds, or bassist Skuli Sverrisson going off on an extended jazz jaunt on "Terrace." It's an album with which you can relax the mind and body and work up some creative fire, which is no small recommendation.

Mo Boma - Myths Of The Near Future I  (flac  235mb)

01 Food Of The Gods 6:12
02 Walk Like A Pygmy 4:02
03 The Kindness Of Women 3:50
04 Slolooblade: The Drowned World 7:05
05 Terrace 3:42
06 Jijimuge Three (Yellow Earth - Amaboma) 7:10
07 Mongombi 3:48
08 Garden Of Time 5:45
09 Nyodi 5:20

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With music dedicated to "the memory of the plants, animals, and indigenous peoples whose extinction is caused by man," Mo Boma mixes elements of ambient and world music combined with the same sort of new age-y classicism that drove much of Tangerine Dream's best work. But what sets the trio apart from more self-indulgent groups of the instrumental music genre is the incorporation of live instruments. Skuli Sverrisson's subtle, unobtrusive bass work recalls the bottom-end gurglings of Bill Laswell, while Carsten Tiedemann (who also contributes vocals, percussion, and African lute to the mix) plays guitar like a young Robert Fripp. But it's the synth work of Jamshied Sharifi that provokes Tangerine Dream comparisons, as his mature phrasing and textural layering sound like the product of a classical music background. The group uses source recordings from Central Africa as one element of its sound, but rather than the shallow gimmickry of groups like Deep Forest, such assimilations seem natural in the context of Mo Boma's exotic musical environments. A welcome addition to the ethno-ambient canon.

Mo Boma - Myths Of The Near Future II + III  (flac  420mb)

01 First Thought Best Thought 2:05
02 Jijimuge Four (Thirsty Heavens+Papua Swirl) 6:10
03 Mo Fonk 3:25
04 Little Morf 2:40
05 Bombolionheart 5:30
06 Bataloo 4:00
07 Loony Toon 2:45
08 Mebasi 2:20
09 The Day Of Creation 4:30
10 Elima: Dance Of Girls 3:20
11 Bambuké 2:25
12 Ba 'Mbuti Minus One 1:55
Myths Of The Near Future III
01 Water Baka 4:21
02 Whirl 3:48
03 Dreaming Weavers 3:01
04 Secret Cargoes 3:57
05 The Crystal World 4:08
06 Day Of Forever 2:15
07 Memories Of The Space Age 5:02
08 Sannin Bayashi 2:26
09 Three Beaches C. S. 5:58
10 Molimo 5:54

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Soma is the dark ambient and techno musical project of Australian composers David Thrussell and Pieter Bourke. The collaboration began in 1993 when Thrussell approached Bourke about the possibility of remixing Eden tracks. The Eden remixing sessions yielded the first Soma compositions. Soma developed into a full-time project when Bourke moved in with Thrussell after a fire had destroyed his flat, allowing the two more time to work together. Their debut album Hollow Earth was issued on Extreme Records in 1994 and was well-received critically.

There are firm underlying concepts behind each SOMA album. It's an organic thing. We don't consult our demographic charts or memorise the latest edition of "How To Win Critics and Influence Audiences". But themes and linkages naturally develop. For some reason the music of SOMA seems to circle the areas of magic, mystery and the 'supernatural'. On "Hollow Earth" the music and ideas naturally developed around obsessions with caves, water, soil, subterranean existence and the civilizations living beneath the earth's crust. On "The Inner Cinema" you can see an obvious rejection of late 20th Century cold materialism. "The Inner Cinema" celebrates passion, heroism, drama and emotion. We immersed ourselves in hot-blooded "Spaghetti Westerns", the lore of ancient and lost civilisations and bizarre sex and sacrifice rituals.

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Powered by artists Pieter Bourke of Dead Can Dance fame and David Thrussell of electro acts Snog and Black Lung, Soma's debut, Hollow Earth, has the polish of veteran musicians. Bourke's organic influence wrapped around Thrussell's electro sensibilities creates exotic constructions that skirt the borders of ambience, techno-lite and soundtrack with a vocabulary that is both stylish and deep. Soma nest layers of acoustica and electronica to create their unique and variable tone. "Soma Romanz" is founded on a solid techno beat interspersed with electro pulses and a syncopated cowbell, and driven by a hauntingly simple, wordless female vocal sample. By contrast, "Sleepwalker" is much lighter and more mechanistically electro fare that approaches ambient techno. In parts of Hollow Earth, the obvious electronica recedes. "God Sends the Meat and the Devil Cooks" is a journey detailed with spaghetti-western guitar, rhythmically complex bongo, and a faraway synth melody. Soma has got complexity and depth, but it's not necessarily music that will keep you still. However, Soma's subtle darkness dodges between the poles of upbeat and brooding. One of the high points of Hollow Earth is "Dark Koma," in which another haunting female vocal plays a counterpoint against a screeching synth that threatens to overtake the melody, against electro bells and all-too-real percussions. As in most of Hollow Earth, the balance between elements is delicate and perfectly defined. Perhaps the only disappointing aspect of the release is that this tension itself is hard to sustain -- tracks such as "The Subterranean" and "Corporate Anthem Part 1" may threaten to become easy background music for some listeners. Hollow Earth may not reveal itself fully at first glance, but that is half the pleasure of getting to know this release. Energetic yet engaging, Hollow Earth is the music of imagined scenes that may take some time to settle, but is worth every moment. The style is a true hybrid of electronica, at times feeling like early sci-trance, but with a lot of unexpected breaks and transitions - engaging arrangements of lush and crisp sounds. A recurring bassline/mechanical drum theme pushes forward. Then there is also also a strong ambient element throughout, lots of twists and turns with a somewhat sacred vibe, but also great electronic bounce thanks to ample sequencing/synth techniques. It's a retro-futuristic drive and a hidden gem of Australian electronics.

Soma - Hollow Earth  (flac  366mb)

01 Soil Theme 4:27
02 Soma Romanz 7:59
03 Sleepwalker 6:04
04 Nightsoil 4:52
05 Corporate Anthem Part 1 4:37
06 God Sends The Meat And The Devil Cooks 4:10
07 Corporate Anthem Part 2 3:21
08 Dark Koma 6:06
09 The Subterranean 4:15
10 The Black Lodge 6:01
11 Soma Romanz (Clovus) 6:17
12 Nowhere Nothin' Fuck Up 3:40
13 Hollow Earth 12:29

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The Inner Cinema sees the collaboration between David Thrussell and Pieter Bourke evolve and deepen from the tone set by the debut release, Hollow Earth. Thrussell's hard electronic tendency, evidenced in his other acts, Snog and Black Lung, is tempered with Bourke's organic sensibility to create a range of soundscapes that compels the imagination. The different scenes that The Inner Cinema paints do not fall into the category of ambient mood music. Without breaking type, each track is different, setting up a distinct reflective feel that marries acoustic and electronic voices and cultural flavors. At times spaghetti Western, at others a panoramic establishment wide shot, and at yet others a poignant vignette, Soma has captured the imaginary spaces of soundtracks without films. "Stygian Vista" is a blend of steel-string guitar, smooth electro bass, and synth washes laced with small acoustic drums and gunshots. There is no weak point or even flow -- each of the ten remaining tracks is a stand-alone scene that tells its own story, each as well realized as the last. The mood on "The Drunken Atlantean" is different again, with a ponderous electro riff and light percussion that gain gravity as the track proceeds to its quiet conclusion. "Baal"'s urgency and driven percussion picks up the pace, reinforced by electronic elements and trumpets that come straight from the Ennio Morricone stable. Soma touches on a variety of moods without compromising the organizing principles of The Inner Cinema -- it just works. Neither artist's voice dominates in a space shared by two obviously talented artists. Soma has stolen glimpses of a faraway place and packaged them for review in The Inner Cinema. It is not the same tone as predecessor Hollow Earth, but the end you arrive at is not what Soma seems to be focused on -- it is the journey.

Soma - The Inner Cinema  (flac 379mb)

01 Stygian Vista 7:26
02 Arcane 5:43
03 The Golden Dawn 5:58
04 The Drunken Atlantean 3:36
05 Baal 6:07
06 The Collector 5:43
07 Risen From Agartha 6:11
08 Antediluvian 4:27
09 Alchemical Nuptial 8:38
10 Shambhala 4:44
11 Endless 5:00

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Not quite a new album, not quite a stand-alone EP, not entirely a remix collection, Stygian Vistas is an often enjoyable collection of moody instrumentals in the vein of Soma's earlier work. While it's perhaps easier to tell at a distance than at the time, Soma could be said to have had peers in groups like A Small Good Thing and Future Sound of London, bands who played around with ambient textures, breakbeats, worldwide sources of samples and instruments, and a sense of cinematic work, suggesting soundtracks to unfilmed movies. The use of twangy electric guitar on some tracks, calling to mind as it does the innovative work of Ennio Morricone, is the clearest connection to that last sense, as songs like the title track and "God Sends the Meat & the Devil Cooks (...And Cooks...and Cooks...)," the latter reappearing from Hollow Earth in a new form, amply demonstrate. At the same time the sense of tribal rhythms from many different sources demonstrates perhaps why Soma's Pieter Bourke later worked with Lisa Gerrard -- "The Olmec Enigma," with its beats intermixing between electronic and apparently acoustic elements (including what almost might be a sequenced guitar part), is a nicely moody example. The polite experiments with jungle on songs like "Amphibious Premonitions Bureau," while enjoyable, lack the careening edge that defines the best of such work. Of the outside remixes, the Nonplace Urban Field take on the title track is fair enough, but the Francois Tetaz take on "Riser From Agartha" is something else again, at once a deep, murkily sensuous dub and a crisp, upfront steady beat, a quavering vocal sample bridging the gap. The Fetisch Park remix of "Alchemical Nuptial" closes the album on an agreeable enough note.

Soma - Stygian Vistas EP  (flac 263mb)

01 Stygian Vista (Radio Controlled) 4:03
02 God Sends The Meat And The Devil Cooks (...And Cooks...And Cooks...) 6:21
03 Amphibious Premonitions Bureau 5:08
04 The Lost Mathematician 4:39
05 The Olmec Enigma 6:02
06 Stygian Vista (Nonplace Urban Field Remix) 4:58
07 Risen From Agartha (François Tétaz Remix) 4:54
08 Alchemical Nuptial (Fetisch Park Remix) 7:56

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RhoDeo 1630 Grooves

Hello,  so it's going to be Hillary and co vs Superman Donald this fall, now it should be a win for Hillary and co, that is if Hillary can keep her cool against a barrage of the Superman nonsense that send 17 Republicans candidates home, crying.. A tall order indeed but then we are allowed to expect a cool head in the Whitey's House. It's grandma's time now...


Today's artist has been with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography from 4 different decades. You can wait to see what i'll post or your welcome to request a title  ... N'joy

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Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums, and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince showed remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music was inconsistent, in part because of his eclecticism, but his experiments frequently succeeded; no other contemporary artist blended so many diverse styles into a cohesive whole.

Prince's first two albums were solid, if unremarkable, late-'70s funk-pop. With 1980's Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984's Purple Rain.
Around the World in a DayPurple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the '60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of "Kiss."

By 1987, Prince's ambitions were growing by leaps and bounds, resulting in the sprawling masterpiece Sign 'O' the Times. Prince was set to release the hard funk of The Black Album by the end of the year, yet he withdrew it just before its release, deciding it was too dark and immoral. Instead, he released the confused Lovesexy in 1988, which was a commercial disaster. With the soundtrack to 1989's Batman he returned to the top of the charts, even if the album was essentially a recap of everything he had done before. The following year he released Graffiti Bridge (the sequel to Purple Rain), which turned out to be a considerable commercial disappointment.

Diamonds and Pearls In 1991, Prince formed the New Power Generation, the best and most versatile and talented band he has ever assembled. With their first album, Diamonds and Pearls, Prince reasserted his mastery of contemporary R&B; it was his biggest hit since 1985. The following year, he released his 12th album, which was titled with a cryptic symbol; in 1993, Prince legally changed his name to the symbol. In 1994, after becoming embroiled in contract disagreements with Warner Bros., he independently released the single "The Most Beautiful Girl in the World," likely to illustrate what he would be capable of on his own; the song became his biggest hit in years. Later that summer, Warner released the somewhat halfhearted Come under the name of Prince; the record was a moderate success, going gold.

Gold Experience In November 1994, as part of a contractual obligation, Prince agreed to the official release of The Black Album. In early 1995, he immersed himself in another legal battle with Warner, proclaiming himself a slave and refusing to deliver his new record, The Gold Experience, for release. By the end of the summer, a fed-up Warner had negotiated a compromise that guaranteed the album's release, plus one final record for the label. The Gold Experience was issued in the fall; although it received good reviews and was following a smash single, it failed to catch fire commercially. In the summer of 1996, Prince released Chaos & Disorder, which freed him to become an independent artist. Setting up his own label, NPG (which was distributed by EMI), he resurfaced later that same year with the three-disc Emancipation, which was designed as a magnum opus that would spin off singles for several years and be supported with several tours.

Crystal Ball However, even his devoted cult following needed considerable time to digest such an enormous compilation of songs. Once it was clear that Emancipation wasn't the commercial blockbuster he hoped it would be, Prince assembled a long-awaited collection of outtakes and unreleased material called Crystal Ball in 1998. With Crystal Ball, Prince discovered that it's much more difficult to get records to an audience than it seems; some fans who pre-ordered their copies through Prince's website (from which a bonus fifth disc was included) didn't receive them until months after the set began appearing in stores. Prince then released a new one-man album, New Power Soul, just three months after Crystal Ball; even though it was his most straightforward album since Diamonds and Pearls, it didn't do well on the charts, partly because many listeners didn't realize it had been released.

The Vault: Old Friends 4 Sale A year later, with "1999" predictably an end-of-the-millennium anthem, Prince issued the remix collection 1999 (The New Master). A collection of Warner Bros.-era leftovers, Vault: Old Friends 4 Sale, followed that summer, and in the fall Prince returned on Arista with the all-star Rave Un2 the Joy Fantastic. In the fall of 2001 he released the controversial Rainbow Children, a jazz-infused circus of sound trumpeting his conversion to the Jehovah's Witnesses that left many longtime fans out in the cold. He further isolated himself with 2003's N.E.W.S., a four-song set of instrumental jams that sounded a lot more fun to play than to listen to. Prince rebounded in 2003 with the chart-topping Musicology, a return to form that found the artist back in the Top Ten, even garnering a Grammy nomination for Best Male Pop Vocal Performance in 2005.

3121 In early 2006 he was the musical guest on Saturday Night Live, performing two songs with a new protégée, R&B singer Tamar. A four-song appearance at the Brit Awards with Wendy, Lisa, and Sheila E. followed. Both appearances previewed tracks from 3121, which hit number one on the album charts soon after its release in March 2006. Planet Earth followed in 2007, featuring contributions from Wendy and Lisa. In the U.K., copies were cover-mounted on the July 15 edition of The Mail on Sunday, provoking Columbia -- the worldwide distributor for the release -- to refuse distribution throughout the U.K. In the U.S., the album was issued on July 24.

LotusFlow3rLotusFlow3r, a three-disc set, arrived in 2009, featuring a trio of distinct albums: LotusFlow3r itself (a guitar showcase), MPLSound (a throwback to his '80s funk output), and Elixer (a smooth contemporary R&B album featuring the breathy vocals of Bria Valente). Despite only being available online and through one big-box retailer, the set debuted at number two on the Billboard 200 chart. A year later, another throwback-flavored effort, 20Ten, became his second U.K. newspaper giveaway. No official online edition of the album was made available.

From mid-2010 through the end of 2012, Prince toured throughout Europe, America, Europe again, Canada, and Australia. During 2013, he released several singles, starting with "Screwdriver" and continuing with "Breakfast Can Wait" in the summer of that year. Early in 2014, he made a cameo appearance on the Zooey Deschanel sitcom The New Girl, appearing in the episode that aired following the Super Bowl. All this activity was prelude to the spring announcement that Prince had re-signed to Warner Bros. Records, the label he had feuded with 20 years prior. As part of the deal, he wound up receiving the ownership of his master recordings, and the label planned a reissue campaign that would begin with an expanded reissue of Purple Rain roughly timed to celebrate its 30th anniversary.

Art Official Age First came two new albums: Art Official Age and PlectrumElectrum, the latter credited to 3rdEyeGirl, the all-female power trio that was his new-millennial backing band. Both records came out on the same day in September 2014. (Two years later, the Prince reissue program and the expanded edition of Purple Rain had yet to appear.) Almost a year to the day, he released HITnRUN: Phase One, with contributions from Lianne La Havas, Judith Hill, and Rita Ora. A sequel, HITnRUN: Phase Two, was released online in December 2015, with a physical release following in January 2016. In early 2016, Prince set out on a rare solo tour, a run of shows he called "Piano and a Microphone." The tour was cut short in April due to sickness, however, and Prince flew home to Minneapolis. On April 21, 2016, police were called to Paisley Park, where they found Prince unresponsive; he died that day at the age of 57. His early death and incredible achievement prompted an outpouring of emotion from fans, friends, influences, and professional associates. On the following week's Billboard charts, he occupied four of the top ten album positions and four of the top singles positions.


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Purple Rain made Prince sound like he could do anything, but it still didn't prepare even his most fervent fans for the insular psychedelia of Around the World in a Day. Prince had made his interior world sound fascinating and utopian on Purple Rain, but Around the World in a Day is filled with cryptic religious imagery, bizarre mysticism, and confounding metaphors which were drenched in heavily processed guitars, shimmering keyboards, grandiose strings, and layers of vocals. As an album, the record is a bit impenetrable, requiring great demands of the listener, but individual songs do shine through: "Raspberry Beret" is a brilliant piece of neo-psychedelia with an indelible chorus, "Pop Life" is a snide swipe at stardom that emphasizes Prince's outsider status, "Condition of the Heart" is a fine ballad, "America" is a good funk jam, "Paisley Park" is heavy and slightly frightening guitar psychedelia, while the title track is a sunny, kaleidoscopic pastiche of Magical Mystery Tour.

Prince & The Revolution - Around the World in a Day   (flac 245mb)

01 Around The World In A Day 3:25
02 Paisley Park 4:41
03 Condition Of The Heart 6:46
04 Raspberry Beret 3:31
05 Tamborine 2:46
06 America 3:40
07 Pop Life 3:42
08 The Ladder 5:26
09 Temptation 8:21

Prince & The Revolution - Around the World in a Day   (ogg 101mb)

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In many ways one of his most brilliant quirky albums. "Come" is an exciting concept album that flows from everything to sex to abuse to racism to even more sex. The songs not only work great as written poetry but as great R&B music. The album starts out with the sex fest that is "Come" that is extremely long at over 10 minutes but is beat for beat hot rhythms. Followed is the even hotter "Pheromone". Great social commentary's come in the form of the story song "Papa" ("don't abuse your kids, or they'll end up like me.") and the awesome funk rap of "Race" ("I bleed, you bleed. Both the bold is red. Get it"). "Letitgo" is one of those great R&B gems that just doesn't get the radio play it deserves. It's a great funky number and is extremely heartfelt at the same time. "Orgasm" speaks for itself and is just a sex scene with some Prince music in the background. Talk about the conclusion. Maybe the best song on the set is a small gem that just hides within the middle. It's an electronic song called "Loose!" which pulsates with hot dance grooves and tons of funk. The CD is almost worth it just for that track. The album is full of not only great feeling and hot R&B sounds but has light faire like the mellow "Solo" and R&B ballad "Space". It's also Prince's last record and a great ending to an awesome career. The Artist has made some great stuff, but I think this Prince record is nearly untouchable. Eccentric music and creative stuff.

Prince. - Come    (flac  350mb)

01 Come 11:13
02 Space 4:28
03 Pheromone 5:08
04 Loose! 3:26
05 Papa 2:48
06 Race 4:28
07 Dark 6:10
08 Solo 3:48
09 Letitgo 5:32
10 Orgasm 1:39

Prince. - Come (ogg  120mb)

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If you know Prince since he left warner bros. Then you know the man is prone to changes. This album was supposedly billed as an Acoustic PIANO album...although it features quite a bit of keys and synth strings and flute. Acoustic piano on track 8 as well

Here a track by track review, it was issued and only available to NPGMC members

1) One Nite Alone - Smooth sexy vibe Prince's intro to spend some time with him
2) Ur Gonna C Me - Redone (this version is better) on Lotusflow3r. Semi Love song
3) Here On Earth - Great song, later redone on Planet Earth
4) A Case Of You - Joni Mitchell cover; excellent.
5) Have a Heart - Lamenting those who claim hurt when they had no heart to begin with. "waiting for the righteous to buy in, and right every one of the wrongs" good lyric
6) Objects in the Mirror - P talking bout "making a movie" again. "let's brush our teeth in the same sink" humorous sweet stuff. The objects in the mirror are him and someone else
7) Avalanche - Prince's harshest song ever. I think he read Forced into Glory: Abraham Lincoln's White Dream and came up with this song. As well as American Holocaust: The Conquest of the New World, A Little Matter of Genocide: Holocaust and Denial in the Americas 1492 to the Present because this song is honest and caustic about the reality of this nation and the abuse taken on the human mind and consciousness for neither acknowledging it for future generations to prevent it, nor to objectively view the US "settlement" for what it was: a crapshoot, filled with lies, hypocrisy, denial, slavery, genocide and betrayal (which he likens to the early exploitation of "jazz" artists by "industry pioneers")
8) Pearls B4 the Swine - Great song with an upbeat
9) Young and Beautiful - Sappy but happy song; a chaste version of Pussy Control. Happy piano, very enjoyable tho (keep it in your pants and wait for someone good)
10) Arboretum- instrumental, long fade out

Alas, it's a pity it's virtually unavailable unless you want to spend a HUGE dollar, but being 'non materialist' here we can enjoy it's digital representation...

Prince - One Nite Alone...    (flac  179mb)

01 One Nite Alone... 3:37
02 U're Gonna C Me 5:16
03 Here On Earth 3:23
04 A Case Of U 3:39
05 Have A Heart 2:04
06 Objects In The Mirror 3:27
07 Avalanche 4:24
08 Pearls B4 The Swine 3:01
09 Young And Beautiful 2:44
10 Arboretum 3:26

 (ogg   mb)

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Prince returned to Warner Bros. Records in a big way in 2014, settling a 15-year feud on terms that were decidedly in his favor. He acquired the rights to his masters, agreed to a series of deluxe reissues, and released two brand-new albums, one recorded on his own and one recorded with his backing power trio 3rdEyeGirl. Art Official Age, the album credited to his lonesome, finds Prince reveling in many of the sounds of the '80s, reviving his Bob George and Camille voices, dabbling in deep electro-funk on "What It Feels Like," indulging in a full-fledged freakout on "Funknroll." Despite all these winking allusions to his past, Art Official Age feels of piece not with the Revolution but rather the New Power Generation: underneath the squalls of guitar, psychedelic soul harmonies, and impish humor, this is a full-fledged R&B album, one that often echoes Diamonds and Pearls. Like that 1991 record, Art Official Age is heavy on dance songs with rapped verses that don't feel informed by hip-hop and slow-burning soul that pulls the past into the present. Some of Prince's modernization feels a bit ham-fisted -- he turns the Internet meme "This could be us but you playing" into a slow jam -- but he leaves all his millennial flirtations at the margins of the record, grounding it in old-fashioned notions of seduction and soul. If the album doesn't offer any startling surprises along the lines of the furious "Black Sweat" -- there's not much abandon here -- there's joy in hearing Prince embrace his lyrical eccentricities as he accessorizes his smooth jams and coiled, clean funk with such oddities as laser blasts and spoken introductions from what appear to be British nurses. Such quirks may be fleeting but their presence is enough, along with such fine songs as "Breakfast Can Wait," to elevate Art Official Age above 20Ten and other pro forma latter-day Prince records.

Prince - Art Official Age   (flac  340mb)

01 Art Official Cage 3:42
02 Clouds 4:34
03 Breakdown 4:04
04 The Gold Standard 5:53
05 U Know 3:57
06 Breakfast Can Wait 3:55
07 This Could Be Us 5:12
08 What It Feels Like 3:54
09 Affirmation I & II 0:40
10 Way Back Home 3:05
11 Funknroll 4:08
12 Time 6:50
13 Affirmation III 3:28

Prince - Art Official Age  (ogg  129mb)

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RhoDeo 1630 Re-Ups 66

Hello,

These days 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 26 re-ups, requests fullfilled up to July 26th, so where are the other requests, there's so much to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse was you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy


3x Grooves NOW in Flac (Dr. Buzzard's Original Savannah Band, Cory Daye  - Cory and Me, still in ogg  Kid Creole - Off The Coast Of Me)


5x Sunshine Brazil NOW in Flac (VA - Lucho Collected 1, Caetano Veloso - Estrangero,  VA - Brazil Classics 2, Bahia Black - Ritual Beating, still in ogg VA - Sambas Enredo 74)


4x Aetix Back In Flac (Talking Heads - Remain In Light, Talking Heads - Speaking In Tongues,  Talking Heads - The Name Of This Band Is Talking Heads Live (77-79), Talking Heads - The Name Of This Band Is Talking Heads Live (80-81))


4x Aetix Back in Flac (Timbuk 3 - Greetings From, Timbuk 3 - Eden Alley, Timbuk 3 - Edge of Allegiance, Timbuk 3 - Big Shot In The Dark)

3x Grooves Back in flac ( Funkadelic - Funkadelic; Parliament - Osmium, Funkadelic - Free Your Mind and Your Ass Will Follow)


3x grooves NOW in flac (Parliament - Clones Of Dr. Funkenstein, Clinton, George - Computer Games, Parliament - Funked Up )


3x Aetix Back in flac (Heaven 17 - Penthouse And Pavement, Heaven 17 - The Luxury Gap, Heaven 17 - How Men Are)

update from last time

2x Sundaze NOW in flac (Flying Saucer Attack - Chorus,  (found the cd) VA - Unidentified Floating Ambience )


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RhoDeo 1630 Aetix

Hello,


Today's artists are regarded as an important influence on the Manchester music scene, the independent record label movement, punk rock, power pop, and indie rock. They achieved commercial success with singles that fused pop craftsmanship with rapid-fire punk energy.The "buzz" is the excitement of playing on stage; "cock" is Manchester slang meaning "mate" (as in friend/buddy), capturing the excitement of the nascent punk scene.... ....N'Joy

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Formed in Manchester, England, in 1975, the Buzzcocks were one of the most influential bands to emerge in the initial wave of punk rock. With their crisp melodies, driving guitars, and guitarist Pete Shelley's biting lyrics, the Buzzcocks were one of the best, most influential punk bands. The Buzzcocks were inspired by the Sex Pistols' energy, yet they didn't copy the Pistols' angry political stance. Instead, they brought that intense, brilliant energy to the three-minute pop song. Shelley's alternately funny and anguished lyrics about adolescence and love were some of the best and smartest of his era; similarly, the Buzzcocks' melodies and hooks were concise and memorable. Over the years, their powerful punk-pop has proven enormously influential, with echoes of their music being apparent in everyone from Hüsker Dü to Nirvana.

Before the Buzzcocks, the teenaged Pete Shelley had played guitar in various heavy metal bands. In 1975, he enrolled in the Bolton Institute of Technology. While he was at school, Shelley joined an electronic music society, which is where he met Howard Devoto, who had enrolled at BIT in 1972. Both Shelley and Devoto shared an affection for the Velvet Underground, while Devoto was also fascinated by the Stooges. While they were still in school, Shelley and Devoto began rehearsing with a drummer, covering everything from the Stooges to Brian Eno. The trio never performed live and soon fell apart. Shelley and Devoto remained friends and several months after their initial musical venture dissolved, the pair read the first live review of the Sex Pistols in NME and decided to see the band in London. After witnessing the band twice in February 1976, the pair decided to form their own band, with the intent of replicating the Pistols' London impact in Manchester.

Both musicians decided to change their last names -- Peter McNeish became Pete Shelley and Howard Traford became Howard Devoto -- and took their group's name from a review of Rock Follies, which ended with the quotation "get a buzz, cock." The Buzzcocks began rehearsing, picking up a local drummer and bassist Garth Smith. Shortly after their formation, Shelley and Devoto booked a local club, the Lesser Free Trade Hall, with the intent of persuading the Sex Pistols to play in Manchester. They succeeded in bringing the Pistols to Manchester, but the Buzzcocks had to pull out of their own gig when both the bassist and drummer left the group before the concert. At the Pistols show, Shelley and Devoto met Steve Diggle, who joined the Buzzcocks as their bassist, and the group found their drummer John Maher through an advertisement in Melody Maker. Within a few months, the band played its first concert, opening for the second Sex Pistols show at the Lesser Free Trade Hall in July of 1976. By the end of the year, the Buzzcocks had played a handful of gigs and helped establish Manchester as the second biggest punk rock city in England, ranking just behind London.

Spiral Scratch In October of 1976, the Buzzcocks recorded their first demo tape, which remained unreleased. At the end of 1976, the group joined the Sex Pistols on their Anarchy Tour. After the tour was completed, Shelley borrowed a couple hundred pounds from his father and the band used the money to record their debut EP, Spiral Scratch. The record was the first D.I.Y., independently released record of the punk era. Spiral Scratch appeared on the band's New Hormones record label in January 1977; there were initially only 1,000 copies pressed. Shortly after the release of the EP, Devoto quit the group and returned to college; later in the year, he formed Magazine. Following Devoto's departure, Pete Shelley assumed the role as lead vocalist, Steve Diggle moved to guitar, and Garth Smith became the band's bassist. By June of 1977, the Buzzcocks were attracting the attention of major record labels. By September, they had signed with United Artists Records, who gave the band complete artistic control.

Another Music in a Different Kitchen The Buzzcocks certainly tested the limits of that artistic control with their debut single, "Orgasm Addict." Released in October of 1977, the single didn't become a hit because its subject matter was too explicit for BBC radio, but it generated good word of mouth. Following its release, Garth Smith was kicked out of the group and was replaced by Steve Garvey. The Buzzcocks' second single, "What Do I Get?," became their first charting single, scraping the bottom of the Top 40. In March, the band released its first album, Another Music in a Different Kitchen. In September of 1978 the Buzzcocks released their second full-length record, Love Bites.

A Different Kind of Tension The rapid pace of the band's recording and performing schedules quickly had its effects on the group. Not only were the concerts and recordings wearing the band down, the members were consuming alcohol and drugs in high numbers. Early in 1979 they recorded their third album, A Different Kind of Tension, which displayed some signs of wear and tear. Following the album's release in August, they embarked on their first American tour, which wasn't successful. Nevertheless, the band was enjoying the peak of its popularity at home in Britain. Later in 1979, the singles collection Singles Going Steady was released in America.

All of the inner and outer tensions on the band culminated in 1980, when they drastically cut back their performance schedule, but they persevered with recording, cutting the EP Parts 1, 2, 3, which was released as three separate singles over the course of the year. During 1980, United Artists was bought out by EMI, who cut back support of the Buzzcocks. The group began working on its fourth album in early 1981, but was prevented from recording by EMI. The label wanted to release Singles Going Steady in the U.K. before the band delivered its fourth album. The Buzzcocks refused. Consequently, EMI didn't give the band an advance to cover the recording costs of the fourth album. Shelley decided to break up the band instead of fight the label. The Buzzcocks broke up in 1981.

Trade Test Transmissions Immediately after the split, Shelley pursued a solo career that initially produced the hit single "Homosapien" but soon went dry. Steve Diggle formed Flag of Convenience with John Maher, who quit the band shortly after its formation. Steve Garvey moved to New York, where he played with Motivation for a few years. In 1989, the group re-formed and toured the United States. The following year, Maher left the band and former Smiths drummer Mike Joyce joined the band on tour. By 1990, the reunion had become permanent; after Joyce's brief tenure with the band, the final lineup of the reunited Buzzcocks featured Shelley, Diggle, bassist Tony Barber, and drummer Phil Barker.

The new version of the band released its first album, Trade Test Transmissions, in 1993. After its release, the band toured frequently. In spring of 1996, the Buzzcocks released their fifth studio album, All Set. Modern followed three years later, and a self-titled record for Merge appeared in 2003. Flat-Pack Philosophy arrived in 2006 on the Cooking Vinyl label. An anniversary set simply called 30 was released in 2008 on Cooking Vinyl. In 2014, yet another new lineup of the Buzzcocks -- Shelley, Diggle, bassist Chris Remington, and drummer Danny Farrant -- emerged with a new studio album, The Way, which was supported by an extensive North American tour in addition to their usual roadwork in the U.K. and Europe.

In October 2014 Buzzcocks toured the U.K. for three weeks with The Dollyrots as main support. In 2016, the band embarked on their 40th-anniversary tour (dubbed "Buzzcocks 40"). The Buzzcocks played at the 18th annual Punk Rock and Bowling Music Festival in Las Vegas on May 29th, and headlined the first show in Denver on June 2nd.

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If Never Mind the Bollocks and London Calling are held up as punk masterpieces, then there's no question that Singles Going Steady belongs alongside them. In fact, the slew of astonishing seven-inches collected on Steady and their influence on future musicians - punk or otherwise -- sometimes even betters more famous efforts. The title and artwork alone (the latter itself partially inspired by the Beatles' Let it Be) have been parodied or referred to by Halo of Flies and Don Caballero, which titled its own singles comp Singles Breaking Up. As for the music, anybody who ever combined full-blast rock, catchy melodies and romantic and social anxieties owes something to what the classic quartet did here. The deservedly well-known masterpiece "Ever Fallen in Love" appears along with Love Bites' "Just Lust," but the remaining tracks originally appeared only as individual A and B-sides, making this collection all the more essential. The earlier numbers showcase a band bursting with energy and wicked humor - the tongue-in-cheek "Orgasm Addict," details the adventures of a sex freak with a ridiculous fake orgasm vocal break to boot. However, the slightly more serious but no less frenetic singles are equally enthralling. "What Do I Get?" with its pained cry about lacking love, the deeply cynical "Everybody's Happy Nowadays" and Diggle's roaring "Harmony in My Head" are just three highlights on an album made of them. The final songs show the band incorporating their more adventuresome side into their singles, as with the slower, very Can-inspired "Why Can't I Touch It?," the semi-jokey stop-start thrash "Noise Annoys," and the Murphy's Law worries of "Something's Gone Wrong Again."

Buzzcocks - Singles Going Steady (flac 533mb)

01 Orgasm Addict 2:02
02 What Do I Get ? 2:55
03 I Don't Mind 2:19
04 Love You More 1:50
05 Ever Fallen In Love (With Someone You Shouldn't've) ? 2:42
06 Promises 2:37
07 Everybody's Happy Nowadays 3:13
08 Harmony In My Head 3:09
09 You Say You Don't Love Me 2:54
10 Are Everything 3:59
11 Strange Thing 4:10
12 Running Free 3:14
13 What Ever Happened To ? 2:15
14 Oh Shit ! 1:38
15 Autonomy 3:45
16 Noise Annoys 2:53
17 Just Lust 3:02
18 Lipstick 2:39
19 Why Can't I Touch It ? 6:37
20 Something's Gone Wrong Again 4:36
21 Raison D'Être 3:34
22 Why She's The Girl From The Chainstore 2:26
23 Airwaves Dream 3:54
24 What Do You Know 3:15

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Ever since this release was announced in 1982,fans have been waiting for this, and here it finally is. Legal problems with the band's U.K. label, United Artists, held it up until now; they probably wanted too much money. These 19 live songs are culled from tapes of seven different shows, and 18 of them were from gigs on their three U.S. tours. Buzzcocks were way better than this tape indicates. On December 1, 1979, they played the Palladium and WNEW taped the show for broadcast on December 8, 1979. The thousands of Buzzcocks fans who recorded that have the real live document of this band. Similarly, anyone who has been at any number of New York Ritz gigs and has been fortunate to see the video the Ritz made of the Buzzcocks gig there on November 23, 1980, has also heard (and seen) the real document (the tape sans-video has made its rounds as well). Most of this appears to have been taken from board tapes, and thus has the same problem as most such recordings: they unduly favor the vocals, which are twice as loud as the band. And though Steve Diggle and Pete Shelley were fine singers, it's common knowledge that the Buzzcocks' greatness (and subsequent legend) was built on the band's sound: the explosive rapid fire snare fills of drummer John Maher, the heavy Rickenbacker sound of bassist Steve Garvey, and most famous of all, the absolutely dynamic knockout of Shelley and Diggle's duo guitars, that "Buzzcocks wall" referred to in so many reviews. While the tape captures much of the excitement, since it's mixing board recordings, much of the phenomenal whoosh and that wall is missing. The Buzzcocks were an incredible live band, as old fan Andy Dunkeley's strong liner notes point out, one of the four or five best live bands of all time, and not just the great one you'll encounter here. No one ever written catchier songs, and even without the ideal recording they're still red hot. Because of the superior quality, this is far better than scores of Buzzcocks bootleg audience tapes floating around; if it isn't perfect, it's the only readily available live recording, and it blows away the Live at the Roxy and Short Circuit live compilations the early Buzzcocks are on. Joan McNulty, who put this together for ROIR, deserves all of our praise and thanks for persevering and getting this released; it's so great that people will finally hear the live Buzzcocks document, and it's essential to boot.

Buzzcocks - Lest We Forget (flac 424mb)

01 Fiction Romance (Boston 80) 4:56
02 Breakdown (Chicago 79) 2:08
03 Times Up (Boston 80) 3:11
04 Autonomy (Minnesota 79) 4:05
05 Love Battery (Birmingham 80) 2:17
06 Ever Fallen In Love (Boston 80) 2:48
07 I Don't Mind (Chicago 79) 2:13
08 What Do You Know (New Jersey 80) 2:55
09 I Believe (Chicago 79) 6:38
10 Noise Annoys (Minnesota 79) 3:13
11 What Do I Get (Rhode Island 80) 3:00
12 Something's Gone Wrong Again (Boston 80) 3:52
13 Harmony In My Head (New Jersey 80) 3:11
14 You Say You Don't Love Me (Chicago 79) 2:47
15 I Don't Know (What To Do With My Life) (Chicago 79) 2:38
16 Fast Cars (New Jersey 80) 2:15
17 Airwaves Dream (Providence 80) 3:15
18 Nothing Left (Minnesota 79) 5:17
19 Love You More (New York 79) 1:56.

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Homosapien was a super-sad event upon its release in 1981. Buzzcocks fans were aware that the songs were originally intended for the band's fourth LP (even though some, such as the underground hit title track, had been composed before the band began) -- a new work that was set to continue the intriguing, strange, yet powerful and incredible direction the group had taken on side two of late-1979's A Different Kind of Tension, and its three (final) singles recorded in 1980. However, as Shelley settled into London's Genetic studios with producer Martin Rushent to demo these tunes, something unexpected happened. Shelley and Rushent fell in love with the cheesier, one-man-and-a-boop-beep-boop drum machine demos in a time when electro-pop disco was taking over. Tired of the group's sorry financial state, Shelley abruptly disbanded the band via an insensitive lawyers' letter mailed to his bandmates. Homosapien's release followed a few months later, before his fans' shock had dissipated. It can now be listened to in a different light than the inconsolably sad emotions that originally surrounded it. Despite the utterly ridiculous, aforementioned "drum" sound, it's the one Shelley solo effort worth investigating. Unlike XL1 and Heaven and the Sea, the wry, lovelorn pop songwriting inspiration is still with him. But more importantly, this is the only attempt by Shelley to retain the compressed, tight, hard production and vocals of his band work, despite the new genre and the predominance of a 12-string acoustic in favor of the old buzzsaw. More dance-pop than rock, Homosapien still straddles both fences enough to interest lovers of both genres.

Pete Shelley - Homosapien (flac 471mb)

01 Homosapien 4:35
02 Yesterday's Not Here 4:09
03 I Generate A Feeling 3:13
04 Keats Song 1:58
05 Qu'est-Ce Que C'est Que Ca? 4:21
06 I Don't Know What It Is 3:30
07 Guess I Must Have Been In Love With Myself 3:13
08 Pusher Man 2:49
09 Just One Of Those Affairs 2:58
10 It's Hard Enough Knowing 3:49
11 It's Hard Enough Knowing (Part 2) 1:49
Bonus
12 Witness The Change 4:49
13 Maxine 3:36
14 In Love With Somebody Else 3:00
15 Homosapien (Dub) 9:00
16 Witness The Change / I Don't Know What Love Is 8:23
17 Love In Vain 3:11

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Erstwhile Buzzcock and former front man of post-punk outfits Magazine and Luxuria, Howard Devoto has always been somewhat difficult to peg musically. After disbanding Magazine in the early '80s, Devoto went on to pursue a short-lived solo career, resulting in his lone 1983 effort, Jerky Versions Of The Dream. More pop-based than any of his previous efforts, the songs all feature Devoto's distinctive croon--a discomfiting mix of seduction and caustic menace. Like his material with Magazine, Devoto's lyrics are peppered with poetic allusions to politics, both personal and social. The slow building heat of "Cold Imagination" comes across like a post-punk quiet storm. Trapped in the deep freeze of his own mind, his anguished voice intones, "Get me out of my cold imagination." Other tracks, like the jaunty "Waiting for a Train," allude humorously to the everyday occurrence of a train delay resulting in an existential crisis. Melding frenetic industrial funk with sardonic lounge piano, the music appropriately matches Devoto's eccentric lyrical musings--offering obtuse but highly original philosophical and social commentary.

Howard Devoto - Jerky Versions Of The Dream (flac 448mb)

01 Cold Imagination 4:20
02 Topless 3:47
03 Rainy Season 5:05
04 I Admire You 5:14
05 Way Out Of Shape 3:55
06 Some Will Pay (For What Others Pay To Avoid) 3:43
07 Waiting For A Train 4:53
08 Out Of Shape With Me 4:13
09 Taking Over Heaven 3:56
10 Seeing Is Believing 3:18
Bonus
11 Rainy Season (7" Single Version) 3:39
12 Rainforest (Variation N16) 5:11
13 Cold Imagination (Extended Version) 5:08
14 Cold Imagination (BBC Radio 1 Peel Session Version) 4:32
15 Topless (BBC Radio 1 Peel Session Version) 3:39
16 Some Will Pay (For What Others Pay To Avoid) (BBC Radio 1 Peel Session Version) 3:51.

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RhoDeo 1630 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, A true heavyweight, a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output since the 1960s proves that this is no exaggeration.......N'Joy

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Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the '50s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music.

Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.

This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many Tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.

Although his commitment to politicized art never wavered, Veloso went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop over the next 20 years. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.)

This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), and was a certifiable superstar, but never self-aggrandizing, narcissistic, or overly concerned with how hip he was.

Estrangeiro Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.

Livro Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. At the beginning of the new millennium, Veloso delivered a live bossa nova album in collaboration with poet Jorge Mautner, the spirited Noites do Norte, and the songbook album A Foreign Sound. In 2006, Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit.

Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- Cê and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. The following year Veloso and Gilberto Gil embarked on a major world tour together called "Dois Amigos, Um Século de Música" which translates to "Two Friends, a Century of Music." With each artist celebrating a remarkable 50-year career, the tour was commemorated by a live album recorded in their native Brazil called Dois Amigos, Um Século de Música: Multishow Live. The extensive double album was released in April 2016 by Nonesuch.

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This is a 1977 compilation of 12 songs by Caetano Veloso, and most of the tracks (nine out of 12) are performed in the traditional Bahian trio elétrico style. It is worth noting, though, that only one of the tracks on this compilation, "Atrás do Trio Elétrico," appears on another studio album. Because of the dominance of trio elétrico songs, the extent to which the listener will like this album will partially depend on how much he or she likes trio elétrico music in general. However, there are some really great tracks included here. The catchy "Piaba" is a real gem, and the funny "Chiquita Bacana" and the cute "Chuva, Suor e Cerveja" are not far behind in terms of delightfulness and class. The three non-trio elétrico-styled tracks ("Hora da Razão," "Qual é Baiana," and "Guarde Seu Conselho") are also all very fine indeed and their somewhat calmer, more sentimental atmosphere and style contrasts in a good and refreshing way with the extremely upbeat and festive trio elétrico music of the other tracks. "Qual é Baiana" is a lovely and interesting Veloso original, with Veloso's beautiful, swift, yet almost ballad-like vocals accompanied by his bossa nova-styled guitar play and a fast tambourine beat. "Guarde Seu Conselho," written by Luís de França and Alcebíades Nogueira, is a more traditional and very sweet samba-bossa ballad.

Caetano Veloso - Muitos Carnaval  (flac  226mb)

01 Muitos Carnavais 2:42
02 Chuva, Suor E Cerveja (Rain, Sweat And Beer) 3:27
03 A Filha De Chiquita Bacana 3:32
04 Deus E O Diabo 2:45
05 Piaba 3:10
06 Hora Da Razão 2:51
07 Atrás Do Trio Elétrico 2:45
08 Um Frevo Novo 2:55
09 Cara A Cara 3:04
10 La Barca 2:07
11 Qual É, Baiana? 2:52
12 Guarde Seu Conselho 3:52

 Caetano Veloso - Muitos Carnaval    (ogg  89mb)

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Just prior to the recording of Bicho, Caetano Veloso was invited to take part in the Negro Festival of Art and Culture in Lagos, Nigeria. Veloso was so knocked out by the music he heard that he scrapped his original plans for the album to record something more redolent of his experiences in Lagos. Veloso himself refers to Bicho as "sweet melodies on a hot rhythm," and he's absolutely right. A marvelous record. For the record, bicho is the Portuguese word for beast.

Caetano Veloso - Bicho    (flac  205mb)

01 Odara 7:17
02 Two Naira Fifty Kobo 5:04
03 Gente 3:38
04 Olha O Menino 3:03
05 Um Índio 2:57
06 A Grande Borboleta 1:11
07 Tigresa 6:21
08 O Leãozinho 3:07
09 Alguém Cantando 2:44

  Caetano Veloso - Bicho      (ogg  87mb)

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One of Caetano Veloso's last quasi-acoustic albums, this one is dedicated to Brazilian grooves (with the exception of a couple of reggae tracks). The album has been very well spun, and several tracks were hits: "Lua de São Jorge," "Oração ao Tempo," "Badauê" (Bahian grooves), "Cajuína" (Northeastern xote), "Menino do Rio" (pop ballad), "Elegia" (bolero), "Trilhos Urbanos" (reggae), "Louco por Você" (Carioca samba). There are also other tracks whose experimental character prevented them from being hits, but they still constitute excellent material. Delicate and also swinging arrangements, these are excellent compositions by an artist still in full-steam creative impetus.

Caetano Veloso - Cinema Transcendental (flac 224mb)

01 Lua De São Jorge 3:58
02 Oração Ao Tempo 3:26
03 Beleza Pura 3:30
04 Menino Do Rio 2:28
05 Vampiro 4:04
06 Elegia 2:19
07 Trilhos Urbanos 2:46
08 Louco Por Você 7:40
09 Cajuina 2:20
10 Aracuja 2:23
11 Badauê 1:33
12 Os Meninos Dançam 3:15

Veloso - Cinema Transcendental      (ogg  87mb)

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Uns opens with the swinging title track, with its rhythmic poetry based in the word that means "some people," opening endless possibilities: "Musical" is a melancholic and delicate melody, delivered with simplicity; "Eclipse Oculto" was the big hit of the album with its hybrid reggae rhythm and lyrics that are a monologue directed to a former lover; "Peter Gast" is the best melody/arrangement of the album, a sophisticated ballad; "Quero Ir Aa Cuba" has swinging Caribbean rhythms; "Coisa Mais Linda" (Carlos Lyra/Vinícius de Moraes), a bossa classic, is delivered in the purest bossa style; "Você É Linda," which also was a hit, is a ballad whose lyrics describe in detail the charms of a certain Bahian girl; "Bobagens, Meu Filho, Bobagens" (Marina Lima/Antônio Cícero) is a minor pop ballad; "A Outra Banda da Terra," a reggae song, talks about territorialism with redneck accent; the samba-funk "Salva Vida," with special guest Maria Betânia, provokes conservatives with references to masculine beauty; and the classic, beautiful samba-enredo "É Hoje" (Didi/Mestrinho) closes the album.

Caetano Veloso - Uns   (flac 189mb)

01 Uns 2:38
02 Musical 0:57
03 Eclipse Oculto 3:45
04 Peter Gast 3:44
05 Quero Ir A Cuba 2:20
06 Coisa Mais Linda 3:12
07 Você É Linda 4:56
08 Bobagens, Meu Filho, Bobagens 3:30
09 A Outra Banda Da Terra 3:19
10 Salva Vida (Voc Maria Bethânia) 2:23
11 É Hoje 4:17

   (ogg    mb)

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RhoDeo 1630 Alexander 6

Hello,

Today the final part of an historical six-part radio dramatization  about one of history's greatest and beloved conquerors. ..N'Joy

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The Macedonian conqueror, Alexander the Great (356-323 B.C.) was incontestably one of the greatest military generals of all time. From the time he sacked Thebes and crossed the Hellespont to his death 11 years later, he conquered the entire Persian empire, including Tyre, Egypt and Babylon, and moved on to the present-day northern India and Afghanistan. Though Alexander made use of the well-oiled army created by his father, he pushed the limits of Macedonian and Greek power to levels even his father, King Philip II of Macedon, could not have dreamed of.

Alexander's conquests paved the way for the spread of Greek culture (facilitating the spread of Christianity centuries later), and removed many of the obstacles that might have prevented the expansion of the Roman Empire. In other words, the world we know today might never have been if not for Alexander's bloody, yet unifying, conquest. Music composed and played by Wilfredo Acosta Directed by Glyn Dearman


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A six-part radio dramatisation of the life of Alexander the Great

With today;

Michael Maloney - Alexander
Alex Jennings - Hephaestion
Barry Foster - The Spirit of Achilles
Simon Ward - The Spirit of Patroclus
Geraldine James - Queen Olympias
Charles Kay - The Persian King, Darius III
John Rye - Parmenian
Sean Barrett - Philip, Alexander's physician
Keith Drinkel - Lysimachus / Mazaeus
Julian Rhind-Tutt - Ptolemy
Michael Onslow - Philotas
Mark Straker - Perdiccas
James Telfer - Eumenes
Philip Anthony - Artabazus
John Evitts - Simias
Teresa Gallagher - Barsine
Diana Payan - Sisygambis
Rachel Atkins - Phais
Richard Pearce - The Eunuch


Alexander 06 Great Son of Ammon (mp3  52mb)

06 Great Son of Ammon  57:14

With the Panhellenic war of revenge now over, the Thessalians and Greek allies were sent home; since then Alexander was conducting a purely personal war. Alexander's political and ideological views on the empire were changing: He had come to new political idea of two jointly ruling people: Macedonians and Persians. That new politics created opposition and misunderstanding between Alexander and Macedonians.

It is the summer of the year 330 B.C. Alexander, with his fastest troops, chased Darius for 12 days and nights and travelled over 800 km. Meanwhile, Darius troop strength was reduced to 6,000 foot and 3,000 horse. Darius had moved to Bactria, to Bessus - the satrap of Bactria. It was an thrilling chase of king by king, in which each covered the ground by barely credible exertions, past Rhagae (Rai) and the Caspian gates, till early one morning Alexander came in sight of the broken train which still clung to the fallen king.


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Previously

Alexander 01 The King's Son (mp3  51mb)
Alexander 02 I am also Alexander (mp3  51mb)
Alexander 03 Preparation of the Sacrifice (mp3  51mb)
Alexander 04 The Road to Gordium (mp3  51mb)
Alexander 05 The Hunt of the God King (mp3  52mb)

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Sundaze 1630

Hello, .



Today's artist is a master of the alternative healing arts, particularly relaxation, he uses music to affect the moods of his listeners in positive ways, inspiring a sense of calmness and serenity. The English-born multi-instrumentalist has created scores for various British productions, ranging from theater to television, and has also recorded numerous albums ........N'Joy

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Kevin Kendle is a musician and composer working in the field of haunting, atmospheric instrumental music. He uses keyboards, synthesizers and samplers to create evocative soundscapes which are then layered with sounds of nature, which Kevin records near his home in the Hertfordshire countryside. His music is inspired by nature and landscapes and is very suitable for any situation where a calming atmosphere is desired, such as aromatherapy, therapeutic treatments or relaxation in the home. The careful programming and selection of sounds give the music an organic, timeless feel.

Kevin has been playing music since the age of eight and has since produced music for theatres and production companies including BBC Television. His music has been used around the world in various broadcast applications and the Eventide Music series of albums have been featured on BBC Radio in the UK. Those interested in a more in-depth biography should read the interview with Serge Kozlovsky, in which Kevin tells of his childhood memories and musical influences, amongst other fascinating details.

He has long been aware of the power of music in influencing moods and creating atmospheres and of its relaxing properties. In 1992, he began producing albums of his music to enable others to enjoy its magical sound. Kevin's distinctive musical style has evolved from a feeling that much of the so-called "New Age" Music around offers little to interest the listener, and comes across as bland and unadventurous. By contrast, he has produced this range of top-quality albums that can be enjoyed through active listening or as background music.

As a qualified pilot, Kevin finds further inspiration for his music by flying above the landscapes that inspire him, and soaring amongst breathtaking cloudscapes. All albums are available from Eventide Music - visit the Album Library now for more detail on each of Kevin's superb titles.

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Inspired by his love of astronomy and star-gazing, English new age music artist Kevin Kendle has released the first in a series of spacemusic recordings, under the subheading of the "Deep Skies" series. His first effort, Light From Orion, is stunningly beautiful "pure" spacemusic - floating, ethereal, lush and almost overflowing with a sense of awe. Joined by Brian Abbott (glissando guitar) on many tracks, as well with an assist on keyboards from Nigel Shaw, Kendle showcases a side of his music that will be new to his fans.

Light From Orion soars, floats, cruises or drifts into outer space, as if the listener were navigating amongst assorted nebulae, star clusters, asteroid belts, and other astronomical phenomena. Only one track ("Bellatrix") contains some of Kevin's more "new age" style of music (a plucked-and-strummed guitar sound and short flute passage), but it is brief and is actually quite pleasant, fitting in nicely. The easiest way to distinguish Light From Orion as a Kevin Kendle album is the excellent production, sterling engineering, and meticulous attention to the highest caliber keyboard/synthesizer sounds.

The ten tracks, totalling about an hour's worth of music, are all named after astronomical items within a cosmic "stone's throw" from the constellation of Orion (hence, the CD's title). Some are stars (e.g. "Alnitak," "Rigel," and "Betelgeuse") while others are more breathtaking phenomenon (e.g. "Horsehead Nebula," and "Great Orion Nebula"). Comprehensive liner notes and beautiful photographs of the assorted (titled) astronomical objects are a major bonus with the album.

The music swells, soars, and then subsides, as Abbott's glissando guitar glides in circles around it effortlessly, as if it were driven by giant solar sails. Keyboard sounds from Kevin include choirs, an assortment of more "typical" cosmic sounds, and those massive washes of synthesizer chords so evocative of outer space. There are also moments when things quiet down momentarily, such as the transition between track one ("Horsehead Nebula") and track two ("Alnitak"), when cascading bell-tones and twinkling synths flit amongst a lovely undercurrent of lush keyboards. Light From Orion is not ambient music - it deserves your full attention (especially played in a dark room and away from distraction). The mix is intricate and detailed. However, you could choose to simply relax and let the many layers of sound coalesce around you, forming a cohesive "whole" musical image of cruising through the night sky...

Kevin Kendle - Deep Skies 1 - Light From Orion  (flac  317mb)

01 Horsehead Nebula 5:37
02 Alnitak 5:08
03 Bellatrix 4:52
04 Great Orion Nebula 4:12
05 Rigel 6:28
06 Stellar Nursery 6:10
07 Flame Nebula 5:28
08 Mintaka 7:02
09 Alnilam 9:39
10 Betelgeuse 6:43

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For this, the second in his outer space-inspired Deep Skies series, keyboard artist Kevin Kendle once again employs the services of guitarist Brian Abbott on the recognizable glissando guitar which has a decidedly spacy sound to it. In addition, Nigel Shaw also contributes here and there, on space whistle, synthesizer, guitar treatments, and sequencer. Yes, you read right, a sequencer in the credits of a Kevin Kendle CD! That's not all, either. Kevin himself plays moog and takes a stab at the sequencer himself! Ye gods, what is the world coming to? I'm being silly on purpose, of course. However, it is certainly a change for Kendle who is better known for his lovely earth-bound electronic new age music more than EM or floating spacemusic. Yet, Lagoon Of Eternity is a huge step forward from his first foray into this genre (Light From Orion). The addition of sequencers, moogs, and some very tasty guitar (notably, Shaw's treatments of Abbott's work on "Star Clusters") add cool new dimensions to the music. Long-time fans can be assured though that this is not an overly dramatic departure, so it's not like Kevin has recorded a Steve Roach album! His patient lush washes and melodic synth chords are still present throughout the recording.

There are eight tracks, averaging between seven and ten minutes long, and they flow nicely into one another, yet certainly offer distinct and separate musical "excursions" into various astronomical soundscapes. Once again, Kevin has drawn inspiration from actual objects in the distant night sky, this time centered around the Lagoon Nebula in the constellation of Sagittarius. Also once again he has adorned the liner notes with beautiful pictures of assorted cosmic objet d'art "Trifid Nebula," "Herschel 36," "Omega Nebula," and the album title subject itself. He also contributes info on each object.

Kevin Kendle - Deep Skies 2 - Lagoon Of Eternity  (flac  339mb)

01 Lagoon Nebula 7:09
02 Trifid Nebula 10:57
03 Star Clusters 8:04
04 Herschel 36 7:21
05 Ascella 8:01
06 Hubble 5 8:53
07 Omega Nebula 9:20
08 Star Cloud 10:02

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I never thought I’d write this about a Kevin Kendle album, but here goes. Light from the Pleiades, the third release in his Deep Skies series, sounds almost nothing like him! Oh sure, I can listen intently and say “Oh yeah, that keyboard is familiar” or “That’s the kind of melody he’s known for.” And yes, Brian Abbott’s glissando guitar still appears at times (less so than on the other two CDs). However, if I had to sum up my reaction to this album (besides “Wow, this is great!”) I’d write something like “Kevin Kendle goes to Berlin via the spaceport.” Now, I’m not going to tell you this is THAT close to what the current Germanic sequencer artists are up to these days, but at times it’s not far off. Kevin has apparently fallen head over heels in love with sequencers, moogs, and his ARP synthesizer. He integrates these retro EM elements into contemporary spacemusic so that this music also can be compared to folks like Jonn Serrie (specifically Flightpath), Geodesium, Steve Verity or Enterphase, to name a few. However, Kevin’s latest CD is still undeniably unique. While you may hear echoes or strains of other artists, this is new and exciting music and it’s also far and away the best release in the Deep Skies series (and ranks up there with the best from this artist, period).

With only seven tracks on the album (named for the seven stars which make up the titular astronomical object), you can guess that song length tends to be on the longer side. Only one track is under seven minutes and “Asterope (Night Sky Music)” is a few ticks over thirteen. “Dance of Electra” kicks off the album literally; it’s a dramatic and energizing number with a quiet prelude before a sequenced rhythm emerges amidst chorals, glissando guitar, and some subtly blistering lead guitar lines. Yeah, who’d a thunk it? Stinging electric guitar licks on a Kevin Kendle recording! Power chords rip the night sky apart on top of the undercurrent pulsing beats and synthesizer tones. The song just keeps on building, reaching a celestial orgasm of sorts before slowly winding down.

Kevin Kendle - Deep Skies 3 - Light From The Pleiades  (flac  262mb)

01 Dance of Electra 8:41
02 Alcyone 7:37
03 Maia 7:16
04 Merope 10:01
05 Taygeta 6:34
06 Asterope (Night Sky Music) 13:19
07 Celaeno 9:02

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Light From Andromeda is the fourth release in Kevin Kendle's highly-acclaimed Deep Skies series of spacemusic albums. Inspired by the awe-inspiring Andromeda Galaxy, also known as M31, this music continues the journey far into deep space, carried along on a vast expanse of ethereal, drifting sound, where atmosphere and texture take the place of melody to enable the mind to truly wander freely.

The Andromeda Galaxy is a beautiful spiral galaxy approximately 2.5 million light-years from Earth, in the constellation Andromeda. Along with its close twin, our own galaxy, the Milky Way, these two are the dominant giant galaxies of our local group. Unlike most galaxies, Andromeda and the Milky Way are actually converging on one another, with a possible collision, or a merging of the two, in store in around 4.5 billion years.....

Kevin Kendle - Deep Skies 4 - Light From Andromeda  (flac 277mb)

01 Spiral 7:52
02 Skywards 4:40
03 Revelation 6:53
04 Contact 6:48
05 Across The Void 6:34
06 Beacon 6:09
07 Ancient Light 7:28
08 Far In Time 7:04
09 Gently Turning 7:00

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