RhoDeo 1709 Roots

Hello, it's carnaval time and in Brazil that means ....Sambas


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's music is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity. The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro. The modern samba that emerged at the beginning of the 20th century is predominantly in a 2/4 tempo varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets ...  N'Joy

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Black Rio is a weirdly compelling compilation that unearths a scene and phenomenon so far underground that only Brazilian music historians knew it existed until now. The excellent liner notes are fascinating in explaining the historical formation of the movement, the vital role of sound system dances playing artists like James Brown, and how it all fit in the social/political/cultural context of Brazil's military dictatorship during the 1970s. What's more open to debate is the quality of the music. Black Rio certainly confounds chronology by opening with "Melô Da Tagarela" (aka "Rappers Delight") done as an instrumental -- which means horn solos over the bassline created by Chic's Bernard Edwards that's the most archetypal one since the '60s Motown and Stax classics. Several tracks sound like early '70s soul-funk with nothing that stamps them as Brazilian -- the horn riffs and lead bass riff on União Black's title track sound a bit like early Kool & the Gang, and Gershon King's "Uma Chance" has a certain Jimmy Castor appeal. Jorge Ben's "Comanche" has the first real Brazilian feel, but then it's also the first piece with a song feel rather than just riff and groove, soul-style. Banda Black Rio's "Gafieira Universal" is a Brazilian-flavored instrumental with choppy polyrhythms and horns leading the way, while Orlandivo goes the mellow MPB route on "Onde Anda O Meu Amor" with vocals, flutes, and mellow electric piano chords. Trio Mocotó's "Nagô" rocks out pretty well once the organ solo takes over from an Afro-chant and strum/scratch rhythm guitar, while Antonio Carlos e Jocafi's "Kabaluere" kicks it behind a rowdy lead guitar and nice rising chant hook. And the only thing wrong with instrumentals like Eklipse Soul's "Psicose" or Dom Salvador e Abolição's "Som, Sangue e Raça" is that the riffs and grooves are strong enough to keep going longer. Black Rio is certainly an interesting volume -- it's good that it exists, even if the track info is buried in fine print at the end of the booklet and individual musician credits are missing in action. But it's certainly more for Brazilian music fanatics or searchers for offbeat soul-funk sounds -- the singer on Manito's "Na Baixa da Sapateiro" struggling with "I miss my love" in English is pretty funny in a good sort of way. For casual fans, there isn't any must-have landmark of Brazilian music or even songs that stick -- it's mostly an hour's worth of Brazilians playing in their funky soul garages decades ago.

VA - Black Rio (Brazil Soul Power 71-80) (flac 352mb)

01 Gang Do Tagarela - Melô Da Tagarela (Rapper's Delight) 4:10
02 Copa 7 - Copa 7 No Samba 2:53
03 Grupo Arembepe - Iaiá 3:04
04 Uniao Black - Black Rio 2:46
05 Miguel de Deus - Cinco Anos 4:56
06 Jorge Ben - Comanche 2:58
07 Trio Mocotó - Nagô 3:40
08 Banda Black Rio - Gafiera Universal 3:06
09 Toni Tornado - Podes Crer, Amizade 2:30
10 Eklipse Soul - Psicose 2:11
11 Manito - Na Baixa Da Sapateiro 3:28
12 Orlandivo - Onde Anda O Meu Amor 3:46
13 Dom Salvador e Aboliçao - Som, Sangue E Raça 2:46
14 Antonio Carlos E Jocafi - Kabaluere 2:22
15 Orquestra E Coro - Kriola 2:27
16 Gerson King Combo - Uma Chance 5:25

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The funk and soul scene in Brazil in the late 1960s, '70s, and early '80s fed off of a hybrid mix of Afro, Latin, and American influences, and while the result was a dance music that was relentless and infectious, it somehow added up to less than it should or might have been, maybe because the scene lacked a defining artist, a Bob Marley, a Fela Kuti, or a James Brown, to provide a template, a direction, and an iconic face to the whole thing. Put together by DJ Cliffy, the man behind "Batmacumba," the longest running Brazilian club night in London, this set is the second volume of "samba soul" from Strut Records (the first volume was released in 2002). It's a fun compilation, full of bright grooves and irresistible energy, but yet nothing really leaps out here, and listening to this anthology is a bit like dancing all night in a club and then not remembering a single song or melody the next morning. Not that there aren't cool tracks here -- sides like Super Sam Lord's horn-drenched "BR Samba" hit hard with a samba-on-steroids force, and Emilio Santiago's "Bananeira" has a groove and flow so natural and easy one could just float away on it. But no international hits came out of the Brazilian soul scene because there just wasn't that big, defining record that put all of it on the map.

VA - Black Rio 2 (Brazil Soul Power 1968-1981) (flac  314mb)

01 Zeca Do Trombone & Roberto Sax - Coluna Do Meio 2:58
02 Renata Lú - Faz Tanto Tempo 2:25
03 Guimaes E O Grupo Som Sagrado - Som Sagrado 3:25
04 Pete Dunaway - Supermarket 4:55
05 Watusi - Oio Gere 1:56
06 Os Diagonais - Não Vou Chorar 2:36
07 Som Nosso - Pra Swingar 2:32
08 Rubinho E Mauro Assumpçao - Ta Tudo Ai 2:32
09 Super Som Lord  BR Samba 2:53
10 Azambuja & CIA - Tema Do Azambuja 4:26
11 Avan Samba - Ibere 4:07
12 Cry Babies - It's My Thing 2:34
13 Balança Povo - Novo Dia 2:37
14 Edson Frederico E A Transa - Bobeiro 3:15
15 Emilio Santiago - Bananeira 3:03
16 Bebeto - Princesa Negra De Angola 3:43
17 Marilene - Sinal Vermelho 2:19
18 Sonia Santos - Poema Ritmico Do Malandro 2:55


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The samba schools provide the soundtrack for Rio's annual carnival. But samba, as this excellent compilation shows, comes in so many different shades. There's the sweet, swinging gentility of Luisa Maita; the rock-samba of Mané Sagaz (a combination that works better than it might seem); the electronica of Loop B, who takes the music to places never originally imagined, making noise part of the fabric; and the rampant, proud traditionalism of Samba Chula de São Braz, who hark back to the early days of samba. And in between there's everything else, with a fair selection on display here. As a primer it's pretty much essential, with superb sleeve notes, putting the music, and the musicians, in context.

VA - The Rough Guide To Samba   (flac  409mb)

01 Alcione - Duas FAces 5:13
02 Partideiros Do Cacique - Meu Bloco 3:06
03 Velha Guarda Da Portela Feat. Marisa Monte - Volta Meu Amor 4:22
04 Rogê - A Nega E O Malandro 4:47
05 Teresa Cristina - Coisas Banais 3:40
06 Samba Urbano - Deixa 2:05
07 Moyseis Marques - Samba, Ciência Da Graça 3:14
08 Samba Um - Malandro Dpdp 4:21
09 Luísa Maita - Lero-Lero 4:43
10 Odilara - Já É 3:41
11 Mart'nália - Cabide 2:17
12 Márcio Local - Soul Do Samba 3:16
13 Loop B - Drill Samba/Samba Da Furadeira 2:31
14 Mané Sagaz - Um Samba Que Não Sai 4:15
15 Samba Chula De São Braz - Samba, Cachaça E Viola 9:18

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This exclusive release introduces listeners to the work of a sensational sambista who is hot on the Brazilian scene right now.
Introducing Ruivão is a great samba album brought to you direct from Brazil, by an artist who has been immersed deep in the scene since the tender age of just 8 years old. Ruivão’s music is smooth like the best Brazilian lounge, but with a sharp percussive edge reflecting on samba’s constant pulse throughout Brazilian music and culture. Ruivão’s voice is mid-range and flows from silky slow tunes to fast tongue-twisting tempos with ease. Within his music you can also hear the discernable influence of curling Cuban rhythms that bounce along freely. Samba is the dancing spirit and rhythm of life in Brazil, and Ruivão is one of an important band of contemporary artists connecting their tradition with their experiences of modern life.

Ruivão - Introducing Ruivão (flac 284mb)

01 Criação É Ato Continuo 2:59
02 Todas As Cores Num Hino 3:56
03 O Jogo Termina Aos 90 3:35
04 Sou Sambista Dr Fé 3:30
05 Pout-Pourrit De Partido Alto: Dia De João / Apelo / Disfarce 4:20
06 Sambas Da Vida 3:41
07 Eu Vejo 2:59
08 Sol Bordado 3:07
09 Pingo Da Vela 3:48
10 Rapaz Sagaz 3:54
11 Não Me Encarregue De Enviar Fax 3:08


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RhoDeo 1709 Solaris 1

Hello, todays post was probally triggered by yesterdays last posting..


Solaris is a 1961 philosophical science fiction novel by Polish writer Stanisław Lem. The book centers upon the themes of the nature of human memory, experience and the ultimate inadequacy of communication between human and non-human species.
In probing and examining the oceanic surface of the planet Solaris from a hovering research station the human scientists are, in turn, being apparently studied by the sentient planet itself, which probes for and examines the thoughts of the human beings who are analyzing it. Solaris has the ability to cast their secret, guilty concerns into a material form, for each scientist to personally confront. Solaris is one of Lem’s philosophic explorations of man’s anthropomorphic limitations. ..N'joy.

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During the Soviet era, Polish writer Stanislaw Lem was the most celebrated SF author in the Communist world. Although he read Western SF when he was young, he soon found it shallow and turned for inspiration to the long tradition of Eastern European philosophical fantasy. Western readers not familiar with this tradition often misread his works, expecting more action-oriented, technophilic fiction. Solaris comes closer to being a traditional SF novel than most of his works, but its main thrust is still philosophical. There is a deep strain of irony which runs through this work, for all its occasionally grim moments.

The great Russian experimental director Andrei Tarkovsky made an important film based on the novel which is considerably more confusing that the book. The pared-down 2002 version by Steven Soderbergh keeps amazingly close--for a Hollywood film--to Lem's original themes and ideas, but its emotional inertness prevents it from having the full effect intended. This is one case where reading the book before seeing the film may help you to experience the intended effect better. Perhaps Soderbergh remembered the anguish of Kelvin so clearly from his reading that he didn't realize the need to convey it more vividly to an audience that would not share the same memories.

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The novel begins as the narrator, a scientist named Kris Kelvin, is descending toward the surface of the mysterious planet Solaris. How many instances can you find in this chapter of failures to perceive, breakdowns in communication, etc.? This is to be the main theme of the book. Whereas conventional SF poses puzzles only to solve them, Solaris concentrates on the puzzling nature of reality and the limits of science. The ship that has brought Kelvin to Solaris is called the Promethus, a name associated with civilization and enlightenment in Greek mythology, but also with condemnation to terrible torment. As he enters the station suspended above the planet's surface, note the many instances of wear, disorder and confusion. In the original Polish, Snow's name is "Snaut." What do the many concrete details given suggest about the state of things in the station? Snow's strange initial reaction to Kelvin will be explained later. What features are reminiscent of a mystery story?

Characters
The protagonist, Dr. Kris Kelvin, is a psychologist recently arrived from Earth to the space station studying the planet Solaris. He was cohabiting with Harey (Rheya in the Kilmartin/Cox translation), who committed suicide when he abandoned their relationship. Her exact double is his visitor aboard the space station and becomes an important character.

Snaut (Snow in the Kilmartin/Cox translation) is the first person Kelvin meets aboard the station, and his visitor is not shown. The last inhabitant Kelvin meets is Sartorius, the most reclusive member of the crew. He shows up only intermittently and is always suspicious of the other crewmembers. His visitor remains anonymous, yet there are indications it might be a child with a straw hat.

Gibarian, who had been an instructor of Kelvin's at university, commits suicide just hours before Kelvin arrives at the station. Gibarian's visitor was a "giant Negress" who twice appears to Kelvin; first in a hallway soon after his arrival, and then while he is examining Gibarian's cadaver. She seems to be unaware of the other humans she meets, or she simply chooses to ignore them.

Harey, who killed herself with a lethal injection after quarreling with Kelvin, returns as his visitor. Overwhelmed with conflicting emotions after confronting her, Kelvin lures the first Harey visitor into a shuttle and launches it into outer space to be rid of her. Her fate is unknown to the other scientists. Snaut suggests hailing Harey's shuttle to learn her condition, but Kelvin objects. Harey soon reappears but with no memory of the shuttle incident. Moreover, the second Harey becomes aware of her transient nature and is haunted by being Solaris's means-to-an-end, affecting Kelvin in unknown ways.


With:
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Kris....Ron Cook
Rheya....Joanne Froggatt
Snow....Tim McMullan
Sartorius....Stuart Richman
Woman....Maxine Burth



Stansilaw Lem - Solaris (mp3  52mb)

01 Solaris - 1 of 2 56:54

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)
Brainwave Mind Voyages (Series VII) (flac  343mb)
Brainwave Mind Voyages (Series VIII) (flac  405mb)
Brainwave Mind Voyages (Series X) (flac  387mb)


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Sundaze 1709

Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, is the trigger for these Sundaze. today two more from Can, paired to teo from the band that was the genesis of Can, The Inner Space. It was Irmin Schmidt, courtesy his connections in the West German art world as a classical conductor, musical director at der Stadttheater Aachen and part-time film critic which led proto Can to pursue soundtrack work at their onset.


The so-called “motorik” beat, a minimalist, relentless form of rhythm practiced by groups including Neu! and Kraftwerk, became one of the most distinctive trademarks of Germany’s postwar rock groups. Liebezeit, a founding member of the Cologne-based quintet Can, was also a skilled practitioner of the motorik approach, but he was much more besides. He was able to incorporate a range of moods and styles into his playing, from African and funk rhythms to violent thrashing grooves, while always maintaining meticulous rhythmic control. His playing could veer from the heavy, pulverising beat he created on You Doo Right, from Can’s debut album Monster Movie (1969), to the lithe, off-kilter feel he brought to One More Night, from Ege Bamyasi (1972). On the title track of Flow Motion (1976), Liebezeit delivered a lesson in lean, bare-bones funkiness. So precise and unswerving was Liebezeit’s playing, which included an ability to repeat drum patterns with uncanny precision, that he was likened to a human drum machine. To this he retorted that “the difference between a machine and me is that I can listen, I can hear and I can react to the other musicians, which a machine cannot do”. His particular gift was the ability to refine his drumming down to a compact, streamlined essence, so that when he did eventually add a fresh accent or extra beat it became a musical event of startling significance.



Today's artists comprise of some of the musicians Jaki Liebzeit made music with during, shortly after Can and lastly a live album 2 decades later. ......N'Joy

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Jaki Liebezeit (26 May 1938 – 22 January 2017) was a German drummer, best known as a founding member of Can. He was called "one of the few drummers to convincingly meld the funky and the cerebral".

Jaki was born in Dresden, Germany. In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine".
Liebezeit provided drums, in the form of the distinctive "Motorik beat", for Michael Rother's late-1970s solo albums.

In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums and as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. In the '00's, he has worked with Burnt Friedman on the  5 Secret Rhythms albums and with Schiller on the Atemlos album.

The last release he worked on was the Cyclopean EP, released on 11 Feb 2013 on 12” and download for Mute Records. Cyclopean was a project that involved, other than Liebezeit, Irmin Schmidt from Can alongside long time collaborators Jono Podmore (Kumo / Metamono) and musician and producer Burnt Friedman. Liebezeit died of pneumonia on 22 January 2017.

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Michael Rother was the guitar and keyboard playing half of the groundbreaking Krautrock group Neu, and earlier, a founding member of Kraftwerk. Flammende Herzen (Flaming Heart) is his first solo album, recorded by and produced by Conny Plank in 1976 and issued at the dawn of punk in 1977. Flammende Herzen is, in a sense, the complete and utter flowering of a vision Rother held from Kraftwerk through his work with Klaus Dinger in Neu and through his short-term collaboration with Moebius and Roedelius in Harmonia. Rother's signature guitar sound is twinned with an analog delay, the simple mechanical or "motorik" percussion all wound around simple, yet transcendent, melodies that are nearly anthemic in their strident execution. With percussion assistance from the very unique behind the beat drumming of Jaki Liebezeit, Rother crafts a driving, soaring ride into the sonic abyss that is rich with melody and rock & roll rhythm. For Rother, music is a thing filled with light, and tracks such as the title, "Zyklodrom," and "Karussell" feature a cylindrical weave of electronic and organic percussion, opaque but insistent synthesizers playing chord progressions, and, of course, acoustic and electric guitars either chiming in single- and double-string Brucknerian motifs or churning on two or three chords hypnotically into the ether. , there is plenty of spaced-out psychedelia and churning rock & roll ellipsis here ("Feuerland") for fans of early Krautrock. This remains one of Rother's strongest and most visionary records, with Conny Plank at the helm.

Michael Rother- Flammende Herzen    (flac  199mb)

01 Flammende Herzen 7:04
02 Zyklodrom 9:38
03 Karussell 5:22
04 Feuerland 7:09
05 Zeni 5:11

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Right out of the '70s, Can drummer Jaki Liebezeit formed a new band, Phantom Band, obviously to carry on where a creativity-depleted Can had left. Yes, the group's eponymous debut, released in 1980, has the "Krautrock goes worldbeat in the cold wave" feel found on Can's last two or three records. Phantom Band would make three albums, and this first one is the weakest of them, mostly due to the presence of bassist/singer Rosko Gee. Once a member of Traffic, Gee contributes the blandest pop songs on the album, and his slightly androgynous vocals simply don't fit the dub-ish mood of the music -- however, his bass work does. For this project, Liebezeit recruited (in Cologne) top musicians such as Helmut Zerlett (e.g. Dunkelziffer, Unknown Cases), Rosko Gee (Traffic, Can), Dominik von Senger (e.g. Damo Suzuki Band, Dunkelziffer), Olek Gelba, and Holger Czukay (Can) as guest musician.

The Phantom Band mixes Can-style monotonic polyrhythms with afrobeat, funk, jazz, disco, reggae, and dub. percussionist Olek Gelba, keyboardist Helmut Zerlett, and guitarist Dominik von Senger. Can alumnus Holger Czukay makes an appearance on horn. The drums take center stage; it is obvious that each song has been assigned a carefully designed beat, and Liebezeit is exploring most of his interests in music here, from repetitive Krautrock pummeling to complex Afro-funk and reggae-dub patterns. The arrangements are dark but clear-cut. Liebezeit's songs are the most interesting, from the tense "No More Fooling" (although Gee's falsetto mars it) to the funky vamp of "Absolutely Straight." Zerlett also contributes strong compositions in the spacy "Pulsar" and "I'm the One," the most expansive song of the set at six minutes. The two songs penned by Gee, each opening an LP side, have forgettable melodies and mediocre lyrics (they are also the most dated tracks production-wise). Despite Liebezeit's long and strong experience by 1980, Phantom Band bears all the signs of a debut album by a band that still hasn't gelled. Can fans who diss the group's final albums will definitely not like this one. In any case, skip forward to the group's second effort, Freedom of Speech, a much stronger proposition recorded after Gee's departure.

Phantom Band - I  (flac  232mb)

01 You Inspired Me 3:55
02 I'm The One 5:52
03 For M. 4:14
04 Phantom Drums 1:21
05 Absolutely Straight 3:28
06 Rolling 5:11
07 Without Desire 2:36
08 No More Fooling 4:08
09 Pulsar 4:00
10 Latest News 2:46

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Things changed a lot for Phantom Band in less than a year. Original bassist/singer Rosko Gee left and was replaced by spoken-word artist Sheldon Ancel, remaining bass-less. This lineup change made it possible for the band to align its actual sound with its experimental leanings. The situation can be summed up by comparing the first two albums' opening tracks. The lead-in track on the group's 1980 debut LP was the Gee-penned midtempo song "You Inspired Me," clearly meant as a crowd-pleaser and potential hit single. The lead-in track on "Freedom of Speech" is the title track, a vocodered rant on how the government knows what's best for us, presented over a disquieting rhythm track. The tone is set: Freedom of Speech is a darker, edgier record. It retains the Krautrock-gone-dub feel of the first album, but drops all pretensions of charting to present a more mature, better asserted group sound wrapped in a production that has aged much better than the debut LP. Ancel is not a rapper, but a spoken-word performer: he embodies characters, and uses effects to dress up his voice. It works very well, especially on the dub-laden "Brain Police," the angry "Gravity" (a love story at its sour end), and the electro-freak "Dream Machine." Freedom of Speech is a stunning avant rock record informed by the New York no wave scene and the European reggae/dub scene, with Can's history in genre-pushing repetitive rock serving as the foundation.

Phantom Band - Freedom Of Speech  (flac  214mb)

01 Freedom Of Speech 3:46
02 E. F. 1 4:15
03 Brain Police 4:08
04 No Question 2:05
05 Relax 4:07
06 Gravity 5:18
07 Trapped Again 1:00
08 Experiments 3:40
09 Dream Machine 5:33
10 Dangerous Conversation 2:12

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Wobble had not been solo very long before he caught the attention of Holger Czukay, the leader of Can, one of the world's premier avant-garde bands. Czukay described Wobble in glowing terms before the EP which preceded this album was released. The coming together of old and new turned out to be far from disappointing. It would be doing Jaki Liebezeit a great disservice by not mentioning him also. The musicianship displayed here is superb and the inventiveness has rarely been equaled. Full Circle is a true landmark album. How Much Are They?’ is an absolutely brilliant track, way ahead of its time. If I would need to date this purely based on its musical qualities I would say it should be from around 1990, almost 10 years after it was actually made. The sweeping bass line combined with dub elements and reverberating drums and samples, is almost intoxicating. A classic of early '80s alternative music, the heavy Wobble bass fitting like a glove with Czukays dub experiments

Holger Czukay, Jah Wobble, Jaki Liebezeit - Full Circle  (flac  235mb)

01 How Much Are They ? 4:48
02 Where's The Money ? 5:02
03 Full Circle R.P.S. (No. 7) 10:58
04 Mystery R.P.S. (No. 8) 8:47
05 Trench Warfare 6:45
06 Twilight World 4:20

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Jah Wobble has proved the most enigmatic of ex-punks, delving into all manner of different musics over the last two decades. This aggregation puts him in some stellar company, with bassist Bill Laswell, former Can drummer Jaki Liebezeit, along with pianist Harold Budd and cornetist Graham Haynes, both best known for their more ambient work. What they stir up together is quite mind-boggling. With just four tracks (the briefest of which runs over six minutes) they tear the roof off the sucker throughout. Both Haynes and Budd are revelations, attacking their instruments -- just listen to Haynes during "The Mystery of Twilight, Pt. 1," for example, or Budd anywhere on this album, as he assembles sound collages of noise and fury. Laswell turns on the fuzz bass, most notably on "Seven Dials," where he and Haynes trade off phrases with an energy that's quite palpable. Liebezeit does what he does best -- keeping very metronomic time,  at the closer, "Around the Lake,"  he seems to break out and catch fire. Wobble himself is rarely in the spotlight, but gives a center to everything, from which the other players can leap as far as their imaginations and abilities can carry them -- which proves to be very far. It's an unsung but vital role, keeping everything together with his bass work. He continues to take chances, and in this instance it pays off very handsomely.

Jah Wobble's Solaris - Live In Concert    (flac  415mb)

01 The Mystery Of Twilight Part 1 20:01
02 The Mystery Of Twilight Part 2 24:37
03 Seven Dials 6:17
04 Around The Lake 18:53

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RhoDeo 1708 Grooves

Hello, Philadelphia soul, or Philly soul, was a form of soul music that came out of Philadelphia during the mid 1960s. It provided a smoother alternative to the deep soul of the 60s while maintaining the soul and emotion of popular R&B of the time. Philly Soul is known for its incorporation of lush string arrangements along with penetrating brass, and often tells very personal and emotional stories. It's often considered a producer's genre, the essence of the genre coming mostly out of Gamble, Huff, Bell, and the other producers within PIR. Philly Soul, with its driving rhythms, later became the inspiration from which the disco craze of the 70s was born.

Philadelphia International Records (PIR) was an American record label based in Philadelphia. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. It was famous for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop, and soul music of the time. This Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of worldwide hits which emphasized lavish orchestral instrumentation, heavy bass, and driving percussion.

Some of their most popular and best selling acts included Patti LaBelle, The O'Jays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, and Lou Rawls. Between 1971 and the early 80s, the label sold over 170 gold and platinum records  ..... N'joy

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Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records. The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer (later studio owner) Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single "Enjoy Yourself", and a second album, Goin' Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, and Archie Bell & the Drells. Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single (I Got the Notion, You Got the Motion) was produced by The Spinners' member Philippe Wynne.

By the mid 1980s, Philadelphia International Records ended their distribution deal with Columbia, who they had worked with since their inception. The label was soon after picked up by Capitol/EMI records. They continued to make hits, including Shirley Jones' "Do You Get Enough Love," but their most successful years were behind them. Philadelphia International now largely concentrates on licensing its music catalog worldwide and has issued few new recordings since the mid-80s, when Gamble and Huff wound down their studio work together.

In 1989, Gamble and Huff were awarded their first Grammy Award. Simply Red's cover of "If You Don't Know Me By Now," written by Gamble and Huff, won the Grammy Award for Best R&B Song. 10 years later in 1999, Gamble and Huff were awarded the Lifetime Achievement Grammy from the National Academy of Recording Arts and Sciences. In 2008, the duo were inducted in the Rock and Roll Hall of Fame in the non-performer category, joining their band the O'Jays who were inducted in 2005.

In August 2011, in honor of the 40th anniversary of the company, Philadelphia International Records launched TSOP Soul Radio, an online radio station that allows fans from all around the world the chance to tune in and listen to music and interviews from the legendary Gamble and Huff catalog. Gamble and Huff have written over 3000 songs throughout their careers, making them two of the most efficient and productive songwriters of all time. They continue to write songs together from their homes in South Philadelphia.



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As disco rose to prominence in the 1970s, MFSB played a crucial role in its development by contrasting earthy R&B rhythms with the cosmopolitan sleekness of an orchestra. By 1978, their once-innovative sound had become the status quo, and this is proven by Gamble Huff Orchestra; while never anything less than professional, this album lacks the grit and infectious hooks of MFSB's earlier outings. The band slickly moves through its paces, and the orchestral touches sound as lovely as ever, but the key elements of inspiration and personality are missing. For proof, check out the album's pair of cover versions: "Use ta Be My Guy" and "Wishing on a Star" sound as professional as any disco band of the day, but are unfortunately also completely devoid of personality. Also, Gamble Huff Orchestra finds MFSB's sound leaning more towards easy listening than R&B, a prime example being the album closer "Redwood Beach," a song that has the elegance of MFSB (tasteful strings, tinkling piano) without any of the soulfulness or R&B content. These complaints aside, the album does contain some worthwhile moments: "Dance With Me Tonight" blends a potent bass-oriented groove with a sprightly string arrangement, and "Is It Something I Said" approaches the punch of early hits with its one-two punch of a forceful horn arrangement and a churning bass groove. However, these strong moments can't overcome the blandness that characterizes Gamble Huff Orchestra. Ultimately, this professional but uninspired album can only be recommended to hardcore MFSB fanatics.

MFSB - Gamble Huff Orchestra    (flac  260mb)

01 Dance With Me Tonight 5:08
02 To Be In Love 5:47
03 Let's Party Down 5:56
04 Wishing On A Star 5:39
05 Use Ta Be My Guy 5:15
06 The Way I Feel Today 4:35
07 Is It Something I Said 3:58
08 Redwood Beach 4:13

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By 1980, the disco boom that had supported the rise of MFSB was on its way out the door. Their stylish sound was in need of a makeover to keep up with the times, and this was accomplished by allowing Dexter Wansel, the producer/writer behind a string of jazzy solo albums like Life on Mars, to take the reins. The result was the stylish and jazzy Mysteries of the World. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings. For example, "Manhattan Skyline" fortifies its easygoing melody with a percolating, hard thumping bassline and some well timed blasts of horns. "Mysteries of the World" also keeps the new, softer style of MFSB from drifting into easy listening blandness by playing up the jazz underpinnings of the group's sound. For proof, look no further than the title track, which wraps an array of exploratory keyboard riffs around a busy bassline. Elsewhere, the album adds surprising little twists to keep things fresh: "Old San Juan" builds its mellow soul groove around an atypical flamenco guitar hook, and "In the Shadow" works an otherworldly synthesizer line into its bossa nova groove. The end result is an album that manages to bring a new freshness to their sound without completely severing ties with its old style. Mysteries of the World may be a little too soft and jazzy for funk fans accustomed to the likes of "Love Is the Message" and "T.S.O.P.," but it remains a fine album of jazz-inflected instrumentals that is likely to please anyone who likes soul music at its most elegant.

MFSB - Mysteries Of The World    (flac  242mb)

01 Manhattan Skyline 4:27
02 Mysteries Of The World 5:27
03 Tell Me Why 3:57
04 Metamorphosis 5:16
05 Fortune Teller 6:08
06 Old San Juan 4:27
07 Thank You Miss Scott 4:14
08 In The Shadow 3:37

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Soul Jazz's releases tend to be groove-oriented, putting a premium on funky, rhythmic grooves -- all the better to sample you with, my dear. Consequently, their loving reissues of obscurities are aimed at third- or fourth-generation listeners mining these recordings for sounds, not people who were there at the time, or collectors looking for great forgotten songs and singles. That's not to discount the material on their recordings, for record collectors, compilations like Philadelphia Roots are interesting, since they present largely unknown cuts from a familiar style. Are there any lost treasures? Not really, nothing here deserved to be as well-known as the best and biggest Philly soul singles, but they do have the sound, and they often have the groove, which is why anybody would buy this record -- it sounds like a famous sound, only with unknown songs and grooves, some of which are pretty engaging. Not all of it, though, and it's only for specialists -- but for those specialists, this is a collection that will not disappoint. (And if you find this disappointing, well, you've realized that you're not a specialist.)

Various - Philadelphia Roots  (flac 184mb)

01 People's Choice - I Likes To Do It 3:00
02 Cliff Nobles & Co - The Horse 2:44
03 The Fantastic Johnny C. - Waitin' For The Rain 3:39
04 Brothers Of Hope - I'm Gonna Make You Love Me 2:45
05 Brenda & The Tabulations - California Soul 2:32
06 Corner Boys And Friends - Take It Easy Soul Brother 2:16
07 People's Choice - Let Me Do My Things 2:38
08 Brenda & The Tabulations - Hey Boy 1:52
09 Bunny Sigler - Great Big Liar 2:36
10 Alfreda Brockington - Your Love Has Got Me Chained And Bound 2:34
11 Panic Buttons - O Wow 2:30
12 John Ellison - Lost The Will To Live 3:01
13 The Philly Sound - Waitin' For The Rain 3:32
14 Bunny And Cindy - Sure Didn't Take Long 2:20
15 People's Choice - Big Ladies Man 2:33
16 Soul Brothers Six - You Gotta Come A Little Closer 2:44
17 Music Makers - United 2:30

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Love Train: The Sound of Philadelphia, released by Sony Legacy in 2008, provided an excellent and deep overview of the Philadelphia International catalog, as well as Kenneth Gamble and Leon Huff's outside work as songwriters and producers. The 40th Anniversary Box Set, released in 2012 by the U.K. label Harmless, sticks to PIR but goes ten discs deep. Naturally, there is a significant amount of overlap; 29 of the 71 songs featured on Love Train, including every big PIR single, appear here. In addition to featuring all the popular classics -- "Me and Mrs. Jones," "Wake Up Everybody," "T.S.O.P.," "Love Is the Message," "Love Train," "Back Stabbers," "You'll Never Find Another Love Like Mine," "Only You," and on and on -- the box showcases the label's stylistic breadth. There was neither one Philly sound nor one PIR sound. Picking five songs at random from five different artists will likely demonstrate the label's range from perfectly shaped soul-pop to progressive and experimental rhythm & blues, as well as its relevance beyond the '70s. Billy Paul's rollicking and explosive take on "Compared to What" (1971), Yellow Sunshine's eponymous Santana/War-like funk-rock hybrid "Yellow Sunshine" (1973), Dexter Wansel's jazz-funk floor burner "Life on Mars" (1976), the Jones Girls' transportive "Nights Over Egypt" (1981), and Phyllis Hyman's plush "Ain't You Had Enough Love" (1986) have their own placement as significant events in the PIR time line. (One minor quibble, possibly explained by a licensing issue: Edwin Birdsong's "Cola Bottle Baby" or "Phiss-Phizz" should be here.) This is a slick black box, albeit one prone to dulled and whitened corners, with a thick booklet stuffed with photos, liner notes, and detailed track information. There are meticulous singles and albums discographies, too. It's a lavish treat for anyone with serious interest in the label, and it should manage to stun hardcore PIR fans as well. No one has done such a loving job with the entirety of the label's catalog.

Philadelphia International Records - 40th Ann. 01   (flac  496mb)

01 MFSB - Zack's Fanfare #2 1:04
02 MFSB - K-Jee 4:12
03 MFSB Feat. The Three Degrees - T.S.O.P. (The Sound Of Philadelphia) 3:17
04 The O'Jays - Message In Our Music 3:21
05 MFSB - Sexy 3:10
06 Archie Bell & The Drells - Let's Groove Pt.1 3:03
07 The O'Jays Back Stabbers 3:03
08 Harold Melvin & The Blue Notes - The Love I Lost 3:33
09 The Three Degrees - When Will I See You Again 2:58
10 The O'Jays - I Love Music 6:52
11 The Intruders - I'll Always Love My Mama 2:41
12 The Three Degrees - Year Of Decision 2:38
13 Archie Bell & The Drells - The Soul City Walk 3:09
14 Harold Melvin & The Blue Notes - Bad Luck 6:24
15 People's Choice - Do It Any Way You Wanna 3:15
16 Instant Funk - Philly Jump 5:07
17 The Three Degrees - Take Good Care Of Yourself 3:03
18 MFSB - Love Is The Message 6:36
19 The Jacksons - Show You The Way To Go 3:28
20 The O'Jays - Darlin' Darlin' Baby 4:19

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RhoDeo 1708 Re-Ups 88

Hello, still getting requests on the wrong pages, that said it's good to see requests from Rho-Xs's early days.

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, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here another batch of 27 re-ups (17 ! now in flac), requests fullfilled up to Februari 23.

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3x Beats NOW in Flac (808 - Utd. State 90, The KLF - The White Room, VA - Ambient House)


4x Beats NOW in Flac (Breakbeat Era - Ultra-Obscene, Peshay - Fuzion, E-Z Rollers - Titles Of The Unexpected, E-Z Rollers - Live Mix)


3x Sundaze NOW in Flac (Tuxedomoon - Half-Mute / Scream, Tuxedomoon - Desire/No Tears, Tuxedomoon - Suite En Sous-Sol/Time to Lose/Short Stories)


4x Aetix Back In Flac ('Til Tuesday  - Voices Carry , 'Til Tuesday - Welcome Home, 'Til Tuesday - Everything's Different Now,  'Til Tuesday - The Spit, Boston 1 03 84)


6x Iceland NOW in Flac (Bjork - Cambridge, Apparat Organ Quartet - I , Gisli - How about that ?, Gusgus - Polydistortion, Hilmar Örn Hilmarsson - Children Of Nature, Angels of the Universe, Emilíana Torrini - Love In The Time Of Science)


1x Aetix NOW In Flac (  The Sound - New Dark Age )


3x Sundaze Back In Flac ( Aural Float - Introspectives, Aural Float - Freefloat, Aural Float - Beautiful Someday)


3x Aetix Back In Flac (Glenn Branca - Songs 77-79, Glenn Branca - The Ascension, Glenn Branca - Symphony No. 3)

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RhoDeo 1708 Aetix

Hello, last week PSG thrashed Barcelona in a magnificent display, a champions league week later another thrilling night, full of mistakes, drama and controversy and, ultimately, a remarkable feat of escapology for Manchester City. Monaco, barring their late collapse, had been hugely impressive and it would be reckless to think they are incapable of producing another dramatic twist in the second leg. For now a 5-3 victory for Guardiola's men. And when of the greatest matches of soccer of late..


Today's artists issued a blitz of records that were ruthless in both their unrelenting sociopolitical screeds and their amelodic crash of noise. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself -- all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music. In addition to putting out their own fiercely independent records (though the majors were certainly not knocking at their door), they also formed an anarchist commune that worked with other artists and labels, and on the behalf of various political causes. Here are the brittlest and most hard-line radical of the first wave of British punk bands.........N'Joy

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Crass were an English art collective and punk rock band formed in 1977 which promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism and environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films. Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros. The band was critical of punk subculture and youth culture in general. Crass promoted an anarchism which became more common in the punk-music scene. They are considered art punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation.

continued from last week...

The band's fourth LP, 1982's double set Christ - The Album, took almost a year to record, produce and mix (during which the Falklands War broke out and ended). This caused Crass to question their approach to making records. As a group whose primary purpose was political commentary, they felt overtaken and redundant by world events. Subsequent releases (including the singles "How Does It Feel? (to Be the Mother of a Thousand Dead)" and "Sheep Farming in the Falklands" and the album Yes Sir, I Will) saw the band's sound go back to basics and were issued as "tactical responses" to political situations. They anonymously produced 20,000 copies of a flexi-disc with a live recording of "Sheep Farming...", copies of which were randomly inserted into the sleeves of other records by sympathetic workers at the Rough Trade Records distribution warehouse to spread their views to those who might not otherwise hear them.

From their early days of spraying stencilled anti-war, anarchist, feminist and anti-consumerist graffiti messages in the London Underground and on billboards, Crass was involved in politically motivated direct action and musical activities. In 1983 and 1984, Crass were part of the Stop the City actions co-ordinated by London Greenpeace[ which foreshadowed the anti-globalisation rallies of the early 21st century. Support for these activities was provided in the lyrics and sleeve notes of the band's last single, "You're Already Dead", expressing doubts about their commitment to non-violence. It was also a reflection of disagreements within the group, as explained by Rimbaud; "Half the band supported the pacifist line and half supported direct and if necessary violent action. It was a confusing time for us, and I think a lot of our records show that, inadvertently". This led to introspection within the band, with some members becoming embittered and losing sight of their essentially positive stance. Reflecting this debate, the next release under the Crass name was Acts of Love: classical-music settings of 50 poems by Penny Rimbaud, described as "songs to my other self" and intended to celebrate "the profound sense of unity, peace and love that exists within that other self".

Another Crass hoax was known as the "Thatchergate tapes", a recording of an apparently accidentally overheard telephone conversation (due to crossed lines). The tape was constructed by Crass from edited recordings of Margaret Thatcher and Ronald Reagan. Crass had become a thorn in the side of Margaret Thatcher's government after the Falklands War. Questions about the band in Parliament and an attempted prosecution by Conservative Party MP Timothy Eggar under the UK's Obscene Publications Act for their single, "How Does It Feel...", made them question their purpose:

    "We found ourselves in a strange and frightening arena. We had wanted to make our views public, had wanted to share them with like minded people, but now those views were being analysed by those dark shadows who inhabited the corridors of power (…) We had gained a form of political power, found a voice, were being treated with a slightly awed respect, but was that really what we wanted? Was that what we had set out to achieve all those years ago?"

The band had also incurred heavy legal expenses for the Penis Envy prosecution; this, combined with exhaustion and the pressures of living and operating together, finally took its toll. On 7 July 1984 the band played a benefit gig at Aberdare, Wales, for striking miners, and on the return trip guitarist N. A. Palmer announced that he intended to leave the group. This confirmed Crass's previous intention to quit in 1984, and the band split up.

For Rimbaud the initial inspiration for founding Crass was the death of his friend Phil 'Wally Hope' Russell, as detailed in his book The Last of the Hippies: An Hysterical Romance. Russell had been placed in a psychiatric hospital after helping to set up the first Stonehenge free festival in 1974, and died shortly afterwards. Rimbaud believed that Russell was murdered by the State for political reasons. Band members have also cited influences ranging from existentialism and Zen to situationism, the poetry of Baudelaire, British working class 'kitchen sink' literature and films such as Kes and the films of Anthony McCall (McCall's Four Projected Movements was shown as part of an early Crass performance). Crass have said that their musical influences were seldom drawn from rock, but more from classical music (particularly Benjamin Britten, on whose work, Rimbaud states, some of Crass' riffs are based), free jazz, European atonality and avant-garde composers such as John Cage and Karlheinz Stockhausen.

Crass influenced the anarchist movement in the UK, the US and beyond. The growth of anarcho-punk spurred interest in anarchist ideas. The band have also claimed credit for revitalising the peace movement and the UK Campaign for Nuclear Disarmament during the late 1970s early 1980s. Others contend that they overestimated their influence, their radicalising effect on militants notwithstanding. Crass' philosophical and aesthetic influences on 1980s punk bands were far-reaching, although few mimicked their later free-form style (heard on Yes Sir, I Will and their final recording, Ten Notes on a Summer's Day). Their painted and collage black-and-white record sleeves (by Gee Vaucher) may have influenced later artists such as Banksy (with whom Vaucher collaborated) and the subvertising movement. Anti-folk artist Jeffrey Lewis's 2007 album, 12 Crass Songs, features acoustic covers of Crass material.


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Released with unplanned irony as the Falklands War raged -- an event that would provide grist for the band's eventual masterwork, Yes Sir I Will -- Christ, another two-album half-studio/half-live set like Stations of the Crass, once again aims to take no prisoners. Ratcheting up the continued "leave no stone unturned" lyrical approach that characterized the group from the start, Crass again sounds like the group's about to explode in eight million directions. Ignorant takes over the lead vocal role again, his rough ramalama bitterly leading the charge against the loathed Thatcher government and the society that allowed it to come into power. Libertine, here appearing as Peeve Libido, adds backing vocals while De Vivre takes the lead on "Birth Control" and "Sentiment." Free's guitar work roars along with the usual vim, as does the Pete Wright aka Sybil Right/Rimbaud rhythm section, while continual spiking of the musical punch via production or sonic collages, or even almost power pop catchiness at points, prevents things from being one note. "Reality Whitewash" even has a swelling string and brass combination to propel it along. Mock and real found-sound bites, from official statements to slams at Crass itself, pepper the studio side as bridges between songs or concurrently running elements of the tunes themselves. While hints had always been present in earlier songs, Crass collectively starts wearing their hearts on their sleeves even more than before; "I Know There Is Love" is another all-encompassing rejection of societal roles in favor of a real, untainted feeling, at once impolite and passionate. The live material, recorded at a June 1981 show, is interspersed with a variety of material from other sources, including more found-sound/media snippets and, in an interesting nod to the past, two cuts from the group's very first time in a studio.

Crass - Christ - The Album   (flac  286mb)

01 Have A Nice Day 2:44
02 Mother Love 2:52
03 Ninteen Eighty Bore 4:09
04 I Know There Is Love 2:47
05 Beg Your Pardon 3:07
06 Birth Control 'N' Rock 'N' Roll 2:59
07 Reality Whitewash 3:28
08 It's The Greatest Working Class Rip-Off 3:21
09 Deadhead 2:16
10 You Can Be Who? 3:01
11 Buy Now Pay As You Go 2:22
12 Rival Tribal Revel Rebel, Pt. 2 3:09
13 Bumhooler 3:19
14 Sentiment (White Feathers) 3:56
15 Major General Despair 4:34

Crass - Christ - The Album   (ogg  118mb)

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Crass - Well Forked, But Not Dead   (flac  276mb)

01 Banned From The Roxy + The Sound Of One Hand 4:30
02 Punk Is Dead 1:58
03 Nagasaki Nightmare 4:31
04 Darling + Bata Motel Blues 2:15
05 Berkertex Bribe + Fold It In Half 2:40
06 Big Hands + Heart-throb Of The Mortuary 2:14
07 Bumhooler 2:21
08 Big A Little A 4:26
09 First Woman 1:05
10 Arlington 73 1:25
11 Bomb Plus Bomb Tape 4:04
12 Contaminational Power 1:48
13 I Ain't Thick 1:49
14 G's Song 0:29
15 Securicor 1:41
16 I Can't Stand It 1:48
17 Shaved Women + A Part Of Life 3:21
18 Do They Owe Us A Living 1:22
19 So What + Salt 'n' Pepper 3:37

Crass - Well Forked, But Not Dead   (ogg  108mb)

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 Wound up to an even more vicious fury of rage and sorrow due to the Falklands War, Crass completely exploded on the awesome Yes Sir I Will, its bitter title taken from an encounter between a gruesomely wounded veteran of that conflict and Prince Charles. The most concise sonic assaults against the war and the role of Margaret Thatcher's government -- "Sheep Farming in the Falklands" and "Gotcha!" -- aren't included among the seven untitled tracks here, instead appearing as separate singles. What is here, though -- essentially one long piece divided up into six shorter pieces and a lengthy second side/second half -- is, as a collective artistic expression, one of the strongest indictments of a society and its government ever. As always, Crass mixes things up in the recording studio, from beautiful string/piano pieces (the "what did you know?/what did you care?" passage, with flat-out lovely vocals from Ignorant) to amped-up roars of rant and rage. Ignorant, Libertine, and De Vivre trade off lead throughout, creating an ever-evolving piece that more than most sounds like the expression of a full society needing to simply say the truth at long last. Musically, the fierce power of the band doesn't let up (Rimbaud's drumming sounds better than ever, punchy and full, as does Wright's bass, while Free and rhythm guitarist N.A. Palmer keep up the electric aggression). The war isn't the only subject under discussion: everything from the Thatcher government's complicity in allowing U.S. cruise missiles to be based in Britain to the exploitation/packaging of musical traditions in the guise of "world music" gets a look in. Even Crass rip-off pseudo-anarchy groups go under the knife. But as the group says early on in the recording, "Everything we write is a love song," and extreme as it all seems, there's no doubt Crass wanted to help humanity up from where it was at.

Crass - Yes Sir I Will (flac 293mb)

01 Step Outside & Rocky Eyes 0:43
02 Anarchy's Just Another Word 4:42
03 Speed Or Greed ? 2:36
04 The Five Knuckle Shuffle 1:01
05 A Rock 'n' Roll Swindler 2:09
06 Burying Hatchet 12:28
07 Taking Sides 20:07

Crass - Yes Sir I Will   (ogg  95mb)

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The last Crass album, completed and released shortly after the group's long-planned breakup and end of live performance in 1984, is more of an EP than anything else, totaling only twenty minutes long. Perhaps inspired in part by the side project Acts of Love album, Crass here takes a sometimes gently grooving tone, while lyrically the more blunt accusations of the past are turned into careful self-examination. The general atmosphere, heightened by the overall design, is almost elegiac in its own way, a reflection back upon a mission that (as the group discussed in the liner notes to the Best Before compilation) turned the band into something it didn't want to be at the end. The ten untitled pieces on the original first side of the album, mastered as one long first cut on CD, feature the Ignorant/Libertine/De Vivre trio continually trading off lines and reflections throughout while the musical wing of the group seems to be improvising gently as it goes. Free isn't raging with his guitar as much as creating atmospheres heightened by Rimbaud's work on piano and synths. His own drumming, along with Wright's bass, keeps things moving forward with sometimes martial precision, other times with an easy swing to it. Both Libertine and De Vivre do some of their sweetest singing yet, while Ignorant takes a distinctly ruminative tone. The second overall cut continues where the first one ended, moody keyboards introducing a partially haunting and meditative, partially choppy and atonal musical piece. It's an instrumental, giving the musicians an unexpected showcase, especially considering their work here bears little resemblance to what Crass' music was generally thought to be. With art showcasing steam or fog outside a building rather than the protest art familiar from other efforts, 10 Notes shows Crass in the end avoiding being painted into a punk rock corner.

Crass - Ten Notes on a Summer's Day (flac 205mb)

01 Ten Notes On A Summer's Day - Vocal Version 10:28
02 Ten Notes On A Summer's Day - Instrumental Version 10:09
03 Acts of Love No.37 - remix version (Southern Studios 1984) 2:01
04 Hit Parade - Pills & Ills (Southern Studios 1984) 5:20
05 A-Soma - Rocky Eyes (South London December 1994) 1:53
06 Outro including Acts Of Love No.39 (Southern Studios 2002) 2:37

Crass - Ten Notes on a Summer's Day   (ogg  74mb)

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RhoDeo 1708 Roots

Hello, on a side note ,in the region todays artist is from it has been recently established that people were living there (peacefully) 30,000 years ago and they left plenty of graffiti, in those days it was a lush region. So these Clovis people from 14,000 years ago certainly weren't the first to settle in the America's, another crack in the mentally stuck world of archeology.

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's artist is a rarety as someone who functions nominally as a folklorist or music historian who becomes a celebrated performer, but one significant exception to this rule is the great Luiz Gonzaga. Colorfully attired (his most famous fashion accessory being his tasseled hat), and naked without his accordion, Gonzaga was a living, breathing representative of northeast Brazils' culture and music. Imagine if noted American musicologist Alan Lomax was as celebrated for his performing as he was for his cataloging and collecting and you get the picture. Gonzaga was indeed an archivist, but rather than spending his time in recording and cataloguing his findings for use in libraries, he became an oral historian, traveling throughout Brazil performing the indigenous music (and variations thereof) of his northeastern birthplace.   N'Joy

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Born in the tiny farming town of Caicara in 1912, Gonzaga had little formal education as the hard life of farming put him in the fields at the age of seven. As a child Gonzaga was captivated by the stories of the Brazilian bandit/accordion player Lampiao (who died at the age of 36 in 1934). In Brazilian folklore, especially amongst those living in the northeast, Lampiao is sort of Robin Hood figure, an outlaw who served the poor and dispossessed, robbing from the rich and (mostly) giving to the poor farmers. While famous as a bandit, he was as well known for his considerable skill on the accordion his all-night dances/jam sessions. Seduced by Lampiao's romantic legacy (Gonzaga's ever-present hat was styled after one worn by Lampiao), Gonzaga took up the accordion about the same time he went into the fields. Soon, his father was accompanying him to area dances and parties where the young, Luiz was hailed as a child prodigy.

Military service interrupted Gonzaga's musical career, although while in the army he learned to play coronet. After his discharge he left the farm for the bright lights of Rio scuffling for jobs while making the bulk of his money playing in brothels. A chance meeting with the legendary Ary Barroso got Gonzaga a spot on Barroso's radio program and brought him to the attention of RCA records. In 1946, Gonzaga recorded "Baiao" a dance song with rhythms borrowed from an older form of Brazilian called the baiano, a dance that resembles the African-American ring shout. So popular was "Baiao" that Gonzaga had not only recorded a hit single but, in fusing the past with the present, created a whole new style of Brazilian music.

Gonzaga's popularity remained high during the 1950s, slipping during the '60s as the influence of rock and roll attracted the attention of younger audiences. It was the young stars of tropicalia (Caetano Veloso and Gilberto Gil among others) who championed Gonzaga's work in the early '70s, recorded his songs, and brought his music to the attention of Brazil's younger music fans. His career revived, Gonzaga, now approaching 70, toured steadily frequently appearing with the younger northeastern Brazilian artists who celebrated his dedication and genius. Gonzaga died in 1989 at the age of 77.


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Luiz Gonzaga and Humberto Teixeira - Nova História Da MPB (flac 124mb)

01 Quatro Ases E Um Coringa - 1946 - Baiao
02 Luiz Gonzaga - 1950 - Vira E Mexe
03 Luiz Gonzaga & Regional De Benedito Lacerda - 1950 - Qui Nem Jilo
04 Gilberto Gil - 1969 - Dezessete Legua E Meia
05 Luiz Gonzaga - 1953 - Vozes Da Seca
06 Luiz Gonzaga - 1962 - Paraiba
07 Luiz Gonzaga - 1952 - Asa Branca
08 Gal Costa - 1971 - Assum Preto

(ogg   mb)

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Luiz Gonzaga - Eu E Meu Pai (flac  236mb)

01 Orelia
02 O Mangará
03 Súplica Cearense
04 A Vida Do Viajante
05 Acordo As Quatro
06 Respeita Januário
07 Romance Matuto
08 Sorriso Cativante
09 Manoelito Cidadão
10 Sou Do Banco
11 O Caçador
12 Rio Brígida
13 Alvorada Nordestina
14 Adeus A Januário

Luiz Gonzaga - Eu E Meu Pai (ogg  98mb)

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Letra de Música Sanfona, sombrero e gibão It is the portrait of this sertão From sun to sun For all corners and places I am chasing this destiny of mine I am singer That makes the pain of your pearls A lesson of love that learned Who saw the life Spill love No Will leave From being a singer} If only the verse Of the ones I live singing Make happy The heart of someone For this little That I'm adding My heart will be happy too.

Luiz Gonzaga - Eterno Cantador   (flac  221mb)

01 Prece Por Exu Novo (with Luiz Gonzaga Jr.) 5:13
02 Dança Do Capilé 2:38
03 Maria Cangaceira(with Entradas e Bandeiras) 2:47
04 Tristezas Do Jeca (with Entradas e Bandeiras)3:04
05 Alma Do Sertão (with Entradas e Bandeiras) 2:57
06 Farinhada (with Elba Ramalho) 3:04
07 Eterno Cantador 2:11
08 Frutos Da Terra 2:41
09 Razão Do Meu Querer 2:58
10 A Volta Da Asa Branca (with Entradas e Bandeiras) 2:41
11 Acácia Amarela 3:02

Luiz Gonzaga - Eterno Cantador    (ogg   89mb)

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Gonzagão Sempre brings together some of his classics, some, because Gonzaga is one of those artists who have many classics and could not even put together a double album. This is worth the historical record of original songs that have around 50 years. And here we find that half-rudimentary sound of accordion, zabuma and triangle and lyrics that have crossed generations and continue to thrill for the load of love they present. This is the case of the classic white wing, not only of Gonzaga, but a classic of Brazilian music. The life of the traveler brings a duet between Gonzagão and Gonzaguinha, another great expression of Brazilian music.

Luiz Gonzaga was one of the main responsible for the spread of northeastern Brazilian music and his image became inseparable from his homeland. Gonzagão, besides being the "King of the Bailão", was also one of the main responsible for the development and propagation of "Forró" and "Quadrilha". Thinking about its importance for national music and remembering the 10 years of his death, completing this year, the CD "Gonzaga Always" is a compilation with the best songs of the "King of the Dance", including his most famous song , "Asa Branca", and also a more special participation of Gonzaguinha in the track "The Life of the Traveler". It is worth checking out this super-pitch and enjoy the sound of the eternal Gonzagao!

Luiz Gonzaga - Gonzagão Sempre (flac 162mb)

01 Asa Branca
02 Respeita Januario
03 Sabia
04 Baião
05 O Xote das Meninas
06 Juazeiro
07 Paraiba
08 Assum Preto
09 Qui Nem Jiló
10 A Vida Do Viajante
11 Vem Morena
12 ABC do Sertão
13 Riacho do Navio
14 Cintura Fina

(ogg   mb)

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Another selection to honor the king of the baião, Luiz Gonzaga, a musical genius.  "The Best of Luiz Gonzaga" brings sixteen of his numerous hits. Pearls, be those of exaltation to the things of the northeast, or the humorous compositions with double meaning. To hear from start to finish!

Luiz Gonzaga - O melhor de Luiz Gonzaga (flac  187mb)

01 Asa Branca 1949
02 Baião 1949
03 Cintura Fina 1950
04 Qui Nem Jiló 1950
05 Paraíba 1950
06 A Volta Da Asa Branca 1950
07 Pau De Arara 1951
08 O Xote Das Meninas 1953
09 Riacho Do Navio 1953
10 Luar Do Sertão (with Milton Nascimento) 1981
11 Ovo De Codorna 1971
12 Forró No Escuro 1957
13 Danado De Bom 1984
14 Forró N° 1 with Gal Costa 1984
15 Tá Bom Demais 1985
16 Forró De Cabo A Rabo 1986

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RhoDeo 1708 Vibrations 9

Hello, todays post comes with 3 interesting PDF's, enlighten yourselves..

What is lucid dreaming? Here's a Simple Explanation ...

In Eastern thought, cultivating the dreamer's ability to be aware that he or she is dreaming is central to both the Tibetan Buddhist practice of dream Yoga, and the ancient Indian Hindu practice of Yoga nidra. The cultivation of such awareness was common practice among early Buddhists.

Dream lucidity is the awareness that you are dreaming. This awareness can range from a faint recognition of the fact to a momentous broadening of perspective. Lucid dreams usually occur while a person is in the middle of a normal dream and suddenly realizes that they are dreaming. This is called a dream-initiated lucid dream. A wake-initiated lucid dream occurs when you go from a normal waking state directly into a dream state, with no apparent lapse in consciousness. In either case, the dreams tend to be more bizarre and emotional than regular dreams. Most importantly, you will have at least some ability to control your "dream self" and the surrounding dream.

Keep a dream journal. Keep it close by your bed at night, and write down your dream immediately after waking, or the emotions and sensations you experience right when you wake up. This will train you to remember more of your dreams, which is important for lucid dreaming. Plus, there's not much point in controlling your dreams if you forget the experience before the morning.

Alternatively, keep a recording device by your bed.
You might remember more of your dream if you stay still for a few minutes concentrating on the memory before you start writing.

Repeat "I will be aware that I'm dreaming" each time you fall asleep. Each night as you fall asleep, repeat to yourself "I will know I'm dreaming" or a similar phrase until you drift out of consciousness. This technique is known as Mnemonic Induction to Lucid Dreaming, or MILD. Mnemonic induction just means "using memory aids," or in this case using a rote phrase to turn the awareness of your dreaming into an automatic habit.

Some people like to combine this step with a reality check by staring at their hands for a few minutes before they go to sleep.

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Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

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Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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This BMV series contains four tracks that are specifically engineered to be played at night to induce lucid dreams while you are sleeping by harnassing the R.E.M. cycle. The hypnotic soundscape combined with brainwave entrainment creates an ideal tool for turbo-boosting your lucid dreaming progress.

Lucid dreaming is the ability to realize you are dreaming while you are dreaming ! Once you realize that you are within a dream, you are free to explore the dreaming realm and you are free to experience anything your heart desires. You can literally Live out your wildest fantasies with full control and experience it to the fullest with your heightened dreaming senses. You can see, hear, feel, touch, even more intensely than in your waking world, yet it is a dream so you can fly, unlimited by physical constraints of space and time. You become free to experience anything your heart desires.
 
After plunging you into a hypnotic state of deep trance, you will experience forceful awareness brainwave boosts  (beta & alpha spikes as well as 40 Hz spikes). After becoming more conscious with these high-awareness spikes, you will be much more likely to have lucid dreams. This journey takes you deep into a viable, nonphysical or non-ordinary reality. The hypnotic audioscapes that backdrop your guided journey provide an ideal environment for trance induction.

This series is a perceptual tool that needs to be Experienced to be Believed. If you are successful at fully transferring your awareness you can explore the Non-Physical Realm for as long as you desire. The more you use this program, the easier it becomes to consciously enter these altered states of consciousness.

Brainwave Mind Voyages (Series X) - The Lucid Dream Cycle (flac  387mb)

01 LCD 1 19:28
02 LCD 2 19:28
03 LCD 3 19:28
04 LCD 4 19:25
bonus PDF's
A Field Guide to Lucid Dreaming - Dylan Tuccillo
The Art of Dreaming - Carlos Castaneda
Dreams Interpreting Your Dreams and How to Dream Your Desires - Victoria Price

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)
Brainwave Mind Voyages (Series VII) (flac  343mb)
Brainwave Mind Voyages (Series VIII) (flac  405mb)

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