Mar 30, 2018

RhoDeo 1812 Grooves


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If you like Jazz, Funk, and that sort of thing these classics from the 60s-70s period are for you. These particular goodies came from major labels such as Atlantic, Atco, Reprise, and Warners, not exactly a bunch obscure indie labels. But many of the tracks on this CD certainly do qualify as obscure. Although there are definitely some big names on here --- Earth Wind & Fire, The Meters, Wilson Pickett, Tower of Power, King Curtis, and more --- most of their contributions are songs that weren't big hits or weren't even singles, so they feel like new discoveries. This is also a good introduction to lesser known names, such as Black Heat, a band that impressed me so much that I have since bought two albums from them. For me, it was also a real joy to hear a track by Miami's underrated Clarence Reid. The overall quality is very high on this compilation and if you enjoy soul and funk music from this era (1968-1974) you will find a LOT to like on this album.

VA - Funk Drops Vol.1 (Breaks, Nuggets & Rarities 68-77)   (flac 471mb)

01 Charles Wright - You Gotta Know Watcha Doin' 3:50
02 Tony Alvon & The Belairs - Sexy Coffee Pot 2:09
03 The Meters - Soul Machine 3:28
04 The Fabulous Counts - Dirty Red 2:17
05 The Gaturs - Cold Bear 2:50
06 Clarence Reid - Nobody But You Babe 2:46
07 Eldridge Holmes - Pop, Popcorn Children 2:50
08 Wilson Pickett - Get Me Back On Time, Engine Number 9 (Pt. 1 & 2) 6:26
09 Houseguests - What So Never The Dance (Pt. 1 & 2) 3:58
10 Earth, Wind & Fire - C'Mon Children 3:09
11 Tower Of Power - Back On The Streets Again 5:50
12 United 8 - Getting Uptown (To Get Down) 2:42
13 Black Heat - Love The Life You Live 6:33
14 Donny Hathaway - Come Little Children 4:33
15 The Watts 103rd St Rhythm Band - 65 Bars And A Taste Of Soul 2:36
16 Mark Putney - Don't Come Around Here Anymore 2:42
17 Cold Grits - It's Your Thing 2:36
18 King Curtis - Ridin' Thumb 3:16
19 The Meters - Same Old Thing 2:47
20 Cold Blood - Shop Talk (Version #1) 5:00

.VA - Funk Drops Vol.1 (Breaks, Nuggets & Rarities 68-77)  (ogg  175mb)

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Another great, great entry in the "Funk Drops" series. If you haven't heard these compilations of 60s & 70s soul jams, do it ASAP. They are all tremendous. For some reason it seems to be left to Europeans (and Brits in particular) to collect together "lost" soul and funk nuggets from the USA, and provide a coherent set of sleeve notes to place the said items within a context. This excellent collection as well as containing some of Warners biggest hits ("Clean Up Woman"/Betty Wright, "Rock Steady"/Aretha Franklin,"Right Place,Wrong Time"/Dr John) contains some neglected gems that ought to be heard.In particular "Stanga" by Little Sister is a belter, little sister being Rose Stewart part of Sly's extended band/family. There are two Family Stone covers, a magnificent version of "Everyday People" by Watts 103rd Street Rhythm Band,and a version of "Sing a simple song" by The Noble Knights-led by King Curtis, but with all the Atlantic House band luminaries in attendance as well. Then there's a remake of a Watts Band backing track dubbed by Society's bag, 1 minute 25 seconds of a track called "Stroke 75" by Tower of Power and a stunning track called "Kissing my Love" by Cold Blood. There's no room to mention the Bobby Byrd track, or the one by Allan Toussaint, but I ought to give a big shout for "Somebody in the World for you" by The Mighty Hannibal which somehow managed not to get much airplay first time around. Sure, a lot of this stuff is obscure, but it's GOOD obscure, not just padding to the hits contained herein, and it rattles along in a joyful urgent way. Looking for something from left field that makes you feel good? Get those flares out! Take these Funk Drops and there won't be any need to call the doctor in the morning!

VA - Funk Drops Vol.2 (Breaks, Nuggets & Rarities 68-77)    (flac 472mb)

01 Bobby Byrd - Try It Again 3:34
02 The Noble Knights - Sing A Simple Song 2:51
03 The Mighty Hannibal - Somebody In The World For You 2:51
04 The Watts 103rd St Rhythm Band - Everyday People (In The Jungle) 2:28
05 The Meters - Chicken Strut 3:09
06 Aretha Franklin - Rock Steady 3:11
07 The Fabulous Counts - Lunar Funk 2:11
08 The Mohawks - The Champ 2:37
09 The Beginning Of The End - Funky Nassau (Pt. 2) 2:29
10 The T.S.U. Toronadoes - Getting The Corners 2:23
11 The Southshore Commission - Right On Brother (Pt. 1) 2:35
12 King Curtis - Memphis Soul Stew (Live) 7:37
13 Baby Huey - Hard Times 3:14
14 Curtis Mayfield - If There's A Hell Down Below, We're All Going To Go 4:19
15 Little Sister - Stanga 3:36
16 Betty Wright - Clean Up Woman 2:44
17 Society's Bag - Let It Crawl 2:35
18 Allen Toussaint - Goin' Down 2:54
19 Dr. John - Right Place, Wrong Time 2:51
20 The Meters - Chuc Chug Chug-A-Lug (Push And Shove) (Pt. 2) 3:24
21 Cold Blood - Kissing My Love 6:02
22 Tower Of Power - Stroke '75 1:25
23 T.J. Kirk - Soul Power (Pt. 1 & 2) 4:24

VA - Funk Drops Vol.2 (Breaks, Nuggets & Rarities 68-77)  (ogg  179mb )

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This is the third (and final?) entry in the surprisingly wonderful "Funk Drops" series of soul-funk rarities. I saw "surprisingly" because these came from the vaults of major labels like Warners and Atlantic, and you wouldn't think a major label would issue compilations as thorougly satisfying as these albums are. Then again, it also reveals the cut-throat nature of the music business that so many truly fine songs never were hits, or they languished in the vaults for many years/decades. But listen and love; these funk drops are mighty, mighty tasty indeed. Some surprisingly heavy early tracks from both the Commodores and Earth Wind & Fire, before both bands jumped labels and enjoyed pop success; two James Brown band members --- Bobby Byrd and Fred Wesley --- contribute a pair of very funky tracks; you also get the always thrilling Charles Wright & the Watts 103rd Street Rhythm Band; the legendary Curtis Mayfield; the always tight The Meters; underrated groups like Black Heat and New Birth; and oodles of obscure but very enjoyable artists, including amazing tracks from the Stovall Sisters and Rasputin's Stash. Very good package and most excellent music.

 VA - Funk Drops Vol.3 (Breaks, Nuggets & Rarities 1968-1977)    (flac  424mb)

01 The Commodores - Keep On Dancing 2:37
02 Barry Jones - Do The Funky Boogaloo (Pt. 1) 2:15
03 Freddie & The Kinfolk - Mashed Potato, Pop Corn 2:42
04 The Mighty Hannibal - Get In The Groove 2:22
05 Johnny Cameron & The Camerons - Funky John 2:44
06 Rufus Thomas - The Memphis Train 2:29
07 Joyce Jones - Help Me Make Up My Mind 2:41
08 The Meters - Here Comes The Meter Man 2:50
09 The Commodores - Rise Up 2:45
10 Bobby Byrd - I'm On The Move 2:55
11 Black Haze Express - Won't Nobody Listen 4:13
12 Earth, Wind And Fire - Fan The Fire 3:06
13 Fabulous Counts - Get Down People 2:31
14 The Stovall Sisters - Hang On In There 3:32
15 The Beginning Of The End - Monkey Tamarind 3:33
16 Mark Holder & The Positives - Whatever's Fair 2:38
17 Rasputin's Stash - Your Love Is Certified 1:58
18 Charles Wright & The Watts 103rd St Band - What Can You Bring Me 2:44
19 Curtis Mayfield - Get Down (Single Version) 3:50
20 The Meters - Just Kissed My Baby 4:34
21 Black Heat - No Time To Burn 3:34
22 6ix - I'm Just Like You 3:23
23 Darrow Fletcher - Improve 2:43
24 New Birth - Hurry Hurry 3:36
25 Fred Wesley & The Horny Horns - Four Play (Promo Edit) 3:30

VA - Funk Drops Vol.3 (Breaks, Nuggets & Rarities 1968-1977)  (ogg  168mb)

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Mar 28, 2018

RhoDeo 1812 Aetix


Today's artists are one of the less-known Manchester bands of the post-punk era. Formed in 1978 by former Manicured Noise guitarist Arthur Kadmon, the group initially consisted of former Nosebleeds drummer Philip Tolman, bassist Willie Trotter, and vocalist Linder (Linda Mulvey), a Manchester scenester who designed record sleeves and posters for Buzzcocks and Magazine. She also became a close friend of Morrissey, who was significantly inspired by her. Ludus debuted on Richard Boon's New Hormones label in 1980 with The Visit, a 12" single, My Cherry Is in Sherry, followed months later. By the time of 1981's five-song Pickpocket cassette, the band's membership changed to Linder, guitarist/bassist Ian Devine, and drummer Graham Dids. The band influenced singer Morrissey, later of The Smiths and a solo artist, who remains one of the group's most vocal fans.............N'Joy

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The band was founded by Linder Sterling, who in the arts and music scene was credited as Linder, having designed the cover of Buzzcocks' single Orgasm Addict and Magazine's debut album Real Life; Kadmon was formerly in Manicured Noise. Shortly after the formation, ex-Nosebleeds drummer Philip "Toby" Tomanov and bassist Willie Trotter joined to complete the band. It debuted live at the Factory Club, supporting The Pop Group, in October 1978, the same month it recorded a first studio demo. Later, it toured in some parts of England, like the Eric's Club in Liverpool and, travelling with Magazine, The Venue in London, in November the same year.

Since its live debut at The Factory, Ludus was favourably reviewed in the press. In January 1979, Paul Morley, writing for NME, remarked:

    Ludus are anything but ordinary. A rich, bewitching quartet, led by the enigmatic Linder, whose maturing, enchanting voice adds layers of mystery, fragility and haunting strength to the esoteric music... Arthur supplies the solids, Linder the shadows; Arthur the rain, Linder the wind. It's a classic combination... The overall mixture is of a precious dance music: Gothic, but not glossily so, like Magazine; impressionistic and expressionistic; compact and exuberant. It's music that chills and warms, with images that scare and comfort... Still young, still unsure onstage, their music is already alone and knowing. And they're getting better all the time. Take good care of them.

In February 1979, Ludus returned to the studio to record another demo, produced by Linder's then boyfriend, Howard Devoto, singer of Magazine. Shortly after a brief UK tour supporting Buzzcocks in March 1979, Kadmon and Trotter quit the band. Kadmon later joined The Distractions and Trotter moved onto working in the BBC as executive producer for daytime drama. Ian Devine replaced them, after which the group began recording for New Hormones and pursued more abstract directions, including jazz, improvisation, and (after moving on to Les Disques du Crepuscule even French pop. A provocative live performance at The Haçienda club in Manchester on 5 November 1982 saw Linder take the stage dressed in a dress fashioned from raw meat, a sartorial innovation later reprised by Lady Gaga. After a spell in exile in Brussels, the group disbanded in 1983.

In October 1985 Morrissey wrote sleevenotes for an (unissued) Crepuscule compilation, and offered this closing eulogy: "Ludus lay on us the decorative impulses of their music, and nowhere more significantly than on the volume which now lies before you. People who know real genius will love this record... Her singing leaves me out of breath... Linder went to Brussels and I remained stuck in Manchester, battling with the tides of fortune. Our shrill spirits still slide through the ugly streets of Manchester, always wet through, always caught out, always spectating, our hearts damaged by too many air-raids."

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Having built up a considerable reputation as one of Manchester's most well-known but little-heard bands -- thanks to a combination of Morrissey's unflagging name-checking, Linder's eventual photography work with him on his solo career, and the out-of-print status of the band's various releases -- the release of The Damage was long overdue and incredibly welcome. Presenting a fine overview of the group's career -- selecting from singles, albums, and live shows -- The Damage makes for one entertaining listening from start to stop. Even a cursory listen makes one wonder why in the world nobody had gotten around to re-releasing anything by the group beforehand -- Ludus had to be one of the catchiest, sharpest bands of their time, effortlessly balancing an inspired series of artistic experiments with memorable performances. One can hear the echoes of their time throughout the music -- the giddy sharpness of Girls at Our Best!, the relentless explorations of the Raincoats, the friendly funk experiments of Rip Rig & Panic, and many more besides -- but Ludus distills it all beautifully into one commanding presentation. Linder's singing, sometimes cool but passionate and sometimes a powerful, Yoko Ono-esque wail ("Too Hot to Handle" is especially strong), and her aptness to use wit as directness to convey lyrical points, along with Ian Devine's sprightly guitar, which definitely seems to predict Johnny Marr's adaptations of African highlife at points (check out "Let Me Go Where My Pictures Go") were the equal keys to the band's many artistic successes. Sometimes the occasional synth is a touch too shrill, but it's a minor point -- The Damage is a must-listen, a long overdue reintroduction to a singular band. As is the case with nearly all LTM reissues, label boss James Nice does the collection proud: the sound is crisp and bright, the band biography detailed, and the discography as thorough as one could want. Some of Linder's own striking photo collages help complete the effort.

Ludus - The Damage (flac  442mb)
01 How High Does The Sky Go? 1:06
02 She She 3:35
03 Let Me Go Where My Pictures Go 3:14
04 Nue Au Soleil 4:25
05 Little Girls 3:57
06 I Can't Swim, I Have Nightmares 5:16
07 Hugo Blanco 4:39
08 See The Keyhole 4:05
09 My Cherry Is In Sherry 2:38
10 The Escape Artist 6:33
11 Mirror Mirror (Live) 4:08
12 Wrapped In Silence (Live) 7:09
13 Too Hot To Handle (Live) 4:27
14 Howling Comique 1:53
15 What A Falling Off Was There 6:04
16 Patient 2:54
17 The Fool 3:34
18 Breaking The Rules 2:45

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Following up on the career retrospective The Damage, this CD patchily reconstructs two key releases in this Manchester post-punk outfit's history. The Visit was first released as a 12" EP in 1980; later reissues expanded the set to full-length with the addition of songs from the subsequent "My Cherry Is in Sherry" 7" and the Pickpocket cassette, but this set cuts it back to the original four tracks, "Lullabye Cheat," "Unveil," "Sightseeing," and "I Can't Swim, I Have Nightmares." In its original form, 1981's The Seduction was Ludus' proper album debut, and the band's career high point. Despite the straightforward construction of the compilation's title, however, this album isn't properly showcased here: instead of the extended six-minute version of "My Cherry Is in Sherry" on the original double-EP release of The Seduction, the original 2:38 single mix is here. In the other direction, "Herstory" is presented in a previously unreleased extended version. Also, just to be confusing, the set also throws on two bonus tracks somewhere in the middle, the single sides "Mother's Hour" and the Brazilian-influenced "Anatomy Is Not Destiny." Regardless of the set's structural deficiencies, it's undeniable that these 14 songs are a valuable addition to LTM's ongoing project of resurrecting the British indie scene of the '80s and early '90s. An unfairly overlooked band too often thought of only in relation to singer Linder Sterling's later personal and professional relationship with one Steven Morrissey, Ludus in fact were an intriguing blend of confrontational gender politics (à la the Au Pairs) and post-punk experimentalism. There's quite a stylistic jump from the harshness of the four EP tracks and the considerably more melodic indie guitar pop of The Seduction, which features Sterling's new musical foil, guitarist Ian Devine (later of the lovely minimalist twee pop duo Devine & Statton with ex-Young Marble Giants singer Alison Statton), but the soul of the record is in Sterling's impressionistic but biting lyrics and her expressive vocals, which can shift from an Ari Up/Poly Styrene squeal to a shaky-pitched-but-appealing croon similar to Marine Girls-era Tracey Thorn (and, indeed, early Morrissey). The packaging also includes several examples of Sterling's collage-based art, showcasing her later career as a notable visual artist.

Ludus – The Visit / The Seduction (flac  419mb)
The Visit
01 Lullaby Cheat 4:38
02 Unveil 3:19
03 Sightseeing 4:02
04 I Can't Swim, I Have Nightmares 5:35
05 Mother's Hour 2:03
06 Anatomy Is Not Destiny 3:52
The Seduction
07 Unveiled (A Woman's Travelogue) 8:37
08 My Cherry Is In Sherry 2:38
09 See The Keyhole 4:05
10 Herstory 8:43
11 Inheritance 4:38
12 The Dynasty 9:51
13 Mirror Mirror 3:42
14 The Escape Artist 6:33

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People who know real genius will love this record. Linder's singing leaves me out of breath' - Morrissey. LTM are pleased to announce two more archive CDs from Manchester avant-punk legends Ludus, active between 1979 and 1983 and featuring creative mainsprings Linder Sterling and Ian Devine. Combining Ian's angular, jazz-informed and often improvised music with Linder's unflinching lyrical explorations, Ludus recorded three albums and six singles for a variety of labels, including New Hormones, Crepuscule and Sordide Sentimental. Pickpocket/Danger Came Smiling collects together two impossibly rare albums from 1982, both originally released on New Hormones, with the largely improvised DCS standing as the bands' most willfully experimental material. Danger Came Smiling is one of the most experimental and bizarre rock albums ever recorded, and is quite different than Ludus' other work, represented by the other half of this program, Pickpocket, which is largely poppy, though typically offering quite unusual and mind-blowing limber, lean, post-Sharrock clean avant-jazzy instrumental elements and bold, brilliant dada-feminist lyrics. And, well, Linder Sterling is an avant-pop siren of the highest caliber.

Ludus - Pickpocket + Danger Came Smiling (flac  425mb)

01 Patient 2:55
02 The Fool 3:40
03 Hugo Blanco 4:41
04 Mutilate 2:31
05 Box 3:28
06 Mouthpiece 3:40
Danger Came Smiling
07 Foaming At The Bit 3:43
08 Howling Comique 1:53
09 You Open My Legs Like A Book 3:27
10 Flogging Cully 1:33
11 Mememoremee 1:37
12 Invasion Of Compulsory Sex-Morality 6:55
13 I Stabbed At The Sheep 0:40
14 Mistresspiece 2:06
15 Bloody Chamber 3:13
16 Would You Rather Dancing Be? 0:10
17 Wonder-Wounded 1:57
18 Savasana 1:26
19 Bitch Party 3:51
20 Modju 1:55
21 Palace Of Thieves 8:10
22 Redress 0:23
23 Crinkum-Crankum 3:27
24 Centuries 3:02

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Mar 27, 2018

RhoDeo 1812 Roots

Hello, finding stuff on these south and middle american acts ain't easy as their marketing strategy is based on the cost free Facebook, and you guessed it, me don't want to be part of that get rich scam set up by that creep Zuckerberg (trans =Sugarmountain)- i would think we all know now all that sugar is bad bad bad.

Andean new age music is a fusion genre of new-age music with Peruvian flute and/or Paraguayan harp music. The Peruvian roots stem from the Inca (Inka) influence circa 1200–1532 CE. In Peru, two important flutes are used: The quena, a flute much like the common recorder; and the zampoña, a pan flute. The Paracas culture, located south of Lima, created this pan flute some time between 200 BCE and 300 CE. The Paraguayan harp is similar both in looks and sound to the Irish Celtic harp. Although the genres of both Peruvian and Paraguayan traditional music have a new-age sound to some Westerners, they are actually very ancient forms of music. .. ......N'Joy

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The Incas were most notable for establishing the Inca Empire in pre-Columbian America, which was centered in what is now Peru from 1438 to 1533 C.E. and represented the height of the Inca civilization. The Inca state was known as the Kingdom of Cusco before 1438. Over the course of the Inca Empire, the Inca used conquest and peaceful assimilation to incorporate in their empire a large portion of western South America, centred on the Andean mountain ranges. However, shortly after the Inca Civil War, the last Sapa Inca (emperor) of the Inca Empire was captured and killed on the orders of the conquistador Francisco Pizarro, marking the beginning of Spanish rule. The remnants of the empire retreated to the remote jungles of Vilcabamba and established the small Neo-Inca State, which was conquered by the Spanish in 1572.

The Quechua name was Tawantin Suyu which can be translated The Four Regions or The Four United Regions. Before the Quechua spelling reform it was written in Spanish as Tahuantinsuyo. Tawantin is a group of four things (tawa "four" with the suffix -ntin which names a group); suyu means "region" or "province".

The empire was divided into four suyus, whose corners met at the capital, Cuzco (Qosqo), in modern-day Peru.
The official language of the empire was Quechua, although over seven hundred local languages were spoken. The Inca leadership encouraged the worship of their gods, the foremost of which was Inti, the sun god.

One origin myth tells, the sun god Inti ordered Manco Cápac and Mama Ocllo to emerge from the depths of Lake Titicaca and found the city of Cuzco. They traveled by means of underground caves until reaching Cuzco where they established Hurin Cuzco, or the first dynasty of the Kingdom of Cuzco.

The Inca people began as a tribe in the Cusco area around the 12th century AD. Under the leadership of Manco Cápac they formed the small city-state of Cusco Quechua Qosqo. In 1438 AD, under the command of Sapa Inca (paramount leader) Pachacuti, whose name meant "world-shaker", they began a far-reaching expansion. The land Pachacuti conquered was about the size of the Thirteen Colonies of the United States in 1776, and consisted of about half the Andes mountain range. Pachacuti reorganized the kingdom of Cusco into an empire, the Tahuantinsuyu, a federalist system which consisted of a central government with the Inca at its head and four provincial governments with strong leaders: Chinchasuyu (NW), Antisuyu (NE), Kuntisuyu (SW), and Qullasuyu (SE). Pachacuti is also thought to have built Machu Picchu, either as a family home or as a retreat.

Economic productivity was based on collective labor which was organized in order to benefit the whole community. The ayni was used to help individual members of the community in need, such as a sick member of the community. The minka or team work represented community service and the mita was the tax paid to the Inca in the form of labor. The Inca did not use currency, economic exchanges were by reciprocity and took place in markets called catus.

Anyway before the Inka reign could blossom, a handful of conquistadores put an end to it,  greedy Catholics, smallpox and guns did it.

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The city of Cuzco, Peru is home to a number of indigenous peasant communities. Much of their music continues to be associated with fertility rites and to mark agrarian cycles, but the Spanish introduced guitars, mandolins, and other instruments that the indigenous peoples adapted and blended into their ancestral music. The songs are sung in Quechua. The liner notes (PDF), in English and French, provide information about the geography of the region, the history of its inhabitants, local rituals involving music, and especially the musical instruments heard on the recording.

 Peru: Music Of The Indigenous Communities Of Cuzco   (flac  417mb)

01 Five Quechua Peasants Featuring Angelino Quispe Sallo - Papa Hallmay 1:52
02 Five Quechua Peasants Featuring Angelino Quispe Sallo - Papa Asllay 2:21
03 Five Quechua Peasants Featuring Angelino Quispe Sallo - Papa Ch'utay 2:22
04 Fidel Wisa Hach'u & Carlos Wisa - Carnaval De Tinkuy 1 5:01
05 Fidel Wisa Hach'u & Carlos Wisa - Puka Chaki Wallata 1:36
06 Fidel Wisa Hach'u & Carlos Wisa - Puka Chaki Wallata 4:02
07 Fidel Wisa Hach'u & Carlos Wisa - Añu Ñiwu De Lawata 3:39
08 Fidel Wisa Hach'u & Carlos Wisa - Carnaval De Tinkuy 2 3:06
09 Fidel Wisa Hach'u & Carlos Wisa - Carnaval De Tinkuy 3 4:23
10 Fidel Wisa Hach'u & Carlos Wisa - Kacharpari Y Diana 5:38
11 Sonia Mamani & Victor Mamani - Languilayo Qochachapi 3:07
12 Sonia Mamani & Victor Mamani - Cruzata Punchitu 2:55
13 Severino Pirena Aragon - Linda Gaviotita 3:12
14 Grupo Galoperas De Canas - Q'ellabamba Campanitay 3:25
15 Severino Pirena Aragon, Victor Mamani Pucho & Victor Callo Roque - Danza Q'anchi De Canas 2:46
16 Severino Pirena Aragón - Punch'ay Qhashwa 2:24
17 Felipa Portugal Huella, Victor Mamani Pucho & Victor Callo Roque - Tupay Chita Kasarachiy 4:24
18 Felipa Portugal Huella & Victor Callo Roque - Toqroyoyoq Plazapi 2:41
19 Felipa Portugal Huella & Victor Mamani Pucho - Tuytunki, Tuytunki 3:26
20 Severino Pirena Aragón - Descanso Q'asay 2:23
21 Severino Pirena Aragón & Felipa Portugal Huella - Kasarakuy Mallkiyuq 2:00
22 Severino Pirena Aragón - Chita Mamalla 1:53
23 Severino Pirena Aragón - Tupay Sabaru Juygo 2:34

Peru: Music Of The Indigenous Communities Of Cuzco (ogg   176mb )

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Esta es la historia de una civilizacion que sobrevivio apezar de la invacion de otras culturasque no supieron respetar ni valora al gran imperio inka (This is the story of a civilization that survives despite the invasion of other cultures that did not know how to respect or value the great Inka empire).

Inkas - Peru   (flac  199mb)

01 Jacha malku (Ritmo trote)
02 Huachos (Ritmo huayno)
03 Chapi chapini (Ritmo huayno).flac
04 Lejanias (Ritmo huayno).flac
05 Pobre recuerdo (Ritmo caluyo).flac
06 Cintita celeste (Ritmo tinku).flac
07 Laquitas (Ritmo laquitas).flac
08 Zapateo (Ritmo zapateo).flac
09 Dos carnavalitos (Ritmo carnaval).flac
10 Reencuentros (Ritmo moderno).flac
11 Suri (Ritmo sui).flac

  (ogg  )

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Peruvian ensemble, which performs ethnic Latin American folklore. The band is a spin-off, initially some musicians were also part of the famous Peruvian group Laramarka, which has toured Russia for over 7 years (and still plays ...). The creators of these groups are the brothers Morales William and Yoni.

The group "Inka Karal" includes 3 Peruvians:
Jonny (Joni) - plays on the ken (flutes of ancient Indian origin), sampon'yah (cane multi-barreled flutes of the Andes), is the director of the group; Hebert (Ever) - plays Charango (a guitar from the shell of an armadillo, like a Russian balalaika), performs songs; Edgard (Edgar) - plays on the Huancar (Inca drum, lama skin), on the Chakche (a bunch of nutlets of the Peruvian plant, usually hangs at Edgar's on the microphone stand); Despite the fact that the band was formed relatively recently, the guys have already recorded and released a lot of CDs: Inka Karal - Folk Music, Inka Karal - Collection Instrumental, Inka Karal - Grandes Exitos.

Inka Karal - Grandes Exitos   (flac  453mb)

01 Alguien como tu 3:31
02 Susuro 4:00
03 Manantial (4:15
04 Chiquitina (3:06)
05 Coplas de amor (3:11)
06 Karu (4:07)
07 Es el amor (3:02)
08 Juramento (3:23)
09 Viento (3:53)
10 En Achakachi (4:35)
11 Fiesta De los negros (5:35)
12 Padre Corazon (3:50)
13 Ay Dime Tu (3:27)
14 Raicez (4:07)
15 Guantanamera (4:48)
16 Mariachi (2:43)
17 Che Guevara (4:55)
18 Besame mucho (4:11

Inka Karal - Grandes Exitos (ogg  168mb)

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Laramarka - street musicians from Peru. The founder of the group once studied in Krasnodar in KubSU, so their performances throughout the European part of Russia have been happening for several years. Meanwhile streetmusicians that know how to write songs and find their way around in studios.

Laramarka - Qapac Nan ( flac  432mb)

01 Qapac Nan
02 Cry Dance
03 Huanuy kausay Punuy
04 Maht Jchi
05 All The Pretty Things
06 Pobre Corazin
07 Ponchito
08 Relampago
09 Rosaura
10 Heya no ha
11 Acroiris
12 Tatanka
13 Ruminawi
14 Ananau
15 Ocarina
16 Malaku

Laramarka - Qapac Nan (ogg  153mb)

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This music instills a feeling in all of us that was lost for a time. If you hear it from far away, the joyful upbeat melodies with the singing native flutes and driving rhythms will stir your soul. Music opens the Ventana Al Sol, "Window To The Sun," to the life giving light and warmth to all living beings on earth

Echoes of Incas - Ventana al Sol ( flac  276mb)

01 Huayras Puncco 6:56
02 Don Adan 4:10
03 Ayacucho 4:10
04 Flor Ardiente 5:20
05 Tormenta De Fuego 5:10
06 Vuelo Nocturno 6:48
07 El Quetzal 5:34
08 Ventana Al Sol (Window To The Sun) 2:40
09 Cristalino 4:04
10 Aranjuez (The Main Theme Of The Aranjuez Concert) 3:22
11 Orilla Del Mar 4:10

Echoes of Incas - Ventana al Sol (ogg  122mb)

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Mar 26, 2018

RhoDeo 1812 Hordes 4

Hello, well F1 one opening race was expected to be a bit of a parade as it's extremely difficult to overtake in Melbourne, Hamilton couldn't get back to no 1 as he was only marginally faster than Vettel who had outsmarted him during a virtual safety car state during which he got his new tires- losing relatively half the time as a usual stop. Hamilton was still confused as to what had happened after the race, odd when last year he had won the Shanghai race thanks to a similar tactic. An aggressive block cost Verstappen his 4th start position to the Haas-Ferrari that then started to frustrate Max to no end as it was impossible for him to pass he did a 360 and fell back to 8th to finish 6th after being stuck behind Alonso for half of the race who's new car looks strong enough to be best of the rest this year. In general the field has been compacting. Bottas with his superior Mercedes started 15th and got to 8th, because the 2 Haas cars suffered tirechange DNF other wise he would have been 10th. In all a race remembered by Hamilton laughing first and Vettel last.

 Confused ? ......'N Joy

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Hordes of the Things is a 1980 BBC radio comedy series parodying J. R. R. Tolkien's The Lord of the Rings and to a greater extent the fantasy genre in general, in a style similar to The Hitchhiker's Guide to the Galaxy. It was written by "A. P. R. Marshall and J. H. W. Lloyd" (Andrew Marshall and John Lloyd) and produced by Geoffrey Perkins. It is unrelated to the game of the same name.


The plot concerns the threat to the small kingdom of Albion by "The Evil One" (a Dark Lord) and her ravening hordes, which have completely surrounded the country and are preparing to move in. Since Albion is an ancient name for Britain or England, the contemporary audience could choose to find references in this to their concerns about the new female Prime Minister, Margaret Thatcher, the European Common Market, the labour or trade union movement, or feminism. That The Evil One is female is barely mentioned as the story runs – she is off-stage.

Prince Veganin has raised a mighty army to defend Albion, only to see them all call in sick; his father King Yulfric thinks he is exaggerating the danger, and suggests that allowances should be made for foreign customs (like human sacrifice). In any case, Yulfric is too busy changing clothes with a commoner to have any time for affairs of state – the commoner in question being the woodcutter's daughter.

The great wizard Radox recruits the young hero Agar to find the mighty horn Summontrumpet which can call forth the six heroes of legend. To Agar's chagrin, Radox sends him a companion in the shape of the gluttonous dwarf Golin Longshanks, who is under the delusion that Radox's programme of height exercises has turned him into a giant.

Radox himself attends the Great Conference of All Wizards, but most of the wizards are too busy with the food and entertainment to bother with the heavy stuff about destroying evil.

Meanwhile, Veganin has set off on his own quest to slay the leaders of the evil hordes, beginning with the High Bishop of Zylbor, whose priests baptise people by holding their heads under water until they stop struggling. What Veganin doesn't realise, until it is seemingly too late, is that the Bishop's gaze will turn anything it falls upon to ashes.

Agar and Golin finally wrest Summontrumpet from the clutches of the Dread Sphynx, which has the body of a snake, the head of a snake, and the feet of a snake, and arrive upon the plains of Albion as the Seven Armies of Hell begin their invasion. The only thing that could possibly go wrong would be if the wrong person should sound the horn by mistake....

Written by Andrew Marshall and John Lloyd


Patrick Magee as the Chronicler
Christian Rodska as the hero Agar son of Athar
Maggie Steed as Queen Elfreda
Jonathan Lynn as the dwarf Golin Longshanks
Frank Middlemass as the wizard Radox the Green (named after a brand of green bath salts)
Simon Callow as the Crown Prince Veganin (named after an analgesic)
 Paul Eddington as the misnamed King Yulfric the Wise III

There are other minor characters named after brands of bath products: Badedas the Blue, and Matey the White.

Hordes Of The Things 4 - The Fourth Chronicle (mp3  27mb)

4 - The Fourth Chronicle 29:30

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Hordes Of The Things 1 - The First Chronicle (mp3  25mb)
Hordes Of The Things 2 - The Second Chronicle (mp3  26mb)
Hordes Of The Things 3 - The Third Chronicle (mp3  26mb)

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Mar 25, 2018

Sundaze 1812

Hello, so the F1 circus started this weekend and leading the parade once more is Mr.Hamilton driving his silver Merc followed at respectable distance by the Ferrari that have Max breathing in their neck, Verstappen was just 6 hundredths short of second place, Bottas decided that the weekend should have at least one good crash, he will start at the back and gets to show how good his overtaking skills are...

Today one of the many projects of Daniel Myer, there are not many who have so many different projects with such variety and yet a surprisingly high quality. Architect is one of the projects which explores electronic landscapes. Architect succeeded in combining electronic sounds with ambient and experimental sounds. Fans of Haujobb's ambient-side should have no problem finding their way here, as well as fanatics of the so-called clicks'n'-cut genre.   .... N'joy

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Haujobb are part of the newest wave of electronic dance acts to come storming out of Europe. Along with such other notables as :wumpscut: and VNV Nation, Haujobb are bringing, if possible, an even newer surge of adrenaline to a genre that already seems expanding to burst.

Haujobb formed as a trio in 1993 in Germany, with B. Junemann being the third member to the current duo of Dejan Samardzic and Daniel Myer. Their first release was on cassette only, the now hopelessly out of print Drift Wheeler. This embryonic issue brought them to the attention of Off Beat records, who released their first CD, Homes and Gardens, later that same year. Haujobb's first German tour occurred in 1994, along with the American release of Homes and Gardens and their first single, Eye Over You.

In 1995, Haujobb attained its current configuration with the departure of B. Junemann. The duo went on to release their second CD, Freeze Frame Reality, and began doing remixes for other bands, including Front Line Assembly and Download. The Frames CD was released, which featured both new material and a number of remixes done by such luminaries as cEvin Key of Skinny Puppy/Download, Adi Newton of Clock DVA, and Mentallo and the Fixer. In the midst of all this activity, a second tour of Germany was successfully launched.

During 1996 the band took part in The Remix Wars Part 1 - :wumpscut: vs. Haujobb, in which each band remixed several tracks from each other's repertoire. It also saw their first full European tour, as well as their debut on America's Metropolis Records, with the highly successful Cleaned Visions single and their drum and bass influenced full length CD, Solutions for a Small Planet. In 1997 came the release of their double EP, Matrix, with one disc of new and remixed electronica material and one disc of samples, while 1998 saw the release of two side projects, Newt and Cleen; as well as the release of the single Less. The second Cleen product, Second Path, with the Haujobb electronica CD, Ninety-nine, both hit the street in early 1999. The remixes from that album, Ninety-nine Remixes, was released in late 1999.

The long awaited return of the architects of sound, Haujobb has finally occurred. Polarity marks the end of a two year hiatus for Haujobb, who take this release to the edge of electronic extremes and beyond. Quite possibly their best album ever, Polarity is packed with electro break beats, ambient structures, and tweaked intricacies that deliver a wide spectrum of sound to fill the quietest void or largest chasm. Embark on a kaleidoscopic journey as Haujobb lead you between extremes of Polarity.

After releasing the highly anticipated Polarity album in 2001, Haujobb returned eight months later with yet another new single, "Penetration". The single gave great incite into what to expect from the new album, Vertical Theory. As Daniel Myer, mastermind behind Haujobb, described the album "a little trance, a little EBM, a little industrial, a little ambient, and a little bit dance, but with that Haujobb 'feel'."

Almost two years after the release of the album Vertical Theory, Haujobb returned with an album of remixed and reinvented tracks. Highly sought after for their legendary remixes, Haujobb now has the favor returned to them by their friends including well known acts such as Glis, Seabound, and This Morn’ Omina. In addition, Vertical Mixes contained two new tracks and mixes from Haujobb themselves.

Haujobb stated that they were ending their musical career with a final concert at Amphi Festival (Cologne) 19/07/2008, although a recent blog post (dated May 22 2009) suggests that this is no longer the case and that the band is simply taking a break from music. In February 2009, Metropolis Records released the out of print Freeze Frame Reality as a digital only release. Frames-The Remix Album was digitally released the following May.

In 2011 Haujobb released a new album with the title "New World March" which according to the band uses more hardware, guitars, drums, and sound recordings compared to software based Vertical Theory of 2003. In 2013 Haujobb created their own production label, Basic Unit Productions, and began releasing other artists such as Div|ider, Blush Response, and Black Nail Cabaret. Basic Unit Productions also released two compilations under the title, "Frost". In September 2015, Haujobb released the minimal-wave influenced, "Blendwerk" on Basic Unit Productions in Germany and on Negative Gain Productions in the United States.

Today, both Daniel Myer and Dejan Samardzic continue to record music under the name Haujobb – the duo also briefly recorded as Dots+Dashes. Myer has several other projects of his own, including Architect, Clear Vision (initially a collaboration with Thorsten Meier) as well as a number of other short-lived electronic projects. Myer, along with Claire Voyant's Victoria Lloyd, form HMB, whilst Newt is a collaboration with Andreas Meyer of Forma Tadre. The most recent of Myer's side-projects is Destroid, also featuring Rinaldo Ribi Bite and Sebastian Ullmann.

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As haujobb.'s third major album release, Solutions for a Small Planet marks a departure from their previous definitive style. The intricate electronic soundscapes and detailed attention to samples and voices are all still present, but a new progressive techno feel permeates this release. This is definitely Haujobb's transority album, and it marks a turning point in the band's musical style from a harsher and somewhat copied industrial noise to a more distinct IDM sound. It's a concept album about computer technology and its effect on humanity set about 20-50 years in the future. Some elements of this album seem reminiscent of the remixing they have done between this album and the second for electro-industrial bands such as Front Line Assembly, Download and Wumpscut. Within this new style, haujobb. have again shown that their complex intensity functions for both their danceable upbeat tracks (such as "Rising Sun" and "Deviation") and the slower attention-to-sounds tracks in the vein of "Nature's Interface." Throughout all these changes, however, haujobb. have retained both their intricacy and clinical approach to sound that they defined for themselves..

Haujobb - Solutions for a Small Planet (flac 453mb)

01 Clockwise 3:44
02 Anti/Matter 4:28
03 Rising Sun 4:13
04 Depths 4:52
05 Sub Unit One 3:59
06 Journey Ahead 4:56
07 Distance 6:04
08 Deviation 4:38
09 Nature's Interface 5:09
10 Sub Unit Two 3:46
11 Cleaned Vision 2:09
12 The Cage Complex 6:20
13 Net Culture 4:36
14 Transfer 5:48
15 Sub Unit Three 6:16

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Haujobb's delicate and complicated flavor of electro has been loaned to many other artists in the remix scene, and Matrix is the release that returns the favor. Matrix compiles the highlights of Solutions for a Small Planet in new and different forms, as other electro and industrial artists bring a range of flavors to the material. The outcomes vary in style. Many of the mixes are rearrangements created by haujobb, as much reinterpretations of album versions as new musical ideas. The kinds and rates of change are not static. In some tracks all that remains are a few original musical elements, as the structure of the track is torn down and redigitized, such as the forced fit of quiet breakbeat in "Advanced Deviation." At the other end of the scale, "The Farthest Distance" seems closer to the source, perhaps an alternate contender for the album cut that somehow didn't quite make it. The bookend tracks, which are not remixed, provide good insights into the more quiet haujobb moments of subtle sounds layered against delicate noise. For haujobb fans, this material is all good.

Other contributing remixers include individual members of other acts such as Covenant, Forma Tadre, Steril, and Czech. Each of these acts brings their own distinct vision to the neon haujobb aural cityscape. In each case, enough of the original remains to show the musical legacy, but moves into a new territory, some of them (notably the crunchy noise-beauty of "Sub Unit One" by Czech's Gregcore) eclipsing the impact of the original in an entirely unique way. The rest are interesting explorations, well worth a listen.

Matrix unquestionably owes its existence to the wide musical range of Solutions for a Small Planet, augmented in turn by a new host of ideas and voices from other acts. The flavor of this period of haujobb's music holds true enough for this to serve as a reasonable introduction to the artists as well, a rare accomplishment for a remix release. All this makes Matrix a release that stands equal to its lofty progenitor, rather than beneath it. The bonus treat for musicians: a second sample CD containing the synth voices used in the production, some to appear on later releases by artists such as Beefcake.

Haujobb - Matrix (flac 449mb)

The Rmx Matrix
01 Cross Fade 6:39
02 The Farthest Distance 6:45
03 Transformation 7:30
04 Clear Vision 5:03
05 Advanced Deviation 7:17
06 Antiversion 6:49
07 Depths 5:16
08 Hyperflow 6:10
09 Amplified Distance 6:28
10 Horizon 4:59
11 Sub Unit One 4:28
12 Monologue 8:00

Haujobb - Matrix Bonus (flac 204mb)

The Sound Matrix
01 Kicks 3:38
02 Snares 16:33
03 Loops & Perc 22:23
04 Chords & Sequences + FX 30:42

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With Ninetynine, Haujobb begins to open up its sound to the influence of more experimental electronica, helped no doubt by frontman Daniel Meyer's dabblings with a variety of other groups and remix projects. The sound of the record is minimalistic, sometimes featuring female vocalists, and more ethereal than past Haujobb releases, continuing the progression hinted at by Matrix.

Haujobb - Ninetynine  (flac 371mb)

01 Grounds 5:47
02 Overflow 3:24
03 Doubleyou 5:45
04 Cutedge 5:33
05 Ninetynine 6:24
06 Less 5:25
07 Pulsar 5:42
08 Creator 6:53
09 X-Flow 5:33
11 Less (Photik Sonar Rmx) 7:21
12 Less (S'apexed) 5:37
13 Less (Saucer Rmx) 5:00

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Haujobb's Ninetynine Remixes features nine reconfigurations of tracks from the group's Ninetynine album, casting them in a more ambient and minimalistic light. Tracks like Haujobb's own remix of "Pulsar" and "Overflow (Red Sparrow Mix)" emphasize the percussive aspects of their music as well as their flair for creating cold, spare, yet somehow moving synth melodies. "Overpulse (Combination by Photic Sonar)" fuses together "Pulsar" and "Overflow" with darkly beautiful results. "Overflow (Infam Remix)" and "Overflow (For a Space Remix)" reveal different aspects of the original's ethereal-dance vibe and Vanessa Briggs' vocals, while "Cutedge (60:60 Architect Remix) and "Ninetynine (S'Apexed)" take Haujobb's stark but atmospheric style to new heights.

Haujobb - Ninetynine Remixes  (flac 274mb)

01 Doubleyou (Tribute Rmx) 4:52
02 Pulsar (Rmx) 5:57
03 Overflow (Red Sparrow Rmx) 4:38
04 Ninetynine (S'apexed) 4:46
05 Overpulse (Combination By Photic Sonar) 5:16
06 Doubleyou (Dubmix) 7:27
07 Cutedge (60:60 Architect Rmx) 6:02
08 Overflow (Infam Rmx) 5:23
09 Overflow (For A Space Rmx) 4:38

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Mar 23, 2018

RhoDeo 1811 Grooves

Hello, since today's artist sudden death back in 96 there have been a lot of retrospectives cashing in on the man's good name in music, hence i started last week with 4 samplers and this week some of his solo albums

Today's Artist is an American blues, soul, and funk musician and singer-songwriter. A flamboyant showman and electric guitarist in the style of T-Bone Walker, he recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with disco and funk overtones, saw him have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years..Our man was not just a guitarist: he was a master musician. He could call out charts; he could write a beautiful melody or a nasty groove at the drop of a hat; he could lay on the harmonies and he could come up with a whole sound....... N'joy

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Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown. His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". Watson agreed. A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her. In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it. Watson's ferocious "Space Guitar" single of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. In 1975 he is a guest performer on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy") on the Frank Zappa album One Size Fits All. He also played with Sam Cooke, Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic – the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry made him one of the most colorful figures in the West Coast funk scene. He modified his music accordingly. His albums Ain't That a Bitch and Real Mother For Ya were landmark recordings of 1970s funk.

The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by The New York Times. The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.

In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. In 1995, he was given a Pioneer Award from the Rhythm and Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".

Watson died of a heart attack on May 17, 1996, collapsing on stage while on tour in Yokohama, Japan. His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California and buried in the Great Mausoleum, Sanctuary of Enduring Honor, Holy Terrace entrance.

Watson, a recognized master of the Fender Stratocaster guitar, has been compared to Jimi Hendrix and allegedly became irritated when asked about this comparison, supposedly stating: "I used to play the guitar standing on my hands. I had a 150-foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit." Frank Zappa stated that "Watson's 1956 song 'Three Hours Past Midnight' inspired me to become a guitarist". Watson contributed to Zappa's albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). Zappa also named "Three Hours Past Midnight" his favorite record in a 1979 interview.Steve Miller not only did a cover of "Gangster of Love" on his 1968 album Sailor (substituting "Is your name "Stevie 'Guitar' Miller?" for the same line with Watson's name), he made a reference to it in his 1969 song "Space Cowboy" ("And you know that I'm a gangster of love") as well as in his 1973 hit song "The Joker" ("Some call me the gangster of love"). Miller had also borrowed the sobriquet for his own "The Gangster Is Back", on his 1971 album Rock Love.

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Coming out of Houston's fertile blues scene with Albert Collins and Johnny Copeland, Johnny "Guitar" Watson trod the same route to fame that his peers did in the latter half of the '50s and for most of the '60s. Unlike Collins and Copeland, though, Watson found his biggest success as a funkster in the '70s. And lest one thinks of an aging blues legend embarrassing himself aping the innovations of George Clinton and Sly Stone, Watson found a singular groove by slicking up his already urbane blues style with lots of tasty horn arrangements, plenty of fat basslines, and wah-wah-issue guitar licks. The latter element, of course, was to be expected from a virtuoso such as Watson. And whether reeling off one of his subtle solos or blending in with the band, the reborn blues star was never less than compelling. Ain't That a Bitch, from 1976, heralded Watson's new funk era with plenty of guitar treats and one of the best batch of songs he ever cooked up. The variety here is stunning, ranging from the calypso-based blues swinger "I Need It" to the quiet storm soul ballad "Since I Met You Baby." In between, Watson goes widescreen with the comic book funk of "Superman Lover" and eases into an after-hours mood on the organ-driven jazz and blues gem "I Want to Ta-Ta You Baby." Besides the fine Watson roundups on the Rhino and Charly labels, Ain't That a Bitch works beautifully as a first-disc choice for newcomers, especially those who want to hear the '70s funk material.

Johnny Guitar Watson - Ain't That a Bitch   (flac 216mb)

01 I Need It 4:46
02 I Want To Ta-Ta You Baby 5:48
03 Superman Lover 5:45
04 Ain't That A Bitch 5:02
05 Since I Met You Baby 3:30
06 We're No Exception 4:18
07 Won't You Forgive Me Baby 5:18

.Johnny Guitar Watson - Ain't That a Bitch  (ogg  82mb)

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Obviously, the storming funk workout that gives this 1977 gold album its title is the album's principal draw (it's been covered countless times, but never duplicated). As was his wont by this time, the multitalented Watson plays everything except drums and horns.

Johnny Guitar Watson - A Real Mother for Ya    (flac 298mb)

01 A Real Mother For Ya 5:00
02 Nothing Left To Be Desired 5:42
03 Your Love Is My Love 4:38
04 The Real Deal 5:53
05 Tarzan 4:58
06 I Wanna Thank You 6:05
07 Lover Jones 5:23
08 Kathaline 2:03
09 De John's Delight 3:07

Johnny Guitar Watson - A Real Mother for Ya  (ogg  99mb )

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This is a relatively low-budget, self produced album that Johnny Guitar made and played all of the instuments on several tracks, before he had his big "comeback" album, Bow-Wow.  Nevertheless he always plays a nice funky beat and if you like his music, then you will enjoy this album, although it is be no means his greatest stuff. After his tentative "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But then prophets that predict disaster if we continue on the path created by computers weren't taken too seriously in 1984- go figure even if 4 years earlier Kraftwerk maneged to predict exactly what would happen on Computerworld. And now 2018 we've become enslaved to it and monetized by the dark forces of greed.

 Johnny Guitar Watson - Strike on Computers    (flac  195mb)

01 You Do Me Bad So Good 3:59
02 Boogie Down Party Down 4:56
03 Scratching 85 3:27
04 Let's Get Together 5:00
05 Strike On Computers 5:57
06 Byrd Ball Train 3:13
07 Statue Of Liberty 3:47
08 Please Send Me Someone To Love 4:28

   (ogg  mb)

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Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk.
No matter how you felt about changes that Johnny Guitar Watson made during his long career, he always tried to keep current and go with the funky flow. Bow Wow finds Watson treading on disco, funk, and early rap territory. Even though Watson produced, wrote, and arranged these sessions, it often sounds as if someone else should have been in control to help keep up the energy. Most of this material would have been more effective if a funkmeister like George Clinton could have been at the production helm, found some better material, and completely pushed Watson to simply have fun as an innovator and elder statesman to an up and coming generation primed for the kind of mischief unfortunately missing from Bow Wow.

 Johnny "Guitar" Watson - Bow Wow   (flac 293mb)

01 Johnny G. Is Back 5:17
02 Bow Wow 4:43
03 Never To Late 5:31
04 My Funk 3:39
05 It Takes 2 4:56
06 Time Change 4:55
07 Doing Wrong Woman 4:39
08 What's Up With You 4:44
09 Hook Me Up 4:39
10 I Don't Think So 5:25

. Johnny "Guitar" Watson - Bow Wow  (ogg  111mb)

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Mar 22, 2018

RhoDeo 1811 Re-Ups 136

Hello, 10 correct requests for this week and as usual requests that totally ignore my 12 months limit, whatever another batch of 32 re-ups (10 gig)

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 , requests fulfilled up to March 22nd.... N'Joy

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4x Grooves Back In Flac ( The Temptations - Meet The Temptations,  The Temptations - Sing Smokey, The Temptations - Cloud Nine, The Temptations - Puzzle People)

3x Aetix Back  In Flac (John Foxx - Metamatic bonus, John Foxx - The Garden bonus, John Foxx - The Golden Section Bonus)

3x Aetix Back in Flac (Adrian Belew - Lone Rhino/Twang Bar King, Adrian Belew - Desire Caught By The Tail, Adrian Belew - Young Lions )

5x Beats NOW In Flac (808 State - Quadrastate, Dreadzone - 360, Transglobal Underground-International, previously Dreadzone - Second Light, Transglobal Underground - Dream Of 100 Nations)

3x Sundaze Back in Flac (Celtic Cross - Hicksville, Kumba Mela Experiment - East Of The River Ganges, Dub Trees - Nature Never Did Betray The Heart That Loved Her )

1x Grooves NOW in Flac (Gilles Peterson - Broken Folk Funk Latin Soul)

4x Aetix  Back in Flac  (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine,  Tom Verlaine - Dreamtime)

2x Beats Back In Flac (VA - Future Sound of Paris, VA - Pierre Henry and Michel Colombier - Métamorphose - Messe Pour Le Temps Présent)

3x Aetix NOW In Flac ( Jerry Harrison - The Red And The Black, Silencers - Blues For Buddah, Fine Young Cannibals - The Raw & The Cooked      )

4x Sundaze NOW In Flac ( Steve Reich 05 Eight Lines-Tehillim, Steve Reich 06 The Desert Music, Steve Reich 07 New York Counterpoint - Sextet - The Four Sections, Steve Reich 08 Different Trains - Electric Counterpoint - Three Movements)

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Mar 21, 2018

RhoDeo 1811 Aetix


Today's artists were an English post-punk band formed in Middleton, Greater Manchester in 1981. The band originally consisted of singer and bassist Mark Burgess, guitarist Reg Smithies, guitarist Dave Fielding and drummer John Lever (replacing original drummer Brian Schofield). They released six studio albums and one EP before disbanding in 2003............N'Joy

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 The atmospheric pop band the Chameleons formed in Manchester, England, in 1981 from the ashes of a number of local groups: vocalist/bassist Mark Burgess began with the Cliches, guitarists Reg Smithies and Dave Fielding arrived from the Years, and drummer John Lever (who quickly replaced founding member Brian Schofield) originated with the Politicians. After establishing themselves with a series of high-profile BBC sessions, the Chameleons signed to Epic and debuted with the EP Nostalgia, a tense, moody set produced by Steve Lillywhite which featured the single "In Shreds."

The quartet was soon released from its contract with Epic, but then signed to Statik and returned in 1983 with the band's first full-length effort, Script of the Bridge. What Does Anything Mean? Basically followed in 1985, and with it came a new reliance on stylish production; following its release, the Chameleons signed to Geffen and emerged the following year with Strange Times. The dark, complex record proved to be the Chameleons' finale, however, when they split following the sudden death of manager Tony Fletcher.

While Burgess and Lever continued on in the Sun & the Moon, Smithies and Fielding later reunited in the Reegs. In 1993, Burgess surfaced with his proper solo album Zima Junction. He and his band the Sons of God toured America the following year. In 95 Mark released Paradyning together with Yves Altana, who turned up in Invincible too, Mark's next group that released two albums Venus (99) and Black and Blue (02).

As the '90s came and went, the four members of the Chameleons UK continued to work on music and see one another on a personal basis. While their own musical projects kept them busy, a reunion was practically inevitable. The Chameleons reconnected in January 2000 to prep for three May dates in England. The acoustic-based, self-released Strip was available by showtime and for a limited time only. Additional European dates followed throughout the summer, and by fall the Chameleons UK played their first American shows in nearly 15 years. Several live efforts appeared shortly thereafter. Why Call It Anything? (2001) marked the Chameleons' first studio album since 1986's Strange Times. This Never Ending Now appeared two years later, and a reunion tour which took them across Europe and the United States, the band dissolved once again in early 2003.

Black Swan Lane is a US/UK indie rock band/project founded in 2007 by Jack Sobel and John Kolbeck (formerly of The Messengers), and Mark Burgess  For their first release, Long Way From Home, issued in 2007 by Eden Records, Sobel, Kolbeck and Burgess were joined by three Burgess associates: Yves Altana, Achim Faerber and percussionist Kwasi Asante. Vocalist Anna-Lynne Williams guested on the song "Fakers".

In November 2008, Sobel and Burgess were joined by Andy Whitaker and Andy Clegg to reform the Sun and the Moon for a one-off US show in Sobel's hometown of Atlanta, Georgia. During practice sessions for the show, several new songs were written which later became the basis for Black Swan Lane's second album, The Sun and the Moon Sessions, released in June 2009. Asante also collaborated on this album. In April 2010, the band released their third album, Things You Know and Love, to critical acclaim. In August 2011, the band released their fourth studio album, Staring Down the Path of Sound. For the first time, Burgess did not participate.

In 2009, Burgess and Lever reformed to play Chameleons back catalogue material, under the name ChameleonsVox. They issued an EP, M+D=1(8), in November 2013. In 2014, Lever and Fielding reunited to record an album as Red-Sided Garter Snakes. The group's album, Endless Sea, also featuring contributions from vocalist James Mudriczki (of Puressence) and Andy Clegg, was released in July 2015. Lever died on 13 March 2017 at the age of 55.

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Easily the high point of the Chameleons' fascination with digital delays, pedals, and making the studio an instrument, the band's second album still is seen by many a fan as being just a little too lost in the production to have the same impact as Script of the Bridge did, despite equally excellent songs. The decision must ultimately be the listener's, but in the end the production argument is much more a quibble than a condemnation -- no matter how you look at it, What Does Anything Mean? Basically proved to be that rarity of sophomore albums, something that at once made the band all the more unique in its sound while avoiding a repetition of earlier work. Ironically, the first track, "Silence, Sea and Sky," turned out to be the least Chameleons-like track ever, being only a two-minute synth intro piece played by Mark Burgess and Dave Fielding. But with the gentle intro to the absolutely wonderful "Perfumed Garden," lyrically one of Burgess' best nostalgic pieces, it rapidly becomes clear exactly which band is doing this. The empathetic fire that infused Burgess' words for songs like "Singing Rule Britannia (While the Walls Close In)," a poetic attack on the Thatcher government, finds itself matched as always by brilliant playing all around. John Lever's command of the drums continues to impress, and Fielding and Reg Smithies remain guitarists par excellence; the searing, sky-bound solo on "Return of the Roughnecks" alone is a treasure. The sublime combination of the rushing "Looking Inwardly" and the soaring, blasting rip "One Flesh," leading into a relaxed instrumental coda, anchors the second side, while "P.S. Goodbye" provides a lovely, melancholic conclusion to an astounding record. The 2 CD set contains a re-mastered version of the original album, plus a 9-track bonus disc featuring previously unreleased demo recordings. The demo tracks were recorded in 1984, immediately prior to the full album session and showcase the songs in their full, original intensity.

The Chameleons - What Does Anything Mean Basically   (flac  569mb)

01 Silence, Sea And Sky 2:00
02 Perfume Garden 4:36
03 Intrigue In Tangiers 5:17
04 Return Of The Roughnecks 3:27
05 Singing Rule Britannia (While The Walls Close In) 4:17
06 On The Beach 4:11
07 Looking Inwardly 4:29
08 One Flesh 4:29
09 Home Is Where The Heart Is 4:54
10 P.S. Goodbye 4:03
11 In Shreds 4:10
12 Nostalgia 5:24
Bonus Disc (Original Album Demos)
13 Intrigue In Tangiers 4:44
14 Return Of The Roughnecks 3:38
15 Singing Rule Britannia (While The Walls Close In) 4:40
16 Perfume Garden 3:55
17 On The Beach 3:45
18 One Flesh 4:31
19 Home Is Where The Heart Is 4:36
20 Looking Inwardly 4:02
21 P.S. Goodbye 4:27

The Chameleons - What Does Anything Mean Basically   (ogg  200mb)

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If there was a should-have-been year in the Chameleons' history, 1986 would clearly be it, and Strange Times demonstrates that on every track, practically in every note. Signed to a huge label, with production help from the Dave Allen/Mark Saunders team who worked on the Cure's brilliant series of late-'80s records (here providing a more balanced sound between guitar effects and direct punch than appeared on What), the Chameleons delivered an album that should have been the step to a more above-board existence on radio and beyond. Right from the start, a stunning upward spiral of a guitar riff begins the unnerving character study "Mad Jack," the bandmembers mix their skills, experience, and songwriting ability perfectly and take everything to an even higher level. The first half continues with three more stunners: "Caution," a semi-waltz that moves well, pulls back, and then slams home, "Tears," a crushingly sad, acoustic ode to personal loss, and "Soul in Isolation," combining a huge majestic wallop with Mark Burgess' anguished study of alienation. And just when you think it couldn't get any better -- "Swamp Thing," the definitive Chameleons song, complex, building, tense, epic, perfectly played (John Lever's drumming is simply jaw-dropping, the Reg Smithies/Dave Fielding guitar pairing totally spot on), and with one of Burgess' most poetic, personal lyrics. It just keeps going from there, the second half covering everything from more sweeping tunes ("Time," "In Answer") to bare-bones melancholy ("In Answer," "I'll Remember"). Bonus tracks: an alternate and equally striking "Tears," the driving "Paradiso" and "Inside Out," and two covers. The take on Bowie's "John, I'm Only Dancing" is a quick fun goof, but the version of "Tomorrow Never Knows" (Burgess especially has been and remains a massive John Lennon fanatic, quoting songs by him liberally throughout his career) surges and soars, beating out by a mile all the times others have covered it. From back to front, Strange Times could never have enough praise. British versions of Strange Times on CD and LP came with a second disc of bonus tracks; when the album was reissued in the U.S. in 1995, the bonus tracks were simply added to the album proper.

The Chameleons - Strange Times (flac  528mb)
01 Mad Jack 3:55
02 Caution 7:46
03 Tears 5:05
04 Soul In Isolation 7:28
05 Swamp Thing 5:56
06 Time / The End Of Time 5:41
07 Seriocity 3:00
08 In Answer 4:54
09 Childhood 4:39
10 I'll Remember 3:39
11 Tears 5:06
12 Paradiso 4:35
13 Inside Out 3:33
14 Ever After 3:58
15 John, I'm Only Dancing 2:34
16 Tomorrow Never Knows 6:07

The Chameleons - Strange Times   (ogg  187mb)

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A constant subject of debate among Chameleons fans has been and remains whether or not their three studio albums, for all their brilliance, were nonetheless overproduced, with Smithies and Fielding especially lost in reams of digital delay. For those who believe so, Peel Sessions clearly came as a godsend, but even if a listener doesn't care either way, the benefits of capturing near-live sessions of such amazing performers with high-end studio sound is reason enough to give an ear. Covering sessions from 1981, 1983 and 1984, the song selection mixes selections from the first two albums plus a few rarities - the earliest session, featuring original drummer Brian Schofield (solid, but nowhere as inventive as Lever proved to be later), contains fine versions of "The Fan and the Bellows" and "Things I Wish I'd Said," not to mention a brisk "Looking Inwardly," not officially recorded until four years later! Takes on Script classics like "Second Skin" and "Don't Fall" are more than welcome, but the standouts have to be the many numbers from What, such as "Return of the Roughnecks," "One Flesh" and "Perfumed Garden," here given a bite and drive that amazes. The closing track, "P. S. Goodbye," has a beautiful alternate beginning that, while simple enough, gives the song a totally different feel from the album version - more proof that even in the smallest of ways the Chameleons were truly one of a kind.

The Chameleons - John Peel Sessions+Tony Fletcher Walked on Water EP (flac  443mb)
01 The Fan And The Bellows 3:27
02 Here Today 3:44
03 Looking Inwardly 4:25
04 Things I Wish I'd Said 5:05
05 Don't Fall 3:52
06 Nostalgia 3:29
07 Second Skin 6:06
08 Perfumed Garden 4:36
09 Dust To Dust / Return Of The Roughnecks 3:26
10 One Flesh 4:46
11 Intrigue In Tangiers 4:12
12 P.S. Goodbye 2:20

Tony Fletcher Walked on Water.... La La La La La-La La-La-La is an EP by English post-punk band The Chameleons, released 1 October 1990 on record label Glass Pyramid. It consists of The Chameleons' final recordings in 1987 prior to their breakup. The EP was named after the band's manager from 1986-87, Tony Fletcher who died of an heart attack. The song "Free for All" was named after an episode of the 1960s television programme The Prisoner.

In 1987, The Chameleons were ready to record their fourth studio album, to be released on Geffen. The band recorded four songs which were supposed to be released prior to the full album. Fletcher died of a heart attack just two days before these songs were recorded, and the band broke up acrimoniously soon after. In 1990, the band's main songwriter, Mark Burgess, formed the record label Glass Pyramid to help pay off the band's debts. The still-unused tracks from the 1987 Geffen session were to be used as the first Glass Pyramid release. Tony Fletcher Walked on Water was released on 1 October 1990. 1,100 copies were pressed for each format of CD and 12" vinyl. However, due to legal threats by guitarist Dave Fielding, the EP never made it to shops. The album has since been included as a bonus disc in remastered form with Dreams In Celluloid.

Literally the last recorded moments of the Chameleons - the band broke up mere days after the session documented here, even with a basic demo session, the Chameleons seemed capable of magic every time they picked up their instruments. "Is It Any Wonder?" carries a gentle touch to it, while "Denims and Curls" is a quick, sweet little guitar pop number with the band's usual edge downplayed a bit, but not by much. The clear winner here, though, is "The Healer," every bit the big epic as "Swamp Thing" and with a similar sense of build while not sounding like the earlier song at all; Burgess' own continued fondness for the track has shown in his various performances of it during his post-Chameleons career.

13 Is It Any Wonder 5:46
14 Free for All 4:25
15 The Healer 7:07
16 Denims and Curls 4:23

The Chameleons - John Peel Sessions+Tony Fletcher Walked on Water EP   (ogg  157mb)

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Mar 20, 2018

RhoDeo 1811 Roots


Chicha or Peruvian cumbia is a subgenre of Cumbia that became popular in the coastal cities of Peru, mainly in Lima in the 1960s through the fusion of local versions of the original Colombian genre, traditional highland huayno, and rock music, particularly surf rock and psychedelic rock. The term Chicha is more frequently used for the pre-1990s variations of the subgenre. Unlike other styles of cumbia, the Chicha subgenre's harmonics are based on the pentatonic scale typical of Andean music. It is played with keyboards or synthesizers and up to three electric guitars that can play simultaneous melodies, an element derived from the harp and guitar lines of Andean huayno. The rhythmic electric guitar in chicha is played with upstrokes, following patterns derived from Peruvian coastal creole waltz. Chicha songs contain electric guitar solos, following the rock music tradition.. ......N'Joy

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Chicha started out in the 1960s in the oil-boom cities of the Peruvian Amazon. Loosely inspired by Colombian cumbia, it incorporated the distinctive pentatonic scales of Andean melodies, Cuban percussion, and the psychedelic sounds of surf guitars, wah-wah pedals and moog synthesizers. Chicha absorbed elements of the music of the Amazonian regions of Peru and the use of the Farfisa electric organ through Amazonian bands like Juaneco y Su Combo. Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population. By the mid-1980s it had become the most widespread urban music in Peru.

The first Chicha hit, and the song from which the movement has taken its name, was "La Chichera" (The Chicha Seller) by Los Demonios del Mantaro (The Devils of Mantaro), who hailed from the central highlands of Junin. Band Los Destellos, formed in Lima en 1966, brought electric guitars to Chicha and consolidated its characteristic features by integrating in it elements of Peruvian Andean folklore, Peruvian creole waltz, Cuban music and rock music.

During the 1980s the Amerindian immigrants to coastal cities that nurtured the subgenre became working and middle class individuals and a market for Chicha commercial radio. The Pharaoh of Cumbia, Chacalon, became one of the most popular Chicha artists through his hit "Soy provinciano" (I am from the province) and vibrant concerts. Another famous band in the 1980s were Los Shapis, a provincial group established by their 1981 hit "El Aguajal" (The Swamp), a version of a traditional huayno.

The strong influence of Mexican tecnocumbia became evident on the evolution of Peruvian cumbia in the 1990s. Efforts by Argentina-based Grupo Néctar and others gave it regional recognition. Its decline during the late 1990s was followed by a revival that began in 2007, mainly thanks to the rising popularity of Tongo.

While most lyrics are about love in all its aspects, nearly all songs reveal an aspect of the harshness of the Amerindian experience - displacement, hardship, loneliness and exploitation. Many songs relate to the great majority of people who have to make a living selling their labour and goods in the unofficial "informal economy", ever threatened by the police. Current exposure of all social classes of Peru to Chicha as well as a renovation in lyrical content, to include expressions of animation have led to its revival.

Unlike traditional Cumbia from Colombia, Peruvian Chicha bands feature electric lead and rhythm guitars, electric bass, electric organ, electronic percussion and synthesizer. There are one or more vocalists who may simultaneously play percussion plus timbales and conga players. There are no accordions nor woodwinds.

Electric guitars make extensive use of the fuzzbox and the wah-wah pedal following the influence of psychedelic rock and surf rock in Chicha. The influence of Salsa has seen the recent inclusion of wind instruments in some Peruvian cumbia bands.

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For years, this genre was the biggest fuel of the Peruvian musical activity, by dint of its double penetration both in the rock bands and in the dancing venues. That explains the large number of interpreters, albums, singles, songs and -lastly- compiled that exist about it, the latter dedicated to cover with more or less chronological rigor that exciting decade that occurred in the country of Cubillas, Chumpitaz and Fujimori . Because if in the middle of the '60s the sensation over there had been the ephemeral and great Saicos, at the end of the same decade many other young people tried the same ayahuasca as Erwin Flores and company and, taking some of the most famous resources of garage rock that they practiced (especially the guitarist approach, with widespread distortion pedals and fuzz to rage) merged them with the well-known and popular chicha, the Peruvian cumbia, to form a new, novel, young, fresh and powerfully danceable style. Psychedelic cumbia we say now, almost 50 years later, to try to explain this phenomenon. But how did it all begin and how did it get to this day?

Legend has it that the first to incorporate the fuzz, the pedals and above all the idea that the electric guitar carried the baton - hence the subtitle of the compilation that we offer here - in the songs of clear instrumental cut of the new cumbia Peruvian was Enrique Delgado Montes, guitarist and composer of Los Destellos (included here with three of his best songs, in particular the brilliant "Guajira Sicodélica" that somehow gave the genre its name) and known as the godfather of this movement. A 45 rpm, "El Avispón" / "La Malvada", and the first album of the band, Los Destellos, surprised the quiet Peruvian musical scene with its combination of Andean sound, rock tilt and that sincere exploration of the huaynos and the chichas combined with the fury of electricity from the most classic garage. From there, there arose countless artists who, as the tradition indicates, represented their cities and joined this movement: the Oriental fundamentals and the no less interesting Atoms of Paramonga, Sanders de Ñaña, Los Wembler's de Iquitos, Los Demonios del Mántaro and Corocochay (and follow the signatures), all of them are represented in this recent compilation edited by the recommendable Spanish label Vampisound that helps to spread this exciting moment in the history of Latin American music with a perfection not reached since that fundamental The Roots Of Chicha, edited in 2007 by Barbès Records (also Spanish) and that brought to light what was, at least in Latin America, an open secret: that in the '60, in Peru, there had been a movement of very good artists who at the same time make you dance could be founded in the strictest psychedelic and garagera tradition and surprise you as perhaps no other folkloric expression Andean could do it. Listen if not to the wonderful, definitive Wembler's De Iquitos and his "Loving Whistle" -structured song, yes, from a whistle- or to the classic psychedelic cumbia "Mujer Hilandera" (song sung, and wonderfully, by Juaneco Y His Combo), or the "Lamento De Un Galax" of, precisely, The Galax and experience that particular mix of rock, psychedelia, cumbia, salsa and who knows how many other things.

 VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76     (flac  479mb)

1-01 Silvestre Montez Y Sus Guantanameros - El Avispón 2:32
1-02 Los Orientales De Paramonga - Lobos Al Escape 2:33
1-03 Los Destellos - Pasión Oriental 4:31
1-04 Grupo Celeste - Viento 3:43
1-05 Los Mirlos - Cabalgando Con Ella 3:11
1-06 Manzanita Y Su Conjunto - Arre Caballito 3:09
1-07 Los Mirlos - El Escape 2:49
1-08 Los Wembler's De Iquitos - Un Silbido Amoroso 2:35
1-09 Los Destellos - La Ardillita 2:44
1-10 Los Beltons - Cumbia Pop 2:51
1-11 Los Beta 5 - Beteando 3:39
1-12 Los Galax - Lamento De Un Galax 3:13
1-13 Aniceto Y Sus Fabulosos - Mi Gran Noche 2:55
2-14 Juaneco Y Su Combo - Mujer Hilandera 3:50
2-15 Los Sander's De Ñaña - El Tramboyito 2:34
2-16 Los Beta 5 - La Danza De La Tortuga 2:54
2-17 Los Destellos - Guajira Sicodélica 3:25
2-18 Los Orientales De Paramonga - Captura De Lobos 2:47
2-19 Los Diablos Rojos - Malambo 4:13
2-20 Los Átomos De Paramonga - El Trencito 3:14
2-21 Los Beta 5 - La Jorobita 3:50
2-22 Los Ecos - Aquí En La Fiesta (I Don't Want To Spoil The Party) 2:52
2-23 Los Demonios De Corocochay - La Chichera 2:56
2-24 Los Demonios Del Mantaro - Liliana 2:22
2-25 Los Mirlos - Lamento En La Selva 3:04

VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76 (ogg   205mb )

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VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983   (flac  299b)

1-01 Manzanita - Mi Choza, Mi Chacra Y Mi Mujer 2:44
1-02 Los Orientales - El Dragon 2:28
1-03 Juaneco Y Su Combo - Ven A Bailar Con Juaneco 3:49
1-04 Los Ecos - Baila Flaquita Baila 3:06
1-05 Compay Quinto - La Rumba Del Chinito 2:42
1-06 Los Pecos - Cumbia Para Un Viejito 3:05
1-07 Los Titanes - Linda Yolita 2:52
1-08 Los Orientales De Paramonga -Sabor A Cana 2:23
1-09 Los 5 Palomillas - Illimana 2:28
1-10 Los Ecos - SOS...Peligro 4:11
1-11 Los Mirlos - El Milagro Verde 2:46
1-12 El Monje Loco - La Papita 2:36
1-13 Juaneco Y Su Combo - Recordando A Fachin 2:14
1-14 Los Girasoles - La Bocina 2:39
1-15 Los Casmeños - Chachita 2:45
1-16 Los Yungas - El Pitito 2:36
1-17 Grupo Celeste - Sin Exito 3:40

VA - Cumbia Beat Vol. 2-1 (ogg 147mb)


VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983 2-2   (flac  290mb)

2-01 Juaneco Y Su Combo - Selva, Selva 2:26
2-02 Los Orientales De Paramonga - El Trapiche 2:21
2-03 Grupo Celeste - Melodia Celeste 3:03
2-04 Los Santos - Saturno 2000 2:59
2-05 Los Ilusionistas - Colegiala 3:33
2-06 Aniceto Y Sus Fabulosos - La Movedora 2:45
2-07 Los 5 Palomillas - El Chinchorrito 2:25
2-08 Los Mirlos - Llanto En La Selva 3:47
2-09 Los Beta 5 - Modulo Lunar 2:18
2-10 Jose Y Sus Antillanos - Melodia Antillana 2:35
2-11 Los Ecos - Linda Mariposa 3:32
2-12 Los Ilusionistas - Hola 3:20
2-13 Los Beta 5 - El Panadera 2:13
2-14 Los Demonios Del Mantaro - La Chichera 2:53
2-15 Los Demonios Del Mantaro - Peti Pan 2:33
2-16 Los Ecos - Chichita 3:59

VA - Cumbia Beat Vol. 2-2 (ogg  131mb)

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