RhoDeo 2046 Grooves

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Today's Artists has been creating all of his life. Perhaps his greatest creation is himself as a multi-disciplined artist. The self-taught musician rose to prominence as the bass player in post punk legends, Magazine. His establishment as a solo artist came after a three-year stint with Nick Cave and the Bad Seeds and heralded the release of his seminal first solo album, 'Moss Side Story'.Having released nine studio albums, including the 1992 Mercury Music Prize nominated 'Soul Murder', Adamson has continued to tour globally with his talents being in as much demand by new generations of artists, as he was after his first solo release. .........N Joy

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Adamson was born in Moss Side, Manchester, England to a white mother and a black father. He read comic books from an early age. At school he immersed himself in art, music and film and produced his first song - "Brain Pain" - at the age of 10. His diverse musical tastes range from Alice Cooper to Motown to David Bowie.

After leaving school, Adamson drifted into graphic design whilst attending Stockport Art Colleg but quit shortly after, preferring to venture into the exploding punk rock scene of the late 1970s. He joined ex-Buzzcocks singer Howard Devoto's band Magazine to play the bass guitar, with whom he scored one chart single, "Shot by Both Sides"; in late 1977, he also joined the Buzzcocks, as a temporary replacement for Garth Smith. He played on all of Magazine's albums and contributed to Devoto's solo album and his next band, Luxuria. He also contributed to the studio-based band Visage, playing on the ensemble's first two albums, Visage and The Anvil.

After Magazine broke up, Adamson worked with another ex-Buzzcock, Pete Shelley, before joining Nick Cave and the Bad Seeds, featuring on four of their albums: From Her to Eternity, The Firstborn Is Dead, Kicking Against the Pricks and Your Funeral, My Trial. After his stint with the band and a European tour with Iggy Pop in 1987, he went solo, releasing an EP, The Man with the Golden Arm in 1988, and his first solo album, Moss Side Story, the following year, the "soundtrack" to a non-existent film noir. The album incorporated newscasts and sampled sound effects and featured guest musicians Marcia Schofield (of The Fall), Diamanda Galas, and former colleagues from the Bad Seeds.[4] Adamson's second solo album was the soundtrack to a real film this time – Carl Colpaert's Delusion, and he would go on to provide soundtracks for several other films.

Adamson's third album, Soul Murder, was shortlisted for the Mercury Music Prize in 1992. His solo work has mostly been influenced by John Barry, Elmer Bernstein and Ennio Morricone, whilst his later works include jazz, electronica, soul, funk, and dub-styles. In 1996, Adamson contributed to the AIDS-Benefit Album, Offbeat: A Red Hot Soundtrip, produced by the Red Hot Organization. His own album that year, Oedipus Schmoedipus, reached #51 in the UK Albums Chart. It would later be included in the 1001 Albums You Must Hear Before You Die list, along with Moss Side Story.In 2002, Adamson left his long-term label, Mute Records, and started his own production home, Central Control International. In 2006, he released Stranger on the Sofa, first for his Central Control International imprint, to critical acclaim. Back to the Cat, his second album for the label, was released in March 2008.

In 2007 it was announced that Magazine would re-form for concerts in 2008. Adamson took part in the same band line-up that recorded Secondhand Daylight, with the exception of the late John McGeoch, who was replaced by Apollo 440 member Noko. However, Adamson has since withdrawn from the reunion and new recordings. On 27 August 2010, Adamson released "Rag and Bone", as a digital download and as a 12-inch vinyl record. He then released a studio album, I Will Set You Free, on 30 January 2012. Adamson rejoined the Bad Seeds for the release of their 2013 album, Push the Sky Away, playing bass guitar on two songs. He also toured with the band on drums and keyboards, to fill in for an ailing Thomas Wydler. His 2016 album Know Where To Run was accompanied by a book with photos that Adamson shot in the US while on tour with Nick Cave. 2018 saw the release of Memento Mori, an album celebrating his 40th anniversary as a professional musician, which was followed by a concert at the Union Chapel in London. A recording of this concert was released on vinyl and CD.


Adamson's "Refugee Song" was included in Derek Jarman's The Last of England. Adamson also contributed soundtrack material to Gas Food Lodging, David Lynch's Lost Highway and Oliver Stone's Natural Born Killers. Back to the Cat's opening track, "The Beaten Side of Town", was featured in the video game Alan Wake. He also contributed substantial material to the Delusion soundtrack, which has also been released.





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It's probably because there's no actual film to accompany this film noir soundtrack that it's so damn exciting; it's forced to tell a story through the music.  Mainly an instrumental album, the liner notes help to indicate a plot, but it's the music plus the listener's imagination that drives the narrative.  There's suspense, horror, romance, intrigue, beauty, grit and sex.  But it isn't merely pastiche, or an assemblage of old soundtrack passages.  Adamson has created a unique hybrid of heavily moody industrial jazz that can just as easily soothe or rock or scare the bejesus out of you.

When this was released there was nothing quite like it, that I'm aware.  Since then it seems variations on noir thriller fusion has become ubiquitous (what would trip hop, for instance, be without it?), and they all owe at least a little something to this album.  But Adamson blows them all away, largely because he wasn't a slave to the electro-groove or the dance floor (that came later with The Negro Inside Me). There's an entire underworld in this disc - you better watch your back.  Recommended for anyone with an interest in the soundtrack giants like Bernard Herrmann, John Barry or Ennio Morricone, or for those just looking for cool music that packs a wallop from a cold steel gun.



<a href="https://multiup.org/27a70f18aba78c2e435cd8d635ab28e3"> Barry Adamson - Moss Side Story </a>  (flac   299mb)


 Act One 'The Ring's the Thing'
1 On the Wrong Side of Relaxation 5:27
2 Under Wraps 4:27
3 Central Control 2:16
4 Round Up the Usual Suspects 0:37

Act Two 'Real Deep Cool'
5 Sounds From the Big House 6:24
6 Suck on the Honey of Love 2:13
7 Everything Happens to Me 2:42
8 The Swinging Detective 5:46

Act Three 'The Final Irony'
9 Autodestruction 3:49
10 Intensive Care 2:41
11 The Most Beautiful Girl in the World 4:08
12 Free at Last 1:23

For Your Ears Only' [CD bonus tracks]
13 Alfred Hitchcock Presents 2:24
14 Chocolate Milk Shake 4:24
15 The Man With the Golden Arm 5:13


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It's perhaps unsurprising that Adamson's eclectic compositional talent doesn't work nearly as well when he has to wed his vision to an actual film. This soundtrack for an obscure 1991 movie contains plenty of interesting bits, elements, and pieces -- somber Spanish guitar, haunting orchestral passages, Phantom of the Opera organ phrases, manic Latin music, and a too-brief, ominous update of the 1963 British instrumental hit "Diamonds." The problem is that it doesn't ebb and flow into a sum greater than its parts. In fact, the jarring bits of dialogue (which are meaningless without the context of the film) are often downright annoying, and make the sum substantially less than whatever whole it may have formed.



<a href="https://mir.cr/DKPUUTRJ ">  Barry Adamson - Delusion </a> (flac   213mb)

01 Delusion 1:44
02 Crossin the Line 2:32
03 Il Soltario 3:50
04 Patti's Theme 0:42
05 A Settlin' Kinda Scam 2:31
06 Fish Face 5:15
07 Go Johnny 2:28
08 The Life We Leave Behind 2:29
09 An Amendment 2:21
10 La Cucaracha 1:14
11 Diamonds 2:23
12 George's Downfall 1:11
13 Got to Bet to Win 3:12
14 The Track With No Name 1:48
15 Patti's Theme [Two Stage Variation] 2:34
16 Death Valley Junction 4:36
17 These Boots Are Made for Walking 2:50

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Barry Adamson's early work is all extremely murky and cinematic, frequently dealing with issues of race, and in that sense, Soul Murder can be considered his definitive early work. While his later albums delved into more vocal tracks and a lighter, more electronic-friendly sound (and the transitional Oedipus Schmoedipus best showcases his work overall), this album is pure, filthy, jazzy, noir nastiness.

"Split" is Adamson's first vocal track, a cabaret pastiche with oblique lyrics referencing his prior work, his birthplace, and most importantly, his mixed racial background and the way it has affected his upbringing and outlook. While the title of the song comes from the repeated line 'I'm gonna SPLIT!' it refers more centrally to how his race affects how people view him and his own conflicted self-image. On this track, he deals with it fairly lightly - 'I'm of mixed race. No, no, no, y'know, I don't mean like an Englishman, a Scotsman and a Negro and a Russian all competing against each other in some significant track and field event...' - but other songs deal with the issue in a much heavier way. The opening "Preface" is a swooning overture that begins with a man shouting about the violent acts that landed him in jail and concludes with police paying a visit to a Mr. Adamson. "A Trance of Hatred" is centered around a sample of an angry rant directed at a new arrival to jail. Most disturbingly, "A Gentle Man of Colour" features an extremely, gruesomely detailed (but dispassionately read) news report about a lynching, over claustrophobically escalating noise and ambiance.

A lot of the album is still the filmic noir instrumentals that characterized his debut, Moss Side Story, all tense and cinematic, often with ambient noise, and tracks such as "The Violation of Expectation" and "Reverie" mining similar territory to Angelo Badalamenti's work with David Lynch. Some hints of the more electronic nature of his later albums does appear here, however, such as the industrial beats of "Suspicion" (which are largely composed of static and distorted speech), or the reggae/dub John Barry tribute, "007, a Phantasy Bond Theme" which reimagines Bond as a young Jamaican boy and adds an infectious ska backbeat to the familiar Bond theme, along with some jazzier horns.

While not quite as distinctive and sharp as his late nineties albums, this is a strong introduction to Adamson at his most murky and troubling.



<a href="https://www.imagenetz.de/ix4s6"> Barry Adamson - Soul Murder</a>  (flac   246b)

01 Preface 1:14
02 Split 3:58
03 The Violation of Expectation 3:04
04 Suspicion 4:05
05 A Gentle Man of Colour 3:50
06 Trance of Hatred 0:59
07 Checkpoint Charlie 6:32
08 Reverie 4:50
09 Un petit miracle 2:55
10 007, a Fantasy Bond Theme 3:57
11 The Adamson Family 3:45
12 Cool Green World 3:31
13 On the Edge of Atonement 3:16
14 Epilogue 0:58

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This is a great release. Good technology with just the right amount of funk. Well balanced, neither too much nor too little - his soundtrack impulses allowed full-flight. Anyway, something of a holding pattern. On this six-song EP, Adamson extrapolates from contemporary black dance beats, samples his American publicist's answering machine message and Jane Birkin's hit "Je T'Aime," and throws in lounge jazz piano bits and more. The pieces aren't that striking, and one gets the sense that he's tossing out some ideas to play with in the interim between full-length scores/albums.



<a href="http://depositfiles.com/files/ymtetnp8q"> Barry Adamson - The Negro Inside Me</a> (flac   194mb)

01 The Snowball Effect 4:22
02 Dead Heat 4:52
03 Busted (Michaelangelo version) 5:44
04 Cold Black Preach 6:25
05 Je T'Aime...Moi Non Plus 5:30
06 A Perfectly Natural Union 4:07

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