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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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After some releases with more of a beat-heavy pop feel, Adamson moves back -- sort of -- into the land of noirish soundtrack. Unlike Moss Side Story, it's not really a soundtrack with repeated themes and motifs. A lot of pieces establish soundtrack-like moods, but the flow never builds up momentum of its own. As individual soundscapes, though, the tracks (largely instrumental) are reasonably impressive, whether it's burlesque-type fare, a takeoff on Miles Davis, or lounge jazz. If noir is what you want, "It's Business as Usual" is especially creepy, with its neurotic answering machine messages nearly buried under waves of disquieting sounds; achieving a similar effect; in an entirely different manner, is "Vermillion Kisses," a fairytale narrative with a morbid ending. Nick Cave adds a guest vocal to (and co-writes) "The Sweetest Embrace"; Pulp's Jarvis Cocker can be heard (and co-writes) another cut. Adamson's skill in layering and devising unusual sound textures still qualifies him as one of experimental rock's more imaginative composers and producers. But on the more rock-oriented pieces, he's using too many of those damn beat boxes for his own good.



<a href="https://www.imagenetz.de/YBSwV"> Barry Adamson - Oedipus Schmoedipus </a>  (flac   336mb)

01 Set the Controls for the Heart of the Pelvis (voc.Jarvis Cocker) 5:39
02 Something Wicked This Way Comes 4:33
03 The Vibes Ain't Nothin' But the Vibes 4:48
04 It's Business as Usual 4:29
05 Miles 5:30
06 Dirty Barry 7:30
07 In a Moment of Clarity 4:14
08 Achieved in the Valley of Dolls (Voc.Billy McKenzie) 4:27
09 Vermillion Kisses 3:02
10 The Big Bamboozle 3:37
11 State of Contraction 1:38
12 The Sweetest Embrace (voc.Nick Cave) 4:49
13 Set the Controls Again 1:34


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Barry Adamson is playing quite the "jazz devil" on As Above, So Below. The album sees the dark noir guru taking a detour from the more experimental electronica of Oedipus Schmoedipus into a cool, brutal concept album of aggressive, ominous rock-jazz. It seems that a great deal of Nick Cave's cinematic themes have rubbed off on Adamson from his days as a Bad Seed. Where Cave deals mostly with vampiric goth ballads, Adamson creates his art under a moody, effective jazz noir cloud. Many of the songs shuffle about with a determined sense of cool, as Adamson utilizes deep crooning vocals; he often sounds remarkably like a more sane Nick Cave, especially on "Come Hell or High Water." Perhaps Adamson's work on David Lynch's Lost Highway soundtrack inspired the tales of dead detectives and shady women detailed on As Above, So Below. One can easily imagine these songs coming from a younger, rocking, and more sinister Angelo Badalamenti, a frequent Lynch collaborator. The album's high points include "Can't Get Loose," "Still I Rise," and "The Monkey Speaks His Mind." "Can't Get Loose" sees Adamson cooly cooing over keyboards reminiscent of New Order, with a fun, suave xylophone sound and a sample of "Can't Get Used to Losing You" by legendary songwriters Doc Pomus and Mort Shuman. The song operates under a pleasant, humorous atmosphere, while still displaying ample doses of Adamson's warped, dark vibes. "Still I Rise" is monumentally cool. Adamson sounds quite angry and defensive, sing-screaming "still I rise" repeatedly, alternating that mantra with verses of autobiographical, stream-of-consciousness lyrics. The final cry is as punishing and entertaining as it is crass. Barry Adamson has yet to release an album that isn't entirely compelling. As Above, So Below is a strong, winning mix of style, emotion, and rock-jazz noir power. It's a bold, satisfying vision from an artist who shows no fear in expressing the seedier sides of life.

As Above, So Below is on the whole as written in the liner notes, 'as though Frank Sinatra had a walk-on part in Dante's Inferno,' iconography liberally borrowed from Vegas Lounge and religion with bold interchangeability. The soul's gambling debts, an omnipotent bookie at the ledger. The overall sound is a strange amalgam of jazz and electronica with a side of scummy lounge and a dark, dirty sense of humour. The first song samples the classic "Can't Get Used to Losing You" and amid lush organ and that smooth old Andy Williams arrangement, Adamson sings 'I can't get loose to using you, but that's what I'm-a gonna do, havin' fun in Heaven while you're crucified.' It's a sly bit of appropriation and subversion, but full and juicy in and of itself with buzzing guitars, swooning strings and unusually layered vocals.



<a href="https://mir.cr/1QWL4A6I ">  Barry Adamson - As Above So Below </a> (flac   316mb)

01 Can't Get Loose 5:26
02 What It Means 3:59
03 Déjà Voodoo 4:24
04 Come Hell or High Water 5:29
05 Jazz Devil 5:06
06 Still I Rise 2:17
07 Girl 4:46
08 The Monkey Speaks His Mind 5:31
09 Goddess of Love 3:09
10 Jesus Wept 7:19


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The original piece of music, entitled "The Hymn of the 7th Illusion", is a collaboration between film composer Barry Adamson and experimental electronic duo Pan Sonic. It's as minimal as they come: Adamson contributes some droning, vaguely avant-classical choir arrangements and Pan Sonic offer some low-end rumble. The two sounds spend the first eight minutes alternating, as if abstractly conversing on very important topics. Things begin to heat up (or at least do something) as the two elements are layered one on top of the other, but the composition remains stuck in place and sounds very much like two disparate and unrelated elements that do little to strengthen each other.
The remix, by Germany's Hafler Trio, is a bit more interesting. Titled "The Illusion of the 7th Hymn", it weaves wobbly and strong drones together before leveling them to start anew. At times it sounds eerily like the soundtrack to "the monolith" from Stanely Kubrick's 2001: A Space Odyssey, but the intermittent digital crackles and processing bring the listener forcefully up to the present tense. If you are interested in abstract and experimental electronic music, the Hafler Trio deliver a solid remix. If not, they will do little to convince you that this whole "serious digital music" thing is worth your time.

<a href="http://depositfiles.com/files/y2xgd5og3"> Barry Adamson + Pan Sonic - Motorlab #3</a> (flac   152mb)

01 The Hymn of the 7th Illusion 12:23
02 "'" 0:25
03 The Illusion of the 7th Hymn (Hafler Trio Remix) 23:03

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With As Above, So Below, Barry Adamson took a detour from the soundscape work that comprised much of his early solo catalog. It was more conventional sounding than anything he had written prior, and with production help from Flood, the album's seedy undertones and gritty seduction were given center stage. With The King of Nothing Hill, he continues where As Above left off -- seamlessly blending funk, jazz, rock, disco, and '60s French pop while swapping street tales with the listener. It's apparent on tracks like the funk-fueled "Cinematic Soul," the trippy "Twisted Smile," and the intense "When Darkness Calls" that Adamson can evoke a variety of feelings in any one of a number of musical styles. He's as convincing when vividly painting a crime scene as when he becomes "Satisfaction Jackson" in an attempt to seduce his prey. He occasionally dips into his soundtrack roots on tracks like the murky "Le Matin des Noire" and "The Second Stain," but when he does, he maintains the continuity of the album. This variety is what makes The King of Nothing Hill so enjoyable -- it revels in being both fun and furious. Whether he's talking about love or the streets, there's usually a clever hint of irony present. Adamson is blatant when he needs to be, but gets his point across most effectively when using metaphors. The King of Nothing Hill is his first album of all-new material since 1998's As Above, So Below. Although he released a best-of in 1999, Adamson's fans grew eager as rumors of a new album began to surface. With its sonically rich textures and ultra-smooth vibe, The King of Nothing Hill was well worth the wait.



<a href="https://multiup.org/44d60242ceacf28cf6385d36444b79ef"> Barry Adamson - The King Of Nothing Hill </a>  (flac   499b)

01 Cinematic Soul 5:27
02 Whispering Streets 5:00
03 Black Amour 5:05
04 When Darkness Calls 5:54
05 The Second Stain 4:43
06 Twisted Smile 5:52
07 Le Matin Des Noire 10:26
08 That Fool Was Me 5:35
09 The Crime Scene 6:26
10 Cold Comfort 8:25
bonus
11 Black Amour (Trojan Extended Pleasure Remix) 5:23
12 First Light 4:36

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