RhoDeo 2048 Grooves

 Hello, are you one of those uninformed extremely selfish youngsters that fear vaccination, please leave this blog you're not worthy of my effort. Anyway here we continue with the work of Barry Adamson, hardly surprising for my regular visitors as i post the remainder of his excellent work.



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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In the last eight years, producer, composer, and multi-instrumentalist Barry Adamson (formerly of Magazine and the Bad Seeds) has issued only three albums, and, counting this one, only seven since 1989. Never an artist who looked at trends or genres, Adamson has always been content to follow the inner workings of his mind. With 1998's As Above, So Below, he moved away from the soundscape-soundtrack-without-a-movie oriented conceptual work he'd been doing since the beginning of his solo career to engage in a more song-based approach. This followed on The King of Nothing Hill in 2002, and on 2006's Stranger on the Sofa, he moves back a step in order to take two forward. For starters, there are very few guests on the set. Adamson handled most instrumental chores and sampled and swiveled the other bits himself; he knows how to get the right loop when he needs it to be sure. There is certainly soundscape work on this recording, check the opening "Here in the Hole," an effects-laden tome narrated by Anna Chancellor, or Pscalle Fuiulee-Kendall's narration of "Deja Morte," or the noir-ish jazzscape as drenched in effects and dubby echo on the album's closer "Free Love" for three examples of his former way of working. But there's so much more here. Adamson's songs are quite whimsical and lovely when they want to be, "The Long Way Back Again" is such an instance; it could have been a Pogues singalong, with utterly beautiful homesick lyrics. "You Sold Your Dreams" is a futurist lounge lizard's approach at both the early, skeletal funkiness of the pop group as they meet the urban sophistication and poetry of Get Happy!'s Elvis Costello. No. Not Kidding. The B-3 jazz stomp and stroll of "Who Killed Big Bird" sounds like both an answer and a tribute to Georgie Fame's burning mid-'60s instrumental combos. The former is engaged when Adamson trots out a tenor sax, flute, and brass section and burns the house down with its sweaty groove and greasy perverse swagger. Forget Big Bird, this sounds more like the money-shot score for a porn film that never had the class to get made. It's followed by the drum and vibes rhythmic shuffle that underscores "Theresa Green," an utterly gorgeous love song where dub bass, B-3, guitars, and strings all paint Adamson's voice in wish, ache, and optimism. In sum, Stranger on the Sofa is the most fully realized Barry Adamson project ever. This is it. After decades of giving us good and even fine work, he's finally treated the faithful to a masterpiece.



<a href="https://multiup.org/e41e54937ffef408c3e955a8252be76d"> Barry Adamson - Stranger on the Sofa</a> (flac   360mb)

01 Here in the Hole 3:29
02 The Long Way Back Again 4:52
03 Officer Bentley's Fairly Serious Dilemma 8:17
04 Who Killed Big Bird? 4:19
05 Theresa Green 5:22
06 The Sorrow and the Pity 3:04
07 My Friend the Fly 4:38
08 Inside of Your Head 5:08
09 You Sold Your Dreams 4:00
10 Deja Morte 3:31
11 Dissemble 5:31
12 Free Love 7:00

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Throughout his solo career, Barry Adamson has relentlessly pursued a muse that appeared on his first full-length solo offering, Moss Side Story, released in 1989 -- six full years before David Holmes' This Film's Crap, Let's Slash the Seats. At that time, Adamson began composing and recording his influential "soundtrack in search of a film" strategy. He's composed scores for a number of cinematic works as well; most notably David Lynch's Lost Highway. Adamson's seven previous full-lengths approached notions of noir, lounge, rock, funk, soul-jazz, and blues, with a gleefully morose, playfully grotesque, and comic book-like sense of violence, in a new mythology. With 2006's Stranger on the Sofa, Adamson took to handling many instrumental and sound sculpting responsibilities without much help. Back to the Cat is, in some ways a full-circle return to the motivating factors behind Moss Side Story -- named for the violent part of Manchester he grew up in -- and the EP that preceded it, The Man with the Golden Arm. The previous records were both deeply referential composed works indulging cinematic obsessions Adamson has held all his life. Here, he gathers those experiences as a composer, and adds the depth and breadth of an accomplished songwriter as well. Here, Adamson plays a slew of instruments, does most of the arrangements, and produces, creates, and edits his own samples. He also recruited some excellent help: a four-piece horn section, and a rhythm section with Nick Plytas on B-3 and piano, bassist Iain Ross, and swinging drummer Johnny Machin.Back to the Cat is a collection of delightfully sleazy songs and interludes that meld lounge jazz, Rat Pack pop, roots rock, and spy movie/noir thriller film themes. We get to accompany his protagonists through an aural cinema comprised of obsessive yet likeable if odious archetypes: guttersnipe hustlers, spies, junkies, sexual predators, victims, and musical, literary, and cultural heroes.

The brooding synth and drum kit, the slow, West Side Story-esque finger pops, and the snaky little oboe-like phrase introduce the opener, "The Beaten Side of Town." Adamson's narrator appears here too. His voice is a decadent cross between Scott Walker imitating Jacques Brel and interpreting Frank Sinatra singing Kurt Weill and Bertolt Brecht! What's so utterly beguiling about Adamson's vocal ability is that he delivers a terminal hipster's cool in the heart of darkness in a dirty, smoky, dingy and dangerous blind pig. His last words in this raucous jazz number are ironic: "The beaten side of town/And I'm goin down." They're almost a growl, as this keeper of the netherworld -- a low-life Orpheus -- opens the gates to a nocturnal adventure where everything's turned on its head. Adamson's protagonist knows the way even if he can't predict the outcome. "Shadow of Death Hotel" has funky, loping rock guitar meets Memphis soul in a heat-seeking B-3, bass, drums, and horns going on. Halfway through it becomes a balls-out garage rocker helmed by an evil, Elvis worshipping hepcat, before it shapeshifts again into a flute-driven soul-jazz groover. But it's a really a broken crooner's love song! "Walk on Fire" contains fat, funky, wah-wah guitars and stinging horns; they advertise brazen sexual neediness in the lyric. It sounds like Duane Eddy playing with John Barry with Lux Interior on vocals. The acid-drenched Serge Gainsbourg-esque jazz of "Psycho_Sexual," brings the bleary-eyed dawn in the aftermath of a night's wild excess; it signals the end of Adamson's orgiastic journey of a night on the beaten side of town. Back to the Cat is a mind-blowing work of musical sophistication. Adamson is a startlingly gifted storyteller -- in sound, word, and mythology, both arcane and contemporary. His achievement is worlds beyond what most songwriters/composers could accomplish in a career, let alone a single album.



<a href="https://mir.cr/IYN1VHMF ">  Barry Adamson - Back to the Cat </a> (flac   296mb)

01 The Beaten Side of Town 4:49
02 Straight 'til Sunrise 4:58
03 Spend a Little Time 4:28
04 Shadow of Death Hotel 4:21
05 I Could Love You 3:32
06 Walk on Fire 4:32
07 Flight 4:53
08 Civilization 4:18
09 People 3:23
10 Psycho_Sexual 5:52

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In the four years since Barry Adamson issued the tour de force that was Back to the Cat, he's participated in at least one Magazine reunion tour. He was an original member before leaving to join the first version of Nick Cave & the Bad Seeds. Adamson's influence is clearly felt on their first three albums and singles. I Will Set You Free purposely evokes the swaggering, sleazy rock & roll of the Bad Seeds and the restrained menace of Magazine's post-punk moodiness -- as well as other stops along his idiosyncratic musical journey. Though he doesn't emphasize the imaginary soundtrack moves of his early records, it doesn't mean they aren't here -- check "The Trigger City Blues," with its spooky organ and sound effects (breaking glass, ringing telephones, etc.). Adamson kicks off the ten-song set with "Get Your Mind Right," fueled by a throbbing, rumbling, distorted bassline that recalls the early Bad Seeds. He also cops part of the Rolling Stones' "Street Fightin' Man" lyrically and melodically at the end of each line in the refrain. "Black Holes in My Brain" is a fingerpopping shuffler that evokes Adamson's trademark lounge lizard persona as well as his deep love of swinging, bluesy jazz, though he undergirds it all with his thoroughly funk-drenched bassline for admirable contrast. 'Turnaround" uses the melodic, alienated menace of post-punk, though Adamson turns the tables by using it in a straight-up love song. "Destination" is pure sonic attack, directly referencing the Stooges "Penetration." On the refrain, however, Adamson throws a change-up: he slips an irresistible pop hook into the refrain and bridge without losing stride. "Looking to Love Somebody" is a shimmering, soulful, 21st century funk driven by harpsichord, rubbery bassline, wah-wah guitars and breaks. "The Sun and the Sea" features layers of guitars but actively suggests Magazine's "Secondhand Daylight." Adamson's Howard Devoto-esque alienated prophet contradicts the song's bright tempo; highlighting the influence further are keyboards in the instrumental interlude. "If You Love Her" unabashedly references Scott Walker's passionate, theatrical croon from Scott 4 with Piero Piccioni-esque production. (Adamson has the vocal chops to pull it off.) The set closes with an even stranger homage: to David Bowie's Ziggy Stardust if it had been produced by David Axelrod. Even with the pop music encyclopedia at his disposal, his songs reflect his signature iconoclasm. With their wildly various, crowded musical architectures, his songs' lyrics address desire and death, and celebrate the spiritual impossibility of living "purely." In Adamson's subjective universe, the standalone "I" may occasionally wish to enter the collective "We" but accepts that it cannot. I Will Set You Free is the sound of Adamson's liberation as a songwriter, producer, and arranger. He feels comfortable in his skin on this wonderfully sequenced collection of songs that makes no attempt to hide his past; if anything, he celebrates it as he moves ever forward.



<a href="https://bayfiles.com/beA295v4p9/Brr_Admsn_I_Wll_St_Y_Fr_zip"> Barry Adamson - I Will Set You Free</a> (flac   285mb)

01 Get Your Mind Right 4:46
02 Black Holes in My Brain 3:58
03 Turnaround 3:53
04 The Power of Suggestion 3:16
05 Destination 4:33
06 The Trigger City Blues 4:51
07 Looking to Love Somebody 4:11
08 The Sun and the Sea 3:48
09 If You Love Her 4:29
10 Stand In 5:05

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Know Where to Run is Adamson's tenth full-length. While it references every place he's been sonically and musically, it's the first time he's focused so intently on conventional song structures -- even when his production and arrangements aren't. In the past he was content to make abrupt musical juxtapositions. Not so here. Adamson has become a fine singer, one good enough to match the canny strength of his songs. No longer a shouter, he possesses a clear, disciplined baritone and he can croon. Two waltz-tempo ballads are shining examples. "Come Away" owes a great debt to Cave in terms of phrasing and texture, but Adamson's lyric cleverness and tonal authority pull it into his wheelhouse. "Claw and Wing" offers lush strings, Mellotron, and organ, and references the timbral aspects of Scott 2. His cinematic flair is displayed on the theme-like, organ-driven opener "In Other Worlds." "Texas Crash," another movie-esque jam, melds everything from electro and futurist rockabilly to Golden Earring's "Radar Love," progressive beat jazz, and mean slide guitar blues. In "Death Takes a Holiday," he weaves looped breaks, Bacharach & David-esque choral pop, '60s progressive jazz, and a Hammond groove worthy of prime Georgie Fame.

Adamson's wicked sense of guttersnipe humor is still present in his lyrics. Both the driving post-punk R&B in "Cine City" and the airier, strident, funky R&B in "Mr. Greed" are rife with lounge-lizard, alley-denizen rhymes delivered with the rhythmic timing of hip-hop. "Up in the Air" is a seemingly straight-up, urgent guitar rocker with layers of swirling piano and cymbals underneath, and a loopy bridge adding complexity to its drama. "Evil Kind" begins as a folksy rock tune, but becomes a warped, dynamic exercise in psychedelia with blues and jazz overtones and cinematic choral music. It closes out the proceeding on a breathtaking note. Even though Know Where to Run is more straightforward in many ways, it is more ambitious than any recording Adamson has released to date. While he's polished his songwriting, arranging, and producing crafts, he uses them to push the forms he chooses to the tilting point. As a result, his sense of cohesion seems mercurial. It's not. The deeper one travels into Know Where to Run, the greater the level of surprise and satisfaction.



<a href="https://www.imagenetz.de/Jb7ts"> Barry Adamson - Know Where to Run </a>  (flac   318mb)

01 In Other Worlds 3:44
02 Cine City 5:35
03 Come Away 5:22
04 Death Takes a Holiday 4:13
05 Claw and Wing 4:21
06 Texas Crash 6:04
07 Mr Greed 4:50
08 Up in the Air 4:37
09 Evil Kind 6:08

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