Rho-Xs

Nov 7, 2014

RhoDeo 1444 Goldy Rhox 185

Hello, today the 185th post of GoldyRhox, classic pop rock in the darklight an American musical duo from Philadelphia.

The two write most of the songs they perform, either separately or in collaboration. They achieved their greatest fame from the late 1970s to the mid-1980s with a fusion of rock and roll and rhythm and blues, which they dubbed "rock and soul". Critics Stephen Thomas Erlewine and J. Scott McClintock write, "at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them by incorporating elements of new wave." While much of their reputation is due to the sustained pop-chart run in the 1980s, they continue to record and tour, and remain respected by various artists for their ability to cross stylistic boundaries.

They are best known for their six No. 1 hits on the Billboard Hot 100: "Rich Girl", "Kiss on My List", "Private Eyes", "I Can't Go for That (No Can Do)", "Maneater", and "Out of Touch", as well as many other songs which charted in the Top 40. In total, they had 34 chart hits on the US Billboard Hot 100, seven RIAA platinum albums, and six RIAA gold albums.[2] Because of that chart success, Billboard magazine named them the most successful duo of the rock era, surpassing The Everly Brothers. In 2003, they were inducted into the Songwriters Hall of Fame. Billboard magazine had them at No. 15 on their list of the 100 greatest artists of all time and the No. 1 duo...

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Nov 5, 2014

RhoDeo 1444 Aetix

Hello, after all complaints of faulty links and mangled zips i've decided to re-up everything since sundaze 1443 this time zipped on a windows system, although not functioning properly anyway lot's of work 16 rezips and re-uploads...go get them..!!

Today an American experimental rock band originally active from 1982 to 1997, led by singer, songwriter and multi-instrumentalist Michael Gira. The band was one of the few groups to emerge from the early 1980s New York no wave scene and stay intact into the next decade. Formed by Gira in 1982, they employed a shifting lineup of musicians until their dissolution in 1997. Besides Gira, the only other constant members were keyboardist/vocalist/songwriter Jarboe from 1984 to 1997, and semi-constant guitarist Norman Westberg. The band became known for its experimental instrumentation and repetitive song structures. In 2010 Gira reformed the band although without Jarboe.....N'Joy

All flacs have been re-upped 2nd December 2014
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Swans were born during the heyday of New York's no wave reaction to punk rock, on the Lower East Side. Led by brainchild, guitarist, vocalist, and songwriter Michael Gira, the group was formed after the demise of his first New York outfit, Circus Mort. Swans' first lineup consisted of Gira, guitarist Sue Hanel, and drummer Jonathan Kane. The trio played with kindred spirits Sonic Youth and did some rudimentary recordings that showcased the abrasive, percussively assaultive sonics Swans were later identified with. These initial sides surfaced on the Body to Body, Job to Job compilation. A different lineup included Kane, guitarist Bob Pezzola, and Daniel Galli-Duani on saxophone; they released a self-titled EP in 1982. The personnel changed again for the band's powerful debut, Filth, issued in 1983 on Germany's Zensor imprint. It included Gira, Kane, guitarist Norman Westberg, bassist Harry Crosby, and percussionist/drummer Roli Mosimann.

Swans began to garner an audience in Europe. Kane left after Filth was released, and Swans, who were becoming known for their sheer musical brutality as well as Gira's lyrics about violence, extreme sex, power, rage, and the margins of human depravity (sometimes in the same song), began to garner a cult following at home with the release of 1984's Cop. The sound was essentially the same: extreme volume, slower than molasses tempos, detuned guitars, distorted electronics, and overamped drums and percussion, but there were discernible traces of something approaching melody in Gira's compositions and vocalizing. Further evidence of this new "accessibility" was heard on 1985's untitled EP, which featured the provocatively titled "Raping a Slave." It later became the EP's title. Swans' touring was relentless, and while anything even approaching popularity avoided them in the United States, their European audiences grew exponentially.

The band issued the EP Time Is Money (Bastard) and the full-length Greed at the beginning of 1986 and another album, Holy Money, and the A Screw EP later. Holy Money marked a real change in the band's sound, though its tactics were largely the same: the entrance into the band of two new influential presences: vocalist/keyboardist Jarboe and bassist Algis Kizys, who began, albeit subtly at first, to shift the band's attack into something less assaultive sonically yet no less jarring emotionally. Jarboe and Kizys would remain members of Swans until the group's extended hiatus began in 1997. Jarboe, who actually was a member of the band as early as Holy Money, would become a settled, foil-like presence for Gira as co-lead vocalist. Her presence signified the addition of a new set of dynamics and textures to the more brutal soundscapes the band put forth in its past. That said, when called upon to do so, she was no less primal or forceful than Gira as a singer.

In 1987 the band moved to Caroline Records and issued Children of God, a double album that marked the real transition between the two parts of the band’s sound. Gira openly embraced the softer aspects being added to Swans' sonic architecture. Further evidence is provided by the beginning of Gira and Jarboe’s new side project, Skin (World of Skin in the United States), whose first album, Blood, Women, Roses, on which Jarboe was featured on lead vocals, was released. A subsequent album, Shame, Humility, Revenge, with Gira on lead vocals, was also recorded at the same time, but released a year later. The German-only Swans set Real Love, a semi-official bootleg, was issued in 1987. Another double album, Feel Good Now, was issued by Rough Trade Records in 1988. Interestingly, despite Swans gaining attention for their own material (they regularly appeared in the pages of the British weeklies and each new release brought more laudatory ink) and even placing albums on the indie charts' lower rungs, it was ironically a single, a cover of Joy Division's immortal "Love Will Tear Us Apart," that climbed the independent charts in June, and nearly topped them.

Fantastically, Swans were offered -- and signed -- a contract with major label MCA Records. "Saved," their first single for the label, was almost mainstream, given the band’s roots. The subsequent album, The Burning World, produced by Bill Laswell, featured another cover; this one a gorgeous reading of Blind Faith's "Can't Find My Way Home." The aggressive, savage brutality of the band’s earlier recorded sound had been almost entirely supplanted by a much more somber, elegiac, and acoustic approach to music-making, with lyrics sung (rather than shouted or screamed) in duet between Gira and Jarboe; Westberg played as much acoustic guitar as electric, Jarboe’s keyboards all but floated through the mix, and Kizys employed the upper ranges of his bass as never before. The record didn't sell enough to please MCA, however, and the band was dropped.

Live performances from Swans were another story. The group continued to play violent music at outrageous volumes that were punishing for audience members, and sometimes displayed shocking and provocative stage antics. Crowds only grew. With critical backlash mounting and the band faced with new listeners, Gira gambled -- or reacted, depending on whose point of view one listens to. Instead of following up The Burning World with another album, he formed his own label, Young God, and spent the next few years reissuing earlier Swans material. Gira and Jarboe issued their final World of Skin album, Ten Songs for Another World, in 1990, but Swans didn’t release another album until the stellar White Light from the Mouth of Infinity appeared in 1991. It was their most commercially viable yet adventurously experimental set to date, with a myriad of textures, dynamics, and sophisticated production techniques. Various forms of electronics were added to the other instruments, creating depth and dimension in the band’s sound. The band toured the album in front of its largest audiences. In 1992 Swans issued the full-length Love of Life and the live set Omniscience.

In 1993 Jarboe released her first solo project, Beautiful People Ltd., in collaboration with keyboardist Lary Seven, offering an entirely different side of her mysterious multi-octave vocal persona in Swans -- it was a collection of neo-psychedelic pop songs. Gira, meanwhile, wrote fiction in earnest, resulting in the publication of his first book, The Consumer and Other Stories, published by Henry Rollins' 2.13.61 Press in 1995. Swans also resurfaced with the lauded The Great Annihilator. Jarboe issued her second solo offering, Sacrificial Cake, and Gira released his first solo album, Drainland, to boot. After touring with all the new material, the band reconvened later in the year to begin recording Soundtracks for the Blind, which was issued by Young God in 1996. The band did a final tour before Gira announced in early 1997 that Swans were finished. He began a new recording project that focused on his songwriting called the Angels of Light, and continued running Young God, a label that became an innovative force in independent music. Jarboe pursued a successful solo career, often employing former members of Swans as well as collaborating with artists including Tool's Maynard James Keenan and Jesu's Justin Broadrick, to name just two of the dozens. Gira also continued writing and publishing fiction.

In 2009, news surfaced via the Young God home page that Gira might reconvene Swans for a set of songs he had written. In early 2010 the words "SWANS ARE NOT DEAD" appeared on his MySpace page. The new version of the band consisted of former as well as new members including guitarists Westberg and Christoph Hahn, drummer/percussionist Phil Puleo and drummer Thor Harris, and bassist Chris Pravdica. The band recorded the album My Father Will Guide Me Up a Rope to the Sky, which was released in September of 2010 on Young God. The live album We Rose from Your Bed with the Sun in Our Head followed in 2012. In August of that year, Swans released the sprawling double album The Seer, an album that Gira claimed was 30 years in the making. Gira and his collaborators were hardly short on ideas by this point, and in 2014 they released another double album, To Be Kind, which featured guest vocals from St. Vincent.

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With only Gira and Kane carrying over from the first EP's lineup, the truly bizarre thing about Swans' first full release is that, in its own angry beyond all anger way, you can actually dance to it at very brief points. Admittedly, spasmodic jerking-around might be the more expected response (and given that Gira physically attacked an audience member at a show around the time of this album's release for "getting into it too much," maybe the safer one). But the point remains that the overwhelming angst-and-death on songs like "Big Strong Boss," with lyrics like "Cut my throat, kill me snake, do what I say, you're the boss, " sometimes gets married close enough to a groove that it's almost surprising. For the most part, though, the drums (courtesy in part of future Young Gods producer Roli Mosimann) pound away almost like a ritual, doomy bass and grinding guitars sound like prime Black Sabbath at even danker levels of destruction, and Gira sounds like he's ripping his soul from his throat every time another lyric is half-barked, half-wailed, sometimes with a little electronic distortion help. As might be guessed, the only light in the lyrical tunnels comes from an oncoming train, as song titles like "Power for Power" and "Weakling" would indicate; even "Thank You" has lines such as "This smells sour, burn my face." Norman Westberg's guitar work has a definite power to it, and occasional studio manipulations like the chopped up/sped up "Freak" keep things interesting, but by the end it all gets a bit much. In small doses, though, it's great, and early Swans really is like little else on the planet before or since.

Swans - Fllth (flac 364mb)

01 Stay Here 5:35
02 Big Strong Boss 3:01
03 Blackout 3:40
04 Power For Power 5:52
05 Freak 1:13
06 Right Wrong 4:40
07 Thank You 3:45
08 Weakling 5:18
09 Gang 3:14
E.P. 1982
10 Speak 4:28
11 Laugh 4:04
12 Sensitive Skin 6:05
13 Take Advantage 4:30

Swans - Fllth (ogg 134mb)

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Consisting of a four-piece lineup -- Mosimann on drums, Westberg on guitar, Harry Crosby on bass, and naturally Gira on vocals -- on their second full album Swans add even more vicious crunch to their basic approach, resulting in quite possibly one of the darkest recordings ever done. Gira's words come across a little more forcefully and cleanly than before, and the existential horror shows that he details, almost always phrased in confessional/accusatory "I - you" terms, make up in sheer power what they lack in any kind of subtlety. For example, typical lyrics, from the snarling "Your Property" state: "I give you money -- you're superior. I don't exist. You control me." Matching his at-times unearthly moans and cries perfectly, the pounding music mostly consists of one slow, descending chord progression or a repetitive series of one or two notes after another, extending the power of loud feedback and amped drums to indescribably forceful effect. The opening grind alone on "Why Hide," as Westberg stretches out his strings behind Mosimann and Crosby's pummeling, is crushing enough before Gira delivers a harrowing vocal. The most legendary track from the album is the title cut; as a vicious anti-boys-in-blue rant finds its equal only in N.W.A.'s "Fuck Da Police." With such thoroughly bilious Gira lines as "Nobody rapes you like a cop in jail" providing the mental pictures, a slow, steady punch of music gets slowly but surely more aggressive and destructive as the song unfolds to its raging conclusion. Jim Thirlwell, aka Foetus, helps contribute to the apocalyptic noise on the release, but you somehow figure that Swans would have reached this state quite well on their own regardless. Ugly, compelling, and overpowering, Cop remains the pinnacle of Swans' brutal early days.

From the same sessions that produced the Cop album come these four numbers (collectively called, after the fact, the Young God EP), which understandably approach the level of total intensity in that release. Though there's not much in the way of difference from the Cop sound, a few interesting turns surface, showing that the band grew even more creative and powerful as they went. "I Crawled," the first song, has Gira initially huskily singing rather than raging or declaiming, which leads to an ominous, wordless, overdubbed choir effect; the contrast of his haunted vocals with the music (especially Mosimann's percussion, even more pinpoint-pounding and ominously echoed here) takes no prisoners, especially when everything goes completely haywire towards the end. "Raping a Slave," possibly the definitive Swans songtitle, and "This Is Mine" both contribute well, as expected, to the aura of destruction lingering over the release, but "Young God" is another main winner, with crushing drum/bass hits counterpointed by an at-times oddly gentle guitar and Gira's near-wordless wails. An excellent four-song précis of Swans at that time.

This initial reissue of the Cop album and the initially untitled 1984 EP benefits from a full remastering overseen by Gira; no new or otherwise unavailable tracks were included beyond the original contents. At the time of its release, this double album was quite important given the out-of-print status of the original releases; however, this particular pairing has since been superseded by the Cop/Young God/Greed/Holy Money release in 1999.

Swans - Cop + Young God (flac 488mb)

Cop
01 Half Life 4:18
02 Job 4:45
03 Why Hide 5:50
04 Clay Man 5:05
05 Your Property 4:46
06 Cop 6:47
07 Butcher 4:00
08 Thug 5:10
Young God
09 I Crawled 5:39
10 Raping A Slave 6:22
11 Young God 7:03
12 This Is Mine 5:24

Swans - Cop + Young God (ogg 171mb)

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This re-release, from the original series of Swans reissues done in the early 1990s, is at once less and more than the title indicates, following the pattern established by the 1988 American release of the material by the Skin side project. Rather than being a straight collection of these two albums, in fact the disc also collects the A-sides from the "Time Is Money (Bastard)" and "A Screw" singles, along with the A Screw B-side "Blackmail," while subtracting the original version of "Fool" from Greed and the second version of "Money is Flesh" from Holy Money. To top it all off, the running order of all the tracks has been completely rearranged. Given that all the songs were essentially recorded at the same session and that the two albums were complementary releases, no noticeable difference in style from song to song is apparent. The sequencing works quite well in any event, and Gira's choice of songs really can't be argued with, only leaving off as he does alternate takes of album tracks rather than wholly unique songs. Still, it can be a bit distracting to the hardcore fan or collector. Those simply interested in the excellent music won't be disappointed, but this release has since been fully superseded by the Cop/Young God/Greed/Holy Money re-release from 1999.

Swans - Greed + Holy Money (flac 493mb)

01 Time Is Money (Bastard) 6:19
02 Money Is Flesh 4:57
03 Another You 7:47
04 Blackmail 4:42
05 A Screw (Holy Money) 5:04
06 Fool 5:51
07 Stupid Child 5:21
08 Anything For You 4:22
09 Nobody 4:41
10 A Screw 5:39
11 Heaven 4:54
12 Coward 5:08
13 A Hanging 5:48
14 You Need Me 1:22
15 Greed 6:13

Swans - Greed + Holy Money (ogg 177mb)

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Nov 4, 2014

RhoDeo 1444 Roots

Hello, ok so currently I have a windows xp pro working somewhat-no network or sound, it enables me to create ogg and zip up. Have re-upped last weeks Super Mama as there had been some complaints there..

Ok the Flacs here have been cleanly zipped by a cured PC
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Although visitors may know Etoile De Dakar, many of the amazing 1970s-era musicians on this double album compilation (another excellent entry in the long-running African Pearls series) will be new. In this case, better late than never, as the lively, melodic tracks here reveal one gem after another.
This is amazing work from the Senegalese scene of the 70s, easily one of the hippest musical hotspots on the African continent at the time, as you'll hear by the wonderful tracks on this set! Senegalese groups really embrace a wide range of sounds not just traditional elements, or occasional influences from American blues and soul, but also a good dose of Latin and Cuban music too all wrapped together in uniquely different ways by each of the different artists in this set. There's a bit more diversity to the music here than on other regional collections, and that's what makes this one so great a truly wonderful entry in the well-named African Pearls series, supported with full notes in English and French. Titles include "Hombre Misteriosoy" by Etoile De Dakar, "Senegambia" by Star Band De Dakar, "Xarit" by Orchestra Baobab, "Guethe" by Star Band De Dakar, "Faran Tamba" by Star Number One, "Daida" by Xalam, "Rele Te Contan" by Guelawar, "Nijaay" by Orchestra Baobob, "Maaduleen" by Super Diamono De Dakar, "Boubou Ngary" by Etoile 2000, "Xal Dey Mag" by Ifang Bondi, "Xadim" by N'Guewel, and "Kery Goro" by Star Number One

Various - Super African Pearls - Sénégal 70 : Musical Effervescence 1 (flac 424mb)

01 Star Number One - Faran Tamba 4:37
02 Xalam - Daïda 7:26
03 Super Diamono De Dakar - Maaduleen 4:49
04 Orchestra Baobab - Nijaay 3:37
05 Star Band De Dakar - Guethe 4:47
06 Star Number One - Senegal Jambar 6:09
07 Guelawar - Relen Te Contan 8:30
08 Watto Siita - Jambar 4:20
09 Star Number One - Suma Dom Ji 5:25
10 Etoile De Dakar - Tolou Badou Ndiaye 6:56
11 Star Band De Dakar - Gossando 4:53
12 Orchestra Baobab - Sey 5:25
13 Etoile De Dakar - Footane 6:59

Various - Super African Pearls - Sénégal 70 : Musical Effervescence 1 (ogg 160mb)

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Various - Super African Pearls - Sénégal 70 : Musical Effervescence 2 (flac 408mb)

01 Orchestra Baobab - Xarit 6:17
02 Star Band De Dakar - Senegambia 5:37
03 Star Number One - Mory 7:49
04 N'Guewel - Xadim 4:54
05 Orchestra Baobab - Kelen Ati 6:36
06 Ifang Bondi - Xalel Dey Mag 4:53
07 Ouza Sénégal - 80 6:26
08 Orchestra Baobab - Juana 5:06
09 Etoile De Dakar - Hombre Misterlosoy 6:45
10 Etoile 2000 - Boubou Ngary 5:24
11 Diarama De St Louis - Xaste Waroul 8:41
12 Star Number One - Kery Goro 3:56
13 Orchestra Baobab - El Carretero 5:25

Various - Super African Pearls - Sénégal 70 : Musical Effervescence 2 (ogg 142mb)

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Recorded in Paris in 1978, On Verra Ca is the first recording by the fully matured Orchestra Baobab. The rumba influence is pronounced on the opening "El Son De Llama," but mostly the Latin tinge has now been absorbed into a distinctive group sound, with upbeat, sprightly songs like "Africa" built around choppy, syncopated riffs flavored by horns and a galloping rhythm guitar. "Sibam" follows that blueprint, but the tempo is faster and there's a stronger percussion presence than the light norm here. The title track is the masterpiece in this vein -- the vocal blend makes the endlessly repeated riff broken up by brief solos not only bearable, but so totally hypnotic it sticks in your head for days. The slow, mournful "Tante Marie" boasts two-sax horn parts and a moody guitar melody -- the opening to Barthelemy Attisso's solo opening even sounds a little bit like something from the third Velvet Underground album, of all things. "El Fuego" has more of a Latin lilt and exceptionally good voices, while the horns and those vocal harmonies again really cut through on the highly infectious "Digon." It's hard to pinpoint precisely what makes Orchestra Baobab's vocal squad sound so special -- probably a combination of the quality of the different voices and the unforced naturalness and sincerity of the singing. The highly compressed sound that prevents the music from punching hard probably keeps On Verra Ca from being a great album, but it's a highly enjoyable one and certainly put Orchestra Baobab on the road to the Bamba bomb.

Orchestra Baobab ‎– On Verra Ca (flac 361mb)

01 El Son De Llama
02 On Verra Ca
03 Tante Marie
04 Africa
05 El Fuego
06 Sibam
07 Wane Ma Magu
08 Thioisanne
09 Mi Son
10 Digon Gama

Orchestra Baobab ‎– On Verra Ca (ogg 146mb)

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Nov 3, 2014

RhoDeo 1444 Blakes

Hello, a US Grand Prix got the expected results, smaller F1 teams have been sent into receivership as the big boys take more than 90% of the money, yes just like the real world, shameless bunch...

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Ok so the coming weeks we'll have some Blake's audio drama's

In the third century of the second calendar, the galactic Federation, once a beacon of democracy and peace, has become a corrupt tyranny. Freedom and Justice are things of the past. Roj Blake stood up for the ordinary people. When the establishment tried intimidation he laughed in their faces. When they tried to crush him he fought back. When they tried to brainwash him into obedience, he broke their conditioning. Finally they framed him and sentenced him to permanent exile on the notorious prison planet Cygnus Alpha. The Federation thinks it has seen the last of Roj Blake. The Federation will wish it had... And now Roj Blake is on the run... He has a ship, but the ship has plans of its own. He has a crew, but who are his friends and who are his enemies? Blake thought space meant freedom, but space is cold, cruel and steeped in blood. The power of the federation reaches further and deeper then Blake dared imagine... Freedom is nowhere to be found.

B7 Productions produced series of 30-minute prequel audio episodes, which explored the earlier histories of the central characters. These were broadcast on BBC Radio 4 Extra from 2010.

Earth. 2230 AD. A time of social and political turmoil… Olag Gan wants to marry the woman of his dreams. Vila Restal wants to steal anything that isn’t nailed down. When they form a partnership, a perfect combination of strength and skill, it seems that nothing stands between them and the easy life. But fate hates to give a sucker an even break and the course of true love never did run smooth.

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Blake's 7 - When Vila Met Gan (mp3 25mb)

E01 - When Vila Met Gan 26:33

Michael Keating as Vila, Owen Aaronovitch as Gan and Alistair Lock as Zen

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previously

Blake's 7 - The SevenFold Crown (mp3 83mb)
Blake's 7 - The Syndeton Experiment (mp3 52mb)
Blake's 7 - Rebel (mp3 53mb)
Blake's 7 - Traitor (mp3 53mb)
Blake's 7 - Liberator (mp3 54mb)

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Nov 1, 2014

RhoDeo 1443 Grooves

Hello, as human spacetravel proved to be not without danger this week with no less than 2 accidents, one of the virgin testpilots already lost his life another severely injured. It brings home to all those that enthusiastically payed up for a Virgin galactic spacetrip that there's real risk. Meanwhile there is some trick and treat warm weather in the air, unfortunately next week we'll be back to normal as we'll lose 10C no longer basking in the sun.....

Today, one of the most influential soul singers of the 1960s, he exemplified to many listeners the power of Southern "deep soul" -- hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. He was also the most consistent exponent of the Stax sound, cutting his records at the Memphis label/studios that did much to update R&B into modern soul. His death at the age of 26 was tragic not just because he seemed on the verge of breaking through to a wide pop audience, but it was also unfortunate because, as "Dock of the Bay" demonstrated, he was also at a point of artistic breakthrough in terms of the expression and sophistication of his songwriting and singing. ......N'joy

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Otis Ray Redding, Jr. (September 9, 1941 – December 10, 1967) was an American singer-songwriter, record producer, arranger and talent scout. He is considered one of the greatest singers in the history of American popular music and a seminal artist in soul and rhythm and blues. His singing style was powerfully influential among soul artists of 1960s and helped exemplify the Stax sound.

Born and raised in Georgia, United States, from age 10, he took drum and singing lessons. At Ballard-Hudson High School, he sang in the school band. Every Sunday he earned $6 by performing gospel songs for Macon radio station WIBB. Redding left school at age 15 to support his family, working with Little Richard's backing band, the Upsetters, and performing at talent shows for prize money. In 1958, he joined Johnny Jenkins's band, the Pinetoppers, and toured the Southern United States as a driver and musician. At age 19, Redding met 15-year-old Zelma Atwood at "The Teenage Party." She gave birth to their son Dexter in the summer of 1960 and married Redding in August of 1961. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, where he wrote his first songs including "She's Allright," "Tuff Enuff," "Gamma Lamma," and the song "Gettin' Hip," Redding's first composition released as a 45 RPM single recording. An unscheduled appearance on a Stax recording session led to a contract and his first single, "These Arms of Mine", with "Hey Hey Baby" on the B-side. The single was released on Volt on October 1962, but charted in March the following year. It became one of his most successful songs, selling more than 800,000 copies. Stax released Redding's debut album Pain in My Heart two years later.

Redding's success allowed him to buy a 300-acre (1.2 km2) ranch in Georgia, which he called the "Big O Ranch."[33] Stax was also doing well. Walden signed more musicians, including Percy Sledge, Johnnie Taylor, Clarence Carter and Eddie Floyd, and together with Redding they founded two production companies.

In late 1966, Redding returned to the Stax studio. At this session he recorded tracks including "Try a Little Tenderness", originally written by Jimmy Campbell, Reg Connelly and Harry M. Woods in 1932. This song had previously been covered by Bing Crosby and Frank Sinatra, and the publishers unsuccessfully tried to stop Redding from recording the song from a "negro perspective'. Today often considered his signature song, his performance is so special and so unique that it expresses who he is." On this version Redding was backed by Booker T. & the M.G.'s, while staff producer Isaac Hayes worked on the arrangement.

Initially popular mainly with African Americans, Redding later reached a wider American popular music audience. Along with his group, he first played small gigs in the American South, then debuted in the western United States at L.A.'s popular night club the Whisky a Go Go. Later appearances included Paris, London and other European cities.

A year after the Fillmore, Redding released the gold record-winning album King & Queen, with Carla Thomas. It was Jim Stewart's idea to produce a duet album, as he expected that "[Redding's] rawness and [Thomas'] sophistication would work". The album was recorded in January 1967, while Thomas was earning her M.A. in English at Howard University. Six out of ten songs were cut during their joint session; the rest were overdubbed by Redding in the days following, due to concert obligations. Three singles were lifted from the album: "Tramp" was released in April, followed by "Knock on Wood" and "Lovey Dovey". All three reached at least the top 60 on both the R&B and Pop charts. The album charted at number 5 and 36 on the Billboard Pop and R&B charts, respectively.

In 1967, Redding performed at the influential Monterey Pop Festival as the closing act on Saturday night, the second day of the festival. Until that point, Redding was still performing mainly for black audiences. Redding and his backing band (Booker T. & the M.G.'s with the Mar-Keys horn section) had opened with Cooke's "Shake" His act, which included his own song "Respect" and a version of the Rolling Stones' "Satisfaction", was well received by the audience.

After Monterey, Redding wanted to record with Conley, but Stax was against the idea. The two moved from Memphis to Macon to continue writing. The result was "Sweet Soul Music", based on Cooke's "Yeah Man". It peaked at number 2 on the Billboard Hot 100. By that time Redding had developed polyps on his larynx, which he tried to treat with tea and lemon or honey. He was hospitalized in September 1967 at Mt. Sinai Hospital in New York to undergo surgery.

In early December 1967, Redding again recorded at Stax. One new song was "(Sittin' On) The Dock of the Bay", which was written with Cropper while they were staying with their friend, Earl "Speedo" Sims, on a houseboat in Sausalito. Redding was inspired by the Beatles album Sgt. Pepper's Lonely Hearts Club Band and tried to create a similar sound against the label's wishes. His wife Zelma disliked its atypical melody. The Stax crew were also dissatisfied with the new sound; Stewart thought that it was not R&B, while bassist Donald "Duck" Dunn feared it would damage Stax's reputation. However, Redding wanted to expand his musical style and thought it was his best song and correctly believed it would top the charts. Redding whistled at the end, either forgetting Cropper's "fadeout rap", or paraphrasing it intentionally.

By 1967 the band was traveling to gigs on Redding's Beechcraft H18. On December 9, 1967, they appeared on the Upbeat television show produced in Cleveland. They played three concerts in two nights at a small club called Leo's Casino. After a phone call with Zelma and their children, Redding's next stop was Madison, Wisconsin; the next day they were to play at the Factory nightclub near the University of Wisconsin.

Although the weather was poor, with heavy rain and fog and despite warnings, the plane took off. Four miles from their destination at Truax Field in Madison, the pilot radioed for permission to land. Shortly thereafter, the plane crashed into Lake Monona. The cause of the crash was never determined.

"(Sittin' On) The Dock of the Bay" was released in January 1968 and became Redding's only single to reach number one on the Billboard Hot 100, and the first posthumous number-one single in US chart history. It sold approximately four million copies worldwide and received more than eight million airplays. The album The Dock of the Bay was the first posthumous album to reach the top spot on the UK Albums Chart.

Shortly after Redding's death, Atlantic Records, distributor of the Stax/Volt releases, was purchased by Warner Bros. Stax was required to renegotiate its distribution deal and was surprised to learn that Atlantic actually owned the entire Stax/Volt catalog. Stax was unable to regain the rights to its recordings and severed its Atlantic relationship. Atlantic also held the rights to all unreleased Otis Redding masters. It had enough material for three studio albums—The Immortal Otis Redding (1968), Love Man (1969), and Tell the Truth (1970)—all issued on its Atco Records. A number of successful singles emerged from these LPs, among them "Amen" (1968), "Hard to Handle" (1968), "I've Got Dreams to Remember" (1968), "Love Man" (1969), and "Look at That Girl" (1969).

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He received the honorific nickname King of Soul. In addition to "(Sittin' On) The Dock of the Bay," "Respect" and "Try a Little Tenderness" are among his best-known songs.

Five of his albums, Otis Blue: Otis Redding Sings Soul, Dreams to Remember: The Otis Redding Anthology, The Dock of the Bay, Complete & Unbelievable: The Otis Redding Dictionary of Soul and Live in Europe, were ranked by Rolling Stone on their list of the "500 Greatest Albums of All Time".

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Pain in My Heart includes songs from Redding's 1962–1963 sessions. Stewart signed Redding for Stax and released Redding's debut single "These Arms of Mine", with "Hey Hey Baby" on the B-side. "These Arms of Mine", released on the Volt sister label on October 1962, but charted in March the following year, became one of his most successful songs, selling more than 800,000 copies.

In the 1963 session, "That's What My Heart Needs" and "Mary's Little Lamb" were recorded and cut in June 1963; the latter became one of the worst-selling singles by Redding.[9][11] According to Soulsville U.S.A.: The Story of Stax Records author Rob Bowman, in these two songs "Otis sings with a harsh, impassioned gospel voice", and saw similarities with the voice of Blind Boy Archie Brownlee, and further reckoned the ending of the first would have made Redding "a suberp gospel singer had he chosen to record in that idiom." "That's What My Heart Needs" became Redding's second single on Stax.

Pain in My Heart set the pattern for all his ballads to come—Otis triumphed at rendering agony. Signs of the singer's virtuosity are already apparent in the almost teasing way he lingers over some lyrics and spits out others; virtually never would he sing a line the same way twice.

Sings Soul Ballads was one of the first issued by Volt Records, a sub-label of Stax Records, and Redding's first on the new label. Like Redding's debut Pain in My Heart, Soul Ballads features both soul classics and originals written by Redding and other Stax Records recording artists. The recording sessions took place at the Stax studios in Memphis. The album features a stereo mixer made by engineer Tom Dowd, replacing the early mono mixer.

The album features the Booker T. & the M.G.'s, the horn section Memphis Horns and the pianist Isaac Hayes, who possibly first appeared on this album, although this is disputed, as he was not credited on the liner notes. Unlike Redding's debut album, Sings Soul Ballads was released both on Atlantic's subsidiary Atco Records and Stax's Volt Records. While the album and its singles were moderately successful on the music charts, it includes Redding's first top-ten single, "Mr. Pitiful".

Otis Redding - Pain In My Heart/Sings Soul Ballads (flac 122mb/128mb=275mb)

01 Pain in My Heart 02:24
02 The Dog 02:36
03 Stand by Me 02:52
04 Hey Hey Baby 02:47
05 You Send Me 03:15
06 I Need Your Lovin' 02:53
07 These Arms of Mine 02:34
08 Louie, Louie 02:07
09 Something Is Worrying Me 02:29
10 Security 02:37
11 That's What My Heart Needs 02:41
12 Lucille 02:28

Sings Soul Ballads

01 That's How Strong My Love Is 02:26
02 Chained And Bound 02:42
03 A Woman, A Lover, A Friend 03:21
04 Your One And Only Man 03:14
05 Nothing Can Change This Love 03:04
06 It's Too Late 03:03
07 For Your Precious Love 02:57
08 I Want To Thank You 02:40
09 Come To Me 02:50
10 Home In Your Heart 02:06
11 Keep Your Arms Around Me 02:53
12 Mr. Pitiful 02:40

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Otis Blue, released September 15, 1965 on Stax Records, is the third studio album by soul singer Otis Redding. The album mainly consists of cover songs by popular R&B and soul artists, and, bar one track, was recorded in a 24-hour period over July 9/10 1965 at the Stax Recording Studios in Memphis, Tennessee. Otis Blue was critically acclaimed upon release and became one of Redding's most successful albums; it reached number 6 on the UK Albums Chart, and was his first to reach the top spot of the Billboard R&B chart. Otis Blue is included in Rolling Stone's 500 Greatest Albums of All Time, and Robert Dimery's "1001 Albums You Must Hear Before You Die".

The Soul Album shows him moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes A Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations; indeed, "Chain Gang" is almost a rewrite of the original, though one suspects not one that Cooke would have disapproved of. He still had a little way to go as a songwriter -- the jewel of this undervalued collection is "Cigarettes And Coffee, co-authored by Eddie Thomas and Jerry Butler -- but as an interpreter he was now without peer, and his albums were now showing this remarkable, stunningly high level of consistency.

Otis Redding - Otis Blue/The Soul Album (flac 132mb/125mb = 285mb)

01 Ole Man Trouble 02:39
02 Respect 02:08
03 A Change Is Gonna Come 04:16
04 Down In The Valley 03:01
05 I've Been Loving You Too Long 02:57
06 Shake 02:41
07 My Girl 02:58
08 Wonderful World 03:14
09 Rock Me Baby 03:25
10 Satisfaction 02:48
11 You Don't Miss Your Water 02:49

The Soul Album

01 Just One More Day 03:31
02 It's Growing 02:47
03 Cigarettes And Coffee 03:53
04 Chain Gang 03:04
05 Nobody Knows You [When You're Down And Out]03:11
06 Good To Me 03:51
07 Scratch My Back 02:42
08 Treat Her Right 02:11
09 Everybody Makes A Mistake 03:23
10 Any Ole Way 02:34
11 634-5789 [Soulville, U.S.A.] 02:49

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Live in Europe is was Redding's first live album as well as the only live album released during his lifetime, issued exactly five months before his death on December 10, 1967. The album was recorded during the Stax/Volt tour
of Europe and Redding is backed by Booker T. & the MG's. Recorded at
the Olympia Theatre, Paris; March 21, 1967. In 2003, the album was ranked number 474 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Otis Redding - Live In Europe 1967 (flac 244mb)

01 Respect 03:43
02 Can't Turn You Loose 03:28
03 I've Been Loving You Too Long 04:07
04 My Girl 02:42
05 Shake 02:56
06 Satisfaction 03:00
07 Fa-Fa-Fa-Fa-Fa (Sad Song) 04:04
08 These Arms Of Mine 03:47
09 Day Tripper 03:05
10 Try A Little Tenderness 05:07

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Oct 30, 2014

RhoDeo 1443 Goldy Rhox 184

Hello, today the 184th post of GoldyRhox, classic pop rock in the darklight a singer /filmdirector and composer, a bit of a side step as we're talking soundtrack here. Although this hit soundtrack was recorded with cheap '70s synthesizers, the simple scores composed are acclaimed masterpieces. Our man sets the mood for his horrific movie with such tracks as "The Shape Stalks," "Laurie's Theme," and, of course, his main theme, which consists of the beating out of a 5-4 rhythm. A definite first pick for those interested, this soundtrack even bests most scary music albums.

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

For fans of the 1978 classic slasher film, this 20th anniversary soundtrack is a must-have. When the director set out to write his own music for the low budget horror flick, little did we know that he was about to bring us a stirring, gripping score, in the spirit of master suspense composer Bernard Herrmann, himself.

The story of today's mystery movie is pretty familiar to most people, especially to those most likely to look into getting this soundtrack. Michael Myers was a young boy who brutally stabbed and murdered his sister back in 1963. He was taken to a mental hospital and was put under the care of Dr. Sam Loomis (the name being an homage to a character in Hitchcock's "Psycho"). In 1978, Michael Myers breaks free, returns to his hometown of Haddonfield, IL., and terrorizes a teenage babysitter named Laurie Strode. All of the frenzied, harrowing action takes place on Halloween night. The small town setting evokes the loneliness of Autuman well: leaves descend from their trees and blow through the streets, and jack-o-lanterns line the porches of the nice, quiet homes. Michael Myers shatters all of that serenity once night falls. The film is a suspenseful, pulse-pounding exercise in terror and fear. This is all enhanced greatly by its excellent score.

Our mystery man, with just a few sparse notes, manages to interpose urgency, dread, fear, and evil presence, ever so exceptionally into the foreboding film. Visual and aural cues work brilliantly together to form a near-perfect blend of synchronous fright. Michael Myers turns the staircase, the music reflects it. He suddenly sits up, the music is right there. He is spotted across the street from Laurie Strode's school, the score hauntingly emanates. It is simple, but effective.

One should be aware of a couple of things about this this 20th anniversary soundtrack. It is 28 tracks long, and as the score is somewhat simple, there is a bit of repetition involved. Also, the dialogue for each score segment is included on this soundtrack. If you are wanting just the music, then this is not for you. Personally, I think the inclusion of the dialogue adds to the suspense. This soundtrack is a must-have for the *fans* of the film. It is a good companion-piece to the movie. In fact, one could almost say that it *is* the movie. Few scores have been able to so definitively evoke the atmosphere of their films as well as "today's gruesome mystery" has. Sit back, listen, and be scared.

Goldy Rhox 184 (flac 283mb)

Goldy Rhox 184 (ogg 119mb)

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Oct 29, 2014

RhoDeo 1443 Aetix

Hello, still in limbo i'm not sure how things are at your end but i keep seeing lot's of browser crashes-thats how my misery started in windows but these happen on macs and linux too, it looks to me that it's the websites that cause computer misery and i think this is by design, commercial forces are very eager to have their own completely controlled fast internet leaving the biggest possible heap of corrupted webshite behind. Still it's irritating that this computer refuses my OS discs...

Last week Skinny Puppy's eighties output came to an end but Canada had another
electro-industrial/synthpop group that started manifesting in the same timeframe. Psyche are centered on singer Darrin Huss, who has been the only constant member, with various line-ups including his brother Stephen Huss, later followed by David Kristian, Per-Anders Kurenbach, and Remi Szyszka, all recording albums with Darrin under the name Psyche.....N'Joy

FLACS re-upped 2nd of December 2014
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Psyche was formed by brothers Darrin and Stephen Huss[1] in Edmonton, Alberta, named after the B-Side of Killing Joke's Wardance single as well as being chosen for the meaning of the word. The band's debut performance was on December 13, 1982 with Dwayne Goettel on additional keyboards. During this period, Psyche were known for their bizarre live shows wherein Darrin performed nude (except for being covered in shaving cream) while talk-singing and shouting over the music. The performance idea was inspired by pictures seen of Fad Gadget in British Music magazines.

While demos were recorded during this period of collaboration with Dwayne Goettel, no albums were released until 1985's Insomnia Theatre, after Goettel's departure. After Insomnia Theatre achieved moderate success in Europe, Psyche tested the waters with a couple single releases followed up by a new studio album, Unveiling the Secret, in 1986. To promote the record, Psyche performed as the opening act for Suicide, at Élysée Montmartre in Paris, then as headliners on their own proper European tour.

After the release of their third studio album, Mystery Hotel, Stephen Huss was forced to take a hiatus from the group due to being diagnosed with schizophrenia. During this period Darrin began collaborating with David Kristian, leading to a new album, The Influence, in 1989. This album introduced new elements to Psyche's sound, with samples created by Kristian, and being performed entirely on the Casio FZ1.

A visit home to Waterloo in 1991 reunited the Huss brothers and, the subsequent recording sessions produced 1991's Daydream Avenue. Though Psyche returned to tour Europe with German keyboardist Johannes Haeusler in support of English poetic artist Anne Clark, Stephen Huss stayed behind in Canada due to his illness.

A follow-up wouldn't come until 1994s Intimacy, produced in collaboration with Joseph Watt (of Razormaid). Feeling that this new album lacked powerful dance numbers, Psyche released the Private Desires EP as a companion, featuring a cover of Soft Cell's classic Sex Dwarf. While the group embarked on a small German tour, the future of the group was unclear due to Stephen Huss remaining in Canada, leaving Darrin to find new collaborators in Germany.

After another hiatus while dabbling in side projects, Psyche resumed activities in 1996 with Per-Anders Kurenbach joining as a new member. Together with Kurenbach, Psyche released Strange Romance, which took a musical shift toward an accessible, upbeat pop sound to bring listeners up to date with the personal events described in Darrin's lyrics. After playing for the first time in Oslo, Norway and a return to Sweden, Psyche released a live video featuring highlights from their Strange Romance Tour. 1998 saw the beginning of a new record label partnership, and in June of that year Psyche released their eighth official album on the StrangeWays label out of Hamburg, Germany. The album Love Among the Ruined added a few more experimental touches to the pop side of Psyche's style.

At the beginning of 2000, Psyche signed to Art of Fact Records in North America. The specially-compiled release of Misguided Angels contained material from 1983 through 2000 as a re-introduction of Psyche back on their original continent. It contained the last material from Per-Anders Kurenbach, and Darrin as well as some rare mixes. By this point Kurenbach has left the group and was replaced by Remi Szyszka.

The new line-up made its debut on Accession Records with a new single, Sanctuary, released in April 2001. After a series of successful concerts in both Europe and North America, ninth studio album The Hiding Place was released and well-received, charting fourth in the year-end Top 100 of the German Alternative Charts. To capitalize on The Hiding Place's success, a new remix album entitled Endangered Species was released mid-2002. The success continued into 2003 with a string of live performances and the release of a new album, Babylon Deluxe, which found its way in the German Alternative Top Ten once again.

The 11th Hour, Psyche's 11th album, saw the return of previous collaborator Per-Anders Kurenbach, but including a farewell track with Remi Szyszka, and a guest appearance by Christian Wirsig. The 11th Hour was released through Accession Records in Europe, Metropolis Records in North America, and Irond Records in Russia making it the widest release in the band's history. The album topped the German Alternative Charts (DAC).

In 2006, after nearing the 25-year mark of Psyche's existence, a DVD collection documenting Psyche's appearances in every incarnation from 1983–2005 was released. Containing 23 tracks in all, with at least 1 song from every album ever released, Imaginary Life was released on May 26, 2006. It contains music videos and performances covering the very beginning from "The Crawler" on an Edmonton TV station in 1983 through to 2005. Plus an audio commentary track and bonus features such as Darrin and Stephen Huss being interviewed backstage in Sweden after their debut concert in Gothenburg in 1988.

Following The 11th Hour, Psyche shifted their focus to touring rather than recording, playing shows and festivals across Europe, North and South America, and South Africa. During this phase of Psyche's career, no new studio albums were released, with the band opting instead to release remix albums (Unveiling the Secret 2.0, Until The Shadows, Halloween EP), compilations of old and unreleased materials (Re-Membering Dwayne, Unknown Treasures, As The Brain Collapses, Rare Mixes & B-Sides), and multiple live albums. In addition, several early albums received re-releases.

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The debut album of the Huss brothers with the ground breaking Brain Collapses, Mr. Eyeball Ooze, Wrench, Maggots and several other wonderful horror-synth classics. On Unveiling The Secret, Psyche reached a Europe-wide club hit with the title track and set a whole new style with such titles as "Prisoner To Desire" and "The Saint Became A Lush".

Psyche - Insomnia Theatre - Unveiling The Secret (flac 464mb)

01 Mr.Eyeball Doze 5:12
02 Maggots 4:37
03 Wrench 3:34
04 Brain Collapse 4:10
05 Eating Violins 2:43
06 On The Edge 5:07
07 Why Should I? 5:03
08 Thundershowers 5:15
09 Lord Unleashed 3:20
10 Caught In The Act 5:37
11 Prisoner To Desire 5:40
12 The Saint Became A Lush 6:12
13 Black Panther 3:47
14 Taking Chances 4:45
15 Unveiling The Secret 7:11
16 The Crawler 2:31

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"Uncivilized" got modest airplay on the new wave radio stations that said much of their work never got the heavy rotation that Psyche deserved. This late 80s electro-industrial/synthpop band That sometimes sounds like a darker, almost industrial Depeche Mode of the same era. However, most noticeable is their similarities to the experimental sounds of early Softcell. The singer, in fact, sounds very much like Marc Almond at times, and if you see some of their videos, he also kind of borrows Almond's look and fashion sense. If you love electro-industrial/synthpop from this era, definitely book into Psyche's Mystery Hotel.

Psyche - Mystery Hotel (flac 337mb)

01 Make No Mistake 4:08
02 Insatiable 4:41
03 Wake The Flood Unconscious 2:55
04 The Outsider 4:23
05 You're The Only One 3:25
06 Uncivilized 3:40
07 Ride On 2:47
08 Dreamstreet 5:16
09 Nocturnal Passenger (Extended) 6:08
10 Eternal 4:18
Bonus Tracks
11 Uncivilized (Instrumental) 3:37
12 Black Panther 3:47
13 Prisoner To Desire (Version 1) 4:38

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In 1989, Darrin teamed up with David Kristian to create a new Psyche album entitled 'The Influence'. The album was performed completely using the Casio FZ1 and David incorporated his own samples that gave Psyche a new sound. Electronic and darker in context, The Influence revitalized the gothic scene. Even though no tracks were released as singles from the album, it proved to be a classic as Lights of Euphoria covered the song Misery on their debut album.

Psyche - The Influence (flac 321mb)

01 Psyche Theme 2:46
02 Haunted 4:09
03 Misery 4:03
04 The Dark Pool 4:50
05 Salvation Stranger 3:52
06 The Sundial 2:56
07 Illusion 4:20
08 Twilight 4:30
09 The Influence 4:17
10 Misery's Return 4:58
11 Haunted (Hill House Mix) 5:49
12 The Sundial (Hospital Mix) 3:34
13 Eleanor (Instrumental) 3:40

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This compilation of early recordings by Psyche dates from 1982-1987 and is dedicated to those who still believe that one's humanity in art should not necessarily be rated by an industry standard. Featuring the "harder" industrial side of Psyche represented here by the likes of "The Crawler", "Screamin' Machine", "Another Billion Eyes", and "Waiting For The Stranger" (no one will ever top that monster). The tracks seem more about effect, ambience and mood than developed ideas. These slices of mood are pretty effective, though--enough to sustain interest for a short time--and they are diverse from track to track, at least as much as one can expect and still stay in a dark, semi-gothic, industrial dance vein. A chance then to experience the ground floor of the developing electro-industrial genre; going to dark clubs and getting weird with anti-establishment youth.

Psyche - Tales From The Darkside (flac 325mb)

01 I'm A Gentleman 3:33
02 Eraserhead 3:50
03 Wrench II 3:18
04 Another Billion Eyes 2:51
05 Empty Spirit 3:13
06 A Threat 3:49
07 The Brain Collapses 4:04
08 Children Carry Knives 4:47
09 Theme For Runaways 2:14
10 Screamin' Machine 4:22
11 Cheated 2:43
12 The Crawler 2:20
13 Mind Over... 4:30
14 Waiting For The Stranger 2:42
15 The Darkside 2:00
16 Psychic Vampire 4:28

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Oct 28, 2014

RhoDeo 1443 Roots

Hello, I thought a USB key with a new XP3 iso would do it but nada my windows 7 discs refuse to expand and my old xp3 discs dont do anything anymore so still stuck with this linux life disc unfortunately I cant't use the software im used to using, so no ogg files or cue sheet looks like I will have to look if I can repair my old pc- not looking for ward to that i'm no wizard there

Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children. Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled.

Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution. The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959. Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the name of the spirit most appealed to for the protection of these independence fighters.

Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi. Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project. The band would become politically charged. It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity. It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. The success of the new orchestra was almost immediate.

Ok its 30th of November and all these flacs have been re-upped with a 'cured' machine

In early 1980, the group went for its only recording sessions in Lisbon. People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida." Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping. It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal. It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.

.. ... N'joy

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Super Mama Djombo is a band from Guinea Bissau who sing in Guinea-Bissau Creole.[1] The band was formed in the mid-1960s, at a Boy Scout camp, when the members were only children (the youngest was six years old). [2] Mama Djombo is the name of a spirit that many fighters appealed to for protection during Guinea-Bissau's War of Independence.[3]

In 1974, the politically conscious band leader Adriano Atchutchi joined. The group became immensely popular in the young country, which had gained its independence the same year. They would often play at President Luís Cabral's public speeches, and their concerts were broadcast live on radio.[2]

In 1978 group traveled to Cuba and appeared on the eleventh youth music festival in Havana.[citation needed] Early in 1980, they went to Lisbon and recorded six hours of material. The first album Na cambança was released the same year, and the song Pamparida, which was based on a children's song, became a huge hit throughout West Africa. In 1980 Cabral was overthrown, and the new regime under João Bernardo Vieira no longer supported the band. They had fewer opportunities to perform, and broke up in 1986.[2] However, the soundtrack to Flora Gomes' film Udju Azul di Yonta (The blue eyes of Yonta) (1993) was recorded by Adriano Atchutchi and other members of the original band under the name of Super Mama Djombo.[4]

In 2012, Super Mama Djombo toured Europe.[5] The band included several of the original members, drummer Zé Manel, guitarist Miguelinho N'Simba, percussionist Armando Vaz Pereira and Djon Motta,[6] together with new members such as solo guitarist Fernando Correia from the band Freaky Sound. Although Adriano Atchutchi, the original lead composer and bandleader, is not part of the current line up, the military coup in April resulted in him having to leave his post as a provincial governor when the military took over the functions of the government, so he was able to attend rehearsals to help the band prepare for the tour. The band said they hoped the tour would "show people that Guinea-Bissau's loudest sound is not that of gunfire, but that of music."

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Here's a wonderful little slice of history from the tiny country of Guinea-Bissau. From its beginnings in a boy scout camp, Super Mama Djombo emerged to become one of the country's leading bands during the late '70s and into the earliest part of the '80s. The 14 tracks here are the product of their only recording session, in 1980, six glorious hours that produced some amazing music, including the West African hit "Pamparida," based on a children's song, a track that made them into regional stars. But it's only one of the great things here. There's some searing music, some beautiful singing, and a very electric atmosphere throughout. There are also some unusual details, like the strange whistling on "Pansau Na Isna," for example; it's jarring and completely unexpected, but it works. Across the whole album there's plenty of driving percussion, always understated, and the guitars offer a mesh of sound that happily owes little to Congolese rhumba -- the fretwork is harder. Inevitably, there are Cuban elements in the music, as in the opener, "Faibe Guiné," but the African element is always highly evident -- "Ordem Do Dia" couldn't be from anywhere else, with its gorgeous guitar arpeggios and ineffable harmonies. Six of these tracks have never been released before, making this a vital document of one of the most important African bands of the late '70s.

Super Mama Djombo - Id (flac 478mb) re re-up

01 Faibe Guiné 4:57
02 Dissan Na M'Bera 5:14
03 Gardessi 6:33
04 Júlia 6:54
05 Seiango 4:05
06 Seya 4:42
07 Pamparida 5:52
08 Aboku Boku Bandi 4:31
09 Ordem Do Dia 4:28
10 Assalariado 6:04
11 Guiné-Cabral 6:09
12 Djuana 6:54
13 Pansau Na Isna 4:57
14 Indicativo 2:29

Super Mama Djombo - Id (ogg 190mb)

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Born in 1966 in Basse, West Africa, Juldeh Camara is a Gambian griot and master musician. His blind father received the gift of music from forest spirits who took the use of his eyes in return. Playing the Ritti, a one- stringed fiddle, he participated as a griot in traditional Fula society. Camara has been recognised as the leading ritti player in the world. Camara has played with Ifang Bondi, The Blind Boys of Alabama, Batanai Marimba, Knut Reiersrud, kora player Seckou Keita and Tunde Jegede's African Classical Ensemble, where in 2009 he performed at St. Denis Cathedral in Paris which included Oumou Sangare, Toumani Diabate, Kasse Mady Diabate, Sambou Susso and the Brodsky Quartet. More recently he has establised a successful partnership with Justin Adams, releasing their collaborative albums "Soul Science", "Tell No Lies" in May 2009 and "The Trance Sessions" EP in February 2010."

Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language.who has worked with the likes of Robert Plant, Jah Wobble, Tinariwen and Sinead O'Connor.

Justin Adams, was first introduced to the exuberant sounds of Juldeh Camara, a member of the griot caste of wandering minstrels, played live over the phone. Their subsequent pairing has produced two acclaimed albums.

In person, the splicing of Adams' bluesy playing with Camara's adaptable dexterity on the riti, a one-string fiddle, and his elastic vocals made for an effortless, often hypnotic hybrid. Adams would strike up an African riff, then drop in some rock'n'roll phrasing and Camara would skilfully roll with the changes, providing rapid-fire chants as well as a lightning natural facility on a number of stringed instruments. Accompanied by a drummer tapping on a tea chest, they also moved their focus eastwards, dipping into the meditative, minimalist mantras of the Saharan blues.

Soul Science was nominated for "best album" in the "Culture Crossing" category at the annual BBC World Music Awards, and was selected among the "top 100 albums of the year".

Juldeh Camara – Soul Science (flac 316mb)

01 Yerro Mama
02 Ya Ta Kaaya
03 Sanakubay
04 Njatigi
05 Naafigi
06 Blue Man Returns
07 Subuhanalaii
08 Ngamen
09 Nayo
10 Yo Lay Lay
11 Me Wiri Bainguray Am

Juldeh Camara – Soul Science (ogg 121mb)

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It's hard not to approach an album like this with some trepidation. Guitarist Justin Adams works in tandem with Gambian griot Juldeh Camara to create grooves that consciously blend the sounds of American rock and blues with those of West African traditional music; Camara plays the riti (a one-stringed spike fiddle), and the bologo (a sort of two-stringed banjo), and sings, while Adams accompanies on guitars and occasional percussion and keyboard. The duo are on the record as being enthusiastic about the fact that so much of their music is improvised in the moment in the studio; one or the other will play a riff, the other will pick up on it, and they move forward from there. At its best, this is music that can induce a sort of trance without being boring or obnoxiously repetitive. But when it isn't at its best, it can be pretentious (notice the truly wanky guitar on "Sahara") or derivative (the Bo Diddley lick on which "Kele Kele (No Passport No Visa)" is based is entirely too literal). There are some great moments on this album, but too few of them to make it solidly recommendable to any but the most die-hard desert blues fanatics.

Juldeh Camara - Tells No Lies (flac 363mb)

01 Sahara
02 Tonio Yima
03 Kele Kele (No Passport No Visa)
04 Fulani Coochie Man
05 Achu
06 Madam Mariama
07 Gainako
08 Nangu Sabeh
09 Banjul Girl
10 Chukaloy Dayoy
11 Futa Jalo

Juldeh Camara-Tells No Lies (ogg 145mb)

1. Sahara
I sing for the Sahara, a land of sand and beauty, a land of camels and great people. As the evening falls the sand cools from the rays of the sun and it feels like magic. People of Sahara I greet you, for you have kept your culture and traditions against all odds. If you travel to Mali or Timbuktu you will know what I mean for you will meet the great men and find the history of their nation which has long been preserved.

2. Tonio Yima
Pardon me, my friend, we are in a big gathering and there are many people, I might step on you but it is not my intention to do so. Someone might spit on you but do not be rude to them, just put your point across without spoiling the fun for the rest.

Pardon me, my dear, pardon me, I might push you while I make my way through the crowd but I do not mean to hurt you. The gathering will soon be over and we will all go our separate ways, so spare me the insults, I just want to have fun. Sorry if I have done anything wrong but I just want to enjoy myself.

3. Kele Kele (No Passport No Visa)
Hear my cry, the cry of my people for a passport and visa. They go to and from visa offices, pay huge application fees just to end up with no refund and no visa. So they pay a captain and board an unsafe ship hoping to enter Europe, the land of their dreams. Listen my friend, think carefully before you start this journey of pain and suffering which can lead to your untimely death. You may be going through a hard time, but Africa our motherland has a lot to offer, so be patient in your search for treasures. Visa authorities, allow me to bring the plight of my people in sweet melody, although you cannot grant everyone a visa there must be a way to ease the pain, suffering and loss.

4. Fulani Coochie Man
Aid for the poor countries, donated for the poor and needy because they have nothing. Lets make sure this aid is distributed evenly to the ones who need it. Do not sit on a lump sum and keep it for your own use, neither must you use the aid to enjoy a lavish lifestyle while the real owners of this aid still live in anguish. Others have more than they need because of greed, the rich get richer and the poor get poorer. Let us refuse injustice to the poor.

5. Achu
Listen, O listen, listen to me with your minds and listen carefully.

6. Madam Mariama
Mariama you are kind, Mariama you are jolly, Mariama you are wealthy and your riches you freely give. Your company is always filled with fun and laughter, praise singers proclaim your kindness in various tunes. Let me also sing a song for Mariama the woman of my dreams. Marie, some of them call you, Marie, your skin glows, you are wonderful, I will never stop singing of your beauty.

7. Gainako
I dedicate this song to the youths, for I want them to know the importance of knowing their roots. Find out about your ancestors - the things they did, the things they talked about, their traditions and what they believed in, for all this will lead you in the right direction. As for me, I can't stop reflecting on my heritage for it inspires me and gives me joy. That's why I want to honour the scholars of Medina Gunasi, whom God has blessed with wisdom and knowledge. They never cease from shepherding the flock entrusted to them, their prayers never fail and that is why I urge you all to seek their blessing at all times.

8. Nangu Sobeh
Head of house, it's you I am talking to, for I want to remind you that you need to show a bright example to your family. Hard work is the key to success so let's not be lazy, nothing good comes easy therefore we have to be ready and willing to work. When the rains are here get up and till the soil, show the children what they can reap from the farms so that they will learn from you. If you steal, the children will do the same and if you beg, they will, so work hard head of house there are many eyes watching every move you make.

9. Banjul Girl
Banjul girl, you are born beautiful, I am in love with you. Come and talk to me my dear, let's talk about love. You are full of tact, you are so wonderful I cannot stop loving you. Talk to me Banjul girl, beauty is in your nature. Come on and dance with me Banjul girl, come on and talk to me for I am in love with you beautiful Banjul girl.

10. Chukaloy Dayoy
Teenage girls of this generation I challenge you to seek knowledge and you will not regret it. Let the parents support the young minds of our nations so that the dumping of newborn babies will cease. Babies need care, bringing them up means a lot of spending, so think about it teenage girl for you need support yourself. Do not engage in ways that will cause you regrets, stop now and save a life.

11. Futa Jalo
History tells us about our past for we should not forget our heritage as it makes us who we are. I call on the nation to preserve the culture as it is the only thing that defines people. Let us not replace our traditional praise singers, neither should we find an alternative to the fiddle, kora or flutes because they tell our story. I will not forget my origin, I am born from parents of a tradition I am proud of, my grandfather is from Cumbria in Futa Jalo and my mother is from Benani near Dallaba.

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