RhoDeo 1503 Aetix

Hello,

Although best known for his groundbreaking tenure fronting the new wave group Talking Heads, David Byrne also received acclaim for his adventurous solo career, encroaching upon such diverse media as world music, filmmaking, and performance art in the process. Here today some of his Aetix work.....N'Joy

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David Byrne was born in Dumbarton, Scotland, to parents Tom (from Lambhill, Glasgow) and Emma. He was the elder of two children. Two years later, his parents moved to Hamilton, Ontario, Canada, and then to Arbutus, Maryland, in the United States, when he was 8 or 9 years old. His father worked as an electronics engineer. His mother, Emma Byrne, died on 25 June 2014. Before high school, Byrne already knew how to play the guitar, accordion, and violin. He was rejected from his middle school's choir because they claimed he was "off-key and too withdrawn". From a young age, he had a strong interest in music. His parents say that he would constantly play his phonograph from age three and he learned how to play the harmonica at age five. In his journals he says, "I was a peculiar young man—borderline Asperger's, I would guess"

Byrne started his musical career in a high school duo named Bizadi with Mark Kehoe. Their repertoire consisted mostly of songs such as "April Showers", "96 Tears", "Dancing on the Ceiling", and Frank Sinatra songs. Byrne then attended the Rhode Island School of Design (during the 1970–71 term) and the Maryland Institute College of Art (during the 1971–72 term) before dropping out and forming a band called "The Artistics" with fellow RISD student Chris Frantz. The band dissolved within a year and the two moved to New York together with Frantz's girlfriend Tina Weymouth. Unable to find a bass player in New York, Frantz and Byrne persuaded Weymouth to learn to play the bass guitar.

After changing the name of the band to Talking Heads and enlisting onetime Modern Lover Jerry Harrison, the group signed to Sire Records. A series of LPs, including the debut Talking Heads '77, 1978's More Songs About Buildings and Food, and 1980's Remain in Light followed, establishing the quartet as one of contemporary music's most visionary talents. During a band sabbatical in 1981, Byrne teamed up with Brian Eno, the producer of much of the Heads' work, for the collaborative effort My Life in the Bush of Ghosts, a complex, evocative album that fused electronic music with Third World percussion and hypnotic vocal effects. That same year, Byrne also began exploring theater with the composition of The Complete Score From the Broadway Production of "The Catherine Wheel," a dance piece choreographed by Twyla Tharp.

Byrne's next solo work appeared in 1985 with The Knee Plays, a New Orleans brass band-influenced project composed for a portion of Robert Wilson's theatrical epic CIVIL warS. In 1986, Byrne wrote, starred in, and directed the feature film True Stories, a series of comic vignettes based on press clippings culled from tabloid publications like the Weekly World News. He also wrote and produced the majority of music for the film's score in addition to performing his usual duties for that year's Talking Heads LP, also named True Stories. In 1988, he wrote the score to the Jonathan Demme comedy Married to the Mob and, in tandem with Ryuichi Sakamoto and Cong Su, won an Academy Award for his musical work on Bernardo Bertolucci's historical epic The Last Emperor.

Also in 1988, Byrne's fascination with world music -- a longtime influence on his herky-jerky performance style as well as Talking Heads' complex polyrhythms -- inspired him to form his own record label, Luaka Bop, to give widespread American release to global music. That same year, the Heads released Naked, their final proper LP, leaving Byrne to give his full attention to solo endeavors. He resurfaced in 1989 with Rei Momo, a song collection inspired by Latin rhythms, and also directed the documentary Ile Aiye (The House of Life), which focused on the rituals of Yoruban dance music. In 1991, he again collaborated with Robert Wilson on The Forest, writing music for a full orchestra.

1992's Uh-Oh marked Byrne's return to more conventional rock performance, a direction he continued with a self-titled album issued in 1994. Feelings, recorded with members of Morcheeba and Devo, followed in 1997. Four years later, Look into the Eyeball was issued on Virgin Records/Luaka Bop and captured Byrne's signature wry humor and musical diversity. In 2003, Byrne's music for the film Young Adam (featuring members of Belle & Sebastian and Mogwai) was released as Lead Us Not into Temptation by Thrill Jockey. Grown Backwards, his first disc for the Nonesuch label, appeared a year later. In 2007, the ever-busy Byrne released a CD/DVD version of The Knee Plays that featured the 12 original tracks along with eight demos and outtakes. Big Love: Hymnal, containing material composed for the HBO series Big Love, appeared in 2008; Byrne and Eno reunited for his eighth album Everything That Happens Will Happen Today (2008). He assembled a band to tour worldwide for the album for a six-month period from late 2008 through early 2009 on the Songs of David Byrne and Brian Eno Tour.

David Byrne's next project proved to be another collaborative album, this one created with the assistance of British DJ Fatboy Slim. Released in early 2010, Here Lies Love was a concept album about former First Lady of the Philippines Imelda Marcos and her controversial love life. Over 20 guest vocalists appeared on the eclectic record, including Cyndi Lauper, Martha Wainwright, Sharon Jones, and Santigold. Byrne's next big project was another collaboration, this time with St. Vincent's Annie Clark, the Dap-Kings, Antibalas and producer John Congleton. Love This Giant arrived in September 2012.

Byrne has contributed songs to five AIDS benefit compilation albums produced by the Red Hot Organization: Red Hot + Blue: A Tribute to Cole Porter, Red Hot + Rio, Silencio=Muerte: Red Hot + Latin, Onda Sonora: Red Hot + Lisbon, and Offbeat: A Red Hot Soundtrip. In 2002, he co-wrote and provided vocals for a track, "Lazy" by X-Press 2, which reached number 2 in the United Kingdom and number 1 on the US Dance Charts.

Byrne founded the world music record label Luaka Bop in 1990. It was originally created to release Latin American compilations, but it has grown to include music from Cuba, Africa, the Far East and beyond, releasing the work of artists such as Cornershop, Os Mutantes, Los De Abajo, Jim White, Zap Mama, Tom Zé, Los Amigos Invisibles and King Chango. In 2005, Byrne initiated his own internet radio station, Radio David Byrne. Each month, Byrne posts a playlist of music he likes, linked by themes or genres. Byrne's playlists have included African popular music, country music classics, Vox Humana, classical opera, and film scores from Italian movies. Byrne is also a visual artist whose work has been shown in contemporary art galleries and museums around the world since the 1990s. Represented by the Pace/MacGill Gallery in New York, he has also created public art installations, many of them anonymously. In 2010 his original artwork was in the exhibition The Record: Contemporary Art and Vinyl at the Nasher Museum of Art at Duke University.

Byrne is known for his activism in support of increased cycling and for having used a bike as his main means of transport throughout his life, especially cycling around New York. He has a regular cycling column in the New York Times and does not own a car. Byrne says that he began cycling while he was in high school and returned to it as an adult in the late 1970s. He likes the freedom and exhilaration cycling gives him. He has written widely on cycling, including a 2009 book, Bicycle Diaries. In 2008, Byrne designed a series of bicycle parking racks in the form of image outlines corresponding to the areas in which they were located, such as a dollar sign for Wall Street and an electric guitar in Williamsburg, Brooklyn. Byrne worked with a manufacturer that constructed the racks in exchange for the ability to sell them later as art. The racks remained on the streets for about a year.

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The soundtrack to a masterful collaboration between Twyla Tharp and David Byrne. A piece of episodic dance presenting the disintegration of a nuclear family, with role-plays from The Leader & 7-piece Chorus, with The Mother, The Father, The Brother, The Sister, The Maid, The Pet & The Poet acting out the seventeen scenarios in mime and dance. This enacted within a stark, shadow-lit set of wires, pulleys and wheels against a draped backdrop - with a huge symbolic pineapple, used as a device representative of 'The Bomb'.

Byrne's musical pieces, commissioned by Tharp (who directed the work for BBC TV) are an excellent fit to the rhythm of the work. His lyrical observations are much an extension on his direction with Talking Heads, Byrne's score is always interesting and frequently brilliant; it draws on the instrumental talents of such session greats as drummer Yogi Horton, percussionist John Chernoff, guitarist Adrian Belew (who had been recording and touring as a sideman with Talking Heads), and, inevitably, Eno. Horton's drumming establishes a muscular funk foundation for much of the material, which also showcases Byrne's underrated guitar playing.

For 'Head' fans, the best two numbers I would suggest as an intro to this album are "My Big Hands (Fall Through The Cracks)" and "Big Blue Plymouth (Eyes Wide Open)". Definitely stuff to dance to, with "both doors open..." More highlights of the program include "The Red House," with its eerie use of deconstructed vocal samples, and the lovely faux-juju "Ade." Highly recommended.

David Byrne - The Catherine Wheel  (flac 393mb)

01 Light Bath 1:09
02 His Wife Refused 4:31
03 Adé 3:22
04 Walking 0:52
05 Two Soldiers 3:31
06 Under The Mountain 0:53
07 Dinosaur 2:36
08 The Red House 3:17
09 Wheezing 3:12
10 Eggs In A Briar Patch 3:31
11 Poison 2:31
12 Cloud Chamber 2:50
13 Black Flag 2:29
14 My Big Hands (Fall Through The Cracks) 2:46
15 Combat 2:45
16 Leg Bells 2:40
17 The Blue Flame 3:25
18 Big Business 5:06
19 Dense Beasts 3:11
20 Five Golden Sections 2:53
21 What A Day That Was 5:30
22 Big Blue Plymouth (Eyes Wide Open) 4:43
23 Light Bath 1:10

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'Music For The Knee Plays' is a series of rhythmic brass-oriented vignettes and lyrics by David Byrne, 'jointing' an eight-hour choreographic work, based upon Robert Wilson's concept "The Civil Wars". This work was originally intended to be performed at the LA Olympic Arts Festival but, due to the length of the work, only certain sections were performed there. The entire piece consists of fifteen central scenes within five acts and was broadly staged in its complete form at the Walker Arts Center in Minneapolis, April 1984.

The seeds of Byrne's work on "The Knee Plays" began in Tokyo with choreographer Suzushi Hanayagi and set-designer Jun Matsuno. The rhythmic backbone to the pieces began life as Kabuki-style drumming in a minimalist stage setting, akin to a Noh drama. However, with a typically inspired Byrne twist, influenced by the repetitive New-Orleans funk-beat of the Dirty Dozen Brass Band, he traded Japanese drum rhythms for Dixieland brass beats. The pieces were shaped around a series of captioned drawings provided by Wilson, an example of which can be seen on the cover as "A tree is best measured when it is down".

Stripped of its third dimension of dance and synchronized movement "Music For The Knee Plays" is an album that takes on an almost hypnotic life of its own, with the repetitive patterns of Byrne's astute spoken lyrics cutting through a melodic kaleidoscope of shifting brass and bass-drum rhythms. A work that would not be out of place at an upbeat and funky New Orleans-style funeral in the orderly street bustle of Japan. The CD issue, simply titled "The Knee Plays", has some tracks from the vinyl retitled and contains eight bonus tracks together with a DVD soundtrack slideshow of photographs from the earlier performance.

David Byrne - The Knee Plays  (flac 399mb)

01 Tree (Today Is An Important Occasion) 4:07
02 In The Upper Room 3:40
03 The Sound Of Business 6:20
04 Social Studies 4:59
05 (The Gift Of Sound) Where The Sun Never Goes Down 2:37
06 Theadora Is Dozing 3:04
07 Admiral Perry 5:32
08 I Bid You Goodnight 2:55
09 Things To Do (I've Tried) 3:27
10 Winter 6:26
11 Jungle Book 3:43
12 In The Future 6:35
13 Tree (Reprise) 2:36
14 I've Tried (Things To Do) 3:28
15 Tic Toc 2 (In The Future) 5:36
16 Whisper 3:17
17 Misterias 2:42
18 Faust Dance 2:18
19 Ghost 3:24
20 Super Natural 2:56

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On his first full-fledged solo album, rich latin-hued music dominates the entire album. The fun never lets up until the meditative and insect-accompanied 'I Know Sometimes A Man is Wrong' closes the party. Byrne indulges his fascination with Latin and South American musical styles, employing a variety of native musicians but mixing up the sounds to suit his own distinctly non-purist vision and singing over the tracks the same kind of witty, oddball lyrics found on Talking Heads albums. David Byrne fans will recognize his style in every song, regardless of the musical tone. Though the off-kilter 'Independence Day' may initially throw some listeners for a loop. Give it time, give it time. The energy never lets up. From 'Independence Day's' beautiful and surprising violin solo the beats roll and tumble at you, inspiring wiggly behavior humans often associate with dancing and joy. This is a very musically happy album. Dance.

Inspired by the South American pop Byrne featured on his Luaka-Bop albums (The 'Brazil Classics' series, Tom Zé, etc.), 'Rei Momo' explodes with horns, shakers, graters, congas, plucky guitars, sprightly piano, violins, the occassional Portugese phrase, open-throated wailing, and even Celia Cruz. Despite the influence David Byrne permeates this album. It remains and will always be an amazing effort and a great album from start to finish.

David Byrne - Rei Momo  (flac 387mb)

01 Independence Day (Cumbia) 5:45
02 Make Believe Mambo (Orisa) 5:23
03 The Call Of The Wild (Merengue) 4:55
04 Dirty Old Town (Mapeyé) 4:12
05 The Rose Tattoo (Bomba / Mozambique) 3:50
06 Loco De Amor (Salsa / Reggae) 3:51
07 The Dream Police (Cha Cha Cha) 3:00
08 Don't Want To Be Part Of Your World (Samba) 4:55
09 Marching Through The Wilderness (Charanga) 4:30
10 Good And Evil (Rumba / Llesa) 4:35
11 Lie To Me (Merengue) 3:40
12 Office Cowboy (Samba) 3:40
13 Women Vs. Men (Bolero) 4:06
14 Carnival Eyes (Mapeyé) 4:04
15 I Know Sometimes A Man Is Wrong 3:11

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Musicians had previously used similarly sampling techniques, but never before had it been used "to such cataclysmic effect" as on My Life. It was recorded entirely with analogue technology, before the advent of digital sequencing and MIDI. As such it became the first landmark sampling album. Drawing on funk and world music (particularly the multi-layered percussion of African music), My Life is similar to Talking Heads' music of the same era. Previously posted Celebrate Aetix 1 Apr 29, 2009 not to be missed,

Eno and Byrne - My Life In The Bush Of Ghosts  (now in flac 384mb)

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RhoDeo 1503 Roots

Hello,

Today Senegalese guitarist, harmonica player and singer Ismael Lo is a rising star of world music. With his smooth multi-textured voice and low-key folky style, he and his 12-piece band play strong, complex, percussion-laden mbalax songs that discuss important topics in Senegal ranging from racism and respect to immigration. There's 5 complete albums here Ismael's first albums are the bonus devided over Natt and Diawar...N'Joy.

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Ismael was born into a Muslim family in Dongo Buti, Niger, the son of a Senegalese father and Nigerian mother; they moved to Rufisque, Senegal while Lo was still quite young. His father had two wives and between them they had 18 children. Lo is the only one who became a musician. He loved music from an early age and got his start playing a homemade one-string guitar. Early American influences included Otis Redding, Wilson Pickett and Etta James, and he learned their songs by listening to the radio. At first he only played for the joy of it and never considered performing, but then an older brother, who owned a club, asked him to play on a local television show, "Tele Variety." Lo said no the first time, and continued to study decorating and painting at a trade school, but a few months later he reconsidered and appeared on the show. He was an instant hit and this inspired him to think about performing full-time. One week later, Lo again appeared on the show and was paid $300 for his work.

In the 1970s, Lo studied at the School of Art in Dakar. In 1979, singer/songwriter Omar Pene invited Lo to play in his popular group Super Diamono de Dakar, a band that played mbalax-blues, a mixture of Cuban and Senegalese rhythms. Lo, with his talent for guitar playing and songwriting, quickly established himself as a key figure in the band and soon became the second lead singer, backup singer and rhythm guitarist. By the early '80s he found himself wanting to launch a solo career, but felt like he would leave a gaping hole in the band that could destroy it. In 1984, the pressure became too much and he left for Spain to do some painting. He began recording as a solo artist upon his return. His first albums included Xalat, Xiff, Natt, and Gor Sayina, and a self-titled album released on Mango in 1992.

Two years later, Lo released his second full-length album, Iso (named for Lo's childhood nickname). The album was met with critical acclaim in France, and Lo toured Africa the following year in support of the release. His first compilation disc, Jammu Africa, featuring a duet with Marianne Faithfull, was released in 1996, and soon after Lo was invited to perform at L'Olympia with Jane Birken. After touring the globe for a few years, a third solo effort, Dabah (named in honor of the Senegalese artist Dabah Malik) came out in 2001, and in the following year the French government dubbed Lo a Knight of the Legion of Honor. He toured Europe and Africa over the course of the next two years, and in 2006 he released Senegal and African Nights. which was recorded in Dakar, Paris and London. Lo says of it, "Giving this album the title Sénégal was my way of paying tribute to my own country, in recognition of all its gifts to me"

In 1997, Lo starred in Moussa Sene Absa's film 'Tableau Ferraille' (Iron Landscape). In 2002, he was made a Knight of the Legion of Honor.

The film "Shake Hands with the Devil (2007 film)", about the Rwandan genocide, starts with Lo's song "Jammu Africa".

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An album comprised largely of Afrobeat sounds for Lo's third release. The music moves, however, from pure Afrobeat, on to piano-accompanied vocal work, vaguely in the vocal jazz/pop singer style. Lo's vocal prowess on the album is stunning, as would be expected. There are less parallels in general to other Senegalese and/or Malian singers, as there were on other albums. Lo seems to be defining his own style a bit more clearly here, as he was progressing through his career. The songs deal with topics ranging from the inevitability of death to the pain of arranged marriages to love for his mother. Musically, the album is probably a step up from Diawar, but both are worthwhile. Pick it up as a fan of Lo, or as a fan of the West African vocal traditions.

Ismaël Lô - Iso  (flac  333mb)

01 Dibi Dibi Rek 4:40
02 Nafanta 4:15
03 La Femme Sans Haine (Toutes Les Femmes) 4:24
04 Rero 3:13
05 Senegambie 5:41
06 Baol-Baol 6:18
07 Nabou 4:58
08 Nassarane 4:14
09 Wassaliane 4:09
10 Setsinala 4:27
11 Khar 4:26
12 Samayaye 5:59

Ismaël Lô - Iso  (ogg  133mb)

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A seventh album from Ismaël Lo (in the Americas at least). Here, he provides a nice album of vocals and guitar work created in the studios of Dakar and Paris, as is so often the case with Senegalese artists. The album starts out with a powerful vocal showpiece in "Aiwa," followed by a light song in French. Following is the dancehall-worthy "Biguisse," with its thick beats, followed by the slower "Amoul Solo" and the heart-wrenching title track. The next two tracks bring the urban groove back, and the invocation of a democratic Africa presents a distinct Latin flavor. "Diour Sani" and "Badara" show off more guitar work from Ismaël Lo, as well as a bit of harmonica in "Badara." "Ma Dame" brings a loping, reggae-like beat, and "N'Dally" returns the Parisian dance sounds. "Xalas" shows a more chaotic, rhythmic side to Lo's composing, and "Mam" follows it up carefully, keeping in the same tone and even repeating a bit of the chorus. Punchy horns and a complex beat serve the listener a treat on the way out of the album. Throughout, it's a worthwhile album, showing a multitude of sides to Lo's songwriting abilities. For a newcomer to Senegalese music, there are two people who need to be heard: Youssou N'Dour and Ismaël Lo. This album covers half of that spectrum quite well. Pick it up for a look into the trend and, more importantly, a generally enjoyable listen.

Ismaël Lô -  Dabah  (flac  414mb)

01 Aiwa 3:33
02 L'Amour A Tous Les Droits 5:09
03 Biguissse 3:20
04 Amoul Solo 4:46
05 Dabah 4:30
06 Boulfale 4:51
07 Faut Qu'On S'Aime 3:48
08 Africa Democratie 3:46
09 Diour Sani 5:10
10 Badara 4:08
11 Ma Dame 4:25
12 N'Dally 3:19
13 Xalas 5:22
14 Mam 4:56

Ismaël Lô -  Dabah  (ogg 150mb)

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Ismaël Lô has long been thought of as Africa's Bob Dylan, since he performs with guitar and harmonica. But it's a comparison that doesn't work for Senegal, which is a lushly arranged look at his own country. The subjects of his songs -- racism, poverty, famine, and a ferryboat disaster that's commemorated on "Le Jola" -- might be hard-hitting, but they're couched in lulling Afro-pop that seems to take any sting out of the words. Even when the album goes up-tempo it never loses control. What's missing, really, is a sense of passion and fire in the music. It's eminently listenable, and Lô's a gorgeous singer and tunesmith. But a starker backdrop might serve him better, as many of the tunes seem to blend into one, homogenous whole.

Ismaël Lô - Senegal  (flac  426mb)

01 Baykat 4:29
02 Incha Allah 4:05
03 Tass Yakar 4:00
04 Le Jola 4:31
05 Taar Dousey 4:41
06 Manko 4:48
07 Yaye Boye 4:42
08 Plus Je Fais Ci, Plus Je Fais Ça 3:59
09 Mbindane 4:23
10 Wakhal 4:17
11 Ouvriers 4:48
12 Jiguen 4:46
13 Ma Fille 2:58
14 Tajabone 4:04

Ismaël Lô - Senegal  (ogg 157mb )

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RhoDeo 1503 A New Hope 6

Hello,

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

Produced by National Public Radio, with the cooperation of Lucasfilm, Ltd.

When this series was first broadcast on National Public Radio in 1981, it generated the largest response in the network's history: 50,000 letters and phone calls in a single week, an audience of 750,000 per episode, and a subsequent 40-percent jump in NPR listenership.

This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. Director John Madden guided a splendid cast—including Mark Hamill and Anthony Daniels, reprising their film roles as Luke Skywalker and the persnickety robot See Threepio—through an intense 10 day dialogue recording session. Then came months of painstaking work for virtuoso sound engineer Tom Voegeli, whose brilliant blending of the actors' voices, the music, and hundreds of sound effects takes this intergalactic adventure into a realm of imagination that is beyond the reach of cinema.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

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Many of the actors involved in the movie were unavailable to reprise their roles. Mark Hamill and Anthony Daniels returned to reprise their roles as Luke Skywalker and C-3PO respectively. Recorded in 1981 at Westlake Recording Studios in West Hollywood, California.

With among others:
    Mark Hamill as Luke Skywalker
    Ann Sachs as Princess Leia Organa
    Perry King as Han Solo
    Bernard Behrens as Obi-Wan Kenobi
    Brock Peters as Lord Darth Vader
    Anthony Daniels as C-3PO
    Keene Curtis as Grand Moff Tarkin
    John Considine as Lord Tion
    Stephen Elliott as Prestor – more widely known as Bail Organa
    David Ackroyd as Captain Antilles



A New Hope 106 The Millenium Falcon Deal (mp3 25mb)

106 The Millenium Falcon Deal 26:33


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previously

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)

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Sundaze 1503 Inside Out 17

Hello, It's been sometime we've had an Inside Out at Sundaze, in fact the last one was September 2013. Time then to do something for our spiritual well being. Kundalini Yoga is offering a way, obviously there ain't a quick fix but you needn't travel to India to find enlightment. In fact i make it somewhat easier to start, there's a Yoga training video for beginners and the teachings of Swami Satyananda Saraswati can be listened to on the move or in bed whatever you want. Then there is music from Krishna Das as well as an album with an engaging new style of world devotional music... ......N'joy

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Kundalini Tantra

by Swami Satyananda Saraswati

Introduction to Kundalini and TantraI I have been travelling the world for the last three decades in order to pass on the message of yoga, and I find that yoga has influenced the course of human thinking tremendously. Initially of course, there was some doubt about it as many people thought that yoga was a type of religion, witchcraft or mysticism. This particularly happened because man believed matter was the ultimate point in the evolution of nature. The materialistic world did not understand yoga for some time, but as the men of science dived deep into the mysteries of matter, they came to understand and realize that matter was not the ultimate in the evolution of nature.If that is so for one form of matter, it applies to every form of matter. This external experience, the perception you have through your senses, is a product of matter. Even your thoughts, feelings, emotions and cognitions are products of matter. Therefore, they cannot be absolute and final. This means there must be another realm of experience. And if there is another realm of experience, it must be possible to transcend the present limitations of the mind.The mind is also matter; it is definitely not spirit. So the mind can also be transformed and made to evolve. People have begun to realize and experience this in the last few decades. And in my opinion, this marks the end of one era and the beginning of another.

For those who have knowledge of science and the nature of matter, it is not difficult to understand exactly what inner experience is.An inner experience is the manifestation of a deeper level of oneself. Dream, of course, is an experience. Your dreams may be schizophrenic but that is an expression of your own self. Thought is also a concept or expression of your own self. A piece of music is an expression of yourself, whether you compose it or just admire it. A painting or sculpture is a concept of yourself whether you create it or just admire it. That means the external world is a manifestation of your inner experience. And you can improve this experience to any extent. You can also bring about deterioration of this experience. When everything is hopeless outside, that is your experience of yourself, and if everything is beautiful outside, that is also your experience of yourself.

In the last few decades, yoga has helped millions of people improve their concepts of themselves. Yoga realizes that man is not only the mind, he is body as well. Therefore man does not experience happiness only through the mind. The body is also real and it is a part of his personality. Just by improving the condition of the body however, man will not necessarily enable his mind to experience happiness either. This is because he is not only the body and mind, he is emotion and desire as well. He is something beyond the mind or psyche. Therefore, yoga has been designed in such a way that it can complete the process of evolution of the personality in every possible direction. That is why yoga has so many branches - hatha yoga, karma yoga, bhakti yoga, raja yoga, gyana yoga, kundalini yoga, and so on.A combined, integrated practice of yoga in one's life will definitely ensure a better quality of experience within you and without. Every seeker and practitioner on the path of yoga must remember that the various paths of yoga are to improve the quality of head, heart and hand. However, yoga does not end with the development of the personality. One level of the personality is dependent on this mind, this body and these emotions, but there is another deeper part of the personality which you have to develop with another kind of mind and emotion. This requires a special process, and that process is known as kundalini yoga.

Objective experience not the ultimate Kundalini yoga is a part of the tantric tradition. Even though you may have already been introduced to yoga, it is necessary to know something about tantra also. Since ancient times, the wise men have realized that mind can be expanded and that experiences do not necessarily depend on an object. This means that if somebody is playing music, I can hear it, and if somebody has painted a picture, I can see it, but I can also see if there is no picture, and I can hear if there is no music. This is also a quality of man's personality which has been ignored in the last 150 to 200 years.Tantra says that the range of mental experience can be broadened. With the help of the senses, your mind can have an experience based on an object. There can be an experience within the framework of time, space and object, but there can also be an experience beyond the framework of time, space and object. The second form of experience can happen when the present mind expands beyond its given definitions and borders, and when this experience occurs, energy is released from yourself. For hundreds of years, people have been talking about an experience called nirvana, moksha, emancipation, self-realization, salvation or liberation, without understanding it properly. Yogis call this experience samadhi. Although many people think that in samadhi or6nirvana everything is completely finished, it is definitely not a process of quitting the world. Nothing finishes, only one level of experience ends, but then another begins.Since the dawn of creation, the tantrics and yogis have realized that in this physical body there is a potential force. It is not psychological, philosophical or transcendental; it is a dynamic potential force in the material body, and it is called kundalini. This kundalini is the greatest discovery of tantra and yoga.

Swami Satyananda Saraswati - Kundalini Tantra  (mp3 227mb)

01-09 Kundalini Tantra  9 hours

+ Swami Satyananda Saraswati - Kundalini Tantra v1.pdf


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Kundalini Yoga for Beginners & Beyond has helped to establish Ana Brett & Ravi Singh and their signature yoga style as the most exciting new trend in yoga and fitness. This DVD contains exercises for flexiblity, strength building, aerobic efficiency, stress relief, back care, and much more: all with a through the roof fun factor! This amazingly effective daily workout features two 25 minute sets which can be done individually or together. Set one, Rise & Spine, will help you maintain a healthy back and raise your energy high! Set two features an original and fun version of the 'Five Tibetans,' exercises to keep you supple, youthful and vital for life! Also included: breath primer, meditation, deep relaxation, and a great soundtrack by Tom Carden. Discover why Ravi & Ana's client lists includes Madonna, Donna Karan, Gwyneth Paltrow, and the Red Hot Chile Peppers. This conveniently chaptered DVD, with the recently added Matrix gives you the option of designing your workout based on the time you have: pick and choose whichever segments you want to include in your workout and let them play in whatever order you'd like! This best-selling DVD has everything you need for high caliber fitness, peace of mind, and to give your life a total boost!

Ana Brett & Ravi Singh - Kundalini Yoga for Beginners & Beyond  (avi 608mb)

01 Kundalini Yoga for Beginners & Beyond 63:44

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The spirituality of India is blended with modern, electronic influences by Long Island, New York-raised Krishna Das (b. Jeffrey Kagel). The founder of Triloka Records, Das continues to update the musical accompaniment to traditional Hindu chanting and satsong. Influential spiritual leader Ram Dass described Das as "an example of someone whose heartsongs open the channels to God". Das' connections to Indian spirituality developed in his early 20s. Having grown up on jazz, blues and rock and roll, Das was working as a school bus driver when friends inspired him to visit Ram Dass in 1968. Driving six hours through snow, Das arrived at his destination in New Hampshire. Although he only visited with Ram Dass for a few hours, the experience completely altered the course of his life. Two years later, Das traveled to northern India where he spent two years as a devotee of Guru Mahara-ji (Neem Karoli Baba). While in India, Das became involved with the spiritual aspects of the country's music. With his visa expiring, Das returned to the U.S. in March 1972. In 1990, Das founded Triloka Records. The label has become a leading distributor of world music recordings. His debut album, One Track Heart, released in 1996, focused on updated chants from the ancient tradition of Bhakti Yoga (Yoga of Devotion). His second album, Pilgrim Heart, released in 1998, featured a guest appearance by Sting, who sang on the tune "Mountain Hari Krishna" and played bass on "Ring Song." Das continues to conduct intensive seminars, workshops and chanting sessions, issuing Live on Earth...For a Limited Time Only in early 2000.

Considered the leading Western proponent of kirtan chanting, Krishna Das shows his stuff on the double-disc Live on Earth. The live setting is where Das really shines, with posse in tow generally singing in the traditional call-and-response fashion. Devotion flows through his husky baritone voice and enthusiasm abounds in the claps of the group. This is how these mantras are meant to be sung, their blessings showering down on every chanter. The explosive "Radhe Shyam" and "Samadhi Sita Ram" open the session with a bang while praising the glory of Govinda and Ram along with their consorts, Radha and Sita. Then, a hush falls and stillness overwhelms when Das and bansuri flutist Steve Gorn offer themselves at the feet of the guru with "Shri Guru Charanam." Going on like this, balancing the ecstatic and the solemn while holding the sacred, Das makes his offerings to all of the major Hindu deities -- Krishna, Hanuman, Kali, Lakshmi, Rama, and Shiva. Particularly enchanting is the ancient hymn "Hanuman Chaleesa." Das sings it to please his own guru, though it was composed in honor of the monkey god Hanuman, noble hero of the great Indian epic Ramayana. One of the most well-known nama sankirtanas in the West repeats the names of Hare Rama Hare Krishna. Das includes two different renditions, "Three Rivers Hare Krishna" and "Mountain Hare Krishna," perhaps signifying his own fondness for the simple beauty of this chant. For the most part, Das sticks with the tried and true Indian instrumentation of harmonium and percussion to create his sound, though he does add a bit of keyboard, cello, and bass to smooth out the edges and truly make it his own. That's fair, and the result is splendid.

Krishna Das - Live on Earth...For a Limited Time Only  (flac  362mb)

01 Radhe Shyam 10:03
02 Samadhi Sita Ram 11:33
03 Shri Guru Charanam  6:00
04 Three Rivers Hare Krishna 15:12
05 Hanuman Puja  3:48
06 Hanuman Chaleesa  8:33
07 Sita Ram  7:26
08 Jaya Bhagavan  6:43

Krishna Das - Live on Earth...For a Limited Time Only  (ogg 177mb)

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Krishna Das - Live on Earth...For a Limited Time Only 2  (flac  401mb)

01 Devi Puja 10:10
02 Jaya Jagatambe 12:22
03 Mountain Hare Krishna 14:02
04 Namah Shivaya 11:57
05 Rama Bolo 10:22
06 Shri Krishna Govinda/Gopala 13:47

Krishna Das - Live on Earth...For a Limited Time Only 2  (ogg 182mb)

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Kundalini Remix reveals a divine convergence. Leave your separateness behind. In these sacred rhythms, you will discover that we are all one. See you in the temples. See you on the dance floor. The DJs on Kundalini Remix have been charged with a sacred task: go into the cave, get the mantra, mix it with your essence and return it to the people. This is the modern-day hero s journey in musical form. Listen. Go deep. Find the truth. Lean into it. The power of the warrior-saint archetype is alive and well in these rhythms. Devotional Electronic Music: The ultimate blend of sacred and worldly. It takes everything into consideration and carries us into a new space of hope, divinity, and boundless energy. A mix of mantras with a beat. Upbeat but not distracting - something that won't put you to sleep but also won't interfere if you're trying to do some work that requires thinking.

VA - Kundalini Remix, Yoga Mantras Revisited (flac  507mb)

1 Snatam Kaur - Mul Mantra (The Sat Nam Remix By Cheb I Sabbah) 5:57
2 Gurunam Singh - Dukh Par Har (Desert Dwellers Breaks Remix) 5:37
3 Mirabai Ceiba - Gobinday (Drumspyder Remix) 6:03
4 GuruGanesha Singh & Snatam Kaur - In The Light Of My Soul (Dj Sharu & Eugene Steele Remix) 5:28
5 Dave Stringer & Karnamrita Dasi - DAja Uttama (Duke Mushrooms "House Of Saints" Remix) 7:20
6 Gurunam Singh - Naam (Milly De Mori Remix) 7:54
7 Guru Singh - Wahe Guru (Mashti Remix) 6:50
8 Nirinjan Kaur - Jai Tegang (Ran Salman Radio Remix) 4:41
9 Thomas Barquee - Om Namah Shivaya (Sonicturtle Remix By Adham Shaikh) 10:29
10 Sat Kartar - Laya Yoga Chant (Makyo Tantric Dub) 11:04
11 Snatam Kaur -  Ong Namo (DJ Nartak & Five Seasons Remix) 4:58

VA - Kundalini Remix, Yoga Mantras Revisited  (ogg 198mb)

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RhoDeo 1502 Grooves

Hello,

Today more from an American blues guitarist and singer, and a major influence in the world of blues guitar playing. King was posthumously inducted into the Rock and Roll Hall of Fame in May 2013. King stood 6 ft 4 in (1.93 m), some reports say 6 ft 7 in (2.01 m) and weighed 250 pounds (110 kg)[1] and was known as "The Velvet Bulldozer". Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does -- his style has influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does -- he's had his own style and unique tone from the beginning. ..N'joy

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Albert King plays guitar left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for his difference in tone, since he pulls down on the same strings that most players push up on when bending the blues notes. King's massive tone and totally unique way of squeezing bends out of a guitar string has had a major impact. Many young white guitarists -- especially rock & rollers -- have been influenced by King's playing, and many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he's one of the most important blues guitarists to ever pick up the electric guitar.

Born in Indianola, MS, but raised in Forrest City, AR, Albert King (born Albert Nelson) taught himself how to play guitar when he was a child, building his own instrument out of a cigar box. At first, he played with gospel groups -- most notably the Harmony Kings -- but after hearing Blind Lemon Jefferson, Lonnie Johnson, and several other blues musicians, he solely played the blues. In 1950, he met MC Reeder, who owned the T-99 nightclub in Osceola, AR. King moved to Osceola shortly afterward, joining the T-99's house band, the In the Groove Boys. The band played several local Arkansas gigs besides the T-99, including several shows for a local radio station.

After enjoying success in the Arkansas area, King moved to Gary, IN, in 1953, where he joined a band that also featured Jimmy Reed and John Brim. Both Reed and Brim were guitarists, which forced King to play drums in the group. At this time, he adopted the name Albert King, which he assumed after B.B. King's "Three O'Clock Blues" became a huge hit. Albert met Willie Dixon shortly after moving to Gary, and the bassist/songwriter helped the guitarist set up an audition at Parrot Records. King passed the audition and cut his first session late in 1953. Five songs were recorded during the session and only one single, "Be on Your Merry Way" / "Bad Luck Blues," was released; the other tracks appeared on various compilations over the next four decades. Although it sold respectably, the single didn't gather enough attention to earn him another session with Parrot. In early 1954, King returned to Osceola and re-joined theIn the Groove Boys; he stayed in Arkansas for the next two years.

In 1956, Albert moved to St. Louis, where he initially sat in with local bands. By the fall of 1956, King was headlining several clubs in the area. King continued to play the St. Louis circuit, honing his style. During these years, he began playing his signature Gibson Flying V, which he named Lucy. By 1958, Albert was quite popular in St. Louis, which led to a contract with the fledgling Bobbin Records in the summer of 1959. On his first Bobbin recordings, King recorded with a pianist and a small horn section, which made the music sound closer to jump blues than Delta or Chicago blues. Nevertheless, his guitar was taking a center stage and it was clear that he had developed a unique, forceful sound. King's records for Bobbin sold well in the St. Louis area, enough so that King Records leased the "Don't Throw Your Love on Me So Strong" single from the smaller label. When the single was released nationally late in 1961, it became a hit, reaching number 14 on the R&B charts. King Records continued to lease more material from Bobbin -- including a full album, Big Blues, which was released in 1963 -- but nothing else approached the initial success of "Don't Throw Your Love on Me So Strong." Bobbin also leased material to Chess, which appeared in the late '60s.

Albert King left Bobbin in late 1962 and recorded one session for King Records in the spring of 1963, which were much more pop-oriented than his previous work; the singles issued from the session failed to sell. Within a year, he cut four songs for the local St. Louis independent label Coun-Tree, which was run by a jazz singer named Leo Gooden. Though these singles didn't appear in many cities -- St. Louis, Chicago, and Kansas City were the only three to register sales -- they foreshadowed his coming work with Stax Records. Furthermore, they were very popular within St. Louis, so much so that Gooden resented King's success and pushed him off the label.

Following his stint at Coun-Tree, Albert King signed with Stax Records in 1966. Albert's records for Stax would bring him stardom, both within blues and rock circles. All of his '60s Stax sides were recorded with the label's house band, Booker T. & the MG's, which gave his blues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits -- "Laundromat Blues" (1966) and "Cross Cut Saw" (1967) both went Top 40, while "Born Under a Bad Sign" (1967) charted in the Top 50. Furthermore, King's style was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert's "Personal Manager" guitar solo on the Cream song, "Strange Brew." Albert King's first album for Stax, 1967's Born Under a Bad Sign, was a collection of his singles for the label and became one of the most popular and influential blues albums of the late '60s. Beginning in 1968, Albert King was playing not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Francisco and he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968.

Early in 1969, King recorded Years Gone By, his first true studio album. Later that year, he recorded a tribute album to Elvis Presley (Blues for Elvis: Albert King Does the King's Things) and a jam session with Steve Cropper and Pops Staples (Jammed Together), in addition to performing a concert with the St. Louis Symphony Orchestra. For the next few years, Albert toured America and Europe, returning to the studio in 1971, to record the Lovejoy album. In 1972, he recorded I'll Play the Blues for You, which featured accompaniment from the Bar-Kays, the Memphis Horns, and the Movement. The album was rooted in the blues, but featured distinctively modern soul and funk overtones.

By the mid-'70s, Stax was suffering major financial problems, so King left the label for Utopia, a small subsidiary of RCA Records. Albert released two albums on Utopia, which featured some concessions to the constraints of commercial soul productions. Although he had a few hits at Utopia, his time there was essentially a transitional period, where he discovered that it was better to follow a straight blues direction and abandon contemporary soul crossovers. King's subtle shift in style was evident on his first albums for Tomato Records, the label he signed with in 1978. Albert stayed at Tomato for several years, switching to Fantasy in 1983, releasing two albums for the label.

In the mid-'80s, Albert King announced his retirement, but it was short-lived -- Albert continued to regularly play concerts and festivals throughout America and Europe for the rest of the decade. King continued to perform until his sudden death in 1992, when he suffered a fatal heart attack on December 21. The loss to the blues was a major one -- although many guitarists have tried, no one can replace King's distinctive, trailblazing style. Albert King is a tough act to follow.

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The Big Blues is the debut album by Albert King, released in 1962 by King Records. Featuring mostly songs composed by Albert King himself, this was his first album and the only one before he signed with Stax Records, where he would record most albums along his career. The album is a collection of songs previously released by King Records and Bobbin Records as singles and B-sides. King recorded "Blues at Sunrise" and "Let's Have A Natural Ball" (which appears on the album) for Bobbin in 1956, which helped to establish him in recording.

Possessing a fluid, versatile guitar style and a smoky, understated voice, Albert King was a major influence on Stevie Ray Vaughn. (Vaughn readily acknowledged King's influence on him and often praised the elder's immense talent.) By the time of THE BIG BLUES, King had long perfected his sound after years of touring. On "Let's Have A Natural Ball," and "I Get Evil," King's voice is as expressive as any blues singer of his time, including Muddy Waters or Jimmy Reed (he backed the latter on a number of recordings).

King is remembered by many for his dabbling in the psychedelic sounds of the late 1960s, which set him apart from the more conservative blues players of the time. However, On 1962's The Big Blues King was already showing an interest in exploring many genres of popular music. On the rumba-flavored instrumental "This Morning" he gets very close to a full-out surf guitar style, while one listen to the intro of "I Walked All Night Long" will reveal his subsequent influence on Stevie Ray.

Albert King - The Big Blues (flac 226mb)

01 Let's Have A Natural Ball 2:55
02 What Can I Do To Change Your Mind  2:54
03 I Get Evil 2:31
04 Had You Told It Like It Was (It Wouldn't Be Like It Is) 3:09
05 This Morning 2:12
06 I Walked All Night Long 2:56
07 Don't Throw Your Love On Me So Strong 3:00
08 Travelin' To California 3:05
09 I've Made Nights By Myself 2:40
10 This Funny Feeling 2:37
11 Ooh-Ee Baby 3:58
12 Dyna Flow 2:52

Albert King - The Big Blues  (ogg   78mb)

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Blues For Elvis - King Does The King's Things is the fifth studio album by Albert King. The songs in this album are versions of songs previously recorded by Elvis Presley. On the album sleeve there is a review by Albert Goldman, Music Critic of LIFE Magazine, who says, among other things "For the first time on record, the King of Blues is meeting the King of Rock." and "...you're gonna love every minute of this musical feast fit for kings.".

Originally titled King Does the King's Thing, here's Albert King adding his own touch to a batch of Elvis Presley tunes. Because King's style is so irreducible, the concept actually works, as he fills this album with his traditional, high-voltage guitar work and strong vocals. That isn't surprising, since four of the nine tunes on here originally started as R&B hits covered by Presley, including an instrumental version of Smiley Lewis' "One Night." No matter what the original sources may be, though, this is a strong showing in King's catalog.

Albert King - King Does The Kings Things (flac 216mb)

01 Hound Dog 4:03
02 That's All Right 4:08
03 All Shook Up 2:29
04 Jailhouse Rock 3:36
05 Heartbreak Hotel 6:05
06 Don't Be Cruel 3:27
07 One Night 4:18
08 Blue Suede Shoes 3:16
09 Love Me Tender 5:19

Albert King - King Does The Kings Thing (ogg 96mb)

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While this is not nearly as essential as some other Stax wax, it has a loose, raffish appeal and never falls into the murk of a boring super-session chopsfest. These guys were simply havin' fun with some standard soul/R&B covers (e.g. "What'd I Say," "Baby What You Want Me To Do") and some wide-open originals, kickin' back with some serious riffin'. Cropper proffers his usual intense, simplistic soloing, while King swoops and dives in a stringbending fury. The added plus is the silky smooth near-falsetto of Pop Staples, whose vocal on "Tupelo" is suitably eerie...

Albert King, Steve Cropper, Pop Staples - Jammed Together (flac 230mb)

01 What'd I Say 5:30
02 Tupelo 6:00
03 Opus De Soul 5:30
04 Baby What You Want Me To Do 3:30
05 Big Bird 3:13
06 Homer's Theme 2:10
07 Trashy Dog 3:01
08 Don't Turn Your Heater Down 3:15
09 Water 3:07
10 Knock On Wood 5:00

Albert King, Steve Cropper, Pop Staples - Jammed Together (ogg 100mb)

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RhoDeo 1502 Goldy Rhox 192

Hello, today the 192th post of Goldy Rhox, classic pop rock. Today's artist in the blacklight was here before in fact i started this series with him. His 1969 commercial breakthrough, the song "Space Oddity", won him an Ivor Novello Special Award For Originality. For his performance in the 1976 science fiction film The Man Who Fell to Earth, he won a Saturn Award for Best Actor. In the ensuing decades he has been honored with numerous awards for his music and its accompanying videos, receiving, among others, two Grammy Awards and two BRIT Awards. Throughout his career he has sold an estimated 250 million albums.In the UK, he has been awarded 9 Platinum, 11 Gold and 8 Silver albums, and in the US a mere, 5 Platinum and 7 Gold (just too colourful) In the BBC's 2002 poll of the 100 Greatest Britons, he was ranked 29. In 2004, Rolling Stone magazine ranked him 39th on their list of the 100 Greatest Rock Artists of All Time. He was inducted into the Rock and Roll Hall of Fame on 17 January 1996....

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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.


Today's mystery album is the tenth studio album by todays mystery artist, released by RCA Records 23 January 1976. Commonly regarded as one of his most significant works, it was the vehicle for his last great "character", the Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions our man was heavily dependent on drugs, especially cocaine, and recalls almost nothing of the production.

Musically, today's mystery album was a transitional album for today's mystery artist, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Neu! and Kraftwerk. Today's mystery artist himself has said that today's mystery album was "a plea to come back to Europe for me". The album’s lyrics reflected his preoccupations with Nietzsche, Aleister Crowley, mythology and religion.

It was on the set of his first major film, The Man Who Fell to Earth, that today's mystery artist began writing a pseudo-autobiography called The Return of the Thin White Duke. Director Nicolas Roeg warned the star that the part of Thomas Jerome Newton would likely remain with him for some time after production completed. With Roeg's agreement, today's mystery artist developed his own look for the film, and this carried through to his public image and onto two album covers over the next twelve months, as did Newton's air of fragility and aloofness

Blending funk and krautrock, romantic balladry and occultism, today's mystery album has been described as "simultaneously one of our man's most accessible albums and his most impenetrable". Preceded by the single "Golden Years", it made the top five in both the UK and US charts. In 2003, the album was ranked No. 323 on Rolling Stone magazine's list of the 500 greatest albums of all time. Here today the 2010 original analogue master with as bonus the single edits five track EP.


Goldy Rhox 192 (flac 359mb)


Goldy Rhox 192 (ogg 139mb)

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RhoDeo 1502 Aetix

Hello, well there's been a big Talking Heads posting earlier October 2006, damn yes that's more than 8 years ago and although the posting was kept alive for a long time, it's been dodo for sometime too. Files at the time couldn't be larger than a 100mb... yes that old. Anyway it will be flac and ogg 9 to choose from this time...

For the last and final time today's Aetix band combined elements of punk rock, art rock, funk, avant-garde, pop music, world music, and Americana. Frontman and songwriter David Byrne contributed neurotic, whimsical lyrics to the band's songs, and emphasized their showmanship through various multimedia projects and performances. They were described as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time.....N'Joy

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At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.

And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals.

For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.

After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions.

After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, and Harrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey.


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Talking Heads' most immediately accessible album, Little Creatures eschewed the pattern of recent Heads albums, in which instrumental tracks had been worked up from riffs and grooves, after which David Byrne improvised melodies and lyrics. The songs on Little Creatures, most of which were credited to Byrne alone (with the band credited only with arrangements) sounded like they'd been written as songs. Perhaps as one result, the band had been streamlined, with extra musicians used only for specific effects rather than playing along as an ensemble. Byrne, who was singing in his natural range for once, frequently was augmented with backup singers. The overall result: ear candy. Little Creatures was a pop album, and an accomplished one, by a band that knew what it was doing. True, Byrne's lyrics were still intriguingly quirky, but even his subject matter was becoming more mature. "I've seen sex and I think it's okay," he sang on "Creatures of Love," and suddenly the geek had become a man. Where he had once pondered the hopes of boys and girls, he was now making observations about children. And even if his impulses remained strange -- "I wanna make him stay up all night," he declared about a baby (presumably not his own) in "Stay Up Late" -- he retained his charm and inventiveness. Little Creatures was, in a sense, Talking Heads lite. It was hard to think of this as the same band that produced "Psycho Killer." But for the band's expanding audience, who made this their second platinum album, that was okay. And their popularity was being accomplished with no diminution in their creativity.

Talking Heads - Little Creatures  (flac 318mb)

01 And She Was 3:36
02 Give Me Back My Name 3:20
03 Creatures Of Love 4:12
04 The Lady Don't Mind 4:03
05 Perfect World 4:26
06 Stay Up Late 3:51
07 Walk It Down 4:42
08 Television Man 6:10
09 Road To Nowhere 4:19
Bonus
10 And She Was (Extended mix) 4:53
11 The Lady Don't Mind (Extended mix) 6:50

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Time hasn't been kind to Talking Heads' ancillary soundtrack to David Byrne's oddball directorial debut. Though it generated one of the band's biggest radio hits ("Wild Wild Life"), it's well-known the quartet was beginning to splinter apart around the time of the sessions. Byrne himself has said that he regretted the whole notion of releasing True Stories with his own vocals, a decision made at the behest of the film's financial backers: All along, he intended for the lyrics to be sung, in character, by Pops Staples, John Goodman, and the rest of the cast. Despite its perfunctory nature, however, True Stories is not without its charms. Though an obvious swipe at consumerism, "Love for Sale" boasts one of the band's best hooks, and it's easily their hardest-rocking tune since the Fear of Music days. "Radio Head" is a successful continuation of some of the regional-American motifs Byrne explored on Little Creatures (and bears the distinction of inspiring Thom Yorke, Jonny Greenwood, and company to name their band after it). Free from the movie's weird patina of irony, "Dream Operator" is one of the most affecting tunes Talking Heads ever recorded; the closing-credits theme "City of Dreams" is similarly touching. Elsewhere, there is filler -- touching upon gospel, country-western, zydeco, and sundry other Byrne influences -- but the band's skill at arranging an album and maintaining a mood remains intact. So while True Stories may remain a regrettable chapter in the band's history, it's certainly not an embarrassing one.

Talking Heads - True Stories  (flac 422mb)

01 Love For Sale 4:30
02 Puzzlin' Evidence 5:23
03 Hey Now 3:42
04 Papa Legba 5:54
05 Wild Wild Life 3:39
06 Radio Head 3:14
07 Dream Operator 4:39
08 People Like Us 4:26
09 City Of Dreams 5:06
Bonus Tracks
10 Wild Wild Life (Extended Mix) 5:30
11 Papa Legba (Pops Staples Vocal Version) 6:19
12 Radio Head (Tito Larriva Vocal Version) 4:11
13 Love For Sale (Love Dub) 3:11

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Talking Heads' last proper studio album before their protracted breakup finds them returning to the dynamic that produced their best work, with inspired results. As swan songs go, Naked proves to be a pretty good one: Alternately serious and playful, it once again allows frontman David Byrne to worry about the government, the environment, and the plight of the working man as it frees up the rest of the band to trade instruments and work with guest musicians. It's closest in spirit to Remain in Light -- arguably too close: The first side is a collection of funky, syncopated, almost danceable tunes; the second, a murky, darkly philosophical rumination on identity and human nature. The major difference is a Latin influence replacing Light's African rhythm experimentation, most evident on the album openers "Blind" and "Mr. Jones," as well as in drummer Chris Frantz's decision to use brushes and softer percussion instruments (as opposed the big beat sound he offered up on Little Creatures and True Stories). With the venerable Steve Lillywhite behind the boards and such luminaries as Johnny Marr, Kirsty MacColl, and Yves N'Djock punctuating the credits, the album sounds technically perfect, but there's little of the loose, live feel the band achieved with former mentor Brian Eno. It's quite a feat to pull of a late-career album as ambitious as Naked, and the Heads do so with style and vitality. But no matter how much the liner notes may boast of free-form invention and boundless creativity, the album's elegiac, airtight tone betrays the sound of four musicians growing tired of the limits they've imposed on one another.

Talking Heads - Naked  (flac 440mb)

01 Blind 4:58
02 Mr. Jones 4:18
03 Totally Nude 4:10
04 Ruby Dear 3:48
05 (Nothing But) Flowers 5:31
06 The Democratic Circus 5:01
07 The Facts Of Life 6:25
08 Mommy Daddy You And I 3:58
09 Big Daddy 5:37
10 Bill 3:21
11 Cool Water 5:10
Bonus
12 Blind (Extended Mix) 7:40
13 Nothing But Flowers (Lillywhite Mix) 7:34
14 Ruby Dear (Bush Mix) 3:23

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Stop Making Sense is a live 1984 album by Talking Heads, the soundtrack to the film of the same name. The original release of the album features only nine of the songs from the movie, many of them heavily edited. The album spent more than two years (118 weeks) on the Billboard 200 chart. In 1999, a 16-track re-release coincided with the concert's 15th anniversary.

While there's no debating the importance of Jonathan Demme's classic film record of Talking Heads' 1983 tour, the soundtrack released in support of it is a thornier matter. Since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive. The nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. Cries for a double-album treatment -- à la 1982's live opus The Name of This Band Is Talking Heads -- were sounded almost immediately; more enterprising fans merely dubbed the VHS release of the film onto cassette tape. So, until a 1999 "special edition" cured the 1984 release's ills, fans had to make do with the Stop Making Sense they were given -- which is, by any account, an exemplary snapshot of a band at the height of its powers. Even with some of his more memorable tics edited out, Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes (the hard-driving, elliptical "What a Day That Was") as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset as well as its biggest failing: Knob-tweakers Chris Frantz and Jerry Harrison play up their parts at the expense of the treblier aspects of the performance, and fans would have to wait almost 15 years for reparations. Still, for a generation that may have missed the band's seminal '70s work, Stop Making Sense proves to be an excellent primer.

In 1999 - to correspond with the theatrical re-release of the movie - the album was extended and remastered, restoring all of the songs from the movie with only very minor edits. The newly included tracks and one original track, "What a Day That Was", feature Frantz's original drumming from the concert recordings. In 2003, the album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Talking Heads - Stop Making Sense  (flac 507mb)

01 Psycho Killer 4:25
02 Heaven 3:41
03 Thank You For Sending Me An Angel 2:10
04 Found A Job 3:15
05 Slippery People 4:01
06 Burning Down The House 4:06
07 Life During Wartime 5:51
08 Making Flippy Floppy 4:40
09 Swamp 4:30
10 What A Day That Was 6:01
11 This Must Be The Place (Naive Melody) 4:57
12 Once In A Lifetime 5:25
13 Genius Of Love (Tom Tom Club) 4:31
14 Girlfriend Is Better 5:06
15 Take Me To The River 5:33
16 Crosseyed And Painless 6:11

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RhoDeo 1502 Roots

Hello, Charlie here..good to see so many demonstrating their disgust over what happened in Paris last week, but I doubt very much the extremists care. Unfortunately the designers of Islam tried to make sure there would be no development and it has to be said they largely succeeded in keeping their submissive followers down and in a state of ignorance, the only braintraining a muslim gets is learning the Koran by heart, as for females well these are solely kept for breeding purposes. It always saddens me to see muslima's defending their faith but then women are strange..they marry psychopaths serving lifesentences. Anyway if muslim women want to, they could easily end the oppression by simply strangling every male newborn..just an idea and subsequently emigrate to China where there's a serious shortage of women (100 million plus) wink wink

Today Senegalese guitarist, harmonica player and singer Ismael Lo is a rising star of world music. With his smooth multi-textured voice and low-key folky style, he and his 12-piece band play strong, complex, percussion-laden mbalax songs that discuss important topics in Senegal ranging from racism and respect to immigration. There's 5 complete albums here Ismael's first albums are the bonus devided over Natt and Diawar...N'Joy.

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Ismael was born into a Muslim family in Dongo Buti, Niger, the son of a Senegalese father and Nigerian mother; they moved to Rufisque, Senegal while Lo was still quite young. His father had two wives and between them they had 18 children. Lo is the only one who became a musician. He loved music from an early age and got his start playing a homemade one-string guitar. Early American influences included Otis Redding, Wilson Pickett and Etta James, and he learned their songs by listening to the radio. At first he only played for the joy of it and never considered performing, but then an older brother, who owned a club, asked him to play on a local television show, "Tele Variety." Lo said no the first time, and continued to study decorating and painting at a trade school, but a few months later he reconsidered and appeared on the show. He was an instant hit and this inspired him to think about performing full-time. One week later, Lo again appeared on the show and was paid $300 for his work.

In the 1970s, Lo studied at the School of Art in Dakar. In 1979, singer/songwriter Omar Pene invited Lo to play in his popular group Super Diamono de Dakar, a band that played mbalax-blues, a mixture of Cuban and Senegalese rhythms. Lo, with his talent for guitar playing and songwriting, quickly established himself as a key figure in the band and soon became the second lead singer, backup singer and rhythm guitarist. By the early '80s he found himself wanting to launch a solo career, but felt like he would leave a gaping hole in the band that could destroy it. In 1984, the pressure became too much and he left for Spain to do some painting. He began recording as a solo artist upon his return. His first albums included Xalat, Xiff, Natt, and Gor Sayina, and a self-titled album released on Mango in 1992.

Two years later, Lo released his second full-length album, Iso (named for Lo's childhood nickname). The album was met with critical acclaim in France, and Lo toured Africa the following year in support of the release. His first compilation disc, Jammu Africa, featuring a duet with Marianne Faithfull, was released in 1996, and soon after Lo was invited to perform at L'Olympia with Jane Birken. After touring the globe for a few years, a third solo effort, Dabah (named in honor of the Senegalese artist Dabah Malik) came out in 2001, and in the following year the French government dubbed Lo a Knight of the Legion of Honor. He toured Europe and Africa over the course of the next two years, and in 2006 he released Senegal and African Nights. which was recorded in Dakar, Paris and London. Lo says of it, "Giving this album the title Sénégal was my way of paying tribute to my own country, in recognition of all its gifts to me"

In 1997, Lo starred in Moussa Sene Absa's film 'Tableau Ferraille' (Iron Landscape). In 2002, he was made a Knight of the Legion of Honor.

The film "Shake Hands with the Devil (2007 film)", about the Rwandan genocide, starts with Lo's song "Jammu Africa".

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Senegalese bands as a whole are consistently into electronics and crossover, in a way that constitutes a new national sound rather than a hit-hunting aberration. Lo is typical, in that you may find almost anything going on under his mellow Sahelian vocals -- but all of it with the conviction that comes from doing what you like rather than what you think will sell.  Melifluous, gentle balads with bags of atmosphere.

He learned everything from Omar Pene by long time in his group to play with, but the voice of Ismaël Lô was too good to stay in the background. His style as a solo artist leans somewhat to those of Omar Pene, but he adds many more influences from Mali and Cameroon, for example, making him a more pan-African sound. His most known songs are ballads whose Tadieu Bone (found on this album) as its classic is considered. Ismaël Lô brings on such an exciting alternation of Natt ballads with more uptempo songs in which there may be occasionally danced. The typical Senegalese percussion is never far away. But it is above all its sublime, discrete guitar playing that most attracts attention. NATT is thereby a very accessible African album.

Ismaël Lô - Natt  (flac  400mb)

01 Xalat (from the LP Xalat) 5:29
02 Natt 4:50
03 Xiif (from the LP Xiff) 4:15
04 Djola Kele 7:28
05 Ataya 5:45
06 Tadieu Bone 4:49
07 Dioumaa (from the LP Xiff) 5:45
08 Talibe (from the LP Xalat) 4:17
09 Alal (from the LP Xiff) 6:30
10 Samag La 6:10
11 Mougneul 5:00
12 Lote Lo (from the LP Xalat) 6:32

Ismaël Lô - Natt  (ogg  165mb)

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From the great Senegalese vocalist Ismael Lo comes this album, his fourth solo effort (though it also includes a number of tracks from his sophomore release, Xiff). The horn arrangements are tight, and the combination of horns and guitar lines makes for a nice, danceable groove throughout the album. Aside from the superb instrumental work, however, Lo's voice is really the star of the album. At times able to command the full capacity of many of his African vocalist predecessors (Salif Keita, Youssou N'Dour, etc.), he is also capable of providing a nice, soft vocal texture to lay over the top of the instrumental end if necessary. The voice (and the mastering) has a slight echoing quality to it throughout the duration of the album, which can at times add to the feel of a ballad and at times perhaps get in the way of a quicker funk riff on the guitars. Still, it is a minor flaw in an otherwise stunning album. Anyone following the career of Lo probably already has this album, but those who have yet to hear his vocal prowess would do well to pick this one up and learn of it.

Ismaël Lô -  Diawar  (flac  394mb)

01 Jelebi 5:57
02 Sophia 6:44
03 Taar Dousey 5:42
04 Diawar 4:54
05 Jalia 5:25
06 Adou Calpe 6:25
07 Xamul Dara 4:21 (from the LP Xalat)
08 Fa Diallo 5:54 (from the LP Xalat)
09 Mariama 6:31 (from the LP Xalat)
10 Ceddo (from the LP Xiff) 6:05
11 Marie Lo (from the LP Xiff) 5:00
12 Bode Gor (from the LP Xiff) 3:42

Ismaël Lô -  Diawar (ogg 163mb )
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Moody guitar finger-picking and Dylan-esque harmonica playing kick off this attractive pop amalgam of American and Manding folk styles, which ultimately shifts into straightahead mbalax. For filmbuffs, Ismael's Tajabone haunting Almodovar's "Todo sobre mi madre"(All About My Mother) track opens this album..very gripping stuff...

Ismaël Lô -  Ismael Lo  (flac  198mb)

01 Tajabone 4:04
02 Raciste 4:20
03 Ale Lo 4:08
04 Jiggenu Ndakaru 3:46
05 Fa Diallo 3:33
06 Souleymane 5:30
07 M' Barawath 5:08
08 Nene 4:26

Ismaël Lô -  Ismael Lo  (ogg 81mb)

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