RhoDeo 1449 Roots

Hello, for those that believed the 'conviction' of Pistorius was a fluke of the South African justice system, faith has been restored that money rules in South Africa. That rich nasty freak, Dewani could hardly believe he was aquitted from having his wife murdered because the killers he hired were a bunch of nincompoops therefor their statements useless, very good madam judge-expect your financial reward in due time... Troublesome country South Africa...

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Etoile De Dakar was one of the most influential bands to come out of Senegal. They helped to lay the foundation for mbalax, a dance-inspiring mixture of African, Caribbean, and pop rhythms. Led by influential vocalist Youssou N'Dour, the band crafted a modern, urban sound that elevated them to the upper echelon of West African music. Their cassettes, later released as seven CDs, were major hits in their homeland. In addition to N'Dour, the group featured bassist, keyboardist, and arranger Habib Faye, lead guitarist Mamadou "Jimi" Mbaye, and percussionists Assane Thiam and Babacur Faye.

The roots of the Etoile De Dakar were planted in 1960 when Ibra Kasse, owner of the Miami Club in Dakar, assembled members of two bands -- Guinea Band De Dakar and Star Band De Senui -- and created a supergroup, known initially as The Star Band.  The Star Band de Dakar was formed to celebrate the independence of Senegal, but not only did it see the birth of a country, it also ushered in a new wave of local bands who played Cuban dance music. The Star Band -- not to be confused with the Etoile de Dakar to which it gave birth -- has seen many great musicians join its ranks, most notably Youssou N'Dour. Although it reached its apex with the arrival of Youssou in 1975, The Star Band splintered three years later when several members left with N'Dour to form Etoile De Dakar. Famous for launching Youssou N'Dour's career, but these guys were much more than that. Leading the group allowed N'Dour to launch his career as Senegal's first pop star, and after he relocated to Paris in 1983 and Étoile de Dakar broke up, he continued calling his band Super Étoile de Dakar.

Playing the Latin-influenced dance music that was popular throughout Africa at the time, Étoile de Dakar quickly became one of the city's most popular bands and went on to record in Paris with producer Ibrahim Sylla and had a track on the Island Records compilation Sound d’Afrique, which was important in bringing African music to western ears in 1981. Touring Europe for the first time in 1984, the group performed its debut concert in North America the following year. Relocating to Paris in 1983, the group changed its name to Super Etoile.

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The Birth Of Mbalax 1979-1981

On one level the 2CDs of ‘Once Upon A Time In Senegal’ form a chapter in the story of who Youssou N’Dour is and how he got there. But on another they show him simply as an equal member of a band … a band in the right place at the right time and doing the right things. That brief but vital moment in time is captured in these 23 tracks selected from the cassettes that Etoile de Dakar recorded between 1979 and 1981.

Etoile de Dakar had the good fortune to emerge shortly after the technology to mass produce cheap, cassette-only albums reached Senegal, enabling emerging artists to achieve some measure of independence from the old-time labels and their financiers. Etoile recorded six such albums between 1979-81: Absa Gueye, Thiapathioly, Tolou Badou N'Diaye, Lay Suma Lay, Khaley Etoile and Maleo, all self-produced and released on the Touba Auto Cassettes label. (Artists had to move fast though; official releases would be followed by even cheaper pirate versions within days).

To sum up these Etoiles in one word is impossible, the rhythm section's groove feels like it's going to accelerate the earth. the guitar, sax, tama drum leads and singing push this over the top. The sax in particular is almost as enjoyable just as Youssou N'Dour's famed singing. There is more than one sax player credited in the notes (which by the way are excellent), but clearly there's one of them that's very, very good.
Several have never been released outside of Senegal, and all have been sensitively re-mastered from the earliest available audio source. These are the best sounding recordings of this material available … bar none!

Etoile De Dakar - Once Upon a Time in Senegal (79-80)  (flac  472mb)

01 Thiely 5:10
02 Dom Sou Nare Bakh 5:10
03 Esta China 5:03
04 Mane Khouma Khol Thi Yao 4:51
05 Jalo 6:26
06 Absa Gueye 5:21
07 Thiapa Thioly 12:01
08 Dagotte 7:24
09 Dounya 6:44
10 Diandioli 5:45
11 Kine Kine 4:47
12 M'Badane 7:57

Etoile De Dakar - Once Upon a Time in Senegal (79-80) (ogg  208mb)

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Etoile De Dakar - Once Upon a Time in Senegal (80-81)  (flac  462mb)

01 Tolou Badou N'Diaye 6:59
02 Nit Kou N'Gnoul 6:42
03 Yalaye Dogal 6:08
04 My Wa Wa 8:18
05 Lay Suma Lay 4:09
06 Diankha Demal 6:42
07 Khaley Étoile 7:38
08 Sama Guenth-Gui 7:18
09 M'Baye Gueye 7:29
10 Titeur 6:41
11 Maleo 6:36

Etoile De Dakar - Once Upon a Time in Senegal (80-81) (ogg 197mb )

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There's been a back-to-acoustic-roots trend among African artists recently, and even the big names don't seem exempt. Salif Keita's done it, and here Youssou N'Dour's at it -- which proves to be no bad thing. His recent output has been quite schizophrenic, divided between albums aimed at a Western audience and those for his native Senegal, with the more hardcore m'balax sound that made him popular in the first place reserved for the African releases. While the easy melodies of Nothing's in Vain (Coono Du Réér) place it far more within the Afro-pop category than much of his previous work, it's still a real gem, bringing in traditional musicians alongside his band, as on the opening "Tan Bi," which works gorgeously, the harp-like kora intersecting with N'Dour's rhythm section. The keening griot wail which has typified so much of his work is absent here, allowing for more subtlety of infection and tone. While that might be a bit of a necessity as he grows older, it also reinforces the fact that Youssou is one of the world's great singers, capable of wrapping and communicating emotion in a note or phrase -- even if you don't understand a word of Wolof (or French, since several of the pieces, like his version of "Il N'Ya Pas D'Amour Heureux," are in French). And when he does break into English, on "Look This Way" and "Africa, Dream Again," it's not the ridiculous, gushing lyrics that have appeared on some of his more recent discs. Yes, there are too many lush keyboards for it to fully qualify as a true acoustic release, and the low-key tamas juddering across "Yaru" do sometimes make you wish the band would kick into high gear, but overall this is N'Dour's most focused and accomplished disc in a long time. Maybe it's a new path, maybe it's a breathing space while he decides what to do next, maybe he just wanted a change. Whatever the reason, it works.

Youssou N'Dour - Nothing's in Vain (Coono du Réér)  (flac  357mb)

01 Tan Bi 3:59
02 Moor Ndaje 4:15
03 Li Ma Weesu 3:54
04 Genné 4:09
05 La Femme Est L'Avenir De L'Amour 3:51
06 Mbëggëël Noonu La 4:59
07 Il N'y A Pas D'Amour Heureux 2:15
08 Sagal Ko 3:36
09 C'est L'Amour 3:43
10 Doole 5:50
11 So Many Men 5:14
12 Yaru 4:15
13 Africa, Dream Again 3:13

Youssou N'Dour - Nothing's in Vain (Coono du Réér)  (ogg 134mb)

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RhoDeo 1449 Blake

Hello, well never a dull moment with windows now one of my partitions which admittedly had caused trouble before but which had been reformatted last week and filled with my movie collection is no longer seen as a ntfs partition sigh, some prog are just as blind as windows and others that do see what is on it want my credit card yeah right...

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Ok so we've come to the end of Blake's audio drama's,-at least as far as my collection goes, next week we go Star Wars on you all....

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.

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The election is going to change everything. A man called Roj Blake promises the voters new hope, an end to years of corruption. There are those who can’t let him be heard. But Jenna Stannis is determined to get his message out to the colonies. It’s been years since the Dust Run, and Jenna’s a changed woman. She’s left the Vega system far behind, using her exceptional piloting skills to carve out a life as a smuggler. Blake’s message could earn her a fortune – or cost her, her life.


Blake's 7 - The Trial (mp3 27mb)

E06 - The Trial 29:30

Carrie Dobro, Stephen Lord and Benedict Cumberbatch, Simon Guerrier

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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)
Blake's 7 - When Vila Met Gan (mp3 25mb)
Blake's 7 - Eye Of The Machine (mp3 27mb)
Blake's 7 - Blood & Earth (mp3 27mb)
Blake's 7 - The Dust Run (mp3 27mb)

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Sundaze 1449

Hello,  re-upped the 6 flac Nox Arcana posts and with these i think all sick zips have been re-upped and a frustrating episode of this blog is left behind. Ah well now Chrome has trouble with Java which means i can't log in, luckely i can use Firefox , however posting with it causes some strange occurrences like adding a pic requires a rather curious set of actions, unlike the easy way things go down in Chrome, ah yes the lovely world of coding...


Born in 1950, Mantra had been creating meditative ambient and drone music—soundscapes designed for "brain hemisphere synchronization," the release of the brain's own mood-relaxing endorphins—for decades. Among his efforts along the way were a series of albums on Silentes, along with a few collaborations with Rod Modell. . ..N'joy

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Once again an artist with surprisingly limited available info on his life and work, despite releasing 19 albums, most weren't even aware that Michael Mantra was a moniker, he's real name was Michael J. Stoffan and besides making music he was an animator as well. Some of his work can be viewed and heared at the Library & Study Center in Culver City, CA. I use the past tense here because earlier this year Michael died, age 64 of cancer, completely broke (Obamacare came too late for him). A sad end to a life during which he tried to enhance all our lives, Michael rests in peace..

Michael Mantra creates ambient music. More than that, he creates tools for "brain hemisphere synchronization" (after synchronizing the mind and the body, Mantra's work claims to release endorphins - part of the human body's natural pharmacy which work at the level of opiates). Mixing modulating high and low harmonic tones (low deep drones and high resonating harmonics) with didgeridoo, ocean waves, rain, water, birds and other natural sounds and instruments, create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". He creates a perfect ambient soundscape for the ultimate relaxation trip.

Michael has been active since the early 90s, Bell Born 1987,  Michael Mantra and John Now - Sonic Transform ‎91, Sonic Satori ‎92 and Sonic Journey in 1994, cassette releases all self released through Tranquil Technology Music these preceeded his vinyl/cd career. Since he released many full-lenght albums on Silent, Hypnos and Silentes. He has also collaborated with Rod Modell on the seminal “Sonic Continuum” and “Radio Fore“, and also with Charlz de la Casa. According to Michael’s own words, “F/C” is an almost minimal atmospheric ambient drone core music but not as minimal as the “A/B” album. With stereo headphones this music is a tool for leveraging a change in states of consciousness and states of feeling. You can use this music as isolationist music. You can use this music in a city to filter out the Industrial Death Drone that consumes the souls of humanity. “F/C” evaporates the Veil of Illusion but with layers and layers of soft noise. If you live in the country you can use this music to trigger a journey to another land within. When I listen to this album I feel I am glad to be alive listening to this music. This album is dedicated to world peace for of all sentient beings.”

Mantra attempts to create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". From the early cassette only releases "Sonic Transform" with John Now and "Sonic Satori" to the CD release on Silent "Sonic Alter" and the brilliant follow-up "Sonic Continuum" with Silent Records contributor Rod Modell, Mantra strives to keep the Ambient "ethic" of the early 90's "chill out" vibe alive.

One of Mantra's last music releases was Mountain/Stream, also known as D/A, a two-track album issued on Silent Season in May 2013 and accompanied by eight versions from artists like Sonitus Eco, Djorvin Clain and STL's Lunatik Sound System. In his memory, the label has now made the album and its versions freely available for download—you can find it over at the Silent Season bandcamp page.

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Peaceful, old-school ambient with a subtle new-age'ish scent. Not impressive, nor annoying; an audio tool for transform[ing] negative yin emotions to ... positive yang emotions." This statement sums up what many envision the Ambient "chill room ethic" to be. Recommended to listen with headphones.

Michael Mantra - RNA - Ribonucleic Ambience  (flac  302mb)

01 RNA / DNA 7:00
02 Gateway 7:08
03 Surge 15:06
04 Opus 51 7:04
05 Groom Lake 7:04
06 HoriZen 6:00
07 Lucidryl 9:01
08 Crimson 10:20
09 Return Home    6:50

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All three tracks on this dilated-pupil ambient disc are essentially the same, all being dominated by the lulling sounds of the ocean surf and mountain streams, and underpinned by many gently faded layers of harmonic drones - some tonal, some bassy, some almost growling. Pulsing, morphing "binaural beat" resonances form among Tibetan bell-like and bass drones that are very close together in fundamental frequency. Footsteps, seagulls, distant laughter, whalesong, and Far Eastern monk "aahhs" are in abundance, but are also buried in the drones, yielding a rather eerie feel, soundtracky and deep. It's also comparable to the Primordial Atmospheres album by Mystical Sun (especially Mystical Sun's "Journey to Samadhi"). Both composers pair dreamlike and "primordial" noises with drones that seemingly attempt to exploit the much-hyped-in-the-'90s pseudoscience of "brainwave entrainment", the manipulation of relaxing mental states via stimuli operating at the same, slow rhythmic frequencies that have been observed in EEG measurements. Regardless of whether this was intended or if it even works, the effect can be quite hypnotic, which is exactly what connoisseurs of psychedelic ambience are looking for."Sonic Alter" still doesn't sound like anything else in ambient, other than, perhaps, some primordial childhood memory of listening through the floorboards to your mother or father vacuuming the living-room downstairs. The whalesong dates this a little, but I think the experience of listening to this record is still as strong, disorienting, and pleasant today as it was in '94. Whatever relaxing activity you wish to do, make sure you bring this album along. It will drift you more deeper into your activity than anything else.

Michael Mantra - Sonic Alter (flac  354mb)

01 Sonic Alter 22:15
02 Heaven Below 22:03
03 Heaven Above 22:04

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Originally recorded in 1996* peaceful, old-school ambient recommended to listen with headphones according to the liner notes. Due for release on another label back then but eventually canceled. In 2007 this set found it's final format with the inclusion of a DVD video, 2,5 hours of music collected in a double CD set. From the liner notes "
Amanita Musique and Lake Lophophoria are companion albums of extended listening experience. Both albums are about as non linear as you can get. This music represents the opposite of top down algorithmic composing. This music is about repeating irregularities that emulate movements in nature. the music is like sitting on a rock in the middle of a stream and just watching the ewater ripple past you. These combined albums allows for an isolation from noise and distractions from a world in non-nature chaos. Chaos in nature is good. Chaos created by mankind is not good and not efficient, and has potential side effects un-healthy for the human existance"

Two long tracks of sublime and evocative pseudo-abstract and multicoloured ambient textures, built with discreet and repetitive background microstructures layered with continuous and infinite variations worked out from clusters of sounds and sketches of melodic sequences made of light sonorities, delicate and quiet as well, but also hypnotic and warm. Fragile harmonies and mild dissonances in a timeless sonic continuum that enwraps and rocks the listener among infinite spirals and floating waves in an everlasting movement.

Michael Mantra - Amanita Musique / Lake Lophophoria (flac 387mb)

101 Amanita Musique 74:43

201 Lake Lophophoria 74:55



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Previously, Mantra with Rod Modell Sundaze 1239

Rod Modell and Michael Mantra - Sonic Continuum (flac 333mb)

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RhoDeo 1448 Grooves

Hello, been busy re uploading previous Grooves flacs by Otis Redding (RhoDeo 1443 and RhoDeo 1444) The misery started as far as i gathered at Grooves 1442 posting of the Bar Kays which flacs have been re-upped as well. Expect the Sundaze Nox Arcana flacs of 1443 and 1444 to be re-upped next....

Of the major '60s soul stars, today's star was one of the roughest and sweatiest, working up some of the decade's hottest dancefloor grooves. A major figure in the development of American soul music, who recorded over 50 songs which hit the US R&B charts, and frequently crossed over to the US Billboard Hot 100. His forceful, passionate style of singing was developed in the church and on the streets of Detroit, under the influence of recording stars such as Little Richard, whom he referred to as "the architect of rock and roll. Among his best known hits are "In the Midnight Hour" (which he co-wrote), "Land of 1,000 Dances", "Mustang Sally", and "Funky Broadway". The impact of his songwriting and recording led to his 1991 induction into the Rock and Roll Hall of Fame.  His sixties work is here now ......N'joy

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In 1955, Pickett joined gospel music group the Violinaires. The group accompanied The Soul Stirrers, The Swan Silvertones, and The Davis Sisters on church tours across the country.[citation needed] After singing for four years in the popular gospel-harmony group, Pickett, lured by the success of gospel singers who moved to the lucrative secular music market, joined the Falcons in 1959. Before establishing himself as a solo artist, Pickett sang with the Falcons, who had a Top Ten R&B hit in 1962 with "I Found a Love." "If You Need Me" (covered by the Rolling Stones) and "It's Too Late" were R&B hits for the singer before he hooked up with Atlantic Records, who sent him to record at Stax in Memphis in 1965. One early result was "In the Midnight Hour," whose chugging horn line, loping funky beats, and impassioned vocals combined into a key transitional performance that brought R&B into the soul age. It was an R&B chart-topper and a substantial pop hit (number 21), though its influence was stronger than that respectable position might indicate: thousands of bands, black and white, covered "In the Midnight Hour" on-stage and record in the 1960s.

Pickett had a flurry of other galvanizing soul hits over the next few years, including "634-5789," "Mustang Sally," and "Funky Broadway," all of which, like "In the Midnight Hour," were frequently adapted by other bands as dance-ready numbers. The king of that hill, though, had to be "Land of 1000 Dances," Pickett's biggest pop hit (number six), a soul anthem of sorts with its roll call of popular dances, and covered by almost as many acts as "Midnight Hour" was.

Near the end of 1967, Pickett began recording at American Studios in Memphis with producers Tom Dowd and Tommy Cogbill, and began recording songs by Bobby Womack. The songs "I'm In Love," "Jealous Love," "I've Come A Long Way," "I'm A Midnight Mover," (a Pickett/Womack co-write), and "I Found A True Love" were Womack-penned hits for Pickett in 1967 and 1968. Pickett recorded works by other songwriters in this era; Rodger Collins' "She's Looking Good" and a cover of the traditional blues standard "Stagger Lee" were Top 40 Pickett hits recorded at American. Womack was the guitarist on all recordings.

Pickett returned to Fame Studios in late 1968 and early 1969, where he worked with a band that featured guitarist Duane Allman, Hawkins, and bassist Jerry Jemmott. A #16 pop hit cover of The Beatles' "Hey Jude" came out of the Fame sessions, as well as the minor hits "Mini-Skirt Minnie" and "Hey Joe".

Late 1969 found Pickett at Criteria Studios in Miami. Hit covers of The Supremes' "You Keep Me Hangin' On" (#16 R&B, #92 Pop) and The Archies' "Sugar Sugar" (#4 R&B, #25 Pop), and the Pickett original "She Said Yes" (#20 R&B, #68 Pop) came from these sessions. Pickett then teamed up with established Philadelphia-based hitmakers Gamble and Huff for the 1970 album Wilson Pickett In Philadelphia, which featured his next two hit singles, "Engine No.9" and "Don't Let The Green Grass Fool You", the latter selling one million copies.

Following these two hits, Pickett returned to Muscle Shoals and the band featuring David Hood, Hawkins and Tippy Armstrong. This line-up recorded Pickett's fifth and last R&B #1 hit, "Don't Knock My Love, Pt. 1".[2] It was another Pickett recording that clocked up sales in excess of a million copies.[8] Two further hits followed in '71: "Call My Name, I'll Be There" (#10 R&B, #52 Pop) and "Fire and Water" (#2 R&B, #24 Pop), a cover of a song by Free. Pickett recorded several tracks in 1972 for a planned new album on Atlantic, but after the single "Funk Factory" reached #11 R&B and #58 pop in June 1972, he left Atlantic for RCA Records. His final Atlantic single, a cover of Randy Newman's "Mama Told Me Not To Come," was culled from Pickett's 1971 album Don't Knock My Love.

Pickett continued to record with success on the R&B charts for RCA in 1973 and 1974, scoring four top 30 R&B hits with "Mr. Magic Man", "Take a Closer Look at the Woman You're With", "International Playboy" (a re-recording of a song he had previously recorded for Atlantic), and "Soft Soul Boogie Woogie". However, he was not crossing over to the pop charts with regularity, as none of these songs reached higher than #90 on the Hot 100. In 1975, with Pickett's once-prominent chart career on the wane, RCA dropped Pickett from the label. Pickett continued to record sporadically with several labels over the following decades, occasionally making the lower to mid-range of the R&B charts, however he never had a pop hit after 1974. His last record was issued in 1999, although he remained fairly active on the touring front until he fell ill in 2004.

Throughout the 1990s, despite his personal troubles, Pickett was continually honored for his contributions to music. In addition to being inducted into the Rock and Roll Hall of Fame in 1991, his music was prominently featured in the film The Commitments, with Pickett as an off-screen character. In 1993, he was honored with a Pioneer Award by the Rhythm and Blues Foundation. Pickett was a popular composer writing songs that were recorded by many artists including Led Zeppelin, Van Halen, the Rolling Stones, Aerosmith, the Grateful Dead, Booker T. & the MGs, Genesis, Creedence Clearwater Revival, Hootie & the Blowfish, Echo & the Bunnymen, Roxy Music, Bruce Springsteen, Los Lobos, The Jam and Ani DiFranco, among others.

Several years after his release from jail, Pickett returned to the studio and received a Grammy Award nomination for the 1999 album It's Harder Now. The comeback resulted in his being honored as 'Soul/Blues Male Artist of the Year' by the Blues Foundation in Memphis. It's Harder Now was voted 'Comeback Blues Album of the Year' and 'Soul/Blues Album of the Year.' Pickett spent the twilight of his career playing dozens of concert dates every year until 2004, when he began suffering from health problems. While in the hospital, he returned to his spiritual roots and told his sister that he wanted to record a gospel album. However, he never recovered, Pickett died from a heart attack on January 19, 2006 in Reston, Virginia. He was 64 and was survived by his six children.

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Wilson Pickett's first album, from 1965, was a bit of a hodgepodge, including singles from as far back as 1962. Three of these tracks were actually issued as singles by The Falcons (for whom Pickett sang lead) before he started his solo career; others were issued as singles before Pickett broke through as a national star with the title track. This 12-track album doesn't really suffer as a result, however. Besides the all-time classic "In the Midnight Hour," it includes the Mann/Weil-penned single "Come Home Baby," covered by several rock and soul artists; "Don't Fight It," which reached the R&B Top Ten in late 1965; "I'm Gonna Cry," a 1964 single Pickett wrote with fellow soul legend Don Covay; and "I Found a Love," The Falcons single that made the R&B Top Ten in 1962. Working with several collaborators (including Steve Cropper), Pickett himself wrote most of the tunes on this album. The record also featured the first recordings he made with the Stax rhythm section in Memphis -- a combination that would yield much fine soul music throughout the rest of the '60s.

Less of a hodgepodge than his debut In The Midnight Hour album, Pickett's second album established -- if there had been any doubt -- his stature as a major '60s soul man. The 12 tracks include his monster hits "634-5789," "Ninety-Nine And A Half (Won't Do)," "In The Midnight Hour," and "Land Of 1000 Dances" (the last of which was his first Top Ten pop hit). Collectors will be more interested in the non-hit cuts, which are of nearly an equal level. These include covers of the R&B standards "Something You Got," "Mercy Mercy," and "Barefootin'"; several original tunes written in collaboration with Memphis soul greats Steve Cropper, Eddie Floyd, and David Porter; and Bobby Womack's "She's So Good To Me." It all adds up to one of the most consistent 1960s soul albums.

Wilson Pickett - In The Midnight Hour / The Exciting (flac 242mb)

In The Midnight Hour

01 In The Midnight Hour 2:30
02 Teardrops Will Fall 2:27
03 Take A Little Love 2:18
04 For Better Or Worse 2:45
05 I Found A Love 2:25
06 That's A Man's Way 2:19
07 I'm Gonna Cry 2:19
08 Don't Fight It 2:30
09 Take This Love I've Got 2:12
10 Come Home Baby 2:34
11 I'm Not Tired 2:45
12 Let's Kiss And Make Up 2:30

The Exciting Wilson Pickett

01 Land Of 1000 Dances 2:23
02 Something You Got 2:50
03 4634-5789 2:52
04 Barefootin' 2:16
05 Mercy, Mercy 2:25
06 You're So Fine 2:30
07 In The Midnight Hour 2:29
08 Ninety-Nine And A Half (Won't Do) 2:35
09 Danger Zone 2:06
10 I'm Drifting 2:49
11 It's All Over 2:17
12 She's So Good To Me 2:15

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Wicked Pickett is a fabulous album, done when Pickett was in the midst of his best period at Atlantic. It had everything -- great songs, wonderful production and arrangements, and a hungry, galvanizing Wilson Pickett hollering, screaming, shouting, and soaring on anything he covered, from ballads to uptempo dance and midtempo wailers. The Sound of Wilson Pickett was one of the three albums Atlantic issued by the Wicked One in 1967. Produced by Jerry Wexler (who got co-writes on a couple of tracks), it featured great session players like Chips Moman and Spooner Oldham, to name just two. Looking at the track list, it looks like a slew of hits. But it wasn't. In fact, it was two sides packed with singles. While it contains his absolutely classic, wailing read of "Funky Broadway," it also features both parts of "I Found a Love" (renamed "I Found a True Love" for the 1968 album The Midnight Mover), the Oldham and Dan Penn suggestive classic "I Need a Lot of Loving Everyday." Pickett's reading of the song with a killer female backing chorus smolders with nocturnal nether-hipped fire. Pickett's version of Rudy Clark's swaggering "You Can't Stand Alone" is a burning throw-down with awesome guitar and horn charts and a killer little Farfisa break in the middle. He also sings the deep Memphis blues on "Something Within Me." The set closes with one of his finest performances, his signature reading of "Love Is a Beautiful Thing." Arguably, The Sound of Wilson Pickett may be his finest album performance of the entire decade.

Wilson Pickett - The Wicked Pickett/The Sound Of Wilson Pickett (flac 332mb)

 Wilson Pickett ‎– The Wicked Pickett

01 Mustang Sally 3:04
02 New Orleans 2:32
03 Sunny 3:16
04 Everybody Needs Somebody To Love 2:16
05 Ohh Paa Pah Doo 2:37
06 She Ain't Gonna Do Right 2:14
07 Knock On Wood 2:40
08 Time Is On My Side 2:31
09 Up Tight Good Woman 2:29
10 You Left The Water Running 2:31
11 Three Time Loser 2:19
12 Nothing You Can Do 2:14

The Sound Of Wilson Pickett

01 Soul Dance Number Three 2:38
02 Funky Broadway 3:33
03 I Need A Lot Of Loving Every Day 2:20
04 I Found A Love (Part 1) 2:30
05 I Found A Love (Part 2) 2:59
06 You Can't Stand Alone 2:47
07 Mojo Mamma 1:59
08 I Found The One 2:30
09 Something Within Me 3:40
10 I'm Sorry About That 3:03
11 Love Is A Beautiful Thing 2:12

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Surely no one was expecting a "quiet storm" album from Wilson Pickett in 1968, and that sure isn't what they got with I'm in Love, but the Wicked Pickett sounds a lot more convincing on this album's romantic numbers than anyone would have had a right to expect from one of the baddest cats of Southern soul. Of course, there aren't all that many romantic ballads here, but Pickett's rough-and-ready soul shouting manages to sound just as convincing on "Bring It On Home to Me" and "That Kind of Love" as he does on the pained "Jealous Love" and a properly intense rip through "Stagger Lee." Pickett makes the most of the songwriting contributions from frequent collaborators Bobby Womack and Don Covay, while Tommy Cogbill and his crew of Muscle Shoals session heavyweights offer music which keeps up with Pickett for guts, soul, and drive -- no small statement, considering Pickett's richly deserved reputation as one of the strongest and most consistent artists of the period. Like most R&B albums of the period, I'm in Love sounds more like a set of tunes than a unified album, but it's a good set of tunes, performed with Pickett's usual high level of passion and skill, and if you're any kind of fan you'll revel in it.

Wilson Pickett and the Muscle Shoals session crew with whom he cut most of his best work thankfully had the good sense to not try to go psychedelic when the pop charts went all day-glo in the late 1960's, but that's not to say they didn't make an effort to change with the times. On Hey Jude, Pickett and producer Rick Hall decided to throw a couple of recent rock covers into the mix, and while Pickett's version of "Hey Jude" suggests that he isn't entirely sure what it is he's singing about, he still belts it out with his typical level of commitment and builds up to a proper fury at the end; he sounds more comfortable with the neo-biker bombast of "Born To Be Wild", a combination of artist and material that works far better than anyone would have a right to expect. But the most notable change in Pickett's approach for this album was the addition of Duane Allman on guitar; his wirey, blues-accented leads don't overpower the album, but they add a noticeably harder texture to the sound, and that seems to suit Pickett, one of the toughest soul shouters of his time, just fine. Most of the Hey Jude is dominated by hard Southern soul numbers like "A Man and a Half" and "Toe Hold", and Pickett, one of the most dependable performers on the 1960's soul scene, gives a typically con brio performance on all ten tracks, and the sharp report of the horn section and Allman's blistering guitar makes for music just as potent as the wail of the lead singer, which is not an accomplishment to be sneered at.

Wilson Pickett - I'm In Love / Hey Jude (flac 362mb)

I'm In Love

01 Jealous Love 2:47
02 Stagger Lee 2:19
03 That Kind Of Love 2:09
04 I'm In Love 2:30
05 Hello Sunshine 2:31
06 Don't Cry No More 2:14
07 We've Got To Have Love 2:05
08 Bring It On Home To Me 3:05
09 She's Looking Good 2:21
10 I've Come A Long Way 3:10

Hey Jude

01 Save Me 2:35
02 Hey Jude 4:00
03 Back In Your Arms 2:53
04 Toe Hold 2:46
05 Night Owl 2:20
06 My Own Style Of Loving 2:38
07 A Man And A Half 2:48
08 Sit Down And Talk This Over 2:19
09 Search Your Heart 2:40
10 Born To Be Wild 2:44
11 People Make The World 2:45

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RhoDeo 1448 Goldy Rhox 186

Hello, today the 186th post of GoldyRhox, classic pop rock in the darklight an American singer-songwriter. He is best known for his work with the E Street Band. Nicknamed "The Boss", he is widely known for his brand of poetic lyrics, Americana working class, sometimes political sentiments centered on his native New Jersey and his lengthy and energetic stage performances, with concerts from the 1970s to the present decade running over three hours in length.

His recordings have included both commercially accessible rock albums and more somber folk-oriented works. His most successful studio albums, Born in the U.S.A. and Born to Run, showcase a talent for finding grandeur in the struggles of daily American life; he has sold more than 64 million albums in the United States (making him the fifteenth highest selling artist of all-time) and more than 120 million records worldwide, making him one of the world's best-selling artists of all time. He has earned numerous awards for his work, including 20 Grammy Awards, two Golden Globes and an Academy Award as well as being inducted into both the Songwriters Hall of Fame and the Rock and Roll Hall of Fame in 1999.

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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 debut studio album by today's mystery artist, released january 1973. It only sold about 25,000 copies in the first year of its release, but had significant critical impact. It was ranked at #379 by Rolling Stone on its list of 500 greatest albums of all time. The album also hit the #60 spot on the Billboard 200 albums listing.

It was decided to record the album at the low-priced, out-of-the-way 914 Sound Studios to save as much as possible of the Columbia Records advance and cut most of the songs in a single week. There was a dispute not long after the record was recorded -- management preferred the solo tracks, while today's mystery artist preferred the band songs. As such, a compromise was reached—the album was to have five songs with the band and five solo songs. However, when Columbia Records president Clive Davis heard the album, he felt that it lacked a hit single. As such, today's mystery artist wrote and recorded "Blinded by the Light" and "Spirit in the Night". Both were released as singles by Columbia, but neither made a dent in the US charts. Manfred Mann's Earth Band released a version of "Blinded by the Light" on their album The Roaring Silence, which reached number one on Billboard's Hot 100 on 19 February 1977 and #1 on the Canadian RPM chart the same day.  This recording of "Blinded by the Light" is our mystery artist's only number one single as a songwriter on the Hot 100. His best showing on the Hot 100 as a performer was in 1984, with "Dancing in the Dark", which peaked at number two for 4 weeks only number one single as a songwriter on the Hot 100.

In All Music Guide to Rock (2002), William Ruhlmann gave today's mystery album five stars and said that it combined the mid-1960s folk rock music of Bob Dylan, accessible melodies, and elaborate arrangements and lyrics: "the album painted a portrait of teenagers cocksure of themselves, yet bowled over by their discovery of the world. It was saved from pretentiousness (if not preciousness) by its sense of humor and by the careful eye for detail ... that kept even the most high-flown language rooted." In 2003, the album was ranked number 379 on Rolling Stone's list of the 500 greatest albums of all time. They ranked it 37th on their list of greatest debut albums. Over the years it has sold over 2 million discs, plenty of reason to have a forty year remastered edition which can be gottten here


Goldy Rhox 186 (flac 252mb)


Goldy Rhox 186 (ogg 91mb)


Note Goldy Rhox postings 185 and 184 have been re-upped..

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RhoDeo 1448 Aetix

Hello, well finally got the right 3.0 USB controller and things run smoothly now, keeping fingers crossed. Have re-upped the two previous Aetix posts RhoDeo 1443 Psyche and Rhodeo 1444 Swans 1, flacs all ready for your pleasure..

Today again the 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

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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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In a doom-laden, bass-heavy start, Public... opens with "Money Is Flesh" rumbling to life in the nearest equivalent to Chinese water torture that loud rock has ever achieved; when Gira starts his tremendous ranting almost five minutes in, the effect only gets that much more intense. This long out-of-print semi-official bootleg, given a formal re-release in 1999, succeeds admirably at its goal of capturing live Swans in excelsis as avatars of destruction, corruption, and domination. Recorded at a series of English dates in support of Holy Money, Public... covers tracks from both that album and Greed, plus a stomping, almost ritualistic version of "A Screw" where things get all that much more vicious by the second, especially when the introduction of huge amounts of echo and background feedback kicks in, leading to Gira's final anguished roars of "Holy! Holy!" again and again. The strong band lineup at this point was Gira, Jarboe, Westberg with his wrenching guitar work, Kizys on equally extreme bass, and two drummers, Gonzalez and Parsons, all working together brilliantly to blast the unique Swans vision of music and life into probably utterly unsuspecting (and apparently at times stunned-silent) audiences. Tracks which came across as a touch more subtle on record, aim for the extreme here. For example, while "Fool," here in its piano and guitar version from Greed, still mostly consists of just that, Gira's vocals are even more wracked than before. Gonzalez and Parsons' brutal drum work continues its overwhelming feel from track to track, almost making the disc sound like separate movements of one very dark modern symphony indeed. While it's hard to pick out any one moment where everything is at its peak, the conclusion of "A Hanging" -- all percussion and Gira's echoed, wordless shouts -- sticks for a very long time in the memory. In all, a truly mesmerizing, powerful release.

Swans - Public Castration Is A Good Idea  (flac 451mb)

01 Money Is Flesh 12:07
02 Fool 8:08
03 A Screw 7:27
04 Anything For You 9:09
05 Coward 8:34
06 A Hanging 12:32
07 Stupid Child 5:41
08 Another You 10:16

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Kicking off with "New Mind" -- which, while having the same general pace of most earlier Swans songs, also sounds distinctly different with its clearer, inventive arrangement, call-and-response vocals, and Gira's declamatory but not screamed lead vocal -- Children of God finds the band making their own particular great leap forward. The simmering changes that were apparent in the albums just before this one's release fully come to the fore, as Swans take the courage to explore both their huge-sounding, bombastic side and gentle, if often still disturbing, delicacy (due credit especially to Westberg, Kizys, and Parsons, possibly the best musical lineup Swans ever had until the final years). The results are fascinating, ranging from the spare piano melting into ambient feedback of "In My Garden" and the twisted gospel blues of "Our Love Lies" to the acoustic guitar and organ on "You're Not Real, Girl" and the raging pounder "Beautiful Child." Equally importantly, if not more so, Jarboe now assumes a full role with Gira as co-leader of the band; while all lyrics are still Gira's, the two share lead vocal duties (though aside from the title track, no duets) throughout the album. The weary, evocative croon which Gira developed into his major vocal trademark here emerges to full effect (though he can still roar with the best of them at points) while Jarboe's cool, rich tones are simply astounding, as evidenced on an even more compelling version of "Blackmail," originally from the A Screw EP. Though Children is dedicated without any apparent irony to Jesus Christ, Gira's words remain as irreverent, challenging, and obsessed with overarching issues of religion, power, sex, love, and control as before, but with an ever-increasing depth and beauty to match the lusher musical textures. With flute, oboe, and strings adding further texturing to the often quite lovely songs created by the band, Children remains perhaps the key album of Swans' career -- the clear signpost towards their ever-more ambitious albums in the future.

Swans - Children Of God  (flac 435mb)

01 New Mind 5:13
02 In My Garden 5:34
03 Our Love Lies 5:50
04 Sex, God, Sex 6:49
05 Blood And Honey 4:46
06 Like A Drug (Sha La La La) 5:35
07 You're Not Real, Girl 4:21
08 Beautiful Child 5:16
09 Blackmail 3:33
10 Trust Me 4:58
11 Real Love 6:20
12 Blind Love 7:44
13 Children Of God 4:22
14 Damn You To Hell / I'll Swallow You 4:16

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This compilation collects the contents of the only two Skin albums on the market up to that point -- Blood, Women, Roses and Shame, Humility, Revenge -- offering them for release in the U.S., as neither had appeared in the States until then. The collection drops two songs from the Blood album and mixes the contents of the two records together indiscriminately, thus removing the effect of having the first album be totally Jarboe-sung and the second sung by Gira. As a joint release, though, perhaps World of Skin is all the better for it, allowing the tradeoff between the singers to be that more keenly felt; certainly there is no real difference in the evocative, haunting music, given that all of the tracks were recorded in the same three-month session. The album transmits hypnotic and scary atmosphere, there is addictive melancholic feeling which accompanies the whole album, Jarboe and Michael Gira extraordinary voices connects perfectly with the experimental synthesizers sounds and to the dark folk with the deep feel of western Horror movies atmosphere. Created especially for US release, distributed by Rough Trade (US).

Swans - The World Of Skin (flac 382mb)

01 1000 Years 4:10
02 Everything At Once 4:30
03 Cry Me A River 4:46
04 Breathing Water 4:20
05 Blood On Your Hands 4:01
06 Intro/Nothing Without You 5:53
07 We'll Fall Apart 4:40
08 I Want To Be Your Dog 3:36
09 My Own Hands 4:53
10 Turned To Stone 5:17
11 Cold Bed 2:29
12 24 Hours 4:11
13 Red Rose 4:26
14 A Small Sacrifice 6:40
15 Still A Child 5:20
16 The Center Of Your Hearts 4:44

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RhoDeo 1448 Roots

Hello,ok so currently my USB disks are playing up, in fact i have to disconnect them in order to get a quick Windows start but then when i connect them these drag the pc performance way down, ok could be a driver thing i suppose but my USB controllers have been a mess for some time on paper they all function in fact most are dead and function at a low level not the 3.0 that some should give. I get pop ups that my 2.0 external could perform better if i use the right port-sure but where is that one listed, besides this is a new pc i doubt i have any 1.1 USB ports, currently downloading some new drivers alas its taking forever in the free version of Driver Easy, have used driver max but feel they must have given me this slow disease..Guess i will do another clean install soon

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From inauspicious beginnings as the weekend house band at a Dakar club for government officials, Senegal's Orchestra Baobob, named for the club (which in turn took its name from the native baobob tree), went on to become one of the seminal bands of world music, with an influence that extended far beyond their national boundaries, throughout West Africa and into Europe. Put together by original leader and saxophonist Baro N'Diaye, the first version was a seven-piece group, three of them enticed away from Dakar's biggest band, the Star Band, who had a regular gig at Ibra Kasse's club. While they had a strong Cuban influence -- Cuban music had been a prevalent sound throughout West Africa since the '40s, imported by sailors and played on the radio -- Orchestra Baobob added African music, in large part from griot singer Laye M'Boup, who had a vast repertoire of Wolof material. It wasn't long before the new sound proved so popular that the group wasn't just entertaining on weekends, but every night of the week, being hailed on par with Guinea's legendary Bembeya Jazz for their fusion of sounds. Inevitably, personnel fluctuated and the new musicians brought their own influences, expanding the feel and range of the band with Maninke and Malinke songs, which became integrated into the whole. Perhaps the most important addition was singer Thione Seck, who took over the lead vocalist spot after the death of M'Boup in a 1974 car wreck (although several rumors concerning a jealous husband surrounded his death). They continued to play the Baobob Club regularly, but also entertained at state occasions, such as official New Year's Eve dances and even at the wedding of designer Pierre Cardin's daughter in Paris. Finally, the Baobob Club closed in 1979 (some histories say 1977) and the band went on to make their home at the Ngalam nightclub (or the Djandeer Club, according to some historians). Also during this time, they tried to make their mark in Europe by traveling to Paris in 1978. They recorded On Vera Ca: The 1978 Paris Sessions, one of their best discs and certainly the best-produced, although it leaned too heavily on their Spanish-language material. Other than that, the trip proved to be a disaster, losing money, and they returned home. At the beginning of the '80s, they were indisputably Senegal's biggest band, commanding fees of about $4,500 for a single show. They recorded regularly (two albums, Mouhamadou Bamba and Sibou Odia were edited into Bamba, a 1983 U.S. release), and continued to stretch their limits by bringing in more African influence, which reached its height with the classic Pirates Choice of 1982. But change was on the horizon; their time was beginning to fade as another alumnus of the Star Band, young Youssou N'Dour, was bringing out a new, energetic sound called mbalax, which quickly electrified Dakar and made the more languid Orchestra Baobob seem old and dated. They tried to compete by updating their sound, but it didn't work. Even the 1985 introduction of two female singers didn't change the situation and by 1987, Orchestra Baobob had disbanded. However, everything comes full circle and in 2001, with the European reissue of an expanded Pirates Choice (2002 U.S.), Orchestra Baobob, older and wiser, re-formed and played dates around the globe, going into the studio to make a new album -- produced by the man responsible for their fall from grace, Youssou N'Dour.


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The opening "Mouhamadou Bamba" is simply astounding -- the way the feathery introductory guitar trills by Barthelemy Attisso and the ragged-but-melt-in-your-ear harmonies supporting Thione Seck's heart-wrenching vocal lead that drop you into Charles N'Diaye's reggae lope bassline pushing up is simply glorious. And when those "bamba, bamba" backing vocals start dropping in behind Seck after 45 seconds, just forget it. "Mouhamadou Bamba" shifts mid-song into devoted testifying before a rocking guitar solo and fall-apart ending closes out six-and-a-half minutes of brilliant music. The rockin' side of Orchestra Baobab dominates Bamba, which combines the Senegalese group's Mouhamadou Bamba and Sibou Odia albums from 1980 and 1981. It's much louder and liver sounding -- the voices laced with echo, N'Diaye's bass and Papa Ba's rhythm guitar more prominent in the mix, and Attisso brought in his noise toys and gets rowdy. The band sounds confident and in their prime -- the riffs are more thoroughly worked out, mixing solo sax on "Doomou Baye" in with guitar and voices to change the emphasis, or playing the horn section riffs off the vocal harmonies. The trademark galloping rhythm guitar is fully evident on "Boulmamine," while clarinet pops up on "Ndiawolou" as Attisso goes the crystalline solo route again with some Issa Cissokho tenor sax interjections. "Gnawou" and "Autorail" both work off a rhythm riff very close to the Ritchie Valens "La Bamba" -- Cissokho's sax shines on the former -- and the jaunty "Sou Sedhiou" features clopping drums underneath more good sax and guitar solos. "Ndiambaane" may be a little lightweight to justify its nine minutes, but not "Sibou Odia," a great 14-minute stretch-out with the percussion percolating with far more drive than the Orchestra Baobab norm. It gives Attisso a chance to play with more guitar tone-altering toys -- he still sounds like he's discovering sounds for the first time, yet it's unfailingly musical -- and he rips off some great solos over Papa Ba's rocksteady gallop. It seems strange to say that a rhythm guitarist might be the real star of a 14-minute jam (and maybe the entire album), but his foundation simply never falters. And it's just as odd that most world music critics dismiss Bamba, but then they tend to like their African music with the root influences showing clearly and not overly rocking and rowdy. Bamba is simply a great album and the perfect place for rock-oriented listeners to enter the world of Orchestra Baobab...or the whole realm of West African pop music, for that matter.

Orchestra Baobab - Bamba  (flac  397mb)

1 - 5 from the album Mouhamadou Bamba
01 Mouhamadou Bamba 6:34
02 Boulmamime 5:54
03 Ndiawolou 6:35
04 Doomou Baaye 6:38
05 Gnawou 6:31
Track 6 - 10 from the album Sibou Odia
06 Bon Bon I 4:08
07 Autorail 6:59
08 Sou Sedhiou 6:14
09 Ndiambaane 9:05
10 Sibou Odia 13:41

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The reissue of this 1982 classic -- so named because the album from the Senegalese band was pirated all over West Africa -- is a thing of beauty, especially considering a whole other album of six more tracks comes appended to the remastered original. So what makes it a classic and worthy of reissue 20 years on? It's all about the music, a marvelous mix of Cuban and West African that stood at the crossroads before Senegal developed its trademark m'balax sound. And so the rhythms are redolent of Cuba -- whose musical influence on West Africa extended back to the 1940s -- while other sounds, like the tenor sax of Issa Cissoko, are pure Senegal with its thick Wolof influence. Of particular note are the four vocalists, who sing in a mixture of Spanish and Wolof. Some of the tunes themselves are reworkings of Cuban material, while the wonderful "Utrus Horas" comes from Guinea Bissau, and "Soldadi" has its origins at home in Senegal. Both are given a slow, smoldering treatment, with some spare, lovely guitar from Barthelemy Attisso. The additional tracks (originally released on cassette in Senegal in 1982, but which have never seen the light of day elsewhere) come from the same session, but explore slightly different directions -- "Toumaranke" has a decidedly carnival atmosphere, although its theme (sung in Mandinka) is homesickness, while "Balla Daffe" is something of a percussion-fest. For many years this has been one of the treasured releases of world music. Now it's back in print, and everyone can understand why it's been so revered.

Orchestra Baobab - Pirates Choice  (flac  529mb)

01 Utru Horas 8:39
02 Coumba 7:42
03 Ledi Ndieme M'bodj 8:54
04 Werente Serigne 6:44
05 Ray M'bele 6:57
06 Soldadi 8:03

07 Ngalam 9:31
08 Toumaranke 6:58
09 Foire Internationale 7:41
10 La Rebellionn 7:54
11 Ndiaga Niaw 7:42
12 Balla Daffe 7:18

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Hot on the heels of the recently reissued 1982 classic Pirate's Choice, the Orchestra Baobab recently re-formed to deliver an update to its signature Afro-Cuban sound. Unlike music of the same name which comes from the diaspora traditions of Cuba, Baobab goes at it the other way around. Whereas traditional Afro-Cuban music reflects the West African roots of the Cuban people, this version arose from a direct reflection across the Atlantic. During the '50s, Caribbean music hit hard in countries like Senegal and Ghana. Claves, timbales, and maracas became standard fare during the birth of Highlife music. Musical forms changed; new harmonies and vocals reflected this cross-cultural pollination.

In the '80s, Orchestra Baobab was the most popular band in Senegal. Its music was fundamentally affable.

Those Senegalese roots refuse to die, and that's what gives this music its characteristic color. West African guitar styles, born from highlife, criss-cross and intersect in a decidedly rhythmic fashion. The vocals, which quite frequently veer into Buena Vista Social Club territory, still retain a folk element. Senegalese singing has a certain level of intensity, a certain minimalist searing energy, which can never be sublimated. You can't listen to "Ndongoy Daara" without feeling you've come close to vocalist Assane Mboup's heart. No way.

That said, Specialist In All Styles has an unswerving sense of raw celebration. Each tune, whether salsa or son or another flavor, begs the listener to get up on his feet and dance. Even the protest tune "Ndongoy Daara" has a fresh, lilting feel. Ten minutes later, the massive "El Son Te Llama" brings guajira into a direct collision with mbalax, and in the process comes right down to roots. Pure groove. With "Gnawoe," you find yourself somewhere between the island and Veracruz, easy guitar solos connecting the dots. But don't look here for extended improvisation; the spirit of thie music is pure dance.

For a band that's been dormant so long, this awakening is a welcome event. Great music often comes from a collision of styles, and more than four decades after Cuban music hit Senegal, the mixture remains at a boil.

Orchestra Baobab - Specialist In All Styles  (flac  317mb)

01  Bul Ma Miin 6:02
02 Sutu Kun 5:30
03 Dee Moo Weer 4:16
04 Jiin Ma Jiin Ma 6:03
05 Ndongoy Daara 5:19
06 On Verra Ca 4:56
07 Hommage a Tonton Ferrer 5:52
08 El Son Te Llama 5:25
09 Gnawoe 6:21

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RhoDeo 1448 Blake

Hello, well bit of a strange sunday here and the computer still has issues i guess all those installs in sickness wasn't to healthy and wlnotify takes forever  2 discs burned with imageburn failed at verify-in short things dont run that smoothly as they did before probably need a new install and all that comes with it ..no time to re up old miss-zips

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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.

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Jenna Stannis has grown up as a spacer, where the normal rules don’t apply. No school, no police, no public imperatives – that’s still all to come. But the situation on Earth is changing and the effects are slowly being felt throughout the Vega system. It’s going to mean trouble for a brash boy called Townsend – who Jenna doesn’t fancy at all. Soon Jenna and Townsend are competing in the Dust Run – racing shuttles through an asteroid field without using computers, making the complex calculations in their heads. It’s dangerous, fool-hardy and really good fun. But they’re playing for the highest of stakes…


Blake's 7 - The Dust Run (mp3 27mb)

E05 - The Dust Run 29:30

Carrie Dobro and Benedict Cumberbatch, Simon Guerrier

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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)
Blake's 7 - When Vila Met Gan (mp3 25mb)
Blake's 7 - Eye Of The Machine (mp3 27mb)
Blake's 7 - Blood & Earth (mp3 27mb)

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Sundaze 1448

Hello,  I'm Back ! Yes the computer has been cured, turned out it had some sick memory, that doesn't happen often hence most producers giving a lifetime guaranty, unfortunately haven't been able to find my receipt for this pc which i bought August 2013. More then a decade of receipts but somehow the one that mattered is still illusive, anyway i bought a lighter memory just 2 GBytes as the 4 GBytes which got sick was never fully used as my PC running XP Pro could handle just 3.2 GBytes. Sure could upgrade to Windows 7 but i just don't like working with W7-too idiot proof. So zipping and converting is a bit slower, I can live with it..

Meanwhile I've already re-upped the last 2 Roots posts and the previous Banco de Gaia Sundaze as well as an Associates request. I wish to note that the files never were corrupt but the zipping proces corrupted them, anyway I will re-up on request.

Good to be back

In the spotlight once more a former busker entertaining Portuguese tourists but his birthtown London's music scene call had him return to take a serious dip into the music scene and within 3 years he released his first albums on cassette. Toby Marks aka Banco De Gaia's ambient dub created his own niche as you you can find out more here..N'joy

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In 1978, Marks began his musical career as a drummer in a heavy metal band. Marks moved to Portugal in 1986 and played Beatles music for tourists. He first delved into electronic music in 1989, when he bought a digital sampler. The first tune he recorded on it was called "Maxwell House."

Inspired to enter the field of electronic music by Britain's acid house explosion of the late '80s, Toby Marks took quite a different spin on electronica with his recordings as Banco de Gaia, introducing elements of Eastern and Arabic music, sampling similarly exotic sources, and tying the whole to ambient-dub rhythms. Marks began releasing cassette-only albums in the early '90s, distributed through a network of clubs and artists known as Planet Dog. These excellent self-produced albums Medium and (in 1992) Freeform Flutes And Fading Tibetans. His unique and evocative blend of electronica with world-music styles earned him a fast-growing and loyal live following.

When Planet Dog became a record label as well (later the home of Eat Static and Timeshard), Banco de Gaia debuted on disc with the Desert Wind EP, released in November 1993. Early the following year, Marks released his first much acclaimed album, Maya. Maya featured studio versions of many of the tracks that had become the mainstay of Banco de Gaia's live sets and consequently was an immediate hit with his growing fan-base. The Heliopolis EP was also released in 1994, a track from which appeared on Sasha and Digweed's ground-breaking Northern Exposure compilation the next year.

After a big success of the debut album Maya and a European tour with Transglobal Underground Toby Marks travelled the world collecting inspirations. He joined The Tibet Support Group, a part of International Tibet Independence Movement. As a response to the decision to build the Qingzang railway between the cities of Xining and the Tibetan capital of Lhasa, in 1995 Marks recorded a 12-minute long track with looped chants from Tibet. It soon appeared to be a start for the whole project, eventually creating a new album. As Marks said, the compositions were made as a result of political and human sensitivity

Banco's Last Train To Lhasa album collected huge critical acclaim across Europe as well as the US and Canada. The skilful blend of sounds on Last Train To Lhasa produced a timeless release that was one of the 'must have' albums of that year and limited edition versions of the release (featuring bonus mixes) now change hands for huge sums on the internet.

Live At Glastonbury was released in 1996. Featuring a storming set recorded in front of a large and enthusiastic crowd at the Glastonbury Festival in 1995, the album consolidated what had been a period of huge growth in Banco de Gaia's standing within the dance community and gave Toby a breathing space to work on his next studio album.

The result, Big Men Cry, released in 1997 was a deep and very personal album featuring many timeless and deeply moving tunes. The simultaneous release of Big Men Cry both across Europe and in the US, gave Toby the opportunity to completely revamp what had up till then, been a one-man live show. His already massive reputation for stunning live performances was enhanced by the creation of a 5 piece band to enable Banco de Gaia to perform Drunk As A Monk as 'live' as possible. band that included Ted Duggan (drums), Ashley Hopkins (bass), Larry Whelan (wind synth, saxophone and ethnic flutes), and Gary Spacey-Foot (percussion and saxophones). Enhanced with a specially designed lightshow, the band toured the US and much of Europe over the next year, securing a reputation for quality music that has endured to this day.The band reduced in number to just Marks, Duggan, and Hopkins in 1999, and then just Marks and Duggan from 2000 until 2003; when Marks went back to being a solo artist.

Banco de Gaia parted company with Planet Dog Records in 1998 and went on to set up his own Disco Gecko label through which he has released The Magical Sounds of Banco de Gaia two years later. In late 2000, Marks returned with Igizeh through Six Degrees Records, a label with which he decided to stay for 2004's You Are Here and 2006's Farewell Ferengistan. In 2009 Banco released Memories Dreams Reflections featuring an superb cover of Pink Floyd's "Echoes"

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Banco de Gaia (basically studio wiz Toby Marks and whomever he invites over) get their ethnic-electronic groove on again, but this time with extra vision. Maybe it's the four years since the last proper Banco de Gaia album, or maybe the troubled globe of 2004, but whatever it is, You Are Here feels better put-together than any other Banco album before and the most direct message to the listener that Marks has ever attempted. You can use the cover art as a representation of the general feel of the album. Marks' music is elaborate as ever but it's compact in purpose, like the cover's red dot and just as vivid. If Banco could cleverly noodle before, there will be none of that here and every bit of sampled filigree and every mystic sound fits. William S. Burroughs and a slew of news broadcasts fill "Waking Up in Waco," but they all have their place in this frightened vision of America. Igizeh's Jennifer Folker returns for an extra-smoky performance on the cinematic torch song "Gray Over Gray," a gripping number for all of its 12-plus minutes. None of the tracks are under seven minutes, which is a good thing since the slow development of the songs calls for it, and if "Not in My Name"'s hypnotic and heavy bass groove ended any earlier it would be a travesty. Two tracks aimed at the dancefloor, "Zeus No Like Techno" and "Tongue in Chic," are both excellent and keep the album from being a totally introspective, headphone record.

Banco De Gaia - You Are Here> (flac  434mb)

01 Down From The Mountain 9:16
02 Zeus No Like Techno 6:01
03 Waking Up In Waco (Voc.Shannon) 7:46
04 Gray Over Gray (Voc.Jennifer Folker) 12:01
05 Tongue In Chic (Voc.Jennifer Folker) 7:09
06 Not In My Name 10:22
07 We Are Here 7:13
08 Still Life (Voc Julie Daske) 8:46

Banco De Gaia - You Are Here> (ogg 170mb)

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"Ferengistan" is a term used in Central Asia to denote an imaginary place that represents the superficiality and materialism that too often characterize Western culture. So there's no real secret to the message behind the latest album by Toby Marks, aka Banco de Gaia. While the music is (thankfully) free of didactic lyrics, its instrumental tracks were written with serious matters of geopolitics in mind: one track has reference to a law recently passed in Mongolia, reinstating the use of surnames (a practice previously forbidden under Communist rule); the ironically titled "Harmonious G8" consists of eight overdubbed vocals, each an improvisation by a singer from one of the G8 nations; "White Man's Burden" requires little amplification. If you're not interested in the politics, you can just relax and enjoy the variously danceable and relaxing moods that Marks creates; the robust ethno-funk of "Kara Kum" is a highlight of the program, as is the very pretty and gently swinging "Flow My Dreams, the Android Wept" (based on a lute tune from Renaissance England titled "Flow My Tears," which was reportedly the favorite piece of music of science fiction author Philip K. Dick). The jittery Middle Eastern dub of "Chingiz" is also lots of fun. The only consistent irritant here is the exceptionally long track length, which wouldn't be a problem if every selection didn't seem to take forever to actually get underway. More and shorter tracks of the same quality would have made for a better album, but this one is still quite good. Recommended.

Banco De Gaia - Ferengistan (flac  437mb)

01 Farewell Ferengistan 6:17
02 Ynys Elen 7:26
03 Chingiz 6:41
04 Kara Kum 9:15
05 The Harmonious G8 2:20
06 Saturn Return 10:25
07 Flow My Dreams, The Android Wept 9:16
08 White Man's Burden 8:04
09 We All Know The Truth (You Have God) (Voc.Maya, Toby) 9:10

Banco De Gaia - Ferengistan (ogg 153mb)

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To celebrate two decades of creating ambient and downtempo electronica under the name Banco de Gaia, Toby Marks put together this enjoyable if slightly uneven two-disc set, a retrospective of sorts that takes a fresh look at his past rather than simply gathering and recapitulating it. On the first disc, he reinterprets both his own work (longtime fans will get a particular kick out of his Euro-trance reconstruction of "Soufie") and that of others -- Hawkwind's "Spirit of the Age" is given a long, luxurious interpretation that incorporates elements of house, funk, and ska, while King Crimson's "Starless" gets an even longer -- and frankly rather plodding -- arrangement of its own. His most ambitious experiment on the first disc is a rendition of Pink Floyd's "Echoes" that lasts fully 22 minutes -- an impressive feat, and one that does a fine job of blending Marks's own personal electronic vision seamlessly with Floyd's unique sound. But it's about twice as long as it has any excuse to be. On the second disc, he gathers together live performances going back as far as 1993, one -- the jazz and shamelessly smooth "Celestine" -- featuring a full band. Top honors on this part of the program go to "Qurna" (which starts out in a pleasantly dubwise mood and then gradually gets darker and more Middle Eastern) and "No Rain", with its densely packed textures and exotic choral samples.

Banco de Gaia - Memories Dreams Reflections Studio (flac 413mb)

1.01 Spirit Of The Age (Voc.Neil Sleat) 7:16
1.02 Starless 11:19
1.03 Echoes 22:24
1.04 Soufie (Now That's What I Call 2009) 8:43
1.05 Tempra (Voc.Maya Preece) 7:19
1.06 Terra Om 5:34

Banco de Gaia - Memories Dreams Reflections Studio (ogg 147mb)

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Banco de Gaia - Memories Dreams Reflections Live (flac 551mb)

2.01 Analogique 6:50
2.02 Indecision 6:54
2.03 Soufie (Blue Mix) 7:23
2.04 Qurna 8:59
2.05 China 7:24
2.06 Celestine 11:50
2.07 How Much Reality Can You Take? 6:35
2.08 No Rain 7:38
2.09 Drunk As A Monk 7:09
2.10 Last Train To Lhasa 7:08

Banco de Gaia - Memories Dreams Reflections Live (ogg 186mb)

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