RhoDeo 1710 Grooves

Hello, no re-ups yesterday i was busy upgrading my pc and even if that wasn't that much of an issue, having to dislodge all that entangled wires below my desk/cabinet and causing a short circuit whilst cleaning didn't help-needed to to dis entangle all electrics too, there's more then 20 electricity suckers below there, with limited sight crawling on my knees getting up and down again my back is hurting now, yes i'm not that fit and somewhat overweight. Bad news is its still not in order, on top of all that a new Seagate external hardisk didn't work a mysterious problem that apparently is unheard of as google didn't caugh up a way how i could access a disk where a large part of the file system was gone (became RAW), disk management didn't see it, neither does Diskpart, but Minitool partition recovery could see the disk and their recovery could copy what was on the part which was still in NTFS but it can't format the disk and even Test Disk was unable to do anything....much wasted time then.



Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.  ..... N'joy

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Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.

Melvin was born June 25, 1939, in Philadelphia. A self-taught pianist, he began singing doo wop as a teenager with a group called the Charlemagnes, and put together the very first edition of the Blue Notes in 1954. The original lineup was a quintet featuring Melvin as the lead singer (for a time), songwriter, arranger, and choreographer; ironically, he would mostly relinquish those duties by the time the group achieved its greatest success. The other members were co-leader Bernard Williams, Roosevelt Brodie, Jesse Gillis, Jr., and Franklin Peaker. The Blue Notes cut their first single, "If You Love Me," for Josie in 1956, and turned it into a regional hit. They recorded for several other labels over the next few years, Dot chief among them, before scoring their first R&B chart hit in 1960 with "My Hero" (released on Val-Ue). Numerous personnel shifts kept the group in flux despite steady recording activity, and Bernard Williams split off to lead what he dubbed the Original Blue Notes in the mid-'60s. Melvin assembled a new version of the Blue Notes centered around lead singer John Atkins, who returned the group to the R&B charts in 1965 with the Landa single "Get Out (And Let Me Cry)." Further releases on Arctic, Checker, and Uni followed over the rest of the '60s, as well as more personnel changes. During the late '60s, the group toured often with the Cadillacs, whose young drummer Teddy Pendergrass would prove to be Melvin's greatest discovery.

Pendergrass first joined the Blue Notes' backing band, but demonstrated so much vocal talent that after John Atkins left in 1970, Melvin soon elevated him to the post of lead vocalist. This move helped them land a deal with Gamble and Huff's Philadelphia International label in 1972, just as the company was taking its place as soul music's new epicenter; Pendergrass' voice was similar to that of Dells singer Marvin Junior, whom Gamble & Huff had courted heavily. By this time, the Blue Notes consisted of Melvin, Pendergrass, bass vocalist Lawrence Brown, baritone vocalist Bernard Wilson, and tenor vocalist Lloyd Parks. With Gamble & Huff now supplying top-quality material and production, Harold Melvin & the Blue Notes would become one of the most popular groups in R&B over the next few years. Their self-titled debut mostly featured songs that had been written in anticipation of landing Marvin Junior. The first single, "I Miss You," was a hit on the R&B charts, but their second was a smash -- the classic ballad "If You Don't Know Me by Now," which featured an anguished, star-making vocal turn from Pendergrass. "If You Don't Know Me by Now" went all the way to number one R&B, and also became their only Top Five hit on the pop side; it was later covered in 1989 for a number one hit by Simply Red.

The Blue Notes scored again in 1973 with the string-laden dance track "The Love I Lost," credited by many observers as one of the first disco records; it was their second R&B chart-topper and Top Ten pop single. The accompanying album, Black & Blue, produced another R&B Top Ten in the follow-up "Satisfaction Guaranteed (Or Take Your Love Back)." In 1974, Lloyd Parks was replaced by Jerry Cummings, who debuted on the R&B chart-topping LP To Be True. "Where Are All My Friends" and "Bad Luck" continued their string of Top Ten R&B hits, and a new addition to the group, female vocalist Sharon Paige, helped bring them back to the top of the R&B charts in 1975 with the duet "Hope That We Can Be Together Soon." Another excellent album followed later that year in Wake Up Everybody, whose title track was another R&B number one; "Tell the World How I Feel About 'Cha Baby" also reached the R&B Top Ten, and the album cut "Don't Leave Me This Way" was later covered for a disco smash by Thelma Houston.

However, tension was building within the group. The heavily spotlighted Pendergrass was hungry for separate billing, but Melvin, still the group's chief organizing force, turned him down. In 1976, Pendergrass left the Blue Notes for a solo career that quickly made him one of R&B's top sex symbols. Sharon Paige helped fill his shoes on lead vocals, as well as new male lead David Ebo, whose sound was fairly similar to Pendergrass'. However, Pendergrass' departure also signaled the end of the Blue Notes' relationship with Philadelphia International -- their next recordings were for ABC, for whom they hit the R&B Top Ten in 1977 with the title track of Reaching for the World. It would prove to be their last major success, however; after one more album for ABC, they moved to MCA subsidiary Source in 1979 for two LPs that failed to reignite their commercial momentum. Cummings and Wilson had both departed in 1977, replaced by Dwight Johnson and William Spratelly, and Paige and Ebo both left in 1980. Still, Melvin soldiered on, helming one last album of new material for Philly World in 1984's hopefully titled Talk It Up (Tell Everybody). It was mildly popular in the U.K., but not enough to re-establish them. Melvin continued to tour with versions of the Blue Notes steadily into the '90s, and Paige eventually returned to the fold as well. Sadly, Melvin suffered a stroke and never fully recovered; he passed away on March 24, 1997, in his beloved hometown of Philadelphia.

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The third album from the melodramatic smooth soul quintet featured an array of R&B classics. While Teddy Pendergrass was featured on this album, he did not lead every song. The three singles -- "Where Are All My Friends," "Bad Luck," "Hope That We Can Be Together Soon" were all Billboard R&B Top Ten chart hits, and "Bad Luck" reached number one, sporting an incessant grooving rhythm where Teddy Pendergrass cuts into the lyric with conviction. "Hope That We Can Be Together Soon" features the velvety smooth vocals of Sharon Paige on an easy-flowing number. While Harold Melvin carries most of the vocal duties, Pendergrass steps in for a one-liner and closes out on the vamp. Whereas most ballads climax towards the end of the song, the most climatic part of this number one song is the string and horn intro. This is one of four consecutive great albums to come from the Philadelphia vocal quintet.

Harold Melvin and The Blue Notes - To Be True    (flac  228mb)

01 Where Are All My Friends 3:22
02 To Be True 4:42
03 Pretty Flower 5:42
04 Hope That We Can Be Together Soon 3:45
05 Nobody Could Take Your Place 4:22
06 Somewhere Down The Line 4:55
07 Bad Luck 6:29
08 It's All Because Of A Woman 5:26

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Philly soul staples Harold Melvin & the Blue Notes were in full swing on 1975's Wake Up Everybody. Sporting their trademark lush, string-laden production from Gamble and Huff (who also wrote about half the album's material), the smooth soul outfit delivers a mix of deep soul balladry and uptempo dance tracks. The title track, with its socially relevant messages, is a standout. There is no shortage of fine vocal performances all around, notably from Melvin and from future solo star Teddy Pendergrass.

Harold Melvin and The Blue Notes - Wake Up Everybody    (flac  329mb)

01 Wake Up Everybody 7:32
02 Keep On Lovin' You 3:41
03 You Know How To Make Me Feel So Good 5:17
04 Don't Leave Me This Way 6:04
05 Tell The World How I Feel About 'Cha Baby 5:53
06 To Be Free To Be Who We Are 5:05
07 I'm Searching For A Love 5:22
Bonus
08 Don't Leave Me This Way (A Tom Moulton Mix) 7:05

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Harold Melvin & the Blue Notes' first album without any involvement from Teddy Pendergrass and Philadelphia International Records is better than anticipated. David Ebbo sounds identical to Pendergrass and delivers some spirited leads on the skimpy eight-song LP. Ebbo excels on "Reaching For the World," an uplifting, be-what-you-wanna-be song that sounds like a Gamble & Huff production. He continues the duet trend he started with Sharon Paige with the mellow "After You Love Me Why Do You Leave Me." Some of the songs are weak; "Hostage Pt. 1 & 2," for instance, doesn't live up to its intriguing title. Overall, though, this is a good first effort and proves that the Blue Notes' sound didn't leave with Pendergrass.

Harold Melvin and The Blue Notes - Reaching For The World  (flac 250mb)

01 Reaching For The World 4:20
02 Where There's A Will - There's A Way 3:55
03 After You Love Me, Why Do You Leave Me 4:41
04 Sandman 4:11
05 Hostage Part 1 & 2 6:27
06 He Loves You And I Do Too 3:35
07 Big Singing Star 3:31
08 Stay Together 4:48

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The skeptics had their suspicions allayed quickly when Teddy Pendergrass' debut album as a solo singer cracked the Top 40. Its lead single, "I Don't Love You Anymore," was among his best uptempo tunes, and the follow-up ballad "The Whole Town's Laughing at Me" ended any speculation that he was returning to Harold Melvin & the Blue Notes. While many thought the album would launch him to consistent R&B success, almost no one thought he would be R&B's biggest male star in a couple of years.

Teddy Pendergrass - I   (flac  221mb)

01 You Can't Hide From Yourself 4:06
02 Somebody Told Me 5:12
03 Be Sure 5:16
04 And If I Had 4:21
05 I Don't Love You Anymore 3:58
06 The Whole Town's Laughing At Me 4:27
07 Easy, Easy, Got To Take It Easy 4:53
08 The More I Get, The More I Want 4:25

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RhoDeo 1710 Aetix

Hello,

Today's artists are cacophonous and anarchic, imbued with an insular irony, and inspired equally by punk primitivism and Krautrock experimentalism, they pioneered a hyperintelligent yet unforgivingly amateurish approach to music-making that sounds now like a blueprint for all the aspiring art-school noisemakers that came in their wake. Always marginal, the band seemed to have operated with a sublime indifference to any potential audience they might have had, which makes them a contrarian’s dream, the perfect band to listen to in order to indulge one’s masochism and sullen anti-social tendencies at the same time, all without surrendering the cachet attached to being into something obscure that’s not overtly silly. Because their records have been relatively hard to track down, the band acquired a path-breaking reputation  .........N'Joy

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Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave: not only was the group an acknowledged inspiration to the likes of Sonic Youth and Pavement, but their alumni -- most notably brothers Nikki Sudden and Epic Soundtracks -- continued on as key players in the underground music community.

Although Sudden (vocals/guitar) and Soundtracks (piano/drums) formed the first incarnation of the Swell Maps (named after the charts used by surfers to gauge wave intensities) as far back as 1972, the group did not begin to truly take shape until 1976, when the siblings enlisted bassist Jowe Head and guitarist Richard Earl. In the spirit of punk's D.I.Y. mentality, they formed their own label, Rather Records, and issued their debut single -- the brief, jarring "Read About Seymour" -- in the early weeks of 1978. Local media support soon won the Swell Maps a distribution pact with Rough Trade, but they did not resurface until over a year later with the single "Dresden Style."

In mid-1979, the band released its full-length debut, A Trip to Marineville, a crazy quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build a Car," the group recorded one final studio LP, Jane from Occupied Europe, before breaking up. A series of outtakes and singles collections -- 1981's Whatever Happens Next, 1982's Collision Time, and 1987's Train Out of It -- followed, while the members followed their own career paths: Sudden formed the Jacobites, Soundtracks joined Crime and the City Solution, and Head played with the Television Personalities. All later enjoyed solo careers as well.

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Swell Maps' debut album was a scattershot affair, ranging from blistering three-chord punk to free-form noise experiments, that was intriguing, yet frequently incoherent. Released in 1979, the band’s first full-length album, A Trip to Marineville is the slightly more accessible of the two, but not because it has all that many hooks or melodies or anything like that. Swell Maps approach to songwriting involves pounding out a riff or chord progression over and over again—on chunky, thickly distorted guitars or on a piano—while unexpected noises and abstruse, sullenly intoned vocals are layered on top. Borrowing much from the loosely structured jams of Can, this strategy would ultimately be adopted by bands like Flipper and the Germs. Impenetrable at first, songs quickly grow on you, if only through their sheer repetition, their relentless momentum.

On the cover is a photo of a house on fire, very appropriate to how the album opens, with well-orchestrated burst of three short, explosive tracks that run together seamlessly: the sneering “H.S. Art”, which repeatedly asks “Do you believe in art?” with such scorn that it’s clear you don’t if you have to stop and ask; the metacritique of “Another Song”, which seems to question its own right to exist as it co-opts pop-song formula, and the concise, incisive “Vertical Slum”. The rest of the album eschews such tight focus, and progressively becomes more difficult listening. Songs that begin with crisp, throbbing riffs and well-layered guitars—“Midget Submarines” and “Harmony in Your Bathroom”—have endings that stretch out and devolve into chaos. And the instrumentals mount up as well, starting with the innocuous piano and found noise fragment “Don’t Throw Ashtrays at Me!” and moving through the drifting, meditative “Gunboats” and climaxing with “Adventures into Basketry”, a spontaneous eight-minute noise fest that sounds like a spastic drum circle conducted during an air raid. A Trip to Marineville is featured in The Guardian's list "1000 Albums to Hear Before You Die".

Swell Maps - A Trip To Marineville (flac  355mb)

01 H.S.art 2:20
02 Another Song 1:43
03 Vertical Slum 1:12
04 Spitfire Parade 3:10
05 Harmony In Your Bathroom 5:26
06 Don't Throw Ashtrays At Me! 1:14
07 Midget Submarines 4:34
08 Bridge Head (Pt.9) 1:59
09 Full Moon In My Pocket 1:29
10 Blam!! 3:31
11 Full Moon (Reprise) 1:23
12 Gunboats 8:20
13 Adventuring Into Basketry 7:35
14 My Little Shops 0:45
15 Ripped & Torn 1:47
16 International Rescue 2:25
17 Loin Of The Surf 2:21
18 Shoot The Angels 0:51
19 Elephant Flowers (no.2) 1:28
20 Turn Me On Dead Man 0:30
21 Bronze & Baby Shoes 3:34
22 Nevertoseeanyotherway 1:39

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Jane from Occupied Europe is composed of many turgid instrumentals whose exhausted lack of structure suggests not spontaneity but an inspiration deficit. “Robot Machines” is a dud drum machine track and fizz and the aptly named “Big Empty Field” is some random harmonics and machine shop noises over an intricate but wearisome rhythm. “Collision with a Frogman” and “. . . Vs. the Mangrove Delta Plan” are consecutive sound-alikes that meander in search of melody without ever settling for one. All the best songs come at the end: “Secret Island”, “Whatever Happens Next . . .” and “Blenheim Shots” pick up from where Wire left off with 154 and give some sense of what that band might have sounded like if they didn’t immediately start sucking after the release of that masterwork. Adopting obscure topics from military history into blearily intoned lyrics, and melding them with menacing drones, explosive drumming and organ hooks out of nowhere, these represent the Swell Maps finest work; but it’s emblematic that these are buried at the end of an album, preceded by so many unlistenable instrumentals. Either the Swell Maps were a band that sought to demand an indulgent patience from listeners, making them earn whatever pleasure the band could offer, or they were a band that had absolutely no sense of when they were at their best, and didn’t care to think about it all that much.

Swell Maps - Jane From Occupied Europe (flac  405mb)

01 Robot Factory 2:25
02 Let's Buy A Bridge 1:54
03 Border Country 2:12
04 Cake Shop Girl 2:27
05 The Helicopter Spies 4:16
06 Big Maz In The Desert 5:07
07 Big Empty Field 3:44
08 Mining Villages 1:04
09 Collision With A Frogman 3:40
10 ... Vs. The Mangrove Delta Plan 4:23
11 Secret Island 4:33
12 Whatever Happens Next ...3:00
13 Blenheim Shots 3:40
14 A Raincoat's Room 1:43
Bonus
15 The Stairs Are Like An Avalanche 3:23
16 New York 3:20

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You'll have to be a pretty major Swell Maps fan to make heads or tails, at a glance, out of which songs on this 19-track compilation you may already have. It's all over the Swell map, including four songs that have never been on CD [including "Dresden Style (City Boys)," which was on a single]; three that have never been released anywhere; three "unreleased mixes"; and a few songs that appeared on U.K. singles ("Let's Build a Car," "Real Shocks," "Read About Seymour"). It doesn't really succeed as either a representative overview compilation or a rarities disc. Approached on its own terms -- which you might want to do if this happens to be the first, or only, Swell Maps album you get -- it's decent arty punk that's too monochromatic to sustain burning interest over the course of the lengthy program. It does have a heartier sense of joie de vivre than much U.K. punk/new wave of the period, particularly in the vocals.

Swell Maps - International Rescue (flac 335mb)

01 International Rescue 2:24
02 Real Shocks 2:16
03 Let's Build A Car 3:01
04 Black Velvet 1:59
05 Ammunition Train 3:30
06 Ripped & Torn 1:47
07 Secret Island 4:35
08 Read About Seymour 1:29
09 Get Down And Get With It 1:29
10 Spitfire Parade 3:11
11 New York 3:19
12 Forest Fire 3:02
13 Winter Rainbow 3:40
14 Dresden Style (City Boys) 2:30
15 Off The Beach (Spilling Coffee) 2:23
16 One Of The Crowd 2:21
17 Vertical Slum 1:14
18 H.A.K. 1:22
19 I Really Love You 2:13
20 Hey Johnny! Where's The Chewing Gum? 1:11

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RhoDeo 1710 Roots

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist while many of the performers during the heyday of Tropicalia and the rise of MPB (música popular brasileira) opted for a more radical stance in their challenge to Brazil's political and cultural authorities, artists like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the country's great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa.  With that he became one of the most respected and resilient figures in Brazilian pop.  ...  N'Joy

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Born (March 22, 1945) Jorge Duilio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He received the nickname "Babulina", after their enthusiastic pronunciation of Ronnie Self's song "Bop-A-Lena". Was presented to Tim Maia by Erasmo Carlos, soon discovered that Maia was also known for the same reason. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.

The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.

Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas Que Nada", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by jazz luminaries such as Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares. His musical work has been vastly sampled by music producers and DJ's, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.

In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical," one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.

In the 1970s, Jorge Ben released his most esoteric and experimental albums, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. In 1976, he released one of his most popular albums: "África Brasil," a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal," from which Rod Stewart's 1979 hit "Da Ya Think I'm Sexy? was plagiarized (a matter that he claimed was settled out of court in his favor).

In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerological reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson. In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician, Fela Kuti, that raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with fellow hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake the famous song by Fela Kuti, "Shuffering and Shmiling," for the CD.

In 2006, a remake of Ben's "Mas Que Nada" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands. Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo," "Camisa 10 da Gávea," "Ponta De Lança Africano (Umbabarauma)," "Zagueiro," and "Filho Maravilha."

On July 7, 2007 he performed at the Brazilian leg of Live Earth in Rio de Janeiro. On March 20, 2011 his name was mentioned in President Barack Obama's speech in Rio de Janeiro, Brazil at the Theatro Municipal (Rio de Janeiro). President Barack Obama quoted: "You are, as Jorge Ben-Jor sang, “A tropical country, blessed by God, and beautiful by nature.”"



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Ben's first full-length record, this 1963 release contains the hit singles "Mas Que Nada" and "Chove Chuva" and typifies the light yet propulsive rhythms that afforded Ben a decades-long career in Brazilian pop. Not yet pared down to the more rock- and Afro percussive-driven sound he eventually developed, Samba Esquema Novo (which translates to "New Style Samba") is replete with swirling bossa nova rhythms and soaring choruses. Its big-band-style accompaniment, nicely off-set by Ben's signature minor-tone guitar workings, propels the set into an upbeat and enjoyable listen.

Jorge Ben - Samba Esquema Novo (flac 189mb)

01 Mas, Que Nada! 3:04
02 Tim Dom Dom 2:21
03 Balança Pema 1:34
04 Vem, Morena, Vem 2:03
05 Chove Chuva 3:02
06 É Só Sambar 2:09
07 Rosa, Menina Rosa 2:15
08 Quero Esquecer Você 2:21
09 Uála Uálalá 2:42
10 A Tamba 3:03
11 Menina Bonita Não Chora 2:11
12 Por Causa De Você, Menina 2:58

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Sacudin Ben Samba is the second album of Jorge Ben Jor released in 1964. After the fabulous Samba Esquema Novo (1963), Jorge Ben Jor proposes a more Samba Jazz album (like the very good "Capoeira" accompanied on the trumpet. Sacudin Ben Samba contains most of the ingredients of his previous successes. It is a bit of the limit of this album where no title is really exceptional (like the precedents "Mas, Que Nada!", "Tim, Dom , Jorge Ben Jor has teamed up with two very good arrangers (Luiz Carlos Vignes and JT Meirelles Perhaps the least known of the work of the first phase Benjor, Sacudin Ben Samba widens the mix between the Samba, the Bossa Nova and the Jazz.It is certainly underestimated, it informs on the exploratory approach of Jorge Ben Jor And his constant search for new territories of play in a festive atmosphere and very Pop. A pretty pretty curiosity

Jorge Ben - Sacundin Ben Samba (flac  235mb)

01 Descalço No Parque 3:04
02 Onde Anda O Meu Amoa 3:04
03 Bicho Do Mato 3:19
04 Vou de Samba Com Você 2:44
05 Samba Legal 2:24
06 Oba-Lá-Lá 2:36
07 Gabriela 2:53
08 Zópe Zópe 2:45
09 Saída Do Porto 3:16
10 Dandara, Hei 2:35
11 Samba, Menina 3:19
12 Guerreiro Do Rei 2:49

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"Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent - not only in popular preference - but also in selling records. in other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he's became one of the most prominent exponent of Brazilian music. Before Jorge Ben became the Funkmeister of world music he was a traditional Sambalero. This early work is very Bossa Nova, featuring a jazzy quintet, with Ben's writing and a crooning pop music singing style.This legendary LP features some of the best arrangers in the genre such as: Meirelles, Nelson and Gaya.

Jorge Ben - Ben e Samba Bom   (flac  243mb)

01 Descalço No Parque 3:04
02 Onde Anda O Meu Amor 3:04
03 Bicho Do Mato 3:19
04 Vou De Samba Com Você 2:44
05 Samba Legal 2:24
06 Ôba Lá Lá 2:36
07 Gabriela 2:53
08 Zópe Zópe 2:45
09 Saída Do Porto 3:16
10 Dandara, Hei 2:35
11 Samba Menina 3:19
12 Guerreiro Do Rei 2:49

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If you're a fan of Jorge's other early jazzy samba releases, then this one doesn't disappoint. The songwriting's a bit more adventurous, and while it's still very jazzy, there's more guitar, less blaring horns, and the flute and piano are a bit more restrained. This is worth picking up for "o homem, que matou..." alone , and guaranteed to get the kids dancing!

Jorge Ben - Big-Ben (flac 242mb)

01 Criação É Ato Continuo 2:59
02 Todas As Cores Num Hino 3:56
03 O Jogo Termina Aos 90 3:35
04 Sou Sambista Dr Fé 3:30
05 Pout-Pourrit De Partido Alto: Dia De João / Apelo / Disfarce 4:20
06 Sambas Da Vida 3:41
07 Eu Vejo 2:59
08 Sol Bordado 3:07
09 Pingo Da Vela 3:48
10 Rapaz Sagaz 3:54
11 Não Me Encarregue De Enviar Fax 3:08

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RhoDeo 1710 Solaris 2

Hello,

Solaris is a 1961 philosophical science fiction novel by Polish writer Stanisław Lem. The book centers upon the themes of the nature of human memory, experience and the ultimate inadequacy of communication between human and non-human species.
In probing and examining the oceanic surface of the planet Solaris from a hovering research station the human scientists are, in turn, being apparently studied by the sentient planet itself, which probes for and examines the thoughts of the human beings who are analyzing it. Solaris has the ability to cast their secret, guilty concerns into a material form, for each scientist to personally confront. Solaris is one of Lem’s philosophic explorations of man’s anthropomorphic limitations. ..N'joy.

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During the Soviet era, Polish writer Stanislaw Lem was the most celebrated SF author in the Communist world. Although he read Western SF when he was young, he soon found it shallow and turned for inspiration to the long tradition of Eastern European philosophical fantasy. Western readers not familiar with this tradition often misread his works, expecting more action-oriented, technophilic fiction. Solaris comes closer to being a traditional SF novel than most of his works, but its main thrust is still philosophical. There is a deep strain of irony which runs through this work, for all its occasionally grim moments.

The great Russian experimental director Andrei Tarkovsky made an important film based on the novel which is considerably more confusing that the book. The pared-down 2002 version by Steven Soderbergh keeps amazingly close--for a Hollywood film--to Lem's original themes and ideas, but its emotional inertness prevents it from having the full effect intended. This is one case where reading the book before seeing the film may help you to experience the intended effect better. Perhaps Soderbergh remembered the anguish of Kelvin so clearly from his reading that he didn't realize the need to convey it more vividly to an audience that would not share the same memories.

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The novel begins as the narrator, a scientist named Kris Kelvin, is descending toward the surface of the mysterious planet Solaris. How many instances can you find in this chapter of failures to perceive, breakdowns in communication, etc.? This is to be the main theme of the book. Whereas conventional SF poses puzzles only to solve them, Solaris concentrates on the puzzling nature of reality and the limits of science. The ship that has brought Kelvin to Solaris is called the Promethus, a name associated with civilization and enlightenment in Greek mythology, but also with condemnation to terrible torment. As he enters the station suspended above the planet's surface, note the many instances of wear, disorder and confusion. In the original Polish, Snow's name is "Snaut." What do the many concrete details given suggest about the state of things in the station? Snow's strange initial reaction to Kelvin will be explained later. What features are reminiscent of a mystery story?


Characters
The protagonist, Dr. Kris Kelvin, is a psychologist recently arrived from Earth to the space station studying the planet Solaris. He was cohabiting with Harey (Rheya in the Kilmartin/Cox translation), who committed suicide when he abandoned their relationship. Her exact double is his visitor aboard the space station and becomes an important character.

Snaut (Snow in the Kilmartin/Cox translation) is the first person Kelvin meets aboard the station, and his visitor is not shown. The last inhabitant Kelvin meets is Sartorius, the most reclusive member of the crew. He shows up only intermittently and is always suspicious of the other crewmembers. His visitor remains anonymous, yet there are indications it might be a child with a straw hat.

Gibarian, who had been an instructor of Kelvin's at university, commits suicide just hours before Kelvin arrives at the station. Gibarian's visitor was a "giant Negress" who twice appears to Kelvin; first in a hallway soon after his arrival, and then while he is examining Gibarian's cadaver. She seems to be unaware of the other humans she meets, or she simply chooses to ignore them.

Harey, who killed herself with a lethal injection after quarreling with Kelvin, returns as his visitor. Overwhelmed with conflicting emotions after confronting her, Kelvin lures the first Harey visitor into a shuttle and launches it into outer space to be rid of her. Her fate is unknown to the other scientists. Snaut suggests hailing Harey's shuttle to learn her condition, but Kelvin objects. Harey soon reappears but with no memory of the shuttle incident. Moreover, the second Harey becomes aware of her transient nature and is haunted by being Solaris's means-to-an-end, affecting Kelvin in unknown ways.


With:
-----
Kris....Ron Cook
Rheya....Joanne Froggatt
Snow....Tim McMullan
Sartorius....Stuart Richman
Woman....Maxine Burth



Stansilaw Lem - Solaris (mp3  52mb)

02 Solaris - 2 of 2 56:54

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Previously

Stansilaw Lem - Solaris (mp3  52mb)


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Sundaze 1710

Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, has been the trigger for these Sundazes.

The so-called “motorik” beat, a minimalist, relentless form of rhythm practised by groups including Neu! and Kraftwerk, became one of the most distinctive trademarks of Germany’s postwar rock groups. Liebezeit, a founding member of the Cologne-based quintet Can, was also a skilled practitioner of the motorik approach, but he was much more besides. He was able to incorporate a range of moods and styles into his playing, from African and funk rhythms to violent thrashing grooves, while always maintaining meticulous rhythmic control. His playing could veer from the heavy, pulverising beat he created on You Doo Right, from Can’s debut album Monster Movie (1969), to the lithe, off-kilter feel he brought to One More Night, from Ege Bamyasi (1972). On the title track of Flow Motion (1976), Liebezeit delivered a lesson in lean, bare-bones funkiness. So precise and unswerving was Liebezeit’s playing, which included an ability to repeat drum patterns with uncanny precision, that he was likened to a human drum machine. To this he retorted that “the difference between a machine and me is that I can listen, I can hear and I can react to the other musicians, which a machine cannot do”. His particular gift was the ability to refine his drumming down to a compact, streamlined essence, so that when he did eventually add a fresh accent or extra beat it became a musical event of startling significance.



Alas today is the final Liebezeit posting, but what a set of Secret Rhythms it is, i'd say get all and play them back to back and you'll get 3.5 hours of hynotically complex polyrhythmic patterns which make time fly by, it's unassuming but always purposeful a perfect sundaze. ......N'Joy

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Jaki Liebezeit (26 May 1938 – 22 January 2017) was a German drummer, best known as a founding member of Can. He was called "one of the few drummers to convincingly meld the funky and the cerebral".

Jaki was born in Dresden, Germany. In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine".
Liebezeit provided drums, in the form of the distinctive "Motorik beat", for Michael Rother's late-1970s solo albums.

In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums and as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. In the '00's, he has worked with Burnt Friedman on the  5 Secret Rhythms albums and with Schiller on the Atemlos album.

The last release he worked on was the Cyclopean EP, released on 11 Feb 2013 on 12” and download for Mute Records. Cyclopean was a project that involved, other than Liebezeit, Irmin Schmidt from Can alongside long time collaborators Jono Podmore (Kumo / Metamono) and musician and producer Burnt Friedman. Liebezeit died of pneumonia on 22 January 2017.

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Keyboardist and vibraphonist from Koeln (Germany), Burnt Friedman (real name Bernd Friedmann) (born 1965 in Coburg, Germany) is a German musician and producer who works under a variety of project names in the fields of Electronica, Dub and Jazz, having recorded as Some More Crime,Drome, Flanger (with Atom Heart), Non Place Urban Field and Nu Dub Players.

Friedmann was raised in Kassel where he studied painting, performance and video at the Kunsthochschule Kassel from 1984 to 1990. His first recordings of found and self-built instruments, done with Wolfram Der Spyra from 1978 to 1982, were released under the name TOXH in 1989. Burnt Friedman has become an unavoidable maverick over the last few years. His many musical incarnations, from his jazz-fuelled collaboration with Atom™ to the electronic perversions of some of his solo projects, rarely help to create a complete portrait of the man. Beside his musical activities, the German also heads Nonplace Records, has produced numerous records and is responsible for collecting his favourite tracks from both Atom™, on last year’s Replicant Rumba Rockers, and very recently, from Freeform on Condensed.

Friedmann's music defies easy categorisation. His instruments include ambient noise and speech samples, analogue synthesizers and organs, as well as toy piano, steeldrum, kalimba, vibraphone or Melodica. Over the years his trademark sound became easily recognizable even in his remix work for other artists. Often complex polyrhythmic patterns stand beside long passages without audible drums.

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If you are looking for a slow, cool chilling sound this album is a must buy. Matching the complex improvisational elements of electronic music with accessibly warm acoustic instruments. The German guru Burnt Friedman is becoming one of the most respected musicians of his generation across Europe. On each project Burnt gets some of the bests to work with. For this album, he's teamed up with legendary Can drummer Jaki Liebezeit.Praised and admired for his unique cyclical beats, Liebezeit offers here a rather subdued performance compared to some of his previous work. Always remaining slightly in the background of Friedman’s deceptively simple melodies, he however injects complex rhythmic structures on each track, providing a healthy balance to Burnt’s Latin inspired electronic composition. The mood on Secret Rhythms is definitely laid back and hypnotic, ranging from languorous dub style moments (Rastafahndung) to exotic impressions (Gulli Verreisen). If the work is by essence electronic, the result has the intensity of live music, establishing an interesting parallel with Flanger’s outer space jazz excursions. Here though, the jazz element is not as predominant as on some of Friedman’s previous releases, concentrating on more colourful ambiences instead. By using ambitious polyrhythms and complex arrangements, the duo manages to unlock a great wealth of possibilities, matching the complex improvisational elements of electronic music with accessibly warm acoustic instruments.

Burnt Friedman and Jaki Liebezeit - Secret Rhythms    (flac  312mb)


01 Rhein Rauf 6:27
02 Rechter Winkl 4:23
03 Royal Roost 5:46
04 Shades Of Soddin Orion 4:18
05 Rastafahndung 3:40
06 Gulli Verreisen 4:59
07 Wirklich 3:14
08 Obscured By 5 3:48
09 Obscured By 5 (Nonplace Rmx) 4:50
10 Obscured By 5 (Extended) 13:26

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As the title indicates, it's the second full collaboration between the two performers, or at least the second in the series, following on the first from 2002. Working with a number of other guests, most notably Burnt Friedman's Nine Horses bandmate David Sylvian, the duo create eight tracks which are enjoyable if not always immediately stunning. But the subtlety is actually Secret Rhythms, Vol. 2's strength -- coming here for the second coming of, say, "Halleluwah" is missing the point. Jaki Liebezeit's skill as a hypnotic drummer remains strong, as the deceptively low-key performance on "The Sticks" makes clear -- quick fills and careful shifts between drums and cymbals revolve around the central beat, with Friedman's keyboards ably creating the core textures and melodies which other performers add to. (Special notice should be given to Tim Molzer's acoustic and electric guitar parts throughout.) "Fearer" is another standout, with just a hint of dub echo at points expanding the reach of both Liebezeit's steady beat and Friedman's equally important -- almost relentless -- single piano note. At times the two lead performers almost seem to disappear behind their guests, but the results are often quite intriguing -- thus, on "Niedrige Decken," Liebezeit's drumming is initially barely there, with Hayden Chisholm's clarinet playing lead, until at two minutes in Liebezeit begins a killer groove that transforms the song. Sylvian's guest turn is on a song originally done with Nine Horses, "The Librarian." It's interesting to hear just the first signs of a rougher, older Sylvian starting to surface in his voice, but it works perfectly nonetheless, while Liebezeit's background cymbal fills, treated more as texture than rhythm, are a beautiful touch.

Burnt Friedman and Jaki Liebezeit - Secret Rhythms 2  (flac  237mb)


01 Sikkerhed 4:20
02 The Sticks 8:17
03 The Librarian (Voc David Sylvian) 8:15
04 Mikrokasper 3:40
05 Niedrige Decken 8:13
06 Broken Wind Repair Kit 4:59
07 Fearer 6:54
08 Caracoles 4:29

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On this third release in their Secret Rhythms series, electronica artist Burnt Friedman and former Can drummer Jaki Liebezeit team up for further explorations of atmosphere, texture, and rhythm. These instrumental compositions make use of Leibezeit’s cycle-based drum system, which draws on rhythmic motifs from Africa and Asia, while Friedman adds fragments of melody and pulsing digital ambience. The unique blend of acoustic and electronic elements makes this album a startling, and thoroughly absorbing, listening experience.

Burnt Friedman and Jaki Liebezeit - Secret Rhythms 3  (flac  251mb)

01 Morning Has Broken 9:00
02 Gegenwart 9:42
03 Trittbrettfahrer 5:45
04 Die Ehrliche Haut 6:30
05 Entsafter 8:04
06 Wirklich Version 4:05
07 Sandale 9:33

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Multi-instrumentalist Burnt Friedman and drummer Jaki Liebezeit have been working together since 2000 on musical projects that have gradually emerged as numbered releases under the title Secret Rhythms. The fourth volume in the series consists of six instrumental tracks ranging in length from four to nearly 16 minutes, all having random-looking numerical titles. Some are based loosely on material heard on previous volumes, but most of the music is new, and two tracks also feature guitarist Joseph Suchy (a regular guest on Secret Rhythms releases). Because Liebezeit and Friedman like to alter their instruments' outputs both during performance and in post-production, it's frequently difficult or impossible to tell what is being played, let alone by whom: are those really steel pans on "204-07," or is it just Suchy's guitar? "128-05" sounds like it consists entirely of percussion sounds, but who knows for certain? Ultimately, it doesn't really matter that much; this is relentlessly weird music, but also consistently lovely; it would almost be recommendable as relaxation or meditation music, except that it's kind of difficult to relax in 7/8 and 5/8 time. It might pass for trance music except that the textures shift a bit too often. Not only that, but Friedman and Liebezeit have an almost uncanny ability to produce music that is simultaneously quiet and unsettled, jittery and calm. Those who are looking for something between Brian Eno's Ambient series and Byrne and Eno's My Life in the Bush of Ghosts may find that this is exactly what the doctor ordered.

Burnt Friedman and Jaki Liebezeit - Secret Rhythms 4  (flac  283mb)

01 204-07 10:44
02 128-05 10:21
03 182-11 15:40
04 131-07 5:33
05 120-11 4:17
06 120-05 10:20

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a superb bonus

The interest for Sylvian fans is the original version of The Librarian. The track got redone later by Friedman & Liebezeit on Secret Rhythms 2 and by Sylvian with Nine Horses, but this version is the best by far. The whole EP…one for the repeat button....

Burnt Friedman and Jaki Liebezeit with David Sylvian - Out in the Sticks    (flac  119mb)

01 Out In The Sticks 10:49
02 The Librarian 8:33
03 Sikkerhed (remix) 3:50

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RhoDeo 1709 Grooves

Hello,


Philadelphia International Records (PIR) was an American record label based in Philadelphia. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. It was famous for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop, and soul music of the time. This Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of worldwide hits which emphasized lavish orchestral instrumentation, heavy bass, and driving percussion. Some of their most popular and best selling acts included Patti LaBelle, The O'Jays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, and Lou Rawls. Between 1971 and the early 80s, the label sold over 170 gold and platinum records  ..... N'joy

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Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records. The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer (later studio owner) Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single "Enjoy Yourself", and a second album, Goin' Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, and Archie Bell & the Drells. Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single (I Got the Notion, You Got the Motion) was produced by The Spinners' member Philippe Wynne.

By the mid 1980s, Philadelphia International Records ended their distribution deal with Columbia, who they had worked with since their inception. The label was soon after picked up by Capitol/EMI records. They continued to make hits, including Shirley Jones' "Do You Get Enough Love," but their most successful years were behind them. Philadelphia International now largely concentrates on licensing its music catalog worldwide and has issued few new recordings since the mid-80s, when Gamble and Huff wound down their studio work together.

In 1989, Gamble and Huff were awarded their first Grammy Award. Simply Red's cover of "If You Don't Know Me By Now," written by Gamble and Huff, won the Grammy Award for Best R&B Song. 10 years later in 1999, Gamble and Huff were awarded the Lifetime Achievement Grammy from the National Academy of Recording Arts and Sciences. In 2008, the duo were inducted in the Rock and Roll Hall of Fame in the non-performer category, joining their band the O'Jays who were inducted in 2005.

In August 2011, in honor of the 40th anniversary of the company, Philadelphia International Records launched TSOP Soul Radio, an online radio station that allows fans from all around the world the chance to tune in and listen to music and interviews from the legendary Gamble and Huff catalog. Gamble and Huff have written over 3000 songs throughout their careers, making them two of the most efficient and productive songwriters of all time. They continue to write songs together from their homes in South Philadelphia.

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The O'Jays were formed in 1958 in Canton, OH, where all five original members -- Eddie Levert, Walter Williams, William Powell, Bill Isles, and Bobby Massey -- attended McKinley High School. As the Mascots they made their recording debut in 1961 with the single "Miracles". It earned them a fan in the influential Cleveland DJ Eddie O'Jay, who gave them some airplay and career advice; in turn, the group renamed itself the O'Jays in 1963. Isles left the group in 1965 and was not replaced, leaving them a quartet; late in the year, they released their first-ever album, Comin' Through. In 1967, the O'Jays landed their first Top Ten single on the R&B charts, "I'll Be Sweeter Tomorrow (Than I Was Today)." Discouraged by the difficulty of following that success, the group members considered throwing in the towel until they met Gamble & Huff -- then working as a production team for the Neptune label -- in 1968. They recorded several successful R&B singles together; however, Neptune folded in 1971, leaving the O'Jays in limbo, and Massey decided to exit the group.

Fortunately, Gamble & Huff formed their own label, Philadelphia International, and made the O'Jays -- now a trio -- one of their first signings. The O'Jays' label debut, Back Stabbers, released in 1972, became a classic landmark of Philly soul, and finally made them stars; the paranoid title track hit the pop Top Five, and the utopian "Love Train" went all the way to number one. It was the beginning of a remarkable run that produced nearly 30 chart singles over the course of the '70s, plus a series of best-selling albums and a bevy of number one hits on the R&B charts. Sadly, William Powell was diagnosed with cancer that year, and although he continued to record with the group for a time (appearing on 1976's Message in Our Music), he was forced to retire from live performing, and passed away on May 26, 1977.
Powell's replacement was Sammy Strain, a 12-year veteran of Little Anthony & the Imperials. The O'Jays regrouped on the albums Travelin' at the Speed of Thought (1977) and So Full of Love (1978), the latter of which produced their final Top Five pop hit, "Use ta Be My Girl." Released in 1979, Identify Yourself began to show signs of wear and tear in the group's successful formula, and often consciously attempted to follow disco trends. Although it sold respectably, it marked the beginning of a decline in the O'Jays' commercial fortunes.




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This music takes you straight back to the 70's, where music used to be mellow, and all soul soothing, the essential music of the O'Jays is a must for everyone who loves R&B. Eddie Levert has an outstanding voice, and was only topped by his son, the late Gerald LeVert, who unfortunately moved on. This music is inspirational on a Sunday, seductive on a Saturday night, and even works during the week. This collection offers the highlights of their classic ‘70s hits for Philadelphia International. Like other purveyors of Philly Soul, the trio harmonized impeccably over well-tailored strings and rhythm tracks. What set them apart was the political content of their songs — when lead vocalist Eddie Levert sang about betrayal in “Back Stabbers” or raw need in “For the Love of Money,” he challenged his audience to think as well as groove. Tracks like “Survival” and “Give the People What They Want” are insistent demands for justice amidst the deceptions of the Nixon Era. The flip side to these angry sentiments is offered in “Love Train” and “Put Your Hands Together.” The O’Jays are masterful at balladry as well, melting hearts effortlessly in “Use Ta Be My Girl” and the gospel-rooted “Stairway to Heaven.” Whatever the song, Kenny Gamble and Leon Huff’s production stays crisp and inventive, whether the mood is spiteful (“992 Arguments”) or celebratory (“Message in Our Music”). The Essential O’Jays is just that: mandatory listening for anyone with a taste for soul.

O'Jays - The Essential 1    (flac  469mb)

01 Lonely Drifter 2:25
02 Lipstick Traces (On A Cigarette) 2:45
03 Stand In For Love (Live Version) 3:44
04 I'll Be Sweeter Tomorrow (Than I Was Today) 3:04
05 There's Someone (Waiting Back Home) 2:30
06 One Night Affair 2:19
07 Deeper (In Love With You) 2:41
08 Back Stabbers 3:05
09 992 Arguments 2:22
10 Love Train 2:59
11 Time To Get Down 2:54
12 Put Your Hands Together 4:08
13 Sunshine (Part 1) 3:45
14 You Got Your Hooks In Me 5:34
15 Now That We Found Love 4:42
16 For The Love Of Money 7:21
17 Give The People What They Want 4:12
18 Survival 3:44
19 Let Me Make Love To You 3:40
20 I Love Music 6:50

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O'Jays - The Essential 2    (flac  486mb)

01 Livin' For The Weekend 6:38
02 Stairway To Heaven 6:17
03 Family Reunion 6:57
04 Ship Ahoy (2008 Single Version) 4:15
05 Message In Our Music 6:05
06 Darlin' Darlin' Baby (Sweet, Tender, Love) 4:12
07 The Big Gangster 3:18
08 Use Ta Be My Girl 3:20
09 Brandy (I Really Miss You) 4:13
10 Cry Together 5:35
11 Forever Mine 6:08
12 Sing A Happy Song 5:02
13 Lovin' You 5:20
14 Wind Beneath My Wings 5:39
15 Emotionally Yours (Gospel Version) 5:38

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Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.

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A fantastic debut by Harold Melvin & the Blue Notes that wasn't meant to be. Most of these songs, including "If You Don't Know Me By Now," were originally written for the Dells, but the deal fell through. Harold Melvin got the opportunity because his ex-drummer Teddy Pendergrass had a voice similar to Dells lead singer Marvin Junior. The way Pendergrass tore into these songs, nobody remotely suspected that these love dramas were written for anybody but Teddy. He sounds like he's about to lose it when he sings "I Miss You" as he pleads with his ex-love about how he has changed. The poignant "If You Don't Know Me By Now" sold a million for the Blue Notes and did even better years later for Simply Red. "Be For Real" is one of the finest recorded pieces in R&B history; it's not a song, it's a pleader where a guy admonishes his woman for looking down on people. They dusted off "Let Me Into Your World" for the Blue Notes; this one was not written for the Dells, as Gamble & Huff had recorded it a few years earlier with the O'Jays for Neptune Records. A hard-hitting package that established Harold Melvin & the Blue Notes as a force to be reckoned with.

Harold Melvin and The Blue Notes - I Miss You  (flac 342mb)

01 I Miss You 8:28
02 Ebony Woman 3:41
03 Yesterday I Had The Blues 7:25
04 If You Don't Know Me By Now 3:27
05 Be For Real 4:31
06 Let Me Into Your World 2:40
07 Let It Be You 3:33
08 I Miss You (Part I - Single Version) 3:20
09 Yesterday I Had The Blues (Single Version) 3:54
10 Be For Real (Single Version) 3:24
11 If You Don't Know Me By Now (Live In San Francisco, 1973) 4:08

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Harold Melvin & the Blue Notes' second album found the group continuing to ride its early peak, featuring the hit "The Love I Lost" (in a six-minute version longer than the one that made the pop Top Ten) and an additional Top Ten R&B hit in "Satisfaction Guaranteed (Or Take Your Love Back)." The album and its "The Love I Lost" single also became milestones for Gamble & Huff productions and Philadelphia soul in general for introducing the dance groove that became so integral to disco. But while the two hits and "Is There a Place for Me" were forceful uptempo tracks, they were balanced by a good number of effective ballads, the only misstep (and a most curious one) being the decision to lead off the album with a cover of "Cabaret." The 2010 CD reissue adds the "Pt. 1" single versions of "The Love I Lost" and "I'm Weak for You" as bonus tracks, and, more importantly, very interesting liner notes spotlighting detailed recollections by MFSB guitarist Bobby Eli.

Harold Melvin and The Blue Notes - Black and Blue   (flac  311mb)

01 Cabaret 1:45
02 The Love I Lost 6:26
03 It All Depends On You 4:52
04 Concentrate On Me 3:13
05 Satisfaction Guaranteed (Or Take Your Love Back) 3:32
06 Is There A Place For Me 7:00
07 I'm Weak For You 6:54
08 I'm Coming Home Tomorrow 6:16
Bonus Tracks
09 The Love I Lost (Part I - Single Version) 3:35
10 I'm Weak For You (Part I - Single Version) 3:23

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RhoDeo 1709 Re-Ups 89

Hello, still getting requests on the wrong pages, that said it's good to see requests from Rho-Xs's early days.

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here another batch of 25 re-ups (19 ! now in flac), requests fullfilled up to March 2.

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4x Sundaze NOW in Flac (Spirit Space - A Journey Into Your Consciousness, Steve Roach and Vidna Obmana - Inner Zone, Thompson - Space Sounds Music, Kit Watkins - This Time and Space)


3x Aetix NOW In Flac (Cabaret Voltaire - Three Mantras, Cabaret Voltaire - 2x45,  Cabaret Voltaire - Code)


4x Beats NOW in Flac (Cabaret Voltaire - Plasticity, Cabaret Voltaire - International Language,  Cabaret Voltaire - The Conversation 1 + 2)


3x Beats NOW In Flac ( Fluke - Oto, Fluke - Risotto, Fluke - Slid (12"))


3x Aetix NOW In Flac ( XTC - English Settlement , XTC=Dukes Of Stratosphear - Chips From The Chocolate Fireball (An Anthology), XTC - Oranges and Lemons)


3x Roots Back In Flac (Orchestra Baobab - Bamba, Orchestra Baobab - Pirates Choice, Orchestra Baobab - Specialist In All)


2x Grooves NOW In Flac ( VA - DJ Kicks ( DJ Cam),  VA - DJ-Kicks (Terranova) )


3x Grooves Back In Flac (Jungle Brothers – Done By The Forces, De La Soul – 3 Feet High And Rising, Tribe Call.Quest - Midnight Marauders )


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RhoDeo 1709 Aetix

Hello,

Today's artists are playing a hybrid of punk to advance their liberal socialist agenda (serving as the rough equivalent of a Dutch Crass), the Ex put out reams of records and propaganda during the '80s -- each released on a different Dutch label -- but in the '90s began to embrace industrial forms of percussion and improvisation more in line with Einstürzende Neubauten and Test Dept. Formed in the late '70s, the group debuted at the turn of the decade with Disturbing Domestic Peace. Two more LPs appeared during the mid-'80s, after which the group formed their own Ex label .........N'Joy

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The Ex are an underground band from the Netherlands that formed in 1979 at the height of the original punk explosion. Initially known as an anarcho-punk band, they have since released over 20 full-length albums of musical experiments and numerous collaborations blending punk and free jazz with styles of folk music from all over the world. The Ex's music has undergone significant evolution over the years from their beginnings as a punk band. Founded by singer Jos Kley (better known as G.W. Sok), guitarist Terrie Hessels, drummer Geurt and bassist René, the band debuted with a song titled "Stupid Americans" on the Utreg-Punx vinyl 7" compilation released by Rock Against records in Rotterdam. The release of their first 7" All Corpses Smell the Same followed shortly after that, in 1980. Through the decades their music has gradually developed into its current form of highly intricate, experimental punk/post-punk/no wave-inspired work.

Expanding beyond punk rock, The Ex have incorporated a wide array of influences, often from non-Western and non-rock sources. Some include Hungarian and Turkish folk songs, and more recently music from Ethiopia, Congo and Eritrea (the independence song of Eritrea is covered by The Ex to kick off their 2004 album Turn). Other examples of branching out stylistically include the improvised double album Instant and a release under the moniker Ex Orkest, a 20 piece big band assembled for performances at Holland Festival.

Throughout the early 1980s The Ex went through many line-up changes before settling on the core quartet of G.W. Sok on vocals, Terrie on guitar, Luc on bass and Kat on drums. In the early 1990s, Andy became the band's permanent 2nd guitarist. In 2003 Luc left the band after 19 years, to be replaced by double bassist Rozemarie Heggen.[3] In 2005 Heggen in turn left the band and Colin (formerly of the Dog Faced Hermans) served as the band's bass player for recordings and tours with Ethiopian saxophone legend Getatchew Mekuria before becoming The Ex's sound board operator. Guitarists Andy Moor and Terrie Hessels have since filled in bass parts by switching off on baritone guitar.

The band has collaborated with many disparate artists, including UK anarchist band Chumbawamba (sometimes using the name Antidote), the Dog Faced Hermans (one former member, Andy Moor, has played guitar in The Ex since 1990), and with the late avant-garde cellist Tom Cora in the early 1990s, resulting in the album Scrabbling at the Lock (1991) and the follow-up And the Weathermen Shrug Their Shoulders (1993). The album In the Fishtank 5 (1999) was made with Chicago's Tortoise, and on In the Fishtank 9 (2001) they collaborated with members of Sonic Youth and the Dutch improvisers Instant Composers Pool Orchestra (ICP).

The band composes the music for "Two Men Walking", a new short dance film by Dick Hauser, and in February 2003 The Ex goes on tour for the first time with the new line-up and a brand new set of songs. They do shows all over Holland, together with the group Konono No. 1 from the Republic of Congo. In September The Ex tour for three weeks in the USA and visit the East coast, Texas, and Chicago. During that period they record a new album, for the third time in a row with album with Steve Albini, in his Electrical Audio Studio in Chicago.

In March 2004 The Ex once again leave for Ethiopia, for their second three-and-a-half-week tour. In 2002 they visited the North, this time they travel South, through an area where hardly ever any European bands have played before. In November The Ex celebrate their 25th anniversary with a two-day festival at the Paradiso in Amsterdam. At the same time they celebrate the release of "Beautiful Frenzy" on DVD by Blowpipe/Moskwood, containing the original film plus lots of live-extras. The event is followed by a convoy tour with a lot of the festival's artists playing in five French cities and Brussels.

2006 The Ex play Spain in May, followed by some Dutch shows with Zea. Around the Summer they play festivals in Zagreb (Croatia), Roskilde (Denmark), and Lärz (Germany), Nickelsdorf (Austria) and Parthenay (France).
In September they're flown over to Chicago to play at the 25th anniversary festival of their US record-label Touch And Go. It is the 13th time they visit the USA. In the autumn they play again in Spain and then tour France, Italy and Austria, together with the Mohammed Jimmy Mohammed trio from Ethiopia. The album "Moa Anbessa", by Getatchew Mekuria & The Ex & Guests, is released in December on their sub-label Terp Records. At the same time The Ex is back in the USA for a ten-day East coast tour together with DJ Rupture.

The DVD "Building A Broken Mousetrap" by filmmaker Jem Cohen is released in November 2007, featuring 9 songs from The Ex recorded during their concert at the Knitting Factory, New York City on 11th September 2004. In 2008 Drummer / singer Katherina and guitarist / singer Jon Langford (Mekons) make an album full of folk punk songs under the name Katjonband.

In 2009, after 30 years with the group, singer and co-founder G.W. Sok announced his departure from the band. Sok did so, believing he lacked sufficient enthusiasm to continue with the group, having decided to focus on writing and graphic design as well as singing in new musical projects with several other bands. His replacement is Arnold de Boer from the Dutch group Zea, with whom The Ex have toured and collaborated. In addition to singing, De Boer plays guitar and utilizes samples with The Ex.

The Ex is the subject of a documentary, Beautiful Frenzy (2004) by Christina Hallström and Mandra U. Wabäck, and the concert film Building a Broken Mousetrap (2006), directed by Jem Cohen. In 2008 the band was also featured in the film Roll Up Your Sleeves, directed by Dylan Haskins. In 2011 The Ex were chosen by Caribou to perform at and co-curate the All Tomorrow's Parties music festival in Minehead, England.


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This is prime stuff. It's primitive when compared with their current wide-ranging output, but even then they were embellishing their their scratchy politico-punk with some interesting instrumental touches. Morse code keyboards, a chipped-flint guitar sound, distorted vocals, and the rhythm section's implacable forward motion make this worth a listen even if you don't care what they had to say. "What makes them interesting, is their original musical approach, not hindered by technical ingenuity."

The Ex - Disturbing Domestic Peace   (flac  196mb)

01 The Sky Is Blue Again 2:01
02 Map 1:14
03 Outlook-Army 0:39
04 Sucking Pig 1:58
05 A Sense Of Tumour 4:00
06 Meanwhile 3:54
07 Rules 1:41
08 Squatsong 1:51
09 Warning-Shot 2:55
10 New Wars 2:46
+ Live-Skive:
11 Introduction 2:21
12 Human Car 1:48
13 Punk 1:47
14 Horse 1:12

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It's caustic. A real burner. (...) While still retaining an all important relevant edge to their musical comment , they've introduced elements of tunesmithing, attack, decay and composition that places them head and shoulders above their contemporaries. Well-known venom, but the music becomes more experimental (i.e. slower, richer, more stirring, fed by yet rather remarkable set of instruments) with every new release. It was the first of The Ex's albums to feature Luc playing bass guitar and he would remain as the band's bass player for 20 years. The album also featured many guest musicians, a notable trend in The Ex's discography that would provide musical elements unique to each of their albums.

The Ex - Blueprints For A Blackout (flac  373mb)

01 Streetcars Named Desire / Animals Harm (Medley) 2:39
02 Blueprints For A Blackout 3:54
03 Rabble With A Cause 2:19
04 Requiem For A Rip-Off 2:52
05 Pleased To Meat You 4:17
06 A Goodbuy To You 3:39
07 The Swim 1:48
08 Boohoo 2:29
09 U.S. Hole 2:41
10 (Not) 2B Continued 1:10
11 Grimm Stories 4:52
12 A Plague To Survive 5:22
13 The Rise Of The Dutch Republic 3:53
14 Kidnap Connection 2:17
15 Fire And Ice 4:41
16 Jack Frost Is Innocent 2:53
17 Love You Till Eh 2:48
18 Food On 45 3:17
19 Scrub That Scum 8:18

The Ex - Blueprints For A Blackout   (ogg  159mb)

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Their 6th full length is a collection of new songs the group had performed on an anti-military tour. "The Ex, with 'Pokkeherrie' have produced a masterful killer weapon of raw power that rattles up the spine into numbed pink brain cells and fills the vacuum with social issue. " "They've done it again. While they maintain melody, dissonance, moodiness, and a hard edge, they continue to grow and encompass many styles. (...) Their integrity is rock hard and dependable." "Subtleties, intricacies, complexities, repetitions, basic noise."

The Ex - Pokkeherrie (flac 362mb)

01 Nurse! 6:09
02 Soviet Threat 7:08
03 Mmm Crisis 3:29
04 1,000,000 Ashtrays 9:15
05 Pock 0:15
06 White Liberals 5:42
07 Everything We Never Wanted 4:28
08 Friendly Neighbours 4:20
09 Hit The Headlines 5:47
10 Rumours Of Music (The Original Soundcrack) 6:29

The Ex - Pokkeherrie   (ogg  143mb)

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"The Ex create music that's abrasive, driving and challenging, much of it recorded live between 16 and 26 October 1986, shards of guitar, bass and drums coalescing like jagged pieces of a puzzle, pumped up by influences that introduce the post-punk jar of Gang of Four, The Fall and Sonic Youth, and the spirit and experimentation of Crass, albeit more accessible. Intelligent, intriguing and well-executed."

The Ex - Too Many Cowboys (flac 485mb)


01 Red & Black 5:47
02 White Shirts 3:53
03 Adversity 0:30
04 People Again 4:12
05 Knock 2:46
06 Hands Up, You're Free 3:06
07 Ignorance 2:54
08 Butter Or Bombs 4:11
09 Dumbo 3:18
10 How Can One Sell The Air 5:46
11 Business As Usual 5:56
12 Olympigs 4:19
13 Choice 2:58
14 A Job / Stupid 2:40
15 Oops 6:32
16 No Fear 5:04
17 Vivisection 1:19
18 A Piece Of Paper 6:37
19 They Shall Not Pass 3:28

The Ex - Too Many Cowboys   (ogg  185mb)

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