RhoDeo 1733 Tales 09

Hello,


Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 08 Skeleton (avi  312mb)

A hypochondriac feels there is something wrong with his bones so he consults a creepy "bone specialist" who promises to help him; sometimes the cure really is worse than the disease.



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Here a series of Ray Bradbury stories specially dramatised for radio with introductions by the author.

Ray enthusiastically agreed and, joined by writer Catherine Czerkawska and director Hamish Wilson (who had collaborated on some Bradbury stories broadcast by BBC Scotland), we embarked on a series of 30-minute plays under the generic title Ray Bradbury's Tales of the Bizarre.

Ray Bradbury introduces his own spooky tale of confessions and confectionary dramatised by Catherine Czerkawska. Starring TP McKenna as the priest and John Yule as the young man. Director: Hamish Wilson

Ray Bradbury - 09 The Scythe (mp3  26mb)

09 The Scythe 28:46

A young farmer gets more than he bargained for when he stumbles across a seemingly deserted farm



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previously

Ray Bradbury - Night Call, Collect (mp3  27mb)
Ray Bradbury - Have I Got a Chocolate Bar for You (mp3  24mb)
Ray Bradbury - The Jar (mp3  26mb)
Ray Bradbury - The Fruit at the Bottom of the Bowl (mp3  26mb)
Ray Bradbury - I Sing the Body Electric (mp3  26mb)
Ray Bradbury - Skeleton (mp3  26mb)
Ray Bradbury - The Man Upstairs (mp3  25mb)
Ray Bradbury - Jack in the Box (mp3  25mb)


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Sundaze 1733

Hello, dear oh dear the giant has fallen and the stadium roars with jubilation, what an end to the career of Usian Bolt, his hamstring refused to bend to his will, as he tried to catch the US and Great Britain the latter won the 4x100 in the 3rd ever fastest time 37,47. The Beeb went nuts now we've got 4 golden boys, born at the death of the giant. Note; before UK's golden star Mo Farrah had bowed out with a deserved silver on his final track event.


As i was thinking about what post this Sundaze, in came a request for today's artist..thanks Josh i go with that synchronicity flow...

Today's Artist is a DJ, musician, journalist, and self-described "international cheerleader of ambient," who has been one of the most visible -- and most active -- proponents of new ambient and electronic music. As renowned for his inventive, wide-casting DJ sets as for his original works under the Irresistible Force name, his influence on the direction of post-rave electronica has been enormous. From his relentless tour schedule, weekly playlists, and monthly release reviews to his extensive website chronicling the evolution of ambient and experimental electronic music, Morris has helped bring a whole range of otherwise obscure artists (from Terre Thaemlitz to Photek; from Ken Ishii to Robert Rich) to a wider audience. And while his holographic suits, Zippy connections, and soundbite approach to musical evangelism might seem a bit ridiculous, his commitment to the music and the quality of his ongoing contribution is undeniable. ....N'Joy

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Mixmaster Morris (born Morris Gould, 30 December 1965) is an English ambient DJ and underground musician. Relating specifically to ambient music, Morris stated "It's exactly what you need if you have a busy and stressful life".

Morris Gould was born in Brighton, Sussex, England, but grew up in Lincolnshire and was educated at Millfield in Somerset, and King's College London. At 15 he founded a punk rock band, The Ripchords, whose sole release, an eponymous EP with four tracks, was championed by the BBC Radio One DJ John Peel. After leaving university, he got his start as a DJ in the early '80s -- not in warehouse party chill rooms, but in dive-bar punk clubs spinning experimental rock, jazz, electronic, and other assorted weirdness in between bands. Eventually taking his deck proficiency and rapidly expanding record collection to pirate station Network 21 (where he worked with Jonathan More and Matt Black of Coldcut), Morris earned his nickname from his eclectic "Mongolian Hip Hop Show" , during which he might pair Terry Riley with Tibetan monks or Captain Beefheart with Amazonian field recordings. After finishing college in the mid-'80s, Morris worked in computer systems administration before forming Irresistible Force with friend Des de Moor in 1987. The pair played clubs and toured with Meat Beat Manifesto, eventually releasing a single before Morris dissolved the partnership in 1989. Retaining the Mixmaster name, Morris became involved with the emerging UK acid house scene, after organising Madhouse at The Fridge, Brixton in 1988 – which was the subject of a piece by Peel in The Observer. A show with the band Psychic TV led to him becoming full-time DJ with The Shamen, and touring with them on their 'Synergy' tours for nearly two years, meanwhile organizing London's first ambient club events, Telepathic Fish

Although Morris had experimented with real-time tape loops and low-rent electronics since the mid-'80s, it wasn't until the early '90s that he began to seriously pursue recording. He released his first full-length work, Flying High, on the Rising High label, and recorded a celebrated collaboration with Frankfurt ambient composer Pete Namlook, Dreamfish. Both albums landed Morris at the forefront of the new ambient movement -- a position he graciously accepted -- and a string of remix work for the likes of Coldcut, the Shamen, Barbarella, Rising High Collective, and Higher Intelligence Agency followed. Growing problems with his label, however, would plague Morris into the recording of his second album, which was delayed for two years. Following the release of Global Chillage in 1995, Morris dissolved his relationship with Rising High and began recording for old friends Coldcut on their Ninja Tune label. After a period of legal problems the third album It's Tomorrow Already came out on Ninja Tune. He also collaborated with SF-based musician Jonah Sharp and Haruomi Hosono of Yellow Magic Orchestra he made the album Quiet Logic for the Japanese label Daisyworld.

In 1990, he made one of the first chillout compilations, Give Peace a Dance 2: The Ambient Collection for the Campaign for Nuclear Disarmament, followed by the series Chillout or Die for Rising High Records. A mix tape for Mixmag shared with Alex Patterson was also released as a CD. The Morning After became his first major-label mix album, followed by Abstract Funk Theory for Obsessive. Through the 1990s he was a regular DJ in the chill out room at Return to the Source parties in London, around the UK and abroad. In 2003 he released the mix CD God Bless the Chilled for the Return to the Source Ambient Meditations series.

In the early 1990s his key residencies were alongside the Detroit masters at Lost, Megatripolis at London's Heaven, and also the Tribal Gathering parties. He became known for wearing holographic suits, produced by the company Spacetime, which he modelled for Vogue magazine. Throughout the decade, Morris wrote about electronic music for the NME, Mixmag, and i-D. He was resident on Kiss FM for several years, and then a regular on Solid Steel, the Ninja Tune syndicated radio show. He made his film debut in Modulations (Caipirinha Films), and his music was used in a number of other films including Groove and Hey Happy.

In 1998 he joined the UK's Ninja Tune record label, with whom he toured as a DJ and made three releases. 1999 saw him win 'Best Chillout DJ' at the Ibiza DJ Awards at Pacha, Ibiza, and in 2001 he won the title for a second time, becoming the first DJ to achieve this. He has appeared in many lists of the worlds top DJ's including the Ministry of Sound book The Annual and 2003's DJs by Lopez, and URB Magazine's Top 100 DJ list. Morris records regular radio shows for the Japanese internet radio station Samurai FM. In 2006 he started a new club at the Big Chill House in Kings Cross, London, and did a guest mix for BBC Radio 1's The Blue Room show. His essay about jazz was published in the book, Crossfade, and he made a one-off appearance reading it aloud.

Morris has produced many remixes since 1985, including Coldcut's "Autumn Leaves". This remix was nominated by Norman Cook as his favourite chillout track on BBC Television. His mix for INXS was a Top 20 hit in the UK. Other early remixes were of Lloyd Cole, Dave Howard Singers, Bang Bang Machine, Stump, Higher Intelligence Agency, Sven Vath and Rising High Collective. The Mixmaster has played in over fifty countries at nightclubs and parties, and particularly music festivals such as the Full Moon parties in the Mojave Desert, Glastonbury Festival, Rainbow 2000 and Mother SOS in Japan, Chillits in Northern California, and Berlin's Love Parade. He also ran the downtempo night Nubient in Brixton. In 1995, he played at the first The Big Chill festival, and then became a resident for the next 16 years.

In March 2007, together with Coldcut, he organised a tribute show to the writer and philosopher Robert Anton Wilson, which they performed at the Queen Elizabeth Hall. He also played in Goa for the first time with The Big Chill, and started a new residency at The Prince in Brixton. In May 2008 Morris undertook an ambient mix on BBC Radio 1, and put a The Irresistible Force band together to play at The Big Chill festival. In 2009, he compiled a podcast for Tate Britain to accompany their Altermodern exhibition, and opened a new AV night called MMMTV in Camden. The mix CD, Calm Down My Selector was released in January by Wakyo Records, and he made a tour of Japan to promote it. In 2010, he won another Ibiza DJ Award, for the third time. In October that year, he was announced as Head of A+R for Apollo Records. 2011 saw him rejoin Bestival as part of their "Ambient Forest" team.


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Along with the Orb's Adventures Beyond the Ultraworld and the KLF's Chill Out, Irresistible Force's Flying High is one of the first and finest of the new ambient crop. Mixmaster Morris' mix of electronic and organic textures and epic song lengths helped set the standard (and was responsible for more than a few clichés). Even though Mixmaster Morris is known for his love of all things ambient, his first album, Flying High, fits more with the 'ambient dub' genre, as these tracks are still very structured and have a certain drive, rather than drifting off into the ether. Brian Eno hailed this album as a masterpiece, as it's thoughtfull, spacey, highly melodic ambient music, with occasional beats... A fantastic soundtrack for a psychedelic experience.

Mixmaster Morris takes Future Music through Flying High, track by track, December 04, 2014
Spiritual High
"This one starts with the sound of a plane taking off, which was a sound effect taken off a sample CD. With Flying High I wanted to put sounds of planes at the beginning and at the end. If you also take a look at the running time of this track, you'll see that it's 7:47, like the Boeing, which wasn't an accident. I hid a lot of things in this record, but I can't remember where I put the half of them now [laughs].

A lot of this track is based around some piece of film music I had at the time. I can't remember the original source now, but I remember taking my vinyl copy of it and running it live from the decks into the mix through Drawmer gates. I then triggered them with a Roland 909. Then I just changed the envelope on the gate to mess with it. "I wanted to find a way of putting sampled music into what I was making, with the goal of producing something out the other end that wasn't necessarily copyright infringement but took something of the texture and chord structure from the original tracks I was sampling. For two or three of the tracks on the album that's essentially much of what the whole thing is - I'd just put sounds through gates until they were unrecognisable. Pretty much each track on the whole album was made live in single takes as well."
Sky High
"This tune was just over 12 minutes long. A lot of the tracks, when I played them live, were over 30 minutes long. All the tunes on Flying High were played live at Heaven nightclub under Charing Cross Station about four times before I sat down to do them on the album. The Orb and The KLF used to play there a bit before I did nights there in 88/89 at a night called Land Of Oz. I saw a gig they did there and it was a big influence on me. I saw what they were doing and tried to make it work in the acid house world. I wanted to find a way of putting sampled music into what I was making, with the goal of producing something out the other end that wasn't necessarily copyright infringement but took something of the texture and chord structure from the original tracks I was sampling.

When they moved out I took over that room for a couple of years. The difference is that I made it open to the public. It was just VIP when they did it and it wasn't very busy. When I did it you got Joe Public in there. For the first couple of weeks they'd burst into the DJ booth and go, 'What the fuck are you doing? Where's the drums?!' A lot of my tracks started off as dance tracks then I just thought, 'Fuck it', and took all the drums out to make it more ambient. Sky High has a lot of samples in it. It's got Sun Ra in, obviously, from the ending of a track of his called Nuclear War, which is a very rare and sought-after 12-inch. It has a lot of swearing in the original, which is quite rare for a Sun Ra record, but it is about a very serious subject, I suppose. That was the only 12-inch he released in his life. He was a huge influence on this album. I first went to see him live in 85, and I must say that a light went on in my head."
Flying High
"This is the one with the big tempo change in it. I remember spending most of the day trying to get the tempo change to clock to synth code, which was hugely difficult then. I think this track goes from 60 to 120bpm - it goes double time over a minute. You have some things going on at the same speed there, while others accelerate. I thought that was a really interesting thing to play with, especially given that most music had suddenly all gone one tempo at the time. It was massively inspired by French Kiss by Lil' Louis. Not many records have ever done what his did. It was a wonderful thing to have a record that changed like that. Lil' Louis was a big inspiration. He was one of the first Chicago artists that I really got into.

The one person I didn't credit on this record and feel guilty about is Sonic Boom. There are a ton of Spaceman Three noises on this track. I met him through gigging with The Shamen. I used his track Ecstasy Symphony, I believe, as a drone here, and then put that through all the gates. His records always have a magical, psychedelic quality."
High Frequency
I think bits of this are taken from The Human League. Probably a couple of notes off the Dignity of Labour EP that I cut up. I ran them through an Eventide and got a really strange effect. The spoken word bit is off the Open University. I just recorded it off there. Then there's a creaky door sound - that's Pierre Henry. It's a piece of musique concrète from the 60s called Variations for a Door and a Sigh. It's just a creaky door and a girl sighing. He just used those two sounds to make a whole album. It's a wonderful sound, that creaky door; it takes me back.

I did discover something amazing the other day, which is that there's a one-note sample of Aphex Twin at the end of High Frequency. It's a very cheeky use. It's quite appropriate as he's just done a record with a sample of me on it. I couldn't remember doing it, but I took one note of his. It must have been absolutely contemporary with his album Analogue Bubblebath. There's a lot of auto-panning on this album and a lot of modulated panning and reverb, as well. On one of the tracks we actually had a pitch wheel controlling the size of the reverb. It's kinda normal now, but at the time it was pretty far-out stuff, you know? [Laughs]. I'd read about a lot of stuff Conny Plank was doing and wanted to try it."
Symphony In E
"All the strings on here are from a box set of classical music from Hungary that has demonstrations of all the instruments of the orchestra. So I got the cello and violin and stuff, sampled them all separately and layered them all up. I was very into this thing where you played a sample at half and double speed, then they'd be in the same key but at half and double speed. The high string sample in this track is a low string sample an octave up on the keyboard. Sometimes you'd play it an octave down. I used to do that with breaks as well. It makes for a very strange effect. I never hear that now, but I'd recognise it on other people's records years ago. Playing around with breaks on a keyboard was just incredible. It's hard to imagine how incredible that was 25 years ago.

The voice of Joyce Grenfell is used on the intro. She was a very posh English comedian from the 60s. She used to play a school teacher and do monologues. I had some of her albums. I used to play them out in my sets. At the time there was a phrase, 'Toytown Techno'; it was after the Sesame Street dance record was a hit, and things like that. There was a vogue of sampling kids' TV, what with the Prodigy record with the Charly sample in it as well. The Joyce Grenfell sample was a dig at that. Infantile is the word for a lot of rave music [laughs]."
Mountain High (Live)
"This went on a bit too long at just over 20 minutes. It could have easily been 15. I think it was like, 'We have another five minutes to add and then we've filled up the CD'. I made Flying High as long as possible to give you value for money. That was the other thing, of course - suddenly with a CD you got an extra 20-30 minutes than you'd previously had with vinyl albums. It had to be on double vinyl when we released it on record.

This has American philosopher and psychonaut Terence McKenna on it. That was through The Shamen, as I'd been their tour DJ for two years and he'd worked with them. It was really Colin and Angus from the band that introduced me to him. He wasn't really known in the UK until they brought him over and got him on Top of the Pops. I ended up doing a few shows with McKenna in London. One show, he spoke for eight hours and I played ambient music underneath him for the whole day at an old age pensioner's centre in Camden. It was wonderful, I must say. I didn't get paid for it, but to get something out of it I recorded the whole thing. That's where I got the sample from. I must have the eight-hour tape somewhere…"

The Irresistible Force - Flying High  (flac 332mb)

01 Spiritual High 7:47
02 Sky High 12:11
03 Flying High 15:33
04 High Frequency 9:42
05 Symphony In E 8:47
06 Mountain High (Live) 20:15

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Global Chillage brings The Irresistible Force around for another round of ambient bliss, as "Natural Frequency" brings in the sustained tones, filling the track with layered chords and arpeggios. "Downstream" brings in some steel pan tones for a momentary island excursion, while "Moonrise" sweeps up and down the spectrum, as if searching for just the right tone, and "Sunstroke" stretches out like a digital sunset, even as the chorus hums its way into being. But for a more melancholy, icy trip, "Snowstorm," with its tablas, blows its way into your head, though it's very reminiscent of his "Autumn Leaves" remix for Coldcut. The psychedelic "Waveform" sounds as if it could have come from his Flying High album, and the short "Manifesto" closes things one a dubby note. Another extraordinary listening experience.

The Irresistible Force - Global Chillage (flac  370mb)
 
01 Natural Frequency 14:06
02 Downstream 10:05
03 Moonrise 9:41
04 Sunstroke 8:25
05 Snowstorm 8:39
06 Waveform 12:00
07 Manifesto 2:12

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A funny thing happened when The Irresistible Force moved to Ninja Tune, after two previous albums on Rising High. He was already familiar to the Ninja Tune crowd, of course, having created a sublime remix of Coldcut's "Autumn Leaves," but with It's Tommorrow Already, his focus turned to songwriting, rather than just ambient soundscapes. And, as a result, this album was accomplished, mature, and just more than a little funky. "Power," for instance, has a light breakbeat, to accompany its mellow political message, while "The Lie-In King" delivers a groovy easy-listening vibe. "Nepalese Bliss" turns an anti-drug message on its head with a long, resonant bassline, and "Fish Dances" brings in jazzy elements for a finger-snapping good time. "Playing Around With Sound" puts the jazz even more up-and-center, with its filtered saxophone layered in, but the title track takes the album out on a thick, more fuller note, while still remaining sedate. It's a shame that Mixmaster Morris never released a follow-up, because It's Tommorrow Already can, and should, still be played today. While the period separating Global Chillage from It's Tomorrow Already was one of the most explosive in post-rave electronica, the album is remarkably consistent and suffers little from the over-zealousness that tends to plague music that knows too much about itself. Many of the tracks display the same fusion of warm synths, pattery rhythms, paired with the loose organicism of Ninja-styled downtempo.

The Irresistible Force - It's Tommorrow Already (flac 386mb)

01 Power 8:37
02 The Lie-in King 7:44
03 Nepalese Bliss 7:46
04 12 O'Clock 8:15
05 Another Tomorrow 6:36
06 Fish Dances 9:28
07 Playing Around With Sound 6:20
08 Its Tomorrrow Already 8:50

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This release carries on the tradition of high quality music from Morris. Where bands like the orb seemed to lose their touch, Irresistable Force has carried on full steam ahead! A veeery slow, groovy breakbeat, warm & spacey repeating synth-stabs and a funky rhodes. Walking into a tunnel of sound, only to be carried out on the backs of bongo playing cheetahs, strolling along at a lesiurely pace. All the while, Alan Watts is hovering next to you chatting you up with some trancendental advice, occasionally getting his tounge caught in the sampler. A worthy addition to every space cowboy's collection.

The Irresistible Force - Fish Dances EP (flac 345mb)

01 Nepalese Bliss (Remix By Jimpster) 7:02
02 Power (Remix By Mixmaster Morris) 5:44
03 Fish Dances (You Dance In Me) (Remix By Frédéric Galliano) 8:49
04 Nepalese Bliss (Remix By DJ Food) 7:01
05 Nepalese Fish Dances (Remix By Fila Brazillia) 7:35
06 Playing Around With Sound (Remix By Voda) 7:38
07 Fish Dances (Remix By Plaid) 6:49
08 Fish Dances (Instrumental) 9:25

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RhoDeo 1732 Grooves

Hello,

She is known the world over by her first name and as the undisputed, reigning 'Queen Of Soul,' Aretha Franklin is peerless. This 2005 recipient of a Presidential Medal Of Freedom honor (the U.S.A.'s highest honor), 17 Grammy Awards (and counting), a Grammy Lifetime Achievement Award and a Grammy Living Legend Award. She has received countless international and national awards and accolades. Aretha has achieved global recognition on an unprecedented scale. She has influenced generations of singers from Chaka Khan, Natalie Cole and Mary J. Blige to 'American Idol' winner Fantasia Burrino and Oscar- winning Jennifer Hudson. Her ever-distinctive soulful, to-the-bone vocal style has graced the music charts for over four decades and while her 'live' performances have touched the hearts of literally millions since she began her musical journey as a gospel-singing child prodigy, it is her rich legacy of recordings that are a testament to the power, majesty and genius of this one-of-a-kind artist of the first order.   ........ N'joy

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Aretha Franklin was born in Memphis, Tennessee, in 1942. A gifted singer and pianist, Franklin toured with her father's traveling revival show and later visited New York, where she signed with Columbia Records. Franklin went on to release several popular singles, many of which are now considered classics. In 1987, she became the first female artist to be inducted into the Rock and Roll Hall of Fame, and in 2008 she won her 18th Grammy Award, making her one of the most honored artists in Grammy history.

The fourth of five children, Aretha Louise Franklin was born on March 25, 1942, in Memphis, Tennessee, to Baptist preacher Reverend Clarence La Vaughan "C. L." Franklin and Barbara Siggers Franklin, a gospel singer. Franklin's parents separated by the time she was six, and four years later her mother succumbed to a heart attack. Guided by C. L.'s preaching assignments, the family relocated to Detroit, Michigan. C. L. eventually landed at New Bethel Baptist Church, where he gained national renown as a preacher.

Aretha Franklin's musical gifts became apparent at an early age. Largely self-taught, she was regarded as a child prodigy. A gifted pianist with a powerful voice, Franklin got her start singing in front of her father's congregation. By the age of 14, she had recorded some of her earliest tracks at his church, which were released by a small label as the album Songs of Faith in 1956. She also performed with C. L.'s traveling revival show and, while on tour, befriended gospel greats such as Mahalia Jackson, Sam Cooke and Clara Ward.

But life on the road also exposed Franklin to adult behaviors, she gave birth to her first son, Clarence, shortly after she turned 14. A second child followed two years later both with unnamed fathers ! (Think of it what you will -, i know i do)  After a brief hiatus, Franklin returned to performing and followed heroes such as Cooke and Dinah Washington into pop and blues territory. In 1960, with her father's blessing, Franklin traveled to New York, where after being courted by several labels, including Motown and RCA, she signed with Columbia Records, who released the album Aretha in 1961.

Though two tracks from Aretha would make the R&B Top 10, a bigger success came that same year with the single "Rock-a-bye Your Baby with a Dixie Melody," which crossed over to No. 37 on the pop charts. But while Franklin enjoyed moderate results with her recordings over the next few years, they failed to fully showcase her immense talent. In 1966, she and her new husband and manager, Ted White, decided a move was in order, and Franklin signed to Atlantic. Producer Jerry Wexler immediately shuttled Franklin to the studios at the Florence Alabama Musical Emporium.

Backed by the legendary Muscle Shoals Rhythm Section—which included session guitarists Eric Clapton and Duane Allman—Aretha recorded the single "I Never Loved a Man (The Way I Love You)." In the midst of the recording sessions, White quarreled with a member of the band, and White and Franklin left abruptly. But as the single became a massive Top 10 hit, Franklin re-emerged in New York and was able to complete the partially recorded track, "Do Right Woman—Do Right Man."

Hitting her stride in 1967 and 1968, Franklin churned out a string of hit singles that would become enduring classics, showcasing Franklin's powerful voice and gospel roots in a pop framework. In 1967, the album I Never Loved a Man (The Way I Love You) was released, and the first song on the album, "Respect"—an empowered cover of an Otis Redding track—reached No. 1 on both the R&B and pop charts and won Aretha her first two Grammy Awards. She also had Top 10 hits with "Baby I Love You,'' "Think," "Chain of Fools,'' "I Say a Little Prayer," "(Sweet Sweet Baby) Since You've Been Gone" and "(You Make Me Feel Like) A Natural Woman."

Franklin's chart dominance soon earned her the title "Queen of Soul," while at the same time she also became a symbol of black empowerment during the civil rights movement of the time. In 1968, Franklin was enlisted to perform at the funeral of Dr. Martin Luther King Jr. during which she paid tribute to her father's fallen friend with a heartfelt rendition of "Precious Lord." Later that year, she was also selected to sing the national anthem to begin the Democratic National Convention in Chicago.

Amidst this newfound success, Franklin experienced upheaval in her personal life, and she and White divorced in 1969. But this did not slow Franklin's steady rise, and the new decade brought more hit singles, including "Don't Play That Song," "Spanish Harlem" and her cover of Simon & Garfunkel's "Bridge Over Troubled Waters." Spurred by Mahalia Jackson's passing and a subsequent resurgence of interest in gospel music, Franklin returned to her musical origins for the 1972 album Amazing Grace, which sold more than 2 million copies and went on to become the best-selling gospel album at the time.

Franklin's success continued throughout the 1970s, as she branched out to work with producers such as Curtis Mayfield and Quincy Jones and expanded her repertoire to include rock and pop covers. Along the way, she took home eight consecutive Grammy Awards for Best R&B Female Vocal Performance, the last coming for her 1974 single "Ain't Nothing Like the Real Thing."

But by 1975, Franklin's sound was fading into the background with the onset of the disco craze, and an emerging set of young black singers, such as Chaka Khan and Donna Summer, began to eclipse Franklin's career. She did, however, find a brief respite from slumping sales with the 1976 soundtrack to the Warner Brothers film Sparkle—which topped the R&B charts and made the Top 20 in pop—as well as an invitation to perform at the 1977 presidential inauguration of Jimmy Carter. In 1978, she also remarried, to actor Glynn Turman.

A string of chart failures ended Franklin's relationship with Atlantic in 1979. The same year, her father was hospitalized after a burglary attempt in his home left him in a coma. As her popularity waned and her father's health declined, Franklin was also saddled with a massive bill from the IRS. However, a cameo in the 1980 film The Blues Brothers helped Franklin revive her flagging career. Performing "Think'' alongside comedians John Belushi and Dan Aykroyd exposed her to a new generation of R&B lovers, and she soon signed to Arista Records.

Her new label released 1982's Jump To It, an album that enjoyed huge success on the R&B charts and earned Franklin a Grammy nomination. Two years later, she endured a divorce from Turman as well as the death of her father.

In 1985, Franklin returned to the top of the charts with a smash-hit album: the polished pop record Who's Zoomin' Who? Featuring the single "Freeway of Love," as well as a collaboration with the popular rock band the Eurythmics, the record became Aretha's biggest-selling album yet. Her follow-up, 1986's Aretha, also charted well and eventually went gold, and her duet with British singer George Michael, "I Knew You Were Waiting (For Me),'' hit No. 1 on the pop charts.

In 1987, Franklin became the first female artist to be inducted into the Rock and Roll Hall of Fame and was also awarded an honorary doctorate from the University of Detroit. That same year, she released the album One Lord, One Faith, One Baptism, which won the Grammy for Best Soul Gospel Performance.

Following another relatively quiet period in her career, in 1993, Franklin was invited to sing at the inauguration of Bill Clinton, and the following year she received both a Grammy Lifetime Achievement Award and Kennedy Center Honors. She would also be the focus of multiple documentaries and tributes as the decade progressed. Nearing its conclusion, Franklin reprised her former role in Blues Brothers 2000, released the gold-selling "A Rose Is Still a Rose" and stood in for Luciano Pavarotti, who was too ill to accept his Lifetime Achievement Award, with her rendition of "Nessun Dorma" commanding stellar reviews.
So Damn Happy

In 2003, Franklin released her final studio album on Arista, So Damn Happy, and left the label to found Aretha Records. Two years later, she was awarded the Presidential Medal of Freedom and became the second woman ever to be inducted into the UK Music Hall of Fame. In 2008, she received her 18th Grammy Award for "Never Gonna Break My Faith"—a collaboration with Mary J. Blige—and was tapped to sing at the 2009 presidential inauguration of Barack Obama.  

With 18 Grammys under her belt, Franklin is one of the most honored artists in Grammy history, ranked among the likes of Alison Krauss, Adele and Beyoncé Knowles. In 2011, Franklin released her first album on her own label, A Woman Falling Out of Love. To support the project, she performed several concerts, including a two-night stint at the famed Radio City Music Hall in New York. With fans and critics alike impressed with her performances, she successfully proved that the Queen of Soul still reigns supreme.

In 2014, Franklin underscored that point with Aretha Franklin Sings the Great Diva Classics, which reached No. 13 on the pop charts and No. 3 R&B. In February 2017, the 74-year-old Queen of Soul told Detroit radio station WDIV Local 4 that she is collaborating with Stevie Wonder to release a new album to be recorded in Detroit and released in September. “I must tell you, I am retiring this year," she said in the interview, adding: "I feel very, very enriched and satisfied with respect to where my career came from and where it is now. I’ll be pretty much satisfied, but I’m not going to go anywhere and just sit down and do nothing. That wouldn’t be good either.”

"American history wells up when Aretha sings", president Obama explained his emotional response to her performance of "A Natural Woman" at the 2015 Kennedy Center Honors. "Nobody embodies more fully the connection between the African-American spiritual, the blues, R&B, rock and roll--the way that hardship and sorrow were transformed into something full of beauty and vitality and hope".

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Take A Look was compiled and produced by Grammy Award-nominated producer Leo Sacks, who has supervised more than 300 compilations, remixes and new recordings for Legacy which have been vital to preserving the works of American masters. It’s a tremendous set, and it portrays an artist working her own way toward how to best present herself to the world. We all know she got there.

Clyde Otis, a songwriter and record producer who was one of the first black executives at a major record company, died on Jan. 8 2008 in Englewood, N.J. He was 83. Mr. Otis is credited as the writer or co-writer of almost 800 songs, according to Broadcast Music Inc., the music licensing organization. Among the countless artists who have recorded his compositions are Elvis Presley, Aretha Franklin, Bobby Darin, Johnny Mathis and Natalie Cole, whose recording of his “Take a Look” won a Grammy Award for best jazz vocal performance in 1994.

Aretha Franklin - Take A Look, The Clyde Otis Sessions    (flac  282mb)

01 I'll Keep On Smiling 2:53
02 Shangri-La 3:16
03 Zing! Went The Strings Of My Heart 2:34
04 People 4:19
05 A Mother's Love 2:34
06 Friendly Persuasion (Thee I Love) 2:18
07 But Beautiful 2:58
08 That's Entertainment 1:51
09 Take A Look 2:42
10 (Ah, The Apple Trees) When The World Was Young 4:44
11 Jim 2:29
12 Sweet Bitter Love 3:00
13 Only The Lonely 4:55
14 My Coloring Book 4:08
15 I Wish I Didn't Love You So 2:56
16 People (Mono Mix) 4:22
17 A Mother's Love (Mono Mix) 2:30

Aretha Franklin - Take A Look, The Clyde Otis Sessions  (ogg   113mb)

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While the inclusion of "Respect" -- one of the truly seminal singles in pop history -- is in and of itself sufficient to earn I Never Loved a Man the Way I Love You classic status, Aretha Franklin's Atlantic label debut is an indisputable masterpiece from start to finish. Much of the credit is due to producer Jerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure; assembling a crack Muscle Shoals backing band along with an abundance of impeccable material, Wexler creates the ideal setting to allow Aretha to ascend to the throne of Queen of Soul, and she responds with the strongest performances of her career. While the brilliant title track remains the album's other best-known song, each cut on I Never Loved a Man is touched by greatness; covers of Ray Charles' "Drown in My Own Tears" and Sam Cooke's "Good Times" and "A Change Is Gonna Come" are on par with the original recordings, while Aretha's own contributions -- "Don't Let Me Lose This Dream," "Baby, Baby, Baby," "Save Me," and "Dr. Feelgood (Love Is a Serious Business)" -- are perfectly at home in such lofty company. A soul landmark.

Aretha Franklin - I Never Loved a Man the Way I Love You    (flac 175mb)

01 Respect 2:26
02 Drown In My Own Tears 4:00
03 I Never Loved A Man (The Way I Love You) 2:47
04 Soul Serenade 2:30
05 Don't Let Me Lose This Dream 2:22
06 Baby, Baby, Baby 2:48
07 Dr. Feelgood (Love Is A Serious Business) 3:18
08 Good Times 2:05
09 Do Right Woman - Do Right Man 3:15
10 Save Me 2:20
11 A Change Is Gonna Come 4:15

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Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year.

Aretha Franklin - Lady Soul   (flac 188mb)

01 Chain Of Fools 2:45
02 Money Won't Change You 2:02
03 People Get Ready 3:35
04 Niki Hoeky 2:33
05 (You Make Me Feel Like) A Natural Woman 2:37
06 Since You've Been Gone (Sweet Sweet Baby) 2:18
07 Good To Me As I Am To You 3:25
08 Come Back Baby 2:29
09 Groovin' 2:45
10 Ain't No Way 4:12

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Though a bit short on running time at ten songs, this still caught Aretha Franklin at the peak of her early form. When this release hit the racks in 1968 this Soul-Satisfying-Album boosted not 1 (One), but 5 (Five) Billboard Hit Singles: "Think" a Gold #1 Billboard Hit Single!, it's B-Side "You Send Me" a Billboard Top 40 Smash Single!, "I Say A Little Prayer" a Billboard #3 Hit Single!, "See Saw" A Gold Billboard #9 Hit!, and "I Can't See Myself Leaving You" which was the B-Side of 1969's "Gentle On My Mind" even Charted on Billboard's Singles Chart peaking at #3! Add the Album favorites: "Night Time Is The Right Time", and "I Take What I Want", Aretha delivered, yet Another Out-The-Box Smash Album!!!.

Aretha Franklin - Aretha Now   (flac 180mb)

01 Think 2:15
02 I Say A Little Prayer 3:30
03 See Saw 2:42
04 Night Time Is The Right Time 4:44
05 You Send Me 2:25
06 You're A Sweet Sweet Man 2:14
07 I Take What I Want 2:30
08 Hello Sunshine 3:00
09 A Change 2:23
10 I Can't See Myself Leaving You 3:00

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RhoDeo 1732 Re-Up 108

Hello,

Just 5 correct requests this week, in short another batch of 17 re-ups.

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 , requests fulfilled up to August 10th.... N'Joy

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4x Aetix NOW In Flac (The Teardrop Explodes - Wilder, The Teardrop Explodes - Everybody Wants To Shag, The Teardrop Explodes - Zoology, The Teardrop Explodes - Kilimanjaro)


3x Aetix Back in Flac (Nightmares On Wax - A Word Of Science, Nightmares On Wax ‎- Smokers Delight, Nightmares On Wax ‎- Carboot Soul)


3x Beats Back In Flac (LFO – Frequencies, LFO - Advance,  LFO – Sheath)


3x Aetix Back In Flac (Chrome - Alien Soundtracks & Half Machine Lip Moves. Chrome & Damon Edge - Red Exposure & The Wind Is Talking, Chrome & Damon Edge - 3rd From The Sun & Grand Visions)


4x Aetix Back In Flac ( Laibach - Sympathy for the Devil, Laibach - Let It Be, Laibach - Macbeth, Laibach - A Conclusion To..)


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RhoDeo 1732 Aetix

Hello, Burundi's Isaac Magwala was the one man who could ruin the day for South Africa's new golden boy, Wayne van Niekerk, the one that's supposed to make us forget that previous IAAF golden boy that turned out to be a piece of shit, Oscar Pretorius. Well the IAAF did everything it could to keep Magwala to run, despite being the fastest man on the 200 meter and the 2nd fastest on the 400m this season, but these gold medals were meant to go to Van Niekerk. Considering the fact that South Africa turns out to be a country lead by a very corrupt leadership i wouldn't be surprised someone at the IAAF is expecting a nice addition to his bank account. It's beyond outragous what happened at the worldchampionship athletics yesterday and today, they fysically blocked an athlete to compete, but hey do you know where Botswana lies ? IAAF is a disgusting organisation letting transgenders compete with women, letting US dopers go by enlarge scot free but hey money talks at the IAAF..


Today's artists are one of these groups that during the first wave of U.K. punk rock, sang about a world full of violence and chaos, but these guys didn't have to imagine a dystopian world -- living in Belfast, Northern Ireland at the height of "The Troubles," police brutality and terrorist violence were simply a part of daily life, and the band's music was a powerful response to what they saw, raw-boned rock & roll that balanced rage at a world gone mad against hope for a better day......N'Joy

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Prior to becoming Stiff Little Fingers, Jake Burns, vocals and guitar, Henry Cluney, guitar, Gordon Blair, bass, and Brian Faloon, drums, were playing in a rock music cover band, Highway Star, in Belfast. Upon the departure of Gordon Blair (who went on to play with another Belfast group, Rudi), Ali McMordie took over on bass. Cluney had by this time discovered punk, and introduced the rest of the band to it. They decided that Highway Star wasn't a punk enough name, and after a brief flirtation with the name "The Fast", decided to call themselves Stiff Little Fingers, after the Vibrators song of the same name.

It was while doing a gig at the Glenmachan Hotel that they first met Gordon Ogilvie, who had been invited along for the evening by Colin McClelland, a journalist who Burns had been corresponding with. Ogilvie suggested they play material based upon their experience of the Troubles. McClelland arranged to get the band some recording time at a local radio station, and in the studio normally used to record jingles, they recorded "Suspect Device". The single was packaged in the form of a cassette, with a cover depicting a cassette bomb, apparently causing great hilarity in the group, when one record company phoned them and asked for another copy, as they'd thrown the first one in a bucket of water for fear that it was a real bomb.

A copy of the single was sent to John Peel. He played it repeatedly leading to a distribution deal through Rough Trade. The single was released on the band's own Rigid Digits label and sold over 30,000 copies. Peel later did the same with the first single by another famous Northern Irish band from Derry, The Undertones. There were a number of well-publicised arguments between the two bands; the Undertones accused Stiff Little Fingers of sensationalising the Northern Ireland conflict, while they retorted that The Undertones ignored it.

In the second half of 1978, they toured with the Tom Robinson Band, and in 1979, they released their first album on the Rough Trade Label, Inflammable Material. The band signed a contract with Island Records, but it fell through, leaving the band to release the album on their existing label. Despite the album's independent release, it reached number 14 in the UK Albums Chart and reached Silver status, selling over 100,000 copies. Inflammable Material was the first album distributed by Rough Trade records, and the first independent album to chart in the UK. This inspired their move to London, which led to the departure of Brian Faloon and Colin McClelland .

Jim Reilly became their drummer in time for the "Gotta Gettaway" single, and played in the Rock Against Racism tour. In mid-1979, Stiff Little Fingers signed their Rigid Digits label to Chrysalis Records, and in 1980 released their second album, Nobody's Heroes. This brought some success in media terms, with the single "Straw Dogs" narrowly missing the cut for Top of the Pops; they eventually got on the show twice, with "At the Edge" and "Nobody's Hero." However, after their appearance with "At The Edge" the band were told they would never be invited on again as they did not take it seriously as they weren't playing live. it was to be one of the most infamous TOTP's appearances. They subsequently appeared on Top of the Pops for "Nobody's Hero", "Just Fade Away" and "Listen".

In 1981 the band released their third studio album Go For It which was to be Jim Reilly's last involvement with the band. Go For It signified the change in Burns' writing style, with much darker and taboo subjects, such as domestic abuse in the song "Hits and Misses" and football hooliganism in the song "Back to Front" (not on the original LP but a bonus track on CD reissue) but the band also still told the story of being a teenager growing up with the song "Kicking Up a Racket".

In 1982 came a 4-song EP called £1.10 or Less and then their fourth studio album, Now Then... (actually their fifth album, as they had released a live LP, Hanx, as their official third album between Nobody's Heroes and Go for It). Now Then was the first album for former Tom Robinson band's drummer Dolphin Taylor. In the face of low sales and concert attendances, they broke up in 1983, when Burns said: "Our last LP Now Then was to my mind the best album we have made. But it is also unfortunately the best I think we will ever make. So I have decided to call it a day." The band later revealed the original split had been somewhat acrimonious, with band members apparently having fistfights rather than talking through their differences.

In 1987 the band reformed. Despite some critics who had said "Nobody would be interested in coming to see you" the band had a successful tour including Germany with shows selling out night after night. The band changed their plan of it just being a temporary re-union and decided it was to be permanent. Ali McMordie decided he could not commit the time to tour full-time or record and so left, being replaced by Bruce Foxton in time to record 1991's Flags and Emblems. In Britain, the single from this album, "Beirut Moon", was withdrawn from sale on the first day of release, allegedly because it criticised the government for not acting to free hostage John McCarthy, who had been held in the Lebanon.

In 1993 Henry Cluney was asked to leave the band, and the trio of Jake Burns, Bruce Foxton and Dolphin Taylor continued for the next four years, joined on live shows by either Dave Sharp or Ian McCallum. In 1994 they released Get a Life in the UK, releasing it in the US in 1996. By the end of 1996 Taylor left due to family commitments. Burns called in Steve Grantley who had played drums for Jake Burns and the Big Wheel in the late 1980s. The trio of Burns, Foxton and Grantley recorded 1997's Tinderbox album, with help from Ian McCallum who joined as a full-time member for 1999's Hope Street. This same line-up recorded 2003's Guitar and Drum.

On 18 January 2006, the following announcement appeared on the SLF Website. "Bruce Foxton has announced that he is to leave Stiff Little Fingers with immediate effect. After 15 years of writing, recording and touring with SLF Bruce says it is time to move on and concentrate on other projects. "The situation is amicable" says Foxton. "I have enjoyed my time with Jake, Ian and Steve and will miss them. Naturally I wish them all continued success and hope to catch up with the boys during their spring tour." The band released a statement saying "Obviously, we as well wish Bruce every success in everything he goes on to do in the future. He has been a fantastic asset to the band and we'll miss him as well."

On 23 January 2006, it was announced that original bass guitarist Ali McMordie was to rejoin the band for the duration of their upcoming March tour. The tour was a success, with many fans writing into SLF's message board saying how much they enjoyed it, and how fired up the band seemed to be. On 9 March 2007, Burns announced that Stiff Little Fingers would be recording a new album Fifteen And Counting.

On 16 October 2013, the band launched a project on PledgeMusic to raise funds for a new album to be released in March 2014. The project reached its funding goal within 5 hours. The title has been confirmed by the band as No Going Back with recording completed in January 2014 and was released first on 15 March 2014 through PledgeMusic and to the general public on 11 August 2014. A tour in support of the album kicked off in the spring of 2014 and included dates in the U.S. on the Summer Nationals tour. The album was the band's first U.K. chart success since 1983's "All The Best" and their first ever number 1 record on the BBC Rock Album Chart.

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One more time Restless Records, in association with Ryko, trot out the first three Stiff Little Fingers albums for reissue (Inflammable Material, Nobody's Heroes and the live Hanx), this time in the United States. They are identical to the 2001 versions with bonus tracks, so punters beware of making the same purchase twice. Originally released in 1979, Stiff Little Fingers were Ireland's answer to both the Clash and the Sex Pistols. They had the personal and political stance of the former, and the noisy, pissed off, slash-and-burn musical aesthetic as the latter. Fronted by guitarist and songwriter Jake Burns (he collaborated with journalist Gordon Ogilvie), SLF took off with their two singles "Alternative Ulster," and, for that time, the utterly out of control screaming that was "Suspect Device." These two singles make the purchase price of the album a priority. They represent barely contained youthful anger at social and political mores as righteous, utterly devoid of posturing or falsity and raging to break out. "Alternative Ulster" decries the Irish political sides in the Northern Ireland controversy -- the Royal Ulster Constabulary and the Irish Republican Army -- holding them both accountable for bloodshed and social and economic stasis furthering nothing but their own interests. "Suspect Device" which opens the set, screams at the heart of the conflict, that neither side can be believed as both reduce freedom to a buzzword while wielding guns. Both tracks are calls to arms, but of a different sort -- the arms of dialogue and intelligence in the midst of idiocy and murder. Punk rock never sounded so brutal or positive in one band. There are other fine cuts here as well, such as the Bob Marley cover "Johnny Was," reinvented for the times in Northern Ireland; "Wasted Life," another paean to drop out of a society that breeds death and acquiescence for its own sake, and the scathing indictment of the record company that released the album, "Rough Trade." The bonus material includes the single mix of "Suspect Device," the B-side "78 RPM," and part one -- the other two parts are on the subsequent reissues -- of an interview with Burns. If you already have these, don't bother. If you've been trying to dig through the morass into the heart of punk's original fire, this one's for you.

 Stiff Little Fingers - Inflammable Material (flac  391mb)

01 Suspect Device 2:35
02 State Of Emergency 2:28
03 Here We Are Nowhere 0:58
04 Wasted Life 3:09
05 No More Of That 2:03
06 Barbed Wire Love 3:32
07 White Noise 1:57
08 Breakout 3:02
09 Law And Order 3:13
10 Rough Trade 2:39
11 Johnny Was 8:10
12 Alternative Ulster 2:44
13 Closed Groove 4:21
Bonus
14 Suspect Device (Single Version) 2:43
15 78 RPM 2:38
16 Jake Burns Interview By Alan Parker (13/6/01) Part One 17:41

Stiff Little Fingers - Inflammable Material   (ogg  151mb)

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It's easy to see why Stiff Little Fingers' Rough Trade debut remains so highly rated, but for the discerning fan of second generation punk, Nobody's Heroes is every bit as special. For a start, new drummer Jim Reilly was an improvement on Brian Faloon (who gets a heartwarming tribute on "Wait and See"). Secondly, Jake Burns' songwriting collaborations with journalist Gordon Ogilvie are really beginning to pay off. The cornerstones of the LP are "Gotta Gettaway," "At the Edge," and "Tin Soldiers" -- three songs which, in different ways, brilliantly articulate the frustrated ambitions of young men in search of expression and identity, trapped in nowhere jobs or situations. Though "Suspect Device" and "Alternative Ulster" had long since ensured they would always be tagged with the label of "political punk," in truth SLF were always more interested in their immediate environment, and finding a way out of it. A couple of plausible stabs at reggae are more than an interesting aside.

Stiff Little Fingers - Nobody's Heroes (flac 383mb)

01 Gotta Gettaway 3:35
02 Wait And See 4:26
03 Fly The Flag 3:45
04 At The Edge 2:57
05 Nobody's Hero 4:09
06 Bloody Dub 3:48
07 Doesn't Make It All Right 5:48
08 I Don't Like You 2:41
09 No Change 1:57
10 Tin Soldiers 4:47
Bonus
11 Bloody Sunday 3:24
12 Straw Dogs 3:30
13 You Can't Say Crap On The Radio 2:50
14 Jake Burns Interview By Alan Parker (13/6/01) Part Two 15:08

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Following confidently on from the relatively straightforward punk purity of their first two albums, Stiff Little Fingers entered the 1980s with Go for It, an album whose sense of adventure was as radical as its sense of purpose, a raw affirmation of the rock and reggae hybrid that had been pioneered elsewhere (the Clash and the Ruts come most immediately to mind), but was now to be twisted through Jake Burns' own private vision of punk at its most personally committed. The opening "Roots Radicals Rockers and Reggae," of course, sets those intentions out plain as day, while "Safe as Houses" and, among the three bonus tracks, a sterling cover of the Wailing Souls' "Mr. Fire Coal Man" confirm the Belfast band's status among the era's most convincing exponents of the mélange. Two excellent hit singles, "Just Fade Away" and "Silver Lining," bolstered what was already shaping up to be Stiff Little Fingers' finest album; the addition of "Back to Front," a Top 50 smash the previous year, and a rousing live version of "Doesn't Make It Alright" (the B-side of "Just Fade Away") complete a sensational reissue.

 Stiff Little Fingers - Go For It   (flac 237mb)

01 Roots, Radicals, Rockers And Reggae 3:58
02 Just Fade Away 3:04
03 Go For It 3:14
04 The Only One 4:17
05 Hits And Misses 3:49
06 Kicking Up A Racket 2:42
07 Safe As Houses 5:28
08 Gate 49 4:22
09 Silver Lining 3:01
10 Piccadilly Circus 4:42

Stiff Little Fingers - Go For It     (ogg  82mb)

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On 1982's Now Then, which again featured a new drummer (skilled journeyman Dolphin Taylor), SLF attempted to become a full-fledged mainstream rock band. As a consequence, their hardcore fans deserted them in droves. To be fair, leader Jake Burns had always professed a high regard for Bruce Springsteen and Little Feat as much as his punk elders, and his lyrics here changed in tone rather than theme. But that wasn't enough to establish a new audience, nor retain their existing one. It's a real shame, because so much of Now Then is superb, honest, combative, and heartfelt. "Won't Be Told," "The Price of Admission," and the singles "Talkback" and "Bits of Kids" are far more three-dimensional than "Suspect Device" could ever be. Incidentally, Jake Burns inspired Paul Young to cover "Love of the Common People," a version of which is included here, rather than vice versa. Five years later, when SLF re-formed for the first time, no songs from Now Then would appear on their set lists. To paraphrase the Gang of Four, history had done a bunk on SLF's finest hour.

Stiff Little Fingers - Now Then  (flac  387mb)
 
01 Falling Down 3:14
02 Won't Be Told 3:22
03 Love Of The Common People 2:35
04 The Price Of Admission 3:18
05 Touch And Go 3:20
06 Stands To Reason 3:01
07 Bits Of Kids 3:35
08 Welcome To The Whole Week 3:45
09 Big City Night 3:49
10 Talkback 2:50
11 Is That What You Fought The War For ? 3:50
Bonus
12 Listen 4:13
13 Sad-Eyed People 3:55
14 That's When Your Blood Bumps 3:43
15 Two Guitars Clash 4:30
16 Good for Nothing 2:43

Stiff Little Fingers - Now Then   (ogg  130mb )

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RhoDeo 1732 Roots

Hello,


Today's artist  was the second Argentine musician to make a significant impact upon modern jazz -- the first being Lalo Schifrin, in whose band he played. His story is that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat. Still, regardless of the idiom in which he worked, the warm-blooded artist was always one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading. His nickname, Gato, is Spanish for "cat".. ...N'Joy

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Gato Barbieri was the second Argentine musician to make a significant impact upon modern jazz -- the first being Lalo Schifrin, in whose band Barbieri played. His story is that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he worked, the warm-blooded Barbieri was always one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading.

Though Barbieri's family included several musicians, he did not take up an instrument until the age of 12 when a hearing of Charlie Parker's "Now's the Time" encouraged him to study the clarinet. Upon moving to Buenos Aires in 1947, he continued private music lessons, picked up the alto sax, and by 1953 had become a prominent national musician through exposure in the Schifrin orchestra. Later in the '50s, Barbieri started leading his own groups, switching to tenor sax. After moving to Rome in 1962 with his Italian-born wife, he met Don Cherry in Paris the following year and, upon joining his group, became heavily absorbed in the jazz avant-garde. Barbieri also played with Mike Mantler's Jazz Composer's Orchestra in the late '60s; you can hear his fierce tone unleashed in the "Hotel Overture" of Carla Bley's epic work Escalator Over the Hill.

Yet after the turn of the next decade, Barbieri experienced a slow change of heart and began to reincorporate and introduce South American melodies, instruments, harmonies, textures, and rhythm patterns into his music. Albums such as the live El Pampero on Flying Dutchman and the four-part Chapter series on Impulse! -- the latter of which explored Brazilian and Afro-Cuban rhythms and textures, as well as Argentine -- brought Barbieri plenty of acclaim in the jazz world and gained him a following on American college campuses.

However, it was a commercial accident, his sensuous theme and score for the controversial film Last Tango in Paris in 1972, that made Barbieri an international star and a draw at festivals in Montreux, Newport, Bologna, and other locales. A contract with A&M in the U.S. led to a series of softer pop/jazz albums in the late '70s, including the brisk-selling Caliente! He returned to a more intense, rock-influenced, South American-grounded sound in 1981 with the live Gato...Para los Amigos under the aegis of producer Teo Macero, before doubling back to pop/jazz on Apasionado. Yet his profile in the U.S. was diminished later in the decade in the wake of the buttoned-down neo-bop movement.

He continued to record and perform well into the 1980s, including composing the scores to films such as Firepower (1979) and Strangers Kiss (1983). Beset by triple-bypass surgery and bereavement over the death of his wife, Michelle, who was his closest musical confidant, Barbieri was inactive through much of the 1990s. But he returned to action in 1997, playing with most of his impassioned intensity, if limited in ideas, at the Playboy Jazz Festival in Los Angeles and recording a somewhat bland album, Que Pasa, for Columbia. Che Corazon followed in 1999.

As the 21st century opened, Barbieri saw a steady stream of collections and reissues of his work appear. A new album, Shadow of the Cat, appeared from Peak Records in 2002.   Barbieri was the inspiration for the character Zoot in the fictional Muppet band Dr. Teeth and The Electric Mayhem. On April 2, 2016, Barbieri died of pneumonia in New York City at the age of 83.

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This record chronicles a flavorful and unforgettable night during a live show recorded in Montreux, Switzerland. Gato Barbieri leads his fantastic group of musical friends with hurricane-like flair on his tenor sax. At times surreal and mind-boggling, Barbieri shows just how far one can let the music go to break the borders of jazz, sending his music into fresh and uncharted territory. Barbieri's chops and melodic sweeps are daring and bold, while the back crew brings vitality and utter life to the music, from the record's beginning to its very end. Within the first tune, "El Pampero," Barbieri plays a home tone riff over and over, changing only the keys of the song, with improvisation in between that gets the audience into dancing. Lonnie Liston Smith plays with great sweeping ease on the piano, while percussionists Pretty Purdie, Na-Na, and Sonny Morgan send their rhythms into soaring heights. A wondrous sense of dynamics is displayed here and throughout the record. The call and response between Na-Na and Morgan is a featured key ingredient, keeping the mood of the percussion section fluid and tight. Yes, the listeners were mesmerized, and one can feel lifted in spirit again with each playing of this recording. Perhaps the focus and direction of the music, which latched on greatly to the home key and initial melody, gives the music a more solid foundation. This was certainly a special night in Switzerland, in which Barbieri proudly shared his music, credited in a natural more than economic fashion, breathing spirit into the audience rather than taking money. For this performance was priceless, a can't-miss that left audience members bedazzled, talking among themselves years later, saying, "Do you remember when?...I was there!" With passion and faith in music, this group of musicians thrived here in this recorded moment, to demonstrate art, haunting art, vivid imagination, and victory in art.

Gato Barbieri - El Pampero (flac  372mb)

01 El Pampero 13:46
02 Mi Buenos Aires Querido 6:20
03 Brasil 10:03
04 El Arriero 12:02
Bonus
05 El Gato 15:22

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Although some of the smoky sax solos get a little uncomfortably close to 1970s fusion cliché, Gato Barbieri's score to Bertolucci's 1972 classic is an overall triumph. Suspenseful jazz, melancholy orchestration, and actual tangos fit the film's air of erotic longing, melancholy despair, and doomed fate. "Last Tango in Paris" is a particular standout, its orgiastic, wordless vocal yelps reflecting, whether by design or not, the actual content of the movie. The 1998 remastered reissue is by no means just a substitute for the old vinyl; it more than doubles the length of the original release with a "Last Tango in Paris Suite," put together by Barbieri himself from 29 cues from the original score as used in the film.

Gato Barbieri - Last Tango In Paris   (flac  410mb)

01 Last Tango In Paris - Tango 3:32
02 Jeanne 2:34
03 Girl In Black - Tango (Para Mi Negra) 2:06
04 Last Tango In Paris - Ballad 3:43
05 Fake Ophelia 2:57
06 Picture In The Rain 1:51
07 Return - Tango (La Vuelta) 3:04
08 It's Over 3:15
09 Goodbye (Un Largo Adios) 2:32
10 Why Did She Choose You? 3:00
11 Last Tango In Paris - Jazz Waltz 5:44
Bonus
12-40 The Last Tango In Paris Suite 27:26

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While it's true that Argentinian saxophonist Gato Barbieri is widely celebrated in jazz circles for his out recordings with Dollar Brand (now Abdullah Ibrahim) and his Impulse! Latin America series, it is Barbieri's Flying Dutchman sides, in particular the two albums featured on this excellent two-fer from BMG's Bluebird subsidiary, that tell the tale. Bolivia and Under Fire feature the talents of John Abercrombie, Airto, Stanley Clarke, Bernard Purdie, Roy Haynes, Mtume, Lonnie Liston Smith, and others in their articulation of soul-jazz, Latin and Afro-Cuban jazz, and Brazilian melodic sensibilities. Their dynamics are spacious and spacy; their lush presentations are not overly slick and are full of radical harmonic developments and an intricate interaction between front-line and percussion instruments as equals in the melodic idiom. This two-fer features beautifully remastered sound and complete liner notes with a solid essay by Donald Elfman as well as the original liners for the individual albums by Nat Hentoff and Robert Palmer. These are indispensable Latin jazz records that opened many doors. They remain vital and progressive recordings that will enlighten the cultural and musical perspectives of any open-minded listener.

Gato Barbieri - Bolivia + Under Fire   (flac  488mb)

Bolivia
01 Merceditas 9:07
02 Eclypse/Michellina 6:24
03 Bolivia 7:46
04 Ninos 7:15
05 Vidala Triste 5:33
Under Fire 
06 El Parana 9:00
07 Yo Le Canto A La Luna 4:40
08 Antonico 3:46
09 Maria Domingas 9:35
10 El Sertao 8:17

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When Gato Barbieri signed to Impulse! Records in 1973 for a series of critically lauded albums, he had already enjoyed a celebrated career as a vanguard musician who had worked with Don Cherry and Abdullah Ibrahim (then known as Dollar Brand), recorded for three labels as a leader, and scored and performed the soundtrack to director Bernardo Bertolucci's film Last Tango in Paris. Chapter One: Latin America was a huge step forward musically for the Argentinean-born saxophonist, even as it looked to the music of his heritage. This turned out to be the first of four chapters in his series on Latin America, and for it he teamed not with established jazz musicians, but instead folk and traditional musicians from his native country, and recorded four of the album's five cuts in Buenos Aires -- the final track, a multi-tracked solo piece, was recorded in Rio de Janeiro. The music found here doesn't walk a line between the two worlds, but freely indulges them. The enormous host of musicians on the date played everything from wooden flutes to electric and acoustic guitars, bomba drums and quenas, and Indian harps and charangos, creating a passionate and deeply emotive sound that echoed across not only miles but also centuries. At the helm was Barbieri, playing in his rawest and most melodic style to date, offering these melodies, harmonies, and rhythms as a singular moment in the history of jazz. While the entire album flows seamlessly from beginning to end, the A-side, comprised of Barbieri's own "Encuentros" and J. Asunción Flores and M. Ortiz Guerrero's classic "India," is the clear standout. That said, the four-part suite that commences side two -- "La China Leoncia Arreo la Correntinada Trajo Entre la Muchachada la Flor de la Juventud" -- is a work of such staggering drama and raw beauty that it is perhaps the single highest achievement in Barbieri's recorded catalog as an artist. Simply put, this album, like its remaining chapters, makes up one of the great all but forgotten masterpieces in 1970s jazz.

Gato Barbieri - Chapter One: Latin America (flac  275mb)

01 Encuentros 12:29
02 India 8:59
03 La China Leoncia Arreo La Correntinada Trajo Entre La Muchachada La Flor De La Juventud (13:34)
04 Nunca Mas 5:26
05 To Be Continued 2:27


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RhoDeo 1732 Tales 08

Hello, it was a big day for female sports in the Netherlands, their footbal team became European champions after coming from behind, defeating the Danes 4-2 in what was the best game of the tournament. Two goals from Miedema bringing her total to 4, after being unable to score at the poulefase, Arsenal will be happy having contracted her for next season. Over at the world athletics a surprise fail for Elaine Thompson who came in 5th at the 100m sprint, but a surprise win of the bronze for the dutch hope Dafne Schippers, after a calculated fall the win for Tory Bowie. At the heptatlon the Belgian Olympic Champion Nafissatou Thiam reigned supreme, but here too a dutch surprise Anouk Vetter who got a good bronze just behind a German girl.



Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 07 The Fruit At the Bottom of the Bowl (avi  296mb)

An eccentric flamboyant critic, who's staying at a lodge in the Irish woods, makes a bet with a mild-mannered skeptical writer, that the legend about the sad banshee haunting the forest searching for her lover is real.



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Here a series of Ray Bradbury stories specially dramatised for radio with introductions by the author.

Ray enthusiastically agreed and, joined by writer Catherine Czerkawska and director Hamish Wilson (who had collaborated on some Bradbury stories broadcast by BBC Scotland), we embarked on a series of 30-minute plays under the generic title Ray Bradbury's Tales of the Bizarre.

Ray Bradbury introduces his own spooky tale of confessions and confectionary dramatised by Catherine Czerkawska. Starring TP McKenna as the priest and John Yule as the young man. Director: Hamish Wilson

Ray Bradbury - 08 Jack in the Box (mp3  25mb)

08 Jack in the Box 28:04

A new guest in a boarding house is disliked by the grandson of the lady who runs the house. But why? The reason soon becomes startingly clear....




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previously

Ray Bradbury - Night Call, Collect (mp3  27mb)
Ray Bradbury - Have I Got a Chocolate Bar for You (mp3  24mb)
Ray Bradbury - The Jar (mp3  26mb)
Ray Bradbury - The Fruit at the Bottom of the Bowl (mp3  26mb)
Ray Bradbury - I Sing the Body Electric (mp3  26mb)
Ray Bradbury - Skeleton (mp3  26mb)
Ray Bradbury - The Man Upstairs (mp3  25mb)



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