RhoDeo 1919 Aetix

Hello,


Today's artist (born 21 September 1947, Wimbledon) is an English musician, songwriter and record producer, having produced albums for artists including Kevin Ayers, Tina Turner, Howard Jones, Saga, The Fixx, Bob Geldof, Thompson Twins, Stevie Nicks, Chris de Burgh, Suzanne Vega, Rush, Underworld, Duncan Sheik, Formula and Eleanor McEvoy. In addition, he has recorded eleven albums, including ones billed under his own name, the pseudo-band name Thinkman, and as a member of the band Quantum Jump... N Joy

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Although also a recording artist in his own right, Rupert Hine earned perhaps his greatest recognition as one of the most successful and prolific producers of the synth pop era. As half of the duo Rupert & David, he made his recording debut at the age of 16 with the 1965 single "The Sound of Silence"; it was not a success, and so he maintained a low profile until 1971, venturing out as a solo performer with the LP Pick Up a Bone. After issuing his second solo effort, 1973's Unfinished Picture, Hine turned to production with Kevin Ayers' Confessions of Dr. Dream. In 1976 he began fronting the trio Quantum Jump, debuting that year with a self-titled album and releasing the follow-up Barracuda a year later. Around 1978 he began accepting more and more production work, helming albums from Anthony Phillips, the Members, and Camel, guiding the latter to their most commercially successful effort, I Can See Your House from Here.

Returning to solo work with 1981's Immunity, Hine also found success producing Saga's Worlds Apart and Chris de Burgh's The Getaway. His breakthrough year was 1984, when he helmed Howard Jones' smash Human's Lib as well as Tina Turner's comeback smash Private Dancer; the subsequent success of Jones' Dream into Action and the Power Station's self-titled debut confirmed Hine's status as one of the hottest producers around. Under the guise of Thinkman, he returned to solo work in 1986, reuniting with Turner that same year for Break Every Rule, and in 1987 he produced the Thompson Twins' Close to the Bone, followed in 1989 by Stevie Nicks' The Other Side of the Mirror. At the same time Hine also began working with Rush, producing their LP Presto as well as its 1991 follow-up, Roll the Bones.His last solo effort was the ambient Deep End (95). He now releases records sporadically, always with poetic lyrics written by his wife, but has concentrated since on production, one of those people that have been greatly influencing modern pop music, but prefers to stay out of the limelight.

In 2008, Hine oversaw the direction of the compilation album Songs for Tibet: The Art of Peace, and also contributed to it a remixed version of his song, "The Heart of the Matter" (from The Deep End). In 2008, during the Beijing Olympics, the album was iTunes third most downloaded around the globe. Hine wrote two songs for Le Cheshire Cat et moi, a 2009 CD by Nolwenn Leroy which was produced by Teitur Lassen. In 2011 Rupert Hine, launched Auditorius, a joint music publishing project with BMG Rights Management. In November the same year, following a glowing citation from Bob Geldof, Rupert was honoured by the APRS with a Sound Fellowship Award; presented to recognise special contributions to the 'Art, Science and Business of Recording'. Hine joined Joe Boyd, Clive Green, Bob Ludwig, Jimmy Page and Chris Thomas to receive the award from Sir George Martin, APRS President, who together with an elite group of past recipients; sound and music innovators, including Sir Paul McCartney, Peter Gabriel, Chris Blackwell, also holds a Fellowship Award.

In March 2015 Esoteric Recordings (part of Cherry Red Records) issued "Unshy on the Skyline",[6] a compilation from a trio of albums Hine made between 1981 and 1983, Immunity, Waving Not Drowning and The Wildest Wish to Fly, complemented by the lyrics of poet and artist Jeannette-Thérèse Obstoj, and featuring guest contributions from musicians Robert Palmer, Phil Collins and guitarist Phil Palmer. The album has been re-mastered by Hine's long time friend and sound engineer Stephen W Tayler, who had recorded, mixed and co-produced the original albums. To recognise the Dalai Lama's 80th birthday in July 2015, the Art of Peace Foundation commissioned Hine to produce Songs for Tibet II, to celebrate and honour the Dalai Lama's vision. A follow-up to the Grammy-nominated Songs for Tibet that Hine produced in 2008, artist contributions came from Sting, Peter Gabriel, Lorde, Kate Bush, Elbow, Duncan Sheik, Howard Jones, The Family Crest, Ed Prosek, Of Monsters & Men, Bob Geldof, Crystal Method, Rival Sons, Eleanor McEvoy and Hine himself.


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Returning to solo work with 1981's Immunity,Immunity marked a return to solo work for Rupert Hine after a few years with Quantum Jump. Early-'80s synth-pop did not age very well as a genre, but this album is the exception. The disquieting moods, oblique accompaniments, poetic lyrics, and dramatic effects hold up the album thru time. Highlights include ...each of the album's original nine tracks is a gem, full of clever ideas and daring artistic choices, with Hine handling most instruments. Hine's approach was closer to pop, but he favored disquieting moods, oblique accompaniments, poetic lyrics, and dramatic effects. Highlights include the gloomy "I Think a Man Will Hang Soon," the catchy title track, the delicate "Samsara," and the progressively schizophrenic masterpiece "Make a Wish," although each of the album's original nine tracks is a gem, full of clever ideas and daring artistic choices. Hine handles most instruments. Guest musicians include Phil Collins (drums on two tracks), Marianne Faithfull (back vocals on one track), while guitarist Phil Palmer can be heard throughout the album.

Rupert Hine - Immunity ( 252mb)

01 I Hang On To My Vertigo 4:59
02 Misplaced Love (Voc. Marianne Faithfull) 4:10
03 Samsara 5:06
04 Surface Tension 4:12
05 I Think A Man Will Hang Soon 4:09
06 Immunity 3:50
07 Another Stranger 4:31
08 Psycho Surrender 4:05
09 Make A Wish 6:15
10 Scratching At Success 3:51

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Waving Not Drowning, released in 1982, was Rupert Hine's fourth solo album and followed the 1981 masterpiece Immunity. This time around, Hine settled for less daring studio work and a more direct approach. The piano takes center stage, relegating synthesizers to background atmospheres. It makes this set of songs closer to Peter Hammill's solo material from that period (although better produced and with an enhanced pop attitude). Waving Not Drowning marks a transition between its more disturbing predecessor and the rather colorless The Wildest Wish to Fly (1983). "Dark Windows," "The Sniper," and "The Outsider" are still artistically crafted songs and the album conceals numerous details (soft-spoken transitions, digital treatments, strange sounds) one could not find on more commercial LPs from the early '80s. Once again, Hine plays most instruments and is supported by guitarist Phil Palmer. Special guests include Phil Collins (percussion on one track), Chris Thomson (lead vocals on one track), and Geoffrey Richardson (guitars and viola on one track). The 2001 CD reissue on Voiceprint's imprint Misplaced added the B-side "Kwok's Quease," a tongue-in-cheek song on monosodium glutamate. This album does not have the force of impact of Immunity, nor does it show the subtle progressive rock influences found on it, but it remains an enjoyable piece of British synth-pop.

Rupert Hine - Waving not Drowning ( 246mb)

01 Eleven Faces 3:44
02 The Curious Kind 4:46
03 The Set Up 4:29
04 Dark Windows 3:22
05 The Sniper 5:32
06 Innocents In Paradise 3:24
07 House Arrest 4:18
08 The Outsider 5:29
09 One Mans Poison 6:13
Bonus
10 Kwok's Quease 2:05

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The 1983 LP Wildest Wish to Fly closed Rupert Hine's early-'80s solo output. The album took another step toward more conventional pop songs. The lush production, intelligent lyrics, and precise songcrafting qualities of Hine still make it an enjoyable record, but the weird sounds, bleak atmospheres, and daring artistic choices found on the 1981 Immunity are now history. The best moments are found in "No Yellow Heart," "Victim of Wanderlust," and the title track. A few songs are based on subjects revolving around technology ("The Saturation of the Video Rat" on television, "Picture-Phone"), which gives an outdated aura to this particular record. The album's release history is confusing and deserves to be straightened out. It first appeared worldwide, excluding North America, in May 1983. A different version, with one extra song ("Blue Flame") and two missing ("Victim of Wanderlust" and "The Saturation of the Video Rat") replaced by tracks from Immunity, was released in the U.S. and Canada in March 1984. A third version was released in the U.K. in February 1985 with "Blue Flame" taking the place of "Living in Sin."

Rupert Hine - The Wildest Wish To Fly ( 276mb)

01 No Yellow Heart (Original Version) 4:49
02 Living In Sin 3:40
03 The Saturation Of The Video Rat 3:46
04 Firefly In The Night 4:04
05 A Golden Age 4:35
06 Picturephone 3:32
07 Victim Of Wanderlust 3:56
08 The Most Dangerous Of Men 4:40
09 The Wildest Wish To Fly 7:19
10 Blue Flame 4:18
11 No Yellow Heart (Later Version) 4:24

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Human's Lib is an unintentionally revealing title for Howard Jones' debut album. What first seems like a play on words reveals itself as something of an empowering manifesto, a shift that mirrors his music. Upon first glance, Human's Lib appears to be state-of-the-art synth pop circa 1984: a record where every element outside of the human voices appears to be electronic. courtesy of the superb production work by Rupert Hine. While that may well be true, Jones isn't a futurist the way such peers as Depeche Mode or Eurythmics are. At his core, Jones is a reconstituted free spirit, preaching the power of positive thinking and advocating universal love. His dedication to synthesizers does camouflage Jones' innate hippie, which gives the album an appealing dichotomy: underneath his electronics and stylish haircut, he's singing about subjects better suited to acoustic guitars and tie-dyed T-shirts. Still, Human's Lib benefits from Jones' complete immersion in synths, giving the album a glimmering sheen that remains emblematic of the dawn of MTV. In particular, "New Song" is quintessential post-New Wave synth pop, all percolating blips and analog washes held together by a massive melodic hook. Throughout Human's Lib, Jones usually relies on texture, a move that makes the album an ingratiating artifact, but there are moments where his songcraft surfaces. Usually those are on singles, such as "Pearl in the Shell," which flattens a Tamla/Motown beat for the music video era. But it's the searching "What Is Love?" -- the album's biggest hit everywhere outside of the U.S. -- that points the way toward Jones future: it's a big, soaring ballad that hints at the adult contemporary he'd later embrace.

Howard Jones - Human's Lib ( 487mb)

01 Conditioning 4:34
02 What Is Love? (Extended Version) 6:32
03 Pearl In The Shell 4:01
04 Hide And Seek 5:38
05 Hunt The Self 3:42
06 New Song 4:15
07 Don't Always Look At The Rain 4:12
08 Equality 4:28
09 Natural 4:27
10 Human's Lib 4:04
11 China Dance 3:49
bonus
12 New Song (Portuguese 7" Single Mix) 4:07
13 What Is Love? (Rough Mix) 3:59
14 Don't Put These Curses On Me (Instrumental) 3:23
15 Human's Lib (Farmyard Mix) 3:54
16 Pearl In The Shell (Rough Mix) 4:12
17 New Song (Mix Take 1) 4:21

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After the no 1 success of his previous album with the hit producer Rupert Hine, it would make sense to have the same man at the helm with the followup. Dream Into Action begins with Howard Jones singing "Things Can Only Get Better," a sentiment that only hints at the good vibes touted by the synth pop singer on his second album. On his debut, 1984's Human's Lib, Jones sang about positivity, but this sequel plays like a self-empowerment manifesto, filled with cautionary tales and anthems of hope. "No One Is to Blame," a cavernous ballad of encouragement which was given a hit revision with the assistance of Phil Collins, exemplifies the latter but it doesn't typify the album, which trades in peppy pop tunes of self-actualization, best represented by the chipper hits "Things Can Only Get Better" and "Life in One Day." Synthesizers retain their place in the spotlight but Dream Into Action doesn't feel like a synth pop album, not in the way the sleekly electronic Human's Lib did. Instead, this is a big, bright album that epitomizes the sound of the mainstream in the mid-'80s, a time when computers worked overtime to disguise themselves as human sounds. And that's why Dream Into Action is, in many ways, the apotheosis of Howard Jones' career: he'd yet to drift into softened adult contemporary, and he still had enthusiasm for his hooks, his machines, and his positivity, the very things that distinguished him from the legions of synth poppers in the mid-'80s.

 Howard Jones ‎- Dream Into Action ( 357mb)

01 Things Can Only Get Better 3:56
02 Life In One Day 3:40
03 Dream Into Action 3:46
04 No-One Is To Blame 3:29
05 Look Mama 4:03
06 Assault And Battery 4:52
07 Automaton 4:04
08 Is There A Difference? 3:33
09 Elegy 4:22
10 Specialty 3:58
11 Why Look For The Key 3:23
12 Hunger For The Flesh 3:59
13 Bounce Right Back 4:32
14 Like To Get To Know You Well 3:59

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RhoDeo 1919 Lost 2

Hello, Mozilla users under you may have noticed trouble with add ons, something went wrong with the certification (it had run out) rendering all add ons obsolete. Reinstalling efforts bounced with the message : download failed. please check your connection. It took me some time to filter out an easy solution. Enter about:config in the adressbar, scroll all the way down to xp.signature.required ,change true to false by clicking on the line. Thats all ....addblocker coming in...


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Sir Arthur Ignatius Conan Doyle KStJ DL (22 May 1859 – 7 July 1930) was a British writer best known for his detective fiction featuring the character Sherlock Holmes. Originally a physician, in 1887 he published A Study in Scarlet, the first of four novels about Holmes and Dr. Watson. In addition, Doyle wrote over fifty short stories featuring the famous detective. The Sherlock Holmes stories are generally considered milestones in the field of crime fiction.

Doyle was a prolific writer; his non-Sherlockian works include fantasy and science fiction stories about Professor Challenger and humorous stories about the Napoleonic soldier Brigadier Gerard, as well as plays, romances, poetry, non-fiction and historical novels. One of Doyle's early short stories, "J. Habakuk Jephson's Statement", helped to popularise the mystery of the Mary Celeste.

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Edward Malone, a young reporter for the Daily Gazette, asks his editor for a dangerous assignment to impress the woman he loves, Gladys, who wishes for a great man capable of brave deeds and actions. His task is to approach the notorious Professor Challenger, who dislikes the popular press intensely and physically assaults intrusive journalists. The subject is to be his recent South American expedition which, surrounded by controversy, guarantees a hostile reaction. As a direct approach would be instantly rebuffed, Malone instead masquerades as an earnest student. On meeting the professor he is startled by his overwhelming intellect - his intimidating physique too - but believes his ruse is succeeding. Seeing through the masquerade, then confirming Malone's scientific knowledge is non-existent, Challenger erupts in anger and forcibly throws him out. Malone earns his respect by refusing to press charges with a policeman who saw his violent ejection into the street. Challenger ushers him back inside and, extracting promises of confidentiality, eventually reveals he has discovered living dinosaurs in South America, following up an expedition by a now-deceased previous American explorer named Maple White. At a tumultuous public meeting in which Challenger experiences further ridicule (most notably from a professional rival, Professor Summerlee), Malone volunteers for an expedition to verify the discoveries. His companions are to be Professor Summerlee, and Lord John Roxton, an adventurer who helped end slavery on the Amazon; the notches on his rifle showing how many slavers he killed doing so.


The Lost World is a science fiction novel by British writer Arthur Conan Doyle, published in 1912, concerning an expedition to a plateau in the Amazon basin of South America where prehistoric animals (dinosaurs and other extinct creatures) still survive. It was originally published serially in the popular Strand Magazine and illustrated by New-Zealand-born artist Harry Rountree during the months of April–November 1912. The character of Professor Challenger was introduced in this book. The novel also describes a war between indigenous people and a vicious tribe of ape-like creatures.


The Lost World (1975 BBC Radio 4 )

    Francis de Wolff as Professor Challenger
    Gerald Harper as Lord John Roxton
    Kevin McHugh as Edward Malone
    Carleton Hobbs as Professor Summerlee



Arthur Conan Doyle - The Lost World 2 ( 46min mp3     21mb).



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previously

George Orwell - Nineteen Eighty Four - Part 1 ( 57min mp3     52mb).
George Orwell - Nineteen Eighty Four - Part 2   ( 57min mp3     52mb).

Franz Kafka - The Castle (Das Schloss) 1 ( 57min mp3     52mb).
Franz Kafka - The Castle (Das Schloss) 2   ( 57min mp3     52mb).

Arthur Conan Doyle - The Lost World   ( 46min mp3     21mb).


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RhoDeo 1919 Re-Up 188

Hello,



18 correct requests for this week, 3 too early , whatever another batch of 64 re-ups (20.9 gig)


These days i'm making an effort to re-up, it will satisfy a smaller 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 May 5th !... N'Joy

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4x Aetix Back in Flac (Stranglers - No More Heroes, Stranglers - Black & White, Stranglers - The Raven, Stranglers - Rattus Norvegicus)


5x Aetix Back In Flac (The Specials - The Specials, The Specials - More, The Special A.K.A. - In The Studio, The Fun Boy Three - The FB 3,  The Fun Boy Three - Waiting)


3x Aetix Back In Flac (Buggles - The Age Of Plastic, The Passions - Michael & Miranda, T. Dolby - The Golden Age Of Wireless)


3x Aetix Back in Flac (Lloyd Cole & Commotions - Rattlesnakes, Felt - Stains on a Decade, Prefab Sprout - Langley Park To Memphis)


3x Grooves Back in Flac (Funkadelic - Standing on the Verge of .., Funkadelic - Let's Take It to the Stage, Funkadelic - Hardcore Jollies)


4x Aetix Back in Flac ( The Compact 2 Tone Story 1, The Compact 2 Tone Story 2 , The Compact 2 Tone Story 3, The Compact 2 Tone Story 4)


4x Roots Back In Flac (Badi Assad - Solo, Badi Assad - Rhythms, Badi Assad - Echoes of Brazil, Badi Assad - Verde)


3x Aetix Back in Flac (Jerry Harrison - The Red And The Black, Jerry Harrison - Casual Gods, Jerry Harrison - Walk On Water)


4x Sundaze Back In Flac (Eliane Radigue - Kyema, Eliane Radigue - Kailasha, Eliane Radigue - Koume, Eliane Radigue - Transamorem - Transmortem)


4x Sundaze  Back  in Flac (Variant - The Setting Sun, Variant - Falling Stars, Variant - Aurora's Dream Solar Mix, Variant - Aurora's Dream Polar Mix)


3x Sundaze NOW in Flac (Nils Petter Molvaer - Solid Ether, Biosphere - Autour De La Lune, Röyksopp – Senior)



3x Sundaze Back in Flac (DeepChord - Vantage Isle Sessions, DeepChord Echospace - Silent World, DeepChord Echo - Silent World (O.S.T.))



2x Sundaze Back in Flac (Deepchord - The Coldest Season, Craig & Von Oswald - Recomposed 3)



3x Roots NOW in Flac (Fela Kuti - Afrodisiac, Fela Kuti - Zombie, Fela Kuti  - Opposite People + Sorrow Tears and Blood )



4x Grooves Back in Flac (The Rebirth Of Cool Vol. 1, The Rebirth Of Cool Vol. 2, The Rebirth Of Cool Vol. 3, The Rebirth Of Cool Vol. 4)


4x Aetix NOW in Flac (Shriekback - The Infinite, Shriekback - Evolution, Shriekback - Oil And Gold, Shriekback - Big Night Music)


4x Aetix Back in Flac (Television - Marquee Moon, Television - Adventure, Tom Verlaine - Tom Verlaine, Tom Verlaine - Dreamtime)


4x Aetix Back in Flac (Siouxsie & The Banshees - The Scream, Siouxsie & The Banshees - The Scream Bonus, Siouxsie & The Banshees - Join Hands, Siouxsie & The Banshees - Kaleidoscope)

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Sundaze 1919

Hello, as i was preparing today's Sundaze my external disc started to balk and loose connection, luckily i got reconnected after a restart and managed to get the files i needed today, but it looks troublesome to get the almost 2 terabyte safely onto a new disc, if anything it will take time. Which is conflicting with tomorrows re-up, we'll see how it pan's out. Meanwhile the Giro has started and Primoz Roglic put his competitors on a clear distance but this is a 3 week race plenty of time for the self declared favorit, Simon Yates, to get the 19 sec he lost today back.


Today's artists is a proficient and eloquent artist who has had an extensive and impressive musical career. This acclaimed artist whose serene atmospheres and cinematic orchestrations enthrall while Darshan Ambient's signature piano melodies, processed guitar work, and nuanced synth-string passages work their magic, portraying a true sense of wonder and space  ...  ......N-Joy

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Michael Allison has been playing and composing music since the age of 16.  His humble beginnings started in High School as lead singer for Brimstone in the Central Valley town of Modesto, California. At the age of 17 he joined a "show band" from Los Angeles as the bassist for Skyway touring the South and the Pacific North West.  Soon after they disbanded, he formed a life long friendship with Naux (Juan Maciel) playing in such bands as Nona Hendryx & Zero Cool, Richard Hell and China Shop in New York City.  In 1984, he formed his own band Empty House playing to very enthusiastic crowds in places like CBGB's, TRAX and The Pyramid Club; where they were the "house" band performing every Tuesday night.  However, it was through his connection with Naux that Michael began composing music fusing "ambient" and "jazz" influences from Brian Eno to Miles Davis. In 1992, he began a solo career writing and recording music that soon became  known as Darshan Ambient; releasing several critically acclaimed albums such as Providence, The Zen Master's Diary,  Autumn's Apple,  re: Karma,   From Pale Hands To Weary Skies,  A Day Within Days and Dream In Blue. Allison's music has been used in films, documentaries and television commercials.

As this is but a small bio, an interview: Ambient Visions (AV) Talks with Michael Allison (MA) aka Darshan Ambient


AV:  What was it that originally drew you to music and eventually being a performer yourself?

MA:  My dad played in country bands when I was very young and that made a huge impact on me. I was 8 years old when I started really becoming interested in the guitar. Around that time (1964-65) I began listening to The Beatles and a lot of Motown and R & B records.

AV:  Having listened to a lot of music during the 70's and 80's I remember some great stuff and some not so great stuff. Tell me about the music that you made and the groups that you played with during that time and what you enjoyed most about the music that you played during that time period.

MA:  I joined my first "professional" band Brimstone when I was in High School and some friends of mine who were starting a new band needed a lead singer.

I loved to sing so it seemed the natural thing to do. I was a "bass player" at the time but they already had one so being the front man was very interesting to me. It was a great way to hone my vocal skills and learn how to become an "entertainer". I was really into the whole Peter Gabriel thing at the time.  Disco was a raging phenomenon but there were still many great bands to listen to. My favorites were Genesis, Yes, ELP and all of the English "progressive rock" bands. The ascendancy of electronic music in the 80's gave exposure to some fantastic artist's too like Peter Gabriel, Michael Brooks, Depeche Mode and the Art Of Noise. All made significant contributions to how music is conceived today.

AV:  Do you still see that same level of creativity and innovation in today's music scene as existed back then?

MA:  The technology is certainly better but I'm not sure the creativity is there.

A lot of the stuff today sounds great but it lacks "soul". No matter which genre of music in the 60's or 70's you choose, it almost always had soul and a great feel to it. I don't mean the more commercially successful music because a lot of that is awful but the stuff by Tower Of Power, Marvin Gaye and Earth,Wind & Fire and English bands like Genesis, Pink Floyd and Yes were just amazing. I love a lot of different kinds of music including Jazz and Blues and the 60's and 70's were filled with incredible sounds.

AV:  In 1992 you made the decision to quit touring and trying to catch the rock and roll dream. Was this more because creatively you had other music that you wanted to realize or was it more that the lifestyle was just too much to take that you decided to give it up?

MA:  I was pretty tired when I left New York in 1987. I went into semi-retirement, moved to San Francisco, bought myself a keyboard and decided to really slow things down. From 1975 until 1987 I was extremely busy touring, writing and recording which is not a lifestyle I would recommend to anyone. Up until the early 90's trying to have your music heard was nearly impossible if you couldn't get a record company to release your stuff but thanks to the Internet and technology which enabled the artist to record at home, playing non-stop in rock bands was no longer necessary.

AV:  Once you were off the road and recording in your home studio did you already know what direction you wanted to go with your music?

MA:  Albums like Eno's Discreet Music and Another Green World proved to me that you don't need very much to make incredible music. Bill Nelson and Patrick O'Hearn were pioneers in the D.I.Y. philosophy. They also made a living at it which was encouraging. I've always loved "ambient" and "electronic music". What was very attractive about that kind of music was it's simplicity and what I needed in my life at that time was simplicity.

AV:  You mention in your bio about "wanting to record in a stress free environment" as one of the reasons to give up touring and chasing the rock and roll dream. How much pressure was there to "make it big" and compose the next big hit and how does that affect the creative flow of an artist who has to live up to these demands?

MA:  The demands were different when I was getting started in the 70's. If you weren't signed to a major label, touring was the only way your band got heard. And the only way you got signed was if a label saw dollar signs when they heard you. Now an artist can upload anything he wants and get heard from more people in a day then you could in an entire tour. I wish I had the Internet when I was starting out. Some of the bands I played in were really quite good and we could've used it for sure.

AV:  Tell me about the name Darshan Ambient and where that came from and what it represents to you as your performing name.

MA:  Since I was very young, the metaphysical world fascinated me. I was 18 when I met Naux and he introduced me to yoga and meditation. I fell in love with the teachings of Paramahansa Yogananda. From that time on, musically, everything I wrote was geared towards a form of Self-Realization. It became cathartic for me to make music that actually produced something positive in people. "Darshan" is an ancient word from Sanskrit meaning "divine vision". I put the word "Ambient" after it because there was already another band using Darshan.


AV:  So after making the decision to quit touring where did your muse take you in terms of musical compositions and how would you describe the music that you were composing back then?

MA:  Brian Eno was my biggest influence when it came to what I did after I quit the music scene. Originally I made this music to calm myself. To help me relax and focus on changing my lifestyle. I did a lot of drugs and drank heavily during my years as a "rock musician" and composing "ambient" music grounded me and gave me a sense of purpose. The music I composed was very similar to what I'm doing now except I'm a lot better at it. I had one of those cheap Yamaha keyboards that you couldn't program but I made pretty good use of it. I used a 4 track cassette recorder and made many hours of relaxing music.

AV:  Everyone is an amalgamation of their experiences and the things they have learned along life's journey. How did your previous musical experiences help to shape and influence the kinds of music that you now compose under the moniker of Darshan Ambient?

MA:  The art of improvisation is very key to what I do now which was introduced to me through my work with Naux and the early Harlequin years. When I sit down and compose I have no idea where it's going and all of my best pieces were recorded within a couple of hours, start to finish. I have a very 'jazz' approach to what I do which requires that I work very quickly. I use a lot of loops in my work and I just layer one idea on top of another until I have something fantastic.

AV:  What are some of the ambient releases you have put out since making the decision to alter your musical path and what kinds of mile markers do they represent in your musical progression?

MA:  Providence, The Zen Master's Diary, Autumn's Apple,  From Pale Hands To Weary Skies are some of my earlier works but I'm proudest of Providence and Autumn's Apple the most because of their huge yet very simple sound and composition. What really turns me on is discovering a melody that can literally make the listener cry.

AV:  Your latest release is A Day Within Days. Let's start with the title.  What are you looking to communicate about the music on this new album through the title?

MA:  The title doesn't have any major significance; I just liked the sound of it. Shortly after starting the project my dear friend Naux passed away from a long illness and his passing made for some emotional firepower that helped fuel what I was working on. I'm hoping that people receive a positive emotional impact with the music.

AV:  How long have you been working on this release that will be available on November 9, 2010 and is this about normal for a project from beginning to end?

MA:  From the moment "From Pale Hands To Weary Skies" was finished in 2008 I began writing and recording A Day Within Days. There are many tracks that didn't make it on the final release which easily could've become a double disc set. It usually takes about a year to conceive and execute my ideas for a new album. The record label then put's it in the pipeline and that can take several months.

AV:  Does this new album represent any innovative directions to your music that fans haven't seen to date?

MA:  I'm working with guitar and bass much more than in past releases. I love the combination of ambient elements fused with harder, more aggressive rhythms.

There are some new software like Spectrasonics Omnisphere and Native Instruments' Battery 3 that I'm having fun with on this CD. There is also an orchestral feel to this album that makes for a much bigger sound.

AV:  I really enjoyed the first track of the album called Talking Book. Tell me a little about this song and what you were aiming for as you worked on it.

MA:  I started with a couple of "Imbira" loops on Reason 4. Slowly I put piano and bass, then added guitar and extra percussion loops along with Omnisphere. It took forever to mix this track because it is so dense but I love the progressive nature of it. It's one of my favorite tracks on the album.

AV:  Reading the notes on the CD this is pretty much your project start to finish. Do you ever seek any outside advice or opinions since you started to work on your own in your own studio?

MA:  My wife listens to everything I do. She's got a great ear for what's cool and what isn't. I almost always end up agreeing with her perspective.  Originally this was going to be a much more vocal oriented CD. But some of the tracks just weren't panning out the way I'd hoped so "It's You" is the only one on this album with my voice on it.

AV:  Looking back to how you used to record music and contrasting that with the making of your new album what are the glaring differences in how you used to work on a project like this and how has this made a difference to how the finished album itself sounds?

MA:  I spent many years in a conventional recording studio environment so I was very slow in warming up to computers and all things digital. All of my early works in the 90's were recorded on an analog TASCAM 688 Midistudio. I moved over to a Roland VS-880 for albums like Providence and The Zen Master's Dairy. It wasn't until Autumn's Apple that I actually started using computers and all of From Pale Hands was recorded using nothing but Propellerhead's Reason 4. I don't know how I survived all those years without today's technology. The new album sounds fantastic!

AV:  After reading your bio and some of the notes on the CD itself it is apparent that there is a spiritual component to the music you compose. If you can, tell me how your spirituality alters what you compose and how you go about recording the music you write.

MA:  As I said before, my past explorations in self-realization through yoga and meditation is what fuels much of what I do. But above all my role as a father and husband give me so much inspiration for what I compose now. I love who I am in relation to their lives and that sense of undeniable purpose keeps my fires burning. Making music is so much easier now than the days when I was single and living alone. I'm a less selfish person.

AV:  Tell me something about either a song on the album or the album as a whole that I won't hear anywhere else.

MA:  You can dance to it.

AV:  The new album is being released on Lotuspike records. What kind of relationship do you have with them and are they supportive of your music once it is out of your hands and ready to distributed to your fans?

MA:  The folks at both Lotuspike and Spotted Peccary are great. The wider distribution really helps get my music in markets that were otherwise unattainable. I appreciate everything they do for my music.

AV:  Do you have a favorite instrument to compose on? What will listeners hear as far as instrumentation on A Day Within Days?

MA:  I play a lot of bass and guitar on this one. There are also some wonderful soft synths that I use for the first time that makes the music quite a treat to listen to.

AV:  Any final thoughts on your music or your new album that you would like to share with the readers of Ambient Visions?

MA:  I try very hard to make a human connection when it comes to my music. I think I really achieved that on A Day Within Days.

AV:  From one Michael to another thanks for stopping by and sharing some thoughts about your music with the readers of AV.



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Albums such as Providence and The Zen Master's Diary have garnered praise from many respected critics of the genre, including Bill Binkleman, whom Allison's brand of ambient – "pastoral ambient" – inspired him to write, "The music is so suffused with calm and patience that it's like bathing in warm water under a starry sky. It features all the hallmarks that listeners have come to expect from a great Darshan Ambient release; effortless chilled grooves, glowing ambient textures, signature guitar melodies, delicate piano lines, processed electric guitar work, and nuanced synth-string passages.I have a difficult time describing the emotional reaction I have to Allison's music with any lucidity because, to me, this is intensely personal music, meant to be shared only with those whom one loves."

Darshan Ambient - Providence ( 204mb)

01 Canopy Of Stars 4:46
02 Night Fishing 6:51
03 Providence 7:13
04 Liquid Desire 8:47
05 The Sombre Ballet 4:43
06 Soft Land 8:44
07 Hills Of The Everlasting 7:30

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In the legend of Zen archery, when the archer is one with the target, the arrow flies true.  According to Karunesh, in the liner notes of "Zen Breakfast," "When you become at peace with your world, you become the target."

Darshan's compositional imagination is what creates that magic in his music. He is graced with a gift to create music in ways which sends one's soul on a journey of exploration; discovery, introspection, adventure, peace and healing. His ability to touch the self in ways no other artist has up to this point. Every track on `The Zen Master's Diary' is simply the best--a masterpiece. "Bless You" simply stops me in motion and drifts me off on a spiritual odyssey. "Evidence of Light"--leaves me silent. My heart sinks whenever I listen to "The Rightness of Things" and "Wanting." The title track encompasses a melodic sweep with orchestral sounds that delve into bliss. Michael Allison's bio tells me he has been a part of and draws from a pool of music within eras that were simply undaunted in their arrangements and creativity--when bands were really bands and their musical freedom danced on the tip of all places high. Combined with his genius, he knows no boundaries, weaving his constellation of music genius in and around this planet.

Darshan Ambient - Zen Master's Diary (flac  267mb)

01 Prelude: Evidence Of Light 7:04
02 Night Shot Of Earth 10:37
03 Grace 6:09
04 Drawing Water 7:41
05 Wanting 4:52
06 It Has Begun 3:52
07 Bless You 8:15
08 The Rightness Of Things 4:25
09 The Zen Master's Diary 8:16

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No ambient artist out there today has better understood and internalized the most influential ambient record of all time (IMHO), Brian Eno's 1978 release Ambient I: Music for Airports then Michael Allison. This kind of discreet precise approach to note selection and soundscaping cannot be taught. And Allison demonstrates this once again with his simply virtuosic playing and composing on this release; not a single note on it is wasted or excessive. What is even more impressive is that this is by no means Eno-redux (i.e., boringly minimalist music that drones on and on like musac). To the contrary, Allison caresses the listener with luminescent notes that circulate in, around, and through very dynamic, percussion infused arrangements...

One of the many pitfalls of this kind of music, of course, is that the rhythmic elements can swamp the piano thus undermining what is truly ambient about the work (I have heard many releases when this is the case and the songs invariably become forgettable and thus forgotten in the heap)...Instead, Allison pulls off a remarkable feat: Each and every track, and thus the work as a whole, accomplishes a wonderfully balanced rhythmic and atmospheric ambience. But more than a demonstration of impressive technical skill, the sounds that emanate from the core of Autumn's Apple feel effortless.

Darshan Ambient - Autum's Apple ( 370mb)

01 Azure Day 13:30
02 Deep Garden 6:39
03 Pastorale 5:38
04 Acre Of Sun 6:49
05 Sea Stars For Tristen 4:02
06 Rain Parade 5:54
07 Pebble In My Shoe 6:26
08 Autumn's Apple 8:13
09 Man In The Window 4:07

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From the liner notes: "The 5 years leading up to the release of "End of Days," in the spring of 2000, were some of the most productive of my career. The material on this album, some of which is released here for the first time, reflect my intense interest in melodic and chordal ambient composition. I've included two new pieces for this album, one of which is a duet with Jeff Kowal called "Black Mountain Morning." Otherwise I play all instruments and do all the programming throughout."

Darshan Ambient - ReKarma ( 376mb)

01 The Cool River 3:11
02 Boundless 6:23
03 Tiger In The Grass 5:59
04 The Ocean Whispers 4:41
05 Premonition 3:37
06 Soul Chameleon 4:27
07 Box Of Sky 7:47
08 A Walk Along The Ganges 7:11
09 Mountain 5:37
10 Slow Drift 6:00
11 After The Night 5:22
12 Black Mountain Morning (with Terra Ambient) 5:42
13 The Gift 6:36

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RhoDeo 1918 Grooves

Hello,


Today's Artists were an American female singing group and the premier act of Motown Records during the 1960s. Founded as The Primettes in Detroit, Michigan, in 1959, the Supremes were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group with 12 number one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid-1960s, the Supremes rivaled the Beatles in worldwide popularity. ...... N Joy

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The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.

The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.

The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes" in late 1963, Ross had taken over the lead singing for good.

Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.

Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.

After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.

In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes/Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the '60s for which they'll be remembered.

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Brian Holland, Lamont Dozier, and Eddie Holland were one of the most successful songwriting and production teams of the '60s and '70s; they were staff songwriters at Motown Records who also worked with acts in the studio, and were the brains behind some of the label's biggest hits, including classics by the Temptations, the Four Tops, Marvin Gaye, the Miracles, and Martha & the Vandellas. Diana Ross & the Supremes were not only one of Motown's biggest acts of the '60s, they were personal favorites of label chief Berry Gordy, so it's no surprise that Holland-Dozier-Holland were often recruited to write and produce material for Motown's flagship act, and just as the title says, The Supremes Sing Holland-Dozier-Holland features the label's biggest female artists singing a dozen tunes written and produced by their best behind-the-scenes talent. However, this wasn't a "best-of" collection, but a 1967 set dominated by fresh recordings, which means some of the Supremes' most popular recordings of H-D-H compositions don't make the cut, including "Baby Love," "Stop! In the Name of Love," "Where Did Our Love Go," and "My World Is Empty Without You." The album also features the Supremes putting their stamp on H-D-H tunes that were hits for the Four Tops ("It's the Same Old Song") and Martha & the Vandellas ("Love Is Like a Heat Wave"), and while there's nothing wrong with these recordings, they don't quite have the same fire as the originals (Ross' relatively cool approach was always part of her calling card). With a dozen great songs performed by a fine vocal group backed by an outstanding studio band, there's no way The Supremes Sing Holland-Dozier-Holland could not be a good album, but it isn't quite as great as it could have been, despite a handful of excellent tracks.

 The Supremes - Sing Holland-Dozier-Holland    (flac   200mb)

01 You Keep Me Hangin' On 2:57
02 You're Gone 2:35
03 Love Is Here And Now You're Gone 2:47
04 Mother You, Smother You 2:34
05 I Guess I'll Always Love You 2:38
06 I'll Turn To Stone 2:23
07 It's The Same Old Song 2:30
08 Going Down For The Third Time 2:34
09 Love Is In Our Hearts 2:07
10 Remove This Doubt 2:51
11 There's No Stopping Us Now 2:57
12 Love Is Like A Heat Wave 2:38

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Their last album with Holland-Doizer-Holland at the creative helm, it was apparent that both parties were battling creative fatigue and were exhibiting the appropriate scars at the time. Reflection only leads to regret for Ross, as she dwells on the happiness she once had, the hurt that followed, and “the love you took from me”. Her lonely introspection is scored by sweeping screes of synthesised noise – the work of engineer Russ Terrana, abusing a signal generator used to test electronic equipment – as producers Holland/Dozier/Holland doffed their caps toward the psychedelic rock scene. But the track’s true magic lies in more traditional tools – James Jamerson’s restless bassline, the brooding keyboards, the relentless tambourine rattle and insurgent snare drum through the chorus, not to mention a delicious call-and-response middle eight, in which Ballard and Mary Wilson got to share the spotlight for a few seconds. This moment of harmony was deceptive, however: Reflections saw the Supremes rechristened Diana Ross & the Supremes, and, by the time of its release, former leader Ballard had been fired following a drunken performance at the Flamingo Hotel in Las Vegas, and replaced by Cindy Birdsong. But aside from the then-innovative title song and the jazzy "In and Out of Love," there's nothing much to get excited about.

 Diana Ross & The Supremes - Reflections    (flac   284mb)

01 Reflections 2:49
02 I'm Gonna Make It (I Will Wait For You) 2:47
03 Forever Came Today 2:59
04 I Can't Make It Alone 2:57
05 In And Out Of Love 2:39
06 Bah-Bah-Bah 2:58
07 What The World Needs Now Is Love 2:50
08 Up, Up And Away 2:30
09 Love (Makes Me Do Foolish Things) 2:51
10 Then 2:08
11 Misery Makes Its Home In My Heart 2:52
12 Ode To Billie Joe 4:30
13 Stay In My Lonely Arms 3:18
14 All I Know About You 1:57

 Diana Ross & The Supremes - Reflections   (ogg  101mb)

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What more could you want, two great groups, 11 great songs, and classic Motown productions. Contains the super groups' big hit "I'm Gonna Make You Love Me" and the equally effervescent "I'll Try Something New." But the goodies don't stop there: Check "Try It Baby," a remake of Marvin Gaye's hit, done this time with bass Melvin Franklin groaning lead lines to Diana Ross' soprano; Diana and Dennis Edwards recreate Marvin and Tammi on a rousing version of "Ain't No Mountain High Enough"; smooth tenor-singing Otis Williams does a silky rendition of "This Guy's in Love With You"; and Paul Williams is forever Paul as the prominent voice on "Then," an old Four Tops album cut. Originally released in 1969, this is a CD every Temptations, Diana Ross & the Supremes, and Motown fan should have. A Holland import combines this and a following album by both groups on one CD -- 21 tracks of these delicacies.

Diana Ross & The Supremes - Join The Temptations (flac   211mb)

01 Try It Baby 3:41
02 I Second That Emotion 2:28
03 Ain't No Mountain High Enough 2:16
04 I'm Gonna Make You Love Me 3:05
05 This Guys In Love With You 3:46
06 Funky Broadway 2:32
07 I'll Try Something New 2:18
08 A Place In The Sun 3:28
09 Sweet Inspiration 2:54
10 Then 2:15
11The Impossible Dream 4:45

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Through 1964 to 1967 the Supremes were Motown's biggest act. Singles like "Where Did Our Love Go," "Back in My Arms Again," and "You Keep Me Hanging On" defined the label's pop prowess and the quirky appeal of talented lead singer Diana Ross. By 1968, the group not only lost member Florence Ballard, but also Holland-Dozier-Holland who had written and produced all of their big singles. Cindy Birdsong joins Mary Wilson and Ross for this 1968 effort and the group name was officially changed. Although it's always fun to hear Ross and the Supremes, the most interesting thing about this effort is its production. With a lack of consistently great songs, Love Child had to rely on hooks, choruses, and production values rather than magical songs. The well-produced and controversial title track proved how good Ross is with melodrama. "How Long Has That Evening Train Been Gone" has a great bassline from James Jamerson and Ross oddly having a lot of fun with her supposedly dire romantic prospects. The warm cover of Bobby Taylor and the Vancouvers' classic "Does Your Mamma Know About Me" sticks close to the original with good results. Ashford and Simpson offer two of their early tracks, the album's first single "Some Things You Never Get Used To," and the graceful "You Ain't Livin' Until You're Lovin'." For the most part, Love Child's tracks seem to run together but this offers the late-'60s Motown sound without gimmicks and is more than recommended.

 Diana Ross And The Supremes - Love Child (flac   215mb)

01 Love Child 2:55
02 Keep An Eye 3:07
03 How Long Has That Evening Train Been Gone 2:46
04 Does Your Mama Know About Me 2:51
05 Honey Bee (Keep On Stinging Me) 2:20
06 Some Things You Never Get Used To 2:24
07 He's My Sunny Boy 2:20
08 You've Been So Wonderful To Me 2:31
09 (Don't Break These) Chains Of Love 2:23
10 You Ain't Livin' Till You're Lovin' 2:41
11 I'll Set You Free 2:37
12 Can't Shake It Loose 2:07

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Let the Sunshine In appeared deceptively late, given some of its content in the history of Diana Ross & the Supremes. Released in the spring of 1969, by which time the Supremes were already seeming a bit old-hat, it generated relatively little excitement, and its late placement in their discography still makes it suspect, at first glance, to historically minded listeners. The fact that it's also from the group's post-Holland/Dozier/Holland period also makes it automatically less interesting in a musical/historical context. Actually, it's a pretty strong pop-soul effort -- Diana Ross is the obvious focus, and given the chaotic circumstances surrounding the group during this period, it's difficult to say at all times who is singing with her (Mary Wilson and Cindy Birdsong are obviously present somewhere, and the Andantes are, no doubt, backing Ross up at some points); but it does contain one track, the hauntingly beautiful "Let The Music Play," dating all the way back to 1967 and including founding member Florence Ballard. The album is still solid listening 40-plus years later, and it's not easy to explain why it performed poorly on the pop charts, especially with three hit singles present to help drive sales; "I'm Livin' in Shame" had been a Top Ten single and was making its LP bow, and "The Composer" (authored by Smokey Robinson) easily made the Top 30. The one weak link in the AM radio department was "No Matter What Sign You Are," a Berry Gordy composition that was more a catchy inventory of trends -- including a sitar in the arrangement that was dated by 1969 -- than a new horizon in pop music. The album does embrace more of a soul sound than early Supremes efforts, and audiences (and radio stations) were perhaps picking that up more succinctly here; thus, it got to number seven on the R&B charts but only a paltry number 24 as a pop album. Ross is in excellent form throughout, and the arrangements reach for the lush side of soul, which would become her trademark as a solo artist. Ironically, the weakest link is the title track, Ross' cover of the Hair medley "Aquarius/Let the Sunshine In" -- Ross just doesn't do well (or much) with the songs. Fortunately, it is followed by "Let the Music Play," which more than makes up for the lost opportunity, as well as offering a poignant look back at the original trio.

 Diana Ross & The Supremes - Let The Sunshine In (flac   249mb)

01 The Composer 2:55
02 Everyday People 2:59
03 No Matter What Sign You Are 2:56
04 Hey Western Union Man 2:53
05 What Becomes Of The Broken Hearted 2:52
06 I'm Livin' In Shame 2:57
07 Medley: Aquarius/Let The Sun Shine In (The Flesh Failures) 2:59
08 Let The Music Play 2:39
09 With A Child's Heart 2:59
10 Discover Me (And You'll Discover Love) 2:24
11 Will This Be The Day 2:56
12 I'm So Glad I Got Somebody (Like You Around) 3:31

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RhoDeo 1918 Roots

Hello, .


Today's artists proved that you could still make great music with a history of wars, revolutions, kings, psychotic dictators and deadly hurricanes, ah yes the human spirit . .......N'Joy

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Haitian Vodou is a syncretic mixture of Roman Catholic rituals developed during the French colonial period, based on traditional African beliefs, with roots in Dahomey, Kongo and Yoruba traditions, and folkloric influence from the indigenous Taino peoples of Haiti. The Loa, or spirits with whom Vodouisants work and practice, are not gods but servants of the Supreme Creator Bondye (pronounced Bon Dieu). In keeping with the French-Catholic influence of the faith, vodousaints are for the most part monotheists, believing that the Loa are great and powerful forces in the world with whom humans interact and vice versa, resulting in a symbiotic relationship intended to bring both humans and the Loa back to Bondye. "Vodou is a religious practice, a faith that points toward an intimate knowledge of God, and offers its practitioners a means to come into communion with the Divine, through an ever evolving paradigm of dance, song and prayers."

Vodou rites are done to call upon spirits, called Loas (or Lwas), for their aid, instruction, special powers and strengths. Loas are ancestral spirits who have become abstracted through the generations to become embodiments of certain principles or characteristics. A great feast is often prepared to entice the Loas to attend. Practitioners of the religion wear white clothes and are assisted by Ougan and Manbo (male and female Vodou priests, respectively) to become "possessed" by the loas. Through singing, dancing, and particularly the music of the drums, spirits come to "ride" their mortal hosts. The analogy of someone riding, and thereby controlling, a horse is given as an explanation of this phenomenon. The word Chwal (from the French cheval) is used to describe one who is "being ridden". Spirits impart wisdom and direction through their chwals for the servants of the faith.

The loas are divided up into several nanchons (from the French nations), families of spirits from the same ethnic group and/or serving a similar function. The most prominent nanchons are Rada, Nago, Djouba, Petwo (also written Petro), Kongo, Ibo, and Gède. Traditionally each one of these nanchons would have had particular rites, rhythms and adherents. They even would have had their own drums that were unique to that nanchon to call upon its loas. These drum sets are known as batterie (from the French for "set of drums"). Today, due to economic constrictions and social and geographic changes, the drums from the Rada batterie are the most common, with the Petwo drums also extant.

Below is an overview of the several nanchons, the qualities and origins of their laws, and the rhythms and dances associated with their rites.

Rada - The loas of this nanchon are strong, but benevolent, balanced in their treatment of their servants. These are the most revered spirits, and many Vodou rituals begin with adulations for them. They originate from the Fon people of Dahomey (present day Benin). In Fact, the word Vodou comes from the Fon word for "God". There are many loas in this group. To name a few: Papa Legba – Guardian of the Crossroads; Marassa – twin spirits who represent childhood; Dambala – the serpent spirit who represents energy and life; Ezili Freda – spirit of love and femininity; Lasirèn – mistress of the sea and music. Rhythm and dance styles played for the Rada nanchon include: Yanvalou, Parigol, Zepol, Mahi, Fla Voudou and Daomé.

Nago - The loas of this nanchon represent power. Its members embody attributes of warriors and leaders. They originate from the Yoruba people of south-western Nigeria and are closely associated with Ogun (sometimes written Ogou), the Yoruba Blacksmith-God. The loas in this group have names starting with Ogun, like Ogun Fèray and Ogun Badagri. As such, they are represented by steel and fire. The Nago rites are replete with military imagery. These spirits give masculine, fatherly council and support. The rhythm and dance style associated with these rites is also called Nago.

Djouba - The loas of this nanchon are connected to cultivation and farming. They personify peasants, both in appearance and manner. It is surmised that this nanchon comes from the island of Martinique. The principal loa for this group is Azaka. The rhythms and dance styles associated with this nanchon are Djouba (Matinik) and Abitan.

Petwo - The loas of this nanchon are aggressive, demanding, quick and protective. The origins of this nanchon are unclear, but many believe them to be the spirits of the original slaves and Haiti’s indigenous people (The Taino – almost completely wiped out after European contact), a sort of "home-grown" family of spirits. These spirits were called upon during the slave revolts beginning in 1791 which ultimately lead to the defeat of Napoleons troops in 1803 and independence in 1804. The name might be derived from a slave priest of mixed African and Spanish Blood name Don Pedro who was one of the rebellion’s leaders. One of the loas in this nanchon bears his name (Jean Petwo). Another, Ezili Danto - sister to Ezili Freda in the Rada nanchon - is a spirit of love, but with a penchant for violence or revenge. The rhythm and dance styles associate with Petwo include Petwo, Makiya, Bumba, Makanda, and Kita.

Kongo - The loas of this nanchon are ancestors of the Bantu people of the Congo river basin. These spirits are gracious, and enjoy song and dance. In fact, music played for the Kongo nanchon is unique in that it is also popular in secular settings. In vodou worship houses called tanp (from the French temple) dolls representing these spirits are displayed adorned in brightly coloured clothing. Sprits include Kongo Zando and Rwa Wangol. The rhythm and dance style associated with this nanchon goes by the same name.

Ibo – The loas of this nanchon are from the Ibo people in south-eastern Nigeria. Their chief attributes are pride, to the point of arrogance, and are difficult to satisfy. These spirits preside over sacred items called Kanari, clay pots in which the soul of the initiate is said to reside during ritual possession. The best known loa of this group is Ibo Lélé (the chatterer). The rhythm and dance style associated with this nanchon also goes by the same name.

Gède - The loas of this nanchon are the spirits eroticism and death. More accurately they control the cycle of death and life. They are represented by figures in black with white faces. They are also tricksters. The most famous loa of this nanchon is Baron Samedi. He is macabre, obscene and lives in cemeteries. Other loas include Gède Nibo, Baron Lakwa and Gède Zarien. The Vodou ceremony almost always ends with the rites for Gède nanchon. The rhythm and dance style associated with this nanchon is called Banda.

While these seven nanchons all have their distinct attributes, in a more general way the nanchons are divided into two branches, each of which takes its name from one of the nanchons within it. While there is no consensus on this point, it can generally be argued that the Rada branch includes Rada, Nago and Djouba, and the Petwo branch includes Petwo, Kongo, Ibo and Gède. Some people place Djouba under the Petwo Branch, and some others consider the Kongo branch its own entity. For the purposes of drumming, we will use the two-branch differentiation, as rhythms most rhythms being played in non traditional contexts today use either the Rada or Petro batterie.

The Rada batterie and The Petwo batterie display as much contrast as the loas of the nanchon branches for which they play.


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Kompa direct, was the pop music of Haiti as it incorporated more effective American- and French-style pop structures spawned mini-jazz bands that became perhaps the first fully Haitian form of pure pop. It was on late 1965 when a group of students from Bas Peu-de-Shose an area in P-au-P created one of the most successful mini jazz band called Les Shleu-Shleu.The original members were Smith Jean Baptiste (drum),Garry Cassagnol (guitar),Hugues Djackaman (singer) and Edouard Crévecoeur (accordion). Les Shleu-Shleu recorded and released several great albums.

Accordions wheeze and bass guitars lope along in a two-step; clarinets and soprano saxes ebb & flow merrily on a tide of joie de vivre. There's good drumming and vocals, : they share a mood, invoking those tropical open-air clubs. On the surface it sounds like a dance, but one at the edge of desperation, clinging to wistful jazz melodies half-remembered, sudden tempo swings from upbeat to lethargic and back, desperate to forget your troubles and live in the moment. The title track of translates as "Bald Head in New York," probably a lot more common today than when this was recorded. Despite the ugly cover, Tete Chauve jaunts off swingingly, but then we really catch a fire with "Ceremonie Loa." Saxophonist Georges Loubert Chancy is the star, in my estimation.

Les Shleu-Shleu - Tête Chauve    (flac  281mb)

01 Tête Chauve a New York 3:48
02 Timidite 5:09
03 Mambo Instrumental 5:12
04 Cocoyer 5:22
05 Coeu Map Kimbe 4:33
06 Saint Valentin 5:47
07 Ceremonie Loa 6:44
08 Machan Yo 6:23

Les Shleu-Shleu - Tête Chauve    (ogg    118mb)

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TiCorn (Creole for “petite Cornelia” - Cornelia Schütt) was born 1953 to a German family, rooted in Haiti for several generations in the trading and shipping business. At the age of 12 she started playing the guitar and singing the songs that surrounded her. She spent her childhood in Cap Haitian, then was sent to Germany for further education. She has lived most of her life between the Caribbean and Europe and continues to travel to many countries. Haïti Cherie is a rare and timeless album, classic in its authenticity. TiCorn, interprets these particularly evocative forms of creole songs. From the famous traditional melodies to popular voodoo songs, her unique vocal timbre transports us to the very heart of this Caribbean island, which is as colorful as its native painting, as magic and mysterious as its folklore.

 TiCorn - Haiti Cherie [Creole Favorites - Trad. & Voodoo Songs]    (flac  302mb)

01 Haiti Cherie 2:40
02 Nan Fond Bois 2:07
03 Papa Damballah 2:10
04 Feuilles Yo 2:22
05 Ministre Azacca 2:30
06 L'Artibonito 2:11
07 Agohe 2:17
08 Carenage 2:58
09 Choucoune 3:37
10 Ce Pa Vre 3:11
11 Nan Guinin 3:22
12 Sous Le Ciel D'haiti 2:39
13 Ma Pralle 4:20
14 Invocation Sole 5:42
15 Temps Longtemps 5:17

TiCorn - Haiti Cherie [Creole Favorites - Trad. & Voodoo Songs]  (ogg  124mb)

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In 1981, Haiti's Boukman Eksperyans's irresistible new rasin music mixed the traditional rhythms of vodou worship with the beats of the country's spring festivals; the band's raucous celebratory concerts drew worldwide support for Haiti's struggle for democracy. Their debut, Vodou Adjae, was a celebration of Haiti's rich history and a manifesto of resistance and political defiance. Libete Pran Pou Pran'l! coming four years later, found the rage abated somewhat, tempered by calls for strength and courage in the face of the rich minority's continuing rape of the island. The sound is still based on Haitian political and religious syncretism, Afro-pop instrumental and percussive profluence, and American guitar riffs, but the production is slicker and busier than on their last album. This album is a study in contrasts, much like Haiti itself: A tough shell protects a big heart and a conquering tenderness. And the music the contradictions produce both enrages and enraptures. The title track, "Sa'm Pedi" "What I've Lost" and "Peye Pou Peye" "You Must Pay" call for revolution, but such tracks as "Ganga," a prayer to the spirit of mayhem, and "Zili," a beautiful ballad for the Mother of God, caress the ears even while resistance fires the lyrics.

 Boukman Eksperyans - Libete    (flac  325mb)

01 Legba 1:44
02 Sa'm Pèdi 3:46
03 Libète (Pran Pou Pran'l!) 4:45
04 Ganga 4:16
05 Peye Pou Peye 7:05
06 Zan'J Yo 4:38
07 Zili 3:37
08 Ki Moun 4:04
09 Rara Ti Celia 4:23
10 Konbit Zaka 4:22
11 Jou Malè 7:05

Boukman Eksperyans - Libete    (ogg  132mb)

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This album features the music of Calypso in its many styles. Included is music from its birthplace - the island of Trinidad - as well as a number of other Caribbean islands (including Jamaica and the Bahamas) and its subsequent onwards journey (Britain, Panama and the United States), recorded during the years 1955-69. Calypso is one of the most exciting and enduring forms of musical expression to emerge from the beginning of the 20th century - swinging, persuasive rhythm, brilliantly expressive melodies and lyrics of great humour and wisdom.

Calypsonians songs play out a role in society similar to the storytelling Griots of West Africa (and the corresponding music of Kaiso); with their own tales about popular and incredible news items, modern life, local politics all mixed up with sexual innuendo, one-upmanship, comedy and more. At its source, Calypso is intricately and inextricably bound to the social history of Trinidad and its myriad of traditions, beliefs, folklore and fables. As the music spread around the world, both from the diaspora of many of its performers, as well as its commercial success, the subjects of songs similarly took on local topics.

The most notable singer of Calypso in England was the Trinidadian Lord Kitchener (Aldwyn Roberts), who came to Britain in 1948 on HMS Empire Windrush  (along with fellow Calypsonians Lord Beginner and Lord Woodbine). Here on this album you will also find other members of Calypso’s aristocracy & royalty – including Lord Cobra, Lord Hummingbird, Lord Growler, King Fighter, Lord Byron, The Mighty Viper, Lord Ivanhoe & more. The songs vividly capture the popular news stories and fashions of the era - the first Man on the Moon, James Bond’s Pussy Galore, bed bugs, Voodoo, love in cemeteries, West Indians in England, Bossa Nova, the Iron Curtain, and a story of a white man who had a black heart transplant operation. This album celebrates a criminally unsung and under-documented art form.

 Calypso, Musical Poetry in the Caribbean 1955-69    (flac  205mb)

01 Lord Cobra Y Los Pana Afros - Man On The Moon 2:52
02 Young Growler - Pussy Galore 2:32
03 Lord Hummingbird - Teenage Bossa Nova Girl 2:43
04 Lord Byron & Orquesta Nueva Alegria - Yes ParssIn 2:59
05 Cyril Diaz & Orchestra - Voodoo 3:51
06 Lord Flea & His Calypsonians - Out De Fire 2:12
07 Brownie  - The Bed Bug Song 2:25
08 Count Zebra & The Seasiders - Cat-O-Nine 2:07
09 Carlos Malcolm & His Afro Jamaican Rhythm - Elena 2:21
10 Azie Lawrence* And The Carib Serenaders - West Indians In England 2:13
11 Lord Cobra Y Los Pana Afros - Negro Heart 3:02
12 Lord Kitchener - Love In The Cemetery 3:30
13 Charlie Binger & His Quartet - Jamaica Is The Place To Go 2:49
14 Mighty Dougla - Exchange No Robbery 4:08
15 Viper - Dog Better Than Man 3:06
16 Lord Kitchener - amaican Woman 2:27
17 JB Williams Band - Gee Bongo Lay 3:19
18 Lord Ivanhoe & His Caribbean Knights - ift The Iron Curtain 2:37
19 King Fighter - People Will Talk 3:58

Calypso, Musical Poetry in the Caribbean 1955-69    (ogg  132mb)

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RhoDeo 1918 Aetix

Hello, ah yes everything is possible in football, yesterday a man that never scored from outside the box, struck one in the topcorner from 30 yards out, defacto deciding the premierleague and tonight, the team that lost out by Kompany's wonderstrike had to overcome a 3 nil deficit against Barcelona, with two of their mainstrikers out, impossible, but then this is football as lived by Liverpool!


Today's artist are a high-tech synthesizer group led by Richard Burgess, here he sang and handled synthetic and acoustic drums, while his four collaborators played bass, keyboards, trombone and woodwinds, all employing both electronic and traditional instruments. Their work is slick and polished, perfect for sophisticated dance parties, but the songs retain a lyrical cleverness that prevents total bland-out. Not quite an '80s version of 10cc, they played rhythmic rock, but with a heavy dose of jazzy fusion........N-Joy

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Landscape was an English synthpop band, best known for the 1981 hits "Einstein a Go-Go" and "Norman Bates". Formed in London in 1974, the band toured constantly during the mid-to-late-1970s, playing rock, punk and jazz venues and releasing two instrumental EPs on its own Event Horizon label. The group began experimenting with computer-programmed music and electronic drums in the late 1970s and early 1980s, making records in the emerging genre of synthpop.

Landscape comprised Richard James Burgess (vocals, drums), Christopher Heaton (keyboards), Andy Pask (bass), Peter Thoms (trombone, keyboards), and John Walters (keyboards, woodwinds). The band built a following through live performances and touring before releasing their debut album Landscape in 1980, which sold rather poorly. . Their next album in 1981, From the Tea-Rooms of Mars...to the Hell-Holes of Uranus led to the Top 5 UK hit "Einstein a Go-Go". Their third album in 1982, Manhattan Boogie-Woogie was well received as a dance album. After release of this album, Heaton and Thoms left the band.

Landscape III
Following the release of Landscape's third and final album, Manhattan Boogie-Woogie, the band became a trio, composed of Burgess, Pask, and Walters. Renaming the band Landscape III, the members went on to release the singles "So Good, So Pure, So Kind" and "You Know How to Hurt Me".[2] The trio broke up in 1984 and band members went on to separate careers.
Burgess and Walters went on to careers in music production. Burgess had already begun a production career, working with artists like Spandau Ballet, Living in a Box, Visage, and King.
Walters also co-founded Unknown Public in 1992 and works as a writer and editor. Pask worked as a sessions player and co-wrote the theme music for the long-running British ITV series The Bill Thoms later appeared on Thomas Dolby's 1984 album The Flat Earth and toured with Dolby that year playing trombone. He also served as a member of staff at the Musicians' Union's head office in Britain.


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Entirely instrumental debut offering from the intrepid electro oddities Landscape. The album is fabulously festooned with fruity horns and furtive jazz fusion and the combination of live and electronic sound is in delectable balance. Pumping bassllines and skittish drum patterns are a mainstay along with tasteful synthesized elements. The first half packs the most melodic punch while the second half fades away into averageness. Highly Suspicious for example is just a sorry ska cribbing of Can I Get A Witness. Despite that, Japan is jauntily juicy. Neddy Sindrum tazes with twerky tropicality. Kaptin Whorlix crazily cranks up the funk. The ultra pretty Sonja Henie is the album peak. Altogether this is as brilliant library music as you could ask for.
Manhattan Boogie Woogie dodges the instrumental fruitiness of their debut and the cheese-riddled audio mincemeat of their second and settles for incredibly standard synthpop. Short and slinky at 33 minutes, it makes for their snappiest listen, although the songs often derive from the same formula and it does get samey quite quick. Of all the cuts on the album, That's Not My Real Name is the sturdiest and sighs with dulled debonair despondency. Eastern Girls, a ludicrous love letter to lasses from the Orient, is the most bombastic tune on the album, also the least PC. The title track swings with a leering Art-Deco vibe and a cheeky but chintzy synth lead that is fairly typical for the album. When You Leave Your Lover rounds off the record strongly and is the one effort of theirs that could be described as heartfelt. More developed than their previous output although not as adventurous, it's a shame that their life span as a group was so short-lived.

Digitally remastered two-fer containing a pair of albums from the British Synthpop band: Landscape (1979) and Manhattan Boogie Woogie (1982). This is the first time these albums have been available on CD and both have been re-mastered from the original production masters. The CD booklet features sleeve notes, an extensive UK discography and features the single sleeves from the time of the original release.

Landscape+Manhattan Boogie-Woogie ( 422mb)

Landscape
01 Japan 3:22
02 Lost In The Small Adds 4:16
03 The Mechanical Bride 3:25
04 Neddy Sindrum 3:43
05 Kaptin Whorlix 3:50
06 Sonja Henie 3:32
07 Many's The Time 3:24
08 Highly Suspicious 3:38
09 Gotham City 3:39
10 Wandsworth Plain 2:59

Manhattan Boogie-Woogie
11 One Rule For The Rich 4:15
12 Manhattan Boogie-Woogie 4:33
13 Colour Code (Tell Me Something New) 3:49
14 The Long Way Home 4:48
15 It's Not My Real Name 5:21
16 Bad Times 4:12
17 Eastern Girls 3:16
18 When You Leave Your Lover 3:41

Landscape+Manhattan Boogie-Woogie (ogg  179mb)

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Landscape's second album was their most successful, reaching the British Top 20 and spawning the Top Five hit "Einstein a Go-Go" there, as well as a Top 40 follow-up with "Norman Bates." It's generally considered their most artistically successful, too, though it's an odd timepiece of a time in which synth pop was just about to begin a meteoric ascendancy in the British pop consciousness. From the Tea-Rooms of Mars to the Hell Holes of Uranus was not as contrived as the most notorious synth pop recordings of the early '80s, nor was it emotionally engaging rock. Instead, it was rather dry, arch, and arty, emphasizing irony over emotion. It's too glossy and detached for its own good, but it does have a knowing, somewhat more sophisticated swarm than much of the synth pop that would follow slightly later, as well as a bit of jazzy lounge ambience. Actually, "Norman Bates," though far less known than "Einstein a Go-Go," is the most memorable song; its laconic, even-tempered computer-textured vocal pronouncements -- "my name is Norman Bates, I'm just a normal guy" -- come off as fairly chilling in their matter-of-fact disingenuousness. The 2002 CD reissue on Cherry Red adds four songs from 1982-1983 singles -- "It's Not My Name," "Eastern Girl," "So Good So Pure So Kind," and "You Know How to Hurt Me" -- that found the band drifting into a yet more mechanized and (at the time) commercial new romantic sound.

Landscape - From the Tea-rooms of Mars ... To the Hell-holes of Uranus ( 376mb)

01 European Man 4:24
02 Shake The West Awake 3:26
03 Computer Person 3:00
04 Alpine Tragedy / Sisters 4:46
05 Face Of The 80's 3:30
06 New Religion 3:15
07 Einstein A Go-Go 3:27
08 Norman Bates 5:08
09 The Doll's House 5:20
10 From The Tea-Rooms Of Mars ...To The Hell Holes Of Uranus
10.1 "Beguine" 3:13
10.2 "Mambo" 1:55
10.3 "Tango" 2:33
Bonus
11 Eastern Girls 3:17
12 It's Not My Name 5:24
13 So Good So Pure So Kind 4:26
14 You Know How To Hurt Me (Extended Version) 6:52

Landscape - From the Tea-rooms of Mars ... To the Hell-holes of Uranus (ogg  150mb)

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