Hello, friday night coming up time to chill out from that working week and shake loose those rusty limbs from chairduty, a nice big spliff to free that mind and have that ass follow..
Meanwhile i've been able to re-up july-dec 2011
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The group was founded in London in 1991 when concert promoter and jazz writer Geoff Wilkinson met Mel Simpson, who was writing music for television shows and ad jingles and had once played keyboards with John Mayall. The two produced an independent single, "Where Will We Be in the 21st Century?," which sold less than 250 copies. In 1992, their song "The Band That Played the Boogie" attracted the attention of Blue Note owner Capitol Records, which gave Simpson and Wilkinson free rein to sample anything from the catalog. The two immediately went to work, hiring several musicians and rappers Kobie Powell and Rahsaan Kelly, with Tukka Yoot joining later. The sessions resulted in the "Cantaloop".Two years later, it entered the US top ten and was included on Hand on the Torch, the first Blue Note album to achieve Platinum status in the USA. Hand on the Torch was ignored by most jazz publications, but was chosen Album of the Year by Japan's Swing Journal, and the group were named Jazz Musicians of the Year by Britain's The Independent.
We have received a DMCA complaint for your blog, Rho-Xs. An email with the details of the complaint was sent to you on 04-Apr-2012 , and we reset the post status to "Draft"; you can edit it here. You may republish the post with the offending content and/or link(s) removed.
well considering the lag at Google this post was noticed within 4 days US3 can't do without your cash for these 15-20 years old albums so please donate 70% to Apple when you get them there.
Mar 30, 2012
Mar 29, 2012
RhoDeo 1213 Goldy Rhox 65
Hello, today the 65th post of Goldy Rhox, classic pop rock. Todays artist in the blacklight was shaded before at Goldy Rhox 34, a brilliant self taught guitarist and like so many he had his insecurities and depressions to contend with. Then there was the music industry that screwed him during his life, and later shamelessly proceeded to make tens of millions from his legacy. Gosh that sounds familiar somehow.
Shortly before he died he had stated to a friend. 'I'm having a real bad time with my managers and lawyers' he said. 'They're killing me; everything is wired against me and it's getting so bad I can't eat or sleep...'" No wonder then the self-taught guitarist was terribly unhappy, extremely depressed. September 18, 1970 he was found dead in controversial circumstances
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Todays mystery album has been cited as one of the greatest debut albums of the rock era, it was released in the UK in May 1967 without the three singles, as was the custom in the UK at that time. Although word of the artist phenomenon spread to the US, he was not seen in America (and no records were released) until the summer of 1967, when, at Paul McCartney's insistence, the band appeared at the Monterey Pop Festival, held in Monterey California on June 18, 1967. The performance, which the artist climaxed by burning his guitar, was filmed by D.A. Pennebaker for the documentary Monterey Pop It was only after this show-stealing performance that his American and Canadian label, Reprise Records, prepared the album for release, but with some significant changes.
The cover and the art on the album changed. The UK cover, which featured a picture of the band on a black background, was abandoned, and a more psychedelic design was devised by photographer designer Karl Ferris (whose group portraits appeared on all three of the band's US album covers). Secondly, and more crucially, 3 tracks were all removed in order to make way for the three UK hit singles, with the running order being shuffled in the process. The album was an instant success and was a best-selling album in the United States 4x platinum in 1968, and critics subsequently regarded it as one of the best rock albums of all time. In 2003, the US version of the album was ranked #15 on Rolling Stone's list of the 500 greatest albums of all time, NME ranked it #29 in its list.
Goldy Rhox 65 (flac 248mb)
Goldy Rhox 65 ( ogg 96mb)
***** ***** ***** ***** *****
Shortly before he died he had stated to a friend. 'I'm having a real bad time with my managers and lawyers' he said. 'They're killing me; everything is wired against me and it's getting so bad I can't eat or sleep...'" No wonder then the self-taught guitarist was terribly unhappy, extremely depressed. September 18, 1970 he was found dead in controversial circumstances
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
The cover and the art on the album changed. The UK cover, which featured a picture of the band on a black background, was abandoned, and a more psychedelic design was devised by photographer designer Karl Ferris (whose group portraits appeared on all three of the band's US album covers). Secondly, and more crucially, 3 tracks were all removed in order to make way for the three UK hit singles, with the running order being shuffled in the process. The album was an instant success and was a best-selling album in the United States 4x platinum in 1968, and critics subsequently regarded it as one of the best rock albums of all time. In 2003, the US version of the album was ranked #15 on Rolling Stone's list of the 500 greatest albums of all time, NME ranked it #29 in its list.
Goldy Rhox 65 (flac 248mb)
Goldy Rhox 65 ( ogg 96mb)
***** ***** ***** ***** *****
Mar 28, 2012
RhoDeo 1213 Aetix
Hello, Aetix time again with a band who really made the eighties core of their existance, releasing ten albums and ten singles in ten years between 79 and 89 and then disbanded. Last week i posted 4 mini/albums and this week I do the same measning that 2 88 albums, Train Above The City and The Pictorial Jackson Review will have to do with just the mention here, the rest is all there to 'test'.
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For more on Felt check last week
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Forever Breathes the Lonely Word is almost too perfect a pop masterpiece -- upbeat, succinct, and wildly catchy -- with the only out-of-place element being Lawrence Hayward's vocals. That's not a drawback, though -- the imperfect vocals give the album just the kick it needs to stand apart from the rest of the flock. It may be overstating the case to say that the album laid the groundwork for a lot of pop music that followed, but the sound was certainly influential in certain quarters, and considering the success of some of those followers, the fact that this album wasn't a hit may be all the proof you need of the injustices of the music industry.
Felt - Forever Breathes The Lonely Word ( flac 206mb)
01 Rain Of Crystal Spires 3:54
02 Down But Not Yet Out 3:37
03 September Lady 3:44
04 Grey Streets 3:46
05 All The People I Like Are Those That Are Dead 5:10
06 Gather Up Your Wings And Fly 3:54
07 A Wave Crashed On Rocks 2:51
08 Hours Of Darkness Have Changed My Mind 4:46
Felt - Forever Breathes The Lonely Word ( ogg 78mb)
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Felt's other instrumental album, Train Above the City, was created without the involvement of frontman Lawrence (beyond the naming of the songs), but with Let the Snakes Crinkle Their Heads to Death Lawrence got in on the act, authoring or co-authoring nine of the ten brief instrumental tracks and playing guitar. Without a doubt the most minor, record in Felt's catalog, Let the Snakes... sounds like backing tracks awaiting vocal overdubs. No memorable melodies or interesting textures fill the void created by the absence of vocals, and as a result most of the compositions seem unfinished.
Felt - Let The Snakes Crinkle Their Heads To Death (flac 112mb)
01 Song For William S Harvey 2:44
02 Ancient City Where I Lived 1:30
03 The Seventeenth Century 2:10
04 The Palace 1:51
05 Indian Scriptures 1:34
06 The Nazca Plain 1:27
07 Jewel Sky 1:01
08 Viking Dress 2:50
09 Voyage To Illumination1:21
10 Sapphire Mansions 2:26
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Red Krayola leader Mayo Thompson took over the producer's chair for this mini-album, but the sound was very similar to Felt's masterwork of the year before, Forever Breathes the Lonely Word. Focusing on the contributions of keyboardist Martin Duffy (who'd become singer Lawrence Hayward's main instrumental foil after the departure of guitarist Maurice Deebank), Poem of the River once again offered rich, organ-enhanced folk-rock topped with Hayward's droning but expressive vocals. It's a successful combination, especially on short, sharp tracks like "Stained Glass Windows in the Sky." The seemingly endless organ solos on "She Lives by the Castle" and "Riding on the Equator" dilute the impact somewhat, although the tunes themselves are attractive. Meanwhile, though Hayward drops an evocative line here and there, there's nothing as front-to-back strong lyrically as "All the People I Like Are Those That Are Dead," a gem from the previous album. But overall, Poem was far more than a stopgap between albums.
Felt - Poem Of The River (flac 169mb)
01 Declaration 1:47
02 Silver Plane 2:38
03 She Lives By The Castle 6:19
04 Stained Glass Windows In The Sky 2:06
05 Riding On The Equator 8:55
06 Dark Red Birds 4:18
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Felt's main man, Lawrence, had a plan. Ten years, ten records, then break up the band. This is that tenth record and Felt goes out on a high note. Me and a Monkey on the Moon is the most musically accomplished and personal record of the band's career. It is emotional, funny, and loaded with memorable melodies, some of Lawrence's best. Felt always came across as incredibly remote and icy. The sound was sparse and jagged, the lyrics -- when not vague -- were hostile and acerbic. The album is so intimate and personal that it almost sounds like a different band. It sounds like Lawrence's autobiography, with songs about childhood, family, lost love, and the end of Felt; eight of the ten songs have "I" in the first line and they are all sung in a voice aching with loss and regret. The emotional nature of the lyrics and singing is bolstered by the lush and autumnal musical backing provided by the band. Martin Duffy is amazing here; he plays a wide range of keyboards from piano to mellotron to ARP string ensemble with just the right notes and feeling. The record is filled with instrumentation that was totally new to Felt, like long rock & roll guitar solos, pedal steel guitars, and female backup vocals. It all works to create a rich and heartfelt farewell to Felt, full of sentiment but not sentimental -- the sound of a band reaching its potential and kissing it goodbye.
Felt - Me & A Monkey On The Moon ( flac 212mb)
01 I Can't Make Love To You Anymore 4:35
02 Mobile Shack 3:29
03 Free 4:17
04 Budgie Jacket 3:30
05 Cartoon Sky 2:37
06 New Day Dawning 6:34
07 Down An August Path 4:49
08 Never Let You Go 2:52
09 She Deals In Crosses 3:02
10 Get Out Of My Mirror 2:33
Felt - Me & A Monkey On The Moon ( ogg 87mb)
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elsewhere
Felt - Stains on a Decade (104mb)
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For more on Felt check last week
xxxxx xxxxx xxxxx xxxxx xxxxx
Forever Breathes the Lonely Word is almost too perfect a pop masterpiece -- upbeat, succinct, and wildly catchy -- with the only out-of-place element being Lawrence Hayward's vocals. That's not a drawback, though -- the imperfect vocals give the album just the kick it needs to stand apart from the rest of the flock. It may be overstating the case to say that the album laid the groundwork for a lot of pop music that followed, but the sound was certainly influential in certain quarters, and considering the success of some of those followers, the fact that this album wasn't a hit may be all the proof you need of the injustices of the music industry.
Felt - Forever Breathes The Lonely Word ( flac 206mb)
01 Rain Of Crystal Spires 3:54
02 Down But Not Yet Out 3:37
03 September Lady 3:44
04 Grey Streets 3:46
05 All The People I Like Are Those That Are Dead 5:10
06 Gather Up Your Wings And Fly 3:54
07 A Wave Crashed On Rocks 2:51
08 Hours Of Darkness Have Changed My Mind 4:46
Felt - Forever Breathes The Lonely Word ( ogg 78mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Felt's other instrumental album, Train Above the City, was created without the involvement of frontman Lawrence (beyond the naming of the songs), but with Let the Snakes Crinkle Their Heads to Death Lawrence got in on the act, authoring or co-authoring nine of the ten brief instrumental tracks and playing guitar. Without a doubt the most minor, record in Felt's catalog, Let the Snakes... sounds like backing tracks awaiting vocal overdubs. No memorable melodies or interesting textures fill the void created by the absence of vocals, and as a result most of the compositions seem unfinished.
Felt - Let The Snakes Crinkle Their Heads To Death (flac 112mb)
01 Song For William S Harvey 2:44
02 Ancient City Where I Lived 1:30
03 The Seventeenth Century 2:10
04 The Palace 1:51
05 Indian Scriptures 1:34
06 The Nazca Plain 1:27
07 Jewel Sky 1:01
08 Viking Dress 2:50
09 Voyage To Illumination1:21
10 Sapphire Mansions 2:26
xxxxx xxxxx xxxxx xxxxx xxxxx
Red Krayola leader Mayo Thompson took over the producer's chair for this mini-album, but the sound was very similar to Felt's masterwork of the year before, Forever Breathes the Lonely Word. Focusing on the contributions of keyboardist Martin Duffy (who'd become singer Lawrence Hayward's main instrumental foil after the departure of guitarist Maurice Deebank), Poem of the River once again offered rich, organ-enhanced folk-rock topped with Hayward's droning but expressive vocals. It's a successful combination, especially on short, sharp tracks like "Stained Glass Windows in the Sky." The seemingly endless organ solos on "She Lives by the Castle" and "Riding on the Equator" dilute the impact somewhat, although the tunes themselves are attractive. Meanwhile, though Hayward drops an evocative line here and there, there's nothing as front-to-back strong lyrically as "All the People I Like Are Those That Are Dead," a gem from the previous album. But overall, Poem was far more than a stopgap between albums.
Felt - Poem Of The River (flac 169mb)
01 Declaration 1:47
02 Silver Plane 2:38
03 She Lives By The Castle 6:19
04 Stained Glass Windows In The Sky 2:06
05 Riding On The Equator 8:55
06 Dark Red Birds 4:18
xxxxx xxxxx xxxxx xxxxx xxxxx
Felt's main man, Lawrence, had a plan. Ten years, ten records, then break up the band. This is that tenth record and Felt goes out on a high note. Me and a Monkey on the Moon is the most musically accomplished and personal record of the band's career. It is emotional, funny, and loaded with memorable melodies, some of Lawrence's best. Felt always came across as incredibly remote and icy. The sound was sparse and jagged, the lyrics -- when not vague -- were hostile and acerbic. The album is so intimate and personal that it almost sounds like a different band. It sounds like Lawrence's autobiography, with songs about childhood, family, lost love, and the end of Felt; eight of the ten songs have "I" in the first line and they are all sung in a voice aching with loss and regret. The emotional nature of the lyrics and singing is bolstered by the lush and autumnal musical backing provided by the band. Martin Duffy is amazing here; he plays a wide range of keyboards from piano to mellotron to ARP string ensemble with just the right notes and feeling. The record is filled with instrumentation that was totally new to Felt, like long rock & roll guitar solos, pedal steel guitars, and female backup vocals. It all works to create a rich and heartfelt farewell to Felt, full of sentiment but not sentimental -- the sound of a band reaching its potential and kissing it goodbye.
Felt - Me & A Monkey On The Moon ( flac 212mb)
01 I Can't Make Love To You Anymore 4:35
02 Mobile Shack 3:29
03 Free 4:17
04 Budgie Jacket 3:30
05 Cartoon Sky 2:37
06 New Day Dawning 6:34
07 Down An August Path 4:49
08 Never Let You Go 2:52
09 She Deals In Crosses 3:02
10 Get Out Of My Mirror 2:33
Felt - Me & A Monkey On The Moon ( ogg 87mb)
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elsewhere
Felt - Stains on a Decade (104mb)
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Mar 27, 2012
RhoDeo 1213 Roots
Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.
Can't get enough of that dub music ? Planning a reggae party ? ... Last week it was Volume 2 & 4 and because there was plenty of 'party people' this week it's Vol 1 & 3 in all 5 hours of steaming Kingston dancehall.
***** ***** ***** ***** *****
Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. The fast growth of the local music scene encouraged him to get more involved in the music business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine, working with Lee Perry who had just ended his association with Clement "Coxsone" Dodd. In 1968, with the help of Bunny Lee, he launched his Amalgamated record label, and had his first success with one of the earliest rocksteady songs, Roy Shirley's "Hold Them"
When Perry decided to leave to start his own record label, Upsetter, Gibbs enrolled the young Winston "Niney" Holness (later known as Niney The Observer) who helped Gibbs maintain his productions at the top of the charts. During the rocksteady period until 1970, he had hit records with numerous artists including The Pioneers, Errol Dunkley, and Ken Parker. He also worked with backing bands such as Lynn Taitt and the Jets (including the organist Ansel Collins, and horns players Tommy McCook, Johnny "Dizzy" Moore, Bobby Ellis and Vin Gordon), or The Hippy Boys (featuring the Barrett brothers as the rhythm section).
He concentrated exclusively on the production of the then new reggae sound after his first international success "Love of the Common People" by Nicky Thomas (#9 in the UK , summer 1970). Gibbs still recorded the rock-steady artists that he had initially worked with; artists like The Ethiopians, Delroy Wilson, and The Heptones. The two volumes of his singles compilations The Heptones and Friends were bestsellers in Jamaica. During this period, he launched three new labels —Jogib, Shock, and Pressure Beat.
In 1972, after having moved his studio in the Duhaney Park district, he set up a new one at Retirement Crescent and started to work with sound engineer Errol Thompson. Together they were known as "The Mighty Two", and along with his studio band The Professionals (including bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith), they produced hundreds of singles, including the hits "Money In My Pocket" by Dennis Brown, "Ah So We Stay" by Big Youth and "Eviction" by Black Uhuru. The duo worked on over 100 Jamaican number one hits.
In 1975, he set up his new 16-track studio and record pressing plant and kept producing Jamaican artists under numerous label names (Crazy Joe, Reflections, Belmont, Town & Country). He had success again with roots reggae, rockers, lovers rock and Dub music artists including: Dennis Brown, Jacob Miller, Sylford Walker, The Mighty Diamonds, Gregory Isaacs, Prince Alla and Junior Byles.
The 1977 Culture album Two Sevens Clash was a major influence on the then emerging punk scene and an internationally acclaimed production. The album was cited by punk rock band The Clash. Other successful artists produced by the Mighty Two during the end of the 1970s include: Marcia Aitken, Althea & Donna, John Holt, Barrington Levy, Cornell Campbell, Dean Fraser, Delroy Wilson, Beres Hammond, Ranking Joe, Prince Jazzbo, Prince Mohammed, Dillinger, Trinity, Prince Far I, Clint Eastwood and I-Roy.
Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits.
In the 1980s, Gibbs had an international hit with J.C. Lodge's "Someone Loves You Honey" and again in the 1990s–2000s teamed up with Errol Thompson, and Sydney "Luddy" Crooks of The Pioneers, to produce some new music way into the new millennium. Before his death, Gibbs also went into business with Chris Chin of VP Records, which was one of his last business ventures.
He was not married when he died of a heart attack on 21 February 2008 and is survived by his 12 children.
***** ***** ***** ***** *****
In late 70's Jamaica, spurred on by the advent of Disco in the USA, major producers like the mighty Joe Gibbs started providing extended mixes of their biggest hits. Often these tracks would just be a protracted version of the original tune made for the 12" disco spinners, but in Jamaica they did it with their own twist, often combining two vocals onto the same groove. Pure party gold!
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 1 (flac 484mb)
01 Ruddy Thomas & Trinity – Feeling Soul 7:14
02 Marcia Aitken & Trinity – My Man / Blouse & Skirt 6:11
03 Dennis Brown & Prince Mohammed – How Can I Leave You / Bubbling Love 8:40
04 The Mighty Diamonds & Ranking Joe – Just Like A River 6:09
05 Enos McLeod & Killer Brown – Hello Carol / Yapa Yah 6:45
06 Leo Graham & I-Roy – A Win Them / News Carrier 7:48
07 George Nooks & Welton Irie – Riding For A Fall / Gi Me One A Fi Yuh Girl Friend 8:17
08 Madoo & Kojak – Yuh Jamming So / Green Bay Killing 5:39
09 Beverley Bailey & I-Roy – I Was In Love / I Pray Thee 5:53
10 Junior Murvin / Welton Irie & Prince Weedy – Cool Out Son / Nice Up The Party 7:48
11 Michael Black & Ranking Joe – Natty Contractor / Drunken Master 7:05
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 1 (ogg 184mb)
***** ***** ***** ***** *****
Like the first three volumes, released last November, these two CDs each contain eleven 12" singles originally released in the seventies, when producer Joe Gibbs was at the height of his powers. The tracks all clock in between six and seven minutes long, with the first half being the original version, which transitions to a deejay or dub version for the second half.
Having the original and deejay version back to back demonstrates how versatile and resourceful the Jamaican musicians were. They could take the same riddim and rework it into dozens and sometimes hundreds of different versions, each offering a different take on the backing track. The deejay versions give legs to good songs, and sharp-tongued toaster can redeem a weak song.
As with volumes 1-3, the deejay versions make the 12" Reggae Discomix Showcase Vol. 4 and 5 must-haves. Each disc provides over 70 minutes of smooth, soulful reggae, and having the 12" version of the song is the closest you are going to get to being in a sweaty Kingston dancehall in 1979.
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 3 (flac 491mb)
01 Marcia Aitken & Trinity – I'm Not A Queen / Duck Boy 7:23
02 Ruddy Thomas & Trinity – Every Day Is Just A Holiday / Natty Dread On The Go 7:36
03 Ruddy Thomas & Trinity – Windy Day / What A Windy Day 7:01
04 Daovan Chambers & Trinity – On The Mountain Top / Can't Keep A Good Man Down 6:58
05 Sammy Dread & Lee Van Cliff – My Princess / Get Up And Skank 7:22
06 Cornell Campbell & Lee Van Cliff – Boxing Around / Look How She Fat 7:39
07 Barry Brown & U-Mike – Tourist Season / Island In The Sun 8:07
08 Eek-A-Mouse & Lui Lepkie – Virgin Girl / Lovers Take Over 6:14
09 Danny Mangaroo & Lui Lepkie – Dancehall Stylee / Step Mother 6:36
10 George Nooks & Papa Tullo – Sadie / Fe Mi Time Now 6:43
11 Freddie McGregor & Shorty The President – First Sight Loving / Hugging And Kissing 6:55
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 3 (ogg 196mb)
***** ***** ***** ***** *****
Can't get enough of that dub music ? Planning a reggae party ? ... Last week it was Volume 2 & 4 and because there was plenty of 'party people' this week it's Vol 1 & 3 in all 5 hours of steaming Kingston dancehall.
***** ***** ***** ***** *****
Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. The fast growth of the local music scene encouraged him to get more involved in the music business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine, working with Lee Perry who had just ended his association with Clement "Coxsone" Dodd. In 1968, with the help of Bunny Lee, he launched his Amalgamated record label, and had his first success with one of the earliest rocksteady songs, Roy Shirley's "Hold Them"
When Perry decided to leave to start his own record label, Upsetter, Gibbs enrolled the young Winston "Niney" Holness (later known as Niney The Observer) who helped Gibbs maintain his productions at the top of the charts. During the rocksteady period until 1970, he had hit records with numerous artists including The Pioneers, Errol Dunkley, and Ken Parker. He also worked with backing bands such as Lynn Taitt and the Jets (including the organist Ansel Collins, and horns players Tommy McCook, Johnny "Dizzy" Moore, Bobby Ellis and Vin Gordon), or The Hippy Boys (featuring the Barrett brothers as the rhythm section).
He concentrated exclusively on the production of the then new reggae sound after his first international success "Love of the Common People" by Nicky Thomas (#9 in the UK , summer 1970). Gibbs still recorded the rock-steady artists that he had initially worked with; artists like The Ethiopians, Delroy Wilson, and The Heptones. The two volumes of his singles compilations The Heptones and Friends were bestsellers in Jamaica. During this period, he launched three new labels —Jogib, Shock, and Pressure Beat.
In 1972, after having moved his studio in the Duhaney Park district, he set up a new one at Retirement Crescent and started to work with sound engineer Errol Thompson. Together they were known as "The Mighty Two", and along with his studio band The Professionals (including bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith), they produced hundreds of singles, including the hits "Money In My Pocket" by Dennis Brown, "Ah So We Stay" by Big Youth and "Eviction" by Black Uhuru. The duo worked on over 100 Jamaican number one hits.
In 1975, he set up his new 16-track studio and record pressing plant and kept producing Jamaican artists under numerous label names (Crazy Joe, Reflections, Belmont, Town & Country). He had success again with roots reggae, rockers, lovers rock and Dub music artists including: Dennis Brown, Jacob Miller, Sylford Walker, The Mighty Diamonds, Gregory Isaacs, Prince Alla and Junior Byles.
The 1977 Culture album Two Sevens Clash was a major influence on the then emerging punk scene and an internationally acclaimed production. The album was cited by punk rock band The Clash. Other successful artists produced by the Mighty Two during the end of the 1970s include: Marcia Aitken, Althea & Donna, John Holt, Barrington Levy, Cornell Campbell, Dean Fraser, Delroy Wilson, Beres Hammond, Ranking Joe, Prince Jazzbo, Prince Mohammed, Dillinger, Trinity, Prince Far I, Clint Eastwood and I-Roy.
Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits.
In the 1980s, Gibbs had an international hit with J.C. Lodge's "Someone Loves You Honey" and again in the 1990s–2000s teamed up with Errol Thompson, and Sydney "Luddy" Crooks of The Pioneers, to produce some new music way into the new millennium. Before his death, Gibbs also went into business with Chris Chin of VP Records, which was one of his last business ventures.
He was not married when he died of a heart attack on 21 February 2008 and is survived by his 12 children.
***** ***** ***** ***** *****
In late 70's Jamaica, spurred on by the advent of Disco in the USA, major producers like the mighty Joe Gibbs started providing extended mixes of their biggest hits. Often these tracks would just be a protracted version of the original tune made for the 12" disco spinners, but in Jamaica they did it with their own twist, often combining two vocals onto the same groove. Pure party gold!
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 1 (flac 484mb)
01 Ruddy Thomas & Trinity – Feeling Soul 7:14
02 Marcia Aitken & Trinity – My Man / Blouse & Skirt 6:11
03 Dennis Brown & Prince Mohammed – How Can I Leave You / Bubbling Love 8:40
04 The Mighty Diamonds & Ranking Joe – Just Like A River 6:09
05 Enos McLeod & Killer Brown – Hello Carol / Yapa Yah 6:45
06 Leo Graham & I-Roy – A Win Them / News Carrier 7:48
07 George Nooks & Welton Irie – Riding For A Fall / Gi Me One A Fi Yuh Girl Friend 8:17
08 Madoo & Kojak – Yuh Jamming So / Green Bay Killing 5:39
09 Beverley Bailey & I-Roy – I Was In Love / I Pray Thee 5:53
10 Junior Murvin / Welton Irie & Prince Weedy – Cool Out Son / Nice Up The Party 7:48
11 Michael Black & Ranking Joe – Natty Contractor / Drunken Master 7:05
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 1 (ogg 184mb)
***** ***** ***** ***** *****
Like the first three volumes, released last November, these two CDs each contain eleven 12" singles originally released in the seventies, when producer Joe Gibbs was at the height of his powers. The tracks all clock in between six and seven minutes long, with the first half being the original version, which transitions to a deejay or dub version for the second half.
Having the original and deejay version back to back demonstrates how versatile and resourceful the Jamaican musicians were. They could take the same riddim and rework it into dozens and sometimes hundreds of different versions, each offering a different take on the backing track. The deejay versions give legs to good songs, and sharp-tongued toaster can redeem a weak song.
As with volumes 1-3, the deejay versions make the 12" Reggae Discomix Showcase Vol. 4 and 5 must-haves. Each disc provides over 70 minutes of smooth, soulful reggae, and having the 12" version of the song is the closest you are going to get to being in a sweaty Kingston dancehall in 1979.
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 3 (flac 491mb)
01 Marcia Aitken & Trinity – I'm Not A Queen / Duck Boy 7:23
02 Ruddy Thomas & Trinity – Every Day Is Just A Holiday / Natty Dread On The Go 7:36
03 Ruddy Thomas & Trinity – Windy Day / What A Windy Day 7:01
04 Daovan Chambers & Trinity – On The Mountain Top / Can't Keep A Good Man Down 6:58
05 Sammy Dread & Lee Van Cliff – My Princess / Get Up And Skank 7:22
06 Cornell Campbell & Lee Van Cliff – Boxing Around / Look How She Fat 7:39
07 Barry Brown & U-Mike – Tourist Season / Island In The Sun 8:07
08 Eek-A-Mouse & Lui Lepkie – Virgin Girl / Lovers Take Over 6:14
09 Danny Mangaroo & Lui Lepkie – Dancehall Stylee / Step Mother 6:36
10 George Nooks & Papa Tullo – Sadie / Fe Mi Time Now 6:43
11 Freddie McGregor & Shorty The President – First Sight Loving / Hugging And Kissing 6:55
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 3 (ogg 196mb)
***** ***** ***** ***** *****
Mar 26, 2012
RhoDeo 1213 Sofa 5
Hello, hope you'll had a good weekend. Crazy F1 race today the fastest car didn't win , some luck and leave it to Alonzo's skill to seize the bull by the horns when opportunities arise Meanwhile many Mexicans cheered for the Pope instead of the first Mexican to reach the podium in 41 years, Sergio Perez who really deserved the win but needed some more 'magic' . The big names drove either anonymous or had some bad luck, anyway looks like it will be a promising season.
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The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.
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"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.
"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".
"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.
"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.
The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).
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The Sofa Of Time pt 5 ( 26mb)
05 Night Of The Sexicle 27:52
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before
The Sofa Of Time pt 1 ( 26mb)
The Sofa Of Time pt 2 ( 26mb)
The Sofa Of Time pt 3 ( 26mb)
The Sofa Of Time pt 4 ( 26mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.
xxxxx xxxxx xxxxx xxxxx xxxxx
"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.
"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.
"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.
The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).
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The Sofa Of Time pt 5 ( 26mb)
05 Night Of The Sexicle 27:52
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before
The Sofa Of Time pt 1 ( 26mb)
The Sofa Of Time pt 2 ( 26mb)
The Sofa Of Time pt 3 ( 26mb)
The Sofa Of Time pt 4 ( 26mb)
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Mar 25, 2012
Sundaze 1213
Hello, ready for some oxygen ? Some recycled CO2 ? Those trees really have it in for us, previously they controlled the world and had us in the shade and ensnared between their branches until..grass came along. It learned how to cut the competition for sunlight back a hole lot of nodges and then there was room to roam across our Earth. Without grass..no humans so why can't we smoke it ?
From Africa or Eastern Europe, from pygmies to nomads, the human visions brought to us by Deep Forest have helped greatly in narrowing the musical gap between the hemispheres. In the North of France, Deep Forest's homeland, sheltered from sight and far from worldly concerns, a true communion has sprung up between ethnic songs and instruments on the one hand, and accordion, piano, synthesisers and high technology on the other.
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Michel Sanchez came up with the idea of mixing the native Baka pygmy spoken word with modern music after hearing on-site recordings of these tribes conversing. Along with Eric Mouquet they created the project Deep Forest. Their first self-titled album (nominated for a Grammy) was released in 1992, with "Sweet Lullaby" being the smash single which would put Deep Forest on the musical map (UK Top 10 hit). The song "Sweet Lullaby" is adapted from a traditional song from the Solomon Islands. The album Deep Forest was dance-driven and the samples were heavily digitised and edited. It was re-released on a limited edition in 1994 as World Mix.
For their second album Boheme, Eric and Michel left behind the sounds of the forest and ventured into Eastern Europe bringing tender, lonesome Hungarian and Gypsy chants with upbeat, yet sad, music. Due to this shift, Dan Lacksman (from Telex, producer and sound-engineer of the first album) decided to go his separate way and continued working on other projects like Pangea. The chants were no longer brief, instead extended phrases had been sampled from Hungarian, and Russian. Hungarian singer Márta Sebestyén and Kate Petrova performed on this album.
The follow-up third album, Comparsa, contained Spanish chants and sounds. The music is often upbeat and celebratory. The last song from the album Media Luna, which was also released as a single, features a duet of Syrian and Spanish singers Abed Azrei and Ana Torroja.The duo collaborated with Joe Zawinul on the song Deep Weather during the recording of the album. Also Jorge Reyes (late Mexican musician), collaborated in this album with percussion, vocals and the flute.
A recording of their live concert in Japan was also released on a CD called Made in Japan. Although all the songs featured in the show are from the previous three albums, they have new often-longer arrangements and all the chants are performed and reinterpreted by live performers. In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Music Detected was the title of their fifth much-anticipated official Deep Forest album which saw the duo turn its attention to the Far East and the Orient for inspiration. It also signalled a change in musical style for Deep Forest, from dance to a more rock-influence. In 2004 the duo composed a soundtrack for the Japanese film Kusa No Ran. A remix of "Sweet Lullaby" was also used for the viral hit "Where the Hell is Matt?"
In 2003 Deep Forest released a compilation album Essence of the Forest, with some remastered tracks. In 2004 Eric Mouquet collaborated with Josh Groban, he composed and produced 2 songs on the album Closer. In 2006 Eric Mouquet and Josh Groban collaborated on the Josh's album Awake. In 2008 Eric Mouquet released the album Deep Brasil, a collaboration with Brazilian artist Flavio Dell Isola
Both Sanchez and Mouquet have worked over a variety of side-projects and solo albums. Sanchez has two solo albums out and produced Wes' successful debut album; while Mouquet created the group Dao Dezi, collaborated with Catherine Lara and arranged Thorgal, he composed and produced songs for Ana Torroja (Mecano), Jean Sebastien Lavoie, and composed and produced songs for Josh Groban. In 2008, while Michel Sanchez decided to run his own career as a singer, Eric Mouquet decided to continue to compose and to keep Deep Forest alive. He is now preparing three albums in the Deep Forest first album style, Deep Brasil (2008), Deep Africa and Deep China. All these albums are grouped under the generic name of Deep Projects.
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In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Deep Forest – Pacifique (flac 265mb)
01 Pacifique 3:47
02 La Légende Part 2 4:04
03 Night Village 4:10
04 Le Réveil De Barnabé Part 1 1:07
05 La Révolte 4:27
06 Le Baiser 2:30
07 Ouverture Huahiné 5:06
08 L'Île Invisible 1:45
09 Exécution 4:26
10 Le Réveil De Barnabé Part 2 3:20
11 Moon Light 3:21
12 Téfaora Ne Croit Pas À La Légende 1:10
13 La Veuve Furieuse 3:34
14 Huahiné Reggae 6:01
Deep Forest – Pacifique (ogg 112mb)
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On this Music Detected their trademark samples are nowhere to be heard; the group have worked in live conditions, giving priority to lyrics, David Fall's solid drum work and raging guitars. While their powerful electro world-beat is still in evidence, it now provides a driving force for genuine songs. There is still plenty of experimentation, especially on "Elemental", where the Southern accent of blueswoman Beverly Jo Scott blends admirably with the lyrical flights of a Turkish singer. Another example of cross-fertilisation is provided by "Will You Be Ready", where the voice of Angela McCluskey (Telepopmusik) merges with the delicate tones of Chitose Hajime's Okinawa. On "Endangered Species" (the first single taken from the album), Eric Mouquet's vocoderised vocals pay tribute to Kraftwerk in yet another cross-genre experience where his robotised voice joins with singing from Bulgaria's Stefka Iordanova.
Deep Forest - Music Detected (flac 372mb)
01 India 4:07
02 Endangered Species 6:18
03 Soul Elevator 4:12
04 Computer Machine 5:12
05 Yuki Song 5:23
06 Beauty In Your Eyes 4:23
07 Elemental 5:24
08 Far East 0:58
09 Deep Blue Sea 4:16
10 Will You Be Ready 5:18
11 In The Evening 1:36
12 Dignity 5:23
13 Endangered Species (Galleon Remix Radio Edit) 3:59
Deep Forest - Music Detected (ogg 130mb)
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Deep Forest make a return to film scoring for ‘Kusa no Ran’ (Rebellion of the Grass), a historical account of the 1884 revolt in the Chichibu region of Japan. The soundtrack was released August 21st, in Japan only, followed by the first public screenings of the movie, September 4th.
It’s the group’s second full-length soundtrack, following ‘Prince du Pacifique’. Deep Forest have also composed a number of original songs for movies like ‘Strange Days’, ‘Pret-A-Porter’ and most recently they composed three thematical pieces for the French-Polynesian project, ‘Napua, the Man’s Earth Princess’ (2005).
The album is very instrumental, with the piano being the instrument of choice, found in over half of the songs. The only song with vocals is the theme ballad, Eternal Dream. The beautiful melody of Eternal Dream, which can also be heard on the opening track Haruko Haru Chichibu, includes the soft Japanese vocals of Lyrico. This song more than any of the others, is reminiscent of Mouquet’s pop projects with Ana Torroja and Chitose Hajime.
The remainder of the soundtrack is very different, there are small elements of classical, pop, and new age music. The ethnic presence that Deep Forest followers have come to expect is not nearly as salient as in past albums. What Indigenous influences are there can be heard in the bass, and many times dark, tribal percussion on tracks like Kusa no Koe, the faster tempoed Kusa no Koe II and Konran.
A majority of the songs are interludes, one to two minutes on average, with the sense that each song was created for a specific scene rather than to be listened to alone. In contrast with Pacifique, where the songs were developed beyond the movie to the point that one might not have even realized it was a soundtrack, the Kusa no Ran soundtrack is much more dependent on the imagery of the film.
Deep Forest – Kusa No Ran (O.S.T.) (flac 170mb)
01 Chichibu Faraway 1:53
02 Voice Of The Grass 0:37
03 For The Beloved One 0:38
04 Voice Of The Grass II 0:43
05 Volition 1:52
06 Fire Within The Heart 1:36
07 Unforgiven 0:56
08 Autumn 2:37
09 Ryo Shrine - Previous Night 2:02
10 Forever 0:33
11 Separation 1:41
12 Chase - Pursuit 1:03
13 Wolves Under The Moon 1:03
14 Mountain Pass 0:47
15 Rebellion Of The Grass 1:35
16 Dark Clouds 1:34
17 Confusion 2:01
18 Spread Over The Mountains And Rive 4:39
19 Evening In Chichibu 1:42
20 Requiem 1:12
21 Proof For Living 3:09
22 Eternal Dream 4:37
23 Eternal Dream (Karaoke) 4:37
xxxxx xxxxx xxxxx xxxxx xxxxx
From Africa or Eastern Europe, from pygmies to nomads, the human visions brought to us by Deep Forest have helped greatly in narrowing the musical gap between the hemispheres. In the North of France, Deep Forest's homeland, sheltered from sight and far from worldly concerns, a true communion has sprung up between ethnic songs and instruments on the one hand, and accordion, piano, synthesisers and high technology on the other.
xxxxx xxxxx xxxxx xxxxx xxxxx
Michel Sanchez came up with the idea of mixing the native Baka pygmy spoken word with modern music after hearing on-site recordings of these tribes conversing. Along with Eric Mouquet they created the project Deep Forest. Their first self-titled album (nominated for a Grammy) was released in 1992, with "Sweet Lullaby" being the smash single which would put Deep Forest on the musical map (UK Top 10 hit). The song "Sweet Lullaby" is adapted from a traditional song from the Solomon Islands. The album Deep Forest was dance-driven and the samples were heavily digitised and edited. It was re-released on a limited edition in 1994 as World Mix.
For their second album Boheme, Eric and Michel left behind the sounds of the forest and ventured into Eastern Europe bringing tender, lonesome Hungarian and Gypsy chants with upbeat, yet sad, music. Due to this shift, Dan Lacksman (from Telex, producer and sound-engineer of the first album) decided to go his separate way and continued working on other projects like Pangea. The chants were no longer brief, instead extended phrases had been sampled from Hungarian, and Russian. Hungarian singer Márta Sebestyén and Kate Petrova performed on this album.
The follow-up third album, Comparsa, contained Spanish chants and sounds. The music is often upbeat and celebratory. The last song from the album Media Luna, which was also released as a single, features a duet of Syrian and Spanish singers Abed Azrei and Ana Torroja.The duo collaborated with Joe Zawinul on the song Deep Weather during the recording of the album. Also Jorge Reyes (late Mexican musician), collaborated in this album with percussion, vocals and the flute.
A recording of their live concert in Japan was also released on a CD called Made in Japan. Although all the songs featured in the show are from the previous three albums, they have new often-longer arrangements and all the chants are performed and reinterpreted by live performers. In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Music Detected was the title of their fifth much-anticipated official Deep Forest album which saw the duo turn its attention to the Far East and the Orient for inspiration. It also signalled a change in musical style for Deep Forest, from dance to a more rock-influence. In 2004 the duo composed a soundtrack for the Japanese film Kusa No Ran. A remix of "Sweet Lullaby" was also used for the viral hit "Where the Hell is Matt?"
In 2003 Deep Forest released a compilation album Essence of the Forest, with some remastered tracks. In 2004 Eric Mouquet collaborated with Josh Groban, he composed and produced 2 songs on the album Closer. In 2006 Eric Mouquet and Josh Groban collaborated on the Josh's album Awake. In 2008 Eric Mouquet released the album Deep Brasil, a collaboration with Brazilian artist Flavio Dell Isola
Both Sanchez and Mouquet have worked over a variety of side-projects and solo albums. Sanchez has two solo albums out and produced Wes' successful debut album; while Mouquet created the group Dao Dezi, collaborated with Catherine Lara and arranged Thorgal, he composed and produced songs for Ana Torroja (Mecano), Jean Sebastien Lavoie, and composed and produced songs for Josh Groban. In 2008, while Michel Sanchez decided to run his own career as a singer, Eric Mouquet decided to continue to compose and to keep Deep Forest alive. He is now preparing three albums in the Deep Forest first album style, Deep Brasil (2008), Deep Africa and Deep China. All these albums are grouped under the generic name of Deep Projects.
xxxxx xxxxx xxxxx xxxxx xxxxx
In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Deep Forest – Pacifique (flac 265mb)
01 Pacifique 3:47
02 La Légende Part 2 4:04
03 Night Village 4:10
04 Le Réveil De Barnabé Part 1 1:07
05 La Révolte 4:27
06 Le Baiser 2:30
07 Ouverture Huahiné 5:06
08 L'Île Invisible 1:45
09 Exécution 4:26
10 Le Réveil De Barnabé Part 2 3:20
11 Moon Light 3:21
12 Téfaora Ne Croit Pas À La Légende 1:10
13 La Veuve Furieuse 3:34
14 Huahiné Reggae 6:01
Deep Forest – Pacifique (ogg 112mb)
xxxxx xxxxx xxxxx
On this Music Detected their trademark samples are nowhere to be heard; the group have worked in live conditions, giving priority to lyrics, David Fall's solid drum work and raging guitars. While their powerful electro world-beat is still in evidence, it now provides a driving force for genuine songs. There is still plenty of experimentation, especially on "Elemental", where the Southern accent of blueswoman Beverly Jo Scott blends admirably with the lyrical flights of a Turkish singer. Another example of cross-fertilisation is provided by "Will You Be Ready", where the voice of Angela McCluskey (Telepopmusik) merges with the delicate tones of Chitose Hajime's Okinawa. On "Endangered Species" (the first single taken from the album), Eric Mouquet's vocoderised vocals pay tribute to Kraftwerk in yet another cross-genre experience where his robotised voice joins with singing from Bulgaria's Stefka Iordanova.
Deep Forest - Music Detected (flac 372mb)
01 India 4:07
02 Endangered Species 6:18
03 Soul Elevator 4:12
04 Computer Machine 5:12
05 Yuki Song 5:23
06 Beauty In Your Eyes 4:23
07 Elemental 5:24
08 Far East 0:58
09 Deep Blue Sea 4:16
10 Will You Be Ready 5:18
11 In The Evening 1:36
12 Dignity 5:23
13 Endangered Species (Galleon Remix Radio Edit) 3:59
Deep Forest - Music Detected (ogg 130mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Deep Forest make a return to film scoring for ‘Kusa no Ran’ (Rebellion of the Grass), a historical account of the 1884 revolt in the Chichibu region of Japan. The soundtrack was released August 21st, in Japan only, followed by the first public screenings of the movie, September 4th.
It’s the group’s second full-length soundtrack, following ‘Prince du Pacifique’. Deep Forest have also composed a number of original songs for movies like ‘Strange Days’, ‘Pret-A-Porter’ and most recently they composed three thematical pieces for the French-Polynesian project, ‘Napua, the Man’s Earth Princess’ (2005).
The album is very instrumental, with the piano being the instrument of choice, found in over half of the songs. The only song with vocals is the theme ballad, Eternal Dream. The beautiful melody of Eternal Dream, which can also be heard on the opening track Haruko Haru Chichibu, includes the soft Japanese vocals of Lyrico. This song more than any of the others, is reminiscent of Mouquet’s pop projects with Ana Torroja and Chitose Hajime.
The remainder of the soundtrack is very different, there are small elements of classical, pop, and new age music. The ethnic presence that Deep Forest followers have come to expect is not nearly as salient as in past albums. What Indigenous influences are there can be heard in the bass, and many times dark, tribal percussion on tracks like Kusa no Koe, the faster tempoed Kusa no Koe II and Konran.
A majority of the songs are interludes, one to two minutes on average, with the sense that each song was created for a specific scene rather than to be listened to alone. In contrast with Pacifique, where the songs were developed beyond the movie to the point that one might not have even realized it was a soundtrack, the Kusa no Ran soundtrack is much more dependent on the imagery of the film.
Deep Forest – Kusa No Ran (O.S.T.) (flac 170mb)
01 Chichibu Faraway 1:53
02 Voice Of The Grass 0:37
03 For The Beloved One 0:38
04 Voice Of The Grass II 0:43
05 Volition 1:52
06 Fire Within The Heart 1:36
07 Unforgiven 0:56
08 Autumn 2:37
09 Ryo Shrine - Previous Night 2:02
10 Forever 0:33
11 Separation 1:41
12 Chase - Pursuit 1:03
13 Wolves Under The Moon 1:03
14 Mountain Pass 0:47
15 Rebellion Of The Grass 1:35
16 Dark Clouds 1:34
17 Confusion 2:01
18 Spread Over The Mountains And Rive 4:39
19 Evening In Chichibu 1:42
20 Requiem 1:12
21 Proof For Living 3:09
22 Eternal Dream 4:37
23 Eternal Dream (Karaoke) 4:37
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Mar 23, 2012
RhoDeo 1212 Grooves
Hello, Friday night coming up, time to chill from that working week and shake loosen those rusty limbs from chairduty, a nice big spliff to free that mind and have that ass follow..
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The Rebirth of Cool series was one of Patrick Forge's projects that would last through-out the 90's. He was involved in quite a bit at the time of this one and the time represented a pivotal juncture in musical paths and careers. Several genres were on the verge of taking off; from underground to electronic to nu-bossa and break-beats, Patrick was in the middle of it all - and then some. Also spinning with Gilles Peterson and the radio shows, to various other projects that existed and would soon exist like Batu and Da Lata, these were truly exciting times. And meshing with a general musical sentiment, you had this series in a time when acid-jazz and music from all over the world was kind of coming together.
The rebirth of cool collection is a series of albums that include music that is not easily defined in one musical category. The music on rebirth of cool is what I'd like to call hybrid soul/jazz music, vol. 1 in this collection of tracks is a wonderful good to ,music that can't easily be boxed into one particular category, hence the term hybrid soul/jazz. If you are interested in music that isn't easily categorized pick up the rebirth of cool collection.
The Rebirth of Cool series will round out any acid jazz collection nicely. If you like gettin' into a groove, than this is for you. Enjoy!
xxxxx xxxxx xxxxx
This album is perfect to play at the beginning of a party to kind of ease into things, or is perfect as a kind of post-bash chill-out. An excellent grab.
VA - The Rebirth Of Cool Three (571mb)
01 Jazz Warriors – Chameleon 6:47
02 Courtney Pine feat. Juliet Roberts – Life Goes Around 4:17
03 The Subterraneans feat. Mardou Fox & Jonzi – Taurus Woman 4:04
04 Dana Bryant – Dominican Girdles 5:17
05 Opaz – Don't Say Nothin' 4:29
06 Stereo MC's – Fever 3:13
07 Ronny Jordan – Bad Brother 5:14
08 D-Influence – Good Lover (Touch Mix) 4:59
09 MC Solaar – Caroline 6:20
10 The Brecker Brothers – Big Idea (Shortwave) 4:20
11 Lisa Taylor – Did You Pray Today (Extended R&B; Mix) 4:50
12 Greg Osby – Man Talk (Talkin' Loud Mix) 4:45
13 Martine Girault – Revival (Rebirth Edit) 4:58
14 Dodge City Productions – People (Come On) 4:19
15 United Future Organization – Loud Minority (Club Mix) 4:51
16 Freestyle Fellowship – Inner City Boundaries 4:38
VA - The Rebirth Of Cool Three (194mb)
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VA - The Rebirth Of Cool Phive (478mb)
01 Jhelisa – Friendly Pressure 6:07
02 Coldcut – Eine Kleine Hed Musick 4:09
03 Massive Attack – Karmacoma (Portishead Experience) 3:58
04 Leena Conquest And Hip Hop Finger – Boundaries 4:45
05 Ben Harper – Whipping Boy (Remix) 5:15
06 Kruder & Dorfmeister – Deep Shit Parts 1 & 2 5:28
07 Tricky – Hell Is Round The Corner 3:47
08 Freak Power – Turn On, Tune In, Find Joy 5:04
09 Portishead – Revenge Of The Number 3:22
10 Bomb The Bass Feat.J.Warfield – Bug Powder Dust (La Funk Mob Remix) 5:36
11 United Future Organization – Airlines (Astral Hi-Jack Mix) 5:30
12 D*Note – Iniquity Worker 5:40
13 Method Man – Release Yo'Delf (Prodigy Mix) 5:55
14 Paul Weller – Kosmos (Lynch Mob Bonus Beats) 4:35
15 MC Solaar – Nouveau Western 3:39
16 Beastie Boys – Get It Together 4:07
VA - The Rebirth Of Cool Phive (179mb)
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VA - The Rebirth Of Cool 4 Most (380mb)
01 DJ Krush – Just Wanna Touch Her (Stoned Jazz Mix) 6:52
02 Simple E – Play My Funk 3:46
03 Tranquility Bass – Cantamilla 4:36
04 Ronny Jordan – My Favourite Things 5:33
05 Tricky – Aftermath 4:02
06 Batu – Earthsong 4:49
07 Outside – Crazy 5:41
08 Palm Skin Productions – Spock With A Beard 4:59
09 Tone Productions – World Mutation (Made In His Image) 4:37
10 Mondo Grosso – Tree, Air And Rain On The Earth 5:24
11 Burning Spear – Great Men's Dub 4:11
12 Bread & Butter – Soul Of The People 1:30
VA - The Rebirth Of Cool 4 Most (135mb)
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xxxxx xxxxx xxxxx
The Rebirth of Cool series was one of Patrick Forge's projects that would last through-out the 90's. He was involved in quite a bit at the time of this one and the time represented a pivotal juncture in musical paths and careers. Several genres were on the verge of taking off; from underground to electronic to nu-bossa and break-beats, Patrick was in the middle of it all - and then some. Also spinning with Gilles Peterson and the radio shows, to various other projects that existed and would soon exist like Batu and Da Lata, these were truly exciting times. And meshing with a general musical sentiment, you had this series in a time when acid-jazz and music from all over the world was kind of coming together.
The rebirth of cool collection is a series of albums that include music that is not easily defined in one musical category. The music on rebirth of cool is what I'd like to call hybrid soul/jazz music, vol. 1 in this collection of tracks is a wonderful good to ,music that can't easily be boxed into one particular category, hence the term hybrid soul/jazz. If you are interested in music that isn't easily categorized pick up the rebirth of cool collection.
The Rebirth of Cool series will round out any acid jazz collection nicely. If you like gettin' into a groove, than this is for you. Enjoy!
xxxxx xxxxx xxxxx
This album is perfect to play at the beginning of a party to kind of ease into things, or is perfect as a kind of post-bash chill-out. An excellent grab.
VA - The Rebirth Of Cool Three (571mb)
01 Jazz Warriors – Chameleon 6:47
02 Courtney Pine feat. Juliet Roberts – Life Goes Around 4:17
03 The Subterraneans feat. Mardou Fox & Jonzi – Taurus Woman 4:04
04 Dana Bryant – Dominican Girdles 5:17
05 Opaz – Don't Say Nothin' 4:29
06 Stereo MC's – Fever 3:13
07 Ronny Jordan – Bad Brother 5:14
08 D-Influence – Good Lover (Touch Mix) 4:59
09 MC Solaar – Caroline 6:20
10 The Brecker Brothers – Big Idea (Shortwave) 4:20
11 Lisa Taylor – Did You Pray Today (Extended R&B; Mix) 4:50
12 Greg Osby – Man Talk (Talkin' Loud Mix) 4:45
13 Martine Girault – Revival (Rebirth Edit) 4:58
14 Dodge City Productions – People (Come On) 4:19
15 United Future Organization – Loud Minority (Club Mix) 4:51
16 Freestyle Fellowship – Inner City Boundaries 4:38
VA - The Rebirth Of Cool Three (194mb)
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VA - The Rebirth Of Cool Phive (478mb)
01 Jhelisa – Friendly Pressure 6:07
02 Coldcut – Eine Kleine Hed Musick 4:09
03 Massive Attack – Karmacoma (Portishead Experience) 3:58
04 Leena Conquest And Hip Hop Finger – Boundaries 4:45
05 Ben Harper – Whipping Boy (Remix) 5:15
06 Kruder & Dorfmeister – Deep Shit Parts 1 & 2 5:28
07 Tricky – Hell Is Round The Corner 3:47
08 Freak Power – Turn On, Tune In, Find Joy 5:04
09 Portishead – Revenge Of The Number 3:22
10 Bomb The Bass Feat.J.Warfield – Bug Powder Dust (La Funk Mob Remix) 5:36
11 United Future Organization – Airlines (Astral Hi-Jack Mix) 5:30
12 D*Note – Iniquity Worker 5:40
13 Method Man – Release Yo'Delf (Prodigy Mix) 5:55
14 Paul Weller – Kosmos (Lynch Mob Bonus Beats) 4:35
15 MC Solaar – Nouveau Western 3:39
16 Beastie Boys – Get It Together 4:07
VA - The Rebirth Of Cool Phive (179mb)
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VA - The Rebirth Of Cool 4 Most (380mb)
01 DJ Krush – Just Wanna Touch Her (Stoned Jazz Mix) 6:52
02 Simple E – Play My Funk 3:46
03 Tranquility Bass – Cantamilla 4:36
04 Ronny Jordan – My Favourite Things 5:33
05 Tricky – Aftermath 4:02
06 Batu – Earthsong 4:49
07 Outside – Crazy 5:41
08 Palm Skin Productions – Spock With A Beard 4:59
09 Tone Productions – World Mutation (Made In His Image) 4:37
10 Mondo Grosso – Tree, Air And Rain On The Earth 5:24
11 Burning Spear – Great Men's Dub 4:11
12 Bread & Butter – Soul Of The People 1:30
VA - The Rebirth Of Cool 4 Most (135mb)
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Mar 22, 2012
RhoDeo 1212 Goldy Rhox 64
Hello, today the 64th post of GoldyRhox, classic pop rock. Today in the blacklight an English artist in the 1960s as a key member of The Spencer Davis Group, Traffic, Blind Faith and Go. He's a songwriter and musician whose genres include blue-eyed soul, R&B;, rock, blues-rock, pop-rock, and jazz. As a multi-instrumentalist, he plays the electric organ, synthesizers, bass, drums, guitar, mandolin, violin and other strings. A star performer for nearly fifty years, he has also done notable work as a producer. In 2008, Rolling Stone magazine ranked him #33 in its 100 Greatest Singers of All Time. He has won numerous Grammy Awards in the United States.
At the age of 14 he joined the Spencer Davis Group, along with his older brother Muff, who later had success as a record producer. At the end of 1965 the group had their first number one single with "Keep On Running" and the money from this success allowed Winwood to buy his own Hammond B-3 organ. He co-wrote and recorded the hits "Gimme Some Loving" and "I'm a Man" before leaving the Spencer Davis Group. He met drummer Jim Capaldi, guitarist Dave Mason, and multi-instrumentalist Chris Wood, when they jammed together at The Elbow Room, in April 1967, the quartet formed Traffic.
Weariness with the grind of touring and recording prompted him to leave Traffic and retire to sessioning for some years. Under pressure from Island Records, he resurfaced with his self-titled first solo album in 1977. This was followed by his 1980 hit mystery album (which included his first solo hit, "While You See A Chance" and Talking Back to the Night in 1982. Both albums were recorded at his home in Gloucestershire with Winwood playing all instruments.
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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Todays mystery album was released on the last day of 1980, it was the mans second solo album, and a surprise platinum hit. A true breakthrough album it peaked at #3 on the Billboard 200 album chart, establishing him as a commercially viable act. He produced the album aswell as playing all the instruments, it doesn't get more solo than that. Here's to a quality vinyl rip..
Goldy Rhox 64 (flac 234mb)
Goldy Rhox 64 ( ogg 91mb)
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At the age of 14 he joined the Spencer Davis Group, along with his older brother Muff, who later had success as a record producer. At the end of 1965 the group had their first number one single with "Keep On Running" and the money from this success allowed Winwood to buy his own Hammond B-3 organ. He co-wrote and recorded the hits "Gimme Some Loving" and "I'm a Man" before leaving the Spencer Davis Group. He met drummer Jim Capaldi, guitarist Dave Mason, and multi-instrumentalist Chris Wood, when they jammed together at The Elbow Room, in April 1967, the quartet formed Traffic.
Weariness with the grind of touring and recording prompted him to leave Traffic and retire to sessioning for some years. Under pressure from Island Records, he resurfaced with his self-titled first solo album in 1977. This was followed by his 1980 hit mystery album (which included his first solo hit, "While You See A Chance" and Talking Back to the Night in 1982. Both albums were recorded at his home in Gloucestershire with Winwood playing all instruments.
***** ***** ***** ***** *****
Todays mystery album was released on the last day of 1980, it was the mans second solo album, and a surprise platinum hit. A true breakthrough album it peaked at #3 on the Billboard 200 album chart, establishing him as a commercially viable act. He produced the album aswell as playing all the instruments, it doesn't get more solo than that. Here's to a quality vinyl rip..
Goldy Rhox 64 (flac 234mb)
Goldy Rhox 64 ( ogg 91mb)
***** ***** ***** ***** *****
Mar 21, 2012
RhoDeo 1212 Aetix
Hello, Aetix time again with a band who really made the eighties core of their existance, releasing ten albums and ten singles in ten years between 79 and 89 and then disbanded. Which band am I talking about, well Felt and in two posts I will honour their existance
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The first Felt single, "Index," was produced by Hayward alone in his bedroom on a portable cassette player; released in 1979, its primitive, impressionistic sound stood in stark contrast to the sleek solemnity of the new wave (as did Hayward's much-discussed "new puritan" stance, a rejection of alcohol, smoking and drugs), and as a result the record became the subject of lavish critical praise, leading to a contract with the Cherry Red label. Hayward then set about assembling a band, although Felt was clearly his project and his alone; in fact, his control was so absolute that according to legend, original drummer Tony Race was fired primarily because he had curly hair. After a series of roster shuffles, a steady group including guitarist Maurice Deebank and drummer Gary Ainge began to take shape.
The first string of releases through Cherry Red Records featured soundscapes dominated by the playing of classically trained guitarist Maurice Deebank and audible influences by Television and the Velvet Underground. For some reason despite critical acclaim and a #1 indie single ('Primitive Painters') they never made it big but even were denied major support from Wea Records (through Blanco Y Negro). In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty. While the album received little notice commercially, it received high marks from the independent music press. Despite the critical success, the band underwent personnel changes. Tony Race, who had joined the group after it signed with Cherry Red, left Felt and was replaced by Gary Ainge.
The Splendour Of Four sound is mellow, melodic, understated, lovely . . . it's the instrumental passages that work best, not to detract from Lawrence 'Lawrence' Hayward's breathy, (Lou) Reedy vocals and beautifully imagistic lyrics. In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty.In 1984, Maurice Deebank released a full-length solo album titled Inner Thought Zone also released on the Cherry Red label. Deebank, like Gilbert, did not like to be directed by Hayward. Their relationship as Felt group members had always been difficult because of their musical differences. Deebank decided to produce the solo effort to allow an outlet for some of the music he was forced to hold back while with Felt
Ignite the Seven Cannons was the follow-up LP to "Primitive Painters." The full-length LP was released in September of 1985. Guthrie produced the album with the 4AD formula, and The Cocteau Twins were at the controls. Afterwards, Deebank left the group, but Hayward found another skilled musician to replace him. Martin Duffy had filled in on keyboards for the album and joined Felt full time in 1985. While Felt played a few shows in support of Ignite the Seven Cannons, Cherry Red was busy releasing a compilation album. Felt's next album, Let the Snakes Crinkle Their Heads to Death, was issued in September of 1986 on the Creation label. Duffy's organ added a '60s sound that worked well with Hayward's songs.
Forever Breathes The Lonely Wordfound Hayward back at writing lyrics and crafting some of his best Felt songs. The album was released in fall 86 on the Creation label. The song "All the People I Like Are Those That Are Dead" became a favorite on college radio and is now considered a classic to Felt fans. Felt followed with two more LPs in 1988 on the Creation label: The Pictorial Jackson Review released in March, and Train Above The City in July. Felt's swan song was the full length LP Me and a Monkey on the Moon released in November of 1989 on the El label. Hayward had to move to Mike Always' El label because Creation was not able to release the album before Hayward's self-imposed deadline of ten years, ten albums.
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On Crumbling the Antiseptic Beauty, there are hints of Felt's later English pop grandeur -- on the instrumental opener "Evergreen Dazed," for example, which (sans rhythm section) pits guitarist Maurice Deebank's cascading, euphoric noodlings against Lawrence Hayward's clear acoustic strums -- but overall this is a fairly primitive affair. There is a stripped-down psychedelic feel to certain tracks, with drums pounding out a tribalistic, rolling beat beneath Deebank's complex guitar runs and Hayward's obtuse vocals. Later in their career, particularly on 1985's The Strange Idols Pattern and Other Short Stories, Felt would finally curb all that minimalist atmosphere into three-minute pop gems (while maintaining their skewed, unconventional palette); here, however, the pieces are in place but the overall vision is still rudimentary.
Felt – Crumbling The Antiseptic Beauty ( flac 167mb)
01 Evergreen Dazed 5:05
02 Fortune 3:35
03 Birdmen 6:30
04 Cathedral 5:19
05 I Worship The Sun 4:16
06 Templeroy 5:35
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On The Splendour of Fear, the classically trained Maurice Deebank can unravel glistening guitar scales like nobody's business -- and Lawrence's obtuse vocal delivery certainly possesses an uncanny charm -- but this release can be monotonous at times, lapsing too often into meandering guitarscapes. The tone of the album is set on the first track, which opens with an extended dirge-like instrumental that finally gives way to Lawrence's vocals. The eight-minute-plus track "The Stagnant Pool" is a highlight here, simply because it seems purposeful -- with Lawrence's ominous vocals giving way to an emotional, melodic guitar jam that anticipates the later work of the Smiths' Johnny Marr. The cover art is taken from the poster for the 1966 Andy Warhol/Paul Morrissey film Chelsea Girls.
Felt - The Splendour Of Fear (flac 156mb)
01 Red Indians 1:55
02 The World Is As Soft As Lace 4:17
03 The Optimist And The Poet 7:54
04 Mexican Bandits 3:46
05 The Stagnant Pool 8:28
06 A Preacher In New England 4:12
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On The Strange Idols Pattern and Other Short Stories, Felt finally displays the band's own, distinctly English brand of elegant guitar pop. Guitarists Lawrence Hayward and the classically trained Maurice Deebank work against each other in breathtakingly cascading figures while Hayward drapes his deadpan vocal delivery across some shimmering bliss of tracks like. This is the pinnacle of Felt's Cherry Red catalog, evolving from the starker stance of the group's first two releases to a skewed yet gorgeous pop vision that eludes comparison. Producer John Leckie (XTC, the Stone Roses, the Fall) understands the source of the group's power and highlights the crisp, effects-free guitars chattering incessantly beneath Hayward's poetically charged lyrics.
Felt – The Strange Idols Pattern And Other Short Stories (flac 175mb)
01 Roman Litter 3:30
02 Sempiternal Darkness 2:14
03 Spanish House 4:30
04 Imprint 1:45
05 Sunlight Bathed The Golden Glow 2:57
06 Vasco Da Gama 3:40
07 Dismantled King Is Off The Throne 2:50
08 Crystal Ball 2:56
09 Whirlpool Vision Of Shame 3:31
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On Ignite the Seven Cannons, Felt brings in Cocteau Twin Robin Guthrie to produce, he brings along bandmate Elizabeth Fraser to add her typically ethereal vocals to "Primitive Painters" -- earning Felt a minor U.K. hit -- the collaboration doesn't work as well as one would hope. John Leckie's clear, simple production on the group's previous album, The Strange Idols Pattern and Other Short Stories, highlighted the shimmering guitar work and infused the album with odd yet breathtaking beauty. However, the guitars are deeper in the mix here, at times buried beneath Guthrie's atmospheric production and the addition of keyboardist Martin Duffy (later of Primal Scream). Lawrence Hayward has noted that this album sounds different than other Felt albums because Guthrie simply did what he did with the Cocteau Twins.
Felt – Ignite The Seven Cannons ( flac 235mb)
01 My Darkest Light Will Shine 2:55
02 The Day The Rain Came Down 2:30
03 Scarlet Servants 3:39
04 I Don't Know Which Way To Turn 2:47
05 Primitive Painters (Voc.Elizabeth Fraser) 6:02
06 Textile Ranch 2:58
07 Black Ship In The Harbour 2:58
08 Elegance 5:18
09 Serpent Shade 2:09
10 Caspian See 2:03
11 Southern State Tapestry 3:10
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The first Felt single, "Index," was produced by Hayward alone in his bedroom on a portable cassette player; released in 1979, its primitive, impressionistic sound stood in stark contrast to the sleek solemnity of the new wave (as did Hayward's much-discussed "new puritan" stance, a rejection of alcohol, smoking and drugs), and as a result the record became the subject of lavish critical praise, leading to a contract with the Cherry Red label. Hayward then set about assembling a band, although Felt was clearly his project and his alone; in fact, his control was so absolute that according to legend, original drummer Tony Race was fired primarily because he had curly hair. After a series of roster shuffles, a steady group including guitarist Maurice Deebank and drummer Gary Ainge began to take shape.
The first string of releases through Cherry Red Records featured soundscapes dominated by the playing of classically trained guitarist Maurice Deebank and audible influences by Television and the Velvet Underground. For some reason despite critical acclaim and a #1 indie single ('Primitive Painters') they never made it big but even were denied major support from Wea Records (through Blanco Y Negro). In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty. While the album received little notice commercially, it received high marks from the independent music press. Despite the critical success, the band underwent personnel changes. Tony Race, who had joined the group after it signed with Cherry Red, left Felt and was replaced by Gary Ainge.
The Splendour Of Four sound is mellow, melodic, understated, lovely . . . it's the instrumental passages that work best, not to detract from Lawrence 'Lawrence' Hayward's breathy, (Lou) Reedy vocals and beautifully imagistic lyrics. In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty.In 1984, Maurice Deebank released a full-length solo album titled Inner Thought Zone also released on the Cherry Red label. Deebank, like Gilbert, did not like to be directed by Hayward. Their relationship as Felt group members had always been difficult because of their musical differences. Deebank decided to produce the solo effort to allow an outlet for some of the music he was forced to hold back while with Felt
Ignite the Seven Cannons was the follow-up LP to "Primitive Painters." The full-length LP was released in September of 1985. Guthrie produced the album with the 4AD formula, and The Cocteau Twins were at the controls. Afterwards, Deebank left the group, but Hayward found another skilled musician to replace him. Martin Duffy had filled in on keyboards for the album and joined Felt full time in 1985. While Felt played a few shows in support of Ignite the Seven Cannons, Cherry Red was busy releasing a compilation album. Felt's next album, Let the Snakes Crinkle Their Heads to Death, was issued in September of 1986 on the Creation label. Duffy's organ added a '60s sound that worked well with Hayward's songs.
Forever Breathes The Lonely Wordfound Hayward back at writing lyrics and crafting some of his best Felt songs. The album was released in fall 86 on the Creation label. The song "All the People I Like Are Those That Are Dead" became a favorite on college radio and is now considered a classic to Felt fans. Felt followed with two more LPs in 1988 on the Creation label: The Pictorial Jackson Review released in March, and Train Above The City in July. Felt's swan song was the full length LP Me and a Monkey on the Moon released in November of 1989 on the El label. Hayward had to move to Mike Always' El label because Creation was not able to release the album before Hayward's self-imposed deadline of ten years, ten albums.
xxxxx xxxxx xxxxx xxxxx xxxxx
On Crumbling the Antiseptic Beauty, there are hints of Felt's later English pop grandeur -- on the instrumental opener "Evergreen Dazed," for example, which (sans rhythm section) pits guitarist Maurice Deebank's cascading, euphoric noodlings against Lawrence Hayward's clear acoustic strums -- but overall this is a fairly primitive affair. There is a stripped-down psychedelic feel to certain tracks, with drums pounding out a tribalistic, rolling beat beneath Deebank's complex guitar runs and Hayward's obtuse vocals. Later in their career, particularly on 1985's The Strange Idols Pattern and Other Short Stories, Felt would finally curb all that minimalist atmosphere into three-minute pop gems (while maintaining their skewed, unconventional palette); here, however, the pieces are in place but the overall vision is still rudimentary.
Felt – Crumbling The Antiseptic Beauty ( flac 167mb)
01 Evergreen Dazed 5:05
02 Fortune 3:35
03 Birdmen 6:30
04 Cathedral 5:19
05 I Worship The Sun 4:16
06 Templeroy 5:35
xxxxx xxxxx xxxxx xxxxx xxxxx
On The Splendour of Fear, the classically trained Maurice Deebank can unravel glistening guitar scales like nobody's business -- and Lawrence's obtuse vocal delivery certainly possesses an uncanny charm -- but this release can be monotonous at times, lapsing too often into meandering guitarscapes. The tone of the album is set on the first track, which opens with an extended dirge-like instrumental that finally gives way to Lawrence's vocals. The eight-minute-plus track "The Stagnant Pool" is a highlight here, simply because it seems purposeful -- with Lawrence's ominous vocals giving way to an emotional, melodic guitar jam that anticipates the later work of the Smiths' Johnny Marr. The cover art is taken from the poster for the 1966 Andy Warhol/Paul Morrissey film Chelsea Girls.
Felt - The Splendour Of Fear (flac 156mb)
01 Red Indians 1:55
02 The World Is As Soft As Lace 4:17
03 The Optimist And The Poet 7:54
04 Mexican Bandits 3:46
05 The Stagnant Pool 8:28
06 A Preacher In New England 4:12
xxxxx xxxxx xxxxx xxxxx xxxxx
On The Strange Idols Pattern and Other Short Stories, Felt finally displays the band's own, distinctly English brand of elegant guitar pop. Guitarists Lawrence Hayward and the classically trained Maurice Deebank work against each other in breathtakingly cascading figures while Hayward drapes his deadpan vocal delivery across some shimmering bliss of tracks like. This is the pinnacle of Felt's Cherry Red catalog, evolving from the starker stance of the group's first two releases to a skewed yet gorgeous pop vision that eludes comparison. Producer John Leckie (XTC, the Stone Roses, the Fall) understands the source of the group's power and highlights the crisp, effects-free guitars chattering incessantly beneath Hayward's poetically charged lyrics.
Felt – The Strange Idols Pattern And Other Short Stories (flac 175mb)
01 Roman Litter 3:30
02 Sempiternal Darkness 2:14
03 Spanish House 4:30
04 Imprint 1:45
05 Sunlight Bathed The Golden Glow 2:57
06 Vasco Da Gama 3:40
07 Dismantled King Is Off The Throne 2:50
08 Crystal Ball 2:56
09 Whirlpool Vision Of Shame 3:31
xxxxx xxxxx xxxxx xxxxx xxxxx
On Ignite the Seven Cannons, Felt brings in Cocteau Twin Robin Guthrie to produce, he brings along bandmate Elizabeth Fraser to add her typically ethereal vocals to "Primitive Painters" -- earning Felt a minor U.K. hit -- the collaboration doesn't work as well as one would hope. John Leckie's clear, simple production on the group's previous album, The Strange Idols Pattern and Other Short Stories, highlighted the shimmering guitar work and infused the album with odd yet breathtaking beauty. However, the guitars are deeper in the mix here, at times buried beneath Guthrie's atmospheric production and the addition of keyboardist Martin Duffy (later of Primal Scream). Lawrence Hayward has noted that this album sounds different than other Felt albums because Guthrie simply did what he did with the Cocteau Twins.
Felt – Ignite The Seven Cannons ( flac 235mb)
01 My Darkest Light Will Shine 2:55
02 The Day The Rain Came Down 2:30
03 Scarlet Servants 3:39
04 I Don't Know Which Way To Turn 2:47
05 Primitive Painters (Voc.Elizabeth Fraser) 6:02
06 Textile Ranch 2:58
07 Black Ship In The Harbour 2:58
08 Elegance 5:18
09 Serpent Shade 2:09
10 Caspian See 2:03
11 Southern State Tapestry 3:10
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Mar 20, 2012
RhoDeo 1212 Roots
Hello, we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.
Can't get enough of that dub music ? Planning a reggae party ? You'll need these...
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Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. The fast growth of the local music scene encouraged him to get more involved in the music business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine, working with Lee Perry who had just ended his association with Clement "Coxsone" Dodd. In 1968, with the help of Bunny Lee, he launched his Amalgamated record label, and had his first success with one of the earliest rocksteady songs, Roy Shirley's "Hold Them"
When Perry decided to leave to start his own record label, Upsetter, Gibbs enrolled the young Winston "Niney" Holness (later known as Niney The Observer) who helped Gibbs maintain his productions at the top of the charts. During the rocksteady period until 1970, he had hit records with numerous artists including The Pioneers, Errol Dunkley, and Ken Parker. He also worked with backing bands such as Lynn Taitt and the Jets (including the organist Ansel Collins, and horns players Tommy McCook, Johnny "Dizzy" Moore, Bobby Ellis and Vin Gordon), or The Hippy Boys (featuring the Barrett brothers as the rhythm section).
He concentrated exclusively on the production of the then new reggae sound after his first international success "Love of the Common People" by Nicky Thomas (#9 in the UK , summer 1970). Gibbs still recorded the rock-steady artists that he had initially worked with; artists like The Ethiopians, Delroy Wilson, and The Heptones. The two volumes of his singles compilations The Heptones and Friends were bestsellers in Jamaica. During this period, he launched three new labels —Jogib, Shock, and Pressure Beat.
In 1972, after having moved his studio in the Duhaney Park district, he set up a new one at Retirement Crescent and started to work with sound engineer Errol Thompson. Together they were known as "The Mighty Two", and along with his studio band The Professionals (including bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith), they produced hundreds of singles, including the hits "Money In My Pocket" by Dennis Brown, "Ah So We Stay" by Big Youth and "Eviction" by Black Uhuru. The duo worked on over 100 Jamaican number one hits.
In 1975, he set up his new 16-track studio and record pressing plant and kept producing Jamaican artists under numerous label names (Crazy Joe, Reflections, Belmont, Town & Country). He had success again with roots reggae, rockers, lovers rock and Dub music artists including: Dennis Brown, Jacob Miller, Sylford Walker, The Mighty Diamonds, Gregory Isaacs, Prince Alla and Junior Byles.
The 1977 Culture album Two Sevens Clash was a major influence on the then emerging punk scene and an internationally acclaimed production. The album was cited by punk rock band The Clash. Other successful artists produced by the Mighty Two during the end of the 1970s include: Marcia Aitken, Althea & Donna, John Holt, Barrington Levy, Cornell Campbell, Dean Fraser, Delroy Wilson, Beres Hammond, Ranking Joe, Prince Jazzbo, Prince Mohammed, Dillinger, Trinity, Prince Far I, Clint Eastwood and I-Roy.
Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits.
In the 1980s, Gibbs had an international hit with J.C. Lodge's "Someone Loves You Honey" and again in the 1990s–2000s teamed up with Errol Thompson, and Sydney "Luddy" Crooks of The Pioneers, to produce some new music way into the new millennium. Before his death, Gibbs also went into business with Chris Chin of VP Records, which was one of his last business ventures.
He was not married when he died of a heart attack on 21 February 2008 and is survived by his 12 children.
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In late 70's Jamaica, spurred on by the advent of Disco in the USA, major producers like the mighty Joe Gibbs started providing extended mixes of their biggest hits. Often these tracks would just be a protracted version of the original tune made for the 12" disco spinners, but in Jamaica they did it with their own twist, often combining two vocals onto the same groove. Pure party gold!
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 2 (flac 466mb)
01 George Nooks & Prince Weedy – Tribal War / Jah Did It 7:49
02 Joe Tex, U-Black & Welton Irie – Friday Evening 6:22
03 Madoo & Welton Irie – Joe Grine / Serve Mi Long 6:59
04 Cornell Campbell & Lui Lepkie – Rope In / Love In A Jamdown 6:18
05 Cornell Campbell & Trinity – Two Timer / Video Man 6:48
06 Ruddy Thomas – When I Think Of You 6:54
07 J.C. Lodge & Shorty The President – More Than I Can Say / Lover Man Style 7:13
08 Naggo Morris – Jah Guide 7:02
09 Horace Andy & Jah Mike – Praise Him / Babylon Happening 6:41
10 Culture & U-Brown – Innocent Blood / Rock It Up 5:59
11 Chalice & Puddy Roots – Good To Be There / Jah A Magician 7:11
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 2 (ogg 175mb)
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Like the first three volumes, released last November, these two CDs each contain eleven 12" singles originally released in the seventies, when producer Joe Gibbs was at the height of his powers. The tracks all clock in between six and seven minutes long, with the first half being the original version, which transitions to a deejay or dub version for the second half.
Having the original and deejay version back to back demonstrates how versatile and resourceful the Jamaican musicians were. They could take the same riddim and rework it into dozens and sometimes hundreds of different versions, each offering a different take on the backing track. The deejay versions give legs to good songs, and sharp-tongued toaster can redeem a weak song.
As with volumes 1-3, the deejay versions make the 12" Reggae Discomix Showcase Vol. 4 and 5 must-haves. Each disc provides over 70 minutes of smooth, soulful reggae, and having the 12" version of the song is the closest you are going to get to being in a sweaty Kingston dancehall in 1979.
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 4 (flac 459mb)
01 Junior Byles With Kojak & Liza – Dreadlocks Time / Fist To Fist 5:31
02 Hortense Ellis & Prince Weedy – I Can't Stand The Rain / Same Complaint 7:12
03 Denis Brown – Your Man 6:42
04 Delroy Melody & Trinity – Natty Dread She Want / Pain Back 5:35
05 Hugh Griffiths With Kojak & Liza – Sky Juice 6:22
06 Ruddy Thomas & Welton Irie – Shake Your Body Down The Ground 8:33
07 Derrick Lara & Trinity – Dont Stop Till You Get Enough 8:03
08 Wade Brammer & Lui Lepkie – My Love / Can't Take Mi Landlord 5:49
09 George Nooks & Trinity – Working My Way Back To You 6:25
10 Earth & Stone* With Trinity – Why Girl / Did We Have To Part 7:25
11 Wayne Wade & Trinity – After You / Love Me Forever 7:42
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 4 (ogg 175mb)
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Can't get enough of that dub music ? Planning a reggae party ? You'll need these...
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Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. The fast growth of the local music scene encouraged him to get more involved in the music business, and in 1967 he started to record some artists in the back of his shop with a two-track tape machine, working with Lee Perry who had just ended his association with Clement "Coxsone" Dodd. In 1968, with the help of Bunny Lee, he launched his Amalgamated record label, and had his first success with one of the earliest rocksteady songs, Roy Shirley's "Hold Them"
When Perry decided to leave to start his own record label, Upsetter, Gibbs enrolled the young Winston "Niney" Holness (later known as Niney The Observer) who helped Gibbs maintain his productions at the top of the charts. During the rocksteady period until 1970, he had hit records with numerous artists including The Pioneers, Errol Dunkley, and Ken Parker. He also worked with backing bands such as Lynn Taitt and the Jets (including the organist Ansel Collins, and horns players Tommy McCook, Johnny "Dizzy" Moore, Bobby Ellis and Vin Gordon), or The Hippy Boys (featuring the Barrett brothers as the rhythm section).
He concentrated exclusively on the production of the then new reggae sound after his first international success "Love of the Common People" by Nicky Thomas (#9 in the UK , summer 1970). Gibbs still recorded the rock-steady artists that he had initially worked with; artists like The Ethiopians, Delroy Wilson, and The Heptones. The two volumes of his singles compilations The Heptones and Friends were bestsellers in Jamaica. During this period, he launched three new labels —Jogib, Shock, and Pressure Beat.
In 1972, after having moved his studio in the Duhaney Park district, he set up a new one at Retirement Crescent and started to work with sound engineer Errol Thompson. Together they were known as "The Mighty Two", and along with his studio band The Professionals (including bassist Robbie Shakespeare, drummer Sly Dunbar and guitarist Earl "Chinna" Smith), they produced hundreds of singles, including the hits "Money In My Pocket" by Dennis Brown, "Ah So We Stay" by Big Youth and "Eviction" by Black Uhuru. The duo worked on over 100 Jamaican number one hits.
In 1975, he set up his new 16-track studio and record pressing plant and kept producing Jamaican artists under numerous label names (Crazy Joe, Reflections, Belmont, Town & Country). He had success again with roots reggae, rockers, lovers rock and Dub music artists including: Dennis Brown, Jacob Miller, Sylford Walker, The Mighty Diamonds, Gregory Isaacs, Prince Alla and Junior Byles.
The 1977 Culture album Two Sevens Clash was a major influence on the then emerging punk scene and an internationally acclaimed production. The album was cited by punk rock band The Clash. Other successful artists produced by the Mighty Two during the end of the 1970s include: Marcia Aitken, Althea & Donna, John Holt, Barrington Levy, Cornell Campbell, Dean Fraser, Delroy Wilson, Beres Hammond, Ranking Joe, Prince Jazzbo, Prince Mohammed, Dillinger, Trinity, Prince Far I, Clint Eastwood and I-Roy.
Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits.
In the 1980s, Gibbs had an international hit with J.C. Lodge's "Someone Loves You Honey" and again in the 1990s–2000s teamed up with Errol Thompson, and Sydney "Luddy" Crooks of The Pioneers, to produce some new music way into the new millennium. Before his death, Gibbs also went into business with Chris Chin of VP Records, which was one of his last business ventures.
He was not married when he died of a heart attack on 21 February 2008 and is survived by his 12 children.
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In late 70's Jamaica, spurred on by the advent of Disco in the USA, major producers like the mighty Joe Gibbs started providing extended mixes of their biggest hits. Often these tracks would just be a protracted version of the original tune made for the 12" disco spinners, but in Jamaica they did it with their own twist, often combining two vocals onto the same groove. Pure party gold!
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 2 (flac 466mb)
01 George Nooks & Prince Weedy – Tribal War / Jah Did It 7:49
02 Joe Tex, U-Black & Welton Irie – Friday Evening 6:22
03 Madoo & Welton Irie – Joe Grine / Serve Mi Long 6:59
04 Cornell Campbell & Lui Lepkie – Rope In / Love In A Jamdown 6:18
05 Cornell Campbell & Trinity – Two Timer / Video Man 6:48
06 Ruddy Thomas – When I Think Of You 6:54
07 J.C. Lodge & Shorty The President – More Than I Can Say / Lover Man Style 7:13
08 Naggo Morris – Jah Guide 7:02
09 Horace Andy & Jah Mike – Praise Him / Babylon Happening 6:41
10 Culture & U-Brown – Innocent Blood / Rock It Up 5:59
11 Chalice & Puddy Roots – Good To Be There / Jah A Magician 7:11
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 2 (ogg 175mb)
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Like the first three volumes, released last November, these two CDs each contain eleven 12" singles originally released in the seventies, when producer Joe Gibbs was at the height of his powers. The tracks all clock in between six and seven minutes long, with the first half being the original version, which transitions to a deejay or dub version for the second half.
Having the original and deejay version back to back demonstrates how versatile and resourceful the Jamaican musicians were. They could take the same riddim and rework it into dozens and sometimes hundreds of different versions, each offering a different take on the backing track. The deejay versions give legs to good songs, and sharp-tongued toaster can redeem a weak song.
As with volumes 1-3, the deejay versions make the 12" Reggae Discomix Showcase Vol. 4 and 5 must-haves. Each disc provides over 70 minutes of smooth, soulful reggae, and having the 12" version of the song is the closest you are going to get to being in a sweaty Kingston dancehall in 1979.
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 4 (flac 459mb)
01 Junior Byles With Kojak & Liza – Dreadlocks Time / Fist To Fist 5:31
02 Hortense Ellis & Prince Weedy – I Can't Stand The Rain / Same Complaint 7:12
03 Denis Brown – Your Man 6:42
04 Delroy Melody & Trinity – Natty Dread She Want / Pain Back 5:35
05 Hugh Griffiths With Kojak & Liza – Sky Juice 6:22
06 Ruddy Thomas & Welton Irie – Shake Your Body Down The Ground 8:33
07 Derrick Lara & Trinity – Dont Stop Till You Get Enough 8:03
08 Wade Brammer & Lui Lepkie – My Love / Can't Take Mi Landlord 5:49
09 George Nooks & Trinity – Working My Way Back To You 6:25
10 Earth & Stone* With Trinity – Why Girl / Did We Have To Part 7:25
11 Wayne Wade & Trinity – After You / Love Me Forever 7:42
VA - Joe Gibbs - Reggae Discomix Showcase, Vol. 4 (ogg 175mb)
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Mar 19, 2012
RhoDeo 1212 Sofa 4
Hello, hope you'll had a good weekend. Jenson Button surely did as he cruised towards his first victory of the 2012 F1 season but Vettel will surely do his utmost to defend his title, looks like a promising season..
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The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.
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"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.
"Milford (King) and Parker (Frost) get sacked from their jobs in a soft furnishings factory in Crouch End. As they are clearing out their lockers, they fall into the magical world of Gravy. Frost described Gravy as an "Tolkien-esque world with supermarkets and banks".
"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.
"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.
The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).
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The Sofa Of Time pt 4 ( 26mb)
04 Captain Chapel And The Crabs 27:44
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before
The Sofa Of Time pt 1 ( 26mb)
The Sofa Of Time pt 2 ( 26mb)
The Sofa Of Time pt 3 ( 26mb)
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The coming weeks i will present you with comedy drama of the highest quality from the guys who did Shaun of the Dead and Spaced starring Simon Pegg, a superb two season tv series which im inclined to post after this series.
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"The Sofa of Time was a BBC Radio 4 six part comedy drama written by and starring Nick Frost and Matt King. It was first broadcast in 2002.
"There they meet Marmite the Dwarf, (Mark Heap), who believes that Milford is "the chosen one", who has come at last to save the people from the evil emperor warlock Raamen Bod, (Peter Serafinowicz), who plans to find the Sofa of Time, the most magical and powerful item of furniture in the entire universe, and use it for evil purposes.
"The series featured Spaced regulars Mark Heap, Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon, Daisy Jones and Joseph Marcell. The series was produced by Mario Stylianides, for Talkback.
The Sofa of Time, is written by (and co-stars) Spaced's Nick Frost alongside comic Matt King. It also features Spaced regulars Mark Heap (as Marmite the Dwarf), Julia Deakin, Peter Serafinowicz, and Simon Pegg as well as Kevin Eldon and Joseph Marcell (of The Fresh Prince of Bel Air fame).
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The Sofa Of Time pt 4 ( 26mb)
04 Captain Chapel And The Crabs 27:44
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before
The Sofa Of Time pt 1 ( 26mb)
The Sofa Of Time pt 2 ( 26mb)
The Sofa Of Time pt 3 ( 26mb)
Mar 18, 2012
Sundaze 1212
Hello, this week the world once more unites as our bi-annual equinox is coming up, it has been an important date for thousands of years in many different cultures, it was part of their awareness of nature/the Earth. Something we seem to have lost these days despite the availability of great nature documentaries, how often do we celebrate nature ? Our lives on this blue/green speck of iron/dust ? Religion usurped those moments forcing the people to celebrate and worship their idols like the Irish just did, however their St Patrick's primary motives for moving to Ireland were most likely to escape the poisoned chalice of his inherited position as tax collector in Roman Britain.' He didn't come to spread the gospel that came later as a man accustomed to power sought to establish himself. But i digress we humans need a global holiday to express our love of nature, of all life, the equinox would suit that.
As for todays music, as you know I love music in it's many facets and from all parts of the globe, todays artists did their part in bringing some global awareness to us and even if it's not exactly Sundaze all the time, in spirit their ethno-introspective ambient world music brings colour and sunshine and the perfect background music to a contemplative life on the beach..
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Michel Sanchez came up with the idea of mixing the native Baka pygmy spoken word with modern music after hearing on-site recordings of these tribes conversing. Along with Eric Mouquet they created the project Deep Forest. Their first self-titled album (nominated for a Grammy) was released in 1992, with "Sweet Lullaby" being the smash single which would put Deep Forest on the musical map (UK Top 10 hit). The song "Sweet Lullaby" is adapted from a traditional song from the Solomon Islands. The album Deep Forest was dance-driven and the samples were heavily digitised and edited. It was re-released on a limited edition in 1994 as World Mix.
For their second album Boheme, Eric and Michel left behind the sounds of the forest and ventured into Eastern Europe bringing tender, lonesome Hungarian and Gypsy chants with upbeat, yet sad, music. Due to this shift, Dan Lacksman (from Telex, producer and sound-engineer of the first album) decided to go his separate way and continued working on other projects like Pangea. The chants were no longer brief, instead extended phrases had been sampled from Hungarian, and Russian. Hungarian singer Márta Sebestyén and Kate Petrova performed on this album.
The follow-up third album, Comparsa, contained Spanish chants and sounds. The music is often upbeat and celebratory. The last song from the album Media Luna, which was also released as a single, features a duet of Syrian and Spanish singers Abed Azrei and Ana Torroja.The duo collaborated with Joe Zawinul on the song Deep Weather during the recording of the album. Also Jorge Reyes (late Mexican musician), collaborated in this album with percussion, vocals and the flute.
A recording of their live concert in Japan was also released on a CD called Made in Japan. Although all the songs featured in the show are from the previous three albums, they have new often-longer arrangements and all the chants are performed and reinterpreted by live performers. In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Music Detected was the title of their fifth much-anticipated official Deep Forest album which saw the duo turn its attention to the Far East and the Orient for inspiration. It also signalled a change in musical style for Deep Forest, from dance to a more rock-influence. In 2004 the duo composed a soundtrack for the Japanese film Kusa No Ran. A remix of "Sweet Lullaby" was also used for the viral hit "Where the Hell is Matt?"
In 2003 Deep Forest released a compilation album Essence of the Forest, with some remastered tracks. In 2004 Eric Mouquet collaborated with Josh Groban, he composed and produced 2 songs on the album Closer. In 2006 Eric Mouquet and Josh Groban collaborated on the Josh's album Awake. In 2008 Eric Mouquet released the album Deep Brasil, a collaboration with Brazilian artist Flavio Dell Isola
Both Sanchez and Mouquet have worked over a variety of side-projects and solo albums. Sanchez has two solo albums out and produced Wes' successful debut album; while Mouquet created the group Dao Dezi, collaborated with Catherine Lara and arranged Thorgal, he composed and produced songs for Ana Torroja (Mecano), Jean Sebastien Lavoie, and composed and produced songs for Josh Groban. In 2008, while Michel Sanchez decided to run his own career as a singer, Eric Mouquet decided to continue to compose and to keep Deep Forest alive. He is now preparing three albums in the Deep Forest first album style, Deep Brasil (2008), Deep Africa and Deep China. All these albums are grouped under the generic name of Deep Projects.
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The album mixes New Age electronics with UNESCO field recordings of music from Zaire, the Solomon Islands, Burundi, Tibesti and the Sahel. A percentage of the profits from sales of Deep Forest goes to the Pygmy Fund, a California-based organization committed to helping the natives of central Africa cope with environmental threats to their homeland. But for Sanchez and Mouquet, the most important purpose of the record is to express their own fascination with the Pygmies — and open the world's ears to the exquisite sound of a quickly vanishing culture. As Mouquet notes, "It's not very often you can hear a Pygmy singing on the radio." More than 3,000,000 copies of the album have been sold. It became Platinum in the USA, France and New Zealand; Double Platinum in Australia and Greece. 2 years later it got a limited rerelease in a considerably extended version as World mix.
Deep Forest – World Mix (flac 444mb)
01 Deep Forest 5:34
02 Sweet Lullaby 3:54
03 Hunting 3:27
04 Night Bird 4:18
05 The First Twilight 3:18
06 Savana Dance 4:26
07 Desert Walk 5:14
08 White Whisper 5:46
09 The Second Twilight 3:02
10 Sweet Lullaby (Ambient Mix) 3:44
11 Sweet Lullaby (Round The World Mix) 6:48
12 Sweet Deep Forest (Sunrise At Alcatraz) 7:07
13 Deep Forest (Sunrise At Alcatraz) 7:07
14 Forest Hymn (Apollo 440 Mix) 6:46
15 Forest Hymn 5:49
Deep Forest – World Mix (ogg 181mb)
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Boheme is the Grammy Award Winning (for Best World Music Album) second album of the French duo Deep Forest, released in 35 countries. It mainly sampled Eastern European gypsy songs (e.g. the Bohemians, hence the name of the album) with electronic music. Hit singles included "Marta's Song" (featuring Márta Sebestyén) and "Freedom Cry". The album became the duo's most successful one, selling over 4 million copies and receiving a number of Diamond, Platinum and Gold awards in 15 countries.
Deep Forest - Boheme (flac 263mb)
01 Anasthasia 1:48
02 Bohemian Ballet 5:17
03 Gathering 4:39
04 Gathering 4:39
05 Lament 3:09
06 Bulgarian Melody 3:08
07 Deep Folk Song 1:14
08 Freedom Cry 3:19
09 Twosome 4:07
10 Café Europa 4:17
11 Katharina 2:53
12 Boheme 4:36
Deep Forest - Boheme (ogg 100mb)
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The duo's third album, Comparsa, continues the world music potpourri Deep Forest are known for, though there is a pronounced focus on Latin and Caribbean grooves provided by musicians from Cuba, Belize, Mexico, and Madagascar, among other places. Although the nationalities present are truly global, the actual sound of Deep Forest hasn't changed that much, centering mostly on lush new age music with just a bit more of an edge than is usual, plus several tracks with whispered or restrained vocals.
Deep Forest – Comparsa (flac 337mb)
01 Noonday Sun 4:59
02 Green And Blue 4:53
03 Madazulu 3:23
04 1716 1:03
05 Deep Weather 4:54
06 Comparsa 4:58
07 Earthquake (Transition 1) 0:48
08 Tres Marias 4:53
09 Radio Belize 3:58
10 Ekue Ekue 5:20
11 La Lune Se Bat Avec Les Étoiles (Transition 2) 2:27
12 Forest Power 3:47
13 Media Luna 4:32
Deep Forest – Comparsa (137mb)
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As for todays music, as you know I love music in it's many facets and from all parts of the globe, todays artists did their part in bringing some global awareness to us and even if it's not exactly Sundaze all the time, in spirit their ethno-introspective ambient world music brings colour and sunshine and the perfect background music to a contemplative life on the beach..
xxxxx xxxxx xxxxx xxxxx xxxxx
Michel Sanchez came up with the idea of mixing the native Baka pygmy spoken word with modern music after hearing on-site recordings of these tribes conversing. Along with Eric Mouquet they created the project Deep Forest. Their first self-titled album (nominated for a Grammy) was released in 1992, with "Sweet Lullaby" being the smash single which would put Deep Forest on the musical map (UK Top 10 hit). The song "Sweet Lullaby" is adapted from a traditional song from the Solomon Islands. The album Deep Forest was dance-driven and the samples were heavily digitised and edited. It was re-released on a limited edition in 1994 as World Mix.
For their second album Boheme, Eric and Michel left behind the sounds of the forest and ventured into Eastern Europe bringing tender, lonesome Hungarian and Gypsy chants with upbeat, yet sad, music. Due to this shift, Dan Lacksman (from Telex, producer and sound-engineer of the first album) decided to go his separate way and continued working on other projects like Pangea. The chants were no longer brief, instead extended phrases had been sampled from Hungarian, and Russian. Hungarian singer Márta Sebestyén and Kate Petrova performed on this album.
The follow-up third album, Comparsa, contained Spanish chants and sounds. The music is often upbeat and celebratory. The last song from the album Media Luna, which was also released as a single, features a duet of Syrian and Spanish singers Abed Azrei and Ana Torroja.The duo collaborated with Joe Zawinul on the song Deep Weather during the recording of the album. Also Jorge Reyes (late Mexican musician), collaborated in this album with percussion, vocals and the flute.
A recording of their live concert in Japan was also released on a CD called Made in Japan. Although all the songs featured in the show are from the previous three albums, they have new often-longer arrangements and all the chants are performed and reinterpreted by live performers. In December 2000, Deep Forest composed a soundtrack for the French film Le Prince du Pacifique. The album, entitled Pacifique, is a return to a more ambient and melancholy sound, with piano themes riding above moody synth textures, Pacific Island chants, scratchy synth-leads and electronic drumming.
Music Detected was the title of their fifth much-anticipated official Deep Forest album which saw the duo turn its attention to the Far East and the Orient for inspiration. It also signalled a change in musical style for Deep Forest, from dance to a more rock-influence. In 2004 the duo composed a soundtrack for the Japanese film Kusa No Ran. A remix of "Sweet Lullaby" was also used for the viral hit "Where the Hell is Matt?"
In 2003 Deep Forest released a compilation album Essence of the Forest, with some remastered tracks. In 2004 Eric Mouquet collaborated with Josh Groban, he composed and produced 2 songs on the album Closer. In 2006 Eric Mouquet and Josh Groban collaborated on the Josh's album Awake. In 2008 Eric Mouquet released the album Deep Brasil, a collaboration with Brazilian artist Flavio Dell Isola
Both Sanchez and Mouquet have worked over a variety of side-projects and solo albums. Sanchez has two solo albums out and produced Wes' successful debut album; while Mouquet created the group Dao Dezi, collaborated with Catherine Lara and arranged Thorgal, he composed and produced songs for Ana Torroja (Mecano), Jean Sebastien Lavoie, and composed and produced songs for Josh Groban. In 2008, while Michel Sanchez decided to run his own career as a singer, Eric Mouquet decided to continue to compose and to keep Deep Forest alive. He is now preparing three albums in the Deep Forest first album style, Deep Brasil (2008), Deep Africa and Deep China. All these albums are grouped under the generic name of Deep Projects.
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The album mixes New Age electronics with UNESCO field recordings of music from Zaire, the Solomon Islands, Burundi, Tibesti and the Sahel. A percentage of the profits from sales of Deep Forest goes to the Pygmy Fund, a California-based organization committed to helping the natives of central Africa cope with environmental threats to their homeland. But for Sanchez and Mouquet, the most important purpose of the record is to express their own fascination with the Pygmies — and open the world's ears to the exquisite sound of a quickly vanishing culture. As Mouquet notes, "It's not very often you can hear a Pygmy singing on the radio." More than 3,000,000 copies of the album have been sold. It became Platinum in the USA, France and New Zealand; Double Platinum in Australia and Greece. 2 years later it got a limited rerelease in a considerably extended version as World mix.
Deep Forest – World Mix (flac 444mb)
01 Deep Forest 5:34
02 Sweet Lullaby 3:54
03 Hunting 3:27
04 Night Bird 4:18
05 The First Twilight 3:18
06 Savana Dance 4:26
07 Desert Walk 5:14
08 White Whisper 5:46
09 The Second Twilight 3:02
10 Sweet Lullaby (Ambient Mix) 3:44
11 Sweet Lullaby (Round The World Mix) 6:48
12 Sweet Deep Forest (Sunrise At Alcatraz) 7:07
13 Deep Forest (Sunrise At Alcatraz) 7:07
14 Forest Hymn (Apollo 440 Mix) 6:46
15 Forest Hymn 5:49
Deep Forest – World Mix (ogg 181mb)
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Boheme is the Grammy Award Winning (for Best World Music Album) second album of the French duo Deep Forest, released in 35 countries. It mainly sampled Eastern European gypsy songs (e.g. the Bohemians, hence the name of the album) with electronic music. Hit singles included "Marta's Song" (featuring Márta Sebestyén) and "Freedom Cry". The album became the duo's most successful one, selling over 4 million copies and receiving a number of Diamond, Platinum and Gold awards in 15 countries.
Deep Forest - Boheme (flac 263mb)
01 Anasthasia 1:48
02 Bohemian Ballet 5:17
03 Gathering 4:39
04 Gathering 4:39
05 Lament 3:09
06 Bulgarian Melody 3:08
07 Deep Folk Song 1:14
08 Freedom Cry 3:19
09 Twosome 4:07
10 Café Europa 4:17
11 Katharina 2:53
12 Boheme 4:36
Deep Forest - Boheme (ogg 100mb)
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The duo's third album, Comparsa, continues the world music potpourri Deep Forest are known for, though there is a pronounced focus on Latin and Caribbean grooves provided by musicians from Cuba, Belize, Mexico, and Madagascar, among other places. Although the nationalities present are truly global, the actual sound of Deep Forest hasn't changed that much, centering mostly on lush new age music with just a bit more of an edge than is usual, plus several tracks with whispered or restrained vocals.
Deep Forest – Comparsa (flac 337mb)
01 Noonday Sun 4:59
02 Green And Blue 4:53
03 Madazulu 3:23
04 1716 1:03
05 Deep Weather 4:54
06 Comparsa 4:58
07 Earthquake (Transition 1) 0:48
08 Tres Marias 4:53
09 Radio Belize 3:58
10 Ekue Ekue 5:20
11 La Lune Se Bat Avec Les Étoiles (Transition 2) 2:27
12 Forest Power 3:47
13 Media Luna 4:32
Deep Forest – Comparsa (137mb)
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Mar 16, 2012
RhoDeo 1211 Grooves
Hello, well 2012 is all live again here, and week 1151 and 1152 have been re-ogged isn't that wonderful , not so good news for my American friends though their ISP's have struck a secret deal with the Hollywood/RIAA mob to throttle and or disconnect illegal downloaders come July and b.t.w. SOPA is still on the books oh and expect the US banks to go bankrupt next year.. still those silly media mobsters worry about their millions whilst billions disappear into a financial blackhole.
So last week we had Gang Starr's first big steps onto the music scene with plenty of Jazz samples at hand, main man Guru decided he would like some of the real thing and backing by live Jazz musicians, this resulted in 4 highly regarded Jazzmatazz albums. Check some out
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Keith Edward Elam (July 17, 1961 - April 19, 2010), better known by his stage name Guru, was an American emcee and member of the hip-hop duo Gang Starr, along with DJ Premier. He was born in Roxbury, Massachusetts.[4] The name Guru is a backronym that stands for Gifted Unlimited Rhymes Universal. Elam was born into black middle class in the Roxbury neighborhood of Boston, Massachusetts. His father, Harry, was a judge and his mother, Barbara, was the co-director of libraries in the Boston public school system. Elam graduated with a degree in business administration from Morehouse College in Atlanta and took graduate classes at the Fashion Institute of Technology in Manhattan. He later dropped out to pursue a hip hop career.
Elam began his rap career under the pseudonym MC Keithy E but later changed name to Guru. He founded Gang Starr in 1987. The group initially released three records, produced by DJ Mark the 45 King, on the Wild Pitch Records record label, but these records received little attention. After a change in line-up, the group consisted of rapper Elam and beat maker DJ Premier. Gang Starr released its first LP No More Mr. Nice Guy on Wild Pitch Records; the group achieved a sizable following and released six critically acclaimed and influential albums from 1989 to 2003
In 1993, Guru released the first in a series of four solo albums while still a member of Gang Starr. Jazzmatazz, Vol. 1 featured collaborations with Donald Byrd, N'Dea Davenport, MC Solaar, and Roy Ayers and received positive reviews. His second solo LP, Jazzmatazz, Vol. 2: The New Reality, featured Chaka Khan, Ramsey Lewis, Branford Marsalis, and Jamiroquai. Despite his solo career, Guru remained true to Gang Starr as well, continuing to contribute to further albums such as 1994's Hard to Earn and 1998's Moment of Truth. In 2000, five years after his second solo outing appeared, Streetsoul (the third in the Jazzmatazz series) was issued, again featuring a stellar cast of supporting characters: Herbie Hancock, Isaac Hayes, the Roots, Erykah Badu, and Macy Gray. Wasting little time, Guru returned directly to the recording studio, issuing a follow-up one year later, Baldhead Slick & da Click.
Elam's first solo album not a part the Jazzmatazz series, Baldhead Slick & da Click, was released in 2001 to poor reviews. The album reached #22 on the Billboard R&B;/Hip Hop album charts. The seventh chapter in the book of Guru, Version 7.0: The Street Scriptures, was released in 2005 on Elam's own record label, 7 Grand Records. The album was produced entirely by labelmate Solar. It reached #54 on the Billboard R&B; albums charts and received mixed reviews. Elam's final releases were the fourth installment in the Jazzmatazz series, released in June 2007; and Guru 8.0: Lost And Found, released May 19, 2009 (also in collaboration with Solar). A Gang Starr reunion album was planned but will never be released because of Guru's death
On February 28, 2010, Elam went into cardiac arrest and, following surgery, fell into a coma. It was claimed that Guru had briefly awakened from his coma but died on April 19, 2010, at the age of 48, from cancer. Keith Elam (Guru) was survived by his parents, three siblings, and a son named Keith Casim.
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Jazz samples have had a large role in hip-hop, but the idea of rapping over actual live jazz wasn't truly fully realized until Gang Starr MC Guru created and released the first in his Jazzmatazz series in 1993, with guest musicians who included saxophonist Branford Marsalis (who had previously collaborated with DJ Premier and Guru for the track "Jazz Thing" on the Mo' Better Blues soundtrack), trumpeter Donald Byrd, vibraphonist Roy Ayers, guitarist Ronny Jordan, and keyboardist Lonnie Liston Smith, as well as vocalist N'Dea Davenport (Brand New Heavies) and French rapper MC Solaar. While Guru's rhymes can occasionally be a little weak, he delves into a variety of subject matter, from the problems of inner-city life to his own verbal prowess to self-improvement without ever sounding too repetitive, and his well-practiced flow fits well with the overall smooth, sultry, and intelligent feel of the album. From Jordan's solo on "No Time to Play" to Ayers' vibes expertise on "Take a Look (At Yourself)" to MC Solaar's quick and syllabic rhymes on "Le Bien, le Mal," Jazzmatazz, Vol. 1 is a rap album for jazz fans and a jazz album for rap fans, skillful and smart, clean when it needs to be and gritty when that's more effective, helping to legitimize hip-hop to those who doubted it, and making for an altogether important release.
Guru – Jazzmatazz Volume 1 (266mb)
01 Introduction 1:20
02 Loungin' 4:38
03 When You're Near 4:02
04 Transit Ride 3:58
05 No Time To Play 4:54
06 Down The Backstreets 4:47
07 Respectful Dedications 0:54
08 Take A Look (At Yourself) 3:59
09 Trust Me 4:27
10 Slicker Than Most 2:36
11 Le Bien, Le Mal 3:21
12 Sights In The City 5:10
Guru – Jazzmatazz Volume 1 (98mb)
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The follow-up to the heavily acclaimed Jazzmatazz, Vol. 1. This album might not have quite as much jazz-rap power as the first volume did, but it's still quite good. Some of the big guns of jazz found their way into the album, including Branford Marsalis (who, of course, had already experimented with urban beats a bit with his Buckshot Lefonque project), Freddie Hubbard, Ramsey Lewis, and Kenny Garrett. Underground rapper Kool Keith (at this point still a member of the Ultramagnetics) also makes an appearance. Dancehall reggae princess Patra is included on a track, as are Chaka Khan and Me'Shell N'Degeocello; Jamiroquai helps out in another. In some ways, the personnel on this album may be slightly superior to the first outing, but the music also seems a tiny bit blander. Still, what makes the Jazzmatazz albums special is the live synthesis of jazz and rap. With Guru's vocals over the top of live jazz performers (as opposed the usual samples), interplay is facilitated between the two, and thus a whole new dimension is added to the fusion.
Guru – Jazzmatazz Volume II The New Reality (418mb)
01 Intro (Light It Up) / Jazzalude I / New Reality Style 1:44
02 Lifesaver 4:13
03 Living In This World 4:29
04 Looking Through Darkness 4:48
05 Skit A (Interview) / Watch What You Say 5:00
06 Jazzalude II / Defining Purpose 1:02
07 For You 4:10
08 Insert A (Menthal Relaxation) Medicine 4:19
09 Lost Souls 4:12
10 Insert B (The Real Deal) / Nobody Knows 3:58
11 Jazzalude III / Hip Hop As A Way Of Life 1:17
12 Respect The Architect 4:51
13 Feel The Music 3:57
14 Young Ladies 4:12
15 The Traveler 4:01
16 Jazzalude IV / Maintaining Focus 1:18
17 Count Your Blessings 4:02
18 Choice Of Weapons 4:24
19 Something In The Past 3:19
20 Skit B (Alot On My Mind) / Revelation 4:35
Guru – Jazzmatazz Volume II The New Reality (170mb)
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This third volume in Guru's Jazzmatazz series came not only after a five-year break, but at a time when the notion of jazz-rap was almost as antiquated as the '70s jazz-funk sound it helped resurrect back in the late '80s. Guru undoubtedly realized this, so instead of focusing strictly on jazz this time out, he made Streetsoul more of a roots album. With all the great contemporary R&B; talent on display, though, any jazz-rap fans still left could hardly be annoyed with Guru's shift in focus from jazz to soul. A trinity of late-'90s soul divas -- Macy Gray, Erykah Badu, and Kelis -- each have features, and the swing-to-urban production behind Badu's contribution frames her vocal excellently. DJ Premier also shows up, contributing his usual excellent trackmaster skills to "Hustlin' Daze," with vocals by Donell Jones. Fellow rapcentrics the Roots make an appearance on the fight-for-your-right anthem "Lift Your Fist," and Guru inserts two pioneer tracks, Herbie Hancock's "Timeless" and Isaac Hayes' "Night Vision" near the end.
Guru – Jazzmatazz Vol. 3 Streetsoul (395mb)
01 Intro 1:06
02 Keep Your Worries 4:57
03 Hustlin' Daze 4:46
04 All I Said 4:07
05 Certified 4:39
06 Plenty 4:38
07 Lift Your Fist 3:53
08 Guidance 4:02
09 Interlude (Brooklyn Skit) 0:51
10 Supa Love 3:54
11 No More 4:03
12 Where's My Ladies? 4:07
13 Night Vision 3:33
14 Who's There? 4:05
15 Mashin' Up Da World 5:20
16 Timeless 4:15
Guru – Jazzmatazz Vol. 3 Streetsoul (154mb)
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So last week we had Gang Starr's first big steps onto the music scene with plenty of Jazz samples at hand, main man Guru decided he would like some of the real thing and backing by live Jazz musicians, this resulted in 4 highly regarded Jazzmatazz albums. Check some out
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Keith Edward Elam (July 17, 1961 - April 19, 2010), better known by his stage name Guru, was an American emcee and member of the hip-hop duo Gang Starr, along with DJ Premier. He was born in Roxbury, Massachusetts.[4] The name Guru is a backronym that stands for Gifted Unlimited Rhymes Universal. Elam was born into black middle class in the Roxbury neighborhood of Boston, Massachusetts. His father, Harry, was a judge and his mother, Barbara, was the co-director of libraries in the Boston public school system. Elam graduated with a degree in business administration from Morehouse College in Atlanta and took graduate classes at the Fashion Institute of Technology in Manhattan. He later dropped out to pursue a hip hop career.
Elam began his rap career under the pseudonym MC Keithy E but later changed name to Guru. He founded Gang Starr in 1987. The group initially released three records, produced by DJ Mark the 45 King, on the Wild Pitch Records record label, but these records received little attention. After a change in line-up, the group consisted of rapper Elam and beat maker DJ Premier. Gang Starr released its first LP No More Mr. Nice Guy on Wild Pitch Records; the group achieved a sizable following and released six critically acclaimed and influential albums from 1989 to 2003
In 1993, Guru released the first in a series of four solo albums while still a member of Gang Starr. Jazzmatazz, Vol. 1 featured collaborations with Donald Byrd, N'Dea Davenport, MC Solaar, and Roy Ayers and received positive reviews. His second solo LP, Jazzmatazz, Vol. 2: The New Reality, featured Chaka Khan, Ramsey Lewis, Branford Marsalis, and Jamiroquai. Despite his solo career, Guru remained true to Gang Starr as well, continuing to contribute to further albums such as 1994's Hard to Earn and 1998's Moment of Truth. In 2000, five years after his second solo outing appeared, Streetsoul (the third in the Jazzmatazz series) was issued, again featuring a stellar cast of supporting characters: Herbie Hancock, Isaac Hayes, the Roots, Erykah Badu, and Macy Gray. Wasting little time, Guru returned directly to the recording studio, issuing a follow-up one year later, Baldhead Slick & da Click.
Elam's first solo album not a part the Jazzmatazz series, Baldhead Slick & da Click, was released in 2001 to poor reviews. The album reached #22 on the Billboard R&B;/Hip Hop album charts. The seventh chapter in the book of Guru, Version 7.0: The Street Scriptures, was released in 2005 on Elam's own record label, 7 Grand Records. The album was produced entirely by labelmate Solar. It reached #54 on the Billboard R&B; albums charts and received mixed reviews. Elam's final releases were the fourth installment in the Jazzmatazz series, released in June 2007; and Guru 8.0: Lost And Found, released May 19, 2009 (also in collaboration with Solar). A Gang Starr reunion album was planned but will never be released because of Guru's death
On February 28, 2010, Elam went into cardiac arrest and, following surgery, fell into a coma. It was claimed that Guru had briefly awakened from his coma but died on April 19, 2010, at the age of 48, from cancer. Keith Elam (Guru) was survived by his parents, three siblings, and a son named Keith Casim.
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Jazz samples have had a large role in hip-hop, but the idea of rapping over actual live jazz wasn't truly fully realized until Gang Starr MC Guru created and released the first in his Jazzmatazz series in 1993, with guest musicians who included saxophonist Branford Marsalis (who had previously collaborated with DJ Premier and Guru for the track "Jazz Thing" on the Mo' Better Blues soundtrack), trumpeter Donald Byrd, vibraphonist Roy Ayers, guitarist Ronny Jordan, and keyboardist Lonnie Liston Smith, as well as vocalist N'Dea Davenport (Brand New Heavies) and French rapper MC Solaar. While Guru's rhymes can occasionally be a little weak, he delves into a variety of subject matter, from the problems of inner-city life to his own verbal prowess to self-improvement without ever sounding too repetitive, and his well-practiced flow fits well with the overall smooth, sultry, and intelligent feel of the album. From Jordan's solo on "No Time to Play" to Ayers' vibes expertise on "Take a Look (At Yourself)" to MC Solaar's quick and syllabic rhymes on "Le Bien, le Mal," Jazzmatazz, Vol. 1 is a rap album for jazz fans and a jazz album for rap fans, skillful and smart, clean when it needs to be and gritty when that's more effective, helping to legitimize hip-hop to those who doubted it, and making for an altogether important release.
Guru – Jazzmatazz Volume 1 (266mb)
01 Introduction 1:20
02 Loungin' 4:38
03 When You're Near 4:02
04 Transit Ride 3:58
05 No Time To Play 4:54
06 Down The Backstreets 4:47
07 Respectful Dedications 0:54
08 Take A Look (At Yourself) 3:59
09 Trust Me 4:27
10 Slicker Than Most 2:36
11 Le Bien, Le Mal 3:21
12 Sights In The City 5:10
Guru – Jazzmatazz Volume 1 (98mb)
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The follow-up to the heavily acclaimed Jazzmatazz, Vol. 1. This album might not have quite as much jazz-rap power as the first volume did, but it's still quite good. Some of the big guns of jazz found their way into the album, including Branford Marsalis (who, of course, had already experimented with urban beats a bit with his Buckshot Lefonque project), Freddie Hubbard, Ramsey Lewis, and Kenny Garrett. Underground rapper Kool Keith (at this point still a member of the Ultramagnetics) also makes an appearance. Dancehall reggae princess Patra is included on a track, as are Chaka Khan and Me'Shell N'Degeocello; Jamiroquai helps out in another. In some ways, the personnel on this album may be slightly superior to the first outing, but the music also seems a tiny bit blander. Still, what makes the Jazzmatazz albums special is the live synthesis of jazz and rap. With Guru's vocals over the top of live jazz performers (as opposed the usual samples), interplay is facilitated between the two, and thus a whole new dimension is added to the fusion.
Guru – Jazzmatazz Volume II The New Reality (418mb)
01 Intro (Light It Up) / Jazzalude I / New Reality Style 1:44
02 Lifesaver 4:13
03 Living In This World 4:29
04 Looking Through Darkness 4:48
05 Skit A (Interview) / Watch What You Say 5:00
06 Jazzalude II / Defining Purpose 1:02
07 For You 4:10
08 Insert A (Menthal Relaxation) Medicine 4:19
09 Lost Souls 4:12
10 Insert B (The Real Deal) / Nobody Knows 3:58
11 Jazzalude III / Hip Hop As A Way Of Life 1:17
12 Respect The Architect 4:51
13 Feel The Music 3:57
14 Young Ladies 4:12
15 The Traveler 4:01
16 Jazzalude IV / Maintaining Focus 1:18
17 Count Your Blessings 4:02
18 Choice Of Weapons 4:24
19 Something In The Past 3:19
20 Skit B (Alot On My Mind) / Revelation 4:35
Guru – Jazzmatazz Volume II The New Reality (170mb)
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This third volume in Guru's Jazzmatazz series came not only after a five-year break, but at a time when the notion of jazz-rap was almost as antiquated as the '70s jazz-funk sound it helped resurrect back in the late '80s. Guru undoubtedly realized this, so instead of focusing strictly on jazz this time out, he made Streetsoul more of a roots album. With all the great contemporary R&B; talent on display, though, any jazz-rap fans still left could hardly be annoyed with Guru's shift in focus from jazz to soul. A trinity of late-'90s soul divas -- Macy Gray, Erykah Badu, and Kelis -- each have features, and the swing-to-urban production behind Badu's contribution frames her vocal excellently. DJ Premier also shows up, contributing his usual excellent trackmaster skills to "Hustlin' Daze," with vocals by Donell Jones. Fellow rapcentrics the Roots make an appearance on the fight-for-your-right anthem "Lift Your Fist," and Guru inserts two pioneer tracks, Herbie Hancock's "Timeless" and Isaac Hayes' "Night Vision" near the end.
Guru – Jazzmatazz Vol. 3 Streetsoul (395mb)
01 Intro 1:06
02 Keep Your Worries 4:57
03 Hustlin' Daze 4:46
04 All I Said 4:07
05 Certified 4:39
06 Plenty 4:38
07 Lift Your Fist 3:53
08 Guidance 4:02
09 Interlude (Brooklyn Skit) 0:51
10 Supa Love 3:54
11 No More 4:03
12 Where's My Ladies? 4:07
13 Night Vision 3:33
14 Who's There? 4:05
15 Mashin' Up Da World 5:20
16 Timeless 4:15
Guru – Jazzmatazz Vol. 3 Streetsoul (154mb)
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Mar 15, 2012
RhoDeo 1211 Goldy Rhox 63
Hello, today the 62nd post of GoldyRhox, classic pop rock. Today in the blacklight an American rock band that gained popularity in the late 1960s and early 1970s with a number of successful singles drawn from 5 studio albums released between 68 and 72.
The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his brother and rhythm guitarist Tom Fogerty, bassist Stu Cook, and drummer Doug Clifford. Their musical style encompassed country rock and swamp rock genres. Despite their San Francisco Bay Area origins, they positioned themselves as Southern rock stylists, singing about bayous, the Mississippi River, catfish, and other popular elements of Southern iconography.
The band sold 26 million albums in the United States alone before brotherly disputes ended their highly successful reign, being abused by their record company Fantasy didn't help either, on a side note, responsible was Saul Zaentz who currently sues British pubs for being named the Hobbit as he holds the 'Middle Earth trademark" rights..greed never wares off, in fact it tends to increase the older sociopaths get (he's 90). The man brought a series of lawsuits against Fogerty, claiming defamation of character for the lyric "Zanz can't dance but he'll steal your money.
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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Todays mystery album was released in July 68, it was the bands debut album, a year after the summer of love, but still in the thick of the Age of Aquarius - their self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. While many of Fogerty's obsessions and signatures are in place -- weird blues, Stax R&B; , rockabilly, winding instrumental interplay, the swamp sound, and songs for "The Working Man" -- the band was still finding their way. Out of all their records , this is the one that sounds the most like its era.
This remastered reissue liner notes state that while "Susie Q" proved to be a hit, the band had played for years as the Golliwogs in the early 1960s, releasing numerous singles before achieving success in the pop world. While the band did gain success with their chart debut, critics initially denied the band respect. Yet this album paved the way for a string of platinum albums.
Goldy Rhox 63 (flac 374mb)
Goldy Rhox 63 ( ogg 129mb)
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The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his brother and rhythm guitarist Tom Fogerty, bassist Stu Cook, and drummer Doug Clifford. Their musical style encompassed country rock and swamp rock genres. Despite their San Francisco Bay Area origins, they positioned themselves as Southern rock stylists, singing about bayous, the Mississippi River, catfish, and other popular elements of Southern iconography.
The band sold 26 million albums in the United States alone before brotherly disputes ended their highly successful reign, being abused by their record company Fantasy didn't help either, on a side note, responsible was Saul Zaentz who currently sues British pubs for being named the Hobbit as he holds the 'Middle Earth trademark" rights..greed never wares off, in fact it tends to increase the older sociopaths get (he's 90). The man brought a series of lawsuits against Fogerty, claiming defamation of character for the lyric "Zanz can't dance but he'll steal your money.
***** ***** ***** ***** *****
Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
This remastered reissue liner notes state that while "Susie Q" proved to be a hit, the band had played for years as the Golliwogs in the early 1960s, releasing numerous singles before achieving success in the pop world. While the band did gain success with their chart debut, critics initially denied the band respect. Yet this album paved the way for a string of platinum albums.
Goldy Rhox 63 (flac 374mb)
Goldy Rhox 63 ( ogg 129mb)
***** ***** ***** ***** *****
Mar 14, 2012
RhoDeo 1211 Aetix
Hello, Aetix time again with a band I lost touch with in the early eighties with Sparkle in the Rain being the last Simple Minds album i bought and which still sits 'brandnew' in its sleeve. As such much of their history i just wrote down here went past me, they clearly kept a big fanbase in Europe, whilst the US seemed never be able to look beyond their name..Simple Minds apparently an affront to potential buyers ah yes so full of themselves. I just noted that todays post has by enlarge been rereleased last month as X5 box set ..go figure. Well consider this a taster then.
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Charlie Burchill and Jim Kerr formed a punk band in 1977 that was heavily influenced by Lou Reed, and after one unsuccessful single as Johnny & The Self Abusers, they shuffled the line-up to include former Abusers Brian McGee on drums and Tony Donald on bass guitar, the latter of whom was quickly replaced by Derek Forbes. In addition, keyboard and synthesizer player Mick MacNeil was also recruited. The band's name was changed to "Simple Minds", which was taken from a line in the David Bowie song "Jean Genie": "...so simple-minded, he can't drive his module."
Simple Minds' commercial first album, Life in a Day, took a cue from fellow Post-Punk forebearers Magazine, and was somewhat self-consciously derivative of the late-70s punk boom. Life in a Day was exactly the kind of item the band's label, Arista, wanted to promote. However, expectations for follow-up "Lives in a Day" were to be disappointed. While still categorisable as 'rock', Simple Minds' second release, Real to Real Cacophony, had a darker edge, and announced some of the New Wave experimentation that would become the band’s trademark sound over the next two albums.
Empires and Dance, was a far more radical departure, and signaled the influence of Kraftwerk, Neu! and similar European artists. Indeed, during this period Simple Minds promoted themselves as a European band, not a Scottish or UK band. Many of the tracks on Empires and Dance are extremely minimal, and feature sequenced keyboards. McNeil's keyboards and Forbes' bass became the main melodic elements, and Burchill's guitar was heavily processed. With this album, Kerr began to experiment with non-narrative lyrics. While not consciously so, Empires and Dance was essentially Industrial in its aesthetic, and preceded by a couple of years the Industrial-pop crossover of Cabaret Voltaire's album The Crackdown. The band's label, however, demonstrated little enthusiasm for such experimentation, and in 1981 Simple Minds switched from Arista to Virgin.
Simple Minds' first release on Virgin was actually two albums: the Steve Hillage-produced Sons and Fascination and Sister Feelings Call. The latter album was initially included as a bonus disc with the first 10,000 vinyl copies of Sons and Fascination, but it was later re-issued as an album in its own right. (For the CD release, it was paired on a single disc with Sons and Fascination — at first with two tracks deleted, but on later issues, in full.) Sons and Fascination perfected the formula that began with Empires and Dance, and showcased the band’s musicianship during their most prolific period.
These minimalist, dance-oriented compositions, were examples of man-made trance well before trance itself.
It was also during this period that the ground-breaking visual aesthetic of Simple Minds' product was established, masterminded by Malcolm Garrett's graphic design company Assorted iMaGes. Characterised at first by hard, bold typography and photo-collage, Garrett's designs for the band would later incorporate pop-religious iconography in clean, integrated package designs that befitted the band's idealised image as neo-romantic purveyors of European anthemic pop.
New Gold Dream (81–82–83–84) was released in September 1982, combining the results of the Walsh sessions along with "Promised You a Miracle". The album proved to be a significant turning point for the band, becoming a commercial breakthrough With a slick, sophisticated sound—thanks to Walsh's production—and similarly sumptuous design by Malcolm Garrett, Simple Minds were soon categorized as part of the New Romantic outgrowth of New Wave (along with Duran Duran and others). Despite the success of the album, some fans of the band's earlier work criticised Simple Minds' new and more commercial orientation.
The formula that had defined Simple Minds' New Wave period had run its course, and the next record, Sparkle in the Rain, was a complete departure. Produced by Steve Lillywhite and released in February 1984, the album contained a rock-oriented set of songs. The eventual result of this shift in musical direction gave rise to hugely successful singles like "Waterfront". The public also appreciated Simple Minds' upfront sound, ensuring that Sparkle in the Rain topped the charts in the UK and hit the Top 20 in several other countries.
In 1984, Jim Kerr married Chrissie Hynde from the Pretenders. Simple Minds did a North American tour where they played as headliners supported by China Crisis during the Canadian leg and in support of the Pretenders in the U.S. while Hynde was pregnant with Kerr's daughter. Despite the band's new-found popularity in the UK and Europe, Simple Minds remained essentially unknown in the U.S. The band's UK releases on Arista were not picked up by Arista USA simpletons who had 'right of first refusal' for their releases. They were offered the song 'Don't You (Forget About me) only after it was turned down by Bryan Ferry. Released in early 1985, it also broke Simple Minds into the US market almost overnight, when the band achieved their only #1 U.S. pop hit in April 1985 with the The Breakfast Club' s opening track, "Don't You (Forget About Me)". The song soon became a chart-topper in many other countries around the world.
At around this point, the camaraderie that had fuelled Simple Minds began to unravel, and over the next ten years the band's lineup would undergo frequent changes. Jim Kerr subsequently recalled "We were knackered. We were desensitised. The band started to fracture. The first casualty of the band's collective change of attitude was bassist Derek Forbes, he would soon reunite with another former Simple Minds bandmate, drummer Brian McGee, in Propaganda.
Taking advantage of their new-found popularity, Simple Minds recorded what has been considered to be their most unashamedly commercial album. On its release in November, Once Upon a Time appeared to be tailored specifically to appeal to the stadium rock sensibilities of American audiences. It was reviled by some long-time fans, but was embraced by millions of new listeners and was critically well-received. The record reached #1 in the UK and #10 in the US, despite the fact that their major-league breakthrough single "Don't You (Forget About Me)" was not included. Because of Simple Minds' powerful stage presence and lyrics that trafficked in Christian symbolism, the band was criticised by some in the music press as a lesser version of U2, despite the fact that both bands were now heading in different musical directions.
The next album Street Fighting Years (1989) maintained the band's growing sense of scale but moved away from the American soul and gospel influences of Once Upon a Time in favour of soundtrack atmospherics and a new incorporation of acoustic and folk music-related ingredients. The lyrics were also more directly political, moving away from the impressionistic or spiritual concerns of earlier 1980s Simple Minds songs. The band underwent further lineup changes during the recording of Street Fighting Years. Mel Gaynor and John Giblin both contributed to the recording but both men had left the band by the time of the album's release, by which time the band was credited as a trio of Kerr, Burchill and MacNeil. The balance of power within the band had clearly become centralised around the remaining founder members and would continue in that way. That said McNeil wanted a break after the tour but the other two wanted to record a new album, this lead to a painful and acrimonious break..and then there were two.
Simple Minds returned to active duty later in 1994. By now the band was officially a duo of Kerr and Burchill (with the latter taking on keyboards in the studio, as well as guitar). Good News from the Next World was released in 1995 to positive reviews, but weak sales in the U.S. In the UK and Europe, however, the response was much more positive, with the album reaching #2 in the UK and producing the two Top 20 hits.
Having being released from their contract with Virgin Records, Simple Minds decided to musically reinvent themselves once again, this time reaching back to their Kraftwerk-inspired, early electronic pop days. When finally released, the new album, Neapolis—turned out to be less of a "band" album than expected. The album ultimately charted poorly and received mixed reviews. As Simple Minds' main writing team, Kerr and Burchill had continued to demo and originate material by themselves. For the latest sessions, they had shared studio space with a band called Sly Silver Sly (who featured Kerr’s brother Mark as drummer). The two writing and recording projects merged to become the sessions for the next Simple Minds album, Our Secrets Are the Same. The other result from the sessions was the supplanting of the Simple Minds rhythm section. Once again, Forbes and Gaynor found themselves out of the band while Mark Kerr became the new drummer and Sly Silver Sly’s Eddie Duffy joined on bass guitar.
In 2001, Jim Kerr and Charlie Burchill began working with multi-instrumentalist Gordon Goudie (ex-Primevals) on a brand new Simple Minds album to be called Cry. In parallel to Cry, Simple Minds also recorded an album of covers called Neon Lights, featuring Simple Minds reinventions of songs from artists including Patti Smith, Roxy Music and Kraftwerk. Of these projects, Neon Lights was the first to be completed and released (later in 2001). A 2-CD compilation, The Best of Simple Minds, was released soon afterwards to continue to build commercial momentum.
In 2004, Simple Minds released a five-CD compilation entitled Silver Box. This mostly comprised previously-unreleased demos, radio & TV sessions and various live recordings from 1979 to 1995, but also included the long-delayed Our Secrets Are the Same. In 2005, Simple Minds released their fourteenth studio album, Black & White 050505, which generated some of the most positive reviews for a Simple Minds record in many years. The album's first single, "Home", received airplay on alternative rock radio stations in the US. However, it did not make a significant chart impact on either side of the Atlantic.
Simple Minds played the 90th birthday tribute to Nelson Mandela on 27 June 2008 in London's Hyde Park. The band then undertook a short tour throughout the UK to celebrate their 30th anniversary. Reverting to the Burchill/Kerr/Gaynor/Duffy line-up, Simple Minds recorded a new studio album, Graffiti Soul, which was released on 25 May 2009. Jim Kerr suggested that Simple Minds had enough material from the Graffiti Soul recording sessions for two albums, one to be released at the start of 2009 and the second following within the space of a year. The album entered the UK Album chart at #10, becoming Simple Minds first album in 14 years to enter the UK Top 10. The album also entered European Top 100 Album chart at #9.
On 22 November 2011, Simple Minds announced an exclusive 16-date European tour entitled "5X5 Live" to begin in Portugal on 14 February and to end in Ireland on 4 March 2012 (including four intimate UK venues on 24 and 25 February and on 2 and 3 March 2012) during which the band would perform for the first time 5 songs from each of their first 5 albums released from 1979 to 1982 representative of the post-punk period with the birth of the new wave electro scene in the late 1970s and early 1980s
To coincide with the "5x5 Live" tour, EMI Music will release on 20 February 2012 the Simple Minds X5 box set featuring the 5 first albums over 6 discs, Life in a Day, Real to Real Cacophony, Empires and Dance, Sons and Fascination/Sister Feelings Call and New Gold Dream (81–82–83–84) (with Sons and Fascination and Sister Feelings Call as separate discs in a gatefold sleeve as well as bonus material on each disc including rare and previously unavailable CD, B-sides and remixes).
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To the delight of some open-minded post-punk fans , fans like me who also had space for the relatively new, untraditional likes of Devo, Kraftwerk, and Eno in their record collections. The artistic leap from Life in a Day to Real to Real has to be one of the most mesmerizing ones imaginable, an improvement that is even more impressive when the short time between release dates is considered. It's where Simple Minds ventured beyond the ability to mimic their influences and began to manipulate them. Aside from a mercifully brief lapse into aimless murmuring and doodling that occurs during the middle of the record, Real to Real Cacophony is rife with countless bizarre joys. It knocks you on your back with pretentious artsy-fartsiness as instantly as New Gold Dream dazzles with its art pop pleasures, but its challenging melodicism through jerky time signatures and an endless supply of varied sounds and textures keeps you coming back for more. Guitars are employed less frequently and are replaced by burbling electronics and further use of keyboard shadings, though the absolute high point of the band's early years, "Changeling," benefits from plangent, angular jabs.
Simple Minds – Real To Real Cacophony ( flac 234mb)
01 Real To Real 2:50
02 Naked Eye 2:22
03 Citizen (Dance Of Youth) 2:53
04 Carnival (Shelter In A Suitcase) 2:51
05 Factory 4:14
06 Cacophony 1:41
07 Veldt 3:35
08 Premonition 5:28
09 Changeling 4:11
10 Film Theme 2:26
11 Calling Your Name 5:06
12 Scar 3:33
Simple Minds – Real To Real Cacophony ( ogg 95mb)
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Simple Minds shifted gears once again for album number three, Empires and Dance. The "dance" aspect of the title needs to be emphasized, but it's apparent that the group's globetrotting and simmering political tensions in Britain affected their material in more ways than one. One gets the idea that they did some clubbing and also experienced some disparate views of the world. The opening "I Travel" is the most assaultive song in the band's catalog, sounding like a Giorgio Moroder production for Roxy Music. The remainder of the album repeals the blitzkrieg frenetics of the beginning and hones in on skeletal arrangements that focus on thick basslines and the loping rhythms that they help frame. The hopping/skipping "Celebrate" isn't much more than a series of handclaps, a light drum stomp, some intermittent bass notes, and some non-intrusive synth effects. It goes absolutely nowhere, yet it's more effective and infectious than most verse-chorus-verse pop songs. The seven minutes of "This Fear of Gods," which boast another dense rhythm abetted by trebly atmospheric elements, come off like an excellent 12" dub, rather than an original mix. Just as bracing, the paranoiac disco of "Thirty Frames a Second" and lives on as a post-punk dance classic. It's a true shock that this record was released with reluctance. The band coerced an unimpressed Arista into pressing a minimal amount of copies for release, but thankfully Virgin reissued it in 1982.
Simple Minds – Empires And Dance (flac 295mb)
01 I Travel 4:03
02 Today I Died Again 4:37
03 Celebrate 5:09
04 This Fear Of Gods 7:03
05 Capital City 6:14
06 Constantinople Line 4:40
07 Twist/Run/Repulsion 4:32
08 Thirty Frames A Second 5:05
09 Kant-Kino 1:50
10 Room 2:29
Simple Minds – Empires And Dance (ogg 106mb)
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For their fourth album in three years, Simple Minds signed on with Virgin and enlisted Gong's Steve Hillage as producer. The sessions continued the group's impressive run of high-quality output, but there are instances where ambition gets the best of them. Though their work with Hillage hardly spawned anything on a plane with the two albums that preceded it and the one that followed it, it's still a substantial piece of the Simple Minds puzzle. Bridging the art disco of Empires and Dance with the pop masterpiece New Gold Dream, the album falters when the band seems to be reaching a bit too far for their own good. The other stumbling block is Hillage's production: The record isn't without moments of brilliance, like the exquisitely detailed "70 Cities As Love Brings the Fall", the insistently snaking "In Trance As Mission," and "Sweat in Bullet," which has sparkling keyboard parts and crafty guitar interplay. Aside from these moments, the mind tends to wander and wonder if the band was trying to do too much. Upon its release, Sons and Fascination was issued for a limited time with a bonus LP, Sister Feelings Call . A month after Sons and Fascination was released, Sister Feelings Call was issued separately at a budget price. And then, for Virgin's 1985 CD issue of Sons, Sister was added to the end (albeit minus "League of Nations" and "Sound in 70 Cities"). The first three songs on Sister match or exceed the material on Sons and Fascination. "Theme for Great Cities" is one of Simple Minds' best instrumentals, "The American" (a 1981 single) exemplifies the point at which 1980's Empires and Dance and 1982's New Gold Dream cross, and "20th Century Promised Land" offers winding ripples of rhythms without one instrument taking any central role. In 2003 and later rereleases the complete album was added.
Simple Minds – Sons And Fascination (flac 512mb)
01 In Trance As Mission 6:53
02 Sweat In Bullet 4:31
03 70 Cities As Love Brings The Fall 4:50
04 Boys From Brazil 5:31
05 Love Song 5:04
06 This Earth That You Walk Upon 5:28
07 Sons And Fascination 5:23
08 Seeing Out The Angel 6:11
Sister Feelings Call
09 Theme For Great Cities 5:52
10 The American 3:51
11 20th Century Promised Land 4:55
12 Wonderful In Young Life 5:21
13 League Of Nations 4:56
14 Careful In Career 5:09
15 Sound In 70 Cities 5:04
Simple Minds – Sons And Fascination (189mb)
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Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. The record generated a handful of singles; "Promised You A Miracle", "Glittering Prize" and "Someone Somewhere (In Summertime)". The album was released in 1982 and was a turning point for the band as they gained critical and commercial success in the UK and Europe. It made #3 in the UK Albums Chart.
Simple Minds – New Gold Dream (81-82-83-84) ( flac 293mb)
01 Someone Somewhere In Summertime 4:38
02 Colours Fly And Catherine Wheel 3:49
03 Promised You A Miracle 4:27
04 Big Sleep 5:03
05 Somebody Up There Likes You 5:02
06 New Gold Dream (81-82-83-84) 5:38
07 Glittering Prize 4:33
08 Hunter And The Hunted 5:55
09 King Is White And In The Crowd 7:00
Simple Minds – New Gold Dream (81-82-83-84) ( ogg 106mb)
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Charlie Burchill and Jim Kerr formed a punk band in 1977 that was heavily influenced by Lou Reed, and after one unsuccessful single as Johnny & The Self Abusers, they shuffled the line-up to include former Abusers Brian McGee on drums and Tony Donald on bass guitar, the latter of whom was quickly replaced by Derek Forbes. In addition, keyboard and synthesizer player Mick MacNeil was also recruited. The band's name was changed to "Simple Minds", which was taken from a line in the David Bowie song "Jean Genie": "...so simple-minded, he can't drive his module."
Simple Minds' commercial first album, Life in a Day, took a cue from fellow Post-Punk forebearers Magazine, and was somewhat self-consciously derivative of the late-70s punk boom. Life in a Day was exactly the kind of item the band's label, Arista, wanted to promote. However, expectations for follow-up "Lives in a Day" were to be disappointed. While still categorisable as 'rock', Simple Minds' second release, Real to Real Cacophony, had a darker edge, and announced some of the New Wave experimentation that would become the band’s trademark sound over the next two albums.
Empires and Dance, was a far more radical departure, and signaled the influence of Kraftwerk, Neu! and similar European artists. Indeed, during this period Simple Minds promoted themselves as a European band, not a Scottish or UK band. Many of the tracks on Empires and Dance are extremely minimal, and feature sequenced keyboards. McNeil's keyboards and Forbes' bass became the main melodic elements, and Burchill's guitar was heavily processed. With this album, Kerr began to experiment with non-narrative lyrics. While not consciously so, Empires and Dance was essentially Industrial in its aesthetic, and preceded by a couple of years the Industrial-pop crossover of Cabaret Voltaire's album The Crackdown. The band's label, however, demonstrated little enthusiasm for such experimentation, and in 1981 Simple Minds switched from Arista to Virgin.
Simple Minds' first release on Virgin was actually two albums: the Steve Hillage-produced Sons and Fascination and Sister Feelings Call. The latter album was initially included as a bonus disc with the first 10,000 vinyl copies of Sons and Fascination, but it was later re-issued as an album in its own right. (For the CD release, it was paired on a single disc with Sons and Fascination — at first with two tracks deleted, but on later issues, in full.) Sons and Fascination perfected the formula that began with Empires and Dance, and showcased the band’s musicianship during their most prolific period.
These minimalist, dance-oriented compositions, were examples of man-made trance well before trance itself.
It was also during this period that the ground-breaking visual aesthetic of Simple Minds' product was established, masterminded by Malcolm Garrett's graphic design company Assorted iMaGes. Characterised at first by hard, bold typography and photo-collage, Garrett's designs for the band would later incorporate pop-religious iconography in clean, integrated package designs that befitted the band's idealised image as neo-romantic purveyors of European anthemic pop.
New Gold Dream (81–82–83–84) was released in September 1982, combining the results of the Walsh sessions along with "Promised You a Miracle". The album proved to be a significant turning point for the band, becoming a commercial breakthrough With a slick, sophisticated sound—thanks to Walsh's production—and similarly sumptuous design by Malcolm Garrett, Simple Minds were soon categorized as part of the New Romantic outgrowth of New Wave (along with Duran Duran and others). Despite the success of the album, some fans of the band's earlier work criticised Simple Minds' new and more commercial orientation.
The formula that had defined Simple Minds' New Wave period had run its course, and the next record, Sparkle in the Rain, was a complete departure. Produced by Steve Lillywhite and released in February 1984, the album contained a rock-oriented set of songs. The eventual result of this shift in musical direction gave rise to hugely successful singles like "Waterfront". The public also appreciated Simple Minds' upfront sound, ensuring that Sparkle in the Rain topped the charts in the UK and hit the Top 20 in several other countries.
In 1984, Jim Kerr married Chrissie Hynde from the Pretenders. Simple Minds did a North American tour where they played as headliners supported by China Crisis during the Canadian leg and in support of the Pretenders in the U.S. while Hynde was pregnant with Kerr's daughter. Despite the band's new-found popularity in the UK and Europe, Simple Minds remained essentially unknown in the U.S. The band's UK releases on Arista were not picked up by Arista USA simpletons who had 'right of first refusal' for their releases. They were offered the song 'Don't You (Forget About me) only after it was turned down by Bryan Ferry. Released in early 1985, it also broke Simple Minds into the US market almost overnight, when the band achieved their only #1 U.S. pop hit in April 1985 with the The Breakfast Club' s opening track, "Don't You (Forget About Me)". The song soon became a chart-topper in many other countries around the world.
At around this point, the camaraderie that had fuelled Simple Minds began to unravel, and over the next ten years the band's lineup would undergo frequent changes. Jim Kerr subsequently recalled "We were knackered. We were desensitised. The band started to fracture. The first casualty of the band's collective change of attitude was bassist Derek Forbes, he would soon reunite with another former Simple Minds bandmate, drummer Brian McGee, in Propaganda.
Taking advantage of their new-found popularity, Simple Minds recorded what has been considered to be their most unashamedly commercial album. On its release in November, Once Upon a Time appeared to be tailored specifically to appeal to the stadium rock sensibilities of American audiences. It was reviled by some long-time fans, but was embraced by millions of new listeners and was critically well-received. The record reached #1 in the UK and #10 in the US, despite the fact that their major-league breakthrough single "Don't You (Forget About Me)" was not included. Because of Simple Minds' powerful stage presence and lyrics that trafficked in Christian symbolism, the band was criticised by some in the music press as a lesser version of U2, despite the fact that both bands were now heading in different musical directions.
The next album Street Fighting Years (1989) maintained the band's growing sense of scale but moved away from the American soul and gospel influences of Once Upon a Time in favour of soundtrack atmospherics and a new incorporation of acoustic and folk music-related ingredients. The lyrics were also more directly political, moving away from the impressionistic or spiritual concerns of earlier 1980s Simple Minds songs. The band underwent further lineup changes during the recording of Street Fighting Years. Mel Gaynor and John Giblin both contributed to the recording but both men had left the band by the time of the album's release, by which time the band was credited as a trio of Kerr, Burchill and MacNeil. The balance of power within the band had clearly become centralised around the remaining founder members and would continue in that way. That said McNeil wanted a break after the tour but the other two wanted to record a new album, this lead to a painful and acrimonious break..and then there were two.
Simple Minds returned to active duty later in 1994. By now the band was officially a duo of Kerr and Burchill (with the latter taking on keyboards in the studio, as well as guitar). Good News from the Next World was released in 1995 to positive reviews, but weak sales in the U.S. In the UK and Europe, however, the response was much more positive, with the album reaching #2 in the UK and producing the two Top 20 hits.
Having being released from their contract with Virgin Records, Simple Minds decided to musically reinvent themselves once again, this time reaching back to their Kraftwerk-inspired, early electronic pop days. When finally released, the new album, Neapolis—turned out to be less of a "band" album than expected. The album ultimately charted poorly and received mixed reviews. As Simple Minds' main writing team, Kerr and Burchill had continued to demo and originate material by themselves. For the latest sessions, they had shared studio space with a band called Sly Silver Sly (who featured Kerr’s brother Mark as drummer). The two writing and recording projects merged to become the sessions for the next Simple Minds album, Our Secrets Are the Same. The other result from the sessions was the supplanting of the Simple Minds rhythm section. Once again, Forbes and Gaynor found themselves out of the band while Mark Kerr became the new drummer and Sly Silver Sly’s Eddie Duffy joined on bass guitar.
In 2001, Jim Kerr and Charlie Burchill began working with multi-instrumentalist Gordon Goudie (ex-Primevals) on a brand new Simple Minds album to be called Cry. In parallel to Cry, Simple Minds also recorded an album of covers called Neon Lights, featuring Simple Minds reinventions of songs from artists including Patti Smith, Roxy Music and Kraftwerk. Of these projects, Neon Lights was the first to be completed and released (later in 2001). A 2-CD compilation, The Best of Simple Minds, was released soon afterwards to continue to build commercial momentum.
In 2004, Simple Minds released a five-CD compilation entitled Silver Box. This mostly comprised previously-unreleased demos, radio & TV sessions and various live recordings from 1979 to 1995, but also included the long-delayed Our Secrets Are the Same. In 2005, Simple Minds released their fourteenth studio album, Black & White 050505, which generated some of the most positive reviews for a Simple Minds record in many years. The album's first single, "Home", received airplay on alternative rock radio stations in the US. However, it did not make a significant chart impact on either side of the Atlantic.
Simple Minds played the 90th birthday tribute to Nelson Mandela on 27 June 2008 in London's Hyde Park. The band then undertook a short tour throughout the UK to celebrate their 30th anniversary. Reverting to the Burchill/Kerr/Gaynor/Duffy line-up, Simple Minds recorded a new studio album, Graffiti Soul, which was released on 25 May 2009. Jim Kerr suggested that Simple Minds had enough material from the Graffiti Soul recording sessions for two albums, one to be released at the start of 2009 and the second following within the space of a year. The album entered the UK Album chart at #10, becoming Simple Minds first album in 14 years to enter the UK Top 10. The album also entered European Top 100 Album chart at #9.
On 22 November 2011, Simple Minds announced an exclusive 16-date European tour entitled "5X5 Live" to begin in Portugal on 14 February and to end in Ireland on 4 March 2012 (including four intimate UK venues on 24 and 25 February and on 2 and 3 March 2012) during which the band would perform for the first time 5 songs from each of their first 5 albums released from 1979 to 1982 representative of the post-punk period with the birth of the new wave electro scene in the late 1970s and early 1980s
To coincide with the "5x5 Live" tour, EMI Music will release on 20 February 2012 the Simple Minds X5 box set featuring the 5 first albums over 6 discs, Life in a Day, Real to Real Cacophony, Empires and Dance, Sons and Fascination/Sister Feelings Call and New Gold Dream (81–82–83–84) (with Sons and Fascination and Sister Feelings Call as separate discs in a gatefold sleeve as well as bonus material on each disc including rare and previously unavailable CD, B-sides and remixes).
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To the delight of some open-minded post-punk fans , fans like me who also had space for the relatively new, untraditional likes of Devo, Kraftwerk, and Eno in their record collections. The artistic leap from Life in a Day to Real to Real has to be one of the most mesmerizing ones imaginable, an improvement that is even more impressive when the short time between release dates is considered. It's where Simple Minds ventured beyond the ability to mimic their influences and began to manipulate them. Aside from a mercifully brief lapse into aimless murmuring and doodling that occurs during the middle of the record, Real to Real Cacophony is rife with countless bizarre joys. It knocks you on your back with pretentious artsy-fartsiness as instantly as New Gold Dream dazzles with its art pop pleasures, but its challenging melodicism through jerky time signatures and an endless supply of varied sounds and textures keeps you coming back for more. Guitars are employed less frequently and are replaced by burbling electronics and further use of keyboard shadings, though the absolute high point of the band's early years, "Changeling," benefits from plangent, angular jabs.
Simple Minds – Real To Real Cacophony ( flac 234mb)
01 Real To Real 2:50
02 Naked Eye 2:22
03 Citizen (Dance Of Youth) 2:53
04 Carnival (Shelter In A Suitcase) 2:51
05 Factory 4:14
06 Cacophony 1:41
07 Veldt 3:35
08 Premonition 5:28
09 Changeling 4:11
10 Film Theme 2:26
11 Calling Your Name 5:06
12 Scar 3:33
Simple Minds – Real To Real Cacophony ( ogg 95mb)
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Simple Minds shifted gears once again for album number three, Empires and Dance. The "dance" aspect of the title needs to be emphasized, but it's apparent that the group's globetrotting and simmering political tensions in Britain affected their material in more ways than one. One gets the idea that they did some clubbing and also experienced some disparate views of the world. The opening "I Travel" is the most assaultive song in the band's catalog, sounding like a Giorgio Moroder production for Roxy Music. The remainder of the album repeals the blitzkrieg frenetics of the beginning and hones in on skeletal arrangements that focus on thick basslines and the loping rhythms that they help frame. The hopping/skipping "Celebrate" isn't much more than a series of handclaps, a light drum stomp, some intermittent bass notes, and some non-intrusive synth effects. It goes absolutely nowhere, yet it's more effective and infectious than most verse-chorus-verse pop songs. The seven minutes of "This Fear of Gods," which boast another dense rhythm abetted by trebly atmospheric elements, come off like an excellent 12" dub, rather than an original mix. Just as bracing, the paranoiac disco of "Thirty Frames a Second" and lives on as a post-punk dance classic. It's a true shock that this record was released with reluctance. The band coerced an unimpressed Arista into pressing a minimal amount of copies for release, but thankfully Virgin reissued it in 1982.
Simple Minds – Empires And Dance (flac 295mb)
01 I Travel 4:03
02 Today I Died Again 4:37
03 Celebrate 5:09
04 This Fear Of Gods 7:03
05 Capital City 6:14
06 Constantinople Line 4:40
07 Twist/Run/Repulsion 4:32
08 Thirty Frames A Second 5:05
09 Kant-Kino 1:50
10 Room 2:29
Simple Minds – Empires And Dance (ogg 106mb)
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For their fourth album in three years, Simple Minds signed on with Virgin and enlisted Gong's Steve Hillage as producer. The sessions continued the group's impressive run of high-quality output, but there are instances where ambition gets the best of them. Though their work with Hillage hardly spawned anything on a plane with the two albums that preceded it and the one that followed it, it's still a substantial piece of the Simple Minds puzzle. Bridging the art disco of Empires and Dance with the pop masterpiece New Gold Dream, the album falters when the band seems to be reaching a bit too far for their own good. The other stumbling block is Hillage's production: The record isn't without moments of brilliance, like the exquisitely detailed "70 Cities As Love Brings the Fall", the insistently snaking "In Trance As Mission," and "Sweat in Bullet," which has sparkling keyboard parts and crafty guitar interplay. Aside from these moments, the mind tends to wander and wonder if the band was trying to do too much. Upon its release, Sons and Fascination was issued for a limited time with a bonus LP, Sister Feelings Call . A month after Sons and Fascination was released, Sister Feelings Call was issued separately at a budget price. And then, for Virgin's 1985 CD issue of Sons, Sister was added to the end (albeit minus "League of Nations" and "Sound in 70 Cities"). The first three songs on Sister match or exceed the material on Sons and Fascination. "Theme for Great Cities" is one of Simple Minds' best instrumentals, "The American" (a 1981 single) exemplifies the point at which 1980's Empires and Dance and 1982's New Gold Dream cross, and "20th Century Promised Land" offers winding ripples of rhythms without one instrument taking any central role. In 2003 and later rereleases the complete album was added.
Simple Minds – Sons And Fascination (flac 512mb)
01 In Trance As Mission 6:53
02 Sweat In Bullet 4:31
03 70 Cities As Love Brings The Fall 4:50
04 Boys From Brazil 5:31
05 Love Song 5:04
06 This Earth That You Walk Upon 5:28
07 Sons And Fascination 5:23
08 Seeing Out The Angel 6:11
Sister Feelings Call
09 Theme For Great Cities 5:52
10 The American 3:51
11 20th Century Promised Land 4:55
12 Wonderful In Young Life 5:21
13 League Of Nations 4:56
14 Careful In Career 5:09
15 Sound In 70 Cities 5:04
Simple Minds – Sons And Fascination (189mb)
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Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. The record generated a handful of singles; "Promised You A Miracle", "Glittering Prize" and "Someone Somewhere (In Summertime)". The album was released in 1982 and was a turning point for the band as they gained critical and commercial success in the UK and Europe. It made #3 in the UK Albums Chart.
Simple Minds – New Gold Dream (81-82-83-84) ( flac 293mb)
01 Someone Somewhere In Summertime 4:38
02 Colours Fly And Catherine Wheel 3:49
03 Promised You A Miracle 4:27
04 Big Sleep 5:03
05 Somebody Up There Likes You 5:02
06 New Gold Dream (81-82-83-84) 5:38
07 Glittering Prize 4:33
08 Hunter And The Hunted 5:55
09 King Is White And In The Crowd 7:00
Simple Minds – New Gold Dream (81-82-83-84) ( ogg 106mb)
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