RhoDeo 1726 Grooves

Hello,

Today's artist never had a big crossover hit, "the King of Rock and Soul" is not as widely known as others from the golden age of soul music. But his dramatic, sonorous voice — seasoned by his days as a boy preacher — is unrivaled in its ability to move effortlessly between R&B, pop, country and gospel. "My grandmother made sure that we listened to a variety of music, and that always stayed with me,". Recently, he's picked up a Grammy and long-overdue recognition, and tracks such as "Everybody Needs Somebody to Love" are now part of the soul canon. "He is Solomon the Resonator," Tom Waits has said, "the golden voice of heart, wisdom, soul and experience."  . ..... N'joy

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He was proclaimed the “King of Rock and Soul” in 1964 and has also been anointed “the Bishop of Soul.” No less an authority than Jerry Wexler, the legendary Atlantic Records producer, has proclaimed, “The best soul singer of all time is Solomon Burke.”

Burke’s versatile, force-of-nature voice combines gospel fervor, country gentility and R&B grit. He can swing from a satiny croon to gruff soul shout to a deep, caressing baritone. From 1961 to 1968, Burke released 32 memorable singles on Atlantic. These included six Top 10 R&B hits, four of which crossed over to the pop Top 40: “Cry to Me” (Number Five R&B), “Just Out of Reach (Of My Two Open Arms)” (Number Seven R&B, Number 24 pop), “Got to Get You Off of My Mind” (Number One R&B, Number 22 pop), “You’re Good for Me” (Number Eight R&B), “Tonight’s the Night” (Number Two R&B, Number 28 pop) and “If You Need Me” (Number Two R&B, Number 37 pop).

Many more of Burke’s singles cracked both the R&B Top 40 and the Top Pop 100 charts. Yet his lasting significance as a recording artist and performer goes beyond numbers. Burke was a consummate showman who adopted the role of “King of Rock ‘n’ Soul” onstage by adorning himself in a regal robe of velvet and ermine. One of the greatest vocalists of the soul era, Burke has been credited for helping to keep Atlantic Records solvent from 1961 to 1964 with his steady run of hit records. Jerry Wexler pronounced Burke a “vocalist of rare prowess and remarkable range. His voice is an instrument of exquisite sensitivity.” He is also a colorful and even eccentric figure - one of the true characters in the world of popular music.

Burke was born in Philadelphia and gravitated to the church through the influence of his grandmother, preaching his first sermon at age seven. He was broadly exposed to music, absorbing the varied likes of jazz-pop vocalist Nat King Cole, cowboy singers Gene Autry and Roy Rogers, bluesmen Muddy Waters and John Lee Hooker, gospel queen Clara Ward, and R&B kingpins Ray Charles and Big Joe Turner. This accounts for Burke’s stylistic breadth as a soul singer. He recorded for the New York-based Apollo Records from 1955-1958, where he scored a minor hit with “You Can Run (But You Can’t Hide),” a song whose authorship was co-credited to Burke and boxer Joe Louis

In 1960, Burke signed to Atlantic Records, where it was believed that his flexible voice and roots in gospel and country would earn him a wide, bi-racial audience. His first hit for the label was the uptempo “Just Out Of Reach (Of My Two Open Arms)” in the fall of 1961. Burke’s first single to cross over from R&B to pop was a soulful cover of the country song “Just Out of Reach (Of My Two Open Arms).” Burke wrote or cowrote much of his material, and he also recorded songs by soul singers Wilson Pickett (“If You Need Me’) and Don Covay (“You’re Good for Me”). Burke and Covay cowrote one of his biggest hits, “Tonight’s the Night.” Burke’s signature song, “Got to Get You Off of My Mind,” stands as one of the premier soul hits of the Sixties. “Got to Get You Off of My Mind” and “Tonight’s the Night” appeared in 1965, Burke’s biggest year, and hit Number One and Number Two on the R&B charts, respectively.

In 1968, Burke teamed with fellow Atlantic artists Don Covay, Ben E. King, Arthur Conley and Joe Tex to record a single ("Soul Meeting") as the Soul Clan, an expression of solidarity and mutual support by five pillars of soul music. “We wanted to interlock ourselves as a group, to express to the younger people how strong we should be and to help one another, work with one another and support one another,” Burke has said of the Soul Clan’s lone single.

After leaving Atlantic, Burke signed with Bell Records where he released five singles in the next eighteen

months. In 1969 he had a small hit with his second release for Bell, a reworking of Creedence Clearwater Revival's "Proud Mary" b/w "What Am I Living For" (Bell 783). This was co-produced by Tamiko Jones, who was being rehabilitated after a bout of polio, and was at the time Burke's manager. Burke recorded a cover of "Proud Mary" prior to Ike & Tina Turner's version, and according to Burke was the one who convinced the duo to record it. The song became a brief hit reaching #15 R&B and #45 pop. All but four of the tracks Burke recorded during an 18-month stay with Bell Records were packaged on the Proud Mary LP. After this album and the two following singles - his own "Generation of Revelations", and the Mac Davis song "In the Ghetto", which had previously been a hit for Elvis Presley - failed to chart, his contract was not renewed.

Through the efforts of his manager, Buddy Glee, by November 1970 Burke signed with Mike Curb's MGM label, and formed MBM Productions, his own production company. Burke's record debut for MGM, "Lookin' Out My Back Door", another Creedence Clearwater Revival song, had disappointing sales. His first MGM album, Electronic Magnetism, also failed to chart. In 1972 Burke had a #13 R&B hit for MGM with "Love Street and Fool's Road" (MGM 14353).[13] In 1972, he recorded the soundtrack to two films, Cool Breeze and Hammer. He left MGM for ABC-Dunhill Records in 1974, recording the album, I Have a Dream, which produced the #14 R&B hit, "Midnight and You". By 1975 Burke was signed to Chess Records. He recorded two albums for Chess: Music to Make Love By and Back to My Roots, and had a top 20 R&B hit in 1975 with "You And Your Baby Blues". However, his follow-up single "Let Me Wrap My Arms Around You" only reached #72 on the R&B chart. In 1978 Burke released an album Please Don't Say Goodbye To Me, which was produced by Jerry "Swamp Dogg" Williams, though Amherst Records.[78] On September 23, 1978, Burke charted for the 31st and last time when "Please Don't Say Goodbye to Me" reached #91 on the R&B chart. He released the album Sidewalks, Fences and Walls on Infinity Records in 1979 (reissued as Let Your Love Flow in 1993 by Shanachie Records).

Between 1979 and 1984, Burke recorded four gospel albums for Savoy Records, starting with the album, Lord I Need a Miracle Right Now. He was nominated for his first Grammy in the Best Male Gospel Soul category for his rendition of "Precious Lord, Take My Hand", but complained later that he did not receive royalties from his Savoy work. He then recorded for smaller labels such as Rounder, MCI/Isis, Bizarre/Straight, Black Top, Point Blank and GTR Records. Burke was inducted into the Rock and Roll Hall of Fame on March 19, 2001 in New York City by Mary J. Blige, after eight previous nominations since 1986.

In 2002, Burke signed with Fat Possum Records and released the album, Don't Give Up on Me. The album became critically acclaimed and later resulted in Burke's first Grammy Award win. Burke later signed with Shout! Factory to release the album, Make Do With What You Got, which became another critically acclaimed success. In 2006, Burke returned to his country roots with the album, Nashville. In 2008, he received another Grammy nomination for the album, Like a Fire. That same year, Rolling Stone magazine ranked Burke as #89 on its list of the "100 Greatest Singers of All Time". In 2010, Burke came out with the Willie Mitchell-produced Nothing's Impossible for E1 Entertainment. Later in 2010, he released his final album, Hold on Tight, a collaboration album with De Dijk, a Dutch band.


A lifelong entrepreneur, Burke also owned a string of mortuaries and attended to a lifelong ministry from his home in Beverly Hills, California, up until his death in Amsterdam in 2010. Burke was married four times. In total Burke fathered at least 14 children (9 daughters and 5 sons), including at least two fathered outside any of his marriages. He had 7 step children, 90 grandchildren and 19 great-grandchildren at the time of his death
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16 tracks recorded between 1955 and 1957 for Apollo in New York by the legendary soul singer, Solomon Burke, accompanied by Howard Biggs and his Orchestra. Hits include "When I'm All Alone", "Walking in a Dream", "You Can Run But You Can't Hide" and "You Are My One Love." Personnel: Solomon Burke - (vocals) with Howard Biggs and his Orchestra featuring King Curtis - (tenor saxophone), Mickey Baker - (guitar) and others

Solomon Burke - No Man Walks Alone 1955-1957    (flac  204mb)

01 Christmas Presents from Heaven 3:03
02 When I'm All Alone 2:11
03 I'm in Love 2:32
04 Why Do Me That Way ? 2:49
05 To Thee 3:04
06 No Man Walks Alone 2:26
07 Walking in a Dream 2:22
08 You Can Run But You Can't Hide 2:37
09 A Picture of You 2:10
10 I Need You Tonight 2:43
11 This Is It 2:55
12 My Heart Is a Chapel 2:46
13 For You and You Alone 2:08
14 You Are My One Love 2:33
15 They Always Say 2:10
16 Don't Cry 2:11

Solomon Burke - No Man Walks Alone 1955-1957  (ogg    75mb)

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This early Solomon Burke album is named for the opening cut, his take on Wilson Pickett's "If You Need Me," which was a successful single for Burke, almost reaching number one on the R&B charts. Recorded between late 1959 and early 1963, these mostly mid-tempo songs find Burke's somewhat gritty pleas at home in sultry, bluesy surroundings ("Send Me Some Loving") and sweetened up for the occasional exotica-tinged arrangement ("Tonight My Heart She Is Crying").
Solomon Burke's first album for Atlantic Records features three bona fide hits and other treats done as only the soulful, preaching singer with croon-ability can. He defies pigeonholing. Nobody ever talks of what range Burke sings in because it doesn't matter. Like Michael Jordan or Allen Iverson on the basketball court, Burke makes you feel like he's capable of anything and everything in the studio.

Solomon Burke - If You Need Me + Rock 'N Soul    (flac 384mb)

If You Need Me
01 If You Need Me 2:29
02 Words 2:23
03 Stupidity 1:51
04 Go On Back To Him 2:51
05 I Said I Was Sorry 2:22
06 It's All Right 2:25
07 Home In Your Heart 2:01
08 I Really Don't Want To Know 3:28
09 You Can Make It If You Try 2:23
10 Send Me Some Loving 2:19
11 This Little Ring 2:31
12 Tonight My Heart She Is Crying 2:14
Rock 'N Soul
13 Goodbye Baby 3:16
14 Cry To Me 2:27
15 Won't You Give Him (One More Chance) 2:31
16 Hard Ain't It Hard 2:45
17 Can't Nobody Love You 2:30
18 Just Out Of Reach 2:46
19 You're Good For Me 2:45
20 You Can't Love 'Em All 2:40
21 Someone To Love Me 2:59
22 Beautiful Brown Eyes 3:42
23 He'll Have To Go 3:19

Solomon Burke - If You Need Me + Rock 'N Soul  (ogg  149mb)

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'King Solomon' was Burke's first album in four years, his last one dating back to 1964. But it must have been worth the wait...
Solomon pulls from his strengths on the aptly-titled King Solomon by bringing in some country, gospel and blues influences to support his larger-than-life delivery (and his even larger and more likable personality - which shines through with colours here).  The gospel-heavy "Take Me (Just As I Am)" is just about one of the finest and most moving pieces Solomon has ever lent his talents to, and "It's Just A Matter Of Time" is larger than life in every single way.  Not all of the rest of the material on King Solomon is as top-drawer (it ranges from inspirational to merely head-nod worthy) but each song benefits from Solomon's sense of timing, sense of humility, and sense of humour. That voice... Unbelievable.

Solomon Burke - King Solomon     (flac 197mb)

01 It's Been A Change 2:09
02 Take Me (Just As I Am) 2:58
03 Time Is A Thief 2:41
04 Keep A Light In The Window 3:21
05 Baby, Come On Home 3:17
06 Detroit City 2:54
07 Someone Is Watching 2:50
08 Party People 2:38
09 When She Touches Me (Nothing Else Matters) 2:37
10 Woman, How Do You Make Me Love You Like You Do 2:47
11 It's Just A Matter Of Time 2:45
12 Presents For Christmas 2:40

.    (ogg  mb)

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I Wish I Knew, Solomon Burke's final album for longtime home label Atlantic, is a desperate mix of R&B oldies, sappy contemporary tunes and a scurrying search for style in the storm. Burke was in the middle of a cultural revolution when this album was made; soul music now crashed with such sonic force to keep up with pop's psychedelic trippings that Burke's blend of Sam Cooke-like cooing and Sunday-morning fervor seemed a bit quaint. The seasoning of I Wish I Knew is misguided at best. There's a forced "grooviness" to the tunes that makes them dusty relics of their era and a somewhat desolate end to a golden age of R&B. Burke sounds fine throughout (his singing, in fact, is nearly as fervent as it was on the previous year's treasure King Solomon), but aside from "I Wish I Knew (How It Would Feel to Be Free)," too much of the album lacks.

Solomon Burke - I Wish I Knew     (flac 190mb)

01 I Wish I Knew ( How It Would Feel To Be Free ) 2:50
02 Get Out Of My Life Woman 3:15
03 Meet Me In Church 3:26
04 By The Time I Get To Phoenix 2:50
05 Then You Can Tell Me Goodbye 3:10
06 What'd I Say 4:45
07 Since I Met You Baby 3:40
08 Save It 2:25
09 Shame On Me 2:30
10 Why, Why, Why 2:24

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RhoDeo 1726 Re-Up 104

Hello,


11 correct requests this week, 2 too recent (again !), in short another batch of 34 re-ups, 4 for the first time in Flac.

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

Looka here , requests fulfilled up to June 29th.... N'Joy

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1x First posting NOW In Flac (Material - Seven Souls)


3x Beats Back in Flac (Dimitri From Paris - Sacrebleu, VA - Monsieur Dimitri's De-Luxe House Of Funk, Dimitri From Paris - Cruising Attitude)


4x Sundaze Back In Flac ( VA - Space Night Vol. 3 Alpha, VA - Space Night Vol. 3 Beta, VA - Space Night Vol. 4 Alpha, VA - Space Night Vol. 4 Beta)


3x Roots Back In Flac ( Jacob Miller - Who Say Jah No Dread, Jacob Miller - Lives On , J. Miller & Inner Circle - Reggae Greats)


3x Roots Back In Flac (Singers and Players - Revenge Of The Underdog, Singers and Players - Staggering Heights, Singers and Players - Golden Greats Volume 2)


4x Aetix Back In Flac ( Wipers - Land Of The Lost Wipers - Follow Blind, Wipers - The Circle, Wipers - The Best Of Wipers And Greg Sage)


3x Aetix NOW In Flac (Graham Parker - Stick to Me, Rupert Hine - Immunity, Nitzer Ebb - That Total Age)


3x Sundaze Back In Flac ( This Mortal Coil - It'll End In Tears + Gathering Dust EP, This Mortal Coil – Filigree and Shadow, This Mortal Coil – Blood)


Back In Flac ( Gary Numan - I, Assassin, Gary Numan - Berserker, Gary Numan - The Fury )


3x Sundaze Back In Flac (Youth - A New Chapter in Dub Vol 2,  Youth - Ketama Live, Youth - Ketama Vision )


4x Aetix Back In Flac (Shonen Knife - Burning Farm, Shonen Knife - Greatest History, Shonen Knife - Peel Sessions, Shonen Knife - Let's Knife)


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RhoDeo 1726 Aetix

Hello,



Today's artists were a British music group that formed in April 1977. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity in the mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the globe. In 1993, they changed the name to Babble, to reflect their change in music from new wave to dub-influenced chill-out.

The band was named after the two bumbling detectives Thomson and Thompson in Hergé's comic strip The Adventures of Tintin. At various stages, the band had up to seven members, but their most known incarnation was as a trio between 1982 and 1986. They became a prominent act in the Second British Invasion, and in 1985, the band performed at Live Aid...]N'Joy

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In 1977, the original Thompson Twins line-up consisted of Tom Bailey (born 18 January 1956, Halifax, Yorkshire) on bass and vocals, Pete Dodd on guitar and vocals, John Roog on guitar, and Jon Podgorski (known as "Pod") on drums. Dodd and Roog first met when they were both 13 years old.

Arriving in London with very little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins member Alannah Currie (born 20 September 1957, Auckland, New Zealand) lived in another squat in the same street — which is how she met Bailey. It was in this ramshackle and run-down house that they found an illegal way of "borrowing" electricity from the house next door. Bailey described themselves (laughingly) as spongers back then, as they were living on very little and scavenging everything they could lay their hands on. He even said that the only instruments they had were bought, or had been stolen or borrowed. Dodd managed to get a council flat not far away. Their roadie at that time was John Hade, who lived in the same house, and who later became their manager. As Podgorski had decided to stay in the north, the group auditioned for drummers at the Point Studio in Victoria, London. Andrew Edge joined them on drums for less than one year, and went on to join Savage Progress, who later toured with the Thompson Twins as their support act on the 1984 UK tour.

In 1980, the band (now consisting of Bailey, Dodd, Roog and drummer Chris Bell; who had replaced Edge the previous year) released their first single "Squares and Triangles" on their own Dirty Discs label. A follow-up single, "She's In Love With Mystery", was issued later that year. In 1981, the line-up became Bailey, Dodd, Roog, Bell and two new members: former band roadie Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line-up recorded the first Thompson Twins album A Product of ... (Participation), documented in the film, Listen to London (1981). Currie, who had been associated with the band for a few years, played and sang on the first album, but was not yet a full member.

After the first album, the band's line-up shifted yet again. Saxophonist Jane Shorter left and was replaced by Currie (who also played percussion), and bassist Matthew Seligman, a former member of The Soft Boys and The Fallout Club, joined; leaving Bailey to switch to keyboards; and with Leeway starting to handle vocals on some tracks.The band signed to Arista Records and released the album Set. Thomas Dolby played some keyboards on Set and some live gigs, as Bailey had little experience with synthesizers before then. Set contained the single "In the Name of Love", sung and largely written by Bailey. It became a No. 1 dance club hit in the US, and an album entitled In the Name of Love (consisting mainly of tracks from Set, with two others from A Product Of... (Participation)) was released in the US to capitalize on the song's popularity. It entered the US Billboard 200.

After the success of "In the Name of Love", Bailey, Currie and Leeway, wanting to pursue the single's different sound, toyed with the idea of starting a new band on the side, which they planned to call 'The Bermuda Triangle'. When "In The Name Of Love" (and the parent album Set) failed to make a substantial impact in the UK record charts, this plan was abandoned. However, at the same time, manager Hade convinced Bailey, Leeway and Currie to downsize the Thompson Twins to a core of the three in April 1982. Accordingly, the other four members of the band were notified that the band was breaking up; they were each paid £500 and were allowed to keep their instruments and equipment in exchange for an undertaking not to perform together under the name "Thompson Twins".

The remaining Thompson Twins, who had not in fact "broken up", decided to go abroad to free themselves of any UK influence, as well as to combine the songwriting for their first album as a trio with a long holiday. They first went to Egypt and then to the Bahamas where they recorded at Compass Point Studios in Nassau with the producer Alex Sadkin. Bailey commented on the band's reduction to a trio in a 1983 interview: "When we reformed the band, we were making a statement. We weren't going to be a rock 'n' roll band, we weren't going to have a guitar. We were going to move on. You know, Lou Reed said whenever he played live he ended up going back to heroin music. There are old associations, associations we don't want because they don't reflect the way we feel today. ... Right now, technology is what's important, and that's what our music tries to reflect."

The band broke into the UK Singles Chart and the US Billboard Hot 100 chart at the beginning of 1983 with "Lies" and "Love On Your Side", which became the band's first UK Top 10 single. They then released their third album, Quick Step and Side Kick (called simply Side Kicks in the US), which peaked at number 2 in the UK and was later certified platinum. Further singles followed with "We Are Detective" (another Top 10 UK hit) and "Watching" (UK #33). All three bandmembers received songwriting credits, though the band publicly acknowledged Bailey as the songwriter, with Currie contributing lyrics and Leeway focusing on the stage show. During 1983, the band had the opening spot on The Police concert tour in the US.

"Hold Me Now", was released in late 1983. The song was an international chart success, peaking at No. 4 in their native UK  where it became the band's biggest seller earning a gold disc, and reached No. 3 in the US in the spring of 1984 becoming their biggest American hit. The band's new album, Into the Gap, was released in early 1984 and became one of the year's biggest sellers, selling five million copies worldwide. It topped the UK Albums Chart and was later certified double platinum there. Further hit singles from the album followed with "Doctor! Doctor!" (UK No. 3) and "You Take Me Up" (UK No. 2, their highest UK singles chart placing and which earned a silver disc). Other singles included a new version of the album track "Sister of Mercy" (UK No. 11), and "The Gap" (though this was not released in the UK). The band embarked on a world tour in support of the album, which had also made the US top ten.

A brand new single, "Lay Your Hands on Me", was released in the UK in late 1984 and reached No. 13 in the UK charts. Following this, the band parted company with their producer Alex Sadkin and opted to produce their new album, Here's To Future Days, by themselves in Paris. However, in March 1985, while promoting their new single "Roll Over" and the forthcoming album, Bailey collapsed in his London hotel room from nervous exhaustion. The "Roll Over" single was then cancelled at the last minute and the new album postponed. Though the band had chosen to produce themselves, the postponement caused them to rethink the project and producer Nile Rodgers was subsequently called in to rework the album with them. The album was eventually released in September 1985, reaching the UK Top 5 and US Top 20, though failed to come close to the success of Into The Gap. It was preceded by the single "Don't Mess With Doctor Dream" (UK No. 15) and followed by the single "King For A Day", which peaked at No. 22 in the UK, but reached No. 8 on the US chart. Other singles included a new US version of "Lay Your Hands On Me" (US No. 6), and a cover of The Beatles' 1968 hit "Revolution", which failed to make the UK Top 40.

Prior to the album's release, the Thompson Twins performed on the American leg of Live Aid in July 1985
and were joined onstage by Madonna. The planned summer 1985 tour of the UK (and a headlining appearance at the Glastonbury Festival) had to be cancelled due to Bailey's health problems (fans with tickets received a free live album as compensation), though international dates were rescheduled and the latter half of 1985 saw sell out tours for the band in the US and Japan. A second planned tour of the UK in 1985 was also scrapped due to the promoter declaring bankruptcy.

Leeway left the band in 1986, and the remaining duo of Bailey and Currie carried on making music for another seven years The act's first release as a duo was the North America-only single "Nothing In Common", issued in July 1986. It peaked at a modest #54 US, #68 Canada. 1987 saw the release of Close to the Bone and the single "Get That Love", which climbed to No. 31 in the US[8] but failed in the UK. "In the Name of Love" was given a new lease on life in 1988, after a remix by Shep Pettibone made the Top 50 in the UK. 1989 saw the release of another album, Big Trash, and a new recording contract with Warner Bros. Records. The single "Sugar Daddy" peaked at No. 28 in the US and would be their last brush with mainstream chart success. 1991's Queer would be the band's swansong, and was supported by various techno inspired singles under the moniker of Feedback Max (in the UK) to disguise the identity of the band to club DJs. The single "Come Inside" reached No. 7 in the US Dance Chart and No. 1 in the UK Dance Chart. However, once it was discovered that the Thompson Twins were behind the record, sales dropped and the album never had a UK release.

Prior to this, Bailey and Currie (who were now a couple) had their first child together in 1988, and in the following years they spent a lot of time writing material for other artists including the hit single "I Want That Man" for Debbie Harry in 1989. In 1990, Bailey and Currie contributed the song "Who Wants To Be A Millionaire?" to the Cole Porter tribute album "Red Hot + Blue" produced by the Red Hot Organization. In 1991, Bailey and Currie were married in Las Vegas and the following year moved to New Zealand with their two children. In 1992, the Thompson Twins contributed the song "Play With Me" to the soundtrack of the Ralph Bakshi film Cool World; Bailey alone contributed a second track, "Industry and Seduction". The following year, the duo formally teamed up with engineer Keith Fernley and changed their band name to Babble. They released two albums, in 1993 and 1996.

The Thompson Twins declined to follow the examples of many of their contemporaries and reform to tie-in with a nostalgic rebirth of the 1980s, although Bailey, Currie and Leeway appeared together on the UK Channel 4 show Top Ten Electro Bands in 2001. The Thompson Twins were placed ninth.

After the Twins

Babble released two albums — The Stone (1993) and Ether (1996) — with songs featured in the films Coneheads and With Honors. Three quarters of a third album was recorded, but it remains unreleased. In the mid-1990s, Currie gave up the music business to set up her own glass-casting studio in Auckland. After her sister died of Creutzfeldt–Jakob disease, Currie founded a group in New Zealand called Mothers Against Genetic-Engineering in Food and the Environment (also known as MADGE), which soon had thousands of members. Currie described this group as a "rapidly growing network of politically non-aligned women who are actively resisting the use of genetically-engineered material in our food and on our land". An advert for this group featuring a young woman with four breasts hooked up to a milking machine became famous after appearing on billboards across New Zealand. Bailey and Currie split up in 2003, and are now divorced. They both left New Zealand to live separately in Britain, but are still close friends. In 2011, Currie married Jimmy Cauty (formerly of The KLF) and as of then was a trained upholsterer known professionally as "Miss Pokeno".

In 1999, Bailey produced and played keyboards on the album Mix by the New Zealand band Stellar*, and won the Producer of the Year Award at the 2000 New Zealand Music Awards. He has also arranged soundtracks and has provided instrumental music for several films. He continues to make music under the moniker International Observer and has released the albums Seen (2001), All Played Out (2005), and Felt (2009). He also performs with the Holiwater group from India. He began performing live again as Thompson Twins' Tom Bailey in 2014 and has since toured the UK, North America and Japan. In 2016 he released his debut solo single, 'Come So Far'. Tom remarried artist Lauren Drescher, and he currently resides in France and London.

After leaving the Thompson Twins in 1986, Leeway briefly dabbled in acting and attempted a solo music career, though neither were successful. As of 2006, he resides in Los Angeles, California, and works in the field of hypnotherapy. He is on the staff at the Hypnosis Motivation Institute (HMI) in Tarzana, California, and is also a certified trainer in neuro-linguistic programming.

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A Product of … (Participation) is the first album by the English pop group Thompson Twins. It was released in June 1981 on the T Records imprint, a label created by the band and distributed through the Fame/EMI label. At the time of its release, the band were a six-piece group that did not include Alannah Currie (although she is thanked in the credits for "playing and singing" on the record). In comparison to the glamour of their later years, the group had a somewhat 'scruffy' image during this period, because they were very poor and living in squats in London. The self-produced album had a post-punk sound that was heavily influenced by African rhythms and chants. The band had already built a strong reputation for themselves due to their live shows, where often members of the audience were encouraged to join the band onstage and pound along with them on makeshift percussion such as hubcaps and pieces of metal. All of the songs on the album were written by the band themselves, except for two ethnic traditionals, both arranged by Tom Bailey. In September 2008, the band's first two albums, A Product of … (Participation) and Set, were released as a double CD. This version included their earliest singles, non-album tracks, and extended remixes.

 Thompson Twins - A Product of ... Participation (flac  526mb)

01 When I See You 3:54
02 Politics 2:25
03 Slave Trade 3:21
04 Could Be Her ... Could Be You 3:50
05 Make Believe (Let's Pretend) 3:29
06 Don't Go Away3:05
07 The Price 4:17
08 Oumma Aularesso (Animal Laugh) 3:03
09 Anything Is Good Enough 2:36
10 A Product Of ... 3:37
11 Perfect Game 4:27
12 Vendredi Saint 3:11
Bonus
13 Squares And Triangles 3:18
14 Could Be Her ... Could Be You (Original Version) 3:36
15 Weather Station (Tom Bailey) 1:09
16 Modern Plumbing (The Blankets) 5:48
17 She's In Love With Mystery 2:48
18 Fast Food 1:59
19 Food Style 2:09
20 Oumma Aularesso (Animal Laugh) (Re-Mixed Version) 4:38
21 A Dub Product 3:17
22 Make Believe (Let´s Pretend) (Extended Version) 4:58
23 Lama Sabach Tani 4:59

Thompson Twins - A Product of ... Participation   (ogg  194mb)

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Set is the second album by English pop group Thompson Twins. Released in February 1982, it was the second album they recorded for their own T Records imprint, which was released by Arista Records/Hansa. Compared to their first album, A Product of ... (Participation), Set featured a more polished sound thanks to producer Steve Lillywhite. With their ever-shifting line-up, the Thompson Twins had now swelled to seven members, adding Matthew Seligman on bass guitar to free up Tom Bailey for full frontman duties and keyboards. Former sax player Jane Shorter was replaced by Alannah Currie, who was Bailey's girlfriend at the time (they later married and remained together until 2004). Three of the songs featured on Set do not feature Bailey on lead vocals, but are sung by Joe Leeway, who is also credited as writer or co-writer for five tracks. While not an official member of the band, Thomas Dolby was also on hand to play additional keyboards on three tracks.

While the album was given praise by critics, the band found themselves on the verge of yet another personnel change. The track "In the Name of Love" was written by Bailey simply as album filler, but was ultimately chosen as the lead single from the album. While failing to make the UK pop charts, the single was released in the United States as a club single and went to number one on Billboard magazine's dance chart, where it remained unseated for five weeks (from 22 May – 19 June 1982).
The success of the track opened many doors for the band, who suddenly had the potential to be more than just an underground sensation. Together with the band's manager, John Hade, Bailey then reinvented the band as a trio, keeping Currie and Leeway while firing the others.

Set was also released in the United States on the Arista label as In the Name of Love, which saw three of the album's tracks replaced by two songs from the band's first album, A Product of ... (Participation). In September 2008, Set was re-released  it included early singles, non-album tracks, and extended remixes.

Thompson Twins - Set (flac 540mb)

01 In The Name Of Love 3:53
02 Living In Europe 3:29
03 Bouncing 2:34
04 Tok Tok 2:29
05 Good Gosh 3:08
06 The Rowe 6:30
07 Runaway 3:31
08 Another Fantasy 4:00
09 Fool's Gold 3:22
10 Crazy Dog 3:47
11 Blind 4:53
Bonus
12 In The Name Of Love (12" Dance Extension) 5:39
13 In The Beginning 3:26
14 Coastline 3:40
15 Open Your Eye 3:06
16 Runaway (Extended Remix) 5:29
17 Bouncing (Extended Remix) 4:58
18 In The Name Of Love (Big Value Version / New Super Synthesized Version) 7:07
19 Living In Europe (Live At Hammersmith Palais) 3:21

Thompson Twins - Set   (ogg  195mb)

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Quick Step & Side Kick is the third album by the British synthpop group Thompson Twins. It was released in February 1983, and was their first album to be released as a trio (the band consisted of up to seven members during previous releases). The album reached no. 2 on the UK Albums Chart and was later certified Platinum by the BPI.In the United States and Canada, the album was titled simply as Side Kicks, and was only the second Thompson Twins album to be released there.

The album was the first collaboration between the band and producer Alex Sadkin and was recorded at Compass Point Studios in the Bahamas. The singer Grace Jones (who had worked with Sadkin on three of her albums by that time) made a guest appearance on the track "Watching", though her vocals were not included on the track when it was remixed and released as a single in mid-1983. The album has several different versions according to different territories, containing different tracks and different track order. The UK and US cassette versions of the album also contained a whole side of remixes of various album tracks.

In March 2008, Quick Step & Side Kick was reissued as a 2-disc set by Edsel Records and included the bonus remixes that appeared on the original 1983 cassette version of the album. The second disc included most major 12" versions and B-sides, some of which appeared on CD for the first time.

 Thompson Twins - Qucik Step and Side Kick (flac 495mb)

01 Love On Your Side 3:58
02 Lies 3:10
03 If You Were Here 2:55
04 Judy Do 3:47
05 Tears 5:02
06 Watching 3:57
07 We Are Detective 3:02
08 Kamikaze 3:55
09 Love Lies Bleeding 2:49
10 All Fall Out 5:26
The Cassette Remixes
11 Love Lies Fierce (Love Lies Bleeding) 6:57
12 Long Beach Culture (Instrumental) 6:46
13 No Talkin' - Dub (Lies) 6:18
14 Rap Boy Rap (Love On Your Side) 7:25
15 Frozen In Time (Kamikaze) 6:28
16 Fallen Out (All Fall Out) 2:35

Thompson Twins - Qucik Step and Side Kick   (ogg  193mb)

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Thompson Twins - Qucik Step and Side Kick bonus (flac  374mb)
 
01 Lies (Single Remix) 3:16
02 Love On Your Back 4:09
03 Lucky Day 3:53
04 Dancersaurus 4:42
05 Lies (Bigger And Better) (12" Version) 6:35
06 Beach Culture 3:59
07 Love On Your Side (No Talkin') (12" Version) 5:49
08 We Are Detective (More Clues) (12" Version) 5:48
09 Lucky Day (Space Mix) 7:02
10 Watching (You Watching Me) (12" Version) 5:51
11 Dancersaurus (Even Large Reptiles Have Emotional Problems) (12" Version) 5:58

Thompson Twins - Qucik Step and Side Kick bonus   (ogg   133mb)

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RhoDeo 1726 Roots

Hello,


Today's artist is one of his home country's most enduring national heroes. Though he is most treasured in Argentina, where his outspoken social consciousness and storied past as a fearless protest singer endeared him deeply to those who share his heritage, his appeal extends beyond his homeland: he performs to international audiences regularly and is often described in shorthand as "the Bob Dylan of Argentina."

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Leon Gieco was born on November 20, 1951 in Santa Fe Province, Argentina. At 6 years old, Gieco traveled with his family from the field to the village center due to economic problems. At age 8, Gieco bought his first guitar on credit, and soon began playing music at local events with his father's band. Throughout his childhood, Gieco played with local bands such as a folkloric group called Los Nocheros (The Night Watchers) and Los Moscos (The Flies), a rock band that gained some popularity within Argentina. In 1965, Gieco traveled to Bolivia as an exchange student. He studied music and played guitar at local festivities.

When Gieco turned 18, he went to Buenos Aires to become a full-time musician. There, he took guitar lessons from Gustavo Santaolalla, who introduced him to important people in the Buenos Aires musical community, such as Raúl Porchetto, Charly García, Nito Mestre, and María Rosa Yorio, members of the Argentine supergroup, Porsuigieco. Gieco was given the opportunity to perform in the Buenos Aires Rock Festival in 1971, 1972, and 1973. In 1973, he recorded his first album, "Leon Gieco" ( it was recorded independently with Santaolalla). "En el País de la Libertad" ("In the Country of Freedom"), a hit from his album, demonstrated Gieco's concern for change in Argentina, his concern for social justice.

In 1976 Gieco released El Fantasma de Canterville ("The Ghost of Canterville"). The record suffered a great deal of censorship from the military government forcing him to change the lyrics of 6 songs and remove 3 others altogether. Nevertheless, the record was a success, and he had concerts not only around Argentina, but also in other countries of South America. Two years later he released IV LP, with one of his most famous songs: "Sólo le pido a Dios" ("I only ask of God"). Due to the political situation in Argentina, Gieco moved to Los Angeles, California in 1978 for one year.

On December 20, 1979, the Argentine Minister of Education announced the closing of the National University of Lujan in Buenos Aires. Gieco participated in a protest against the closing by singing "La Cultura es la Sonrisa". His lyrics say, "(Culture) only cries in a country where people can't choose it/it only cries its sadness if a minister closes a school..."

In 1981 Gieco started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people. He gathered material from the different places he visited during the tour, and recorded the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca" in Buenos Aires with various autochthonous musicians in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 were recorded in a mobile studio in different locations of the country.

In 1985, Gieco went to Moscow for the 12th "World Youth and Students' Festival" alongside Juan Carlos Baglietto and Litto Nebbia, representing Argentina. In 1986 and 1987, he held concerts in Germany with his friend Mercedes Sosa, including that of Berlin's Political Song Festival.

Gieco returned to Argentina and performed free concerts, one for 40,000 spectators at the National Flag Memorial in Rosario, and the other for 35,000 people in Buenos Aires. At Boca Juniors' Stadium he had a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan Carlos Baglietto and Sixto Palavecino. At the end of the year he went on a world tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.

In 1988, Gieco performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International Human Rights Now! Tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.

After eight years of touring, Semillas del corazón ("Seeds of the heart") marked his return to the studio in 1989. That same year he performed at the Teatro Ópera in Buenos Aires with United States folk legend Pete Seeger. The following year, Seeger asked him to join a tour that took him to Washington, D.C., Boston and New York City. There he played with David Byrne, whom he had met in Buenos Aires shortly before.

In 1992, he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. In 1997 he participated in the memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, La Renga, Los Piojos, and Attaque 77.

Gieco began his most recent national tour for social justice, Mundo Alas, in 2007. Argentine musicians, dancers, singers, and painters, all with disabilities, performed alongside Gieco, expressing their unique talents and communicating with audiences. He gave these artists the opportunity to live out their dreams as he does. Gieco created a documentary from the road tour which was produced in March, 2009. The film features rock music, folk music, and tango, along with Gieco's original hits.

During his stop in Buenos Aires on his 2013 Wrecking Ball World Tour, Bruce Springsteen filmed a video for a solo acoustic performance of "Sólo le Pido a Dios".

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Gieco is a special musician who, starting from rock bases, uses elements of fusion with the oldest and autochthonous rhythms of Argentina, obtaining a music that can not be imitated or compared. This commitment is musical and poetic. Accompanied by guitar and harmonica, tones beautiful melodies, many of which have had worldwide diffusion, as I only ask God. An almost soloist songwriter, who "paints his village" becoming universal, as there are few in the world. This album shows in full maturity in all aspects with songs worked, careful lyrics and impeccable performances. His country's musician, above all, is precisely what makes it different and attractive, at a time when music seems to be the same all over the world. Here we have a voice and poetry that maintains its autonomy and difference. Recommended for Latinos and all those who like to dive in new rhythms, treated well and with respect. In addition, there is something in these songs that inspires something like hope, faith, energy, breath ...

León Gieco - La Historia Esta (Vol. 4) (flac  340mb)

01 Indio hermano (Los Jaivas) 5:57
Los Jaivas. Del CD "Trilogía-El reencuentro" 1997

02 Bajo el sol de Bogotá (León Gieco - Luis Gurevich) 2:54
Frank Viehweig. En vivo en Alemania. Versión inédita

03 El fantasma de Canterville (Charly García) 3:29
grupo Tercer Mundo. En vivo en Quito, Ecuador, Junio de 1996

04 Un poco de compresión [Las dulces promesas] (León Gieco) 3:02
Charly García. En estudios. Febrero de 1978. Del LP "Música del Alma", 1980

05 Iba acabándose el vino (Charly García) 3:49
PorSuiGieco. En estudios. Febrero de 1978. Del LP "Música del Alma", 1980

06 Que se abra Buenos Aires (Palo Pandolfo - Horacio Dubosq) 5:09
Los Visitantes. Del CD "Maderita" 1996

07 Nosotros nos quedamos (Armando Tejada Gómez - León Gieco) 3:31
En vivo . Grabado en Vélez -Concierto "Corazón Americano"

08 Por el camino perdido (León Gieco) 3:09
Ensayo. Abril de 1981Versión inédita

09 La cultura es la sonrisa (León Gieco) 2:07
Rubén Rada. Programa De igual a igual, Montevideo, Uruguay.

10 Cola de amor (León Gieco) 4:04
el Coro Procanto. Del CD "Una canción debida" 1995

11 Paraguayita linda (Samuel Aguayo) 1:01
Guitarreada informal en un campo cercano a Olavarría, Febrero de 1978.

12 En la lluvia y nada más (Gabriela Molinari) 3:29
En vivo en Olavarría, Febrero de 1978.

13 El loco y las golondrinas (León Gieco) 3:53
En vivo en Olavarría, Febrero de 1978. Versión inédita

14 Y las aves vuelan (León Gieco - Nito Mestre) 3:12
Nito Mestre. León Gieco con Nito Mestre y Aníbal Forcada

15 Tocando el cielo (León Gieco - Nito Mestre) 4:30
Nito Mestre. Del LP "Tocando el cielo" 1991

16 Todos los caballos blancos (León Gieco) 2:26
En TV en Chile, 1982. Versión inédita

17 En el país de la libertad (León Gieco) 4:06
Tancredo. En vivo. Oliverio Allways, Buenos Aires.

18 Bienvenidos al tren (Charly García) 3:11
Sui Generis. Del LP "Confesiones de invierno" 1973

León Gieco - La Historia Esta (Vol. 4) (ogg  134mb)

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La Historia Esta (the history is) was released in 1998 by Leon's own label, Cañada Records, and the production was jointly produced by Gieco and the Página 12 newspaper. The album consists of seven volumes that compile recordings made by the musician over the years and that form part of his private collection. Most are live and unreleased recordings, or collaborations on albums by other artists

León Gieco - La Historia Esta (Vol. 5)   (flac  286mb)

01 Niño silvestre (Joan Manuel Serrat) 5:05
León Gieco con Joan Manuel Serrat, Adriana Varela y León Gieco

02 Pensar en nada (León Gieco) 3:35
Ensayo. En estudios, Abril de 1981. Versión inédita

03 Me olvidé de los demás (Andrés Calamaro) 1:36
Andrés Calamaro. Del LP "Por mirarte" 1988

04 Por el camino perdido (León Gieco) 3:44
En vivo en Cañada Rosquín, Santa Fe. Para el programa Badia & Compañía.

05 Esos ojos negros (León Gieco) 3:04
En TV. Programa Badia & Compañía, Setiembre de 1988

06 El que pierde la inocencia (León Gieco) 2:47
En vivo en Berlín, Alemania, Febrero de 1987.

07 Pai Julián (León Gieco - Antonio Tarragó Ros) 2:37
En vivo en Berlín, Alemania, Febrero de 1987.

08 Kilómetro 11 (Mario del Tránsito Cocomarola - Constante Aguer) 2:28
En vivo en Berlín, Alemania, Febrero de 1987.

09 Canción para Carito [Carito] (León Gieco - Antonio Tarragó Ros) 4:01
León Gieco con Pablo Milanes y Chico Buarque. En vivo. Estadio de Boca Juniors, Buenos Aires, Abril de 1987

10 Los chacareros de dragones (León Gieco) 3:01
Markama. En vivo. Teatro Astral, Buenos Aires, 1991. Del CD "Markama en vivo" 1991

11 La mamá de Jimmy (León Gieco) 3:46
En vivo. Luna Park, Julio de 1977.

12 Guantanamera (León Gieco - Joseíto Fernández) 5:35
Remix. En estudio en Alemania, Abril 1988. Del LP "Guantanamera" 1988

13 En la cintura de los pájaros (León Gieco - Rodolfo Gorosito) 2:51
Nito Mestre y Aníbal Forcada. En vivo en Barrancas de Belgrano. Buenos Aires, 1988.

14 El fantasma de Canterville (Charly García) 3:14
Nito Mestre y Aníbal Forcada. En vivo en Barrancas de Belgrano. Buenos Aires, 1988.

15 Baionga (Héctor Negro - Luis Borda) 2:55
Luis Borda. En vivo. Estadio Obras de Buenos Aires. Noviembre de 1988.

16 Qué escucha esta juventud ?... (Juan Carlos Pugliese) 0:49
Palabras del diputado Juan Carlos Pugliese en el congreso de la nación Buenos Aires, 1986

17 Sólo le pido a dios (León Gieco) 5:04
En vivo. Concierto Human Rights Now!. Estadio de River, Buenos Aires, Octubre de 1988.

 León Gieco - La Historia Esta (Vol. 5) (ogg   113mb)

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León Gieco - La Historia Esta (Vol. 6)   (flac  362mb)

01 Canción para Carito [Carito] (León Gieco - Antonio Tarragó Ros) [04:32]
León Gieco con Mercedes Sosa. En vivo en el estadio de Chile, el 3 de marzo de 1992

02 Cinco siglos igual (León Gieco - Luis Gurevich) [04:17]
con Lito Vitale. En el programa Ese amigo del alma, Canal 13, el 7 de Julio de 1998

03 Pensar en nada (León Gieco) [04:15]
Gustavo Santaolalla, Rodolfo García y Pedro Aznar. Noviembre de 1996. Entre Los �ngeles y Buenos Aires

04 Canto en la rama (Leda Valladares - Popular argentina) [02:58]
Gustavo Santaolalla. en vivo Noviembre de 1996. Entre Los Ã?ngeles y Buenos Aires

05 Yo vendo unos ojos negros (Popular) [03:39]
el Cuarteto Leo. En vivo en la Pista La Angelina, Oncativo, Córdoba, 1985.

06 Mi caballo bayo (Carlos Gardel - José Razzano - Alfredo Bracatti) [03:00]
el Cuarteto Leo. En vivo en la Pista La Angelina, Oncativo, Córdoba, 1985.

07 Mar y luna (Chico Buarque) [02:11]
Chico Buarque. En vivo, Estadio Boca Juniors. Buenos Aires , Abril de 1986.

08 Para Bárbara (Santiago Feliú) [04:29]
León Gieco con Santiago Feliu. En vivo en el Luna Park. Buenos Aires 1986.

09 Sur (Homero Manzi - Aníbal Troilo) [04:05]
Fito Páez, Adriana Varela, Rubén Juárez, Pedro Aznar, Jairo, Ricardo Mollo y Esteban Morgado. En vivo

10 Un precio (Alejandro Filio) [04:41]
Alejandro Filio. Del CD "Un secreto a voces" 1998

11 Improvisación (León Gieco - Pete Seeger) [01:58]
Pete Seeger. Con guitarra y armónica sobre el banjo de Pete Seeger.

12 La gorda Montero (Raúl Rufino - Federico Bugallo) [03:26]
Los Tipitos. Del CD "Los Tipitos" 1996

13 Adiós, hombre viejo (León Gieco - Gabriela Molinari) [04:06]
Gabriela. Del lado B del simple "Benjamín el pastor" 1974

14 Donde vuela el río (Antonio Tarragó Ros) [03:15]
Antonio Tarragó Ros y Antonio Luis Borges. Del CD "Fronteras abiertas" 1981

15 Continentes en silencio (León Gieco) [03:40]
En vivo en Comodoro Rivadavia, 1981.

16 Permíteme vida (León Gieco) [02:30]
En vivo en Jujuy, 1982.

17 Banda sonora del audiovisual de Ushuaia a la Quiaca (León Gieco) [12:03]
Relato de León Gieco

León Gieco - La Historia Esta (Vol. 6) (ogg  146mb)

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The live of Leon is the 22nd disc released by Leon Gieco. Recorded live at the Luna Park Stadium, Buenos Aires, Argentina, on October 3,4 and 5, 2003 All tracks performed by Gieco. The album does not include new songs, sadly this series of concerts would also be the last one in which Gieco's guitarist Eduardo Roghatti would participate, as he died a few days later.

Leon Gieco - El Vivo de Leon   (flac  496mb)

01 Cinco Siglos Igual 3:14
02 Canción de Amor Para Francisca 2:46
03 Bajaste del Norte 4:29
04 Canción Para Carito 3:59
05 En el Pais de la Libertad 3:01
06 Hombres de Hierro 3:53
07 La Navidad de Luis 3:02
08 Cachito, Campeón de Corrientes 3:47
09 De Igual a Igual 3:38
10 La Cultura Es la Sonrisa 3:36
11 Bajo el Sol de Bogotá 4:06
12 El Imbécil 4:19
13 La Mama de Jimmy 3:22
14 Pensar en Nada 4:20
15 Los Salieris de Charly 5:31
16 Ojo Con los Orozco 5:17

 Leon Gieco - El Vivo de Leon (ogg   158mb)

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RhoDeo 1726 Tales 02

Hello, a crazy F1 race today, 3 safety cars and a red flag, a winner that was 17th in lap 7, # 2 Bottas who was a full lap behind in lap 2, # 3 Lance Stroll had been in the top 10 just once. Vettel in the end won his little war with Hamilton 5th, who was just 6 seconds behind race winner 'Lucky' Ricciardo. It's quiet unbelieveable what is going on with him and Red Bull these last 4 races he was slower in qualifying and clearly behind Verstappen on race day, but Verstappen get's DNF with a car that keeps braking down whilst Ricciardo sees a track opening up to him and scoring 3 easy third places in a row and now a win. There are supernatural forces at work here, there's no logical explanation...



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

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

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

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

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

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The Ray Bradbury Theater 01 Marionettes Inc. (avi  350mb)


The suburban computer salesman Braling (James Coco) has a dull life with his talkative and needy wife Mrs. Braling (Jayne Eastwood). When every computer that he touches pops a message from a company called Marionette Inc. with his personal data, he decides to visit the company to see what is happening. Braling meets Fantoccini (Leslie Nielsen), the representative of Marionette Inc., which shows him a replica of Braling commanded by remote control. Fantoccini charges the savings of Braling paid in installments; in return, the android would live his dull life with his wife. A couple of days later, a different Braling meets his friend Crane (Kenneth Welsh) and tells how his life changed after the meeting with Fantoccini.

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

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

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



Ray Bradbury - Have I Got a Chocolate Bar for You (mp3  24mb)

02 Have I Got a Chocolate Bar for You 26:50

One afternoon in the Confessional, the priest hears a familiar voice and smells a familiar smell... A spooky tale of confessions and confectionary dramatised by Catherine Czerkawska. Starring TP McKenna as the priest and John Yule as the young man.

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previously

Ray Bradbury - Night Call, Collect (mp3  27mb)

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Sundaze 1726

Hello,


Today's Artist is an American composer, best known for his work scoring films for director David Lynch, notably Blue Velvet, the Twin Peaks saga (1990–1992, 2017), The Straight Story and Mulholland Drive.He received the 1990 Grammy Award for Best Pop Instrumental Performance for his "Twin Peaks Theme", and has received a Lifetime Achievement Award from the World Soundtrack Awards and the Henry Mancini Award from the American Society of Composers, Authors and Publishers.. ....N'Joy

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Badalamenti was born in Brooklyn, New York to an Italian family; his father, who was of Sicilian descent, was a fish market owner. He began taking piano lessons at age eight. By the time Badalamenti was a teenager, his aptitude at the piano earned him a summer job accompanying singers at resorts in the Catskill Mountains. He received a Bachelor of Arts degree from the Eastman School of Music and then earned Master of Arts degrees in composition, French horn, and piano from the Manhattan School of Music in 1960.
Film scoring

Badalamenti scored films such as Gordon's War, and Law and Disorder, but his big break came when he was brought in to be Isabella Rossellini's singing coach for the song "Blue Velvet" in David Lynch's 1986 film Blue Velvet. Inspired by This Mortal Coil's recent cover of Tim Buckley's "Song to the Siren", Lynch had wanted Rossellini to sing her own version, but was unable to secure the rights. In its place, Badalamenti and Lynch collaborated to write "Mysteries of Love", using lyrics Lynch wrote and Badalamenti's music. Lynch asked Badalamenti to appear in the film as the piano player in the club where Rossellini's character performs. This film was the first of many projects they worked on together.

After scoring a variety of mainstream films, including A Nightmare on Elm Street 3: Dream Warriors and National Lampoon's Christmas Vacation, he scored Lynch's cult television show, Twin Peaks which featured the vocals of Julee Cruise. Many of the songs from the series were released on Cruise's album Floating into the Night. From the soundtrack of the television series, he was awarded the Grammy Award for Best Pop Instrumental Performance for the "Twin Peaks Theme".

Other Lynch projects he worked on include the movies Wild at Heart, Twin Peaks: Fire Walk with Me, Lost Highway, Mulholland Drive (where he has a small role as a gangster with a finicky taste for espresso), and The Straight Story as well as the television shows On the Air and Hotel Room. Other projects he has worked in include the television film Witch Hunt, and the films Naked in New York, The City of Lost Children, A Very Long Engagement, The Wicker Man, Dark Water and Secretary. He has also worked on the soundtrack for the video game Fahrenheit (known as Indigo Prophecy in North America).

He was composer for director Paul Schrader on such films as Auto Focus, The Comfort of Strangers and Dominion: Prequel to the Exorcist. In 1998, Badalamenti recorded "A Foggy Day (in London Town)" with artist David Bowie for the Red Hot Organization’s compilation album Red Hot + Rhapsody a tribute to George Gershwin which raised money for various charities devoted to increasing AIDS awareness and fighting the disease. In 2005, he composed the themes for the movie Napola (Before the Fall), which were then adapted for the score by Normand Corbeil. In 2008, he directed the soundtrack of The Edge Of Love, with Siouxsie, Patrick Wolf and Beth Rowley on vocals.

Badalamenti received the Lifetime Achievement Award at the World Soundtrack Awards in 2008. On July 23, 2011, the American Society of Composers, Authors and Publishers presented Badalamenti with the Henry Mancini Award for his accomplishments in film and television music.


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Like every collaboration between David Lynch and Angelo Badalamenti, Mulholland Drive's soundtrack is equally eerie, elegant, and eclectic, spanning the up-tempo swing of "Jitterbug" and the haunting drones of the film's main theme in its first two tracks alone. Badalamenti's work ranges from the jazzy "Dinner Party Pool Music" to the ominous ambience of "Diner," "Silencio," and "Dwarfland/Love Theme." Lynch's own surfy, guitar-based compositions, "Mountains Falling" and "Go Get Some," aren't quite as transporting as Badalamenti's pieces, but they do offer a sonic twist on the sunny California that Lynch subverts in the film. Similarly, Linda Scott's sugary-sweet "I've Told Every Little Star" takes on a slightly disturbing edge in the context of the album, while "Llorando," Rebecca Del Rio's Spanish a cappella version of Roy Orbison's classic "Crying," only sounds more vulnerable and heart-wrenching. More focused than the Lost Highway soundtrack and more traditionally Lynchian than the score for The Straight Story, Mulholland Drive is a mysterious and affecting soundtrack from one of the most consistently creative teams working in film.

Angelo Badalamenti - O.S.T. Mulholland Drive  (flac 368mb)

01 Jitterbug 1:27
02 Mulholland Drive 4:16
03 Rita Walks / Sunset Boulevard / Aunt Ruth 1:55
04 Diner 4:16
05 Mr. Roque / Betty's Theme 4:06
06 The Beast (Milt Buckner) 2:29
07 Bring It On Home (Sonny Boy Williamson) 2:39
08 I've Told Every Little Star (Linda Scott) 2:17
09 Dwarfland / Love Theme (Badalamenti & Lynch)12:14
10 Silencio 4:27
11 Llorando (Crying) (Rebekah Del Rio) 3:32
12 Pretty 50's (Lynch 'n Neff) 3:02
13 Go Get Some (Lynch 'n Neff) 7:08
14 Diane And Camilla 4:48
15 Dinner Party Pool Music 1:26
16 Mountains Falling (Lynch 'n Neff) 8:15
17 Mulholland Drive / Love Theme 5:40

 Angelo Badalamenti - O.S.T. Mulholland Drive   (ogg 166 mb)

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Composer Angelo Badalamenti, known for his work with the off-key film director David Lynch, hooks up with another oddball, Stephen Shainberg, for Secretary, and turns out another of his highly original, moody, ambient scores. The music is both gentle and faintly menacing, similar to Badalamenti's work on such Lynch efforts as Blue Velvet and Lost Highway, but a bit lighter and less haunting. Badalamenti is a minimalist who focuses on details in his slow-moving works, so that an individual plucked guitar pattern or wind-like sweep of strings, often with echo added, carries much force. The effect is to support the unusual tones of the Lynch films, as well as this one. The soundtrack album opens with Leonard Cohen's 1988 song "I'm Your Man," a statement of devotion in keeping with the film's theme, and concludes with Lizzie West's "Chariots Rise," which is reminiscent of the work of Natalie Merchant and Marianne Faithfull, and is another love song with a whiff of victimhood.

Angelo Badalamenti - O.S.T. Secretary (flac  194mb)

01 I'm Your Man (Leonard Cohen) 4:25
02 Generique 4:42
03 Feelin' Free 3:20
04 Snow Dome Dreams 4:32
05 Bathing Blossom 1:59
06 Seeing Scars 3:32
07 Loving To Obey 4:12
08 Office Obligations 3:19
09 The Loving Tree 2:08
10 Orchids 2:44
11 Secretary's Secrets 2:45
12 Chariots Rise (Lizzie West) 3:15

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For Walter Salles's adaptation of the Japanese horror film Dark Water, the director enlisted revered composer Angelo Badalamenti, best known for his work on the enigmatic films of David Lynch. Since the movie (about a haunted apartment building and a tormented mother) hinges its suspense on the unknown, Badalamenti keeps the arrangements eerily minimal until key moments arise. "The Tram (Main Title)" features delicate strings that hone in on a frantic passage and then recede. Similarly, "The Drip Stain" is alternately calm and unsettling, while "New Nightmare" conjures up a palpable sense of foreboding. The ensemble employed here is the Hollywood Studio Symphony, a group that clearly knows how to create musical tension, and expertly captures the nuances of Badalamenti's score. Listeners willing to be both frightened and entranced will find the music of Dark Water chilling and intriguing.

Angelo Badalamenti - O.S.T. Dark Water (flac 174mb)

01 Seattle, 1974 1:31
02 The Tram (Main Title) 2:13
03 Ceci Wanders 2:51
04 The Drip Stain 3:23
05 Flotsam 1:46
06 Deluge In 10F 3:12
07 Mom From Hell 2:25
08 A Ghost In The Machine 3:58
09 New Nightmare 3:40
10 Hello Again Kitty 1:47
11 The Water Tower 2:37
12 The Sacrifice 3:56
13 Final Elevator 2:34
14 End Credits 5:57

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The Twin Peaks Archive by David Lynch and Angelo Badalamenti is an album with rare and unreleased tracks from both the television series as well as the prequel film.The counter officially stops at a whopping 212. Two hundred and twelve previously unreleased Twin Peaks tracks. The catalog was initially released between 2011 and 2012 via davidlynch.com. None of the 212 songs were —at least in their full-length form— previously included in the Music From Twin Peaks, Twin Peaks Season Two Music And More and   Twin Peaks: Fire Walk with Me soundtracks. So much material here covering both the TV series and film. Everything from familiar cool jazz, and percussion shuffles the series is known for, to the deep brooding synthesizer moods and ambiences of the film score. Listening to it reminds me of again why the show impacted pop culture the way it did. Coincidentally, Death Waltz finally reissued its long awaited vinyl release of the original Twin Peaks soundtrack just days ago, and the liner notes have Mr. Badalamenti remarking Twin Peaks as being his defining work, this compilation showing just how great he is at sculpting these surreal atmospheres.Rare Twin Peaks production stills appeared in the background on David Lynch’s website.

There are currently no plans to release Twin Peaks Archive by Angelo Badalamenti and David Lynch as a physical album, and they’ve been removed from davidlynch.com. But today, you can purchase download the entire catalog of nearly 10 hours of music as a digital download for only US $9.90 . Here, expect every Sundaze posting to end with 70 minutes plus batch of tracks the coming 8 weeks.

Angelo Badalamenti and David Lynch - Twin Peaks Archive part 6 (flac 357mb)

134 Audrey's Dance (Drums And Bass) 5:12
135 Audrey's Dance (Solo Rhodes) 5:16
136 Audrey's Dance (Synth And Vibraphone)1:06
137 Audrey's Dance / Dance Of The Dream Man (Clarinet) 3:37
138 Audrey's Dance / Dance Of The Dream Man (Flute) 3:39
139 Audrey's Dance / Dance Of The Dream Man (Saxophone) 3:40
140 Sneaky Audrey (Alternate) 1:28
141 Sneaky Audrey (Audrey's Investigation) 1:53
142 Sneaky Audrey (Solo) 0:50
143 One Armed Man Theme (Solo Clarinet Improvisation) 4:57
144 Attack Of The Pine Weasel 2:12
145 Great Northern Big Band 1:31
146 Great Northern Piano Tune #4 2:55
147 Wedding Hymn 0:33
148 Wedding Song #1 1:52
149 Wedding Song #2 ('Stranger Nights') 1:13
150 Wedding Song #3 (Accordian) 1:02
151 Twin Peaks Theme (Harp) 1:03
152 Ben's Battle 1:53
153 Ben's Battle (Solo Flute) 1:39
154 Ben's Battle (Solo Percussion) 1:53
155 Ben's Battle (Solo Trumpet) 0:58
156 Ben's Lament 1:38
157 The Culmination 4:17
158 Half Speed Orchestra 4 (Dugpas) 1:29
159 Half Speed Orchestra 6 (Bob's Dance / Back To Missuola) 1:11
160 Half Speed Orchestra 7 1:27
161 Laura's Dark Boogie (Clean) 5:04
162 The Red Room 5:34
163 Distant Train 1:35
164 Love Theme (Dark) 2:28
165 James & Evelyn 3:29

Angelo Badalamenti and David Lynch - Twin Peaks Archive part 6  (ogg  162mb)

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RhoDeo 1725 Grooves

Hello,

Today's artist for the fifth and final time a three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, his greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe". During the course of his career in the music business, he achieved 106 gold albums worldwide, 41 of which also attained platinum status. He is one of the world's best-selling artists of all time. He was at home appearing on Soul Train, guesting with a full band on The Today Show, and appearing in cartoon form in various episodes of The Simpsons. . ..... N'joy

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Born in Galveston, TX, Barry White grew up singing gospel songs with his mother and taught himself to play piano. Shortly after moving from Texas to South Central Los Angeles, White made his recording debut at the tender age of 11, playing piano on Jesse Belvin's "Goodnight My Love." He made his first record when he was 16 with a group called the Upfronts. The song was called "Little Girl" on a local L.A. label called Lummtone Records. Later he worked for various independent labels around Los Angeles, landing an A&R position with Bob Keane, the man responsible for the first pop recordings by Sam Cooke. One of his labels, Mustang, was hot at the time with a group called the Bobby Fuller Four in 1966. White was hired for 40 dollars a week to do A&R for Keane's family of labels: Del-Fi, Mustang and Bronco. During this time, White flirted with the idea of being a recording artist, making a record for Bronco called "All in the Run of a Day." But he chose to stick with his A&R duties. One of the first groups he worked with was the Versatiles who later changed their name to the 5th Dimension. White's first big hit came from an artist familiar to dancefloor denizens -- Viola Wills, whose "Lost Without the Love of My Guy" went Top 20 R&B. His salary went up to 60 dollars a week. White started working with the Bobby Fuller Four. Bob Keene and Larry Nunes -- who later became White's spiritual advisor and true friend -- wanted to cut a female act. White had heard about a singer named Felice Taylor. They had three hit records, "It May Be Winter Outside," "I'm Under the Influence of Love," and "I Feel Love Coming On." They were huge hits in England. White started making 400 dollars a week.

When Bronco went out of business, White began doing independent production. Those were some lean times for White. Veteran arranger Gene Page, who would later arrange or co-arrange White's hits, helped him out, giving him work and non-repayable loans. Then three years later, Paul Politti, who also worked at Bronco, contacted him to tell him that Larry Nunes was interested in starting a business with him. Nunes had started cutting tracks for a concept album he was working on. Meanwhile, White had started working with this girl group who hadn't done any singing professionally. They rehearsed for almost a year. White wrote "Walkin' in the Rain (With the One I Love)" with lyrics that were inspired by conversations with one of the singers, Glodean James (who would later become White's second wife). White christened the group Love Unlimited.

Larry Nunes took the record to Russ Regan, who was the head of the Uni label owned by MCA. Love Unlimited's From a Girl's Point of View became a million-seller. Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni in chaos and Love Unlimited contract-bound with the label, White decided he needed to work with another act. He wanted to work with a male artist. He made three song demos of himself singing and playing the piano. Nunes heard them and insisted that he re-record and release them as a recording artist. They argued for days about it. Then he somehow convinced White to do it. White was still hesitating up to the time the label copy was made. He was going to use the name "White Heat," but the record became the first Barry White album. That first album was 1973's I've Got So Much to Give on 20th Century Records. It included the title track and "I'm Gonna Love You Just a Little More Baby."

White got a release from Uni for Love Unlimited and they joined him over at 20th Century Records. Then he had a brainstorm for another concept album. He told Regan he wanted to do an instrumental album. Regan thought he had lost it. White wanted to call it the Love Unlimited Orchestra. The single, "Love's Theme," went to number one pop, was a million-seller, and was a smash all over the world. The song earned him a BMI award for over three million covers.

For the next five years, from 1974 to 1979, there was no stopping the Barry White Hit Train -- his own Stone Gon, Barry White Sings Love Songs for the One You Love ("It's Ecstasy When You Lay Down Next to Me," "Playing Your Game Baby"), Let the Music Play (title track, "You See the Trouble with Me"), Just Another Way to Say I Love You ("I'll Do for You Anything You Want Me To," "Love Serenade"), The Man ("Your Sweetness Is My Weakness," "Sha La La Means I Love You," "September When We Met," a splendid cover of Billy Joel's "Just the Way You Are"), and Love Unlimited's In Heat ("I Belong to You," "Move Me No Mountain," "Share a Little Love in Your Heart," and "Love's Theme," with lyrics). He also scored a soundtrack for the 20th Century Fox film The Together Brothers, enjoying a resurgence on home video.

His studio band included such luminaries as guitarists Ray Parker, Jr. (pre-Raydio, co-writer with White on "You See the Trouble With Me"), bassist Nathan East, Wah Wah Watson, David T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of the Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary Coleman, and later keyboardist Rahn Coleman. His hit streak seemed, well, unlimited. Then it all derailed. Russ Regan and another ally, Hosea Wilson, left 20th Century Records and White was left with management that he thought of in less than glowing terms.

White left after fulfilling his contract with two more album releases, Love Unlimited Orchestra's My Musical Bouquet and his own I Love to Sing the Songs I Sing. White signed a custom label deal with CBS Records. At the time it was touted as one of the biggest deals ever. He started a label called Unlimited Gold. The roster included White, Love Unlimited, the Love Unlimited Orchestra, Jack Perry, and a teenaged singer named Danny Pearson who charted with a song called "What's Your Sign Girl." He also did a duet album with Glodean James called Barry & Glodean. Aside from the gold album The Message Is Love, most of the albums weren't huge sellers. After eight Barry White albums, four Love Unlimited albums, four Love Unlimited Orchestra albums, constant touring, and dealing with the rigors of the music industry, White decided to take a break.

Then in 1992, White signed with A&M, releasing the albums The Man Is Back, The Right Night & Barry White, and Put Me in Your Mix (which contains a duet with Issac Hayes, "Dark and Lovely"). The Icon Is Love became his biggest-selling album since the '70s releases, going multi-platinum. It includes the platinum single "Practice What You Preach." The production lineup includes Gerald Levert and Tony Nicholas, his godson Chuckii Booker, Jimmy Jam and Terry Lewis, and White and his longtime friend Jack Perry. While some later efforts buried his vocals in whiz-bang electronic effects, on The Icon Is Love, White's deep steam engine baritone pipes are upfront in the mix. Staying Power followed in 1999, showcased in the best tradition of soul music where the focus is the singer and the song. The album earned White two Grammys. White's career took him from the ghetto to international success with 106 gold and 41 platinum albums, 20 gold and ten platinum singles, with worldwide sales in excess of 100 million.

White, who suffered from hypertension and chronic high blood pressure, was hospitalized for kidney failure in September of 2002. He was undergoing dialysis treatment, but the combination of illnesses proved too much and he died July 4, 2003 at a West Hollywood hospital. By the time of his death, Barry White had achieved a near-universal acclaim and popularity that few artists achieve and even fewer within their own lifetime.

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Although Barry White's sales had long since decreased by the time he recorded The Man Is Back, the influential soul veteran continued making worthwhile albums. Man isn't in a class with either his classic albums of the '70s or his superb comeback album of 1994, The Icon Is Love, but is a likeable and decent (though not outstanding) effort demonstrating that he hadn't lost his touch as a vocalist, composer or producer. With the black music charts dominated by rap and new jack swing in 1989, White remained artistically viable not by emulating the aggression of younger artists (many of whom were sampling his '70s hits left and right), but by being true to himself. Though White goes for a more high-tech, urban-contemporary-influenced production style that's indeed a departure from his lavish orchestral approach of the '70s, noteworthy cuts like the addictive "L.A. My Kinda Place," the plea for unity "Follow That and See (Where It Leads Y'all)" and an inspired remake of the doo-wop classic "Goodnight My Love" are essentially the type of smooth, classy and sophisticated "uptown soul music" that put him on the map.

Barry White - The Man Is Back !    (flac  314mb)

01 Responsible 4:41
02 Super Lover 4:52
03 L.A. My Kinda Place 4:50
04 Follow That And See (Where It Leads Y'All) 5:04
05 When Will I See You Again 5:51
06 I Wanna Do It Good To Ya 6:00
07 It's Getting Harder All The Time 5:09
08 Don't Let Go 9:08
09 Loves Interlude / Good Night My Love 7:46

Barry White - The Man Is Back !  (ogg    126mb)

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Surprisingly, Put Me In Your Mix should have been the one that catapulted White back into the forefront of R & B. However, that honor would be bestowed, to the follow-up release "The Icon is Love."
Regardless, though, "Put Me in Your Mix" is characteristically Barry: heavy on the sexual connotations and heavy background orchestral arrangements featuring the patented sultry strings that so permeate his music. The first cut "Let's Get Busy" sets the tone for the delights to follow. And there are many!! From the throbbing "For Real Chill" to the reworking of the classic "Volare'" to the title cut with its classic line "I can make your toenails curl," White captivates like no other vocalist. A double pleasure is the pairing of White with fellow bass Isaac Hayes on the ten-minute plus "Dark and Lovely (You Over There)", it puts the exclamation put on the album. Prepare for lift off....

Barry White - Put Me In Your Mix    (flac 488mb)

01 Let's Get Busy 4:43
02 Love Is Good With You 6:10
03 For Real Chill 5:49
04 Break It Down With You 6:24
05 Volare 5:45
06 Put Me In Your Mix 7:35
07 Who You Giving Your Love To 5:26
08 Love Will Find Us 7:07
09 We're Gonna Have It All 5:55
10 Dark And Lovely (You Over There) 10:05
11 Sho' You Right (Remix) 8:01

Barry White - Put Me In Your Mix  (ogg  167mb)

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Barry White has been to the top of the charts an admirable number of times, but only one of his hits was a ballad (a studio effort for the Quincy Jones album Back on the Block that included El DeBarge, James Ingram and Al B. Sure!). However, as a solo artist, White has never had a ballad usurp the number one spot on the Billboard charts. The Icon Is Love's featured release fills that void. "Practice What You Preach," which unites the maestro with producers Gerald LeVert and Edwin Nicholas, has a simmering arrangement, evocative lyric, and White's brawn delivery. The catchy melody and sensuous female backing vocals enhance this already stellar single. It stayed on the Billboard R&B charts for 30 weeks and had a consecutive three-week run at number one. White showcases his seductive, bassy baritone with romantic rap introductions on most of the selections. There is a balance of uptempo and balladic songs. The other two featured releases were "Come On" and "There It Is." The former is reminiscent of his days as the king of disco-swing, and the latter is a contemporary funky ballad. Respectively, they tipped in at 12 and 54. White, who is credited as producer and writer on every selection, embraces the savvy writing talents of industry veterans Barry Eastmond and Michael Lovesmith, and the keen production skills of Chuckii Booker (his godson), Jimmy Jam & Terry Lewis, and Jack Perry.

Barry White - The Icon Is Love     (flac 396mb)

01 Practice What You Preach 5:59
02 There It Is 7:03
03 I Only Want To Be With You 5:01
04 The Time Is Right 5:46
05 Baby's Home 8:17
06 Come On 5:50
07 Love Is The Icon 4:38
08 Sexy Undercover 4:51
09 Don't You Want To Know? 6:51
10 Whatever We Had, We Had 10:41

.Barry White - The Icon Is Love  (ogg  147mb)

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By the late '90s, Barry White was primarily known as an icon. His music was well-known, but his voice was known better, as it stood for the epitome of sultry, sexy soul. And, befitting his icon status, he could still support a large audience in concerts, which led to new recordings -- recordings that were minor hits upon their release, but never eclipsing his classic hits. Staying Power, his first album since 1994's The Icon Is Love, fits neatly into that category. It certainly is an enjoyable album, since White's voice is aging remarkably well and the production is uniformly appealing, but it's never a memorable one. Like most contemporary albums by veterans, it's littered with cameos that are designed to broaden his audience and increase chances of airplay. With the exception of the Bone Thugs N Harmony duet "Thank You" -- which is the worst track on the album -- they all work pretty well, and the Chaka Khan & Lisa Stansfield showcase "The Longer We Make Love" is very good indeed. However, the record sounds the best when the spotlight is on White. Nevertheless, once the album is completed, it's hard to remember any of it, even if it was enjoyable as it spun. Which means Staying Power is a standard-issue iconic release -- it's classy and entertaining, and it would be his last album.

Barry White - Staying Power  (flac 427mb)

01 Staying Power 6:10
02 Don't Play Games 7:24
03 The Longer We Make Love 5:48
04 I Get Off On You 6:30
05 Which Way Is Up 5:42
06 Get Up 6:11
07 Sometimes 6:55
08 Low Ride 5:17
09 Thank You 5:46
10 Slow Your Roll 5:46
Bonus
11 The Longer We Make Love 6:27

 Barry White - Staying Power (ogg  160mb)

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