Aug 18, 2017

RhoDeo 1733 Re-Ups 109

Hello, Madrid, Paris, London, Brussel, Nice, Stockholm, Berlin, Manchester and now Barcelona, the suicidal idiots that keep thinking worshiping Allah (=Jahweh = Enlil) by killing other believers is a way to salvation, will be with us for the foreseeable future. Bad luck for their victims, but in the grand scheme of things their deaths should be meaningless, like those that died on the road in Spain today. But that's not how it works, the media are always in need of a big story to fill their time, worse they like to enhance the terror and demand action of politicians who they know can do nothing, but to treat every citizen as a potential terrorist, the US is hard on it's way there. Meanwhile in the words of that great philosopher Johan Cruyff (well known in Barca) "every disadvantage has it's advantage" in this case the tourists that had been swamping Barcelona, to the annoyance of the locals, will stay away because the herd seems to think that lightning will strike twice in the same place. Meanwhile as a personal stay away tip to the herd, Rome and Amsterdam should be high on the terrorist hitlist because nothing CNN worthy has happened there yet



Just 7 correct requests this week, in short another batch of 34 re-ups (17 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 August 17th.... N'Joy

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3x Beats Back In Flac (Modeselektor - Hello Mom, Modeselektor - Happy Birthday !,  Moderat - Moderat)


6x Germany West NOW in Flac (Isolee - Waremonster, Anthony Rother - Life is Live, The Modernist - Explosion, ‎Mouse On Mars - Niun niggung, Thomas Brinkman - Row, Dadamnphreaknoizphunk - Take off da hot sweater)


3x Roots Back In Flac (Prince Far I & The Arabs - Message From The King, Prince Far I & The Arabs - Dub To Africa,  U-Roy - Dread In A Babylon)


4x Roots Back In Flac (The Revolutionaries - Negrea Love Dub,.The Revolutionaries - Green Bay Dub, The Revolutionaries - Outlaw Dub, The Revolutionaires - Goldmine Dub)


6x Sweden NOW In Flac ( Hedningarna - Hedningarna, Pain - Rebirth, Khoma - The Second Wave, Radio Dept. - Lesser Matters, Per Cussion - Don't Stop, The Knife - Deep Cuts)


6x Paris NOW In Flac (Vitalic - OK Cowboy, VA - Rue Martel - Y Basta, Ethnician - Ethnician, Motorbass - Pansoul, Avril - That Horse Must Be still ogg , Carte de Sejour - Rhorhomanie)


6x Wavetrain Back In Flac ( Raincoats - Moving, Marine Girls - Lazy Ways, ESG - Come Away, Pink Industry - Low Technology, Who Told You, Anne Clark - Changing Rooms still in ogg Sapho - Le Paris Stupide)

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Aug 16, 2017

RhoDeo 1733 Aetix

Hello, an extensive mission today, one of the biggest ever posted here 3,6 gig in total but hey it takes time to heal the pain..


Today's artists were described by critics as melodramatic and bombastic, they nonetheless attracted a core audience of goth rock fans.......N'Joy

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After an aborted recording session with Andrew Eldritch in the summer of 1985, Wayne Hussey and Craig Adams left the Sisters of Mercy. Based in Leeds, the duo continued to work on various musical ideas and recorded them over the autumn. Dismissing the use of a drum-machine, Adams and Hussey asked Mick Brown (Red Lorry Yellow Lorry) to help out with the sessions. By the end of the year, he had joined the band on a permanent basis. With Hussey as both the frontman and principal songwriter, the trio required a second guitarist to facilitate a live set-up. They eventually recruited Simon Hinkler (Artery) who also contributed keyboards and thus completed the four-piece. The name 'The Sisterhood' was chosen with a nod to past and rehearsals for the first shows started in January 1986. The new name quickly became a point of discussion in the English music-press, giving the four-piece significant amount of publicity. As 'The Sisterhood' the band made their live-debut on January 20, 1986 at the Alice in Wonderland, London.

While the band were on tour as support to the Cult around Europe, Eldritch released a single as The Sisterhood. Back in England, Hinkler was briefly dismissed and reinstated for three UK dates where the band revealed their new name, The Mission. Although Hussey and Adams were still under contract with WEA, manager Tony Perrin prepared their material for a release. In May the EP I (Serpents Kiss) appeared on the Chapter 22 label as the Expedition I tour took the band around Europe. Two months later, II (Like a Hurricane/Garden of Delight) was released on the same label and supported by a number of festival slots that culminated in an appearance on the Reading Festival.
Wayne Hussey of The Mission in 1987 - San Francisco, California, USA

Hussey and Adams were released from their WEA contracts and the band signed a seven-album deal with Phonogram in July 1986. Their debut God's Own Medicine was then recorded in six weeks with novice producer Tim Palmer, an acquaintance from Hussey's Dead or Alive days. In October the single III (Stay With Me) was released, preceding the album that appeared the next month. The band set out on a three-month World Crusade I UK/European tour, with their dedicated followers 'Eskimos' in tow. They also appeared on British television a number of times and recorded a session for BBC radio. The single IV (Wasteland) charted at #11 in January 1987.

The World Crusade II tour brought the band to North America, where they were known as 'The Mission UK'. The 41-date trek was characterised by substance abuse and led to the collapse of an inebriated Craig Adams in Los Angeles, resulting in him temporarily quitting the band. Sound man Pete Turner filled in for one show, before they enlisted the help of Chris Bocast to play bass with them for the remainder of the tour, which included an opening slot for The Psychedelic Furs. In March 1987, the single V (Severina) with a guest vocal from Julianne Regan was released. Back in England, Adams returned to the band to play a handful of European festivals, and two support dates in Leeds and Edinburgh on U2's The Joshua Tree Tour. A live video entitled Crusade was released, capturing the band and their noisy audience at the early stage of their career. It coincided with the release of The First Chapter in June 1987, a collection of the material from the first two EPs.

By the summer of 1987, Hussey had already written some new material that was first aired during the band's summer festival shows and U2 warm-up performances. The Mission enlisted the help of John Paul Jones to produce their second album Children, engineered by Mark 'Spike' Stent. In October of the same year, Hussey became a father to a girl named Hannah, an event that inspired much of the lyrical content. Musically, the band moved more towards a Led Zeppelin inspired hard rock style. In January 1988, the band recorded some additional material in London together with Stent. In February, the first single "Tower of Strength", was released, reaching number 12 in the UK Singles Chart. At the end of the same month, the album appeared and charted at number 2 in the UK album chart.

The rest of the year was taken up by the world tour "Children Play", which included a six-night residency at the London Astoria Theatre where John Paul Jones made a guest-appearance on keyboards. The rest of the tour included a support-slot for Robert Plant, the first dates the band played in Iberic-America (documented on the fan-club only VHS release called "South America") and a small tour of Japan. A second single, 'Beyond the Pale' made less of an impact and a third scheduled for the end of the year, was cancelled. At the end of the year, the Mission embarked on an eight-date arena tour around the UK (preceded by five low-key "secret" gigs at small clubs) while a collection of their music videos From Dusk To Dawn was released.

In the first half of 1989, Hussey spent some time writing new material in the Welsh Mountains before the band reconvened in April to start the recording process. At the end of the same month the band played two shows, one in support of the Lockerbie disaster and another for the Hillsborough disaster fund. The latter featured guest appearances by Pete Wylie and Mick Jones and saw a committed Hussey, who as lifelong Liverpool F.C. fan was keen to support the victims. In between recording, the band played a number of European festivals supporting The Cure. In contrast to the large shows the band had been playing on the Children tour, they decided to embark on a low-key Scottish Highlands tour with some of their most ardent fans in tow. The last commitment of the year was another headline appearance at the Reading Festival, before the band returned to the studio to complete the album.

They once again enlisted the help of Tim Palmer to produce the record, while Reeves Gabrels, Baluji Shrivastav and Guy Chambers also made contributions. Slated for an early 1990 release, the recording of the 'Carved in Sand' album had been completed by the end of August 1989. To kill the time, the foursome then promptly went camp to form a glam rock tribute band The Metal Gurus, playing support for The Wonder Stuff towards the end of the year. The first single, 'Butterfly On A Wheel' was released in January 1990 and narrowly missed the top ten. The new album appeared a month later, together with the "Waves upon the Sand" video that documented the recording sessions and Scottish tour of the previous year.

The 'Deliverance' tour in support of the album proved problematic. The band hired David Wolfenden as a supplemental guitarist to give Hussey free rein as the frontman of the band. An inebriated Hussey appeared on the James Whale show and reports of their debauched behaviour continued to appear in the press. The release of a second single, 'Deliverance', coincided with the UK arena dates. Illness beset the first European leg of the tour as Hinkler contracted scarlet fever leading to some cancellations. Personal tensions led to a confrontation during the North American leg of the tour and Simon Hinkler left the band after a gig at Montreal's Metropolis. The remaining members continued with a variation of stand-ins that included Tim Bricheno (of All About Eve) before he joined The Sisters of Mercy. A third single, 'Into the Blue' was released in May 1990 to coincide with a number of the festival dates, including a headlining slot at Pinkpop and indoor dates to replace the cancelled French dates from earlier in the year. The band also played dates in Australia and New Zealand for the first time in their career. For the second half of 1990, they enlisted the help of Paul "Etch" Etchells (ex-Ghost Dance) on keyboards and guitars. This last leg of the tour, which included a performance filmed for the Rockpalast programme, saw Hinkler returning twice as a guest during the encores at Leeds and the final night at the Brixton Academy.

The band had a lot of surplus material after the Carved in Sand sessions and had difficulties deciding on the running order of the album. In October 1990 the companion album Grains of Sand was released. It contained the rest of the candidates, some of which had already surfaced as b-sides supplemented by acoustic renditions and covers. A single 'Hands Across the Ocean' co-produced by Andy Partridge became a minor hit and was backed by a live version of 'Amelia'. The band and Hinkler were on friendly terms again and they resurrected the Metal Gurus project to record a cover version of "Merry Xmas Everybody" with Noddy Holder and Jim Lea from Slade for the Childline charity.

After a break to recuperate, the band teamed up with engineer Joe Gibb to create a high-tech studio setup. Brown had been soaking up the Leeds dance scene, while Hussey's explorations were towards folk music. The band, asked to perform a lucrative headlining gig at Finsbury Park in 1991, brought out quite a different side, joined by Maartin Allcock of Fairport Convention and Anthony Thistlethwaite of The Waterboys. Many long-standing fans left the gig worried about the direction of the forthcoming release, Masque (produced by Mark Saunders). Masque was originally intended to be a solo release by Hussey, however the remaining band members contributed to the recording, and the album was released under the group name as a result. Adams left the group subsequent to the release of the album. Reduced to a duo, the Mission began searching for new members, even placing an ad in the Melody Maker.

The second incarnation of the Mission consisted of Brown, Hussey, Mark Thwaite (formerly of Spear of Destiny) on guitar, Rik Carter (formerly of Pendragon) on keyboards and eventually Andy Cousin (formerly of All About Eve) on bass. This line-up's first release was a fanclub-only flexi disc cover of the Osmonds song "Crazy Horses" in early 1993. The recording of a new album started, while a BBC live album No Snow, No Show for the Eskimo was compiled by Hussey and Joe Gibb. For the first time in three years, the band decided to tour, and a warm-up was arranged as the "Off the Street" benefit for the homeless in Leeds. As Andrew Eldritch signed up, completely unfounded press speculation about a Hussey/Eldritch reunion became rife. The Club Mission tour played smaller venues around Europe, with new tracks "Afterglow" and "Raising Cain" becoming a regular feature in the set.

The end of 1993 saw Hussey remixing "Tower of Strength" with Youth, and revisiting some of the past material for a greatest hits compilation album. A remixed version of "Tower of Strength" appeared in the UK Singles Chart in January 1994, and the band made their last appearance on Top of the Pops. The compilation, entitled Sum and Substance, was released the next month and featured two new tracks; "Sour Puss" (relating to Adams departing) and a remix of "Afterglow" by Mark "Spike" Stent. The latter was also released as the final single through Vertigo/Phonogram — the seven-album contract was now up, and neither of the parties was interested in a continued relationship.

Recordings proceeded slowly, while the band negotiated a new independent record deal, and Hussey produced a collection of three BBC sessions as Salad Daze. In late 1994, a single, "Raising Cain", was released on Equator Records. Early in 1995, the single "Swoon" paved way for the next album, Neverland, more or less a Mission signature sound but with a much heavier production. The Neverland tour saw a slight revival in popularity, with two of the concerts being filmed for German television, a promo-only live EP released and a handful of summer festivals played.

In March 1996 the band set up in Bristol for eight weeks to record new songs which Hussey had been developing. When the resulting album, Blue, was released, it received mixed review from music critics but left portions of the old fanbase rather unimpressed[citation needed]. Future interviews would see Hussey hating the album, with only the reworked B-side "Evermore & Again" ever becoming a regular staple in subsequent tours. A short stint around the UK, Belgium, Germany and the Netherlands afterwards turned out to be a farewell tour: After ten years, Hussey and Brown decided that enough is enough. The band finished it all off with festivals in Spain and South Africa, the latter being their final gig at the Kyalami racetrack in Johannesburg.

After the Mission disbanded, Hussey spent his time in Orange County, California with his wife and young daughter. In semi-retirement, he produced sporadic remixes and singles for Cleopatra Records and Dancing Ferret Records, as well as up-and-coming acts, and contributing a new song for a Mission album put together by Mission fans over the internet.

In 1999, after releasing an album of solo versions of Mission classics in his home studio, Hussey resurrected the band with Adams, drummer Scott Garrett (Adams' bandmate in The Cult) and Mark Thwaite, for what was intended to be a one-off tour with Gene Loves Jezebel across the United States and an also-resurrected All About Eve across the United Kingdom. The success of the tour and the reaction of the crowds gave the band plenty of encouragement to continue beyond the tour, and 2000 saw the band take on a mammoth world tour, heading festivals in Europe and sharing the bill with the Sisters of Mercy at the M'era Luna Festival in Germany. A souvenir CD of the 1999 tour was released as Ever After, with the various live tracks complemented by three tracks from the 1995 promo-only Live EP and the even-rarer fanclub-only studio outtake "Crazy Horses".

At the end of 2000, the band recorded tracks for a new album at The Levellers' Brighton studios, and Dave Allen (who produced the first Sisters of Mercy album) was drafted in to oversee the recording of tracks in Bath. Before the release of the album, dubbed Aura, the band were invited to play support for the German tour of the Finnish band HIM. At this juncture, Thwaite left the band (first due to touring commitments with Tricky and later to form the band New Disease) to be replaced by Rob Holliday of Sulpher. Aura was released on their own Playground label run by former Phonogram A&R man Charlie Eyre. The sound was heavy and the production very intricate, but fans noted that several songs were uncomfortably similar to previous Mission songs, notably "Dragonfly", which was very similar to 1990 hit "Butterfly on a Wheel". Nonetheless, the band undertook a large world tour supporting the album. However, the stresses of touring and diminishing returns once again saw tensions grow, and during the South American leg of their 2002 tour, Adams decided to leave once again. Hussey continued the leg of the tour by himself, with some acoustic shows backed by pre-recorded tapes, also lining himself up for a number of much more successful solo acoustic shows in Europe.

In early 2003, The Mission gained a new bass player in the form of Rich Vernon and within a matter of months, Garrett also left, to be replaced by Steve Spring. This new line-up carried on through to mid-2004. In September 2005 the band's first DVD, Lighting the Candles, was released, complemented by a live CD. It took over a year for Hussey to compile this 2 DVD set which includes a live gig, some video clips, a commented biography and discography and many interviews, live performances and backstage shots. The result gained good reviews and good sales. The single "Breathe Me In" hit the top of the Alternative Chart in Germany, and the band once again undertook an extensive EU tour. Mark Thwaite rejoined the band, as Holliday was occupied touring with The Prodigy. The band evolved the hard rock angle further, while audience ranks grew throughout the tour. Hussey announced that 2006 would hold no tours, as he would concentrate on the new album and his personal projects. As well as Lighting the Candles, 2005 saw the release of Waves Upon the Sand and Crusade for the first time on DVD.

In 2006 Hussey marked the 20th anniversary of the band with the issue of a limited edition T-shirt designed especially for the occasion. Meanwhile, Phonogram records released another "best of", Anthology: The Phonogram Years, a two-CD set including all 11 of the band's Top 40 hits alongside rare mixes, long lost B-sides, BBC sessions, 5 previously unavailable tracks and 5 tracks appearing on CD for the first time. A new single, "Keep It In the Family" was released in March 2007, followed a month later by the new album God is a Bullet featuring Hussey, Thwaite, Vernon and Spring and guest musicians Simon Hinkler, Bricheno and Julianne Regan. To coincide with the release of the new album, Mercury Records reissued the first three Mission albums as enhanced CDs complete with bonus tracks.

In February–March 2008 the band played a tour of Europe which culminated in a series of four concerts at Shepherds Bush Empire in London, with each night dedicated to a particular period of the band's history. Hussey announced that these would be the last ever Mission concerts, as he wished to have an indefinite break from band activity and concentrate on other personal projects. Simon Hinkler joined on each night for the encores and occasional songs in main set. The final concert in the series was filmed, and each night recorded and later released as part of a boxed set. In February 2009 the Mission's record label SPV records released a double album Live & Last plus the DVD Final Chapter recording of the final show which included additional footage from the tour. The DVD debuted in the official UK BBC charts[which?] at No.6 - the highest UK chart position in many years for the band. In June 2010 the band's label SPV released Dum Dum Bullet, a collection of recordings taken from the “God is a Bullet” sessions

As the 25th anniversary was approaching, it was suggested to Hussey that he should reform the original line-up of the band. The singer initially resisted, occupied with other projects. Eventually he was convinced and in the summer of 2010 the announcement was made that with Craig Adams and Simon Hinkler on board the Mission had reformed. Drummer Mick Brown had passed on the invitation to join and Spear of Destiny's Mike Kelly took his place. In contrast to previous incarnations, the band only played material from the 1986-1990 period. In October 2011, they played a warm-up show as their alter-ego 'Blood Brothers' in Hussey's home-town of Bristol before embarking on the XXV UK/European tour that culminated in a sold-out show at the Brixton Academy. This performance and an earlier one in Cologne was captured on film and released as Silver together with an audio recording from the Frankfurt show.

Revitalised, the band decided to continue touring and played shows in South America, Mexico, Europe and on the Download Festival in 2012. They also added a rendition of All Along The Watchtower to their repertoire. In September 2012, they supported The Cult on a tour of the UK, which attracted some controversy. In October 2012 Hussey announced that "The Mission are gonna be recording a new album next year. The band are spending time right now writing new songs and will convene to a rehearsal room near Bristol in early April to start working on these new songs together." He also revealed that David M. Allen would be producing. The Brightest Light was released in September 2013, and the band embarked on a tour in support around North America, Germany and the UK. In 2014 the band returned to South America for a nine-date tour.

In May 2016, Hussey confirmed Tim Palmer as producer for the band's tenth album. The band promised a return to their 'classic' sound, and soon the album - titled Another Fall From Grace - was made available to pre-order online. On 12 August, the Mission pre-released the album's lead single, "Met-Amor-Phosis", through YouTube, eventually made available for download on 1 September. In October 2016 The Mission embarked on a 30th Anniversary tour with 28 shows across Europe, 3 in Australia, and 2 in New Zealand to coincide with the release of Another Fall from Grace on 30 September which entered the UK album charts at No.38. The album received critical acclaim upon release, cited as return to form for the group. In November 2016, the band announced a second tour of the UK and Europe in support of Another Fall from Grace. In February 2017, Another Fall From Grace was voted winner in the Dark Music Awards 2016, beating 105 other albums.

The band continued to tour in support of Another Fall from Grace into 2017. The tour culminated in a headline set at Wave Gotik Treffen. Shortly after this, Wayne Hussey announced via Facebook that the band would be taking a break with no definite plans in place for the near future. The Mission will support Alice Cooper in November 2017; their last shows for the time being.

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Mission fans should be thankful. Most bands that come up to the majors the hard way (i.e., on an indie label, releasing singles only) usually ignore their previous output once the big corporate label is buying the drinks. For the Mission, whose reputation was built on those early singles, it was a necessity to make them easy for fans to get their hands on. Polygram was more than willing to saturate the U.K. market with Mission releases, and what better way than to repackage old singles from a minor label and release the collection right after a successful debut? So, on the one hand it feels a bit like cashing in, but on the other The First Chapter is a pretty good collection, more consistent than God's Own Medicine, and containing some of the Mission's better moments. Some may nitpick that the compilation is not set up in a chronological order, but the decision to set up the album in an almost rocker/moody track/rocker pattern keeps the overall project from getting into ruts. The first two singles, "Serpents Kiss" and "Garden of Delight" are the standouts, obviously, but their covers of "Like a Hurricane" (Neil Young), "Wishing Well" (Free), and "Dancing Barefoot" (Patti Smith) are surprisingly solid, proving that the band was interested in taking the rather limited scope of goth rock to more interesting places than just drum machines and moody crooning. The slower, moodier tracks ("Wake [RSV]," "Naked and Savage") feel more like interludes that run a bit long, and the Mission's take on the Beatles' "Tomorrow Never Knows" could have been left behind. An arguably better introduction to the Mission than God's Own Medicine (and not just because this is their initial output), The First Chapter is a sure fan favorite, as well as an interesting piece of history of an oft-forgotten era of English rock.



 The Mission - The First Chapter (flac  486mb)

01 Like A Hurricane 4:58
02 Intermission: Gleaming Dome 0:34
03 Over The Hills And Far Away 3:56
04 Intermission: East Coast Lament 0:39
05 Naked And Savage 4:45
06 Serpents Kiss 4:11
07 Dancing Barefoot 3:08
08 The Crystal Ocean (Extended) 7:33
09 Swan Song: Vigilante Man 0:24
10 Garden Of Delight (Extended) 5:01
11 Wake (RSV) 5:01
12 Like A Hurricane (Extended) 7:07
Bonus
13 Burning Bridges (Slaughterhouse Version) 3:59
14 Serpents Kiss (Live '86) 4:11
15 Wake (Live '86) 4:56
16 Dancing Barefoot (Live '86) 2:06
17 1969 (Live '86) 2:43
18 Shelter From The Storm (Live, Astoria '88) 9:26

The Mission - The First Chapter   (ogg  170mb)

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Even though the Cult had already mastered the art of mashing goth with more traditional elements of classic rock, the Mission's debut, God's Own Medicine, was the marker for goth rock's invasion of the U.K. charts for a good chunk of the late '80s. Having already made a serious dent on the top reaches of the indie charts with the singles "Serpent's Kiss" and "Garden of Delight," the Mission were on the precipice of becoming big-name players in mainstream circles. Wayne Hussey and Craig Adams had plenty of goth cred, having played with and acrimoniously left the Sisters of Mercy in 1985, and Hussey's ability to bring in elements of classic rock and English fantasy meant that he had a fan base in place and the added touches to reach the larger listening public. In that light, God's Own Medicine was a hit, broadening the Mission's appeal and establishing them as the flagship for the movement as it was unfolding. Musically speaking, the album isn't really their best, as it suffers from some inconsistencies, a muddled track order, and a mistakenly pap version of the indie single "Garden of Delight." And if one can get past Hussey's rather silly spoken intro "I still believe in God, but God no longer believes in me," then one will find moments worth hearing. "Wasteland," "Severina," and "Stay with Me," all strong tracks and singles lifted off the LP, are key Mission tracks, while "Blood Brother" (an homage to Cult leader Ian Astbury) and "And the Dance Goes On" deserve attention. A bit laborious and over the top in their subjects, the slower tracks are stacked toward the end of the record and make the album end on sort of a "blah" note (Hussey's attempts at songs about sex and romance can either wind up sounding corny or smarmy), but the Mission would eventually get the slower stuff right, so it's interesting to hear these selections as embryonic efforts charting a direction to future successes. True, much of what happened on the charts as far as this sound was concerned was quickly forgotten in the wake of Madchester and such, but God's Own Medicine stands as a good signpost for a misunderstood time.



The Mission - God's Own Medicine (flac 496mb)

01 Wasteland 5:42
02 Bridges Burning 4:08
03 Garden Of Delight (Hereafter) 3:45
04 Stay With Me4:36
05 Blood Brother 5:14
06 Let Sleeping Dogs Die 5:52
07 Sacrilege 4:46
08 Dance On Glass 5:13
09 And The Dance Goes On 4:09
10 Severina 4:22
11 Love Me To Death (Guitar Instrumental Intro) 1:25
12 Love Me To Death4:41
13 Island In A Stream 5:27
Bonus
14 Wishing Well 2:48
15 Wasteland (Anniversary Mix) 7:39
16 Severina (Aqua-Marina Mix) 6:09

The Mission - God's Own Medicine   (ogg  177mb)

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Most bands usually wait two or three albums before the "big statement," but this is the Mission. Sure, their debut was well received (at least by fans and record buyers) and was full of big, dramatic moments and over the top production, but nothing would equal the band's reach on its follow-up, Children. Kicking off with one of the longest fade-ins in rock history, Children is a sprawling (hell, to not call any album that starts out with a seven-plus-minute "intro" song sprawling is just wrong), larger-than-the-sum-of-its-parts affair, with multi-layered arrangements, numerous strings, vocals, guitars, and other instruments on every track, and a indescribable feel that just makes the album seem much longer than it really is. The rough edges are smoothed out, and Wayne Hussey's 12-string sounds cleaner and more shimmery than before. As for the songs themselves, the singles "Tower of Strength" and "Kingdom Come" obviously stand out, but "Fabienne," "Heat," "Child's Play," and "Wing and a Prayer" still rock (albeit in a rather buried-in-production kind of way) and "Black Mountain Mist" has an unmistakable Led Zeppelin feel. Speaking of Led Zeppelin, it's really no wonder that this time the Mission let their once subdued love of the rock legends runneth over -- John Paul Jones was brought in to produce. The man who gave shape to Jimmy Page's more sprawling (there's that word again) epics as bassist and main arranger for Led Zep, Jones not only gives the Mission credibility in the act of bald-faced homage, but gives them a more mature, polished sound, ironing out their changes and shifts, resulting in a sound that is considerably more advanced than that of their previous work. The album is not without flaws, however. "Breathe," an interlude, feels a bit tacked on, and the cover of Aerosmith's "Dream On" is a questionable choice, to say the least. Some versions of the LP didn't have this track, and it's arguable that this one should have been left on the B-side pile. But the biggest flaw of the record is not in the substance as much as in the interpretation of the music itself. On Children, the Mission are big, dramatic, and grandiose: the very things that critics made their names giving the band a hard time for. But, so what? The Mission were a big, dramatic, grandiose band whose members weren't afraid to wear their hearts on their sleeves. Children is the proof of that, for sure.



 The Mission - Children   (flac 521mb)

01 Beyond The Pale 7:49
02 A Wing And A Prayer 3:41
03 Fabienne 3:40
04 Heaven On Earth 5:17
05 Tower Of Strength 8:10
06 Kingdom Come 4:50
07 Breathe 1:25
08 Child's Play 3:40
09 Shamera Kye 0:35
10 Black Mountain Mist 2:54
11 Dream On 3:54
12 Heat 5:14
13 Hymn (For America) 6:42
Bonus
14 Tadeusz (1912-1988) 4:57
15 Child's Play (Live) 3:46
16 Kingdom Come (Heavenly Mix) 8:09
17 Heat (Tim Palmer Version) 4:06

The Mission - Children     (ogg  180b)

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In 1990, the Mission were primed for the big BIG time, at least in the United Kingdom. Children had been a hit, they were being followed drink for drink and quote for quote in all the music papers, and their next move was being followed with (at least in some circles) bated breath. Given that the Mission had no real trouble doing what they wanted in the face of critical backlash and generally getting a hard time from writers and detractors, it was a bit of a surprise that Wayne Hussey asked his fan club members (also known as the Eskimos) to come in and listen to tapes of the new record and help the band knock out a track listing. Taking that into consideration, it's a bit of a surprise that some tracks made Carved in Sand, but that's a later topic. The leadoff single, "Butterfly on a Wheel," a somewhat schmaltzy ballad (its title a nod to a headline after the bust/release of Jagger and Richards in the late '60s), was a hit, and it looked like the album was going to be the Mission's coronation. And to a certain extent, it was. The band would headline Glastonbury and get even more press attention, and Carved in Sand would become the band's best-selling effort. But Carved in Sand is a bit of an odd creature. Where previous releases were (mostly) lyrically centered on fantasy imagery and gothy romance and sex, Carved in Sand (occasionally) takes on more topical themes. The opener, "Amelia," is a frank -- and somewhat off-putting -- song against child molestation, and that fades into the musically strong "Into the Blue," which is an environmental lament of sorts. But topical is not really Wayne Hussey's lyrical forte, so when "Butterfly" comes in at track three, it's a bit of a relief. The big barnstormer on Carved in Sand, "Deliverance," may just be one of their best songs: dynamic stadium-ready singalong stuff that is punchy, rollicking, and over the top -- just the way a big Mission song ought to be. It's the second half of the album where the questions about fans picking the track listing comes into play, however. "Grapes of Wrath," a misguided ballad about working the land, is pretty and gentle, but it may be the weakest song the Mission ever put to tape. Sure, Hussey has had more than his share of maudlin moments, but this takes the cake. Did the fans pick this track, and if so, why? The "follow-up" of sorts, Grains of Sand, which collected the moments not picked for Carved, had plenty of tracks that would have sufficed nicely in place of this poorly chosen song. Thankfully, it's over fairly quickly, and the album wraps up nicely, albeit rather soon. While Children felt long and epic, Carved in Sand feels epic, but lacks the length. Unfortunately, tracks could have been added that wouldn't have taken away the punch and power of "Deliverance," "Belief," or "Hungry as the Hunter" and would have given the album an even bigger feel. And yet, Carved in Sand still contained some of the strongest moments the Mission ever had.



The Mission - Carved In Sand  (flac  493mb)
 
01 Amelia 2:54
02 Into The Blue 4:12
03 Butterfly On A Wheel 5:44
04 Sea Of Love 5:20
05 Deliverance 6:04
06 Grapes Of Wrath 4:20
07 Belief 7:35
08 Paradise (Will Shine Like The Moon Tonight) 3:53
09 Hungry As The Hunter 5:14
10 Lovely 2:06
Bonus
11 Hands Across The Ocean (Andy Partridge Mix) 3:57
12 Divided We Fall (Demo) 3:44
13 Sea Of Love (Demo) 5:11
14 Hungry As The Hunter (Demo) 5:36
15 Bird Of Passage (Demo) 5:41
16 Butterfly On A Wheel (Hoedown C&W Version) 3:28
17 Hands Across The Ocean (White Elephant Mix) 3:55

The Mission - Carved In Sand   (ogg  130mb )

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Grains of Sand is not a Mission album proper, but rather a chance for the listener to hear the other songs that were recorded for Carved in Sand. The single "Hands Across the Ocean" is a nugget of pop brilliance that hints at what came next for Wayne Hussey. Most of the tracks are solid, but covers of "Love," and "Mr. Pleasant" are better off as B-sides. The strength of songs like "Hands...," "Divided We Fall," and "Mercenary" are good arguments that the sessions for Carved in Sand produced what would have been one hell of a double album.



The Mission - Giants Of Sand  (flac  485mb)

01 Hands Across The Ocean 3:49
02 The Grip Of Disease 4:13
03 Divided We Fall 3:41
04 Mercenary 2:51
05 Mr. Pleasant 2:52
06 Kingdom Come (Forever And Again) 4:58
07 Heaven Sends You 4:54
08 Sweet Smile Of A Mystery 3:55
09 Tower Of Strength (The Casbah Mix) 4:31
10 Butterfly On A Wheel (Troubadour Mix) 4:30
11 Love 1:52
12 Bird Of Passage 6:38
Bonus  The Metal Gurus - Live At Aston Villa Dec '89
13 Ballroom Blitz 3:40
14 Cracked Actor 2:49
15 Mama Weer All Crazee Now 3:47
16 Get In On 4:00
17 Caroline 3:50
18 Virginia Plain 2:51
19 Metal Guru 2:28
20 Blockbuster 3:01
21 Merry Xmas Everyone 3:15

The Mission - Giants Of Sand   (ogg  175mb )

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Aug 15, 2017

RhoDeo 1733 Roots

Hello,


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

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

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

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

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

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

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

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The second entry in Gato Barbieri's series of Impulse albums dealing with Latin America picks up where the first one left off, and in its way, follows its format closely yet not without some key differences. Based on the critical reviews of Chapter One: Latin America, he was emboldened to take some new chances on this, Chapter Two: Hasta Siempre (which translates to "As to Always.") The album was recorded between Rio de Janeiro and Los Angeles with the set's final cut recorded in Buenos Aires, Barbieri's homeland.

The set kicks off with parts one and three of "Econtrol," a raucous, festive jam that marks the album's only real concession to American music because of an electric bassline by Los Angeles sessionman Jim Hughart. The rest of the players are all Latins, most unheard of outside their native lands. Barbieri's blowing is, like Pharoah Sanders', over the top, unfettered, deeply emotive like the human voice in full-throated song. Totaled, the two parts of the suite cover six-and-a-half minutes -- part two was featured on an Impulse sampler called The Saxophone and is not present here. The accompaniment of Helio Delmiro's electric guitar with Paulinho Braga's drum kit, Mayuto Correa's conga work, and Daudeth de Azevedo's small, four-string guitar called the "cavaco" adds to the culture clash that comes flowing out of the center of the mix. Add to this Novelli's second electric bassline and it becomes an orgy of rhythm and carnival spirit: free, funky, and forceful. "Latino America" is a much more typical piece in that it employs folk instruments almost exclusively: Quena, Indian harp, bombo drums, small percussion alongside electric and classical guitars, and Barbieri's haunted saxophone lines playing full modal. "Maressea" is once more a sort of "fusion" tune where Latin instrumentation, carnival rhythms, Afro-Cuban salsa beats, and funky undertones all commingle, sweat, and groove under the saxophonist's intense, extremely busy tenor.

The only track not composed by Gato is the final one, "Juana Azureduy." Here, his narration (in Spanish) is supported by a host of drummers, guitars ranging from full-on electric and classical to charango, an electric funky bassline, and an army of small percussion as Indian harps and wood flutes swirl about the sound of his voice, which at times whispers like the wind, and at other times, shouts. His tenor, like Coltrane's performances on "India" or "Greensleeves," goes into the intricacies of minor modes to bring out the folk melodies he's evoking from the lyric line of the composition. At over 11 minutes, it is the longest cut here, and it's the strongest. It's a stunner and will leave any interested listener breathless by its finish. Interestingly, Chapter Two: Hasta Siempre wasn't greeted with the same laudatory critical acclaim as its predecessor was, but in some ways, it's a far stronger album, reflecting Barbieri's growing confidence in himself as a composer, arranger, and bandleader -- he already had his mettle as a soloist. This sounds great and is an essential entry in the canon of great Latin jazz.



Gato Barbieri - Chapter Two: Hasta Siempre (flac  260mb)

01 Encontros, Part One 2:16
02 Encontros, Part Three 4:15
03 Latino America 5:27
04 Marissea 7:40
05 Para Nosotros 8:01
06 Juana Azurduy 11:25

Gato Barbieri - Chapter Two: Hasta Siempre   (ogg  103mb)

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Chapter Three: Viva Emiliano Zapata is the third of the four excellent "chapters" in saxophonist and composer Gato Barbieri's four-part "Latin America" series for Impulse, and released in 1974 with the core of a band he would use for his live outing on Chapter Four: Alive in New York. Produced by Ed Michel, this is a large group that included bassist Ron Carter, drummer Grady Tate, percussionists Ray Mantilla, the ubiquitous -- and brilliant -- Portinho, Ray Armando, and Luis Mangual, guitarists George Davis and Paul Metzke, and a large horn section. The session was arranged and conducted by the legendary Chico O'Farrill. There are six tunes on the set, divided between four Barbieri originals, and two covers including the legendary "Milonga Triste," and "What a Difference a Day Makes." While the former became a staple of Barbieri's live sets, it's his own compositions that are of most interest here, such as the complex horn charts in "El Sublime," with its funky Latin backbeat and his gorgeous, impassioned, hard-edged blowing over the top. The groove is irresistible. The title track begins as a rhumba with a killer piano introducing the claves and other percussion before the popping brass underscore that unmistakable Afro-Cuban rhythm. O'Farrill colors his arrangement with lithe flutes finding spaces to be heard in the dense, building intensity of the horns and the drums and percussions playing counter rhythmic statements. What initially sounds like one statement being played continuously is gradually revealed to be a subtly shifting set of tones, rhythms, and even modalities. Barbieri blows against the entire mess initially, driving right into the enormous harmonious storm and eventually rising above it with enormous squeals and squawks, while never losing the lyric bent in the tune. It's a breathtaking finish to a stellar recording, and of the four chapters in the series, the one most accessible to most jazz fans.



Gato Barbieri - Chapter Three, Viva Emiliano Zapata   (flac  239mb)

01 Milonga Triste 5:00
02 Lluvia Azul 7:44
03 El Sublime 5:51
04 La Podrida 4:46
05 Cuando Vuelva A Tu Lado (What A Difference A Day Makes) 5:27
06 Viva Emiliano Zapata 6:06

Gato Barbieri - Chapter Three, Viva Emiliano Zapata   (ogg  98mb )

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This is what we call in Spanish "a descarga" (an unloading) from the first note. Gato is one of those few artists who can give us Coltrane's and other jazz standards with a Latino flare. The album's linear notes mention Gato's style as "baroque and bright", but make no mistake about it this is Latin Jazz at its best as only Gato Barbieri can provide. The songs are approached in a unique way -- they are free and energetic, going back and forth between fast, tight segments and loose, airy segments. Since there are congas and timbales on every cut, the drummer (Pretty Purdie) is free to play in short bursts with just the ride cymbal providing the main beat. The electric guitar playing is really cool, with quirky blues solos and some fantastic chord work. Amazing piano, as always, from Jorge Dalto. It is a brilliant, soulful, uptempo jazz statement that easily bridges the gap between BeBop and Latin Jazz. It evokes memories of Coltrane's 'A Love Supreme', and is also grittier than Barbieri's own 'Caliente'. Enjoy!!!



Gato Barbieri - Yesterdays   (flac  211mb)

01 Yesterdays 10:45
02 John Coltrane Blues 8:17
03 Marnie 7:07
04 Cari┼łoso 10:51

Gato Barbieri - Yesterdays (ogg  89mb)

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Charming and romantic fit the description of Gato Barbieri and the work he presents here, the album Ruby, Ruby. The production of the record, mastered and engineered handsomely by Herb Alpert, is very lush and beautiful to a lasting degree. Barbieri turns his first song, "Ruby," from an early-on haunting love ballad to an appealing and gripping all-out Latin jam session. This theme happens to find itself playing roles several times over throughout the record. The musicianship explored is captivating and adventurous, taking the listener on a passionate journey to whatever part of the soul he or she wishes to find or dares to pursue. A soaring sound at times, with Barbieri's splendid, racing saxophone melody lines. "Nostalgia" brings the delicate and eloquent guitar work of Lee Ritenour, who also takes part in the creation of "Sunride" and bits of "Ruby." As with most jazz records, percussion is responsible for playing a key role in the inception of the groove and depth of the material. Because of this album's Latin context, Barbieri does a wonderful job inspiring his friends in the rhythm section to come to life. Joe Clayton plays the textured conga on "Latin Reaction," and Lenny White leads a band of fellow passionate drummers, including Paulina da Costa, Steve Gadd, Steve Jordan, and Bernard Purdie. The entire atmosphere of the record changes smoothly in texture and tempo, drifting like a channeling stream from subdued and slow to rampant and passionately loud. Certainly, Barbieri intended it to be a delight of the first degree in the Latin scene, and one listen should win the hearts and minds of the listener. Conjuring up romance and scenes of a starry night in Latin America, this music is the soul of Latin music at its peak in the late '70s. A soothing and ethereal delight, even considering its only weakness: the lack of words and lyrics.



Gato Barbieri - Ruby, Ruby (flac  249mb)

01 Ruby 6:29
02 Nostalgia 5:25
03 Latin Reaction 4:58
04 Ngiculela - Es Una Historia - I Am Singing 5:45
05 Sunride 5:55
06 Adios 4:42
07 Blue Angel 5:46
08 Midnight Tango 4:27

Gato Barbieri - Ruby, Ruby (ogg  104mb)

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