Nov 25, 2017

RhoDeo 1747 Grooves


Todays Artists  are the renowned horn-driven funk outfit Tower of Power have been issuing albums and touring the world steadily since the early '70s, in addition to backing up countless other musicians. The group's leader since the beginning has always been tenor saxophonist Emilio Castillo, who was born in Detroit but opted to pursue his musical dreams in Oakland, California. They played regularly in the Bay Area throughout the late '60s, as their lineup often swelled up to ten members, including such other mainstays as Greg Adams on trumpet and vocals, Lenny Pickett on sax, and Rocco Prestia on bass. ........ N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

In the summer of 1968, tenor saxophonist/vocalist Emilio Castillo met Stephen "Doc" Kupka, who played baritone sax. Castillo had played in several bands, but Castillo's father told his son to "hire that guy" after a home audition. Within months the group, then known as The Motowns, began playing various gigs around Oakland and Berkeley, their soul sound relating to both minority and rebellious listeners. Castillo wanted to play Bill Graham's Fillmore Auditorium in San Francisco, but he realized he would never get in with a name like The Motowns. The band agreed on Tower of Power and the name stuck.

By 1970, the now renamed Tower of Power—now including trumpet/arranger Greg Adams, first trumpet Mic Gillette, first saxophone Skip Mesquite, Francis "Rocco" Prestia on bass, Willie Fulton on guitar, and drummer David Garibaldi—signed a recording contract with Bill Graham's San Francisco Records and released their first album, East Bay Grease. Rufus Miller performed most of the lead vocals on this debut album. The group was first introduced to the San Francisco Bay area by radio station KSAN, which played a variety of artists such as Cold Blood, Eric Mercury and Marvin Gaye. The single "Sparkling in the Sand" received airplay on the Bay Area soul station KDIA.

Augmented by percussionist/conga/bongo player Brent Byars, Tower of Power was released from their San Francisco label contract and moved to Warner Bros. Records. With Rick Stevens now replacing Rufus Miller as lead singer, 1972's Bump City gave the band their first national exposure. This album included the hit single "You're Still a Young Man", which peaked at #29 on the Billboard Hot 100 and was Stevens' pinnacle vocal performance before leaving the band.

Tower of Power, released in the spring of 1973, was the third album for the band. It featured Lenny Williams on lead vocals and Lenny Pickett on lead tenor saxophone. Bruce Conte replaced guitarist Willie Fulton and keyboardist Chester Thompson also joined the band during the recording of the album. This was the group's most successful album. It peaked at #15 on the Billboard Pop Albums chart and was RIAA certified as a gold record (for sales in excess of 500,000 copies). The album also spawned their most-successful single "So Very Hard to Go". Although the single peaked at #17 on the Billboard Hot 100, it landed in the Top 10 on the surveys of many West Coast Top 40 radio stations, hitting #1 on many of them.

1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)", that reached #26 on the Billboard Hot 100, and "Time Will Tell", which charted at #69. The funk-jazz classic instrumental "Squib Cakes" also came from this album. On Urban Renewal (1974), the band moved more toward funk than soul; however, they continued recording ballads as well. Williams left the band in late 1974, and was replaced as vocalist by Hubert Tubbs. While Tower of Power remained a must-see live act, as disco became the new trend in R&B the group's original funk-laden style fell out of favor, and disco-oriented albums like 1978's We Came to Play and 1979's Back on the Streets didn't please critics or fans, and the band would go nine years without releasing an album.

Despite it all, Tower of Power -- in particular their horn section -- remained a much in-demand backing group for some of pop/rock's biggest names, including Elton John, Santana, Bonnie Raitt, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Public Image Ltd., and many others. In 1988, Tower of Power returned to the studio for the album Power, and in 1991 they signed with Epic Records, where they released five albums by the end of the decade.

Into the new millennium, Tower of Power kept up their reputation as a strong live band, maintaining a steady touring schedule, and in 2009 they launched their own TOP Records label with The Great American Soulbook, in which they covered a dozen soul and R&B classics in the trademark Tower of Power style. In 2007, Tower of Power celebrated their fourth decade together with a special concert at San Francisco's Fillmore Auditorium, and a year later the show was issued in a special CD/DVD package, simply titled 40th Anniversary. In 2013, Tower of Power took a look back with the release of Hipper Than Hip: Yesterday, Today & Tomorrow, which documented a live radio broadcast from 1974. The bandmembers also announced they would be touring in 2013 and 2014 with two other iconic acts from Northern California, Journey and the Steve Miller Band.

xxxxx xxxxx xxxxx xxxxx xxxxx

Tower of Power was very much in its prime in 1974, when the Bay Area outfit tore up the soul charts with the outstanding Urban Renewal. Lenny Williams, a passionate, wailing, gospel-influenced dynamo of a singer, had joined Tower the previous year, and he worked out remarkably well; whether digging into tough funk or romantic ballads, Williams is in top form. Funk doesn't get much more invigorating than horn-driven gems like "Maybe It'll Rub Off," "Give Me the Proof" and "Only So Much Oil in the Ground" (a commentary on the mid-'70s energy crisis), and soul ballads don't get much richer than "Willing to Learn" and "I Won't Leave Unless You Want Me To." Tower (an influence on everyone from L.T.D. to the Average White Band) recorded a number of essential albums in the '70s, and Urban Renewal is at the top of the list.

Tower Of Power - Urban Renewal      (flac  221mb)

01 Only So Much Oil In The Ground 3:46
02 Come Back, Baby 3:21
03 It's Not The Crime 1:45
04 I Won't Leave Unless You Want Me To 3:28
05 Maybe It'll Rub Off 3:15
06 (To Say The Least) You're The Most 2:28
07 Willing To Learn 4:35
08 Give Me The Proof 2:35
09 It Can Never Be The Same 4:43
10 I Believe In Myself 2:00
11 Walkin' Up Hip Street 5:30

Tower Of Power - Urban Renewal  (ogg  85mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

In the Slot came off a four-year string of classic singles and albums. As Bump City era lead singer Rick Stevens exited, the phenomenal Lenny Williams replaced him. With Williams, Tower of Power became a hit-making machine as albums like Back to Oakland and Urban Renewal became R&B standards. In the Slot marks the first album of vocalist Hubert Tubbs. he possessed a throaty more muscular voice a few shades lower than his predecessor. While it was serviceable, Tubbs' voice didn't have the same grace and agility as Williams'. On the rollicking "Just Enough and Too Much" the difference is slight and the track is one of the band's most potent tracks. The ballads were where the contrast is most striking. "As Surely As I Stand Here" and the "The Soul of a Child" display not only a drop off in lyrical quality, but also the clearest indication that the band did indeed miss Williams' skill at making even bromides ring. Oddly enough, the great and too brief B-side "Stroke '75" wasn't included here. After many failed attempts, band and singer do end up on the same page. On "Drop It in the Slot" and "On the Serious Side" the groups' trademark rhythm section and the horns come on stronger and match Tubbs' more volatile style. This effort in effect put an end to the string of "classic" albums from the group. In The Slot, despite its enviable firepower, finds the band missing Lenny Williams' skill at putting all of the pieces together.

 Tower Of Power - In The Slot      (flac 221mb)

01 Just Enough And Too Much 3:25
02 Treat Me Like Your Man 3:08
03 If I Play My Cards Right 3:12
04 As Surely As I Stand Here 5:15
05 Fanfare: Matanuska 0:16
06 On The Serious Side 2:51
07 Ebony Jam 6:44
08 You're So Wonderful, So Marvelous 3:51
09 Vuela Por Noche 1:34
10 Essence Of Innocence 0:36
11 The Soul Of A Child 4:58
12 Drop It In The Slot 3:13

Tower Of Power - In The Slot  (ogg  87mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Edward McGee turned in mostly above-average performances on their first post-Lenny Williams release, but it was the beginning of the end for the group. With funk losing its foothold among R&B audiences, they couldn't keep it together. Hearing this on compact disc (and it's not one of Columbia's better mastering jobs) reveals that McGee was an energetic, exuberant vocalist who held his own on uptempo tunes like "You Ought To Be Havin' Fun" and the title song, but lacked Williams' range or tonal quality on ballads. The group always had a weakness for ponderous message cuts, and "Can't Stand To See The Slaughter" and "While We Went To The Moon" were well-intentioned but clumsy tracks. This was almost The Tower of Power's swan song.

Tower Of Power - Ain't Nothin' Stoppin' Us Now   (flac 229mb)

01 Ain't Nothin' Stoppin' Us Now 3:53
02 By Your Side 4:29
03 Make Someone Happy 2:45
04 Doin' Alright 4:46
05 Because I Think The World Of You 2:58
06 You Ought To Be Havin' Fun 3:05
07 Can't Stand To See The Slaughter 2:47
08 It's So Nice 5:39
09 Deal With It 3:20
10 While We Went To The Moon 4:00

. Tower Of Power - Ain't Nothin' Stoppin' Us Now  (ogg  86mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The band's final album for Warner Bros. before it decamped to Columbia, the absolutely stunning 1975 Live and in Living Color ensured that Tower of Power left in a blaze of glory. Recorded at Sacramento Memorial Auditorium and Cerritos College, the group brought what remains one of the era's finest live albums to glorious fruition. Leaving behind the dismal soul of its previous In the Slot, the band fell back on its two great strengths -- classy live performance and unerring funk. With every ounce of the group's full energy packed into the grooves and a little more added for emphasis, Live squeezes out five tracks of epic proportions. Reaching back to its debut LP, East Bay Grease, Tower of Power jammed on a majestic 23-minute rendition of "Knock Yourself Out" and the sleepy classic "Sparkling in the Sand," before continuing its sonic domination across two songs pulled from Bump City. "Down to the Nightclub (Bump City)" is effusive, while "You're Still a Young Man" is an absolutely outstanding performance of one of TOP's finest songs -- and judging by the audience enthusiasm, it packed as much power in 1976 as it did in 1972 (and indeed, still does today). Courageously, only one track, "What Is Hip?," emerges from the group's most successful era, but with its rock riffing slices and roiling organ solo, you really don't need anything else -- it stands well as a lone representative of what many hail as TOP's finest hour. There's nothing to fault here except, possibly, the decision to release a mere single disc at a time when live double albums were becoming de rigueur, a move guaranteed to leave listeners crying for more. But perhaps that was the intent all along -- too little is always sweeter than too much.

Tower Of Power - Live And In Living Color   (flac 259mb)

01 Down To The Nightclub (Bump City) 2:26
02 You're Still A Young Man 5:12
03 What Is Hip? 6:25
04 Sparkling In The Sand 8:05
05 Knock Yourself Out 23:40

.Tower Of Power - Live And In Living Color  (ogg  102mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Nov 23, 2017

RhoDeo 1747 Re-Ups 122

Hello, who do you think you are Klea Waht posting 5 requests in succesion, I've said before "I'm not here to fill hard disk space", 1 request at the time please, I will ignore the rest. I'm still amazed how many of you request but don't take the effort of checking whether it has been re-upped in the 12 months before..

In came 10 correct requests this week, here we are a small batch of 36 re-ups (11 gig)

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 November 21th.... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

4x Sundaze Back In Flac (Steven Brown - Music For Solo Piano, Winston Tong - Theoretically Chinese, Peter Principle - Tone Poems, B.L. Reininger - Colorado Suite / still in ogg Paris En Autumne)

3x Aetix Back in Flac (Thin White Rope - Moonhead, Thin White Rope ‎- In The Spanish Cave, Thin White Rope - Sack Full of Silver )

3x Sundaze Back In Flac (David Sylvian - Brilliant Trees, David Sylvian - Secrets of the Beehive,  David Sylvian - Dead Bees on a Cake)

3x Alphabet Soup Back In Flac (Wolfgang Press - Queer, Patrick Wolf - Lycanthropy,  still in ogg The Story Of The Who)

3x Sundaze NOW In Flac (Daedelus - Invention, Twine - Recorder , Jello - Voile)

3x J-Roots NOW In Flac (still in ogg Ensemble Nipponia - Kabuki & Other Tradional Music, Riuichi Sakamoto and Danceries – The End Of Asia, Dry & Heavy – One Punch)

3x Grooves Back In Flac (Arthur Conley - Sweet Soul Music / Shake, Rattle & Roll , Arthur Conley - Soul Directions, The Mar-Keys - Last Night & Do The Pop Eye)

4x Grooves Back In Flac (VA - Stax Funk: Get Up & Get Down, VA - Stax Funx , VA - Stax Of Funk. The Funky Truth, VA - Stax Of Funk Vol. 2 (More Funky Truth) )

7x Berlin NOW In Flac (To Rococo Rot - Hotel morgen, Allien, Ellen - Stadtkind , Tanzwut - Labyrinth der Sinne, T.Raumschmiere - Radio blackout, Malaria ! - Delirium (Remixed*Remade*Remodelled) , Thomas Fehlmann - Good Fridge 90-98, Rammstein - Live aus Berlin)

3x Aetix Back In Flac (Love And Rockets - Seventh Dream, Love And Rockets - Express, Love And Rockets - Earth·Sun·Moon)

xxxxx xxxxx xxxxx xxxxx xxxxx


Nov 22, 2017

RhoDeo 1747 Aetix


Today's artists are British vocalists/multi-instrumentalists Kevin Godley and Lol Crème they have one of the most eclectic resumés in rock & roll. They were session musicians when they joined 10cc in 1970. Originally called Hotlegs, 10cc were an art pop group that frequently appeared on the U.K. charts in the early '70s, eventually hitting number two in the U.S. with "I'm Not in Love." The two departed from 10cc a year later so they could experiment with the Gizmo, a gadget that enabled the guitar to create sounds with symphonic textures. .....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Kevin Godley and Lol Creme met in the late 1950s and for a brief time were in a band together. Through the 1960s they played in different bands, with Godley briefly in The Mockingbirds with Graham Gouldman, who would later work with Godley and Creme in 10cc. After recording a one-off single under the name of 'Yellow Bellow Room Boom' for UK CBS in 1967 ("Seeing Things Green" b/w "Still Life"), the pair began their professional music career together in 1969, performing pop music in Strawberry Studios at Stockport near Manchester with Eric Stewart and Graham Gouldman (often mistakenly referred to as being "Bubblegum Music", perhaps because they were contracted by Kasenetz & Katz, who produced bubblegum sub-teen pop in the US on the Buddah label). Their first chart success (Neanderthal Man) was as members of the short-lived Hotlegs, which evolved into 10cc in 1972. 10cc enjoyed chart success, most notably with their 1975 single "I'm Not in Love", a hit on both sides of the Atlantic.

After the recording of 10cc's fourth LP, How Dare You! (1976), Godley and Creme left the band to perfect a device they dubbed "The Gizmo" (Gizmotron), a module which attached to the bridge of an electric guitar. The Gizmo used small motor-driven rotating wheels which were pressed into contact with the strings, thus creating a continuous, violin-like "bowing" effect on all or any combination of strings, generating infinite sustain in voicings ranging from a single note to a full chord. The device was originally conceived as a cost-saving measure for 10cc. The group already owned and operated their own studio, and all four were talented singers and multi-instrumentalists who could also produce and engineer their own records, so their plan was that by using Gizmo-fitted electric guitars, with additional studio processing and overdubbing, they could create an almost infinite variety of sonic effects and orchestral textures "in-house", saving them the considerable expense of hiring session players to add these textures using traditional instruments.

After recording a demonstration single using the Gizmo, their label (Mercury Records) allowed them to continue the project, and over the next year it expanded into a sprawling 3-LP concept album Consequences (1977) with an environmental theme. It contained vocals by Sarah Vaughan and an extended comedy performance by Peter Cook, and was issued in a lavish boxed set package with an accompanying booklet. According to the album's liner notes, the duo's original plan was to hire an all-star cast of comedians (including Peter Ustinov) to perform the album's spoken-word components, but this was soon abandoned, partly due to the cost and logistical difficulty, but also because they quickly realised after meeting Peter Cook that he was able to perform all of the major roles himself. Unfortunately, by the time Consequences was finally released in late 1977, punk was in full swing, and the album was savaged by critics.

Unfortunately, the band wasn't democratic or smart enough at that time to allow us the freedom to go ahead and do this project and we were placed in the unfortunate position of having to leave to do it. Looking back, it was a very northern work ethic being applied to the group, all for one and one for all. If we'd been a little more free in our thinking with regard to our work practices, the band as a corporate and creative entity could have realised that it could have been useful rather than detrimental for two members to spend some time developing and then bring whatever they'd learned back to the corporate party. Unfortunately, that wasn't to be. The duo gradually regained critical favour with a trio of innovative albums in the late 1970s and early 1980s – L (1978), Freeze Frame (1979) and Ismism (1981, released as Snack Attack in the United States).

Freeze Frame (1979) included several songs that gained airplay on alternative radio in many countries, notably "I Pity Inanimate Objects" and "An Englishman in New York", which was accompanied by an innovative music video. Several notable guest performers contributed to the album: Roxy Music guitarist Phil Manzanera played guitar on and co-produced the album tracks "Random Brainwave" and "Clues", Paul McCartney contributed backing vocals to the song "Get Well Soon" and Roxy Music saxophonist Andy Mackay played saxophone on the single-only track "Wide Boy" and also appeared in the song's innovative promotional video. Alongside the album tracks released as singles, the duo also released two singles (both of which failed to chart) that contained tracks not included on the LP - "Wide Boy" b/w "I Pity Inanimate Objects" (March 1980) and the instrumental single "Submarine" b/w "Marciano" (September 1980).

They made the UK Top Ten with the singles "Under Your Thumb" (a song about the ghost of a suicidal woman who returns to haunt a rail commuter) and "Wedding Bells" in 1981, both from Ismism (1981). The single "Snack Attack" was also a minor hit.

In 1983, they released Birds of Prey which took their music in a more electronic direction, using electronic drum machines for the entire album. Their 1984 single "Golden Boy" was included on 1985's The History Mix Volume 1 album which celebrated 25 years of recording together. The album, co-produced by J. J. Jeczalik of Art of Noise, remixed samples of their previous recordings to a disco beat. This album also contained the single "Cry" which, helped in part by the video, became their biggest US hit, reaching No. 16. The song reached No. 19 in Britain. A video cassette was also released with visual imagery to complement the music.

Godley & Creme released their final album, Goodbye Blue Sky, in 1988. This album abandoned electronic instruments and used harmonicas, organs, and guitars to tell the story of the earth on the brink of nuclear war. The pair ended their working relationship soon after the release of the album, and reformed 10cc three years later. In a 1997 interview, Creme explained: In '89, certainly in '88, maybe before, Kevin changed, I think his priorities in life changed. He'd had enough, he'd simply had enough of me and the way we worked, the things we did, the priorities we had. It was time for a shift in all that and he was obviously right.

Godley and Creme achieved their greatest success as the innovative directors of more than fifty music videos in the early 1980s. They created memorable videos for The Police ("Every Breath You Take", "Synchronicity II", "Wrapped Around Your Finger"), Culture Club ("Victims"), Duran Duran ("Girls on Film", "A View to a Kill"), Herbie Hancock ("Rockit"), Go West ("We Close Our Eyes"), Frankie Goes to Hollywood ("Two Tribes", "The Power of Love"), Sting ("If You Love Somebody Set Them Free", "Fields of Gold"), Toyah ("Thunder in the Mountains"), Visage ("Fade to Grey"), George Harrison ("When We Was Fab"), Wang Chung ("Everybody Have Fun Tonight"), and Yes ("Leave It"), among many others, up to Godley's video for The Beatles' 1996 single, "Real Love", from the Beatles Anthology.

The pair's innovation extended to their videos for their own songs, notably "Wide Boy" and "Cry". The latter's 1985 video consisted of faces blending into one other using analog cross-fading, anticipating the digital effect of morphing, later used in a similar way in Michael Jackson's 1991 video, "Black or White". This has often been seen as "groundbreaking", though the promotional video accompanying King Crimson's single "Heartbeat" had used a similar effect two years earlier.

xxxxx xxxxx xxxxx xxxxx xxxxx

Unlike their previous 2 albums which depended on music quirks, here the emphasis is on lyrical quirks.  Each track tells some kind of story or conveys a scene in which something weird is happening.  Consequently (if I dare use that word in reference to these guys) the music is mostly oddly constructed grooves that do their best to stay in the background while the words twist your brain with that peculiar brand of insanity that is Godley & Crème.This apparently made them more accessible, as they had 3 singles off this album The mix puts their voices higher than usual, highlighting some truly bent tales of munchy madness, desert skullduggery, and JFK assassins. For contrast, there's the gorgeous "Wedding Bells," a rare AM hit for the former 10cc mates. Throughout all of this, you get the nagging feeling this pair was capable of so much more.

 Godley & Creme - Ismism   (flac  422mb)

01 Snack Attack 7:15
02 Under Your Thumb 4:47
03 Joey's Camel 5:29
04 The Problem 4:06
05 Ready For Ralph 2:24
06 Wedding Bells 3:26
07 Lonnie 4:51
08 Sale Of The Century 4:28
09 The Party 8:11
10 Power Behind The Thrown 3:41
11 Babies 4:43
12 Snack Attack (Extended Version) 6:48

Godley & Creme - Ismism   (ogg   160mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The least successful inclusion in the Godley & Creme catalog, Birds of Prey finds the duo stripping back the crazier idiosyncrasies that made its earlier albums so intriguing, and working more in the realm of melody and, dare one say it, easy listening. Lyrically they remain as offbeat as ever, and an evening with the Birds of Prey lyric sheet will send you scrabbling to hear the music. Bad move. "Save Me a Mountain," the album's almost-hit single, is a saccharin lament that might be directly descended from 10cc's "Brand New Day" and "Don't Hang Up," but lacks both the melodic and the emotional punch that made those earlier ballads work so well, while "Samson," "My Body the Car," and "Madame Guillotine" simply sound as though they were recorded the moment the ideas first stumbled into view, as opposed to waiting around to make sure the songs were even worth pursuing. So a major disappointment from a duo that was traditionally so reliable and, if you do buy the album today, it'll be for the bonus tracks -- no, not the dance mix of "Samson," but for the sheer madness of "Welcome to Breakfast Television," a topical B-side at the time of its release, and a self-fulfilling prophecy that could not have been proved more accurate.

Godley & Creme - Birds Of Prey (flac 402mb)

01 My Body The Car 2:24
02 Worm And The Rattlesnake 3:24
03 Cats Eyes 3:43
04 Samson 5:29
05 Save A Mountain For Me 3:34
06 Madame Guillotine 5:02
07 Woodwork 4:38
08 Twisted Nerve 4:03
09 Out In The Cold 4:51
10 Welcome To Breakfast Television 2:31
11 Samson (Dance Mix) 5:52
12 Golden Boy 3:49
13 Samson (UK 7" Promo Single Edit) 3:56
14 Golden Boy (Long Version) 5:48

Godley & Creme - Birds Of Prey   (ogg  148mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A decade after Kevin Godley and Lol Creme walked out on 10cc and took half of that band's magic with them, the pair convened a reunion of sorts with The History Mix, Vol. 1, the ultimate ideal of all that the then-infant industry of remixing had to offer. The utterly gorgeous (and surprisingly successful) "Cry" notwithstanding, the basic premise of the album was to assemble a batch of the duo's past triumphs -- 11 in all, with only four pre- or postdating the 10cc era -- and then recycle them into five separate cuts that fall somewhere between Frank Zappa and a deranged interpretation of an early Residents album. All of which makes for a collection that is alternately infuriating (ten minutes of the hook line from "Business Is Business" spliced with the "humdrum" intro from "The Dean and I"), intriguing (the combination of key elements from "How Dare You" and "Neanderthal Man"), and plain compulsive (the gentle drift from "I'm Not in Love"'s whispered "big boys don't cry" into "Cry" itself is a masterpiece in its own right). With producer Trevor Horn at the helm, the overall sound of the album is very much a child of its age -- however, the only moment that has truly dated is the insertion of a reference to Hill Street Blues into a fragmented "Rubber Bullets." Nevertheless, it's an album that is best recommended only to fans who actually know the original songs, and who'll appreciate the fresh landscapes into which they've been spliced -- one reason, presumably, for the CD reissue of the album adding in a handful of other, more conventional Godley & Creme concoctions. They, at least, give the impression of a commercially valid experience. In its natural state, it's simply the sound of invigorating sonic madness.

 Godley & Creme - History Mix (Vol. 1)   (flac 545mb)

01 Wet Rubber Soup medley 18:56
   ~Rubber Bullets~Minestrone~I'm Not In Love
02 Expanding The Business 17:05
03 Light Me Up 4:32
04 An Englishman In New York 5:54
05 Save A Mountain For Me 3:37
06 Golden Boy 5:49
07 Cry (Extended Remix) 7:27
08 Snack Attack (Extended Remix) 9:48

Godley & Creme - History Mix (Vol. 1)     (ogg  192mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

In their final major-label release before heading for a video-making career, these two veteran English music-makers tackle environmental degradation and nuclear annihilation. After earlier releases full of detached sarcasm and sardonic wit, it's refreshing to hear the pair actually care about something, although they sometimes hector. Musically, the songs are linked by the use of harmonicas on every track. This is one of their stronger albums because of thematic consistency and typically terrific production, including the usual gorgeous, multi-tracked harmonies. In spite of the gloomy subject matter, the album-closing "Desperate Times" ends on an optimistic note.

Godley & Creme - Goodbye Blue Sky (flac  483mb)
01 H.E.A.V.E.N./A Little Piece Of Heaven 5:03
02 Don't Set Fire (To The One I Love) 3:25
03 Golden Rings 4:17
04 Crime & Punishment 7:23
05 The Big Bang 2:30
06 10.000 Angels 5:15
07 Sweet Memory 4:48
08 Air Force One 3:38
09 The Last Page Of History 4:00
10 Desperate Times 3:40
11 A Little Piece Of Heaven (Extended Mix) 6:06
12 Bits Of Blue Sky 5:45
13 Hidden Heartbeat 4:31
14 Rhino Rhino 3:19
15 Can't Sleep 2:08

Godley & Creme - Goodbye Blue Sky   (ogg   172mb)

xxxxx xxxxx xxxxx xxxxx xxxxx