Dec 16, 2017

RhoDeo 1750 Grooves

Hello,

Todays Artist is a wildly flamboyant funk diva with few equals even three decades after her debut, she combined the gritty emotional realism of Tina Turner, the futurist fashion sense of David Bowie, and inspired the trendsetting flair of Miles Davis, her husband for a year. It's easy to imagine the snickers when a 23-year-old model married a famous musician twice her age, but Davis was no gold digger; she turned Miles on to Jimi Hendrix and Sly Stone (providing the spark that led to his musical reinvention on In a Silent Way and Bitches Brew), then proved her own talents with a trio of sizzling mid-'70s solo LPs. . ........ N'joy

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Born July 26, 1945, Betty Mabry grew up in Durham, North Carolina, and just outside Pittsburgh. On her grandmother’s farm in Reidsville, North Carolina, she listened to B.B. King, Jimmy Reed, and Elmore James and other blues musicians. One of the first songs she wrote, at the age of twelve, was called "I’m Going to Bake That Cake of Love." Aged 16, she left Pittsburgh for New York City, enrolling at the Fashion Institute of Technology while living with her aunt. She soaked up the Greenwich Village culture and folk music of the early 1960s. She associated herself with frequenters of the Cellar, a hip uptown club where young and stylish people congregated. It was a multiracial, artsy crowd of models, design students, actors, and singers. At the Cellar she played records and chatted people up. She also worked as a model, appearing in photo spreads in Seventeen, Ebony and Glamour.

In her time in New York, she met several musicians including Jimi Hendrix and Sly Stone. The seeds of her musical career were planted through her friendship with soul singer Lou Courtney, who produced her first single, “The Cellar” with simple, catchy lyrics like, “Where you going fellas, so fly? / I’m going to the Cellar, my oh my / What you going to do there / We’re going to boogaloo there.” The single was a local jam for the Cellar. Yet her first professional gig was not until she wrote "Uptown (to Harlem)" for the Chambers Brothers. Their 1967 album was a major success, but Betty Mabry was focusing on her modeling career. She was successful as a model but felt bored by the work. According to Oliver Wang’s They Say I’m Different liner notes, she said, “I didn’t like modeling because you didn’t need brains to do it. It’s only going to last as long as you look good.”

She met Miles Davis in 1967 and married him in September 1968. In just one year of marriage, she influenced him greatly by introducing him to the fashions and the new popular music trends of the era. In his autobiography, Miles credited Betty with helping to plant the seeds of his future musical explorations by introducing the trumpeter to psychedelic rock guitarist Jimi Hendrix and funk innovator Sly Stone. The Miles Davis album Filles de Kilimanjaro (1968) includes a song named after her and her photo on the front cover.

Miles believed that Hendrix and Betty had an affair which supposedly hastened the end of their marriage, but Betty denies this. Hendrix and Miles stayed close after the divorce, planning to record, until Hendrix's death. The influence of Hendrix and especially Sly Stone on Miles Davis was obvious on the album Bitches Brew (1970), which ushered in the era of jazz fusion. The origin of the album's title is unknown, but some believe Miles was subtly paying tribute to Betty and her girlfriends. In fact, it is said that he originally wanted to call the album Witches Brew—it was Betty who convinced him to change it.

As Betty Mabry, she recorded "Get Ready For Betty" b/w "I'm Gonna Get My Baby Back" in 1964 for DCP International. Sometime in that same era, she also dueted with Roy Arlington and under their joint name "Roy and Betty," released a single for Safice entitled, "I'll Be There." Betty's first major credit was writing "Uptown (to Harlem)" for the Chambers Brothers, 1967.

In 1968, when she was still involved with Hugh Masekela, she recorded several songs for Columbia Records, with Masekela doing the arrangements. Two of them were released as a single: "Live, Love, Learn" b/w "It's My Life." Her relationship with Miles Davis began soon after her breakup from Masekela and in the spring of 1969, Betty returned to Columbia's 52nd St. Studios to record a series of demo tracks, with Miles and Teo Macero producing. At least five songs were taped during those sessions, three of which were Mabry originals, two of which were covers of Cream and Creedence Clearwater Revival. Miles attempted to use these demo songs to secure an album deal for Betty but neither Columbia nor Atlantic were interested and they were archived into a vault until 2016 for the compilation, Betty Davis, The Columbia Years, 1968-69, released by Seattle's Light in the Attic Records.

While their marriage only lasted a year (1968-1969), Betty's impact on the immortal jazz trumpeter was tremendous. Her cutting-edge musical tastes and incomparable sense of style were too much for Miles to resist. A self-righteous 23-year old model, Betty conquered the man twice her age with a potent mixture of youth, beauty, and sex. Within a year, she had completely remade Miles in her own youthful image. As she poured herself into him, his playing grew younger, his outlook fresh. She ripped through his closets, tossing out the elegant suits he had worn for years. This was the late '60s, revolution was in the air, and suits were the uniforms of the Establishment. The time had come to get hip, and Betty pointed the way, introducing Miles to the musical and material gods of revolutionary style: Jimi Hendrix and Sly Stone. Anyone with half a grip on the past knows that Miles experienced far more than a wardrobe makeover during his tumultuous Betty year. Deeply influenced by the cosmic rock guitar of Hendrix and the experimental funk of Sly Stone, Miles turned mad genius and unleashed the electrified musical Frankenstein known as Bitches Brew

After the end of her marriage with Davis, Betty moved to London, probably around 1971, to pursue her
modeling career. By the beginning of the '70s, Betty Davis began work on a set of songs and tapped a host of great musicians to bring them to fruition: Greg Errico and Larry Graham from Sly Stone's band, Michael Carabello from Santana, the Pointer Sisters, and members of the Tower of Power horn section. Her self-titled debut album finally appeared in 1973, and though it made no commercial impact at all, it was an innovative collection with plenty of blistering songs. Even more so than a soul shouter like Tina Turner, Davis was a singer for the feminist era. As Betty's lyrics attest, she was not a tragic woman beholden to any man. This was a woman with the strength of a Black Panther, a woman in total control, a predatory feline fully aware of the power that her beauty and sexuality gave her over men, and cooed her way through extroverted material like "Anti Love Song," "Shoo-B-Doop and Cop Him," and "He Was a Big Freak." Religious groups protested many of her concert appearances (several were canceled), and radio outlets understandably refused to play her extreme work.

She had two minor hits on the Billboard R&B chart: "If I'm in Luck I Might Get Picked Up", which reached no. 66 in 1973, and "Shut Off the Lights", which reached no. 97 in 1975. Davis hardly let up with her second and third albums, 1974's They Say I'm Different and 1975's Nasty Gal, but they too made little impact. Though she would have made an excellent disco diva, Betty Davis largely disappeared from the music scene. Unfortunately for Betty, America was not yet ready to embrace a woman with such an explicitly sexual persona. Her outrageously flamboyant image eclipsed her talent. Several of her live shows were boycotted by religious groups and even canceled. Radio steered clear of her unconventional music, judging it too hard for black stations and too black for white ones. Her records didn't sell. Betty vanished from the scene. These days, December 2017, not even one live or even moving clip of her on youtube, bizar.. I guess the male chauvenistic pigs of the day thouroughly managed to keep her out of the picture....

Both Betty Davis (1973) and They Say I'm Different (1974) were re-released by Light in the Attic Records on May 1, 2007. In September 2009, Light in the Attic Records reissued Nasty Gal and her unreleased fourth studio album recorded in 1976, re-titled as Is It Love or Desire?. Both reissues contained extensive liner notes and shed some light on the mystery of why her fourth album, considered possibly to be her best work by many members of her last band (Herbie Hancock, Chuck Rainey, Alphonse Mouzon), was shelved by the record label and remained unreleased for 33 years. After some final recording sessions in 1979 (Crashin' from Passion), Davis eventually stopped making music and returned to Pennsylvania.

Material from the 1979 recording sessions was eventually used for two bootleg albums, Hangin' Out in Hollywood (1995) and Crashin' from Passion (1996). A greatest hits album, Anti Love: The Best of Betty Davis, was released in 2000.

Bay Area music producer Greg Errico knows something about artist buzz. He used to drum for a band called Sly and the Family Stone. But he can't believe the hum he's hearing now about an artist he produced decades ago: the mysterious funk queen and rocker Betty Mabry Davis.

"She never had big commercial success. We did this 35 years ago. And she's been a recluse for large parts of that," he says. But at a recent National Academy of Recording Arts and Sciences function, he adds, veteran musicians were buzzing about her as if she were a brand-new sensation.
This month, the Afroed beauty, circa '73, graces the cover of hipster music journal Wax Poetics magazine, and today, indie label Light in the Attic Records re-releases lovingly packaged versions of her first two albums, "Betty Davis" and "They Say I'm Different," both cut in San Francisco in the early '70s.

Former musical colleagues don't know much about what happened next. "She disappeared for years and years," says Errico, who has spoken to her only a few times in the past two years. "First time I talked to her, she had really seemed like she had come out of some deep, serious seclusion. Very soft-spoken. She wasn't the same person." When asked about what she has done since her retreat from the public eye, Davis becomes diffident. She hints that she took comfort from being close to her parents (who have since passed away) and her younger brother. She adds that she is talking to the media reluctantly. "The guy who runs Light in the Attic, he asked me if I would do interviews, and to help him sell the album I told him I would," she says. But after this interview, she says, the rest will be canceled. Is she pleased by the resurgent interest in her career? "You want your music to sell. You want your work to be heard, regardless of how long ago you did it," she answers. "So, um, it's good." A trace of impatience creeping into her voice, she says, politely, "Have a good day." And the enigmatic woman who always wanted to do it her own way hangs up the phone.

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Betty Davis is best known for being married once to Miles and for being the bitch that inspired the brew. But she is also a talented composer and singer who deserved a more successful solo career.

Betty’s relationship with and eventual marriage to Miles is renowned for the effect she had on him: At 22, she got the pop-detached Miles into the giants of psychedelic rock, including Jimi Hendrix, that would revitalize his inspiration and lead to his revolutionary electric period. Betty wasn’t just a scenester or a hanger-on; she was a tuned-in tastemaker with deep charisma and the kind of attitude that could’ve made her a superstar in a less-anxious world, and she was both quick to learn and driven to direct. It’s one thing that Betty got Miles into Hendrix, but another thing entirely that she got a couple of Hendrix’s fellow band members to record with her—and had them join a group that included some of the key players on Bitches Brew, the album whose name was suggested by Betty herself.  Still, Betty Davis’ story isn't quite as cut-and-dry between her Mabry years and her emergence as the woman touted as too wild for Miles—especially when you explore the actual recorded results of her and Miles’ mutual influence, as the newly unearthed sessions on The Columbia Years 1968-1969 prove.

The inspiration might have radiated both ways; John Ballon’s liner notes point out as much, with Betty vividly recalling Miles as a catalyst and a mentor who’d inspire her later solo run. But her full potential wasn't realized until years after these recordings, which primarily work as a sometimes exciting, sometimes half-sketched prelude to the more iconoclastic things that’d follow in the ’70s. For a set of recordings that feature the Billy Cox/Mitch Mitchell rhythm section of the Jimi Hendrix Experience's final incarnation and some of the most revolutionary players of Miles’ electric period—Harvey Brooks, John McLaughlin, Herbie Hancock, Larry Young, and Wayne Shorter—just about everyone here, Betty Davis included, sounds like they’re just getting warmed up. This hybridized Hendrix/Miles vision of the band hadn't rehearsed prior to the recording session, and it shows: You can actually hear them start to click mid-song as early-take vamping starts to tighten up. Seven of the nine tracks were composed by the 23 year old Betty, 4 of these as the meanwhile Ms.Betty Davis, what followed were 4 years of arrested development before she unleashed her official debut album, and she was still ahead of her time..



Betty Davis - The Columbia Years 1968-1969    (flac  181mb)

01 Hangin' Out 4:56
02 Politician Man 5:46
03 Down Home Girl 5:26
04 Born On The Bayou 3:22
05 I'm Ready, Willing, & Able (Take 1) 1:05
06 I'm Ready, Willing, & Able (Take 9) 3:23
07 It's My Life (Alternate Take) 2:22
08 Live, Love, Learn 2:37
09 My Soul Is Tired 2:07

   (ogg   mb)

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Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Song for song,Betty Davis is actually one of the most extreme sounding debut records of the decade. Like Bitches Brew, it takes equal parts inspiration from Hendrix and Sly Stone. Future Journey guitarist Neal Schon gives the music its distinctly hard rock Hendrix edge. The Sly angle is fleshed out by former Family Stone drummer Gregg Errico, who plays on and produces the entire record. Former Sly bassist Larry Graham adds an even more unmistakable sound with his trademark grooves. The roster of other musicians playing on this record is impressive: Patryce Banks, Willie Sparks, and Hershall Kennedy of Graham Central Station; Tower of Power horn players Greg Adams and Michael Gillette; and the Pointer Sisters. All these musicians come together to form a flexible and propulsive band, laying down heavy beats behind Neal Schon's dominant lead guitar and Betty's shocking vocals. One critic aptly described their sound as something like a cross between Tina Turner, Funkadelic, and Sly & The Family Stone.

Like all original sounding music, Betty's voice eludes description, and must be heard. A friend was struck by how contemporary it sounded. It's pretty obvious that she was a major influence on Macy Gray. Betty was a powerhouse, pushing her vocal cords to the limit on every performance. She gave it all up, unpredictably alternating between sexy breathiness, moans, and full throated screams. Her voice is not for the feint hearted, as she drags the listener on an fiery tour of her bad-ass soul. This take no prisoners style of singing can sometimes be a bit much to handle. Make no mistake, Betty's brand of black music is not pleasantly soulful, it's ecstatically hard. It's hard to tell whether the musicians are pushing so hard because of Davis' performances or if they're egging each other on, but it's an unnecessary question. Everything about Betty Davis' self-titled debut album speaks to Davis the lean-and-mean sexual predator, from songs to performance to backing, and so much the better for it. All of which should've been expected from the woman who was too wild for Miles Davis.



 Betty Davis - Betty Davis    (flac 282mb)

01 If I'm In Luck I Might Get Picked Up 4:51
02 Walkin Up The Road 2:47
03 Anti Love Song 4:24
04 Your Man My Man 3:28
05 Ooh Yea 3:05
06 Steppin In Her I. Miller Shoes 3:10
07 Game Is My Middle Name 5:09
08 In The Meantime 2:39
Bonus Tracks
09 Come Take Me 3:56
10 You Won't See Me In The Morning 3:50
11 I Will Take That Ride 4:43

Betty Davis - Betty Davis  (ogg  111mb )

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For Davis' next album, 1974's "They Say I'm Different," she assumed complete control. She assembled her own band, wrote the music, produced the album and crafted her image. Her sound became bluesier, edgier and even less compromising. Hip-hop fans now consider the rippling riffs of "Shoo-B-Doop and Cop Him" breakbeat gold. Looking like an intergalactic funkstress on the album cover, her only peers on funk's cutting edge were fellow Afronauts Parliament and Funkadelic.She could do both rootsy and raunchy. On the title track, she transformed a roll call of blues men and women and her own blood relatives into a self-mythologizing genealogy. On "He Was a Big Freak," she sang about a man who enjoyed being whipped with a turquoise chain.

It was too much for some. "Don't Call Her No Tramp," a fierce defense of independent-minded women, caused the NAACP to call for a radio boycott. When she celebrated women whom she called "elegant hustlers," others thought she was advocating prostitution. Davis herself had been slandered and dismissed as a groupie by men in the industry, including her ex-husband. But she dealt with the situation with mother wit: "I said that I was colored and they were stopping my advancement!" The song has since taken on a new layer of meaning in the wake of the Don Imus controversy. The openers, "Shoo-B-Doop and Cop Him" and "He Was a Big Freak," are big, blowsy tunes with stop-start funk rhythms and Davis in her usual persona as the aggressive sexual predator. On the title track, she reminisces about her childhood and compares herself to kindred spirits of the past, a succession of blues legends she holds fond -- including special time for Bessie Smith, Chuck Berry, and Robert Johnson. A pair of unknowns, guitarist Cordell Dudley and bassist Larry Johnson, do a fair job of replacing the stars from her first record. As a result, They Say I'm Different is more keyboard-dominated than her debut, with prominent electric piano, clavinet, and organ from Merl Saunders, Hershall Kennedy, and Tony Vaughn. The material was even more extreme than on her debut; "He Was a Big Freak" featured a prominent bondage theme, while "Your Mama Wants Ya Back" and "Don't Call Her No Tramp" dealt with prostitution, or at least inferred it. With the exception of the two openers, though, They Say I'm Different lacked the excellent songs and strong playing of her debut; an explosive and outré record, but more a variation on the same theme she'd explored before.



Betty Davis - They Say I'm Different   (flac 343mb)

01 Shoo-B-Doop And Cop Him 3:56
02 He Was A Big Freak 4:06
03 Your Mama Wants Ya Back 3:25
04 Don't Call Her No Tramp 4:08
05 Git In There 4:43
06 They Say I'm Different 4:14
07 70's Blues 4:59
08 Special People 3:21
Bonus Record Plant Rough Mixes (10/9/73)
09 He Was A Big Freak (Record Plant Rough Mix) 4:43
10 Don't Call Her No Tramp (Record Plant Rough Mix) 4:37
11 Git In There (Record Plant Rough Mix) 4:38
12 70's Blues (Record Plant Rough Mix) 5:02

. Betty Davis - They Say I'm Different  (ogg  134mb)

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Funk diva Betty Davis was supposed to break big upon the release of her third album, Nasty Gal. After all, her Just Sunshine Records contract had been bought up by Chris Blackwell and Island Records, and they were prepared to invest not only big money in the recording, but in the promotion of the 1975 release. Davis and her well-seasoned road band, Funk House, entered the studio with total artistic control in the making of the album. This set contains classic and often raunchy street funk anthems such as the title track (with its infamous anthemic lyric: "...You said I love you every way but your way/And my way was too dirty for ya now...." ), "Talkin' Trash," "Dedicated to the Press," and the musically ancestral tribute "F.U.N.K." It also features the beautiful, moving, uncharacteristic ballad "You and I," co-written with her ex-husband, Miles Davis, and orchestrated by none other than Gil Evans. It's the only track like it on the record, but it's a stunner. The album is revered as much for its musical quality as its risqué lyrical content. This quartet distilled the Sly Stone funk-rock manifesto and propelled it with real force. Check the unbelievable twinning of guitar and bassline in "Feelins" that underscore, note for note, Davis' vocals. The drive is akin to hardcore punk rock, but so funky it brought Rick James himself to the altar to worship (as he later confessed in interviews). And in the instrumental break, the interplay between the rhythm section (bassist Larry Johnson and drummer Semmie "Nicky" Neal, Jr.) and guitarist Carlos Moralesis held to the ground only by Fred Mills' keyboards. In essence, the album is missing nothing: it's perfect, a classic of the genre in that it pushed every popular genre with young people toward a blurred center that got inside the backbone while smacking you in the face. Heard through headphones, its spaced out psychedelic effects, combined with the nastiest funk rock on the block, is simply shocking. The fact that the album didn't perform the way it should have among the populace wasn't the fault of Davis and her band, who went out and toured their collective butts off, or Island who poured tens of thousands of dollars into radio and press promotion, or the press itself (reviews were almost universally positive). The record seemed to rock way too hard for Black radio, and was far too funky for White rock radio. In the 21st century, however, it sounds right on time. Light in the Attic Records has remastered the original tapes painstakingly for the first North American release of this set on CD. As is their trademark, they've done a stellar job both aurally and visually, as the digipack is spectacular. The set also features a definitive historical essay by John Ballon.



Betty Davis - Nasty Gal   (flac 261mb)

This Side
01 Nasty Gal 4:35
02 Talkin Trash 4:40
03 Dedicated To The Press 3:40
04 You And I 2:45
05 Feelins 2:42
That Side
06 F.U.N.K. 4:20
07 Gettin Kicked Off, Havin Fun 3:07
08 Shut Off The Light 3:53
09 This Is It! 3:25
10 The Lone Ranger 6:08

.Betty Davis - Nasty Gal  (ogg  102mb)

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Whatever the reason that Betty Davis' Is It Love or Desire -- also known as Crashin' from Passion -- remained unreleased until 2009 no longer matters. Davis remembers a personal rift with Island's Chris Blackwell. Studio In the Country manager Jim Bateman (in Bogalusa, LA) claims the studio was never paid and therefore refused to release the masters to Island, etc. It makes no difference, because hearing this album, a ten-song set that was to be

Davis' and Funk House's final recording, is a revelation. (In 1976, funk was slowly giving way to the popularity of disco). Hindsight is 20/20, but had this album been released at the time, things might indeed have been different. Musically, Is It Love or Desire is so forward and so complete, it moves the entire genre toward a new margin. It is as groundbreaking in its way as the music Ornette Coleman was making with Prime Time à la Dancing in Your Head, and the blunt-edged fractured jazz-funk James Blood Ulmer laid down on his own a couple of years later on Tales of Captain Black and Are You Glad to Be in America?. The songwriting is top notch; some of it transcends the proto-sexual excesses of her earlier records though that's still in this wild mix, too. The production is so canny, it seems to get at the very essences of singers, songs, and musical arrangements, and then there's the music itself created by Funk House, one of the most amazing funk bands in the history of music. Being Davis' road and studio band had gelled the unit, which also practiced when they weren't working with her in a practice space at home in North Carolina. Check the dark voodoo-groove bassline Larry Johnson plays on "It's So Good," with Carlos Morales guitar filling the spaces with spidery, silvery lines, and the machine-gun snare groove laid down by drummer Semmie Neal, Jr with breaks and pops that underscore the outrageous distorted keyboards of Fred Mills, the band's music director. Speaking of Mills, his duet vocal on "Whorey Angel,"a spooky, psychedelic soul number that is far better than its title, is scary good. Check out the gris-gris choruses by Davis and her backing chorus with all that bass leading the entire band in its slow, backbone-slipping attack. The sheer sonic attack of "Bottom of the Barrel," may be country in its lyric intro, but the music is diamond-hard funk that makes no secret of its-anti disco sentiment. The ballad on the set, "When Romance Says Goodbye," is a steamy, sultry jazz noir number that gives the listener an entirely new aural portrait of Davis - Mills' piano work on the tune, with its sparse chords and spacious approach, gives Davis' natural singing voice -- rather than her sexual growl -- plenty of room to shine here. There's a bluesy number in &"Let's Get Personal," and a strutting rutting, gutter anthem in "Bar Hoppin' with some in excellent interplay between Mills' synth and Morales' guitar. The final track, a nocturnal, midtempo sexy number called "For My Man," features the violin talent of Clarence "Gatemouth" Brown, to boot. It's easy to say that this the best thing Davis ever cut, especially when a record has existed in mythology for as long as this one has, but that makes it no less true. Many thanks to the Light in the Attic imprint for bringing Is It Love or Desire out of the realm of myth and the dustbin of history, and into the hands of music fans.



Betty Davis - Is It Love Or Desire   (flac 227mb)

01 Is It Love Or Desire 2:35
02 It's So Good 3:18
03 Whorey Angel 5:00
04 Crashin' From Passion 3:25
05 When Romance Says Goodbye 3:41
06 Bottom Of The Barrel 3:45
07 Stars Starve, You Know 3:35
08 Let's Get Personal 3:31
09 Bar Hoppin' 3:12
10 For My Man 1:42

.Betty Davis - Is It Love Or Desire  (ogg  91mb)

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Dec 14, 2017

RhoDeo 1750 Re-Ups 125

Hello, in came 11 correct requests this week, here is another batch of 49 re-ups (16 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 December 13th.... N'Joy

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6x Finland NOW In Flac (Erkki Kurenniemi - Äänityksiä Recordings, HIM - And Love Said No, Värttinä - Seleniko, Tenor, Jimi - Europa, Tenhi - Airut-Aamujen, Nightwish - Over the Hills, Bomfunk MC's - In Stereo)


7x Japan NOW in Flac (Ryuichi Sakamoto - Beauty, Haruomi Hosono - Omni Sight Seeing, YMO - Technodon, YMO - Complete Service 1, YMO - Complete Service 2, Hi Tek/No Crime YMO remixed, Senor Coconut - Yellow Fever )


4x Sundaze Back In Flac (Muslimgauze - Azzazin, Muslimgauze - Return Of Black Sept , Muslimgauze - Gun Aramaic,  Muslimgauze - Gun Aramaic 2)


4x Alphabet Soup L NOW In Flac (Led Zeppelin - Physical Graffitti, Led Zeppelin - Physical Graffitti 2, Lamb - Lamb, Laibach - Anthems )


4x Grooves Back In Flac (Sheila E. - In The Glamorous Life,  Sheila E. - In Romance 1600, Sheila E. - Sheila E.Sheila E. - Sex Cymbal)


3x Aetix NOW In Flac (Talking Heads - 77, Talking Heads - More Songs About Buildings and Food , Talking Heads - Fear of Music)


4x Sundaze Back In Flac (Space Night Vol.12 Alpha, Space Night Vol.12 beta, Space Night-The Journey Continues 1, Space Night-The Journey Continues 2)


3x Sundaze Back In Flac (Coil - Moon's Milk (I,II.III), Coil - Moon's Milk (IV+Bonus), Coil - Black Antlers)


8x wavetrain 7-7-7 NOW in Flac (A Certain Ratio - To Each And Everyone, Rip Rig & Panic - Attitude, This Heat - Deceit, Thomas Leer - Contradictions, Bill Nelson - Quit Dreaming And Get On The Beam ) back in ogg (Hector Zazou - La Perversità, 400 Blows - '.....If I Kissed Her I'd Have To Kill Her First, Bill Nelson - Sounding The Ritual Echo (Atmospheres For Dreaming))


3x Aetix NOW In Flac (The Smithereens - Especially for You, The Smithereens - Green Thoughts, The Smithereens - 11)


2x Roots Back In Flac (VA - Sounds and Pressure Vol.2, VA - Sounds and Pressure Vol.4)

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Dec 13, 2017

RhoDeo 1750 Aetix

Hello, the force is strong in this one, I wasn't much impressed with Disney's first take on the Star Wars fairytale, too many ridiculous things going on, as far as I was concerned the Force needn't be reawakened . But in Hollywood when there's money to be made, specially when marketing costs can be kept down in a series, it's inevitable that the fairytale gets milked until the final drop. So now we get The Last Jedi (if only), at IMDB the reviews are very positive (surprise surprise) well, in the end another safe corporate exercise in entertainment, fleecing the gullible.




Today's artists' are one of the U.K.'s most politically outspoken thrash bands. Based in Edinburgh, the band is led by vocalist Wattie Buchan, whose supporting cast has changed several times since the group's inception around the end of the '70s. The band has garnered a sizable hardcore audience in the U.K. for its anti-authoritarian stance and criticism of the government, particularly in the Reagan/Thatcher era. ...N'Joy

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The Exploited are a Scottish punk rock band from Edinburgh, Scotland, formed in 1979 in Edinburgh. The original line-up consisted of: Terry Buchan (vocals), Stevie Ross (guitar), Alan Paget (bass) and Andy McNiven (drums). Formed in the West Granton area of Edinburgh, a large grey council estate on the north side of the city. The band's politics was reflected in its name, coined by drummer and songwriter McNiven, whose father was a Korean War veteran and a Communist. While in the early stages as a band, with little equipment, the band were invited to play their first gig at Craigmuir School. The band seemed to be a victim of their own publicity here. They had spray-painted their band name locally and had stolen Sunday papers, milk, and rolls in the early hours of Sunday morning and redistributed them outside peoples' front door, with a note saying, "a gift from the exploited". Their first gig was on Friday 15 December 1978. The date was recalled by McNiven as it coincided with a performance by the Doomed (the Damned by another name) at Clouds in Edinburgh to which they went after performing their own gig. The gig was attended by Terry's older brother Wattie, who had recently left the army and was a punk in London. Wattie soon replaced Terry, and Andy McNiven and Colin Erskine were dropped from the line-up as well. Jim Park became the drummer in January 1979, first playing on February 3 1979 at the YMCA in Edinburgh, (the day after Sid Vicious died in New York City). After a few gigs in and around Edinburgh, Stevie Ross left after an appearance in Aberdeen supporting the UK Subs. A few months later, he and Terry Buchan formed The Exposed. The Exposed split in 1980 after a gig supporting The Exploited. While Terry left for London, Stevie was prominent in the Edinburgh band scene during the 1980s and fronted bands like Strychnine and Burlesque before becoming lead singer with blues band Roadside Medicine. Now based in West Lothian, he still sings and writes original songs.

Influenced by 1970s punk rock music such as music by the Sex Pistols, the quartet created a simple, no-frills sound characterized by speed and aggression. In 1980, the group founded its own independent record label, Exploited Records, and released their debut EP Army Life, which was #6 in the Indie/Independent charts for eight weeks, then was in the Top 20 for eighteen months. The B-side was called Fuck the Mods / Crashed Out and the record's back cover stated "To all the Edinburgh punks and skins - keep on mod-bashing!!". They then released another single, "Barmy Army", which jumped into the independent charts and remained there for 53 weeks, peaking at #4. Their single "Dead Cities" peaked at #31 on the UK Charts. Their single "Exploited Barmy Army" peaked at #4 on the Independent/Indie chart.

In March 1981, the band signed to Secret Records, and spent a month recording their debut album, Punks Not Dead. The Exploited released the single "Dogs of War", which peaked at #2 in the Independent charts and #63 on the UK Charts. Also in 1981, the band released their first live album, On Stage, recorded during a concert in Edinburgh. Thereafter, the band performed, along with Discharge, Anti-Nowhere League, Anti-Pasti and Chron Gen on a tour called Apocalypse Now, which was recorded and released as a live album. Their album Punks Not Dead, released in April 1981, went to #20 in May, then number 1 on the Independent Charts. During this time, The Exploited appeared on the popular mainstream TV programme, Top of the Pops. A lot of fans of The Exploited were unhappy with the band's decision to appear on the show. The hardcore punk band Conflict wrote the song Exploitation about this appearance, which began a long-standing rivalry between Conflict and The Exploited that divided the punk fan base.

The band released the album Let's Start a War in 1983 and Horror Epics in 1985. The period between these albums was marked by severe discord over the band's musical direction: guitarist Big John Duncan and bassist Gary McCormack both left to form new bands – "bands with disco beats and guitar solos, total shit", in Wattie's words – and the band went through a rapid succession of drummers, one of whom allegedly left after a "nervous breakdown". The band was driven away from the Secret label by new management who demanded unrealistic changes in style and personnel. Their next label, a tiny enterprise named Pax Records, folded after its owner fled with all its assets.

The concert album Live at the White House was recorded in Washington DC in 1985 at the 9:30 Club and was released the following year in 1986. They also released the studio EP Jesus Is Dead in 1986, following up with Live and Loud, a videography of The Exploited performing around Europe and in the United States. During the tour of the USA, Wattie and Karl Morris had a fight on stage, and Karl left shortly afterwards. He was briefly replaced by Mad Mick, who then disappeared without trace. Nigel Swanson was then appointed as the new guitarist.

"Sexual Favours", a single from the album Death Before Dishonour, was released in 1987. The album only ranked in the top 200 of the Britain Alternative Music list. However, the album sold out quickly. The album's cover featured artwork from the American punk artist Pushead, who complained that he was neither paid nor credited for the work. In 1990, The Exploited released their album The Massacre. The album is a crossover thrash album. This album was by far one of the band's most commercially successful. The band went on to release a Singles Collection album in 1993. The Exploited also released the videography Live in Japan in 1993. Their album Beat the Bastards was released in April 1996.

In January 2003, the band released their album Fuck the System on Dream Catcher Records, and also in 2003, they toured in the UK and US. On 14 October 2003, about 500 fans started a riot in Montreal, Canada after an Exploited concert was cancelled due to the band not being allowed into the country. Rioters destroyed eight cars and set them on fire; broke eleven shop windows and caused other damage. The band were banned from playing in Mexico City due to the riot.

In a 2012 interview, Wattie Buchan claimed that a new album was being finished. In February 2014, Wattie Buchan suffered a heart attack on stage during a performance in Lisbon on the band's Taste of Chaos Tour with Hatebreed and Napalm Death. He was taken to a hospital, where he was expected to receive treatment for at least a week. The band signed a deal with Nuclear Blast Records, and was to have many of its albums reissued in March 2014. The band has also confirmed that its first album in a decade will be released during the 2010s. It is currently unknown when the band's next album will be released.


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Originally issued in 1981, Punks Not Dead was the Exploited's first full-length album. They'd issued singles like "Army Life" and "Exploited Barmy Army" previously, and those were re-recorded for what was hailed and/or reviled as a jagged, messy, and more aggressive reaction to the punk "establishment" of the time. The mix of hate and love toward the Exploited was fine by vocalist Wattie Buchan and his revolving cast of bandmembers -- they just wanted a reaction, to get people to really listen. Tracks like "S.P.G.," "Out of Control," and "I Believe in Anarchy" were mush-mouthed dynamos of chanting, ranting, and ragged song structure, early templates of the U.S. hardcore scene to come.



 The Exploited - Punks not dead (flac  233mb)

01 Punks Not Dead 1:51
02 Mucky Pup 1:42
03 Cop Cars 1:53
04 Free Flight 3:34
05 Army Life 2:38
06 Blown To Bits 2:38
07 Sex And Violence 5:09
08 S.P.G. 2:07
09 Royalty 2:07
10 Dole Q 1:49
11 Exploited Barmy Army 2:38
12 Ripper 2:04
13 Out Of Control 2:54
14 Son Of A Copper 2:40
15 I Believe In Anarchy 2:03
16 Dogs Of War 1:43
17 What You Gonna Do 2:18

The Exploited - Punks not dead   (ogg   92mb)

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One of the most riveting British punk rock units of the early 1980s, the Exploited could have cared less about mainstream pop sensibilities and insisted on keeping things raw and hardcore. With the Clash having become more polished, the Damned and Sham 69 having gone downhill and the Sex Pistols having disbanded, the Exploited came to symbolize U.K. punk at its roughest. The Britons never had a major pop hit like the Clash's "Rock the Casbah," but they had no problem commanding a devoted following in the punk underground and among the British working class. Punk doesn't get much more passionate and recklessly fun than On Stage, recorded live in Edinburgh, Scotland in 1981. The sound quality isn't great by any means, but the band's vitality comes through loud and clear on such angry, sneering classics as "I Believe In Anarchy," "Dogs of War" and "Cop Cars." This is material that no punk fan should be without.



The Exploited - On Stage (flac 221mb)

01 Cop Cars 2:22
02 Crashed Out 2:51
03 Dole Q 2:35
04 Dogs Of War 2:18
05 Army Life 4:08
06 Out Of Control 2:57
07 Ripper 2:19
08 Mod Song 2:54
09 Exploited Barmy Army 2:55
10 Royalty 2:40
11 SPG 2:30
12 Sex And Violence 2:30
13 Punk's Not Dead 4:10
14 I Believe In Anarchy 1:28

The Exploited - On Stage   (ogg  82mb)

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Troops of Tomorrow is one of the landmark punk albums to come from Britain. This album is connected to the Exploited possibly more than any other. It came directly after their legendary Top of the Pops performance, and several of these songs would go on to be covered by Slayer and Ice-T for the Judgment Night soundtrack. It may not have the hooks of the Damned or the clever lyrics of the Sex Pistols, but in its place they brought a brainless rage that has been one of the sore points for punk purists for years. Songs like "Sid Vicious Was Innocent" and the uninformed "War" are blatantly idiotic, but work on an entirely different level. These songs are from the gut, and honestly, they were just following in the footsteps of American punk, which had thrown cleverness out the window from the get-go. The thrashing guitars and chugging riffs would go on to influence countless bands, from like-minded American artists like SOD and Agnostic Front to fellow British hardcore heroes Discharge. The lyrics are mostly just politically inspired chanting, but the music laid the groundwork for most of the punk metal that followed. Fans of aggressive hardcore punk should try to add this to their collection. It is a classic of the genre that has held up well through the years.



 The Exploited - Troops Of Tomorrow (flac 221mb)

01 Jimmy Boyle 2:07
02 Daily News 2:57
03 Disorder 2:18
04 Alternative 2:04
05 U.S.A. 3:19
06 Rapist 1:27
07 Troops Of Tomorrow 4:54
08 U.K. 82 2:47
09 Sid Vicious Was Innocent 2:57
10 War 3:47
11 They Won't Stop 2:18
12 So Tragic 1:48
13 Germs 4:38

The Exploited - Troops Of Tomorrow   (ogg  89mb)

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The Exploited's fourth record finds the band with an entirely new lineup (only leader Wattie Buchan remains), but never fear, the new boys prove that they are entirely capable of thrashing and, what's more, they are eager to thrash. Great, thunderous rockers like "Kidology" and "Another Day to Go Nowhere" fulfill the obligatory youth-angst requirement while "Let's Start a War (Said Maggie One Day)" and "Rival Leaders" (among many others) represent the epicenter of the group's familiar antiwar/anti-Thatcher sentiment. Nothing new in the grand scheme of punk rock in general (or the Exploited in particular), Let's Start a War...Said Maggie One Day is what it is -- punk rock comfort food.



The Exploited - Let's Start A War...   (flac  264mb)
 
01 Let's Start A War (Said Maggie One Day) 2:55
02 Insanity 4:08
03 Safe Below 2:12
04 Eyes Of The Vulture 3:33
05 Should We Can't We 1:46
06 Rival Leaders (Re-Mix) 2:12
07 God Saved The Queen 5:48
08 Psycho 2:05
09 Kidology 2:13
10 False Hopes 1:41
11 Another Day To Go Nowhere 2:36
12 Wankers 2:39

The Exploited - Let's Start A War...     (ogg   95mb)

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