Jan 21, 2018

Sundaze 1803

Hello, Laetitia Sadier proved to be the driving force behind Stereolab, these days she's solo before she's tried out other musical companions, time to meet them...

Today's Artist is a French musician who was formerly a founding member of the London-based avant-pop band Stereolab. While a member, she formed her side project in 1996 to play her own solo songs; but retired the project in 2009 to perform new solo work under her name, then again in 2014 she hooked up again ........N'Joy

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Monade (pronounced mon-ard) originally featured Laetitia Sadier and Pram's Rosie Cuckston. The duo began collaborating in the mid-'90s, and Sadier recorded the first Monade tracks in 1996 at Pram's studio, with Cuckston playing and also helping to engineer the session. Some of these tracks were released by Duophonic as the Sunrise Telling and Witch Hazel/Ode to a Keyring singles. Sadier continued to record at Stereolab's own studio without Cuckston, and one of these tracks, "Cache Cache," ended up as a B-side on Stereolab's Calimero single. In between her Stereolab duties, Sadier completed enough material for Monade's debut album, Socialisme Ou Barbarie: The Bedroom Recordings, which was released by Duophonic in Europe and by Drag City in the U.S. in spring 2003 after being produced part-time over a period of six years. They have released two albums to date on the Duophonic label which is partially owned by Sadier herself.

Their second album, A Few Steps More (2005), marks a more cohesive stage in the band's development. There is now a regular lineup, and it was recorded using studio equipment. The album has been roundly praised and criticised for its superficial resemblance to the sound of Stereolab, but several reviews have commented more on the harmonic structure of the album, which almost seems to blend symphonically at times. Asked about on the album's themes in an interview for Eye Weekly, Sadier commented: "I was trying to write to the individual and the capacity to listen to one's desires. Also, I tackled the idea of becoming. I think that's quite an important notion: that things should be allowed to become. I became a singer and it took me years and I want Monade to have a chance to become a band."

The name "Monade" was taken from Cornelius Castoriadis' concept of the "monade psychique" (psychical monad), which was the term Castoriadis used to describe the undifferentiated infantile psyche, before its shattering into the ego, super-ego, and id through the process of socialization. Lætitia Sadier has stated that the name has a double meaning – the word "monade" is from the root word "mono-" (meaning "one") and etymologically related to the sound recording term "mono", which stands in contrast to stereo, and therefore is a reference to Monade as a solo side project to Stereolab. The title of Monade's first album pays tribute to a libertarian Marxist political group founded by Castoriadis, Socialisme ou Barbarie. In March 2008, a new Monade album was released, without any promotion, called Monstre Cosmic.

On September 19, 2009 at The BirdCage in London, it was announced that it was Laetitia's last performance under the name Monade. Laetitia played a selection of new solo songs.

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Monade's full-length debut, Socialisme ou Barbarie: The Bedroom Recordings, collects Laetitia Sadier's recordings both with and without Pram's Rosie Cuckston. Despite the fact that these songs were created over a period of six years and in between Sadier's Stereolab duties, they hang together remarkably well; as "The Bedroom Recordings" suggests, this album offers warmth and intimacy; much more, in fact, than Stereolab's later efforts, which often felt detached and overly polished. Though Socialisme ou Barbarie is by no means a lo-fi effort, its more modest sonics offer many small pleasures, such as "Cache Cache" (which also appeared as a Stereolab B-side), with its loping bassline, serpentine melody, and aloof vocals; the moody, guitar- and cello-driven "Witch Hazel"; "Vent Du Sud," which manages to be funky and bittersweet at the same time; and "Graine De Beaute," a pretty ballad that sounds like an even mellower version of the quieter songs on Stereolab's earlier albums. Indeed, most of Socialisme ou Barbarie is pretty and mellow; while this gives the album cohesion, it also means that some of the weaker, more repetitive tracks like "Enfin Seule" and "Sunrise Telling" tend to fade into the background. By its second half, the album's side-project roots reveal themselves in pleasant but uninspired musical wallpaper such as "Ode to a Keyring"; but before it stalls, Socialisme ou Barbarie does offer some unique moments, such as "Un Express," which ties together blues and Krautrock with Sadier's undeniable je ne sais quois. It's not as much of a revelation, but Socialisme ou Barbarie's understated charm makes it worth a listen for Sadier's dedicated fans.

Monade - Socialisme Ou Barbarie (The Bedroom Recordings)   (flac 178mb)

01 Enfin Seule 3:15
02 Cache Cache 4:33
03 Vent Du Sud 1:47
04 Un Secret Sans Importance 2:08
05 Witch Hazel 1:51
06 Un Express 4:44
07 Sunrise Telling 2:35
08 Vol De Jour 4:05
09 La Carotte De L'Humanité 1:15
10 Graine De Beauté 3:12
11 Ode To A Keyring 3:54
12 The Swimm 1:30

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On Monade's second album, A Few Steps More, Laetitia Sadier turns her formerly intimate, bedroom-based Stereolab side project into a more full-fledged band, adding a drummer, guitarist, and bassist/second vocalist. Though the small, often homespun feel of Socialisme ou Barbarie was a big part of its charm, Monade makes the transition from solo act to band more or less seamlessly, gaining a bigger sound without losing Sadier's distinctive stamp. Though this band's arrangements are simpler and slightly more rock-based than Stereolab's, Sadier's vocals and melodies are unmistakable, no matter what their surroundings, and like almost all of Sadier's projects, this new version of Monade and A Few Steps More are nothing less than lovely. This set of songs is also more consistent than Socialisme ou Barbarie, with "Paradoxale," the stylish title track, the summery "Das Kind," and the hypnotic, mercurial duet "Sensible et Extensible" holding the album together, and shorter songs like "Ditty Sweep" and "Dittyam" offering small but colorful musical sketches. A pretty, refreshing working holiday, A Few Steps More balances the intimate charm of Monade's previous work with a slightly more ambitious, but still off-the-cuff, feel that should please Sadier fans.

Monade - A Few Steps Move (flac  256mb)

01 Wash And Dance 5:18
02 A Few Steps More 4:30
03 La Salle Des Pas Perdus 2:57
04 Das Kind 4:48
05 2 Portes, 7 Fenetres 5:53
06 Dittysweep 0:33
07 Becoming 4:47
08 Pas Toujours; Encore 5:08
09 Sensible Et Extensible 4:27
10 Dittyah 0:42
11 Paradoxale 3:28
12 There Are Things That No One's Told You About 1:32

Monade - A Few Steps Move  (ogg  91mb)

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It's a little unusual for a band to release its most captivating work more than a decade into its career, but this is the case with Monade's Monstre Cosmic. The band's slow, subtle development has often been overshadowed by Laetitia Sadier's work with Stereolab, but while Socialisme ou Barbarie captured Monade's bedroom studio beginnings and A Few Steps More took a giant leap towards making Monade a full-fledged band, this album puts the finishing touches on Monade's transformation, revealing them as an elegant equal -- or at the very least, companion -- to Sadier's Stereolab output. More than Monade's other albums, Monstre Cosmic's songs boast clean melodic arcs that layer over each other, building with an almost architectural precision and beauty. "Etoile" is a study in contrasts, balancing bittersweet vocal melodies with warm, comforting basslines and shimmering keyboards, while "Lost Language"'s sleek yet elaborate strings and vibes wouldn't sound out of place on a Stereolab album. That goes double for "Tout en Tout Est Un"'s bossa nova-tinged interludes and "Messe Joyeusse"'s chiming, retro-futuristic chamber pop -- but they aren't exactly carbon copies of Sadier's other band, either. Monstre Cosmic's lavish arrangements echo Emperor Tomato Ketchup and Dots and Loops, but they're more streamlined and straightforward, even when "Regarde" switches from a lush melody to an astringent, single-note guitar solo, or when "Elle Topo" throws tympani and ticking watches into its spaghetti western theme mix. As with Monade's other albums (and truth be told, with Stereolab's work at times), the album becomes slightly samey as it unfolds, although "Change of Destination" closes Monstre Cosmic with effortlessly charming call-and-response pop. Even at its least inspired, the album floats by like a dream. With Monstre Cosmic, the gap between Monade and Stereolab may be narrower than ever, but Sadier's voice, melodies, and arrangements always make for an elegant experience, however she chooses to present them.

Monade - Monstre Cosmic (flac  280mb)

01 Quantum Soup 6:57
02 Then I Will Love You Again 2:52
03 The Milk Of Human Tenderness 3:11
04 The Scene Of The Lie 5:26
05 Release From The Centre Of Your Heart 2:56
06 Butter Side Up 6:36
07 Transhumance 4:07
08 Echo Port 3:52
09 Oscuridad 3:19
10 Life Is Winning 5:53

Monade - Monstre Cosmic  (ogg  114mb)

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Little Tornados are a collective of instrumentalists formed around the core of filmmaker (and longtime Stereolab photographer) David Thayer, as well as Sadier; she’s on vocals and bass, while he handles vocals and guitar. In other words, it’s a similar group dynamic to the one Stereolab uses—only with Thayer assuming the role of Tim Gane. We Are Divine tracks like “In the Garden”, “How Many,” and “Space Liner”, laden with jazzy chords and playful ambience, could pass for decent, latter-day Stereolab outtakes, only looser and less densely layered. But it’s the lyrics of “Manifest” that hew closest to Stereolab’s alchemy of politics and pop, only it gets the balance wrong; over bouquets of vintage synths, Sadier’s pamphleteer-level pleas for freedom, equality, and brotherhood come off as canned, regardless of how exquisitely phrased they are in French.

We Are Divine, however, is not simply a cloned version of Stereolab; Thayer weighs in often with his distinct, low-key, mystic-bohemian ramble, and it brings a winning prog vibe to “Unicorn”; “Ben’s Boat” is a twangy, twinkling instrumental that borders on kosmische-country. The album’s definitive moment, “Have a Balloon”, is dashed and dotted with Sadier’s signature ba-ba-bas and da-da-das, with the occasional jazz-fusion fanfare on horns. The song is gorgeous, but it also gently mocks: like day-glo highlighting in a used Guy Debord textbook, the title and melody work together to magnify the Society-of-the-Spectacle message Sadier has been whispering into our ears all along.

Little Tornados - We Are Divine (flac  209mb)

01 Space Liner 3:08
02 How Many 4:02
03 Manifest 3:44
04 Ocean 3:07
05 Ben's Boat 1:30
06 We Are Divine 3:36
07 Unicorn 3:07
08 In the Garden 3:49
09 Summertime 2:27
10 Free Your Mind 3:39
11 Have A Balloon 4:04

Little Tornados - We Are Divine  (ogg  78mb)

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Jan 19, 2018

RhoDeo 1802 Grooves


Todays Artist was accurately dubbed "the Queen of Chicago blues" (and sometimes just the blues in general), she helped keep the tradition of big-voiced, brassy female blues belters alive, recasting the spirits of early legends like Bessie Smith, Ma Rainey, Big Mama Thornton, and Memphis Minnie for the modern age. Her rough, raw vocals were perfect for the swaggering new electrified era of the blues, and her massive hit "Wang Dang Doodle" served notice that male dominance in the blues wasn't as exclusive as it seemed. After a productive initial stint on Chess, she spent several decades on the prominent contemporary blues label Alligator, going on to win more W.C. Handy Awards than any other female performer in history, and establishing herself as far and away the greatest female blues singer of her time. . ........ N'joy

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Koko was born Cora Walton on September 28, 1928, on a sharecropper's farm in Memphis, TN. Her mother died in 1939, and she and her siblings grew up helping their father in the fields; she got the nickname "Koko" because of her love of chocolate. Koko began singing gospel music in a local Baptist church; inspired by the music they heard on the radio, she and her siblings also played blues on makeshift instruments. In 1953, Koko married truck driver Robert "Pops" Taylor and moved with him to Chicago to look for work; settling on the South Side, Pops worked in a slaughterhouse and Koko got a job as a housemaid. The Taylors often played blues songs together at night, and frequented the bustling South Side blues clubs whenever they could; Pops encouraged Koko to sit in with some of the bands, and her singing -- which reflected not only the classic female blues shouters, but contemporaries Muddy Waters and Howlin' Wolf -- quickly made a name for her. In 1962, Taylor met legendary Chess Records songwriter/producer/bassist Willie Dixon, who was so impressed with her live performance that he took her under his wing. He produced her 1963 debut single, "Honky Tonky," for the small USA label, then secured her a recording contract with Chess.

Taylor made her recording debut for Chess in 1964 and hit it big the following year with the Dixon-penned "Wang Dang Doodle," which sold over a million copies and hit number four on the R&B charts. It became her signature song forever after, and it was also the last Chess single to hit the R&B Top Ten. Demand for Taylor's live act skyrocketed, even though none of her follow-ups sold as well, and as the blues audience began to shift from black to white, the relatively new Taylor became one of the first Chicago blues artists to command a following on the city's white-dominated North Side. Eventually, she and her husband were able to quit their day jobs, and he served as her manager; she also put together a backing band called the Blues Machine. With the release of two albums -- 1969's Koko Taylor, which featured a number of her previous singles; and 1972's Basic Soul -- Taylor's live gigs kept branching out further and further from Chicago, and when she played the 1972 Ann Arbor Blues and Jazz Festival, the resulting live album on Atlantic helped bring her to a more national audience.

By the early '70s, Chess Records was floundering financially, and eventually went under in 1975. Taylor signed with a then-young Chicago-based label called Alligator, which grew into one of America's most prominent blues labels over the years. Taylor debuted for Alligator in 1975 with I Got What It Takes, an acclaimed effort that garnered her first Grammy nomination. Her 1978 follow-up, The Earthshaker, featured several tunes that became staples of her live show, including "I'm a Woman" and "Hey Bartender," and her popularity on the blues circuit just kept growing in spite of the music's commercial decline. In 1980, she won the first of an incredible string of W.C. Handy Awards (for Best Contemporary Female Artist), and over the next two decades, she would capture at least one more almost every year (save for 1989, 1997, and 1998). 1981 brought From the Heart of a Woman, and in 1984, Taylor won her first Grammy thanks to her appearance on Atlantic's various-artists compilation Blues Explosion, which was named Best Traditional Blues Album. She followed that success with the guest-laden Queen of the Blues in 1985, which won her a couple extra Handy Awards for Vocalist of the Year and Entertainer of the Year (no "female" qualifier attached). In 1987, she released her first domestic live album, Live in Chicago: An Audience With the Queen.

Tragedy struck in 1988. Taylor broke her shoulder, collarbone, and several ribs in a van accident while on tour, and her husband went into cardiac arrest; although Pops survived for the time being, his health was never the same, and he passed away some months later. After recuperating, Taylor made a comeback at the annual Chicago Blues Festival, and in 1990 she issued Jump for Joy, as well as making a cameo appearance in the typically bizarre David Lynch film Wild at Heart. Taylor followed it in 1993 with the aptly titled Force of Nature, after which she took a seven-year hiatus from recording; during that time, she remarried and continued to tour extensively, maintaining the stature she'd achieved with her '80s work as the living Queen of the Blues. In 2000, she finally returned with a new album, Royal Blue, which featured a plethora of guest stars: B.B. King, Kenny Wayne Shepherd, Johnnie Johnson, and Keb' Mo'. Health issues forced another seven-year hiatus before she returned with the album Old School in 2007. Koko Taylor died in Chicago in June 2009 after experiencing complications from surgery for gastrointestinal bleeding. She was 80 years old.

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A solid contemporary blues album that ranges from Koko Taylor's own "Spellbound" and "Put the Pot On," a rendition of Toussaint McCall's tender soul lament "Nothing Takes the Place of You," and a saucy revival of the old Ike & Tina Turner R&B gem "If I Can't Be First." Gene Barge once again penned the horn charts, Carey Bell contributes his usual harp mastery to Taylor's remake of Little Milton's "Mother Nature," and only Buddy Guy's over-the-top guitar histrionics on "Born Under a Bad Sign" grate. Long may the queen reign!

Koko Taylor - Force Of Nature    (flac  397mb)

01 Mother Nature 4:41
02 If I Can't Be First 3:40
03 Hound Dog 5:33
04 Born Under A Bad Sign 6:22
05 Let The Juke Joint Jump 6:08
06 63 Year Old Mama 4:29
07 Don't Put Your Hands On Me 2:53
08 Bad Case Of Loving You 4:23
09 Fish In Dirty Water 5:45
10 Tit For Tat 4:31
11 Put The Pot On 3:48
12 Nothing Takes The Place Of You 4:41
13 Spellbound 4:07
14 Greedy Man 3:27

Koko Taylor - Force Of Nature  (ogg  142mb)

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Koko Taylor left Chess Records in 1973, as the company was heading towards its demise, and joined up with Bruce Iglauer's brand-new company Alligator Records in 1975. She has remained there ever since, but between her leaving Chess and her singning with Iglauer, Taylor recorded this little-known long player.

There are couple of old warhorses here, somewhat superflous re-recordings of a handful of Taylor's 1960s Chess singles, but there is also a lot of good stuff which you won't find anywhere else. Koko Taylor's own "What Kind Of Man Is This" makes it debut on this album, a grinding mid-tempo blues and one of her best original songs, and she does well by Lillian Offitt's "Wonder Why" and Jimmy Reed's "Big Boss Man" (which is mysteriously credited to Al Smith and Luther Dixon).

"Big Boss Man" would show up a year and a half later on her first Alligator album as well, however, as would "I Got What It Takes", so you might be asking yourself at this point: Why would I buy this?
Well, maybe you won't. But judged on its own merits this is a fine album, not least because of the excellent band. Koko Taylor is backed by the Aces (drummer Fred Below and brothers Lou and Dave Myers on guitar and bass), and by none other than Muddy Waters' former guitarist Jimmy Rogers and stylish pianist Willie Mabon, both of them frequent bandleaders themselves. Mabon's elegant playing is particularly delightful, and Taylor's voice is, of course, made to sing the blues.

An uncredited harpist shows up on "I Love A Lover Like You", by the way, or maybe it is one of the two guitarist performing that duty. Jimmy Rogers used to play the harp in the very first Muddy Waters Blues Band, and Louis Myers of the Aces could play it as well.

The last five songs were recorded live on December 1st, 1973, in Amstelveen in the Netherlands. Koko Taylor is backed by the same band that recorded the studio tracks with her. The 1973 studio rendition of "Twenty-Nine Ways" doesn't quite match Taylor's Willie Dixon-produced Chess version, mostly because of a more "ordinary" and less charming arrangement, but this live version is very nice, and Taylor also interprets Preston Foster's "Got My Mojo Working" during the live portion of the disc, and performs a six-minute rendition of her R&B hit single "Wang Dang Doodle". It is a bit of an oddity, "South Side Lady", but it's not half bad. Not at all.

Koko Taylor - South Side Lady   (flac 410mb)

01 I'm A Little Mixed Up 3:39
02 Wonder Why 3:20
03 What Kind Of Man Is This 4:53
04 Black Nights 3:56
05 Love Me To Death 4:08
06 I Got What It Takes 4:26
07 Big Boss Man 4:58
08 I'm Gonna Get Lucky 5:23
09 Twenty-Nine Ways 3:51
10 I Love A Lover Like You 2:47
11 Wonder Why II 4:54
12 Wang Dang Doodle 6:43
13 I Got What It Takes 5:32
14 Twenty-Nine Ways 4:51
15 I Got My Mojo Working 3:41

.Koko Taylor - South Side Lady  (ogg  168mb)

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Royal Blue is the first Alligator release from Koko Taylor since 1993's Grammy nominated Force of Nature. This is a mainly up-tempo set with excellent support from several guest appearances by B.B. King, Johnny Johnson, Ken Saydak, and Kenny Wayne Shepherd who contributes some scorching guitar on the Melissa Ethridge-penned hit "Bring Me Some Water." Taylor not only co-produced this release but wrote four of the 12 tracks, including the acoustic "The Man Next Door." On this track, the combination of Koko's passionate voice with Keb Mo's gritty Delta slide guitar makes you wish she would move further in this direction on future releases. Royal Blue proves Koko Taylor is still the undisputed queen of the blues.

Koko Taylor - Royal Blue    (flac 374mb)

01 Save Your Breath 4:11
02 Hittin' On Me 3:32
03 Bring Me 5:21
04 But On The Other Hand 4:43
05 Don't Let Me Catch You With Your Drawers Down 4:12
06 Blues Hotel 4:23
07 Fuel To Burn 3:51
08 The Man Next Door 5:15
09 Old Woman 4:31
10 Ernestine 5:04
11 Keep Your Booty Out Of My Bed 4:38
12 Keep Your Mouth Shut And Your Eyes Open 3:48

Koko Taylor - Royal Blue  (ogg  123mb )

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Between 1993 and 1997, Orbis Publishing released a partworks series entitled "The Blues Collection". The series comprised 90 fortnightly issues, each including a thin magazine-sized biography (each 12 pages long) and an album on CD or cassette tape.

To sum things up a remastered sampler containing early singles from Koko Taylor:
I Got What It Takes / What Kind of Man Is This (1964)
Don't Mess With the Messer / Whatever I Am You Made Me (1965)
Wang Dang Doodle / Blues Heaven (1966)
Good Advice / Tell Me The Truth (1966)
Fire / Insane Asylum (1967)
Egg or the Hen / Just Love Me (1967)
(I Got) All You Need / All Money Spent (On Feeling Good) ‎(1967 )
I Don't Care Who Knows / Separate or Integrate (1968)
and another song from 1965: I'm a Little Mixed Up
four tracks from the debut album Koko Taylor] (1969)

Koko Taylor - Wang Dang Doodle   (flac 270mb)

01 What Kind Of Man Is This? 3:03
02 Don't Mess With The Messer 2:44
03 I Got What It Takes 3:03
04 Whatever I Am, You Made Me 2:25
05 I'm A Little Mixed Up 2:39
06 Wang Dang Doddle 3:00
07 Blues Heaven 2:21
08 (I Got) All You Need 2:13
09 Good Advice 2:27
10 Egg Or The Hen 2:28
11 Just Love Me 2:41
12 Insane Asylum 4:20
13 Separate Or Integrate 3:07
14 I Don't Care Who Knows 2:10
15 Yes, It's Good For You 2:41
16 Twenty-Nine Ways 3:12
17 Nitty Gritty 2:41
18 I Love A Lover Like You 2:44

. Koko Taylor - Wang Dang Doodle  (ogg  116mb)

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Jan 17, 2018

RhoDeo 1802 Aetix


Today's artists an English punk band, among the earliest in the first wave of British punk. Formed in 1976, the mainstay of the band has been vocalist Charlie Harper, originally a singer in Britain's R&B scene. They were also one of the first street punk bands. Their style combined the energy of punk and the rock and roll edge of the then thriving pub rock scene. The band had hit singles such as "Stranglehold", "Warhead", "Teenage", and "Tomorrow's Girls", with several of their songs managing to enter the United Kingdom's Top Forty.......N'Joy

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One of the most important bands of the second wave of U.K. punk, the U.K. Subs had been on the scene since the early days of British punk. But as the first wave of bands began to crumble, the U.K. Subs just got tougher and faster, and slowly rose to fame as many of their peers were burning out, finally breaking out in 1979. If anything has been the U.K. Subs' trademark, it's longevity; vocalist and founder Charlie Harper has kept the group alive for 40 years, and while more than 75 other people have gone in and out of the lineup over the years, he's kept the beery rabble-rousing spirit of the U.K. Subs alive and well on the road and in the studio.

Harper founded the U.K. Subs in 1976. He had previously been the lead singer with an R&B act called the Marauders (and held down a day job as a hair stylist), but after catching a show by the Damned, Harper decided punk rock was the future, and he formed a group called the Subversives. Harper teamed up with guitarist Nicky Garratt, bassist Steve Slack, and drummer Pete Davies to complete the first edition of the group, whose name was soon pared down to U.K. Subs. The band began making the rounds of the London club circuit, and earned the seal of approval from influential BBC disc jockey John Peel, who recorded two radio sessions with the band, one in 1977 and another in 1978. Despite their growing notoriety, it wasn't until 1979 that the group finally scored a record deal, with GEM Records signing the band and releasing their first studio album, Another Kind of Blues.

As many acts on the U.K. punk and new wave scene were either breaking up (the Sex Pistols, X-Ray Spex, Generation X) or going through creative transitions (the Clash, the Damned, Wire), the U.K. Subs proved there was still a lively audience for no-frills punk rock, and Another Kind of Blues became a surprise hit, rising to number 21 on the British charts. The group's second album, 1980's Brand New Age, fared even better, peaking at number 18, and a live set recorded at the Roxy in London in 1977 received a belated release from Stiff Records (without the band's input) as Live Kicks. The band responded by delivering an album drawn from more recorded live shows, 1980's Crash Course, which took the band to the Top Ten of the U.K. LP charts, making it to number eight. Their live attack was also documented in a short documentary by filmmaker Julien Temple, Punk Can Take It! The hard-working Subs introduced a third studio effort, Diminished Responsibility, in 1981, which became another chart success, reaching number 18 on the British listings.

By 1980, the band experienced its first major lineup change, when Davies fell ill and was replaced for a tour by Ian Tansley, and then by Steve Roberts. Davies would return and depart the U.K. Subs numerous times over the years, as would guitarist Nicky Garratt and bassist Paul Slack (as well as Slack's initial replacement, Alvin Gibbs). In 1982, the U.K. Subs jumped from GEM to NEMS Records, and their first album for the label, Endangered Species, didn't fare as well on the charts as their previous efforts. And while many British punk acts found indifferent audiences in the United States, the U.K. Subs' most successful albums were never even released in America until many years after the fact, though they staged their first North American tour in 1980.

However, none of this kept Charlie Harper down, and while the U.K. Subs' personnel would change on a regular basis from the mid-'80s onward (Lars Fredericksen of Rancid was briefly a member in the early '90s), the band continued to tour nonstop, playing in the U.K., Europe, and Japan on a regular basis, and occasionally making their way to the United States. Between studio efforts, live discs, and compilations of their back catalog, the band had literally dozens of albums to their credit when they issued 2016's Ziezo, which Harper declared would be the U.K. Subs' final studio album. However, Harper insisted that the band wasn't over despite that claim, and several months later, Friends and Relations appeared, which combined new music with rare archival material.

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The U.K. Subs' debut can easily stand alongside any other punk classics released during its heyday. Musically, the Subs are similar to the early Clash, but where the Clash spit out balls of fiery rage, the Subs leaven their bile with sardonic humor. "Tomorrow's Girls" imagines a futuristic Venus who "will be pre-programmed," and the music spits out a hilarious series of mock computer beeps. "Crash Course" promises staid executives that, just by listening to the Subs' music and buying up the right clothes, they, too, can "learn" punk rock. Only the sneeringly sexist "All I Wanna Know" hits a sour note. The music is rooted in the typical punk influences: the New York Dolls, the Velvet Underground, and early Who, but the band adds a twist of classic '60s British R&B groups like the Yardbirds. It's melodic, punchy, and fast, delivering the necessary bite without ever becoming too abrasive or sugary. Another Kind of Blues is an impressive debut from the classic punk era.

U.K. Subs - Another Kind Of Blues (flac  361mb)

01 C.I.D. 2:16
02 I Couldn't Be You 2:07
03 I Live In A Car 1:37
04 Tomorrows Girls 2:23
05 Killer 1:29
06 World War 1:22
07 Rockers 3:37
08 I.O.D. 1:24
09 T.V. Blues 2:08
10 Blues 1:52
11 Lady Esquire 1:58
12 All I Wanna Know 1:46
13 Crash Course 1:43
14 Young Criminals 2:20
15 B.I.C. 1:37
16 Disease 1:29
17 Stranglehold 1:58

U.K. Subs - Another Kind Of Blues   (ogg  115mb)

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'Endangered Species' was the UK Subs fourth studio album, and already their time of commercial success was coming to an end. The damage had been done by the weak and poorly produced third album 'Diminished Responsibility' and of course due to the fact that the first big phase of punk rock had been and gone. The above said, this is an absolutely brilliant album and I would describe the production as perfect. The sound is solid, rich and as full bloodied as any heavy rock album I have ever heard. More importantly, this album included some brilliant classic heavy rock music in for example 'Endangered Species', 'Living Dead' and 'Down On The Farm', and also features the UK Subs in surprisingly creative mood in tracks such as 'Flesh Wound' and 'Ice Age'. Also check out 'Ambition' which has some brilliant harmonica playing.

U.K. Subs - Endangered Species (flac 333mb)

01 Endangered Species 3:25
02 Living Dead 1:40
03 Countdown 4:58
04 Ambition 3:41
05 Fear Of Girls 2:13
06 Lie Down And Die 1:58
07 Down On The Farm 3:18
08 Sensitive Boys 4:10
09 ÷8 × 5 2:50
10 Ice Age 3:37
11 I Robot 2:55
12 1Flesh Wound 2:53

U.K. Subs - Endangered Species   (ogg  124mb)

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Compiling the last sessions recorded by the classic U.K. Subs lineup of Charlie Harper, Nicky Garratt, and Alvin Gibbs, A.W.O.L. sounds less like a patchwork recording than it should. Despite the presence of no less than three drummers, the album holds together because the band works as a cohesive unit. The tracks veer from the all-out fury of "Police State" to the darker, murkier "Enemy Awaits," displaying more growth in the band's songwriting skills. "Keep On Running" even incorporates new wave-style keyboards -- an unthinkable move on previous albums. Unfortunately, after these sessions, the band's classic lineup broke up, and afterward the U.K. Subs became little more than a collection of sidemen assembled by frontman Harper. Only the album's brevity keeps it from being a definitive recording on par with the seminal early albums. Still, for a last shot of the classic Subs, this album is definitely worth tracking down.

U.K. Subs - A.W.O.L (flac  236mb)
01 Self Destruct 2:26
02 Ship Wrecked 2:10
03 Enemy Awaits 4:07
04 War of the Roses 2:14
05 Police State 3:14
06 New Barbarians 2:50
07 Keep On Running 2:32
08 Limo Life 3:41
09 Postcard from L.A. 4:18
10 Betrayal 4:27
11 Nobody Move 1:34
12 Beer Police 1:34

U.K. Subs - A.W.O.L   (ogg  81mb)

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Cramming 28 tracks into a lean 59 minutes, Singles compiles every A- and B-side released by U.K. Subs during the height of their influence. While the strictly singles format omits some classic album tracks such as "Emotional Blackmail" and "Down on the Farm," what remains is an hour of punchy, melodic punk rock. In fact, the album reveals the Subs as a true missing link between hardcore English punk and '60s music. It's not just the covers of the Zombies' "She's Not There" and the Velvet Underground's "I'm Waiting for the Man." The instrumental "The Harper," with its bluesy guitar licks and harmonica, sounds like a revved-up Yardbirds song, and "Keep on Running" could have fit on the legendary Nuggets anthology. The Subs also have an element that distinguishes them from too many other punk acts: a sense of humor. "New York State Police" is a hilarious swipe at police brutality, while "Teenage" is a dead-on satire of young consumerism. Singles is not only a worthy anthology for fans, who will be pleased that many difficult-to-find tracks are compiled in one place, but will also be the perfect intro to newcomers to one of the best, most underrated bands in punk history.

U.K. Subs - The Singles 1978-1982 (flac  387mb)
01 C.I.D. 1:56
02 I Live in a Car 1:26
03 B.I.C. 1:35
04 Stranglehold 2:28
05 World War 1:07
06 Rockers 2:11
07 Tomorrow's Girls 2:25
08 Scum of the Earth 2:20
09 Telephone Numbers 1:06
10 She's Not There 1:37
11 Kicks 1:23
12 Victim 0:58
13 The Same Thing 1:22
14 Warhead 3:05
15 The Harper 1:08
16 Waiting for the Man 2:22
17 Teenage 2:38
18 Left for Dead 1:30
19 New York State Police 2:43
20 Party in Paris 2:54
21 Fall of the Empire 2:15
22 Keep on Running (Til You Burn) 2:35
23 Perfect Girl 2:01
24 Ice Age 2:50
25 Self-Destruct 2:27
26 Police State 3:16
27 War of the Roses 2:17
28 Anti-Warfare 3:21

U.K. Subs - The Singles 1978-1982   (ogg  137mb)

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