Feb 23, 2018

RhoDeo 1807 Grooves

Hello, i was watching the women's ski-cross and not only did it lack contenders, it lacked Americans why would that be, considering Canada got a 1-2, then i remembered the health insurance must be expensive for US cross skiers who are much more prone to have (serious) injuries, maybe this even explains why 5 million collectively insured Norwegians score twice as many medals as the US do. And the way things are going in the US, it's standing in world sports will be lowering. America first ha ha.



Todays Artist is an American pianist, keyboardist, bandleader, composer and actor. Starting his career with Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet, and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all over the musical map, his piano style continued to evolve into tougher, ever more complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section -- and that drives purists on both sides of the fence up the wall. Ultimately his music is often melodic and accessible; he has had many songs "cross over" and achieve success among pop audiences. ........ N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Hancock was born in Chicago, Illinois, the son of Winnie Belle (Griffin), a secretary, and Wayman Edward Hancock, a government meat inspector. His parents named him after the singer and actor Herb Jeffries. He attended the Hyde Park Academy. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 (Coronation) at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra (led by CSO assistant conductor George Schick) at the age of 11. Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's.

In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University (he later graduated from Grinnell with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972). Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo SantamarĂ­a with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.

Hancock received considerable attention when, in May 1963, he joined Davis's Second Great Quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles as of yet.

The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the latter half of the 1960s their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".

While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Williams, Grant Green, Bobby Hutcherson, Rivers, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.

His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential jazz LPs of the 1960s, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty nine years later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez.

During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup (1966), the first of many film soundtracks he recorded in his career. As well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such then well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes. Hancock also wrote, arranged and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him. He rewrote the harmony, tempo and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969.

Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be important in his future artistic endeavors.

Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Davis records for the next few years. Appearances included In a Silent Way, A Tribute to Jack Johnson and On the Corner.

continued

Hancock left Blue Note in 1969, signing with Warner Bros. Records. In 1969, Hancock composed the soundtrack for Bill Cosby's animated prime-time television special Hey, Hey, Hey, It's Fat Albert.[15] Music from the soundtrack was later included on Fat Albert Rotunda (1969), an R&B-inspired album with strong jazz overtones. One of the jazzier songs on the record, the moody ballad "Tell Me a Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album Sounds...and Stuff Like That!! (1978).

Hancock became fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's Bitches Brew (1970), this fascination would culminate in a series of albums, in which electronic instruments are coupled with acoustic instruments. Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Patrick Gleeson was eventually added to the mix to play and program the synthesizers.

The sextet, later a septet with the addition of Gleeson, made three albums under Hancock's name: Mwandishi (1971), Crossings (1972), and Sextant (1973) ; two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music exhibited strong improvisational aspect beyond the confines of jazz mainstream and showed influence from the electronic music of contemporary classical composers.

Synthesizer player Gleeson introduced the instrument on Crossings, released in 1972, one of a handful of influential electronic jazz/fusion recordings to feature synthesizer that year. On Crossings (as well as on Weather Report's I Sing the Body Electric), the synthesizer is used more as an improvisatory global orchestration device than as a strictly melodic instrument. An early review of Crossings in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz.[citation needed] In the albums following The Crossings, Hancock started to play synth himself, with synth taking on a melodic role.

Hancock's three records released in 1971–73 later became known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era (Mwandishi is Swahili for writer). The first two, including Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings, released in 1994. Of the three electronic albums, Sextant is probably the most experimental since the ARP synthesizers are used extensively, and some advanced improvisation ("post-modal free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4).[citation needed] "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets".

After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "funky" music. The Mwandishi albums – though later seen as respected early fusion recordings – had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as artistic restlessness. Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Sly Stone's music, so he wanted to try to make funk himself.

He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters, released in 1973, was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.

Drummer Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year, 1974. (A live album from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in 1975 as Flood.) This was almost as well received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album called Survival of the Fittest in 1975 without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark) continues to play and record.

In 1973, Hancock composed his soundtrack to the controversial film The Spook Who Sat by the Door. Then in 1974, he composed the soundtrack to the first Death Wish film. One of his memorable songs, "Joanna's Theme", was re-recorded in 1997 on his duet album with Shorter, 1 + 1. Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the Headhunters band, but also a variety of other musicians in important roles.

continued

During the late 1970s and early 1980s, Hancock toured with his V.S.O.P. quintet, which featured all the members of the 1960s Davis quintet except Davis, who was replaced by trumpeter Hubbard. There was constant speculation[citation needed] that Davis would reunite with his classic band, but he never did. VSOP recorded several live albums in the late 1970s, including The Quintet (1977).

In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Davis band a decade earlier. Hancock also released a solo acoustic piano album, The Piano (1979), which was released only in Japan. (It was released in the US in 2004.) Other Japan-only albums include Dedication (1974), V.S.O.P.'s Tempest in the Colosseum (1977), and Direct Step (1978). VSOP: Live Under the Sky was a VSOP album remastered for the US in 2004 and included a second concert from the tour in July 1979.

From 1978 to 1982, Hancock recorded many albums of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians including Williams and Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit, "I Thought It Was You", although critics were unimpressed. This led to more vocoder on his next album, Feets, Don't Fail Me Now (1979), which gave him another UK hit in "You Bet Your Love".

Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most criticized albums[citation needed]. Hancock himself had quite a limited role in some of those albums, leaving singing, composing, and even producing to others. Mr. Hands (1980) is perhaps the one album during this period that was critically acclaimed.There were no vocals on the album, and one track featured Jaco Pastorius on bass. The album contained a variety of styles, including a disco instrumental, a Latin-jazz number, and an electronic piece in which Hancock played alone with the help of computers.

Hancock toured with Williams and Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with trumpeter Wynton Marsalis, released in the US the following year. Hancock, Williams, and Carter toured internationally with Wynton Marsalis and his brother, saxophonist Branford Marsalis, in what was known as "VSOP II". This quintet can be heard on Wynton Marsalis's debut album on Columbia (1981). In 1984 VSOP II performed at the Playboy Jazz Festival as a sextet with Hancock, Williams, Carter, the Marsalis Brothers, and Bobby McFerrin.

In 1983, Hancock had a pop hit with the Grammy-award-winning single "Rockit" from the album Future Shock. It was the first jazz hip-hop song and became a worldwide anthem for breakdancers and for hip-hop in the 1980s. It was the first mainstream single to feature scratching, and also featured an innovative animated music video, which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached No. 8 in the UK. The video won in five categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), the Grammy Award-winning Sound-System (1984), and Perfect Machine (1988).

During this period, he appeared onstage at the Grammy Awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a synthesizer jam. Lesser known works from the 1980s are the live album Jazz Africa (1987) and the studio album Village Life (1984), which were recorded with Gambian kora player Foday Musa Suso. Also, in 1985 Hancock performed as a guest on the album So Red the Rose (1985) by the Duran Duran spinoff group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, Rockschool (not to be confused with the most recent Gene Simmons' Rock School series).

In 1986 Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. His film work was prolific during the 1980s, and included the scores to A Soldier's Story (1984), Jo Jo Dancer, Your Life Is Calling (1986), Action Jackson (1988, with Michael Kamen), Colors (1988), and the Eddie Murphy comedy Harlem Nights (1989). Often he would also write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship.



xxxxx xxxxx xxxxx xxxxx xxxxx

The follow-up to the breakthrough Headhunters album was virtually as good as its wildly successful predecessor: an earthy, funky, yet often harmonically and rhythmically sophisticated tour de force. There is only one change in the Headhunters lineup -- swapping drummer Harvey Mason for Mike Clark -- and the switch results in grooves that are even more complex. Hancock continues to reach into the rapidly changing high-tech world for new sounds, most notably the metallic sheen of the then-new ARP string synthesizer which was already becoming a staple item on pop and jazz-rock records. Again, there are only four long tracks, three of which ("Palm Grease," "Actual Proof," "Spank-A-Lee") concentrate on the funk, with plenty of Hancock's wah-wah clavinet, synthesizer textures and effects, and electric piano ruminations that still venture beyond the outer limits of post-bop. The change-of-pace is one of Hancock's loveliest electric pieces, "Butterfly," a match for any tune he's written before or since, with shimmering synth textures and Bennie Maupin soaring on soprano (Hancock would re-record it 20 years later on Dis Is Da Drum, but this is the one to hear). This supertight jazz-funk quintet album still sounds invigorating a quarter of a century later.



Herbie Hancock - The Piano    (flac  178mb)

01 My Funny Valentine 7:42
02 On Green Dolphin Street 3:20
03 Someday My Prince Will Come 4:34
04 Harvest Time 4:48
05 Sonrisa 3:40
06 Manhattan Island 3:56
07 Blue Otani 3:24

   (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Herbie Hancock's lackluster string of electric albums around this period was enhanced by this one shining exception: an incorrigibly eclectic record that flits freely all over the spectrum. Using several different rhythm sections, Herbie Hancock is much more the imaginative hands-on player than at any time since the prime Headhunters period, overdubbing lots of parts from his ever-growing collection of keyboards. He has regained a good deal of his ability to ride in the groove. "Calypso" finds him playing synthesized steel drums and interacting with customary complexity and ebullience with V.S.O.P. mates Tony Williams and Ron Carter. Disco rears its head, but inventively this time on "Just Around the Corner," and in league with Jaco Pastorius' vibrating, interlacing bass, Hancock gets off some good, updated jazz-funk on "Spiraling Prism" and "4 AM." There is even a reunion of the original Headhunters on a rhythmically tangled remake of "Shiftless Shuffle"; drummer Harvey Mason sounds like a rhythm machine gone bonkers. Easily the outstanding track -- and one of Hancock's most haunting meditations -- is "Textures," where he plays all of the instruments himself. This would be the last outcropping of electronic delicacy from Hancock for some time, and it was mostly -- and unjustly -- overlooked when it came out.



Herbie Hancock - Mr. Hands   (flac 214mb)

01 Spiraling Prism 6:21
02 Calypso 6:41
03 Just Around The Corner 7:33
04 4 AM 5:20
05 Shiftless Shuffle 7:06
06 Textures 6:36

.Herbie Hancock - Mr. Hands  (ogg  91mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1982, fanning the flames even more.



Herbie Hancock - Quartet    (flac 444mb)

01 Well You Needn't 6:26
02 'Round Midnight 6:38
03 Clear Ways 5:01
04 A Quick Sketch 16:24
05 The Eye Of The Hurricane 8:03
06 Parade 7:56
07 The Sorcerer 7:18
08 Pee Wee 4:32
09 I Fall In Love Too Easily 5:53

Herbie Hancock - Quartet  (ogg  164mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Herbie Hancock completely overhauled his sound and conquered MTV with his most radical step forward since the sextet days. He brought in Bill Laswell of Material as producer, along with Grand Mixer D.ST on turntables -- and the immediate result was "Rockit," which makes quite a post-industrial metallic racket. Frankly, the whole record is an enigma; for all of its dehumanized, mechanized textures and rigid rhythms, it has a vitality and sense of humor that make it difficult to turn off. Moreover, Herbie can't help but inject a subversive funk element when he comps along to the techno beat -- and yes, some real, honest-to-goodness jazz licks on a grand piano show up in the middle of "Auto Drive."



Herbie Hancock - Future Shock   (flac 314mb)

01 Rockit 5:22
02 Future Shock 8:02
03 TFS 5:15
04 Earth Beat 5:10
05 Autodrive 6:25
06 Rough 6:57
07 Rockit (Mega Mix) 6:18

. Herbie Hancock - Future Shock  (ogg  113mb)

xxxxx xxxxx xxxxx xxxxx xxxxx



Feb 22, 2018

RhoDeo 1807 Re-Ups 132

Hello, just 5 correct requests for this week and as usual requests that totally ignore my 12 months limit, whatever another batch of 16 re-ups (4.7 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 February 21th.... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

3x Sundaze Back In Flac ( Future Sound Of London - ISDN, Future Sound Of London - Lifeforms,  Future Sound Of London - Archives Vol 1)


4x Aetix Back In Flac (Joe Jackson - I'm The Man, Joe Jackson - Look Sharp !, Joe Jackson Band - Beat Crazy, Joe Jackson - Jumpin' Jive)


3x Alphabet Soup NOW in Flac (Masters Of Reality - Sunrise On The Sufferbus, MC 900 Ft Jesus - Welcome To My Dream, Mono - Formica Blues)


3x Aetix Back In Flac (Elvis Costello - My Aim Is True, Elvis Costello - Armed Forces, Elvis Costello - Get Happy)


3x Grooves Back in Flac (The Temptations - 1990, The Temptations - In Japan!, The Temptations - A Song For You)


xxxxx xxxxx xxxxx xxxxx xxxxx












.

Feb 21, 2018

RhoDeo 1807 Aetix

Hello, so the richest country on the planet leads on the winter olympics medal table, with just 5 million citizens they just manage to keep 80 million Germans behind them ah yes those arian super (wo)men from Norway aren't that contaminated Hitler would have said. Meanwhile that amalgimation of the human cultures in the USA is having a rather poor games, despite having 320 million inhabitants, even media darling Lindsay Vonn just now missed out on the goldmedal (she was expected to win gold in the downhill). How come a country like Norway with 1/64 the amount of citizens score twice as many medals ? This is a serious question the US should ask itself. What about the UK then, well they're the leading country in the most suicidal of sports, skeleton ah yes no surprise there.




Today's artists  are an Australian rock music band composed of Peter Garrett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard), Martin Rotsey (guitar) and Bones Hillman (bass guitar).  The band's music typically broaches political subjects, including the mistreatment of indigenous Australians and the environmental impact of nuclear power, and they have often lent their support to left-wing causes. The group have won eleven Australian Recording Industry Association (ARIA) Awards, and were inducted into the ARIA Hall of Fame in 2006. Midnight Oil's legacy has grown since the late 1970s, with the band being cited as an influence, and their songs covered, by numerous popular artists.........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Australia's Midnight Oil brought a new sense of political and social immediacy to pop music: not only did incendiary hits like "Beds Are Burning" and "Blue Sky Mine" bring global attention to the plight of, respectively, Australia's indigenous people and working class, but the group also put its money where its mouth was -- in addition to mounting benefit performances for groups like Greenpeace and Save the Whales, frontman Peter Garrett later became a member of the Australian House of Representatives on the Labor ticket.

The band formed in Sydney in 1971 as Farm, and originally comprised guitarists Jim Moginie and Martin Rotsey, drummer Rob Hirst, and bassist Andrew "Bear" James; Garrett, a law student known for his seven-foot-tall stature and shaven head, assumed vocal duties in 1975, and the group soon rechristened itself Midnight Oil. After months of sporadic gigs, they began making the rounds to area record companies; following a string of rejections, the group formed its own label, Powderworks, and issued its self-titled debut -- a taut, impassioned collection of guitar rock that quickly established the Midnight Oil sound -- in 1978.

After declaring their independence from the music industry, Midnight Oil grew increasingly active and outspoken in the political arena; after performing in opposition to uranium mining, they supported the Tibet Council before turning their attentions to the unfair practices of the local music industry, and formed their own booking agency in response to the monopoly exerted by area agents and promoters. With their 1979 sophomore effort, Head Injuries, the band scored its first hit single, "Cold Cold Change," and earned a gold record. James left the band the following year due to health problems; with new bassist Peter Gifford, they cut the EP Bird Noises, another chart success.

With 1981's Place Without a Postcard (recorded with producer Glyn Johns), Midnight Oil achieved platinum status on the strength of the smash "Armistice Day," which won the group an American deal with Columbia Records. Their follow-up, 1983's 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, spent over two years in the Australian Top 40; after 1984's Red Sails in the Sunset, Garrett made a run at the Australian Senate on the Nuclear Disarmament Party ticket, losing by only a narrow margin. Participation in the Artists United Against Apartheid project followed, leading directly into Midnight Oil's increased interest in the battles of Australia's indigenous population and a tour, dubbed "Black Fella White Fella," with the Warumpi Band.

The plight of Indigenous Australians fueled much of 1987's Diesel and Dust, the Oils' breakthrough record; sparked by the hit single "Beds Are Burning," the album reached the U.S. Top 20 and made the band a household name. After bassist Dwayne "Bones" Hillman (ex-Swingers) replaced Gifford, Midnight Oil returned with 1990's Blue Sky Mining, which they followed with a concert outside of the Exxon corporation's Manhattan offices in protest of the company's handling of the Alaskan oil spill. (A film of the performance titled Black Rain Falls was later released, with profits going to Greenpeace.) The album Earth and Sun and Moon appeared in 1993, followed three years later by Breathe.

Midnight Oil next resurfaced in 1998 with Redneck Wonderland. The Real Thing, only available in Australia, followed in 2001. It was a solid collection of new songs and live tracks from Midnight Oil's magnificent run at the Metro Theatre in Sydney. Capricornia, issued on Liquid 8 in spring 2002, marked the band's 14th album of its career. In December, Peter Garrett announced his split from the band after 25 years. Garrett, who left Midnight Oil on good terms, decided to pursue politics full-time. In 2004, Garrett ran for the House of Representatives on the Labor ticket. He won the Kingsford Smith seat in New South Wales and was appointed as Shadow Parliamentary Secretary for Reconciliation and the Arts in 2005. In 2007, Garrett was appointed as Minister for the Environment, Heritage and the Arts by Prime Minister-elect Kevin Rudd, and he continued to serve in various capacities until 2013, when he chose to conclude his political career.

While Peter Garrett served in the Australian government, the other members of Midnight Oil pursued various musical projects. The most prominent of these was Ghostwriters, a band featuring drummer Rob Hirst and guitarist Martin Rotsey. In 2009, Midnight Oil reunited with Garrett for three concerts, culminating in a charity show for Sound Relief. In 2016, a few years after Garrett retired from politics, Midnight Oil announced via their website that they were exploring a possible live and studio reunion in 2017.


xxxxx xxxxx xxxxx xxxxx xxxxx

Midnight Oil's second international release found them ambitiously taking on a variety of lyrical causes in a variety of musical styles. Their basic approach, with its martial rhythms, chanted vocals, and guitar textures, served as a jumping-off place, but they always sounded more assured when they stuck to that, rather than trying other things. And the unrelentingly judgmental tone of the lyrics, sung with dead seriousness by Peter Garrett, tended to douse the album's potential enjoyment, too. (It's hard to dance when you're being lectured to.) It wasn't much of a surprise when Garrett decided to run for the Australian Senate shortly after this album's release.



Midnight Oil - Red Sails in the Sunset (flac  290mb)

01 When The Generals Talk 3:31
02 Best Of Both Worlds 4:05
03 Sleep 5:08
04 Minutes To Midnight 3:07
05 Jimmy Sharman's Boxers 7:22
06 Bakerman 0:51
07 Who Can Stand In The Way 4:33
08 Kosciusko 4:40
09 Helps Me Helps You 3:23
10 Harrisburg 3:48
11 Bells And Horns In The Back Of Beyond 3:14
12 Shipyards Of New Zealand 5:50

Midnight Oil - Red Sails in the Sunset   (ogg  125mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Midnight Oil frontman Peter Garrett has long been active in elective politics in Australia, and like any good politician, he knows that sometimes the most important thing is to get your message out to the masses, even it means speaking with a bit less force than might be your custom. While the hard edges and challenging angles of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and Red Sails in the Sunset made Midnight Oil bona fide superstars in Australia, they were little more than a rumor in most of the rest of the world, and for their sixth album, Diesel and Dust, Midnight Oil made some changes in their approach. On Diesel and Dust, there's less in the way of bruising hard rock like "Best of Both Worlds," nothing as eccentric as "Outside World," and very little as esoterically regional as "Jimmy Sharman's Boxers," while the production favors the tuneful side of the band's songwriting (which, truth to tell, was always there) and buffs away some of the group's harsher edges. As a result, Diesel and Dust isn't an album for hardcore Oils fans, but as a bid for a larger audience, it was both shrewd and well executed -- it was the group's first real worldwide success, going platinum in America and spawning a massive hit single, "Beds Are Burning." While the album lacks the kick-in-the-head impact of their earlier work, Diesel and Dust also makes clear that the bandmembers could apply their intelligence and passion to less aggressive material and still come up with forceful, compelling music, as on the haunting "The Dead Heart" and the poppy but emphatic "Dreamworld." And as always, there was no compromise in the band's forceful political stance -- most of the album's songs deal openly with the issues of Aboriginal rights (hardly an issue pertinent only to Australians), and one of Midnight Oil's greatest victories may well be writing a song explicitly demanding reparations for indigenous peoples, and seeing it top the charts around the world. And the closer, "Sometimes," may be the finest and most moving anthem the band ever wrote ("Sometimes you're beaten to the core/Sometimes you're taken to the wall/But you don't give in"). Diesel and Dust is that rarity, a bid for the larger audience that's also an artistic success and a triumph for leftist politics -- even the Clash never managed that hat trick this well.



Midnight Oil - Diesel And Dust (flac  284mb)
 
01 Beds Are Burning 4:14
02 Put Down That Weapon 4:38
03 Dreamworld 3:36
04 Arctic World 4:21
05 Warakurna 4:38
06 The Dead Heart 5:10
07 Whoah 3:50
08 Bullroarer 4:59
09 Sell My Soul 3:35
10 Sometimes 3:53

Midnight Oil - Diesel And Dust     (ogg  116mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Success didn't change Midnight Oil with their 1990 album Blue Sky Mining. The Australian band had finally broken through with their previous record, Diesel and Dust, but chart accomplishments didn't temper the group. Blue Sky Mining found lead singer Peter Garrett and the boys singing about familiar themes with their usual passion. The songs aren't quite on par with those from Diesel and Dust, but there's still enough here to make it a worthy follow-up. The lead track "Blue Sky Mine" deals with the oppression of the lower working class within the context of a mining company. The immediately catchy cut managed to find mid-chart success. Other notable tracks are the driving "Forgotten Years," which also managed a bit of airplay, and the menacing "Mountains of Burma." The band stumble only once, on the clumsy love song "Shakers and Movers."



Midnight Oil - Blue Sky Mining (flac  270mb)
 
01 Blue Sky Mine 4:18
02 Stars Of Warburton 4:43
03 Bedlam Bridge 4:25
04 Forgotten Years 4:21
05 Mountains Of Burma 4:50
06 King Of The Mountain 3:58
07 River Runs Red 5:23
08 Shakers And Movers 4:32
09 One Country 5:56
10 Antarctica 4:22

Midnight Oil - Blue Sky Mining   (ogg  109mb)

xxxxx xxxxx xxxxx xxxxx xxxxx