Aug 18, 2017

RhoDeo 1733 Re-Ups 109

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

Just 7 correct requests this week, in short another batch of 34 re-ups (17 first time in Flac).

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to August 17th.... N'Joy

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

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

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

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

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

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

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

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Aug 16, 2017

RhoDeo 1733 Aetix

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 The Mission - The First Chapter (flac  486mb)

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

The Mission - The First Chapter   (ogg  170mb)

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

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

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

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

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

 The Mission - Children   (flac 521mb)

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

The Mission - Children     (ogg  180b)

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

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

The Mission - Carved In Sand   (ogg  130mb )


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

The Mission - Giants Of Sand  (flac  485mb)

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

The Mission - Giants Of Sand   (ogg  175mb )

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Aug 15, 2017

RhoDeo 1733 Roots


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gato Barbieri - Yesterdays   (flac  211mb)

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

Gato Barbieri - Yesterdays (ogg  89mb)

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

Gato Barbieri - Ruby, Ruby (flac  249mb)

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

Gato Barbieri - Ruby, Ruby (ogg  104mb)

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Aug 14, 2017

RhoDeo 1733 Tales 09


Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 08 Skeleton (avi  312mb)

A hypochondriac feels there is something wrong with his bones so he consults a creepy "bone specialist" who promises to help him; sometimes the cure really is worse than the disease.

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Here a series of Ray Bradbury stories specially dramatised for radio with introductions by the author.

Ray enthusiastically agreed and, joined by writer Catherine Czerkawska and director Hamish Wilson (who had collaborated on some Bradbury stories broadcast by BBC Scotland), we embarked on a series of 30-minute plays under the generic title Ray Bradbury's Tales of the Bizarre.

Ray Bradbury introduces his own spooky tale of confessions and confectionary dramatised by Catherine Czerkawska. Starring TP McKenna as the priest and John Yule as the young man. Director: Hamish Wilson

Ray Bradbury - 09 The Scythe (mp3  26mb)

09 The Scythe 28:46

A young farmer gets more than he bargained for when he stumbles across a seemingly deserted farm

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Ray Bradbury - Night Call, Collect (mp3  27mb)
Ray Bradbury - Have I Got a Chocolate Bar for You (mp3  24mb)
Ray Bradbury - The Jar (mp3  26mb)
Ray Bradbury - The Fruit at the Bottom of the Bowl (mp3  26mb)
Ray Bradbury - I Sing the Body Electric (mp3  26mb)
Ray Bradbury - Skeleton (mp3  26mb)
Ray Bradbury - The Man Upstairs (mp3  25mb)
Ray Bradbury - Jack in the Box (mp3  25mb)

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Aug 13, 2017

Sundaze 1733

Hello, dear oh dear the giant has fallen and the stadium roars with jubilation, what an end to the career of Usian Bolt, his hamstring refused to bend to his will, as he tried to catch the US and Great Britain the latter won the 4x100 in the 3rd ever fastest time 37,47. The Beeb went nuts now we've got 4 golden boys, born at the death of the giant. Note; before UK's golden star Mo Farrah had bowed out with a deserved silver on his final track event.

As i was thinking about what post this Sundaze, in came a request for today's artist..thanks Josh i go with that synchronicity flow...

Today's Artist is a DJ, musician, journalist, and self-described "international cheerleader of ambient," who has been one of the most visible -- and most active -- proponents of new ambient and electronic music. As renowned for his inventive, wide-casting DJ sets as for his original works under the Irresistible Force name, his influence on the direction of post-rave electronica has been enormous. From his relentless tour schedule, weekly playlists, and monthly release reviews to his extensive website chronicling the evolution of ambient and experimental electronic music, Morris has helped bring a whole range of otherwise obscure artists (from Terre Thaemlitz to Photek; from Ken Ishii to Robert Rich) to a wider audience. And while his holographic suits, Zippy connections, and soundbite approach to musical evangelism might seem a bit ridiculous, his commitment to the music and the quality of his ongoing contribution is undeniable. ....N'Joy

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Mixmaster Morris (born Morris Gould, 30 December 1965) is an English ambient DJ and underground musician. Relating specifically to ambient music, Morris stated "It's exactly what you need if you have a busy and stressful life".

Morris Gould was born in Brighton, Sussex, England, but grew up in Lincolnshire and was educated at Millfield in Somerset, and King's College London. At 15 he founded a punk rock band, The Ripchords, whose sole release, an eponymous EP with four tracks, was championed by the BBC Radio One DJ John Peel. After leaving university, he got his start as a DJ in the early '80s -- not in warehouse party chill rooms, but in dive-bar punk clubs spinning experimental rock, jazz, electronic, and other assorted weirdness in between bands. Eventually taking his deck proficiency and rapidly expanding record collection to pirate station Network 21 (where he worked with Jonathan More and Matt Black of Coldcut), Morris earned his nickname from his eclectic "Mongolian Hip Hop Show" , during which he might pair Terry Riley with Tibetan monks or Captain Beefheart with Amazonian field recordings. After finishing college in the mid-'80s, Morris worked in computer systems administration before forming Irresistible Force with friend Des de Moor in 1987. The pair played clubs and toured with Meat Beat Manifesto, eventually releasing a single before Morris dissolved the partnership in 1989. Retaining the Mixmaster name, Morris became involved with the emerging UK acid house scene, after organising Madhouse at The Fridge, Brixton in 1988 – which was the subject of a piece by Peel in The Observer. A show with the band Psychic TV led to him becoming full-time DJ with The Shamen, and touring with them on their 'Synergy' tours for nearly two years, meanwhile organizing London's first ambient club events, Telepathic Fish

Although Morris had experimented with real-time tape loops and low-rent electronics since the mid-'80s, it wasn't until the early '90s that he began to seriously pursue recording. He released his first full-length work, Flying High, on the Rising High label, and recorded a celebrated collaboration with Frankfurt ambient composer Pete Namlook, Dreamfish. Both albums landed Morris at the forefront of the new ambient movement -- a position he graciously accepted -- and a string of remix work for the likes of Coldcut, the Shamen, Barbarella, Rising High Collective, and Higher Intelligence Agency followed. Growing problems with his label, however, would plague Morris into the recording of his second album, which was delayed for two years. Following the release of Global Chillage in 1995, Morris dissolved his relationship with Rising High and began recording for old friends Coldcut on their Ninja Tune label. After a period of legal problems the third album It's Tomorrow Already came out on Ninja Tune. He also collaborated with SF-based musician Jonah Sharp and Haruomi Hosono of Yellow Magic Orchestra he made the album Quiet Logic for the Japanese label Daisyworld.

In 1990, he made one of the first chillout compilations, Give Peace a Dance 2: The Ambient Collection for the Campaign for Nuclear Disarmament, followed by the series Chillout or Die for Rising High Records. A mix tape for Mixmag shared with Alex Patterson was also released as a CD. The Morning After became his first major-label mix album, followed by Abstract Funk Theory for Obsessive. Through the 1990s he was a regular DJ in the chill out room at Return to the Source parties in London, around the UK and abroad. In 2003 he released the mix CD God Bless the Chilled for the Return to the Source Ambient Meditations series.

In the early 1990s his key residencies were alongside the Detroit masters at Lost, Megatripolis at London's Heaven, and also the Tribal Gathering parties. He became known for wearing holographic suits, produced by the company Spacetime, which he modelled for Vogue magazine. Throughout the decade, Morris wrote about electronic music for the NME, Mixmag, and i-D. He was resident on Kiss FM for several years, and then a regular on Solid Steel, the Ninja Tune syndicated radio show. He made his film debut in Modulations (Caipirinha Films), and his music was used in a number of other films including Groove and Hey Happy.

In 1998 he joined the UK's Ninja Tune record label, with whom he toured as a DJ and made three releases. 1999 saw him win 'Best Chillout DJ' at the Ibiza DJ Awards at Pacha, Ibiza, and in 2001 he won the title for a second time, becoming the first DJ to achieve this. He has appeared in many lists of the worlds top DJ's including the Ministry of Sound book The Annual and 2003's DJs by Lopez, and URB Magazine's Top 100 DJ list. Morris records regular radio shows for the Japanese internet radio station Samurai FM. In 2006 he started a new club at the Big Chill House in Kings Cross, London, and did a guest mix for BBC Radio 1's The Blue Room show. His essay about jazz was published in the book, Crossfade, and he made a one-off appearance reading it aloud.

Morris has produced many remixes since 1985, including Coldcut's "Autumn Leaves". This remix was nominated by Norman Cook as his favourite chillout track on BBC Television. His mix for INXS was a Top 20 hit in the UK. Other early remixes were of Lloyd Cole, Dave Howard Singers, Bang Bang Machine, Stump, Higher Intelligence Agency, Sven Vath and Rising High Collective. The Mixmaster has played in over fifty countries at nightclubs and parties, and particularly music festivals such as the Full Moon parties in the Mojave Desert, Glastonbury Festival, Rainbow 2000 and Mother SOS in Japan, Chillits in Northern California, and Berlin's Love Parade. He also ran the downtempo night Nubient in Brixton. In 1995, he played at the first The Big Chill festival, and then became a resident for the next 16 years.

In March 2007, together with Coldcut, he organised a tribute show to the writer and philosopher Robert Anton Wilson, which they performed at the Queen Elizabeth Hall. He also played in Goa for the first time with The Big Chill, and started a new residency at The Prince in Brixton. In May 2008 Morris undertook an ambient mix on BBC Radio 1, and put a The Irresistible Force band together to play at The Big Chill festival. In 2009, he compiled a podcast for Tate Britain to accompany their Altermodern exhibition, and opened a new AV night called MMMTV in Camden. The mix CD, Calm Down My Selector was released in January by Wakyo Records, and he made a tour of Japan to promote it. In 2010, he won another Ibiza DJ Award, for the third time. In October that year, he was announced as Head of A+R for Apollo Records. 2011 saw him rejoin Bestival as part of their "Ambient Forest" team.

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Along with the Orb's Adventures Beyond the Ultraworld and the KLF's Chill Out, Irresistible Force's Flying High is one of the first and finest of the new ambient crop. Mixmaster Morris' mix of electronic and organic textures and epic song lengths helped set the standard (and was responsible for more than a few clichés). Even though Mixmaster Morris is known for his love of all things ambient, his first album, Flying High, fits more with the 'ambient dub' genre, as these tracks are still very structured and have a certain drive, rather than drifting off into the ether. Brian Eno hailed this album as a masterpiece, as it's thoughtfull, spacey, highly melodic ambient music, with occasional beats... A fantastic soundtrack for a psychedelic experience.

Mixmaster Morris takes Future Music through Flying High, track by track, December 04, 2014
Spiritual High
"This one starts with the sound of a plane taking off, which was a sound effect taken off a sample CD. With Flying High I wanted to put sounds of planes at the beginning and at the end. If you also take a look at the running time of this track, you'll see that it's 7:47, like the Boeing, which wasn't an accident. I hid a lot of things in this record, but I can't remember where I put the half of them now [laughs].

A lot of this track is based around some piece of film music I had at the time. I can't remember the original source now, but I remember taking my vinyl copy of it and running it live from the decks into the mix through Drawmer gates. I then triggered them with a Roland 909. Then I just changed the envelope on the gate to mess with it. "I wanted to find a way of putting sampled music into what I was making, with the goal of producing something out the other end that wasn't necessarily copyright infringement but took something of the texture and chord structure from the original tracks I was sampling. For two or three of the tracks on the album that's essentially much of what the whole thing is - I'd just put sounds through gates until they were unrecognisable. Pretty much each track on the whole album was made live in single takes as well."
Sky High
"This tune was just over 12 minutes long. A lot of the tracks, when I played them live, were over 30 minutes long. All the tunes on Flying High were played live at Heaven nightclub under Charing Cross Station about four times before I sat down to do them on the album. The Orb and The KLF used to play there a bit before I did nights there in 88/89 at a night called Land Of Oz. I saw a gig they did there and it was a big influence on me. I saw what they were doing and tried to make it work in the acid house world. I wanted to find a way of putting sampled music into what I was making, with the goal of producing something out the other end that wasn't necessarily copyright infringement but took something of the texture and chord structure from the original tracks I was sampling.

When they moved out I took over that room for a couple of years. The difference is that I made it open to the public. It was just VIP when they did it and it wasn't very busy. When I did it you got Joe Public in there. For the first couple of weeks they'd burst into the DJ booth and go, 'What the fuck are you doing? Where's the drums?!' A lot of my tracks started off as dance tracks then I just thought, 'Fuck it', and took all the drums out to make it more ambient. Sky High has a lot of samples in it. It's got Sun Ra in, obviously, from the ending of a track of his called Nuclear War, which is a very rare and sought-after 12-inch. It has a lot of swearing in the original, which is quite rare for a Sun Ra record, but it is about a very serious subject, I suppose. That was the only 12-inch he released in his life. He was a huge influence on this album. I first went to see him live in 85, and I must say that a light went on in my head."
Flying High
"This is the one with the big tempo change in it. I remember spending most of the day trying to get the tempo change to clock to synth code, which was hugely difficult then. I think this track goes from 60 to 120bpm - it goes double time over a minute. You have some things going on at the same speed there, while others accelerate. I thought that was a really interesting thing to play with, especially given that most music had suddenly all gone one tempo at the time. It was massively inspired by French Kiss by Lil' Louis. Not many records have ever done what his did. It was a wonderful thing to have a record that changed like that. Lil' Louis was a big inspiration. He was one of the first Chicago artists that I really got into.

The one person I didn't credit on this record and feel guilty about is Sonic Boom. There are a ton of Spaceman Three noises on this track. I met him through gigging with The Shamen. I used his track Ecstasy Symphony, I believe, as a drone here, and then put that through all the gates. His records always have a magical, psychedelic quality."
High Frequency
I think bits of this are taken from The Human League. Probably a couple of notes off the Dignity of Labour EP that I cut up. I ran them through an Eventide and got a really strange effect. The spoken word bit is off the Open University. I just recorded it off there. Then there's a creaky door sound - that's Pierre Henry. It's a piece of musique concrète from the 60s called Variations for a Door and a Sigh. It's just a creaky door and a girl sighing. He just used those two sounds to make a whole album. It's a wonderful sound, that creaky door; it takes me back.

I did discover something amazing the other day, which is that there's a one-note sample of Aphex Twin at the end of High Frequency. It's a very cheeky use. It's quite appropriate as he's just done a record with a sample of me on it. I couldn't remember doing it, but I took one note of his. It must have been absolutely contemporary with his album Analogue Bubblebath. There's a lot of auto-panning on this album and a lot of modulated panning and reverb, as well. On one of the tracks we actually had a pitch wheel controlling the size of the reverb. It's kinda normal now, but at the time it was pretty far-out stuff, you know? [Laughs]. I'd read about a lot of stuff Conny Plank was doing and wanted to try it."
Symphony In E
"All the strings on here are from a box set of classical music from Hungary that has demonstrations of all the instruments of the orchestra. So I got the cello and violin and stuff, sampled them all separately and layered them all up. I was very into this thing where you played a sample at half and double speed, then they'd be in the same key but at half and double speed. The high string sample in this track is a low string sample an octave up on the keyboard. Sometimes you'd play it an octave down. I used to do that with breaks as well. It makes for a very strange effect. I never hear that now, but I'd recognise it on other people's records years ago. Playing around with breaks on a keyboard was just incredible. It's hard to imagine how incredible that was 25 years ago.

The voice of Joyce Grenfell is used on the intro. She was a very posh English comedian from the 60s. She used to play a school teacher and do monologues. I had some of her albums. I used to play them out in my sets. At the time there was a phrase, 'Toytown Techno'; it was after the Sesame Street dance record was a hit, and things like that. There was a vogue of sampling kids' TV, what with the Prodigy record with the Charly sample in it as well. The Joyce Grenfell sample was a dig at that. Infantile is the word for a lot of rave music [laughs]."
Mountain High (Live)
"This went on a bit too long at just over 20 minutes. It could have easily been 15. I think it was like, 'We have another five minutes to add and then we've filled up the CD'. I made Flying High as long as possible to give you value for money. That was the other thing, of course - suddenly with a CD you got an extra 20-30 minutes than you'd previously had with vinyl albums. It had to be on double vinyl when we released it on record.

This has American philosopher and psychonaut Terence McKenna on it. That was through The Shamen, as I'd been their tour DJ for two years and he'd worked with them. It was really Colin and Angus from the band that introduced me to him. He wasn't really known in the UK until they brought him over and got him on Top of the Pops. I ended up doing a few shows with McKenna in London. One show, he spoke for eight hours and I played ambient music underneath him for the whole day at an old age pensioner's centre in Camden. It was wonderful, I must say. I didn't get paid for it, but to get something out of it I recorded the whole thing. That's where I got the sample from. I must have the eight-hour tape somewhere…"

The Irresistible Force - Flying High  (flac 332mb)

01 Spiritual High 7:47
02 Sky High 12:11
03 Flying High 15:33
04 High Frequency 9:42
05 Symphony In E 8:47
06 Mountain High (Live) 20:15

 The Irresistible Force - Flying High   (ogg  168mb )

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Global Chillage brings The Irresistible Force around for another round of ambient bliss, as "Natural Frequency" brings in the sustained tones, filling the track with layered chords and arpeggios. "Downstream" brings in some steel pan tones for a momentary island excursion, while "Moonrise" sweeps up and down the spectrum, as if searching for just the right tone, and "Sunstroke" stretches out like a digital sunset, even as the chorus hums its way into being. But for a more melancholy, icy trip, "Snowstorm," with its tablas, blows its way into your head, though it's very reminiscent of his "Autumn Leaves" remix for Coldcut. The psychedelic "Waveform" sounds as if it could have come from his Flying High album, and the short "Manifesto" closes things one a dubby note. Another extraordinary listening experience.

The Irresistible Force - Global Chillage (flac  370mb)
01 Natural Frequency 14:06
02 Downstream 10:05
03 Moonrise 9:41
04 Sunstroke 8:25
05 Snowstorm 8:39
06 Waveform 12:00
07 Manifesto 2:12

The Irresistible Force - Global Chillage  (ogg  158mb)

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A funny thing happened when The Irresistible Force moved to Ninja Tune, after two previous albums on Rising High. He was already familiar to the Ninja Tune crowd, of course, having created a sublime remix of Coldcut's "Autumn Leaves," but with It's Tommorrow Already, his focus turned to songwriting, rather than just ambient soundscapes. And, as a result, this album was accomplished, mature, and just more than a little funky. "Power," for instance, has a light breakbeat, to accompany its mellow political message, while "The Lie-In King" delivers a groovy easy-listening vibe. "Nepalese Bliss" turns an anti-drug message on its head with a long, resonant bassline, and "Fish Dances" brings in jazzy elements for a finger-snapping good time. "Playing Around With Sound" puts the jazz even more up-and-center, with its filtered saxophone layered in, but the title track takes the album out on a thick, more fuller note, while still remaining sedate. It's a shame that Mixmaster Morris never released a follow-up, because It's Tommorrow Already can, and should, still be played today. While the period separating Global Chillage from It's Tomorrow Already was one of the most explosive in post-rave electronica, the album is remarkably consistent and suffers little from the over-zealousness that tends to plague music that knows too much about itself. Many of the tracks display the same fusion of warm synths, pattery rhythms, paired with the loose organicism of Ninja-styled downtempo.

The Irresistible Force - It's Tommorrow Already (flac 386mb)

01 Power 8:37
02 The Lie-in King 7:44
03 Nepalese Bliss 7:46
04 12 O'Clock 8:15
05 Another Tomorrow 6:36
06 Fish Dances 9:28
07 Playing Around With Sound 6:20
08 Its Tomorrrow Already 8:50

The Irresistible Force - It's Tommorrow Already  (ogg  152mb )

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This release carries on the tradition of high quality music from Morris. Where bands like the orb seemed to lose their touch, Irresistable Force has carried on full steam ahead! A veeery slow, groovy breakbeat, warm & spacey repeating synth-stabs and a funky rhodes. Walking into a tunnel of sound, only to be carried out on the backs of bongo playing cheetahs, strolling along at a lesiurely pace. All the while, Alan Watts is hovering next to you chatting you up with some trancendental advice, occasionally getting his tounge caught in the sampler. A worthy addition to every space cowboy's collection.

The Irresistible Force - Fish Dances EP (flac 345mb)

01 Nepalese Bliss (Remix By Jimpster) 7:02
02 Power (Remix By Mixmaster Morris) 5:44
03 Fish Dances (You Dance In Me) (Remix By Frédéric Galliano) 8:49
04 Nepalese Bliss (Remix By DJ Food) 7:01
05 Nepalese Fish Dances (Remix By Fila Brazillia) 7:35
06 Playing Around With Sound (Remix By Voda) 7:38
07 Fish Dances (Remix By Plaid) 6:49
08 Fish Dances (Instrumental) 9:25

The Irresistible Force - Fish Dances EP  (ogg  139mb )

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Aug 12, 2017

RhoDeo 1732 Grooves


She is known the world over by her first name and as the undisputed, reigning 'Queen Of Soul,' Aretha Franklin is peerless. This 2005 recipient of a Presidential Medal Of Freedom honor (the U.S.A.'s highest honor), 17 Grammy Awards (and counting), a Grammy Lifetime Achievement Award and a Grammy Living Legend Award. She has received countless international and national awards and accolades. Aretha has achieved global recognition on an unprecedented scale. She has influenced generations of singers from Chaka Khan, Natalie Cole and Mary J. Blige to 'American Idol' winner Fantasia Burrino and Oscar- winning Jennifer Hudson. Her ever-distinctive soulful, to-the-bone vocal style has graced the music charts for over four decades and while her 'live' performances have touched the hearts of literally millions since she began her musical journey as a gospel-singing child prodigy, it is her rich legacy of recordings that are a testament to the power, majesty and genius of this one-of-a-kind artist of the first order.   ........ N'joy

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Aretha Franklin was born in Memphis, Tennessee, in 1942. A gifted singer and pianist, Franklin toured with her father's traveling revival show and later visited New York, where she signed with Columbia Records. Franklin went on to release several popular singles, many of which are now considered classics. In 1987, she became the first female artist to be inducted into the Rock and Roll Hall of Fame, and in 2008 she won her 18th Grammy Award, making her one of the most honored artists in Grammy history.

The fourth of five children, Aretha Louise Franklin was born on March 25, 1942, in Memphis, Tennessee, to Baptist preacher Reverend Clarence La Vaughan "C. L." Franklin and Barbara Siggers Franklin, a gospel singer. Franklin's parents separated by the time she was six, and four years later her mother succumbed to a heart attack. Guided by C. L.'s preaching assignments, the family relocated to Detroit, Michigan. C. L. eventually landed at New Bethel Baptist Church, where he gained national renown as a preacher.

Aretha Franklin's musical gifts became apparent at an early age. Largely self-taught, she was regarded as a child prodigy. A gifted pianist with a powerful voice, Franklin got her start singing in front of her father's congregation. By the age of 14, she had recorded some of her earliest tracks at his church, which were released by a small label as the album Songs of Faith in 1956. She also performed with C. L.'s traveling revival show and, while on tour, befriended gospel greats such as Mahalia Jackson, Sam Cooke and Clara Ward.

But life on the road also exposed Franklin to adult behaviors, she gave birth to her first son, Clarence, shortly after she turned 14. A second child followed two years later both with unnamed fathers ! (Think of it what you will -, i know i do)  After a brief hiatus, Franklin returned to performing and followed heroes such as Cooke and Dinah Washington into pop and blues territory. In 1960, with her father's blessing, Franklin traveled to New York, where after being courted by several labels, including Motown and RCA, she signed with Columbia Records, who released the album Aretha in 1961.

Though two tracks from Aretha would make the R&B Top 10, a bigger success came that same year with the single "Rock-a-bye Your Baby with a Dixie Melody," which crossed over to No. 37 on the pop charts. But while Franklin enjoyed moderate results with her recordings over the next few years, they failed to fully showcase her immense talent. In 1966, she and her new husband and manager, Ted White, decided a move was in order, and Franklin signed to Atlantic. Producer Jerry Wexler immediately shuttled Franklin to the studios at the Florence Alabama Musical Emporium.

Backed by the legendary Muscle Shoals Rhythm Section—which included session guitarists Eric Clapton and Duane Allman—Aretha recorded the single "I Never Loved a Man (The Way I Love You)." In the midst of the recording sessions, White quarreled with a member of the band, and White and Franklin left abruptly. But as the single became a massive Top 10 hit, Franklin re-emerged in New York and was able to complete the partially recorded track, "Do Right Woman—Do Right Man."

Hitting her stride in 1967 and 1968, Franklin churned out a string of hit singles that would become enduring classics, showcasing Franklin's powerful voice and gospel roots in a pop framework. In 1967, the album I Never Loved a Man (The Way I Love You) was released, and the first song on the album, "Respect"—an empowered cover of an Otis Redding track—reached No. 1 on both the R&B and pop charts and won Aretha her first two Grammy Awards. She also had Top 10 hits with "Baby I Love You,'' "Think," "Chain of Fools,'' "I Say a Little Prayer," "(Sweet Sweet Baby) Since You've Been Gone" and "(You Make Me Feel Like) A Natural Woman."

Franklin's chart dominance soon earned her the title "Queen of Soul," while at the same time she also became a symbol of black empowerment during the civil rights movement of the time. In 1968, Franklin was enlisted to perform at the funeral of Dr. Martin Luther King Jr. during which she paid tribute to her father's fallen friend with a heartfelt rendition of "Precious Lord." Later that year, she was also selected to sing the national anthem to begin the Democratic National Convention in Chicago.

Amidst this newfound success, Franklin experienced upheaval in her personal life, and she and White divorced in 1969. But this did not slow Franklin's steady rise, and the new decade brought more hit singles, including "Don't Play That Song," "Spanish Harlem" and her cover of Simon & Garfunkel's "Bridge Over Troubled Waters." Spurred by Mahalia Jackson's passing and a subsequent resurgence of interest in gospel music, Franklin returned to her musical origins for the 1972 album Amazing Grace, which sold more than 2 million copies and went on to become the best-selling gospel album at the time.

Franklin's success continued throughout the 1970s, as she branched out to work with producers such as Curtis Mayfield and Quincy Jones and expanded her repertoire to include rock and pop covers. Along the way, she took home eight consecutive Grammy Awards for Best R&B Female Vocal Performance, the last coming for her 1974 single "Ain't Nothing Like the Real Thing."

But by 1975, Franklin's sound was fading into the background with the onset of the disco craze, and an emerging set of young black singers, such as Chaka Khan and Donna Summer, began to eclipse Franklin's career. She did, however, find a brief respite from slumping sales with the 1976 soundtrack to the Warner Brothers film Sparkle—which topped the R&B charts and made the Top 20 in pop—as well as an invitation to perform at the 1977 presidential inauguration of Jimmy Carter. In 1978, she also remarried, to actor Glynn Turman.

A string of chart failures ended Franklin's relationship with Atlantic in 1979. The same year, her father was hospitalized after a burglary attempt in his home left him in a coma. As her popularity waned and her father's health declined, Franklin was also saddled with a massive bill from the IRS. However, a cameo in the 1980 film The Blues Brothers helped Franklin revive her flagging career. Performing "Think'' alongside comedians John Belushi and Dan Aykroyd exposed her to a new generation of R&B lovers, and she soon signed to Arista Records.

Her new label released 1982's Jump To It, an album that enjoyed huge success on the R&B charts and earned Franklin a Grammy nomination. Two years later, she endured a divorce from Turman as well as the death of her father.

In 1985, Franklin returned to the top of the charts with a smash-hit album: the polished pop record Who's Zoomin' Who? Featuring the single "Freeway of Love," as well as a collaboration with the popular rock band the Eurythmics, the record became Aretha's biggest-selling album yet. Her follow-up, 1986's Aretha, also charted well and eventually went gold, and her duet with British singer George Michael, "I Knew You Were Waiting (For Me),'' hit No. 1 on the pop charts.

In 1987, Franklin became the first female artist to be inducted into the Rock and Roll Hall of Fame and was also awarded an honorary doctorate from the University of Detroit. That same year, she released the album One Lord, One Faith, One Baptism, which won the Grammy for Best Soul Gospel Performance.

Following another relatively quiet period in her career, in 1993, Franklin was invited to sing at the inauguration of Bill Clinton, and the following year she received both a Grammy Lifetime Achievement Award and Kennedy Center Honors. She would also be the focus of multiple documentaries and tributes as the decade progressed. Nearing its conclusion, Franklin reprised her former role in Blues Brothers 2000, released the gold-selling "A Rose Is Still a Rose" and stood in for Luciano Pavarotti, who was too ill to accept his Lifetime Achievement Award, with her rendition of "Nessun Dorma" commanding stellar reviews.
So Damn Happy

In 2003, Franklin released her final studio album on Arista, So Damn Happy, and left the label to found Aretha Records. Two years later, she was awarded the Presidential Medal of Freedom and became the second woman ever to be inducted into the UK Music Hall of Fame. In 2008, she received her 18th Grammy Award for "Never Gonna Break My Faith"—a collaboration with Mary J. Blige—and was tapped to sing at the 2009 presidential inauguration of Barack Obama.  

With 18 Grammys under her belt, Franklin is one of the most honored artists in Grammy history, ranked among the likes of Alison Krauss, Adele and Beyoncé Knowles. In 2011, Franklin released her first album on her own label, A Woman Falling Out of Love. To support the project, she performed several concerts, including a two-night stint at the famed Radio City Music Hall in New York. With fans and critics alike impressed with her performances, she successfully proved that the Queen of Soul still reigns supreme.

In 2014, Franklin underscored that point with Aretha Franklin Sings the Great Diva Classics, which reached No. 13 on the pop charts and No. 3 R&B. In February 2017, the 74-year-old Queen of Soul told Detroit radio station WDIV Local 4 that she is collaborating with Stevie Wonder to release a new album to be recorded in Detroit and released in September. “I must tell you, I am retiring this year," she said in the interview, adding: "I feel very, very enriched and satisfied with respect to where my career came from and where it is now. I’ll be pretty much satisfied, but I’m not going to go anywhere and just sit down and do nothing. That wouldn’t be good either.”

"American history wells up when Aretha sings", president Obama explained his emotional response to her performance of "A Natural Woman" at the 2015 Kennedy Center Honors. "Nobody embodies more fully the connection between the African-American spiritual, the blues, R&B, rock and roll--the way that hardship and sorrow were transformed into something full of beauty and vitality and hope".

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Take A Look was compiled and produced by Grammy Award-nominated producer Leo Sacks, who has supervised more than 300 compilations, remixes and new recordings for Legacy which have been vital to preserving the works of American masters. It’s a tremendous set, and it portrays an artist working her own way toward how to best present herself to the world. We all know she got there.

Clyde Otis, a songwriter and record producer who was one of the first black executives at a major record company, died on Jan. 8 2008 in Englewood, N.J. He was 83. Mr. Otis is credited as the writer or co-writer of almost 800 songs, according to Broadcast Music Inc., the music licensing organization. Among the countless artists who have recorded his compositions are Elvis Presley, Aretha Franklin, Bobby Darin, Johnny Mathis and Natalie Cole, whose recording of his “Take a Look” won a Grammy Award for best jazz vocal performance in 1994.

Aretha Franklin - Take A Look, The Clyde Otis Sessions    (flac  282mb)

01 I'll Keep On Smiling 2:53
02 Shangri-La 3:16
03 Zing! Went The Strings Of My Heart 2:34
04 People 4:19
05 A Mother's Love 2:34
06 Friendly Persuasion (Thee I Love) 2:18
07 But Beautiful 2:58
08 That's Entertainment 1:51
09 Take A Look 2:42
10 (Ah, The Apple Trees) When The World Was Young 4:44
11 Jim 2:29
12 Sweet Bitter Love 3:00
13 Only The Lonely 4:55
14 My Coloring Book 4:08
15 I Wish I Didn't Love You So 2:56
16 People (Mono Mix) 4:22
17 A Mother's Love (Mono Mix) 2:30

Aretha Franklin - Take A Look, The Clyde Otis Sessions  (ogg   113mb)

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While the inclusion of "Respect" -- one of the truly seminal singles in pop history -- is in and of itself sufficient to earn I Never Loved a Man the Way I Love You classic status, Aretha Franklin's Atlantic label debut is an indisputable masterpiece from start to finish. Much of the credit is due to producer Jerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure; assembling a crack Muscle Shoals backing band along with an abundance of impeccable material, Wexler creates the ideal setting to allow Aretha to ascend to the throne of Queen of Soul, and she responds with the strongest performances of her career. While the brilliant title track remains the album's other best-known song, each cut on I Never Loved a Man is touched by greatness; covers of Ray Charles' "Drown in My Own Tears" and Sam Cooke's "Good Times" and "A Change Is Gonna Come" are on par with the original recordings, while Aretha's own contributions -- "Don't Let Me Lose This Dream," "Baby, Baby, Baby," "Save Me," and "Dr. Feelgood (Love Is a Serious Business)" -- are perfectly at home in such lofty company. A soul landmark.

Aretha Franklin - I Never Loved a Man the Way I Love You    (flac 175mb)

01 Respect 2:26
02 Drown In My Own Tears 4:00
03 I Never Loved A Man (The Way I Love You) 2:47
04 Soul Serenade 2:30
05 Don't Let Me Lose This Dream 2:22
06 Baby, Baby, Baby 2:48
07 Dr. Feelgood (Love Is A Serious Business) 3:18
08 Good Times 2:05
09 Do Right Woman - Do Right Man 3:15
10 Save Me 2:20
11 A Change Is Gonna Come 4:15

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Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year.

Aretha Franklin - Lady Soul   (flac 188mb)

01 Chain Of Fools 2:45
02 Money Won't Change You 2:02
03 People Get Ready 3:35
04 Niki Hoeky 2:33
05 (You Make Me Feel Like) A Natural Woman 2:37
06 Since You've Been Gone (Sweet Sweet Baby) 2:18
07 Good To Me As I Am To You 3:25
08 Come Back Baby 2:29
09 Groovin' 2:45
10 Ain't No Way 4:12

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Though a bit short on running time at ten songs, this still caught Aretha Franklin at the peak of her early form. When this release hit the racks in 1968 this Soul-Satisfying-Album boosted not 1 (One), but 5 (Five) Billboard Hit Singles: "Think" a Gold #1 Billboard Hit Single!, it's B-Side "You Send Me" a Billboard Top 40 Smash Single!, "I Say A Little Prayer" a Billboard #3 Hit Single!, "See Saw" A Gold Billboard #9 Hit!, and "I Can't See Myself Leaving You" which was the B-Side of 1969's "Gentle On My Mind" even Charted on Billboard's Singles Chart peaking at #3! Add the Album favorites: "Night Time Is The Right Time", and "I Take What I Want", Aretha delivered, yet Another Out-The-Box Smash Album!!!.

Aretha Franklin - Aretha Now   (flac 180mb)

01 Think 2:15
02 I Say A Little Prayer 3:30
03 See Saw 2:42
04 Night Time Is The Right Time 4:44
05 You Send Me 2:25
06 You're A Sweet Sweet Man 2:14
07 I Take What I Want 2:30
08 Hello Sunshine 3:00
09 A Change 2:23
10 I Can't See Myself Leaving You 3:00

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