Jun 7, 2017

RhoDeo 1723 Aetix

Hello, as tensions rise in the UK elections are upcoming the clear supposed winner current PM May clearly shows she's out of her depth and tries to win with repeating i'm the best...blabla, on the other side a surprisingly clear and steady Jeremy Corbyn who's had a terrible press ever since he got elected as Labour leader even more than half his own MP's didn't want him--too left wing. So what a surprise that he's doing so well. Testament to how desperate his opponents are is the fact that he refuses to say that he will unleash the British nuclear armory should Britain be attacked, some get really angry about that but hey that's the selfish nature bleeding through...



Today's artist an English impresario, visual artist, performer, musician, clothes designer and boutique owner, notable for combining these activities in an inventive and provocative way. With a keen eye for trends, he realised that a new protest style was needed for the 1970s, and largely initiated the punk movement, for which he supplied fashions from the Chelsea boutique 'SEX', operated with his girlfriend Vivienne Westwood. After a spell advising the New York Dolls in the US, McLaren managed the Sex Pistols, for which he recruited the nihilistic frontman Johnny Rotten. He also performed as a solo artist, initially popularising hip hop and world music and later diversifying into funk and disco, the dance fashion for "voguing" and merging opera with contemporary electronic musical forms. When accused of turning popular culture into a cheap marketing gimmick, he joked that he hoped it was true......N'Joy

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Malcolm McLaren first came to prominence as the notorious manager of the Sex Pistols, the premier punk rock band of the late '70s. In the 1980s, McLaren turned performing artist himself, assembling eclectic recordings that were especially popular in Great Britain.

The son of Peter and Emily Isaacs McLaren, McLaren was actually raised by his grandmother, Rose Corre, who gave him home instruction until 1955. Like many who later entered the music business, he was educated in England's art colleges, lots of them. He attended St. Martin's College of Art (1963) and Harrow Art College (1964); was expelled from South East Essex (1965) and Chiswick Polytechnic (1966); and went to Croyden College of Art (1968) and finally Goldsmith's College (1969-1971). Meanwhile, he became especially interested in the obscure French Situationist international movement, which advocated provocative, even absurd actions both as political statement and performance art. The movement was founded in the 1950s and gained its greatest attention during political upheavals in France in 1968 before dissolving. McLaren, who tried unsuccessfully to get to Paris during the May 1968 riots, would apply Situationist ideas to the field of pop promotion. (A good source for information on the Situationists and McLaren's adaptation of their teachings can be found in Greil Marcus' book Lipstick Traces: A Secret History of the Twentieth Century [1989].)

While attending Goldsmith's, McLaren began designing clothes, and after leaving college without a degree he opened his first London boutique in 1972. He and partner Vivienne Westwood were also employed designing costumes for such films as Mahler and That'll Be the Day (both 1974). While in New York at a boutique fair, McLaren met the members of the proto-punk group the New York Dolls, and in late 1974, he took over their management, dressing them in red leather and using the Soviet Union's hammer-and-sickle symbol in their stage set and publicity photographs. The concept was not well suited to America, where Communism remained an anathema, but it had no great impact on the career of the Dolls, who were on their last legs at that point, anyway. McLaren returned to the London clothing business in May 1975 and used what he'd learned with the Dolls in helping to assemble the Sex Pistols.

The extent to which McLaren instigated the Sex Pistols' brief, flamboyant career has been much debated. From their first record release in November 1976 to their breakup in January 1978, they were regularly found on both the record charts and the front pages of Britain's tabloids, renowned by fans for songs like "Anarchy in the U.K." and "God Save the Queen" and condemned by detractors as examples of moral turpitude. In 1979, the documentary film The Great Rock 'n' Roll Swindle suggested that McLaren had planned it all; he made his recording debut on the soundtrack album singing "You Need Hands."

His reputation as a manager established, McLaren began looking for other British talent to handle, briefly settling on the then-unknown Adam Ant before spiriting away Ant's backing band and using it to support a 14-year-old Burmese singer he had discovered, Annabella Lwin, in a band called Bow Wow Wow. McLaren's involvement extended to writing their debut single, "C'30, C'60, C'90, Go," a British Top 40 hit in 1980. "Go Wild in the Country" (lyrics by McLaren) and a remake of the Strangeloves hit "I Want Candy" hit the British Top Ten in 1982, but the band broke up in 1983, though not before McLaren tried adding a second singer, George O'Dowd, dubbed Lieutenant Lush. (O'Dowd, later known as Boy George, went on to form Culture Club.)

In the meantime, McLaren began making his own records, beginning with the single "Buffalo Gals," which combined traditional folk music with hip-hop. Credited to Malcolm McLaren & the World's Famous Supreme Team, it became a Top Ten hit in the U.K., paving the way for the late 1982 album Duck Rock, which reached the Top 20 and produced a Top 40 hit in "Soweto" and a Top Five hit in "Double Dutch." Both "Buffalo Gals" and "Double Dutch" made the U.S. dance charts in 1983, and in February 1984 the remix mini-LP D'Ya Like Scratchin' gave McLaren his first American album chart entry. McLaren next turned to opera, recording an adaptation of "Madame Butterfly" that made the British Top 20 in 1984; it introduced his second full-length album, Fans. Released in 1985, Swamp Thing was a contractual obligation collection of outtakes issued while its creator had moved to Hollywood to try to make his mark in the film business. He returned to music in 1989, signing to Epic Records for Waltz Darling, which produced Top 40 U.K. hits in the title track and "Something's Jumpin' in Your Shirt." The album featured guest vocalists as well as star instrumentalists Jeff Beck and Bootsy Collins.

Paris, released in Europe in 1994, marked its creator's move to France. In October 1998, a re-recording of "Buffalo Gals," "Buffalo Gals Stampede," credited to Malcolm McLaren & the World Famous Supreme Team Versus Rakim and Roger Sanchez, reached the British charts. During the 2000s McLaren was involved in the film and art world, including as co-producer of the movie adaptation of Eric Schlosser’s book Fast Food Nation. At the close of the decade he battled cancer, with his condition remaining undisclosed to the world until a deterioration in his condition led him to a clinic in Switzerland, where he died of mesothelioma on April 8, 2010 at the age of 64. His film montage/pastiche Paris: Capital of the 21st Century had received its U.S. premiere at the Swiss Institute in New York two months previously, on February 15.
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After the Pistols, McLaren and producer Trevor Horn decided to put together a concept album that linked the burgeoning sounds of New York hip-hop with its African ancestry...and DUCK ROCK was born. "Buffalo Gals" and "Double Dutch" were influential hits, but the entire album is filled with sound effects and sound-bytes (from the NYC radio program from DJs the World Famous Supreme Team) that would later show up as samples on literally hundreds of songs over the next two decades. One day, some musicologist with more time on his hands than me, is going to chart the names of albums and songs with Duck Rock samples or tributes or homages...and this list is going to be startling in its collection of the range of styles and artists. The album is entertaining from start to finish, something sadly all too rare. There's a celebratory love of music in these grooves that bursts out from practically every second of this infectious record



Malcolm McLaren - Duck Rock (flac  377mb)

01 Obatala 3:36
02 Buffalo Gals 4:19
03 Double Dutch 4:41
04 El San Juanera 1:56
05 Merengue 3:56
06 Punk It Up 4:06
07 Legba 4:03
08 Jive My Baby 5:35
09 Song For Chango 2:49
10 Soweto 3:53
11 World's Famous 1:41
12 Duck For The Oyster 2:59

Malcolm McLaren - Duck Rock   (ogg  105mb)

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A clever exploitation of some classical tunes, or a prescient mixing of hip-hop with opera, of low and high culture? One never knows with McLaren. Not that the classics had never mixed with pop before (see "Whiter Shade of Pale," "Stranger in Paradise"), but McLaren was determined to bring the stories of opera kicking and screaming into the pop realm as well. On the single, the beautiful "Madam Butterfly," the formula works transcendently. McLaren plays Colonel Pinkerton and leaves the aria alone backed by hip-hop percussion, and the result is a seamless whole. The rest of the album, unfortunately, exists to pad out the single, and the various arias (from Carmen and Turandot) seemed dropped on top of what are some vague funk R&B grooves. Only "Lauretta" (from Puccini's opera Gianni Schicchi) gets close to a successful second try. .



Malcolm McLaren - Fans (flac 180mb)

01 Madam Butterfly (Un Bel Di Vedremo) 6:29
02 Fans (Nessun Dorma) 3:52
03 Carmen (L'Oiseau Rebelle) 4:54
04 Boys Chorus (La Sui Monti Dell' Est) 4:32
05 Lauretta (O Mio Babbino Caro) 5:21
06 Death Of Butterfly (Tu Tu Piccolo) 4:56

  (ogg  mb)

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Possibly the most bizarre of all of Malcolm McLaren's cross-cultural projects--even more than the opera/hip-hop blend FANS, or the world music/street culture blend of the pioneering Duck Rock--Malcolm McLaren presents World Famous Supreme Team Showcombines the rapping radio team which enlivened Duck Rock with...uh...Shakespeare. Yep, you've got your rap versions of Hamlet's soliloquy, the balcony scene from Romeo And Juliet, and other instantly recognizable works, set to deep house and hard hip-hop beats.

Unlike Fans or Duck Rock, which combined their disparate concepts in thoughtful and surprisingly influential ways, you can't help but feel that this is a novelty. Nevertheless, it's an oddly entertaining novelty. The album concludes with a new version of the first McLaren/Supreme Team collaboration, the legendary "Buffalo Gals."



 Malcolm McLaren - World Famous Supreme Team Show Round The Outside! (flac 356mb)

01 Operaa House! 5:50
02 World Tribe 3:49
03 Diva Loves Operaa House! 7:08
04 II Be Or Not II Be 4:09
05 Romeo And Juliet 3:10
06 Wherefor Art Thou? 5:50
07 Buffalo Gals II (Remix) 3:43
08 World Famous Supreme Team Radio Show (Remix) 5:27
09 Un Coche De Agua Negra 4:19
10 Aladdin's Scratch 3:42
Bonus
11 Aria On Air 4:08

Malcolm McLaren - World Famous Supreme Team Show Round The Outside!   (ogg  122mb)

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Without doubt the most punchy and rocking of the late Mr. McLaren's albums.  A house music album by the awkward, slightly sinister bloke who used to manage the Sex Pistols? Sounds rubbish. Some old straight whitey paying tribute to New York’s gay, black and Hispanic voguing craze? Pish. A musical fusion of Strauss’s waltzes and Detroit techno involving Eurythmic Dave Stewart, hoary old blues-rocker Jeff Beck and out-there acid-fried funk god Bootsy Collins? .... Dog’s breakfast.

And yet Waltz Darling is as far from being a dog’s breakfast as Jeremy Clarkson is from being a sex symbol. Trust me, it’s just a gorgeous, melting experience from start to finish, like slipping off a velvet robe and immersing oneself in a lavender bubble bath with a bottle of chilled $750 Krug to the side. Somehow, all those crazy, disparate elements come together to create something unutterably beautiful; celestial, even. It’s witty, wise and street-smart, too. Take the second track (and flop single) ‘Something’s Jumpin’ In Your Shirt’ – over an infectious, jittery rhythm track punctured by these great orchestral stabs, future house diva Lisa Marie delivers a lyric that just nails all the confusing, tentative, contradictory feelings of first time love. Elsewhere you get the thoroughly stately title track, the out and out dancefloor monster ‘Deep In Vogue’ and the arch Noel Coward-esque ‘Algernon’s Awfully Good At Algebra’.



Malcolm McLaren and The Bootzilla Orchestra - Waltz Darling (flac  241mb)
 
01 House Of The Blue Danube (An Instrumental) 4:54
02 Something's Jumpin' In Your Shirt 4:51
03 Waltz Darling 4:27
04 Shall We Dance 4:40
05 Deep In Vogue 4:02
06 Call A Wave 4:14
07 Algernon's Simply Awfully Good At Algebra 4:01
08 I Like You In Velvet 5:17

Malcolm McLaren and The Bootzilla Orchestra - Waltz Darling   (ogg   89mb)

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