Dec 31, 2017

Sundaze 1753

Hello, I wish you all.....a fulfilling New Year



The new year Eve also knew saint Sylvester’s day or old year’s day. This day is year last day on 31 December. Every year’s people celebrate the new year Eve by social gatherings, where people eat, dance, drink alcoholic and light fireworks. Many countries are celebrated the new year many ways. In Nigerian people are celebrate the new year Eve by going to the church, other go to the parties organized or communities and nightclubs.  Lagos Countdown is an event on the Nigeria. This event has attended average 100,000 people.

In Argentina, peoples are celebrated the new year Eve by dinner with the family of traditional dishes, asado, piononos and sandwiches de miga. Before the midnight on the streets, people enjoy the light fireworks and fireworks. The Argentina people wish happy new year 2018 each other. In the Brazil new year is the main holidays. The new year marks officially beginning the summer holidays. The traditionally Brazilians family or friends’ copious meal at home, in a private club or restaurants, bubbly is traditionally intoxicated. They are spending the Eve new year by the white dress. In united states, people are celebrating the Eve new year with the family-oriented activities, formal parties, and the other public events. The most popular party in the united states `ball drop` in the times square of the New York cities. There are many similar events in the New York city. Which respect the region culture, history, geography? Radio and TV broadcast the event and help to ingrain the American pop culture.

In the Bangladeshi people are celebrating the Eve new year around the Dhaka, Sylhet, Chittagong, Khulna, Rajshahi, Barisal, and COX`s Bazar, etc. Most people go to the parties at hotel or club, beaches. In the rode, side firecrackers blast at night in the sky. The bridges or roadside also light up in the night by colorful light. People enjoy together with their families.  Every Eve new year in the COX`s Bazar becomes a popular traveller destination for both foreign tourists and Bangladeshi.

The Bangladeshi Muslim people during the last Jumma in the last year payer on the mosque, so that the coming new year Allah may bless them and fruitful. The Hindu people arrange the puja and playing for that the coming year productive for them. The Christians go the Gijjah for watch night service. In the Indian people are celebrating the Eve new year around the Delhi, Chennai, Kolkata, Mumbai, Hyderabad, Pune, Bangalore, and Ahmedabad. The Eve new year also celebrates in other town and other cities. A lot of even and shows organized the India. The main events live concerts by Bollywood star. Most Indian people celebrate the Eve new year with the family. The Hindu community organized the pujah for fruitful the coming year. The Christians go the gijjah for watch night service.





Today's Artists are combining an inclination for melodic '60s pop with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!, they were one of the most influential alternative bands of the '90s. Led by Tim Gane and Laetitia Sadier, the ensemble either legitimized forms of music that were on the fringe of rock, or brought attention to strands of pop music -- bossa nova, lounge-pop, movie soundtracks -- that were traditionally banished from the rock lineage. The group's trademark sound -- a droning, hypnotic rhythm track overlaid with melodic, mesmerizing singsong vocals, often sung in French and often promoting revolutionary, Marxist politics -- was deceptively simple, providing the basis for a wide array of stylistic experiments over the course of their prolific career. ........N'Joy

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In 1985, Tim Gane formed McCarthy, a band from Essex, England known for their left-wing politics. Gane met the French-born Lætitia Sadier at a McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and to pursue her career. After three albums, McCarthy broke up in 1990 and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album) and ex-Chills bassist Martin Kean. The group's name was taken from a division of Vanguard Records demonstrating hi-fi effects.Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s—which, along with later offshoot Duophonic Ultra High Frequency Disks, would be commonly known as "Duophonic

The band originally comprised songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many lineup changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who played with the group from 1992 until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993, and who is still in the official line-up.

In 1992 Stereolab's first full-length album, Peng!, and first compilation, Switched On, were released on independent label Too Pure. Around this time, the lineup coalesced around Gane and Sadier plus vocalist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, keyboardist Katharine Gifford, and guitarist Sean O'Hagan of the 1980s famed Microdisney duo. Hansen, an Australian, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound until Hansen's death ten years later in 2002.

Beginning with their 1993 EP Space Age Batchelor Pad Music, the band began to incorporate easy-listening elements into their sound. This release raised Stereolab's profile and landed them a major-label American record deal with Elektra Records. Their next album, 1993's Transient Random-Noise Bursts with Announcements, was their first American release under Elektra, and became an underground hit in both the U.S. and the U.K. On 8 January 1994, Stereolab achieved their first chart entry when their 1993 EP Jenny Ondioline entered at #75 on the UK Singles Chart.

With their 1994 full-length, Mars Audiac Quintet, Stereolab focused more on pop and less on rock, the album makes heavy use of vintage electronic instruments, and also contains the single "Ping Pong", which gained press coverage for its allegedly explicitly Marxist lyrics. After releasing a 1995 collection of singles and B-sides called Refried Ectoplasm: Switched On, Vol. 2. Stereolab's 1996 album, Emperor Tomato Ketchup, was a critical success and was played heavily on college radio. A record that "captivated alternative rock", it represented Stereolab's "high-water mark". Krautrock techniques were still present, but the band stirred the pot with hip-hop sounds and complex instrumental arrangements. John McEntire (Tortoise) assisted with production and also played on Emperor Tomato Ketchup, while Katharine Gifford was replaced by Morgane Lhote before its recording, and bassist Duncan Brown by Richard Harrison afterward.

Dots and Loops was released in 1997, and was Stereolab's first album to enter the Billboard 200 charts, peaking at #111. Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness". Contributors to the album once again included John McEntire, along with Sean O'Hagan of The High Llamas and Jan St. Werner of German electropop duo Mouse on Mars. A Nurse With Wound collaboration, Simple Headphone Mind, appeared in 1997, and the third release in the "Switched On" series, Aluminum Tunes, followed in 1998.

The band then took a break from traveling while Gane and Sadier had a child. In 1999, Stereolab's next album appeared, titled Cobra and Phases Group Play Voltage in the Milky Night. Co-produced by McEntire and American producer Jim O'Rourke, the album earned mixed reviews for its lighter sound, and peaked at #154 on the Billboard 200. The full-length Sound-Dust followed in 2001, and rose to #178 on the Billboard 200. Again featuring producers McEntire and O'Rourke, it was more warmly received than the previous album with the emphasis less on unfocused experimentation and more on melody.

In 2002, Stereolab began to plan their next album, and started building a studio north of Bordeaux, France. In October 2002, the band released ABC Music: The Radio 1 Sessions; a compilation of BBC Radio 1 sessions. The year also saw Gane and Sadier end their romantic relationship. On 9 December 2002, longstanding band member Mary Hansen was killed when struck by a truck while riding her bicycle. Born in Maryborough, Queensland, Australia, Hansen earned the most attention for her vocal work with Stereolab, although she also played the guitar and keyboards. For the next few months, Stereolab lay dormant as the members grieved. They eventually decided to continue; as Sadier explained in a 2004 interview: "Losing Mary is still incredibly painful ... But it's also an opportunity to transform and move on. It's a new version. We've always had new versions, people coming in and out. That's life."

The full-length album Margerine Eclipse followed in 2004 to generally positive reviews, and peaked at #174 on the US Billboard 200. The track "Feel and Triple" was written in tribute to Hansen; according to Sadier "I was reflecting on my years with her ... reflecting on how we sometimes found it hard to express the love we had for one another. It was Stereolab's last record on their American label Elektra Records, which closed down in 2004. The album was followed by Oscillons from the Anti-Sun; a 2005 three-CD and one-DVD retrospective of the group's rarer material. In 2005 and 2006, Stereolab released six limited-edition singles which were collected in Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.

Serene Velocity, a "best-of" compilation focusing on the band's Elektra years, was released in late 2006. By June 2007, Stereolab's lineup comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. The band had finished the production of their next album, entitled Chemical Chords, which was released in August 2008 on the 4AD label. The release of the album was followed by an autumn tour of Europe and the United States. In April 2009, manager Martin Pike announced a pause in the band's career together for the time being. After 19 years, he stated they felt it was time to take a rest and move on to new projects.

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While the two years between Dots and Loops and Cobra resulted in stagnation, the two years separating Cobra and Sound-Dust find Stereolab deliberately recharging their creative juices, delving deeper into avant-garde composition and '60s swing pop in equal measures. As the album opens with the minimal "Black Ants in Sound-Dust," it's evident that the group has restructured and pushed forward, even if it means that they're adhering to their time-honored tradition of expanding their trademark sound with new arrangements and influences. Frankly, after the stagnation of Cobra, any movement forward is welcome, and initially the record seems like a bold move forward -- a Stereolab instrumental album where the arrangements and production take the proper forefront, since every recording since Amorphous Body Center has illustrated that that's the group's real strength. Then, "Captain EasyChord" kicks in with a familiar, albeit catchy, mid-tempo lounge groove and Laetitia Sadier's singsong vocals, and the album is immediately anchored in overly familiar territory. And that's the biggest problem with Sound-Dust -- by this point the group's melodies, singalong choruses, and Marxist platitudes no longer sound fresh, they often sound like a straightjacket, preventing the group from pushing forward into new territory. After all, if it's taken on a pure sonic level, Sound-Dust can often be quite pleasing and intriguing, especially the sophisticated horn and flute arrangements, which producer Jim O'Rourke makes lushly alluring. It's hard not to wish that the entire record was constructed simply of instrumentals of this sort, since that's when Stereolab sounds fully recharged and gorgeous. As it stands, the album is held back by their insistence on simple songs and simple vocals that keep the record earthbound and solely the province of the already converted.



Stereolab - Sound-Dust (flac 396mb)

01 Black Ants In Sound-Dust 1:57
02 Space Moth 7:33
03 Captain Easychord 5:25
04 Baby Lulu 5:12
05 The Black Arts 5:11
06 Hallucinex 3:48
07 Double Rocker 5:31
08 Gus The Mynahbird 9:03
09 Naught More Terrific Than Man 4:02
10 Nothing To Do With Me 3:33
11 Suggestion Diabolique 7:52
12 Les Bons Bons Des Raisons 6:43

Stereolab - Sound-Dust    (ogg  155mb)

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The three-disc, one-DVD mini-box set Oscillons From the Anti-Sun is not part of Stereolab's ongoing Switched On series, which rounds up the stray singles, EPs, and B-sides, but it's easy to see how the casual observer might think it's the fourth installment in the series. Instead, this 35-track box set contains material previously released on British and European CD singles and EPs between 1993 and 2000. Oscillons is not limited to featuring only the B-sides: such familiar A-sides as "Jenny Ondioline," "The Noise of Carpet," "Ping Pong," and "Cybele's Reverie" are here next to such non-LP cuts as "Fluorescences," as well as a host of B-sides, some of which were featured on the 1998 Switched On comp, Aluminum Tunes. Frustratingly, the EPs are neither presented in their original running order, nor is the music presented chronologically. Instead, the three discs jump around from EP to single, from year to year, without regard to the band's ever-shifting lineups. Despite this, the sequencing of the music flows well, and it's an entertaining listen since this indeed covers the group's peak years. Nevertheless, it's hard to imagine that any fan who followed Stereolab with any regularity not having the great majority of this material, which surely is why the DVD was included with this set. It's a nice DVD, containing all of the promo videos from the mid- to late '90s -- "Jenny Ondioline" through "The Free Design" -- along with U.K. TV performances from the group's appearances on The Word and Later With Jools Holland. Of course, replacing singles with box sets runs contrary to the nature of Stereolab and their fans, who are positively enamored with rare pieces of vinyl and limited-edition CDs, but this is still a good way to get all of the music on those singles and EPs, even if the presentation and sequencing could have been a bit better.



Stereolab - Oscillons From The Anti-Sun #1 (flac  325mb)

01 Fluorescences 3:23
02 Allures 3:29
03 Fruition 3:51
04 Wow And Flutter 3:07
05 With Friends Like These 5:50
06 Pinball 3:13
07 Spinal Column 2:54
08 Ping Pong (Unreleased LP Version) 3:02
09 Golden Ball 6:26
10 Cybele's Reverie 2:56
11 Nihilist Assault Group (Parts 3,4,5) 7:13
12 Off On 5:26

Stereolab - Oscillons From The Anti-Sun #1    (ogg  113mb)

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Stereolab - Stereolab - Oscillons From The Anti-Sun #2 (flac  368mb)

01 Jenny Ondioline 3:53
02 Young Lungs 6:34
03 Escape Pod (From The World Of Medical Observations) 3:57
04 Moodles 7:23
05 You Used To Call Me Sadness 5:11
06 Captain Easychord 2:54
07 Les Aimies Des Mêmes 3:55
08 French Disco 4:27
09 Transona Five [Live] 5:42
10 Moogie Wonderland 3:34
11 Canned Candies 4:14
12 Narco Martenot 4:23

Stereolab - Stereolab - Oscillons From The Anti-Sun #2  (ogg  127mb)

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Stereolab - Stereolab - Oscillons From The Anti-Sun #3 (flac  385mb)

01 The Noise Of Carpet (US Single) 3:07
02 The Free Design 3:46
03 Les Yper Yper Sound 5:18
04 Pain Et Spectacles 3:31
05 Ping Pong 3:03
06 Long Life Love 7:06
07 Jenny Ondioline (Alternate Version) 6:08
08 Heavy Denim 2:50
09 Brigitte 5:47
10 Miss Modular 4:13
11 Soop Groove #1 13:07

Stereolab - Stereolab - Oscillons From The Anti-Sun #3  (ogg  139mb)

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Dec 30, 2017

RhoDeo 1752 Grooves

Hello, a new year coming up and what do you know, a new fast host FileFlares, let me know how you f(l)are


Today's music should prepare you for a cool New Years Eve party  .....N'joy

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This four-CD, anthologizes the London-based Acid Jazz label -- founded by Eddie Piller and Gilles Peterson -- and the same-named scene that birthed it. The term was jokingly coined in 1987 by DJ/producer Chris Bangs as a way to contend with the emergence of acid house. Unlikely as it was, acid jazz stuck and denominated a club scene that devoured rare soul, jazz, and funk (and hybrids thereof), as well as the then-current music that drew from and sampled it. The scene produced groups that put their own -- if sometimes reverential to a fault -- spin on it, and the label eventually extended its reach across continents by releasing music from the likes of the Brand New Heavies and Jamiroquai. Disc one reflects the foundation -- the cult favorites and classics spun by the club and warehouse party DJs, ranging chronologically and stylistically from bop (Mark Murphy's 1961 version of Miles Davis' "Milestones") to post-disco funk (Dinosaur L's "Go Bang! #5," released in 1982, mixed by François K). Discs two and three switch between proper Acid Jazz releases and selections championed by the scene. The above-mentioned groups are represented with key cuts, and so are James Taylor Quartet (in contemporary and full-on throwback modes), the Isley Brothers-referencing Night Trains, the seemingly kitschy but storming Snowboy, and tranquil rockers Mother Earth. Among the highlights not issued on the label: Gang Starr's "Jazz Thing" (a history lesson and fresh DJ Premier production at once), Soho's "Hot Music" (a sample cut-up classic), and Young Disciples' "Get Yourself Together" (contemporary soul released on Talkin' Loud, another Peterson venture). Incognito, a U.K. jazz-funk group established half a decade prior to the scene, are acknowledged with the inclusion of their Jocelyn Brown-led version of Ronnie Laws' "Always There." Disc four is devoted to stoned grooves from the likes of Paul Weller, Cypress Hill, and Jhelisa. The box itself is sturdy and contains a booklet of track information and excellent liner notes (from the label's Dean Rudland), as well as a 50-page hardcover book that showcases the label's artwork, and a Brand New Heavies 7" single. Done with the high level of care expected from the Harmless label, it should be a delight for anyone familiar or new to acid jazz and Acid Jazz.


CD1 - Older tracks played at the club nights and that influenced the scene
CD2 - Tracks from the era played at the club nights
CD3 - The labels own big hitters
CD4 - A chillout CD, mix of older classics and newer too. Lots of reggae, dub etc.

There's a huge display of talent and diversity here, so even if the plethora of hip-hop tracks sometimes tip the balance into "skip, next track" territory, it's not long until you're treated to a series of extended jazz grooves or spacey dub work outs. When presented with such a cracking box set lovingly put together it's difficult to complain. Total time: 5:12:54



Acid Jazz- Put It All Together & What Do You Get   (flac   515mb)

01 José Feliciano - Golden Lady (4:20)
02 The Isley Brothers - Love The One You're With (3:39)
03 Gil Scott-Heron - Lady Day & John Coltrane (3:34)
04 Tyrone Davis - Is It Something You Got (7" Version) (2:34)
05 Alice Clark - Don't You Care (2:48)
06 Spanky Wilson - You (7" Version) (2:10)
07 Erma Franklin - Light My Fire (2:39)
08 Clarence Wheeler & The Enforcers - Right On (4:39)
09 The Quik - Bert's Apple Crumble (7" Version) (2:11)
10 Jimmy Smith - Who's Afraid of Virginia Wolfe Part 2 (4:58)
11 Mark Murphy - Milestones (2:27)
12 The Googie Rene Combo - Smokey Joe's La La (7" Version) (2:53)
13 Ivan "Boogaloo Joe" Jones - Black Whip (6:46)
14 Charles Earland - Murriley (6:28)
15 Lonnie Liston Smith & The Cosmic Echoes - Expansions (6:05)
16 Dinosaur L - Go Bang #5 (François Kevorkian's 12" Mix) (7:33)
17 Chicago - I'm A Man (7:38)
18 Small Faces - I Can't Dance With You (7" Version) (3:11)
19 Sydney Joe Qualls - I Don't Do This (To Every Girl I Meet) (3:12)

Acid Jazz- Put It All Together & What Do You Get (ogg    193mb)

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Acid Jazz 2 Something Happening At The Dance (flac 514mb)

01 Ballistic Brothers - Blacker (6:09)
02 Diana Brown & Barry Sharpe - The Masterplan (12" Version) (7:05)
03 S.O.H.O. - Hot Music (12" Jazz Version) (5:06)
04 Young MC - Know How (12" Mix) (4:01)
05 Sugar Bear - Don't Scandalize Mine (12" Version) (4:13)
06 Nuyorican Soul - The Nervous Track (12" Ballsy Mix) (6:28)
07 A Man Called Adam - Earthly Powers (7" Mix) (4:55)
08 Jestofunk - I'm Gonna Love You (MC Turbo's 12" Sax Mix) (4:20)
09 The Apostles - Super Strut (4:20)
10 Stonebridge - Jazzy John's Freestyle (12" Dub Mix) (3:38)
11 Arthur Miles - Helping Hand (12" Mix) (4:39)
12 Dread Flimstone - From The Ghetto (7" Version) (4:35)
13 Espiritu - Bonita Manana (12" Mix) (4:06)
14 A Tribe Called Quest - If The Papes Come (12" Mix) (4:14)
15 The Brand New Heavies - BNH (5:52)
16 Galliano - Frederick Lies Still (7" Version) (4:59)

Acid Jazz 2 Something Happening At The Dance (ogg   184mb)

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Acid Jazz 3 How'd We Get Us Here...?     (flac 500mb)

01 Gang Starr - Jazz Thing (12" Mix) (4:48)
02 Young Disciples - Get Yourself Together (12" Mix) (5:23)
03 The Brand New Heavies - Dream Come True (12" Mix) (4:50)
04 The James Taylor Quartet - Love Will Keep Us Together (Ian Green's 7" Mix) (3:41)
05 Snowboy - The New Avengers (12" Mix) (4:32)
06 A Forest Mighty Black - Fresh In My Mind (12" Mix) (4:38)
07 Pharcyde - Oh Shit (4:29)
08 Chapter & The Verse - Black Whip (12" Mix) (3:59)
09 King Bee - Back by Dope Demand (12" Mix) (3:35)
10 The James Taylor Quartet - Theme From Starsky & Hutch (12" Mix) (5:52)
11 Incognito - Always There (Radio Edit) (3:34)
12 Jamiroquai - Too Young To Die (6:03)
13 Mother Earth - Apple Green (4:24)
14 The Night Trains - Love Sick (12" Mix) (4:26)
15 Humble Souls - Beads Things & Flowers (12" Mix) 1 (4:05)
16 One Creed - The Ladder (5:03)
17 Primal Scream - Funky Jam (12" Mix) (5:25)

Acid Jazz 3 How'd We Get Us Here...?   (ogg    183mb)

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Acid Jazz 4 Smokers Delight     (flac 409mb)

01 Paul Weller - Cosmos SX 2000 (12" Dub Mix) (7:19)
02 Mother Earth - Non Corporealness (6:04)
03 Mr. Scruff vs. Manasseh - Rassellas (5:55)
04 The Roots Radics Meet The Scientist - Movements In Dub (Roots) (5:08)
05 Dread Flimstone - Render Your Heart (12" Mix) (5:02)
06 Max Romeo - Chase The Devil (7" Version) (3:27)
07 Delroy Wilson - You Never Get Away (12" Dub Mix) (7:22)
08 Emperors New Clothes - Leaders & Believers (UNKLE Mix) (5:14)
09 Snowboy - Astralisation (12" Mix) (6:10)
10 Jeff & The Fresh Prince ft. Grover Washington Jr. - The Groove (Jazzy's Groove Instrumental) (5:33)
11 Cypress Hill - I Wanna Get High (12" Mix) (2:56)
12 Jhelisa - Galactica Rush (12" Instrumental Mix) (6:01)
13 Sandals - Nothing (12" Dub Version) (8:02)

Acid Jazz 4 Smokers Delight (ogg    160mb)

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Dec 29, 2017

RhoDeo 1752 Re-Ups 127

Hello, just 6 correct requests this week, here is another batch of 19 re-ups (6 gig)


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

Looka here , requests fulfilled up to December 28th.... N'Joy

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3x Beats Back In Flac (AFX - Analord 01, 02, 03, AFX - Analord 04, 05, 06, 07, AFX - Analord 08, 09, 10, 11)


4x Beats Back In Flac (Aphex Twin - Classics , Aphex Twin - Richard D James Album, Aphex Twin - 26 Mixes For Cash I, Aphex Twin - 26 Mixes For Cash II)


4x Roots NOW in Flac (Black Uhuru - Sinsemilla, Black Uhuru - Red, Black Uhuru - Anthem, Black Uhuru - The Dub Factor )



1x Roots  Still in Ogg  (Sheila Chandra - The Struggle)


4x Aetix  Back in Flac  (Dead Boys - Younger, Louder, Snotty, Dead Boys - Night Of The Living Dead Boys, Rocket From The Tombs - Rocket Redux,  Rocket From The Tombs - The Day the Earth Met the Rocket)


3x Aetix Back In Flac ( Julian Cope - World Shut Your Mouth, Julian Cope - Fried, Julian Cope - My Nation Underground)

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Dec 27, 2017

RhoDeo 1752 Aetix

Hello, that's Xmas 2017, time to prepare for 2018

Today's artists' are an underground band from the Netherlands that formed in 1979 at the height of the original punk explosion. Playing a hybrid of punk to advance their liberal socialist agenda (serving as the rough equivalent of a Dutch Crass), the Ex put out reams of records and propaganda during the '80s -- each released on a different Dutch label -- but in the '90s began to embrace industrial forms of percussion and improvisation more in line with Einstürzende Neubauten and Test Dept. Formed in the late '70s, the group debuted at the turn of the decade with Disturbing Domestic Peace.  Initially known as an anarcho-punk band, they have since released over 20 full-length albums of musical experiments and numerous collaborations blending punk and free jazz with styles of folk music from all over the world.. ...N'Joy

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The Ex's music has undergone significant evolution over the years from their beginnings as a punk band. Founded by singer Jos Kley (better known as G.W. Sok), guitarist Terrie Hessels, drummer Geurt and bassist René, the band debuted with a song titled "Stupid Americans" on the Utreg-Punx vinyl 7" compilation released by Rock Against records in Rotterdam. The release of their first 7" All Corpses Smell the Same followed shortly after that, in 1980. Through the decades their music has gradually developed into its current form of highly intricate, experimental punk/post-punk/no wave-inspired work.

Expanding beyond punk rock, The Ex have incorporated a wide array of influences, often from non-Western and non-rock sources. Some include Hungarian and Turkish folk songs, and more recently music from Ethiopia, Congo and Eritrea (the independence song of Eritrea is covered by The Ex to kick off their 2004 album Turn). Other examples of branching out stylistically include the improvised double album Instant and a release under the moniker Ex Orkest, a 20 piece big band assembled for performances at Holland Festival.

Throughout the early 1980s The Ex went through many line-up changes before settling on the core quartet of G.W. Sok on vocals, Terrie on guitar, Luc on bass and Kat on drums. In the early 1990s, Andy became the band's permanent 2nd guitarist. In 2003 Luc left the band after 19 years, to be replaced by double bassist Rozemarie Heggen. In 2005 Heggen in turn left the band and Colin (formerly of the Dog Faced Hermans) served as the band's bass player for recordings and tours with Ethiopian saxophone legend Getatchew Mekuria before becoming The Ex's sound board operator. Guitarists Andy Moor and Terrie Hessels have since filled in bass parts by switching off on baritone guitar.

The band has collaborated with many disparate artists, including UK anarchist band Chumbawamba (sometimes using the name Antidote), the Dog Faced Hermans (one former member, Andy Moor, has played guitar in The Ex since 1990), and with the late avant-garde cellist Tom Cora in the early 1990s, resulting in the album Scrabbling at the Lock (1991) and the follow-up And the Weathermen Shrug Their Shoulders (1993). The album In the Fishtank 5 (1999) was made with Chicago's Tortoise, and on In the Fishtank 9 (2001) they collaborated with members of Sonic Youth and the Dutch improvisers Instant Composers Pool Orchestra (ICP).

In 2009, after 30 years with the group, singer and co-founder G.W. Sok announced his departure from the band. Sok did so, believing he lacked sufficient enthusiasm to continue with the group, having decided to focus on writing and graphic design as well as singing in new musical projects with several other bands. His replacement is Arnold de Boer from the Dutch group Zea, with whom The Ex have toured and collaborated. In addition to singing, De Boer plays guitar and utilizes samples with The Ex.

The Ex is the subject of a documentary, Beautiful Frenzy (2004) by Christina Hallström and Mandra U. Wabäck, and the concert film Building a Broken Mousetrap (2006), directed by Jem Cohen. In 2008 the band was also featured in the film Roll Up Your Sleeves, directed by Dylan Haskins. In 2011 The Ex were chosen by Caribou to perform at and co-curate the All Tomorrow's Parties music festival in Minehead, England.


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Long, very long, feels not quite as urgent as "Blueprints" but it's definitely The Ex, with all those strange rhythms and percussive guitars. Many (most?) of the tracks are live, and it may be best to take two sides at a time instead of trying to digest the whole mess. You might notice that they cover Chumbawamba's "Adversity," and then there's a nice bit you might recall having heard sampled in Chumba's "Do The Revolution."



 The Ex - Too Many Cowboys (flac  485mb)

01 Red & Black 5:47
02 White Shirts 3:53
03 Adversity 0:30
04 People Again 4:12
05 Knock 2:46
06 Hands Up, You're Free 3:06
07 Ignorance 2:54
08 Butter Or Bombs 4:11
09 Dumbo 3:18
10 How Can One Sell The Air 5:46
11 Business As Usual 5:56
12 Olympigs 4:19
13 Choice 2:58
14 A Job / Stupid 2:40
15 Oops 6:32
16 No Fear 5:04
17 Vivisection 1:19
18 A Piece Of Paper 6:37
19 They Shall Not Pass 3:28

The Ex - Too Many Cowboys   (ogg   185mb)

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These dutch Aural Guerillas put Sonic Youth to shame. Granted, Thurston M. & co. win in the songwriting department but this is actually the first The Ex album where they get everything (edit: most things) right. Unlike earlier efforts there's not only layer upon layer of scraping guitar noise but here the band also manage to channel the chaos & rage and shape it into tight slabs of fierce anarchonoiserockpunkandwhatnot with strong hooks. Rather different from the melody-less agit prop of yore. Aural Guerilla is the moment where The Ex evolves from being the sonic equivalent of a political pamphlet into a musically interesting band which matters. And they would only get better, way into the 90s.



The Ex - Aural Guerrilla   (flac 262mb)

01 Headache By Numbers 2:34
02 Fashionation 4:02
03 2.2 2:57
04 Carcass 5:12
05 Welcome To The Asylum 4:17
06 Meanwhile At McDonna's 2:58
07 Shooting-Party 2:20
08 Evolution(?) 4:38
09 A Motorbike In Africa 7:12
10 Godgloeiendeteringklootzak 4:01

The Ex - Aural Guerrilla   (ogg  93mb)

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The Ex compiling the group's three different Peel sessions recorded for BBC Radio 1 during the 1980s. The Ex released the collection on their own label, Ex Records, first on vinyl in June 1988, then on CD in 2003.

Session 1 (track 1-4) took place on September 4, 1983.
Session 2 (track 5-8) was recorded on November 24, 1985.
Session 3 (track 9-12) dates from November 30, 1986.
All sessions were at the BBC's Maida Vale Studios in London, England.
Except for track 8 (which was never released before), all songs appear in different musical settings (while recorded elsewhere in time and place) on various other (formerly vinylised) Ex-products.



 The Ex - Hands Up! You're Free (flac 284mb)

01 Crap-Rap 2:14
02 U.S.Hole 3:21
03 Pleased To Meat You 3:20
04 Scrub That Scum 7:39
05 Choice 3:04
06 Hands Up! You're Free 5:04
07 Butter Or Bombs 4:37
08 Uh-Oh Africa 3:56
09 Knock 2:42
10 Ignorance 2:53
11 A Job/Stupid 2:37
12 Business As Usual 5:31

The Ex - Hands Up! You're Free   (ogg  113mb)

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The long-standing Dutch anarchist punk group's magnum opus double album in many ways recall the extended collages of the Crass albums, whereby the sessions were not strictly performed by the entire group, but were in fact collections of solo tapes, ad-hoc collaborations, and improvised sketches. There are plenty of full-throttle Ex avant-punk tracks, however, and collaborators include numerous players from the free improvisation world, as well as members of Sonic Youth, who contribute their parts by tape and even apparently via telephone on one piece featuring Kim Gordon. Joggers and Smoggers marks a tuning point in the group's sound; from this point they would embrace more fully the aesthetics and methods of avant-garde jazz, free improvisation, and delicate European folk. Over the four sides, this is an excellent introduction to the labyrinthine world of one of the most inspired and inventive groups in European post punk. Highly recommended release from their expansive catalog, along with their collaborations with Tom Cora and the more strictly avant-rock album Mudbird Shivers, this is among their most focused and courageous work.



 The Ex - Joggers & Smoggers   (flac 478mb)

101 Humm (The Full House Mumble)
102 At The Gate
103 Pigs & Scales
104 Coughing
105 Morning Star
106 Wall Has Ears
107 Invitation To The Dance
108 Tightly Stretched
109 Ask The Prisoner
110 To Be Clear
111 Gentlemen
112 Make That Call
113 The Buzzword Medley
114 Shopping Street
115 Crackle Engines Vrôp Vrôp
116 Greetings From Urbania
201 Wired
202 Got Everything?
203 Waarom Niet
204 Courtyard
205 Burst!crack!split
206 Brickbat
207 Hieronymus
208 Nosey Parker
209 People Who Venture
210 Watch The Driver
211 Let's Get Sceptical
212 Tin Gods
213 The State Of Freedom
214 Provisionally Untitled
215 Kachun-k-pschûh
216 The Early Bird's Worm
217 Catkin
218 Upstairs With Picasso

The Ex - Joggers & Smoggers     (ogg  205mb)

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6 is a collection of six singles by Dutch musical group The Ex. The singles were available in record shops and also through a subscription with a new one being issued every two months throughout 1991. Each of the singles explored different facets of The Ex's musical relationships and interests, featuring collaborations with an array of musicians and other artists. The 6 singles were not released on The Ex's CD collection, Singles. Period. The Vinyl Years 1980–1990 as they comprised an album to be collected and stored in a single box. The band announced plans to reissue the collection on CD in 2010, but have yet to do so

Each of the 6 singles featured cover art riffing off an iconic image by Soviet Constructivist artist Alexander Rodchenko. The 1924 original featured a portrait of Lilya Brik with hair pulled back under a bandanna and hand raised to her mouth, shouting "КНИГИ!" ("BOOKS!")[3] The Ex maintained Rodchenko's format, swapping Brik out for each record's primary vocalist and filling in the record's song titles and issue number, 6.1 through 6.6, as the shouted text. The corners of each record's cover bore the band's name along with those of any guests appearing on the recording.

6.1 came in a paper shopping bag screenprinted with the image of a despised Dutch politician bearing the words, "This is an Amsterdam Scumbag". In addition to the record, the bag contained a Rodchenko-stylized die-cut box for storing all six 7-inch singles as they were released. Because 6.4 was a double 7", the box was filled up with the release of 6.5, and 6.6 revealed itself to be a 12" single, supplemental to the 7" box set. All the records were issued with various inserts, including booklets, buttons, leaflets, posters and stickers.
Music

Every issue of 6 had a special theme. 6.1 bore two songs sung by Ex vocalist G.W. Sok and were characteristic of the band's music from that period. 6.2 featured vocals and saz by Brader Mûsîkî, a Kurdish musician who had previously collaborated with The Ex on their album Joggers and Smoggers. On 6.3, The Ex's drummer Kat Bornefeld stepped up to the mic to sing the Hungarian folk song "Hidegen Fújnak a Szelek" ("Cold Winds Are Blowing"), a song that also appeared on the band's first album with Tom Cora and became one of The Ex's most well-known songs.

The double 7" 6.4 had The Ex playing live with improvisational elements added by members of the Dog Faced Hermans and Amsterdam's Instant Composers Pool. 6.5 offered commentary on the dominance of the English language from Belgian comedians Kamagurka and Herr Seele, and 6.6. had The Ex exploring the genres of dance and rap music as was implied by the 12" single's format at the time.



The Ex - 6pack (flac  350mb)
 
6.1
01 Slimy Toad
02 Jake's Cake
6.2
03 Millîtan
04 Çemê Rynê
6.3
05 Hidegen Fujnák A Szelek
06 She Said
07 She Said (Live)
6.4 - Bimhuis 29/06/91: 6.4¹ & 6.4²
08 A Pretty Cattle Office
09 Shopping Street
10 Wolter 'n' Andy
11 Kat 'n' Ab
6.5: This Song Is In English
12 This Song Is In English (Voc Kamagurka)
13 Dit Lied Is In 't Engels (Voc Kamagurka)
6.6
14 Euroconfusion
15 A Bird In The Hand

The Ex - Sixpack     (ogg   153mb)

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Dec 26, 2017

RhoDeo 1752 Roots

Hello,

Today's artists are an instrumental and vocal Latin American folk music ensemble from Chile. The group was formed in 1967 by a group of university students and it acquired widespread popularity in Chile for their song Venceremos (We shall win!) which became the anthem of the Popular Unity government of Salvador Allende. During their exile in Europe their music took on a multifarious character, incorporating elements of European baroque and other traditional music forms to their rich and colourful Latin American rhythms - creating a distinctive fusion of modern world music. They are perhaps the best internationally known members of the nueva canción movement. .....N'Joy

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For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music -- something few did back then -- and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically -- enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken.

While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a Best Of disc in Italy (not to be confused with the 2000 Best Of on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's Amar de Nuevo looked at the complete spectrum of Latin roots music and its Creole heritage.

In the past the group was musically led by Horacio Salinas and politically led by Jorge Coulon. However, in 2001 there was a controversial split of the group, which started when three key members left the group (José Seves, Horacio Durán and Horacio Salinas). They were replaced by Manuel Meriño (from Entrama), Cristián González and Juan Flores. Due to the importance of departed members, many called into question the ability of the remainder to carry on the Inti-Illimani name. Meanwhile, the three departed members started their own group they call Inti-Histórico. From 2005 there are two groups:

    Inti-Illimani New (Coulon brothers)
    Inti-Illimani Histórico (José Seves, Horacio Durán and Horacio Salinas)

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Inti-illimani's assortment of wind, string and percussion instruments, in collaboration with the two master guitarists, has now yielded a world music recording which celebrates unity in diversity while managing to communicate the deep-rooted commitment to freedom and human rights at the core of Inti-Illimani's music.



Inti-Illimani - Leyenda   (flac  238mb)

01 Preludio Y Festejo 7:06
02 Sensemayá 3:49
03 Farruca 2:54
04 Huajra 3:32
05 Crónicas De Una Ausencia 7:35
06 Alondras 6:05
07 Juanito Laguna Remonta Un Barrilete 4:46
08 David Of The White Rock 1:59
09 La Fiesta De La Tirana 3:21
10 Cándidos 4:42
11 Tarantela - Canna Austina 6:24

Inti-Illimani - Leyenda   (ogg  120 mb)

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When dictator Augusto Pinochet seized power in Chile in 1973 with the help of the CIA, artists and musicians were often singled out for persecution. The members of Inti-Illimani, an adventurous group that had been formed in 1967, were among those who fled the country, but they continued to record and tour outside of Chile. Inti-Illimani was still going strong when Xenophile released Arriesgare La Piel in 1996, which showed how eclectic and unpredictable the group can be. The music of Chilean and South American Indians is a strong influence on this album, but Spanish influence is equally prominent. Though ballads and slow tempos are a high priority, Inti-Illimani provides a very dancable and invigorating mixture of Afro-Cuban and Peruvian elements on "El Negro Bembon," "Caramba, Yo Soy Dueno Del Baron" and "El Hacha." Inti-Illimani has recorded many memorable albums over the years, and Arriesgare La Piel is certainly up to the Chileans' high standards.



Inti-Illimani - Arriesgare la Piel (I will risk my skin)     (flac  277mb)

01 Medianoche 4:14
02 Maria Canela 2:12
03 El Hacha 5:54
04 Entre Nosotros 4:00
05 Quién Eres Tú 3:24
06 Arriesgaré La Piel (I Will Risk My Skin) 5:30
07 Kalimba 6:09
08 Cumpleaños 80 De Nicanor 3:58
09 Caramba, Yo Soy Dueño Del Barón 4:27
10 El Negro Bembón 4:02
11 Kulliacas 3:10
12 Canto De Las Estrellas 4:50

Inti-Illimani - Arriesgare la Piel   (ogg  119mb)

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Víctor Lidio Jara Martínez was a Chilean teacher, theater director, poet, singer-songwriter, and political activist. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.

Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the regime of Augusto Pinochet.

The majority of the songs correspond to covers of songs of Víctor Jara. However, «Canción A Víctor» and «Canto de las estrellas» are creations of members of Inti-Illimani.5 The song «Las siete rejas», on the other hand, is performed in conjunction with Víctor Jara. The next two songs are recorded live, and the next, ending the disc, corresponds to an orchestrated version. On the cover of the album there is a black and white photo of Víctor Jara sitting on the sidewalk of a street.



Inti-Illimani - Interpreta A Victor Jara     (flac  283mb)

01 La Partida 3:32
02 El Aparecido 3:35
03 El Arado 4:51
04 Charagua 2:57
05 Vientos Del Pueblo 3:12
06 Cai Cai Vilú 2:58
07 Luchín 3:01
08 A Luis Emilio Recabarren 2:32
09 Angelita Huenumán 3:10
10 Canción A Víctor 3:13
11 Canto De Las Estrellas 4:54
12 Las Siete Rejas 3:26
13 La Partida (en vivo) 3:48
14 El Arado (en vivo) 3:55
15 El Aparecido (con orchestra) 3:53

Inti-Illimani - Interpreta A Victor Jara (ogg  155mb)

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It's a testament to Inti-Illimani's art that they can still sound so inspired this far into their career. In many ways this might be one of their most successful albums to date, seamlessly integrating the Andean sound that's always been at the heart of their music with a view that can be almost classical at times. Both songs and instrumentals fare well, although it's wordless tracks like "Hunting the Nandu" and "Maybe Tomorrow" that come across as the most graceful. As always, the band isn't precious about its own material, happily drawing from Peruvian ("Qapac Chunchu") and Mexican ("Malagueña") traditions. They've learned over the years that less can often be more, so the arrangements never overwhelm the melody, leaving a balance of great beauty and delicacy. Even where they do employ strings, on "Malagueña," they're used sparingly. Apparent on every track is the lovely sense of melody that's always been a hallmark of the group, and an awareness of the region's Andean heritage that colors much of the music. Considered and accomplished, but still suffused with joy, this is a classic.



Inti-Illimani - Lugares Comunes   (flac  242mb)

01 Sobre Tu Playa 4:58
02 A La Caza Del Nandú 5:14
03 El Surco 4:24
04 Salmo De La Rosa Verdadera 3:11
05 Mañana Quizás 2:33
06 Qapac Chunchu 5:10
07 Tú No Te Irás 2:48
08 Malagueña 3:08
09 Vino Del Mar 4:08
10 Caro Nino 4:41

  Inti-Illimani - Lugares Comunes (ogg  93mb )

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Dec 25, 2017

RhoDeo 1752 X'mas

Hello, as it's a special day no radioplay today, not to worry next week there's more to come from Neil Gaiman. meanwhile rests me to wish you a merry Christmas, who knows how merry it will be next year, the world is speeding up and who knows when it's finally out of control..





Two mystery gifts to ......'N Joy

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This one is for the whole family
A great voice with the rich enhanced production values of the full orchestra. A lush and uplifting recording that adds to the pleasant parts of the Christmas season, quite simply still one of the best holiday albums available and as a soundtrack to dinner on the big day, you won’t find much finer......



3 generations (flac 327mb)


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Should you feel to need to retreat from all that generational fun, here's relief....

A deep and moving experience from beginning to end. Never becoming overwhelming yet always holding onto the listener emotionally, it dives deep into our psyches and tears at what makes us human, what makes us feel. Silent Heart was years in the making and proves yet again that the best things take time and patience to create.  Probably the most emotionally gripping of all. While often giving one the feeling of being in the midst of a dark and desolate landscape, The Human Voice manages to manipulate the mind itself, pulling us through deeply melancholic and personal passages, reflecting the dark waters of a tortured soul. Silent Heart is highly recommended to any fan of the more subdued and personal side of dark ambient. However, if that kind of thing doesn't usually tickle your fancy, you may find that this album is the exception.



Human Voice (flac 220mb)

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Dec 24, 2017

Sundaze 1752

Hello, it's almost Christmas i wonder how those filthy rich spend these festive days surrounded by those happy little people dreaming of a white X'mas will they be jealous


Today's Artists are combining an inclination for melodic '60s pop with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!, they were one of the most influential alternative bands of the '90s. Led by Tim Gane and Laetitia Sadier, the ensemble either legitimized forms of music that were on the fringe of rock, or brought attention to strands of pop music -- bossa nova, lounge-pop, movie soundtracks -- that were traditionally banished from the rock lineage. The group's trademark sound -- a droning, hypnotic rhythm track overlaid with melodic, mesmerizing singsong vocals, often sung in French and often promoting revolutionary, Marxist politics -- was deceptively simple, providing the basis for a wide array of stylistic experiments over the course of their prolific career. ........N'Joy

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In 1985, Tim Gane formed McCarthy, a band from Essex, England known for their left-wing politics. Gane met the French-born Lætitia Sadier at a McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and to pursue her career. After three albums, McCarthy broke up in 1990 and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album) and ex-Chills bassist Martin Kean. The group's name was taken from a division of Vanguard Records demonstrating hi-fi effects.Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s—which, along with later offshoot Duophonic Ultra High Frequency Disks, would be commonly known as "Duophonic

The band originally comprised songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many lineup changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who played with the group from 1992 until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993, and who is still in the official line-up.

In 1992 Stereolab's first full-length album, Peng!, and first compilation, Switched On, were released on independent label Too Pure. Around this time, the lineup coalesced around Gane and Sadier plus vocalist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, keyboardist Katharine Gifford, and guitarist Sean O'Hagan of the 1980s famed Microdisney duo. Hansen, an Australian, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound until Hansen's death ten years later in 2002.

Beginning with their 1993 EP Space Age Batchelor Pad Music, the band began to incorporate easy-listening elements into their sound. This release raised Stereolab's profile and landed them a major-label American record deal with Elektra Records. Their next album, 1993's Transient Random-Noise Bursts with Announcements, was their first American release under Elektra, and became an underground hit in both the U.S. and the U.K. On 8 January 1994, Stereolab achieved their first chart entry when their 1993 EP Jenny Ondioline entered at #75 on the UK Singles Chart.

With their 1994 full-length, Mars Audiac Quintet, Stereolab focused more on pop and less on rock, the album makes heavy use of vintage electronic instruments, and also contains the single "Ping Pong", which gained press coverage for its allegedly explicitly Marxist lyrics. After releasing a 1995 collection of singles and B-sides called Refried Ectoplasm: Switched On, Vol. 2. Stereolab's 1996 album, Emperor Tomato Ketchup, was a critical success and was played heavily on college radio. A record that "captivated alternative rock", it represented Stereolab's "high-water mark". Krautrock techniques were still present, but the band stirred the pot with hip-hop sounds and complex instrumental arrangements. John McEntire (Tortoise) assisted with production and also played on Emperor Tomato Ketchup, while Katharine Gifford was replaced by Morgane Lhote before its recording, and bassist Duncan Brown by Richard Harrison afterward.

Dots and Loops was released in 1997, and was Stereolab's first album to enter the Billboard 200 charts, peaking at #111. Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness". Contributors to the album once again included John McEntire, along with Sean O'Hagan of The High Llamas and Jan St. Werner of German electropop duo Mouse on Mars. A Nurse With Wound collaboration, Simple Headphone Mind, appeared in 1997, and the third release in the "Switched On" series, Aluminum Tunes, followed in 1998.

The band then took a break from traveling while Gane and Sadier had a child. In 1999, Stereolab's next album appeared, titled Cobra and Phases Group Play Voltage in the Milky Night. Co-produced by McEntire and American producer Jim O'Rourke, the album earned mixed reviews for its lighter sound, and peaked at #154 on the Billboard 200. The full-length Sound-Dust followed in 2001, and rose to #178 on the Billboard 200. Again featuring producers McEntire and O'Rourke, it was more warmly received than the previous album with the emphasis less on unfocused experimentation and more on melody.

In 2002, Stereolab began to plan their next album, and started building a studio north of Bordeaux, France. In October 2002, the band released ABC Music: The Radio 1 Sessions; a compilation of BBC Radio 1 sessions. The year also saw Gane and Sadier end their romantic relationship. On 9 December 2002, longstanding band member Mary Hansen was killed when struck by a truck while riding her bicycle. Born in Maryborough, Queensland, Australia, Hansen earned the most attention for her vocal work with Stereolab, although she also played the guitar and keyboards. For the next few months, Stereolab lay dormant as the members grieved. They eventually decided to continue; as Sadier explained in a 2004 interview: "Losing Mary is still incredibly painful ... But it's also an opportunity to transform and move on. It's a new version. We've always had new versions, people coming in and out. That's life."

The full-length album Margerine Eclipse followed in 2004 to generally positive reviews, and peaked at #174 on the US Billboard 200. The track "Feel and Triple" was written in tribute to Hansen; according to Sadier "I was reflecting on my years with her ... reflecting on how we sometimes found it hard to express the love we had for one another. It was Stereolab's last record on their American label Elektra Records, which closed down in 2004. The album was followed by Oscillons from the Anti-Sun; a 2005 three-CD and one-DVD retrospective of the group's rarer material. In 2005 and 2006, Stereolab released six limited-edition singles which were collected in Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.

Serene Velocity, a "best-of" compilation focusing on the band's Elektra years, was released in late 2006. By June 2007, Stereolab's lineup comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. The band had finished the production of their next album, entitled Chemical Chords, which was released in August 2008 on the 4AD label. The release of the album was followed by an autumn tour of Europe and the United States. In April 2009, manager Martin Pike announced a pause in the band's career together for the time being. After 19 years, he stated they felt it was time to take a rest and move on to new projects.

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On Emperor Tomato Ketchup, Stereolab moved in two directions simultaneously -- it explored funkier dance rhythms while increasing the complexity of its arrangements and compositions. For its follow-up, Dots and Loops, the group scaled back its rhythmic experiments and concentrated on layered compositions. Heavily influenced by bossa nova and swinging '60s pop, Dots and Loops is a deceptively light, breezy album that floats by with effortless grace. Even the segmented, 20-minute "Refractions in the Plastic Pulse" has a sunny, appealing surface -- it's only upon later listens that the interlocking melodies and rhythms reveal their intricate interplay. In many ways, Dots and Loops is Stereolab's greatest musical accomplishment to date, demonstrating remarkable skill -- their interaction is closer to jazz than rock, exploring all of the possibilities of any melodic phrase. Their affection for '60s pop keeps Dots and Loops accessible, even though that doesn't mean it is as immediate as Emperor Tomato Ketchup. In fact, the laid-back stylings of Dots and Loops makes it a little difficult to assimilate upon first listen, but after a few repeated plays, its charms unfold as gracefully as any other Stereolab record.



Stereolab - Dots and Loops (flac 408mb)

01 Brakhage 5:30
02 Miss Modular 4:28
03 The Flower Called Nowhere 4:53
04 Diagonals 5:13
05 Prisoner Of Mars 4:03
06 Rainbo Conversation 4:45
07 Refractions In The Plastic Pulse 17:30
08 Parsec 5:34
09 Ticker-Tape Of The Unconscious 4:45
10 Contronatura 9:04

Stereolab - Dots and Loops    (ogg  152mb)

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Stereolab's Switched On series is ingenious, one of the best services a band has performed for its fans. Since their inception, Stereolab have made it a practice to release non-LP singles, tour 7"s, split singles, special-edition EPs -- recordings that were available in small quantities for a limited time. In every case, the limited-edition recordings become very valuable very quickly, often reaching ridiculously exorbitant prices that most fans could never afford. That's where the Switched On series comes in. It's where the group gathers the best of these rarities, leaving a couple of tracks on the original single for the sake of collectibility. Stereolab may do certain projects as a lark, but they rarely throw away tracks, as each EP and most singles have their own identity, offering a new spin on the group's trademark style. Given that Aluminum Tunes: Switched On, Vol. 3 spans two discs, it might seem that the compilation will only be of interest to diehards, but it rivals Refried Ectoplasm: Switched On, Vol. 2 in terms of creativity and consistency. Aluminum Tunes is distinguished by the first wide release of the entire sublime easy listening EP Music for the Amorphous Body Center, which would be enough to make the compilation essential for all fans, but it also has such minor masterpieces as their swinging duet with Herbie Mann on Antonio Carlos Jobim's "One Note Samba," Wagon Christ's remix of "Metronomic Underground," the horn-spiked "Percolations," and "You Used to Call Me Sadness." There may be a couple of tracks that never rise above the level of good but predictable Stereolab, but the best moments rank among their very best work. Quite simply an essential addition to their catalog.



Stereolab - Aluminum Tunes (flac  364mb)

101 Pop Quiz 4:22
102 The Extension Trip 3:43
103 How To Play Your Internal Organs Overnight 3:58
104 The Brush Descends The Length 3:08
105 Melochord Seventy-Five 3:39
106 Space Moment 4:20
107 Iron Man 3:27
108 The Long Hair Of Death 4:48
109 You Used To Call Me Sadness 4:00
110 New Orthophony 6:26
111 Speedy Car 5:00
112 Golden Atoms 5:18
113 Ulan Bator 3:14
114 One Small Step 4:16

Stereolab - Aluminum Tunes    (ogg  134mb)

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Stereolab - Aluminum Tunes 2 (flac  321mb)

201 One Note Samba / Surfboard 9:10
202 Cadriopo 3:09
203 Klang Tone 5:36
204 Get Carter 3:23
205 1000 Miles An Hour 4:32
206 Percolations 3:22
207 Seeperbold 5:08
208 Check And Double Check 4:03
209 Munich Madness 3:48
210 Metronomic Underground (Wagon Christ Mix) 7:51
211 The Incredible He Woman 3:31

Stereolab - Aluminum Tunes 2  (ogg  124mb)

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Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. For a band that churned out limited-edition singles and EPs, along with an annual album, between 1992 and 1997, complete silence was a complete change of pace, but they happened to pick a good time to go into seclusion. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as their peers, colleagues, and collaborators tried other things: Tortoise got jazzier with TNT, Jim O'Rourke got irresistibly lush and complex with Bad Timing and Eureka, while the High Llamas fleshed out Sean O'Hagan's Beach Boys fetish with 'Lab highlights on Cold and Bouncy. With the exception of O'Rourke, who abandoned Gastr Del Sol's minimalism for grandiosity, they all offered slight expansions of what they did before instead of making great progress. Since each Stereolab album has offered a significant progression from the next, it would have been fair to assume that when they returned with Cobra, it would have been a leap forward, especially since it was co-produced with Tortoise's John McEntire and O'Rourke. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings -- "Fuses" kicks off the album in compelling, free-jazz style -- and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake. Cobra may seem that way because its pacing is off, with the first half of the album filled with concise numbers that give way to the lengthy "Blue Milk" and "Caleidoscopic Gaze" toward the end; after those two set pieces, it snaps back into succinct mode for the final three songs. Throughout it all, Stereolab's trademarks remain in place, but they're augmented by rhythms, harmonies, horn arrangements, dissonance, muted trumpets, and electric keyboards all out of jazz from the late '60s, whether it's bossa nova or fusion. All fascinating in theory and often in practice, but Cobra still winds up being less than the sum of its parts. Maybe it's because the longer pieces drift, instead of hypnotize or develop; maybe it's because the songs sound like afterthoughts to the arrangements (a criticism leveled at Stereolab before but never really applicable until now); maybe it's just because of the odd pace of the album. In any case, Cobra never hits its stride, even as it offers a few miniature masterpieces along the way. Perhaps the time off led to the slight lack of focus, since many moments of the album illustrate that Stereolab is as fascinating as ever. But as an album, Cobra is their first record since Transient Random Noise Bursts to not be fully realized.



Stereolab - Cobra And Phases Group Play Voltage In The Milky Night (flac  470mb)

01 Fuses 3:40
02 People Do It All The Time 3:42
03 The Free Design 3:47
04 Blips Drips And Strips 4:28
05 Italian Shoes Continuum 4:36
06 Infinity Girl 3:56
07 The Spiracles 3:40
08 Op Hop Detonation 3:32
09 Puncture In The Radax Permutation 5:48
10 Velvet Water 4:24
11 Blue Milk 11:29
12 Caleidoscopic Gaze 8:09
13 Strobo Acceleration 3:55
14 The Emergency Kisses 5:53
15 Come And Play In The Milky Night 4:42

Stereolab - Cobra And Phases Group Play Voltage In The Milky Night  (ogg  181mb)

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The First of the Microbe Hunters (2000) is a "mini-album, the title makes reference to the book Microbe Hunters by Paul de Kruif, in which the first chapter is dedicated to Dutch scientist Anton van Leeuwenhoek, "the first of the microbe hunters". Microbe Hunters is both compact and expansive: only seven cuts but taken over 40 minutes. It begins with the lengthy Can-inspired instrumental "Outer Bongolia," which uses a circular rhythm and hook to layer the special effects. "Intervals" is the ballad form delivered in icy female tones to rob it of all sentiment. "Retrograde Mirror Form" ends things with a trippy tape loop.). The record plays like classicist Stereolab, filled with all of the trademarks - pleasant drones, reverb-drenched guitars, cheap organs, effervescent, hypnotic vocals - but it's all been done before. One notable exception: "I Can Feel the Air (of Another Planet)" is an epic track located in the center of the EP. This track was recorded by John McEntire in 1997 and definitely stands out among the other tracks due to its combination of catchy vocals, treatments and more melancholy atmosphere



Stereolab - The First of the Microbe Hunters  (flac  338mb)

01 Outer Bongolia 9:29
02 Intervals 4:38
03 Barock - Plastik 3:00
04 Nomus Et Phusis 4:23
05 I Feel The Air (Of Another Planet) 8:13
06 Household Names 3:42
07 Retrograde Mirror Form 6:22
Stereolab - The Underground Is Coming
08 The Super-It
09 Fried Monkey Eggs (Inst.)
10 Fried Monkey Eggs (Vocal)
11 Monkey Jelly

  Stereolab - The First of the Microbe Hunters   (ogg  122mb)

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Dec 23, 2017

RhoDeo 1751 Grooves

Hello, time to get into the groove under the chirstmas tree with some great Jazz-Funk, tap those feet and shake those hips . ........ N'joy



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The Mastercuts label's great Classic Jazz-Funk series kicked off in 1991, and like the remainder of volumes released in its wake throughout the '90s, the first volume more or less concentrates on the '70s end of jazz-funk, as opposed to the form's beginnings during the '60s. Jazz artists were incorporating more potent and often easily danceable backbeats and were also allowing for the R&B of the time to infiltrate their sound, causing purists to shriek in horror at the break from tradition and -- just as importantly -- the crossover appeal. Though this series was aimed at the rare groove crowd in the U.K. that was at full boil during the '90s, many of these cuts have always been valued in the underground clubs of the U.S. -- from David Mancuso's earliest New York Loft parties in the '70s and on through the gatherings that have featured roots-conscious house DJs from Chicago, Detroit, New York, and New Jersey. Not only that, but rap DJs have constantly visited the jazz-funk well for prime sample material. Featured on Classic Jazz-Funk, Vol. 1 are Donald Byrd's "Change" (perhaps the classic jazz-funk song), Gil Scott-Heron's "The Bottle" (a cautionary, gloriously flute-inflected jam with a thick bottom), Johnny Hammond's "Los Conquistadores Chocolates" (a Latin-tinged delight featuring scratchy guitars, crazy key work, gauzy strings, and just a little flute), and Lonnie Liston Smith & the Cosmic Echoes' "Expansions" (a brilliant, typically soaring keyboard number with endlessly rolling percussion and -- of course -- some sprightly flute). Other selections from Harvey Mason, Dizzy Gillespie, Ronnie Laws, and Spyro Gyra round out the disc. As with the other volumes in the series, it's a valuable history lesson and an uplifting listen that packs a mighty wallop.



VA - Classic Jazz-Funk Mastercuts Vol. 1    (flac  459mb)

01 Lonnie Liston-Smith - Expansions 6:04
02 Ronnie Laws - Always There 4:52
03 Gil Scott-Heron - The Bottle 5:10
04 Donald Byrd - Change (Makes You Want To Hustle) 5:07
05 Wilton Felder - Inherit The Wind 7:23
06 Spyro Gyra - Shaker Song 4:41
07 Azymuth - Jazz Carnival 9:35
08 Johnny Hammond - Los Conquistadores Chocolates 6:09
09 Eddie Henderson - Say You Will 4:18
10 John Klemmer - Brasilia 9:11
11 Harvey Mason - Till You Take My Love 3:38
12 Dizzy Gillespie & Lalo Schifrin - Unicorn 6:50

VA - Classic Jazz-Funk Mastercuts Vol. 1  (ogg  186mb)

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The Mastercuts label's great Classic Jazz-Funk series kicked off in 1991, and like the other volumes released throughout the '90s, the second volume more or less concentrates on the '70s end of jazz-funk as opposed to the form's beginnings during the '60s. Jazz artists were incorporating more potent and often easily danceable backbeats and were also allowing for the R&B of the time to infiltrate their sound, causing purists to shriek in horror at the break from tradition and -- just as importantly -- the crossover appeal. Though this series was aimed at the rare groove crowd in the U.K. that was at full boil during the '90s, many of these cuts have always been valued in the underground clubs of the U.S. -- from David Mancuso's earliest New York Loft parties in the '70s and on through the gatherings that have featured roots-conscious house DJs from Chicago, Detroit, New York, and New Jersey. Not only that, but rap DJs have constantly visited the jazz-funk well for prime sample material. Featured on Classic Jazz-Funk, Vol. 2 are Idris Muhammad's "Could Heaven Ever Be Like This" (more of a jazz-disco fusion and, save for the guitar solo, a practically perfect Paradise Garage nugget), Roy Ayers' "Poo Poo La La" (surprisingly, this 1984 selection is used in favor of more obvious and popular choices like "Running Away" and "Everybody Loves the Sunshine"), David Sanborn's "Chicago Song" (stretching all the way to 1987), and George Duke's "Brazilian Love Affair" (just one of the keyboardist's late-'70s greats). Thankfully, the inclusion of the '80s material here did not signal that Mastercuts had a short supply of prime '70s cuts to deliver throughout the rest of the series.



VA - Classic Jazz-Funk Mastercuts Vol. 2    (flac 471mb)

01 Lonnie Liston Smith - Expansions 6:09
02 Ronnie Laws - Always There 4:42
03 Gil Scott-Heron - The Bottle (Original Version) 5:07
04 Donald Byrd - Change (Makes You Want To Hustle) 5:08
05 Wilton Felder - Inherit The Wind 6:54
06 Spyro Gyra - Shaker Song 4:49
07 Azymuth - Jazz Carnival 9:32
08 Johnny Hammond - Los Conquistadores Chocolates 6:10
09 Eddie Henderson - Say You Will 4:26
10 John Klemmer - Brasilia 9:06
11 Harvey Mason - Till You Take My Love 3:41
12 Dizzy Gillespie - Unicorn 6:46

VA - Classic Jazz-Funk Mastercuts Vol. 2  (ogg  188mb )

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The Mastercuts label's great Classic Jazz-Funk series kicked off in 1991, and like the other volumes released throughout the '90s, the third volume more or less concentrates on the '70s end of jazz-funk as opposed to the form's beginnings during the '60s. Jazz artists were incorporating more potent and often easily danceable backbeats and were also allowing for the R&B of the time to infiltrate their sound, causing purists to shriek in horror at the break from tradition and -- just as importantly -- the crossover appeal. Though this series was aimed at the rare groove crowd in the U.K. that was at full boil during the '90s, many of these cuts have always been valued in the underground clubs of the U.S. -- from David Mancuso's earliest New York Loft parties in the '70s and on through the gatherings that have featured roots-conscious house DJs from Chicago, Detroit, New York, and New Jersey. Not only that, but rap DJs have constantly visited the jazz-funk well for prime sample material. Featured on Classic Jazz-Funk, Vol. 3 are Herbie Hancock's "Saturday Night" (one of the gleaming examples of this series' "another person's trash is another person's treasure" modus operandi), Donald Byrd's "Love Has Come Around" (upper-register vocal bliss plus a steady mid-tempo dance beat), Bob James' "Westchester Lady" (a nice choice over the sampled-to-death "Nautilus"), and Kool & the Gang's "Summer Madness" (perhaps the most luscious anti-gravity soul ever recorded -- check the eight-minute live version for twice as much synth fireworks from Ronald Bell). Other songs from Aquarian Dream, Lenny White, Ramsey Lewis, and David Bendeth round out the disc. This volume takes care of the slight dip in quality on the second volume. Plenty to love.



VA - Classic Jazz-Funk Mastercuts Vol. 3   (flac 451mb)

01 David Bendeth - Feel The Real 6:47
02 Al Di Meola - Roller Jubilee 4:41
03 Herbie Hancock - Saturday Night 7:11
04 Donald Byrd - Love Has Come Around 7:47
05 Ramsey Lewis - Spring High 4:16
06 Roy Ayers - Love Will Bring Us Back Together 6:00
07 Bob James - Westchester Lady 7:18
08 Kool & The Gang - Summer Madness 4:16
09 Ramsey Lewis And Earth, Wind & Fire - Sun Goddess 8:25
10 Steve Khan - Darlin' Darlin' Baby 6:28
11 Aquarian Dream (2) - You're A Star 5:30
12 Lenny White - Best Of Friends 3:36

. VA - Classic Jazz-Funk Mastercuts Vol. 3  (ogg  177mb)

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