Jun 29, 2016

RhoDeo 1626 Aetix

Hello, Turkey got some comeuppance today, after years of supporting the Daesh by giving them access to their soil and providing those creeps with funds by buying their oil (on the cheap) and servicing their wounded. Erdohan was forced to change all that after the oil-rigs got bombed and Russian anger towards the attitude of the West on the Turks duplicitous behavior and support of Turkey was rapidly disappearing in Europe and tourism collapsing. So now the former friends have become enemies -maybe, i doubt Turkish forces will attack the Daesh in Syria , they are too busy killing the Kurds, the thus far most effective enemy of the Daesh. Confusing isn't it. Meanwhile the US is fanning the flames thinking only about encircling Russia and that means Assad must go, even if that will cause millions more to suffer. The warmongers in Washington can't wait to have their puppet Clinton in the White House, after all she strongly supported the invasion of Iraq in 2003. The Clinton's must have invested heavily in the US war industry and that cow can't get enough of those dollar bills, frustrated as she's been being the 'poorest' kid of the billionaires block, not to mention marrying a womanizer with no money at all. Yes her judgement is very very poor, and soon she'll have that manicured finger on the red button.......


Today's artists are an industrial metal band founded by lead singer and only original member Al Jourgensen in 1981. Originally a new wave synthpop outfit, Ministry changed its style to become one of the pioneers of industrial metal in the mid-1980s. Ministry found mainstream success in the early 1990s with its most successful album Psalm 69: The Way to Succeed and the Way to Suck Eggs (1992) and touring as part of the Lollapalooza festival.. ....N'Joy

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Alejandro Ramírez Casas was born in Havana to Cuban parents on October 9, 1958. Soon after, he relocated to the United States to live with his mother and his Norwegian stepfather Jourgensen.  Al  began Ministry in Chicago, Illinois in 1981. His first band prior to Ministry was Special Affect with Groovie Mann (of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. After that was the short-lived Silly Charmichaels, with Ben Krug, Tom Krug and Tom Wall (all of The Imports).

The original line-up of Ministry consisted mainly of Jourgensen (vocals and guitar), Stephen George (drums), Robert Roberts (keyboards), and John Davis (keyboards), although with a few personnel changes, the band's image would begin to focus more on Jourgensen and Stephen George. Ministry's original sound was essentially new wave synthpop that was more melodic and stylized than the aggressive music for which they would become known. Ministry released four 12" singles on Wax Trax! Records from 1981 to 1984 (anthologized on Twelve Inch Singles (1981–1984) that featured the club favorite "Everyday Is Halloween").

Their first LP With Sympathy, was issued on Arista Records in 1983 and hit the upper 90s in the Billboard 200. The LP was well received by college radio fans initially and became common in many new wave album collections at the time. The music in With Sympathy and the singles Arista issued in association with it were a melodic type of synthpop and part of the new wave sound growing in popularity in the early 1980s, the band was well received by the large arena audiences. Jourgensen has subsequently expressed extreme dislike for Ministry's With Sympathy-era output. He was not trying to come off as British. The Stones used a southern accent and no one crawled up their ass for it.

By the mid-1980s, Jourgensen parted ways with George and signed to Sire Records. Jourgensen performed mostly solo for Ministry's next LP, Twitch (1986), which sold well, but was still considered to be "underground". The music was danceable electronic music, but was not pop music, and the sound was harsher and more aggressive than what Ministry had recorded before. According to Jourgensen, "Twitch was stuff that I was doing before With Sympathy came out. Some of that stuff was already four or five years old, but the record company didn't want to use it, so...". Much of the new sound was created with the use of digital sampling and the input of producer Adrian Sherwood.

After Twitch, Jourgensen made the most significant change in Ministry's history when he resumed playing electric guitar. Jourgensen also brought bass guitarist Paul Barker of the Seattle band The Blackouts into the Ministry camp; Barker would remain Jourgensen's bandmate for many years when he was the only person credited as a member of the band other than Jourgensen. With the addition of The Blackouts drummer William Rieflin, Ministry recorded The Land of Rape and Honey (1988). The album continued their success in the underground music scene. The Land of Rape and Honey made use of synthesizers, keyboards, tape loops, jackhammering drum machines, dialogue excerpted from movies, unconventional electronic processing, and, in parts, heavy distorted electric guitar and bass. The album was supported by a tour in 1988 and the singles and music videos for "Stigmata" and "Flashback".

The follow-up, The Mind Is a Terrible Thing to Taste was supported by a tour from 1989 to 1990. Due to the complex nature of the album's drumming, a second drummer, Martin Atkins, was used. In addition to Atkins, a ten piece touring line-up was formed, consisting of Chris Connelly (keyboards and vocals), Nivek Ogre (vocals and keyboards), Joe Kelly (vocals and backing vocals) and guitarists Mike Scaccia, Terry Roberts, and William Tucker, with Jourgensen, Barker and Rieflin serving as the group's core members. This tour was documented on In Case You Didn't Feel Like Showing Up. Three singles, "Thieves", "Burning Inside" (for which a video was made) and "So What" were released from the album.

Throughout the late 1980s Jourgensen and Barker expanded their ideas beyond Ministry into a seemingly endless parade of side projects and collaborations. Many of these bore Ministry's signature sound and the duo's "Hypo Luxa/Hermes Pan" production imprint. (These side-projects were also responsible for the delayed release of Ministry's next album.) Foremost of these was Ministry's alter ego, the Revolting Cocks. "RevCo", as it is often referred to, essentially became the same band as it had originally featured Belgian musicians Richard 23 (of Front 242) and Luc Van Acker. Jourgensen and Barker also formed Lard with Dead Kennedys lead singer Jello Biafra, Acid Horse with Cabaret Voltaire, 1000 Homo DJs (which featured Nine Inch Nails' Trent Reznor doing vocals on a cover of Black Sabbath's "Supernaut"), PTP with Chris Connelly and Pailhead with Ian MacKaye of Minor Threat and Fugazi.

Ministry broke into the mainstream in 1991 with "Jesus Built My Hotrod" (co-authored by Gibby Haynes of the Butthole Surfers and Michael Balch of Front Line Assembly affiliation). The music video was a hit and the band scored second billing on the Lollapalooza tour. As the single had indicated, the sound of the following LP, Psalm 69: The Way to Succeed and the Way to Suck Eggs (1992), was the most metal-oriented Ministry had put to record at that point, the focal point of the sound shifting almost entirely from synths to Jourgensen's and new members Mike Scaccia's and Louis Svitek's electric guitars.

ΚΕΦΑΛΗΞΘ, which is printed on the record, is a concatenation of "κεφαλή" (Greek for "head" or "leader") and "ΞΘ" (the number 69 in Greek numerals). The title was borrowed from Aleister Crowley's work: The Book of Lies (Chapter 69, "The Way to Succeed—and the Way to Suck Eggs!"). Psalm 69 became Ministry's biggest hit, including in addition to "Jesus Built My Hotrod", the singles "N.W.O." (a protest of the Persian Gulf War and attack directed at then-President George H.W. Bush) and "Just One Fix" (a collaboration with poet/novelist William S. Burroughs). The single "N.W.O." was used in the 1992 live-action/animated movie Cool World. Later, "N.W.O." was used in Need for Speed: The Run video game.

Ministry was one of the headlining acts for Australia and New Zealand's Big Day Out touring festival. In spite of their growing success, Ministry was nearly derailed by a series of arrests and drug problems. The band did not issue their next album, Filth Pig, until 1996. For Filth Pig, Ministry stripped all synthesizers and most samples from their style and made the music almost entirely with ultra-noisy guitars, heavy bass and real drums. The songs were played mostly at slower tempos than the very fast ones that were used for the compositions on their previous three LPs, giving it an almost doom metal feel.

Ministry recorded their final studio album for Warner Bros. Records, Dark Side of the Spoon (1999), which they dedicated to William Tucker, who committed suicide earlier that year. For Dark Side of the Spoon, Ministry tried to diversify their sound by adding some melodic and synthetic touches to their usual electro-metal sound, along with some jazz influences, but the album was not well received. However, the single "Bad Blood" appeared on the soundtrack album of The Matrix and was nominated for a 2000 Grammy award.

During the years 2000-2002, disputes with Warner Bros. Records resulted in the planned albums Live Psalm 69, Sphinctour and ClittourUS on Ipecac Recordings being canceled. Sphinctour was released on Sanctuary Records. Around 2001, Jourgensen almost lost his arm when he was bitten by a venomous spider. He did have a toe amputated after accidentally stepping on a discarded hypodermic needle. Around this time, by his own admission, Jourgensen was suicidal and decided to call an acquaintance he had met years earlier; the acquaintance, Angelina Luckacin, helped Jourgensen give up his massive substance habit (which included heroin and cocaine "speedballs", crack, LSD, various pharmaceuticals and as many as two full bottles of Bushmills whiskey per day).

Barker left Ministry in 2003. He stated that the trigger was his father dying while the band was wrapping up a summer tour in Europe, and also stated in early 2004 that his family life was his main focus at that particular time. Jourgensen continued Ministry with Mike Scaccia and various other musicians.

For Ministry's next album, Jourgensen released the song "No W", a song critical of then-U.S. President George W. Bush; an alternate version of the track was placed on the multi-performer compilation Rock Against Bush, Vol. 1. The follow-up LP, Houses of the Molé (2004), contained the most explicitly political lyrics Jourgensen had yet written, with songs in Ministry's classic industrial electro-metallic sound played messier, more crudely and more freely than ever before, giving the album the most metal-oriented sound of their career. In 2006 the band released Rio Grande Blood, an LP on Jourgensen's own 13th Planet Records. With Prong's Tommy Victor and Killing Joke's Paul Raven, the album featured an even heavier thrash metal sound drawing comparison to Slayer. The single "Lieslieslies" was nominated for the Grammy Award for Best Metal Performance at the 49th annual Grammy Awards. It, along with another song on the album, "The Great Satan", is also available as a downloadable content song for the 2008 video game Rock Band 2. In July 2007, the band released Rio Grande Dub, an album featuring remixes from the band's 2006 Rio Grande Blood album.

Ministry's "final" album, The Last Sucker, was released on September 18, 2007. Ministry's farewell tour, the "C-U-LaTour", started its North American leg on March 26, 2008 with Meshuggah performing as special guests and Hemlock as an opening act. They played their final North American show in Chicago on 12 May 2008. Adios... Puta Madres, a live album featuring material culled from Ministry's final tour, was released in 2009 on CD and DVD.

On August 7, 2011, it was announced that Ministry was reforming and would play at Germany's Wacken Open Air festival, set to take place August 2–4, 2012. The reunion lineup featured Al Jourgensen on vocals, Mike Scaccia and Tommy Victor both on guitar, Aaron Rossi on drums, John Bechdel on keyboards and Tony Campos on bass. On December 23, 2011, Ministry released "99 Percenters", the first single from Relapse, and began streaming it on their Facebook page two days later. On February 22, 2012, Ministry released a second single, "Double Tap", which was included in the April 2012 issue of the Metal Hammer magazine. On March 23, 2012, Relapse was released.

On December 23, 2012, guitarist Mike Scaccia died[24] following an on-stage heart attack, while playing with his other band, Rigor Mortis. In an interview with Noisey in March 2013, Jourgensen announced that Ministry would break up again, explaining that he does not want to carry on without Scaccia. "Mikey was my best friend in the world and there's no Ministry without him", he said. "But I know the music we recorded together during the last weeks of his life had to be released to honor him. So after his funeral, I locked myself in my studio and turned the songs we had recorded into the best and last Ministry record anyone will ever hear. I can't do it without Mikey and I don't want to. So yes, this will be Ministry's last album. The album, titled From Beer to Eternity, was released on September 6, 2013. Jourgensen stated that Ministry would tour in support of From Beer to Eternity, but would not record any more albums


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The Land of Rape and Honey represented Ministry's stylistic breakthrough, combining assaultive percussion, samples, synths, and (sometimes) crunching guitars with distorted, barking vocals. For all the emphasis on the group's metal/industrial fusion, it's really only the first three (and best) tracks on Rape and Honey -- "Stigmata," "The Missing," and "Deity" -- that employ guitars extensively. The remainder of the album merely suggests heavy metal aggression through its electronic and sampled elements; it is far more industrial in feel, even though it's just as dark. Ministry was the industrial band that, more than any other, appealed to metal fans, and it was The Land of Rape and Honey that began to lay claim to that status.



Ministry - The Land Of Rape And Honey (flac 304mb)

01 Stigmata 5:45
02 The Missing 2:54
03 Deity 3:23
04 Golden Dawn 5:42
05 Destruction 3:30
06 Hizbollah 3:59
07 The Land Of Rape And Honey 5:12
08 You Know What You Are 4:45
09 I Prefer 2:16
10 Flashback 4:48
11 Abortive 4:23

Ministry - The Land Of Rape And Honey   (ogg  108mb)

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In what many consider to be Ministry's peak, the band creates another wonderful album to follow The Land of Rape and Honey. Fusing thrash guitars with excellent synth and percussion work, Ministry lay the foundation for even more followers of the band's music. But what makes the album even more commendable is the unique flair and the avoidance of cliché elements that have brought down the guitar-heavy industrial-rock genre. Purists might argue that Ministry have given up these roots; but it's plain to see that the roots remain, and are only revamped by the necessary progression of a band that has been around for so many years. The sound is Ministry's, most definitely.



Ministry - The Mind Is A Terrible Thing To Taste (flac 343mb)

01 Thieves 5:02
02 Burning Inside 5:20
03 Never Believe 4:59
04 Cannibal Song 6:10
05 Breathe 5:40
06 So What 8:13
07 Test 6:04
08 Faith Collapsing 4:01
09 Dream Song 4:48

Ministry - The Mind Is A Terrible Thing To Taste  (ogg  115mb)

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By the time of A Mind Is a Terrible Thing to Taste, Ministry had amassed enough of an arsenal of gear and a hardcore coterie of fans to make the band's shows literally explosive affairs in some cases. Also released as an accompanying video, which shows more than a few audience members seemingly uncaring about potential dismemberment, In Case You Didn't Feel Like Showing Up is only six songs long, but delivers big time for each of them. The weird atmosphere of glowering goth and avant thrash metal that combined with the more direct dancefloor antics of Alain Jourgensen, Paul Barker, and company makes for a particularly potent combination live. Jourgensen's hoarsely roared, wracked vocals, given just enough electronic distortion to really cause some blood to flow, suit the various reinterpretations of The Land of Rape and Honey and A Mind Is a Terrible Thing to Taste material, three songs from each. For the most part the live takes closely resemble the studio cuts aside from length; while the galloping "Deity" sticks to the original's three-minute headcrush, "So What" turns into an extended vamp, arguably going on a little too long but generally having fun with its own horror-movie slasher theatrics, as well as kicking off with a slow burn, just creepy enough start. The whooshing swoops and siren noises that kick off "Burning Inside" show how well Ministry can rework material for maximum impact as needed. The end of the disc provides the real highlights, with absolutely brutal versions of "Thieves" and a nervous, intense "Stigmata" polishing things off; Jourgensen's profane rant against anything and everything at the end in particular reaches some sort of weird apotheosis of unalloyed hatred. Occasional comments to the crowd along the lines of, "Looks like we got a little frisky bunch here!" show that for all the musical and lyrical violence, Ministry knew how to keep a sense of humor intact -- something more than a few followers forgot.



Ministry - In Case You Didn't Feel Like Showing Up (flac 285mb)

01 The Missing 3:35
02 Deity 3:38
03 So What 11:30
04 Burning Inside 6:23
05 Thieves 5:09
06 Stigmata 9:30

Ministry - In Case You Didn't Feel Like Showing Up   (ogg  95mb)

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Pailhead was a short-lived side project of the industrial metal band Ministry that featured Dischord Records founder and former Minor Threat frontman Ian MacKaye on vocals. The band's sound was a dark combination of menacing industrial beats and hardcore punk, predating what Ministry would later do with Jello Biafra in another side project, Lard. While Alain Jourgensen was living in London, he met Ian MacKaye. MacKaye had been in Washington D.C. punk bands The Teen Idles, Minor Threat, Skewbald/Grand Union, Egg Hunt and Embrace and was on the verge of forming Fugazi, while Jorgensen was taking his band Ministry into new territory—away from the more pop sound of With Sympathy and toward the harder sound of The Land of Rape and Honey. The two found common ground both musically and politically and decided to collaborate on a project that would fuse elements of industrial music with hardcore punk.

Pailhead released the single "I Will Refuse" / "No Bunny" (released in both 7" and 12" formats) in 1987 and the 4-song EP Trait in 1988, both on the Wax Trax! record label. The CD edition of Trait also incorporates both sides of the "I Will Refuse" / "No Bunny" single.

1000 Homo DJs was a side project of industrial music band Ministry. The project was best known for a cover of Black Sabbath's "Supernaut", released by industrial label Wax Trax! Records. 1000 Homo DJs began as a side project to release outtakes from Ministry's The Land of Rape and Honey. The credits read "Another Luxa/Pan Production", which was the production pseudonym for Ministry members Al Jourgensen and Paul Barker

The industrial band PTP was a short-lived side project of Ministry's Alain Jourgensen. The band's total recorded legacy consists of three songs. The first PTP track, "Show Me Your Spine," was recorded in 1987. The song has several claims to fame. Written by Jourgensen, Barker and Ogre, it marked the first collaboration between Luxa/Pan and vocalist Nivek Ogre of Skinny Puppy. The track appeared briefly during the club scene in the first RoboCop movie (1987) but did not appear on the soundtrack. In fact, the song was not commercially released until 2004 when it appeared on Ministry's Side Trax compilation. Musically, it is representative of the early Wax Trax sound, which is not a surprise considering Jourgensen's history. It features arpeggio melodies, loud drums, sampled orchestral hits and of course Ogre's heavily distorted vocals.

Acid Horse was a one-off collaborative side project between two industrial music pioneers, Ministry and Cabaret Voltaire. Only one single, "No Name, No Slogan", was released in 1989 on Wax Trax! records. The band name is a combination of the slang terms for LSD (acid) and heroin (horse), as well as a play on the title of the then-popular acid house movement. Musically, Acid Horse resembles fellow Ministry side project PTP, in that it blends an upbeat dance-like electronic rhythm with catchy guitar-work. The lyrics come off in a serious, yet slightly comical tone - a trademark of many Ministry side projects.



Ministry - Pailhead, 1000 Homo DJs, PTP & Acid Horse (flac 569mb)

01 Pailhead - I Will Refuse 4:16
02 Pailhead - No Bunny 4:59
03 Pailhead - Don't Stand In Line 3:47
04 Pailhead - Ballad 3:50
05 Pailhead - Man Should Surrender 3:42
06 Pailhead - Anthem 4:45
07 1000 Homo DJs - Apathy 4:35
08 1000 Homo DJs - Better Ways 5:23
09 1000 Homo DJs - Supernaut 6:38
10 1000 Homo DJs - Hey Asshole 8:07
11 PTP - Rubber Glove Seduction 5:22
12 PTP - My Favorite Things 4:28
13 PTP - Show Me Your Spine 4:56
14 Acid Horse - No Name No Slogan (Luxa Pan Mix) 5:55
15 Acid Horse - No Name No Slogan (Cabaret Voltaire Mix) 9:03

Pailhead, 1000 Homo DJs, PTP & Acid Horse   (ogg  191mb)

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Jun 28, 2016

RhoDeo 1626 Roots

Hello, the Euro's saw a dominant but toothless England loose against Iceland that played with courage, skill and togetherness, meanwhile England's top players Kane and Rooney looked third rate, bizarre. Britain brexit and England exit ! The mean culprit of England's demise is their FA, they hired an incompetent coach, Hodgson who clearly wasn't up to the job. They seem to have a hard time finding someone despite having a 4 million pound pay package available. The Belgians most have relaxed somewhat after they saw the Italians do to the reigning champions Spain what they did to them. 2-0  They certainly are a surprise package deemed to old, cunningly they showed their resolve and totally deregulated the tikki-takka Spaniards. Next up the Germans who probably consider them the most dangerous opponent left. The remaining 6 teams in the quarter finals ( Poland-Portugal, Wales-Belgium, France-Iceland) are simply not that impressive.




We'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today, an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades.....N'Joy

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Gal Costa was born on September 26, 1945, in the city of Salvador, the state capital of the state of Bahia, Brazil. Her mother, Mariah Costa Penna (deceased 1993) spent hours listening to classical music during her pregnancy in hopes that Gal would be interested in music. Gal's father, Arnaldo Burgos (deceased 1960), died when Gal was 15 years old and the two would never meet.

At the age of 10, Gal befriended sisters, Sandra and Andréia Gadelha, the future spouses of singer-songwriters Gilberto Gil and Caetano Veloso, respectively. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. At 18, she was introduced to Caetano Veloso by Andréa Gadelha, engaging with him in a deep friendship that still lasts.

In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova.

Domingo In September 26, 1965, the group opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. At the end of that year, she was taken to the presence of her idol João Gilberto, who asked her to sing while he accompanied; after listening to her on several songs, he declared, "Girl, you sing beautifully. Someday I will return to record an album only with you." Also in that year, she appeared on Bethânia's first album, singing "Sol Negro" (Caetano Veloso). In 1966, she recorded a single for RCA (completely unperceived by the general audiences) and interpreted "Minha Senhora" (Gilberto Gil/Torquato Neto) at TV Rio's I FIC; she also took the name Gal Costa by suggestion of impresario Guilherme Araújo. In 1967, Costa recorded her first LP, together with Caetano (also his first LP), on Domingo. In 1968, she recorded two tracks on the LP manifesto Tropicália: Ou Panis Et Circensis that became her first hits, "Mamãe Coragem" and "Baby." Also in 1968, she achieved great popularity at TV Record's IV FMPB (São Paulo) when she won first place for "Divino Maravilhoso" (Gilberto Gil/Caetano Veloso).

In the next year, she recorded her first individual LP for Philips, Gal Costa. She then began a busy schedule of performances throughout Brazil and that same year recorded another self-titled for Philips. In 1970, she performed in England and, returning next year to Brazil, she recorded the LP Legal.

In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated in the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.

On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!, a live album the following year again balanced smooth Brazilian sounds with heavy rock.

In 1971, she got success in the show Deixa Sangrar, presented in several capitals, and joined João Gilberto and Caetano in a live TV Tupi performance. In 1972, her show A Todo Vapor was recorded live on a double album, and she performed with Gil and Caetano at several venues. In 1973, she performed at the MIDEM in Cannes, France, and recorded the LP Índia, after the show by the same name. In 1976, she recorded the album Os Doces Bárbaros with Caetano, Gil, and Bethânia, also performing a series of shows with them under the same name, and recorded the solo album Gal Canta Caymmi. She recorded four more albums in the '70s. In the '80s, she gained international exposure, touring through Japan, France, Israel, Argentina, the U.S., Portugal, Italy, and others. In 1984, she performed in the show O Sorriso do Gato de Alice (her 20th album), which was awarded by APCA and received the Shell Prize. In 1997, she commemorated 30 years of her career with the CD and video Acústico MTV (BMG), with many important special guests. In 1998, Polygram released 30 Anos de Barato, a three-CD box set. The double-disc Canta Tom Jobim: Ao Vivo appeared in 1999.

Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG.


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Recorded at the height of the MPB movement in 1980, AQUARELA DO BRASIL is the singer Gal Costa's tribute to the famed Brazilian songwriter Ary Barroso, the author of the celebrated title track as well as many others not as well known outside his native land. While the album bears slight traces of the neo-disco production that would soon come to plague Brazilian pop music in the '80s, it is mostly a wholly successful showcase for Gal Costa's extraordinary voice and interpretive abilities. About this time, the singer was reaching her full stature as Brazil's premier pop singer, her only serious rival being Elis Regina, who had recorded her own very different, celebrated version of "Aquarela Do Brasil." Many of these compositions were actually written in the '40s and '50s, but in Gal's capable hands, songs like "Tu" and "Inquietacao" sound like fully contemporary pop of the '80s and beyond. Longtime collaborator and peer Caetaeno Veloso joins in a duet on the samba-inflected "No Tabuleiro da Baiana," also known as "Bahia."



Gal Costa - Aquarela do Brasil  (flac  253mb)

01 É Luxo Só 3:49
02 Já Era Tempo 3:57
03 Camisa Amarela 2:50
04 Na Baixa Do Sapateiro 3:11
05 Folha Morta 2:13
06 No Tabuleiro Da Baiana 2:55
07 Jogada Pelo Mundo 3:46
08 Inquietação 2:41
09 Tu 3:45
10 Faceira 2:58
11 Novo Amor 2:21
12 Aquarela Do Brasil 3:30

Gal Costa - Aquarela do Brasil    (ogg  98mb)

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Gal Costa had success with this album, with songs like Caetano Veloso's rock "Vaca Profana," along with "Atrás da Luminosidade," "Onde Está o Dinheiro" and a medley with three Northeastern composers, including the song "Cabeça Feita," from the great Jackson Do Pandeiro, with special guest Luiz Gonzaga (all these songs are in up-tempo, hot regional grooves which had already given her one of the biggest successes of her career, "Festa do Interior," from Fantasia, 1981), and also "Ave Nossa" and "Chuva de Prata" (a very kitsch tune). The album shows Costa with her splendid vocal qualities and the usual competent instrumental backing in a happy, danceable setting, but doesn't represent an especial mark in her career.



Gal Costa - Profana      (flac  209mb)

01 Vaca Profana 4:29
02 Ave Nossa 3:20
03 Nada Mais (Lately) 4:00
04 Atrás Da Luminosidade 2:20
05 De Volta Ao Começo 4:43
06 Onde Está O Dinheiro 2:16
07 Chuva De Prata 2:56
08 Cabeça Feita 1:18
09 Tililingo 1:31
10 Tem Pouca Diferença (with Luiz Gonzaga) 1:58
11 Topázio 3:58
12 O Revólver Do Meu Sonho 4:12

  Gal Costa - Profana    (ogg  90mb)

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Bem Bom was tropicalista Costa's bid for superstardom in the mid-'80s, with the involvement of everybody who is anybody (well, almost). The jazz and R&B touches are more mainstream than before -- but the Brazilian pop avant-garde has long drawn heavily on U.S. sources, besides being more sympathetic to lushness than its U.S. counterparts. In vinyl, this album is now a rarity.



Gal Costa - Bem Bom (flac 320mb)

01 Sorte 4:10
02 Último Blues 4:40
03 Um Dia De Domingo 6:10
04 Acende O Crepúsculo 3:43
05 Muito Por Demais 3:54
06 Romance 3:24
07 Musa De Qualquer Estação 3:42
08 Bem-Bom 3:15
09 Todo Amor Que Houver Nessa Vida 4:12
10 Quem Perguntou Por Mim 3:27
11 De Volta Ao Futuro 4:36

Gal Costa - Bem Bom    (ogg  109mb)

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This album by Gal Costa is the first to have new material in five years. In spite of her promise of recording the composers of the "new" generation (Lenine, Chico César, her protégé Zeca Baleiro), she ended up interpreting Adriana Calcanhotto (her hit "Esquadros," in a more rhythmic/Bahian rendition); Herbert Vianna ("Quase Um Segundo," also previously released, in a beautiful piano/string section ballad rendition); Moreno Veloso, son of Caetano ("Sertão," written with Caetano); Carlinhos Brown ("Aguar-te Agora"); and -- surprise! -- José Miguel Wisnik ("Assum Branco"), not a "new" artist, in any aspect, but a creative composer of the Vanguarda Paulista who hadn't got the deserved exposure. Costa recorded on this album for the first time in Spanish (the new Argentinean composer Pedro Aznar, "Amor de Juventud"). "Imunização Racional (Que beleza)" is an obscure song by the late Tim Maia from the ignored phase when he was involved with the religious sect Universo em Desencanto (between 1974 and 1976, later dismissed). The better song on the album is "Qui Nem Jiló," an old hit by the northeastern Luiz Gonzaga, enriched by the gafieira-like brass/flute arrangements and executions by Carlos Malta. The album also has bossa nova ("Aquele Frevo Axé"), funk ("Habib," Jorge Ben Jor), and funk ballad ("Você," an old Tim Maia hit from his second album in 1971). The sonority is divided between contemporary pop with drum machines and fashionable electronics (which are devoted to the impression of modernity) and acoustic arrangements with string and brass sections that try to convey the idea of sophistication.



Gal Costa - Aquele Frevo Axé (flac 385mb)

01 Imunização Racional (Que Beleza) 4:40
02 A Voz Do Tambor 3:51
03 Aquele Frevo Ax 3:52
04 Esquadros 3:40
05 Assum Branco 4:10
06 Amor de Juventud 5:34
07 Aguarte Agora 5:11
08 Qui Nem Giló 3:43
09 Você 3:46
10 Você Não Gosta de Mim 5:05
11 Habib 4:51
12 Quase Um Segundo 4:04
13 Calling You 4:10
14 Sertão 1:52

Gal Costa - Aquele Frevo Axé  (ogg    145mb)

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Jun 27, 2016

RhoDeo 1626 Alexander 2

Hello,  as British politics is in a meltdown after the referendum and both main parties look like splitting currently, there's now two more sides strongly disliking each other. Nobody really wants to preside over the brexit and consequently likely brake up of the UK as Scotland made it clear they'll have none of that and even Northern Ireland's protestants will seriously have to consider if they are willing to pay a possibly hefty price staying with the Westminster mess instead of joining Ireland and the EU, the majority for that is already there, if not the willingness to reignite the flames of the past....

The Euro's had a much better day today, clear wins for Germany and Belgium, France much be glad they still have another match to go before they meet a really top team because thusfar they haven't been convincing..

Over at the Copa the final is being played between Argentina and the holders Chili, after 37 minutes it was 10 against 10, Messi scored thusfar 5 yellows against him, the Chileans seem to be on Red Bull whilst the Argentinians make do with tepid Mate (Tea). Seriously having too many players from the Premier League clearly takes a toll. The Chileans are a fanatic bunch that have kept running for 120 minutes, respect. And with Bravo (Barcelona's) they have a great keeper. Sadly the 82,000 didn't get any goals but they do get 10 penalties. Vidal-miss, Messi-miss, Biglia-miss Chili wins the Copa again exactly the same way they did the last time around.

To top it all off tonight the final episode of the penultimate season of Game Of Thrones and John still knows nothing...

Today the 2nd part of an historical six-part radio dramatization  about one of history's greatest and beloved conquerors. ..N'Joy

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The Macedonian conqueror, Alexander the Great (356-323 B.C.) was incontestably one of the greatest military generals of all time. From the time he sacked Thebes and crossed the Hellespont to his death 11 years later, he conquered the entire Persian empire, including Tyre, Egypt and Babylon, and moved on to the present-day northern India and Afghanistan. Though Alexander made use of the well-oiled army created by his father, he pushed the limits of Macedonian and Greek power to levels even his father, King Philip II of Macedon, could not have dreamed of.

Alexander's conquests paved the way for the spread of Greek culture (facilitating the spread of Christianity centuries later), and removed many of the obstacles that might have prevented the expansion of the Roman Empire. In other words, the world we know today might never have been if not for Alexander's bloody, yet unifying, conquest. Music composed and played by Wilfredo Acosta Directed by Glyn Dearman


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A six-part radio dramatisation of the life of Alexander the Great

With today;

Michael Maloney - Alexander
Sam Crane - The Young Alexander
Alex Jennings - Hephaestion
Gary King - The Young Hephaestion
Barry Foster - The Spirit of Achilles
Simon Ward - The Spirit of Patroclus
Brian Cox - King Philip II of Macedon
Geraldine James - Queen Olympias
John Moffatt - Aristotle
Malcolm Sinclair - Demosthenes
Keith Drinkel - Lysimachus
John Webb - Leonidas
Julian Rhind-Tutt  - Ptolemy
Michael Onslow - Philotas
James Telfer [Pausanias], David Thorpe - Ascanius
Barry J. Gordon - Antaeus
John Evitts - Democritus

Alexander 02 I am also Alexander (mp3  51mb)

02 I am also Alexander 56:49

Seven years have past since Alexander, the new Prince of Macedon, was born. His first teacher was Leonidas, a relative of Olympias. Leonidas instilled in Alexander his ascetic nature for which he became famous during his future campaigns; he lived simply, in a Spartan way, eating and sleeping together with his troops. Leonidas was replaced with Lysimachus, who taught Prince Alexander to play the lyre, and to appreciate the arts. He loved Homer, and always slept with a copy of the Iliad under his pillow. His motto being: 'Always to be best; eclipse all other men'.

The years have also brought Hephaestion, the new 'Patroclus', to Pella.

It is early spring 346 B.C. An embassy from Athens has come to Pella, King Philip's capital in southern Macedonia, seeking peace with Philip, King of Macedon. Among the envoys, the orator of the poison tongue, Demosthenes.

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Previously

Alexander 01 The King's Son (mp3  51mb)


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