Jul 18, 2015

RhoDeo 1528 Grooves

Hello, alas recently someone, most likely of the sort that feeds of the artist in question, has complained to Google about my Dr.John posts hence they are no longer available, a pity for you all that came late hmmm

Today and these last weeks you'll got an American funk band that defined New Orleans funk, not only on their own recordings, but also as the backing band for numerous artists, and they did themselves another fovor by appearing and releasing great music under their family name far the latter part of the previous century  Despite their reputation as an extraordinary live band, they never broke into the mainstream, but their sound provided the basis for much of the funk and hip-hop of the '80s and '90s.   ... N'joy

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Throughout their long careers as both solo performers and as members of the group that bore their family name, the Neville Brothers proudly carried the torch of their native New Orleans' rich R&B legacy. Although the four siblings -- Arthur, Charles, Aaron, and Cyril -- did not officially unite under the Neville Brothers aegis until 1977, all had crossed musical paths in the past, while also enjoying success with other unrelated projects: Eldest brother Art was the first to tackle a recording career, when in 1954 his high school band the Hawketts cut "Mardi Gras Mambo," a song that later became the annual carnival's unofficial anthem. Both Aaron and Charles later joined the Hawketts as well, and when Art joined the Navy in 1958, he handed Aaron the group's vocal reins.

 Two years later, Aaron scored his first solo hit, "Over You"; in 1966, he notched a pop smash with the classic "Tell It Like It Is," a lush ballad showcasing his gossamer vocals. Art, meanwhile, returned from the service to begin his own solo career, and recorded a series of regional hits like "Cha Dooky Doo," "Zing Zing," and "Oo-Whee Baby." In 1967, he formed Art Neville and the Sounds, which included both Aaron and Charles as featured vocalists and quickly became a sensation on the local club circuit.

 In 1968 producer Allen Toussaint hired the group as the house band for his Sansu Enterprises; minus Aaron and Charles, the Sounds evolved into a highly regarded rhythm section which backed artists as diverse as Lee Dorsey, Robert Palmer, and LaBelle before eventually finding fame on their own as the Meters. Consequently, Aaron resumed his solo career, although with only sporadic success; as a result, he also worked as a dock hand. Charles, meanwhile, relocated to New York City, where his skills as a saxophonist led to tenures with a variety of jazz units; after returning to New Orleans, he was arrested for possession of marijuana and served a three-year sentence at the Angola Prison Farm.

In 1975, the Meters backed the Wild Tchoupitoulas, a group led by the Nevilles' uncle, George "Big Chief Jolly" Landry. Both Aaron and Charles were enlisted for the session, as was youngest brother Cyril; when the Meters disbanded the following year, the four brothers backed the Tchoupitoulas on tour, and in 1977 they officially banded together as the Neville Brothers. Despite their gift for intricate four-part harmonies, their self-titled 1978 debut unsuccessfully cast the vocal quartet as a disco band, and following a dismal response they were dropped by their label, Capitol.

The Nevilles spent the following three years without a contract, but after signing with A&M, fan Bette Midler helped secure the services of producer Joel Dorn for 1981's superior Fiyo on the Bayou, which spotlighted Aaron's angelic tenor on standards like "Mona Lisa" and "The Ten Commandments of Love" along with renditions of "Iko Iko" and "Brother John." Despite widespread critical acclaim, the album sold poorly, and again the Nevilles were cut loose from their contract. After signing to the tiny Black Top label, they issued 1984's Neville-ization, an incendiary live set recorded at the Crescent City landmark Tipitina's which featured Duke Ellington's "Caravan" and Aaron's perennial "Tell It Like It Is" alongside the brothers' own "Africa" and "Fear, Hate, Envy, Jealousy."

After another concert album, 1987's Live at Tipitina's, the Nevilles signed with EMI and returned to the studio in 1987 with Uptown, which again met with commercial failure despite cameo appearances from Keith Richards, Jerry Garcia, and Carlos Santana. In 1989, they re-signed to A&M and recruited the services of famed New Orleans producer Daniel Lanois; the atmospheric Yellow Moon, the group's finest hour, finally earned them success on the charts, thanks in part to the anthemic single "Sister Rosa." 1990's Brother's Keeper fared even better, no doubt spurred by Aaron's concurrent success with Linda Ronstadt on the smash duet "Don't Know Much."

In subsequent years, Aaron reignited his solo career while also remaining with his brothers; while the Nevilles retained their cult following with LPs like 1992's Family Groove, 1994's Live on Planet Earth, and 1996's Mitakuye Oyasin Oyasin/All My Relations, Aaron scored a Top Ten hit in 1991 with the single "Everybody Plays the Fool," taken from the Ronstadt-produced Warm Your Heart. In 1993, he notched a minor hit with "Don't Take Away My Heaven" from the LP The Grand Tour; a year later, he found success with "I Fall to Pieces," a duet with country star Trisha Yearwood. In 1990, Charles also issued the jazz collection Charles Neville & Diversity.

In addition, a second generation of Nevilles also began making their mark on music; in 1988, Aaron's son Ivan, a member of Keith Richards' backing band the Xpensive Winos, released his solo debut, If My Ancestors Could See Me Now. The Neville Brothers legacy continued in 1999 with Valence Street.

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The Neville Brothers, as a working unit, emerged as a result of 1976's magnificent Wild Tchoupitoulas project. On that album, the Brothers and their Meters cohorts backed a group of tribal chiefs (including their uncle "Big Chief Jolly") singing traditional Mardi Gras "war songs" and marches. The Nevilles' 1978 debut left behind their New Orleans foundation and suffered because of it. However, 1981's Fiyo represents the pinnacle of the Neville collective, a percolating mix of R&B, soul, funk, and Caribbean rhythms that celebrates their Crescent City heritage. The standards, of course, are entrusted to Aaron's heavenly pipes, but it's the New Orleans anthems that would come to define both the band and the city. A brilliant updating of the New Orleans R&B sound to include strains of Cajun, rock, and reggae on standards ranging from "Hey Pocky Way" to "The Ten Commandments of Love" and "Sitting in Limbo."

The Neville Brothers - Fiyo On The Bayou  (flac  202mb)

01 Hey Pocky Way 4:14
02 Sweet Honey Dripper 5:15
03 Fire On The Bayou 5:15
04 The Ten Commandments Of Love 3:44
05 Sitting In Limbo 4:11
06 Brother John / Iko Iko 5:33
07 Mona Lisa 3:44
08 Run Joe 3:34

The Neville Brothers - Fiyo On The Bayou (ogg 151mb)

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The Neville Brothers made a bid for pop/rock stardom with this well-produced album for A&M, their first under a new pact with the label inked in the late '80s. It was certainly as solid as any they cut for A&M; the vocals were both nicely arranged and expertly performed, the arrangements were basically solid, and the selections were intelligently picked and sequenced. The album charted and remained there for many weeks, while the Nevilles toured and generated lots of interest. It didn't become a hit, but it did respectably and represents perhaps their finest overall pop LP.

The Neville Brothers - Yellow Moon (flac 260mb)

01 My Blood 4:11
02 Yellow Moon 4:04
03 Fire And Brimstone 3:57
04 A Change Is Gonna Come 3:43
05 Sister Rosa 3:29
06 With God On Our Side 6:37
07 Wake Up 3:21
08 Voo Doo 4:26
09 The Ballad Of Hollis Brown 5:45
10 Will The Circle Be Unbroken 5:16
11 Healing Chant 4:34
12 Wild Injuns 3:17

The Neville Brothers - Yellow Moon (ogg 122mb)

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Why doesn't more R&B sound like this? Although hampered by a poor mix, Brother's Keeper is nevertheless a classic example of what makes the Neville Brothers so good -- and so frustrating. Tracks like the booty-shaking funk of "Brother Jake" or the gospel-tinged "Steer Me Right" are full of soulful vocals and wonderful harmonies. Aaron Neville's timeless voice is displayed beautifully on "Fearless," where he is joined by Linda Ronstadt for one of the strongest tracks on the record. the Neville Brothers' ecumenical spirituality permeates every second of Brother's Keeper, making for a few awkward moments (like the head-scratching opener "Brother Blood," for example), but a few moments of true sublimity (as when Art Neville spits "Pro choice-no choice/We're sending our sons and daughters to their slaughter" on "Sons and Daughters"). The pop material on Brother's Keeper, such as Link Wray's "Fallin' Rain," works well, but other tracks, like "River of Life," seem forced. If the Neville Brothers showed a little discretion with regard to their lyrics and cut a couple tracks, they would have had a much stronger album, which in a way is as good a statement as one could make about their entire career.

The Neville Brothers - Brother's Keeper (flac 307mb)

01 Brother Blood 4:33
02 Brother Jake 4:47
03 Steer Me Right 3:13
04 Fearless 4:11
05 Sons And Daughters 5:01
06 Fallin' Rain 4:00
07 Jah Love 3:21
08 River Of Life 5:19
09 Witness 4:04
10 My Brother's Keeper 3:33
11 Sons And Daughters (Reprise) 4:08
12 Mystery Train 4:28
13 Bird On A Wire 5:02

The Neville Brothers - Brother's Keeper (ogg 133mb)

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1 comment:

Anonymous said...

Hi Rho,

any chance on the "Brother's Keeper"?

Thank you again and again and again and...