Nov 8, 2016

RhoDeo 1645 Roots

Hello,  tomorrow the US votes in a new president, yes it's that time again when the woodwork squeeks and out come...the freaks. There's no bigger freak on offer than Donald Trump, he represents everything that is wrong with the US, a tasteless narcissistic bully who leads a bunch of frustrated me me me people that messed up the country in the first place by their selfish voting behavior. The sad thing is that millions will vote for this horror-clown that belongs in an insane asylum. Hillary would be a shoe-in were it not for the fact that's she's been around in Washington politics, relentlessly attacked by the rightwing nutjobs who's job it is to keep America ignorant and happy with the right to kill anyone that trespasses or just looks threathening. The right to buy a judge, the right to be a person even if you are a miltibillion company. Anyway understandably she's become somewhat secretive (doubt very much any of her emails weren't logged by the NSA-and she would know that) meanwhile the backroom dealing boys scream foul just to distract the US public from what is really troublesome.

About 40% of my visitors are from the US, most of them have a vote, I hope they use it.....wisely.

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's artist is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. He began his career together with Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. As a composer, he influenced Caetano and many others and delivered an expressive body of work through his own discography. A restless thinker, he was adept at modern erudite music experimentations, yet he was always ignored by both industry and audiences until he was discovered by David Byrne. He can be better understood through his self-coined definition: "I don't make art, I make spoken and sung journalism."... ........N'Joy

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Tom Zé, born Antônio José Santana Martins, 11 October 1936 in Irará, Bahia, Brazil. Tom Zé grew up in the small town of Irará, Bahia in the dry sertão region of the country's Northeast. He would later claim that his hometown was "pre-Gutenbergian", as information was primarily transferred through oral communication. As a child, he was influenced by Brazilian musicians such as Luiz Gonzaga and Jackson do Pandeiro. Zé became interested in music by listening to the radio, and moved to the state capital of Salvador to pursue a degree. He later relocated to São Paulo and began his career in popular music there.

Much of his early work involved his wry impressions of the massive metropolitan area, coming as he did, from a small town in the relatively poor northeast. Influential in the Tropicália movement, Zé contributed, along with Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Nara Leão, to the watershed Tropicália album/manifesto Tropicália: ou Panis et Circenses (1968). He also participated in a series of concerts with the musicians. After the Brazilian military government of the 1960s began to crack down on the musicians of Tropicália, Zé moved out of the public eye and began to experiment with novel instruments and composition styles. While the other major figures of Tropicália would go on to great commercial and critical success in later decades, Zé slipped into obscurity in the 1970s and 1980s.

In 1969, he performed in Rio and São Paulo with Gal Costa in the show O Som Livre de Tom Zé e Gal Costa. In 1970, he recorded Tom Zé through RGE. The next year, he opened a music course in São Paulo, Sofist Balacobaco -- Muito Som e Pouco Papo. In 1972, he recorded Tom Zé through Continental, followed by 1973's Todos os Olhos, 1976's Estudando o Samba, and 1977's Correio da Estação do Brás, all for the same label. In 1974, he gave a concert with the band Capote in São Paulo. In 1975, he worked on the Brazilian staging of The Rocky Horror Picture Show as an actor. In 1976, he toured the university circuit with Vicente Barreto. In 1984, he went to RGE, where he released Nave Maria, and Continental re-released 1972's Tom Zé as Se o Caso é Chorar. In all this time, he continued to make sporadic appearances, but was still almost completely ignored by the masses due to his unusual approach to music with plenty of irony, erudite music references, and utilization of self-made instruments. Zé was so depressed that he decided to return to his small hometown to work at his nephew's gas station.

In the early 1990s, Zé's work experienced a revival when American musician David Byrne discovered one of his albums, Estudando o Samba (1975), on a visit to Rio de Janeiro. Zé was the first artist signed to the Luaka Bop label and has so far released a compilation and two albums.His releases there would get favorable reviews in The New York Times, The Village Voice, Rolling Stone, Billboard, and Le Monde, and win a Creativity Award in Telluride, CO. In 1991, his album The Best of Tom Zé was voted the third best album by critics and fourth by the readers of Down Beat. In 1992, he recorded The Hips of Tradition (also on Luaka Bop) and participated in the Zurich Jazz Festival in Switzerland. He then departed for a successful series of tours in Europe and the U.S.

He is the first Brazilian musician to be presented at New York's Museum of Modern Art (1993), and the first Latin American composer to be presented at the Walker Art Center in Minneapolis, MN. He also opened a concert at the London International Festival of Theatre at Queen Elizabeth Hall in London, England. He appeared in concert and at festivals in Canada (Vancouver, Montreal, Edmonton, Saskatoon) and New York, and received 20th Century Artist honors and performed at Summerstage in New York's Central Park. Com Defeito de Fabricacao (Fabrication Defect) In 1994, he worked on the film Sábado (Ugo Giorgetti) and toured through Europe including the Netherlands, Germany, Switzerland, and France.

In 1995 and 1996, he toured the biggest capitals of Brazil. In the same year, he wrote (together with José Miguel Wisnik) the Parabelo soundtrack for Grupo Corpo (a modern ballet company), which brought them the APCA award. In 1998, Com Defecto de Fabricacao (Fabrication Defect) was released by Luaka Bop, followed by Postmodern Platos Remixes to close out the decade in 1999. To begin the new millennium, Warner Music Brazil released one compilation entitled Enciclopédia Musical Brasileira, which was followed by Jogos de Armar in 2000. Grupo Corpo: Sanaugustin, a collaboration with Gilberto Assis, followed in 2002. In 2006 the pair teamed up again for the confusingly titled Santagustin. In 2005, Zé released Estudando o Pagode, and in 2006, Danc-Eh-Sa: Danca dos Herderieros do Sacrificio. Imprensa Cantada 2003 was finally issued in 2007, and in 2010 Luaka Bop released a new album in Estudando a Bossa, as well as a limited-edition 180-gram LP box set containing the albums Massive Hits (Estudando o Samba), Estudando o Pagode, and Estudando a Bossa, as well as a 7" collaborative single with Tortoise and a CD containing a conversation between Zé and David Byrne.

Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter. He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart.

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One of Tom's best, most unique and most underrated albums. It's easy to see why it's overlooked- though it does contain the classic Tom Ze insanity with synths gurgling and frenetic rhythms giving way to musical mantras, this is generally a more introspective affair, especially at the beginning.

Standout tracks can be found in the first side, tracks such "Menina Jesus" which uses a bloopy synths with great supplicating vocal tones. "Morena" is a Novos Baianos influenced track, being both simultaneously sweet yet highly distinctive. "Correio de Estacao" uses a tricky drum machine pattern coupled with what sounds like a funk bass to intone a mantraic-like vocal delivery which verges on becoming capoeira no-wave funk. "Carta" is my personal fave... because it's truly something uniquely Brazilian yet totally forward thinking, Tom Ze takes a slow forro guitar rhythm and vocal take then adds tasteful art-rock asides which increase the tempo like a ramp that threatens to explode until he brings it back down with a somber vocal breath and synth parachute (capturing what Mr. Jobim calls "saudade" in a new form).

Tracks like "Pecado Original" through "Pecado, Rifa e Revista" blend a bit together but they're more concise versions of the songs he was structuring in Estudando o samba. I can imagine that with a track like "A volta de Xanduzinha (Maria Mariô)" he was glossing over his edges a bit more in the second half of the album but the track still moves because the tuneship is there and more memorable than before. Tom Ze touches on some genuine gold here in this release that he hadn't before. Neat!

Tom Ze - Correio da Estacao do Bras  (flac  234mb)

01 Menina Jesus 3:36
02 Morena 2:43
03 Correio da Estação do Brás 4:23
04 Carta 3:38
05 Pecado original 3:46
06 Lavagem da Igreja do Irará 3:27
07 Pecado, rifa e revista 2:29
08 A volta de Xanduzinha (Maria Mariô) 3:15
09 Amor de estrada 3:17
10 Lá vem cuíca 2:36
11 Na praia do sucesso 3:01

  Tom Ze - Correio da Estacao do Bras    (ogg  91mb)

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Nave Maria is the seventh album by Brazilian experimental composer Tom Zé. Maria was released a full six years after his previous album (Zé was 48 years old at the time) and languished in obscurity almost immediately upon release. Disheartened by his commercial and popular failure, Zé moved on to work at his brother’s gas station. However, in 1990, David Byrne discovered his music in a Brazilian record store and introduced him to the world at large with Brazil Classics 4: The Best of Tom Zé. His comeback began shortly thereafter and he’s been recording again ever since. Nave Maria (its title track especially) has since been considered a true experimental pop classic, if a very well-hidden one.

Tom Ze - Nave Maria   (flac  247mb)

01 Nave Maria 3:33
02 Mamar No Mundo 3:53
03 Su Su Menino Mandu 2:00
04 Cilindrada 4:11
05 Identificação 4:14
06 Neném Gravidez 4:58
07 Acalanto Nuclear 3:13
08 Conto De Fraldas 3:41
09 Mestre Sala 4:15
10 Teu Olhar 3:35

Tom Ze - Nave Maria    (ogg  94mb)

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A concept album by Brazilian experimentalist Tom Zé, 1998's Com Defecto de Fabricacao (Fabrication Defect) is strikingly akin to some early Funkadelic albums philosophically, although not at all musically. (The bold, cartoony graphics are more than a little like Funkadelic's early sleeves as well, come to think of it.) The album's overall theme is that creativity, art, love, and music are "defects" that those in charge (in Zé's case, the often-oppressive Brazilian government) would love to suppress, an idea that's not all that far removed from Free Your Mind...and Your Ass Will Follow. Lyrically, Zé makes his points both directly and through sly, witty metaphors like "Defect 6: Esteticar," a cockeyed defense of plagiarism as an artistic tool puckishly set to the most blandly commercial example of '60s vintage bossa nova imaginable. Musically, the album is a fragmented blend of skittish acoustic guitars, booming electronic rhythms, shouted slogans, bizarre found-sound tape loops, and near-psychedelic production tricks, resulting in songs as varied as the almost tribal vocal and hand-percussion grooves of "Defect 4: Emere" and the percolating closer, "Defect 14: Xiquexique." Those who discovered Tom Zé through his earlier U.S. compilation releases may find this album a more satisfying and solid listen.

Tom Ze - Com Defeito de Fabricação   (flac 281mb)

01 Defeito 01: O Gene 2:00
02 Defeito 02: Curiosidade 4:12
03 Defeito 03: Politicar 2:37
04 Defeito 04: Emerê 3:09
05 Defeito 05: O Olho Do Lago 2:04
06 Defeito 06: Esteticar 2:53
07 Defeito 07: Dançar 2:18
08 Defeito 08: Onu, Arma Mortal 1:04
09 Defeito 09: Juventude Javali 2:47
10 Defeito 10: Cedotardar 1:10
11 Defeito 11: Tangolomango 2:51
12 Defeito 12: Valsar 1:12
13 Defeito 13: Burrice 2:33
14 Defeito 14: Xiquezique5:25
15 Curiosidade (Amon Tobin Remix) 6:39
16 O Olho Do Lago (Sean Lennon Remix) 3:31

Tom Ze - Com Defeito de Fabricação      (ogg 108mb)

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Tom Ze is turning 70 and fighting the good fight, asking the difficult questions, providing his own complex answers. He is doing the job that composers in Brazil much younger than he is give up before even trying. This time he tackles the difficult task of answering a question posed by Chico Buarque: "is the song format dead?". He also is concerned and curious about technology and how it invades current music produced there. This is his way of answering this question: the album has voices but no lyrics, electronic sounds invade the entire record, the songs do not follow common radio formats, they have different moods and moments, are aggressive at times, tender and lyrical at times. In short, this album is amazing. Danc-Eh-Sa is as weird and fun as the best of Zé's catalog, only this time he gets to mess with the the latest and greatest toys the computer age has to offer. Who said you can't teach an old dog new tricks? Zé is twice as innovative as others half his age.

Tom Ze - Danç-Êh-Sá (avi  218mb)

01 Uai-Uai (Revolta Queto-Xambá 1832) 3:43
02 Atchim (Revolta Paiaiá 1673) 6:06
03 Triú-Triii... (Revolta Malè 1835) 5:22
04 Cara-Cuá (Revolta Nagô-Oió 1830) 4:53
05 Acum-Mahá (Revolta Jege-Mina-Fon 1834) 4:19
06 Taka-Tá (Revolta Banta 1910) 3:36
07 Abrindo As Urnas (Encourados de Pedrão 1823) 4:33

Danç-Êh-Sá  (ogg  80mb)

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1 comment:

Anonymous said...

Your political commentary is spot-on, as usual. It's shocking that millions of voters are too fucked in the head to see this gold-plated dog turd for the childish, ignorant fascist he truly is! Cheers from the U.S. (keeping fingers crossed...)