Mar 31, 2017

RhoDeo 1713 Re-Ups 92

Hello, to those poor UK visitors i can say Brexit makes no difference here.

This week some anon asks for 3 reposts of the same artist, last week the same and then this anon had to gall to remind me that i fulfilled just 2 of his requests, yes greed knows no bounds.. Anyway when i post a series on an artist, i keep it to 3 or 4 titles per week, I don't see a reason why i should change that at re-ups, if people can't wait a week, or 2 go to Amazon, (ouch-oh no that costs money ). Again what's the rush, take time to enjoy !

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 another batch of 20 re-ups (5 now in flac), requests fulfilled up to March 30th.

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3x Aetix Back in Flac (The Go-Betweens - Send Me a Lullaby+Bonus, The Go-Betweens - Before Hollywood+Bonus, The Go-Betweens - Tallulah)


3x Sundaze Back In Flac (Harold Budd - Serpent-Abandoned Cities, Harold Budd - The White Arcades , Harold Budd - By The Dawn's Early Light)


3x Sundaze NOW in Flac (Jonathan Goldman - Lost Chord, Jonathan Goldman - Holy Harmony, Jonathan Goldman - Dolphin Dreams)


3x Sundaze Back In Flac ( Ryuichi Sakamoto - Soundbytes (81–86), Ryuichi Sakamoto - Esperanto, Ryuichi Sakamoto - Neo Geo)


2x Sundaze NOW In Flac ( Plastikman - Consumed,  Videonoise - Fragmentary)


3x Beats Back In Flac (DJ Shadow - Preemptive Strike, VA Dubnology II-I, VA Dubnology II-II)


3x Aetix Back In Flac ( John Cooper Clarke – Disguise In Love, John Cooper Clarke - Snap, Crackle & Bop,  John Cooper Clarke - Zip Style Method )


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Mar 29, 2017

RhoDeo 1713 Aetix

Hello,


Today's artists were an English punk rock/mod revival band active during the late 1970s and early 1980s. They  wore smartly tailored suits rather than ripped clothes, and they incorporated a number of mainstream 1960s rock and R&B influences rather than rejecting them, placing them at the forefront of the mod revival movement. They had 18 consecutive Top 40 singles in the United Kingdom, from their debut in 1977 to their break-up in December 1982, including four number one hits. .....N'Joy

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The Jam formed in Woking, Surrey, England, in 1972. The line-up was fluid at this stage, consisting of Paul Weller on guitar and lead vocals together with various friends at Sheerwater Secondary School. They played their first gigs at Michael's, a local club. The line-up began to solidify in the mid 1970s with Weller, guitarist Steve Brookes and drummer Rick Buckler. In their early years, their sets consisted of covers of early American rock and roll songs by the likes of Chuck Berry and Little Richard. They continued in this vein until Weller discovered The Who's debut album My Generation and became fascinated with Mod music and lifestyle. As he said later, "I saw that through becoming a Mod it would give me a base and an angle to write from, and this we eventually did. We went out and bought suits and started playing Motown, Stax and Atlantic covers. I bought a Rickenbacker guitar, a Lambretta GP 150 and tried to style my hair like Steve Marriott's circa '66." Eventually Brookes left the band, and was not replaced. Up to this point Weller had been playing bass and Foxton had been the band's second guitar player; he persuaded Foxton to take over bass duties and developed a combined lead/rhythm guitar style influenced by The Who's Pete Townshend as well as Dr. Feelgood guitarist Wilko Johnson. The line-up of Weller, Foxton, and Buckler would persist until the end of The Jam's career. Throughout, the band were managed by Weller's father, John Weller, who then managed Paul's career until John died in 2009.

In the following two years, The Jam gained a small following around London from playing minor gigs, becoming one of the new lights on the nascent punk scene. In many ways, however, they stood out from their punk peers. Though they shared an "angry young men" outlook, short hair, crushing volume and lightning-fast tempos, the Jam wore neatly tailored suits where others wore ripped clothes, played professionally where others were defiantly amateurish, and displayed clear 1960s rock influences where others were disdainful (at least ostensibly) of such music (which had been a major influence on the "stadium rock" and "prog rock" of the 1970s). Indeed, the band were tagged by some journalists as "revivalists". They were signed to Polydor Records by Chris Parry in early 1977.

The Jam had political lyrics, condemning police brutality ("In the City") and expansionist development ("Bricks And Mortar"). However, one of their most openly political songs, "Time For Truth", bemoaned the decline of the British Empire and expressed disparaging sentiments about "Uncle Jimmy" (the Prime Minister, James Callaghan) in no uncertain terms ("Whatever happened to the great Empire?" / "I think it's time for truth, and the truth is you lost, Uncle Jimmy"). These pro-Empire sentiments and ostentatious displays of the Union Flag began to earn the group the tag of "Conservative". Misunderstandings in the music press about The Jam's political or social stance are usually attributed to Weller's lyrical perspective. Even as he pointed out what he saw as wrong and demanded change, Weller's lyrics reflected a deep affection for an idealised vision of England, much in the style of The Kinks' Ray Davies. This contrasted with the Sex Pistols' calls for destruction, or The Clash's calls for revolutionary change.

After the non-LP single "All Around the World" nearly reached the UK Top 10, The Jam, having achieved a notable and loyal following in such a short time, were pressed to produce more material quickly. Their second album, This Is the Modern World, was released later in 1977. Bruce Foxton, generally considered a lesser songwriter than Weller, contributed two songs to the LP ("Don't Tell Them You're Sane" and "London Traffic"), both of which attracted criticism. His composing output gradually decreased, leaving Weller firmly established as the band's chief songwriter. Despite displaying more stylistic variety than before, including some ventures into introspective pop, This Is The Modern World was not widely praised. However, when John Peel first heard the album, he played it in its entirety on one show, one song after the other.

In March 1978, the Jam released "News of the World", a non-album single that was both written and sung by Foxton. It charted at No. 27 in the UK, and was the band's second biggest hit to date. This was the only Foxton solo composition to be released as a Jam A-side. When the band went back into the studio to record a third album of primarily Foxton contributions, their songs were dismissed by producers as poor, and they held off recording an album in hopes that Weller would once again find inspiration. "News of the World" is now used in the opening theme of the BBC television show "Mock the Week".

Returning to his hometown of Woking, Weller spent much of his time listening to albums by The Kinks and coming up with new songs. The Jam released their next single, the double A-side "David Watts"/"'A' Bomb in Wardour Street". "David Watts" was a cover of the bouncy Kinks classic; Weller and Foxton traded lead vocals throughout the song. "'A' Bomb in Wardour Street" was a Weller original. One of their hardest and most intense songs, Weller cursed the violent thugs that plagued the punk rock scene over a taut two-chord figure. It became their most successful 7" since "All Around the World".

It was not until their next single, "Down in the Tube Station at Midnight", that The Jam really regained their
former critical acclaim. The song was a dramatic account of being mugged by thugs who "smelled of pubs and Wormwood Scrubs and too many right-wing meetings." Around this time, The Jam slimmed their team of two producers to one, Vic Coppersmith-Heaven, who helped develop the group's sound with harmonised guitars and acoustic textures. In 1978, the Jam released their third LP, All Mod Cons, which included three previously released tracks among the 12 in total: "David Watts", "'A' Bomb In Wardour Street", and "Down in the Tube Station at Midnight". (It also contained two songs Polydor had previously rejected for single release, the manic "Billy Hunt" and the acoustic ballad "English Rose".)

Following two successful and critically acclaimed non-LP singles, "Strange Town" and "When You're Young", the band released "The Eton Rifles" in advance of their new album. It became their first top 10, rising to No. 3 on the UK charts. November 1979 saw the release of the Setting Sons album, another UK hit, and their first chart entry in the US, albeit at 137 on the Billboard 200. The album began life as a concept album about three childhood friends, though in the end many of the songs did not relate to this theme. Many of the songs had political overtones; "The Eton Rifles" was inspired by skirmishes between demonstrators on a Right to Work March – a campaign initiated by the left-wing Socialist Workers Party – and pupils from Eton College; "Little Boy Soldiers" was an anti-war multi-movement piece in the vein of Ray Davies. Another notable song from the album was Bruce Foxton's "Smithers-Jones", originally a b-side to "When You're Young". The song is almost unanimously considered to be his greatest contribution to The Jam. Recorded with electric rock instrumentation for the single release, "Smithers-Jones" was given a complete makeover for the Setting Sons album, including a strings arrangement.

The band's first single of 1980 was intended to be "Dreams of Children", which combined bleak lyrics lamenting the loss of childhood optimism with hard-edged, psychedelic instrumental backing and production. Due to a labelling error, however, the a- and b-sides of the single were reversed, resulting in the more conventional "Going Underground", the single's planned flipside, getting much more airplay and attention than "Dreams of Children". As a result, only "Going Underground" was initially listed on the charts, although the single was eventually officially recognised (and listed) as a double A-side by the time the release reached No. 1 in the UK. When promoting the album in the United States, the group appeared on American Bandstand, performing "(Love Is Like a) Heat Wave", a cover of the hit song by the Motown girl group Martha and the Vandellas. They also appeared on the short-lived American sketch comedy series Fridays, playing the song "Private Hell".

Sound Affects was released in November 1980. Paul Weller said that he was influenced by The Beatles' Revolver and Michael Jackson's Off the Wall also. Indeed, several of the songs recall Revolver-era swirling psychedelia, such as "Monday", "Man in the Corner Shop", and the acoustic "That's Entertainment". According to Weller he wrote "That's Entertainment", a bitter slice-of-life commentary on the drudgery of modern working-class life, in around 15 minutes upon returning inebriated from the pub. Despite being only available as an import single, it peaked at No. 21 on the UK charts, an unprecedented feat. It is now arguably The Jam's most celebrated song. Despite the group's lack of commercial success in America, it even made American magazine Rolling Stone's list of the 500 greatest songs of all time.

"Start!", released before the album, became another No. 1 single. It had a very similar bass line, rhythm guitar and guitar solo to The Beatles' Revolver cut "Taxman", but arranged as an otherwise completely different song. Some contemporary American R&B influence, including Michael Jackson, show up in Buckler's driving beats that power the album (such as on "But I'm Different Now"), and most obviously in Foxton's funk-influenced bassline in "Pretty Green". The album also reveals influences of post-punk groups such as Wire, XTC, Joy Division, and Gang of Four. The album was a No. 2 hit in the UK and peaked at No. 72 on the US Billboard charts, their most successful American album.

Two non-LP singles, "Funeral Pyre" and "Absolute Beginners", abandoned the psychedelic pop of Sound Affects; "Absolute Beginners" (named after a cult novel of the same title) had a more R&B-flavoured sound, and "Funeral Pyre" was influenced by new wave music. "Funeral Pyre" is built around Buckler's drumming, and aside from the Sound Affects track "Music for the Last Couple", is the only song in the group's catalogue that carries a joint Buckler/Foxton/Weller writing credit. ("Funeral Pyre" and "Music for the Last Couple" are the only songs for which Buckler receives any writing credit).

The 1982 release The Gift – the band's final LP – was a massive commercial success, peaking at No. 1 on the UK charts. It featured several soul, funk, and R&B-stylised songs; most notably the No. 1 hit "Town Called Malice", which boasts a Motown-style bassline somewhat reminiscent of The Supremes' "You Can't Hurry Love". The song included work by Keith Thomas and Steve Nichol, who later became well known as members of the R&B groups Legacy and Loose Ends respectively. "Town Called Malice", another reality-based tale of dealing with the hardships of life in a small, downtrodden English town, is one of the few Jam songs Weller still performs at concerts (along with "That's Entertainment", "Man in the Corner Shop", "Strange Town", "Art School", "Start!" and "In the Crowd")[citation needed]. When "Town Called Malice" reached number one the group had the honour of performing both it and its double A-side, "Precious" on Top of the Pops – the only other band to be accorded this honour being the Beatles. After the string-laden soul ballad "The Bitterest Pill (I Ever Had to Swallow)" peaked at No. 2, the band followed with their finale and another No. 1, "Beat Surrender", both of these singles featuring Tracie Young who also featured on vocals on The Style Council's (Weller's band after The Jam) debut single "Speak Like a Child". The Beat Surrender EP had success in the British charts, and both its graphic design and music resembles early Style Council releases.

Weller disbanded the group in December 1982, after a farewell tour of the UK and appearances on Top of the Pops and The Tube to promote Beat Surrender. Their final concert was at the Brighton Conference Centre on 11 December 1982. The decision to split was Weller's; he told the Mirror in advance of a 2015 Sky documentary on the band, "“I wanted to end it to see what I was capable of. We stopped at the right time." Weller's decision to move on, announced by his father at an extraordinary band meeting in the summer of 1982, "came as a shock" to Buckler and Foxton, who hoped to keep the band together; Buckler told the Woking News and Mail in 2012: “It was like we were going to be driving over a cliff at the end of the year, and you keep thinking ‘Maybe he’ll change his mind’.” Both Buckler and Foxton described the experience as bitter, but in later years both expressed understanding, if not complete acceptance. Following the break-up, Foxton did not speak to Weller for over 20 years, and Buckler said in 2015 that he still hadn't spoken to Weller since, despite repeated attempts by Buckler and Foxton in 1983 and 1984 to meet and talk. The month after the breakup, Polydor re-released all sixteen of the band's singles, and nine of them entered the charts on 22 January 1983. A policy of greed Polydor continued upon today releasing no less then 36 compilations sourced from 7 albums, ah yes the music industry....




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On their debut, the Jam offered a good balance between the forward-looking, "destroy everything" aggression of punk with a certain reverence for '60s beat and R&B. In an era that preached attitude over musicianship, the Jam bettered the competition with good pop sense, strong melodies, and plenty of hooks that compromised none of punk's ideals or energy, plus youth culture themes and an abrasive, ferocious attack. Even though the band would improve exponentially over the next couple of years, In the City is a remarkable debut and stands as one of the landmark punk albums.



The Jam - In the City   (flac  216mb)

01 Art School 2:01
02 I've Changed My Address 3:31
03 Slow Down 2:38
04 I Got By In Time 2:06
05 Away From The Numbers 4:03
06 Batman Theme 1:30
07 In The City 2:19
08 Sounds From The Street 3:14
09 Non-Stop Dancing 2:27
10 Time For Truth 3:10
11 Takin' My Love 2:14
12 Bricks And Mortar 2:36

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As is so often the case for overnight successes, the Jam rush-recorded their sophomore effort during a hurried schedule to capitalize on the debut. This, combined with Paul Weller's various personal distractions and temporary lack of interest, led to less than satisfying results, especially in comparison to In the City. This Is the Modern World can be faulted for borrowed Who licks, pale rewrites of the debut, somewhat clichéd sloganeering, and unfinished ideas, but there were still some moments of inspiration, especially in more introspective Weller songs like "Life From a Window" and "I Need You (For Someone)" -- both songs feature personal sentiments that the debut was clearly missing. This Is the Modern World is a flawed album by Jam standards, but it would certainly have received praise had it been released by another band.



The Jam - This Is the Modern World (flac  210mb)

01 The Modern World 2:32
02 London Traffic 1:51
03 Standards 2:30
04 Life From A Window 2:54
05 The Combine 2:22
06 Don't Tell Them You're Sane 3:42
07 In The Street Today 1:32
08 London Girl 2:42
09 I Need You (For Someone) 2:43
10 Here Comes The Weekend 3:31
11 Tonight At Noon 3:03
12 In The Midnight Hour 1:54

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The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary -- all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the "voice of a generation" tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like "classic" are often bandied about, but in the case of All Mod Cons, it is certainly deserved.



The Jam - All Mod Cons (flac 252mb)

01 All Mod Cons 1:21
02 To Be Someone (Didn't We Have A Nice Time) 2:30
03 Mr. Clean 3:30
04 David Watts 2:57
05 English Rose 2:51
06 In The Crowd 5:41
07 Billy Hunt 3:02
08 It's Too Bad 2:37
09 Fly 3:21
10 The Place I Love 2:54
11 'A' Bomb In Wardour Street 2:39
12 Down In The Tube Station At Midnight 4:43

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The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album.



The Jam - Setting Sons (flac 206mb)

01 Girl On The Phone 2:54
02 Thick As Thieves 3:39
03 Private Hell 3:50
04 Little Boy Soldiers 3:34
05 Wasteland 2:50
06 Burning Sky 3:32
07 Smithers-Jones 2:59
08 Saturdays Kids 2:52
09 The Eton Rifles 3:58
10 Heatwave 2:23

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Mar 28, 2017

RhoDeo 1713 Roots

Hello,

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 while many of the performers during the heyday of Tropicalia and the rise of MPB (música popular brasileira) opted for a more radical stance in their challenge to Brazil's political and cultural authorities, artists like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the country's great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa.  With that he became one of the most respected and resilient figures in Brazilian pop.  ...  N'Joy

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Born (March 22, 1945) Jorge Duilio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He received the nickname "Babulina", after their enthusiastic pronunciation of Ronnie Self's song "Bop-A-Lena". Was presented to Tim Maia by Erasmo Carlos, soon discovered that Maia was also known for the same reason. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.

The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.

Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas Que Nada", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by jazz luminaries such as Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares. His musical work has been vastly sampled by music producers and DJ's, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.

In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical," one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.

In the 1970s, Jorge Ben released his most esoteric and experimental albums, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. In 1976, he released one of his most popular albums: "África Brasil," a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal," from which Rod Stewart's 1979 hit "Da Ya Think I'm Sexy? was plagiarized (a matter that he claimed was settled out of court in his favor).

In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerological reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson. In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician, Fela Kuti, that raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with fellow hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake the famous song by Fela Kuti, "Shuffering and Shmiling," for the CD.

In 2006, a remake of Ben's "Mas Que Nada" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands. Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo," "Camisa 10 da Gávea," "Ponta De Lança Africano (Umbabarauma)," "Zagueiro," and "Filho Maravilha."

On July 7, 2007 he performed at the Brazilian leg of Live Earth in Rio de Janeiro. On March 20, 2011 his name was mentioned in President Barack Obama's speech in Rio de Janeiro, Brazil at the Theatro Municipal (Rio de Janeiro). President Barack Obama quoted: "You are, as Jorge Ben-Jor sang, “A tropical country, blessed by God, and beautiful by nature.”"



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This 1976 album is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil. The album kicks off with the raw, energetic "Ponta de Lança Africano," and from there on it never slows down, but continues to pile up one fiery, funky gem after the other. The samba soul and samba funk scenes of the '70s in Brazil produced many great artists and many great recordings, fully comparable with the best soul and funk music recorded in the U.S. during the same period. Jorge Ben was the most prominent figure of this scene and África Brasil is probably the most famous of his '70s recordings. For any person who is interested in the music of Jorge Ben, or indeed Brazilian funk in general, there is no better sample of it than África Brasil.



Jorge Ben - África Brasil (flac  293mb)

01 Ponta De Lança Africano [Umbabarauma] 3:49
02 Hermes Trismegisto Escreveu 3:01
03 O Filósofo 3:20
04 Meus Filhos, Meu Tesouro 3:51
05 O Plebeu 3:03
06 Taj Mahal 3:04
07 Xica Da Silva 4:03
08 A História De Jorge 3:45
09 Camisa 10 Da Gávea 4:01
10 Cavaleiro Do Cavalo Imaculado 4:42
11 África Brasil [Zumbi] 3:31

Jorge Ben - África Brasil (ogg  112mb)

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Bem-Vinda Amizade, released in 1981, is the 19th studio album by Brazilian singer Jorge Ben . It brought the success "Santa Clara Clareou" and Ben's own recording of the song "Todo Dia Era Indio", for an 80s album, from Jorge Ben no less, when many rock/pop heavyweights were sinking like stones, this doesn't sound too dated and the songs, if not for production are dead solid. Most of the songs recall the territory Marco Valles or Caetano were taking on around the same time, mainly sunny pop dance music. It's what the sweet funky Chic-like soul and Jorge Ben's own brasil-soul would sound like if they were combined. It's a hard album to dig outside of summer since it's so sunny and upbeat but when the season is on nothing beats stuff like this to cheer you up or get you going on vacation trips or in a beach.

For Jorge Ben this is at best a 4 star album, but for anyone not Jorge Ben this would easily be their best if not their personal best. This album grows on one, truly funky as hell and once the joy-inducing vibes have sufficiently latched on, its as good, if not better, than Africa Brasil.



Jorge Ben - Bem-Vinda Amizade   (flac  213mb)

01 O Dia Que O Sol Declarou O Seu Amor Pela Terra 3:44
02 Santa Clara Clareou 3:22
03 Oê Oê (Faz O Carro De Boi Na Estrada) 3:06
04 Era Uma Vez Um Aposentado Marinheiro 3:30
05 Lorraine 3:34
06 Curumin Chama Cunhã Tã Que Eu Vou Contar (Todo Dia Era Dia De Indio) 3:49
07 Katarina, Katarina 3:55
08 Ela Mora Em Matogrosso Fronteira Com O Paraguai 3:17
09 Para Que Digladiar 3:34
10 Luiz Wagner Guitarreiro 3:25

Jorge Ben - Bem-Vinda Amizade    (ogg   87mb)

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Its a testament to Ben's 70s legacy that even a collection of rarities can be this consistent. This double cd functions as a gap filler for all of Ben's non-album releases.  Some live tracks, some alternates, all of them sounding like they are deserving release.  The majority of tracks from the relatively obscure Jazz Potatoes album are scattered throughout this release, remastered and sounding better than they ever have.  An outstanding companion for those who are fan of Jorge Ben's late 60s / early 70s heyday



Jorge Ben Jor - Salve Jorge (Rarities and Unpublished) 1 (flac 362mb)

01 Mas que nada [Versão mais acelerada][Gravação inédita] 3:16
02 Hino do Clube de Regatas do Flamengo [Hino do Flamengo] 5:54
03 Lá vem Salgueiro 2:36
04 Olha a beleza dela 2:42
05 Aleleuia é nome de mulher 3:12
06 Caramba!... Galileu da Galiléia [Gravação inédita] 3:18
07 Sai de mim, mulher [Versão mais acelerada][Gravação inédita] 4:43
08 Bahia, berço do Brasil 4:55
09 Sem essa no. 5 2:52
10 Dorothy [Gravação inédita] 3:08
11 Maria Luiza [Gravação inédita] 3:15
12 Silvia Lenheira [Gravação inédita] 3:43
13 Cosa nostra 5:32
14 Descalço no parque [Ao vivo] 4:46

Jorge Ben Jor - Salve Jorge (Rarities and Unpublished) 1   (ogg   141mb)

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Jorge Ben Jor - Salve Jorge (Rarities and Unpublished) 2 (flac  279mb)

01 Sai de mim, mulher [Versão mais suave] 3:49
02 Você não é Ave Maria, mas é cheia de graça 3:03
03 Jazz Potatoes 3:45
04 Mas que nada [Versão alternativa] 2:50
05 Os mentes claras [Gravação inédita] 3:50
06 Olha a beleza dela (Olha o balaio dela) [Gravaçao inédita] 3:12
07 Quase colorida (Verushka) [Gravaçao inédita] 3:27
08 Salve América [Gravaçao inédita] 2:58
09 Tô com Deus, tô com amor 2:59
10 Jesualda [Gravaçao inédita] 2:48
11 A lua é minha [Gravaçao inédita] 2:36
12 Camisa 12 [Gravaçao inédita] 3:10
13 Bicho do mato [Ao vivo] 2:12
14 Mano Caetano feat. Maria Bethânia 2:35

Jorge Ben Jor - Salve Jorge (Rarities and Unpublished) 2 (ogg  112mb)

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Mar 27, 2017

RhoDeo 1713 Kundalini 5

Hello, well as i feared F1 race had to do without any real overtaking apart from a scrap at the end for the last point , in front Massa at 6 th was the last car escaping overtaking by race winner Vettel, 1 min in front of him Verstappen who rode his Red Bull to the max causing his breaks to smoke, but Raikonen was just out of reach in fourth 23 sec slower than his team mate. Hamilton was unable to get closer to Vettel, after being stuck behind Verstappen. Botas did a good job stayed out of trouble and finished 3rd 11 sec in front of Raikonen, which proves to me that Mercedes had the superior car but Vettel outclassed the competition.



There's a profound spiritual possibility open to all people: the opportunity to be absolutely connected to the source of all life, and have that energy steer us in the direction of destiny. Kundalini is the natural creative alignment with the divine; it is our inherent birthright that most have been separated from. How do you unify lower and higher self so that you may reactivate your Kundalini? What would be the advantages of doing so? Activating Kundalini is like connecting to the fast track of the internal superhighway - plugging directly into the 'mains' of universal consciousness... ..N'joy.


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To me the soul is a flowing stream of consciousness, out from the source and back again. In an aligned state, it's an eternal flow of creativity, symbolised by the figure 8. You're in creative alignment with the divine, every step feels interconnected with the universe, an orchestra of synchronicity sounding in your ears. It's like every action is supported, and even when your creative manifestation is blocked in the physical world by someone or something, you're still able to appreciative the deeper significance, the deeper meaning, the higher teaching that all co-creators in the event are being invited to realise. This interconnected flow of creativity is the harmonious flow of an aligned and balanced soul. This is kundalini. We can reactivate this kundalini. And to do so will guide you on a profound journey of rediscovery of who you truly are and your place in the cosmos. You become once more an active channel for divine expression. So how do you do it? How do you reclaim your true nature?



Kundalini Activation 5,6 (mp3  54mb)

01 Kundalini Activation Module 5 34:23
02 Kundalini Activation Module 6 25:24

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Previously

Kundalini Activation 1,2 (mp3  56mb)
Kundalini Activation 3,4 (mp3  51mb)

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When the breakthrough finally happens, it's a very special moment, something you'll treasure your entire life. The soul encased within the lower self, rises up the spine then reconnects higher and lower self in the third eye. Sense of separated self completely vanishes. Your true self emerges, everywhere and nowhere, penetrating the space between the spaces. Crystal clear clarity emerges. You know yourself experientially as the One. There is nothing that can match it.

Mar 26, 2017

Sundaze 1713

Hello, the F1 season starts this weekend with wide tired cars that corner faster but those techies fucked up again, they made it considerably more difficult to overtake, it's imbecilic! Looking at the grid for tomorrow Ferrari got closer to Mercedes but the rest are way back 2.3 sec for no 9 on the grid with Red Bull as 3rd team in no man's land 1.3 sec back on Hamilton's pole lap. Maybe Vettel can give him some fightback but it looks like a dire season ahead, Mercedes are killing the show they are still too powerful....



Today's Artists compilations have been subtitled: "LONDONDREAMCASTSPECIALIST The finest chill out ambient dub and electronica", convince yourselves and ....N'Joy

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Ambient Soho was a record shop in London’s Berwick Street that was run by Rocket (who was also the artist Further previously here) that specialised in ambient music in the early 90s. They released a couple of limited edition EPs in 1996, from which today’s tracks are taken. The shop closed in the later 90s but the label set up to release the music – Worm Interface – is still operating today. Do go and visit and buy something.  The featured artist is Dunderhead. An odd name for an ambient act. But there you go. Turns out it was Nigel Smith. In this incarnation, he produced some dreamy jazz-influenced ambient – a genre now sadly overlooked.

2001 Ambient Soho was forced to close due to development and lived on for a few more months in side of Dragon Discs in Camden (also owned by Rocket) When Dragon Discs closed Both shops were combined and went on to be a Festival Pop up shop known as Records Rock Selling new and used vinyl at many of the uk festivals notably Green Man Big Chill Glastonbury and many more.This has been going on for the last 12 years in September 2013 a new premises was found and reopened as Vinyl at 4 Tanners Hill. SE84PJ in Deptford 10 mins walk from Greenwich and New Cross there is a Coffee Bar, Gallery and record shop. Vinyldeptford.co.uk

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Here's three double albums of ambient tracks that are favourites of the noted Ambient Soho record shop in London. If you're an ambient techno fan, then these are probably great collections for you to get hold of.



VA - Ambient Soho Vol I 1  (flac 361mb)

01 Plaid - Buddy 6:35
02 Innersphere - Out Of Body 9:35
03 John Beltram - Collage Of Dreams 2:57
04 Lemongrass - Why? 5:18
05 Beaumont Hannant - Vague 7:39
06 Higher Intelligence Agency - Skank 9:37
07 The Starseeds - Experimental Reclining Chair (Exclusive Track) 8:01
08 Spacetime Continuum - Pressure 10:27
09 B12 - VOID/Comm 5:50
10 Andrea Parker & David Morley - Angular Art 7:16

VA - Ambient Soho Vol I 1   (ogg 163mb)

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VA - Ambient Soho Vol I 2 (flac  321mb)

01 Further - Aleisters Requiem 5:20
02 Sandspider - Voltage 8:39
03 Plod - Markkinal 5:50
04 Sandspider - Outside (Exclusive Track) 6:33
05 Astral Engineering - 2010 6:14
06 Replicant - Analize 10:11
07 Koichi - Demon Track (Exclusive Track) 4:40
08 Freeform - Poundland 9:01
09 Freeform - Ect 5:11
10 Metamatics - So Many Ways 5:55

VA - Ambient Soho Vol I 2  (ogg 145mb)

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VA - Ambient Soho Vol II 1 (flac 384mb)

01 Visit Venus - Kinski Disko Fox Machine (Groove Armada Remix) 5:44
02 JFC - Love Dub 6:19
03 Delph - Lowness 5:01
04 Baraki - Colony Lustberry 5:49
05 Soehngenetic - Dub Norm 4:51
06 The Starseeds - Gobi Underwater 7:01
07 Benge - 6'22 6:22
08 Etherealities - Neptune (Supanova Mix) 8:30
09 Gimmik - Maybe 3:42
10 EYP 314 - Waterfear 6:47

VA - Ambient Soho Vol II 1  (ogg 129mb)

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VA - Ambient Soho Vol II 2 (flac 330mb)

01 Num Num -Elastic Nrg (Diving Pool Remix By Gimmik) 4:02
02 S.E.T.I. - Music Box 6:42
03 Sandspider - Vision 4:12
04 Funckarma - Device 18 6:32
05 Lobe - Tactile 5:09
06 Bola - Pendulus 5:33
07 Full Moon Fashions - On My Way Amphetamine 7:00
08 Sierra Romero - Carcass 6:05
09 Hab - Tu Casa 4:50

VA - Ambient Soho Vol II 2  (ogg 108mb)

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VA - Ambient Soho Vol III 1 (flac 412mb)

01 - Mum - The Ballad Of The Broken Birdie Records (6:13)
02 - George Pallikaris - Asian Foundation (6:09)
03 - Pan America - Both Ends Fixed (11:25)
04 - Another Fine Day - Cutting Branches (Coldcut Mix) (7:06)
05 - Deep Space Network - Doors Of Perception (9:10)
06 - Subtonal - Silent Noise (7:25)
07 - Aphelion - Method (6:58)
08 - Fort Lauderdale - We Ain't Got No Money Honey (6:06)
09 - Future 3 - Top 1000 (3:56)
10 - The Starseeds - Strange Planet (7:26)

VA - Ambient Soho Vol III 1  (ogg 162mb)

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VA - Ambient Soho Vol III 2 (flac 346mb)

01 - SandSpider - Quiet Listener (5:20)
02 - SandSpider - The Journey 1 (11:00)
03 - Gimmik - Resonance (3:41)
04 - Operator Ink - Equator (4:16)
05 - Herbal Infusion - Echolating (8:20)
06 - Karsten Pfluem - Te (5:56)
07 - Plasmalamp - Plasmalamp (6:08)
08 - Plod - Plod (5:39)
09 - Gimmik - Cabcrab (3:56)
10 - Un-Co - Child's Play (4:05)
11 - Karsten Pfluem - 01 (6:48)

VA - Ambient Soho Vol III 2  (ogg 141mb)

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Mar 25, 2017

RhoDeo 1712 Grooves

Hello,

Today an American female vocal group, who were originally formed in 1963 in Philadelphia, Pennsylvania. Although a total of 15 women have been a member over the years, the group has always been a trio. The current line-up consists of Valerie Holiday, Helen Scott and Freddie Pool. Holiday has been a member since she first joined in 1967, while Scott has been a permanent member since 1976, having previously been in the group from 1963 to 1966. The group were particularly successful in the UK, achieving 13 Top 50 hit singles between 1974 and 1985..  ..... N'joy

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 Philly soul vocal group the Three Degrees started in 1963 in Philadelphia, PA. They were discovered by producer and songwriter Richard Barrett. Barrett was a key force for 1950s groups the Chantels, Little Anthony & the Imperials, Frankie Lymon and the Teenagers, and his own group the Valentines. The original lineup was Fayette Pickney, Shirley Porter, and Linda Turner. Barrett recorded this lineup on their first single, "Gee Baby (I'm Sorry)." In 1963, Linda Turner and Shirley Porter left the group and were replaced by Helen Scott and Janet Jones. Around this time, Barrett began managing and producing Sheila Ferguson who was a high school friend of Scott. Barrett got deals for both the group and Ferguson with Swan Records. By 1966, Helen decided to leave the group and become a housewife. Sheila Ferguson took her place. She sang backup on all the Three Degrees' Swan recordings, as did the Three Degrees for her solo singles. In 1967, Valerie Holiday joined the group, while Janet Jones departed. Over the next four years, both the Three Degrees and Ferguson released many singles.

In 1970, now signed to Roulette Records, the Three Degrees scored their first national chart hit with a remake of the Chantels' "Maybe". It went to number four R&B in summer 1970. The follow-up, "I Do Take You," peaked at number seven R&B. Barrett got the group short-term deals with Warner Bros., Metromedia, and Gamble & Huff's Neptune Label. The group had a cameo in the classic 1971 movie The French Connection starring Gene Hackman and toured with Engelbert Humperdink. In 1973, Barrett worked a deal with Gamble & Huff's Philadelphia International Records (PIR). The Three Degrees' first PIR single was "Dirty Ol' Man," a disco hit. A short time later, Don Cornelius, producer and host of TV's Soul Train, approached Gamble & Huff about coming up with a new theme song for his hit syndicated show. The Three Degrees were asked to do vocals at the end of the show's new theme track. After some airings, public demand forced the TV show's theme to be released as a single. "TSOP (The Sound of Philadelphia)" by MFSB featuring the Three Degrees went gold hitting number one R&B and holding the number one pop for two weeks during spring 1974. Meanwhile, a previously released Three Degrees single, "Year of Decision," stalled at number 74 R&B. Another MFSB/Three Degrees single, "Love Is the Message," peaked at number 42 R&B in the summer of that year. In the summer of 1974, PIR released another single on the group, "When Will I See You Again." The single went platinum, selling over two million copies, going to number four R&B and number two pop around September 1974. Their PIR debut album, The Three Degrees, was released at the end of 1974. The follow-up, "I Didn't Know," written and produced by Bunny Sigler, went to number 18 R&B in early 1975. The group performed the song on a guest appearance on the hit NBC show Sanford and Son. Their only other charting PIR single was "Take Good Care of Yourself" (number 64 R&B in summer 1975).

Around 1976, Pickney left the group and was replaced by returning member Helen Scott. CBS released their album Standing up for Love in the U.S. in 1977. In 1978, the Three Degrees were signed to European label Ariola Records. The group recorded three LPs for the label. Longtime favorites in the U.K., the group performed at Buckingham Palace for Prince Charles' 30th birthday party and they were guests at his wedding to Princess Diana. During the first half of the '80s, the Three Degrees released U.K.-issued albums, Album of Love and Live in the UK and singles, "Liar" and "A Sonnet to Love." Stock/Aitken/Waterman produced a 1985 U.K. chart hit, "The Heaven I Need," on the group for Supreme Records. In 1986, Sheila decided to leave the group and after a short period of regrouping, Valerie and Helen brought in Cynthia Garrison and set about their business again. The act recorded another live CD with Billy Paul and Harold Melvin and the Bluenotes during a TSOP tour in the summer of 1989. Scott, Holiday, and new member Cynthia Garrison recorded three albums in the 1990s.

Ever since, they have been constantly touring all over the world, occasionally recording but always working. Their hard work in the early years has held them in good stead for today’s more demanding audiences. “For us, it is still exciting and we still enjoy our work,” Valerie points out. “We are blessed with a wide age group appeal….from fifteen to sixty-five. This is why we have survived, I think. We learned and were taught how to entertain and even before we had hit records, we knew how to do our job — our choreography, our costumes, the lights…these were all things that we learned at an early age.” “I think we have done many firsts in our career.” Helen adds. “We have opened a lot of doors for other entertainers. In some cases, we may not have always succeeded but we have never given up. It still amazes me when we see teenagers singing along with our songs. And yet we still have the fans who have grown with us.”

At the end of 2010 and after more than 20 years as a Degree, Cynthia was forced to retire from the group due to medical reasons. It brought to an end the most stable period in the trio’s long history. Her place has been taken by Freddie Pool, a hugely talented and experienced vocalist who has enjoyed past success both as a solo artiste and as a member of other groups. Vocally, she is the perfect blend for both Valerie and Helen and continues the rich tradition that the Three Degrees has always represented. So it is that after more than four decades of existence, the Three Degrees can still make the claim as being the longest running female vocal group in history….see the Guinness Book of Records for confirmation of this fact! And they show no signs of slowing down!



Fayette Pinkney, an original member of the Three Degrees who lent her strong, soulful voice to the 1970s hits “When Will I See You Again?” and “T.S.O.P. (The Sound of Philadelphia),” the theme song of the television show “Soul Train,” died  in Lansdale, Pa. July 2009, she was 61.

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It's no accident that the Three Degrees' career started taking off at approximately the same time the Supremes were falling apart. As this excellent collection (which contains all of the group's 1970-72 recordings for the Roulette label) makes clear, the Degrees represented the next step forward in female singing groups, and a very big step it was.
Unlike their later situation on Philadelphia International Records (and unlike the Supremes), at this point the Degrees - in their classic lineup of Fayette Pinkney, Sheila Ferguson and Valerie Holiday - weren't having any material written specifically for them. Instead, they tackle a wide array of covers here, moving as easily between eras as they do between genres. Apart from providing the title of their debut album, the Degrees' rap-prefaced version of the 1958 Chantels classic "Maybe" became their first major hit, peaking at number 4 on the US R&B chart in the summer of 1970. 3-D workouts on songs by the James Gang, Sly Stone, Joe South, Tommy James and other contemporary artists are similarly transcendent, with those trademark flawless harmonies already in full swing and beautiful solo work by each member of the group. Of particular interest is the six-minute rethink of Jimmy Webb's "MacArthur Park", which actually omits the title line made famous by Richard Harris but is if anything even more gut-wrenching than his version in its sheer emotive power. Impressive as the commercial results of its various singles may have been, it's a wonder the "Maybe" LP didn't fare a lot better even in the feverishly progressive and competitive musical atmosphere of forty-four years ago. Rounding out the first disc are alternate and/or mono versions of some tracks from "Maybe", along with non-LP singles such as "I Do Take You" and a few previously unreleased efforts, all of which are well worth hearing.



The Three Degrees - Maybe    (flac  352mb)

01 Collage 2:59
02 You're The One 3:23
03 Sugar On Sunday 3:23
04 Maybe 5:37
05 You're The Fool 2:50
06 McArthur Park 6:43
07 Rosegarden 2:40
08 Stardust 4:08
09 Lonely Town 2:50
10 The Magic Door 2:20
Bonus Tracks
11 Melting Pot (Mono Version) 3:30
12 The Grass Will Sing For You (Mono Version) 3:22
13 Maybe (Mono Version) 3:40
14 Collage (Mono Version) 3:00
15 Sugar On Sunday (Mono Version) 3:20
16 I Do Take You (Mono Version) 3:16
17 You're The Fool (Mono Version) 2:46
18 You're The One (Mono Version) 3:23
19 Stardust (Mono Version) 3:55
20 There's So Much Love All Around Me (Mono Version) 2:18
21 Yours (Long Single Version) (Previously Unreleased) 3:02

The Three Degrees - Maybe  (ogg   150mb)

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The Three Degrees' second and final Roulette "album", "So Much Love", which was released in 1975 to cash in on the group's far greater success at PIR. "Maybe" makes its second full-length appearance here, with "I Do Take You" also tossed in for good measure; but most of this material hadn't yet been released at the time, and all of it is excellent, with Stephen Stills' "Love the One You're With" and Roberta Flack's "Trade Winds" providing especially good examples of the Degrees' seemingly boundless facility. A wealth of bonus material (this time from 1971-2) brings the album up to a generous seventy-two minutes and change. Obviously anyone with the least interest in soul music of the psychedelic era will want to grab this collection; but rock, pop and even country fans will find much to enjoy herein as well. The Three Degrees may never have enjoyed the sort of Stateside chart success the Supremes had, but they were in many ways a superior and more interesting group, in which all three members got their share of the spotlight and absolute magic happened when they raised their voices in unison. No maybes about it, folks; this one belongs in your music library!



The Three Degrees - So Much Love   (flac  405mb)

01 Magic Mirror 3:13
02 Trade Winds 3:54
03 Love The One You're With 3:40
04 I Do Take You 3:07
05 Who Is She (And What Is She To You) 3:15
06 There's So Much Love All Around Me 2:37
07 Ebb Tide 3:15
08 Caught Between Two Fires 3:08
09 Maybe 5:37
10 If You Must Leave My Life 3:09
Bonus
11 Ebb Tide (Mono Version) 3:17
12 Lowdown (Mono Version) 3:13
13 Trade Winds (Mono Version) 4:35
14 I Turn To You (Mono Version) 3:16
15 I Wanna Be Your Baby (Mono Version) 3:44
16 Find My Way (Mono Version) 2:18
17 I Won't Let You Go (Mono Version) 2:58
18 Through Misty Eyes (Mono Version) 3:07
19 Requiem 4:34
20 Isn't It A Pity 3:52
21 Shades Of Green 4:23
22 Handle With Care (Previously Unreleased) 3:00

. The Three Degrees - So Much Love  (ogg   162mb)

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The divas of Gamble & Huff's Philadelphia International stable, the Three Degrees debuted their self-titled album for the label in 1973 before they hit the mainstream with MFSB and "TSOP" the following year. And, although they are so often piggybacked on that glory, it's important to remember that this remarkable trio was already established as one of the country's premier female vocal groups. With successful sides for Roulette already under their belt, The Three Degrees found them combining their already tried and true R&B style with Gamble & Huff's trademark orchestral, instrumental flourish. It was a heavenly marriage that easily, and obviously, brought the band into the Top 40. With the lion's share of "good" material crowded on side one, the set is highlighted by the opening "Dirty Ol' Man," which brought the band's harmonies cascading over the opening strings before they descended into edgier waters. Following apace is a wonderful version of "A Woman Needs a Good Man," before closing with "When Will I See you Again" -- the gorgeous, breathless ballad that nearly topped the charts in 1974. Elsewhere, the band tempers the obvious and silly "I Like Being a Woman" with the overlooked gem "If and When." The song, one of several written by Philly International bigwig Bunny Sigler, is a rough-and-tumble ballad that heats up by merging classic '70s rock elements with the Three Degrees' girl group ethics. Although it's ultimately patchy in places, The Three Degrees was a fine introduction for the partnership between the band and the label that would put them on the map. A fine bridge between sugar soul and the sexy disco strings lurking in the band's future.



The Three Degrees - The Three Degrees    (flac  296mb)

01 Dirty Ol' Man 4:33
02 Can't You See What You're Doing To Me 2:31
03 A Woman Needs A Good Man 4:19
04 When Will I See You Again 2:58
05 I Didn't Know 2:50
06 I Like Being A Woman 3:56
07 If And When 7:07
08 Year Of Decision 2:42
Bonus
09 MFSB featuring The Three Degrees - TSOP (The Sound Of Philadelphia) 3:36
10 MFSB featuring The Three Degrees - Love Is The Message 2:41
11 Dirty Ol' Man ("A Tom Moulton Mix") 8:21

The Three Degrees - The Three Degrees  (ogg     113mb)

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Now past their "TSOP" apogee and working well with producers Gamble & Huff, the Three Degrees bounded back into the Top 40 with 1975's International. Working across a slick set dominated by Gamble & Huff-penned songs that provided a smooth vehicle for the trio's powerhouse vocals, the Three Degrees took the pleasing "Take Good Care of Yourself" into the charts. But despite the evidence of a fine performance, it never really feels like the band really hit its stride. Both "Long Lost Lover" and the very Motown-ish "Loving Cup" are pleasant efforts but, as the songs unfold, the band seems to stagnate across an apparently endless supply of ballads. Even a reprisal of "TSOP" and a cover of Marvin Gaye's 1973 classic "Distant Lover" don't manage to stir the old heartstrings. Although they'd revamp and revive across later efforts for Ariola, the bandmembers were running out of steam in the confines of the Philadelphia International format. Stripped of their earlier fire and spark, it's obvious the Three Degrees really didn't have anything fresh to offer. However, that's not to say that this album isn't without merit -- after all, it did carve a respectful niche for itself. In another time and place, International would probably crackle with effervescence but, in retrospect, there are far better ways to sample this wonderful trio.



The Three Degrees - International  (flac 425mb)

01  Another Heartache 4:11
02  Take Good Care Of Yourself 3:25
03  Get Your Love Back 3:24
04  Lonelier Are Fools 4:05
05  Distant Lover 4:04
06  Together 4:37
07  Long Lost Lover 2:59
08  Here I Am 3:54
09  TSOP (The Sound Of Philadelphia) 3:47
10  Loving Cup 3:07
Bonus
11 Midnight Train 4:04
12 Nigai Namida (Single Version) 3:55
13 La Chanson Populaire 3:41
14 Somos Novios (It's Impossible) 3:46
15 When Will I See You Again (Japanese Single Version) 2:49
16 TSOP (The Sound Of Philadelphia) ("A Tom Moulton Mix") 5:49

The Three Degrees - International (ogg  148mb)

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Mar 24, 2017

RhoDeo 1712 Re-Ups 91

Hello, like the criminals of Nice and Berlin, London got a taste of muslims turning suicidal and hoping to get bonuspoints with Allah and forgiveness for their sinful life. This is a disturbing trend as the West has many Muslim 'sinners' and dark hearted Imams that send these sinners into crowds to kill as many unbelievers as possible, and be blessed by Allah. So much ignorance and not just with Muslims, God as the center of our existence doesn't judge or intervene, good or evil it's our choice and priests of any religion are pretending to be the voice God and as such should be seen as belonging to the dark forces on this planet. Jesus explicitely warned for this ("let no man come between you and God") hence his subsequent Crucifixion (Jewish priests were not amused)....



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 another batch of 21 re-ups , requests fullfilled up to March 24th.

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3x Aetix NOW in Flac (Crime & The City Solution - Just South Of Heaven, Crime & The City Solution - Room Of Lights, Crime & The City Solution - Paradise Disco)


3x Sundaze NOW In Flac (Saafi Brothers - Mystic Cigarettes, Saafi Brothers - Midnight's Children, Saafi Brothers - Liquid Beach)


3x Beats Back in Flac (Plastikman - Artifacts (BC), Plastikman - Closer,  Plastikman - Nostalgik)


4x Beats Back In Flac ( Plastikman - Rekonstruktions I, Plastikman - Rekonstruktions II, Plastikman - Replikants I, Plastikman - Replikants II)


6x Aetix Back In Flac ( Bill Nelson - Duplex, Bill Nelson - Duplex instrumental, Jam & Spoon - Tripomatic Fairytales 2002, VA - Vor der Flut, Jalal - Mankind, ON U - Celebration )


2x Grooves Back In Flac (Defunkt - Defunkt, Defunkt - Thermonuclear Sweat)


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Mar 22, 2017

RhoDeo 1712 Aetix

Hello,

Today's artist a former bank clerk, was sick of fanzine writing -- he wanted to step out and be written about himself. His last band, the New Beatles, had done nothing; his next, Alternative TV, could scarcely do any worse. Featuring Perry on vocals, ex-Generation X drummer John Towe, Mickey Smith (bass), and former Nobodies guitarist Alex Fergusson, the band formed in March 1977, rehearsing at Throbbing Gristle's studios in Hackney -- both "Love Lies Limp" and "Alternative to NATO" were written and recorded there -- and on May 6, 1977, ATV made their live debut in Nottingham. The first lineup splintered almost immediately. Smith was replaced by New Beatle Tyrone Thomas, and on June 5 ATV opened for Wayne County's Electric Chairs in Brighton. Six gigs later, Towe quit, but not before ATV released their first single, "Love Lies Limp," as a free flexidisc with the final, August 1977 issue of Sniffin' Glue. .....N'Joy

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Alternative TV were formed by Mark Perry, the founding editor of Sniffin' Glue, a punk fanzine, with Alex Fergusson.[4] Early rehearsals took place at Throbbing Gristle's Industrial Records studio with Genesis P-Orridge on drums (recordings from this period appeared, long afterwards, on the Industrial Sessions)

The band's debut on record was "Love Lies Limp", a free flexi disc issued with the final edition of Perry's Sniffin' Glue fanzine. For their first two singles Perry and Fergusson were accompanied by drummer John Towe (ex-Generation X) and Tyrone Thomas on bass; Towe later left to join The Rage and was replaced by Chris Bennett. This line-up was the most straightforwardly 'punk' version of ATV, although they combined short, fast songs with extended pieces such as "Alternatives to NATO", in which Perry read an anarchist political text and envisaged the possibility of a Soviet invasion of Britain. Shortly afterwards they released the "How Much Longer"/"You Bastard" 7" in December 1977. The A-side was a pointed critique of punk style: "How much longer will people wear/Nazi armbands and dye their hair?"

At the end of 1977, Perry sacked his chief collaborator and co-writer Fergusson. The latter went on to form the short-lived Cash Pussies and, a few years later, Psychic TV along with Genesis P-Orridge. Tyrone Thomas switched to guitar, later replaced by Kim Turner, while Dennis Burns joined on bass. A dub-influenced single, "Life After Life", was released, followed by the band's debut album, The Image Has Cracked, both featuring Jools Holland guesting on piano.

By the end of 1978, only Perry and Burns remained from the previous line-up, although ATV used additional musicians live and in the studio. The band's second album, Vibing Up the Senile Man (Part One), saw the band take a more explicitly experimental direction, which alienated both the music press and audiences. A recording of one gig which ended in a violent stage invasion can be heard on the cassette-only release Scars on Sunday. A live LP was released, documenting their tour with commune-dwelling progressive band Here and Now, marking the band's further movement away from the punk/new wave scene. A final single "The Force Is Blind" featured Anno from Here and Now on additional vocals.

Alternative TV soon evolved into the avant-garde project The Good Missionaries (taking the name from a track on the Vibing album), releasing one live album, Fire From Heaven, in 1979. Perry also joined the experimental duo The Door and the Window, releasing some EPs and a studio album, Detailed Twang. The following year, Perry released a solo album, Snappy Turns, before he, Burns and Fergusson briefly reformed Alternative TV along with former members of Fergusson's Cash Pussies in 1981. The reconstituted ATV released one album, Strange Kicks, a venture into light pop songs unlike any of their previous work, produced by Richard Mazda. The album was indifferently received, while a contemporary review by AllMusic panned the album, writing that the record, along with ATV's later work, "falls a little flat amidst the confusion and veer[s] closer to the new wave sound than most punks would dare to venture."

From 1981 to 1982 Perry had a new project, The Reflections, a band with Nag from The Door and the Window, Karl Blake (of The Lemon Kittens) and Grant Showbiz, among others. They released one album, Slugs and Toads, and a single, "4 Countries", before disintegrating. Perry reformed ATV in 1985. This line up started with Karl Blake, Steve Cannell and Allison Philips. Martin 'Protag' Neish and then Clive Giblin featured later on guitar and ATV released further records over the following decade with varying line-ups, Perry being the only constant member. Another line-up followed with James Kyllo, Steve Cannell and Dave Morgan, which led to the release of "Sol" and "Dragon Love".

ATV's last studio album for over a decade, Revolution, was released in 2001, followed in 2003 by the official bootleg album Viva La Rock'n' Roll – consisting of live performances recorded in the UK, France, Germany and the US. In 2004, Perry recorded the Ramones song "Now I Wanna Sniff Some Glue" for a single and an Argentinian Ramones tribute album.

Their first studio album in fourteen years, "Opposing Forces", was released through Lost Moment/Public Domain on 10 July 2015.

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Viva La Rock ‘n’ Roll: The Complete Deptford Fun City Recordings 1977-1980, a box-set that rounds up the first four albums from Perry and his ever-rotating cast of characters. His presence could be felt in many forms, from Alternative TV to the more broadly-titled Good Missionaries to his first-ever solo set under his own name, but the sloppy, held-together-with-tape recordings prove powerfully intriguing. A lot of it isn’t great. Some of it is fantastic. Yet that enthusiasm and excitement that reverberates through every recording is what ultimately what drives it forward.



Starting with a nuttily bombastic synth intro (courtesy of Squeeze's Jools Holland!) which sounds just like the music punk was supposed to be destroying might seem an unusual move for a band founded by the guy who chronicled the original London explosion. But it's that very contrariness in Mark Perry which made the original Alternative TV such a thrilling prospect, and which makes The Image Has Cracked an unfairly neglected classic from the late-'70s upheaval. Seizing on the promise of punk as being a new means of expression rather than a new set of musical rules to be adhered to, Perry, along with a solid-enough band, whip up a series of incendiary pieces that explore as much as they thrash, caught somewhere between the Fall's divine ramalama and three-chord snarls. "Alternatives" captures the tense spirit of the band's work perfectly, a live recording where over a gentle groove Perry invites audience members to come up and "use the soapbox," only to have a bunch of chancers and screamers talk a lot about nothing much at all, until Perry spits vitriol at a pair of people in a punch-up and complains about "diluted sh*t." As an expression of going down defiant while punk became a new fashion, it's fierce and brilliant. A good half of the album comes from the same concert, including the harrowing final track, "Splitting in Two," as perfect a capturing of nails-dug-in-flesh paranoia and indecision as anything in music history, revived as a live favorite years later by the Chameleons. The studio cuts include a solid run-through of Zappa's "Why Don't You Do Me Right?" and the closest ATV ever came to an anthemic single, "Action Time Vision." The 1994 version adds 11 extra tracks to the original album, including the reggae-inflected "Love Lies Limp" and "Life After Life" singles, among many others, making it the edition of Image to look for.



Alternative T.V. - The Image Has Cracked (flac  498mb)

01 Alternatives
02 Action Time Vision
03 Why Don't You Do Me Right?
04 Good Times
05 Still-Life
06 Viva La Rock 'N' Roll
07 Nasty Little Lonely
08 Red
09 Splitting In 2
Bonus
10 Love Lies Limp
11 Life
12 How Much Longer
13 You Bastard
14 Life After Life
15 Life After Dub
16 Another Coke
17 How Much Longer (Different Version)
18 You Bastard (Different Version)
John Peel Session 05/12/77
19 Love Lies Limp
20 Action Time Vision
21 Still-Life
22 Life After Life

Alternative T.V. - The Image Has Cracked   (ogg  183mb)

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On the second album of Alternative TV, Mark Perry and friends did to punk exactly what the movement had intended for the establishment. About-facing punk and turning it on its ear would be a difficult task in 1980, and while Alternative TV's peers headed down new wave paths or into commercialism, the authors of the quintessential "You Bastard" single (regarded by many, John Peel included, as a classic) and, of course, The Image Has Cracked LP, which remains on a par with the first Sex Pistols or Clash albums for genre-defining punk, who would have expected a follow-up as avant-garde abstraction that challenges P.I.L's Second Edition for absolute left-field swing? With Genesis P-Orridge in the ranks, Vibing Up the Senile Man became closer to free improvisation and avant-garde jazz without a punk anthem in sight, and a dub edge to some of the tracks of the double LP suggest that Alternative TV had similar modernist aspirations to John Lydon's post-Sex Pistols project. Captain Beefheart and Frank Zappa spring to mind as much as Pere Ubu and the Red Krayola, who were similarly exploring the avant-garde liberties of post-punk and disappointing the punks and record industry alike. What Vibing Up the Senile Man represents two decades later is a door opening on multi-faceted post-rock music -- which draws on avant-garde, noise, and jazz and arguably makes more sense in the context of year 2000 as a musical treasure much more than in 1980, when it seemed simply a spit in the eye to the industry that codified punk.



Alternative TV - Vibing Up The Senile Man (flac  359mb)

01 Release The Natives
02 Serpentine Gallery
03 Poor Association
04 The Radio Story
05 Facing Up To The Facts
06 The Good Missionary
07 Graves Of Deluxe Green
08 Smile In The Day
Bonus
09 Vibing Up The Senile Man (Alias Vibing)
10 The Force Is Blind
11 Lost In Room
John Peel Session 17/07/78
12 The Good Missionary
13 Release The Natives
14 Going Round In Circles
15 Nasty Little Lonely

Alternative TV - Vibing Up The Senile Man   (ogg  146mb)

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One of the most Experimental Post-Punk records around. There's some funky bass rhythms, some guitar noodling, some dissonant organ playing, a very creepy atmosphere, some uncomfortable chimes, some really haunting, at times ghostly vocals, a bunch of Industrial guitar noise, some good old Free Jazz sax, electronic noise, and a lot of dissonance. This, the Good Missionaries only released album, is amongst the best of Mark Perry's side projects with tracks such The Radio Story / Strange Looks and Release The Natives amongst his greatest work, despite the album as a whole sometimes threatening to disappear up it’s own weird ass. Some of the tracks sound like Funk Rock getting an unhealthy dose of radiation. It's quite a warped experience, and definitely an album that's very disorienting.



The Good Missionaries - Fire From Heaven (flac 355mb)

01 Another Coke / The Body
02 The Force Is Blind
03 Thief Of Fire
04 The Radio Story / Strange Looks
05 Fire From Heaven
06 Release The Natives
07 Fellow Sufferer In Dub
08 Bugger The Cat
Bonus
09 The Good Missionary - Part 1
10 The Good Missionary - Part 2
11 Kif Kif's Free Freak Out
12 Action Time Lemon
13 Going Round In Circles
14 Fellow Sufferer
15 Splitting In Two

The Good Missionaries - Fire From Heaven   (ogg  141mb)

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With his 1980 debut solo LP, Snappy Turns, Perry continued this experimental streak, in true punk form. Perry was sick of touring and the whole scene, eventually retreating to make his own solo set, Snaffy Turns, in 1980. Initially conceived as a more commercial record than anything he’s done since Vibing, he sort of lives up to that goal, as the almost-jazzy title track and the guitar-and-keyboard oddball that is “You Know” adhere to somewhat-conventional structures, but the oboe-driven “The Object is to Love” shows that that ever-strange side of Perry’s personality will never be fully quelled, even as the spoken-word sax-and-bass viber “Inside” feels like an otherworldly amalgam of the score to Manos: The Hands of Fate and The Velvet Underground’s “The Gift”. Snaffy almost feels like a revistation of every turns and style Perry had accomoplished up to this point, which makes it as entertaining as it does frustrating.



Mark Perry - Snappy Turns (flac 398mb)

01 Snappy Turns
02 The Object Is To Love
03 You Know
04 Inside
05 At War
06 Death Looks Down
07 The Game Is Over
08 Quagga's Last Stand
Bonus
09 Whole World's Down On Me
10 I Live - He Dies
11 You Cry Your Tears
12 Music Death?
13 Dear, Dear
14 Fellow Sufferer
15 Graves Of Deluxe Green
16 Alternatives To Normal Eating Habits

Mark Perry - Snappy Turns   (ogg  157mb)

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Mar 21, 2017

RhoDeo 1712 Roots

Hello,

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 while many of the performers during the heyday of Tropicalia and the rise of MPB (música popular brasileira) opted for a more radical stance in their challenge to Brazil's political and cultural authorities, artists like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the country's great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa.  With that he became one of the most respected and resilient figures in Brazilian pop.  ...  N'Joy

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Born (March 22, 1945) Jorge Duilio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He received the nickname "Babulina", after their enthusiastic pronunciation of Ronnie Self's song "Bop-A-Lena". Was presented to Tim Maia by Erasmo Carlos, soon discovered that Maia was also known for the same reason. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.

The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.

Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas Que Nada", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by jazz luminaries such as Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares. His musical work has been vastly sampled by music producers and DJ's, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.

In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical," one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.

In the 1970s, Jorge Ben released his most esoteric and experimental albums, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. In 1976, he released one of his most popular albums: "África Brasil," a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal," from which Rod Stewart's 1979 hit "Da Ya Think I'm Sexy? was plagiarized (a matter that he claimed was settled out of court in his favor).

In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerological reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson. In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician, Fela Kuti, that raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with fellow hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake the famous song by Fela Kuti, "Shuffering and Shmiling," for the CD.

In 2006, a remake of Ben's "Mas Que Nada" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands. Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo," "Camisa 10 da Gávea," "Ponta De Lança Africano (Umbabarauma)," "Zagueiro," and "Filho Maravilha."

On July 7, 2007 he performed at the Brazilian leg of Live Earth in Rio de Janeiro. On March 20, 2011 his name was mentioned in President Barack Obama's speech in Rio de Janeiro, Brazil at the Theatro Municipal (Rio de Janeiro). President Barack Obama quoted: "You are, as Jorge Ben-Jor sang, “A tropical country, blessed by God, and beautiful by nature.”"



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This is an underrated record, Ben with a super-tight band revisiting a lot of his earlier material. Even today his shows follow the format presented here -- medleys of some of his biggest hits that flow into each other seamlessly. Some people have commented that the versions here are inferior to the originals, but I feel that is beside the point. This is Jorge Ben as he was coming into his sound associated with the Black Power movement in Brazil, very soulful stuff, reinventing his formative 'samba-rock' / bossa material.



Jorge Ben - 10 Anos Depois (flac  286mb)

01 Por Causa De Vocë, Menina / Chove Chuva / Mas Que Nada 4:12
02 Agora, Ninguém Chora Mais / Charles, Anjo 45 / Caramba!... Galileu Da Galileia 5:23
03 A Minha Menina / Que Maravilha / Zazuiera 6:00
04 Bebete Vãobora / Crioula / Cadê Tereza 4:44
05 País Tropical / Fio Maravilha / Taj Majal 5:53
06 Vendedor De Bananas / Cosa Nostra / Bicho Do Mato 6:30
07 Que Nega É Essa / Que Pena / Domingas 7:30
08 Vinheta 0:26

Jorge Ben - 10 Anos Depois   (ogg  102mb)

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A Tábua de Esmeralda (together with Jorge Ben's 1976 album África Brasil) could be said to represent the creative culmination of his astonishing '70s. The music that Ben recorded during this period had tremendous influence on Brazilian musicians at that time and to a great extent helped to ignite the creative explosion that took place in the Brazilian samba rock and samba soul scenes during the '70s. The sound on this particular album is very simple, with the songs being driven by Ben's characteristic acoustic guitar playing together with a bass guitar and percussion. Floating in the background on several tracks are also some nice string arrangements and a double bass. The melodies are magnificently crafted, managing to be catchy and free-flowing without ever feeling banal or predictable. One of many great songs on this album is the upbeat opening track, "Os Alquimistas Estão Chegando," with its funny lyrics about alchemists. Other especially fine moments are the space-themed "Errare Humanum Est," "Zumbi," with its Africa-inspired lyrics, "Cinco Minutos," and "Magnolia." A Tábua de Esmeralda belongs in the record collection of any fan of Ben's music and is also a great starting point for someone who wants an introduction to his work.



Jorge Ben - A Tábua De Esmeralda   (flac  269mb)

01 Os Alquimistas Estão Chegando Os Alquimistas 3:16
02 O Homem Da Gravata Florida (A Gravata Florida De Paracelso) 3:06
03 Errare Humanum Est 4:55
04 Menina Mulher Da Pele Preta 2:56
05 Eu Vou Torcer 3:13
06 Magnólia 3:13
07 Minha Teimosia, Uma Arma Pra Te Conquistar 2:43
08 Zumbi 3:29
09 Brother 2:54
10 O Namorado Da Viúva 2:02
11 Hermes Trismegisto E Sua Celeste Tábua De Esmeraldas 5:28
12 Cinco Minutos (5 Minutos) 2:57

Jorge Ben - A Tábua De Esmeralda    (ogg   99mb)

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An overlooked and underestimated work from a great brazilian artist, Solta o Pavão may be one of the best works of Jorge Ben. The album, which, according to Ben himself, is a continuation of the classic A Tábua De Esmeralda, of 1974.  Yet, he introduced several innovations - occasional ARP strings or flute arrangements, prominent e-bass, but he generally kept the sound close to that of his last few albums. There are no bad songs in this album. I would highlight Zagueiro, Dorothy and Jesualda - awesome works. Luz polarizada and Cuidado com o bulldog are a bit uninteresting, but the rest of the album is excellent. Very recommended in spite of its little fame or recognition.



Jorge Ben - Solta o Pavao (flac 266mb)

01 Zagueiro 3:05
02 Assim Falou Santo Tomaz De Aquino 3:04
03 Velhos, Flores, Criancinhas E Cachorros 3:16
04 Dorothy 3:58
05 Cuidado Com O Bulldog 2:53
06 Para Ouvir No Rádio (Luciana) 4:20
07 O Rei Chegou, Viva O Rei 3:03
08 Jorge De Capadócia 3:53
09 Se Segura Malandro 2:53
10 Dumingaz 3:30
11 Luz Polarizada 2:20
12 Jesualda 4:06

Jorge Ben - Solta o Pavao   (ogg   103mb)

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Recorded with little rehearsal and only two acoustic guitars (plus a percussionist) for accompaniment, Gil e Jorge focuses squarely on the individual talents of Gilberto Gil and Jorge Ben as musicians, vocalists, performers, and improvisers. Of course, they prove up to the task. The nine lengthy tracks on the album (it was originally configured as a double LP) feature Gil and Ben interacting to a high degree, trading lines and often repeating them several times. The best tracks here -- "Nega," "Taj Mahal," and "Meu Glorioso Sao Cristovao" -- are highly rhythmic and have the heft of ancient Brazilian folksongs. Unfortunately, there isn't another record in Gil's discography even remotely close to it.



Jorge Ben - Gilberto Gil - Ogum Xango (flac  545mb)

01 Meu Glorioso São Cristóvão 8:14
02 Nega (Photograph Blues) 10:37
03 Jurubeba 11:41
04 Quem Mandou (Pé Na Estrada) 6:53
05 Taj Mahal 14:47
06 Morre O Burro Fica O Homem 6:11
07 Essa é Pra Tocar No Radio 6:14
08 Filhos De Gandhi 13:11
09 Sarro 1:10

Jorge Ben - Gilberto Gil - Ogum Xango (ogg  258mb)

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