Sep 5, 2017

RhoDeo 1736 Roots


Today's artist was sometimes known as La Negra (literally: The Black One), was an Argentine singer who was popular throughout Latin America and many countries outside the region. She was born on Argentina's Independence Day. With her roots in Argentine folk music, Sosa became one of the preeminent exponents of nueva canción. She gave voice to songs written by many Latin American songwriters. Her music made people hail her as the "voice of the voiceless ones", and "the voice of America"....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Mercedes Sosa, the celebrated Argentinian folk singer and political activist, died aged 74. Sosa possessed a deep, alto voice and a strong sense of conviction, and had a warm, engaging personality. These qualities helped to make her one of the few Latin American musicians who could, over five decades, command a wide international audience. Described as "the voice of Latin America", she was revered as a commentator on the political and social turmoil that afflicted the region.

Born 9 July 1935 in San Miguel de Tucumán, the capital of one of Argentina's smallest provinces, to a working-class family of mixed French and Amerindian (Quechuan) ancestry, she began singing and folk dancing as a child. Aged 15, Sosa won a singing concert sponsored by a local radio station. The prize was a two-month contract to perform for the station, and this allowed her to turn professional.

Initially singing a wide variety of popular songs, Sosa gained a local reputation as a rising talent. After she married the musician Manuel Oscar Matus, the couple began looking to new developments in Latin American music. In the early 1960s, this led them to embrace the nueva canción (new song) movement, which unconsciously mirrored the US folk movement as Chile's Victor Jara and Cuba's Silvio Rodríguez reshaped Latin America's troubadour tradition to reflect the struggles under way across the South American continent.

Sosa and Matus chose nueva canción songs that suited her voice, such as Violeta Parra's Gracias a la Vida (Thanks to Life) and Horacio Guarany's Si Se Calla el Cantor (If the Singer Is Silenced), and her success helped to popularise the movement. Sosa's ability to convey a wide emotional range meant that listeners connected strongly with both songs and singer, and by the mid-1960s she was very popular in Argentina. Nicknamed "La Negra" because of her long, jet-black hair and Amerindian heritage, Sosa issued a series of albums, including Romance de la Muerte de Juan Lavalle (Ballad of the Death of Juan Lavalle) and Mujeres Argentinas (Argentinian Women), that established her as a distinctive artist. By the late 60s, she was drawing material from across the region (including Amerindian communities) and this made her a pan-Latin American star. When Sosa and Matus's marriage ended, Matus forged a respected solo career in Argentina.

In the early 70s Sosa acted in the film El Santo de la Espada (The Saint of the Sword), a biopic of the Argentinian independence hero José de San Martín. Sosa's popularity found her touring internationally, her leftist political sympathies – a 1972 album Hasta la Victoria (Until Victory) celebrated workers' struggles – making her especially welcome in the Soviet bloc. As a champion of the rights of the poor, Sosa became known as "the voice of the voiceless ones". These political leanings caused Sosa trouble when the Argentinian military, under Jorge Videla, staged a coup in March 1976. Initially, only some of Sosa's songs were censored, but as she became seen internationally as a voice of freedom, the harassment increased.

In early 1979, Sosa was performing in the Argentinian university city of La Plata when the military stopped the concert. Humiliating Sosa by searching her on stage, they then arrested her and 350 members of the audience. Sosa was detained for 18 hours until international pressure forced her release (she had to pay a large fine) but this event – alongside increasing numbers of death threats – forced her to flee to Europe, where she lived in Madrid and Paris.

Sosa found exile difficult and returned to Argentina in early 1982. The military junta remained in power, but Sosa's fame excluded her from punishment, and a series of concerts she gave at the Teatro Colón in Buenos Aires, with guest appearances from celebrated Argentinian singers, found her truly welcomed home. A live recording of these concerts was issued after the junta fell. Sosa continued to tour (performing in the UK several times) and to record, her fame growing on an international scale – she shared stages or studios with artists including Luciano Pavarotti, Sting and Shakira. In a career spanning almost six decades, she released 70 albums. She won three Latin Grammy awards and received a huge number of honorary titles including the UN Voluntary Fund for Women (Unifem) prize from the United Nations, in recognition of her defence of women's rights. She remained politically active and vocally opposed Carlos Menem when he was Argentinian president.

"I didn't choose to sing for people," Sosa said in a recent interview on Argentinian television. "Life chose me to sing." Overweight for many years, Sosa had begun suffering serious health problems. She was admitted to hospital two weeks ago suffering from liver problems. Progressive kidney failure and cardiac arrest followed.

She is survived by her son, Fabián, he said: "She lived her 74 years to the fullest. She had done practically everything she wanted, she didn't have any type of barrier or any type of fear that limited her".[17] The hospital expressed its sympathies with her relations

xxxxx xxxxx xxxxx xxxxx xxxxx

Mercedes Sosa
A Quien Doy (trans. To whom I give)

"Dedicated to all who walk around the World, and if with this record at any time I made them feel even a little closer to our Earth, I will have to feel more than satisfied."

Mercedes Sosa - A Quien Doy (flac  245mb)

01 A Quien Doy 4:04
02 Zamba Del Laurel 4:50
03 La Flor Azul 2:27
04 Cuando Me Acuerdo De Mi Pais 4:52
05 Los Mareados 437
06 Maturana 3:37
07 Canción De Las Simples Cosas 2:48
08 El Día Que Me Quieras 4:35
09 Santafesino De Veras 2:09
10 Mis Ganas 2:05
11 Pollerita Colorada - Carnavalito Del Duende 3:48

Mercedes Sosa - A Quien Doy   (ogg  92mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

"Gracias a la vida" (Spanish for "Thanks to life") is a song composed and first performed by Chilean musician Violeta Parra, one of the artists who set the basis for the movement known as Nueva Canción. It was released on Las Últimas Composiciones (1966), the last album Parra published before committing suicide in 1967. The song is one of Parra's most renowned and is performed throughout the world, and remains as one of the most covered Latin American songs in history. The song was inducted into the Latin Grammy Hall of Fame in 2013
One of the artists most associated with "Gracias a la vida" is the Argentine singer Mercedes Sosa. "Gracias a la vida" became something of a personal anthem for Sosa and was a constant in all of her performances up until her death.

Thanks to life, which has given me so much.
It gave me two beams of light, that when opened,
Can perfectly distinguish black from white
And in the sky above, her starry backdrop,
And from within the multitude The one that I love.

Thanks to life, which has given me so much.
It gave me an ear that, in all of its width
Records— night and day—crickets and canaries,
Hammers and turbines and bricks and storms,
And the tender voice of my beloved.

Thanks to life, which has given me so much.
It gave me sound and the alphabet.
With them the words that I think and declare:
"Mother," "Friend," "Brother" and the light shining.
The route of the soul from which comes love.

Thanks to life, which has given me so much.
It gave me the ability to walk with my tired feet.
With them I have traversed cities and puddles
Valleys and deserts, mountains and plains.
And your house, your street and your patio.

Thanks to life, which has given me so much.
It gave me a heart, that causes my frame to shudder,
When I see the fruit of the human brain,
When I see good so far from bad,
When I see within the clarity of your eyes...

Thanks to life, which has given me so much.
It gave me laughter and it gave me longing.
With them I distinguish happiness and pain—
The two materials from which my songs are formed,
And your song, as well, which is the same song.
And everyone's song, which is my very song.

Thanks to life
Thanks to life
Thanks to life
Thanks to life

"Todo Cambia", "Razon de Vivir", and "Gracias a la Vida". I don't speak Spanish but I looked up the lyrics on the web and then translated them through Google translator. She has a uniquely beautiful voice-a very pure, perfectly pitched alto. Moving, inspiring her heart comes through her music. Wonderful.

Mercedes Sosa - Gracias a la Vida   (flac  301mb)

01 Todo Cambia 4:43
02 Unicornio (Feat Charly Garcia) 4:32
03 La Maza 3:48
04 Canción Para Carito 3:16
05 Canción Y Huaino 2:44
06 Yo Vengo A Ofrecer Mi Corazón 6:07
07 Los Bailes De La Vida 4:44
08 María María 2:54
09 El Corazón Al Sur 3:34
10 Galopa Murrieta 3:33
11 Corazón De Estudiante 3:21
12 Como Pájaros En El Aire 3:24
13 Razón De Vivir 3:48
14 Venas Abiertas (Feat.Cuarteto Zupay) 3:19
15 Gracias A La Vida (Live) 4:49

Mercedes Sosa - Gracias a la Vida   (ogg  135mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Mercedes Sosa is a living legend, she has a wonderful voice, full of passion and very strong. Hear her voice just once and you will fall in love. Try understand the lyrics.She selects only the best, the most beautiful, full of poetry, and discover the soul of South America. Her Spanish version of 'Fragile' at least equals Sting's original, "El Puente de los Suspiros", a great peruvian vals, and discover a great guitar player, Lucho Gonzales.

Mercedes Sosa - Gestos De Amor (flac  313mb)

01 Mon Amour 3:42
02 El Puente de los Suspiros 3:02
03 Como Dos Extraños 4:04
04 De Fiesta en Fiesta 2:28
05 Un Vestido y un Amor 4:26
06 Los Mareados 3:54
07 Fragilidad (Fragile) 3:58
08 Por un Solo Gesto de Amor 4:20
09 Caserón de Tejas 3:51
10 De Alguna Manera 3:20
11 Vuelbo Al Sur 3:38
12 Pescadores de Mi Rio 2:14
13 Serenatero de Bombos 3:46
14 Estas Alas Nuevas 3:08
15 Palabras Para Julia 3:58
16 Vidala de la Soledad 5:58

Mercedes Sosa - Gestos De Amor (ogg  130mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Banality is not in Mercedes "La Negra" Sosa's dictionary. After experimenting and succeeding with other music styles, with this album La Negra goes back to her roots: Argentine folk music. I'm always amazed by her ability to choose songs. In her songbook there are no meaningless tunes. She chooses each one to express herself, and in what classy way!! This is not her best album but is very close to be it. If you know Spanish only if you were the Tin Man will not feel moved by "La Villerita" (by other Argentine folk giant: Horacio Guarany). It describes a teenager forced to prostitute herself to survive in a slum in the outskirts of Buenos Aires. I heard this song live and La Negra's emotions are for real, believe me. "Al Despertar" is another milestone in La Mecha's career

Mercedes Sosa - Al Despertar   (flac  317mb)

01 Vientos del Alma 3:03
02 Pueblero de Alla Ite 4:17
03 Como Urpilita Perdida 2:08
04 Desandando 3:24
05 Dejame que Me Vaya 2:52
06 La Villerita 4:35
07 Agitando Panuelos 3:40
08 Viejo Corazon 2:50
09 Del Tiempo de Me Ninez 2:14
10 Bajo el Sauce Solo 3:53
11 Suenero 3:25
12 Zamba Por Vos 3:31
13 Al Despertar 4:58
14 Luna de Cabotaje 4:30
15 Almas en el Viento 3:02
16 Indulto 3:34
17 La Belleza 2:34

Mercedes Sosa - Al Despertar   (ogg  128mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

No comments: