Jul 19, 2018

RhoDeo 1828 Re-Up 147

Hello,  the Tour today saw once again Sky leading in slowmotion, dozens of 2nd order riders got a free pass to lead away and cross the first 2 HC mountains with a 6 minute lead, the socalled big shots sheepishly obeyed their coward team leaders sitting in the car and cruised behind the Sky tram. That was until Valverde decided he had enough and went on the move later followed by Dumoulin but it became clear that after Tom reached Valverde all Alejandro could do was stick on his wheel until he got dropped, and then it was Tom against the Sky team and after their hands extolled themselves to keep Dumoulin within reach for Froome and Thomas, it was the latter that went after Tom only to stick to his wheel once he reached him 2 km from the finish refusing to share the burden, only as is usual in these cases to break free 400 meters before the finsh and win the stage, Tom got Froome for company, who had dislodged himself from the other socalled favorites, but managed a very deserved 2nd place. Thomas is now GC leader followed by Froome and Dumoulin. Some bizarre moves Nibali doing Sky's work and Martin helping Froome to get to Dumoulin, latter had had no help at all day and should have gotten driver of the day, but the French organisation already proved they don't like Tom, i suppose his team Sunweb has too lttle standing. Tomorrow Alpe D'Huez



9 correct requests for this week, alas 3 that ignored my 12 months limit and 1 that ignored the correct location, whatever another batch of 35 re-ups (10 gig)


These days i'm making an effort to re-up, it will satisfy a smaller 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 , requests fulfilled up to July 17th.... N'Joy

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4x Aetix Back In Flac (Felt – Crumbling The Antiseptic Beauty, Felt - The Splendour Of Fear, Felt – The Strange Idols Pattern And Other Short Stories, Felt – Ignite The Seven Cannons)


6x Japan Now In Flac (Masami Tsuchiya - Rice Music, Yukihori Takahashi - Neuromantic, still in ogg Snakeman Show - Bootleg, We Are Frank Chickens - I, Miharu Koshi - Tutu, Beatniks - Existentialism )


4x Aetix Back in Flac (Nikki Sudden - Waiting On Egypt, Nikki Sudden - The Bible Belt, Nikki Sudden & Revolution - Groove, Nikki Sudden ‎- The Last Bandit )


3x Alphabet Soup Back In Flac (Iggy Pop - Lust For Life, Into Paradise - Churchtown, Interpol - Turn On The Bright Lights)


4x Beats NOW in Flac (Liz Torres & C & J - Can't Get Enough, Simon Harris - Bass (greatest hits), VA - Hip House (Deepest Beats In Town), VA - Turn Up The Bass 5 )


5x AetixBack in Flac (The Style Council - Introducing, The Style Council - Cafe Bleu, The Style Council - Our Favourite Shop, The Style Council - Confessions Of A Popgroup, The Style Council - Here's Some That Got Away )


4x Aetix   Back in Flac ( The Human League - Reproduction, The Human League - Dare/Love And Dancing, The Human League - Remixes & Rarities, The Human League Versus YMO )


2x Beats Back in Flac (Terre Thaemlitz - You ? Again ?, DJ Sprinkles – Midtown 120 Blues   )


3x Roots Back in Flac ( VA - Sounds of Sudan, Sudan, Music Of The Blue Nile Province, VA - The Rough Guide to Sudan  )


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Jul 18, 2018

RhoDeo 1828 Aetix

Hello, the Tour saw it's first mountains today, as expected a large group broke free and distanced themselves 7 minutes with to his own surprise yellow jersey leader Van Avermaet between them and ended up 4th extending his lead almost 2 minutes, winner was Alaphilippe who took the mountain jersey too. The Sky peloton came in 3,5 min later with most of the favorites. Tomorrow a short but sharp stage with 2 HC (highest category) mountains will stir up the general classification (GC), and show us who will challenge Froome in the 2018 Tour.


Today's artist is a Japanese synthpop band that collaborated from 1979 until the 1990s. The Sunsetz, led by Makoto Kubota, and Sandii started as separate artists, and each have a separate discography. However, their collaboration provided a particular body of work that is representative of the period, and which successfully blended Eastern, Western and pop influences.... ..............N'Joy

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Though they garnered the most attention in the early 1980s under the name Sandii and The Sunsetz, this Japanese Pop band had already been recording together with similar lineups and under similar monikers for nearly a decade prior. Backed by band leader and guitarist Makoto Kubota, guitarist Kenichi Inoue, bassist King Champ Onzo and percussionist Hideo Inoura, and fronted by lead singer Sandii, born Sandy O'Neale, the band found moderate success throughout the 1980s .

The group's roots trace back to Jan Jan, a Shibuya club where Kubota, Onzo, Inoue and Inoura recorded their first album, 1973's "Sunset Gang," released under the name Makoto Kubota and The Sunset Gang 2. The following year, Sandii cut her first record in Hawaii, an EP on Pineapple Records titled "Sandy I," and she decided to return to her native Japan to pursue a career in the music industry 2. After returning to Japan, Sandii became friends with singer Kyu Sakamoto (known for his early 60s hit "Sukiyaki"), who helped her land a DJ job with public television broadcaster Nippon Hoso Kyokai (NHK) .

In 1975, under the name Sandy Ai, Sandii released a pair of 7" singles for Toho records. That same year, she met Makoto Kubota and The Sunset Gang when they appeared on her NHK television show to promote their album, "Hawaii Champroo" 2. Sandii hit it off with the group, who were already established enough to be supporting Eric Clapton on Japanese tour dates, and joined Kubota and The Sunset Gang as a back up singer 4. She continued to work on her own material, including the single "Goodbye Morning," which won the Grand Prix at the 7th World Popular Song Festival (Japanese equivalent to the Eurovision Song Contest) in 1976 .

The group released their third album, "Dixie Fever," produced by Haruomi Hosono, in 1977 and they shortened their name to The Sunset Gang. 1978 saw the relase of "Mystery Nile," a collection of pop/disco covers, released under the name Sandy O'Neil. Though no credits are given in the liner notes, "Mystery Nile's" musicians include Sandii, Kubota and other members of The Sunset Gang .

After making a guest appearance on Yellow Magic Orchestra's 1979 LP "Solid State Survivor,"  Sandi began working with YMO's Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto on her "debut" LP, 1980's "Eating Pleasure" . Hosono apparently convinced Sandii, who was still going by Sandy, to add the two i's to her name to reflect her Hawaiian influences . The Sunset Gang hopped on board the recording sessions of "Eating Pleasure," and thus Sandii and The Sunsetz was born. Lyricist Chris Mosdell, who previously wrote English language material for YMO, also worked on the album .

The group's first gig as Sandii and The Sunsetz was, rather amazingly, opening for YMO at the Budokan in . They followed "Eating Pleasure," with another Hosono produced album, "Heat Scale," in 1981. During this time the band gained the attention of Japan, and Sandii and The Sunsetz were brought on as the opening act for Japan's Sons of Pioneers tour. Sandii and The Sunsetz got on well with Japan, and David Sylvian wrote material for and performed on their 1982 album, "Immigrants." "Immigrants" managed a fair deal of attention on its release, getting praise from Melody Maker, Steve Scales (of Talking Heads), Dave Jordan (of Fun Boy Three) and even David Bowie 1. The band followed up "Immigrants" with the 1982 single "Sticky Music," which reached number three on Austrailian charts .

David Sylvian's connection to The Sunsetz lasted through the mid 80s, and he wrote and sang on the track "This is Not Enogh," off of their 1986 album "La La La La Love" (released as "Banzai Baby" in the West). One of the stronger songs on the album, the track is an interesting counterpoint to the much more minimal material Sylvian was working on around that time.

Sandii and The Sunsetz delved into reggae territory for their final full albums, "Rhythm Chemistry" and "One Love," the former of which featured Sly Dunbar and Robbie Shakespeare. The Sunsetz split in 1990, leaving Sandii to further pursue her solo career and Makoto Kubota to focus attention on prodction work. Sandii began extensive study of Hula dance in the 90s and has since reached the rank of Kumu Hula (Hula Master) and owns a hula dance school .

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Sandii’s first album, Eating Pleasure (1980), was sung entirely in English, and received much critical attention.
It's another Hosono production featuring YMO on most (if not all) tracks. Alive and Love Sick sound more like The Sunsetz on their own. Drip Dry Eyes was later re-recorded by Takahashi and in 1993 was re-issued in an "unplugged" man ner as a duet with Sandii. The cut here is a long version with an extra verse. Another duet version appeared on Takahashi's Time & Place live album. An edit appears on Sandii's Viva Liva Lava compilation LP. Zoot Kook is the real cracker here - a real indic ation of the YMO sound on BGM. Shantith and Oinori are experimental numbers using ethnic music, pointing towards the sound of the Sunsetz on Heat Scale and Immigrants. This originally had a sleeve showing Sandii wearing a basqu e made from vegetables, but was replaced with a photo of her in a leopardskin swimsuit. According to the lady herself, Hosono gave Sandii the extra "i" in her name to suggest her Hawaiian connections."



Sandii - Eating Pleasure (flac  298mb)

01 Idol Era 5:05
02 Love Sick 3:59
03 Drip Dry Eyes 6:14
04 Shantih 2:35
05 Alive 4:32
06 Hey Rock-A La La 4:18
07 Eating Pleasure 3:20
08 Jimmy Mack 3:13
09 Zoot Kook 6:16
10 Oinori 2:45

Sandii - Eating Pleasure     (ogg  110mb)

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Heat Scale (1981), was recorded in Ibiza, Spain, and released in a total of 17 countries. "Released under the name Sunsetz.There are some differences in packaging too - the Japanese album has a gatefold insert and a colour glossy print, the UK pressing has nothing and the Euro pressing has a different font on the outer sleeve and an inner sleeve with lyrics. Hosono plays on and produces this album. This was issued under the name Sandii & The Sunsetz in the West and the name stuck.



Sandii & The Sunsetz - Heat Scale  (flac  265mb)
 
01 Heat Scale (Words And Dances) 5:21
02 The Great Wall 3:51
03 Bongazuna 3:46
04 Tohmei Ningen 3:23
05 El Puzzlo 4:53
06 An Antenna 4:53
07 The Eve Of Adam 4:53
08 Gong Loop 2:36
09 Kingdoms Without Corners 5:19
10 Dhyana Pura 5:05

Sandii & The Sunsetz - Heat Scale     (ogg  100mb)

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Executive produced by Haruomi Hosono and Yukihiro Takahashi. David Sylvian writes lyrics for 3 tracks and sings on. YT sings and plays on a track HH and Matsutake appear also. By this time the group had garnered quite a following from overseas, such as Melody Maker's (UK music paper) Adam Sweeting and David Bowie and as such featured other admirers such as David Sylvian of Japan, Talking Head Steve Scales and Dave Jordan of Fun Boy Three as well as Haruomi Hosono and Yukihiro Takahashi of YMO. Both Sandii and Makoto Kubota share lead vocal duties in Japanese and English. Their music by this time was a mixture of rock and techno-pop with some Okinawan traditional elements.



 Sandii & The Sunsetz - Immigrants   (flac  287mb)

01 Overture 0:45
02 Orient Express 4:15
03 Simoon 4:13
04 Armistice 4:30
05 In A Persian Market 5:45
06 Karelia 2:47
07 Wagons-Lits 4:00
08 Sofia 4:20
09 Classical Gas 3:49
10 Georges Nagelmackers 4:29

 Sandii & The Sunsetz - Immigrants    (ogg   105mb)

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Hiromi Moritani, Japanese avant-garde vocalist who started out as a member of the legendary punk band Aunt Sally. In 1980 she collaborated with Ryuichi Sakamoto on the single Shukyoku. In '81 she and the members of Can made the album Phew. After taking some time off, Phew made a recording with former members of DAF and Neubauten. She subsequently released two albums with Anton Fier, Bill Laswell and others. She is currently active in a wide range of projects, including Novo Tono, Phew Unit, a duo with Seiichi Yamamoto, and Big Picture.

This is a superb, virtually unknown album by the Japanese vocalist Phew, formerly of the punk/no wave band Aunt Sally. Backed by members of Can -- Holger Czukay and Jaki Liebezeit -- and recorded at Conny Plank's studios in Germany, it has the earmarks of an album Can could have made, had they taken a different path after Ege Bamyasi. Phew's vocals are not by any formal standards very expressive, but they fit the icy urgency her compatriots create, and pitch the song-oriented cycle towards a more approachable form even for the casual listener. The mostly minimalistic landscape of the record is repetitive, rhythmic, and spacious. "Doze" adds an eerie child-like keyboard melody to a wonderful effect, and "P-Adic" is a disjointed, unlikely pop song, with an insistent beat and an off-kilter synth solo. "Signal" come closest to popular music, with Phew's insistent vocals chanting in Japanese over the expansive backbone Czukay and Liebezeit effortlessly create. With small variations in the beat, enhanced by subtle keyboard flourishes and echoey production, the sound manages to capture both the wide surrounding expanse as well as the tight clarity necessary to distinguish even the smallest nuance in the music. The crispness of the production creates a hypnotic loop that insists you pay attention. The mood varies from song to song, most of which are around the three-minute mark, and when the 35-minute record is over you're eager to repeat the experience. Phew's future albums would add more elements to her sound with some success, but the precise organic cohesiveness of her self-titled debut is difficult top.



Phew - Phew (flac  171mb)

01 Closed 3:15
02 Signal 4:32
03 Doze 5:18
04 Dream 3:11
05 Mapping 3:45
06 Aqua 3:49
07 A-Adic 3:36
08 Fragment 4:01
09 Circuit 1:40

      (ogg   mb)

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Though no Can folks are present here, this album is every bit as appealingly kooky and curious as her others. This album navigates a strange and uneasy balance between pop sheen and wayward weirdity with a knowing touch that'll keep you gripped even during the passages where you're scratching your head.



Phew - View   (flac  212mb)

01 Dirge 2:46
02 May 3:08
03 Act 1:56
04 Bloom 4:22
05 Spot 1:13
06 Bay 4:05
07 Flood 2:32
08 Vision 2:42
09 Youth 1:56
10 Past 3:46
11 H-Stag 1:59
12 Fall 2:51

Phew - View     (ogg   77mb)

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Jul 17, 2018

RhoDeo 1828 Roots

Hello, more music from the Colombian coast, clearly a fertile place for musicians.... N'Joy

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Totó La Momposina exemplifies the living tradition of Colombian folk music, having carefully studied and performed her native song and dance for several decades. Colombia's indigenous music is a heavily rhythmic hybrid of Spanish, native South American, and Afro-Cuban influences, and La Momposina mastered its different styles and rhythmic variations so well that she was invited to perform at the 1982 Nobel Prize ceremony for Colombian novelist Gabriel Garcia Marquez. La Momposina was born in the village of Talaigua, on the island of Mompos, located in the Magdalena River near Colombia's northern coast. Not only was her family musical (her parents were fourth-generation musicians, her father a drummer, her mother a singer and dancer), but her village was blessed with the presence of Ramona Ruiz, a skilled, veteran cantadora (female peasant singer) who helped train La Momposina in her teenage years. La Momposina traveled up and down the Colombian coast, learning as much music and dance as she could -- from village celebrations to the common, everyday songs sung as accompaniment to daily labor. During this extended research period, La Momposina was honing her vocal and performance skills as well, discovering a rich power in her voice that soon made her extremely popular locally. In 1968 (sometime in her twenties), La Momposina formed her own band, continuing to perform at smaller local functions but also expanding her horizons in the hopes of building a professional career. Word of her vocal prowess spread quickly, and by the '70s, she had begun making international appearances, touring Europe and most of the Western Hemisphere. In 1982, she performed at a ceremony honoring Garcia Marquez with the Nobel Prize in Literature, and subsequently spent four years in Paris studying the history of dance at the Sorbonne. During this time, La Momposina recorded her first album, 1985's Totó La Momposina y Sus Tambores (released on Auvidis). She returned to Colombia in 1987, reconnecting with her roots by touring in the more immediate region and also traveling to Cuba for further musical study. In 1991, La Momposina was invited to join Peter Gabriel's WOMAD concert festival; she toured the world once again, and subsequently recorded a second album for Gabriel's Real World label. La Candela Viva was released in 1993 to much acclaim, and made La Momposina in great demand at music festivals around the world. Carmelina appeared in Europe in 1996, and La Momposina moved to England, traveling between the U.K., Europe, and South America. She continued to perform across the globe, incorporating her children, and grandchildren, into her large performing troupe and elaborate stage show. Her fourth album, Pacanto, was released in 2001. It garnered her a Latin Grammy nomination for Best Traditional Tropical Album.

She spent the next eight years touring the globe before returning to live in and work Colombia. In 2006, she received a lifetime achievement award from Womex. She also resumed recording in 2009 and issued La Bodega on Astar Artes. In 2013, she was awarded a Latin Grammy for lifetime achievement as well, and released an album for Sony Columbia in 2014's El Asunto.

Back in 2009, Swiss producer and DJ Michel Cleis had issued a house track called "La Mezcla," which contained two samples off La Momposina's classic La Candela Viva; the tune became a European dance club smash and the response prompted Cleis' label, Cadenza, to request access to the multi-track tapes for the purpose of creating remixes. Producer John Hollis -- who had been at the original 1991 and 1992 sessions -- with Real World's project manager Amanda Jones and other production associates, listened to the complete session masters anew. There were 20 tracks and 40 takes in all. They subsequently remastered both released and unreleased cuts from the sessions and assembled Tambolero -- a revisioned version of La Candela Viva -- in celebration of La Mamposina's 60th anniversary as a recording and touring artist. It was released globally in the summer of 2015.


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Tóto La Momposina is more than a name. It's a place, a people, and way a life, exemplified in the music created by one woman and her group -- many of whom are members of her family. They come from Talaigua, a village on the island of Mompos in the northern Colombian river of Magdalena, and the music they make comes from their ancestors. Much of it, like the cumbias "Dos de Febrero" and "El Pescador," is driven by voices and percussion, with Tóto in particular displaying a powerful vocal strength. However, the musical crossover becomes more interesting with the sextet piece "La Sombra Negra," which was brought over to Colombia by black Cubans, and shows its origins in the guitar and tiple playing and rhythms, as well as the style of harmonies in the voices. You can think of this music as folkloric, preserving a tradition that's in danger of extinction, and in many ways you'd be right -- the gaita playing of "Dáme la Mano Juancho," for example, is redolent of that. But when the rhythm of "Mapale" explodes from the speakers, it's impossible to think of this as anything but living, breathing, and right now. That's reinforced by the title track, where the drums sizzle under the voices, with Tóto once again in the center, with the kind of lungs that come across all too rarely, and a tone to die for. Tóto La Momposina is a singular talent. Though the centerpiece of this record, she's happy to sit back and let the spotlight shine on others, as on "La Acabación," a surprisingly sprightly funeral tune from San Basilio de Palenque. But her presence is always commanding, and the music she makes is wonderful indeed.



Toto La Momposina y Sus Tambores - La Candela Viva     (flac  275mb)

01 Dos De Febrero 4:17
02 Adiós Fulana 5:28
03 El Pescador 4:04
04 La Sombra Negra 3:22
05 Dáme La Mano Juancho 3:58
06 Malanga 4:05
07 Mapale 2:31
08 Curura 4:56
09 Chi Chi Mani 2:41
10 La Candela Viva 4:15
11 La Acabación 3:41

Toto La Momposina y Sus Tambores - La Candela Viva   (ogg   100mb )

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Since the 1970s, Colombian singer and dancer Toto La Momposina has been dancing and singing the music of Colombia’s Caribbean coastline on stages and in music halls across the globe. She comes from the village of Talaigua on an island in the great Magdalena River. Her 1993 album, La Candela Viva, issued on Real World, was produced by Phil Ramone and John Hollis, and is an enduring classic of Colombian, South American, and Afro-Latin traditional sources. It has been sampled by everyone from Timbaland to Michel Cleis. In 2009, after a request from the latter, Hollis (by then Momposina's son-in-law) sought the masters at Real World Studios and discovered a wealth of forgotten material, some 20 songs and 40 takes. In December of 2014, he remixed, re-imagined, and re-created the album with support and assistance from Real World's Amanda Jones. He and Momposina added new unreleased songs, scraped down some mixes to the core, and used alternate takes. He added backing vocals and handclaps from Momposina's granddaughters Maria del Mar -- who was a toddler at the original sessions -- and Orianna Melissa. In Bogota the following February, Momposina's son Marco Vinicio and Nestor Vanegas added bass and guitar tracks to emphasize the groove quotient, and came up with what amounts to an entirely different album; it's sparser and rawer, more immediate. The percussion on Jose Barros' cumbia "El Pescador" is more up front, as is the backing chorus; this take is slightly slower, adding to the celebratory feel in a narrative that celebrates returning fishermen. On "Chi Chi Mana," a guitar has been added to the tipple, creating an interplay that underscores its Afro-Latin heritage. "Gallacinto" is a traditional chant from Talaigua that didn't make La Candela Viva. In call-and-response, Mamposina directs the changing rhythms (it's a dance). She is accompanied by handclaps, percussion, and the vociferous chorus. "Curara" finds the gaita flutes mixed to the very front of the song. They flesh out the dimension of the tale's lovers and dialogue with the chorus, while Momposina is the poet who narrates their unresolved desire. The closing title track is a funeral dirge that contains several rhythms -- from cumbia to negro, mapale to Afro. The bomba and tambor drums hypnotically engage with the chorale as Momposina simultaneously moans in grief and offers tribute to the song's absent subject. It gathers in dynamic force until it explodes in celebration. The handsome package contains three sets of liner notes (one an essay from Momposina), many wonderful photos, an English translation of the lyrics, and track by track annotations. It doesn't matter if one has heard La Candela Viva, Tambolero is an inspired, masterful re-interpretation from an artist who has learned much more about these songs and their origins since the '90s. It is an exercise in pure joy.



Toto La Momposina y Sus Tambores - Tambolero   (flac  329mb)

01 Adios Fulana 4:59
02 El Pescador 4:15
03 Chi Chi Mani 2:43
04 Curura 5:22
05 Gallinacito 4:25
06 La Sombra Negro 4:03
07 Dame La Mano Juancho 4:01
08 La Candela Viva 4:23
09 Dos de Febrero 3:48
10 Malanga 3:34
11 La Acabacion 4:08
12 Tambolero 6:46

Toto La Momposina y Sus Tambores - Tambolero   (ogg  130mb)

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ChocQuibTown (sometimes written as Choc Quib Town) is a Colombian hip-hop group. Although the band formed in Cali, the members are originally from the Colombian department of Chocó. The group consists of Carlos "Tostao" Valencia (rapping), his wife Gloria "Goyo" Martínez (singing and rapping), and Gloria's brother Miguel "Slow" Martínez (production and rapping). The band's music draws influence from a wide variety of modern genres including hip-hop and more recently electronica, combined with traditional Colombian genres including salsa, Latin jazz, and Afro-Latin rhythms, utilizing instruments such as congas, timbales, bongos, and trumpets.

After growing up in Chocó and forming in Cali, the ChocQuibTown relocated to Bogotá and gained popularity performing in the city's bars. The group's first two albums, Somos Pacífico (2006) and Oro (2010) were bolstered by the singles "Somos Pacífico" and "De Donde Vengo Yo", with the latter song winning a Latin Grammy in 2011. The band's third album, Eso Es Lo Que Hay (2011) experienced further success, featuring the single "Hasta el Techo", followed by El Mismo (2015). In November 2017, the band signed with Sony Music Latin during a ceremony in Miami, and plans to release a new album entitled Sin Miedo in 2018

The band released El Mismo in 2015, led by the reggae-tinged love song "Cuando Te Veo". The single reached number 13 on the Billboard US Tropical Songs chart, number 16 on the Billboard Latin Rhythm Airplay chart, and number 29 on the Billboard US Latin Pop chart. Leila Cobo of Billboard noted a more commercial sound on El Mismo, viewing the album as an effort to transform the group from "critical curio to commercial star" that "appends pop song structure and stickier hooks to the band's eclecticism." The group shot the music video for "Nuquí (Te Quiero Para Mí)" on the beaches of Nuquí in Chocó as a way to pay tribute to their home department and to encourage tourism to the area.



 ChocQuibTown - El Mismo ( flac  437mb)

01 El Mismo 3:30
02 Cuando Te Veo 3:51
03 Nadie Dijo 4:01
04 Desde el Día en Que Te Fuiste 3:57
05 El Arriendo 3:21
06 Salsa & Choque 4:08
07 No Te Espero Más 4:07
08 Una Raza Llamada Sabor 3:35
09 Tú 3:44
10 Rítmo Violento 3:50
11 Nuqui (Te Quiero Para Mi) 3:43
12 Fiesta Animal 3:25
13 Nadie Nos Quita lo Baila'o 3:30
Bonus
14 Cuando Te Veo (Urban Version) 3:28
15 Cuando Te Veo (Pop Version) 4:11
16 Cuando Te Veo (Salsa Version) 3:44

  ChocQuibTown - El Mismo (ogg  151mb)

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Jul 16, 2018

RhoDeo 1828 Teachings 2

Hello, lots of sports this weekend Wimbledon saw the female semis and final take less time together then the shortest men's semi final and yet these tennis women get payed the same and they call it emancipation, i call it a joke. This years winner Angelique Kerber is the prototype of today's top female players, extremely labile despite winning lots of money for very little match effort. The men's final was a bit of an anti climax Anderson's somewhat lucky 5sets win over Federer was followed by the of  battle of the service giants where the slightly taller 2m10 Isner could hardly move after 6 and a half hours, not much was expected of Anderson either in the final. Nadal and Djokovic were well aware that their match would deliver Sundays winner and even if their battle took more than 5 hours it was spread over 2 days which was a big boon for those having tickets for the ladies final they got 2 sets of the highest order tennis where Nadal finally bowed to Djokovic, in contrast the ladies final was uneventful and over in 70 minutes. So Djokovic is back on top after injury kept him from the court for over a year.

The Tour delivered drama on the cobbles but just one victim Richie Porte, stage winner Degenkolb had been trying to get back to his winning ways for 2 years after being run over by a female who took half his team down during a training session. Anyway his hand was seriously hurt and you really need full control if you want to ride at high speeds, No surprsise then he was very emotional after the finish and many of his collegues not just teammates congratulated him being well aware of the dark days he lived through.

And then there was the Worldcupfinal the Croates were clearly the better team in the first half yet they trailed 2-1 thanks to sub-par refereeing first giving a free kick for a dummy fall by Griezman the free kick bounced of the head of Mancukic into the net, the Croates bounced back with a briliant strike by Perecic but then disaster struck again the VAR told the refree to look at a ball that dropped onto a hand, in no way deliberate but hey it's the little guy that gets it and that creep Griezman converted the penalty. It must have demorilized the Croates because in the second half they clearly were'nt as dominant unsurprsingly as they had a played 90 mintes extra over the tournament. The French defensive tacktick saw them never trail in a match, and despite having some great players did very little entertaining, no Viva La france for me...






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Essential reading for any deep thinker and open-minded person who has experienced "non-ordinary realities.".

The Teachings of Don Juan: A Yaqui Way of Knowledge was published by the University of California Press in 1968 as a work of anthropology, though many critics contend that it is a work of fiction. It was written by Carlos Castaneda and submitted as his Master’s thesis in the school of Anthropology. It purports to document the events that took place during an apprenticeship with a self-proclaimed Yaqui Indian Sorcerer, don Juan Matus from Sonora, Mexico between 1960 and 1965.

The book is divided into two sections. The first section, The Teachings, is a first person narrative that documents Castaneda's initial interactions with don Juan. He speaks of his encounters with Mescalito (a teaching spirit inhabiting all peyote plants), divination with lizards and flying using the "yerba del diablo" (lit. "Devil's Weed"; Jimson weed), and turning into a blackbird using "humito" (lit. "Little smoke"; a smoked powder containing Psilocybe mexicana). The second, A Structural Analysis, is an attempt, Castaneda says, at "disclos[ing] the internal cohesion and the cogency of don Juan’s Teachings."......'N Joy

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"Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. I warn you. Look at every path closely and deliberately. Try it as many times as you think necessary.

This question is one that only a very old man asks. Does this path have a heart? All paths are the same: they lead nowhere. They are paths going through the bush, or into the bush. In my own life I could say I have traversed long long paths, but I am not anywhere. Does this path have a heart? If it does, the path is good; if it doesn't, it is of no use. Both paths lead nowhere; but one has a heart, the other doesn't. One makes for a joyful journey; as long as you follow it, you are one with it. The other will make you curse your life. One makes you strong; the other weakens you.


Before you embark on any path ask the question: Does this path have a heart? If the answer is no, you will know it, and then you must choose another path. The trouble is nobody asks the question; and when a man finally realizes that he has taken a path without a heart, the path is ready to kill him. At that point very few men can stop to deliberate, and leave the path. A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it."

Ever since I read the book I have followed that advice. Life blossoms with a feeling of realness. (less)




Carlos Castaneda - The Teachings of Don Juan 2 (mp3  55mb)

2 The Teachings of Don Juan part 7-13  60 :01


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previously

Carlos Castaneda - The Teachings of Don Juan 1 (mp3  46mb)

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Jul 15, 2018

Sundaze 1828

Hello,



Today's artist is an American composer of space music, a genre of ambient electronic music, and New Age music.  Jonn soars and glides with his hands on the controls of analog and digital synthesizers. His rhythmic outings often have an understated heroic feel, although he has also done some more pop-oriented instrumentals
....N'joy

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Serrie has been composing and performing music for planetariums since the early 1980s. His first widely available album, And the Stars Go With You, was in memory of the astronauts lost in the Space Shuttle Challenger disaster in 1986. The following album, Flightpath, contains six songs that commemorate the pre-space-age test pilots of Edwards Air Force Base in the 1950s. Jonn is a pilot with advanced instrument and commercial ratings and flies for the Civil Air Patrol as a search-and-rescue pilot.

Serrie's next album, Tingri, was based on a remote village in Tibet. It was his way of infusing more spiritual and romantic emotion into his music. In so doing, he strayed a bit from his space music roots but without sacrificing his trademark sound. In 1992 and 1994, he made two albums in which he put his earlier planetarium work from the 1980s on CD, on Planetary Chronicles, Volume 1 and Planetary Chronicles, Volume 2. In between, in 1993 and 1995, Serrie composed his own musical science fiction story based on a fictional Century Princess in Midsummer Century and Ixlandia. In 1993, he submitted a song from his planetarium collection called "Soft Landing" to a Various Artists album sponsored largely by Steve Roach, another prominent new age musician. This song is only available on this recording. In 1997, Serrie's first Christmas album Upon a Midnight Clear was released; he rearranged known and less-known Christmas songs from around the world in his unique style. Due to its popularity, Serrie released two more Christmas albums, Yuletides in 2001 and Merrily on High in 2004.

In 1998, Serrie collaborated with David Carradine on his tai chi video series and released a CD soundtrack based on the videos, called "Dream Journeys". Also in 1998, he took a trip to shamanic America, which resulted in his musical collaboration with several Native American elders on "Spirit Keepers". In 1999, Serrie appeared as a special guest of honor at the 30th anniversary of the Apollo 11 moon landing mission, which was held in Cape Canaveral. As the final act of the after-dinner entertainment, he played a specially composed song "Out of the Blue", which has not been officially released.

The year 2000 brought Serrie's "best of" space music compilation, Century Seasons. On this album two new songs appeared, although "Deep Mystery" reappeared on "Lumia Nights" two years later in a slightly shorter version. The other bonus track, "Andromeda Dream", appeared on this album. In 2000 Serrie collaborated with flutist Gary Stroutsos on the Narada label, on an album called Hidden World. Since 2000, several of Serrie's albums have appeared on independent labels. 2002 brought Lumia Nights, a space romance release on Valley Entertainment, composed in the style of Ixlandia and Midsummer Century. In 2003, he signed a contract with New World Music, a major label in England, which included the reissue of his earlier Miramar releases. 2003 also brought The Stargazer's Journey with liner notes from famed astronomer David H. Levy. This was a return to form in Serrie's more traditional space music style.

Serrie took an interesting musical turn in 2005 with Epiphany, Meditations on Sacred Hymns, featuring his arrangement of traditional hymns and psalms, which he dedicated to his grandmother, his primary childhood church organ and piano teacher. He followed this up in 2006 with Sunday Morning, an independent release for autistic children and their parents. A portion of the profits from this album goes to support for autism organizations in the United States. Also in 2006, music from one of his albums was used in the hit Hollywood movie What the Bleep Do We Know!? Serrie scored the award winning IMAX short film Hubble: Galaxies Across Space and Time as well as the popular astronomy software program Starry Nights and Space.com's Eyes on Mars DVD. In 2009, Serrie released the album Thousand Star.

In 2011 the album Sunday Morning was expected be released, available worldwide. In 2014 the album "Day Star" was released available worldwide on New World Music In 2017 the album "The Sentinel" was released available worldwide on New World Music. Jonn Serrie founded the Galaxy Music Scholarship in 2001, a US$1000 annual scholarship for graduating high school seniors desiring a career in new age and space music composition. He lives in Atlanta, Georgia.

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This musical journey explores hymns of the late 19th century to the modern choral piece 'O Magnum Mysterium' written by Los Angeles Master Chorale's composer-in-residence, Morten Lauridsen. Serrie also adds an original composition, 'Light of Thy Countenance', to this introspective collection. With Epiphany: Meditations on Sacred Hymns, Serrie returns to his roots (he was once a church organist) to bridge the gap between space music and religious melodies of sacred hymns.



Jonn Serrie - Epiphany - Meditations On Sacred Hymns  (flac  345mb)

01 Jesu, Joy Of Man's Desiring 5:44
02 O For A Thousand Tongues To Sing 4:01
03 Praise To The Lord, The Almighty 3:57
04 Softly And Tenderly Jesus Is Calling 4:10
05 Abide With Me 5:07
06 Amazing Grace 4:04
07 Nearer My God To Thee 7:44
08 Be Still, My Soul 5:31
09 Light Of Thy Countenance 9:48
10 O Magnum Mysterium 8:33

Jonn Serrie - Epiphany - Meditations On Sacred Hymns  (ogg   123mb)

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Sunday Morning is composed with the sounds of the seashore woven into the fabric of the music as a gentle foundation. Filled with relaxing and therapeutic values, the songs create a powerful and peaceful atmosphere.



Jonn Serrie - Sunday Morning  (flac 283mb)

01 Sunday Morning Peace 12:06
02 Maiden Voyage 12:16
03 The Enlightened Path 7:25
04 Breath Of The Valley 9:19
05 Sea Mist 14:11

Jonn Serrie - Sunday Morning  (ogg  112mb)

Maybe you'd prefer Sunday Morning in Hemisync format. Just follow the instructions.....
Traverse the far reaches of space and your own being with the electronic music of Jonn Serrie. Jonn Serrie says his electronic music "exists to help us explore a sense of ourselves and our place in the Universe. With the addition of Hemi-Sync® to these relaxing, flowing melodies, get ready to embark on a fresh new journey into space while delving into the vastness of your own being.

Jonn Serrie - Maiden Voyage (Hemi-Sync MetaMusic) (flac 349mb)


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Hidden World Beyond is a reprise of the 2000 Hidden World collaboration between these artists. That album won numerous awards including Critics Choice in Billboard. Jonn Serrie's extensive catalogue sells very consistently with his Epiphany Lumia Nights and Stargazers Journey consistently ranked in Amazons top 10 or top 20 classical and instrumental charts. Serrie's catalogue has sold over 1,000,000 albums! Serrie was featured prominentry on the soundtrack to the popular movie 'What the Bleep Do We Know', including an early version of the title cut to this CD. Gary Stroutsos is an internationally renowned historian on the Native American flute styles. He has recorded for the Makoche, Paras, Red Feather and Narada labels and has composed and performed music on various PBS documentaries. In addition to performing with a wide variety of artists from David Lanz to Glen Velez to R. Carlos Nakal, Gary is also well know on the lecture curcuit for his professorial knowledge of the flute and Native American flute traditions. Both artists tour regularly.



Jonn Serrie n Gary Stroutsos - Hidden World Beyond  (flac 331mb)

01 Hidden World Beyond 6:19
02 The River Of Heaven 8:23
03 Planet Zen 3:54
04 The Enlightened Path 7:56
05 Sea Of Clouds 6:54
06 The Guardian 4:29
07 Nightfall At Song Tra-Bong 7:34
08 Indigo Moon 6:13
09 Stillpoint 3:22
10 Hidden World Live 7:18

Jonn Serrie n Gary Stroutsos - Hidden World Beyond  (ogg   130mb)

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Serrie's 2009 album, Thousand Star, was conceived, according to the back cover artwork, as a "sonic voyage into deep space." The song titles and poem act as a guide as to where and how the voyage unfolds with timing and sound design elements emphasizing direction and place. The album is intended to play as if the listener were taking part in a science fiction novel, told with music and sound design instead of words and pages.

The title track, "Thousand Star," features expertly layered washes of synthesizers and keyboards. The highlight of "Belle E'poque 3012" is Serrie's haunting, sparse piano, but all the individual portions of the song, including those with fast synthesizer patterns, blend seamlessly. Gurgling synthesizers and crisp laser-burst sound effects pepper "Course Projection on Tactical." The epic "Enroute to Delta Pavonis" weaves warm and icy tones together along with radio transmission sounds and computer blips and bleeps. Longtime space music fans will certainly embrace Thousand Star.



Jonn Serrie - Thousand Star (flac 365mb)

01 Thousand Star 8:21
02 Flow Of Time's Arrow 7:40
03 Belle Époque 3012 8:26
04 The Visionary 9:06
05 Course Projection On Tactical 9:06
06 Enroute To Delta Pavonis 12:55
07 Nostalgia For Infinity 13:25

Jonn Serrie - Thousand Star (ogg 141mb)

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Jul 13, 2018

RhoDeo 1827 Grooves

Hello,



Today's artist is an American singer-songwriter, musician, and composer. Among friends and fellow musicians he preferred being called "Brother Ray". He was often referred to as "The Genius". Charles was blind from the age of seven. He pioneered the soul music genre during the 1950s by combining blues, rhythm and blues, and gospel styles into the music he recorded for Atlantic Records. He also contributed to the integration of country music, rhythm and blues, and pop music during the 1960s with his crossover success on ABC Records.In 2002, Rolling Stone ranked Charles number ten on its list of the "100 Greatest Artists of All Time", and number two on their November 2008 list of the "100 Greatest Singers of All Time".... 'N Joy

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continued from last week

By late 1961, Charles had expanded his small road ensemble to a full-scale big band, partly as a response to increasing royalties and touring fees, becoming one of the few black artists to cross over into mainstream pop with such a level of creative control. This success, however, came to a momentary halt during a concert tour in November 1961, when a police search of Charles's hotel room in Indianapolis, Indiana, led to the discovery of heroin in the medicine cabinet. The case was eventually dropped, as the search lacked a proper warrant by the police, and Charles soon returned to music.

In the early 1960s, whilst on the way from Louisiana to Oklahoma City, Charles faced a near-death experience when the pilot of his plane lost visibility, as snow and his failure to use the defroster caused the windshield of the plane to become completely covered in ice. The pilot made a few circles in the air before he was finally able to see through a small part of the windshield and land the plane. Charles placed a spiritual interpretation on the event, claiming that "something or someone which instruments cannot detect" was responsible for creating the small opening in the ice on the windshield which enabled the pilot to land the plane safely.

The 1962 album Modern Sounds in Country and Western Music and its sequel, Modern Sounds in Country and Western Music, Vol. 2, helped to bring country music into the musical mainstream. Charles's version of the Don Gibson song I Can't Stop Loving You topped the Pop chart for five weeks, stayed at number 1 on the R&B chart for ten weeks, and gave him his only number-one record in the UK. In 1962, he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed. He had major pop hits in 1963 with "Busted" (US number 4) and Take These Chains from My Heart (US number 8).

In 1965, Charles's career was halted once more after he was arrested for a third time for possession of heroin. He agreed to go to rehab to avoid jail time and eventually kicked his habit at a clinic in Los Angeles. After spending a year on parole, Charles reappeared in the charts in 1966 with a series of hits composed with the fledgling team of Ashford & Simpson, including the dance number "I Don't Need No Doctor" and "Let's Go Get Stoned", which became his first number-one R&B hit in several years. His cover version of "Crying Time", originally recorded by the country artist Buck Owens, reached number 6 on the pop chart and helped Charles win a Grammy Award the following March. In 1967, he had a top-twenty hit with another ballad, "Here We Go Again"

Charles's renewed chart success, however, proved to be short lived, and by the 1970s his music was rarely played on radio stations. The rise of psychedelic rock and harder forms of rock and R&B music had reduced Charles' radio appeal, as did his choosing to record pop standards and covers of contemporary rock and soul hits, since his earnings from owning his masters had taken away the motivation to write new material. Charles nonetheless continued to have an active recording career. Most of his recordings between 1968 and 1973 evoked strong reactions: people either liked them a lot or strongly disliked them. His 1972 album A Message from the People included his unique gospel-influenced version of "America the Beautiful" and a number of protest songs about poverty and civil rights. Charles was often criticized for his version of "America the Beautiful" because it was very drastically changed from the song's original version.

In 1974, Charles left ABC Records and recorded several albums on his own label, Crossover Records. A 1975 recording of Stevie Wonder's hit "Living for the City" later helped Charles win another Grammy. In 1977, he reunited with Ahmet Ertegün and re-signed to Atlantic Records, for which he recorded the album True to Life, remaining with his old label until 1980. However, the label had now begun to focus on rock acts, and some of their prominent soul artists, such as Aretha Franklin, were starting to be neglected. In November 1977 he appeared as the host of the NBC television show Saturday Night Live.

In April 1979, his version of "Georgia on My Mind" was proclaimed the state song of Georgia, and an emotional Charles performed the song on the floor of the state legislature. Although he had notably supported the American Civil Rights Movement and Martin Luther King, Jr. in the 1960s, Charles was criticized for performing at the Sun City resort in South Africa in 1981, during an international boycott protesting that country's apartheid policy.

In 1983, Charles signed a contract with Columbia Records. He recorded a string of country albums and had hit singles in duets with singers such as George Jones, Chet Atkins, B. J. Thomas, Mickey Gilley, Hank Williams, Jr., Dee Dee Bridgewater ("Precious Thing") and his longtime friend Willie Nelson, with whom he recorded the number 1 country duet "Seven Spanish Angels".

Prior to the release of his first album for Warner, Would You Believe, Charles made a return to the R&B charts with a cover of the Brothers Johnson's "I'll Be Good to You", a duet with his lifelong friend Quincy Jones and the singer Chaka Khan, which hit number one on the R&B chart in 1990 and won Charles and Khan a Grammy for their duet. Prior to this, Charles returned to the pop charts with "Baby Grand", a duet with the singer Billy Joel. In 1989, he recorded a cover of the Southern All Stars' "Itoshi no Ellie" for a Japanese TV advertisement for the Suntory brand, releasing it in Japan as "Ellie My Love", where it reached number 3 on its Oricon chart.[37] In the same year he was a special guest at the Arena di Verona during the tour promoting Oro Incenso & Birra of the Italian singer Zucchero Fornaciari.

Charles's 1993 album, My World, became his first album in some time to reach the Billboard 200, whilst his cover of Leon Russell's "A Song for You" gave him a hit on the adult contemporary chart and his twelfth and final Grammy. By the beginning of the 1980s, Charles was reaching younger audiences in films and TV shows. In 1980, he appeared in The Blues Brothers. His version of "Night Time Is the Right Time" was played during The Cosby Show episode "Happy Anniversary", but he did not appear on the show.

In 1985, he appeared among a group of other musicians in the USA for Africa charity recording "We Are the World". His popularity increased among younger audiences in 1991 after he appeared in a series of Diet Pepsi television commercials, which featured him singing the catchphrase "You Got the Right One, Baby". Two more slickly produced adult contemporary albums followed, Strong Love Affair (1996) and Thanks for Bringing Love Around Again (2002); both failed to chart and were soon forgotten.

In the late 1980s and early 1990s, he made appearances on the television show Super Dave Osbourne in a series of vignettes in which he was somehow driving a car, often as Super Dave's chauffeur. During the sixth season of Designing Women, Charles sang "Georgia on My Mind" in place of the instrumental cover version which had been used in the previous five seasons. He also appeared in four episodes of the popular TV comedy The Nanny, playing Sammy in seasons 4 and 5 in 1997–98.

Charles performed at two US Presidential inaugurations: Ronald Reagan's second inauguration, in 1985, and Bill Clinton's first inauguration, in 1993. On October 28, 2001, several weeks after the terrorist attacks of September 11, Charles appeared during game 2 of the World Series, between the Arizona Diamondbacks and New York Yankees, and performed "America the Beautiful". In 2003, he headlined the White House Correspondents Dinner in Washington, D.C., attended by President George W. Bush. In 2003, Charles performed "Georgia on My Mind" and "America the Beautiful" at a televised annual banquet of electronic media journalists held in Washington, D.C. His final public appearance was on April 30, 2004, at the dedication of his music studio as a historic landmark in Los Angeles.

In 2003, Charles had successful hip replacement surgery and was planning to go back on tour, until he began suffering from other ailments. He died at his home in Beverly Hills, California of complications resulting from acute liver disease, on June 10, 2004, aged 73, surrounded by family and friends. His funeral took place on June 18, 2004, at the First AME Church in Los Angeles with numerous musical figures in attendance. B. B. King, Glen Campbell, Stevie Wonder and Wynton Marsalis each played a tribute at the funeral.

Charles was married twice and had 12 children with ten different women. His first child, Evelyn, was born in 1949 to his companion, Louise Flowers, his youngest child, a son, Ryan, was born in 1987 to Mary Anne den Bok.

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Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones.The having made his first two studio albums instrumental jazz excursions, Ray Charles tried something new for his third and last Atlantic LP, The Genius Of Ray Charles of October 1959, a collection of standards, one side with a brass band and the other with an orchestra. Applying the “genius” epithet for the first time (not Ray’s idea, though as he said there are worse things to be called), The Genius Of Ray Charles is possibly the greatest LP Ray Charles created.

It was certainly a surprise to fans, who had only known the R&B singlemaker and the jazz LP artist. The Genius Of Ray Charles was in neither of these guises: it was a new, gentler Ray, and the depths of the music he recorded for this album remain nearly unequalled in recorded music. Side 1 is the brass side, and it begins big and strong with “Let The Good Times Roll”, where Ray lets the band elevate his unmoored screams and shouts to a loud, overpowering force. Otherwise, Ray tends to the quieter side: performances like “It Had To Be You” and “Two Years Of Torture” are absolutely riveting. Side 2 is even better than Side 1, somehow — it’s perfect. From the opening “Just For A Thrill” to the dramatic finish of “Come Rain Or Come Shine”, Ray Charles takes the listener on a soul-baring ride through his musical psyche. Charles' voice is heard throughout in peak form, giving soul to even the veteran standards.



Ray Charles - The Genius Of Ray Charles   (flac 232mb)

01 Let The Good Times Roll 2:49
02 It Had To Be You 2:41
03 Alexander's Ragtime Band 2:50
04 Two Years Of Torture 3:22
05 When Your Lover Has Gone 2:47
06 Deed I Do 2:23
07 Just For A Thrill 3:21
08 You Won't Let Me Go 3:16
09 Tell Me You'll Wait For Me 3:21
10 Don't Let The Sun Catch You Cryin' 3:42
11 Am I Blue 3:35
12 Come Rain Or Come Shine 3:40

Ray Charles - The Genius Of Ray Charles   (ogg  87mb)

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What'd I Say is the fifth studio album recorded by Ray Charles, and was released in 1959. As a pure rhythm and blues exercise, Ray Charles rarely got better than this over the course of an entire album. There isn't really a weak spot to be found, not even when Charles lays away from the mike and lets Margie Hendricks and the Raelettes take the front for "What Kind of Man Are You?" The band is playing their most solid grooves and pulses, the leader sometimes takes them to outer territories ("You Be My Baby" is quite an exercise in Latinesque polyrhythm), and Charles is singing like his very existence depends on it---which he always did, in his Atlantic years, but the commitment he delivers here makes his previous work seem like dress rehearsals. It's not easy picking any single album with which someone should begin exploring Charles's Atlantic work, but "What'd I Say" is a powerful candidate for that job and for leading the case for Ray Charles as the arguable founder of soul music. The release popularized Charles' first top 10 hit, "What'd I Say", and became his first gold record.



Ray Charles - What'D I Say    (flac  185mb)

01 What'd I Say - Part I + II 5:06
02 Jumpin' In The Mornin' 2:47
03 You Be My Baby 2:31
04 Tell Me How Do You Feel 2:42
05 What Kind Of Man Are You 2:51
06 Rockhouse - Part I + II 3:55
07 Roll With My Baby 2:39
08 Tell The Whole World About You 2:03
09 My Bonnie 2:49
10 That's Enough 2:45

   (ogg  mb)

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One of the best early-'60s examples of soul-jazz crossover, this record, like several of his dates from the period, featured big-band arrangements (played by the Count Basie band). This fared better than some of Charles' similar outings, however, if only because it muted some of his straight pop aspirations in favor of some pretty mean and lean, cut-to-the-heart-of-the-matter B-3 Hammond organ licks. Most of the album is instrumental and swings vivaciously, although Charles does take a couple of vocals with "I'm Gonna Move to the Outskirts of Town" and "I've Got News for You." Yet one of those instrumentals, a cover of the Clovers' "One Mint Julep," would give Charles one of his most unpredictable (and best) early-'60s hits.



Ray Charles - Genius + Soul = Jazz    (flac 238mb)

01 From The Heart 3:30
02 I've Got News For You 4:28
03 Moanin' 3:14
04 Let's Go 2:39
05 One Mint Julep 3:02
06 I'm Gonna Move To The Outskirts Of Town 3:38
07 Stompin' Room Only 3:35
08 Mister C 4:28
09 Strike Up The Band 2:35
10 Birth Of The Blues 5:05

Ray Charles - Genius + Soul = Jazz  (ogg  96mb )

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In the midst of a super-busy year for Ray Charles came his July 1961 LP of ballads with Betty Carter, titled simply Ray Charles And Betty Carter. Aside from being a series of romantic duets that tell the sexy story of a new, budding relationship, the album has a couples “theme” (just like The Genius Hits The Road had a place-name theme): every song title on Ray Charles And Betty Carter contains words like “us”, “two”, and “together”.

Ray’s fourth album in seven months was recorded over nine hours on June 13 and 14, 1961, but feels slow and considered rather than rushed. While it was totally unlike Ray’s 1950s rhythm and blues hits, the public was getting used to this gentler, thickly orchestrated Ray, and the album was a hit thanks to its sweetly passionate textures and the undeniable chemistry between Ray and Betty. The interplay between Ray and Betty works well, and the LP tells the story with its series of convincing, endlessly enjoyably romantic moods.



Ray Charles - The Genius Hits The Road    (flac  313mb)

01 Alabamy Bound 1:55
02 Georgia On My Mind 3:35
03 Basin Street Blues 2:46
04 Mississippi Mud 3:24
05 Moonlight In Vermont 3:02
06 New York's My Home 3:05
07 California, Here I Come 2:10
08 Moon Over Miami 3:20
09 Deep In The Heart Of Texas 2:28
10 Carry Me Back To Old Virginny 2:02
11 Blue Hawaii 2:58
12 Chattanooga Choo-Choo 3:05
Bonus
13 Sentimental Journey 2:58
14 Hit The Road Jack 2:00
15 Blue Moon Of Kentucky (Swingova) 2:12
16 Rainy Night In Georgia 6:16
17 I'm Movin' On 2:29
18 Swanee River Rock (Talkin' 'Bout That River) 2:20
19 Lonely Avenue 2:34

Ray Charles - The Genius Hits The Road  (ogg  123mb)

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This pairing of two totally idiosyncratic vocalists acquired legendary status over the decades in which it had been out of print. But the proof is in the listening, and frankly it doesn't represent either artist's best work. There is certainly a powerful, often sexy rapport between the two -- Charles in his sweet balladeering mode, Carter with her uniquely keening, drifting high register -- and they definitely create sparks in the justly famous rendition of "Baby, It's Cold Outside." The main problem is in Marty Paich's string/choir arrangements, which too often cross the line into treacle, whereas his charts for big band are far more listenable. Moreover, Charles' sweetness can get a bit cloying, too, although some of the old grit emerges on "Takes Two to Tango." [Some reissues add the great, rare B-side to the "Unchain My Heart" single, "But on the Other Hand Baby," and two excellent if unrelated album cuts, "I Never See Maggie Alone" (1964) and "I Like to Hear It Sometime" (1966).]



Ray Charles And Betty Carter    (flac  272mb)

01 Ev'ry Time We Say Goodbye 4:35
02 You And I 3:20
03 Goodbye/We'll Be Together Again 3:15
04 People Will Say We're In Love 2:46
05 Cocktails For Two 3:08
06 Side By Side 2:18
07 Baby, It's Cold Outside 4:05
08 Together 4:40
09 For All We Know 4:40
10 Takes Two To Tango 4:40
11 Alone Together 4:40
12 Just You, Just Me 1:54
Bonus
13 But On The Other Hand Baby 3:11
14 I Never See Maggie Alone 5:37
15 I Like To Hear It Sometime 2:50

Ray Charles And Betty Carter    (ogg   114mb)

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Jul 11, 2018

RhoDeo 1827 Aetix

Hello, the Dutch could sigh of relief tonight, because the Belgians would have become unbearable should they win the Worldcup with them being 3 times runner's up. It has to be said they choose the hard road to the final and left the easy path to the English and who knows what would have happened in the final against the French, tonight they lost the semi's against them 1-0, had they scored first it most likely they'd won the game, it was that close. Meanwhile the media event of the year thusfar has come to a good ending, the cave has given up it's 12 potential young victims and their coach, alas they are kept in quarantine for some overbearing reason, these boys should be allowed to go to Moscow and witness the Worldcup final on the invitation of FIFA, undoubtedly bathing in the applause from all 80,000 present in the stadium, a great antidote to the death trap they experienced.


Today's artist is a Japanese composer, arranger, and computer programmer. He is known for his pioneering work in electronic music and particularly music programming, as the assistant of Isao Tomita during the early 1970s and as the "fourth member" of the band Yellow Magic Orchestra during the late 1970s to early 1980s... ..............N'Joy

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Hideki Matsutake (born August 12, 1951 in Yokohama, Kanagawa Prefecture, Japan)

Through his participation in the session recording of Ryuichi Sakamoto's 1978 album Thousand Knives, he joined the recordings of Yellow Magic Orchestra during 1978-1982 as their sound programmer, to become known as "the fourth member" of the group. In 1981, he formed a unit of his own under the name Logic System, which released its latest album in 2008. He also continued to take part in solo activities by YMO members such as Haruomi Hosono and Yukihiro Takahashi beyond the group's breakup in 1983. He was also a member of the video game music group Akihabara Electric Circus in 1988 and composed music for the 1996 video game Guardian Heroes.

Matsutake was grabbed by the playback of Wendy Carlos's Switched-On Bach using a synthesizer and a computer at the American Pavilion of Expo '70 in Osaka. In June the following year at age 19, he made his first step into professional music as an apprentice to Isao Tomita, providing him the chance of operating one of the few Moog III-P synthesizer units in Japan.

Establishing a company of his own named Musical Advertising Corporation (MAC) in 1974, his involvement with 'new music' artists such as Yoshitaka Minami and Akiko Yano started. In 1978 he participated in the production of Ryuichi Sakamoto's first album, Thousand Knives. In the years 1978 to 1982, Matsutake served Yellow Magic Orchestra as its sound programmer, eventually to become known as the "fourth member" of the band. He also led sequencing work for numerous technopop albums by other artists, especially at the beginning of the 80s.

In 1981, Matsutake formed "Logic System" with Makoto Irie, with whom he toured to perform in other Asian countries several times. The unit has released 10 albums to date, two out of them released in eight countries. Its latest album is Tansu Matrix, released in 2008. He was a member of Akihabara Electric Circus, which released the chiptune album Super Mario Bros. 3: Akihabara Electric Circus in 1988. He composed the video game music for Treasure's Guardian Heroes in 1996, alongside Nazo Suzuki. Matsutake is currently chairman of Japan Synthesizer Programmers Association (JSPA).


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This album of electronica is as meticulously engineered as a Rolex watch - every single instance of sound has been precisely crafted and then inter-weaved to create an album of pulsing urgency that 30 years later still stands shoulder to shoulder with any other product of the genre. Anyone with an interest in the development of electronic music should appreciate this album and its beautiful fat sounds derived from vintage synthesizers.

Logic is an amazingly well-produced slice of early 80's electro that stands up among the best of its genre while still sounding as fresh today as when it was released 30 years ago. This is an extremely lush, intricate piece of electronic music for its time, and the sound quality is absolutely incredible for 1981. This almost sounds as if it could have been recorded yesterday by any hipsterish indie electronic band looking to recreate the sounds of the early 80s (which seems to be very trendy at the moment). In other words, it sounds retro, yet with production values so high, and the sound so crisp and clear that it could have been recorded today, much like Kraftwerk's classic albums from the mid to late 70s / early 80s.

Any fan of early electro will want to hear this album, especially anyone into 70's and 80's synth pop a'la Kraftwerk, as well as perhaps even electro-disco like Giorgio Moroder. This album is jam-packed with fat analog synth lines and really tight, muscular beats suited for listening to loud and with good speakers. This may just be one of the best electronic releases of the early 80s, and definitely deserves a spot in the history books of electronica. In my opinion Logic would have been an international breaktrough album for YMO, but they had grown, made their next step and had other and brilliant Technodelic plans.



Logic System -  Logic (flac  219mb)

01 Intro 0:41
02 Unit 4:53
03 Domino Dance 4:17
04 Convulsion Of Nature 3:04
05 XY? 4:19
06 Talk Back 4:13
07 Clash (Chinjyu Of Sun) 4:21
08 Person To Person 4:22
09 Logic 4:15

Logic System -  Logic     (ogg  84mb)

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Six months after the release of Logic System's well received debut album, another album Venus was released. Why you might ask, well there was a big issue Logic sounded very much like YMO's 5th album, were it not for the fact that YMO grew into something different by that time they released Technodelic in 1981. Matsutake needed to rid himself from the label YMO clone and such is not easy when working with the same tools en regularly sharing the stage with them. Venus is clearly an attempt to quickly suppress this YMO clone image.

It was Roger Powell who is also familiar at Utopia of Todd Rundgren who assembled the tag in this work, and he was originally an ARP engineer.  He is a person who has worked hard on developing the initial synthesizer such as developing and introducing a shoulder type synthesizer for the first time, it made him a notable person in the history of synthesizer as well as Matsutake's.  Anyway Roger's input gave Logic System's, beautiful melody, in some sense even rock songs are not all than Roger, but a bit unbelievable  There are also many songs in a cross-over atmosphere rather than so-called synth music.  Members are also in band form, and it seems that the sequencer's MC-8 and others are the leaders of the members. It was exactly the work that should become a turning point in the logic system.



Logic System -  Venus    (flac  242mb)
 
01 Venus 5:00
02 Morpheus 3:06
03 I Love You 4:44
04 Plan 3:00
05 Take A Chance 4:29
06 Automatic Collect, Automatic Correct 5:25
07 Be Yourself 5:03
08 Prophet 5:05
09 Metamorphism 4:08
10 Equivalent 0:33

Logic System -  Venus     (ogg  91mb)

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According to the explanation of the album, it's concept was to commemorate the 100th anniversary of the famous Orient Express trainservice, at the time of release in 1982.  "Overture" reminiscent of a steam locomotive start reminiscent of the rhythm like Ravel's bolero, "Orient express of melancholy", a cover song "Simone" from YMO first album, in classical style. Armistice speaks for itself, a calm during the storm of 2 worldwar's that happened during the 100 years.  Exotic songs such as famous "in the Persian market" follow.  The B side starts of with, "Karelia of Mist", "Wagon-Lits" gradually became European style music, the final "Georges Nagelmackers' dream" is the image of the end of the train trip (Incidentally,  Georges Nagelmackers was a Belgian and the founder of the Compagnie Internationale des Wagons-Lits, the company known for the Orient Express trains.).



 Logic System - Orient Express   (flac  193mb)

01 Overture 0:45
02 Orient Express 4:15
03 Simoon 4:13
04 Armistice 4:30
05 In A Persian Market 5:45
06 Karelia 2:47
07 Wagons-Lits 4:00
08 Sofia 4:20
09 Classical Gas 3:49
10 Georges Nagelmackers 4:29

     (ogg   mb)

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This is a bootleg mini live album of sorts

First of all, you can enjoy Kenji Ohmura's guitar.There are also liners, but it is not only the main board except YMO that you can hear Mr. Techno period live. And  Kazuhiko Kato is also participating in the last song.  It is also valuable that there is a sound of old synths and MC of Matsutake himself now.



Logic System - Electric Carnaval 82 (flac  213mb)

01 Overture 0:51
02 Orient Express 6:43
03 MC1 1:28
04 Sunshine Of Your Love - Armistice 9:06
05 MC2 0:54
06 OTAKEBI 3:29
07 Wagon-Lits 3:57
08 Prophet 5:03
09 MC3 1:01
10 Karelia 2:50

Logic System - Electric Carnaval 82     (ogg  74mb)

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Jul 10, 2018

RhoDeo 1827 Roots

Hello,


Today's artist is a Colombian singer, songwriter, and dancer. Born and raised in Barranquilla, she began performing in school, demonstrating Latin American, Arabic, and rock and roll influences and belly dancing abilities. She rose to prominence in Latin America with her major-label debut, Pies Descalzos (1996), and her fourth album, Dónde Están los Ladrones? (1998). As of 2001, she had sold over 10 million albums alone in Latin America, A self made artist that really puts Madonna in the shade, a woman that has known what she wants and has gotten it, respect  .... N'Joy

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Born on 2 February 1977 in Barranquilla, Colombia, Shakira Isabel Mebarak Ripoll  is the only child of William Mebarak Chadid and Nidia Ripoll Torrado. Her paternal grandparents emigrated from Lebanon to New York City, where her father was born Her father then emigrated to Colombia at age 5. The name Shakira is Arabic for "grateful", From her mother, she has Spanish  and Italian ancestry. She was raised Catholic and attended Catholic schools. She has eight older half-siblings from her father's previous marriage. Shakira spent much of her youth in Barranquilla, a city located on the northern Caribbean coast of Colombia, and wrote her first poem, titled "La Rosa De Cristal/The Crystal Rose", when she was only four years old. As she was growing up, she was fascinated watching her father writing stories on a typewriter, and asked for one as a Christmas gift. She got that typewriter at the age of seven, and has continued writing poetry since then. These poems eventually evolved into songs. When Shakira was two years old, an older half-brother was killed in a motorcycle accident; six years later, at the age of eight, Shakira wrote her first song, titled "Tus gafas oscuras/Your dark glasses", which was inspired by her father, who for years wore dark glasses to hide his grief.

When Shakira was four, her father took her to a local Middle Eastern restaurant, where Shakira first heard the doumbek, a traditional drum used in Arabic music and which typically accompanied belly dancing. She started dancing on the table, and the experience made her realize that she wanted to be a performer. She enjoyed singing for schoolmates and teachers (and even the nuns) at her Catholic school, she was often sent out of the class because of her hyperactivity (ADHD). Between the ages of 10 and 13, Shakira was invited to various events in Barranquilla and gained some recognition in the area. It was at this approximate time that she met local theater producer Monica Ariza, who was impressed with her and as a result tried to help her career. He arranged for Sony Colombia executives with the idea of surprising them with Shakira's performance. She performed three songs for the executives and impressed them enough for her to be signed to record three albums. Her 1991 debut album, Magia, comprised songs she'd written over the past five or six years, including some of her earliest efforts. Although it didn't break internationally, the record started to make a name for her in her home country. Dissatisfied with the pop inclinations of the follow-up, 1993's Peligro, Shakira changed direction for a time, joining the cast of the Colombian soap opera El Oasis in 1994.

When Shakira returned to recording in 1995, she asserted more control over the direction of her music and worked more rock & roll rhythms -- as well as occasional Arabic tinges -- into her Latin pop material. The first results were Pies Descalzos, which was initially released in 1995; a slow seller at first, the album gradually caught on thanks to "Estoy Aqui," which became a hit all over Latin America, as well as Spain. After that breakthrough, Pies Descalzos just kept spinning off singles: "Dónde Estás Corazón?," "Antología," "Pienso en Ti," "Un Poco de Amor," "Se Quiere, Se Mata." The album hit number one in eight different countries and eventually went platinum in the U.S. as well; Shakira toured for nearly two years promoting it (she finally left El Oasis in 1997).

Seeking to build on her success, Shakira signed Emilio Estefan -- Gloria's husband and a highly successful music-biz insider -- as her manager and producer. The move paid off when her follow-up album, 1998's Dónde Están los Ladrones? (Where Are the Thieves?), became an even bigger worldwide hit than its predecessor. What was more, it cracked the lucrative U.S. market wide open, spending 11 weeks at number one on Billboard's Latin album chart and producing two U.S. number ones (on the Latin chart) with "Ciega, Sordomuda" and "Tu." The album's signature track, however, was the worldwide hit "Ojos Así," her most explicit nod yet to the Arabic music she'd picked up from her father (not to mention its latent belly dancing connotations). Dónde Están los Ladrones? was also the most effective presentation yet of Shakira's strong-willed persona; her self-analysis made her even more popular among female fans, while her anger over love gone wrong drew comparisons to Alanis Morissette.

Mainstream pop stardom beckoned. Shakira dyed her long brown hair blonde, romanced Antonio de la Rua (son of the former president of Argentina), and went to work on her first (mostly) English-language album, Laundry Service. The single/video "Whenever, Wherever" was released in advance of the album in late 2001, and made her a star in the English-speaking world almost overnight. Laundry Service entered the American pop charts at number three, and "Whenever, Wherever" climbed into the Top Ten of the singles chart, peaking at number six. The follow-up, "Underneath Your Clothes," also hit the Top Ten, halting at number nine; less than a year after its release, Laundry Service had gone triple platinum. Reviews of Laundry Service were divided as to the effectiveness of Shakira's English lyrics, but nearly all agreed on her unique poetic imagery.

Extensive touring to support Laundry Service led to a long break for the singer, so a remix collection (2002's Laundry Service: Washed and Dried) and a live album (2004's Live & Off the Record) appeared in lieu of a new album. Revitalized, Shakira began the writing process for her next release and soon had 60 songs ready to go, some in English, some in Spanish; 20 of those songs were selected and divided up by language to make two different albums. Both appeared in 2005 and both hit the Top Ten, with the Spanish-language album Fijacion Oral, Vol. 1 leading the way in June with a number four placing and the English-language album, Oral Fixation, Vol. 2, following in November at number five. As sales of Oral Fixation began to slow in early 2006, Epic reissued the album in March with a bonus track, "Hips Don't Lie." The newly recorded song went on to top the Billboard Hot 100 chart in June, becoming one of the summer's biggest hits and reviving sales of Oral Fixation, as well as Shakira's entire back catalog.

Shakira signed a ten-year contract with Live Nation in 2008, prompting Forbes to deem her the fourth top-earning female musician in history. She also worked heavily on another album, traveling to multiple cities while collaborating with such producers as RedOne, Wyclef Jean, and Luis F. Ochoa. She Wolf was completed in 2009 and readied for release in October, marking her third English-language album. The electro-disco-heavy She Wolf didn't make many commercial waves, performing well in Europe, Colombia, and Mexico but not in the U.S., yet Shakira quickly bounced back in 2010 with "Waka Waka (This Time for Africa)," the official song of the 2010 FIFA World Cup that became an international smash hit. On the heels of its success came Sale el Sol in the fall of 2010, an album largely recorded in Spanish that continued her remarkable worldwide success. A live album from Sale el Sol's supporting tour, Shakira: Live from Paris, appeared in time for the 2011 Christmas season.

In 2012, Shakira replaced Christina Aguilera as a coach on the American hit musical talent show The Voice. She initially served for only one season, leaving in 2013, and after her departure she finalized her tenth album. Called Shakira, the record saw release in March 2014, preceded by the hit Rihanna duet "Can't Remember to Forget You." Shakira also served on The Voice again for season six of the series. In 2016, she voiced the character Gazelle in the animated film Zootopia. The movie's soundtrack generated a new Shakira single in "Try Everything," a song co-written by Sia and Stargate. Early in 2017, Shakira appeared on "Deja Vu," a hit single by Prince Royce, who returned the favor by appearing on El Dorado, the album Shakira released in May of 2017. El Dorado was preceded by the single "Me Enamore" and featured appearances by Maluma, Carlos Vivas, and MAGIC! Shakira took home a Latin Grammy that year for Best Contemporary Pop Vocal Album. El Dorado was also nominated for an Anglo Grammy in the best Latin Pop Album category. Teaming up again with reggaeton singer Maluma, Shakira issued the collaborative single "Clandestino" in 2018.

Shakira began a relationship with Argentine lawyer Antonio de la Rúa in 2000. In a 2009 interview, Shakira stated their relationship already worked as a married couple, and that "they don't need papers for that". After 11 years together, Shakira and de la Rúa separated in August 2010 in what she described as "a mutual decision to take time apart from our romantic relationship". She wrote that the couple "view this period of separation as temporary", with de la Rúa overseeing Shakira's "business and career interests as he has always done". As first reported in September 2012, de la Rúa sued Shakira in April 2013, asking for $100 million he believed he was owed after Shakira suddenly terminated her business partnership with him in October 2011. His lawsuit was dismissed by a Los Angeles County Superior Court judge in August 2013.

Shakira entered a relationship with the Spanish football player Gerard Piqué, centre back for FC Barcelona and the Spanish national team in 2011. Piqué, who is exactly ten years her junior, first met Shakira in the spring of 2010, when Piqué appeared in the music video for Shakira's song "Waka Waka (This Time for Africa)", the official song of the 2010 FIFA World Cup. Shakira gave birth to the couple's first son, Milan Piqué Mebarak, on 22 January 2013 in Barcelona, Spain, where the family had taken up residence. Shakira gave birth to their second son, Sasha Piqué Mebarak, on 29 January 2015.

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The acoustic-oriented performances one hears on the show MTV Unplugged have a nice way of separating the men from the boys and the women from the girls. When artists go acoustic -- or at least semi-acoustic -- on that program, they can't hide behind decibels and amps or try to win you over with volume for the sake of volume. They become exposed and vulnerable, which is a good thing if they have solid material, strong vocals, and genuine talent to offer -- although it isn't so good if they are lacking in those areas. Shakira, not surprisingly, emerged triumphant when she appeared on MTV Unplugged, and this 2000 release is a fine document of that appearance. Mainly performing songs from 1999's Dónde Están los Ladrones?, Shakira demonstrates that she doesn't need studio gloss to sound great. Are her studio albums full of slickness and studio gloss? Absolutely. But ultimately, the thing that does the most to enrich Dónde Están los Ladrones? and 2001's Laundry Service isn't the albums' shiny, attractive production -- it is great vocals and great songwriting. "Si Te Vas," "Moscas en la Casa," "No Creo," and other Latin pop/rock gems lose nothing when Shakira unplugs; in fact, the Columbian vocalist really shines in an intimate, acoustic-oriented live setting. This more intimate environment tends to isolate the lyrics, which is certainly a plus when Shakira is performing something as poetic as the Arabic-influenced "Ojos Así." Of course, those who don't speak Spanish won't be discussing the lyrics of "Ojos Así" or any of the other tracks; this album preceded Shakira's first English-language effort, Laundry Service, and came at a time when she was still recording in Spanish exclusively. But regardless of whether or not one understands Spanish, MTV Unplugged is an excellent live album.



Shakira - MTV Unplugged     (flac  326mb)

01 Octavo Día 6:21
02 Si Te Vas 3:38
03 Dónde Están Los Ladrones 3:32
04 Moscas En La Casa 3:52
05 Ciega, Sordomuda 4:09
06 Inevitable 3:39
07 Estoy Aquí 4:58
08 Tú 5:22
09 Sombra De Ti 4:07
10 No Creo 4:08
11 Ojos Asi 6:49

Shakira - MTV Unplugged   (ogg   126mb )

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The Latin pop and rock en español fields are full of talented artists who would probably be huge in the English-language market if they didn't sing in Spanish exclusively. Some non-Spanish-speaking listeners don't mind listening to lyrics they don't understand -- the beat and the melody are enough for them -- but many others insist on understanding every word that is coming out of an artist's mouth. Thus, Latin stars usually don't cross over to English-speaking audiences until they start singing in English, which is what Shakira does on 2001's Laundry Service. "Whenever, Wherever," this album's infectious lead single, is to Shakira what "Livin' la Vida Loca" was to Ricky Martin: the major hit that brought her to English-speaking audiences in a big way. For Shakira, singing and writing in mostly English was no doubt a challenge -- Spanish, after all, is the Colombian star's primary language. But it's a challenge that she handles impressively well. Shakira, it turns out, sings quite convincingly in English -- and her creativity is at a high level on melodic, hooky pop/rock like "Rules" and "Ready for the Good Times." Like Shakira's Spanish-language albums, this self-produced album is enjoyably eclectic; she successfully combines pop/rock with everything from tango on "Objection" and Andean music on "Whenever, Wherever" to Middle Eastern music on "Eyes Like Yours" (which contains lyrics by Gloria Estefan and is an English translation of Shakira's late-'90s smash, "Ojos Así"). While nine of Laundry Service's 13 tracks are in English, four are in Spanish (including Spanish translations of "Whenever, Wherever" and "Objection"). And by including these four tracks, Shakira seems to be assuring her Spanish-speaking fans that she hasn't abandoned them. Dónde Están los Ladrones? remains Shakira's most essential album, but Laundry Service is an excellent English-language debut for the South American vocalist.



Shakira - Laundry Service   (flac  411mb)

01 Objection (Tango) 3:44
02 Underneath Your Clothes 3:45
03 Whenever, Wherever 3:16
04 Rules 3:40
05 The One 3:43
06 Ready For The Good Times 4:14
07 Fool 3:51
08 Te Dejo Madrid 3:07
09 Poem To A Horse 4:09
10 Que Me Quedes Tú 4:48
11 Eyes Like Yours (Ojos Así) 3:58
12 Suerte (Whenever, Wherever) 3:16
13 Te Aviso, Te Anuncio (Tango) 3:43
Bonus
14 Whenever, Wherever (Sahara Mix) 3:57
15 Underneath Your Clothes (Acoustic Version) 3:57
16 Objection (Tango) (Afro-Punk Version) 3:53

Shakira - Laundry Service   (ogg  116mb)

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Laundry Service gave Shakira her long-anticipated English-language breakthrough, turning her into a global superstar in the process. A hit of that magnitude is hard to follow, so it shouldn't be a great surprise that she toiled on its sequel for upward of four years. What is surprising is that the subsequent album was split in two -- à la Kill Bill -- with the first being devoted to Spanish tunes and the second consisting entirely of English songs; the teasing titles Fijacion Oral, Vol. 1 and Oral Fixation, Vol. 2 indicate which is which and which hit the market first. It's kind of a sharp move to release Fijacion Oral first, since it not only satisfies her longtime fans who have been waiting a long time for a collection of brand-new Spanish material (she hasn't delivered one since 1998's Dónde Están los Ladrones?), it also subtly signals that she won't be placing American success above anything else. Similarly, Fijacion Oral smartly straddles the line between traditional Latin pop and the sexy, splashy dance-pop and bombastic adult contemporary pop that made Laundry Service a big hit in the U.S.: its heart is in the former, but the production -- the omnipresent Rick Rubin serves as the executive producer -- is slick and bright, enough to make the first single, "La Tortura," sound like a natural for American radio (even if it will never be played because it's sung in Spanish). Despite the surface sheen, Fijacion Oral is proudly a Latin pop record, and it conforms to the conventions of its genre, alternating between melodramatic ballads and insistent dance tunes, sometimes working a sleek bossa nova number into the equation for good measure (the terrific "Obtener un Sí," which sounds like it could have been a big hit in the late '60s). Even if it doesn't break convention, it nevertheless does its job extremely well, with an ample amount of style and flair, as well as more songcraft than Shakira is usually given credit for. She's written each song here, sometimes in collaboration with either Luis F. Ochoa or Lester Mendez, and these ten originals (the 12-track album includes two alternate versions) have a combination of commercial savvy and smart writing, making this album a small triumph, proof that Shakira can not only return to her roots, but expand upon them. Since this is a Latin pop record through and through, it will not cross over the way that Laundry Service did, but that's by design: Fijacion Oral, Vol. 1 will conquer half of the world, and the other half will follow with Oral Fixation, Vol. 2 in six months' time. Given the strength of this album, it's hard to wait for the second part to arrive.



 Shakira - Fijación Oral, Vol. 1 ( flac  257mb)

01 En Tus Pupilas 4:24
02 La Pared 3:20
03 La Tortura 3:35
04 Obtener Un Sí 3:21
05 Dia Especial 4:25
06 Escondite Inglés 3:10
07 No 4:47
08 Las De La Intuición 3:42
09 Dia De Enero 2:55
10 Lo Imprescindible 3:58
11 La Pared (Versión Acústica) 2:41
12 La Tortura (Shaketon Remix) 3:12

   Shakira - Fijación Oral, Vol. 1 (ogg  102mb)

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Shakira delights in confounding expectations, and nowhere is that better seen than in how she secured a massive crossover audience on her own terms. She blended Latin pop and American mainstream pop, on both the dance and easy listening sides of the equation, on her 2001 breakthrough, Laundry Service, but it was no crass cash grab -- she eased herself into the transition, balancing songs in Spanish and English on the record while crafting tunes in both languages to appeal to both longtime fans and new listeners. That set the stage for her magnum opus of 2005, the two-part album Fijación Oral/Oral Fixation. Volume one was her first Spanish-language Latin pop album since 1998 and the second was her first ever all-English crossover album, and if anybody was expecting the latter to be a continuation of Laundry Service, consisting of nothing but sexy dance tunes and power ballads, Oral Fixation, Vol. 2 will be a bit of a surprise: it's a deadly serious, ambitious pop/rock album, most assuredly not frivolous dance-pop. Even when the album dives into pulsating neo-disco, it's in the form of a protest song in the closer, "Timor," which isn't exactly by-the-numbers pop. And that's a pretty good description of Oral Fixation, Vol. 2 in general -- it's pop, but it's unconventional. Even when she alludes to pop divas past, whether it's with the foreboding gospel choir on "How Do You Do" that brings to mind "Like a Prayer" or how she cribs from Alanis Morissette on "Illegal" ("You said you would love me until you died/And as far as I know you're still alive" is very close to "You Oughta Know"), Shakira twists these references to her own purposes, taking the music in unexpected directions. All these turns and detours lead to the same general destination: the sound is grandly theatrical, darkly sultry, and unapologetically lurid, a place where Madonna and U2 exist not as peers, but as collaborators. For if this album is anything, it's a global pop/rock album with each of those modifiers carrying equal weight: these are pop songs performed as arena rock, belonging not to a single country but to the world as a whole. As such, the album touches on everything from the expected Latin rhythms to glitzy Euro-disco, trashy American rock & roll, and stomping Britpop, all punctuated by some stark confessionals, as Shakira sings about everything from love to religion, stopping along the way to reveal that women with 24 inch waists may indeed be heartbroken. If some of these ideas don't necessarily gel, at least Oral Fixation, Vol. 2 is alive with ambition and, more often than not, Shakira winds up with music that is distinctive as both songs and recordings. And that means that Oral Fixation, Vol. 2 is not only a markedly different album from Fijación Oral, but from every other record in her catalog -- or, most importantly, from any other pop album in 2005. Other artists may be bigger than Shakira while others may make more fully realized albums, but as of 2005, no other pop artist attempts as much and achieves as much as Shakira, as this often enthralling album proves.



 Shakira - Oral Fixation, Vol. 2   (flac  321mb)

01 How Do You Do 3:47
02 Don't Bother 4:19
03 Illegal 3:56
04 The Day And The Time 4:25
05 Animal City 3:18
06 Dreams For Plans 4:04
07 Hey You 4:11
08 Your Embrace 3:34
09 Costume Makes The Clown 3:13
10 Something 4:24
11 Timor 3:33

Shakira - Oral Fixation, Vol. 2 (ogg  112mb)

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