RhoDeo 1652 Aetix

Hello, Prinses Leia is no more, but i guess if need be Disney will revive her electronically like they did at the end of Rogue One, . Seriously I wouldn't  have thought it possible to die from heart complications in an LA hospital with all the high tech at hand, but Carrie Fisher did at age 60, she leaves behind her mother and daughter. She chain-smoked, confessed to a love of LSD and her compulsions led to addictions to cocaine and painkillers, ah yes the Hollywood lifestyle, she'd probably seen enough of this realm. Oh dear news just in her mother, Debbie Reynolds has died too, the shock of her daughters death was too much....



Today's artists are an English pop band with soul influences, who achieved their major success in the early to mid-1980s. During the late 1970s and early 1980s, Dexys went through numerous personnel changes over the course of three albums and thirteen singles, with only singer/songwriter/co-founder Kevin Rowland remaining in the band through all of the transitions and only Rowland and "Big" Jim Paterson (trombone) appearing on all of the albums. By 1983, the band consisted only of Rowland and long-standing members Helen O'Hara (violin) and Billy Adams (guitar). The band broke up in 1987, with Rowland becoming a solo artist.  ......N'Joy

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Dexys Midnight Runners are best known in America as one of new wave's ultimate one-hit wonders, thanks to their 1982 number one smash "Come on Eileen," a distinctive fusion of '80s pop, Celtic folk, and blue-eyed soul. In the U.K., however, they earned a fair amount of critical acclaim and made a greater impression on the public consciousness with their frequent changes in sound, wardrobe, and personnel.

Dexys were formed in 1978 by singer/guitarist/songwriter Kevin Rowland and singer/guitarist Kevin "Al" Archer (who changed his first name to avoid confusion). Both had been members of the Birmingham, England, punk band the Killjoys, and Rowland, who was ethnically Irish, had split his childhood between London, Ireland, and Birmingham, and soaked up the influence of Irish folk and the so-called Northern soul music popular in the Midlands. Seeking a new direction, Rowland and Archer decided to put together a full-fledged soul outfit and named it after the stimulant Dexedrine, a popular drug on the Northern soul scene (despite the strict no-drinking-or-drugs policy Rowland later imposed on the band). The lineup eventually settled on trombonist Big Jim Paterson, tenor saxophonist Geoff Blythe, alto saxophonist Steve "Babyface" Spooner, keyboardist Mick Talbot (who replaced Pete Saunders, was once a member of the Merton Parkas and later joined the Style Council), bassist Pete Williams, and drummer Andy "Stoker" Growcott (who replaced Bobby Junior). Acutely image conscious, Rowland tried to reflect the band's working-class roots by dressing them as New York dockworkers, with a wardrobe lifted straight from the Martin Scorsese/Robert DeNiro film Mean Streets. The band struggled financially at first, especially given its large membership, and according to legend, Rowland organized (or at least encouraged) shoplifting expeditions to make ends meet.

Dexys didn't take long to release their first single; "Dance Stance" (aka "Burn It Down"), an attack on anti-Irish discrimination, appeared on EMI in 1979, but only scraped the lower reaches of the charts. However, their next single, "Geno," a tribute to American-born soul singer Geno Washington (who'd made his career in the U.K.), went all the way to the top of the British charts in early 1980. Dissatisfied with their share of the profits, the band stole the completed master tapes of their debut album, Searching for the Young Soul Rebels, and successfully reworked their deal. When the album was released later in 1980, it caused a sensation. With their bright, tuneful, horn-heavy take on Memphis soul (which predated Paul Weller's similar transformation of the Jam), Dexys were hailed as British rock's return to an organic, soulful sound in the post-punk/new wave era. Their third single, "There There My Dear," became a Top Ten hit, but Rowland insisted on following it with the inadvisable single choice of "Keep It, Pt. 2," which flopped. This was the last straw for most of the band, who had grown tired of Rowland's control-freak leadership and restlessness. Archer left to form the Blue Ox Babes, and most of the rest of the group wound up in the Bureau, leaving only trombonist Paterson with Rowland.

Rowland and Paterson regrouped Dexys, adding guitarist/banjoist Kevin "Billy" Adams (again renamed), drummer Seb Shelton (ex-Secret Affair), keyboardist Mickey Billingham, alto saxophonist Brian Maurice, tenor saxophonist Paul Speare, and bassist Giorgio Kilkenny (who replaced Steve Wynne). After the 1981 single "Plan B" (which featured a new wardrobe of boxing boots and ponytails), the new lineup left EMI and signed to Mercury. Their first single for the label, "Show Me," became a Top 20 hit, but the follow-up, "Liars A to E," flopped, and Rowland considered modifying the group's approach. Allegedly, he heard a demo tape of Archer's folk-influenced Blue Ox Babes material, and decided to reinvent Dexys in a similar fashion. He infuriated the Babes by not only borrowing from their sound, but recruiting violinist Helen O'Hara out of their lineup; he also added Steve Brennan and Roger MacDuff on the same instrument.

The second Dexys album, Too-Rye-Ay, was released in 1982, and while their soul sound was still easily audible, it was now sitting alongside a strong Irish folk influence, making for a striking hybrid. The makeover was accompanied by yet another wardrobe change, this time to a scruffy gypsy/hobo image that wound up changing the standard of acceptable dress at many a restrictive London club. Dexys introduced their new sound on the single "The Celtic Soulbrothers," which was a mild success; however, the follow-up, "Come on Eileen," was a smash, becoming their second British number one. A few months later, helped along by the group's highly visual, MTV-ready appeal, "Come on Eileen" broke in America and went all the way to number one there as well. With their new folky direction thus established, the entire horn section (even the loyal Paterson) departed in the summer of 1982, as did keyboardist Billingham. Unfortunately, at the peak of the group's success, the rest of the lineup proved unstable as well, due in part to rifts with Rowland; eventually, the core of the group was whittled down to Rowland, guitarist Adams, and violinist O'Hara.

Rowland took Dexys to New York to work on the follow-up album, which -- slowed by his perfectionism -- took a year and a half to record. In the meantime, EMI released the singles compilation Geno in 1983. Paterson rejoined the group when Rowland decided to blend his soul and folk phases more thoroughly, and the rest of the instrumentation was filled out by hired session musicians. When Don't Stand Me Down was finally released in 1985, Rowland insisted that no singles were to be pulled from the album, wanting it to stand as a cohesive piece of work in the manner of '70s LPs. As a result, it sold much more poorly than expected and wasn't helped by lackluster reviews that slammed Rowland's attempts at Van Morrison-esque poetry. After a few weeks, a panicked Mercury -- who'd spent quite a bit of money to make the record -- released "This Is What She's Like" as a single, but the damage was already done. One last single, "Because of You," charted in 1986 after being used as the theme to a British TV show, but with Don't Stand Me Down having bombed, the group disbanded.

Rowland mounted a solo career and returned in 1988 with The Wanderer, a mellow record flavored with country and lounge-pop, which failed to sell. A disheartened Rowland spent the next few years in a deep depression, fighting off bankruptcy and cocaine addiction. In 1996, he signed with Creation as a solo artist, but in typically idiosyncratic fashion, his comeback effort was an all-covers album; My Beauty was released in 1999 and sold abominably, probably not helped by Rowland's new wardrobe of dresses and suspenders.

After a couple years spent living down the album, Rowland returned with a new edition of Dexys Midnight Runners, with the stripped down name Dexys, in 2003. The new line-up began playing live shows and contributed two new songs ("Manhood" and "My Life in England") to the greatest-hits collection Let's Make This Precious. The group, which included former Runners Mick Talbot and Pete Williams, began recording in earnest in 2005 but the painstaking processes didn't yield results until the release of One Day I'm Going to Soar in 2012. Along the way, another former member, "Big" Jim Paterson, joined back up, and Rowland added new vocalist Madeleine Hyland, as well. The album was met with a positive response from critics and signaled a triumphant comeback for the band. After a full slate of concerts over the next few years and the departure of Talbot, Paterson, and Williams, the group's next move was to record Let the Record Show: Dexys Do Irish and Country Soul. Released by Rhino in June 2016, the record features their unique versions of classic Irish songs (like "Women of Ireland" and "Carrickfergus") and a wide range of others (like Joni Mitchell's "Both Sides Now"), all given that Dexy's spin.

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The crackling stations being switched on the radio and the gang shout followed by the spoken injunction to "burn it down" sound like they should be starting off a Sham 69 record. Then "Burn It Down" actually starts, with its horn section, Hammond organ and Kevin Rowland's utterly unconventional soul vocals. The cult of Dexy's, and this album in particular, were worshipped as the return of "soul" to English rock music at the dawn of Thatcherism. Exploring the myth that this album holds, especially in Brit music terms, can be a strange prospect: 20 years on it doesn't sound revolutionary, it just sounds good. And good it is, quite good, compared to where Paul Weller ended up, i.e., too reverential by half. This is vibrant, alive, and unconcerned with perfection. Rowland takes a role that Morrissey would have in 1985 and Jarvis Cocker in 1995 -- the unexpected but perfect voice to capture a time and moment in the U.K. His slightly strangled wail and sly, wry lyrics and song titles ("Tell Me When My Light Turns Green," "Thankfully Not Living in Yorkshire It Doesn't Apply") make this album in many ways. Musically, the group lays down R&B grooves and brassy hooks with aplomb, as on the brilliant "Seven Days Too Long" and the number one single "Geno," but throw in film noir touches, John Barry-writing-for-James Bond fare and more just as ably. The liner notes have a fun description of the group's origins and brief notes for most of the tunes -- the best for the finale, "There, There, My Dear":

This new edition of Searching For The Young Soul Rebels comes with a second disc which features 21 additional tracks: a- and b-sides, BBC sessions with John Peel and ‘Kid’ Jensen, and previously unreleased demos from EMI’s Manchester Square studio, including a tilt at Sam and Dave’s “Hold On I’m Comin’”. Much of it has been aired before, and inevitably there is repetition, but it contains some terrific performances from a band firing at full power, however briefly.

This blazing incarnation of Dexys barely survived the album’s release before fracturing under the eccentricities of their leader, who subsequently assembled new gangs for the following Too-Rye-Ay and Don’t Stand Me Down before the whole thing fell apart. But ultimately, the myth-making around Kevin Rowland tends to obscure the fact that he’s been responsible for some truly soul-scorching music, much of it featuring on this record. At 30 years of age, Searching For The Young Soul Rebels continues to burn.

Dexys Midnight Runners - Searching For The Young Soul Rebels (flac  238mb)

01 Burn It Down 4:20
02 Tell Me When My Light Turns Green 3:46
03 The Teams That Meet In Caffs 4:08
04 I'm Just Looking 4:41
05 Geno 3:28
06 Seven Days Too Long 2:43
07 I Couldn't Help If I Tried 4:12
08 Thankfully Not Living In Yorkshire It Doesn't Apply 2:59
09 Keep It 3:59
10 Love Part One 1:11
11 There, There, My Dear 3:31

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Dexys Midnight Runners - Extra Searching (flac 465mb)

The Non-Album Singles And B-Sides
01 Dance Stance (Alternative Single Mix) 3:44
02 I'm Just Looking (B-Side Version) 4:23
03 Breaking Down The Walls Of Heartache 3:24
04 The Horse 2:22
05 Keep It Part Two (Inferiority Part One) 3:45
06 One Way Love 3:09
07 Plan B 2:37
08 Soul Finger 2:12
Demos & Radio Sessions
09 Thankfully Not Living In Yorkshire It Doesn't Apply 2:53
10 Hold On! I'm Comin' 4:18
11 Breaking Down The Walls Of Heartache 3:36
12 The Horse 2:40
13 I Couldn't Help If I Tried 4:18
John Peel BBC Radio 1 Session(26-2-80):
14 Geno 3:29
15 Tell Me When My Light Turns Green 3:15
16 The Horse 2:13
17 Breaking Down The Walls Of Heartache 3:29
Kid Jensen BBC Radio 1 Session:
18 Geno 3:26
19 Respect 3:35
20 Dance Stance 3:19
21 The Teams That Meet In Caffs 3:56

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For one brief moment, Dexy's exploded into America's consciousness -- and what a song to do it with! "Come on Eileen" combines ramalama rock & roll, soul delivery, and Celtic/country flavor into a perfect musical fusion and an irresistible U.K. and U.S. number one hit. The rest of the album is nearly as successful, with quite a few numbers that should have matched "Come on Eileen"'s fame. Given that song's obvious debt to Van Morrison's similar fusions, it's no surprise that Dexy's tipped their hat with a great cover of Morrison's "Jackie Wilson Said," another big British single. Throughout the album, Rowland's distinct, unique voice takes the fore, but the revamped Dexy's lineup proves it was the original version's equal, if not better. Given that only trombonist Big Jimmy Patterson remained, and even then only for two tracks, recruiting a new band able to create the "Celtic soul" Rowland dreamed about turned out to be exactly the right move. Excellently produced by Rowland and the legendary Clive Langer/Alan Winstanley production team, Too-Rye-Ay sounds like an old soul revue recorded on-stage, no doubt an intentional goal. Other highlights include the opening jaunt "The Celtic Soul Brothers," which just about says it all both in title and delivery; the slow swirl of "All in All," and the vicious ballad "Liars A to E."

Dexys Midnight Runners - Too-Rye-Ay (flac  442mb)

01 The Celtic Soul Brothers (More, Please, Thank You) 3:09
02 Let's Make This Precious 4:04
03 All In All (This One Last Wild Waltz) 4:10
04 Jackie Wilson Said (I'm In Heaven When You Smile) 3:06
05 Old 5:32
06 Plan B 5:05
07 I'll Show You 2:41
08 Liars A To E 4:10
09 Until I Believe In My Soul 7:02
10 Come On Eileen 4:41
The B-Sides
11 Love Part 21:19
12 Dubious 2:42
13 T.S.O.P. 3:47
14 Let's Get This Straight From The Start 3:35
15 Old (Live At Shaftsbury Theatre, London) 4:55
16 Respect (Live At Shaftsbury Theatre, London) 7:42
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17 Let's Make This Precious (Original Version) 3:42

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Dexys Midnight Runners - BBC in Concert (flac 491mb)

BBC In Concert - Newcastle 26/06/82
01 T.S.O.P. 4:15
02 Burn It Down 4:01
03 Let's Make This Precious 4:05
04 Jackie Wilson Said (I'm In Heaven When You Smile) 3:16
05 Come On Eileen 6:33
06 Soon 1:27
07 Plan B 4:05
08 Geno 3:33
09 Respect 6:59
10 Old 4:27
11 The Celtic Soul Brothers (More, Please, Thank You) 2:46
12 There There My Dear 4:55
13 Show Me 3:25
14 I'll Show You 3:03
BBC Session - David Jensen 04/07/82
15 Let's Make This Precious 3:41
16 Jackie Wilson Said (I'm In Heaven When You Smile) 3:05
17 All In All (This One Last Wild Waltz) 3:52
18 Old 4:40
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19 Reminisce (Part 1) 5:55

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RhoDeo 1652 Roots

Hello, last Christmas i gave you my heart and 32 years later it finally broke, its been a tough year for music superstars and this time like in 1970 it wasn't excesses but life itself that took them from us (Bowie (cancer), Maurice White (parkinsons), Prince (death by silly religious cult), Leonard Cohen (old age) and now George Michael decided to kick the bucket , he was a great singer who gave his heart away...



The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

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For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

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Sergio Mendes 1965 classic is a genre-defining album, capturing straight up Bossa Nova with a stellar line-up of seasoned musicians including Hubert Laws, Art Farmer, Phil Woods and a special guest spot for the famed Antonio Carlos Jobim, a purely instrumental album. This was part of the Exotic culture that your grandparents were into in the early 60's. My favorite track has to be the Girl From Impanema, practically a standard in the early to mid 60's. This is nice as background music for a quiet dinner party, or if you're just sitting back and reading from your Kindle that you got from Amazon. The liner notes indicate that there was more material that came from this meeting, but was unfortunately destroyed in a NJ warehouse fire in '78, where Atlantic had all their demos and sessions work stored.

Sergio Mendes - The Swinger From Rio (flac  215mb)

01 Maria Moita 3:27
02 Sambinha Bossa Nova 3:10
03 Batida Diferente 3:23
04 So Danco Samba 3:08
05 Pau Brasil 3:13
06 The Girl From Ipanema 2:51
07 Useless Panorama 3:26
08 The Dreamer 4:13
09 Primavera 2:39
10 Consolocao 3:19
11 Favela 5:21

Sergio Mendes - The Swinger From Rio  (ogg 94mb)

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The pure essence of Sergio Mendes and Brasil 65 is captured beautifully on this collection of tracks recorded in the famed "El Matador." From the random china clang, to the spare truck driving by outside, every subtle nuance has been preserved, the piano is powerful, complex and subtle at the same time.... oh along with some pretty amazing musical moments. In Person at El Matador shines with gorgeous Brazillian/Jazz arangements by Sergio, and exotic vocals by Wanda De Sah... A perfect addition to any cocktail music list.

Sergio Mendes e Brasil 65 - In Person At El Matador   (flac  198mb)

01 Reza 4:54
02 O Morro 2:32
03 Samba Do Astronauta 2:57
04 Tem Do De Mim 2:34
05 Jodel 3:34
06 Samba De Jose 1:52
07 Noa Noa 2:56
08 Black Orpheus Medley 6:13
09 Arrastao 3:52
10 Vai De Vez 2:56
11 Caminho De Casa 2:46

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After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijuana Brass and the Baja Marimba Band). He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz-oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight bossa nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section. But other tracks leap out as well; the obvious rouser is the Brazilian go-go treatment of the Beatles' "Day Tripper," but the sultry treatment of Henry Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" also deserve mention.

Sergio Mendes & Brasil '66 - Herb Alpert Presents (flac 165mb)

01 Mais Que Nada (Ma-Sh Kay Nada) 2:37
02 One Note Samba / Spanish Flea 1:46
03 The Joker 2:37
04 Going Out Of My Head 3:00
05 Tim Dom Dom (Chim Dome Dome) 1:51
06 Day Tripper 3:09
07 Agua De Beber (Agwa Gee Beberr) 2:28
08 Slow Hot Wind 2:32
09 O Pato (O Pawtoo) 1:58
10 Berimbau (Ber-Im-Bough) 3:15

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The hype-laden title undoubtedly refers to Sergio Mendes' move to America two years before this album's release, settling in Los Angeles, where this record was made. Clearly he was out to make it big in the U.S.A., for this album tries to move a bit away from Brazil by spotlighting Mendes' jazz and pop piano against the elaborate charts of Clare Fischer, Bob Florence and Dick Hazard. There are contributions from the best-known Brazilians (Edu Lobo, Jobim of course) as well as up-to-the-minute pop tunes "Monday, Monday" and "Don't Go Breaking My Heart" and American songbook material like "Here's That Rainy Day" and "Girl Talk," all served up in airplay-sized packages mostly under three minutes in length. Inevitably, then, Mendes' piano doesn't get much room to breathe, but the charts are quite interesting; Florence's are the most big-band-oriented, Fischer's are the most harmonically challenging, and Hazard's lush offerings are the signposts of Mendes' future with Brasil '66. Though an encouraging step forward, Mendes' first big strike was still several months away.

Sergio Mendes - The Great Arrival     (flac  194mb)

01 The Great Arrival (Cheganca) 2:17
02 Monday, Monday 2:30
03 Carnaval 2:38
04 Cancao Do Amanhecer 2:48
05 Here's That Rainy Day 2:23
06 Boranda 2:40
07 Nana 2:33
08 Bonita 3:21
09 Morning 2:38
10 Don't Go Breaking My Heart 2:31
11 Tristeza De Amar 3:16
12 Girl Talk 2:24

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RhoDeo 1652 Vibrations

Hello, hopefully your Christmas day left some room for thinking about next year, is it going to be more of the same, or is there room for personal growth. Well if your answer to the latter is yes then consider these Brainwave Mind Voyages I'll be posting the coming months, the market for these has been exploding as everyone caries a mobile these days, thereby is able to play these files in bed.


Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

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Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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This BMV series I has 10 tracks about 70 minutes in total length and can be used as one long induction program or it could be looped on whatever track you find works best. There are several tracks that were specifically designed to be played at night while you are sleeping. The messages can then slip into your dreaming awareness and spark your lucidity. Your dreaming awareness can be prodded into realizing that you are in fact within a dream.

This BMV Series is a journey as well as a TOOL for strengthening and awakening your dreaming awareness. The entire process takes 70 minutes, but if you are successful at fully transferring your awareness, you can explore this Dream Realm for as long as you desire. You can use this BMV series to induce deep states of relaxation, to harness your creativity , to problem solve or brainstorm, to consciously enter into a trance-like state, to induce out of body experiences or astral travel, and to tap the unlimited potential of your Higher Self.

Brainwave Mind Voyages (Series I) (flac  248mb)

01 Am I Dreaming All Night Loop 1 9:02
02 Am I Dreaming All Night Loop 2 3:48
03 Belief Builder 5:08
04 Brainwave Intro 1:46
05 Lucid Dreaming Intro 4:12
06 Lucid Induction Mantra 7:48
07 MIX EAR MINDawake1 7:21
08 MIX EAR MINDawake2 10:16
09 Trance Induction 13:34
10 Wave of Relaxation 5:27

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Previously



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Sundaze 1652

Hello, a Merry Christmas to you all, there's a warm breeze blowing here but then the last time i saw a white Christmas is some time ago, and i've never heard the jingle bells.I notice a trend of broadcasting more fantasy in these days...ah yes make believe....next year we'll have more....


Today's artists are a Scottish post-rock band, formed in 1995 in Glasgow. The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. The band were for several years signed to renowned Glasgow indie label Chemikal Underground, and now use their own label Rock Action Records in the UK, and Sub Pop in North America. The band were frequently championed by John Peel from their early days......N'Joy

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The cosmic post-rock band Mogwai was formed in Glasgow, Scotland in 1996 by guitarist/vocalist Stuart Braithwaite, guitarist Dominic Aitchison, and drummer Martin Bulloch, longtime friends with the goal of creating "serious guitar music." Toward that end, they added another guitarist, John Cummings, before debuting in March 1996 with the single "Tuner," a rarity in the Mogwai discography for its prominent vocals; the follow-up, a split single with Dweeb titled "Angels vs. Aliens," landed in the Top Ten on the British indie charts. Following appearances on a series of compilations, Mogwai returned later in the year with the 7" "Summer," and after another early 1997 single, "New Paths to Helicon," they issued Ten Rapid, a collection of their earliest material.

Around the time that Mogwai recorded the superb 1997 EP 4 Satin, former Teenage Fanclub and Telstar Ponies member Brendan O'Hare joined the lineup in time for the recording of Mogwai's debut studio LP, Mogwai Young Team. He exited a short time later -- returning to his primary projects Macrocosmica and Fiend -- to be replaced by Barry Burns. Mogwai next issued 1998's Kicking a Dead Pig, a two-disc remix collection; the No Education = No Future (Fuck the Curfew) EP appeared a few months later. In 1999, they released Come on Die Young. Rock Action arrived in early 2001. Late that year, Mogwai released the My Father, My King EP; two years later, they issued the ironically titled Happy Songs for Happy People. Government Commissions: BBC Sessions 1996-2004 arrived early in 2005.

Mr. Beast, which was released in 2006, found the band going in a softer, more reflective direction. Late that year, the band's collaboration with Clint Mansell on the soundtrack to The Fountain arrived; Mogwai also crafted the score for Douglas Gordon's Zidane: A 21st Century Portrait, which was released in the U.K. in 2006 and in the U.S. the following spring. The Batcat EP, which featured a collaboration with garage-psych legend Roky Erickson, arrived in late summer 2008, heralding the release of The Hawk Is Howling -- which reunited the band with producer Andy Miller for the first time in a decade -- that fall. In 2010, Mogwai released their first live album, Special Moves, as a package with the Vincent Moon-directed concert film Burning.

Hardcore Will Never Die, But You Will For 2011's Hardcore Will Never Die, But You Will, the band reunited with Young Team producer Paul Savage for a more streamlined set of songs. Later that year, they followed up with an EP of unreleased material from the Hardcore sessions, Earth Division, released on Sub Pop. Late in 2012, the band issued A Wrenched Virile Lore, a collection of Hardcore Will Never Die, But You Will remixes. Early the following year, the first taste of their score to the French zombie TV series Les Revenants (which was based on the 2004 film of the same name) arrived as a four-song EP; in February 2013, the full-length album appeared.

Mogwai filled the rest of the year with recording their eighth proper album, Rave Tapes, at their Castle of Doom studio, live performances of their Zidane: A 21st Century Portrait score in Glasgow, Manchester, and London, and other live performances. Rave Tapes, which boasted a more streamlined and electronic direction than Mogwai's recent albums, was released in early 2014. Late that year, the band issued the Music Industry 3. Fitness Industry 1 EP, a collection of Rave Tapes remixes as well as new songs.

Cummings left the band in 2015 to work on his own solo projects. Mogwai's first release after his departure was 2016's Atomic, a collection of reworked tracks from their music for Mark Cousins' BBC 4 documentary Atomic: Living in Dread and Promise. They returned later that year with a number of compositions on the collaborative soundtrack for Fisher Stevens and Leonardo DiCaprio's documentary about the impact of climate change, Before the Flood.

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Young Team, Mogwai's first full-length album fulfills the promise of their early singles and EPs, offering a complex, intertwining set of crawling instrumentals, shimmering soundscapes, and shards of noise. Picking up where Ten Rapid left off, Mogwai use the sheer length of an album to their advantage, recording a series of songs that meld together -- it's easy to forget where one song begins and the other ends. The record itself takes its time to begin, as the sound of chiming processed guitars and murmured sampled vocals floats to the surface. Throughout the album, the sound of the band keeps shifting, and it's not just through explosions of noise -- Mogwai isn't merely jamming, they have a planned vision, subtly texturing their music with small, telling details. When the epic "Mogwai Fears Satan" draws the album to a close, it becomes clear that the band has expanded the horizons of post-rock, creating a record of sonic invention and emotional force that sounds unlike anything their guitar-based contemporaries have created.

Mogwai - Young Team  (flac  372mb)

01 Yes! I Am A Long Way From Home 5:57
02 Like Herod 11:41
03 Katrien 5:24
04 Radar Maker 1:35
05 Tracy 7:19
06 Summer (Priority Version) 3:28
07 With Portfolio 3:10
08 R U Still In 2 It 7:20
09 A Cheery Wave From Stranded Youngsters 2:18
10 Mogwai Fear Satan 16:19

Mogwai - Young Team    (ogg  140mb)

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Mogwai - Young Team Appendix  (flac  257mb)

01 Young Face Gone Wrong 2:58
02 I Don't Know What To Say 1:14
03 I Can't Remember 3:13
04 Honey 4:18
05 Katrien (Live) 5:31
06 R U Still In 2 It (Live) 8:01
07 Like Herod (Live) 7:53
08 Summer (Priority) (Live) 2:58
09 Mogwai Fear Satan (Live) 10:26

Mogwai - Young Team Appendix    (ogg  97mb)

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Mogwai get translated and abused in various ways in this collection of remixes. Whether it's industrial, dance, or something altogether left field, the 12 remixes on Kicking a Dead Pig take Mogwai to various new places, for better or worse. Klute's version of Summer is basically a breakbeat track, but one that is a credit to the genre. Kid Loco's remix of Tracy rocks like a live hiphop instrumental, but it's basically the orignal looped without words and with a pretty funky drum track laid over it. Max Tundra's take on Helicon 2 is worlds apart from the mellowed out original, starting off kind of a little too loud and scary before it goes sailing off into dreamland. The Hood remix of Like Herod, introduces interesting sonic shifts and gritty guitar dynamics, damn cool. Most other mixes here are pretty good.

Mogwai - Kicking A Dead Pig Mogwai Songs Remixed  (flac  343mb)

01 Like Herod (Hood Remix) 7:02
02 Helicon 2 (Max Tundra Remix) 7:20
03 Summer (Klute's Weird Winter Remix) 6:31
04 Gwai On 45 (Arab Strap Remix) 8:42
05 Cheery Wave From Stranded Youngsters (Third Eye Foundation Tet Offensive Remix) 5:10
06 Like Herod (Alec Empire's Face The Future Remix) 5:22
07 Mogwai Fear Satan (Surgeon Remix) 6:36
08 R U Still In To It? (DJ Q Remix) 8:23
09 Tracy (Kid Loco's Playing With The Young Team Remix) 8:32
10 Mogwai Fear Satan (Mogwai Remix) 9:55

Mogwai - Kicking A Dead Pig Mogwai Songs Remixed    (ogg 133mb)

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"Too much, too soon" is a tattered rock & roll cliché, but it continues to tell the tale of many young bands, such as Glasgow's acclaimed post-rock collective Mogwai. Usually, the phrase is hauled out to describe an intoxicated downward spiral by bands that had too much success all at once, but Mogwai suffered too much praise -- too many accolades from critics, too much reverence from underground hipsters. The singles compilation Ten Rapid and the debut Young Team deserved all the acclaim they earned, but a funny thing happened while Mogwai was recording their much-anticipated second album, ironically titled Come on Die Young -- the band went stale, producing a lethargic trawl through post-Slint and Sonic Youth territory. Where their free-form noise improvisations were utterly enthralling on their earlier records, the ebb and flow is entirely too familiar throughout Come on Die Young, largely because they follow the same pattern on each song. And each cut blends into the next, creating the impression of one endless track that teeters between deliberately dreamy crawls and random bursts of noise. Granted, that was the blueprint for Young Team, but there is little dynamism anywhere on Come on Die Young. Mogwai repeat the same riffs with the same inflection, never pushing themselves toward new sonic territory, yet never hitting a mesmerizing trance. It feels like a degraded photocopy of their earlier records -- it's possible to discern the initial spark that made them fascinating, but this current incarnation is too smudged and muddy to hold attention on its own terms. Perhaps Come on Die Young wouldn't have seemed as disappointing if it hadn't arrived on the wave of hype and expectation, but the truth is, it pales in comparison to their own work.

Mogwai - Come On Die Young  (flac  350mb)

01 Opening Titles 2:53
02 Arrival Of The Birds 2:38
03 The Dance 3:20
04 Soda 3:10
05 Hatching 5:11
06 Marabou 3:56
07 Exodus 7:17
08 Transformation 5:16
09 Hyena 1:48
10 Life Of The Bird 3:33
11 First Light 4:05
12 Crimson Skies 3:24

Mogwai - Come On Die Young   (ogg  106mb)

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RhoDeo 1651 Grooves

Hello,

Today's artists are an American band that has spanned the musical genres of R&B, soul, funk, jazz, disco, pop, rock, Latin and African. They are one of the most successful bands of all time. Rolling Stone Magazine described them as "innovative, precise yet sensual, calculated yet galvanizing" and declared that the band "changed the sound of black pop" All month at Grooves..... ..... N'joy

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Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Lead singer Philip Bailey gave EWF an extra dimension with his talent for crooning sentimental ballads in addition to funk workouts; behind him, the band could harmonize like a smooth Motown group, work a simmering groove like the J.B.'s, or improvise like a jazz fusion outfit. Plus, their stage shows were often just as elaborate and dynamic as George Clinton's P-Funk empire. More than just versatility for its own sake, EWF's eclecticism was part of a broader concept informed by a cosmic, mystical spirituality and an uplifting positivity the likes of which hadn't been seen since the early days of Sly & the Family Stone. Tying it all together was the accomplished songwriting of Maurice White, whose intricate, unpredictable arrangements and firm grasp of hooks and structure made EWF one of the tightest bands in funk when they wanted to be. Not everything they tried worked, but at their best, Earth, Wind & Fire seemingly took all that came before them and wrapped it up into one dizzying, spectacular package.

White founded Earth, Wind & Fire in Chicago in 1969. He had previously honed his chops as a session drummer for Chess Records, where he played on songs by the likes of Fontella Bass, Billy Stewart, and Etta James, among others. In 1967, he'd replaced Redd Holt in the popular jazz group the Ramsey Lewis Trio, where he was introduced to the kalimba, an African thumb piano he would use extensively in future projects. In 1969, he left Lewis' group to form a songwriting partnership with keyboardist Don Whitehead and singer Wade Flemons. This quickly evolved into a band dubbed the Salty Peppers, which signed with Capitol and scored a regional hit with "La La Time." When a follow-up flopped, White decided to move to Los Angeles, and took most of the band with him; he also renamed them Earth, Wind & Fire, after the three elements in his astrological charts. By the time White convinced his brother, bassist Verdine White, to join him on the West Coast in 1970, the lineup consisted of Whitehead, Flemons, female singer Sherry Scott, guitarist Michael Beal, tenor saxophonist Chet Washington, trombonist Alex Thomas, and percussionist Yackov Ben Israel. This aggregate signed a new deal with Warner Bros. and issued its self-titled debut album in late 1970. Many critics found it intriguing and ambitious, much like its 1971 follow-up, The Need of Love, but neither attracted much commercial attention despite a growing following on college campuses and a high-profile gig performing the soundtrack to Melvin Van Peebles' groundbreaking black independent film Sweet Sweetback's Baadasssss Song.

Last Days and Time Dissatisfied with the results, White dismantled the first version of EWF in 1972, retaining only brother Verdine. He built a new lineup with female vocalist Jessica Cleaves, flute/sax player Ronnie Laws, guitarist Roland Bautista, keyboardist Larry Dunn, and percussionist Ralph Johnson; the most important new addition, however, was singer Philip Bailey, recruited from a Denver R&B band called Friends & Love. After seeing the group open for John Sebastian in New York, Clive Davis signed them to CBS, where they debuted in 1972 with Last Days and Time. Further personnel changes ensued; Laws and Bautista were gone by year's end, replaced by reedman Andrew Woolfolk and guitarists Al McKay and Johnny Graham. It was then that EWF truly began to hit their stride. 1973's Head to the Sky (Cleaves' last album with the group) significantly broadened their cult following, and the 1974 follow-up, Open Our Eyes, was their first genuine hit. It marked their first collaboration with producer, arranger, and sometime-songwriting collaborator Charles Stepney, who helped streamline their sound for wider acceptance; it also featured another White brother, Fred, brought in as a second drummer. The single "Mighty Mighty" became EWF's first Top Ten hit on the R&B charts, although pop radio shied away from its black-pride subtext, and the minor hit "Kalimba Story" brought Maurice White's infatuation with African sounds to the airwaves. Open Our Eyes went gold, setting the stage for the band's blockbuster breakthrough.

That's the Way of the World In 1975, EWF completed work on another movie soundtrack, this time to a music-biz drama called That's the Way of the World. Not optimistic about the film's commercial prospects, the group rushed out their soundtrack album of the same name (unlike Sweet Sweetback, they composed all the music themselves) in advance. The film flopped, but the album took off; its lead single, the love-and-encouragement anthem "Shining Star," shot to the top of both the R&B and pop charts, making Earth, Wind & Fire mainstream stars; it later won a Grammy for Best R&B Vocal Performance by a Group. The album also hit number one on both the pop and R&B charts, and went double platinum; its title track went Top Five on the R&B side, and it also contained Bailey's signature ballad in the album cut "Reasons." White used the new income to develop EWF's live show into a lavish, effects-filled extravaganza, which eventually grew to include stunts designed by magician Doug Henning. The band was also augmented by a regular horn section, the Phoenix Horns, headed by saxophonist Don Myrick. Their emerging concert experience was chronicled later that year on the double-LP set Gratitude, which became their second straight number one album and featured one side of new studio tracks. Of those, "Sing a Song" reached the pop Top Ten and the R&B Top Five, and the ballad "Can't Hide Love" and the title track were also successful.

Spirit Sadly, during the 1976 sessions for EWF's next studio album, Spirit, Charles Stepney died suddenly of a heart attack. Maurice White took over the arranging chores, but the Stepney-produced "Getaway" managed to top the R&B charts posthumously. Spirit naturally performed well on the charts, topping out at number two. In the meantime, White was taking a hand in producing other acts; in addition to working with his old boss Ramsey Lewis, he helped kickstart the careers of the Emotions and Deniece Williams. 1977's All n' All was another strong effort that charted at number three and spawned the R&B smashes "Fantasy" and the chart-topping "Serpentine Fire"; meanwhile, the Emotions topped the pop charts with the White-helmed smash "Best of My Love." The following year, White founded his own label, ARC, and EWF appeared in the mostly disastrous film version of Sgt. Pepper's Lonely Hearts Club Band, turning in a fine cover of the Beatles' "Got to Get You Into My Life" that became their first Top Ten pop hit since "Sing a Song." Released before year's end, The Best of Earth, Wind & Fire, Vol. 1 produced another Top Ten hit (and R&B number one) in the newly recorded "September."

1979's I Am contained EWF's most explicit nod to disco, a smash collaboration with the Emotions called "Boogie Wonderland" that climbed into the Top Ten. The ballad "After the Love Has Gone" did even better, falling one spot short of the top. Although I Am became EWF's sixth straight multi-platinum album, there were signs that the group's explosion of creativity over the past few years was beginning to wane. 1980's Faces broke that string, after which guitarist McKay departed. While 1981's Raise brought them a Top Five hit and R&B chart-topper in "Let's Groove," an overall decline in consistency was becoming apparent. By the time EWF issued its next album, 1983's Powerlight, ARC had folded, and the Phoenix Horns had been cut loose to save money. After the lackluster Electric Universe appeared at the end of the year, White disbanded the group to simply take a break. In the meantime, Verdine White became a producer and video director, while Philip Bailey embarked on a solo career and scored a pop smash with the Phil Collins duet "Easy Lover." Collins also made frequent use of the Phoenix Horns on his '80s records, both solo and with Genesis.

Bailey reunited with the White brothers, plus Andrew Woolfolk, Ralph Johnson, and new guitarist Sheldon Reynolds, in 1987 for the album Touch the World. It was surprisingly successful, producing two R&B smashes in "Thinking of You" and the number one "System of Survival." Released in 1990, Heritage was a forced attempt to contemporize the group's sound, with guest appearances from Sly Stone and MC Hammer; its failure led to the end of the group's relationship with Columbia. They returned on Reprise with the more traditional-sounding Millennium in 1993, but were dropped when the record failed to recapture their commercial standing despite a Grammy nomination for "Sunday Morning"; tragedy struck that year when onetime horn leader Don Myrick was murdered in Los Angeles. Bailey and the White brothers returned once again in 1997 on the small Pyramid label with In the Name of Love.

After 2003's The Promise, a mix of new material and fresh looks at classics, the group realigned with several top-shelf adult contemporary artists and released 2005's Illumination, which featured a collaboration with smooth jazz juggernaut Kenny G. The album was Grammy-nominated in the category of Best R&B Album. Earth, Wind & Fire continued to tour and made a show-opening appearance on American Idol's Idol Gives Back show in 2007. Three years later, Maurice and Verdine White, Bailey, Dunn, and McKay were inducted into the Songwriters Hall of Fame. The band released Now, Then & Forever, their first album in five years, in 2013. Three years later, on February 3, 2016, Maurice White died from the effects of Parkinson's disease at his home in Los Angeles; he was 74 years old.


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Many groups lose the steam that propelled them to the top; Earth, Wind & Fire, contemporary sound and all, were still blazing when this album was released. "Fall in Love With Me" was the first single. With its festive rhythm and sauntering vocals, it became a number four hit on the Billboard R&B charts and a number 17 pop hit. The percolating single "Side by Side" was the second release. The precise horns, sensuous female backing vocals, and Maurice White's animated vocals make this an entertaining piece. Though it should have fared better, it settled in at number 15 on the R&B charts. The final release was "Spread Your Love." The sonically aggressive special effects are contrasted with a soothing chanting chorus. The single peaked at 57. All three of the above feature Maurice White on lead. Throughout the entire album, White's unifying message is fueled by the aggressive rhythms and relaxing melodies.

Earth Wind & Fire - Powerlight   (flac  290mb)

01 Fall In Love With Me 5:40
02 Spread Your Love 3:51
03 Side By Side 5:56
04 Straight From The Heart 4:59
05 The Speed Of Love 3:35
06 Freedom Of Choice 4:10
07 Something Special 4:24
08 Hearts To Heart 3:44
09 Miracles 4:58

Earth Wind & Fire - Powerlight  (ogg   105mb)

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Commercially, Earth, Wind & Fire were slipping in 1983. Though a decent album, Powerlight wasn't the type of big seller EWF was used to. Maurice White responded with a change of direction that proved to be both a commercial and artistic fiasco. Working with very in-demand (and very formula-oriented) studio figures like Martin Page and David Foster, EWF went for a much slicker and more high-tech approach on the weak and disappointing Electric Universe. White saw that synthesizers and drum machines were playing more and more of a role in both R&B and pop, and wanted to acknowledge technology's impact on music with this album. But EWF usually ends up sounding insincere and even sterile. The type of synth-funk that worked so well for the System doesn't work for EWF. A few of the songs are interesting (including "Electric Kingdom" and the single "Magnetic"), but they don't prevent Electric Universe from being EWF's weakest album ever. When this release flopped, EWF's members temporarily went their separate ways, with Philip Bailey and Maurice White concentrating on solo careers.

Earth Wind & Fire - Electric Universe    (flac  263mb)

01 Magnetic 4:19
02 Touch 4:54
03 Moonwalk 4:08
04 Could It Be Right 5:15
05 Spirit Of A New World 4:29
06 Sweet Sassy Lady 4:08
07 We're Living In Our Own Time 5:18
08 Electric Nation 4:30

Earth Wind & Fire - Electric Universe  (ogg    92mb)

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Four years passed between 1983's embarrassing Electric Universe and their reunion album, Touch the World. Before the album's release, there was excitement as well as skepticism among Earth, Wind & Fire fans. Was EWF still capable of delivering a great album? And even if it was, how well would the album do in an R&B market that was radically different than that of the 1970s? As it turned out, a lot of the old magic was still there, and Maurice White and Philip Bailey proved that they could still be a powerful combination. From "Evil Roy" (which describes an urban youth's life of crime) to the major hit "System of Survival," Touch the World proved that EWF was still quite capable of excellence. Though White doesn't shy away from technology, he uses it in an organic fashion and remains faithful to the outfit's rich history. Despite "System of Survival"'s success, the album wasn't the huge commercial hit it deserved to be, but it wasn't a bomb either.

Earth Wind & Fire - Touch The World  (flac 294mb)

01 System Of Survival 4:59
02 Evil Roy 4:51
03 Thinking Of You 4:41
04 You And I 4:03
05 New Horizons (Interlude) 2:01
06 Money Tight 4:36
07 Every Now And Then 4:21
08 Touch The World 5:15
09 Here Today And Gone Tomorrow 3:59
10 Victim Of The Modern Heart 3:48

Earth Wind & Fire - Touch The World (ogg   100mb)

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With the positive reception the 1987 album Touch the World and it's three successful singles received? The newly reinvigorated Earth Wind & Fire were back in the studio beginning the recording for their follow up album the very next year. Of course one critical thing happened to be a huge game changer in 1988: the emergence of Teddy Riley with his group Guy and productions for Keith Sweat,Al B. Sure and Bobby Brown. The quick tempo hip-hop friendly shuffle of new jack swing had arrived. Essentially the soul/funk community was exiting the electro/boogie/synth groove of the mid 1980's and entering essentially into the modern era-one where heavy electronic hip-hop/pop based productions would be the mainstream for contemporary R&B-as it would come to be called. Maurice White actually saw a positive in this-an opportunity to showcase a younger generation learning the same cultural lessons and values that fueled Maurice's vision for EWF in the first place. The result finally emerged,and quite appropriately in 1990 with this album.

"Soweto" opens and closes the album with a strong African percussion Kalimba based melody. "Takin' Chances" goes into a bluesy horn packed electro go-go style funk jam that essentially updates the production of a rather "Shining Star" style song. "Good Times",featuring a very vocally chocked and quite rare guest vocal from Mister Sly Stone himself is a very fast paced house funk type groove with a great deal of wah wah guitars and choir vocals from the band itself. The title song is a well crafted hip-hop friendly track with the boy band The Boys that features a wonderfully jazzy classic EWF style refrain. This is actually an incredibly funky album. It updates the rhythms for the hip-hop/pop era yes. But the beats and rhythms are essentially classic EWF under all the programming and such. It might be wise for those who are still naysayers to this album to revisit it. Might find a pretty well done album,full of sometimes powerful grooves,if one re-listens without prejudice.

Earth Wind & Fire - Heritage   (flac 393mb)

01 Interlude: Soweto 0:36
02 Takin' Chances 3:30
03 Heritage 4:05
04 Good Time 4:05
05 Interlude: Body Wrap 0:24
06 Anything You Want 4:46
07 Interlude: Bird 0:37
08 Wanna Be The Man 4:21
09 Interlude: Close To Home 1:35
10 Daydreamin' 4:01
12 King Of Groove 5:20
13 I'm In Love 4:01
14 For The Love Of You 4:27
15 Gotta Find Out 4:09
16 Motor 3:44
17 Interlude: Faith 1:01
18 Welcome 4:04
19 Soweto (Reprise) 0:39

Earth Wind & Fire - Heritage (ogg 136mb)

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RhoDeo 1651 Re-Up 81

Hello, once again i got 4 ! requests of previously updated files-it ain't that difficult folks you can see the previous request at the page and if that's within 12 months i won't re-up sorry.

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up.

Looka here another batch of 29 re-ups, requests fullfilled up to December 20th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

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3x Aetix Back in Flac ( Theatre Of Hate - Westworld, Paul Young - No Parlez, still in ogg Working Week - Working Nights)


4x Aetix NOW in Flac ( Fischer-Z - Word Salad, New Musik - Anywhere, still in ogg Pigbag - Favourite Things, The System - Logic)


6x Japan NOW in Flac (Logic System - Venus, Yukihiro Takahashi - What, Me Worry ?, Akiko Yani - John Zorn Compilation, still in ogg Hiroshima - Odori, Lizard - I, Susan - The Girl Can't Help it, VA - Yen Memorial, The Drum Battle)


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


2x Sundaze NOW in Flac (Glass - Low, Heroes Symphony, Keith Jarrett -  Kóln Concert)


2x Grooves NOW in Flac (
Trouble Funk - Drop The Bomb, E.U. - Livin' Large)


3x Beats Back in Flac (FSOL - Papua New Guinea Transitions, FSOL - By Any Other Name, FSOL  - The Pulse EPs)


3x Aetix Back in Flac (The Smithereens - Especially for You, The Smithereens - Green Thoughts, The Smithereens - 11)


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RhoDeo 1651 Aetix

Hello,

Today's artists were a Celtic punk band from London, were founded in Kings Cross, a district of Central London, in 1982 as Pogue Mahone—pogue mahone being the anglicisation of the Irish póg mo thóin, meaning "kiss my arse" and fronted by Shane MacGowan. The band reached international prominence in the 1980s and early 1990s. MacGowan left the band in 1991 due to drinking problems but the band continued first with Joe Strummer and then with Spider Stacy on vocals before breaking up in 1996.  ......N'Joy

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By demonstrating that the spirit of punk could live in traditional Irish folk music, the Pogues were one of the most radical bands of the mid-'80s. Led by Shane MacGowan, whose slurred, incomprehensible voice often disguised the sheer poetry of his songs, the Pogues were undeniably political -- not only were many of their songs explicitly in favor of working-class liberalism, but the wild, careening sound of their punk-injected folk was implicitly radical. While the band was clearly radical, they also had a wickedly warped sense of humor, which was abundantly clear on their biggest hit, the fractured Christmas carol "Fairy Tale of New York." The group's first three albums -- Red Roses for Me, Rum Sodomy & the Lash, If I Should Fall from Grace with God -- were widely praised in both Britain and America, and by 1988 they had earned substantial cult followings in both countries. Yet MacGowan's darkly romantic, wasted lifestyle, which was so key to their spirit and success, ultimately proved to be their downfall. By the end of the decade, he had fallen deep into alcoholism and drug addiction, forcing the band to fire him if they wanted to survive. The Pogues carried on without him in the early '90s, playing to a slowly shrinking audience before finally disbanding in 1996.

MacGowan, an Irish punk inspired by the Clash, formed the Pogues in 1982 after playing with the London-based punk band the Nipple Erectors, a group that was later called the Nips. MacGowan met Spider Stacy in a London tube station, where Stacy was playing a tin whistle. The two began working together, drafting former Nip Jim Fearnley to play guitar. Naming themselves Pogue Mahone -- a Gaelic term meaning "kiss my ass" -- the trio began playing traditional Irish tunes in London pubs and streets, eventually adding Jem Finer (banjo, guitar), Andrew David Ranken (drums), and Cait O'Riordan (bass) to make it a full band. As the group developed into a sextet, they added MacGowan's original songs to their repertoire, and began earning a reputation as a wild, drunken, and exciting live act.

Shortening their name to the Pogues, the group released an independent single, "Dark Streets of London," in early 1984 and supported the Clash on their summer tour. By the fall, they had signed with Stiff Records and had released their acclaimed debut Red Roses for Me. The album was a critical hit, establishing the Pogues as one of the most vital, and certainly one of the most political, bands in Britain. Early in 1985, they added guitarist Philip Chevron and recorded Rum Sodomy & the Lash with producer Elvis Costello. The album was an underground success and was widely praised, especially for MacGowan's songwriting -- not only in the U.K., but also in the U.S., where they were becoming college radio staples. Instead of following Rum Sodomy & the Lash with a new album, the Pogues took nearly a full-year hiatus from recording, releasing the Poguetry in Motion EP in 1986 and appearing in Alex Cox's film Straight to Hell in 1987. By 1988, O'Riordan had left the band to marry Costello, and she was replaced by Darryl Hunt; banjoist Terry Woods was also added to the band. Early in 1988, they signed to Island Records and released the Steve Lillywhite-produced If I Should Fall from Grace with God later that year. The album became the group's biggest hit, generating the number two U.K. single "Fairytale of New York," which featured vocalist Kirsty MacColl.

Although the Pogues were peaking in popularity, MacGowan's relentless drug and alcohol abuse was beginning to cripple the band. Although neither the 1989 hit single "Yeah Yeah Yeah Yeah Yeah" or Peace & Love (also 1989) were noticeably affected by his excesses, MacGowan missed the Pogues' prestigious opening dates in 1988 for Bob Dylan and stalked the stage like a madman during a pivotal Saturday Night Live performance. By 1990's Hell's Ditch, Spider Stacy and Jem Finer began singing the bulk of the Pogues' material. Despite positive reviews, Hell's Ditch was a flop, and the group wasn't able to support the record because of MacGowan's behavior. Consequently, he was asked to leave the band in 1991; three years later, he returned with a new band, the Popes.

For subsequent tours, the Clash's Joe Strummer filled in as lead vocalist, but by the time the band recorded their comeback, Waiting for Herb, in 1993, Stacy had become the permanent vocalist. Waiting for Herb was kindly reviewed, yet was also ignored, as was 1995's Pogue Mahone. The following year, the Pogues announced they were disbanding after 14 years in the business. They stayed dormant for the rest of the '90s while MacGowan's work with the Popes slowly came to an end and other members sought their own creative avenues. In 2001, the group made amends with MacGowan and reunited for a short British tour. This goodwill carried through the next decade as the group continued to play short international tours and make one-off appearances eventually releasing a box set of rarities (Just Look Them Straight in the Eye and Say....Pogue Mahone!!) in 2008 and a live album (The Pogues in Paris: 30th Anniversary Concert) in 2012. Just prior to the release of their career-spanning 30 Years box set in 2013, the group's longtime guitarist Philip Chevron passed away from esophageal cancer. Chevron was the author of one of the Pogues' most revered songs, "Thousands Are Sailing," and had become a sort of unofficial spokesperson for the band in its later period.

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What set the Pogues apart from any number of other energetic Irish traditional bands was the sheer physical force of their performances, the punky swagger of their personalities, and Shane MacGowan's considerable gifts as a songwriter. Unfortunately, none of these qualities comes through very clearly on their first album, Red Roses for Me. While the Pogues are in good form here, the production (by Stan Brennan) is thin and lacks the body or nuance to capture the finer details of the performances, robbing this recording of the fire the group would display on their later albums. And it's clear that MacGowan had not yet fully matured as a songwriter; there are a handful of superb songs here, such as "Transmetropolitan," "Streams of Whiskey," and "Down in the Ground Where the Dead Men Go," but some of the others suggest MacGowan was still learning how to fit all his ideas into his songs. Red Roses for Me is good and rowdy fun, but on Rum Sodomy & the Lash and If I Should Fall from Grace with God, the Pogues would prove they were capable of a lot more than that.

The Pogues - Red Roses For Me (flac  402mb)

01 Transmetropolitan 4:26
02 The Battle Of Brisbane 1:51
03 The Auld Triangle 4:22
04 Waxie's Dargle 1:53
05 Boys From The County Hell 2:56
06 Sea Shanty 2:24
07 Dark Streets Of London 3:17
08 Streams Of Whiskey 2:32
09 Poor Paddy 3:09
10 Dingle Regetta 2:52
11 Greenland Whale Fisheries 2:36
12 Down In The Ground Where The Dead Men Go 3:32
13 Kitty 4:55
Bonus Tracks
14 The Leaving Of Liverpool 3:12
15 Muirshin Durkin 1:50
16 Repeal Of The Licensing Laws 2:12
17 And The Band Played Waltzing Matilda 4:50
18 Whiskey You're The Devil 2:09
19 The Wild Rover 2:36

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"I saw my task... was to capture them in their delapidated glory before some more professional producer f--ked them up," Elvis Costello wrote of his role behind the controls for the Pogues' second album, Rum Sodomy & the Lash. One spin of the album proves that Costello accomplished his mission; this album captures all the sweat, fire, and angry joy that was lost in the thin, disembodied recording of the band's debut, and the Pogues sound stronger and tighter without losing a bit of their edge in the process. Rum Sodomy & the Lash also found Shane MacGowan growing steadily as a songwriter; while the debut had its moments, the blazing and bitter roar of the opening track, "The Sick Bed of Cúchulainn," made it clear MacGowan had fused the intelligent anger of punk and the sly storytelling of Irish folk as no one had before, and the rent boys' serenade of "The Old Main Drag" and the dazzling, drunken character sketch of "A Pair of Brown Eyes" proved there were plenty of directions where he could take his gifts. And like any good folk group, the Pogues also had a great ear for other people's songs. Bassist Cait O'Riordan's haunting performance of "I'm a Man You Don't Meet Every Day" is simply superb (it must have especially impressed Costello, who would later marry her), and while Shane MacGowan may not have written "Dirty Old Town" or "And the Band Played Waltzing Matilda," his wrought, emotionally compelling vocals made them his from then on. Rum Sodomy & the Lash falls just a bit short of being the Pogues' best album, but was the first one to prove that they were a great band, and not just a great idea for a band.

The Pogues - Rum Sodomy and The Lash (flac 429mb)

01 The Sickbed Of Cuchalainn 3:02
02 The Old Main Drag 3:19
03 Wild Cats Of Kilkenny 2:48
04 I'm A Man You Don't Meet Every Day 2:54
05 A Pair Of Brown Eyes 5:02
06 Sally MacLennane 2:45
07 Dirty Old Town 3:46
08 Jesse James 2:58
09 Navigator 4:13
10 Billy's Bones 2:03
11 The Gentleman Soldier 2:04
12 The Band Played Waltzing Matilda 8:14
Bonus Tracks
13 A Pistol For Paddy Garcia 2:31
14 London Girl 3:05
15 Rainy Night In Soho 5:36
16 Body Of An American 4:49
17 Planxty Noel Hill 3:12
18 The Parting Glass 2:14

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If Rum Sodomy & the Lash captured the Pogues on plastic in all their rough-and-tumble glory, If I Should Fall from Grace with God proved they could learn the rudiments of proper record making and still come up with an album that captured all the sharp edges of their musical personality. Producer Steve Lillywhite imposed a more disciplined approach in the studio than Elvis Costello had, but he had the good sense not to squeeze the life out of the band in the process; as a result, the Pogues sound tighter and more precise than ever, while still summoning up the glorious howling fury that made Rum Sodomy & the Lash so powerful. And Shane MacGowan continued to grow as a songwriter, as his lyrics and melodies captured with brilliant detail his obsession with the finer points of Anglo-Irish culture. "Fairytale of New York," a glorious sweet-and-sour duet with Kirsty MacColl, and "The Broad Majestic Shannon" were subtle in a way many of his previous work was not, "Birmingham Six" found him addressing political issues for the first time (and with all the expected venom), and "Fiesta" and "Turkish Song of the Damned" found him adding (respectively) faux-Spanish and Middle Eastern flavors into the Pogues' heady mix. And if you want to hear the Pogues blaze through some fast ones, "Bottle of Smoke" and the title song find them doing just what they've always done best. Brilliantly mixing passion, street smarts, and musical ambition, If I Should Fall from Grace with God is the best album the Pogues would ever make.

The Pogues - If I Should Fall From Grace With God (flac  448mb)

01 If I Should Fall From Grace With God 2:21
02 Turkish Song Of The Damned 3:27
03 Bottle Of Smoke 2:47
04 Fairytale Of New York 4:36
05 Metropolis 2:50
06 Thousands Are Sailing 5:28
07 Fiesta 4:13
08 Medley (The Recruiting Sergeant/The Rocky Road To Dublin/Galway Races) 4:01
09 Streets Of Sorrow / Birmingham Six 4:39
10 Lullaby Of London 3:31
11 Sit Down By The Fire 2:18
12 The Broad Majestic Shannon 2:52
13 Worms 1:05
Bonus Tracks
14 The Battle March (Medley) 4:10
15 The Irish Rover 4:07
16 Mountain Dew 2:19
17 Shanne Bradley 3:41
18 Sketches Of Spain 2:14
19 South Australia 3:27

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Shane MacGowan's potent appetite for alcohol was evident from the time the Pogues cut their first album, but by the time they got to work on Peace and Love in 1989, it was evident that he'd gone far past the point of enjoying a few pints (or many pints) and had sunk deep into drug and alcohol dependence. The Pogues were always far more than just MacGowan's backing band, but with the group's principal songwriter and lead singer frequently unable to rise to the occasion, the recording of Peace and Love became a trying experience, with the rest of the band often scrambling to take up the slack for their down-for-the-count frontman. Given the circumstances, the Pogues deliver with greater strength than one might expect on Peace and Love; while MacGowan's vocals are often mush-mouthed and his songwriting is markedly beneath his previous standards, Terry Woods contributes two terrific traditional-style numbers ("Young Ned of the Hill" and "Gartloney Rats"), Philip Chevron's "Lorelei" is a superb tale of lost love (he and Darryl Hunt also teamed up for a fine bit of Celtic-calypso fusion on "Blue Heaven"), and Jem Finer brought along a trio of strong originals. Musically, Peace and Love found the band stretching their boundaries, adding accents of film noir jazz on "Gridlock," rockabilly on "Cotton Fields," straight-ahead rock on "USA," and power pop on "Lorelei," though the group's highly recognizable Celtic-trad-on-steroids style is never far beneath the surface. Peace and Love isn't as good as the two Pogues albums that preceded it (which represent the finest work of their career), but it does make clear that MacGowan was hardly the only talented songwriter in the band -- though the fact that the set's most memorable songs were written by others did not bode well for the group's future.

The Pogues - Peace and Love (flac 452mb)

01 Gridlock 3:32
02 White City 2:31
03 Young Ned Of The Hill 2:45
04 Misty Morning, Albert Bridge 3:01
05 Cotton Fields 2:51
06 Blue Heaven 3:36
07 Down All The Days 3:45
08 USA 4:51
09 Lorelei 3:33
10 Gartloney Rats 2:32
11 Boat Train 2:40
12 Tombstone 2:57
13 Night Train To Lorca 3:26
14 London You're A Lady 2:56
Bonus
15 Star Of The County Down
16 The Limerick Rake
17 Train Of Love
18 Everyman Is A King
19 Yeah Yeah Yeah Yeah Yeah
20 Honky Tonk Women

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RhoDeo 1651 Roots

Hello, a rarity today..compilation albums ...

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is was born Astrud Evangelina Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. She married João Gilberto in 1959 and emigrated to the United States in 1963, residing in the U.S. from that time. Astrud and João divorced in the mid-1960s and she began a relationship with her musical partner, American jazz saxophone player Stan Getz.... N'Joy

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The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s. Though her appearance at the studio to record "The Girl From Ipanema" was due only to her husband João, one of the most famed Brazilian artists of the century, Gilberto's singular, quavery tone and undisguised naïveté propelled the song into the charts and influenced a variety of sources in worldwide pop music.

Born in Bahia, Gilberto moved to Rio de Janeiro at an early age. She'd had no professional musical experience of any kind until 1963, the year of her visit to New York with her husband, João Gilberto, in a recording session headed by Stan Getz. Getz had already recorded several albums influenced by Brazilian rhythms, and Verve teamed him with the cream of Brazilian music, Antonio Carlos Jobim and João Gilberto, for his next album. Producer Creed Taylor wanted a few English vocals for maximum crossover potential, and as it turned out, Astrud was the only Brazilian present with any grasp of the language. After her husband laid down his Portuguese vocals for the first verse of his and Jobim's composition, "The Girl From Ipanema," Astrud provided a hesitant, heavily accented second verse in English.

Not even credited on the resulting LP, Getz/Gilberto, Astrud finally gained fame over a year later, when "The Girl From Ipanema" became a number five hit in mid-1964. The album became the best-selling jazz album up to that point, and made Gilberto a star across America. Before the end of the year, Verve capitalized on the smash with the release of Getz Au Go Go, featuring a Getz live date with Gilberto's vocals added later. Her first actual solo album, The Astrud Gilberto Album, was released in May 1965. Though it barely missed the Top 40, the LP's blend of Brazilian classics and ballad standards proving quite infectious with easy listening audiences.

Though she never returned to the pop charts in America, Verve proved to be quite understanding for Astrud Gilberto's career, pairing her with ace arranger Gil Evans for 1966's Look to the Rainbow and Brazilian organist/arranger Walter Wanderley for the dreamy A Certain Smile, a Certain Sadness, released later that year. She remained a huge pop star in Brazil for the rest of the 1960s and '70s, but gradually disappeared in America after her final album for Verve in 1969. In 1971, she released a lone album for CTI (with Stanley Turrentine) but was mostly forgotten in the U.S. until 1984, when "Girl From Ipanema" recharted in Britain on the tails of a neo-bossa craze. Gilberto gained worldwide distribution for 1987's Astrud Gilberto Plus the James Last Orchestra and 2002's Jungle.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992, and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song "Desafinado" along with George Michael. Although she did not officially retire, Gilberto announced in 2002, that she was taking "indefinite time off" from public performances.


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Astrud Gilberto's entry in the nicely appointed Verve Jazz Masters compilation series shows exactly why the Brazilian singer is deserving of such an accolade. In her '60s heyday, Gilberto was often derided by jazz purists for her vibrato-less "desafinado" (deliberately slightly off-pitch) singing style and deadpan, childlike voice. But the diminutive bossa nova star has since been a huge influence on dozens of jazz and pop singers.
Verve Jazz Masters is less of a greatest hits package than it is a smartly balanced retrospective of many of Gilberto's best performances. Her biggest hits, "Call Me" and "Summer Samba," are not included, and her signature tune, "The Girl From Ipanema," is only represented by a live take from a 1964 Carnegie Hall concert. The collection places equal emphasis on Gilberto's bossa nova-style interpretations of jazz standards and on her signature Portuguese-language sambas. The smartly packaged CD also features remastered sound and several rare photographs.

Astrud Gilberto - Verve Jazz Masters (flac 280mb)

01 The Girl From Ipanema 5:21
02 Fly Me To The Moon 2:17
03 Non-Stop To Brazil 2:26
04 Only Trust Your Heart 4:14
05 It Might As Well Be Spring 4:21
06 My Foolish Heart 2:44
07 Misty Roses 2:36
08 Tu Me Delirio 3:39
09 Corcovado (Quiet Nights Of Quiet Stars) 4:14
10 Manha de Carnival 1:55
11 If You Went Away 3:20
12 Here's That Rainy Day 2:44
13 I Will Wait For You 4:41
14 Who Can I Turn To? 3:08
15 Once Upon A Summertime 3:04
16 The Shadow Of Your Smile 2:29

Astrud Gilberto - Verve Jazz Masters      (ogg  118mb)

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More thematically-programmed than many of Verve's compilations, the Jazz 'Round Midnight series focuses on the quiet, romantic side of the label's artists. Astrud Gilberto is a perfect match for this series. Her simultaneously childlike and alluring voice defines the quiet, romantic elements of the bossa nova style she popularized worldwide with the enormous success of Antonio Carlos Jobim's "The Girl from Ipanema," recorded with her then-husband Joao Gilberto and the Stan Getz Quartet in 1963.
After that classic, Jazz 'Round Midnight focuses little on Gilberto's trademark Brazilian sambas, instead favoring her unique interpretations of jazz standards. Gilberto's bossa nova versions of "Fly Me To the Moon," "The Shadow Of Your Smile," and "Here's That Rainy Day" epitomize romantic languor. "I feel so gay in a melancholy way" goes the key line of the standard "It Might As Well Be Spring," and no sentiments could better encapsulate Astrud Gilberto's gift.

Astrud Gilberto - Jazz 'Round Midnight   (flac  290mb)

01 The Girl From Ipanema 5:21
02 Fly Me To The Moon 2:17
03 Non-Stop To Brazil 2:26
04 Only Trust Your Heart 4:14
05 It Might As Well Be Spring 4:21
06 My Foolish Heart 2:44
07 Misty Roses 2:36
08 Tu Me Delirio 3:39
09 Corcovado (Quiet Nights Of Quiet Stars) 4:14
10 Manha de Carnival 1:55
11 If You Went Away 3:20
12 Here's That Rainy Day 2:44
13 I Will Wait For You 4:41
14 Who Can I Turn To? 3:08
15 Once Upon A Summertime 3:04
16 The Shadow Of Your Smile 2:29

Astrud Gilberto - Jazz 'Round Midnight    (ogg   117mb)

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Astrud for Lovers is a strong collection of love songs performed by Brazilian singer Astrud Gilberto. Her wispy and melancholic vocals are featured in a variety of settings recorded between 1963 and 1969 for Verve. The earliest tune, "Corcovado (Quiet Nights of Quiet Stars)," is taken from the legendary Getz/Gilberto album that marked Astrud's star-making first recording. The rest of the collection finds her with Stan Getz again doing a sweet version of "It Might as Well Be Spring" in 1964, crooning a smooth "Tu Mi Delirio" with organist Walter Wanderley in 1966, fronting a big orchestra in 1969 on two songs taken from the Beach Samba album, and essaying the intimate "Mahna de Carnival" with just guitar for accompaniment. The album shows that while she had a limited vocal range she knew how to get the most out of it and that she was equally at home in many settings. Not to mention that the collection establishes and maintains a lovely romantic mood throughout! That is what they had in mind no doubt and they succeeded.

Astrud Gilberto - Astrud For Lovers   (flac  233mb)

01 Only Trust Your Heart 4:15
02 Once I Loved 2:13
03 Tu Mi Delirio 3:39
04 World Stop Turning 2:16
05 Manha De Carnival 1:56
06 Corcovado (Quiet Nights Of Quiet Stars) 4:14
07 My Foolish Heart 2:45
08 Look To The Rainbow 3:27
09 It Might As Well Be Spring 4:14
10 Lonely Afternoon 3:23
11 Love Is Stronger Than We 3:43
12 The Shadow Of Your Smile 2:30

Astrud Gilberto - Astrud For Lovers      (ogg  90mb)

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This well-appointed collection from Brazilian jazz vocalist Astrud Gilberto looks beyond her signature 1964 track, "The Girl from Ipanema," at some of the other great performances from her prime years. Issued in 2006 as a European import, Non-Stop to Brazil relies heavily on Gilberto's mid- to late-'60s Verve catalog, pulling highlights from albums like The Shadow of Your Smile ("Take Me to Aruanda"), Look to the Rainbow ("Lugar Bonito [Pretty Place]"), and A Certain Smile, a Certain Sadness ("Tu, Mi Delirio"). Her beguiling delivery of these bossa nova, samba, and American jazz tracks reveals why she became an international star.

Astrud Gilberto - Non-Stop To Brazil   (flac  238mb)

01 (Take Me To) Aruanda 2:25
02 Bim Bom 1:50
03 I Had The Craziest Dream 2:21
04 Tu Mi Delirio 3:39
05 On My Mind 2:41
06 Look To The Rainbow 3:26
07 Agua De Beber 2:18
08 Call Me 3:20
09 Oba, Oba 1:59
10 Never My Love 2:53
11 Crickets Sing For Anamaria 1:33
12 Fly Me To The Moon (In Other Words) 2:19
13 Lugar Bonita (Pretty Place) 3:18
14 Meditation 2:39
15 Nao Bate O Corocao 1:35
16 Non-Stop To Brazil 2:26
17 So Finha De Ser Com Voce 2:15
18 Nega Do Cabelo Duro 2:18

Astrud Gilberto - Non-Stop To Brazil    (ogg 99mb)

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