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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RhoDeo 1651 Monty 9

Hello, today a final salute to those kings of (surreal) comedy Monthy Python, below you'll find a compilation of all the songs, previously posted within the 8 albums...for those that want to sing together, do a karaoke or just like to enjoy 54 minutes of Pythoneske singing...


Monty Python (sometimes known as The Pythons) were a British surreal comedy group who created the sketch comedy show Monty Python's Flying Circus, which first aired on the BBC on 5 October 1969. Forty-five episodes were made over four seasons. The Python phenomenon developed from the television series into something larger in scope and impact, including touring stage shows, films, numerous albums, several books, and a stage musical. The group's influence on comedy has been compared to the Beatles' influence on music. ..N'Joy

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Fusing the topical satire of David Frost with the surreal outlandishness of The Goon Show, the Monty Python's Flying Circus troupe formed in England in 1969. Comprised of British performers John Cleese, Michael Palin, Eric Idle, Terry Jones, and Graham Chapman, along with American animator Terry Gilliam, the group emerged as an international cult phenomenon, honing its singular blend of broad slapstick, edgy black comedy, and social commentary in a string of successful television programs, films, and albums.

After meeting during a taping of the British children's series Do Not Adjust Your Set, the Pythons officially took shape in May 1969 when the BBC contracted the group to produce its own 13-week program. Monty Python's Flying Circus, a weekly sketch comedy series, premiered that October; after becoming a major hit throughout Europe, the troupe recorded 1970's Monty Python's Flying Circus LP, a set of new performances of television material recorded in front of a live audience (including their legendary "dead parrot" sketch, "The Pet Shop"). Their film debut, And Now for Something Completely Different -- a collection of highlights from the series -- followed in 1971.

Another Monty Python Record, released in the U.K. in 1971, made its American debut the following year; for most U.S. fans, the album was their first exposure to the troupe -- the BBC series did not begin appearing on public television outlets for several more months. After 1972's Monty Python's Previous Record, a mixture of original routines and TV material featuring "Eric the Half a Bee," "The Argument Clinic," and "Embarrassment/A Bed-Time Book," the group issued 1973's Matching Tie and Handkerchief, which featured a "trick track" gimmick whereby the second side contained separate grooves both featuring entirely different material; playing randomly depending upon where the needle dropped, the gimmick effectively created a "side three."
A 1973 British tour yielded Live at Drury Lane, released in 1974 to coincide with the film Monty Python and the Holy Grail; the movie's companion record, The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail, a reprise of screen material along with new skits, did not appear until the next year. After 1976's Live! At City Center, a long hiatus followed before the group reunited for the 1979 feature and soundtrack Monty Python's Life of Brian.

Monty Python's Contractual Obligation Album appeared in 1980, followed by the 1982 concert film Live at the Hollywood Bowl. The 1983 feature Monty Python's the Meaning of Life was the last official group project, although the troupe members subsequently reunited on occasion; most famously, Cleese and Palin teamed in the hit comedy A Fish Called Wanda, while Gilliam's directorial efforts like Time Bandits, Brazil, and The Adventures of Baron Munchausen all prominently featured other Python alumni. Sadly, Graham Chapman died of cancer on October 4, 1989.


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Monty Python Sings is exactly what it sounds like: a parade of songs (many under a minute) written and performed by members of Monty Python's Flying Circus. The numbers should be instantly familiar to fans of their legendary sketch comedy series and theatrical features. Each member of the troupe is represented to some degree or another, including director/animator Terry Gilliam with the tiny tune "I've Got Two Legs" (:33), and several co-written by Graham Chapman (to whom the original 1989 issue of the compilation was dedicated). John Cleese, Terry Jones, and Michael Palin contributed to several compositions, but the lion's share were written/co-written by the most musically inclined member, Eric Idle. Neil Innes (the Bonzo Dog Band), with whom Idle collaborated on the Beatles spoof The Rutles, assisted with arranging and composed the music for "Knights of the Round Table." It's debatable whether those not already enamored by the Pythons' unique brand of humor would be won over by this recording. For the already converted, however, it represents an opportunity to have all of their best known songs in one place: Life of Brian's "Always Look on the Bright Side of Life" ("when you're chewing on life's gristle/don't grumble, give a whistle"), "Lumberjack Song" (I'm a lumberjack/and I'm O.K./I sleep all night/and I work all day"), and, of course, "Spam Song" ("lovely Spam/wonderful Spa-a-m"). For better or for worse, many of their most politically incorrect songs are also included: "Sit on My Face," "Penis Song (Not the Noel Coward Song)," "Never Be Rude to an Arab," and "I Like Chinese." Although packed to the brim with (lyrical) comedy, Monty Python Sings is strictly a musical recording and does not include any sketches, spoken word pieces, or narration.

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with

Eric Idle
Graham Chapman
John Cleese
Michael Palin
Terry Gilliam
Terry Jones

Monthy Python Sings (flac  237mb)


01 Always Look On The Bright Side Of Life 3:33
02 Sit On My Face 0:45
03 Lumberjack Song 3:20
04 Penis Song (Not The Noel Coward Song) 0:41
05 Oliver Cromwell 4:10
06 Money Song 0:52
07 Accountancy Shanty 1:16
08 Finland 2:01
09 Medical Love Song 3:31
10 I'm So Worried 3:38
11 Every Sperm Is Sacred 4:34
12 Never Be Rude To An Arab 1:00
13 I Like Chinese 3:10
14 Eric The Half A Bee 2:06
15 Brian Song 2:36
16 Bruces' Philosophers Song 0:52
17 Meaning Of Life 2:15
18 Knights Of The Round Table (Camelot Song) 1:06
19 All Things Dull And Ugly 1:33
20 Decomposing Composers 2:48
21 Henry Kissinger 1:28
22 I've Got Two Legs 0:33
23 Christmas In Heaven 2:45
24 Galaxy Song 2:41
25 Spam Song 0:32

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Previously

101 Another Monty Python Record (flac  212mb)
201 Monty Python's Previous Record (flac  194mb)
301 Matching Tie and Handkerchief (flac  159mb)
401 Live at Drury Lane (flac  275mb)
501 Monty Python and the Holy Grail (flac  191mb)
601 Contractual Obligation Album (flac  190mb)
701 Life of Brian (flac  231mb)
801 Meaning of Life (flac  237mb)

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Sundaze 1651

Hello,

Today's artists are a British nu jazz and electronic music group, created in 1999 by Jason Swinscoe. The group is signed to independent record label Ninja Tune. The group's sound, in both live and studio contexts, employs a live band which improvises along with a turntablist and electronic elements such as samples provided by Swinscoe. In their studio releases Swinscoe will often remix the live source material to produce a combination of live jazz improvisation with electronica, such that it is difficult to tell where the improvisation ends and the production begins......N'Joy

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The brilliantly named Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJ'ing at various clubs and pirate radio stations in the U.K.

The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions, as reflected on his contribution to Ninja Tune's 1997 Ninja Cuts 3 collection and his remixes of Ryuichi Sakamoto and Coldcut tracks. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe.

Their debut album, Motion, was released in 1999. The critical success of that album led to them being asked to perform at the Director's Guild Awards ceremony for the presentation of the Lifetime Achievement Award to film director Stanley Kubrick. The band were asked by the organisers of the Porto European City of Culture 2001 festival to write a new score to Dziga Vertov's classic 1929 Soviet Union silent film Man with a Movie Camera, to be performed live in accompaniment with a showing of the film. The work differed from the band's usual compositions due to its live performance, ruling out the post production work that was present on Motion. The Cinematic Orchestra toured with the work and later released it on an album of the same name. Many of the compositions originally created for Man with a Movie Camera were later adapted from live form (adding in vocal tracks and electronic elements, among other changes) for their next album, Every Day. It reached #54 in the UK Albums Chart in May 2002.

In 2006, The Cinematic Orchestra created a cover version of the Radiohead song "Exit Music (For a Film)" that appeared on an album titled Exit Music: Songs with Radio Heads. In this piece the band slowed down the tempo of the original, divided the timbre into four sections beginning with saxophone, to the classical guitar, to the electric guitar, ending the piece with the same simple acoustic guitar rhythm as the original version.

The Cinematic Orchestra released the album Ma Fleur on 7 May 2007. Several songs feature Patrick Watson, Fontella Bass, or Lou Rhodes on vocals, with Rhodes and Watson sharing vocals on one song. The Cinematic Orchestra recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos, released in France on 15 December 2008 (orig. as Les ailes pourpres: Le mystère des flamants). The score was produced by the band and Steve McLaughlin. The score was performed live with the London Metropolitan Orchestra at The Union Chapel, Islington on 17 September 2009 and won the award for best original score at the Jackson Hole Wildlife Film Festival in Wyoming, USA on 1 October 2009.

Ninja Tune invited The Cinematic Orchestra to perform at the twentieth anniversary gala performance of the label at the Royal Albert Hall in November 2010. In 2011, The Cinematic Orchestra commissioned a series of compositions for avant-garde short films that were performed at the Barbican Centre under the auspices of its curating a series entitled "In Motion", (also featuring Dorian Concept with saxophonist Tom Chant, Grey Reverend, and Austin Peralta), and it subsequently released the album In Motion #1 in 2012.

On 20 October 2016, The Cinematic Orchestra released a new song from their upcoming album. The title of the song is "To Believe" featuring singer Moses Sumney. The group have also announced a tour, including shows with Thundercat, Gilles Peterson, Jameszoo, and others

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Not long after Every Day's release, Swinscoe began writing music for another Cinematic LP, but in another direction from where he'd gone previously. This was a series of quiet, contemplative instrumentals, with Rhodes keyboards and reedy clarinets, simply begging for a narrative (call them orchestrations for cinema). With scripts for each supplied by a friend -- each track got its own story, together comprising different scenes from a single life -- and a series of unpeopled photographs supplied by Maya Hayuk, Cinematic Orchestra had the narrative they needed for their invisible soundtrack. The results form an intensely affecting record, but one whose monochromatic format unfortunately serves no large purpose; when every song attempts to become a mini-masterpiece of melodrama, patience grows thin. Swinscoe tells us that he wanted to record an album where "leaving the spaces as empty as possible was paramount," but he can hardly complain if we choose to leave him the space to himself.

The Cinematic Orchestra - Ma Fleur  (flac  267mb)

01 To Build A Home 5:58
02 Familiar Ground 4:33
03 Child Song 5:11
04 Music Box 5:01
05 Prelude 2:40
06 As The Stars Fall 5:51
07 Into You 2:59
08 Ma Fleur 4:06
09 Breathe 6:26
10 That Home 1:41
11 Time & Space 8:34

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As a venue, the Royal Albert Hall in London is the stuff of legend. It is so elegant it inspires greatness in performers no matter the discipline, as well as rapt and supportive attentiveness in audiences. Some of its past performers have included Frank Sinatra, a double bill by the Beatles and the Rolling Stones, Led Zeppelin, Pink Floyd, and Bob Dylan, to name a few. It therefore goes without saying that the weight on Cinematic Orchestra mastermind Jason Swinscoe to pull off something grand for a recording and video document of this CO performance was considerable. In order to accomplish this feat, he swelled the ranks of his group to over 40 members, including the entire 24-piece Heritage Orchestra! Vocalists Heidi Vogel, Lou Rhodes, and Grey Reverend are all present to reprise their roles from various selections on studio recordings. Original Cinematic Orchestra turntablist PC returned to the fold for the evening as well. The sound is as lush, lively, and beautiful as one could possibly imagine. Vogel's performance on the set opener, "All That You Give" (it originally appeared on 2002's Every Day), is just gorgeous. After Swinscoe announces her with a beautiful string intro, her soulful croon comes on full: sultry, emotional, and smooth. The dynamics and textures Swinscoe assembles with the strings and horn sections are as lush as a Gil Evans arrangement but as tight as Manny Albam's. There are truly expansive and adventurous moments here, as on "Flite," introduced by a Rhodes piano with the rhythmic pulse set in play by rolling drum breaks and a skeletal but beautifully articulate upright bassline. Solo space is accorded sparingly while incorporating the entire orchestra -- the brass section (killer trombones), which becomes a bedrock for reining everyone in, is itself sassy and swaggering, holding the fort against edgy funky guitars and those dreamy piano chords.
This gives way to the spidery beginnings of "Familiar Ground," which seem like minimal soundscapes for single instruments abstractly lilting and disappearing in the ether until nearly the three-minute mark when the piece comes into view with its body. When the choral vocals announce themselves so wordlessly and surreally, the effect is complete and it goes on for another five minutes or so before Vogel turns in a stellar performance. Soloists are allowed to let fly in places and let abstraction into the fold for a bit before Swinscoe calls everything back to a lush and disciplined order. In concert, the track "To Build a Home," sung by guitarist Reverend with backing from Vogel, was more conceptual than arresting. Here it becomes a true Cinematic Orchestra offering, with a languid, sad, dramatic kind of tension without being overwrought. The appearance of the nearly 12-minute "Man with a Movie Camera" jam is wonderfully noir-ish and puts on display all that this group has to offer instrumentally. This ambitious composition and difficult arrangement, which walks a line between film music, late-era jazz improv, classical, and cabaret music, is still grounded -- even with the cracking extended drum breaks; distorted turntable scratches; soprano, tenor, and alto sax flights; and guitar noise. The closer features Rhodes bringing her unique plaintive voice to "Time and Space." Its melancholy is heartbreak personified but balanced by a glimmer of hope, borne out by the dreamy, gauzy strings and countered with the ominous sampler and turntable sounds. As cellos and grand piano stretch the middle to accommodate both ends of this spectrum, the feeling of sadness and resolve is almost unbearable -- not for the emotion, but for its indescribable beauty -- before Rhodes is drawn back out to bring it, and the evening, to a close. The album is a truly moving demonstration of this group's amazing gifts.

The Cinematic Orchestra - Live At The Royal Albert Hall  (flac  360mb)

01 All That You Give 5:15
02 Child Song 7:38
03 Flite 5:56
04 Familiar Ground 8:35
05 To Build A Home 7:46
06 Prelude 3:05
07 Breathe 6:02
08 Man With The Movie Camera 13:05
09 Time & Space 8:41

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The Cinematic Orchestra has certainly been designed to compose and perform music for films, but that they are now involved with the Disney group is likely to be something even they could not have initially imagined. The Crimson Wing: Mystery of the Flamingos is an evocative soundtrack behind the French documentary about the strikingly colorful, elegant, and noble but rarely seen pink birds. It is a Disneynature production shot in north Tanzania, with the CO receiving mighty support from string players of the London Metropolitan Orchestra. As a result, Jason Swinscoe and the CO have never been more symphonic or expansive than on this recording, where thematic horizons and deep-seeded romantic emotional content is at the very core of their music beyond previously recorded efforts. They've been consistent since their Canadian-based beginnings mixing electronica and jazz with R&B and trance grooves, but here take a giant leap into what is more a signature sound. With this recording, they are taking to heart their surname, with music that is more traditionally classical, while retaining the electronic and percussive undercurrent that identifies them as singularly unique. This soundtrack traces a journey similar to March of the Penguins, starting with the minimalistic and swelling "Opening Titles," the crystalline waltz and huge sound in "Arrival of the Birds," and a Latin-tinged "The Dance" in 5/4 time with castanets and marimba identifying their modal jazz leanings. Precious bells, thick harmonics, and shimmering breaths in 7/8 time signify "Soda," while the hymnal and reverent-at-dawn flute music in "Hatching" merges into tick-tock algorithms and amalgamated underground bass clarinet for "Marabon." As the film progresses, you can hear the sophistication of the flamingos' serene and supreme confidence move into maturity and earthiness. A folkish "Exodus" is easily comparable to the Americana style of Aaron Copland, "Transformation" takes into account a Steve Reich or Philip Glass horizon-waltz minimalism, the light-house-beacon stance of "Hyena" does not suggest laughing so much as flashes of on and off brilliance, while "Life of the Bird" has the ineffable quality of humid landscape music in a symphonic, two-beat foundation. Where "First Light" comes near the end of the movie in its under-the-surface, darkness-to-sunrise facade, "Crimson Skies" is the coda that evokes a vocalized love story between avian presence and nature that provides the perfect epilogue. Where there is mystery, there is also definition, beauty, delightful, unpredictable, and conclusive results that still leave the mind wandering, and wondering how many more layers are left to be peeled away in order to discover the inner sanctum of self. This music perfectly reflects an elusive aspect of living and life, matching how we see and revere creatures we cannot speak to or understand. But thanks to the Cinematic Orchestra, we have a better understanding through music about how these wondrous birds live, eat, play, commune, and above all -- dream.

The Cinematic Orchestra - The Crimson Wing  (flac  239mb)

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

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Following contributions from guitar bands Arctic Monkeys and Snow Patrol, the critically acclaimed Late Night Tales series invites an outfit more associated with their early laid-back electronica-based installments to compile their own playlist in the shape of British experimental jazz collective the Cinematic Orchestra. While their selected 19 tracks lack the surprise element, it's still a highly eclectic affair, taking in '60s lounge-pop (Burt Bacharach's "South American Getaway"), fingerpicking acoustic folk (Nick Drake's "Three Hours"), and retro Italo house (the Songstress' "See Line Woman"). Showcasing their influences, there are traces of their lush widescreen orchestration on Björk's "Jóga" and Imogen Heap's instrumental "Cumulus," their ambient electronica on U.S. producer Flying Lotus' "Auntie's Harp" and dubstep pioneer Burial's "Dog Shelter," and improvised jazz leanings on trumpeter Eddie Gale's "The Rain" and the Freedom Sounds ft. Wayne Henderson's "Behold the Day." Elsewhere, the album unexpectedly has two artists in common with Gary Lightbody and company's selections in blues-soul vocalist Terry Callier ("You're Goin' Miss Your Candyman") and DJ Food's "Living Beats" (whose turntablist, Patrick Carpenter, now plays with the Orchestra); Sebastian Tellier's "La Ritournelle" and St. Germain's "Rose Royce" reveal their love affair with Gallic jazz-pop; and Radiohead's Thom Yorke ("Black Swan"), minimalist composer Steve Reich ("Electric Counterpoint"), and '60s R&B star Shuggie Otis ("Aht Uh Mi Hed") complete their predominantly chilled-out soundtrack. Fans intrigued by their two own new compositions may feel slightly let down by the brief 39-second forgettable instrumental "Restaurant," but their atmospheric and soulful cover of Syl Johnson's "Talking About Freedom," featuring the impassioned tones of previous collaborator Fontella Bass, should more than make up for the disappointment. A brief insight into the musical mindset of one of the British nu-jazz scene's most exciting acts, the Cinematic Orchestra's addition to the series is a veritable treasure trove of lost classics, obscurities, and high-quality dream pop that takes the concept back to basics.

The Cinematic Orchestra - LateNightTales  (flac  360mb)

01 Flying Lotus - Auntie's Harp (Rebekah Raff Remix) 2:27
02 Nick Drake - Three Hours 2:52
03 Eddie Gale - The Rain 1:55
04 Terry Callier - You're Goin' Miss Your Candyman 4:20
05 The Freedom Sounds, Wayne Henderson - Behold The Days 2:59
06 DJ Food - Living Beats 0:19
07 Shuggie Otis - Aht Uh Mi Hed 4:27
08 Thom Yorke - Black Swan 3:58
09 The Cinematic Orchestra - Restaurant 0:19
10 Steve Reich - Electric Counterpoint 1:21
11 Björk - Jóga 3:02
12 Imogen Heap - Cumulus 2:59
13 St Germain - Rose Rouge 5:22
14 Songstress - See Line Woman (Vocal) 5:41
15 Sebastien Tellier - La Ritournelle 8:10
16 Burial - Dog Shelter 2:13
17 Burt Bacharach - South American Getaway 3:10
18 The Cinematic Orchestra - Talking About Freedom (Exclusive) 5:22
19 Will Self - "The Happy Detective" (Part 3) (Exclusive) 1:44

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RhoDeo 1650f 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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Earth, Wind & Fire's artistic and commercial winning streak continued with its ninth album, All 'N All, the diverse jewel that spawned major hits like "Serpentine Fire" and the dreamy "Fantasy." Whether the visionary soul men are tearing into the hardest of funk on "Jupiter" or the most sentimental of ballads on "I'll Write a Song for You" (which boasts one of Philip Bailey's many soaring, five-star performances), All 'N All was a highly rewarding addition to EWF's catalog. Because EWF had such a clean-cut image and fared so well among pop audiences, some may have forgotten just how sweaty its funk could be. But "Jupiter" -- like "Mighty, Mighty," "Shining Star," and "Getaway" -- underscores the fact that EWF delivered some of the most intense and gutsy funk of the 1970s.

Earth Wind & Fire - All 'N All    (flac  249mb)

01 Serpentine Fire 3:51
02 Fantasy 4:38
03 In The Market Place (Interlude) 0:43
04 Jupiter 3:55
05 Love's Holiday 5:43
06 Brazilian Rhyme (Interlude) 1:20
07 I'll Write A Song For You 5:23
08 Magic Mind 3:39
09 Runnin' 6:45
10 Brazilian Rhyme (Interlude) 1:20
11 Be Ever Wonderful 5:08

Earth Wind & Fire - All 'N All  (ogg    97mb)

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Disco was at the height of its popularity in 1979, when Earth, Wind & Fire responded with its most disco-influenced single ever, the glossy and infectious "Boogie Wonderland." Up to that point, EWF had pretty much ignored disco, and when the band finally acknowledged the style, the soulsters weren't about to inundate listeners with it. "Boogie Wonderland" (which features the Emotions, a female group for whom Maurice White had been producing major hits) isn't representative of I Am on the whole. From the hit ballad "After the Love Has Gone" to the exuberant "Let My Feelings Flow," I Am isn't a radical departure from its predecessor, All 'n All.

Earth Wind & Fire - I Am   (flac  274mb)

01 In The Stone 4:48
02 Can't Let Go 3:29
03 After The Love Is Gone 4:31
04 Let Your Feelings Show 5:22
05 Boogie Wonderland 4:49
06 Star 4:26
07 Wait 3:39
08 Rock That 3:07
09 You And I 2:58

Earth Wind & Fire - I Am  (ogg   97mb)

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Although they were catching more flak from critics for an alleged obsession with sociopolitical commentary and quasi-mystical references, R&B audiences hadn't yet tired of Earth, Wind & Fire. Faces is the tenth studio album, a double-LP released in 1980 on ARC/Columbia Records. The album reached number 2 and number 10 on the Billboard Black and Pop albums charts. It has been certified gold in the US by the RIAA. In a 2007 interview when asked which EWF album is his favorite Earth, Wind & Fire leader Maurice White replied "Probably Faces because we were really in tune, playing together and it gave us the opportunity to explore new areas". If you're an EWF fan, and have not heard "Faces", you have missed out. If you're a purist who can't get enough of big horn riffs (the type that Tower of Power copied time and again) and lyrics that are actually meaningful, uplifting and purposeful, this album will fill the bill, hands down.

Earth Wind & Fire - Faces  (flac 464mb)

01 Let Me Talk 4:08
02 Turn It Into Something Good 4:10
03 Pride 4:11
04 You 5:10
05 Sparkle 3:50
06 Back On The Road 3:33
07 Song In My Heart 4:17
08 You Went Away 4:24
09 And Love Goes On 4:05
10 Sailaway 4:37
11 Take It To The Sky 3:50
12 Win Or Lose 3:53
13 Share Your Love 3:17
14 In Time 4:13
15 Faces 8:02

Earth Wind & Fire - Faces (ogg   164mb)

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This album marked the 10th year of Maurice's dream and it was a decade that saw many changes both musically and socially. But one thing remained the same, Earth, Wind and Fire was electrifing us with incredible music that helped to shape our lives in a unique way. They just made you feel a little happier about life and helped get you through many bad days. This was the first album recorded after the departure of Al Mckay and it was kind of a reunion album for his replacement who'd been the one he'd replaced back in 1973, Roland Bautista. It's was like Roland had never truly left and they picked up right were they left off after the "Last Days And Times" album.

They had another number one hit with "Let's Groove" which started the album off and continued to amaze us with the likes of "Evolution Orange", "You're A Winner" (which has some of the funkiest horn arrangements ever for the Phoneix Horns) & one of my personal favorites "Wanna Be With You". This edition also has a longer and sweeter version of the instrumental interlude "Kalimba Tree". This would be the last in a string of albums that solidified their greatness. After this, they would have other good albums with good songs, but this was the band at their height and this was when music truly was more than just throwing something together to get out and make money.

Earth Wind & Fire - Raise !   (flac 277mb)

01 Let's Groove 5:36
02 Lady Sun 3:39
03 My Love 4:33
04 Evolution Orange 4:37
05 Kalimba Tree 0:25
06 You Are A Winner 4:09
07 I've Had Enough 4:34
08 Wanna Be With You 4:35
09 The Changing Times 5:36

Earth Wind & Fire - Raise! (ogg 99mb)

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RhoDeo 1650 Aetix

Hello,

Today's artists are a folk rock band formed in 1983 by Mike Scott. The band's membership, past and present, has been composed mainly of musicians from Scotland, Ireland and England, with Edinburgh, London, Dublin, Spiddal, New York and Findhorn serving as homes for the group. They have explored a number of different styles, but their music is mainly a mix of Celtic folk music with rock and roll. They dissolved in 1993 when Scott departed to pursue a solo career. They reformed in 2000, and continue to release albums and tour worldwide...  ......N'Joy

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Led by the literate singer/songwriter Mike Scott, the group's sole constant member, the mercurial Waterboys formed in London in 1981. Born December 14, 1958, in Edinburgh, Scotland, Scott first became involved in music as the creator of the fanzine Jungleland and later played in a series of local punk outfits. After college, where he studied English and philosophy, Scott and his band, Another Pretty Face, moved to London; following the group's breakup, he formed the Waterboys, so named after a line in the Lou Reed song "The Kids" but wholly appropriate given Scott's recurring lyrical fascination with sea imagery.

A newspaper advertisement calling for musicians led to a response from multi-instrumentalist Anthony Thistlethwaite; along with drummer Kevin Wilkinson, the Waterboys issued their self-titled debut in 1983. Keyboardist Karl Wallinger and trumpeter Roddy Lorimer joined for the 1984 follow-up, A Pagan Place, which expanded the group's rich, dramatic sound while further exploring Scott's interest in spirituality. With 1985's This Is the Sea, the Waterboys reached an early peak; a majestic, ambitious record, it earned the group a significant hit with the single "The Whole of the Moon."

However, after the album's release, Wallinger departed to form World Party, which prompted Scott and Thistlethwaite to relocate to Ireland and begin with a clean slate. When the Waterboys returned in 1988 with the acclaimed Fisherman's Blues, they were joined by traditional Irish players like fiddler Steve Wickham, drummer Dave Ruffy, keyboardist Guy Chambers, and bassist Marco Weissman, resulting in a stripped-down, folky sound that was continued on 1990's Room to Roam.

In 1991, Scott moved to New York without Thistlethwaite or any other bandmembers; the release of 1993's Dream Harder, cut with session musicians, marked a return to an electric, more rock-oriented sound. Soon Scott moved back to Scotland, where he began a lengthy stay at a spiritual commune; there he recorded the folk-tinged Bring 'Em All In under his own name, apparently putting the Waterboys to rest for good. On July 17, 1999, drummer Kevin Wilkinson committed suicide in his countryside home in Swindon, Wiltshire, England, just prior to jetting off on an American tour with Howard Jones. Wilkinson, who had also worked with Squeeze, China Crisis, Bonnie Raitt, and the Proclaimers, was a member of the Waterboys since their 1983 self-titled effort.

A Rock in the Weary Land Good fortune was in the wings, for Mike Scott resurrected the Waterboys name in 2000. Rock in the Weary Land marked the band's first release in seven years. Thistlethwaite and Wickham would return to the group, and tours across the world would prove successful. Fisherman's Blues, Pt. 2, an album featuring previously unavailable material from the Fisherman's Blues sessions, appeared in summer 2002. Scott returned to the studio for 2003's Universal Hall, followed by Book of Lightning in 2007.

In a Special Place (The Piano Demos for This Is The Sea) After a couple of years of touring and time off, Scott assembled and released a compilation of unreleased songs from the Waterboys This Is the Sea sessions entitled In a Special Place in 2011, and also published a book entitled, Kiss the Wind: A Waterboy's Adventures in Music. He and bassist Scott Arciero also assembled a new version of the Waterboys -- Wickham (fiddle), Katie Kim (vocals), James Hallawell (keyboards), Kate St John (sax, oboe), Blaise Margail (trombone), Ralph Salmins (drums), Sarah Allen (flute), and Joe Chester (guitar) -- who began performing together in late 2010 and early 2011. In March they entered a studio to commence recording a new album. An Appointment with Mr. Yeats, a collection of new songs whose lyrics were taken from the poems of William Butler Yeats. The sessions were completed in June. The album was released in Europe in the early fall on Proper, and in the United States in early 2012. In January of 2015, the Waterboys released Modern Blues. The album was recorded in Nashville, produced by Scott and mixed by Bob Clearmountain.


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On their second album, A Pagan Place, the Waterboys turn Celtic folk-rock into a monumental fusion of Van Morrison's poetry, arena rock, and Phil Spector's monolithic wall of sound. It was the first Waterboys record with Karl Wallinger as part of the band and also includes Roddy Lorimer's first trumpet solo for the band on the track "A Pagan Place". The album shares a title with the book A Pagan Place, written by Irish novelist Edna O'Brien. According to a post at the official Waterboys forum, Mike Scott, who chose the album name, has never read the book, and neither the album nor the title track share any other similarities with the novel..A Pagan Place expanded The Waterboys' treatment of spiritual themes beyond the Christian beliefs of "December" from The Waterboys. "A Church Not Made With Hands" is an ode to a woman who "is everywhere and no place / Her church not made with hands".Both "All the Things She Gave Me" and "The Thrill is Gone" discuss the end of a romantic relationship. "Rags" and "Somebody Might Wave Back" discuss despair and optimism in loneliness. Scott's songwriting has been criticized as being overly introspective, and all four tracks contain some element of self-reflection. "The Big Music" was released as a single, and became a descriptor of the sound of the album. A Pagan Place was reissued in 2002 by Chrysalis Records, having been remastered. The reissue included both new tracks from the recording sessions for both A Pagan Place and from The Waterboys, along with extended versions of tracks from the original release.

The Waterboys - A Pagan Place (flac  535mb)

01 Church Not Made With Hands 6:02
02 All The Things She Gave Me (Unedited) 5:32
03 The Thrill Is Gone (Unedited) 5:30
04 Rags 5:20
05 Some Of My Best Friends Are Trains 6:01
06 Somebody Might Wave Back 2:43
07 The Big Music 4:46
08 Red Army Blues 8:03
09 A Pagan Place 5:14
Bonus
10 The Late Train To Heaven (Rockfield Mix) 3:30
11 Love That Kills (Instrumental) 6:20
12 The Madness Is Here Again 3:59
13 Cathy 2:35
14 Down Through The Dark Streets 9:03

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This Is the Sea, released in September 1985, is the third The Waterboys album, and the last of their "Big Music" albums. Considered by critics to be the finest album of their early rock-oriented sound, described as "epic" and "a defining moment", it was the first Waterboys album to enter the United Kingdom charts, peaking at number 37. Themes of the album include spirituality ("Spirit", "The Pan Within"), romantic love ("Trumpets"), and English politics ("Old England"), while the album's eponymous single ("This Is The Sea") utilizes the allusion of the flowing river as a life affirming recognition of constant renewal and regeneration. Steve Wickham makes his Waterboys recording debut playing violin on 'The Pan Within' and subsequently joined the band, appearing on the video of "The Whole of the Moon". This Is the Sea is the last album with contributions from Karl Wallinger, who left the group to form his own band, World Party. Mike Scott, the album's principal songwriter and leader of The Waterboys, describes This Is the Sea as "the record on which I achieved all my youthful musical ambitions", "the final, fully realised expression of the early Waterboys sound".  A remastered and expanded version was released in 2004, with a second CD of material from the album's singles, and unreleased tracks from the This Is the Sea recording sessions.The album cover is a photograph taken by Lynn Goldsmith.

The Waterboys - This Is the Sea (flac  308mb)

01 Don't Bang The Drum 6:44
02 The Whole Of The Moon 5:01
03 Spirit 1:48
04 The Pan Within 6:11
05 Medicine Bow 2:44
06 Old England 5:30
07 Be My Enemy 4:15
08 Trumpets 3:34
09 This Is The Sea 6:28

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The Waterboys - This Is the Sea Additional Recordings (flac  409mb)

01 Beverly Penn 5:38
02 Sleek White Schooner 3:44
03 Medicine Bow (Full Length) 5:44
04 Medicine Jack 4:11
05 High Far Soon 2:05
06 Even The Trees Are Dancing 4:27
07 Towers Open Fire 4:34
08 This Is The Sea (Live) 5:53
09 Then You Hold Me 4:56
10 Spirit (Full Length) 4:11
11 Miracle 1:14
12 I Am Not Here 0:22
13 Sweet Thing 7:11
14 The Waves 6:38

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Mike Scott had been pursuing his grandiose "big music" since he founded the Waterboys, so it came as a shock when he scaled back the group's sound for the Irish and English folk of Fisherman's Blues. Although the arena-rock influences have been toned down, Scott's vision is no less sweeping or romantic, making even the simplest songs on Fisherman's Blues feel like epics. Nevertheless, the album is the Waterboys' warmest and most rewarding record, boasting a handful of fine songs ("And a Bang on the Ear," the ominous "We Will Not Be Lovers," "Has Anybody Here Seen Hank?," and the title track), as well as a surprisingly successful cover of Van Morrison's breathtaking "Sweet Thing." Fisherman's Blues was reissued in 2006 with a bonus disc containing fourteen outtakes, alternate versions and late-night studio jams. The re-mastered original included extended versions of "And a Bang on the Ear" and "World Party."

The Waterboys - Fisherman's Blues (flac 396mb)

01 Fisherman's Blues 4:23
02 We Will Not Be Lovers 7:01
03 Strange Boat 3:07
04 World Party 5:27
05 Sweet Thing 7:10
06 Jimmy Hickey's Waltz 2:05
07 And A Bang On The Ear 9:13
08 Has Anybody Here Seen Hank? 3:16
09 When Will We Be Married? 2:57
10 When Ye Go Away 3:42
11 Dunford's Fancy 1:02
12 The Stolen Child 6:50
13 This Land Is Your Land 0:55

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The Waterboys - Fisherman's Blues Bonus (flac 392mb)

01 Carolan's Welcome 2:48
02 Killing My Heart 3:52
03 You In The Sky 5:46
04 When Will We Be Married? 2:38
05 Nobody 'Cept You 3:03
06 Fisherman's Blues 5:48
07 Girl Of The North Country 4:24
08 Lonesome And A Long Way From Home 3:04
09 If I Can't Have You 3:30
10 Rattle My Bones And Shiver My Soul 2:38
11 Let Me Feel Holy Again 6:10
12 Meet Me At The Station 3:22
13 The Good Ship Sirius 0:42
14 Soon As I Get Home 12:03

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RhoDeo 1650 Roots

Hello,

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


Today's artist 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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Two years after her underrated album on CTI Records, Astrud Gilberto's follow-up is her first attempt to be taken seriously, not as a singer -- she had that covered -- but as a songwriter, at a time when simply singing standards was seen as lacking. Her four songs on this ten-song album show she has a way with a melody, though obviously influenced by countrymen Milton Nascimento and Jorge Ben, and her producer Eumir Deodato. "Gingele" and "Zigy Zigy Za" are exactly the kind of riff-based tropicalismo that Ben and company were making popular around this time. "Take It Easy My Brother Charlie" is probably her best song here (covered over 20 years later by Kahimi Karie), though it is Ben who often gets the writing credit (here it's listed as Gilberto and associate producer David Jordan). Very few concessions are made to America; only "Daybreak (Walking Out of Yesterday)" comes from the pop world, with instrumentation and sound coming from south of the equator.

Astrud Gilberto - Now (flac 190mb)

01 Zigy Zigy Za 4:02
02 Make Love To Me 3:15
03 Baiao 2:55
04 Touching You 3:40
05 Gingele 4:00
06 Take It Easy My Brother Charlie 3:15
07 Where Have You Been? 3:00
08 General Da Banda 3:35
09 Bridges 3:45
10 Daybreak 2:45

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Despite her limitations, Astrud Gilberto is always nice to listen to, impersonating the whole bossa nova craze. Here she is accompanied by a the famous Japanese trombone player, Shigeharu Mukai as well as a lot of jazz or fusion musicians (Jorge Dalto is very good on the piano); The production is a bit 80s, but only by moments. Once it's cranked up in the you'll enjoy a great jazz album.

Astrud Gilberto, Shigeharu Mukai - So & So, Mukai Meets Gilberto   (flac  216mb)

01 Champagne & Caviar 3:38
02 Velas 5:39
03 Nos Dois 4:07
04 Berimbau 5:17
05 Miracle Of The Fishes 3:21
06 Terrafirme 5:25
07 Keep On Riding 5:15
08 Hold Me 3:56

Astrud Gilberto, Shigeharu Mukai - So & So, Mukai Meets Gilberto    (ogg   90mb)

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This collaboration with James Last and his orchestra is Astrud Gilberto's finest moment, an absolutely wonderful piece of music. The lush, eclectic instrumentation is complemented by her singing, sometimes criticized as being pretty but plain, unrangy, and without depth. On this recording, she retains a subdued aura but certainly shows versatility, jazziness, and occasionally passion, if not intensity. But blending, not dominant, vocals are needed for this lovely music, and it is the instrumentation that is more captivating.
Two Brazilian Bossa Nova standards are included: the bright and cheerful "Samba do Soho" and the dry "Agua de Beber." But there is much more. The best song is the precious "Listen to Your Heart," an exquisitely textured composition by Ron Last. A radiant xylophone-driven motif is complemented by other beautiful instrumentation and very pretty male/female harmonic vocals, to fabulous effect, lovely and a bit haunting. Closely behind is "With Love (When They Turn on the Light)" (co-authors: James and Ron Last), similar in character. Other superb tracks are the dreamy "Moonrain," with its lush, sensuous string arrangements (and woodwinds), and Duke Ellington's "Caravan," in which Astrud keeps up well with a jazzy, sexy, syncopated beat with unusual accents, punctuated by horn solos, all in all giving the song a sort of mideastern flavor. In a similar mideastern vein is "Saci," with a little faster, more-normal-style jazz beat, excellent sax soloing, and one of two songs Astrud (here male accompanied) sings in Portugese. All these songs compare favorably with the classic Bossa Nova standards for which she is renowned, this is a magnificent and essential addition for anyone who has fallen under the soothing spell of Astrud Gilberto.

Astrud Gilberto, James Last Orchestra - Plus   (flac  287mb)

01 Samba Do Soho 3:03
02 I'm Nothin' Without You 4:22
03 Champagne And Caviar 3:20
04 Listen To Your Heart 4:30
05 Moonrain 3:22
06 Caravan 3:45
07 Amor E Som 3:35
08 Saci 5:28
09 Forgive Me 4:23
10 With Love (When They Turn On The Light) 3:14
11 Agua De Beber 3:43

Astrud Gilberto, James Last Orchestra - Plus      (ogg  110mb)

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When Astrud Gilberto turned 60 in 2000, the Brazilian singer was still best known for her early-'60s bossa nova recordings with Stan Getz. And there is no reason why those recordings shouldn't be celebrated; they are classic examples of Brazilian jazz. But at the same time, those who think Gilberto should devote every moment of the day to Antonio Carlos Jobim standards sell her short. There is more to Gilberto than "The Girl From Ipanema" and "Corcovado," and on Jungle her own songs are a top priority. Gilberto, in fact, wrote or co-wrote ten of the 12 tunes on this CD, which was recorded in Philadelphia during the summer of 2001 (when she was 61) and released by Magya Productions (a small label based in the Philly suburb of Bala Cynwyd, PA) the following year. Jungle isn't strictly bossa nova, but it is a solid collection of Brazilian pop and Brazilian jazz -- and Gilberto demonstrates that she can still be a charming, expressive vocalist on originals that range from the sensuous ballad "Dancing" (a vocal duet with singer Mark Lambert) to the playful "Pink House" and the salsa-tinged "É Só Me Pedir" (which successfully combines Afro-Cuban and Brazilian elements). Meanwhile, "Rebola, Bola" is a funky, exuberant number that contains some Portuguese-language rapping by vocalist Magrus. Some American hip-hop enthusiasts might have a hard time picturing an artist rapping in Portuguese, but in fact, hip-hop has been big in Brazil since the '80s -- and that country is full of talented MCs who rap in Portuguese exclusively. Another high point of Jungle (which Gilberto has been selling on her official website) is her samba-minded interpretation of Burt Bacharach's "The Look of Love." But original material dominates on this album, which is a welcome addition to the singer's catalog.

Astrud Gilberto - Jungle (flac  321mb)

01 Jungle (Xango) 4:09
02 E So Me Pedir 5:06
03 Ocean Dreams 4:33
04 In Spite Of The Odds 4:47
05 Xaxado Do Safado 3:43
06 Cómo Fue 3:43
07 Red Umbrella 3:54
08 Rebola, Bola 4:27
09 Dancing 4:30
10 Pink House 3:14
11 Inner Song 3:50
12 The Look Of Love 5:15

Astrud Gilberto - Jungle  (ogg 119mb)

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