RhoDeo 1410 Roots

Hello, still no sign of the missing Boeing 777 could it have flipped into another dimension and if so have the pilots managed a controlled crashlanding or maybe the whole thing was staged by aliens in the first place. Well if it had exploded parts of the wreck would have been found by now, if a suicidal pilot decided to dive into the ocean finding remnants would be more time consuming i find that explanation far fetched- No the fact that this airplane just disappeared from the radar/ satellite tracking system in good weather invites us all to consider a fantastical explanation.....


After 3 weeks in South Africa we move north again towards Angola. The Portuguese were present in some – mostly coastal – points of the territory of what is now Angola, from the 16th to the 19th century, interacting in diverse ways with the peoples who lived there. In the 19th century, they slowly and hesitantly began to establish themselves in the interior. As a Portuguese colony encompassing the present territory was not established before the end of the 19th century, and "effective occupation" was achieved only by the 1920s after the Mbunda resistance and abduction of their King, Mwene Mbandu I Lyondthzi Kapova. Independence was achieved in 1975, after a protracted liberation war. After independence, Angola was the scene of an intense civil war from 1975 to 2002. Despite the civil war, areas such as Baixa de Cassanje continue a lineage of kings which have included the former King Kambamba Kulaxingo and current King Dianhenga Aspirante Mjinji Kulaxingo.

The country has vast mineral and petroleum reserves, and its economy has on average grown at a double-digit pace since the 1990s, especially since the end of the civil war. In spite of this, standards of living remain low for the majority of the population, and life expectancy and infant mortality rates in Angola are among the worst in the world. Angola is considered to be economically disparate, with the majority of the nation's wealth concentrated in a disproportionately small sector of the population. Yes that me me bling bling thing.

The capital and largest city of Angola — Luanda — is home to a diverse group of styles including Angolan merengue, kilapanda, zouk, semba, kizomba and kuduro. Just off the coast of Luanda is Ilha do Cabo, home to an accordion and harmonica-based style of music called rebita. In the 20th century, Angola was wracked by violence and political instability. Its musicians were oppressed by government forces, both during the period of Portuguese colonization and after independence. Belonging to the same family as Brazilian Samba but distinct from that genre, Semba is the predecessor to a variety of music styles originating in Africa Three of the most famous of these are Samba itself, which was created by Angolan slaves, kizomba, and kuduro.

Through Semba music, the artist is able to convey a broad spectrum of emotions. It is this characteristic that has made Semba the premiere style of music for a wide variety of Angolan social gatherings. Its versatility is evident in its inevitable presence at funerals and, on the other hand, many Angolan parties. Semba is very much alive and popular in Angola today as it was long before that country's independence from the Portuguese colonial system on November 11, 1975. Various new Semba artists emerge each year in Angola, as they render homage to the veteran semba masters, many of whom are still performing. Barceló de Carvalho, the Angolan singer popularly known as Bonga, is arguably the most successful Angolan artist to popularize semba music internationally.  .......N'joy

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Following three aggravated uprisings in 1961, the Angolan authorities were forced to act. There was no denying it, Angola was in crisis. The country could implode. Something had to be done. The status quo wasn’t an option. What followed was a double edged sword of repression and reform. For the first time, foreign investment was allowed into Angola. Another first, was that children were allowed access to education. This was the good news. However, the program of reform proved to be a double edge sword.

At a stroke, the Angolan authorities banned the carnaval groups which had proved popular since 1958. This was perceived as an act of cultural censorship and vandalism. Angolans weren’t going to stand for the suppression and repression of cultural expression. They didn’t take this lying down. Soon, a new generation of Angolan entrepreneurs and musicians started promoting concerts, opening clubs and forming bands. Before long, Angolan music had a thriving, underground music scene. However, it wasn’t until 1969 that Angola had its own recording industry.

Sadly, the Angolan recording industry lasted only nine years. Between 1969 and 1978 just a few record companies  dominated the Angolan music industry. They released over 800 records, most of which were singles. Twenty-one of these tracks feature on Angola Soundtrack 2, which was recently released by Analog Africa. These twenty-one tracks documents the musical legacy left by these Angolan labels.  Before I pick the highlights of Angola Soundtrack 2, I’ll tell you how the Angolan music scene came about.

After the banning of carnaval, Angolan music started to change. Angolan musicians didn’t take this cultural suppression lying down. They reasoned that Carnaval was just one type of music. Music hadn’t been banned. So, new musical genres evolved. The turmas, which were musical groups, began to incorporate guitars into their music. This influence came from the Congo and Cape Verde. Soon, more bands were formed and the Angolan music scene expanded. What they needed, was somewhere to play.

Montes had been a stalwart of the Angolan music scene since about 1958. Six years later, he was just as supportive of Angolan music. He wanted to take bands to other parts of Angola, where these bands had never played before. Having gotten sponsorship from a beer company, Montes was able to take the bands on a tour of various parts of Angola. This circuit was called the Kutonoca, and eventually, took in nine different venues. At each venue, the bands had a chance to showcase their talent. Most of the songs were sung in the Kimbundu dialect, and became part of Angola’s cultural identity. The only problem was, that the only way people could hear this music was live. Angola didn’t have a recording industry.

That was when Mr. Llorente, formerly of the Congolese record label Ngoma record label, founded Fadiang (Fabrica de Discos Angola). This was Angola’s first record pressing plant. It was pivotal to the future development of the Angolan music industry.

Not only did Angola have its own record pressing plant, soon Angola had its first record company. This was Valentim de Carvalho. They had their own recording studio and released Dicanzas de Prenda’s Brinca Na Areia. It was released on Valentim de Carvalho’s subsidiary Ngola. This was the dawn of Angolan music industry.

A handful of record companies dominated the Angolan music industry. This included the triumvirate of Rebita, Bonzao Discos and Ngola. They released some of the best Angolan music between 1969 and 1978. It can be found on Angola Soundtrack 2, which I’ll pick the highlights of.

Os Anjos’ Avante Juventude opens Angola Soundtrack 2. A truly irresistible and mesmeric track, a guitar meanders its way across the arrangement. Beguiling and fluid, its cinematic sound takes centre-stage. Meanwhile the rhythm section and percussion play supporting roles. Everything from Afro-beat, jazz, funk, Latin and surf music melt into one, during three magical minutes.

Tony Von’s vocal on N’Hoca is slow, pensive and soul-baring. Then all of a sudden, it’s all change. The song bursts into life. It’s akin to a call to dance. A myriad of percussion, chiming guitars and drums provide the backdrop to Tony’s joyous vocal. What follows is a slice of aural sunshine guaranteed to brighten even the dullest, darkest Winter days.

Urbano De Castro contributes two tracks to Angola Soundtrack 2. The first is Kialo Mingo, a single released on the Rebita label. It’s a fusion of influences. Everything from Afrobeat, samba, folk, funk, merengue and soul is combined. As Urbano delivers an impassioned, spirited vocal, he sings call and response, and this musical melting pot threatens to bubble over. The other track Fatimita, is a much more laid-back, understated and wistful sounding track. This allows us to hear two sides Urbano’s music.

One of the highlights of Angola Soundtrack 2 is Agarrem, the first of two tracks from Africa Ritmos. Released on the Rebita label, it’s an instrumental, allowing you to hear some of the best guitar playing on the compilation. It’s truly mesmeric. You’re enthralled by its delights. Then there’s Africa Ritmos’ pulsating, hip swaying rhythms. Truly, this is a potent partnership. Having enjoyed Agarrem, Africa Ritmos don’t let their standards slip on Olha O Pica. It doesn’t disappoint. Far from it. It’s more of the same. You’re swept away by this fusion of influences and genres. Drawing inspiration from jazz, Afro-beat, Latin and funk, you’re left longing to hear more from Africa Ritmos, formerly one of Angola’s musical secrets. Thankfully, not any more.

Negoleiros Do Ritmo released Lemba on the Bonzao Discos label. Written by Almerindo Cruz what follows is an innovative and infectiously catchy track. Percussion, drums and chiming, crystalline guitars usher in a heartfelt, joyous vocal. Soon, you’re caught up in the spirit of what’s an anthemic, joyous dance track where African and Western influences melt into one.

Carlos Lamartine’s Basooka is one of the hidden gems on Angola Soundtrack 2. Previously, it was tucked away on the B-Side of Jesus Diala Ua Kidi, a single released on N’Gola. After Carlos yells “Basooka” a blistering track unfolds. Driven along by guitars, blasts of braying horns, drums and percussion, it’s a glorious melange of merengue, Afro-beat, jazz, funk and soul. There’s even a ska influence. Mostly instrumental, Carlos only intervenes to encourage his band to even greater heights. In doing so, he ensures this is one of the highlights of Angola Soundtrack 2.

Africa Show released Inspiraçáo De Nito on the N’Gola label. This was one of several singles they released on N’Gola. Inspiraçáo De Nito is more than a little special. It has a cinematic, languid and jazz-tinged sound. Elements of Latin and funk shine through, as the guitar melts and wah-wahs into the distance. Shakers. drums and percussion punctuate the arrangement providing the perfect backdrop to  this melancholy, wistful track.

Closing Angola Soundtrack 2 is Teta Lando’s Fuguei Na Escola (Para Jogar A Bola). Teta has enjoyed a long and successful career. It started in the seventies, when he released his debut single on CDA. His career spanned four decades, where Teta became one Angola’s most successful musical exports. A heart-wrenching, jazz-tinged ballad Fuguei Na Escola (Para Jogar A Bola) is an emotive and quite beautiful way to close Angola Soundtrack 2.

The twenty-one tracks on Angola Soundtrack 2 span the period between 1969 and 1978. Sadly, in 1978, the Angolan music industry collapsed. A civil war had engulfed Angola in 1975. It lasted twenty-seven years, ending in 2002. By 1978, the country had descended into chaos. Angola’s music industry, which looked like thriving, was no more. Its legacy was 800 releases, most of which were singles. They’re a tantalizing reminder of Angola’s rich musical heritage.

For too long, Angolan music has been overlooked. While we’re familiar with the music of Nigeria, Kenya, South Africa and Ghana, record companies have overlooked Angola’s musical past. Not any more. Samy Ben Redjeb’s Analog Africa released their first compilation of Angolan music in 2010. Three years later, comes the much anticipated followup, Angola Soundtrack 2. Featuring twenty-one tracks, Angola Soundtrack 2 is of the quality I’ve come to expect from Analog Africa.

Analog Africa’s approach to compilations is to concentrate on quality, not quantity. Angola Soundtrack 2 is only their fifteenth compilation. Rather than releasing new compilations each month, Analog Africa take time and care, producing lovingly complied and lavish compilations. Angola Soundtrack 2 is proof of this. Featuring in-depth sleeve-notes, full of interviews with some of the musicians that featured on Angola Soundtrack 2, this sets the standard for compilations. It’s obvious time and effort has gone into the making of Angola Soundtrack 2, an eclectic collection of tracks.

There’s everything from Afro-beat, funk, jazz, Latin, merengue and soul on Angola Soundtrack 2. Musical influences and genres melt into one. Joyous, uplifting, irresistible and infectiously catchy describes the music on Angola Soundtrack 2. So does soulful, heartfelt and impassioned. Full of subtleties, surprises and hidden secrets, Angola Soundtrack 2 is the perfect introduction to Angolan music. It’s also the perfect followup to Angola Soundtrack. Just like Angola Soundtrack, Angola Soundtrack 2 is a tantalizing taste of Angola’s rich and vibrant musical legacy. Standout Tracks: Os Anjos Avante Juventude, Urbano De Castro Fatimita, Carlos Lamartine Basooka and Teta Lando’s Fuguei Na Escola (Para Jogar A Bola).

Follow up to the highly acclaimed Angola Soundtrack from 2010. This compilation is a dedication to the short lived recording industry in Angola, a brief moment of history between 1969 and 1978 in which three recording companies produced approximately 800 records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other's style due to the limited recording and performing opportunities. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians. The characteristically generous liner notes feature 44 pages acquired in coordination with the National Library of Luanda and the art magazine "Note E Dia"and Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s. "Listening to these tracks may cause addiction and provoke heavy rotation!"

VA - Angola Soundtrack 2 (flac  375mb)

Hypnosis, Distortion and Other Innovations 1969 - 1978

01 Os Angos - Avante Juventude 3:34
02 Quim Manuel - Senhor Doutor 3:37
03 Tony Von - N'Hoca 2:57
04 Urbano De Castro - Kia Lomingo 3:34
05 Jovens Do Prenda - Bina 4:16
06 Oscar Neves - Mabelé 2:28
07 Africa Ritmos - Agarrem 3:05
08 Os Kiezos - Saudades de Luanda 2:44
09 Kito - Bongololo 3:24
10 Muhongo - N'Ga Kunu M'Butu 2:35
11 Negoleiros Do Ritmo - Lemba 3:27
12 Dicanzas Do Prenda - Snipes 4:08
13 Carlos Lamartine / Aguias Reais - Bazooka 3:28
14 Cisco - Divua Diami 3:22
15 Levis Vercky's - Meca 5:06
16 Elias Dia Kimuezo - Chamavo 3:33
17 Africa Ritmos - Olha O Pica 3:26
18 Urbano De Castro - Fatimita 4:01
19 Africa Show - Inspiração De Nito 3:30
20 Dimba Diangola - Despedida 6:19
21 Teta Lando - Fuguei Na Escola (Para Jogar a Bola) 4:03


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Bonga Kwenda (born José Adelino Barceló de Carvalho), better known as Bonga, is afolk and semba singer and songwriter from Angola.[1] Bonga was born in 1943 in the province of Bengo, and left Angola at age 23 to become an athlete, becoming the Portuguese record holder for the 400 metres (Angola was at the time one of Portugal's five African colonies). He had already begun his singing career at age 15. Bonga abandoned athletics in 1972, concentrating solely on his music, and immediately became famous in his native country, as well as in Portugal, where he became a hit both with immigrants from the ex-colonies, and Portuguese of both African and European descent. He has released over 30 albums, singing in Portuguese and traditional Angolan languages. His tracks are a mixture of Portuguese folk sounds, semba, kizomba and latin elements.

While Angola was still a Portuguese colony, Bonga was an outspoken supporter of independence. This led him to be exiled from Angola in the early 1970s. It was during this time that he launched his first album, Angola 72.  At this time, Portugal was ruled by the repressive, right-wing Salazar government. Bonga's status as a star athlete allowed him the rare freedom of movement, which he used to carry messages between exiled freedom fighters and compatriots still in Angola. As the movement for independence heated up, Bonga was forced into exile in Rotterdam, where, in 1972, he recorded his first record Angola 72and adopted the name Bonga Kwenda. A warrant for Bonga's arrest was issued in Angola for the seditious lyrics of the album, forcing him to move nomadically between Germany, Belgium and France until Angola's independence from Portugal in 1975. While in Europe, Bonga met other Portuguese-speaking musicians and adopted the sounds of Samba into his already diverse music style.

After independence, the new Angolan government took Angola's best solo acts and founded and supported an orchestra called "Semba Tropical" . The purpose was to revive the lost music industry described by a ministry spokesman during the bands tour in Europe in the mid-1980s: "We had great problems because of the war for independence. When the Portuguese left they dismantled some of the basic structure by smashing and sabotaging equipment and we had to start from scratch. After independence there were no bands at all. Those which were formed were not active because they had no instruments." After Angola's independence Bonga had established residences in Lisbon, Paris and Angola. As post-colonial life in Angola disintegrated into corruption, squalor, brutality, and an interminable and bloody civil war, Bonga has remained critical of the political leaders on all sides. Bonga's voice of peace and conscience continues to make him a hero to the people of Angola no matter where he resides. He remains fiercely dedicated to the ideal of nonviolence, he states simply: "We must live without harming others".

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This, Bonga's first record, will knock you over with its soul, its sincerity, its musical cleverness, and its bare knuckle simplicity. Other than Angola 74, this record's sequel, I haven't heard anything like this from Bonga since then. The method of the album is so simple: a bass player, a pair of acoustic guitar tracks, and a percussionist, mostly playing a hand drum. It sounds like there are at least two singers on this record - Bonga and another singer (very notable on songs like "Paxi ni ngongo"). All the words of the record are, to my knowledge, in Kimbundu, the most prevalent Bantu language in Angola. I wish I know what the words mean. I am sure they are arrows that pierce the heart of things - this was a record that was so controversial that Bonga had to hide his identity when the record was launched and Portuguese authorities eventually sent him into exile for singing this record. I have been told that "Muimbo ua Sabalu" is about a loved one named Sabalu who has gone off to seek a better life on the island of Sao Tome. "Paxi ni ngongo" is a devastating song. "Bulumekeno" also is amazing. If I were a recording artist, this is the sound I would seek. What an album!

Bonga - Angola 72 (flac 263mb)

01 Uengi Dia Ngola 4:07
02 Balumukenu 4:45
03 Ku Tando 3:30
04 Mona Ki Ngui Xica 4:56
05 Kilumba Dia Ngola 3:52
06 Muadiakime 3:21
07 Luanda Mbolo 4:19
08 Mu Nhangoi 4:34
09 Paxi Ni Ngongo 3:51
10 Muimbo Ua Sabalo 5:00

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Hear music from Bonga is already a little espouse his cause. For 30 years, the Angolan singer finds the words and notes to his cries of revolt against colonialism and poverty. His songs, in addition to being mobilizers hymns ("Agua Rara" is a tube power) have the ability to look familiar from the first listen. "Incaldido" balance as soukous carried by the playful accordion, a Latin guitar and the rough voice, a convinced and convincing male voice. Hoarsely, both musical and full of heart that revisits here nearly 20 years of fighting, forgiveness, songs. We find ourselves in 1973 when interpreted Bonga ... "Saudade", that Cesaria Evora popularized much later. And if it bears the title of CD O Melhor (The Best), it is because, even underground, Bonga knew from his first album resounding success. His most famous "Mona Ki Ngi Xica" title, which is found on the soundtrack of the Cat , figure and alongside other pieces as essential. Pieces that combine the homesickness - Bonga was condemned "in exile" - the hope and independence messages. All are bathed in this Semba, founder music that adopted Bonga, and gave the Brazilian samba. A strong tradition here that meets the Cape Verdean morna and leads to a mixture totally smash

Bonga - O'Melhor De Bonga   (flac  359mb)

01 Mulemba Xangola 5:20
02 Ngui Tename 3:09
03 Mona Ngi Xica 5:00
04 Agua Rara 3:59
05 Incaldido 3:15
06 Balumukeno 4:46
07 Kamusekele 3:53
08 Sodade 6:27 Rdio
09 Ngana Ngonga 3:07
10 Muadikime 3:22
11 Kua N'Gongo 3:25
12 De Maos a Abanar 3:04
13 Recordandopio 7:39

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