RhoDeo 1625 Roots

Hello, still no news on how this nutter that killed the British remain MP got hold of the gun he used (it's not as easy as it is in the US) far from it. I'm sure the true culprits are those that supplied the gun (doubtful the nutter had the money and connections to buy a blackmarket gun). In fact i'm rather convinced this nutter was used by the extremely powerful and ruthless remain side to checkmate the leave campaign....

The Euro's saw a dominant but toothless England draw again 0-0 whilst Wales sent Putin's boys home 3-0



We'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. 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, an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades.....N'Joy

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Gal Costa was born on September 26, 1945, in the city of Salvador, the state capital of the state of Bahia, Brazil. Her mother, Mariah Costa Penna (deceased 1993) spent hours listening to classical music during her pregnancy in hopes that Gal would be interested in music. Gal's father, Arnaldo Burgos (deceased 1960), died when Gal was 15 years old and the two would never meet.

At the age of 10, Gal befriended sisters, Sandra and Andréia Gadelha, the future spouses of singer-songwriters Gilberto Gil and Caetano Veloso, respectively. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. At 18, she was introduced to Caetano Veloso by Andréa Gadelha, engaging with him in a deep friendship that still lasts.

In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova.

Domingo In September 26, 1965, the group opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. At the end of that year, she was taken to the presence of her idol João Gilberto, who asked her to sing while he accompanied; after listening to her on several songs, he declared, "Girl, you sing beautifully. Someday I will return to record an album only with you." Also in that year, she appeared on Bethânia's first album, singing "Sol Negro" (Caetano Veloso). In 1966, she recorded a single for RCA (completely unperceived by the general audiences) and interpreted "Minha Senhora" (Gilberto Gil/Torquato Neto) at TV Rio's I FIC; she also took the name Gal Costa by suggestion of impresario Guilherme Araújo. In 1967, Costa recorded her first LP, together with Caetano (also his first LP), on Domingo. In 1968, she recorded two tracks on the LP manifesto Tropicália: Ou Panis Et Circensis that became her first hits, "Mamãe Coragem" and "Baby." Also in 1968, she achieved great popularity at TV Record's IV FMPB (São Paulo) when she won first place for "Divino Maravilhoso" (Gilberto Gil/Caetano Veloso).

In the next year, she recorded her first individual LP for Philips, Gal Costa. She then began a busy schedule of performances throughout Brazil and that same year recorded another self-titled for Philips. In 1970, she performed in England and, returning next year to Brazil, she recorded the LP Legal.

In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated in the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.

On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!, a live album the following year again balanced smooth Brazilian sounds with heavy rock.

In 1971, she got success in the show Deixa Sangrar, presented in several capitals, and joined João Gilberto and Caetano in a live TV Tupi performance. In 1972, her show A Todo Vapor was recorded live on a double album, and she performed with Gil and Caetano at several venues. In 1973, she performed at the MIDEM in Cannes, France, and recorded the LP Índia, after the show by the same name. In 1976, she recorded the album Os Doces Bárbaros with Caetano, Gil, and Bethânia, also performing a series of shows with them under the same name, and recorded the solo album Gal Canta Caymmi. She recorded four more albums in the '70s. In the '80s, she gained international exposure, touring through Japan, France, Israel, Argentina, the U.S., Portugal, Italy, and others. In 1984, she performed in the show O Sorriso do Gato de Alice (her 20th album), which was awarded by APCA and received the Shell Prize. In 1997, she commemorated 30 years of her career with the CD and video Acústico MTV (BMG), with many important special guests. In 1998, Polygram released 30 Anos de Barato, a three-CD box set. The double-disc Canta Tom Jobim: Ao Vivo appeared in 1999.

Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG.


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A Todo Vapor is a really fascinating live document of Gal Costa from the early '70s where she proved to be as exciting and diverse on-stage as she was at that time in the studio. The first seven tracks (of 18) feature Costa alone, accompanied by only her own acoustic guitar and the performances are dramatic, intimate, precise, emotional, and stunningly clear. These tracks display her voice perfectly, pushing up front all of the natural characteristics of Costa's incredibly strong pipes in with the urgent beauty one can only obtain from a live performance. A Todo Vapor would've been a fine set with only these tracks, but the real treat comes in about halfway through the eight-minute epic, "Vapor Barato," when out of nowhere, her band joins in and turns the slow, intimate descending progression into a scorching lament with Costa wailing over the top, showcasing her impressive dexterity and emotional fervor. This intensity and incredible form continue throughout the rest of the recording; the band is tight and progressive, experimental and dynamic -- actually quite mad -- similar to her band on her two self-titled records from 1969, so it's no surprise that the group brings inconceivable brilliance to "Pérola Negra," "Chuva, Suor E Cerveja," and others as well as churning out a particularly inspired version of "Hotel das Estrelas." The recording quality isn't bad for the time, but it does suffer from some poor editing between songs. Still, A Todo Vapor is a great document to add to further expand the character of Gal Costa.

Gal Costa - Fa Tal Gal a Todo Vapor  (flac  301mb)

01 Fruta Gogóia 0:41
02 Charles, Anjo 45 0:27
03 Como 2 E 2 2:46
04 Coração Vagabundo 3:44
05 Falsa Baiana 5:35
06 Antonico 4:46
07 Sua Estupidez 4:02
08 Fruta Gogóia 1:07
09 Vapor Barato 8:38
10 Dê Um Rolê 4:06
11 Pérola Negra 4:44
12 Mal Secreto 5:02
13 Como 2 E 2 4:32
14 Hotel Das Estrelas 4:30
15 Assum Preto 3:49
16 Bota A Mão Nas Cadeiras 1:09
17 Maria Bethânia 0:45
18 Chuva, Suor E Cerveja 2:00
19 Luz Do Sol 5:22

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With Índia, Gal Costa completely abandoned the absurd, screaming guitars and wild drumming for some of the lushest, most sophisticated, and most complex arrangements of her career. Her voice is clear and inviting as always, sitting perfectly with the strings, accordions, horns, reeds, and percussion that swirl around, effortlessly punctuating the romance in every track. With Gilberto Gil alongside on acoustic guitar and musical director, the arrangements definitely glow with his polyphonic personality, but these songs have a feel all their own -- sounding as if they blossomed out of necessity and the sharp edge of elegance. Índia seems as if it were conceived with ideas walled off to past influences and future aspirations, holding a timeless quality, leaving one to wonder if Costa and Gil were at all aware of what they were producing while it was happening or if they were completely swept up in the magic of the moment. Even though the hugely influential Tropicalia movement was over by the time of this release, Índia unquestionably shows that Costa's inventiveness was still unfolding and impulsive and should be considered by the wave of Tropicalia collectors as a worthy addition to the assortment of recordings in that it shows how a major player in that movement transferred her ambitions to a completely different direction without forsaking her class or drive.

Gal Costa - India    (flac  213mb)

01 Índia 6:51
02 Milho Verde 4:20
03 Presente Cotidiano 2:54
04 Volta 3:17
05 Relance 4:52
06 Da Maior Importância 5:12
07 Passarinho 5:26
08 Pontos De Luz 2:40
09 Desafinado 2:36

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Dorival Caymmi, born in 1914 and died recently in 2008, is a singer and Brazilian composer considered one of the greatest songwriters of Brazilian popular music (MPB). Gal Costa, the High Priestess of the MPB shows brilliantly in Gal Canta Caymmi ten of its standards over a relatively short album (30 minutes) to be enjoyed as a dozen boiled eggs. The superb voice and intonations of Gal Costa and a rather modern orchestration (recording from 1976) are at the service of Dorival Caymmi, a real treat. Gal Costa in full voice form adapts perfectly to Dorival Caymmi repertoire with covers Disco Pop of his greatest hits. My preferences go to "Pescaria" e "vatapa". The set is pretty darn smooth, mellow, while relaxation. Gal Costa Gal Canta Caymmi revisiting seems calm and peaceful (quite the opposite of his first albums: Gal Gal Costa e). "Pescaria" is really the only time when it is loose. Change of tone, style change. "Help", Gal Costa has become "serious".

Gal Costa - Gal Canta Caymmi (flac 196mb)

01 Vatapá 3:31
02 Festa De Rua 2:10
03 Nem Eu 3:48
04 Pescaria (Canoeiro) 2:53
05 O Vento 4:52
06 Rainha Do Mar 3:00
07 Só Louco 3:12
08 São Salvador 2:44
09 Peguei Um "Ita" No Norte 3:28
10 Dois De Fevereiro 3:45

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Agua Viva (1978) is a rather minor album in the career of Gal Costa. the safety card was feeling it plays in the offering materials in the times (the late 70s) with "Olhos Verdes", which introduces the album, Disco Samba Pop song rather easy but causing . The result is much more conventional. Gal Costa draws on a repertoire and composers who have proven themselves: Chico Buarque ( "Folhetim"), Gilberto Gil ( "? De Onde Vem O Baiao"), the beautiful "O Bem Do Mar" by Dorival Caymmi some songs by Caetano Veloso ( "Mae", "Paula E Bebeto", "Mulher"), Milton Nascimento ( "Cade?") and Luiz Gonzaga Jr ( "O Gosto Do Amor", my favorite title, Forro that she sings a duet with Gonzaguinha). Agua Viva is a series of Pop Ballads without much originality punctuated by more Disco securities ( "Paula E Bebeto", "Mulher" ...). Nothing really bad, but nothing transcendent good. I confess to being left hungry and disappointed by being tenderly inflection taken by Gal Costa's career. Special mention to the superb album cover

Gal Costa - Agua Viva (flac 219mb)

01 Olhos Verdes 3:09
02 Folhetim 3:28
03 De Onde Vem O Baião 3:06
04 O Bem Do Mar 1:40
05 Mãe 3:30
06 Vida De Artista 3:22
07 Paula E Bebeto 2:05
08 A Mulher 1:54
09 Pois É 1:46
10 Qual É, Baiana? 2:55
11 Cadê 3:57
12 O Gosto Do Amor 3:57

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