RhoDeo 1644 Monty ..again

Hello, F1 got an entertaining end with 3 cars battling for third, upfront Hamilton had an easy race win Rosberg got hasselt by Verstappen one time and the latter finished third only to get demoted (5 sec penalty) for missing the first corner whilst under pressure by Vettel, latter was over the top angry but calmed down after he got to go to the podium after the jury felt pressured by Ferrari to immediately punish Verstappen. Meanwhile Verstappen had blocked Vettel-during the race so that Ricciardo could catch up being sandwiched by the Red Bulls Vettel made an illegal move on Ricciardo, result after the race a 10 sec penalty. A yes when 2 fight over a bone the third will take it home...even if Ricciardo was the least deserving in my eyes. Two more races to go and Rosberg still leading Hamilton with 19 points.....



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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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.

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.

did U know

*The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language.
*Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python.
*In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the line-up "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows.

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Monty Python's Previous Record, the comedy troupe's third studio album, is essentially the best bits from season three of their BBC TV show, re-recorded with extra material specifically designed for vinyl. Released in 1972 on the small Charisma label, the album contains such beloved spoofs as "Pepperpots" and "Dennis Moore," which are undoubtedly best served through a visual medium. The skits made specifically for this album -- "Eclipse of the Sun," "Wonderful World of Sound," "Silly Noises," and "Are You Embarrassed Easily?" -- are genuinely funny at first but tend to sound a bit forced on repeated listening. The troupe would successfully apply a flow similar to that of the television show on its next album, Matching Tie and Handkerchief, which comes close to the audio cut-and-paste lunacy of the Firesign Theatre.

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with

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


201 Monty Python's Previous Record (mp4  194mb)

201 Monty Python's Previous Record (Part 1) 25:24
Embarrassment/A Book At Bedtime
Dennis Moore
Money Programme/Money Song
Dennis Moore Continues
Australian Table Wines/Dennis Moore Song
Argument Clinic
How-To-Do-It Lessons
Putting Budgies Down/Dennis Dum
Fish License/Eric The Half-A-Bee
Radio Quiz Game
Travel Agency

202 Monty Python's Previous Record (Side 2) 20:03
A Massage/Silly Noises Quiz
Miss Anne Elk
We Love The Yangtse/Yangtse Song
A Minute Passed
Eclipse Of The Sun
Alistair Cooke
Wonderful World Of Sounds
A Fairy Tale


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Previously

101 Another Monty Python Record (mp4  212mb)

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Sundaze 1644

Hello, back to back F1 weekend this time at Mexico city which lies 2.200 meters above sea level, this altitude influences the engine but it didn't matter much to the Mercedes drivers Hamilton and Rosberg upfront again, third was Verstappen just 3 tenth behind. Ferrari didn't get it's act together, but then on Sunday...



Today's artists are an English neoclassical dark wave/martial industrial band, known for their cinematic sound. The duo has provided soundtracks to a variety of TV programmes and films, and is known for its rescoring of silent films..... N'Joy

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Formed in Sheffield, England by brothers Klive and Nigel Humberstone in 1981, In the Nursery explored a strange fusion of industrialized military rhythms and classical and film soundtrack music. Devoted more to the former in their early years, the band debuted in 1983 with the mini-album When Cherished Dreams Come True, also contributing to several compilations over the next two years. After the 1985 Temper EP, the group's initial lineup had evaporated, leaving only the Humberstone brothers to record their first full-length effort, 1986's Twins, which began to explore classical influences in greater depth. Percussionist Q and French bilingual vocalist Dolores Marguerite C were added for 1987's Stormhorse, which was intended to resemble the soundtrack to an imaginary film. 1988's Koda continued in this vein; in 1989, Wax Trax! released a compilation of the band's early work entitled Counterpoint.

Following the collapse of Sweatbox, the band moved to Third Mind Records to complete the delicate L'Esprit. In the Nursery altered its approach somewhat for the more graceful, refined L'Esprit, on which Dolores Marguerite C's vocals played a prominent role for the first time. The album was recorded with engineer Steve Harris who had contributed to Köda and would feature on all the band's subsequent releases. Sense and Duality were followed by a logical progression to real soundtrack work on 1993's psychological drama An Ambush of Ghosts. Their music has also featured in Interview with the Vampire, Street Fighter II: The Animated Movie, and The Rainmaker. In the late 90s the band was commissioned, as part of the Optical Music Series, to provide new scores for the silent classics The Cabinet of Dr. Caligari, Asphalt, and Man with a Movie Camera. Anatomy of a Poet, a concept album about the creative psyche, featured author Colin Wilson reciting romantic poetry against a lush backdrop of strings, and also included a cover version of Scott Walker's "Seventh Seal".

A retrospective compilation of their work was the first release on their own ITN Corporation label. Further concept albums have included Deco (inspired by the Art Deco movement) and the ambitious Lingua, an exploration of language featuring vocal contributions from around the world. The Humberstones also record more dance-oriented material under the Les Jumeaux moniker, and as such were involved in pre-production work on Sabres of Paradise's classic techno anthem "Smokebelch".

The 2011 release Blind Sound is a more consistently dark album from the Humberstone brothers and features more real percussion than previous releases. It was followed a year later by The Calling which featered Simon Beckett. In 2015 they scored a 1928 silent movie about Edger Poe's tale The Fall Of The House Of The Usher.


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The Humberstone brothers' first out and out masterpiece, L'Esprit remains as compelling and lovely an album as it did upon initial release. Taking their love of the dramatic, romantic, and theatrical to even greater heights, their musical complexity was never so involved before, their sense of creating soul-tugging beauty never so fully realized. Right from the opener -- "To the Faithful," featuring a now-rare but all the more effective-for-it vocal from the Humberstones over a forceful but never strident string line accentuated by horns and Q's excellent drumming -- L'Esprit is truly a soundtrack to an non-existent film. The potential to dream up any amount of climactic scenes or meaningful visual passages to go with such solid pieces as the choral-accompanied "Azure Wings," or the storm-cloud-laden "Retaliation," with its rolling beginning and stately pace, reveals itself time and again. Wisely, ITN step back from creating solely epic pieces here, allowing for the slightly jazz/French pop feel of "Sesudient," with appropriate vocals from Dolores Marguerite, as well as other slight changes from the norm. The big change here, though, is an increasing allowance for the subtlest of touches to help drive many of the pieces, as with a series of harp flourishes on "Soeurette," as well as simply toning things down in general. Far from weakening the effect of the music, it makes L'Esprit that much more enjoyable by means of variety. One piece always seems to especially stand out per album; here "Scenes of Childhood" is the clear winner, with a low pulse heralding a simply beautiful string line that gently develops throughout the song.

In The Nursery - L'Esprit  (flac  360mb)

01 To The Faithful 4:46
02 At First Sight 4:46
03 Sesudient 4:20
04 Azure Wings 3:03
05 Sœurette 3:28
06 Inamorata 0:54
07 Retaliation 4:42
08 Träumerei 3:51
09 Scenes Of Childhood 4:48
10 The Pearl 5:01
11 L'Esprit 3:46
12 Reverie 1:46
13 Alluvion 4:53
14 Across The Ruins 4:01
15 To The Faithful (Reprise) 2:21
16 Archaic Torso 3:04
17 Blade 3:35
18 Incidential Guilt 3:39

In The Nursery - L'Esprit    (ogg  136mb)

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In the same way Koda built upon Stormhorse, Sense very much leads on from Esprit; having achieved a striking new mastery with their ability to create lush, detailed neo-classical electronic compositions on the previous record, Nigel and Klive Humberstone here consolidated their gains with an accomplished if not quite as grand album. Accompanied as always by drummer Q and vocalist Dolores C. Marguerite, along with a guest narrator on "Epigraph," ITN's apparent goal with Sense, to quote the album art as well as the album's title track, is "to cure the soul by the means of the senses and the senses by means of the soul" -- perhaps an overly ambitious brief, but one which the brothers grapple with in their by-now-unique way. One of the notable developments is an increasing percussive elaborateness -- the opening two tracks, "Blue Religion" and "A Rebours," both exhibit more detailed work than before, whether it's the echo drum rolls backing up Q's snare drum work on the former, or the almost-vibe-like pattern anchoring the latter. Most interesting in light of Nigel and Klive Humberstone's eventual dance side project, Les Jumeaux would have to be "Temporis," where a low-key but definite techno pulse helps drive the number along, as well as the similarly propulsive "Angelchrome." Another continuing theme from Esprit, with the focus on piano-led pieces as opposed to orchestral, appears most notably here with "Syntonic," which before a sudden increase in general instrumentation at the end consists mostly of piano accompanied by woodwind. In all, Sense is duly tasteful and quite fine to listen to, to be sure, but there is nonetheless something a little lacking here; not as much in the way of absolutely gripping musical rapture as Esprit accomplished.

In The Nursery - Sense  (flac  223mb)

01 Blue Religion 4:24
02 A Rebours 4:11
03 Boy Behind The Curtain 4:14
04 Temporis 4:22
05 Syntonic 3:58
06 Sense 4:12
07 Epigraph 4:04
08 Memoirs 1:40
09 Angelchrome 5:02
10 Sinistral 3:06
11 Sense Datum 3:13
12 Contre-Cœur 3:15

In The Nursery - Sense    (ogg 93mb)

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Perhaps ITN's most carefully composed and performed release up to this point, Duality builds on the various strengths of earlier works -- the basic performance style established on Stormhorse, the sweep and range of L'Esprit, and the increasing subtlety provided by both that and Sense, resulting in an album that is not simply pleasant but truly inspiring and evocative. "Belle Epoque" begins Duality with a mix of piano, strings, horns, chorus effects, and Q's snare drumming, here a little more restrained and all the more effective for it, that is instantly memorable. Very much in line with the "filmic" nature of earlier releases, it practically begs to be the musical backdrop of some lush romantic drama. The hints of dancefloor-based experimentation crop up again as well, with "Always" providing a particularly sharp example, as shuddering bass and a low-key funk beat underpin a dramatic narrative piece and another lovely orchestral arrangement, while "Pulse" lives up to its title, with the beat lurking at the base of the piece. String arrangements here often take on quite a rhythmic approach as well, continuing in the line of experimental percussion touches from before. More so than most of their releases, Duality also contains a lot of poetry and recitation within the various songs. Unlike, say, the somewhat overripe efforts of the Moody Blues in past years, ITN's selections and performances match together perfectly; whoever the uncredited male narrator is on "Corruption," he brings a commanding voice to some quite Romantic with a capital "R" lyrics in concert with Dolores Marguerite, as a strong, exquisite musical piece unfolds and builds behind them. In all, another fine album indeed from the brothers Humberstone.

In The Nursery - Duality  (flac  252mb)

01 Belle Époque 5:33
02 Always 6:06
03 Red Harvest 4:39
04 Duality 5:15
05 Corruption 4:57
06 I Thorns 4:52
07 II Pulse 2:57
08 III A Valediction 2:08
09 Universe 2:45
10 The Engraver 3:25
11 Mecciano 5:32

In The Nursery - Duality   (ogg  102mb)

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In perhaps the only logical development, after years of having their music described as imaginary soundtracks, the Humberstones were approached by a film crew that wanted them to create the music for the titular product. Quite ironically, the film itself, a psychological thriller starring such now well-known names as Stephen Dorff, Anne Heche, and David Arquette, has never in fact been released, even on video. Thankfully, the soundtrack is another matter. As it happens, the album is not in fact a wholly original composition, but at the request of the filmmakers, reworks a number of pieces from Sense and Duality under new titles. The most striking change made by the Humberstones here, originally suggested by the film's music coordinator, was to include trained classical musicians -- Jill Crowther on oboe and Catherine Bassill on cello -- to add to the otherwise all-electronic arrangements. While the effect is subtle -- a tribute to how sophisticated ITN's technology has grown over time -- the blending still adds a certain warmth to many tracks that is quite welcome. On the whole, Ambush is quite subdued at many points, quite possibly reflecting a real need to accentuate a scene instead of dominating it (and without the original film to compare it to, who can say?). Pieces like "Cop Shed" are actually quite un-ITN like, favoring drones instead of the crisp lushness normally expected; unsurprisingly, many songs are carried solely by piano and backing sonic textures, with many low rumbling tones and samples from the film's dialogue accentuating the dark beauty of the soundtrack. The shuffling hip-hop beat and gently haunting keyboards of "Hallucinations?" end this quite fine album well, also look to future projects as Les Jumeaux.

In The Nursery - An Ambush of Ghosts  (flac  275mb)

01 After Great Pain 6:37
02 Sedation 4:23
03 Lipstick 2:17
04 Disoriented 2:27
05 Archaize 2:22
06 White Robe 3:53
07 Cop Shed 2:38
08 Running Scene 4:14
09 Christian Returns 4:56
10 Christian Decides 2:47
11 Silk Robe 0:59
12 Sedation 2 3:03
13 Cop House 0:37
14 Funeral Pt 1 5:58
15 Funeral Pt 2 1:28
16 Dear Grover 2:52
17 Casus Belli 5:14
18 Syntonic 3:03
19 The Hidden Fortress 5:36
20 'Hallucinations?' 3:11

In The Nursery - An Ambush of Ghosts    (ogg  130mb)

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RhoDeo 1643 Grooves

Hello,


Today's artists are an American soul-influenced funk group that formed in the early 1970s. They were initially a 14-member group known as the New York City Players; this name was later changed as it was too confusing to the average American fan as Ohio is so close to New York City (apparently-no it isn't, but then idiots are us-infact it was their label that told them to change their name) anyway a lawsuit from Ohio Players forced them to play under a different name, god knows who came up with the silly one they came up with (Larry Blackmon). I guess this name change cost them serious money in global appeal, as for those Ohio players most didn't make it into this century.. ..... N'joy

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An outlandish, in-your-face stage presence, a strange sense of humor, and a hard-driving funk sound that criss-crossed a few musical boundaries earned Cameo countless comparisons to Parliament/Funkadelic in their early days. However, Cameo eventually wore off accusations of being derivative by transcending their influences and outlasting almost every single one of them. Throughout the '70s and '80s, the group remained up with the times and occasionally crept ahead of them, such that they became influences themselves upon younger generations of R&B and hip-hop acts. By the time the group's popularity started to fizzle in the late '80s, a series of R&B chart hits -- ranging from greasy funk workouts to synthesized funk swingers to dripping ballads -- was left in their wake. Further separating Cameo from their forebears, they didn't have a diaper-clad guitarist. Instead, they had a codpiece-wearing lead vocalist.

Cardiac Arrest That vocalist was Larry Blackmon. In 1974, the ex-Juilliard student and New York City club-goer instigated a funk band with a membership of 13 called the New York City Players. Blackmon, Tomi Jenkins, and Nathan Leftenant formed the group's nucleus. The Casablanca label signed the group to their Chocolate City offshoot, and shortly after that, the group changed its name to Cameo. Their excellent debut album, 1977's Cardiac Arrest, was highlighted by four singles. Three of those hit the Billboard R&B chart: "Rigor Mortis" (number 33), "Funk Funk" (number 20), and "Post Mortem" (number 70). Although the group was clearly inspired by elder funk groups like Parliament, Funkadelic, and the Ohio Players, Cardiac Arrest made Cameo's case for belonging in the same division an open-and-shut one.

In an attempt to keep the ball rolling, 1978 saw the release of Cameo's second and third albums. Neither We All Know Who We Are nor Ugly Ego were as solid as the debut, but the group's singular characteristics were becoming increasingly evident. The winding, horn-punctuated "It's Serious" (from We All Know Who We Are) narrowly missed the Top 20 of the R&B chart, while "Insane" (from Ugly Ego) dipped just inside it, peaking at number 17. The best halves of these two albums would've made a fine sophomore LP.

1979's Secret Omen, featuring a disco-fied re-visiting of Cardiac Arrest's "Find My Way" and the magnificently funky and slightly loony "I Just Want to Be" (a number-three R&B chart hit), was stacked with fine album cuts and brought Cameo back as a group that excelled in the LP format. "Sparkle" was one of their best ballads, a sinewy number that hit the Top Ten. Five albums released between 1980 and 1983 (Cameosis, Feel Me, Knights of the Sound Table, Alligator Woman, Style) brought about a slight dip in quality on the album front. Despite an abundance of filler on each record, none of those albums were strict disappointments, delivering hot Top 20 R&B singles like "Shake Your Pants," "We're Goin' Out Tonight," "Keep It Hot," "Freaky Dancin'" "Just Be Yourself," "Flirt," and "Style."

She's Strange One of the most significant ripples in Cameo's time line came during that period, in 1982, when they packed up and set up shop in Atlanta. Pared down to a quintet and located in a less hectic city, the group became bigger fish in a smaller pond. Blackmon even started his own label, Atlanta Artist. The label's first LP, Style, also marked a significant shift in sound, with synthesizers taking on a pronounced role. Paydirt was struck with 1984's She's Strange; the title cut, a late-night slithery smolder, topped the R&B chart and eclipsed the Top 50 of the pop chart, kicking off a remarkable three-album run that made Cameo one of the most popular groups of the '80s. Single Life and Word Up!, released respectively in 1985 and 1986, continued the hot streak. The singles from those two albums -- "Attack Me With Your Love," "Single Life," "Word Up," "Candy," and "Back and Forth" -- held down the Top Five plateau of the R&B chart. "Word Up" even went to number six on the pop chart, giving them their biggest bite of the mainstream. The song was everywhere.

What goes up must come down, and that's exactly what happened to Cameo. Despite the fact that two more singles -- "Skin I'm In" and "I Want It Now" -- scaled up to number five on the R&B chart, neither Machismo nor Real Men Wear Black performed well as albums. After 1991's Emotional Violence, the group's profile was lowered significantly, but they did tour sporadically to the delight of hardcore fans as well as plenty of misguided people who thought Cameo was all about "Word Up" and nothing more. Notably, Blackmon spent a few years of the '90s at Warner Bros., as the vice president of A&R.

Cameo's presence continued to be felt throughout the early 2000s, not only through extensive sample use and less tangible influences upon younger artists and producers. Several retrospectives have kept the group's music alive: Casablanca's 1993 compilation The Best of Cameo is an excellent point of entry. Mercury's 12" Collection & More, released in 1999, covers the group's best dancefloor moments. 2002's spectacular Anthology, a double-disc set also released by Mercury, covers a lot of ground and does the group justice as a total package.

Tomi Jenkins, who released his self-produced album The Way in 2005, is writing and recording his follow-up EP. He is also the music supervisor/producer on the film Icemosis, the story of a 1970s fictional funk band. The film is in music production and they hope to have the film released in 2013. He is also the author of a murder mystery entitled "Crime, Love and Honor" which he is autographing and selling at concerts.
Aaron Mills continues to tour with Cameo as well as other artists. He has worked with Andre 3000 and Big Boi to record a bassline for "Ms. Jackson".

Ex-Cameo vocalist John Kellogg became an entertainment lawyer representing such hit artists as the O'Jays, the late Gerald Levert and LSG. He also pursued a career in music industry higher education, becoming Assistant Chair of the Music Business/Management department at one of the world's leading institutions of contemporary music, Berklee College of Music in Boston, MA. Larry Blackmon & Tomi Jenkins recorded the next Cameo album with a tentative release scheduled for late fall 2012 or early 2013. Still no news about that one.

Gregory B. Johnson has released 2 album's on his own label, Allspice Record Co. "A New Hip" (smooth Jazz) in 2007. "Funk Funk (Just For A Little Time)" in 2012 (urban funk). In 2015, Cameo announced a new residency show at the Westgate Las Vegas Resort & Casino, opening March 2016.

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R&B was experiencing a year of transition in 1983. Soul music was evolving into urban contemporary, R&B producers were becoming increasingly high tech, and horn funk was losing ground to synth-funk and electro-funk. Also, the hip-hop factor could not be overlooked -- some old-timers insisted that hip-hop was a passing fad, but younger R&B producers realized that rap was becoming the music of choice for many young African Americans and paid close attention to hip-hop production techniques. Inevitably, all of these things affected Cameo. Released in 1983, Style is more high-tech than 1979's Secret Omen or 1980's Cameosis but not as high-tech as 1985's Single Life or 1986's Word Up! It is also an LP that finds singer/producer Larry Blackmon leading a downsized Cameo -- while the band had ten members at the start of the 1980s, it only has four on Style: Tomi Jenkins, Charles Singleton, Nathan Leftenant, and Blackmon himself. (And by Single Life in 1985, Cameo would only be a trio.) Having cut way back on the horns on Style, Blackmon makes sure that keyboards and synthesizers play a major role on snappy funk items like "Cameo's Dance," "Aphrodisiac," "Slow Movin'," and the hit title song. On Cameo's late-'70s albums, keyboards took a back seat to horns -- on Style, it's just the opposite. Even on a remake of the standard "Can't Help Falling in Love" (a ballad that had been recorded by everyone from Elvis Presley to Doris Day), Cameo is more technology-minded. Style isn't among Cameo's essential albums, but it's an enjoyable effort that will appeal to the fans.

Cameo - Style    (flac  209mb)

01 Aphrodisiac 4:47
02 This Life Is Not For Me 3:33
03 You're A Winner 3:32
04 Can't Help Falling In Love 3:03
05 Interlude (Serenity) 1:31
06 Style 5:13
07 Cameo's Dance 3:23
08 Let's Not Talk Slot 3:34
09 Slow Movin' 3:26
10 Heaven Only Knows 3:42

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By 1984, African-American popular music had become extremely high tech. The horn-powered funk bands that were huge in the 1970s were out of style, and young audiences were demanding hip-hop, electro-funk, and urban contemporary -- not horn bands that sounded like the Ohio Players or Tower of Power circa 1975. Horn bands were still in vogue only in the home of the go-go explosion: Washington, DC. But these changes in the marketplace didn't hurt Cameo; both commercially and creatively, 1984's She's Strange was a winner. Thankfully, Cameo leader Larry Blackmon isn't afraid to try different things on this excellent album. The mysterious title song (a major hit) and the sociopolitical "Talking Out the Side of Your Neck" find Cameo responding to hip-hop's popularity by including a lot of rapping, while "Lé Ve Toi!" is very rock-minded -- it's still funk, but funk laced with lots of rock. "Tribute to Bob Marley" is a reggae gem that salutes the Jamaican legend, and "Hangin' Downtown" is a smooth, jazzy number with a definite quiet storm appeal. When She's Strange soared up Billboard's R&B albums chart, one had to admire Cameo's durability. Other bands that had emerged in the 1970s were hurting, but with She's Strange, Cameo had no problem maintaining both its freshness and its popularity.

Cameo - She's Strange   (flac  199mb)

01 She's Strange 7:12
02 Love You Anyway 4:48
03 Talking Out The Side Of Your Neck 4:05
04 Tribute To Bob Marley 5:01
05 Groove With You 4:24
06 Hangin' Downtown 5:07
07 Lève Toi ! 4:04

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Many of the funk bands that were big in the 1970s had a hard time surviving in the 1980s, especially if they were horn bands. Having a killer horn section was something that a lot of 1970s funk outfits prided themselves on, and it was no fun when, in the 1980s, they were told that their horns sound dated and that urban contemporary audiences only wanted to hear synthesizers, sequencers, and drum machines. But Cameo, unlike many funk bands that emerged in the late '70s, really thrived in the 1980s. Lead singer/producer Larry Blackmon insisted on changing with the times, and he did so by making Cameo more high-tech and seeing to it that albums like 1985's Single Life and 1986's Word Up! were relevant to the urban contemporary and hip-hop scenes. Nonetheless, Cameo still sounded like Cameo; Word Up!, in fact, is one of its best albums. The wildly infectious title song was a major hit, and Cameo is equally captivating on other funk treasures that include "Fast, Fierce and Funny," "Back and Forth," and "Candy." To the young urban contemporary and hip-hop fans who bought Word Up! in 1986, Cameo's funk was fresh and cutting edge; and at the same time, slightly older fans that Cameo had won over in the late '70s were still buying its records. Both commercially and creatively, Word Up! was a major triumph for Cameo.

Cameo - Word Up !   (flac 208mb)

01 Word Up 4:21
02 Candy 5:40
03 Back And Forth 6:34
04 Don't Be Lonely 5:20
05 She's Mine 4:38
06 Fast, Fierce & Funny 4:09
07 You Can Have The World 4:39

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Nasty, Cameo's first live recording, showcases Larry Blackmon's musical creativity and futuristic-sounding love songs. Everything is on time -- the horns, the sometimes hokey vocals -- and that cool New York-flavored lead bass struts on every cut. Guitarist Charlie Singleton's slicker-than-butter falsetto shines on the crowd favorite "Why Have I Lost You." Tomi Jenkins' tenor is steady on the moving and romantic "Sparkle." "Skin I'm In," with its staccato vocals and socially significant lyrics, makes you think. Delight at Larry Blackmon's Sugar Foot Bonner-sounding vocal on the heavily sampled "Candy." Two studio cuts augment the live songs: "Come Fly With Me" and "Nasty." Nasty's caboose is a 6:27 mega-mix of the live sides.

Cameo - Nasty   (flac 443mb)

01 Intro 1:03
02 Flirt 1:37
03 She's Strange 2:38
04 Back & Forth 5:54
05 Skin I'm In 5:10
06 Why Have I Lost You 6:11
07 Sparkle 4:23
08 Candy 4:45
09 Shake Your Pants (Intro) 0:42
10 Shake Your Pants 4:00
11 I Just Want To Be 1:39
12 Keep It Hot 5:13
13 Word Up 6:44
14 Come Fly With Me 3:57
15 Nasty 3:45
16 Mega-Mix 6:27

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RhoDeo 1643 Re-Up 76

Hello, unfortunately I had 2 re-up requests for 'recent' postings, apparently the message of at least 12 months old still hasn't come through enough......


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 and yes sign a name to your request and do it 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 15 re-ups, requests fullfilled up to October 27th. 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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4x Aetix NOW in Flac ( Grauzone - Die Sunrise Tapes, Altered Images - Happy Birthday..plus, The Cult - Dreamtime , The Cult - Live At The Lyceum)


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


4x Aetix Back in Flac (James Chance & The Contortions - Buy, James White & the Blacks - Off White, James White & The Blacks - Sax Maniac, James Chance - Soul Exorcism Redux)


3x Roots Back In Flac (King Tubby - Dub The Roots, King Tubby's - In Fine Style I, King Tubby's - In Fine Style II)


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RhoDeo 1643 Aetix

Hello, well it's Halloween week, time to honor/remember the dead, sadly the US has turned it into a horrorfest, in Europe there's still more awareness of the true nature of it, but it's mixed with old superstitions (witches etc). Here we keep it to Autumnlike gloom at Aetix and later this week at Sundaze

Today's artists iare a rock band from Watford, England which formed in 1980. Their sound blends post-punk, gothic, atmospheric keyboards and psychedelia. .....N'Joy

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Sad Lovers and Giants are a British post-punk band influenced by psychedelia and folk music. Their clean-sounding but not over-produced recordings blend chiming guitars, atmospheric keyboards, urgent rhythms, and acerbic lyrics. Their music tips toward gloominess, but it avoids the melodramatic clichés of some of the more theatrical bands associated with '80s goth rock and new wave. Often likened to bands such as the Chameleons UK and the Cure's earliest work, they've gained a cult following, often referred to as a well-kept secret. The group have disbanded and re-formed several times since forming in the early '80s.

Sad Lovers and Giants began in Watford, England in 1980, originally consisting of vocalist Garçe Allard, bassist Cliff Silver, guitarist Tristan Garel-Funk, drummer Nigel Pollard, and keyboardist/saxophonist David Wood. They made their debut in 1981 with two tense yet breezy 7"s released by Last Movement: the Clé EP and the single "Colourless Dream." They recorded a session for influential BBC DJ John Peel, and signed with Midnight Music, who issued their debut full-length Epic Garden Music and unrelated single "Lost in a Moment" in 1982. The band opened for the Sound at a major venue in London shortly after the album's release, and when sophomore album Feeding the Flame appeared in 1983, they toured Germany and the Netherlands, gaining a significant fan base in those countries. They disbanded due to tensions within the group, however, and Garel-Funk and Pollard subsequently formed a harder-edged band called the Snake Corps. In 1984, Midnight Music issued In the Breeze, a collection of previously unreleased songs and demos. Total Sound, a recording of a 1983 session recorded for Dutch radio station VPRO, was issued in 1986.

That same year, Allard and Pollard formed a new lineup of Sad Lovers and Giants, including guitarist Tony McGuinness, keyboardist Juliet Sainsbury, and bassist Ian Gibson. The full-length The Mirror Test appeared in 1987, and the group toured Europe to an increasing fan base. A compilation titled Les Années Vertes was issued in 1988. Original bassist Silver replaced Gibson, and the group released Headland in 1990, followed by Treehouse Poetry in 1991. Midnight Music went out of business, however, and the group broke up again, although they occasionally re-formed for gigs, opening for similar-minded post-punk group And Also the Trees.

Cherry Red issued a Sad Lovers and Giants retrospective titled E-Mail from Eternity in 1996, after it had acquired the Midnight Music catalog. In 1999, Voight-Kampff Records issued La Dolca Vita, a live album recorded in 1988, and the label reissued Headland and Treehouse Poetry on a single disc in 2001. Sad Lovers and Giants re-formed again in 2002, releasing the full-length Melting in the Fullness of Time on Voight-Kampff. After a few live dates in Italy, the group went on hiatus again, and McGuinness concentrated on his successful progressive trance group Above & Beyond and labels Anjunabeats and Anjunadeep.

As Cherry Red reissued the first two Sad Lovers and Giants albums in 2009, the group (consisting of Allard, Pollard, McGuinness, and Gibson) performed concerts in Italy and Greece. Keyboardist Will Hicks joined the group later in the year. More European gigs followed in 2010, along with a reissue of The Mirror Test and new single "Himalaya." More U.K. and European dates followed, and the group began writing material for a new album. Allard's book Things We Never Did – The Story of Sad Lovers & Giants was published in 2014. In March of 2016, Dark Entries released Lost in a Sea Full of Sighs, a compilation of Sad Lovers and Giants' early singles, and the group toured the United States for the first time.

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Working hard to further their penchant for hashing together paisley underground psychedelia and classic post-punk, Sad Lovers and Giants followed their first two acclaimed singles with the hefty EP Epic Garden Music in fall 1982. With a delicious blend of gloomy guitar and bass infused with punch and verve that recalls early Cure, and a sophisticated wordplay that was uniquely their own, the quintet split the songs between seaside and countryside, between earth and air, and inflected a little of each into the music. Absolutely cohesive and completely on track, the songs on this set are slick and smooth. From the opening "Echoplay" and the foggy "Clocktower Lodge," which walk a quiet edge, to the pure pop of "Alice (Isn't Playing)" and the ominous closer "Far From the Sea," which sounds as if vocalist Garce Allard sang his part through a window outside the studio, each moment is a masterpiece. And, though most of the songs maintain similar a tempo and intensity, "Clint" snaps heads around, while "Lope" features a sublimely off-kilter sax solo from David Wood. It's an addition that brings the closing dregs of a traveling circus to mind -- or, perhaps in a nod to the side's vibe, a closing seaside town that has turned a woolen shoulder to November wind and rain. Sorely overlooked outside of England, Sad Lovers and Giants may have been lost in the wake of the post-punk generation's heroes, but they haven't been forgotten. They remain a small pearl -- a gem of the ocean that birthed them.

Sad Lovers and Giants - Epic Garden Music   (flac  355mb)

01 Imagination 5:40
02 Landslide 3:00
03 When I See You 3:16
04 Colourless Dream 4:44
05 Things We Never Did 4:07
06 Lost In A Moment 4:18
07 The Tightrope Touch 5:18
08 Echoplay 2:55
09 Clocktower Lodge 4:17
10 Clint 3:27
11 Lope 3:28
12 Cloud 9 3:21
13 ART (By Me) 3:04
14 Alice (Isn't Playing) 3:44
15 Far From The Sea 4:45

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Working hard to further their penchant for hashing together paisley underground psychedelia and classic post-punk, Sad Lovers and Giants followed their first two acclaimed singles with the hefty EP Epic Garden Music in fall 1982. With a delicious blend of gloomy guitar and bass infused with punch and verve that recalls early Cure, and a sophisticated wordplay that was uniquely their own, the quintet split the songs between seaside and countryside, between earth and air, and inflected a little of each into the music. Absolutely cohesive and completely on track, the songs on this set are slick and smooth. From the opening "Echoplay" and the foggy "Clocktower Lodge," which walk a quiet edge, to the pure pop of "Alice (Isn't Playing)" and the ominous closer "Far From the Sea," which sounds as if vocalist Garce Allard sang his part through a window outside the studio, each moment is a masterpiece. And, though most of the songs maintain similar a tempo and intensity, "Clint" snaps heads around, while "Lope" features a sublimely off-kilter sax solo from David Wood. It's an addition that brings the closing dregs of a traveling circus to mind -- or, perhaps in a nod to the side's vibe, a closing seaside town that has turned a woolen shoulder to November wind and rain. Sorely overlooked outside of England, Sad Lovers and Giants may have been lost in the wake of the post-punk generation's heroes, but they haven't been forgotten. They remain a small pearl -- a gem of the ocean that birthed them.

Sad Lovers and Giants - Feeding the Flame (flac 360mb)

01 Imagination 7:22
02 Cow Boys 5:34
03 3 Lines 3:13
04 Big Tracks Little Tracks 3:31
05 On Another Day 5:01
06 Sleep (Is For Everyone) 5:04
07 Vendetta 4:37
08 Man Of Straw 6:18
09 Close To The Sea 4:44
10 Strange Orchard 6:11
11 Burning Beaches 4:12
12 Your Skin And Mine 5:21
13 In Flux 5:57

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By the time this was released Sad Lovers and Giants had gone through a break up and then reformed with a radically changed line-up. The result was a very different outlook of the band to the one which had put out two albums earlier in the eighties and produced some fine, edgy, dark post-punk music. In many ways, The Mirror Test marked a complete change in style . It's a brilliant atmospheric Post Punk album, elements of Joy Division and The Chameleons and more tellingly of bands that followed. The Mirror Test marked the return of Sad Lovers And Giants, who were enthusiastically embraced by their fanbase and a whole new legion of fans.
So, if you've got the first two albums, this one definitely deserves your attention. Easily recommendable to anyone who digs moody post-punk of the Chameleons UK, Joy Division, And Also The Trees, and Cure ilk.

Sad Lovers and Giants - The Mirror Test (flac 313mb)

01 Ours To Kill 4:41
02 White Russians 5:16
03 Take Seven 1:17
04 Seven Kinds Of Sin 5:05
05 The Green Years 4:27
06 A Map Of My World 3:31
07 The Outsider 4:03
08 Cuckooland 4:07
09 Return To Clocktower Lodge 4:04
10 Wire Lawn 4:01
11 House Of Clouds 6:11
12 Summer And Smoke 4:45
13 Life Under Glass 6:20

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Recorded in London during late 1989 and early 1990, Headland captures the band at a time when UK interest was waning but their popularity in Europe was on the increase. This, combined with record company problems, meant that the album's release was delayed and, when it did eventually surface, little promotion was offered. As such it disappeared fairly quickly and thus remains a great lost gem within the band's catalog. Headland offers an immaculate example of epic, ambitious late 1980s pop, laced with synthesizer washes, reverb drenched guitars, huge drums and grandiose, emotive vocal performances. The four bonus tracks, which constitute the Clocks Go Backwards EP offer a more direct, stripped back sound, and, as such, further insight into the band's position around this time, making this package a concise, complete take on this era of the band's career.

Sad Lovers and Giants - Headland (flac 228mb)

01 Godless Soul 6:21
02 Like Thieves 5:51
03 One Man's Hell 5:08
04 Restless 2:41
05 Alaska 6:57
06 It's Snowing 4:54
07 My Heart's On Fire 3:35
08 Life Will Kill Us 5:48

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RhoDeo 1643 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 started her career in Rio de Janeiro in 1964 with the show "Opinião" ("Opinion"). Due to its popularity, with performances all over the country, and the popularity of her 1965 single "Carcará", the artist became a star in Brazil. She has released 50 studio albums in 47 years of career, and is among the 10 best-selling music artists in Brazil, having sold more than 26 million records.. ........N'Joy

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Maria Bethânia, sister of Caetano Veloso, is a renowned singer on her own. Her scenic, dramatic abilities, in a profoundly Brazilian tradition, make her performances quite personal, which has brought her a massive and faithful audience over the decades.

As a child, she wanted to be an actress right from the start. But, as her mother loved to sing, music was always around. Her father was not musically gifted, but loved to listen to Dorival Caymmi and Noel Rosa compositions. At 13, her family moved to Salvador, and she began to frequent the "university circles," intellectual groups gathering around art exhibitions and performances. The access to theater plays strengthened her desire to become an actress. At that time, a novice Caetano Veloso had become the musical partner of the play director Álvaro Guimarães. For Guimarães's short movie Moleques de Rua, Veloso composed a soundtrack which should have had, according to him, his sister singing in it. At 16, Bethânia tried to refuse, as she had never sung under such pressure. But Guimarães loved her timbre, and included her in his 1963 staging of Nelson Rodrigues' musical Boca de Ouro, where she performed a cappella. In the same year, they became acquainted with Gilberto Gil and Gal Costa.

Next year, Veloso was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, included Veloso, Maria Bethânia, Gilberto Gil, and Gal Costa (still under her name Maria da Graça). The show was a success and was reenacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Zé) soon presented another show, Nova Bossa Velha, Velha Bossa Nova. In that same year, Bethânia acted alone in her musical Mora na Filosofia, directed by Veloso and Gil.

Edu e Bethania In January 1965, still a school student earning bad grades, she was surprised by the invitation to substitute for Nara Leão, already an established young singer who had had a problem with her vocal cords, in her highly successful show Opinião. Bethânia's opening on February 13, 1965, was very successful, and her dramatic performance of "Carcará" (João do Vale/José Cândido) launched her as an overnight national success, repeated during the São Paulo season. Because of the sucess, Guilherme Araújo, then assistant for Aluísio de Oliveira at the RCA label, invited her, through Veloso, to record for the label. In May of that year, Bethânia recorded her first single, and some months later, her first LP. On September 26, 1965, the Vila Velha gang opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. In April 1966, Bethânia, invited by Guilherme Araújo, opened her show Recital at the Cangaceiro nightclub, in Rio. It also opened the way for Guilherme Araújo to become the manager of Veloso, Gil, and Costa (receiving 20 percent for 70 of his songs, he would be sued by Gil in 1992). She also performed at the Barroco nightclub (Rio). In the same year, Bethânia performed in the show Pois É, together with Gilberto Gil and Vinícius de Moraes, at the Teatro Opinião. In the following month, October 1966, Bethânia performed "Beira mar" (Caetano/Gil) at the I FIC. In 1967, she recorded with Edu Lobo the Elenco album Edu Lobo e Maria Bethânia. Through 1970, she would also be featured in the shows Yes, Nós Temos Maria Bethânia (Teatro de Bolso, Rio), Comigo Me Desavim (Teatro Miguel Lemos, Rio), Recital Na Boite Blow Up (São Paulo), and Brasileiro Profissão Esperança (Teatro Casa Grande, Rio).

Caetano Veloso, Maria Bethania and Gilberto Gil In 1968, she performed on the LP Veloso, Gil e Bethânia (RCA) and the solo LP Recital na Boite Barroco. In 1969 and 1970 respectively, Bethânia released the LPs Maria Bethânia and Maria Bethânia Ao Vivo. In 1971, she recorded for Philips the LP A Tua Presença. In July, backed by the Terra Trio, she opened at Rio's Teatro da Praia her show Rosa Dos Ventos, which yielded a live album under the same name, produced by Roberto Menescal. In 1971, she went to Europe and performed at the MIDEM (Cannes, France), and in Italy. Next year, she appeared, together with Chico Buarque and Nara Leão, in the film Quando o Carvaval Chegar. The movie's soundtrack was released in 1972 by Philips. Bethânia wrote the lyrics for Caetano Veloso's song "Trampolim," released on her album Drama. A European tour through Italy, Germany, Austria, Denmark, and Norway followed. In 1973, she opened her show Drama, Luz da Noite, also recorded as an album under the same title. Commemorating the tenth year of her career, she opened her show A Cena Muda (1974), recorded and released in November 1974. On June 6, 1975, Bethânia performed in a live show together with Chico Buarque, recorded and released as Chico Buarque e Maria Bethânia Gravado ao Vivo no Canecão. In 1976, she recorded Pássaro Proibido. In July, together with Caetano Veloso, Gilberto Gil, and Gal Costa, she toured Brazil with the show Os Doces Bárbaros, which yielded a film of the same name by Jom Tob Azulay and a double album released by Philips in November 1976.

On January 13, 1977, her show Pássaro da Manhã opened, released as a studio LP under the same title, which brought her second gold record. In May 1978, Bethânia released, with Veloso, a live show recorded in LP as Maria Bethânia e Caetano Veloso ao Vivo. Alibi In 1978, the LP Álibi was released (certified as a gold record before hitting the streets, making her the first Brazilian female singer to reach one million sold copies), producing a show with the same name in July of the next year. In December 1979, she released the album Mel, which also brought the show Mel in January 1980. The same year came the LP Talismã. In the next year, she opened her show Estranha Forma de Vida and released her album Alteza. In 1982, Bethânia performed in the show Nossos Momentos. In 1983, she took another turn in her career with the album Ciclo, branching out of her popular formula toward a new acoustic direction. In 1984, she performed in her show A Hora da Estrela, with songs especially written by Veloso and Chico Buarque. The album A Beira e o Mar followed. In 1985, the show 20 Anos opened.

The next year, Bethânia signed with RCA for the release of Dezembros, which contained unpublished songs by Tom Jobim, Chico Buarque, and Caetano Veloso, and "Canções e Momentos," written especially for her by Milton Nascimento. In 1988, she recorded Maria, with guest stars Jeanne Moreau and Gal Costa, which also was the name of her show which opened in that year. In 1989, the album Memória da Pele was released, and Bethânia presented the show Dadaya -- As Sete Moradas. Her 25th career anniversary was commemorated with the album and show 25 Anos, with participation from Nina Simone, Hermeto Pascoal, Egberto Gismonti, João Gilberto, and others. In 1982, she released the album Olho D'água, which was included in a major soap opera's soundtrack. Her 1993 album As Canções Que Cocê Fez Para Mim, also a show, was the best-selling record of that year (1,500,000 copies sold). For the label EMI/Odeon was recorded the album Âmbar, and also a show which was recorded live and released in 1997 as Imitação da Vida.

In 2015, her album Meus Quintais was nominated for the 16th Latin Grammy Awards in the Best MPB Album category.


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Released two years after her romantic and a little bit cheesy album "As canções que você fez pra mim", which covered Roberto Carlos' repertoire, "Ao vivo" sounds so much greater! Here she is much more passionate, powerful and compelling! To know Bethânia deeply, it is just essential to listen her live. In "Ao vivo" she sings, among many others, several songs from the Roberto Carlos album, and most of them, especially "Fera ferida", "Costumes" and "Você não sabe" become much more touching, just wonderful. Chico Buarque's "Mar e Lua" is also thrilling, the best cover of this song I've ever heard. Other very nice tunes include Caetano Veloso's samba "Tudo de novo" and the ballads "Lua" and "Todo o sentimento". Highly recommended.

Maria Bethania - Ao Vivo  (flac  400mb)

01 Introdução: Cristal 0:27
02 Fera Ferida 3:45
03 Fé Cega, Faca Amolada 2:16
04 Eu E Água 3:02
05 Genipapo Absoluto 2:13
06 Mané Fogueteiro/Genipapo Absoluto 3:07
07 Tudo de Novo 2:27
08 As Canções Que Você Fez Pra Mim 3:53
09 Ronda 1:54
10 Atrás da Verde E Rosa Só Não Vai Quem Já Morreu/Onde O Rio É Mais ..2:42
11 Faixa de Cetim 1:19
12 Lua 1:09
13 Lua Branca 2:38
14 Detalhes 4:23
15 Costumes 2:47
16 Meu Primeiro Amor (Lejania) 2:43
17 Você Não Sabe 3:00
18 Nao Dá Mais Pra Segurar 1:54
19 Bárbara 2:01
20 Mar E Lua 2:02
21 Você  2:25
22 Reconvexo 3:23
23 Todo O Sentimento 2:35
24 Emoções 2:56
25 Todo O Sentimento 1:18

  Maria Bethania - Ao Vivo    (ogg  146mb)

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This album and homonymous show were Maria Betânia's commemoration of her 50 years of age, 35 years of her career, and 35 albums. Differently than in other recent albums, where she has permitted herself the luxury of including cheesy songs in the "breganejo" style (which is in the top charts in Brazil), in this one the repertory is excellent, consisting of all-time classics and songs by new composers such as Adriana Calcanhoto and Carlinhos Brown. An acoustic album with sensitive violão (Jaime Além) punctuation, the world touch was given by special guests Zap Mama, Sabine Kabongo, and Angelique Wilkie. The general tone is romantic (but not corny), with excellent orchestral touches here and there, but Paulinho da Costa brings his percussive talents to the swinging "Invocação" and the subtle samba rendition for Ary Barroso's "Quando Penso Na Bahia" has a wonderful trombone (non-credited) in the best gafieira style. The album also has the special guest Chico Buarque. Attention also for the beautiful "Brisa," divided in an a cappella introduction and Brazilian viola backing.

Maria Bethania - Ambar   (flac  281mb)

01 Âmbar 4:36
02 Chão De Estrelas 3:38
03 Iluminada 2:14
04 Onde Estará O Meu Amor 3:33
05 Lua Vermelha 3:35
06 O Circo 3:23
07 Uns Versos 3:00
08 Allez Y 3:19
09 Todos Os Lugares 3:31
10 Quando Eu Penso Na Bahia 2:51
11 Ave Maria 3:24
12 Eterno Em Mim 2:12
13 Brisa 1:57

Maria Bethania - Ambar    (ogg  113mb)

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This is Bethania's most misunderstood work.It starts off with Tremzinho which tells the story of a little boy travelling throughout the countryside of Brazil.Any clues? This album was intended to be her sort of country. However,since it's somewhat fragmented,some listeners might find it inconsistent.I find it interesting.And as usual,I find Bethania's vocals at its best.And there's the controversy surrounding E O Amor song included in the soap opera Suave Veneno.To me, it's a beautiful ballad which shows her unmatched vocal talent.It took her to # 2 that year in the Brazilian hit parade.The album revisited Espere Por Mim Morena penned by Gonzaguinha and also Eu Queria Que Voce Viesse written by Marisa Monte.My favorite is her tribute to actress Cacilda Becker, Cacilda which reminds me of her early work in Passaro Da Manha and Alibi. The album's flaws notwithstanding, it remains a good representation of Bethania's work.

Maria Bethania - A Forca Que Nunca Seca   (flac 248mb)

01 Trenzinho Caipira 3:37
02 Luar Do Sertao/Azulao 3:22
03 É O Amor 4:20
04 Nao Tenha Medo 3:27
05 Eu Queria Que Voce Viesse 2:57
06 Espere Por Mim Morena 3:05
07 Resto de Mim 2:59
08 Gema 2:52
09 Cacilda 2:22
10 Agradecer E Abracar 3:31
11 As Flores Do Jardim da Nossa Casa 3:25
12 Romaria 3:16
13 A Forca Que Nunca Seca 2:17
14 Vila Do Adeus 3:07

Maria Bethania - A Forca Que Nunca Seca      (ogg 103 mb)

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Maria Bethânia, sister of Caetano Veloso, was the first of the Tropicália Bahian innovators to become a star in Brazil. Her strong, mezzo voice, and interpretations immediately attracted an audience in the 1960s, and she has remained a leading, beloved vocalist. She furthered Brazilian poet-songwriters and modern, different ballad styles without become politically radical. This 2-disc album is of a concert in São Paulo in December 2001 featuring many of her hit recordings. Songs came from the pens of Edu Lobo and Chico Buarque, Chico César, Tom Jobim, Veloso, Fernando Pessoa, Dorival Caymmi, Giberto Gil, Djavan, Roberto Mendes, Beto Guedes, and many others, including her own works. Package credits and notes are in Portuguese only; her spoken introductions to songs are for those who understand the language. She has a large group of supporting musicians on stage, including violins, bass, and cello as well as electric and acoustic guitars, 7-string violão, 10-string viola (guitar), piano, drums, and percussion, among them her long-time collaborator guitarist Jaime Alem. Nicely engineered, the album has the magic of audience interaction, and Bethânia's emotional, precise renditions are moving. If you desire but one representative album of hers, then this is the one

Maria Bethania - Maricotinha Ao Vivo (avi  704mb)

01 Abertura: Dionisia Número 1
02 A Moça Do Sonho
03 Texto: Sou Eu Mesmo O Trocado
04 O Quereres
05 Pau-de-arara
06 Dona Do Dom
07 Festa
08 Trecho: A Moça Do Sonho
09 Texto: Eu Não Sabia, Tu Não Sabias
10 Fotografia
11 Anos Dourados
12 Todo O Amor Que Houver Nessa Vida
13 De Todas As Maneiras
14 Texto: Eu Quero Ser Possuida Por Você
15 Seu Jeito De Amar
16 Negue
17 Sob Medida
18 Fera Ferida
19 Casinha Branca
20 O Canto De Dona Sinhá (Toda Beleza Que Há)
21 O Tempo E O Rio
22 Menininha
23 Texto: Poema Do Menino Jesus
24  O Doce Mistério Da Vida (Ah! Sweet Mystery Of Life)
25 Maricotinha
26 Baila Comigo/Shangrilá
27 Cantada (Depois De Ter Você)
28 Nossa Canção
29 Sábado Em Copacabana
30 Texto: Boates
31 Se Eu Morresse De Saudades
32 Álibi
33 Nem Sol, Nem Luã, Nem Eu
34 Texto: Quando O Amor Vacila
35 Noite De Estrelas
36 Texto: Quem É Essa Agora
37 Pra Rua Me Levar
38 Texto: Senhores, Sou Um Poeta
39 Apesar De Você
40 Tercho: A Moça Do Sonho
41 Opinião
42 Rosa Dos Ventos
43 Texto: E Depois De Uma Tarde
44 Amor De Indio
45 Texto: Agradecimentos
46 Explode Coração


Maria Bethania - Maricotinha Ao Vivo  (U Tube)

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RhoDeo 1643 Monty

Hello,



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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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.

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.

did U know

*The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language.
*Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python.
*In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the line-up "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows.

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In a motif established on their first long-player, Monty Python's Flying Circus (1970), much of the material incorporated into Another Monty Python Record (1971) was derived from the less visually oriented surrealistic sketches from their BBC television program. More importantly, this disc was the first to be issued throughout North America -- although the show was initially aired only in major markets on PBS stations. The quintet of writer/actors Michael Palin, Graham Chapman, John Cleese, Eric Idle, Terry Jones, and the distinctly American Terry Gilliam revolutionized comedy from slapstick physical humor into an exceedingly more cerebral space, where the satire could be directed squarely at "serious" works of art, literature, or historical figures as easily as it could be a series of Dadaist non sequiturs. They take siege of the vinyl LP medium, as Palin's sincere opening "Apologies" establishes that listeners should immediately suspend their disbelief and, in the words of the Beatles, "Turn off your mind, relax and float downstream." However, between the Viking-led tributes to "Spam" or Palin's abrupt interjections as Cardinal Ximinez during the "Spanish Inquisition" entries, there is the thoughtful madness of "World Forum," where Idle quizzes the likes of Karl Marx, Vladimir Ilich Ulyanov, Che Guevara, and Mao Tse-tung on the subject of British football. One of the longer pieces is the somewhat involved story of "The Piranha Brothers," Doug and Dinsdale, and a giant hedgehog named Spiny Norman.

According to a female-impersonating character played by Cleese, "Norman was wont to be about 12 feet from snout to tail, but when Dinsdale was depressed, Norman could be anything up to eight hundred yards long." 'Nuf said. In addition to the aforementioned "Spam" skit, another of the scenes that Python would keep in their live act features cross-dressing Palin and Idle as a pair of high court and highly camp "Judges."
Whereas their debut album may have seemed like a bunt to the comparative home run of Another Monty Python Record, the troupe would score a grand slam their next time up at bat with the follow-up, Monty Python's Previous Record (1972).

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with

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


101 Another Monty Python Record (mp4  212mb)

101 Another Monty Python Record (Part 1) 25:51

Apologies
Spanish Inquisition
World Forum
Gumby Theatre/Contradiction
The Architect/Spanish Inquisition Continues
The Piranha Brothers

102 Another Monty Python Record (Part 2) 27:55

Death Of Mary, Queen Of Scots
Penguin On The TV
Comfy Chair/Sound Quiz
Be A Great Actor/Theatre Critic
Royal Festival Hall Concert
Spam
The Judges/Stake Your Claim
Still No Sign Of Land (Lifeboat)/Undertaker


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Previously their  Young Ones

The Young Ones 01 Demolition (mp4  266mb)
The Young Ones 02 Oil (mp4  264mb)
The Young Ones 03 Bored (mp4  284mb)
The Young Ones 04 Bomb (mp4  285mb)
The Young Ones 05 Intresting (mp4  258mb)
The Young Ones 06 Flood (mp4  247mb)
The Young Ones 07 Bambi (mp4  282mb)
The Young Ones 08 Cash (mp4  275mb)
The Young Ones 09 Nasty (mp4  283mb)
The Young Ones 10 Time (mp4  278mb)
The Young Ones 11 Sick (mp4  280mb)
The Young Ones 12 Summer Holiday (mp4  283mb)

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Sundaze 1643

Hello, F1 is back on track , this time on the phenomenal racetrack at Austin, Texas. Hamilton took a clear pole with the fastest time ever recorded there. Behind him Rosberg and Ricciardo with Verstappen fourth with a clear margin on Raikonnen and Vettel.  A rumour was spread that drivers had complained about Verstappen's driving style, strangely the riders named never get to see the back of Verstappens car, it was clear that these rumours came from Ferrari who are in a battle with Red Bull for second place in the constructors championship trying to intimidate the youngster...we'll see how that pans out.



Today's artist is a prolific, prodigiously talented artist, he was responsible for over thirty albums between 1993 and 2012, exploring the worlds of acid techno, trance, ambient, downtempo and beyond. His music was always completely individual, always esoteric yet never wilfully indulgent. His touch was that of a master craftsman, creating intricate musical jewels that sparkled like no others.... N'Joy

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Susumu Yokota emerged in the early '90s as one of the most versatile and prolific electronic producers going. In his native Japan, he was known for many years as a top-tier dance music talent, specializing in all varieties of house while dabbling in techno, electro, and trance for the Sublime, Harthouse, and Planet Earth labels. Alternate aliases for his dance releases included Ringo, Prism, and Sonicstuff. While his dancefloor tracks were funky and playful with a heavy debt to epic disco -- he even covered Idris Muhammad's underground disco classic "Could Heaven Ever Be Like This" -- Yokota's ambient work unfolds with the patience of a butoh dance, all small gestures and gradually shifting layers of quiet sound. He gained international stature with home listeners and critics with the release of a series of well-received ambient albums on the U.K. label Leaf, beginning in 1998 with Magic Thread, and following with Image: 1983-1998 (1999), Sakura (2000), Grinning Cat (2001), and The Boy and the Tree (2002). (Some of these releases originally appeared in small runs on Yokota's Skintone label.) Releases for Lo Recordings followed, including the Rothko collaboration Distant Sounds of Summer (2005), Wonder Waltz (2006), Love or Die (2007), and Mother (2009). Also an accomplished DJ, Yokota leant his mixing skills to the 2001 label retrospective Leaf Compilation. His most recent and ultimately his final album was 2012’s Dreamer, released on Lo Recordings.

Yokota’s family released a statement:

“It is with great sadness that we announce the death of Susumu Yokota who passed away on 27th March, 2015 at the age of 54 after a long period of medical treatment.


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The Boy and the Tree pulses with a consistent timbre that lulles one into a state of relaxation. Not a foam-mat, twisted-limbs, pilates-class kind of relaxation, but more of a well-rested glow. The panning, reverberating electric guitar lines and bird chirping forest sounds of the opening “The Colour of Pomegranates” struck me differently than expected. The album borrows heavily from various “nature” sounds, combining them with stringed instruments and percussion, and is always one step from delving into Nature channel stock footage or “Relaxing Sounds of Slumber.” A testament to Yokota is that, although these moods are suggested, he explores the details of their character as to not veer into focus group-tested hyperbole. Careful never to overplay his artistic hand, Yokota creates his own musical dialect, one that has been methodically filtered through various aesthetic inputs. This practice results in music that achieves its intended aims of tranquility and contemplation, but without all of the new age baggage that could accompany it. “Thread Leads to Heaven” features a blended melody doubled, overlapped and (as per the title) threaded together. “Rose Necklace” adds an angelic vocal that speaks through an evaporating echo before descending into an incomprehensible synthesized spray. These water-based adjectives are intentional – Yokota’s continual shape-shifting evidence a real musical liquidity. Expertly manipulating sound sources and extracting their elemental qualities, Yokota creates compositions that are equally restrained and expressive.

Susumu Yokota - The Boy and the Tree    (flac  297mb)

01 The Colour Of Pomegranates 5:13
02 Live Echo 5:31
03 Fairy Link 4:33
04 Grass,Tree And Stone 4:39
05 Secret Garden 6:10
06 Rose Necklace 2:44
07 Beans 1:20
08 Plateau On Plateau 5:50
09 Red Swan 4:27
10 Thread Leads To Heaven 3:42
11 Future Tiger 5:26
12 Blood And Snow 5:01

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Susumu Yokota makes albums that increasingly worry the boundaries of IDM, ambient and sound collage. This is his most abstract and foreboding-sounding release yet. By now, the concept of the "parallel universe" probably rivals the theory of relativity as the best-known scientific/metaphysical concept of the 20th Century. The idea, of course, is that at any point in time, all available choices and possibilities are realized in an ever-blooming flower of multiverses. Susumu Yokota makes albums that increasingly worry the boundaries of IDM, ambient and sound collage. Yokota has come at abstract music from the origin of being a house DJ in his native Japan, meaning that his sensibilities are not always aligned with those who balk at the cheesy tropes of techno (warm synth tones playing major seventh chords, heavily reverbed female vocal samples, etc), yet too unconventional and complex for the trance crowd. Laputa is Yokota's most abstract and foreboding-sounding release yet. Almost entirely beatless, its pieces float quietly in and out of existence, operating according to their own logic and leaving the same faint, surreal impressions as dreams upon waking.

As the record's proclamatory title suggests, Yokota attempts to create a world in itself. His aim is not to transform your external environment, but to form one in your head-- if Eno's Another Green World presents a universe not unlike our own, where they still have swimming little fishes and bouncy pop music, Laputa presents an abstract and entirely unfamiliar space. Against various droney and spacious backdrops, Yokota presents independently floating and interacting bits of sound that suggest geometric patterns and shapes, such as the woman's voice at the beginning of "Trip Eden" that rises and reverses upon itself like a sleek symmetrical object.

Susumu Yokota - LaPuta  (flac  278mb)

01 Rising Sun 4:47
02 Lost Ring 3:42
03 Gong Gong Gong 4:25
04 Iconic Air 4:52
05 Light Of The Sun 4:08
06 Grey Piano 1:12
07 23 Degrees Dream 3:00
08 Hidden Love 3:50
09 Trip Eden 4:48
10 True Story 2:52
11 Dragon Place 3:51
12 I Am Flying 3:42
13 Dizzy Echo 2:19
14 Heart By Heart 4:04
15 Hyper On Hyper 4:04

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Susumu Yokota known as the most prolific supplier of high precision stylized electronic mood music. His albums typically fall into the ambient area, but on Over Head Yokota shows himself to have a more robust side. The albums has ten tracks are fall under the breakbeat techno moniker, notably as exactly produced as we are used to on his more subdued work. Overhead neatly bridges these two seemingly contradictory bodies of work, a downtempo set of deep house tracks that draws heavily on Middle Eastern (“Wheel Tower”), African (“Aerial Chamber”) and flamenco (“Bridgehead”) rhythms.Need ear plugs? It's not as bad that, though the programmed beats can sometimes sound strange with the ghost of Certain Ratio looming round from time to time..

Susumu Yokota - Over Head  (flac  362mb)

01 Aerial Chateau 5:24
02 Wheel Tower 6:03
03 Play Act Circuit 5:58
04 Rainbow Flag 6:18
05 Soul Cry 5:06
06 Blackout 6:25
07 Bridgehead 5:37
08 Area B 5:51
09 Golden Mountain 5:59
10 Open Door 5:53

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Musical styles come and go, but Yokota reigns supreme in a universe of his own making. ‘Dreamer’ is instantly familiar and yet full of surprises and like all of yokota’s best music, it leaves the listener in a state of wonder. This is meditative music but miles away from new age wallpaper. Eastern flavours permeate many of the tracks, often mixed with free electronic noise, to create what John Hassell called ‘Fourth World Music’, capable of transporting the listener to a brand new world.  Sounds that in other hands could have a disturbing effect are transformed into tools for opening the mind. Within ‘popular’ music there are dew that make music with Yokota’s depth and ease. His music never sounds forced, fake or phoney, never trite or tentative, always fully formed and wholesome. So it comes as no surprise that his fans include Thom Yorke, Brian Eno and Philip Glass and that ‘Dreamer’ is another superb addition to the Yokota.

Susumu Yokota - Dreamer  (flac  334mb)

01 Human Memory 5:52
02 Flitting Ray 4:02
03 Subconscious Globe 5:42
04 Inception 6:13
05 Double Spot Image 3:32
06 Quiet Room 5:20
07 Animation Of The Airy 6:04
08 Renounce The World 5:17
09 Brainwashing And Senses 5:27
10 A Day At The Planet 4:25
11 Legendary Stream 6:25

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