Nov 30, 2016

RhoDeo 1648 Aetix


Today's artists are an English musical duo of Martyn Bates and Peter Becker, based in Nuneaton, Warwickshire. They have described their music as "veer[ing] crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles." Formed in 1980, the group went into hiatus in 1987, re-emerging in 1993.......N'Joy

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Specializing in alternative pop/rock, post-punk, and art rock, the experimental British duo Eyeless in Gaza have enjoyed an enthusiastic cult following since the early 1980s. The music of Eyeless in Gaza has tended to be moody, quirky and atmospheric, drawing on influences that have ranged from Brian Eno, Pink Floyd and Pere Ubu to Roxy Music, David Bowie (especially Bowie's Low/ Heroes/Lodger period of the late 1970s) and the seminal Kraftwerk. Eyeless in Gaza experimented with electronics from the beginning, and they clearly admired Eno's breakthroughs in the ambient electronic realm.

Becker, a laboratory technician, had played in a covers band before buying and experimenting with a Wasp synthesizer (he released a solo cassette-album in June 1980 and a second a year later). Bates, a hospital worker, had previously been in a very early lineup of the unclassifiable Coventry-based band Reluctant Stereotypes, and also released a cassette of experimental electronic music in January 1980. Shortly afterwards they met and got started in Nuneaton, Warwickshire, England in 1980, they named their group after British author Aldous Huxley's 1936 novel, which Bates was reading when he met Becker. Both of them have embraced a variety of instruments in Eyeless in Gaza; Bates has played keyboards, organ, guitar and drums (among other instruments), while Becker has contributed guitar (both electric and acoustic), bass, drums, percussion and melodica (in addition to helping with the vocals). Eyeless in Gaza's first mini-album was their 1980 EP Kodak Ghosts Run Amok, which was followed by their Invisibility EP in 1981 and their full-length albums of 1981 Photographs as Memories and Caught in Flux. Eyeless in Gaza recorded frequently in the 1980s, providing full-length albums that included Pale Hands I Loved So Well and Drumming the Beating Heart in 1982, Rust Red September in 1983, and Back from the Rains in 1986.

But the duo went on hiatus in 1987, when Bates opted to pursue some solo projects. The two of them were reunited briefly in 1990 when they worked with poet Anne Clark on her album The Law Is an Anagram of Wealth, but many of Eyeless in Gaza's followers were wondering if Bates and Becker would ever record together again as Eyeless in Gaza. In 1993, however, Bates and Becker were officially reunited as Eyeless in Gaza after a seven-year hiatus--and the duo's recording career was resumed with 1993's Fabulous Library (which started out as a Becker solo project but became a full-fledged Eyeless in Gaza album when Bates came on board). By that time, music that was loosely defined as alternative rock or alternative pop/rock had become rock's dominant direction thanks to the major commercial success of Nirvana, Pearl Jam, Alice in Chains, and others. Instead of being described as music for the select few like it had been in the 1980s, alternative had become downright mainstream--and the return of Eyeless in Gaza was quite appropriate considering that Bates and Becker were embracing alternative long before it was in vogue. After Fabulous Library, Eyeless in Gaza continued to build their catalog with Saw You in Reminding Pictures in 1994, Bitter Apples in 1995, All Under the Leaves, the Leaves of Life in 1996, Song of the Beautiful Wanton in 2000, Home Produce: Country Bizarre in 2003, and Summer Salt/Subway Sun in 2007/2008.  More releases by Eyeless are Answer Song & Dance (2010), Everyone Feels Like A Stranger (2011), Butterfly Attitude (2012). In 2012, Martyn Bates and Peter Becker appeared on "Right North", the eleventh album, a double digipack, of the international collective 48 Cameras, and Mania Sour in 2014.

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Aldous Huxley begins his brilliant novel “Eyeless in Gaza” with the sentence: “The snapshots had become almost as dim as memories” so Photographs as Memories may be considered as a kind of illustration to this great novel.

The days of the garage groups are gone. The bands of today are being born in bedrooms and the latest in the increasing line of DIY knob-doodling duos are Eyeless In Gaza from Leamington Spa. Although “Photographs As Memories” is an awkward album that initially sounds irritating and samey, like a rough assortment of improvisations over very similar backing tracks, further listening reaps rewards, revealing a record made up more of experimental fragments than actual bona-fide songs.

Starting and finishing somewhat arbitrarily, each individual track attempts, with varying degrees of success, to define a different mood, ranging from the malice and menace of “Keepsake” and the boisterous bubblegum bop of “No Noise” to the weird and worrying “In Your Painting” – a sort of “Weaver’s Answer” for the Eighties. Predominantly featuring scratchy, freely-scuttling guitar over basic drumbeats, and atmospheric keyboards and occasionally augmented by unnecessary and incongruous Beefheartean sax, Eyeless’s real strengths and weaknesses lie in their overblown vocals which, while inhibiting literal understanding, instill the proceedings with crucial emotion. A cross between unbridled passion and stylish effect, the voice is by turns crudely convincing and theatrically histrionic, resulting in an album that simultaneously sooths as it unnerves. “Photographs” constantly strives for something special, very seldom fully succeeds but even its many pitfalls and failures make for an interesting, invigorating listen.

Eyeless In Gaza - Photographs As Memories (flac  225mb)

01 Seven Years 2:21
02 Fixation 3:19
03 Looking Daggers 1:51
04 From A To B 2:19
05 Clear Cut Apparently 1:26
06 Speech Rapid Fire 2:54
07 John Of Patmos 4:18
08 Knives Replace Air 6:43
09 Faceless 2:20
10 In Your Painting 2:10
11 A Keepsake 4:35
12 Whitewash 4:22
13 No Noise 5:49

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Whereas previous Eyeless in Gaza material, especially the album Pale Hands I Loved So Well, was somewhat non-linear and improvisational, Drumming the Beating Heart emphasizes another side of the band's identity. Martyn Bates and Peter Becker take a more focused approach on this album, although they are working within a familiar idiom -- drafting melancholy, sometimes unsettling sketches with minimal percussion, introspective lyrics, emotionally charged vocals, and sparse, melodic keyboard and guitar patterns. Notwithstanding the atmospheric instrumental "Dreaming at Rain," which continues in the rambling, experimental vein that was most pronounced on Pale Hands I Loved So Well, this material finds the Nuneaton duo fashioning their stock sonic components into more immediately accessible, conventional song structures, albeit at the avant end of the pop spectrum. This departure is evident on the single "Veil Like Calm" (which also marked the band's first foray into music video), and the stripped-down, staccato guitar funk of "Two." A salient characteristic of this album is its juxtaposition of the fragile and reflective alongside the jagged and fraught, sometimes in the context of the same track: On "Transience Blues," for instance, Bates' urgent, almost pained vocals and a shuddering rhythm are shadowed by haunting keyboards. Drumming the Beating Heart's most compelling tracks are those that underscore the influence of traditional English folk forms on Eyeless in Gaza's work. Although it's rendered in a considerably pared-down manner, that influence manifests itself particularly on "Ill Wind Blows," with its droning keyboard and bare, rattling percussion, and on the short, vocally intense "Picture the Day." Listened to alongside the band's earlier projects, Drumming the Beating Heart reflects Eyeless in Gaza's growing maturity. The newfound cohesion and developing pop sensibility demonstrated here would be more fully realized on Rust Red September the following year.

Having already released a slew of singles and full releases, Eyeless in Gaza found itself already well primed to deliver this striking album, arguably the highlight of the band's earliest days. It's a delicate, focused, and impassioned collection that sounds like little else released in the English-speaking world in 1981. The haunting tones, guitar-produced and otherwise, on songs like "Warm Breath, Soft and Slow" suggest strange, soothing alien messages that aren't that far removed either way from Brian Eno or the Aphex Twin, or even Amnesiac-era Radiohead, say. Bates' singing here is almost totally absent or reduced to near-abstraction, letting the focus fall specifically on the duo's ear for unexpected arrangements and unusual melodies. Touches from clattering, musique concrète percussion on "Sheer Cliffs," swathed in heavy echo to sound even more monumental, and Gregorian chant samples on "Letters to She" years before they would become standard dance/ambient reference points, help flesh out the album's strange power. Hands-down highlights: "Blue Distance," Bates' strong, breathy keen cutting across a layer of instruments, including lush piano that sounds like Harold Budd on speed, "Lies of Love," with a softly growing chime taking the fore along with Bates' singing over murky rumbles, and a wonderful one-two combination at the end. "Light Sliding" features one of Bates' few straightforward vocals over a lovely keyboard figure like a heavenly carnival ride, while "Big Clipper Ship" concludes the album with a combination of acoustic and electric guitar and kalimba that's at once beautiful and chaotic.

Eyeless In Gaza - Drumming The Beating Heart - Pale Hands I Loved So Well (flac  447mb)

Drumming The Beating Heart
01 Transience Blues 4:33
02 Ill-Wind Blows 3:13
03 One By One 3:30
04 Picture The Day 1:45
05 Dreaming At Rain 6:53
06 Two 2:27
07 Veil Like Calm 1:53
08 Throw A Shadow 2:02
09 Pencil Sketch 2:24
10 At Arms Length 2:02
11 Lights Of April 2:21
12 Before You Go 2:25

Pale Hands I Loved So Well
13 Tall And White Nettles 1:53
14 Warm Breath, Soft And Slow 3:33
15 Blue Distance 3:53
16 Sheer Cliffs 2:20
17 Falling Leaf / Fading Flower: Goodbye To Summer 5:10
18 Lies Of Love 3:03
19 To Ellen 1:21
20 Pale Saints 5:17
21 Letters To She 6:24
22 Light Sliding 3:52
23 Big Clipper Ship 3:22

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Officially the band's fifth full vinyl release, Rust Red September finds the group further moving away from the brusquer hooks of its earliest days to a calmer reflectiveness. If anything, the duo also achieved a light, airy pop feeling with this album, slotting it alongside more successful sounds from the U.K. in the mid-'80s without actually breaking through or, on a happier thought, pandering to achieve such success. This newer approach comes courtesy of Bates' singing voice, here sweetly overdubbed at many points with butter-melting-in-mouth effect -- indeed, such is the purity he reaches here it almost sounds like he should be in a Scandinavian jangle pop act! "New Risen," the single from the album, balances both a catchy melody and a curious, unexpected keyboard/rhythm arrangement -- the closest parallel might be to the similarly not-quite-straightforward work of the Associates, if on a generally calmer level. The elegant arrangements he and Becker create truly, completely shimmer with a strange, sparkling power, light without ever sounding either airily new age or anything remote easy listening. Consider Bates' simple but effective electric guitar work on "Pearl and Pale," which had to have been an influence on any number of later acts on the Projekt record label, heartbreaking chimes, and atmospherics while avoiding simply turning on the effects pedals. Becker's abilities with rhythm work serve the duo quite well -- what initially seems like an intriguing-enough off-time drum pattern on "Leaves Are Dancing" takes a further subtle turn with the introduction of another percussion line on the chorus, steering away from 4/4 into differing realms. His many other understated touches throughout -- the accordion wails on "No Perfect Stranger," the beautiful synth backing on "Bright Play of Eyes" -- help further the beauty of this striking album. The CD reissue of Rust Red September contains some excellent bonuses for the appreciative fan. Three, "To Steven," "Sun-Like-Gold," and "To Elizabeth S.," originally from the Myths. Instructions. I compilation on Sub Rosa, are rougher, murkier instrumentals with an appropriately shady appeal. The remaining three are the B-sides from the Sun Bursts In EP that followed the album, resulting in a near comprehensive picture of the band's work at that time.

Eyeless In Gaza - Rust Red September (flac 350mb)

01 Changing Stations 2:26
02 Pearl And Pale 3:32
03 New Risen 2:50
04 September Hills 3:55
05 Taking Steps 3:31
06 Only Whispers 4:38
07 Leaves Are Dancing 3:14
08 No Perfect Stranger 4:50
09 Corner Of Dusk 3:54
10 Bright Play Of Eyes 3:28
11 Stealing Autumn 4:39
12 To Steven 4:05
13 Sun-Like-Gold 3:14
14 To Elizabeth S. 4:30
15 Lilt Of Music 1:38
16 Inky Blue Sky 3:39
17 Tell 2:19

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The subtitle "Chronological Singles, Etc., 1980-86" tell the whole story; Kodak Ghosts Run Amok covers the best work of Eyeless in Gaza's first incarnation. Taking its title from the group's debut 1980 EP, the album runs through the A-sides of all of their singles, adding a few key album tracks to flesh out the picture of the early days. Starting from their rather minimalist and icy early work, the first few songs progress Martyn Bates and Peter Becker's slow transformation from artsy students into purveyors of a peculiar brand of pop music that's both sonically inviting and coolly distanced. By the time side one ends with the surprise chart hit "Veil Like Calm," the change is complete; the first half of side two is a run of singles as good as anything the U.K. indie scene offered up in 1983 and 1984, with Bates' vocals more subtle and controlled than the anguished wailing that tends to predominate on the early songs, and Becker's musical backing adding gentle acoustic guitars and sunny harmonies to the synthesizers. "New Risen" and "Sun Bursts In" are both classics of their time and place. Frankly, though, by the end of the album, the duo has listed too far in the chart-pleasing direction; "New Love Here" and "Back From the Rains" are nearly as empty and glossy as Wham!'s contemporaneous singles, and a whole lot less memorable.

Eyeless In Gaza - Kodak Ghosts Run Amok (flac 271mb)

01 Kodak Ghosts Run Amok 2:24
02 Invisibility 2:39
03 No Noise 2:50
04 Others 2:53
05 Pencil Sketch 2:22
06 Veil Like Calm 1:51
07 Bright Play Of Eyes 3:23
08 New Risen 2:47
09 No Perfect Stranger 4:46
10 Sun Bursts In 3:46
11 Welcome Now 3:35
12 New Love Here 3:44
13 Back From The Rains 3:15

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previously, wavetrain-3rd-wagon.html

Eyeless In Gaza - Caught In Flux   (flac  337mb)

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Nov 29, 2016

RhoDeo 1648 Roots


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

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

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

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

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

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

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

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Astrud Gilberto became an accidental success when her fragile command of English made her the de facto choice to sing "The Girl from Ipanema" at a session led by Stan Getz and her husband, João Gilberto. Of course, despite its overwhelming success, it wasn't clear that she could sustain a career when she recorded her first solo LP, The Astrud Gilberto Album. She had sounded more like an amateurish novelty act than a recording professional, her voice was sweet but fragile, and the Getz/Gilberto album had featured two strong voices, with Gilberto herself an afterthought (albeit a commercially effective afterthought). But The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. The Brazilian repertoire plays particularly well to traditionally weak vocalists, her voice was yet more sweet than had been heard previously, and as before, the record featured two strong leaders -- arranger Marty Paich and the incomparable Antonio Carlos Jobim. Paich's strings positively coated the album with radiance, and his choices for lead instrumental voices -- Bud Shank's flute, João Donato's piano, Jobim's guitar -- complemented her vocals perfectly. Gilberto sounded beautiful on a range of material, from the sentimental "Dindi" to the playful "Agua de Beber," and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.

Astrud Gilberto - The Astrud Gilberto Album (flac 157mb)

01 Once I Loved 2:11
02 Água De Beber 2:17
03 Meditation 2:40
04 ...And Roses ...And Roses 2:34
05 O Morro Não Tem Vez 2:58
06 How Insensitive 2:48
07 Dindi 2:40
08 Fotografia 2:12
09 Dreamer 2:03
10 Só Tinha De Ser Com Você 2:19
11 All That's Left Is To Say Goodbye 3:12

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For her second Verve LP, Astrud Gilberto expanded her range from a raft of Gilberto/Jobim standards to embrace the large and obviously daunting catalogue of classic American pop. With arrangements by Don Sebesky and Claus Ogerman (as well as two by country-mate João Donato), The Shadow of Your Smile can't help but shine a bright spotlight on Gilberto's weak voice, especially when she's singing material previously enlightened by singers with the weight of Frank Sinatra or Sarah Vaughan. Even the intimate, understated arrangements on songs like "Day by Day," the title track, and "Fly Me to the Moon" overshadow the chanteuse's limited range. Brazilian material like the five songs by Luiz Bonfá make for better listening, though the preponderance of flutes, strings, and muted trumpet in the arrangements is very mid-'60s, for better and worse. (And the notes' description of "O Ganso" as an "exercise in vocalise based on bah and dah sounds" is being more than generous.) Certainly, no American vocalist could hope to equal the tortured syntax and somehow endearing performances on these songs; still, Verve did much better by Gilberto later on when they gave her good-time Brazilian songs to sing and didn't attempt to force comparison with standard jazz/pop vocalists.

Astrud Gilberto - The Shadow Of Your Smile  (flac  154mb)

01 Love Theme From "The Sandpiper" (The Shadow Of Your Smile) 2:30
02 (Take Me To) Aruanda 2:25
03 Manha De Carnaval 1:55
04 Fly Me To The Moon 2:15
05 The Gentle Rain 2:20
06 Non-Stop To Brazil 2:30
07 O Ganso 2:04
08 Who Can I Turn To 2:07
09 Day By Day 2:05
10 Tristeza 2:20
11 Funny World (Theme From "Malamondo") 2:25

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This was a beautiful bossa nova record of Astrud Gilberto's vocal stylings...All the material (32:13) here, with the exception of "Learn to Live Alone" and "Pretty Place," which were arranged by Al Cohn, were arranged by Gil Evans. With the exception of a Johnny Coles trumpet solo, the personnel was uncredited on this 1966 recording. Discographies have credited Bob Brookmeyer (valve trombone), Kenny Burrell (guitar), and Grady Tate (drums), but except for a few bars of sax, there was no solo indivdualism in this large Creed Taylor-produced orchestra.

Astrud Gilberto - Look To The Rainbow   (flac  152mb)

01 Berimbau 2:23
02 Once Upon A Summertime 3:02
03 Felicidade 2:44
04 I Will Wait For You 4:38
05 Frevo 2:21
06 Maria Quiet (Maria Moite) 1:52
07 Look To The Rainbow 3:26
08 Bim Bom 1:49
09 Lugar Bonita (Pretty Place) 3:16
10 El Preciso Aprender A Ser So (Learn To Live Alone) 3:20
11 She's A Carioca 2:26

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In 1966, the bossa nova craze was at a peak, and A Certain Smile, A Certain Sadness marked a collaboration between two of its biggest stars -- vocalist Astrud Gilberto, brought to fame by her classic rendition of "The Girl from Ipanema," and organist Walter Wanderley. Even though the album is good, it is not as exciting as one might hope. While the music is remarkably innocent and sweet, with just a little underlying touch of sadness beneath the joyous, even naïve, surface, Gilberto and Wanderley do not always seem to work together on these tracks -- it often appears as if each is performing in a universe of his or her own. That being said, there are many bright sides to the album, too: Wanderley's organ playing is as enthusiastic and fluffy as ever, while Gilberto's singing (in both English and Portuguese) remains smile-inducing. Both manage to create an incredibly warm sound, and when Wanderley plays some piano (as on the beautiful "A Certain Sadness"), you can sense a spark between the two. So, while A Certain Smile, A Certain Sadness might not be the most successful album of all time, it is still a nice record that fans of either Gilberto or Wanderley will want to have. And -- even though one tends to use the word "cocktail lounge music" -- their rendition of "Tristeza" is simply irresistible, easy listening or not.

Astrud Gilberto And Walter Wanderley - A Certain Smile A Certain Sadness (flac  199mb)

01 A Certain Smile 1:27
02 A Certain Sadness 3:08
03 Nega Do Cabelo Duro 2:18
04 So Nice (Summer Samba) 2:41
05 Vocé Ja Foi Bahia 2:15
06 Portuguese Washerwoman 1:30
07 Goodbye Sadness (Tristeza) 3:33
08 Call Me 3:20
09 Here's That Rainy Day 2:43
10 Tu Mi Delirio 3:38
11 It's A Lovely Day Today 2:39
12 The Sadness Of After 2:27
13 Who Needs Forever? 2:48

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Nov 28, 2016

RhoDeo 1648 Monty 6

Hello, F1 2016 season came to an end today, Hamilton won followed by Rosberg, Vettel and Verstappen all within 2 seconds, sensational race then nah Hamilton sort of backed Rosberg into Vettel and Verstappen but Vettel was happy with his 3rd place and no need to go for broke in the final lap and Verstappen's tires were the oldest on show at the time. He had another interesting race getting spun around at the start and thus starting at the back, by the time he had his first pitstop he was just passed by Rosberg dropping to position 3, from 8th he got back to position 3 again only to be passed by Vettel shortly before the finish, Vettel's tactic of staying out long and coming back for a short stint on superfast tires got him close to the lead again but hey no win for Ferrari in 2016.
Hamilton showed his lack of class again, unable to really congratulate his team mate Rosberg with winning the World Title. Hamilton fans prefer a Mercedes conspiracy but there's just one man responsible for losing his world title and that is Lewis Hamilton, he messed up 5 starts, in the end this cost him the 5 points he came up short with. Next season promises a shake up with far faster cars and unlikely Mercedes dominance again.

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

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

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

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

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

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Like the title says, by the late '70s Monty Python was less interested in continuing under their group name, except for the occasional foray into film. John Cleese was busy with Fawlty Towers, while Michael Palin was branching out into film, Terry Gilliam was making a name for himself as a director, and the rest were involved in television and other projects. For all intents and purposes, this is almost an Eric Idle solo album, since a majority of the songs were written by him or with Neil Innes (the two had recently collaborated on the brilliant Beatles parody, The Rutles). Not that they aren't funny: "I Like Chinese," "Medical Love Song," and "Never Be Rude to an Arab" raise a smile, and "Decomposing Composers," (not by Idle) despite the obvious pun of the title, is actually quite affecting, delivered in a gentle Cockney drawl by Michael Palin. Yet the record suffers from many weak tracks, most of which are old standards with new dirty lyrics ("Sit on My Face") or experiments in repetition and boredom ("I Like Traffic Lights," "I'm So Worried"). What sound like new skits from Cleese and Graham Chapman ("String," "Bookshop") are actually pre-Python skits written for Cleese and Marty Feldman given a dusting off in lieu of any real writing. The only other track of note is "Rock Notes," a parody of rock journalism from where the future rock group Toad the Wet Sprocket got its name. A spotty finale for the Python's recording career.

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

601 Contractual Obligation Album (flac  190mb)

601 Contractual Obligation Album (Side 1) 19:22
Sit On My Face
Henry Kissinger
Never Be Rude To An Arab
I Like Chinese
Medical Love Song
Farewell To John Denver
I'm So Worried!

602 Contractual Obligation Album (Side 2) 25:34
I Bet You They Won't Play This Song On The Radio
Martyrdom Of St. Victor
Here Comes Another One
Do What John?
Rock Notes
Muddy Knees
Decomposing Composers
Traffic Lights
All Things Dull And Ugly
A Scottish Farewell

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101 Another Monty Python Record (flac  212mb)
201 Monty Python's Previous Record (flac  194mb)
301 Matching Tie and Handkerchief (flac  159mb)
401 Live at Drury Lane (flac  275mb)
501 Monty Python and the Holy Grail (flac  191mb)

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Nov 27, 2016

Sundaze 1648


Today's artist is an American composer (born October 3, 1936) who, along with La Monte Young, Terry Riley, and Philip Glass, pioneered minimal music in the mid to late 1960s. His style of composition influenced many composers and groups. His innovations include using tape loops to create phasing patterns. These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US...... N'Joy

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A highly influential avant-garde composer and one of the key founders of the minimalist school of music, Reich has embraced a wide variety of musical styles and interests, forging from them a unique synthesis.

Reich took piano lessons as a youngster, but his first big musical revelations came at 14, when he encountered the music of Bach and Stravinsky. He also had his first exposure to bebop, and immediately started learning drums and playing in a jazz band with friends. He played on weekends while studying at Cornell, which he entered at age 16 and where he received a degree in philosophy, specializing in the work of Wittgenstein. In 1957, he entered Juilliard, studying with William Bergsma and Vincent Persichetti (and meeting fellow student Philip Glass). Here Reich first heard 12-tone music; he got a further dose of it during graduate studies at Mills College in Oakland, working with Luciano Berio and Darius Milhaud, and eventually earning his master's degree.

At about that time Reich met Terry Riley, who was in the process of writing In C (1964). Reich played in its premiere, and In C's tonal approach and use of repeating patterns had a big influence on Reich's own music. In turn, Reich suggested the use of the eighth note pulse, which is now standard in performance of the piece. Reich had been experimenting with tapes, creating loops of speech and layering them, allowing the layers to move in and out of sync with one another. His early works It's Gonna Rain (1965) and Come Out (1966) led to similar experiments with live performers, the first of which was Piano Phase for two pianos (1967). Back in New York, Reich and Glass formed an ensemble to perform their music (1968-1971). Several of those players later formed Steve Reich and Musicians, which has toured the world many times over.

In 1970, Reich studied for several weeks at the University of Ghana. His encounter with Ghanaian music and dance inspired his ambitious work Drumming (1970). Encounters with Indonesian gamelan music in 1973-1974 at Seattle and Berkeley were equally significant, and broadened Reich's rhythmic and timbral palette. His most significant composition of the time was Music for 18 Musicians (1974-1976), a large and colorful work which brought Reich worldwide recognition.

In the mid-'70s, Reich started taking Torah classes with his future wife, video artist Beryl Korot. He also studied traditional Jewish cantillation and incorporated it into his psalm settings, Tehillim (1981). Several chamber and orchestral works followed in the 1980s. For Different Trains (1988, a Grammy winner), Reich used a digital sampler to record speaking voices and derived the rhythmic and melodic ideas of the piece from those voices. Reich knew that Different Trains was going to lead to some kind of new documentary form incorporating both video and music. Collaborating with his wife for the first time, the two completed their theater work The Cave in 1993. They continued to explore the combination of music and video with Three Tales (1998-2002).

Music for 18 Musicians [Nonesuch 1998] By the end of the 21st century's first decade, the lasting significance of Reich's music was being recognized worldwide. After 1998's new recording of Music for 18 Musicians won a Grammy, Reich received honorary doctorates and awards from Juilliard, Budapest's Franz Liszt Academy and other schools; the 2007 Polar Music Prize; the 2009 Pulitzer Prize for Music (for Double Sextet); and, in 2012, an American Academy of Arts and Letters Gold Medal for Music. On March 5, 2013 the London Sinfonietta, conducted by Brad Lubman, at the Royal Festival Hall in London gave the world premiere of Radio Rewrite for ensemble with 11 players, inspired by the music of Radiohead. The programme also included Double Sextet for ensemble with 12 players, Clapping Music, for two people and four hands featuring Reich himself alongside percussionist Colin Currie.

In 2013 Reich received the US$400,000 BBVA Foundation Frontiers of Knowledge Award in contemporary music for bringing a new conception of music, based on the use of realist elements from the realm of daily life and others drawn from the traditional music of Africa and Asia. In September 2014, Reich was awarded the "Leone d'Oro" (Golden Lion for Lifetime Achievement in Music) from the Venice Biennale. In March 2016, Reich was awarded an Honorary Doctorate by the Royal College of Music in London at the ripe old age of 79 years.

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One of the most complex and fascinating works in his catalog, "Eight Lines" -- scored for two pianos, two string quartets, flute, piccolo, and clarinets -- weaves a dense fabric of music where melodies emerge, interlock, and sing. Its 5/4 time signature resists mental subdivision, making the composition appear seamless from beginning to end. Based on Jewish sounds of cantillation, this piece builds melodies one note at a time, making the listener hear a melody emerge that they have actually been listening to for some time; a remarkable work. 1981's Tehillim has earned its place in Steve Reich's canon. It's arguably his most mature and fully realized work, taking the various strands which had intrigued him before (including African percussion, the human voice, and the power of subtly changing patterns) and developing them in new and interesting ways. The title is Hebrew for "Psalms," and the chants the female vocals develop throughout are indeed liturgical texts. As such, they have a rhythm of their own which plays off of the steady pulse of the finger cymbals in interesting ways, placing accents in unexpected places. .

Steve Reich 05 Eight Lines - Tehillim    (flac  234mb)

01 Eight Lines (Octet) 17:36
02 Part I 11:45
03 Part II 6:01
03 Part III 6:18
05 Part IV 6:23


This hour-long work, commissioned by West German Radio and the Brooklyn Academy of Music, marks a transitional period for Reich. Based in the rhythmic pulse of Music for 18 Musicians, he adds a text by William Carlos Williams (sung by a full chorus), uses the more traditional sounds of a full orchestra (strings and brass are suddenly prominent), and snatches of melody dot the musical canvas here and there. The use of vocals here looks forward to such projects as Different Trains and The Cave. If Reich is trying to encapsulate the grandeur of the American west without falling back on typical "Western" tropes, he does so successfully.

Steve Reich 06 The Desert Music  (flac  238mb)

01 First Movement - Fast 7:54
02 Second Movement - Moderate 6:59
03 Third Movement Part One - Slow 6:59
04 Third Movement Part Two - Moderate 5:53
05 Third Movement Part Three - Slow 5:54
06 Fourth Movement - Moderate 3:35
07 Fifth Movement - Fast 10:47


Although Reich's music during the '80s, as he gained in popularity, was increasingly written for larger, lusher ensembles (with, oftentimes, the concomitant loss of "edge"), he occasionally and happily reverted to more contained compositions such as those included here. "Sextet" is pared down to four percussionists and two keyboardists (the latter including synthesizers) and evokes early pieces of Reich's Drumming while incorporating his ongoing use of longer melodic lines. In five sections, it tends toward a buoyant and jazzy bubbliness, percolating with all manner of busy interaction and wonderfully intermeshed rhythms. One of the new techniques employed is having the vibraphonists bow their instruments, generating long, ghostly tones reminiscent of musical saws but cleaner and more precise. Since this cannot be done quickly, Reich writes patterns that interweave between performers, achieving a kind of hocketing effect where, by playing only every third or fourth note in a rhythmic line, the ensemble can produce what the listener perceives as a fast tempo even as each individual is playing slowly. The closing section is pure effervescent bliss.

Steve Reich 07 New York Counterpoint - Sextet - The Four Sections  (flac  272mb)

New York Counterpoint
01 Part I 5:03
02 Part II 2:43
03 Part III 3:40
04 Part I 10:29
05 Part II 4:12
06 Part III 2:27
07 Part IV 3:14
08 Part V 5:59
The Four Sections
09 Part I 11:25
10 Part II 2:29
11 Part III 5:54
12 Part IV 6:13


This late-'80s work finds the minimalist composer mixing acoustic and taped material to great effect. The disc's centerpiece is "Different Trains," a work that frames Reich's impressions of his boyhood train trips between his mother in Los Angeles and his father in New York; Reich also intersperses references to the much more harrowing train rides Jews were forced to take to Nazi concentration camps. Using the fine playing of the Kronos Quartet as a base, Reich layers the work with the taped train musings of his governess, a retired Pullman porter, and various Holocaust survivors -- vintage train sounds from the '30s and '40s add to the riveting arrangement. And for some nice contrast, Reich recruits guitarist Pat Metheny to create a similarly momentous piece in "Electric Counterpoint" (Metheny plays live over a multi-tracked tape of ten guitars and two electric basses). Two fine works by Reich in his prime. Meanwhile, Reich -- for the first time in his mature career as a composer -- experiments with modulation between keys and other elements of tonality that he had previously ignored. Indeed, when the final movement, after three movements' worth of Reich's characteristic tonal ambiguity, finally "affirms the key of D major as the basic tonal center," as Reich's lucid liner notes helpfully explain, the effect, combined with the increasing power and passion of the female voices, is astonishing

Steve Reich 08 Different Trains - Electric Counterpoint - Three Movements  (flac  282mb)

Different Trains
01 America - Before The War 8:58
02 Europe - During The War 7:30
03 After The War 10:30
Electric Counterpoint
04 Fast 6:50
05 Slow 3:21
06 Fast 4:39
Three Movements
07 Movement I 6:43
08 Movement II 3:41
09 Movement III 4:18

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Nov 26, 2016

RhoDeo 1647 Grooves


Today's artist is an American singer whose career has spanned four decades, beginning in the 1970s as the frontwoman and focal point of the funk band Rufus. Widely known as the Queen of Funk, she has sold an estimated 70 million records worldwide. Khan was ranked at number 17 in VH1's original list of the 100 Greatest Women of Rock & Roll. In 2015, she was nominated for induction into the Rock and Roll Hall of Fame for the second time; she was previously nominated as member of Rufus in 2011. To date, Khan has won 10 Grammy Awards, including two as a member of Rufus. She has received 22 Grammy Award nominations, including three as a member of Rufus.... ..... N'joy

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Chaka Khan was born Yvette Marie Stevens on March 23, 1953 into an artistic, bohemian household in Chicago, Illinois. She is the eldest of five children born to Charles Stevens and Sandra Coleman, and has described her father Charles as a beatnik and her mother as 'able to do anything.' Raised in the Hyde Park area, 'an island in the middle of the madness' of Chicago's rough South Side housing projects. Her sister Yvonne later became a successful musician in her own right under the name Taka Boom. Her only brother, Mark, who formed the funk group Aurra, also became a successful musician. She has two other sisters, Zaheva Stevens and Tammy McCrary, the latter of whom is her current manager.

Chaka Khan was raised as a Catholic. She attributed her love of music to her grandmother, who introduced her to jazz as a child. Khan became a fan of rhythm and blues music as a pre-teen and at eleven formed a girl group, the Crystalettes, which included her sister Taka. In the late 1960s, Khan attended several civil rights rallies with her father's second wife, Connie, a strong supporter of the movement, and joined the Black Panther Party after befriending fellow member, activist, and Chicago native Fred Hampton in 1967. Though many think that she was given the name Chaka while in the Panthers she has made it clear that her name Chaka Adunne Aduffe Hodarhi Karifi was given to her at age 13 by a Yoruba Baba. In 1969, she left the Panthers and dropped out of high school, having attended Calumet High School and Kenwood High School (now Kenwood Academy). She began to perform in small groups around the Chicago area, first performing with Cash McCall's group Lyfe, which included her then boyfriend Hassan Khan, whom she would later marry.

She was asked to replace Baby Huey of Baby Huey & the Babysitters after Huey's death in 1970. The group disbanded a year later. While performing in local bands in 1972, she was spotted by two members of a new group called Rufus and soon won her position in the group (replacing rock and roll singer Paulette McWilliams). They later signed with ABC Records in 1973. Prior to signing with the label, she married on-and-off boyfriend Hassan Khan, changing her stage name to Chaka Khan.

In 1973, Rufus released their eponymous debut album. Despite their fiery rendition of Stevie Wonder's "Maybe Your Baby" from Wonder's acclaimed Talking Book and the modest success of the Chaka-led ballad "Whoever's Thrilling You (Is Killing Me)", the album failed to garner attention. That changed when Wonder himself collaborated with the group on a song he had written for Khan. That song, "Tell Me Something Good", became the group's breakthrough hit, reaching number-three on the Billboard Hot 100 in 1974, later winning the group their first Grammy Award. The single's success and the subsequent follow-up, "You Got the Love", which peaked at number eleven on the Billboard Hot 100, helped their second parent album, Rags to Rufus, go platinum, selling over a million copies. From 1974 to 1979, Rufus released six platinum-selling albums including Rufusized, Rufus Featuring Chaka Khan, Ask Rufus, Street Player and Masterjam. The band gained a reputation as a live performing act with Khan becoming the star attraction, thanks to her powerful vocals and stage attire which sometimes included Native American garb and showing her midriff. Most of the band's material was written and produced by the band itself with few exceptions. Khan has also been noted for being an instrumentalist playing drums and bass; she also provided percussion during her tenure with Rufus.

In 1978, Warner Bros. Records released Khan's solo debut album, which featured the crossover disco hit, "I'm Every Woman", written for her by songwriters Ashford & Simpson. The success of the single helped the album go gold, selling over a million copies. In 1979, Khan reunited with Rufus to collaborate on the Jones-produced Masterjam, which featured their hit "Do You Love What You Feel", which Khan sang with Tony Maiden. In 1980, while Rufus released Party 'Til You're Broke, again without Khan, she released her second solo album, Naughty, which featured her on the cover with her six-year-old daughter Milini. The album yielded the disco hit "Clouds" and the R&B ballad "Papillon".

Also in 1980, she had a cameo appearance as a church choir soloist in The Blues Brothers with John Belushi and Dan Aykroyd. Khan released two albums in 1981, the Rufus release, Camouflage and the solo album What Cha' Gonna Do for Me. The latter album went gold. In 1982, Khan issued two more solo albums, the jazz-oriented Echoes of an Era and a more funk/pop-oriented self-titled album Chaka Khan. The latter album's track, the jazz-inflected "Be Bop Medley", won Khan a Grammy and earned praise from jazz singer Betty Carter who loved Khan's vocal scatting in the song.

In 1983, the singer returned with Rufus on a live album, Stompin' at the Savoy - Live, which featured the studio single, "Ain't Nobody", which became the group's final charting success reaching number 22 on the Billboard Hot 100 and number one on the Hot R&B chart, while also reaching the top ten in the United Kingdom. Following this release, Rufus separated for good.

In 1984, Khan released her sixth studio album, I Feel for You. The title track was the first single released. Originally written and recorded by Prince in 1979, it had also been recorded by The Pointer Sisters and Mary Wells. Khan's version featured a harmonica solo by Stevie Wonder and an introductory rap by Grandmaster Melle Mel. It became a million-selling smash in the U.S. and United Kingdom and helped to relaunch Khan's career. "I Feel for You" topped not only the U.S. R&B and dance charts, but achieved great success on the U.S. pop chart and reached #1 in the United Kingdom. The song reached #3 on the Billboard Hot 100 in December 1984 and remained on that chart for 26 weeks, well into 1985. Additionally, it hit #1 on the Cash Box chart. It was listed as Billboard′s #5 song for 1985 and netted Prince the 1985 Grammy Award for Best R&B Song. In addition to the song's successful radio airplay and sales, a music video of Khan with break dancers in an inner-city setting enjoyed heavy rotation on television and helped to solidify Khan's notoriety in popular culture.

Khan followed up her successful I Feel For You album with 1986's Destiny and 1988's CK. Khan found more success in the late 1980s with a remix album, Life Is a Dance: The Remix Project, which reached the top ten on the British albums chart. As a result, she performed regularly in the United Kingdom, where she maintained a strong fan base. Khan returned with her first studio album in four years in 1992 with the release of The Woman I Am, which was a success thanks to the R&B songs "Love You All My Lifetime" and "You Can Make the Story Right". Khan abruptly left Warner Bros. after stating the label had neglected her and failed to release Dare You to Love Me

In 1998, Khan signed a contract with Prince's NPG Records label and issued Come 2 My House, followed by the single "Don't Talk 2 Strangers", a cover of a 1996 Prince song. Khan later went on a tour with Prince as a co-headlining act. In 2000, Khan departed from NPG and in 2004 released her first jazz covers album in twenty-two years with 2004's ClassiKhan. She also covered "Little Wing" with Kenny Olson on the album Power of Soul: A Tribute to Jimi Hendrix. Three years later, after signing with Burgundy Records, Khan released what many critics called a "comeback album" with Funk This, produced by Jimmy Jam and Terry Lewis & Big Jim Wright The album featured the hit, "Angel", and the Mary J. Blige duet, "Disrespectful". The latter track went to number one on the U.S. dance singles chart, winning the singers a Grammy Award, while Funk This also won a Grammy for Best R&B Album.

In a 2008 interview Khan said that she, unlike other artists, felt very optimistic about the current changes in the recording industry, including music downloading. "I'm glad things are shifting and artists – not labels – are having more control over their art. My previous big record company (Warner Bros.) has vaults of my recordings that haven't seen the light of day that people need to hear. This includes Robert Palmer's original recording of 'Addicted to Love' – which they took my vocals off of! We are working on getting it (and other tracks) all back now. On May 19, 2011, Khan was given the 2,440th Hollywood Walk of Fame star plaque on a section of Hollywood Boulevard in Los Angeles. Her family was present when the singer accepted the honor, as was Stevie Wonder. Khan is working on her new album called iKhan which is said to be released in 2015...still in the pipeline. Instead she released Soul Diva Chaka Live in flac format. In July 2016, she canceled concert performances and entered rehab, we wish her strength.

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When Chaka Khan recorded her fifth solo album, I Feel for You, in 1984, she knew that R&B had changed a lot since the 1970s. Horn-powered funk bands, strings-laden Philadelphia soul, and orchestral disco were out of vogue, and the urban contemporary audiences of 1984 were into a more high-tech, heavily electronic style of R&B. Many artists who had been huge in the 1970s found that they no longer appealed to black radio programmers, who had abandoned them and turned their attention to electro-funksters and Prince disciples. But Chaka Khan had no problem keeping up with the times; I Feel for You made it clear that she could easily be relevant to the urban contemporary scene of 1984. No one would mistake I Feel for You for a Rufus project from 1975 -- it's way too high-tech -- and yet, everything on the album is unmistakably Chaka Khan. That is true of up-tempo items like "Love Is Alive" (an interesting remake of Gary Wright's 1976 hit) and "La Flamme," as well as the ballad "Through the Fire," which was a big hit on urban radio but crossed over to adult contemporary stations in a major way. "This Is My Night" (which was written and produced by the System) also became an urban radio hit, but the album is best known for Khan's unlikely remake of Prince's "I Feel for You." When Prince first recorded "I Feel for You" in 1979, it wasn't a hit; Khan's version, however, soared to number one on Billboard's R&B singles chart. Khan had a very different take on the song than Prince; while his original version was subtle and restrained, Khan went for exuberance and added a strong hip-hop flavor. Excellent from start to finish, this album went down in history as both a creative and a commercial success.

Chaka Khan - I Feel For You    (flac  300mb)

01 This Is My Night 4:38
02 Stronger Than Before 4:21
03 My Love Is Alive 4:42
04 Eye To Eye 4:38
05 La Flamme 4:27
06 I Feel For You 5:44
07 Hold Her 5:14
08 Through The Fire 4:45
09 Caught In The Act 3:45
10 Chinatown 4:37

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CK is the seventh studio album by American R&B/funk singer Chaka Khan, released on the Warner Bros. Records label in 1988. CK was Khan's first album not to be recorded with Arif Mardin, instead it had with the exception of two tracks Russ Titelman at the helm as producer, with whom she had collaborated on hits like "Ain't Nobody" (1983), "Eye to Eye" from 1984's platinum-selling I Feel for You as well as "Tight Fit" from her previous album Destiny. Musically ck combined a variety of genres such as soul, R&B, funk, pop as well as two jazz titles and altogether the set was more laid-back, less hip-hop influenced and production-wise not as complex and synth-driven as I Feel for You and Destiny.

Three singles were released from CK: Womack & Womack's Latino-flavoured "It's My Party" which reached #5 on Billboard's R&B Singles chart, "Soul Talkin'" and "Baby Me" which became another Top 10 hit on the R&B chart, peaking at #8. The ck album itself also charted higher than the preceding Destiny, reaching #17 on the R&B Albums chart. CK opens with Khan's cover of Stevie Wonder's 1970 hit "Signed, Sealed, Delivered I'm Yours", again featuring the composer himself on harmonica, just like on "I Feel for You".

One of the two tracks not to be produced by Russ Titelman was the funky and improvisational "Sticky Wicked", Khan's first proper collaboration with Prince after having covered his "I Feel for You" in 1984 and turning it into a million-selling hit single. ck also includes a second Prince composition, "Eternity" (produced by David Frank and Khan herself), and some ten years later Khan and Prince were to team up for a full-length album together, Come 2 My House.She currently speaks with disdain about the record business, and it's probably due to the relative failure of great records like this to break out and really enjoy the success they merit that's disillusioned.

Chaka Khan - CK   (flac 297mb)

01 Signed, Sealed, Delivered (I'm Yours) 4:45
02 Soul Talkin' 4:16
03 It's My Party 5:11
04 Eternity 4:03
05 Sticky Wicked 6:54
06 The End Of A Love Affair 5:10
07 Baby Me 4:04
08 Make It Last 4:47
09 Where Are You Tonite 4:54
10 I'll Be Around 5:20

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Criminally overlooked upon its release, 1998 saw Chaka Khan shine on Come 2 My House. This album is thanks largely to the work of Prince, whose voice, words, and musicianship permeate the record all the way down to the colorful packaging. In fact, compared with New Power Soul, his own lackluster release that year, Come 2 My House and Graham Central Station's 2000, also from the Prince camp, should count as the real Prince albums of 1998.
What might have been rather mundane Prince songs about the usual subjects shimmer in the throat of Chaka Khan, whose singing here runs the full range of high and lows; funky or slow, seductive, spiritual, or funny. Prince's production is lush and deep, filled with orchestral and electronic arrangements, funk flourishes and voices deep in the mix: a tribute both to his own old-school '80s funk/R&B inventions, and the ease with which he's been able to incorporate them into a contemporary atmosphere without the overcalculation that's plagued much his own late '90s work. This shows on every track. For the longtime fan of both Khan and Prince, maturing through the years, this is music that delights both in its familiarity and consistency. Amidst the midtempo groove of "Spoon," Chaka Khan concurs: "U are just like my favorite spoon/cuz U stir me up." House will stir up anyone delighted by these pros in the past.

Chaka Khan - Come 2 My House   (flac  414mb)

01 Come 2 My House 4:46
02 (Intro) 0:32
03 This Crazy Life Of Mine 2:33
04 Betcha I 4:30
05 Spoon 3:50
06 Pop My Clutch 4:47
07 Journey 2 The Center Of Your Heart 4:16
08 I'll Never B Another Fool 4:13
09 Democrazy 6:08
10 I Remember U 4:16
11 Reconsider (U Betta) 4:23
12 Don't Talk 2 Strangers 3:16
13 Hair 5:45
14 The Drama 6:36

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Three years on from Chaka Khan's recording of Classikhan with the London Symphony Orchestra, Funk This is likewise heavy on fresh looks at some of Khan's favorite songs, but its sources involve the likes of Jimi and Joni instead of Leiber & Stoller. Recorded with a core of Jimmy Jam, Terry Lewis, and Bobby Ross Avila, with guest contributions from Mary J. Blige, Michael McDonald, and Rufus guitarist Tony Maiden, Funk This sounds like much of it was recorded live, giving it a loose, not-fussed-over sound, though there are some questionable moves -- like the favoring of a smoothed-out synth over a crunching guitar riff during Rufus' "You Got the Love," or the use of a talk box on McDonald's "You Belong to Me." The covers do work more often than not, highlighted by Prince's "Sign 'O' the Times" and Joni Mitchell's "Ladies Man" (an unlikely but very smart choice). There's a handful of new songs, including the nostalgic "Back in the Day," where Chaka looks back to when she was known as Yvette Stevens, and the fast and furious "Disrespectful" -- where Jam and Lewis try to capture some of Rich Harrison's breakbeat-heavy "Crazy in Love"/"1 Thing" magic -- but the one that sticks out most is "Hail to the Wrong," which could be mistaken for a new version of an excellent album cut from 1980's Naughty or 1981's What Cha' Gonna Do for Me. Chaka sounds mostly excellent from track to track, especially during the more relaxed moments.

Chaka Khan - Funk This   (flac 393mb)

01 Back In The Day 4:29
02 Foolish Fool 3:47
03 One For All Time 4:45
04 Angel 4:26
05 Will You Love Me? 4:59
06 Castles Made Of Sand 4:00
07 Disrespectful (feat Mary J. Blige) 4:45
08 Sign 'O' The Times 5:24
09 Pack'd My Bags/You Got The Love 5:55
10 Ladies' Man 3:52
11 You Belong To Me (feat Michael McDonald) 3:59
12 Hail To The Wrong 3:43
13 Super Life 5:01

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Nov 25, 2016

RhoDeo 1647 Re-Up 79

Hello, just the three valid requests this week and 2 turkeys, what do you expect on Thanksgiving Day. Prayers of thanks and special thanksgiving ceremonies are common among almost all religions after harvests and at other times. The Thanksgiving holiday's history in North America is rooted in English traditions dating from the Protestant Reformation. It also has aspects of a harvest festival, even though the harvest in New England occurs well before the late-November date on which the modern Thanksgiving holiday is celebrated.

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

Looka here another batch of 9 re-ups, requests fullfilled up to November 24th. 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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as expected a request for..
3x Aetix Back in Flac ( Elvis Costello - My Aim Is True, Elvis Costello - Armed Forces, Elvis Costello - Get Happy)

3x Roots Back in Flac ( Zion Train - Passage To Indica, Zion Train - Natural Wonders Of The World In Dub, Zion Train - Secrets Of The Animal Kingdom In Dub)

3x Grooves Back in Flac (Albert King - Born Under A Bad Sign, Albert King - Live Wire / Blues Power, Albert King - Years Gone By)

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Nov 23, 2016

RhoDeo 1647 Aetix


Today's artist is a very busy body who has produced 40 something in albums in the 39 years he's been on the scene, clearly the man doesn't need any extra stimulus and i suppose he ain't someone to chill out with. He's an Liverpudlian musician, singer-songwriter, and record producer. He began his career as part of London's pub rock scene in the early 1970s and later became associated with the first wave of the British punk and new wave movement that emerged in the mid-to-late 1970s. His critically acclaimed debut album, My Aim Is True, was released in 1977......N'Joy

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Declan Patrick Aloysius McManus alias Elvis Costello started out in a pubrock vain in a band called Flip City from 1974 through early 1976. Around this time, MacManus adopted the stage name D.P. Costello. After successfully landing a demo at Stiff records. His manager at Stiff, Jake Riviera, suggested a name change, to Elvis Costello. Costello's first album, My Aim Is True (1977), was a moderate commercial success with Costello appearing on the cover in his trademark oversize glasses, bearing a striking resemblance to a menacing Buddy Holly. Originally marketed as a punk artist, as the term new wave was applied to the first post-punk bands, Costello was classified as new wave for a time. The same year, Costello recruited his own permanent band, The Attractions, consisting of Steve Nieve (born Steve Nason; piano), Bruce Thomas (bass guitar), and Pete Thomas (unrelated to Bruce Thomas; drums). He released his first major hit single, "Watching The Detectives" . This Year's Model, Costello's first album recorded with the Attractions, was released in the spring of 1978. A rawer, harder-rocking record than My Aim Is True, it was also a bigger hit, the following year, Armed Forces was a more musically diverse album than either of his previous records. It was another hit, "Oliver's Army," the first single from the album, reached number two in Britain. In the summer of 1979, Costello produced the self-titled debut album by the Specials. In February of 1980, the soul-influenced Get Happy!!  the first record released on Riviera's new record label, F-Beat. Costello and the Attractions released Trust in early 1981; it was his fifth album in a row produced by Nick Lowe.

Jumping 22 very active years (19 albums) to 2003, when Costello returned with North, a collection of classically styled pop songs pitched halfway between Gershwin and Sondheim. The next year, he collaborated with his new wife, Diana Krall, on her first collection of original material, The Girl in the Other Room. That fall, Costello released two albums of original material: a classical work entitled Il Sogno and the concept album The Delivery Man, a rock & roll record cut with the Imposters. My Flame Burns Blue from 2006 was a live album with Costello fronting the 52-piece jazz orchestra the Metropole Orkest. On the album, classic Costello songs with new orchestral arrangements appeared alongside new compositions and a performance of the entire Il Sogno. The River in Reverse, a collaboration with R&B legend Allen Toussaint, arrived in 2006, followed by Momofuku, another effort credited to Elvis Costello & the Imposters, in 2008. That same year, Costello teamed up with veteran producer T-Bone Burnett for a series of recording sessions, the results of which were compiled into Secret, Profane & Sugar Cane and readied for release in early 2009. The pair also recorded a second album, National Ransom, which appeared the following year. In 2011 Costello & the Imposters released The Return Of The Spectacular Spinning Songbook!!!, which was recorded live over a two-day stint at the Wiltern in Los Angeles.

Over his career, Costello's musical eclecticism has distinguished his records and have shown him to be one of the most innovative, influential, and best songwriters who supports his fiercely literate lyrics with richly diverse music.

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Elvis Costello coproduced this 1986 album with roots-rock maestro T-Bone Burnett, creating a deeply personal and affecting series of songs that shade beautifully between folk and country. Stripping away much of the excess that cluttered Punch the Clock and Goodbye Cruel World, Elvis Costello returned to his folk-rock and pub rock roots with King of America, creating one of his most affecting and personal records. Costello literally took on the album as a return to roots, billing himself by his given name Declan MacManus and replacing the Attractions with a bunch of L.A. session men (although his old band appears on one cut), who give the album a rootsy but sleek veneer that sounds remarkably charged after the polished affectations of his Langer/Winstanley productions. And not only does the music sound alive, but so do his songs, arguably his best overall set since Trust. Working inside the limits of country, folk, and blues, Costello writes literate, introspective tales of loss, heartbreak, and America that are surprisingly moving -- he rarely got better than "Brilliant Mistake," "Glitter Gulch," "American Without Tears," "Big Light," and "Indoor Fireworks." What separates King of America from the underrated Almost Blue is that Costello's country now sounds lived-in and worn, bringing a new emotional depth to the music, and that helps make it one of his masterpieces.

Elvis Costello - King of America (flac  480mb)

01 Brilliant Mistake 3:45
02 Lovable 2:53
03 Our Little Angel 4:05
04 Don't Let Me Be Misunderstood 3:21
05 Glitter Gulch 3:17
06 Indoor Fireworks 4:10
07 Little Palaces 3:49
08 I'll Wear It Proudly 4:24
09 American Without Tears 4:34
10 Eisenhower Blues 3:46
11 Poisoned Rose 4:06
12 The Big Light 2:33
13 Jack Of All Parades 5:17
14 Suit Of Lights 4:05
15 Sleep Of The Just 3:51
16 The People's Limousine 3:38
17 They'll Never Take Her Love From Me 3:01
18 Suffering Face 3:08
19 Shoes Without Heels 4:18
20 King Of Confidence 2:46


Elvis Costello and The Attractions - Live On Broadway, 1986 Bonus (flac  160mb)

01 How You Get Killed Before 2:41
02 The Big Light 2:50
03 It Tears Me Up 3:24
04 The Only Daddy That'll Walk The Line 2:37
05 Your Mind Is On Vacation / Your Funeral And My Trial 5:14
06 That's How You Get Killed Before (Reprise) 7:08

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Elvis Costello returned to the Attractions as quickly as he abandoned them, hiring the band and old producer Nick Lowe to record Blood & Chocolate, his second record in the span of one year. Where King of America was a stripped-down roots rock affair, Blood & Chocolate is a return to the harder rock of This Year's Model. Occasionally, there are hints of country and folk, but the majority of the album is straight-ahead rock & roll: the opener, "Uncomplicated," only has two chords. The main difference between the reunion and the Attractions' earlier work is the tone -- This Year's Model was tense and out of control, whereas Blood & Chocolate is controlled viciousness. "Tokyo Storm Warning," "I Hope You're Happy Now," and "I Want You" are the nastiest songs he has ever recorded, both lyrically and musically -- Costello snarls the lyrics and the Attractions bash out the chords. Blood & Chocolate doesn't retain that high level of energy throughout the record, however, and loses momentum toward the end of the album. Still, it's a lively and frequently compelling reunion, even if it is a rather mean-spirited one.

Elvis Costello and The Attractions - Blood and Chocolate (flac 273mb)

01 Uncomplicated 3:28
02 I Hope You're Happy Now 3:07
03 Tokyo Storm Warning 6:24
04 Home Is Anywhere You Hang Your Head 5:07
05 I Want You 6:44
06 Honey, Are You Straight Or Are You Blind? 2:08
07 Blue Chair 3:41
08 Battered Old Bird 5:51
09 Crimes Of Paris 4:19
10 Poor Napoleon 3:23
11 Next Time Around 3:36

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Throughout his career Elvis Costello has always been prolific; thus it was surprising, even given the change in record labels for the US, when he took a whole 20 months between Blood & Chocolate and this follow-up. But the musical growth he exhibits makes the wait worthwhile. This is an ambitious album, with Costello working with multiple collaborators, genres, and sounds. He's feeling expansive, and also more direct than at times in the past. But nothing seems jarring in juxtaposition here--it all flows as one, held together by a distaste for current political and cultural trends. The musical settings range from the stark folk of "Tramp the Dirt Down" to the pop sprightliness of "Veronica" (a collaboration with Paul McCartney that became Costello's first American Top 20 hit) and the New Orleans jazz sound of "Deep Dark Truthful Mirror," featuring the Dirty Dozen Brass Band. The lyrics are among his best.

Elvis Costello - Spike (flac 398mb)

01 ...This Town...4:31
02 Let Him Dangle 4:45
03 Deep Dark Truthful Mirror 4:06
04 Veronica 3:09
05 God's Comic 5:31
06 Chewing Gum 3:46
07 Tramp The Dirt Down 5:41
08 Stalin Malone 4:09
09 Satellite 5:44
10 Pads, Paws And Claws 2:56
11 Baby Plays Around 2:46
12 Miss MacBeth 4:23
13 Any King's Shilling 6:06
14 Coal-Train Robberies 3:18
15 Last Boat Leaving 3:31

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Nov 22, 2016

RhoDeo 1647 Roots


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

Today's artist is a Brazilian singer, songwriter, actor, and painter active for more than 70 years beginning in 1933. He contributed to the birth of Brazil's bossa nova movement, and several of his samba pieces, such as "Samba da Minha Terra", "Doralice" and "Saudade da Bahia", have become staples of Música popular brasileira. Equally notable are his ballads celebrating the fishermen and women of Bahia, including "Promessa de Pescador", "O Que É Que a Baiana Tem?", and "Milagre". Caymmi composed about 100 songs in his lifetime, and many of his works are now considered to be Brazilian classics. N'Joy

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If one were to look for a geographical region in Brazil that resembles the Mississippi Delta in terms of producing a lion's share of influential performers, a good case could be made for the region of Bahia in Brazil's northeast. The list of Bahian performers is formidable: Caetano Veloso, Gilberto Gil, Gal Costa, Maria Bethania, etc. What links all of these people is the influence of Dorival Caymmi perhaps the single most important composer to come from this region.

Caymmi was born in Salvador, Bahia, to Durval Henrique Caymmi, the great-grandson of an Italian immigrant, and Aurelina Soares Caymmi, a native Bahian. He had two younger sisters, Dinahir and Dinah, and a younger brother, Deraldo. His father, a civil servant, often played the piano, guitar, and mandolin at home, and his mother, a housewife, sang regularly. He participated in his church's choir for much of his childhood. At age 13, he left school to work as a journalist at Bahian newspaper O Imparcial. When O Imparcial went out of business two years later, he took up work as a street vendor.

Although he never formally studied music, Caymmi taught himself to play guitar in the late 1920s and began to compose, sing, and play his own songs on Bahian radio programs around 1930. He first achieved widespread recognition in 1933, when at age 16, he composed the song "O Que É Que a Baiana Tem?" ("What Is It About Bahian Women?") for singer Carmen Miranda. In 1936, at age 22, he won a songwriting contest at Salvador's annual Carnaval celebration. His prize was a pink satin lampshade. Despite his early musical success, he moved to Rio de Janeiro in 1938 with intentions to pursue a law degree and to return to working as a journalist. While employed there by the newspaper Diários Associados, he spent his spare time composing and singing songs on the radio show Dragão da Rua Larga. His popularity began to grow with the show's audience.

Many of Caymmi's lyrics pay homage to the lifestyle, beaches, fishermen, and women of his native Bahia. He drew much of his inspiration from music indigenous to northeastern Brazil, especially Afro-Brazilian music and samba. He recorded for more than five decades and released about 20 albums, sometimes singing and playing guitar as a soloist and at other times accompanied by bands and orchestras. Although active for the better part of the 20th century, Caymmi wrote only about 100 songs. Despite having a relatively small body of work, Caymmi held a reputation for composing songs of exceptional quality. He occasionally collaborated with Jobim, who called him a "universal genius" and Brazil's greatest composer. Many contemporary Brazilian artists, including Caetano Veloso, Gilberto Gil and Beth Carvalho cite Caymmi as a significant influence on their music.

"O Que É Que a Baiana Tem?" gained even more fame in Brazil when Miranda performed it in the 1939 film Banana-da-Terra, and it was this song that garnered her international attention and helped launch her career. After this success, Caymmi began to focus more on making music, and he wrote songs that appeared in other Brazilian films. In late 1939, he signed with Odeon Records and recorded his first three singles. In the 1950s and 1960s, Jobim, João Gilberto, and others who contributed to the birth of the bossa nova style collaborated with Caymmi and often referenced his work when composing their own pieces. During this era, Gilberto covered several of Caymmi's songs, including "Rosa Morena" ("Dark-skinned Rose") and "Saudade da Bahia" ("Longing for Bahia"). Jobim was particularly enamored of Caymmi's music, and the two grew to be close friends.

Caymmi was a lifelong friend of Bahian author Jorge Amado, and in 1945, he set one of Amado's politically driven poems to music to aid the senatorial campaign of Luís Carlos Prestes.[1][4] In the late 1970s, Caymmi again took inspiration from Amado when he composed "Modinha para a Gabriela" ("A Little Song for Gabriela"), a musical adaptation of Amado's novel Gabriela, Cravo e Canela.

To thank Caymmi for bringing international attention to Brazilian music and culture, in 1968, the governor of Bahia presented Caymmi with a house in Salvador, and so he returned to live in his hometown for a short period of time. In 1972, Caymmi was awarded the Order of Merit of the State of Bahia, an order given to Bahian residents for excellent service to the state. In Caymmi's case, the service was bringing pride and honor to Bahian people through the widespread dissemination of his music about life there. On Caymmi's 70th birthday, in 1984, French Minister of Culture Jack Lang presented him with the Ordre des Arts et des Lettres, a French order that recognizes significant contributors to the fields of art and literature, in Paris. The following year, a new street named Avenida Dorival Caymmi (Dorival Caymmi Avenue) opened in Salvador. In 1986, Rio de Janeiro's famed Mangueira samba school based its Carnaval performance on Caymmi's life and work, and the school won the annual parade-style samba competition. In 2015, his tribute album Centenário Caymmi was nominated for the 16th Latin Grammy Awards in the Best MPB Album category.

Although Caymmi earned his fame through music, he was also known to a lesser degree for his paintings. From 1943 to 1945, he regularly attended a drawing and painting class at the Escola de Belas Artes, a fine arts school in Rio de Janeiro. Even after discontinuing his formal study, he painted for the rest of his life. He practiced Candomblé, an Afro-Brazilian religion characterized by belief in spirit-gods and ritualistic practices involving mediumship. Candomblé was his father's religion, and Caymmi gradually involved himself more with it as an adult, when his friends invited him to accompany them to religious ceremonies and parties. Caymmi was also a naturist, and when he was in Bahia, he liked to bathe nude in the Lagoa do Abaeté

While working at Rádio Nacional in 1939, he met Brazilian vocalist Adelaide Tostes, who is better known by her stage name Stella Maris, and the two married in 1940. Tostes responded to a 1994 press query about Caymmi's habit of frequenting bars with a short story: "One night I went to look for him in a bar ... He was surrounded by women. I went in and slammed a table. A glass broke. The bouncer came, and I punched Caymmi's face. Then I left cussing. I thought he was involved with drugs, but it wasn't the case. He was with the tramps." Despite such incidents, however, they remained together for 68 years, until his death in 2008. The couple had three children, Nana, Danilo, and Dori, all of whom followed their father into musical careers. Dorival Caymmi died at age 94 of kidney cancer and multiple organ failure on August 16, 2008, at his home in Copacabana, Rio de Janeiro.

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Dorival Caymmi – arguably one of the true fathers of Brazilian music from the 60s onward! This is a record that's filled with early compositions that went onto become standards of Brazilian song – the kind of tunes that have been recorded often by others over the years, presented here in key original versions ! . Eu Nao Tenho Onde Morar is magical early work from Dorival Caymmi – and the kind of record that easily shows why he was such a huge influence on Brazilian music! The album bubbles along with a lively mix of samba and larger orchestrations – Caymmi's wonderful vocals and songs filling up the set with a sense of tone, color, and life that surpasses most other popular Brazilian albums of the time. Titles include "Rosa Morena", "Acontece Que Eu Sou Baiano", "O Dengo Que A Nega Tem", "Vizinha Do Lado", "Marina", and "Sao Salvador

Dorival Caymmi - Eu não tenho onde morar (flac 155mb)

01 Eu não tenho onde morar 2:23
02 Rosa morena 2:19
03 Acontece que eu sou baiano 2:18
04 Acalanto 3:18
05 Vestido de bolero 2:09
06 O dengo que a nêga tem 2:43
07 Dora 3:32
08 O que é que a baiana tem 2:30
09 A vizinha do lado 2:56
10 Adeus 3:50
11 São Salvador 2:14

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Accompanied by the Quartet in Cy and the set of Oscar Castro Neves , Vinicius de Moraes and Dorival Caymmi they packed the nightclub Zum Zum in Copacabana , in a series of concerts held between 1964 and 1965 . As there was no way to record live LPs that time, "Vinicius and Caymmi at Zum Zum" was produced in the studio. - With classics like "The Creation Day," "Taiwan" and "Bud Friend" Baden Powell makes an appearance on the album getting next to Vinicius de Moraes in all the songs.

Dorival Caymmi e Vinicius de Moraes - No Zum Zum  (flac  244mb)

01 Bom Dia Amigo/Carta A Tom/Berimbau 7:40
02 Tem Dó De Mim 2:04
03 Broto Maroto 1:37
04 Minha Namorada 4:04
05 Saudades Da Bahia/...Das Rosas 5:15
06 História De Pescadores 9:15
07 Dia Da Criação 4:52
08 Aruanda/Adalgiza 2:37
09 Formosa 2:02
10 Final 0:51

  Dorival Caymmi e Vinicius de Moraes - No Zum Zum    (ogg  96mb)

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Songwriter Dorival Caymmi was one of the key figures in the history of samba-cancao pop... He wrote many classic songs, including some of Carmen Miranda's hits in the 1940s. Caymmi continued recording well into the 1950s, '60s and '70s... The presentation here is certainly a big step forward from the over-the-top pop-orchestrations that plague many of his earlier albums. Its certainly very interesting to hear a different texture of music behind him. The results are generally very positive, not just because of the backing band (the percussion is exceptional, but I'm still not sure about the backing singers), but mostly because of Dorival himself, who plays and sings as well here as on any recording, and also the production in general being much better than most of the 1950s albums.This is a reissue of an unusual album from 1972 that features lots of traditional Afro-Brazilian oba drumming and Bahian candomble music. It's very different from Caymmi's acoustic guitar-based music of earlier decades. If you liked Virginia Rodrigues's use of candomble rhythms in her albums of the 1990s, you might also want to check this album out.

Dorival Caymmi - Caymmi-Tambem E De Rancho   (flac  401mb)

01 Promessa De Pescador 4:43
02 Morena Do Mar 2:49
03 Santa Clara Clareou 1:56
04 Canto De Nanã 1:55
05 Dona Chica (Francisca Santos das Flores) 2:52
06 Oração De Mãe Menininha 3:15
07 Eu Cheguei Lá 1:56
08 Sodade Matadeira 3:02
09 A Preta Do Acarajé 3:05
10 Rainha Do Mar 1:43
11 Vou Ver Juliana 2:15
12 Itapoan 2:26
13 Canto Do Obá 3:52
Tambem E De Rancho
14 ...Das Rosas 3:38
15 Rosa Morena 2:24
16 Cancão de Partida 3:06
17 Marina 2:32
18 Canoeiro 2:32
19 Sábado Em Copacabana 2:22
20 Coqueiro de Itapoan 2:38
21 Peguei Um Ita No Norte 3:19
22 Nem Eu 2:23
23 O Bem Do Mar 2:02
24 Tamporal 3:00
25 Acalanto 3:03

Dorival Caymmi - Caymmi-Tambem E De Rancho      (ogg  185mb)

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This is Dorival Caymmi – Caymmi (1985), recorded by Fundacao Emilio Odebrecht to celebrate Dorival Caymmi 70th anniversary in 1985. This is not a commercial album, distributed only to Fundacao Emilio Odebrecht customers. Caymmi is 100% made of new recordings with Dorival Caymmi and his violao on the first LP and Dorival Caymmi with Maestro Radames Gnattali on the second LP. The phonographic content would be unheard of until 1997, when he received an edition cd. But we can say that since it is a material out of print and therefore deserves our attention. This album was a production that involved Caymmi himself. He brings, of course, some of the many and most famous of his compositions. Caribé testimonials, Jorge Amado, Tom Jobim and Caetano Veloso. To complete the dish, special spices: a team of very first musicians, starting with the principal conductor and arranger, Radames Gnattali.

Dorival Caymmi – Caymmi (Odebrecht) (flac  349mb)

01 Depoimento De Jorge Amado
02 É Doce Morrer No Mar
03 Festa de Rua
04 A Preta Do Acarajé
05 Canção Da Partida (História De Pescadores)
06 A Lenda Do Abaeté
07 O Que É Que A Baiana Tem
08 Depoimento de Caetano Veloso
09 Depoimento de Tom Jobim
10 Das Rosas
11 Dora
12 Eu Fiz Uma Viagem
13 Peguei Um Ita No Norte
14 Maracangalha
15 Acalanto
16 Depoimento De Carybe
with Radamés Gnattali
17 Caymmiana (Instrumental)
18 Você Já Foi A Bahia
19 João Valentão
20 O Samba Da Minha Terra
21 Sargaço Mar
22 A Mãe D’água E A Menina
23 Pescaria
24 Vatapá
25 Marina
27 Dois De Fevereiro
28 Oração De Mãe Menininha

Dorival Caymmi – Caymmi  (ogg  189mb)

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