RhoDeo 1922 Roots

Hello,


Today's artists are a mixed lot, that's what you get posting samplers and it seems that too view artists has enough base to release albums and certainly in the current fast moving 'hits' climate, who needs an album when you can buy tracks a collection of tracks then......N'Joy

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Zouk is a contemporary dance music of the Caribbean that uses both traditional and high-tech musical resources. It is based on interlocking rhythmic and melodic patterns rather than a dense sound where all instruments are played simultaneously. It is connected to a number of Caribbean musical styles such as biguine, merengue, compass direct, cadence, guaguancó, and danzon. Like all of these musical styles, in zouk, rhythm is one of the most significant elements. There are many musical influences on zouk, and the differences between borrowed styles are often smoothed over rather than accentuated. Strong beats are reinforced and the syncopated bass pattern, like that of salsa or funk, is not used. The timbre of the music (its color, the different ways music "sounds") are a vital element in zouk. By using the technical resources available to musicians today, sound can be manipulated to make the familiar sound new. The sound of the conga may be manipulated electronically to give it a variety of sounds. A drum set may receive the same treatment with some parts of the set being left "natural" while others are altered. A basic rule of zouk is to create space in the music by avoiding an overwhelming density of simultaneous parts, allowing the insertion of interesting sounds into the "holes" that are created. Zouk instrumentation usually includes a brass section, two synthesizers, guitar, and bass, and a rhythm section that includes a gourd shaker, conga, drum set, and tumba. The bass line is more than a rhythmic or harmonic instrument, having taken on more of a melodic function. Of the two synthesizers, one acts as a percussion instrument, reproducing what the percussion instruments do, while the other inserts melodic lines at strategic locations. The guitar plays melodic riffs (short repeated melodic phrases) rather than strumming chords, and is also used for solos. The brass section plays in unison, rarely soloing, and is sometimes used to set up counterpoint to the main melody.


Kizomba music emerged as a more modern music genre with a sensual touch mixed with African rhythm and Haitian compas. Most kizomba songs are sung in Portuguese. Original influential music styles from Cape Verde are funaná, morna, coladeira and batuque. Thanks to the French Antilles zouk music and the strong influence of semba (from Angola), Cape Verdean singers have developed significantly kizomba and zouk (mixing it with coladeira) known as cabo love or cola-dance. Moreover, every lusophone country has developed its own Kizomba music flavour.
Kizomba is known for having a slow, insistent, somewhat harsh yet sensuous rhythm as the result of electronic percussion. It is danced accompanied by a partner, very smoothly, slowly and sensuously, and with neither tightness nor rigidity. There are frequent simultaneous hip rotations coordinated between dance partners, particularly in the quieter refrains of the music. Several individuals with a love of the Kizomba culture have been promoting it in other countries.



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Joël Jaccoulet is a producer, arranger, songwriter and musician who has a passion for the sounds of his own culture but doesn’t hesitate to mix styles—for what is Créole if not a blend? On Créole Pop he assembles an extraordinary collection of artists with backgrounds in French chanson, soul, hip-hop, zouk, reggae and jazz. The album’s 13 tracks, sustained by guitar, keyboard, ukulele, cajon and washboard, among other tones, paint a rhapsodic portrait of an island—Martinique—that merits the spotlight. An Limiè (In the Light) is Jann Beaudry’s seductive and sensitive take on the challenges of a relationship: “Sometimes men are strong, sometimes hollow,” she sings in Créole. “When a voice inside tells me to run, I remind myself that when he falls, he can still get up.” Beaudry’s mood is more despairing in Paris Perdu (Lost Paris): “Without him, I’ve lost all taste and desire,” say the French lyrics, “I’ve forgotten all the street names/The city is a stranger.” Jocelyne Béroard’s Lapli Pé Tonbé (Rain Afraid to Fall), explores a more mature romantic stage: “Baby, even if I drop tomorrow, the struggle will have been worth everything,” she intones in Créole. The island cadences continue with Tchip, sung by Pekka, a French-Créole-English mash-up about the title “magic word”—not a word at all but an aspirated sound expressing defiance or insouciance; and Là (There, Like That), a guitar-driven melody sung in French by Goldee. “There, like that,” also describes how Jaccoulet introduces a new generation of Caribbean artists to the world.

 VA - Créole Pop    (flac  284mb)

01 An limiè by Jann Beaudry 3:07
02 Lapli pé tonbé by Jocelyne Béroard 3:53
03 Tchip (feat. Christiane T) by Pekka 3:20
04 I Want You to Know by Maurane Voyer, E.sy Kennenga 3:09
05 Bod lanmè by Erik Pedurand 3:31
06 Cherish by Ario 3:24
07 Paris perdu by Jann Beaudry 2:59
08 Là by Goldee 3:13
09 La flemme by Maurane Voyer 3:51
10 I Never Told You by Pekka 3:23
11 Under Construction by Victor O 3:48
12 Le grand bleu by Ario 4:05
13 Endless Road (feat. Lord Kossity) by Goldee 3:31


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VA - L' Année Du Zouk 09    (flac  460mb)


01 Jean-Michel Rotin - Tourbillon
02 Perle Lama - Notre Amour
03 Kims - Si Fragile
04 Talina - Yo P Pal
05 Steven Morris - Peines Et Joies
06 Kenny Margant - T Oublier
07 Imlie Monteiro - Notre Amour Sonne Faux
08 Goldee - I Never Leave
09 Kamee - Zayan
10 Richard Birman - En Secret 2
11 Christian Nara - Ma Reine
12 Benzen - Love Is Crime
13 Lya - Carabe Attitude
14 Jimmy Devarieux - Mwen Anvie Vww
15 Rodrigue Marcel - Comme 2 Etrangers
16 Dominique Panol - Son S Love
17 Zouk Look - Fall In Love

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 Zouk Summer Hits 2012    (flac  531mb)

01 Positif (feat. P-Square) - Matt Houston
02 Vini dou - Victor O
03 Je reviendrai (feat. Medhy Custos) - Jean-Marie Ragald
04 Nao me toca - Anselmo Ralph
05 Pardonne moi - David Adams
06 Pense à moi - Milca
07 Ou pa té vlé changé - Moreo
08 Maman - Stony
09 Mwen paré - Ali Angel
10 Erreur de casting - Steevy
11 Amor nao e complicao - Kataleya
12 Fallin in Love - Kenedy
13 Le tour du monde - Tykas
14 You Are the One - Kaysha
15 L'adultère - Zouk Look
16 Toute la nuit (feat. Kayne, Blacka Wanted) - Eddy B
17 Toda a noite - Vanda May
18 You're Beauty - Imani


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Buraka Som Sistema were called to perform on the first Boiler Room in their hometown of Lisbon. On the first 15 minutes of this now-legendary set (which you can still watch on Youtube) a new sound was introduced to the world. An intense, hypnotic and tropical-flavored 90 BPM beat got the crowd moving and Buraka’s sharply-dressed master of ceremonies Kalaf picked up the microphone - “We call it Zouk Bass”, he shouted. The crowd went wild and a new genre was officially born.Fast-forward one year Zouk Bass is now a worldwide phenomenon. From its origins as Antillean fast-paced party music - the word Zouk actually means party in the local creole - to being slowed-down and sensualized in Angola under the name Kizomba, to finally brought into the Global Club Music melting pot by Buraka Som Sistema, this sound has come a long way. Showcasing zouk maestros from all around the world, from USA’s JSTJR to Russia’s Insane Fennel, including Portugal’s DZC Deejays, the UK’s KJs, France’s Mala Noche and Buraka Som Sistema themselves - among many others - ‘We Call It Zouk Bass Volume I’ presents a truly global scene, united under the mission of making dance floors move a bit slower and a lot sexier.

VA - We Call It Zouk Bass Vol. 1    (flac  525mb)

01 JSTJR - Panamania 3:46
02 Buraka Som Sistema - Sente 3:15
03 Dance Kill Move - Threepeat 4:00
04 Banginclude - I Just Wanna Zouk You 4:06
05 KJS - Collapse 5:54
06 Fellow - Flare 4:00
07 Mala Noche - Pa Bô 3:19
08 Branko - Rama Dum (Instrumental) 3:26
09 DZC Deejays - Abstrakt 4:19
10 Insane Fennel - Bang 3:35

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