RhoDeo 1619 Roots

Hello, yesterday in Last Week Tonight Jon Oliver showed the world images of Rodrigo 'The Punisher' Duterte on which he told us he killed 3 people in the last 3 months, his death squads have murdered more than 1000 supposed criminals these last decades, when he was the mayor of Davao. On this record he joined the presidential election of the Philippines and won today. Duterte, a pugnacious 71-year-old, surged from outsider to the top of surveys with cuss-filled vows to kill tens of thousands of criminals, threats to establish one-man rule if lawmakers disobeyed him and promises to embrace communist rebels. Those guilt ridden Philippine Catholics have a thing coming....


Today, the final post in reverse temporal order, on one of Brazil's greatest jazz and ballad singers of the 1960s and '70s, a highly-regarded but tragic artist who was something like her country's version of Edith Piaf. She hosted a popular television show ("O Fino Do Fino") and used her fame to boost the careers of many of the best new Brazilian composers of the era. Before her untimely death at the age of thirty-six, she was widely regarded as Brazil's greatest living popular vocalist. She was noted for her vocalization, as well as for her personal interpretation and performances in shows... .....N'Joy

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Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land) and her second LP, "Poema", employing a number of popular musical styles of the era.

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net) by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música popular brasileira or Brazilian Popular Music), distinguished from the previous bossa nova and other preceding musical styles, although samba is very much at its core. Most of her entire 20 year recorded discography is still available.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque, Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper"), opening a window on both her singing style and personality.

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator, pianist/composer/arranger César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger César Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction. More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.

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Trem Azul is the final recorded performace by Elis Regina recorded 1981, at São Paulo, the immortal Brazilian super diva. She is in great form, fronting a hot brass, reed, and guitar combo. In front of a boisterous crowd, she rips through 25 fast-paced songs, some of which are short, while others are abbreviated intros to full songs (Ivan Lins' "Começar De Nova" is just a tantalizing one verse transition). This is a bootleg recording made before the tragic accident that took her life in 1982 at age 36, plunging Brazil into a state of mourning that persists to this day. The tracks were remastered as much as possible from a pirated 8-Track master: it has a sharp, clear sound to it, delivering her every breath, but the 'recorded behind the curtain' aspect is still there. She truly was Furacão (the hurricane) and "pimentinha" (little pepper).

Elis Regina - Trem Azul  (flac  377mb)

01 Aprendendo a Jogar 4.47
02 Alô, Alô Marciano 4.01
03 O Medo de Amar E o Medo de Ser Livre 4.17
04 O Trem Azul 04.30
05 Vento de Maio 3.12
06 Se Eu Quiser Falar com Deus 7.32
07 Flora 5.56
08 Valsa de Euridice 3.35
09 Unencounter (Canção da America) 2.49
10 Me Deixas Louca (Me Vuelves Loco) 6.28
11 Sai Dessa 2.09
12 Aqui É do Futebol 4.22
13 Baila Comigo 1.02
14 Amante À Moda Antiga 0.58
15 Tema Do Fantástico 0.18
16 Começar De Novo 0.46
17 Tema Dos Trapalhões 0.21
18 Menino do Rio 1.02
19 The Fuzz 0.23
20 Lança-Perfume 1.28
21 Nove Luas 0.43
22 O que Foi Feito de Vera 2.38
23 Caxang ? 2.53
24 Maria Maria 4:20
25 Trem Azul 3:01

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n May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller. They repeated the accomplishment in 1966 (Dois Na Bossa, No. 2) and again in 1967 with this album. The atmosphere was clearly dominated by the fact that Brazil was under a severe military dictatorship -- Regina's passionate addresses to the audiences and her choice of repertoire ("Marcha Da Quarta-Feira de Cinzas" can be read in this context even if it was written before 1964) contrasts with Rodrigues' silence in that respect. As in all three albums, together they cover a medley of sambas along with solo performances. The album is not a typical bossa album, despite what the title indicates. It is more of a samba release, with strong influences of bossa in harmonies and arrangements, but with the stronger, hotter grip of the samba groove. The section dedicated to bossa is a romantic medley shared by both artists.

Regina e Rodrigues - Dois Na Bossa 3  (flac  194mb)

01 Imagem 2:38
02 Popurri De Mangueira 5:01
03 O Ser Humano 2:55
04 Cruz De Cinza, Cruz De Sal 2:03
05 Serenata Em Teleco-Teco 2:05
06 Manifesto 3:20
07 Elis Regina & Jair Rodrigues Popurri Romântico 5:45
08 Amor De Carnaval 3:00
09 Marcha De Quarta-Feira De Cinzas 3:05
10 Capoeira Camará 2:20

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In April of 1965 Jair Rodrigues (who was at the top of the charts with "Deixa Isso Pra Lá" by Alberto Paz/Edson Menezes, recorded on Rodrigues' Vou de Samba Com Você from the preceding year) was hurriedly invited by producer Walter Silva to replace Baden Powell in a show with Elis Regina at the Paramount Theater in São Paulo. The show, performed on April 10 with the accompaniment of the Jongo Trio, gathered 2,000 people who climbed the stage at the end of the performance, frantically crying for more. The overwhelming success yielded an invitation for the duo to host the TV show O Fino da Bossa (TV Record) the following month, while the show at the Paramount was recorded live and released on this historic album. If the precarious recording and emotional perturbations reflecting on the performances are viewed as drawbacks, Dois Na Bossa, No. 2 has increased importance as a document of the pure joy and rhythmic exuberance of the music. It also may be mentioned that almost all of the songs were chosen critically in view of the military dictatorship imposed the preceding year and the audible approval of the audience. "Ziguezague," included here, was a follow-up to "Deixa Isso Pra Lá."

Regina e Rodrigues - Dois Na Bossa 2 (flac 216mb)

01 Pot-Pourri: Introdução/Samba de Mudar/Não Me Diga Adeus/Volta Por Cima 5:06
02 Preciso Aprender A Ser Só 3:38
03 Zigue Zague 3:47
04 Terra De Ninguém 2:47
05 Arrastão 3:59
06 Reza 3:44
07 'Ta Engrossando 2:18
08 Deus Com A Família 2:28
09 Ué 1:59
10 Menino Das Laranjas 3:02

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In May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller.

Elis Regina e Jair Rodrigues - Dois Na Bossa (flac 175mb)

01 Pot Pourri - A) O Morro N Tem Vez B) Feio No Bonito C) Samba Do Carioca
02 Preciso Aprender a Ser S
03 Zigue Zague
04 Terra de Ningum
05 Arrasto
06 Reza
07 T Engrossando
08 Sem Deus Com a Famlia
09 Ue
10 Menino das Laranjas

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In 1961, the Porto Alegre-born, 16-year-old Elis Regina recorded her first album, and within 12 months was proclaimed 'Best Singer of the Year' in the south of Brazil. From the beginning, her vocal talent was indisputable, startling even, and furthermore she had a hunger to match. Nicknamed 'The Hurricane' or 'Pimentinha' ('Little Pepper') - allusions to her tempestuous mood swings and unquenchable drive - the youthful Elis made the move first to Rio de Janeiro where she forged a birth certificate in order to sing in night clubs and stowed away in bathrooms during police raids. She then proceeded to São Paulo where she captivating audiences with charm and style and beautiful interpretations of bossa nova tunes composed by such legends as Tom Jobim and Vinicius de Moraes. Elis blazed through the 1960s, setting new standards for interpretive style. She recorded bossa, samba and the new electric songs of the MPB composers. Like Carmen Miranda, she had an uncompromising attitude toward her work, which she tackled consciously and systematically, but always self-critically.

Elis Regina - Viva a Brodolandia (flac 178mb)

01 Dá Sorte 2.10
02 Sonhando (Dreamin') 2.45
03 Murmúrio 2.31
04 Tu Serás 1.50
05 Samba Feito Pra Mim 2.21
06 Fala-Me De Amor (Take Me In Your Arms) 2.25
07 Baby Face 2.22
08 Dor De Cotovelo 2.42
09 Garoto Último Tipo (Puppy Love) 2.23
10 As Coisas Que Eu Gosto (My Favourite Things) 3.05
11 Mesmo De Mentira 2.45
12 Amor, Amor (Love, Love) 2.47

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RhoDeo 1619 Foundation 3

Hello,  a sunny sunday here, icecream weather alas by the end of the week temps will have halved. Ajax threw away the championship as did Athletic Madrid by dropping points whilst visiting bottomdwellers, could well be the Leicester effect emboldening the usually chance-less, 2016 a year to remember.


Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the far future, Foundation. They will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

that the population whose behaviour was modeled should be sufficiently large
that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

A hundred and fifty years after the Foundation was established, the now powerful trading nation, guided by master trader Hober Mallow, faces its greatest threat to date.

Isaac Asimov - The Foundation Trilogy 3 The Merchant Princes (mp3  53mb)

The Foundation Trilogy 3 - The Merchant Princes... 57:12

The Foundation's power and influence isa spreading inwards from the rim of the galaxy. The conflict is joined between those who conquer by trade and those who conquer by religion....

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previously

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)
Isaac Asimov - The Foundation Trilogy 2 The Mayors (mp3  49mb)

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Sundaze 1619

Hello, between the usual noise of the day was a blip about a Sufi master being slashed to death in Bangladeshi mango groove, the fundamentalist daesh related muslims have killed bloggers for their worldly ideas and the peaceful resistance of them by the Sufis has clearly triggered this sectarian murder. Obviously and sadly they failed to grasp the Divine Love Songs Of The Persian Sufi Masters



Today's artist is one of Iran's most potent voices in exile for the simple reason that she possesses a marvelously potent voice. She wails and coos and ululates, the sound of the soul in translation. When she sings low and gravelly, she transforms herself into an earthy, erotic chanteuse. When high, she flies free with the birds. .. ........N'Joy

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Sussan Deyhim is an Iranian composer, vocalist, performance artist and activist. She is internationally known for creating a unique sonic and vocal language imbued with a sense of ritual and the unknown. She was part of the national ballet company in Iran from the age of thirteen and she traveled all across Iran studying with master folk musicians and dancers. In 1976, she joined The Bejart Ballet in Europe after receiving a scholarship to attend Bejart's performance art school Mudra where she was trained in many of the great world, dance, music and theater traditions as well as in classical ballet. Her music remains true to the spirit of her ancient heritage while pointing to the future with a very personal and poetic dramatic sensibility. In 1980, she moved to New York, embarking on a multifaceted career encompassing music, theatre, dance, media and film. She created/starred in ground breakin gmedia operas at La Mama in the 1980s including Azax/ Attra and The Ghost of Ibn Sabah.

Deyhim's wide-ranging collaborations with leading artists from across the spectrum of contemporary art have
included Ornette Coleman, Bobby McFerrin, Peter Gabriel, Bill Laswell, Richard Horowitz, Rufus Wainwright, Marius De Vries, Hal Winer, Mickey Hart, Branford Marsalis, Jerry Garcia, Will Calhoun, Karsh Kale, Doug Wimbish, Keith LeBlanc, Skip McDonald, Jah Wobble, Talvin Singh, Adrian Sherwood and The Blue Man Group and with prominent female visual artists Shirin Neshat, Sophie Calle and Lita Albuquerque.

Her composition "Windfall/Beshno Az Ney" was recently used by U2 throughout the US and Europe in U2's 360 tour in one of the largest scale tock tours to this day. "Beshno Az Ney" is an intro to U2's "Sunday Bloody Sunday" a moving number in solidarity with Iran's Green movement. Deyhim has performed with international orchestras such as the Polish Radio Orchestra and the Kraków Philharmonic and has received commissions as a composer from international ensembles such as Bang On A Can. She has performed her music at Lincoln Center Summer Festival, Carnegie Recital Hall, the Royal Albert Hall, The Old Vic, the Queen Elizabeth Hall, Royce Hall and many other major venues.

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This superbly produced collection in the Made to Measure series documents various recording activities by the team of Sussan Deyhim and Richard Horowitz during the '80s. They turned out some fantastic stuff during this period, recording in both Brussels and New York. The album will make listeners want to go out and find whatever else they can by these artists, confident in the expectation that nobody worked quite like them or, subsequently, pulled ore of equal value out of the mine they excavated. Considering the influence of world music, in this case Persian classical music, as well as the explosion in electronic musical activity in the '80s, the comparison with mining can be fleshed out into an event sort of like the original Gold Rush. The flesh in question would belong to all the performers in potential discussion who crossbred snippets of ethnic music with dance beats and/or electronic gurgling. The outside of any large mine would, of course, include a discarded slag heap, which is where most of this kind of musical fusion winds up. The work of Deyhim and Horowitz is something special, however. The mixes of tracks such as the opening "Ishtar" have a thickness that rests on the face like a hot cloth. There seems a slight danger of suffocation, the collective sound crying out for openings that mixers such as Uri Barak must not have agreed were necessary. The unending flow of provocative ideas quickly eliminates any discomfort from a typical example of audio mixes being governed by trends of the day, which in this case was overload. (Some of the studios used, such as Noise New York, had notoriously leaky boards, too.) Deyhim's vocals are incredibly absorbing on many of these tracks, the richness of her vision deepening over the passing of time, although this is hardly the sort of collection where the earlier material has a threadbare quality. The sounds escaping her lips are just the beginning of what happens, however. Horowitz's processing and synthesizer creations both reaffirm and deconstruct the pair's delight in shocking noise a true credit to their natures as humans.

Sussan Deyhim & Richard Horowitz - Desert Equations  (flac  358mb)

01 Ishtar 4:05
02 Got Away 4:38
03 I'm A Man 5:29
04 Tear 2:52
05 Azax Attra 7:26
06 Jum Jum 4:56
07 Armour4:57
08 Desert Equations (For Brion Gysin) 6:54

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Majoun is a collaboration of composer, performer, producer, American Richard Horowitz and Tehrani Sussan Deyhim. Majoun means potion in Persian and Arabic—it is also a Moroccan psychedelic delicacy made with 56 spices and pure paste of hashish. The fluidity of intertwining sounds of East and West summoned by Deyhim’s voice and Horowitz’s rhythms and orchestrations are as intoxicating as the ingredients of this elixir.

The listener is transmuted in both geography and dimension. The vastness of space created by the special layering of instruments and voice is contrasted by the intimacy of their sound. Deyhim’s voice, a finely trained gymnast deftly gathering momentum and speed as it launches, spins and twists over the listener’s head, and then lands elegantly. The interspersing vocal textures that resonate like gigantic springs are juxtaposed against a very personal harmonic sensitivity derived from her ancient melodic heritage.

Horowitz seamlessly unites human orchestrations and vocals with digitally enhanced instrumentation, blurring the listener’s ability to trace whether orchestration tracks vocals or vice versa and proving yet again that he is the consummate sorcerer of this form—the demons of Morocco pumping through his veins and music. (In 1992 in Seville he directed, composed, and performed a piece with 200 musicians from ten tribes and ten western musicians.) The pacing of composition has an exacting control over mood ranging from frenzied ecstasy to the emotionally languorous. As the sonic landscape becomes more minimal, spotlighting a particular instrument or vocal passage, the emotional intensity is at its most audible. Although the sound processing is important, the album features many live musicians, including world music expert Jaron Lanier and members of the Moroccan National Radio and Television Orchestra. Majoun offers layers upon veils of mysteries and never stoops to trite Middle Eastern musical clichés..

Sussan Deyhim and Richard Horowitz - Majoun  (flac  329mb)

01 Majoun 5:52
02 Kye Kye (Who Is Who Is) 8:36
03 Agonethi (Shadow Maps) 7:20
04 Whorl On The Mount Of Moon 10:32
05 Coldest Day 5:04
06 Ipissima Verba 7:24
07 Murmur Mutanta 7:52
08 Botachine (Infinitely Curved) 9:32

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The Sufi are a minority sect in the Muslim world, their belief in music and poetry as means of spiritual enlightenment running particularly contrary to the prevailing (and misguided) image of Islam as a religion that seeks to suppress such forms of artistic expression. It’s Sufism that fuels such musical styles as qawwali and Gnawa trance, and it’s what inspired influential poets like Rumi. The words of those 11th to 19th century mystic poets and the classical Persian melodies that turned them into songs. Remarkably for a singer of such high reputation, who has been active as a recording artist since the mid-1980s, this is Sussan Deyhim's first solo recording. Previous outings included albums created in tandem with Richard Horowitz, the magnificent Majoun among them, and innumerable guest appearances on CDs by the likes of Bill Laswell, Jah Wobble, Russell Mills, and Brian Eno. On Madman of God Deyhim returns to the roots of her own musical tradition: a millennium's worth of Sufi love poetry. Familiar folk music to generations of Iranians, Deyhim transcends the merely archival in her interpretations of these classic melodies with her rich, musty vocals and eclectic arrangements. More than ably assisting her are a cross-genre collection of musicians, including Raz Mesinai (aka Badawi), Reggie Workman, Karsh Kale, Horowitz, cellist Dawn Bukholtz Andrews, and Reza Derakhshani on a variety of stringed traditional instruments. Deyhim certainly exercises her gift with flourish; the largely wordless vocal of "Daylaman (Inextricable)" or her show-stopping imitation of tablas on "Negara (Mesmerized Mirror)" are but two striking examples. Together with performances like the elegiac "Hamcho Farhad (Our Tears, Our Wine, Our Sight)" and "Navai (Savage Bird)," with its distinctly Celtic undertones, this album is actually more accessible than her more avant-garde (though equally entrancing) efforts with Horowitz.

Sussan Deyhim - Madman Of God (Divine Love Songs Of The Persian Sufi Masters)  (flac 476mb)

01 Gereyley (Nocturnal Dialogue) 5:56
02 The Candle & The Moth 5:10
03 Daylaman (Inextricable) 6:20
04 Meykhaneh (Wine Cave) 5:39
05 Bade Saba (The Wind Of Saba) 6:23
06 Negara (Mesmerized Mirror) 5:22
08 Navai (Savage Bird) 6:24

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Shy Angels is Bill Laswell's reinterpretation of the entire Madman Of God album, in which Sussan Deyhim presents her uniquely personal reading of divine love poems by Rumi, Saadi and other Persian Sufi masters.
This album is all Laswell, it's a verry eastern album with fusion dub elementz.. West meets middle east, drum & bass mixes with mesmerising voice, fusion of contemporary sensitivity with spiritual inspiration. In this work Laswell's low key production elevates the ethereal voice of Sussan Deyhim and provides a contemporary springboard for her angelical convolutions. Some usual collaborators - Zakir Hussain, Aiyb Dieng - contribute to the landscape to keep the voice centre-stage. In the vast production by Laswell this work occupies the more mystical area and I really enjoy how the voice is treated and merged with the sound produced by Laswell . The only thing missing for me is a traslation of the lyrics to let the listener fully understand the powerful significance of the words.

Sussan Deyhim and Bill Laswell - Shy Angels (flac 261mb)

01 The Candle And The Moth 5:42
02 Bade Saba (The Wind Of Saba) 11:32
03 Daylaman (Inextricable) 4:12
04 Meykhaneh (Wine Cave) 5:24
05 Navai (Savage Bird) 5:18
06 Negara (Mesmerized Mirror) 4:18
07 Gereyley (Nocturnal Dialogue) 6:46
08 Hamcho Farhad (Our Tears, Our Wine, Our Sight) 2:14

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RhoDeo 1618 Grooves

Hello, blues grooves here today to cleanse your soul..


Today an American jazz musician and singer-songwriter with a career spanning nearly thirty years. Nicknamed "Lady Day" by her friend and music partner Lester Young, she had a seminal influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills, which made up for her limited range and lack of formal music education. While there were other jazz singers with equal talent, Billie Holiday had a voice that captured the attention of her audience ... N'joy

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The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. More than a half-century after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.

With her spirit shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life -- a series of abusive relationships, substance addictions, and periods of depression -- undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century -- easily the equal of Ella Fitzgerald or Frank Sinatra -- was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.

Billie Holiday's chaotic life reportedly began in Baltimore on April 7, 1915 (a few reports say 1912) when she was born Eleanora Fagan Gough. Her father, Clarence Holiday, was a teenaged jazz guitarist and banjo player later to play in Fletcher Henderson's Orchestra. He never married her mother, Sadie Fagan, and left while his daughter was still a baby. (She would later run into him in New York, and though she contracted many guitarists for her sessions before his death in 1937, she always avoided using him.) Holiday's mother was also a young teenager at the time, and whether because of inexperience or neglect, often left her daughter with uncaring relatives. Holiday was sentenced to Catholic reform school at the age of ten, reportedly after she admitted being raped. Though sentenced to stay until she became an adult, a family friend helped get her released after just two years. With her mother, she moved in 1927, first to New Jersey and soon after to Brooklyn.

In New York, Holiday helped her mother with domestic work, but soon began moonlighting as a prostitute for the additional income. According to the weighty Billie Holiday legend (which gained additional credence after her notoriously apocryphal autobiography Lady Sings the Blues), her big singing break came in 1933 when a laughable dancing audition at a speakeasy prompted her accompanist to ask her if she could sing. In fact, Holiday was most likely singing at clubs all over New York City as early as 1930-31. Whatever the true story, she first gained some publicity in early 1933, when record producer John Hammond -- only three years older than Holiday herself, and just at the beginning of a legendary career -- wrote her up in a column for Melody Maker and brought Benny Goodman to one of her performances. After recording a demo at Columbia Studios, Holiday joined a small group led by Goodman to make her commercial debut on November 27, 1933 with "Your Mother's Son-In-Law."

Though she didn't return to the studio for over a year, Billie Holiday spent 1934 moving up the rungs of the competitive New York bar scene. By early 1935, she made her debut at the Apollo Theater and appeared in a one-reeler film with Duke Ellington. During the last half of 1935, Holiday finally entered the studio again and recorded a total of four sessions. With a pick-up band supervised by pianist Teddy Wilson, she recorded a series of obscure, forgettable songs straight from the gutters of Tin Pan Alley -- in other words, the only songs available to an obscure black band during the mid-'30s. (During the swing era, music publishers kept the best songs strictly in the hands of society orchestras and popular white singers.) Despite the poor song quality, Holiday and various groups (including trumpeter Roy Eldridge, alto Johnny Hodges, and tenors Ben Webster and Chu Berry) energized flat songs like "What a Little Moonlight Can Do," "Twenty-Four Hours a Day" and "If You Were Mine" (to say nothing of "Eeny Meeny Miney Mo" and "Yankee Doodle Never Went to Town"). The great combo playing and Holiday's increasingly assured vocals made them quite popular on Columbia, Brunswick and Vocalion.

During 1936, Holiday toured with groups led by Jimmie Lunceford and Fletcher Henderson, then returned to New York for several more sessions. In late January 1937, she recorded several numbers with a small group culled from one of Hammond's new discoveries, Count Basie's Orchestra. Tenor Lester Young, who'd briefly known Billie several years earlier, and trumpeter Buck Clayton were to become especially attached to Holiday. The three did much of their best recorded work together during the late '30s, and Holiday herself bestowed the nickname Pres on Young, while he dubbed her Lady Day for her elegance. By the spring of 1937, she began touring with Basie as the female complement to his male singer, Jimmy Rushing. The association lasted less than a year, however. Though officially she was fired from the band for being temperamental and unreliable, shadowy influences higher up in the publishing world reportedly commanded the action after she refused to begin singing '20s female blues standards.

At least temporarily, the move actually benefited Holiday -- less than a month after leaving Basie, she was hired by Artie Shaw's popular band. She began singing with the group in 1938, one of the first instances of a black female appearing with a white group. Despite the continuing support of the entire band, however, show promoters and radio sponsors soon began objecting to Holiday -- based on her unorthodox singing style almost as much as her race. After a series of escalating indignities, Holiday quit the band in disgust. Yet again, her judgment proved valuable; the added freedom allowed her to take a gig at a hip new club named Café Society, the first popular nightspot with an inter-racial audience. There, Billie Holiday learned the song that would catapult her career to a new level: "Strange Fruit."

The standard, written by Café Society regular Lewis Allen and forever tied to Holiday, is an anguished reprisal of the intense racism still persistent in the South. Though Holiday initially expressed doubts about adding such a bald, uncompromising song to her repertoire, she pulled it off thanks largely to her powers of nuance and subtlety. "Strange Fruit" soon became the highlight of her performances. Though John Hammond refused to record it (not for its politics but for its overly pungent imagery), he allowed Holiday a bit of leverage to record for Commodore, the label owned by jazz record-store owner Milt Gabler. Once released, "Strange Fruit" was banned by many radio outlets, though the growing jukebox industry (and the inclusion of the excellent "Fine and Mellow" on the flip) made it a rather large, though controversial, hit. She continued recording for Columbia labels until 1942, and hit big again with her most famous composition, 1941's "God Bless the Child." Gabler, who also worked A&R for Decca, signed her to the label in 1944 to record "Lover Man," a song written especially for her and her third big hit. Neatly side-stepping the musician's union ban that afflicted her former label, Holiday soon became a priority at Decca, earning the right to top-quality material and lavish string sections for her sessions. She continued recording scattered sessions for Decca during the rest of the '40s, and recorded several of her best-loved songs including Bessie Smith's "'Tain't Nobody's Business If I Do," "Them There Eyes," and "Crazy He Calls Me."

Though her artistry was at its peak, Billie Holiday's emotional life began a turbulent period during the mid-'40s. Already heavily into alcohol and marijuana, she began smoking opium early in the decade with her first husband, Johnnie Monroe. The marriage didn't last, but hot on its heels came a second marriage to trumpeter Joe Guy and a move to heroin. Despite her triumphant concert at New York's Town Hall and a small film role, as a maid (!) with Louis Armstrong in 1947's New Orleans, she lost a good deal of money running her own orchestra with Joe Guy. Her mother's death soon after affected her deeply, and in 1947 she was arrested for possession of heroin and sentenced to eight months in prison.

Unfortunately, Holiday's troubles only continued after her release. The drug charge made it impossible for her to get a cabaret card, so nightclub performances were out of the question. Plagued by various celebrity hawks from all portions of the underworld (jazz, drugs, song publishing, etc.), she soldiered on for Decca until 1950. Two years later, she began recording for jazz entrepreneur Norman Granz, owner of the excellent labels Clef, Norgran, and by 1956, Verve. The recordings returned her to the small-group intimacy of her Columbia work, and reunited her with Ben Webster as well as other top-flight musicians such as Oscar Peterson, Harry "Sweets" Edison, and Charlie Shavers. Though the ravages of a hard life were beginning to take their toll on her voice, many of Holiday's mid-'50s recordings are just as intense and beautiful as her classic work.

During 1954, Holiday toured Europe to great acclaim, and her 1956 autobiography brought her even more fame (or notoriety). She made her last great appearance in 1957, on the CBS television special The Sound of Jazz with Webster, Lester Young, and Coleman Hawkins providing a close backing. One year later, the Lady in Satin LP clothed her naked, increasingly hoarse voice with the overwrought strings of Ray Ellis. During her final year, she made two more appearances in Europe before collapsing in May 1959 of heart and liver disease. Still procuring heroin while on her death bed, Holiday was arrested for possession in her private room and died on July 17, her system completely unable to fight both withdrawal and heart disease at the same time.

1961-dated sleeve notes:
Billie Holiday died in Metropolitan Hospital, New York, on Friday, July 17, 1959, in the bed in which she had been arrested for illegal possession of narcotics a little more than a month before, as she lay mortally ill; in the room from which a police guard had been removed – by court order – only a few hours before her death, which, like her life, was disorderly and pitiful. She had been strikingly beautiful, but she was wasted physically to a small, grotesque caricature of herself. The worms of every kind of excess – drugs were only one – had eaten her. The likelihood exists that among the last thoughts of this cynical, sentimental, profane, generous and greatly talented woman of 44 was the belief that she was to be arraigned the following morning. She would have been, eventually, although possibly not that quickly. In any case, she removed herself finally from the jurisdiction of any court here below.

Her cult of influence spread quickly after her death and gave her more fame than she'd enjoyed in life. The 1972 biopic Lady Sings the Blues featured Diana Ross struggling to overcome the conflicting myths of Holiday's life, but the film also illuminated her tragic life and introduced many future fans. By the digital age, virtually all of Holiday's recorded material had been reissued: by Columbia (nine volumes of The Quintessential Billie Holiday), Decca (The Complete Decca Recordings), and Verve (The Complete Billie Holiday on Verve 1945-1959).

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Billie Holiday often stated that she styled her vocal phrasing to echo the sound of a jazz horn, so it should be no surprise that she found the perfect duet partner in tenor sax player Lester Young. Lady Day and Pres (they bestowed the nicknames on each other) recorded some 60 sides together between 1937 and 1946, many if not all of which have to be considered classics. This three-disc set collects everything the pair did, including alternate takes, and the best tracks are truly revelatory, we are talking about pure, undiluted feeling.Given the obvious musical connection on display in these sides, it is telling that both Holiday and Young died only four months apart in 1959. Apparently the world just couldn't handle one without the other.

Complete Billie Holiday  Lester Young 1937-1946 1   (flac 197mb)

01 He Ain't Got Rhythm 2:50
02 This Year's Kisses 3:08
03 Why Was I Born? 2:50
04 I Must Have That Man 2:56
05 Sun Showers 3:07
06 Yours and Mine 3:15
07 Mean to Me 3:09
08 Mean to Me 3:08
09 Foolin' Myself 3:02
10 Easy Living 3:03
11 I'll Never Be the Same 3:04
12 Me, Myself and I 2:34
13 Me, Myself and I 2:33
14 A Sailboat in the Moonlight 2:50
15 Born to Love 2:39
16 Without Your Love 2:51
17 Without Your Love 2:52
18 Getting Some Fun Out of Life 3:03
19 Who Wants Love? 2:34
20 Trav'lin' All Alone 2:14
21 He's Funny That Way 2:40
22 I Can't Get Started 2:51

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Complete Billie Holiday  Lester Young 1937-1946 2+3   (flac  295mb)

01 My First Impression of You 2:51
02 My First Impression of You 2:49
03 When You're Smiling 2:51
04 When You're Smiling 3:00
05 I Can't Believe That You're in Love with Me 2:51
06 I Can't Believe That You're in Love with Me 2:47
07 If Dreams Come True 3:04
08 If Dreams Come True 3:04
09 Now They Call It Swing 3:04
10 Now They Call It Swing 2:59
11 Back in Your Own Backyard 2:40
12 Back in Your Own Backyard 3:14
13 When a Woman Loves a Man 2:25
14 The Very Thought of You 2:45
15 I Can't Get Started 2:51
16 I Can't Get Started 2:50
17 I've Got a Date with a Dream 2:51
18 I've Got a Date with a Dream 2:45
19 You Can't Be Mine 2:25
20 Everybody's Laughing 3:03
21 Here It Is Tomorrow Again 2:46
22 Say It with a Kiss 2:37

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01 The Man I Love 3:08
02 You're Just a No-Account 3:01
03 You're a Lucky Guy 2:48
04 I'm Pulling Through 3:09
05 Laughing at Life 2:57
06 Laughing at Life 2:54
07 Time on My Hands 3:06
08 The Man I Love 2:46
09 Let's Do It (Let's Fall in Love) 2:57
10 Let's Do It (Let's Fall in Love) 2:59
11 All of Me 3:04
12 All of Me 2:58
13 All of Me 3:54
14 I Cried for You 2:18
15 Fine and Mellow 3:50
16 He's Funny That Way 3:20
17 The Man I Love 3:04
18 Gee Baby, Ain't I Good to You ? 2:19
19 All of Me 1:55
20 Billie's Blues 3:38

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Featuring recordings from February 1955 and released in 1958, Stay with Me is a late entry in Billie Holiday's career. She was fading, but hadn't lost the dramatic quality in her delivery, nor her ability to project and tell a shattering story. She's backed by trumpeter Charlie Shavers, pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer Ed Shaughnessy.

Billie Holiday - Stay With Me   (flac 199mb)

01 I Wished On The Moon 06:50
02 Ain't Misbehavin' (I'm Savin' My Love For You) 04:40
03 Everything Happens To Me 06:22
04 Say It Isn't So 03:04
05 I've Got My Love To Keep Me Warm 03:59
06 Always 03:59
07 Do Nothing Till You Hear From Me 04:59

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RhoDeo 1618 Re-Ups 56

Hello, finally a spanish club looses to another european club in a knock out stage, yet Liverpool will have to repeat tonights feat with Seville in the final. Bayern failed to overrun Athletic Madrid who went to the final thanks to one sharp counter, almost forgotten now they needed an 8th penalty in their shoot out with PSV, bit boring having no 2 and 3 from Spain deciding the Championsleague. Clearly Spain is the dominating force in European football.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months 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....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 17 re-ups, requests fullfilled up to May 4th, well I reached the point where requests have dried up the ball is in your court now  ...N' Joy


4x Grooves NOW in Flac (A Certain Ratio - Early 1, A Certain Ratio - Early-Rarities & Sessions, A Certain Ratio - MCR, A Certain Ratio - Mind Made Up)


3x Sundaze Back In Flac (Yagya - Rhythm Of Snow, Yagya - Will I Dream During The Process, Yagya - Rigning)


3x Aetix Back In Flac (Pere Ubu - The Modern Dance, Pere Ubu - Dub Housing+New Picnic Time, Pere Ubu - The Art Of Walking+Song Of The Bailing Man )


4x Aetix 4x Back flac (RFTT - The Day the Earth Met the Rocket, Rocket From The Tombs - Rocket Redux, Dead Boys - Night Of The Living Dead Boys, Dead Boys - Younger, Louder and Snotty)


3x Roots NOW in flac ( The Music of Kenya And Tanzania, Rough Guide To The Music Of Tanzania; Afric Simone - Hafanana)



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RhoDeo 1618 Roots

Hello, party time in Leicester tonight, half of the town was watching 'the jester from lester' become snooker world champion, the other half watching Chelsea draw with Tottenham which meant the latter could no longer keep Leicester from the 5000-1 title. These kinda odds were given to Elvis or the Loch Ness monster turning up, in short it has been almost a miracle, did King Richard III intervene from beyond ? In the meantime this 330.000 souls city has taken 2 world titles today. (I reckon the Premier League has by far the biggest global impact making it's champions world champions.) Mark Selby won after surviving a tactical game in the semis and took it with him to the final, having hardly any fouls, he had Ding on the backfoot from the start, always in front 18-14 the final score. This came 30 minutes after Leicester FC title, what a day.


Today, one of Brazil's greatest jazz and ballad singers of the 1960s and '70s, a highly-regarded but tragic artist who was something like her country's version of Edith Piaf. She hosted a popular television show ("O Fino Do Fino") and used her fame to boost the careers of many of the best new Brazilian composers of the era. Before her untimely death at the age of thirty-six, she was widely regarded as Brazil's greatest living popular vocalist. She was noted for her vocalization, as well as for her personal interpretation and performances in shows... .....N'Joy

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Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land) and her second LP, "Poema", employing a number of popular musical styles of the era.

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net) by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música popular brasileira or Brazilian Popular Music), distinguished from the previous bossa nova and other preceding musical styles, although samba is very much at its core. Most of her entire 20 year recorded discography is still available.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque, Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper"), opening a window on both her singing style and personality.

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator, pianist/composer/arranger César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger César Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction. More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.

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In 1975, Elis Regina opened her solo show, Falso Brilhante, where she launched the career of another new composer: Belchior. One year after she recorded the repertoire of the show on an LP; this is the CD reissue. The album opens with the two Belchior tunes made hits: "Como Nossos Pais" and "Velha Roupa Colorida," both being folk-influenced rock tunes, dealing with the post-hippie delusion face to the abandonment of the peace and love values in favor of the old bourgeois way. The album also has two Spanish songs, "Los Hermanos," a milonga by Atahualpa Yupanqui, ode to fraternity and freedom with an implying urge for Latin American union, and "Gracias a la Vida," the old chamamé composed by Violeta Parra and made famous for younger generations (at the time) by Joan Baez; the hit "O Cavaleiro E Os Moinhos," "Um Por Todos," and "Jardins de Infância," all by the duo also discovered by her, João Bosco/Aldir Blanc, delivered as fusion rock; "Fascinação," an old romantic valse that, depending on the subject, can bring one to tears or to dismiss it as corny; "Tatuagem," with a strong melody and lyrics, of a dramatic romanticism, by Chico Buarque and Ruy Guerra, already made famous by Maria Bethânia; and "Quero".

Elis Regina - Falso Brilhante  (flac  188mb)

01 Como Nossos Pais 4:21
02 Velha Roupa Colorida 4:11
03 Los Hermanos 3:33
04 Um Por Todos 2:24
05 Fascinação 3:01
06 Jardins De Infãncia 2:49
07 Quero 3:43
08 Gracias A La Vida 4:23
09 O Cavaleiro E Os Moinhos 2:04
10 Tatuagem 4:21

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One of Elis Regina's many qualities was her searching for new composer talent. In this album she recorded two songs from one of her findings, Renato Teixeira. Renato earned his living as a jingle writer when this Elis' recording of 'Romaria' launched him to become one of Brazil's better known singers/writers. The song was a hit and quickly became a Brazilian standard.

The other song by Teixeira, however, was unjustly forgotten, having been recorded only by the author (afaik) besides this record. It's 'Sentimental Eu Fico', a fantastic song with amazing lyrics, here receiving no less wonderful arrangement by Cesar Camargo Mariano and, of course, singing by Elis. Elis also picked two songs ('Colagem' and 'Vecchio Novo') by the then young composer Claudio Nucci, who would later become famous as the leader of vocal group 'Boca Livre'. 'A Dama do Apocalipse' by Nathan Marques/Crispim completes the set of novelties, all of them excellent picks.

The other songs, by the then already accomplished composer duos Milton Nascimento/Fernando Brandt, Ivan Lins/Victor Martins and João Bosco/Aldir Blanc are no less impressive, wrapping up the exceptionally strong song set of this album. Elis singing is as strong and heartfelt as ever, with the brilliant, somewhat baroque arrengements and piano by Cesar Camargo Mariano. If something negative could be said about this record, it would be it's overall melancholic spirit, but one that makes it something beautiful and transcendental.

Elis Regina - Elis (flac 205mb)

01 Caxangá 3:12
02 Colagem 4:17
03 Vecchio Novo 3:25
04 Morro Velho 4:48
05 Qualquer Dia 2:31
06 Romaria 4:05
07 A Dama Do Apocalipse 4:05
08 Cartomante 3:17
09 Sentimental Eu Fico 4:11
10 Transversal Do Tempo 2:32

Elis Regina - Elis  (ogg   88mb)

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This is an album recorded live during Regina's historic show on July 25, 1977. The tickets were entirely sold out in eight hours, a couple of weeks in advance. Most of these classic songs weren't published until then, and Regina can be imputed with their success. More than that, they became Regina classics, deeply associated with her interpretation: "Cartomante," "Transversal Do Tempo," "Qualquer Dia," and "Romaria," for example. This album's repertoire, with exceptions, is dedicated to several new artists discovered by Regina: Renato Teixeira, João Bosco/Aldir Blanc, Milton Nascimento/Fernando Brant, Belchior, Ivan Lins/Vítor Martins, and several other great composers. The band counts with Regina's second husband César Camargo Mariano (piano/keyboards) and bassist Luizão Maia, along with several other good musicians who fit accordingly into the bill. The highly emotional atmosphere, heard through the intense participation of the audience, was a prognostic that those interpretations were to remain eternal.

Elis Regina - Elis Ao Vivo (flac 353mb)

01 Como Nossos Pais 4:56
02 Travessia 4:50
03 Morro Velho 6:03
04 Romaria 4:26
05 A Dama Do Apocalipse 3:38
06 Colagem 4:13
07 Madalena 4:32
08 Qualquer Dia 2:37
09 Cadeira Vazia 5:19
10 Vida De Bailarina 3:14
11 Triste 3:19
12 Dois Pra La Dois Pra Ca 4:14
13 Mestre Sala Dos Mares 3:37
14 Transversal Do Tempo 2:36
15 Cartomante 6:44

Elis Regina - Elis Ao Vivo    (ogg  145mb)

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Released after Regina's successful show Transversal Do Tempo, the album's concept was to portray the perplexity in the face of Brazil's complexity. Its biggest hit was Milton Nascimento's "Morro Velho," but "Fascinação," "Sinal Fechado," "Deus Lhe Pague," "O Rancho Da Goiabada," "Saudosa Maloca," "Querelas Do Brasil," and "Cartomante" also were successful. Arrangements/piano by César Camargo Mariano.

Elis Regina - Transversal do Tempo (flac 226mb)

01 Fascinação (Fascination) 3:26
02 Sinal Fechado 3:26
03 Deus Lhe Pague 3:28
04 O Rancho Da Goiabada / Construção 5:39
05 Saudosa Maloca 4:36
06 Boto 3:29
07 Cão Sem Dono 2:36
08 Meio Termo / Corpos 6:19
09 Querelas Do Brasil 3:49
10 Cartomante 4:10

Elis Regina - Transversal do Tempo  (ogg   mb)

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RhoDeo 1618 Aetix

Hello, Donald did it again, another opponent falls, Ted Cruz is gone after clearly loosing at the Indiana primary. In his victory speech he was already reaching out to his republican opponents in the party, meanwhile dishing out (empty) promises. At the democrates side a surprise win for Sanders and i predict a lot of his voters could go to Trump because of his clear stance on trade deals which hit home hard in their electorate. Chances of a president Trump have greatly risen today...


Today an influential German electropunk/Neue Deutsche Welle band from Düsseldorf, formed in 1978 featuring Gabriel "Gabi" Delgado-López (vocals), Robert Görl (drums, percussion, electronic instruments), Kurt "Pyrolator" Dahlke (electronic instruments), Michael Kemner (bass-guitar) and Wolfgang Spelmans (guitar). Kurt Dahlke was replaced by Chrislo Haas (electronic instruments, bass guitar, saxophone) in 1979. Since 1981, the band has consisted of Delgado-López and Görl.
 ...N'Joy

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Deutsch Amerikansiche Freundschaft ("German American Friendship"; most commonly abbreviated to D.A.F.) was founded as a five-piece industrial noise outfit in Düsseldorf in 1978, but ultimately winnowed down to a two-man group consisting of vocalist/lyricist Gabi Delgado and drummer/electronic musician Robert Görl. Their early development is linked to the Düsseldorf based group Der Plan, whose members all played in D.A.F. on its first album, Ein Produkt der DAF, minus Delgado, then a member but absent for these recording sessions. Released on the German AtaTak label in 1979 and later re-issued on Mute, Ein Produkt der D.A.F. heralded the beginning of the German branch of industrial music: the first recordings by Einstürzende Neubauten, made two years later, bear a striking resemblance to it.

By the time Ein Produkt der DAF made its bow, Delgado and Robert Görl had already decided to split off from the larger group, which re-formed as Der Plan without them. For a time, Delgado sang and played near-atonal guitar while Görl played drums and synthesizer, and a gig of this type held in 1979 at the Electric Ballroom in London takes up the second side of their debut LP on Mute, Die Kleinen und die Bösen ("The Small Ones and the Evil Ones.") The first side consists of a studio recording, the last session made by the larger D.A.F. and produced by Conny Planck, who would have a significant impact on their sound in subsequent projects. The anger and ferocity of Die Kleinen und die Bösen was remarkable even in the midst of punk -- German icons were viciously sent up, such as in their rabid cover of "Ich Bin die Fesche Lola" (one of Marlene Dietrich's fetching songs from The Blue Angel). "Die Lüstigen Stiefel Marschiren über Polen," ("The Funny Little Boots Are Marching over Poland') was an angry and hard yet tongue in cheek, atonal disco song about the invasion of Poland by the Nazis; such material was deliberately calculated as offensive in the politically liberal, historically humiliated, terrorist-plagued society current in Germany circa 1980.

By 1980, D.A.F. had settled in London and Delgado had permanently retired his guitar; they signed with Virgin Records who sent them back to Planck to produce their masterpiece Alles Ist Gut, which exploded in the rock underground in the middle of 1981. D.A.F. had narrowed its instrumentation down to just Delgado's voice, Görl's monolithic drums, and a 16-voice sequencer that put out a single repeating pattern for whole songs; in doing so, they had moved out of art-punk and into what they called "Electronic Body Music" or EBM. Planck's crisp production, in addition to some subtle, well-placed effects, produced in Alles Ist Gut an electronic dance album that was state-of-the-art in 1981; "Der Mussolini" became an international hit and a monster in the dance clubs. Delgado's lyrics, equating fascism, religion and dance music, were edgy, his singing both macho and raw. Görl's drumming and sequencing was unrelenting in its funkiness, authority and experimentalism -- though outwardly professing themselves as "apolitical" (nonsense!), D.A.F. were reclaiming Nazi-styled jingoism for the gay German disco clubs, complete with a marching boot beat -- it was politically "wrong," yet irresistible.

Despite their innovations, solid technical ability and raves from the critics, D.A.F. were certainly never ready for prime time. When other artists in the club genre were dancing around the issue of alternative sexuality, D.A.F. was fairly "out" about it -- their album covers were blatantly homoerotic and lyrics often dealt with sadomasochism. While D.A.F.'s big, industrial-inspired dance sound certainly had some measure of commercial potential, the group didn't, and they were way ahead of their time -- too far ahead. Gold und Liebe followed, much in the vein of Alles Ist Gut, though offering some further refinements in terms of sound and style. Some critics argue that Gold und Liebe represents D.A.F.'s "personal best," though Alles Ist Gut is such a defining statement in retrospect it would seem hard to top. With 1982s Gold und Liebe, D.A.F. decided to disband amicably, as the sequencer they used proved too limited to sustain them artistically beyond what they had already done.

For a time, both Delgado and Görl pursued solo careers, which proved a mixed blessing; Görl's weak singing sank his best efforts, whereas Delgado's lone solo outing suffered from equally weak musicianship. In 1985, they temporarily re-formed to record another album of house music, this time in English, 1st Step to Heaven, which disappeared without much fanfare. Although Görl and Delgado kept the door open for more collaboration the opportunity did not arise until 2003, when they recorded "15 Neue D.A.F. Lieder" including "The Sheriff," an anti-George W. Bush song. D.A.F. also played a limited number of festivals in Germany that year, mostly to the embarrassment of the other acts on the festival bill, so intense and timely their performances were. Unfortunately, this did not lead to a full-scale reunion, and in early 2007, Delgado declined to join the group for another round of dates. Delgado was replaced, with his blessing, by another singer, and the band renamed D.A.F. Partei.

Though their impact on the emergent forms of house and techno was huge, D.A.F. has never achieved the recognition they so richly deserve. Nevertheless, for the longest time even Kraftwerk weren't recognized for their contribution to hip-hop, and perhaps ultimately D.A.F. will get their due: they represent one of a very few direct links between avant-garde punk and techno, and flung their lance into the future farther even than Throbbing Gristle.

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Plank again oversees an album from the duo, while the photo on the front of Görl and Delgado in what looks like modified bondage gear maintains the sex theme well enough. Put it all together with song titles like "Sex Unter Wasser" (Sex Underwater) and "Absolute Körperkontrolle" (Absolute Body Control) and D.A.F. are tending that much more to the flesh rather than the mind. Things are just a touch less powerful than on Alles Ist Gut; opening track "Liebe auf den Ersten Blick" has a bass/melody combination that could almost be early Depeche Mode. Most of the time, though, it's only a slight difference by degrees, as pounding monsters like "Ich Will" and the instrumental build of "Absolute Körperkontrolle" demonstrate. Görl's music generally still relies on his forceful percussion and sharp, cutting synth bass in combination, and Plank once again makes it sound fantastic. Additional touches surface throughout, and if Gold und Liebe isn't as immediately varied as Alles was, the subtler elements do provide variety. There's almost a lounge feeling to the vibey keyboards on "Sex Unter Wasser," while the rough military drumming on "Muskel" suits the song perfectly. Accordingly, one of the best songs has one of the best fusions -- "Goldenes Spielzeug," with a soft, chime/keyboard melody over a tough bass/drum beat, singing appearing only every so often during its length. Delgado himself, however sex-obsessed he might be this time out, still makes a strong frontman -- certainly, if you don't know German, you can just pretend he's ordering everyone to the dancefloor under pain of death or something similar. Gold closes out on a fantastic note with "Verschwende Deine Jugend," a full-on destructive beast in the "Der Mussolini" mode, and "Greif Nach den Sternen," a steady-paced, almost anthemic number with the trademark D.A.F. blend of brusqueness still intact.

D.A.F. - Gold Und Liebe (flac 184mb)

01 Liebe Auf Den Ersten Blick 3:58
02 El Que 3:33
03 Sex Unter Wasser 3:04
04 Was Ziehst Du An Heute Nacht 3:46
05 Goldenes Spielzeug 3:56
06 Ich Will 3:19
07 Muskel 3:23
08 Absolute Körperkontrolle 3:12
09 Verschwende Deine Jugend 3:48
10 Greif Nach Den Sternen 3:41

    (ogg  mb)

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In 1982, DAF (Deutsch Amerikanische Freundschaft) released Für Immer, their third album in the space of a year and half, then promptly split up when it tanked. But despite its meteoric career, the Düsseldorf twosome left its mark, creating bare-bones, pulsing electronic music that delighted in both stiff dance-floor experimentation and homoerotic tease. Though the album is overall moodier than the previous two, it still has its share of lighthearted numbers, such as a rerecording of the band's first single, "Kebabträume" (initially issued when DAF still used guitars), or "Prinzessin," which comes dangerously close to a love song--or at least what passed for a love song in 1982 Düsseldorf. This can be considered as the 3rd part of the duo's trilogy and maybe their best one; 'Für immer''s title is not casual, and puts a full stop of a band which if not brilliantly, efficiently put the bases for what was to come with bans such as F242, The Klinik or Dive.

D.A.F. - Fur Immer (flac 210mb)

01 Im Dschungel Der Liebe 4:11
02 Ein Bisschen Krieg 4:02
03 Die Götter Sind Weiss 3:00
04 Verlieb Dich In Mich 3:44
05 Geheimnis 3:23
06 Kebabträume 4:01
07 Prinzessin 4:19
08 Die Lippe 3:09
09 Verehrt Euren Haarschnitt 3:24
10 Wer Schön Sein Will Muss Leiden 3:35

D.A.F. - Fur Immer   (ogg  81mb)

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Everybody knows and loves the classic three albums. This is the hidden gem, very different from the hard sounds of 1980-82 for starters they sing in english here presumably to make a breaktrough in the US . The duo reformed in '85, released a couple of singles gay as fuck and very funky. Brothers was THE tune in the Discos. Voulez Vous is totally funky at all. Opium sounds like Cabaret Voltaire (in a good sense) : a strong electric tune which might survived the time excellent. And so the album goes on in a quite different mix. remarkable und underrated.

D.A.F. - 1st Step to Heaven   (flac  261mb)

01 Voulez Vous Coucher Avec Moi - Part I 2:25
02 Pure Joy 4:47
03 Blond Hair Dark Brown Hair 3:10
04 Sex Up 3:15
05 Absolute Bodycontrol 5:18
06 Voulez Vous Coucher Avec Moi - Part II 5:28
07 Crazy Crazy 3:08
08 Opium (Mix) 2:10
09 Brother/Brother 3:37
10 1st Step To Heaven (Mix) 5:46

D.A.F. - 1st Step to Heaven   (ogg  104mb)

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RhoDeo 1618 Foundation 2

Hello,  he's back ! Yes bit late at posting today the Game kept me..Snooker final is halfway what i feared happened Ding was frozen and it was 6-0 before he thawed, tonite's session took 5.5 hours and both players were visbly tired 10-7 and all to play for tomorrow. Vettel shouldn't have called Kvyat a kamikaze pilot, in revenge he drove into the back of him not once but twice and that was the 2nd time this season Vettel didn't get to clock a lap and then there are some that consider Hamilton unlucky (fanboys). Anyway it was another walk in the park for Rosberg. Bad luck for Verstappen who on lap 34 was cruising 6th when all of a sudden the car broke down, bad day at the office for both Red Bull teams..zero points.


Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the far future, Foundation. They will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

that the population whose behaviour was modeled should be sufficiently large
that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

The scene moves forward a further twenty years, as Mayor Hardin faces down the domination of the nearby and most powerful of the Four Kingdoms, Anacreon, whose ruler intends to annex the Foundation by force.

Isaac Asimov - The Foundation Trilogy 2 The Mayors (mp3  49mb)

The Foundation Trilogy 2 - The Mayors   ... 53:53

Hari Seldon has disclosed the real purpose of the Foundation and Salvor Hardin has takebn the initiative. His government controls Terminus and the surrounding worlds - but he is threatened from within and outside....

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previously

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)

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