RhoDeo 1632 Roots

Hello, well the Olympics are upon us maybe someone can explain what shooting has to do with sports, guns of any type just don't belong here-let the military have their own games,  a big thumbs down from me here ! In that sense bow and arrow don't belong (somehow no crossbow) should be dropped as well. These kill skills absolutely don't belong on a global status event of sports.


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 for the 4th and final time, a true heavyweight, a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output since the 1960s proves that this is no exaggeration.......N'Joy

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Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the '50s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music.

Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.

This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many Tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.

Although his commitment to politicized art never wavered, Veloso went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop over the next 20 years. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.)

This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), and was a certifiable superstar, but never self-aggrandizing, narcissistic, or overly concerned with how hip he was.

Estrangeiro Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.

Livro Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. At the beginning of the new millennium, Veloso delivered a live bossa nova album in collaboration with poet Jorge Mautner, the spirited Noites do Norte, and the songbook album A Foreign Sound. In 2006, Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit.

Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- Cê and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. The following year Veloso and Gilberto Gil embarked on a major world tour together called "Dois Amigos, Um Século de Música" which translates to "Two Friends, a Century of Music." With each artist celebrating a remarkable 50-year career, the tour was commemorated by a live album recorded in their native Brazil called Dois Amigos, Um Século de Música: Multishow Live. The extensive double album was released in April 2016 by Nonesuch.

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Caetano Veloso's admiration and reverance to the cinema poetry of Federico Fellini is notorious. Through his song "Giulietta Masina" (prohibited in Brazil due to a profanity), Fellini's sister Maddalena knew Veloso's devotion to her brother and asked him to have a tribute concert (in which this album was recorded), which was held in October 1987 at the Teatro Nuovo, Dogana (San Marino Republic). In the booklet, Veloso explains in his own words the relevance of each song for a Fellini tribute. Veloso wasn't in top form, maybe due to the emotion of facing his longtime idol's image. But in spite of some vocal deficiencies, his interpretation is as sincere as it can be, delivering with delicacy the mysterious quality so dear to the filmmaker. "Que Não Se Vê," Veloso's version of Nino Rota/T. Amurri's "Come Tu Me Vuoi," was dedicated to Marcello Mastroianni. Other songs taken from Fellini's film soundtracks were "Gelsomina" (M. Galdieri/Nino Rota), and "Patricia" (Damaso Peres Prado, a version by Bourges from the film La Dolce Vita). "Luna Rossa" is a popular Neapolitan song, performed in bossa rhythm, which was included because of its theme, the moon. The originals are "Trilhos Uurbanos," "Giulietta Masina," "Lua, Lua, Lua," and "Coração Vagabundo." An additional bossa is "Chega de Saudade" (No More Blues). Delicacy is the central concept here, where nostalgia and melancholy also met each other. Backed by the usual competence of Jaques Morelenbaum, Luiz Brasil, Jorge Helder, and Carlos Balla, this album is suited for those who can't stand the electric pop style present in some of Veloso's albums.

Caetano Veloso - Omaggio a Federico e Giulietta  (flac  375mb)

01 Que Não Se Vê (ComeTu Mi Vuoi) 4:14
02 Trilhos Urbanos 3:23
03 Giulietta Masina 4:39
04 Lua, Lua, Lua, Lua 4:45
05 Luna Rossa 5:53
06 Chega De Saudade 3:04
07 Nada 3:43
08 Come Prima 2:51
09 Ave Maria 1:49
10 Chora Tua Tristeza 3:32
11 Coração Vagabundo 4:37
12 Cajuína 2:21
13 Gelsomina 3:33
14 Let's Face The Music And Dance 4:18
15 Coração Materno 4:42
16 Patricia 3:12
17 Dama Das Camélias 2:44
18 Coimbra 4:33
19 Gelsomina 2:15

 Caetano Veloso - Omaggio a Federico e Giulietta    (ogg  171mb)

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This record is a collaboration between Caetano Veloso and Jorge Mautner, a comparatively unknown poet and songwriter, whose work Veloso has admired since the '70s. Eu Não Peço Desculpa has a much more spontaneous air to it than Veloso's two previous albums, Noites do Norte and Livro, with their thematic ambitions. The sound is simple and free from any superfluous frills. The production brings a delicate electronic sound to the album, which also contributes to it sounding quite different from Veloso's recordings during the preceding ten years or so. Compared to the more serious tone on Livro and Noites do Norte, the lyrics on "Eu Não Peço Desculpa" are quite playful and happy, often spiced with ambiguities and ironies, though there are also songs (as for example "Assim Se Morre") touching such serious and sad topics as death and violence. The smooth, elegant "Tarado," with its deliciously funny and colorful lyrics is a highlight of the album. Musically Veloso and Mautner jump between very different styles, shifting from the light pop of the opening track, "Todo Errado," to the electronics of "Manjar de Reis" and a new interpretation of Veloso's beautiful and Nordeste-inspired "Cajuína." The album also contains a fine version of the percussion-driven "Maracatu Atômico," one of Jorge Mautner's most famous songs (previously recorded by artists like Gilberto Gil and Nação Zumbi). Veloso and Mautner sound very inspired throughout this album, and Eu Não Peço Desculpa is Veloso's most fresh-sounding studio album since the 1991 recording Circuladô.

Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa     (flac  287mb)

01 Todo Errado 3:50
02 Feitiço 2:19
03 Manjar de Reis 3:58
04 Tarado 4:23
05 Maracatu Atômico 4:24
06 O Namorado/Urge Dracon 6:24
07 Coisa Assassina 4:15
08 Homem Bomba 3:12
09 Lágrimas Negras/Doidão 3:49
10 Morre-se Assim 3:08
11 Graça Divina 3:34
12 Cajuína 3:32
13 Voa, Voa, Perereca 1:43
14 Hino Do Carnaval Brasileiro 3:19
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  Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa      (ogg  119mb)

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During his long career, spanning five decades, Caetano Veloso has managed to sustain a remarkable consistency, year after year composing beautiful, inventive, and very often simply ingenious music. His previous album, A Foreign Sound, where Caetano interpreted classics from the American popular music scene, was widely applauded abroad and especially in the U.S., but Brazilian listeners were much less impressed. And truth be told, by Caetano's own high standards and with the exception of a few songs, like the reggae-rap version of Bob Dylan's "It's Alright Ma," A Foreign Sound lacked much of Caetano's usual inspiration. Cê, though much lighter and unpretentious, suffers from the same lack of lucid inspiration that has always been the trademark of Caetano. It is not in anyway a bad album, but after having been spoiled with Caetano's unique brand of musical magic and brilliance for so long, Cê just doesn't excite. For the recording, Caetano teamed up with a trio of young musicians, thus forming a traditional rock band relying on an electric guitar, a bass, drums, and the occasional keyboards. The sound is finely tuned and further helped by the excellent production by Caetano's son Moreno and Pedro Sá. The music ranges from the light, carefree punk-pop of tracks like "Outro" and "Odeio" to the laid-back, sentimental "Não Me Arrependo" and "Minhas Lágrimas." "Musa Híbrida" is an interesting mix of samba and rock, with a touch of '70s funk. On "Não Me Arrependo," Caetano uses influence from both Lou Reed and Peninha, and it is perhaps the most melodically impressive song on the album. On "O Herói," Caetano, in a talking voice, recites the lyrics over a sparse and slightly hip-hop-inspired rock groove. The gentle and sweet "Um Sonho" is another highlight. Cê is an enjoyable, finely crafted, and elegantly executed album, but at the same time very far from Caetano's best.

Caetano Veloso - Cê (flac 285mb)

01 Outro 3:00
02 Minhas Lágrimas 5:09
03 Rocks 3:36
04 Deusa Urbana 3:46
05 Waly Salomão 3:24
06 Não Me Arrependo 4:08
07 Musa Híbrida 4:21
08 Odeio 5:58
09 Homem 4:46
10 Porquê ? 3:20
11 Um Sonho 3:20
12 O Herói 3:43

Caetano Veloso - Cê      (ogg  113mb)

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Longtime friends and collaborators Caetano Veloso and David Byrne joined forces for a special Carnegie Hall concert broadcast on National Public Radio in the spring of 2004. Eight years later, Live at Carnegie Hall is released, containing highlights from this stripped-down, primarily acoustic meeting of one of Tropicalia's biggest artists with one of the pillars of art rock. Sequenced in the order the concert was played, the disc begins with a solo set by Veloso ending with his cover of the Talking Heads' "The Revolution" to segue into Byrne's set. While not exactly a hushed affair, there's a quietly breezy feeling throughout the recording. Veloso's incredibly smooth voice is the definition of Brazilian pop: laid-back and welcoming at all times. Even singing the comparatively bouncy "O Leãozinho," his voice lilts gently around the song's rigid curves. Languid ballads like "Sampa" and "Coração Vagabundo" breathe with an effortless beauty and the stark yet satisfying instrumentation of Veloso's plucked nylon-string guitar and occasional accompaniment by cellist Jacques Morelenbaum. Also in the mix is percussionist Mauro Refosco providing understated rhythms for both artists' sets. The disc's second half finds Byrne struggling against uprooting the low-lit vibe laid down by Veloso. While performing in a mode decidedly less turgid than normal, even his takes on mellower Talking Heads classics like "And She Was" or "Heaven" sound especially rock when compared to his concert-mates' staid performance. Rompers like "Life During Wartime" stick out, seeming a little lost; not quiet enough for spartan acoustic ambience and not loud enough for even a spirited unplugged reading. Byrne admitted in interviews he was "extremely nervous" about the concert and his jitters are evidenced by the occasional flubbed guitar chord or slightly rushed vocal delivery. Given his pedigree of quirk, these flaws read more endearing than ham-fisted, especially in the intimate context of an acoustic performance. The disc is pretty standard fare up until the final four or five tracks, where the two come together to duet on each other's songs. It's in these tracks that Live at Carnegie Hall really becomes transcendent. Long influenced and inspired by each other, Byrne and Veloso seem genuinely thrilled to be in each other's presence musically. Byrne's soft vocal augmentation on "Ilê Aiyê" seems reverent and humble and seconds later, Veloso's unfamiliar voice delivering lines about 7-11s and chocolate chip cookies on Byrne's lyrically goofy "(Nothing But) Flowers" is downright cute. While the two don't always match up exactly in terms of presentation, by the end, Byrne's nerdy rock and Veloso's airy sonnets prove highly complementary to each other, especially in tandem.

Caetano Veloso & David Byrne - Live at Carnegie Hall   (flac 365mb)

01 Desde Que O Samba É Samba 4:48
02 Você É Linda 4:09
03 Sampa 3:52
04 O Leãozinho 3:05
05 Coração Vagabundo 2:55
06 Manhatã 4:10
07 The Revolution 2:31
08 Everyone's In Love With You 1:50
09 And She Was 3:56
10 She Only Sleeps 3:22
11 Life During Wartime 4:19
12 God's Child 4:27
13 Road To Nowhere 3:43
14 Dreamworld: Marco De Canaveses 4:54
15 Um Canto De Afoxé Para O Bloco Do Ilê 3:34
16 (Nothing But) Flowers 4:58
17 Terra 5:54
18 Heaven 3:56

Caetano Veloso & David Byrne - Live at Carnegie Hall    (ogg  175mb)

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RhoDeo 1632 Young 1's 2nd

Hello,  another day at the Olympics and another big crash for the leader in the roadrace it looked very nasty her front wheel had a mind of its own and took its rider over the top and into the street barriere ending her race and as the later winner said she looked lifeless at the side of the road. It shocked the 3 riders that passed there 1 minute later, inbetween a lightweight american who'd lost 30 seconds when starting the final descent together with Annemiek, all of a sudden a goldmedal dawned, she would have gotten it, if not for the fact that the three followers all of a sudden they themselves became hunted and 200 meters from the finish they caught the unfortunate American who was totally spent and ended up 4th. A deserved win for the Dutch girl van de Breggen as it was their rider that crashed way in front...dramatic stuff there. Oh and some more surprises The Williams sisters and the Murray brothers both medal contenders are out in the first round as is world #1 Djokovic...I guess Olympic tennis just doesn't pay... Meanwhile a Brit just swam a new worldrecord, unbelieveably far ahead, on 100 meter breast stroke 1,5 sec faster as # 2, this guy must be doped , but Britain don't mind as mr Peaty delivered them a gold medal..yeeh Latest news, US win the men's 100m relay very noticable are their starts and turns that infact make much if not all of the difference, 19th gold for Phelps then.


Today the 2nd episode of an 'historical' 12-episode dramatization of student life in early eighties UK, hooliganism had not made the headlights yet, but dare i say it quickly followed after this series was broadcast. Inspiring clueless chaos ..N'Joy

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The Young Ones is a British "variety" show, broadcast in the United Kingdom from 1982 to 1984 in two six-part series. Shown on BBC2, it featured anarchic, offbeat humour which helped bring alternative comedy to television in the 1980s and made household names of its writers and performers. In 1985, it was shown on MTV, one of the first non-music television shows on the fledgling channel. In a 2004 poll, it ranked at number 31 in the BBC's list of Britain's Best Sitcoms.

The main characters were four undergraduate students who were sharing a house: aggressive punk Vyvyan (Adrian Edmondson), conceited wannabe anarchist Rick (Rik Mayall), oppressed paranoid hippie Neil (Nigel Planer), and the suave, charming Mike (Christopher Ryan). It also featured Alexei Sayle, who played various members of the Balowski family—most often Jerzei Balowski, the quartet's landlord—and occasional independent characters, such as the train driver in "Bambi" and the Mussolini-lookalike Police Chief in "Cash".
Stories were set in a squalid house where the students lived during their time at Scumbag College.

The show combined traditional sitcom style with violent slapstick, non-sequitur plot turns, and surrealism. Every episode except one featured a live performance by a band, including Madness, Motörhead, and The Damned. This was a device used to qualify the series for a larger budget, as "variety" shows attracted higher fees than "comedy"

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with

Adrian Edmondson - Vyvyan...
Rik Mayall - Rick...
Nigel Planer - Neil
Christopher Ryan - Mike
Alexei Sayle - The Balowski Family...
Mark Arden - Boy in Comic Strip... (7 episodes)
Stephen Frost - Bank Vault Manager... (7 episodes)
Ben Elton - Baz ... (5 episodes)


The Young Ones 02 Oil (mp4  264mb)

01 Oil 32:37

Upon moving into a new house (their old one was hit by a plane in "Demolition"), Vyvyan announces that he has struck oil in the cellar. Mike forces Rick and Neil to do the mining, but Rick retaliates by holding a benefit concert for himself and Neil in the living room.


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Previously

The Young Ones 01 Demolition (mp4  266mb)

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Sundaze 1632

Hello, a great Olympic Roadrace today 2 of the 3 leaders crashed on the final descent (Nibali taken out by Henao) all clear then for Majka with a 23 sec lead but he succumbed to Fuglsang and Van Avermaet who's teamwork got them the silver and the gold. A couple of world records in the pool already..



About today's artists, they shared the same label 'Extreme', an experimental recording project of Australian musician Darrin Verhagen, that could be described as dark ambient or gothic industrial. They began in 1992 as a trio, consisting of Verhagen, Charles Tétaz and François Tétaz. Eventually, Verhagen became the mainstay. their first LP, Bloody Tourist, was released on the Extreme label. Subsequent LPs were released on Verhagen's own Dorobo label. Verhagen's side-project, Shinjuku Filth, released music in the industrial music genre ........N'Joy

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Shinjuku Thief was the alias of experimental electronic artist Darrin Verhagen, also the Melbourne, Australia-based founder of the Dorobo record label. Taking his name from the Nagisa Oshima film Shinjuku Dorobo Nikki ("Diary of a Shinjuku Thief"), Verhagen additionally incorporated cinematic influences into his music by conceiving his work as soundtracks to non-existent films; his debut, 1992's Bloody Tourist, drew equally on ambient and industrial traditions, although in the future his more industrial projects were recorded under the name Shinjuku Filth. (New Age-inspired works, accordingly, were attributed to Shinjuku Fluff.) The second Shinjuku Thief LP, 1992's The Scribbler, was a minimalist piece commisioned as a soundtrack for a stage performance based on Kafka's The Trial, while 1993's The Witch Hammer was the first in a series of darkly orchestral records inspired by the supernatural, complete with a nod to the German expressionist films of the 1920s. Branching out from the Shinjuku name, Verhagen adopted another alias, that of Professor Richmann, to record 1994's Succulent Blue Sway, a techno-inspired release composed for the Canberra-based Vis a Vis dance company. Junk, a Shinjuku Filth collaboration with Black Lung's David Thrussel, followed in 1996. Two years later, Verhagen followed with Raised by Wolves on Iridium.

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The Shinjuku Thief debut, produced by Paul Schütze and featuring additional work by Charles and Francois Tétaz, is another notable landmark in the development of invisible-soundtrack urban ambience, heavy on the bongos, fretless bass, environmental samples, and late-night saxophone as well as Oriental instruments, including shakuhachi and Balinese vocals. The opener "Komachi Ruins" begins with Japanese chanting and some ghostly chimes worthy of the track title, but later explodes into an electric guitar workout with synthesizers eerily reminiscent of the Miami Vice theme. While several tracks use martial arts vocal samples, for the most part the album retains acoustic and organic vibes -- a fact which makes the occasional digital intrusion much more pivotal than it would otherwise (like the shift from distorted beats to symphonic percussion on "Burden of Dreams").

Shinjuku Thief - Bloody Tourist  (flac  231mb)

01 Komachi Ruins 4:15
02 Feather Woman Of The Jungle 5:15
03 Burden Of Dreams 3:27
04 The Sacrifice 6:10
05 Preacher's Ghost 4:29
06 Hallucinations 3:18
07 Open Wound 9:51
08 Nkoma 4:02
09 The Year Of Silence 3:43
10 Graven Image (Remix) 4:51
11 Ba-Benzele II 4:32

Shinjuku Thief - Bloody Tourist   (ogg  110mb)

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In 1992, experimental music project Shinjuku Thief released The Scribbler, a piece commissioned for an Australian arts festival. The album was a "soundtrack" to Franz Kafka's book The Trial, and was performed with accompanying visuals. After a limited initial pressing, Cold Spring reissued and remastered the record in 2007. The reissue reworked/augmented some passages, and included a video of the original visuals. The new package is a revelation; that such mastery lay ignored for so long is criminal, so to speak. By and large, the ingredients are orchestral, though they could be electronically sourced. Industrial touches pepper the album and give it depth. At the outset, strings sketch out minor key themes that return throughout in various shapes; doomy church organ adds menace. Although this album is a soundtrack, it works marvelously by itself. Like the book, it grows progressively more labyrinthine. Textures vary from the barroom piano of "Lanz" to the symphonic density of "Advocate." "Titorelli" has unnervingly anxious, sawing strings. The material is tonal, geometric, and repetitive à la Steve Reich. Yet the soundscape continually shifts, perhaps echoing Josef K's search for a reason behind his tribulations and ultimately his existence. In fact, given the posthumous assembly of the book and its unfinished original state, this album is probably more coherent. It lets in more light than its inspiration, but that only makes its darkness darker.

Shinjuku Thief - The Scribbler  (flac  206mb)

01 The Assessor 3:37
02 Stepping From Routine 4:26
03 Blue Octavo Notebooks 1:49
04 Threats And Violence 2:56
05 Proceedings 4:05
06 Lips Of The Guilty 3:21
07 A Promise And A Lecture 5:04
08 An Awful Autumn 3:10
09 Degrees Of Acquittal 5:01
10 The Fabric Of Guilt 2:03
11 The Invisible Architect 3:59
12 Paynes Grey 2:34
13 The Parable 5:02
14 Vogelfrei I & II 6:42

Shinjuku Thief - The Scribbler    (ogg  103mb)

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A classic gothic industrial album paying homage to both German expressionist film of the 1920's and supernatural horror from the 1500's. Dark orchestral timbres set into rich soundscapes, interspersed with outbursts of violence and power. According to Darrin Verhagen, the man behind Shinjuku Thief, The Malleus Malleficarum, a 15th century treatise on how to identify and deal with witches, provided a central thread to what became a trilogy.

Stating that the territory of the subject matter is so rich, a loose framework ("witchcraft and the supernatural") was all that was needed for the audience's imaginations to do their work. His interest was more in the historical/political than the supernatural. The framework was provided by the text but, according to him, the initial impetus for writing "The Witch Hammer" came from a musical interest in employing a hip-hop approach to construction, whilst using a classical sound palette.

There you have it. Verhagen is classically trained (and teaches at university in Australia) and highly educated. This is "dark" music from the point of view of an art school aesthetic not your "goth" sound made by someone trying to make creepy music to express their hatred of society. Your reaction to it will most likely be determined by how many and what types of horror films you've seen. Along with the other two albums in the trilogy this comes highly recommended.

Shinjuku Thief - The Witch Hammer  (flac  222mb)

01 tollkorn.(4:53)
02 waltz of the midwives.(2:42)
03 the witch hammer.(1:55)
04 smell of nightfall.(3:26)
05 a midnight mass.(4:05)
06 wolfzahn.(4:52)
07 poena damni.(6:40)
08 trespassing the gates.(3:56)
09 the darkened psalm.(3:03)
10 totenheer.(5:00)
11 burkhardt of worms.(2:17)
12 flight of the screech owls.(3:52)
13 warm as blood beneath the clods.(5:10)
14 in the path of walpurga's ashes.(5:46)

Shinjuku Thief - The Witch Hammer    (ogg 108mb)

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For the second release in the "witch" trilogy, shinjuku thief descend further into the nightmare world of medieval superstition, paranoia and vengeance. East european violin, reflective passages of brooding ambience and occasional moments of hope are undercut by sheer orchestral violence and a chillingly bleak filmic landscape.

"Overwhelming...gorgeous. If only most classical music could mean as much as this. A work of discipline and assurance and no little beauty, given an added dimension by its mysterious subtexts of found sounds and radio interference. Indispensable. Enchanting, bewitching, darkness unveiled, like it's predecessor, a marvelously evocative album."

Shinjuku Thief - The Witch Hunter  (flac 220mb)

01 prelude-in the wake of walpurga's ashes.(5:12)
02 a black furrow.(4:25)
03 cobwebs and vinegar.(3:01)
04 shadow path.(3:54)
05 a swim at night.(4:23)
06 the second dream.(5:08)
07 blue flame.(3:54)
08 smoke and ice.(4:04)
09 marias' shirt.(2:04)
10 berserkir.(4:54)
11 the witch hunter.(5:44)
12 four ember weeks of ecstatic sleep.(6:21)

Shinjuku Thief - The Witch Hunter (ogg  107mb)

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The long awaited close of the highly acclaimed trilogy. Dark postclassical compositions, alternating between poignantly lyrical and furiously dramatic, set amongst disturbed supernatural soundscapes, and an unsettling cinematic sound design.

'The Witch Haven' is the final piece in Shinjuku Thief's 'Witch' trilogy, and like the other releases in the series, it submerges the listener into a world choking on religious zeal and ancient superstition. Ghouls and lynch mobs roam this countryside at night, lurching over plague corpses and pagan altars. The music is darkly orchestral, shifting from hauntingly romantic and expressive to violent and hideously absurd. Shinjuku Thief (Darrin Verhagen) builds on this uneasy balance with rich textures from acoustic instruments, such as the clarinet, viola and trumpet, setting a palpable evil to lurk in the tracks. On 'Waking at dusk' the wails and whines from trumpet and strings are like cries emanating from an unkempt cemetery, with piano notes falling like raindrops on the tombstones.

Shinjuku Thief - The Witch Haven  (flac 231mb)

01 waking at dusk.(3:24)
02 edge of the wilderness/black cockerel white stick.(6:26)
03 the witches' ladder.(3:14)
04 the gestation of elben.(2:41)
05 a red room/a slow dance.(4:41)
06 five dark corners.(1:45)
07 father of lies.(2:00)
08 the spores of death.(2:54)
09 the white lady.(3:37)
10 procession of souls.(3:24)
11 sign of the black eagle.(2:07)
12 an event on the commons at dusk.(4:10)
13 a tavern of midwives.(1:13)
14 the night child.(1:55)
15 es ist ein ros' entsprungen.(3:00)
16 blood and fat.(1:50)

Shinjuku Thief - The Witch Haven (ogg  94mb)

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RhoDeo 1631 Grooves

Hello,  the olympics have started, been watching the opening ceremoney, and it started great with a wonderful jungle display but then things started getting boring having nearly 200 countries getting an introduction (I hear americans get an edited 1,5 hour version, understandible they would get confused learning that the world is so much bigger than the US. Anyway famous tennis star Gustavo Kuerten has just brought in the flame and robbed of gold marathon runner Fernando Lima lighted the flame intrucing as to a fantastic moving sculpture.


Today's artist has been with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography from 4 different decades. You can wait to see what i'll post or your welcome to request a title  ... N'joy

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Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums, and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince showed remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music was inconsistent, in part because of his eclecticism, but his experiments frequently succeeded; no other contemporary artist blended so many diverse styles into a cohesive whole.

Prince's first two albums were solid, if unremarkable, late-'70s funk-pop. With 1980's Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984's Purple Rain.
Around the World in a DayPurple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the '60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of "Kiss."

By 1987, Prince's ambitions were growing by leaps and bounds, resulting in the sprawling masterpiece Sign 'O' the Times. Prince was set to release the hard funk of The Black Album by the end of the year, yet he withdrew it just before its release, deciding it was too dark and immoral. Instead, he released the confused Lovesexy in 1988, which was a commercial disaster. With the soundtrack to 1989's Batman he returned to the top of the charts, even if the album was essentially a recap of everything he had done before. The following year he released Graffiti Bridge (the sequel to Purple Rain), which turned out to be a considerable commercial disappointment.

Diamonds and Pearls In 1991, Prince formed the New Power Generation, the best and most versatile and talented band he has ever assembled. With their first album, Diamonds and Pearls, Prince reasserted his mastery of contemporary R&B; it was his biggest hit since 1985. The following year, he released his 12th album, which was titled with a cryptic symbol; in 1993, Prince legally changed his name to the symbol. In 1994, after becoming embroiled in contract disagreements with Warner Bros., he independently released the single "The Most Beautiful Girl in the World," likely to illustrate what he would be capable of on his own; the song became his biggest hit in years. Later that summer, Warner released the somewhat halfhearted Come under the name of Prince; the record was a moderate success, going gold.

Gold Experience In November 1994, as part of a contractual obligation, Prince agreed to the official release of The Black Album. In early 1995, he immersed himself in another legal battle with Warner, proclaiming himself a slave and refusing to deliver his new record, The Gold Experience, for release. By the end of the summer, a fed-up Warner had negotiated a compromise that guaranteed the album's release, plus one final record for the label. The Gold Experience was issued in the fall; although it received good reviews and was following a smash single, it failed to catch fire commercially. In the summer of 1996, Prince released Chaos & Disorder, which freed him to become an independent artist. Setting up his own label, NPG (which was distributed by EMI), he resurfaced later that same year with the three-disc Emancipation, which was designed as a magnum opus that would spin off singles for several years and be supported with several tours.

Crystal Ball However, even his devoted cult following needed considerable time to digest such an enormous compilation of songs. Once it was clear that Emancipation wasn't the commercial blockbuster he hoped it would be, Prince assembled a long-awaited collection of outtakes and unreleased material called Crystal Ball in 1998. With Crystal Ball, Prince discovered that it's much more difficult to get records to an audience than it seems; some fans who pre-ordered their copies through Prince's website (from which a bonus fifth disc was included) didn't receive them until months after the set began appearing in stores. Prince then released a new one-man album, New Power Soul, just three months after Crystal Ball; even though it was his most straightforward album since Diamonds and Pearls, it didn't do well on the charts, partly because many listeners didn't realize it had been released.

The Vault: Old Friends 4 Sale A year later, with "1999" predictably an end-of-the-millennium anthem, Prince issued the remix collection 1999 (The New Master). A collection of Warner Bros.-era leftovers, Vault: Old Friends 4 Sale, followed that summer, and in the fall Prince returned on Arista with the all-star Rave Un2 the Joy Fantastic. In the fall of 2001 he released the controversial Rainbow Children, a jazz-infused circus of sound trumpeting his conversion to the Jehovah's Witnesses that left many longtime fans out in the cold. He further isolated himself with 2003's N.E.W.S., a four-song set of instrumental jams that sounded a lot more fun to play than to listen to. Prince rebounded in 2003 with the chart-topping Musicology, a return to form that found the artist back in the Top Ten, even garnering a Grammy nomination for Best Male Pop Vocal Performance in 2005.

3121 In early 2006 he was the musical guest on Saturday Night Live, performing two songs with a new protégée, R&B singer Tamar. A four-song appearance at the Brit Awards with Wendy, Lisa, and Sheila E. followed. Both appearances previewed tracks from 3121, which hit number one on the album charts soon after its release in March 2006. Planet Earth followed in 2007, featuring contributions from Wendy and Lisa. In the U.K., copies were cover-mounted on the July 15 edition of The Mail on Sunday, provoking Columbia -- the worldwide distributor for the release -- to refuse distribution throughout the U.K. In the U.S., the album was issued on July 24.

LotusFlow3rLotusFlow3r, a three-disc set, arrived in 2009, featuring a trio of distinct albums: LotusFlow3r itself (a guitar showcase), MPLSound (a throwback to his '80s funk output), and Elixer (a smooth contemporary R&B album featuring the breathy vocals of Bria Valente). Despite only being available online and through one big-box retailer, the set debuted at number two on the Billboard 200 chart. A year later, another throwback-flavored effort, 20Ten, became his second U.K. newspaper giveaway. No official online edition of the album was made available.

From mid-2010 through the end of 2012, Prince toured throughout Europe, America, Europe again, Canada, and Australia. During 2013, he released several singles, starting with "Screwdriver" and continuing with "Breakfast Can Wait" in the summer of that year. Early in 2014, he made a cameo appearance on the Zooey Deschanel sitcom The New Girl, appearing in the episode that aired following the Super Bowl. All this activity was prelude to the spring announcement that Prince had re-signed to Warner Bros. Records, the label he had feuded with 20 years prior. As part of the deal, he wound up receiving the ownership of his master recordings, and the label planned a reissue campaign that would begin with an expanded reissue of Purple Rain roughly timed to celebrate its 30th anniversary.

Art Official Age First came two new albums: Art Official Age and PlectrumElectrum, the latter credited to 3rdEyeGirl, the all-female power trio that was his new-millennial backing band. Both records came out on the same day in September 2014. (Two years later, the Prince reissue program and the expanded edition of Purple Rain had yet to appear.) Almost a year to the day, he released HITnRUN: Phase One, with contributions from Lianne La Havas, Judith Hill, and Rita Ora. A sequel, HITnRUN: Phase Two, was released online in December 2015, with a physical release following in January 2016. In early 2016, Prince set out on a rare solo tour, a run of shows he called "Piano and a Microphone." The tour was cut short in April due to sickness, however, and Prince flew home to Minneapolis. On April 21, 2016, police were called to Paisley Park, where they found Prince unresponsive; he died that day at the age of 57. His early death and incredible achievement prompted an outpouring of emotion from fans, friends, influences, and professional associates. On the following week's Billboard charts, he occupied four of the top ten album positions and four of the top singles positions.


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It's nearly impossible to judge Lovesexy as anything but a hastily assembled substitute for the withdrawn Black Album, which does the record a disservice. An exactingly sequenced song cycle -- the compact disc didn't have index markings to separate the individual tracks -- Lovesexy is quite a different record than not only The Black Album, but anything else Prince had recorded. Where Dirty Mind was single-minded in its lust, Lovesexy connects the carnal with spiritual, and the calmness of the music reflects this outlook. Even when the record dips into hard funk, such as on the title track or the single "Alphabet Street," there's a relaxed, casual quality to the music that is shocking after the dense paranoia of Parade, Sign 'o' the Times, and The Black Album. Prince intends to enter a new phase of maturity with such considered music and ambitious lyrical themes, but neither his music nor his lyrics are consistently well stated over the course of the album. A handful of tracks are worthwhile -- the sappy ballad "When 2 R in Love," the moving "I Wish U Heaven," the weird psychedelia of "Anna Stesia" and "Glam Slam," as well as the wonderful "Alphabet Street" .

Prince - Lovesexy   (flac 262mb)

01 I No 5:46
02 Alphabet St. 5:39
03 Glam Slam 5:04
04 Anna Stesia 4:58
05 Dance On 3:44
06 Lovesexy 5:47
07 When 2 R In Love 4:01
08 I Wish U Heaven 2:43
09 Positivity 7:17

Prince - Lovesexy   (ogg 102mb)

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Like Come before it, Chaos and Disorder is a contractual obligation album for Prince, a way to get himself out of his contract with Warner Brothers. Unlike Come, Chaos and Disorder doesn't sound disjointed and pasted together -- it's a fun, offhanded throwaway. For the first time since 1987's Sign 'O' the Times, Prince has made a pop/rock album, complete with squealing guitars and sighing melodies. None of the songs qualify as major songs in Prince's canon, but that's part of the record's charm -- Prince sounds like he's having a good time, and he could really care less what anyone else has to say. Or, as he puts it in one of the album's best and most careening tracks, "I Rock, Therefore I Am." Chaos and Disorder sounds immediate, like the songs were recorded the same day they were written. While that might mean there's a handful of throwaways scattered throughout the album, there are wonderful moments like the stuttering jazz-funk of "Dig U Better Dead," the scathing "Had U," the psychedelic clashes of the title track, the heavy rock of "I Like It There," and the beautiful "Dinner With Delores," a rough gem that ranks as one of Prince's simplest and most charming singles of the '90s. So, Chaos and Disorder isn't Prince's best or most important work, but it is a really fun listen, especially if you're willing to accept it as what it is -- a record that does nothing more than rock.

Prince - Chaos And Disorder    (flac  350mb)

01 Chaos And Disorder 4:20
02 I Like It There 3:15
03 Dinner With Delores 2:46
04 The Same December 3:24
05 Right The Wrong 4:39
06 Zannalee 2:43
07 I Rock, Therefore I Am 6:15
08 Into The Light 2:46
09 I Will 3:36
10 Dig U Better Dead 4:00
11 Had U 1:26

Prince - Chaos And Disorder (ogg  120mb)

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Billed as Prince's most controversial album -- at least by his press agency and label -- upon its release in the fall of 2001, The Rainbow Children was arguably his most curious album to date, which isn't necessarily the same thing as controversial. It could have been controversial, that's for sure, given that it follows his conversion to the Jehovah's Witnesses and that it trumpets his faith, over the most elastic, jazziest backing music he's made. If Prince hadn't marginalized himself through his record company battles, multi-disc sets, and botched superstar comebacks, this could have been genuinely controversial, since people would be paying attention to what he's doing. And then a new album musically The Rainbow Children is his most cohesive set since The Gold Experience, and the only one to really push past his traditional limits since then (which, admittedly, is still much more imaginative). And, you know, that's really too bad, because as a musical experience, this is pretty rich, demonstrating not just that Prince knows no borders, but that his music effortlessly mutates within the course of one song, perhaps drawing from his standard book of tricks -- jazz fusion, smooth soul, lite psychedelia, hard rock, and funk general weirdness -- but always sounding unpredictable and rewarding. It's too bad, then, that the very thing that inspired the album for its creator is what will turn off even those diehards that stuck with him this long, seeking out this album -- namely, its religious views. It's not that Prince has become a Jehovah's Witness -- any objective listener really wouldn't care -- but it's that his message doesn't support the music and doesn't fit with the sounds or the approach; it's hard to shut it out, not just because the words are so prominent, but because they're delivered in so many different voices (most distracting of all, the electronically altered basso profundo voice last heard on the decidedly secular "Bob George"), often in short, two-minute songs. This becomes a little overwhelming about halfway through, when the opera comes in on "Wedding Feast," reminding us that this is indeed a concept album, then delving into three eight-minute jams to conclude the record. It all winds up as a bit much, but it doesn't erase the musical facts: this is Prince at his most focused and rewarding in a long time, since Emancipation really.

Prince - The Rainbow Children    (flac  449mb)

01 Rainbow Children 10:03
02 Muse 2 The Pharaoh 4:21
03 Digital Garden 4:07
04 The Work Pt.1 4:28
05 Everywhere 2:54
06 The Sensual Everafter 2:58
07 Mellow 4:24
08 1+1+1 Is 3 5:17
09 Deconstruction 1:59
10 Wedding Feast 0:54
11 She Loves Me 4 Me 2:49
12 Family Name 8:17
13 The Everlasting Now 8:18
14 Last December 7:57
15 - 19 (no audio) 0:20
20 (no audio) 0:08
21 Last December (Reprise) 0:38

Prince - The Rainbow Children  (ogg  165mb)

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The cartoon album art of Prince's HITnRUN: Phase One echoes the cover portrait on its 2014 predecessor Art Official Age, a deliberate move suggesting this 2015 set is either a cousin or perhaps a reboot, questions the EDM revision of "This Could Be Us" (here titled "This Could B Us") doesn't put to bed. Prince consciously reconnected with his '80s work on Art Official Age, a nice wink for his return to Warner Bros., but HITnRUN covers similar territory in an edgy, impatient fashion, suggesting he wasn't thrilled by the 21st century indifference greeting both it and its companion, PlectrumElectrum, recorded with his power trio 3rdEyeGirl. He opens the proceedings by sampling himself and he's happy to throw side glances to his purple past, but he also ratchets up the electronic rhythms along with the stylized weirdness, peppering in references to Red Bull and cellphones alongside cameos from Rita Ora. What he winds up with is something neither fish nor fowl: a record that doesn't quite feel retro or fresh, yet is undeniably Prince. The question is, how is HITnRUN undeniably Prince? This used to be a fairly complicated question, but as he's gotten older it's turned into a simple equation consisting of a heavy dose of R&B, a few flourishes of fuzz guitar and pop harmonies, all divided between vamping soul workouts and slow jams. Prince has been dancing around this template since at least 2004's Musicology, perhaps even 1998's New Power Soul, but since 2007's Planet Earth he's been consistent in delivering tight little records where the elements are well crafted and perhaps even quite enjoyable, but all add up to something a little less than the sum of their parts. HITnRUN is no exception. Underneath its aggressive opening and occasional woozy electronics, it is anchored by two or three songs (the exuberant "Fallinlove2nite," the recycled "This Could B Us," maybe the Graffiti Bridge throwback "Million $ Show") that wind up revealing how the rest of the record feels like little more than nimble calisthenics.

Prince - HITnRUN Phase One   (flac  250mb)

01 Million $ Show 3:10
02 Shut This Down 3:03
03 Ain't About 2 Stop 3:38
04 Like A Mack 4:04
05 This Could B Us 4:11
06 Fallinlove2nite 3:12
07 X's Face 2:38
08 Hardrocklover 3:42
09 Mr. Nelson 2:27
10 1000 X's & O's 4:27
11 June 3:21

Prince - HITnRUN Phase One  (ogg  90mb)

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RhoDeo 1631 Re-Ups 67

Hello,

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....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 August 4th, so where are the other requests, there's so much 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 was 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


3x Aetix Back in Flac (Soul Asylum-Say What You Will, Clarence, Soul Asylum - Black Gold, The Del Fuegos - Boston, Mass )


3x Aetix Back in Flac (X-Ray Spex - Germ Free Adolescents,  Bow Wow Wow - See Jungle! , Rip Rig & Panic - God)


5x Sundaze Back In Flac (David Sylvian - Secrets of the Beehive, David Sylvian - Brilliant Trees,  David Sylvian - Dead Bees on a Cake, David Sylvian - Camphor, David Sylvian - Damage)


3x Aetix Back in Flac (Cramps - Songs The Lord Taught Us, Cramps - Psych Jungle & Gravest Hits , The Cramps - Smell of Female)


3x Aetix Back in flac ( Liquid Liquid - Slip In And Out; Pylon - Gyrate (Plus) , Pylon - Chomp (More) )


3x Aetix Back in flac (Minutemen - Double Nickels on the Dime, Minutemen - 3-Way Tie (For Last), Minutemen - Ballot Result )
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RhoDeo 1631 Aetix

Hello,

Today's artists are hailing from Ferryhill, County Durham, Penetration always stood outside the punk mainstream. Though they played their first ever gig at the infamous Roxy Club, London, their sound was dense, atmospheric and certainly musical. .... ....N'Joy

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Penetration is a punk rock band from County Durham, England formed in 1976. They re-formed in 2001 with several new members.

Their debut single, "Don't Dictate", is now acknowledged as a classic punk rock single[1][2] and their debut album, Moving Targets (1978), is still widely admired.


The lead singer is Pauline Murray. Other members have included Robert Blamire, Gary Smallman, and Gary Chaplin, and later Neale Floyd and Fred Purser. Steve Wallace and Paul Harvey were drafted in as new guitarists in 2001.

The band took their name from an Iggy & The Stooges song and played their first gig in October 1976. Their second gig was supporting The Stranglers at Newcastle City Hall. Significantly, the band also played at the now-legendary punk club The Roxy during its first 100 days. On 9 April 1977, the band appeared on the same bill as Generation X. Early in their career, the band also supported The Vibrators and toured with the Buzzcocks.[8]

After the release of their second single, Penetration recorded the first of two sessions for John Peel at BBC Radio 1 in July 1978. Later that year, the band released their debut album. Moving Targets was number 6 in the Sounds Critics' albums of the year; and it made number 13 in the NME critics' chart.

In 1979, they toured Europe, the US and Britain but the grueling schedule began to take its toll.[11] A disappointing reaction to Coming Up For Air, the second album, was the final nail in the coffin of the original band. After the band split in October an official bootleg album called Race Against Time was released, which was a collection of early demos and live tracks.

Interview with Pauline Murray
So, how did the first version of Penetration come about?

Gary Chaplin was at a different school, but I met him on the coach to Newcastle. He asked me if I would try singing. He had a drummer and a bass payer, and used to do covers of New York Dolls, Jonathon Richman, the Seeds, that type of thing. This was before we saw the Pistols.  Gary used to ring around venues and we got offered all the supports up here! The Stranglers rang us and asked us to support them at Newcastle City Hall. That was our second gig!

"Punk pulled everybody together – all total strangers, but we were all at the same place in our lives. "
Pauline Murray
Because there weren’t many punk bands around, we used to get offered all the supports up here. The Vibrators called us and we played Middlesbrough Rock Garden. We got a lot of exposure and a lot of experience.

Your early single, Don’t Dictate, fits fairly well into what was going on in 1977, but Moving Targets is different. It has a lot of atmosphere; a very dense sound. How did you arrive at that unique sound?

Don’t Dictate was with our first line-up; that was us learning, we’d never done it before. But we’d always try and push ourselves – we were never just content with a three-chord bash.

We did a lot of touring; toured with Buzzcocks, and then Virgin took us for one single. They suggested we add another person to the line-up, and we took their advice.  That was Fred Purser. If Moving Targets had not had Fred, there would have been less atmosphere to it.  We had producer Mike Howlett who’d worked on Don’t Dictate and the other singles, and Mick Glossop who were both very good, and brought even more out of us – so Moving Targets was a culmination of a couple of years work. There was a lot of story in it; we’d done a lot in that time, we’d developed a lot, and that’s why it’s atmospheric.

But you only made two albums?

The second album, Coming Up for Air, was a bit of a rush job compared to Moving Targets.

We had half of it written, then went to America for five weeks, and when we came back, we went straight into the studio. The rest of the band were coming up with backing tracks, giving them to me, and I had to put the words and the tune to them; the pressure was just unbearable.

It was at that point that Neil said he wanted to leave the band, which sent us into an implosion. I was feeling the pressure. We had a full tour booked.  I thought “I can’t carry on”. It was too much. It was a burn-out situation.

I’d had enough. It started out as fun and enjoyment – but this was just a hassle. I wanted out. I was 23 at the time....


In 1980 Pauline Murray collaborated with The Invisible Girls, which also included Robert Blamire as well as other Manchester musicians such as Vini Reilly, guitarist in The Durutti Column, and Steve Hopkins. John Maher from Buzzcocks drummed for the band. Produced by Martin Hannett, the resulting album spawned the singles "Dream Sequence" and "Mr.X". Murray also provided guest vocals for The Only Ones on their track, "Fools".

Pauline Murray worked sporadically as a solo artist under the name 'Pauline Murray and The Storm' with Robert Blamire, Tim Johnston and Paul Harvey. Paul Harvey is also a Stuckist artist. Blamire also worked as a producer for various groups, including Scars, whose sole LP (1981's Author! Author!) he produced.

The remainder of the band briefly continued under the name Rhythm Clicks, releasing a 7" single in 1980 on the Red Rhino label containing the songs "Short Time", "Lies Don't Talk" and "Chains".

“ A decidedly more "rawk" proposition than many of the three-chord trainee anarchists on the scene, Murray drawing inevitable comparisons with both Patti Smith and Siouxsie Sioux for her force of personality and the strength / style of her voice. ”

In 2015 Penetration announced the release of a new album called Resolution in October. The current line-up of the band is Pauline Murray, Robert Blamire, John Maher (ex-Buzzcocks) Paul Harvey and Steve Wallace

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Buoyed by the sheer magnificence of their "Don't Dictate" debut single, Penetration's debut album stands among the very last true greats of the first wave of British punk offerings. A glorious collision of adrenalized exuberance and astonishing energies, topped by Pauline Murray's unmistakably soaring vocals, Moving Targets wrapped 11 tracks across its two sides of vinyl, and it was the greatest indication of their quality that it wasn't till you reached the end that you realized "Don't Dictate" itself was absent. In its stead, "Stone Heroes," the explosive "Movement," and the swirlingly atmospheric "Vision" were all classics in the making, while a cover of Patti Smith's "Free Money" is simply spellbinding, crunchier than the original but more emotive, too. And then there's the opening bars of the title track, a hilarious reminder of how fast things were changing back then -- it's the Pistols' "Holidays in the Sun," and doesn't it sound old-fashioned! All of which illustrates the sheer versatility bound up in the band. In another lifetime, they could have given the likes of Led Zeppelinand Deep Purple a run for their money, at least in terms of demonstrating dexterity, and it was Penetration's bad luck that they were riding a wave that had little time for such abilities. Not that they allowed the disappointment to show. Moving Targets shrugs aside most of punk's archetypes as it rockets along, while the decision to cover the Buzzcocks' "Nostalgia" reminds listeners that Penetration weren't the only band around that didn't give a toss for fashionable accessories. Of course, that determination would lead to the disappointment of the band's second album -- and, thereafter, their demise. As of mid-1978, however, Moving Targets could only herald a dazzling future.

Penetration - Moving Targets (flac 349mb)

01 Future Daze 2:57
02 Life's A Gamble 2:59
03 Lover Of Outrage 3:55
04 Vision 3:25
05 Silent Community 3:29
06 Stone Heroes 3:14
07 Movement 3:23
08 Too Many Friends 3:13
09 Reunion 4:01
10 Nostalgia 3:46
11 Free Money 4:48
Bonus Tracks
12 Don't Dictate 2:56
13 Money Talks 1:42
14 Firing Squad 3:03
15 Never 2:16
16 V.I.P. 2:38

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The spiky aspirations of their debut album and first few singles notwithstanding, Penetration was always a more convincing hard rock band than most punks gave them credit for. The glee with which they unveiled a twin-guitar lineup, the faith they placed in songs with titles like "She Is the Slave" and "Shout Above the Noise," and, if hindsight be the guide, the accuracy with which they predicted the entire New Wave of British Heavy Metal outbreak -- all these things place Penetration in a very different bag to that they normally wriggle around in. Guitarist Fred Purser went on to form the Tygers of Pan Tang. That should tell you everything. Released in late 1979, their second album, Coming Up for Air, is the sound of the group embracing that destiny. Critically pummeled at the time and often overlooked thereafter, it is a far cry from the scratchy urchins who unleashed "Don't Dictate" a mere year earlier, a rip-roaring, riff-heavy leviathan that places its focus on Purser and Neale Floyd's wailing guitars, then layers Pauline Murray's banshee-bark vocals atop of them. Unfortunately, in ripping apart the punk formbook, Penetration also tore up their songwriting manual. Without exception, the ten songs on the original album are uniformly leaden, while two live bonus tracks merely amplify the band's lumpen metal pretensions. Only "Danger Signs," the third bonus track and the band's last memorable single, stands proud, but even that is not a recommendation.

Penetration - Coming Up For Air (flac 286mb)

01 Shout Above The Noise 4:04
02 She Is The Slave 3:08
03 Last Saving Grace 2:55
04 Killed In The Rush 1:48
05 Challenge 3:58
06 Come Into The Open 2:50
07 What's Going On 3:06
08 Party's Over 2:49
09 On Reflection 2:09
10 Lifeline 2:52
11 New Recruit 3:01
Bonus Tracks
12 Danger Signs 2:27
13 Stone Heroes (Live) 3:17
14 Vision (Live) 3:26

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Although Penetration's debut, Moving Targets, is smoother and better produced, it doesn't pack the raw wallop and bristling energy of this collection of demos and live recordings cut from 1977-79. The live side, recorded in the band's hometown of Newcastle, provides the greatest thrills per song, but ultimately the Penetration saga is one of missed opportunity and overinflated expectations. Most importantly, "Don't Dictate" is here in demo form, and it still sounds pretty great, although the version that shows up on the CD reissue of Moving Targets sounds better. Tracks 3-1 to 3-16 originally released in January 1980 as an "official bootleg". All tracks produced by Penetration

Penetration - Race Against Time (flac 301mb)

DEMOS 1977 - JAN 78
01 Duty Free Technology 1:56
02 Firing Squad 2:42
03 Race Against Time 2:05
04 In The Future 2:23
05 Free Money 3:30
06 Never 2:32
07 V.I.P. 2:43
08 Silent Community 3:22
09 Don’t Dictate 2:58
LIVE AT NEWCASTLE DEC 78 - OCT 79
10 Come Into The Open (Live) 2:56
11 Movement (Live) 2:56
12 Lovers Of Outrage (Live) 3:48
13 She Is The Slave (Live) 3:13
14 Too Many Friends (Live) 2:27
15 Killed In The Rush (Live) 1:55
16 Danger Signs (Different Studio Version) 3:18


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Tracks 1 to 4 John Peel Session recorded on 5 July 1978 and transmitted on 10 July 1978
Recorded at Maida Vale Studio 4, produced by Bob Sargeant and engineered by Nick Gomm.
Tracks 5 to 7 John Peel Session recorded on 28 February 1979 and transmitted on 7 March 1979
Recorded at Maida Vale Studio 4, produced by John Sparrow and engineered by Nick Gomm.
Tracks 8 to 16 recorded at The Paris Theatre, London, on 7 July 1979 for BBC 1 In Concert
Produced by Jeff Griffin.

Penetration - At The BBC (flac 369mb)

John Peel Session (July 1978)
01 Future Daze 3:52
02 Vision 3:26
03 Stone Heroes 3:22
04 Movement 3:04
John Peel Session (March 1979)
05 Danger Signs 2:40
06 Last Saving Grace 2:26
07 She Is The Slave 1:55
BBC In Concert (July 1979)
08 On Reflection 2:09
09 Danger Signs 2:47
10 Lovers Of Outrage 3:59
11 She Is The Slave 3:20
12 Come Into The Open 2:55
13 Movement 3:12
14 Nostalgia 4:04
15 Free Money 4:08
16 Stone Heroes 3:38

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RhoDeo 1631 Roots

Hello, well the Olympics are upon us and surprise I really haven't seen the last of Brazil's music, it's really surprising how much Brazil dominates the South American music industry


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, A true heavyweight, a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output since the 1960s proves that this is no exaggeration.......N'Joy

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Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the '50s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music.

Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.

This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many Tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.

Although his commitment to politicized art never wavered, Veloso went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop over the next 20 years. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.)

This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), and was a certifiable superstar, but never self-aggrandizing, narcissistic, or overly concerned with how hip he was.

Estrangeiro Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.

Livro Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. At the beginning of the new millennium, Veloso delivered a live bossa nova album in collaboration with poet Jorge Mautner, the spirited Noites do Norte, and the songbook album A Foreign Sound. In 2006, Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit.

Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- Cê and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. The following year Veloso and Gilberto Gil embarked on a major world tour together called "Dois Amigos, Um Século de Música" which translates to "Two Friends, a Century of Music." With each artist celebrating a remarkable 50-year career, the tour was commemorated by a live album recorded in their native Brazil called Dois Amigos, Um Século de Música: Multishow Live. The extensive double album was released in April 2016 by Nonesuch.

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The album Circuladô had so much success in the previous year that Veloso released this double CD with some of its songs, like "Circuladô de Fulô," a baião with berimbau and cello Indian-like scales, built over the concrete poet Haroldo de Campos' homonymous poem (from the book Galáxias); "Itapuã"; and "A Terceira Margem do Rio" (a beautiful composition by Milton Nascimento/Veloso that has, under its universe of ecological images, glimpses of psychoanalytical and semantic impressions). The album opens with the re-recording of a Bahian samba, "A Tua Presença." "Americanos" is a striking discourse about homosexuals, AIDS, and Americans, not by accident performed immediately after Michael Jackson's "Black or White." "Um Índio" is a ballad recorded with success by Milton Nascimento and Barão Vermelho about an Indian who will come like a futuristic extraterrestrial. "Queixa" is an old romantic tune, now with a rock intro. The traditional Veloso recovery of old values is represented here by Carlos Gardel's immortal tango "Mano A Mano," with a superb cello backing (Jaques Morelenbaum, of course). Bossa is then recalled in "Chega de Saudade" (No More Blues). "Disseram Que Eu Voltei Americanizada" was the song written by Vicente Paiva and Luiz Peixoto for Carmen Miranda following her cold reception by Brazilians after her explosion in the U.S. The sentimental section of the album includes old Veloso hits ("Você É Linda," "O Leãozinho") and a beautiful '70s hit by Roberto Carlos/Erasmo Carlos, "Debaixo Dos Caracóis Dos Seus Cabelos." But the big hit of the album was "Jokerman" (Bob Dylan). The arrangements had a sensitive approach in the acoustic orientation, in contrast with Veloso's most frenetic albums.

Caetano Veloso - Circuladô Vivo  (flac  390mb)

01 A Tua Presença Morena 2:12
02 Black Or White/Americanos 3:25
03 Um Indio 3:18
04 Circuladô De Fulô 3:21
05 Queixa 5:02
06 Mano A Mano 4:15
07 Chega De Saudade 1:37
08 Disseram Que Eu Voltei Americanizada 1:47
09 Quando Eu Pensa Na Bahia 1:55
10 A Terceira Margem Do Rio 4:32
11 Oceano 4:12
12 Jokerman 6:54
13 Você É Linda 4:07
14 O Leãozinho 3:15
15 Itapuã 4:16
16 Debaixo Dos Caracois Dos Seus Cabelos 4:52
17 Os Mais Doces Barbaros 5:24
18 A Filha Da Chiquita Bacana/Cuva, Suor E Cerveja 5:24
19 Sampa 4:39

 Caetano Veloso - Circuladô Vivo    (ogg  164mb)

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Between harsh criticism (due to the retro opportunistic use of Tropicália), and sectarian defense, Tropicália 2 yielded a Caetano Veloso/Gilberto Gil tour through E.U.A. and Europe one year after this release. The reference to Tropicália was used as a safe-conduct for the duo's incursions in electronics, axé music (the contemporary and pragmatic sound of Bahia) and other commercial exploitation -- since under Tropicália everything goes (or used to go, some 30 years ago). The album opens with "Haiti," a dry percussive electronic pattern over which Caetano and Gil speak verses dealing with racism; "Cinema Novo" is a beautiful samba, whose lyrics "explain" and greet the Brazilian cinema movement which gained the world. "Nossa Gente" brings the percussive sounds of axé music together with funk brass attacks. "Rap Popconcreto" is a musical concrete poem which echoes as a synthesis of the old concept of Tropicália -- utilizing samplers in an improbable atmosphere, piling several old recordings from various artists singing the word "Quem?" ("Who?"). The Jimi Hendrix song "Wait Until Tomorrow" receives a Brazilian percussion treatment, and "Cada Macaco No Seu Galho" is a Novos Baianos hit which received an old baião groove treatment in the drum-machine programming, mixed with modern Bahian percussion. "Baião Atemporal" is a beautiful baião with a very modern and haunting melody and arrangement. The album, in philosophical terms, expresses fragile concepts. Poetically and musically, represents good entertainment, and, in its best moments, good Art.

Caetano Veloso & Gilberto Gil - Tropicalia 2     (flac  249mb)

01 Haiti 4:19
02 Cinema Novo 4:14
03 Tradicao 5:54
04 As Coisas 2:39
05 Aboio 1:32
06 Dada 3:00
07 Cada Macaco No Seu Galho (Cho Chua) 3:21
08 Baiao Atemporal 3:40
09 Nossa Gente 2:53
10 Rap Popcreto 1:58
11 Wait Until Tomorrow 3:25
12 Desde Que O Samba E Samba 5:11

  Caetano Veloso & Gilberto Gil - Tropicalia 2      (ogg  111mb)

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Caetano Veloso continues his free-thinking explorations of tropicalismo on this ambitiously arranged, elaborately packaged suite of songs devoted to whatever happens to cross his mind. Veloso says that he was listening a lot to the collaborations of Miles Davis and Gil Evans around this time, and Jaques Morelenbaum's charts often reflect their darkly urbane ethos. Yet for Morelenbaum's yin there is also the yang of the battering Bahian percussion that dominates many of the rhythm tracks. "Livros" in Portuguese means "books," so Veloso gives you a sample of his book Verdade Tropical in the booklet notes and pays eloquent tribute to them on the title track: "Books are transcendental things/But we can love them with our hands." He is alternately awestruck and appalled by the ambiguities of New York City on "Manhata"; here, the arrangement definitely contains haunting echoes of Evans. He can venture into atonality on "Doideca" (12-tone, but pointedly translated in the booklet as "loony"), recite the horrors of a slave ship voyage, tell someone off ("Nao Enche," which means "Piss Off"), or simply sing "How beautiful could a being be" over and over, presumably to a child, in falsetto to a hot groove. One of the most amazing songs is an epic about the life of Alexander the Great; it comes off like a great saga song. Finally, he runs down a long list of all his favorite Brazilian singers, seemingly leaving out no one, only to close with "Better than this there's only silence/And better than silence, only Joao."

Caetano Veloso - Livro (flac 346mb)

01 Os Passistas (Carnaval Dancers) 3:23
02 Livros (Books) 4:31
03 Onde O Rio E Mais Baiano (Where Rio Is Most Bahian) 3:22
04 Manhata (Para Lulu Santos) (For Lulu Santos) 5:17
05 Doideca 3:40
06 Voce E Minha (You Are Mine) 3:44
07 Um Tom 2:29
08 How Beautiful a Being Could Be 3:27
09 O Navio Negreiro (The Slave Ship) (Excerto) 5:17
10 Não Enche 3:31
11 Minha Voz, Minha Vida (My Voice, My Life) 2:50
12 Alexandre (Alexander) 5:48
13 Na Baixa Do Sapateiro (In Baixa Do Sapateiro) 3:46
14 Pra Ninguem (For No One) 2:59

Veloso - Livro      (ogg  141mb)

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In this album, Caetano Veloso used cool jazz and Gil Evans' orchestrations as the raw material for his synthesis with contemporary Bahian rhythms -- "Terra," from 1978, is an epic description in which Sketches of Spain influences dialogue with their rhythmic similarity with Bahian grooves. The track is the best of the album, which brings no news other than the interpretation of "Prenda Minha," from the gaúcho folklore, and the ridiculous yet highly rewarding financially track "Sozinho" (which may be the best reason for a Veloso album reaching the cipher of 1,200,000 sold copies for the first time), which propelled the selling of the album and its presence in the top radio charts. "Jorge de Capadócia" (Jorge Ben, 1975) is an emotional and beautiful delivery of the important song, but included in this repertory after Racionais MC's recorded it, it sounds a bit opportunistic -- the visceral phrase "eu estou vestido com as roupas e as armas de Jorge" (I am dressed with the clothes and weapons of Jorge's," a reference to the religious syncretism that unifies Saint Georges and Oxum in a Negro entity of protection, resistance, and survival) sounds incongruous when delivered by this elegant gentleman in an expensive suit. Musically, the excellent cool jazz orchestral arrangements for "Esse Cara," "Prenda Minha," "Terra," "Meditação" (a bossa classic propelled by a Bahian percussion), the also splendid Latin jazz arrangements for "Mel" (recorded by sister Maria Bethânia, here sung in Spanish in a convenient Mercosul version), and the delicate, straight voice/violão renditions for "Bem Devagar," "Drão," "Saudosismo," and the beautiful Chico Buarque song "Carolina" make the album worthwhile.

Caetano Veloso - Prenda Minha   (flac 390mb)

01 Jorge De Capadócia 2:57
02 Prenda Minha 1:40
03 Meditação 2:27
04 Terra 8:02
05 Eclipse Oculto 3:42
06 Texto "Verdade Tropical" 1:24
07 Bem Devagar 2:13
08 Drão 2:36
09 Saudosismo 2:24
10 Carolina 3:02
11 Sozinho 3:11
12 Esse Cara 3:43
13 Mel 4:55
14 Linha Do Equador 4:59
15 Odara 2:22
16 A Luz De Tieta 4:13
17 Atrás Da Verde-e-Rosa Só Não Vai Quem Já Morreu 5:05
18 Vida Boa 4:42

Caetano Veloso - Prenda Minha    (ogg  163 mb)

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RhoDeo 1631 Young 1's 1st

Hello,  Rosberg messed up his start slightly (overconcentration) and Hamilton,Verstappen and Ricciardo went by, he never recovered from that, so it was easy peachy for Hamlton to win another Grand Prix and create some distance between him and the rest. Red Bulls were close but not near enough. Ferrari seems to have lost the plot, Vettel stuck in no man's land.



Today the first episode of an historical 12-episode dramatization of student life in early eighties UK, hooliganism had not made the headlights yet, but dare i say it quickly followed after this series was broadcast. Inspiring clueless chaos ..N'Joy

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The Young Ones is a British "variety" show, broadcast in the United Kingdom from 1982 to 1984 in two six-part series. Shown on BBC2, it featured anarchic, offbeat humour which helped bring alternative comedy to television in the 1980s and made household names of its writers and performers. In 1985, it was shown on MTV, one of the first non-music television shows on the fledgling channel. In a 2004 poll, it ranked at number 31 in the BBC's list of Britain's Best Sitcoms.

The main characters were four undergraduate students who were sharing a house: aggressive punk Vyvyan (Adrian Edmondson), conceited wannabe anarchist Rick (Rik Mayall), oppressed paranoid hippie Neil (Nigel Planer), and the suave, charming Mike (Christopher Ryan). It also featured Alexei Sayle, who played various members of the Balowski family—most often Jerzei Balowski, the quartet's landlord—and occasional independent characters, such as the train driver in "Bambi" and the Mussolini-lookalike Police Chief in "Cash". Stories were set in a squalid house where the students lived during their time at Scumbag College.

The show combined traditional sitcom style with violent slapstick, non-sequitur plot turns, and surrealism. Every episode except one featured a live performance by a band, including Madness, Motörhead, and The Damned. This was a device used to qualify the series for a larger budget, as "variety" shows attracted higher fees than "comedy"

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with

Adrian Edmondson - Vyvyan...
Rik Mayall - Rick...
Nigel Planer - Neil
Christopher Ryan - Mike
Alexei Sayle - The Balowski Family...
Mark Arden - Boy in Comic Strip... (7 episodes)
Stephen Frost - Bank Vault Manager... (7 episodes)
Ben Elton - Baz ... (5 episodes)


The Young Ones 01 Demolition (mp4  266mb)

01 Demolition  33:23

The boys get a letter from the council telling them their squalid house will be demolished. Vyvyan attempts to stop the demolition by beating the construction crew to it, while Mike tries to sweet-talk the crew, Rick ties himself to a giant cross and Neil attempts suicide.


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Previously



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