RhoDeo 1642 Roots

Hello,

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


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

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

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

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

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

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

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

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

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


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This album from the mid seventies is one of the wildest live releases from Maria Bethânia. She is especially dramatic and expressive here, conveying in her songs the deepest emotions. Her forthright vocals range between tenderness and violence in a unique way, making this concert really thrilling. The repertoire is crazily diverse, but she sings it in such a consistent way! This album may sound a little bit rough for persons expecting something softer as the material Bethânia released in later years, but it won't deceive fans of her sixties and seventies stuff, her wildest moment. A stunning experience!

Maria Bethania - A Cena Muda  (flac  218mb)

01 Side 1 (19:58)
Luzia Luluza / Sinal Fechado / Roda Viva / Rosa Dos Ventos / Cala A Boca,
Bárbara / Conversação Entre João E Maria / A Sonhar Eu Venci Mundos /
Sonho Impossível (The Impossible Dream) / Taturamo / Galope / Quem Há De
Dizer / Demoníaca / Encouraçado / Resposta / Num Samba Curto / Tira As
Mãos De Mim / A Coroa Do Rei

02 Side 2 (22:31)
Eu Fui À Europa / Gás Neon / Luzes Da Ribalta (Limelight) / Espinita /
Disseram Que Voltei Americanizada / Lili (Hi Lili, Hi-Lo) / Não Tem Tradução /
Ator De Cinema / Desesperadamente / Dez Bilhões De Neurônios / Dos Pés
À Cabeça / Nossa Senhora Da Ajuda / Eu Vim Do Sertão / Midas / Maria, Maria /
Chão De Estrelas / Sinal Fechado

  Maria Bethania - A Cena Muda    (ogg  99mb)

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For many observers, Alibi is her indisputable masterpiece, the album that brought him success (commercial and others) with more than one million copies sold and the recognition of her peers. Produced by a legend of bossa nova, Roberto Menescal, Alibi consists mostly romantic ballads flirting with Jazz and Pop. Arrangements strings and keyboards are quite sober and delicate, giving the whole a real sweet. The album, very well built, bit nevertheless appear a little smooth, no actual flight, the emotion is rather contained. I love it when Maria Bethania dare push her voice ( "Negue"). Some points of organs: the beautiful cover of "Alibi" (Djavan), the meeting "magic" of Maria Bethania e Gal Costa on "Sonho Meu" and the grandiose version of "Chalice" (Chico Buarque). The quality and homogeneity of the album makes it a real success.

Maria Bethania - Alibi   (flac  158mb)

01 Diamante Verdadeiro 2:04
02 Álibi 3:35
03 O Meu Amor 3:20
04 A Voz De Uma Pessoa Vitoriosa 2:44
05 Ronda 2:05
06 Explode Coração 2:06
07 Negue 3:58
08 Sonho Meu 3:03
09 De Todas As Maneiras 1:53
10 Cálice 3:19
11 Interior 2:40

     (ogg   mb)

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Maria Bethânia is an expressive singer with a massive audience. Her romantic style coexists with a dramatic feel that blossoms in her live presentations, such as this one. An eclectic artist in regards to her repertoire, she may mix old-time strong values of Brazilian with the current fashionable composer, with critical results in her most recent releases, but always enchanting her fans, as can be heard through the enthusiastic applause. In this album she didn't go that far, and all compositions are good, even if they come from the brega Roberto Carlos; "Detalhes" is a beautiful song, after all. Supported by competent musicians and by the composer/pianist/ arranger Cristóvão Bastos, she also explores the old classics Ary Barroso, João de Barro, Paulo Vanzolini, and Chiquinha Gonzaga, together with contemporaries Milton Nascimento, her brother Caetano Veloso, Gonzaguinha, and Chico Buarque, revisiting songs already associated with her interpretation in a whole integrated by her charisma and highly personal singing.

Maria Bethânia & Caetano Veloso - Ao Vivo   (flac 194mb)

01 Tudo De Novo 4:15
02 Carcará 3:59
03 João E Maria 2:08
04 Número Um 2:25
05 Maria Bethânia 1:24
06 O Que Tinha De Ser 2:08
07 O Leãozinho 3:13
08 Meu Primeiro Amor 4:45
09 Falando Sério 2:56
10 Reino Antigo and Adeus Meu Santo Amaro 4:58
11 Maninha 3:35
12 Doce Mistério Da Vida (Ah Sweet Mystery Of Life) 2:22

     (ogg  mb)

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At first, this seems like an implausible meeting. Maria Bethânia, sister of Caetano Veloso, member of the iconoclast movement Tropicália since its inception, dedicated this album to the duo of songwriters Roberto Carlos/Erasmo Carlos, long since associated with a heavily romantic repertoire that makes the delights of their middle-aged feminine fan base. But, in fact, the songs by Roberto and Erasmo are quite poetic and well resolved in formal terms. If Roberto (and others) decided to profit on their jewels through condescending arrangements/renditions, it can't be assumed that their material isn't worth it, and Bethânia shows why. Deeply romantic, yes -- but extremely tasteful. The album sold 1.5 million copies.

Maria Bethania - As Cancoes Que Voce Fez Pra Mim (flac 255mb)

01 As Canções Que Você Fez Pra Mim 3:43
02 Olha 3:41
03 Fera Ferida 3:33
04 Você Não Sabe 3:10
05 Palavras 4:40
06 Costumes 2:49
07 Detalhes 5:09
08 Eu Preciso De Você 4:11
09 Seu Corpo 4:03
10 Você 3:00
11 Emoções 4:16

Maria Bethania - As Cancoes Que Voce Fez Pra Mim  (ogg  100mb)

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RhoDeo 1642 Young 1's 12th

Hello,

Today the 12th and final 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...


The Young Ones 12 Summer Holiday (mp4  283mb)

12 Summer Holiday 34:59

It's the end of the term at College, and Vyvan, Rick, Mike and Neil are having a lazy summer holiday. But they end up getting evicted by Mr. Bolowski and decide to rob a bank, before making a getaway on a bus.


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Previously

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

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Sundaze 1642

Hello,

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

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

Yokota’s family released a statement:

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


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Susumu Yokota has always created readily accessible work; chipper melodies and predictable rhthyms weave their way along to natural conclusions with little unexpected happening inbetween: perfect techno pop music. On Cat, Mouse And Me he does this but to a wonderfully stunning conclusion - instead of disposable music, this album is filled with a deep warmth and depth served via repetition. The looped melodies are here, but have a melancholy edge. The rhythms don't excite, but lull you into a head-nodding trance. None of the tracks are particularly "difficult" listening, rather all are almost as immediately engaging as they are durable.

Susumo Yokota - Cat, Mouse And Me  (flac  333mb)

01 Good Morning 2:50
02 Neutral 5:10
03 Field 5:50
04 River Side 5:20
05 Wait For A Day 5:00
06 One Way 5:00
07 Lemon And Ginger 5:20
08 Ceramic Flower 5:40
09 Cat, Mouse And Me 5:00
10 From 6:30
11 Middle Finger 5:20
12 Few 4:20
13 In The Sky 5:40
14 Dodo 4:50

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Magic Thread is a charming exploration in sound sculpture, lilting melodies, softly shifting bass, echoing voices and all manner of means of exotic instruments makes this into a gorgeous album full of gentle ambience and subtle sounds. Yokota casually trims the edges of his samples, and apparently doesn't lose sleep over looped bursts of tape hiss that would make most audio engineers wince. While initially appearing careless, these touches are ultimately revealed as intrinsic components of his invitingly unpretentious style. On this disc, vinyl crackle (sampled as rhythm) and wheezing tape loops take an already offhand artist into realms that are positively lo-fi. Although most of Yokota's work is loop-based, "Magic Thread" is particularly repetitive. That said, those charmed by the quirky exotica of his later albums may find the landscape a wee bit barren.

Susumu Yokota - Magic Thread  (flac  231mb)

01 Weave 5:05
02 Reflux 6:15
03 Unravel 2:45
04 Circular 5:45
05 Spool 6:47
06 Potential 6:28
07 Fiber 2:08
08 Metabolic 6:34
09 Stitch 4:17
10 Blend 5:39
11 Melt 4:07

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Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota's melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music's birth in the mid-'70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel Göttsching. The icy "Saku" sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal instrumentation. Beats make their first appearance on "Uchiu Tanjyo," as smooth, semi-tribal hand drums blend organically with the repeating keyboard figures. "Genshi" adds house drum programming to the brew, and Yokota's knack for reflective electronic melody on the track rivals the best of Kraftwerk. Both "Azukiior No Kaori" and "Kodomotachi" use vocal samples to haunting effect, bringing to mind the favored techniques of Nobukazu Takemura without direct reference to machine glitches. The flow is marred by a misplaced jazz cutup ("Naminote"), but Sakura possesses an austere beauty and should not be overlooked.

Susumu Yokota - Sakura  (flac  250mb)

01 Saku 5:45
02 Tobiume 4:38
03 Uchu Tanjyo 3:13
04 Hagoromo 3:52
05 Genshi 4:57
06 Gekkoh 4:59
07 Hisen 3:48
08 Azukiiro No Kaori 2:39
09 Kodomotachi 4:06
10 Naminote 5:43
11 Shinsen 4:33
12 Kirakiraboshi 1:55

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Possibly the most unique item within Susumu Yokota's highly idiosyncratic oeuvre, Symbol finds the multifaceted Japanese electronica master defying and muddying genre distinctions to create sui generis compositions of considerable beauty and strangeness. That's not exactly new territory for Yokota, but this time there's a gimmick: the album is consists primarily of fragments taken from classical pieces, many of them highly familiar, if not always readily identifiable, by the likes of Debussy, Rachmaninov, and Beethoven -- with a particular reliance on Tchaikovsky's "Nutcracker" and Saint-Saëns' "Carnival of the Animals" -- as well as bits of more recent works by John Cage and Meredith Monk, whose unearthly voice becomes a focal point for several of these tracks. But while Yokota cuts, pastes, and plunders the world of art music with a palpable exuberance akin to the mash-up artists, his contemporaries, who were doing similar things with pop, the results are more nuanced than merely novel. Nor is it entirely out of step with his previous work -- it's not as serenely ambient as the beloved Sakura (though it is generally quite soothing), and it certainly has little to do with his various dance-oriented releases, but it retains the meticulous, multilayered compositional approach of albums like Grinning Cat and The Boy & the Tree. And although the presence of electronics is kept relatively understated, the elements with which Yokota weaves together his mad grab-bag of orchestral motifs, frolicsome fragments of flute and piano, and stately string passages (there are sometimes as many as seven classical samples in a single four-minute piece) will be immediately familiar to his listeners: subtly burbling beats, wordless ethereal vocals, vaguely Asian-sounding percussion loops (as well as a marimba ostinato that could pass for a Steve Reich sample). Indeed, without the obviously recognizable nature of his sample sources (which, depending on your perspective, could be a source of distraction or a point of engagement), it would be difficult to distinguish many of these pieces from "standard" Yokota compositions -- a feat which is in itself quite an accomplishment. That it's also a fascinating and rewarding listen, and an undeniably gorgeous bit of craftsmanship, arguably elevates Symbol to near the level of its inspirations, or at least positions it as a curious bridge between too-often estranged musical worlds.

Susumu Yokota - Symbol  (flac  247mb)

01 Long Long Silk Bridge 3:00
02 Purple Rose Minuet 3:34
03 Traveler In The Wonderland 4:20
04 Song Of The Sleeping Forest 4:16
05 The Plateau Which The Zephyr Of Flora Occupies 2:25
06 Fairy Dance Of Twinkle And Shadow 4:17
07 Flaming Love And Destiny 4:54
08 The Dying Black Swan 2:21
09 Blue Sky And Yellow Sunflower 3:56
10 Capriccio And The Innovative Composer 2:23
11 I Close The Door Upon Myself 2:24
12 Symbol Of Life, Love, And Aesthetics 3:53
13 Music From The Lake Surface 3:12

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RhoDeo 1641 Grooves

Hello,  so the Walloon part of Belgium is blocking CETA and those nitwit journo's are crying foul in concert with industrialists. The extremely nefarious European commision is up in arms as they see their underhand plan to force the EU into submission and accept TTIP, as any US company with a shed in Canada can have everything they want from CETA and thus there's no longer a reason to oppose TTIP and that's the reason this trojan horse was created in the first place. The deal only serves to interest the elite and wealthy whilst putting job security and social welfare for others at risk.
The EU is lead by mentally challenged alpha's (no clue when it comes to figures), idiots like socalled socialist leaders like french president Hollande who's despised by 70% of the french and fat bully Sigmar Gabriel the German vice cancellor, ignore the calls of the people and continue the sell out of Europe's wealth and health and turn us all into multinational serves....


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

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

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

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

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

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

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

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

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

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

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

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In 1977, one of funk's most promising debuts came from Cameo, whose first album, Cardiac Arrest, made it crystal clear that Larry Blackmon's outfit was a force to be reckoned with. If you were into hard, tough funk in 1977, it was impossible not to be excited by Cameo's debut. This excellent LP contains a romantic soul ballad ("Stay By My Side") as well as the original version of "Find My Way," which is the sort of smooth yet funky disco-soul that groups like the Trammps and Double Exposure were known for in the late '70s. But for the most part, this is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences -- namely, Parliament/Funkadelic, the Ohio Players, and the Bar-Kays. But at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own. And ultimately, Cameo would become quite influential itself. For funk lovers, Cardiac Arrest is essential listening. Period.

Cameo - Cardiac Arrest    (flac  229mb)

01 Still Feels Good 4:14
02 Post Mortem 4:17
03 Smile 3:48
04 Funk Funk 4:44
05 Find My Way 3:23
05 Rigor Mortis 5:18
06 Good Times 4:59
07 Stay By My Side 4:23

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Cameo's second album, We All Know Who We Are, which saw Cameo becoming increasingly successful.
This got into the top 60 on the mainstream chart and number 15 on the R&B countdown. The single It’s Serious not only gave the band a Top 20 R&B hit but also got onto the all important dance chart, hitting number 21. With songs like C on The Funk , Cameo were really finding their range and establishing a unique niche.

Cameo - We All Know Who We Are   (flac  230mb)

01 Inflation 4:45
02 C On The Funk 4:20
03 Why Have I Lost You 4:41
04 Stand Up 3:29
05 We All Know Who We Are 5:53
06 It's Serious 7:58
07 It's Over 4:12

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As Cameo rode both the critical and commercial success resulting from their debut, Cardiac Arrest, Chocolate City took the group straight from the road and right into the studio to record its follow-up. Because of this, the overall quality of Ugly Ego suffers mildly. It's uneven at points, but this easily could be attributed to erratic song sequencing, something that thankfully can be rectified in the digital age by the custom programming button. The band was developing its definitive sound at this point -- the sound later heard on Secret Omen that would usher Cameo from being just another funk band to funk overlords. The uptempo "Insane" would later go on to be a fan favorite, and the slower moments found on "Give Love a Chance," "Friend to Me," and "Two of Us" prove that Cameo were more than just a good-time party band, but serious soulful balladeers when the time was appropriate.

Cameo - Ugly Ego   (flac 221mb)

01 I'll Be With You 4:21
02 Insane 5:01
03 Give Love A Chance 4:50
04 I Want You 4:07
05 Ugly Ego 4:53
06 Anything You Wanna Do 3:32
07 Friend To Me 5:12
08 Two Of Us 4:31

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Cameo never recorded a bad album, but it did record some uneven ones. One such LP was 1978's Ugly Ego, which was generally decent but fell short of the excellence of Cameo's superb debut album, Cardiac Arrest. But if Ugly Ego led some people to believe that Cameo might be slipping, the band's fourth album, Secret Omen, put that idea to rest. Released in 1979, Secret Omen is among Cameo's most essential releases. Everything on this album is a winner; anyone who appreciates sweaty, gutsy, horn-powered funk would have a hard time not loving "I Just Want to Be" (a major hit) and equally gritty gems like "New York," "Macho," and "The Rock." Meanwhile, a remake of "Find My Way" (previously heard on 1977's Cardiac Arrest) is even more disco-minded than the original version. Disco was never Cameo's specialty, but because disco was so huge in 1979, it made sense to revisit "Find My Way." And although "Find My Way" is atypical of Cameo on the whole, it's still a great song. Equally impressive is the hit soul ballad "Sparkle"; even though Larry Blackmon and friends are best known for up-tempo songs, they recorded their share of memorable ballads in the 1970s and 1980s. Secret Omen is recommended to anyone with even a casual interest in late-'70s funk.

Cameo - Secret Omen   (flac 227mb)

01 Energy 4:23
02 I Just Want To Be 5:18
03Find My Way 9:04
04 Macho 5:03
05 The Rock 3:55
06 Sparkle 4:51
07 New York 5:02

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RhoDeo 1641 Re-Up 74

Hello, some guy named 'Robert Zimmerman ' won the Nobelprice for literature, ah yes even the Swedes get older and nostalgic and succumb to the meme installed by mr Zimmerman that the times are changing. Considering how fast our world is changing these days, it's not really that surprising that this meme triggered the thought that this meme was of extraordinairy quality, and the man responsible for it must be a poet. And as this man wrote many more poems, usually disguised as lyrics and thus accompanied by music. This combo makes his efforts worthy of a Nobel price, i wonder when rappers get a look in, probably a few decades from now when it's fans are old and more influential. Hmm that would be never then...

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

Looka here another batch of 14 re-ups, requests fullfilled up to October 12th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse 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

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3x Into BPM Back in Flac ( The Aloof - Cover The Crime, Eat Static - Implant, The Grid - Evolver)


3x Sundaze NOW in Flac ( Captain Beefheart - Trout Mask Replica, Captain Beefheart - Doc At The Radar Station, Captain Beefheart And The Magic Band - A Carrot Is As Close As A Rabbit Gets To A Diamond)


5x Wavetrain Now in Flac (Poly Styrene - Translucence, John Foxx - Metamatic, still in ogg The Reds - I, Positive Noise - Heart of Darkness,  Positive Noise - Change Of Heart)

ah yes a request for more UK beat after yesterdays aetix post

3x Aetix Back In Flac (The Beat - Wha'ppen?, The Beat - Special Beat Service, The Beat - Bonus Beat (12' and Dub Versions))


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RhoDeo 1641 Aetix

Hello,

Today's artists featured a racially diverse line-up. Their lyrics featured themes connected to politics.Reinforcing the songs of Noel Davies were the voice and rude girl style of Pauline Black and the rhythms of Desmond Brown on the Hammond organ. The band's name is based on the term "selector", which is a Jamaican word for disc jockey. The band were one of the most successful ska bands of the 2 Tone era, notching up several top forty singles in the British charts.....N'Joy

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One of the key bands of the U.K. ska revival of the late '70s and early '80s, the Selecter were also one of the few racially and sexually integrated acts on the scene, and vocalist Pauline Black often tackled sexism along with racism and the other social ills focused upon by groups that were part of the 2-Tone movement. The Selecter originally began as a studio project: when the Specials released their debut single, "Gangsters," in 1979, they needed a second song for a B-side, and they decided to use a track that Specials drummer John Bradbury had previously recorded with guitarist Neol Davies and trombone player Barry Jones in 1977; the tune, "Kingston Affair," was credited to the Selecter. When "Gangsters" became a hit and "Kingston Affair" began gaining its share of attention, Davies opted to assemble a proper band using the name. Recruiting his friends Charley Anderson on bass and Desmond Brown on keyboards, Davies filled out the lineup with guitarist Compton Amanor, Charley "H" Bembridge on drums, and vocalist Arthur "Gaps" Hendrickson; when Davies met Pauline Black, he promptly gave her an audition, and she was added to the lineup as lead singer.

The Selecter were soon added to the 2-Tone Records roster, and scaled the U.K. singles charts with the singles "Three Minute Hero," "On My Radio," and "Missing Words." The Selecter's debut album, Too Much Pressure, was released in early 1980, and rose to number five on the U.K. album chart, eventually receiving a gold record. At the peak of their success, the Selecter were filmed on tour for Dance Craze, 2-Tone's documentary about the British ska revival, but the first proper lineup began to crumble when Charley Anderson and Desmond Brown left to form their own band, the People. With the addition of keyboard player James Mackie and Adam Williams on bass, the Selecter began work on their second album, but 1981's Celebrate the Bullet was welcomed with tepid reviews and poor sales, and Black left to pursue a solo career, with the band soon breaking up after a new vocalist didn't work out.

Black worked in music and as an actress before the enduring popularity of the 2-Tone sound led her to assemble a new lineup of the Selecter with Davies in 1991. The new Selecter released an album, 1992's Out on the Streets, but not long after its release, Davies had left the group, and "Gaps" Hendrickson came aboard in 1993, in time to help cut 1994's The Happy Album. In 1997, No Doubt, serious fans of the 2-Tone era, invited the Selecter to open their American tour, and a steady stream of live and studio releases appeared from the group, most featuring Black and a rotating cast of musicians. In 2006, Black left the Selecter, and for a while Davies toured with his own edition of the group. Black and Hendrickson began performing again as the Selecter in 2010, and in 2015 they released a new album, Subculture, a commanding fusion of reggae and ska that rose to number five on the U.K. indie album chart.

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The Selecter's "Too Much Pressure" is the single most overlooked album of the U.K. ska revival, and in my opinion, the most overlooked album of the late-70s/early-80s. Fans of the short-lived U.K. ska revival are probably familiar with The Selecter, but unfortunately most don't own "Too Much Pressure". It was out of print until 2002, and then only released on a small indie label in the U.K. The album was originally released in 1980, following a few key singles, on the then fledgling 2-Tone label. Those early singles - "The Selecter", "On My Radio" and "Too Much Pressure" - are included as bonus tracks on this reissue.

Like other 2-Tone bands, The Selecter is indebted to early Jamaican ska, specifically Duke Reid and Prince Buster productions, as well as late seventies U.K. punk. The Selecter is rooted in rock steady and reggae rhythms as well, which aligns them more closely with The English Beat than The Specials or Madness (all label-mates.) What makes The Selecter completely unique is lead vocalist Pauline Black. Black was born to belt out infectious, punk-inspired ska tunes. Without her, The Selecter would sound too much like The English Beat - not a bad thing, just that Black really makes the band something special. She can back a social statement like "Danger" with fierce intensity and then bounce along playfully to some of the most infectious songs in existence. (Is "On My Radio" pure bliss or what?). No slapdash compilation can ever replace the original album, especially when every track is a killer.

The Selecter - Too Much Pressure   (flac  332mb)

01 Three Minute Hero 3:00
02 Time Hard 3:10
03 They Make Me Mad 2:47
04 Missing Words 3:22
05 Danger 2:38
06 Street Feeling 3:11
07 My Collie (Not A Dog) 2:45
08 Too Much Pressure 3:48
09 Murder 2:39
10 Out On The Streets 3:28
11 Carry Go Bring Home 3:02
12 Black And Blue 3:17
13 James Bond 2:16
bonus
14 The Selecter 2:59
15 On My Radio 3:07
16 Too Much Pressure (7") 2:50

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The Selecter were part of the 1980s ska revival that included Madness, the Specials, and Bad Manners. Their first album, Too Much Pressure (also long unavailable in its original form) was straightforward dance music, and is one of the highly rated albums of this genre. Their second album, Celebrate the Bullet, described by lead singer Pauline Black as "our blue period" featured a wider range of sound, some of it fast-paced dance music, some of it thoughtful and contemplative. It didn't meet with the success of the first record, and no doubt had something to do with the band's temporary demise.

Don't believe the critics, though. In fact, don't believe the current Selecter members, who ignored these songs entirely when they regrouped in the 1990s. Cool Blue Lady, Deep Water, and Bombscare feature Pauline Black's most haunting vocals, combined with emotionally intense, compelling melodies.There is fun to be had here, with lively beats and those orgasmic bass lines that make ska one of my favourite styles, but there is a much darker, more sombre edge to this album than to most ska. The music is haunting, intruding, not the carefree skanking tunes we are used to. The lyrics of ska have always been darker than the music, but in this case the music meets the lyrics emotionally, making an innovative and at times brilliant album.

The Selecter - Celebrate The Bullet (flac 404mb)

01 (Who Likes) Facing Situations 3:32
02 Deepwater 4:09
03 Red Reflections 3:39
04 Tell Me What's Wrong 3:26
05 Bombscare 3:05
06 Washed Up And Left For Dead 4:04
07 Celebrate The Bullet 4:25
08 Selling Out Your Future 3:59
09 Cool Blue Lady 3:30
10 Their Dream Goes On 3:56
11 Bristol And Miami 4:44
bonus
12 The Whisper 3:00
13 Train To Skaville 3:07
14 Last Tango In Dub 4:22
15 Train To Skaville (12" Version) 7:51

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The six member band consisted of Dave Wakeling on vocals and guitar, Andy Cox on guitar, David Steele on bass, Everett Morton on drums, Ranking Roger on vocals and toasting, and foundational first wave ska legend Saxa on saxophone. The band crossed over fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious dance rhythm. Along with their contemporaries The Specials, The Selecter, and Madness, The Beat became an overnight sensation and one of the most popular and influential bands of the British ska movement.

By Christmas of 1979, The Beat were riding high in the UK charts with their first single, a smoking remake of the classic Smokey Robinson tune "Tears of a Clown". Over the course of the next five years The Beat toured relentlessly and released three studio albums: "I Just Can't Stop It", "Wh'appen", and "Special Beat Service".

In 1980, the band decided to form its own 2-Tone-inspired label, Go-Feet (distributed by Arista). A string of hit singles followed in the U.K., including "Mirror in the Bathroom." Their debut LP, I Just Can't Stop It, combined the early hits with other pop/ska-oriented material. "Stand Down Margaret," with its anti-Thatcher stance, found the band moving in a more political direction, leading to several benefit gigs for "radical" causes. Musically, the Beat slowed down the tempo for a more traditional reggae sound showcased on 1981's Wha'ppen. This direction failed to bring the chart success of its predecessor. Featuring a more pop-oriented approach, 1982's Special Beat Service helped the band increase its U.S. fan base through MTV exposure of "Save It for Later" and "I Confess.".

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I Just Can't Stop It was a late arrival onto the checker- boarded scene, the Specials, Madness and the Selecter had all beat the (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's Mine" and "Mirror in the Bathroom," their debut album followed hard on "Mirror"'s heels, picking up the latter two songs and "Full Stop" to boot. Two more of the tracks within set followed them onto the chart, later that summer on another double A-sided single -- "Best Friend" coupled with a dub version of "Stand Down Margaret"." So this was a hit filled set. And so popular were such songs as "Rough Rider," "Twist and Crawl," "Can't Get Used to Losing You," and "Whine & Grine," becoming such staples, that fans can be forgiven for assuming they too were released on 45. Intriguingly, "Losing You" came courtesy of Andy Williams, and highlighted the softer styling that would swiftly overtake the Beat. But "Rough" and "Whine" had solid ska credentials, both were Prince Buster hits, while "Jackpot" was one of slew of racing themed rocksteady smashes that drove The Pioneers too fame, The Specials had opened their own account with another -"Longshot Kick the Bucket"." And it was this sheer diversity of influences that set The Beat's sound apart from their compatriots. Their own compositions were heavily cultural in theme -- the radical cries to depose the prime minister on "Margaret," the slashing anti-violence of "Two Swords" and even more ominous and feverish "Click Click," through the cultural nihilism of "Mirror" itself. With a few softer love and lovelorn tracks taking some of the edge off. Stop was a stunning achievement, its driving, frenetic numbers grounded in punk's fury smashing into the loose-limbed grooves and melodies of rocksteady inspired songs, and banging head on into sweeter pop fueled pieces. The album remained on the British charts for a whopping eight months, eventually peaking at Number Three. Time has not diminished its glory, the songs remain hugely as their continued inclusion in the band's offshoot's repertoire have proved.

The Beat - I Just Can't Stop It (flac 265mb)

01 Mirror In The Bathroom 3:11
02 Hands Off...She's Mine 3:01
03 Two Swords 2:20
04 Twist & Crawl 2:36
05 Tears Of A Clown 2:39
06 Rough Rider 4:52
07 Click Click 1:29
08 Ranking Full Stop 2:47
09 Big Shot 2:34
10 Whine & Grine / Stand Down Margaret 3:52
11 Noise In This World 2:20
12 Can't Get Used To Losing You 3:04
13 Best Friend 3:01
14 Jackpot 4:19

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This is an album of Peel Sessions and four cuts live from a November 1982 gig in Boston. Each of their albums has a distinctive character, something that carries through to the three Peel Sessions -- one delivered in support for each album. Its sixty minutes-plus duration comprised of live performances taken from British radio sessions as well as a concert in Boston in 1982. As evidenced by even the earliest of these recordings, a John Peel session from 1979, The English Beat’s collective instrumental precision was a corollary to their well-honed social acuity as expressed ever so directly, but politely, in "Stand Down Margaret." As lean lithe and lissome as the band sounded on studio records, the wiry strength they evince on these recordings is something else altogether. The edgy motion on something like "Monkey Murders" is all the more noticeable given the band’s smooth ensemble work, reminiscent of The Wailers and other great reggae bands. The tinny concert recordings highlight how tight was the group’s vocal work but given the age of the recordings too, the sound is remarkably full with dub-like effects, particularly crucial for the sound of band that relied so heavily on bass and drums. Would that there was more detail on these live recordings specifically on who was in the band on the later excerpts as personnel had begun to shift by that time, but that shortfall is minor.

The Beat - Peel Sessions and Live Boston (flac 395mb)

Peel Session - November 5, 1979
01 Tears Of A Clown 2:53
02 Ranking Full Stop 3:02
03 Click Click 1:30
04 Mirror In The Bathroom 2:24
05 Big Shot 1:53
Peel Session - September 22, 1980
06 Too Nice To Talk To 4:10
07 Psychedelic Rockers 4:19
08 Monkey Murders 3:12
09 Walk Away 3:13
Peel Session - March 29, 1982
10 Spar Wid Me 3:47
11 End Of The Party 3:01
12 She's Going 2:06
13 Save It For Later 3:09
14 Sole Salvation 2:43
15 Pato And Roger A Go Talk 4:03
Opera House, Boston - November 19, 1982
16 Best Friend 2:59
17 Tears Of A Clown 3:34
18 Twist & Crawl 2:44
19 Get-A-Job/Stand Down Margaret 6:45

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RhoDeo 1641 Roots

Hello,

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


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

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

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

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

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

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

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

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

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


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Actress and vocalist Maria Bethânia recorded Recital Na Boite Barroco for the Odeon label in 1968 and it was reissued on compact disc in 2007 by EMI. Born Maria Bethânia Vianna Telles Veloso in 1946, this passionate interpreter of Brazilian popular song was some three years into her recording career when she was taped in live performance with the Tamba Trio (pianist Luiz Eca, bassist Bebeto, and percussionist Helcio Milito). The Maria Bethânia heard on this album was already an adept handler of intimate ballads, jazz samba and bossa nova. Standing as it does among the earliest entries in her discography, Recital Na Boite Barroco serves as a pleasant prologue to her major triumphs of the '70s and her subsequent successes over the years.

Maria Bethania - Recital Na Boite Barroco  (flac  196mb)

01 Blue Planet (Planeta Blue) 3:38
02 Dream Merchant (O Vendedor de Sonhos) 4:08
03 Jaguar (Yuarete) 3:00
04 Enchanted City (Cidade Encantada) 3:45
05 Heart Is My Master (Meu Mestre Coracao) 3:54
06 Children's Dance (Danca Dos Meninos) 3:19
07 Eldorado 3:39
08 Letter to the Republic (Carta a Republica) 3:25
09 Old Hill (Morro Velho) 5:07
10 Mountain 4:55
11 Songs and Moments (Cancoes e Momentos) 3:40

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This album captures Maria Bethania's professional first project with actor and director Fauzi Arap,who would continue to direct her in subsequent projects.Conceived in 1971,the show aimed at showcasing Bethania's theatrical abilities while presenting both popular songs and poems.This recording,however only presents about one third of the setlist presented during the 71-72 Brazil tour.Starting with the esoteric Sueli Acosta's Assombracoes,dancing through folk songs such as Toalha Da Saudade, and exploring the tango El Dia Que Me Quieras,Bethania sounds the most comfortable with the Chico Buarque penned title track and with brother Caetano's Janelas Abertas Nº 2. Maria makes it all a worthwhile journey with her raspy contralto wrapped with her passion and theatricality.

Maria Bethania - Rosa Dos Ventos   (flac  175mb)

Assombracoes 19:02

01 Assombrações
02 O Tempo E O Rio
03 Ponto De Oxum
04 Texto Nº 1
05 O Mar (Canção Praieira)
06 Suíte Dos Pescadores
07 Avarandado
08 Toalha Da Saudade
09 Imitação
10 Hora Da Razão
11 Cantigas De Roda
12 Doce Mistério Da Vida (Ah! Sweet Mystery Of Life)

Texto No.2 17:19

13 Texto Nº 2
14 Minha História (Gesubambino)
15 Lembranças
16 El Dia Que Me Quieras
17 Rosa Dos Ventos
18 Texto Nº 3
19 Janelas Abertas Nº 2
20 Não Identificado
21 Flor Da Noite
22 Texto Nº 4
23 Movimento Dos Barcos
24 Texto Nº 5

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Toquinho is probably the most famous Brazilian guitarist of all times. His greatest success began in 1970 when he joined singer Vinicius De Moraes, with whom he recorded dozens of records throughout the 1970s. Nicknamed "O Poetinha" (The Little Poet) Vinícius was a seminal figure in contemporary Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time classics. Vinícius was also a composer of Bossa nova, a playwright, a diplomat and, as an interpreter of his own songs, he left several important albums.
Ever since, the duo's mild and touching bossanova and samba are very well-known worldwid.

When they started the '70 and bossa nova was already somewhat recognized worldwide. Hence for a show at La Fusa (Buenes Aires) they invited Maria Bethania who took her first steps outside Brazil at that time.
And while doing many songs from Vinicius himself, near the public what would a few years later to explode worldwide, more precisely what would the Tropicalia and its references; which are interpreted and endorsed and on this album and the previous as a sign of the times.

Today over the years can see better and enjoy some humility that openness and Vinicius; and as he envisions the future when submitting to Bethania to interpret the song of his brother Caetano Veloso , E manha. That is to say it is an exciting and endearing version, only voice and guitar. Here also it appears in the vocal strength of the singer, Viramundo , a song by Gilberto Gil (another promise of those days) that is distinguished by its musicality and with another character. In addition Bethania beautifully sings the theme Jobin-Vinicius : Or tinha be . . In turn Toqinho blunts elegantly his guitar playing an instrumental track , authored by him with his beloved Vinicius do Moraes

This work really recreates the idea of the live show and the atmosphere of the café concert so well encourages Vinicius, but was recorded in studio. The end result is charming and excellent. The only thing different live concerts, is adding up to two Argentine session musicians. Today we can say that it is a historical registration, full of beautiful compositions that are part of the collective memory. A prized collector 's item, since it was conceived more than 40 years ago- and has and holds the powerful grace of the transcendent.

Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa   (flac 258mb)

01 A Tonga Da Mironga Do Kabulete 4:04
02 É De Manhã 2:36
03 Samba Da Rosa 2:35
04 Testamento 2:15
05 Samba Da Bênção 9:11
06 Tarde Em Itapoan 4:35
07 Viramundo 1:58
08 Apelo 3:34
09 Como Dizia O Poeta 3:46
10 O Que Tinha De Ser 1:55
11 O Dia Da Criação 4:25

Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa      (ogg 114mb)

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This exceptional 1972 recording by Maria Bethânia, the matriarch of tropicalia and bossa nova, was produced by her brother, Caetano Veloso. Bethânia had been performing outside her native Brazil in Italy, Germany, Austria, Denmark, and Norway, and in 1973 Antonio Bivar and Isabel Chamber commissioned the direction of the full-blown stage show Drama Luz da Noite (Drama, Light From the Night). The show was recorded live in December 1973, and features the songs of Veloso, Gilberto Gil, Luiz Melodia, and Paulo Vanzolini, among many others who wrote specifically for her. The finest tunes are those written in collaboration with Veloso and the adapted traditional Bahian songs. The live stage version is not comparable to the exquisite LP from the previous year, which features some of the tropicalia movement's finest tunes. However, this work reveals the genius of Maria Bethânia, a mainstay (along with her brother) of the new Brazilian bossa nova sound of the early '70s.

Maria Bethania - Drama Anjo Exterminado (flac 175mb)

01 Portal Da Cor (Threshold Of Colours) 4:09
02 Caso De Amor (Love Affair) 3:20
03 Noites Do Sertão (Country Nights) 2:34
04 Mar Do Nosso Amor (Sea Of Our Love) 3:21
05 Lágrimas Do Sul (Southern Tear) 3:40
06 Raça (Race) 2:49
07 Para Eu Parar De Me Doer (So I Can Stop Feeling Hurt) 3:03
08 Encontros E Despedidas (Meetings And Farewells) 3:35
09 Quem Perguntou Por Mim (Who Asked For Me) 3:52
10 A Primeira Estrela (The Morning Star) 5:02
11 Vidro E Corte (Glass And Cut) 4:40
12 Radio Experiência (Radio Experience) 2:45

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RhoDeo 1641 Young 1's 11th

Hello, an exiting F1 race today, Rosberg won start to finish but behind him there was plenty of action. Hamilton missed the start and fell back to 8th, it gave him reason to overtake upto 3rd where he came up against Verstappen and once again this youngster proved hard to pass. Behind those 3 Vettel/Ferrari made the wrong call which saw him loose sight of the podium 4th for him 8secs in front of Raikonen with last race's winner Ricciardo back in 6th. All 5 top teams had both drivers in the top ten, difference between drivers after a 1,5 hours race: Mercedes 5sec, Ferrari 8 sec, Force India 1.5 sec, Williams 1 sec but at Red Bull 29 sec. Clearly Verstappen felt he needed to make clear, after last weeks Red Bull gifting Ricciardo the win, that after 6 months in the car he is their top driver.



Today the 11th and penultimate 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...


The Young Ones 11 Sick (mp4  280mb)

11 Sick 34:38

Vyvan, Rick, Mike and Neil are ill and they have colds. The Boys get taken hostage by violent criminal Brian Damage Balowski and Mr. and Mrs. Pye, Neil's parents are coming to the flat to have tea.... with Madness performing "Our House"

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Previously

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

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Sundaze 1641

Hello, F1 news, looks like it's Rosberg's race to loose qualifying in front, behind him Hamilton leads the Ferrari's and Red Bulls all within 6 hundred's of a second of eachother, how close is that ! I'm sure the start will mix things up as Ferrari is firy and Vettel needs to make up places as he got a 3 places penalty because he messed up last week. Who willl win this time..well Hamilton naturally, after all he's entitled too turn up his engine and should it blow it's sabotage...


The final post related to Extreme Records....today's artists have been introduced here apart from a German duo getting some well deserved attention here, electronic beats, dripping rhythms and ethereal voices for you to discover and ... N'Joy

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Interestingly both artists here stem from a small but old rural town, Olpe. It's an idyllic place bordered by hills and a large reservoir, good infrastructure and services, in short the kinda of comfortable place where nothing really happens...

Carla Subito (composer), real name Christian Schöne born 1965 in Olpe / Germany

1980-1987 apprenticed to a church organist
1987 commenced composing with electronic instruments
1988-1990 Radio concerts in Berlin with Johannes Schmoelling (Ex Tangerine Dream)
1989 Founded Fetisch Park with Marlon Shy
1991 Worked with the Electronic Studio, Cologne (Director: Hans Ulrich Humpert)
1991 on… Video soundtracks and sound installations as Fetisch Park in Germany, Netherlands, Bombay / India and Bangkok / Thailand.

Marlon Shy (painter, writer, photographer, video artist) born 1956 in Olpe / Germany

Marlon Shy has traveled for many years in Africa, where she spent some time during her childhood, as well as travelling in Thailand, Malaysia, Indonesia, Himalayas and India, where the idea developed for a sound research project involving Indian and German musicians.
1972-1974 Studied traditional painting at the Institut National Superior des Beaux Arts in Abidjan / Ivory Coast (Africa).
1978-1979 Assistant to Hollywood Director Peter Bogdanovich in Singapore and Los Angeles. Further work in the film industry as production assistant, make-up artists, actress and director in Los Angeles and Munich.
1981-1983 Travelled through North Africa, Malaysia, Thailand and Indonesia.
1985-1987 Studio in Berlin.
1987-1989 Studio in Hamburg; first exhibition of her paintings and objects.
1983-1994 Travelled through India, Thailand and Nepal to study the social background of the women, focussing on understanding their religion and sexuality.
1995 on… Producing videos and books as Fetisch Park


The curiously-named Fetisch Park is currently one Carla Subito, who has an uncanny knack for crafting strangely pulsing fourth-world/ambient tone poems. Though comparisons to various experimentalists and drone-artists might be inevitable, the broad sound expanses seem to rip their qualities right out of black heart of the void itself. Up until 1999 they released seven albums, Zungenpflug (91), Verbundenheit (93), Ego Ex Nihil (96), Trost (96), Instinktverlust (96), Alluvial (97), Feuersaat: Retrospective Works (99) then the band split up. After a long hiatus, Carla Subito has now activated this outstanding project again. First the band played some select concerts in Europe, and Klanggalerie have now released the all-new Fetisch Park album "Elevation" also featuring Can's Jaki Liebezeit.

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Ego Ex Nihil means freely translated from Latin "I out of nothing" it was registered during the pregnancy of Fetisch Park member (Marlon Shy) by sound researcher and composer Carla Subito.The inspiration of growing belly and the it's capacity of stretching. The tightness of it's living content pushed us towards the question how it feels inside the warm, wet and dark chamber. As communications by the normal means of looking and talking cannot be performed in this early nevertheless important period of human life, there must be other ways to express feelings by recieving touches and sounds from outside, the little human may give answers-sort of signs. Attentive mothers know how to decode those delicate mysterious indications in the proper way. Around the 18th week the fetus can hear, the ear is fully develloped. It is possible to msnipulste the baby by sound, noises and music, the sound should neither excite too muxh nor should it be too boring, after all the baby can't escape. The best result is a state of attentive relaxation..(from the cover)

This album transcends so much pseudo new age tags. One need only to a imagine the age of sorcery, quite simply magic trickling to ones ears! Quite possibly, this is one of the best minimal ambient albums ever recorded. The main component is sound of bells, transformed and modified in many different ways. Its quite emotional too, which might be unusual for given genre. The album was created for women in utero, The title in english is 'Is I out of nothing'

Fetisch Park - Ego Ex Nihil  (flac  387mb)

01 Tau Im Licht 6:15
02 Helle Luft 6:15
03 Moos Und Steine 8:07
04 Sanfter Stahl 17:32
05 Kristall Kopf 8:18
06 Verborgene Rinnsale 5:15
07 Widderherz 7:27
08 Erdwesen 6:06

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Fetisch Park's Alluvial is a wet glide into a pungent delta of broken electronic beats, dripping rhythms and ethereal voices carried across the watery flats from somewhere far off. The singing, fit to lure sailors onto hidden reefs, is actually the captured voices of Thai prostitutes captured by Carla Subito and placed into a fitting frame created in the studio. Knowing this, Alluvial becomes a fascinating document of transcending beauty and composer Subito's versatile and thoughtful skills. Former church organist Subito founded Fetisch Park nine years ago with Marlon Shy. Globetrotter and painter Shy is especially interested in the religion and sexuality of Thai and Nepalese women. Alluvial is a sort of diptych, in two halves. By "Ballroom" we are at our soggiest in sensuality and movement. The final half is an ambient afterglow that soothes and eases the listener back into reality. Alluvial should be readily prescribed for romance and relaxation, in that order.

Fetisch Park - Alluvial  (flac  367mb)

01 Malaysia Hotel 4:36
02 Blow 5:51
03 Gradation D'Humour 5:33
04 Reiz 5:28
05 Off Line 5:41
06 Pongh 6:53
07 Ball-Room 3:37
08 Cargo 5:14
09 Kadse 5:22
10 Suktion 15:39

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This is a limited edition collaborative effort (1000 copies) between Schutze and longtime musical associate Andrew Hulme, who has appeared with Schutze previously in several incarnations of the ethnic/ambient group O Yuki Conjugate. 7 degrees is murkier and more ambiguous than the typical Schutze solo effort, and the seven pieces are filled with unexpected sonic transitions and combinations. Metallic whirring, insect twittering, phase-shifted, stuttering drones, strange voices, short wave radio oscillators, fragments of ethnic chanting and the sounds of rain -- all these elements combine to create subliminal dreamscapes of an uneasy and ambiguous nature. There's an unpredictability to this partnership which is uncharacteristic for Schutze as a solo artist. Alone, he tends to work things out almost to a fault, and his musical visions sometimes have an almost preternatural clarity. But on this CD with Hulme, more chances are being taken. And while things may occasionally get a little arbitrary, the peculiar juxtapositions have their own power, as the two artists push each other into some sonic territories where they probably wouldn't be venturing on their own.

Paul Schutze and Andrew Hulme - Fell  (flac  274mb)

01 After The Knives 3:08
02 God Box 12:05
03 Dead Language 2:57
04 The Prayer 10:52
05 Rain Of Rust 8:09
06 Ioascan Incision 12:11
07 Fallen 4:23

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Another nice sampler from the folks at Extreme, offering up plenty of nice cuts from Mo Boma, Soma, The Fire This Time (whose "Waking Dreamer Dub," a blurred boundary between Native American music and reggae, is one of the best things on offer here), Pablo's Eye, Groovy, Muslimgauze, Vidna Obmana, Land and Social Interiors. An essential place to start if you're seeking worthy alternatives.

VA - Assemblage Volume Two  (flac  357mb)

01 Soma - Dark Koma 5:32
02 Soma - Antediluvian 4:36
03 Pablo's Eye - Les Larmes Du Tigre 2:19
04 Pablo's Eye - Gone By Night 4:24
05 Groovy - Expanding 5:03
06 The Fire This Time - Waking Dreamer Dub 8:33
07 Muslimgauze - Masawi Wife and Child 7:42
08 Vidna Obmana - Challenging Boundaries 5:14
09 Land - Shu 6:42
10 Mo Boma - Nyodi 5:19
11 Mo Boma - Bataloo 4:00
12 Mo Boma - Day Of Forever 2:10
13 Social Interiors - Traces Of Mercury 7:35

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