RhoDeo 1647 Monty ...Grail

Hello,


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

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

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

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

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

did U know

*The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language.
*Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python.
*In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the line-up "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows.

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The actual title of this release is "The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail (1975)." As such, a majority of the disc consists of extracts from the motion picture's dialogue. This is a different approach from what writer/actors Michael Palin, Graham Chapman, John Cleese, Eric Idle, Terry Jones, and Terry Gilliam (also visual designer) had taken with their previous studio outings, which were in essence re-recordings of classic sketches from the Monty Python's Flying Circus television program. For the sake of continuity, several new bits have been added; chief among these are Chapman's assorted "Executive Edition" announcements, concluding with the "verrrry nice" "Executive Edition Addendum." For the "Tour of the Classic Silbury Hill Theatre" and "Live Broadcast from London: Premiere of the Film," Palin and Cleese provide setting and exposition for both the album and the film. At times they mock the visual aspects and the very nature of the cinematic experience as it translates (or fails to translate) onto vinyl. Much of what is included here has become legendary among the faithful, as well as definitive within the Python repertoire, most notably "Bring Out Your Dead," "A Witch," "The Knights Who Say 'Ni!'," and "Camelot," the Hollywood-style production number written by former Bonzo Dog Doo Dah Band member Neil Innes, who also provided all the songs for the flick.

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with

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


501 Monty Python and the Holy Grail (flac  191mb)


501 Monty Python And The Holy Grail - Original Film Soundtrack (Side 1) 23:25
Introduction To The Executive Album Edition
Tour Of The Classic Silbury Hill Theatre
Live Broadcast From London: Premiere Of The Film
Narration From The Silbury Hill Gentlemen's Room/You're Using Coconuts
Bring Out Your Dead
King Arthur And The Old Woman: A Lesson In Anarcho-Syndicated Commune Living
A Witch?
A Lesson In Logic
Camelot
The Quest For The Holy Grail
Live From The Parking Lot At The Silbury Hill Theatre
The Castle Of Louis De Lombard: A Strange Person
Bomb Scare
Executive Album Edition Announcement

502 Monty Python And The Holy Grail - Original Film Soundtrack (Side 2) 23:48
Another Executive Album Edition Announcement
The Story Of The Film So Far
The Tale Of Sir Robin
The Knights Who Say Ni!
Interview With Filmmaker Carl French
The Tale Of Sir Lancelot: At Swamp Castle
Tim, The Enchanter/A Shakespearean Critique
A Foul-Tempered Rabbit
Executive Album Edition Addendum
The Castle Aaargh/The End

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Previously

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

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Sundaze 1647

Hello,

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

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

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

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

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

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

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

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

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These historical recordings were difficult to find (usually on out of print compilations) for a long time, so it's gratifying to have them readily available in one place. The two important tape pieces here from the mid-'60s, "Come Out" and "It's Gonna Rain," have their sound sources originating in police brutality and apocalyptic evangelism. Reich takes his sources and turns them into two short tape loops repeated rapidly as they gradually go out of synch with each other -- what's revealed are the intricacies of the human voice. "Come Out" takes the voice fragment and turns it into a hall-of-mirror set of voices over shuffling beat and wah-wah that are actually a by-product of subtleties of the voice and almost unrecognizable as the original vocal sample. It becomes a scary psychedelic funk piece that Funkadelic or Can would have been proud of. "It's Gonna Rain" is similarly looped and phased as the preacher's admonition is transformed, moving in and out of synch as the piece progresses with the second part of the piece especially full of fierce, terrifying swirls of noise. After taking musique concrete to another level, Reich decided to try to make similar strides with instrumental music. The two other pieces here, "Piano Phase" and "Four Organs," represent this new direction in his work. Early Works is a must-have introduction for anyone interested in the roots of minimalist music.

Steve Reich 01 Early Works    (flac  298mb)

01 Come Out 12:58
02 Piano Phase (feat Double Edge) 20:36
03 It's Gonna Rain 17:55
04 Four Organs (feat Bang On A Can) 15:52

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Along with Terry Riley's In C and perhaps Glass' early piano music, Drumming defined the essential component of this new form of music: a transparent process that could imperceptibly lead to bewildering complexity. Crucially, Reich added an extra ingredient: rhythms derived from his studies of West African drumming, giving the work an inherent vitality sometimes missing from his contemporaries. Drumming is a 75-minute piece laid out in four sections, one apiece for small tuned drums (played with mallets), marimbas, and glockenspiels, ending with a combination of all three plus the addition of voices mimicking the percussion. Beginning with a single struck drum, notes are added little by little, apparently simply filling the voids between them but, almost before the listener realizes it, suddenly being heard as new rhythmic patterns themselves, taking on a miraculously shifting guise. One can virtually choose to hear any of a number of rhythms depending on how one organizes the sounds in one's head. Indeed, Reich allowed his musicians to "discover" various rhythms for themselves and accent them accordingly. The process is fairly similar in each section, the palette changing from the beautifully resonant drums to the luscious marimbas to glockenspiels, the massed character of which add an extra element: ringing overtones. In Drumming, Reich arrived at the perfect combination of intellectual rigor and corporeal sensuousness, neither side predominating, both in clear and glorious presence.

Steve Reich 02 Drumming  (flac  242mb)

01 Part I 17:31
02 Part II 18:10
03 Part III 11:12
04 Part IV 9:50

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Music for Mallet Instruments, Voices and Organ is a preliminary step down the path Reich would take in coming years, using longer melodic lines and a looser, more expansive rhythmic system. Very beautiful in and of itself, one can't help but think that the composer really made his major statement earlier, in Drumming, and that much of what would follow would be elaboration on those basic ideas.

Steve Reich 03 Music For Mallet Instruments  (flac  170mb)

01 Music For Mallet Instruments, Voices And Organ 16:59
02 Clapping Music 4:48
03 Six Marimbas (feat The Manhattan Marimba Quartet) 16:19

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If Steve Reich's Music for 18 Musicians is simply described in terms of its materials and organization -- 11 chords followed by 11 pieces built on those chords -- then it might seem utterly dry and monotonous. The actual music, though, is far from lackluster. When this recording was released in 1978, the impact on the new music scene was immediate and overwhelming. Anyone who saw potential in minimalism and had hoped for a major breakthrough piece found it here. The beauty of its pulsing added-note harmonies and the sustained power and precision of the performance were the music's salient features; and instead of the sterile, electronic sound usually associated with minimalism, the music's warm resonance was a welcome change. Yet repeated listening brought out a subtle and important shift in Reich's conception: the patterns were no longer static repetitions moving in and out of phase with each other, but were now flexible units that grew organically and changed incrementally over the course of the work. This discovery indicated a promising new direction for Reich, one that put him ahead of his peers by giving his music greater interest and adaptability and led to the more elaborate works of the next two decades.

Steve Reich 04 Music For 18 Musicians  (flac  318mb)

01 Pulses 5:26
02 Section I 3:58
03 Section II 5:13
04 Section IIIa 3:55
05 Section IIIb 3:45
06 Section IV 6:36
07 Section V 6:48
08 Section VI 4:54
09 Section VII 4:19
10 Section VIII 3:34
11 Section IX 5:23
12 Section X 1:50
13 Section XI 5:44
14 Pulses 6:10

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RhoDeo 1646 Grooves

Hello,

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

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

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

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

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

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

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

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

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

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

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

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

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Still very much an integral part of Rufus, Chaka Khan set the charts on fire with her debut solo release. The first single was the R&B chart-topper "I'm Every Woman," an Ashford & Simpson track with Khan lighting up the lyric with her tantalizing vocals. "Life Is a Dance," the second release, doesn't quite compare to its predecessor, but it still made the R&B Top 40. The sentimental ballad "Roll Me Through the Rushes" is poetically engaging, and despite never being released as a single, it became a mainstay of radio. Although Khan had much credibility from her association with Rufus, this album demonstrated that the dynamic vocalist could hold her own ground alone.

Chaka Khan - Chaka    (flac  273mb)

01 I'm Every Woman 4:07
02 Love Has Fallen On Me 4:53
03 Roll Me Through The Rushes 4:42
04 Sleep On It 4:21
05 Life Is A Dance 4:21
06 We Got The Love 3:28
07 Some Love 5:50
08 A Woman In A Man's World 3:58
09 The Message In The Middle Of The Bottom 4:16
10 I Was Made To Love Him 3:24

Chaka Khan - Chaka  (ogg   96mb)

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By the early '80s Chaka Khan and producer Arif Mardin had a great working relationship that was responsible for her hit solo debut, 1979's Chaka. Despite having the hit single "I'm Every Woman," Chaka was often a stilted and unfocused affair. Naughty presents the two in a more centered working relationship. The big hit here, "Papillion (aka Hot Butterfly)," projects an effortlessness that didn't come as easy during Khan's concurrent run with Rufus. The tough, Latinized rock/funk of "Too Much Love" has one of Khan's most visceral performances. For Naughty Khan also does one of the better versions of Aaron Schroeder and Jerry Ragovoy's "Move Me No Mountain" that's made even better by Anthony Jackson's steady bass and Steve Ferrone's tough drumming. Despite the high points, other songs like "What You Did," "Our Love's in Danger," and even Ashford & Simpson's "Clouds" come off underdone. Recorded at Atlantic Studios in New York, most of Naughty represents Khan in a holding pattern, without much material to accommodate her widening range. That being said, Naughty is only a few songs away from being a bona fide classic.

Chaka Khan - Naughty   (flac 263mb)

01 Clouds 4:26
02 Get Ready, Get Set 3:41
03 Move Me No Mountain 4:14
04 Nothing's Gonna Take You Away 3:42
05 So Naughty 3:57
06 Too Much Love 3:53
07 All Night's All Right 4:24
08 What You Did 3:57
09 Papillon (AKA Hot Butterfly) 4:08
10 Our Love's In Danger 3:35

Chaka Khan - Naughty (ogg  96mb)

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As a vocalist, Chaka Khan is the one of the very few who often doesn't need great material to prosper. Thankfully, on What Cha' Gonna Do for Me that isn't the case. Teaming again with Arif Mardin, slowly but surely the two began to craft an even more successful and innovative sound. This effort not only bests the work before it, but it is Mardin's most fulfilling production since 1974's Average White Band. The cover of "We Can Work It Out" gets a brash and funky Stevie Wonder-style arrangement, with Gregory Phillanganes doing great synth work. The biggest hit here is the melodic title track and has Khan's patented mix of sexiness and intelligent phrasing. The best song here, "I Know You, I Live You," displays the brilliant bass and drum team of Anthony Jackson and Steve Ferrone, whose innovation all but rendered Rufus obsolete. Their pounding yet refined sound is also on "We've Got Each Other," a hooky and propulsive duet with Khan's brother Mark Stevens. The ambitious and much loved "And the Melody Still Lingers On (Night in Tunisia)" had Mardin and Khan creating pithy lyrics that paid homage to '40s jazz legends as well as all other subsequent musical geniuses. The track features a clavitar solo from Herbie Hancock, Dizzy Gillespie, and an "excerpted" solo break from Charlie Parker. Throughout What Cha' Gonna Do for Me, Mardin seems to get amazing vocals from Khan and has he certainly had fun playing with her voice. What Cha' Gonna Do for Me is arguably the best effort of their partnership.

Chaka Khan - What Cha' Gonna Do For Me   (flac  277mb)

01 We Can Work It Out 3:41
02 What Cha' Gonna Do For Me 3:52
03 I Know You, I Live You 4:28
04 Any Old Sunday 3:36
05 We Got Each Other 3:54
06 And The Melody Still Lingers On (Night In Tunisia) 5:01
07 Night Moods 4:18
08 Heed The Warning 4:32
09 Father He Said 3:51
10 Fate 3:18
11 I Know You, I Live You (Reprise) 1:18

Chaka Khan - What Cha' Gonna Do For Me  (ogg   100mb)

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An excellent album from Chaka Khan, mixing tingling uptempo tunes with her characteristic soaring, glorious vocals. "Got to Be There" reached number five on the R&B charts, but it actually wasn't the album's high point. That was the marvelous "Be Bop Medley," which later led hardcore jazz purist Betty Carter to proclaim Khan the one female singer working outside the jazz arena with legitimate improvising credentials.

Chaka Khan - Chaka Khan   (flac 264mb)

01 Tearin' It Up 6:39
02 Slow Dancin' 5:22
03 Best In The West 4:00
04 Got To Be There 4:00
05 Be Bop Medley 5:22
Hot House/East Of Suez (Come On Sailor)/Epistrophy (I Wanna Play)/
Yardbird Suite/Con Alma/Giant Steps
06 Twisted 4:12
07 So Not To Worry 4:55
08 Pass It On (A Sure Thing) (Pasa Lo Esta Seguro) 4:32

Chaka Khan - Chaka Khan (ogg 96mb)
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RhoDeo 1646 Re-Up 78

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, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up.

Looka here another batch of 27 re-ups, requests fulfilled up to November 15th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

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4x Into BPM NOW in Flac ( Blondie - Beautiful - The Remix Album, Sarah McLachlan - Remixed, Laibach - Anthems remixed, James Brown - Dynamite)

3x Sundaze NOW in Flac ( Laswell & Namlook - Psychonavigation, Laswell & Jah Wobble - Radioaxiom, Golden Palominos - Drunk With Passion)


3x Aetix Back in Ogg (Anthony Moore - Flying Doesn't Help, The Dance - In Lust, Freur - Doot-Doot)


3x Aetix Back In Flac (The dB's - Stands For DeciBels, The dB's - Repercussion, The dB's - Like This)


2x Sundaze NOW in Flac (Future Sound Of London - Lifeforms, Funki Porcini - Hed Phone Sex)


3x Roots Back in Flac (Orchestre Poly Rythmo - Cotonou Club, Orchestre Poly-Rythmo - The Kings Of Benin, Poly-Rythmo De Cotonou - The Vodoun  Effect)

2x Roots Back in Flac (Thomas Mapfumo - Singles 1977-86, Chiwoniso - Rebel Woman )


3x Sundaze Back in flac ( John Foxx - Cathedral Oceans I, John Foxx - Cathedral Oceans II , John Foxx - Cathedral Oceans III)


4x Grooves Back in Flac (The Temptations - Psychedelic Shack, The Temptations - Sky's the Limit, The Temptations - All Directions, The Temptations - Masterpiece )

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RhoDeo 1646 Aetix

Hello,

Today's artist is a very busy body who has produced 40 something in albums in the 39 years he's been on the scene, clearly the man doesn't need any extra stimulus and i suppose he ain't someone to chill out with. Elvis Costello, to be honest here, after his first four albums that came in rapid succession I kinda lost sight of him as there was so much more and I dislike those intellektual fans that made him their hero, never liked pretentious people waring those silly glasses either...
......N'Joy

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

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

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


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Having gotten country out of his system with Almost Blue, Elvis Costello returned to pop music with Imperial Bedroom -- and it was pop in the classic, Tin Pan Alley sense. Costello chose to hire Geoff Emerick, who engineered all of the Beatles' most ambitious records, to produce Imperial Bedroom, which indicates what it sounds like -- it's traditional pop with a post-Sgt. Pepper production. Essentially, the songs on Imperial Bedroom are an extension of Costello's jazz and pop infatuations on Trust. Costello's music is complex and intricate, yet it flows so smoothly, it's easy to miss the bitter, brutal lyrics. The interweaving layers of "Beyond Belief" and the whirlwind intro are the most overtly dark sounds on the record, with most of the album given over to the orchestrated, melancholy torch songs and pop singles. Never once do Costello & the Attractions deliver a rock & roll song -- the album is all about sonic detail, from the accordion on "The Long Honeymoon" to the lilting strings on "Town Cryer." Of course, the detail and the ornate arrangements immediately peg Imperial Bedroom as Costello's most ambitious album, but that doesn't mean it's his absolute masterpiece. Imperial Bedroom remains one of Costello's essential records because it is the culmination of his ambitions and desires -- it's where he proves that he can play with the big boys, both as a songwriter and a record-maker. It may not have been a commercial blockbuster, but it certainly earned the respect of legions of musicians and critics who would have previously disdained such a punk rocker. And, perhaps, that's also the reason that he abandoned this immaculately crafted style of work on his next album, Punch the Clock. Ultimately, this is the album where Costello stepped past being an 80s rocker/pop star into a fully formed contemporary artist who would have staying power. There's an emotional heft, confidence and fearlessness about the material here that begins to place Costello into an upper echelon of pop artists.

Elvis Costello and The Attractions - Imperial Bedroom   (flac  324mb)

01 Beyond Belief 2:34
02 Tears Before Bedtime 3:02
03 Shabby Doll 4:48
04 The Long Honeymoon 4:15
05 Man Out Of Time 5:26
06 Almost Blue 2:50
07 ...And In Every Home 3:23
08 The Loved Ones 2:48
09 Human Hands 2:43
10 Kid About It 2:45
11 Little Savage 2:37
12 Boy With A Problem 2:12
13 Pidgin English 3:58
14 You Little Fool 3:11
15 Town Cryer 4:16

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Elvis Costello and The Attractions - Imperial Bedroom Bonus (flac  434mb)

01 The Land Of Give And Take (Early Version Of Beyond Belief) 3:05
02 Tears Before Bedtime (Alternate Version) 3:03
03 Man Out Of Time (Alternate Version) 3:43
04 Human Hands (Early Version) 2:44
05 Kid About It (Alternate Version) 3:18
06 Little Savage (Alternate Version) 3:07
07 You Little Fool (Alternate Version) 2:59
08 Town Cryer (Fast Version) 2:15
09 Little Goody Two Shoes (Alternate Version) 3:10
10 The Town Where Time Stood Still (Alternate Version) 2:57
11 ...And In Every Home (Rehearsal) 3:12
12 I Turn Around 2:10
13 From Head To Toe 2:35
14 The World Of Broken Hearts 3:03
15 Night Time 2:55
16 Really Mystified 2:05
17 The Stamping Ground 3:10
18 Shabby Doll (Demo) 4:21
19 Man Out Of Time (Demo) 3:27
20 You Little Fool (Demo) 3:11
21 Town Cryer (Demo) 3:03
22 Seconds Of Pleasure (Demo) 3:19
23 Imperial Bedroom 2:48

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Perhaps frustrated by the lack of commercial success Imperial Bedroom encountered, Elvis Costello enlisted British hitmakers Clive Langer and Alan Winstanley to produce its follow-up, Punch the Clock. The difference between the two records is immediately noticeable. Punch the Clock has a slick, glossy surface, complete with layered synthesizers, horns, studio effects, and the backup vocals of Afrodiziak. The approach isn't necessarily a misguided one, since Costello is as much a pop musician as he is a singer/songwriter and many of the best moments on the record -- "Everyday I Write the Book," "Let Them All Talk" -- work well as shiny pop singles. However, the problem with Punch the Clock is that Costello is entering a fallow songwriting period; it is his least consistent set of original songs to date. The best moments, the antiwar ballad "Shipbuilding" and the eerie pseudo-rap "Pills and Soap," are as articulate and effective as any of his past work, but frequently Costello falls short of meeting his standards, particularly when he's trying to write a song in the style of his older songs. Nevertheless, the sheen of the Langer and Winstanley production makes Punch the Clock a pleasurable listen.

Elvis Costello and The Attractions - Punch the Clock (flac 298mb)

01 Let Them All Talk 3:06
02 Everyday I Write The Book 3:54
03 The Greatest Thing 3:04
04 The Element Within Her 2:52
05 Love Went Mad 3:13
06 Shipbuilding 4:51
07 TKO (Boxing Day) 3:28
08 Charm School 3:55
09 The Invisible Man 3:04
10 Mouth Almighty 3:04
11 King Of Thieves 3:45
12 Pills And Soap 3:43
13 The World And His Wife 3:22

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Elvis Costello and The Attractions - Punch the Clock Bonus (flac 461mb)

01 Everyday I Write The Book (Alternate Version) 2:22
02 Baby Pictures 1:30
03 Heathen Town 3:09
04 The Flirting Kind 3:01
05 Walking On Thin Ice 3:48
06 Big Sister's Clothes/Stand Down Margaret (BBC Session) 5:17
07 Danger Zone (BBC Session) 2:18
08 Seconds Of Pleasure 3:44
09 The Town Where Time Stood Still 3:33
10 The World And His Wife (Solo Version) 2:44
11 Shatterproof 2:15
12 Heathen Town (Demo) 2:17
13 The Flirting Kind (Demo) 2:53
14 Let Them All Talk (Demo) 2:14
15 King Of Thieves (Demo) 3:20
16 The Invisible Man (Demo) 2:12
17 The Element Within Her (Demo) 2:13
18 Love Went Mad (Demo) 3:01
19 The Greatest Thing (Demo) 2:25
20 Mouth Almighty (Demo) 3:03
21 Charm School (Demo) 2:17
22 Possession (Live) 2:29
23 Secondary Modern (Live) 3:02
24 The Bells (Live) 4:14
25 Watch Your Step (Live) 3:22
26 Back Stabbers/King Horse (Live) 4:47

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RhoDeo 1646 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 was one of the cluster of endlessly inventive Brazilian percussionists who changed the direction and sounds of Brazilian jazz in the post-bossa nova 1970s. He was an especially inventive virtuoso of the berimbau, the expressive instrument shaped like an archer's bow, and he is also adept at the odd-numbered meters (5/4, 7/4) that were used frequently in the north but not the south of Brazil.........N'Joy

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Naná Vasconcelos, a Brazilian percussionist who left his mark on global music, passed away on March 9 at the age of 71 in Recife. Vasconcelos gained critical acclaim for his work with Egberto Gismonti, Codona, and the Pat Metheny Group. He won the Downbeat magazine Critics Poll in the category of percussion from 1983 to 1991 and was a tremendously influential figure in jazz and Brazilian music.

Vasconcelos was a master of the berimbau, a musical bow from Bahia with a single metal string and a resonating gourd, which he turned into a unique solo voice. His peer Airto Moreira called him “the best berimbau player in the world.” He was also adept with most other Brazilian percussion instruments, which he combined with layered vocals, handclaps and body percussion. He created irresistible rhythmic waves or engaged in spirited dialogues with other musicians. Sometimes he created dense atmospheres of sound, in which twangs, rustles, rattles and rumbles moved with captivating rhythms or clashed in unearthly cacophony.

Vasconcelos’s collaborations with leading figures from free jazz and fusion put him at the forefront of the world’s percussionists. Naná generated such a distinctive voice with his percussion that he was able to hold his own in duos and trios with musical heavyweights. He teamed with Egberto Gismonti on Dança da Cabeças and Duas Vozes, with Don Cherry and Collin Walcott for three Codona albums, with Pat Metheny and Lyle Mays on As Falls Wichita, So Falls Wichita Falls, with Jan Garbarek and John Abercrombie on Eventyr, and with Milton Nascimento and Herbie Hancock on Miltons.

Juvenal de Holanda Vasconcelos (Naná was his nickname) was born on August 2, 1944 in the coastal city of Recife, which is home to a rich musical heritage that includes genres like maracatu and frevo. As a youth, he learned to play the drums of maracatu as well as most other Brazilian percussion instruments, and became adept with the berimbau, an instrument associated with the martial art capoeira.

In the late ‘60s, he toured with Gilberto Gil and was part of Quarteto Livre with northeastern singer-songwriter Geraldo Azevedo. For a time he was part of the seminal Som Imaginário band, which mixed Brazilian music, jazz and rock and backed Milton Nascimento. His playing caught the attention of saxophonist Gato Barbieri, with whom he started touring. He subsequently spent a few years in Paris and while there worked with disturbed children in a psychiatric hospital, using music as a form of creative therapy. His experiences there would inform his work: Vasconcelos saw how music could transform and improve people’s lives. During this era, he found time to record his first solo album, Africadeus (1973).

Towards the end of the decade, he toured and recorded with Egberto Gismonti on albums such as Dança das Cabeças (Dance of the Minds) in 1977, which was released in eighteen countries and sold more than two hundred thousand copies according to the ECM label, an impressive sum for nonvocal experimental music. In 1979 he formed Codona with trumpeter Don Cherry and percussionist Collin Walcott. The trio released three highly regarded albums for ECM that mixed free jazz and cross-cultural improvisation.

Vasconcelos expanded his audience greatly when he played percussion and sang with the Pat Metheny Group, beginning with Metheny and Mays’ 1981 As Falls Wichita, So Falls Wichita Falls. “He was a total joy to work with,” keyboardist Mays told me in an interview for my book The Brazilian Sound. “One of the things that I most enjoyed about playing with Naná was that he was interested in working with me as a synthesizer player to come up with combination textures that neither of us could do alone. He took things a step further, using his voice together with his instrument and with my instruments. Naná broadened our soundscape, and he added charisma, another focal point of attention on stage.”

On his website, Pat Metheny adds, “In addition to being one of the best percussionists in music, Nana was an amazing, wonderful person. Everywhere he went (berimbau always nestled on his shoulder) he made friends and brought an infectious joy to the people around him. His laugh was contagious and his ability to bring happiness to any situation spilled over to the bandstand.”

Vasconcelos also appeared on Metheny’s Offramp and Travels, before moving on to other projects. Along with releasing his own albums, Vasconcelos enhanced the works of many artists, in and out of Brazil. One noteworthy example is Lenine’s Na Pressão (1999), on which Naná played shakers, a talking drum and other instruments on the album’s dramatic title track. He also recorded with Brazilian musicians Marisa Monte, Caetano Veloso, Alceu Valença, Eliane Elias, Joyce, Toninho Horta, Luiz Bonfá, Badi Assad and Mônica Salmaso, along with those mentioned above and many others. In addition, Vasconcelos recorded and/or performed with Miles Davis, Art Blakey, Tony Williams, Ralph Towner, Paul Simon, B. B. King, the Talking Heads, Leon Thomas, Jean-Luc Ponty, Jon Hassell, Harry Belafonte, Claus Ogerman, Ginger Baker, Jack DeJohnette, Carly Simon, and the Yellowjackets.

Nana’s many fine solo works, such as Saudades for ECM (1979), Bush Dance (1986), Rain Dance (1989), Storytelling (1995) and Chegada (2005) are like sound encyclopedias, beautiful elaborations of rhythmic and textural possibilities. His album Sinfonia and Batuques won a Latin Grammy award in 2011 for Best Native Brazilian Roots Album. Vasconcelos returned every year to Recife to take part in Carnaval celebrations and lead a large group of maracatu drummers and singers, one of his many projects that supported Afro-Brazilian culture. When he died, these and other local musicians paid musical tribute to him in a procession through the streets of Recife, on the way to where he was buried.

Brazilian keyboardist, composer and music educator Antonio Adolfo reflects, “He grew tremendously when he traveled and lived outside Brazil. He developed a tremendous technique mixed with all his cultural background—presenting the berimbau to the world along with all his work with percussion in general—and became one of the most important percussionists of all time.” Vasconcelos continued to perform and record as in-demand sideman. In 2015, he was diagnosed with lung cancer and underwent treatment. He recorded the album Café no Bule in collaboration with Zeca Baleiro and Paulo Lepetit but his health continued to deteriorate. He passed away from respiratory failure on March 9, 2016 at home in Recife.

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This 1979 recording is probably Afro-experimentalist Vasconcelos' finest. It presents his various facets -- berimbao playing, intricate overlain vocals, fine percussion, even gorgeous guitar -- simply and almost overwhelmingly. This is one of those performances that remind one to never let natural dogmatism get too out of hand.

Nana Vasconcelos - Saudades  (flac  226mb)

01 O Berimbau 18:55
02 Vozes (Saudades) 3:12
03 Ondas (Na Óhlos De Petronila) 7:52
04 Cego Aderaldo 10:31
05 Dado 3:36

  Nana Vasconcelos - Saudades    (ogg  108mb)

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Bird Boy was composed by the Brazilian percussionist, Nana Vasconcelos, and was recorded by his band, The Bush Dancers, Rain Dance. Bird Boy is a beautiful and unique Afro-Brazilian reggae tune. The lyrical verse uses traditional Brazilian bird-calls for its inspiration, while the chorus is based on unison power-chords punctuated by drum & percussion fills. This arrangement also features a contrasting bridge and vamp, which serves as an open solo section which can be repeated between multiple soloists.

Nana Vasconcelos - Rain Dance   (flac  270mb)

01 Bird Boy 4:30
02 Anarrie/Rain Dance 7:40
03 Push Dance 3:26
04 Eh! Bahia 5:15
05 Cantei Oba 2:56
06 Batida 4:14
07 Olhos Azuis 4:21
08 Pasha Love 7:25
09 Bemtevi/Festa 7:05

Nana Vasconcelos - Rain Dance    (ogg  112mb)

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Fragments: Modern Tradition is a collection of compositions written by Nana Vasconcelos for six films. The music is appropriately atmospheric, and takes on a myriad of ethnic influences from around the world. Indeed, the first track "Vento Chamando Vento" sounds amazingly similar to fellow multi-ethnicists Dead Can Dance. Vasconcelos utilizes a variety of percussion instruments -- cowbells, shakers and drums -- to achieve the sounds of open landscapes. The album is not all space and wind, however. A fine backing band helps Vasconcelos create a number of musical textures, including the incredibly peppy "Forró Para Antero" and the poly-rhythmic "Let's Go to the Jungle." While this album does not shine with the brilliance of other work like Saudades and Bush Dance, it is a worthwhile addition to Vasconcelos' catalog.

Nana Vasconcelos - Fragmentos (flac 219mb)

01 Vento Chamando Vento (Wind Calling Wind) 4:13
02 Mundo Verde (Green World) 5:54
03 Sertao Das Memorias (Landscape Of Memory) 8:59
04 Forró Para Antero 3:14
05 Vozes (Voices) 3:51
06 Let's Go To The Jungle 4:54
07 Marimbariboba 2:49
08 Caminho Dos Pigmeus (Road To The Pygmies) 5:01
09 Gorée 3:45

Nana Vasconcelos - Fragmentos      (ogg 100mb)

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Without a doubt, this recording from the great Prince Debois Vasconcelos is enhanced by his retun to his roots. This is not music so much as it is beef and brocalli - with extra beef - food for the soul. If you consdier music to be a pasion, you will love this must record - more than any in your world colection. Clearly Mr. V. has never been more in touch with the love of all things music in his life. And the fun that happy life brings rings true on this exceptional disk. Naná Vasconcelos made, despite market demands or any other kind of impediment, an impeccable record, worthy of the work of a genuinely Pernambuco alchemist, fundamentally Northeastern, absolutely Brazilian.

Nana Vasconcelos - Minha Loa (flac  406mb)

01 Futebol 3:49
02 Afoxé Do Nêgo Véio 5:36
03 Estrela Negra  6:13
04 Goreé 2:49
05 Voz Nagô 4:30
06 Macaco 4:38
07 Don's Rollerskates (Tributo A Don Cherry) 5:14
08 Isleña 4:58
09 Cabloco De Lança 3:49
10 Forró Das Meninas 3:45
11 Curumim 3:30
12 Don's Rollerskates Remix 5:22

Nana Vasconcelos - Minha Loa  (ogg  189mb)

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RhoDeo 1646 Monty 4

Hello,

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

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

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

Another Monty Python Record, released in the U.K. in 1971, made its American debut the following year; for most U.S. fans, the album was their first exposure to the troupe -- the BBC series did not begin appearing on public television outlets for several more months. After 1972's Monty Python's Previous Record, a mixture of original routines and TV material featuring "Eric the Half a Bee," "The Argument Clinic," and "Embarrassment/A Bed-Time Book," the group issued 1973's Matching Tie and Handkerchief, which featured a "trick track" gimmick whereby the second side contained separate grooves both featuring entirely different material; playing randomly depending upon where the needle dropped, the gimmick effectively created a "side three."

A 1973 British tour yielded Live at Drury Lane, released in 1974 to coincide with the film Monty Python and the Holy Grail; the movie's companion record, The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail, a reprise of screen material along with new skits, did not appear until the next year. After 1976's Live! At City Center, a long hiatus followed before the group reunited for the 1979 feature and soundtrack Monty Python's Life of Brian.

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

did U know

*The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language.
*Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python.
*In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the line-up "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows.

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After concluding work on the fourth and final series of Monty Python's Flying Circus, writer/actors Michael Palin, Graham Chapman, John Cleese, Eric Idle, Terry Jones, and Terry Gilliam adapted many of the classic sketches for the stage. This album commences with a faux sincerely toned "Introduction" from Idle in the role of narrator, as he observes: "...Amongst the glittering audience here tonight I can see, uhm...oh...what's his name, uhh, the...the fellow with the glasses on the telly. And next to him is, uhm...oh, uh, the lady with the big knockers in the jam commercial." There are notable variations between the scripts used for the TV show and the dialogue incorporated during live performances. Additionally, this disc includes a few items that were presumably created for the staged show. Among them are former Bonzo Dog Doo Dah Band member and part-time Python Neil Innes' "Idiot Song," "Secret Service," and the remarkable physical comedy involved in "Wrestling," which is countered by an equally silly color commentary from Cleese. Many of the better-known titles ("Communist Quiz," "Nudge, Nudge," "Lumberjack Song," "Pet Shop," "Albatross," and "Colonel") date back to some of the earliest episodes and have clearly become favorites of those in attendance. The core of their set remained intact when the Pythons brought the show stateside in 1976. However, as their other concert album, Live! At City Center (1976), demonstrates, there are subtle differences in delivery and pacing, as well as a few new links such as "Short Blues" and Innes' brilliant "Protest Song" from Rutland Times (1976), a conceptual collaboration with Idle that would ultimately yield the sublime Beatles parody and mockumentary All You Need Is Cash (1978). Live at Drury Lane is a great place for Python enthusiasts to start and revisit, as the presence of a live crowd progresses the humor to a new strata that is absent from the comparatively sterile TV versions.

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with

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


401 Live at Drury Lane (mp4  275mb)

401 Monty Python Live At Drury Lane (Side 1) 32:07
Introduction/Llamas
Gumby Flower Arranging
Secret Service
Wrestling
Communist Quiz
Idiot Song
Albatross/The Colonel
Nudge, Nudge/Cocktail Bar
Travel Agent

402 Monty Python Live At Drury Lane (Side 2) 29:38

Spot The Brain Cell
Bruces/Philosophers Song
Argument
I've Got Two Legs
Four Yorkshiremen
Election Special
Lumberjack Song/Liberty Bell Intro
Dead Parrot/Liberty Bell Finale

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Previously

101 Another Monty Python Record (mp4  212mb)
201 Monty Python's Previous Record (mp4  194mb)
301 Matching Tie and Handkerchief (mp4  159mb)

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Sundaze 1646

Hello,

Today's artist is an English singer-songwriter most active during the 1980s and 1990s. Her songwriting career started in 1980. Her classical training influenced her as did a desire to be experimental with her music. Although more popular in the Far East, most notably Japan, she remains a cult artist in her native England...... N'Joy

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Virginia Astley emerged as one of the UK’s unique singer/songwriter talents throughout a productive career covering the 1980s onwards. From her many collaborations with a variety of notable names in the music industry, through to her own solo career, Virginia has managed to carve out her own particular niche. Having developed an interest in music from an early age, it was somewhat inevitable that Virginia would embark on a musical career. Taking up piano at the age of 6 and flute at 14, Virginia also had the bonus of having composer and musician Edwin Astley (whose successes included the theme music for cult 1960s TV shows such as The Saint and Danger Man) as a father. Post-school, Virginia enrolled in the Guildhall School Of Music in London – a location that also exposed her to the vibrant post-punk music scene of the time. Keen to broaden her musical palette, Virginia initially took on keyboard duties for pop outfit Victims Of Pleasure.

She also linked up with former Skids frontman Richard Jobson for contributions to his album The Ballad Of Etiquette. This collaboration brought Virginia into the orbit of Belgian record label Les Disques Du Crépuscule, which in turn led to contributions to various Crépuscule releases (some of these melodies and ideas would later feature on her UK debut EP A Bao A Qu). Virginia also became part of an ensemble called The Dream Makers (in collaboration with filmmaker Jean Paul Goude). The results of this collaboration provided an early opportunity for Virginia to display her unique vocal charms for a cover version of ‘La Chanson d’Helene’ (‘Helen’s Song’) – a song originally sung by Romy Schneider in the 1970 French film Les Choses De La Vie.

During this crucial 1980s period that Virginia started to give serious consideration to writing and releasing her own material, signing to independent label Why-Fi in 1981. It was through fellow Why-Fi artist Troy Tate that Virginia was asked to support psychedelic pop outfit The Teardrop Explodes. Initially sceptical, Virginia overcame her doubts about performing live by recruiting old friends Nicky Holland and Kate St John. Adopting the title of The Ravishing Beauties, the trio whisked off to Liverpool in 1981 to join the Teardrops for a brief series of gigs.

Meanwhile, Why-Fi capitalised on the high profile of Virginia’s Teardrop activities by releasing the 10″ EP A Bao A Qu, which became Virginia’s debut solo release. The evocative melodies of this material were reflected in the choice of songs that The Ravishing Beauties were performing at the time on tour. Following the end of the Teardrop Explodes tour, The Ravishing Beauties continued with a few standalone gigs, but internal problems resulted in the trio parting ways in the summer of 1982. Keeping herself busy, Virginia had embarked on a new direction, which culminated in the instrumental album From Gardens Where We Feel Secure. Although the album had initially been scheduled for release on Liverpool’s Zoo Records label, plans fell through and the album was shelved throughout 1982.

1983 proved to be a complex year for Virginia. She scored some mainstream success via a new single release – the choral pop charm of ‘Love’s A Lonely Place To Be’. But despite enjoying more exposure as a result of this single, cracks had begun to appear in her relationship with Why-Fi. Unhappy with the level of support the label was giving her, Virginia left and founded her own label – Happy Valley.

Joining forces with the Rough Trade label, Virginia finally managed to get From Gardens Where We Feel Secure released in the summer of 1983. Her debut album won her fresh acclaim from the music press, although Virginia was keen to return to more traditional music composition for future releases.The same year, Why-Fi released Promise Nothing – a compilation album of the songs that Virginia had recorded while on the label. Meanwhile, Virginia had been working on new material and assembled a loose working band around her. This included Anne Stephenson, Jo Wells and Audrey Riley.

Among the many songs to emerge during this period were ‘I Live In Dreams’ and ‘Tree Top Club’ as well as the haunting ‘Waiting To Fall’ – later to feature on the Some Bizarre compilation If You Can’t Please Yourself You Can’t Please Your Soul. In 1985, Virginia released the Melt The Snow EP, which included tracks originally conceived as a winter alternative to Virginia’s 1983 album From Gardens Where We Feel Secure. The delicate strings-driven pop of the title track attracted the interest of the Elektra label, which resulted in the release in 1985 of euphoric pop tune ‘Tender’. A follow-up single, ‘Darkness Has Reached Its End’, saw Virginia switch to parent label WEA when it was released in November the same year.

Keen to keep busy, Virginia focused on writing material for a new album. Ryuichi Sakamoto (founder-member of Japanese electropop outfit Yellow Magic Orchestra) had been a fan of Virginia’s work for some time and came onboard as producer. Virginia worked with Sakamoto on the potential tracks for the album, which included a new arrangement of ‘Tree Top Club’ as well as new songs such as ‘Some Small Hope’ – which included a duet with former Japan frontman David Sylvian.

Lyrically, many of the songs for the new album had a darker edge than Virginia’s earlier material. The title, Hope In A Darkened Heart, however, hinted at optimism. Hope In A Darkened Heart received good reviews and a Japanese release of the album would be successful enough to persuade Japanese label Nippon Columbia to reissue From Gardens Where We Feel Secure in 1989. Virginia, meanwhile, had spent the post-Hope years focused on raising her daughter Florence, although she returned to songwriting in the 1990s with the release of the All Shall Be Well album in 1992. This album saw a more mature approach to songwriting and composition, although Virginia’s distinctive vocal style was present and correct. She had also continued to recruit from her immediate circle for collaborators, including Kate St John – as well as young daughter Florence on guest vocals. Meanwhile, Virginia was also attracting the interest of Japanese artists, including electronic trip-hop duo Silent Poets, for whom she contributed guest vocals on a few tracks, notably 1997’s ‘Don’t Break The Silence’.

During this period, Virginia had also been keen to divide her time between both music and writing. One of the projects she was exploring at the time was a musical based on the Thomas Hardy novel The Woodlanders. Some of these ideas later surfaced in song form on Virginia’s 1996 album Had I The Heavens. Meanwhile, Virginia has kept busy on a number of writing projects over the years, including plans for a novel set in Dorset and a multimedia project titled The Stories Of The Fields (which explores the tradition of how fields were given specific names). Virginia has also worked on self-produced CD releases with her daughter, combining spoken narrative pieces by Virginia and harp performances by Florence.

More recently, Virginia has released her first award-winning book of poetry, The Curative Harp. Virginia is currently working on Keeping The River – a non-fiction book that explores the River Thames and the lives of those who work and live on the river. Since then, Astley has guested on albums by both Hideaki Matsuoka and the Silent Poets. From Gardens Where We Feel Secure was re-issued with a new cover in 2003, and in 2006 she released her first album of new material in ten years, entitled The Words Between Our Words. This mini album features Astley reciting her own poetry to a backing of harp music. In 2007, she premiered a long poem "Ecliptic", with flute, harp and birdsong

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Virginia Astley's solo debut (she had previously been a member of the short-lived Ravishing Beauties with Kate St. John and Nicky Holland, and played piano on her brother-in-law Pete Townshend's single "Slit Skirts") is a magical piece of instrumental pop. It's too melodic to be Brian Eno-style ambient music, too involving to be new age mush, too simple and casual to fit in comfortably with the post-minimalist school of Michael Nyman, Andrew Poppy, or Wim Mertens, and too restrained to truly be pop music. Almost entirely instrumental, save for a few wordless vocals on "A Summer Long Since Past," and featuring little instrumentation besides Astley's piano and some subtle woodwinds, the album is a lovely 35-minute meditation built around field recordings Astley made of the ambient sounds of the rural English countryside. This description makes the album sound much more twee and insubstantial than it actually is; however, Astley is no mere ambient noodler. These nine songs are melodically rich and varied; mood pieces in the truest sense of the term. Specifically designed to mirror the moods of an indolent summer day (the sides of the original LP were even marked "morning" and "afternoon"), From Gardens Where We Feel Secure is a dreamy, involving, and occasionally even fascinating listen.

Virginia Astley - From Gardens Where We Feel Secure    (flac  243mb)

01 With My Eyes Wide Open I'm Dreaming 5:43
02 A Summer Long Since Past 4:35
03 From Gardens Where We Feel Secure 3:59
04 Hiding In The Ha-Ha 3:56
05 Out On The Lawn I Lie In Bed 5:09
06 Too Bright For Peacocks 2:29
07 Summer Of Their Dreams 3:22
08 When The Fields Were On Fire 3:15
09 It's Too Hot To Sleep 5:21
Bonus
10 Sanctus 2:00
11 Melt The Snow 3:49
12 Melt The Snow (Instrumental) 4:30
13 Melt The Snow (Instrumental 2) 5:38


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Tuneful, delicate, often charming, occasionally cutesy songs, mostly produced by Ryuichi Sakamoto (who also plays keyboards). The swirling synthesizers and spare classical touches paint a dreamy canvas at their best, making one regret that Astley has not had a chance to build upon this effort in the nearly ten years that have passed without a follow-up. The opening track of 'Some small hope' is absolutely stunningly beautiful. It's a duet with David Sylvian and his voice melts with Virginia's in one unitone chorus of bliss.

Virginia Astley - Hope In A Darkened Heart  (flac  230mb)

01 Some Small Hope 4:10
02 A Father 3:51
03 So Like Dorian 4:32
04 I'm Sorry 5:45
05 Tree Top Club 3:49
06 Charm 5:01
07 Love's A Lonely Place To Be 3:27
08 A Summer Long Since Passed 4:37
09 Darkness Has Reached Its End 3:47

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Virginia Astley's outstanding flair for melody puts her in the front ranks of all composers and All Shall Be Well is the proof.Eight brand new songs and a couple of instrumentals,this is the first new work from Virginia since Hope In A Darkened Heart in I986 and represents her comeback since her self imposed retirement to raise her daughter.In I989 her career began to take off in Japan where the singer is worshipped as a "perfect woman".Possibly her daughter inspired the comeback as the song "My smallest friend" is clearly about her:she joins her mother towards the end in a series of "la la las"."All shall be well",the title song,began life on the sessions for her brother in law Pete Townshend's album "The Iron Man" where she was used as a "technical advisor" and drew his attention to the mediaeval religious poem from "Revelations of Divine Love".Townshend sung the actual words whilst Virginia simplu used the title. "You take me away" is more upbeat than the average Virginia song and "Love's Eloquence" shows a Dylan influence in the words. "Martin",which should really be called "Where have those days gone"? is,like many of her songs,intensley sad. Joining Virginia on "Blue sky white sky" is Kate St.John,her former partner from the Ravishing Beauties of 1982:the music is by Mozart and a first for the artiste as she tended to set other people's words on many an occasion.

Virginia Astley - All Shall Be Well  (flac  196mb)

01 GL - Groundloop 5:10
02 AL - Allegory 5:40
03 DI - Displaced 4:45
04 HN - Hymn Noir 4:36
05 IM - Imparator 5:19
06 CH - Chronicle 5:59
07 SY - Synature  6:31
08 QM - Qui Mal 5:07

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Virginia Astley has the voice of an angel and the songwriting talent of the Beatles. There was never a more worthy (or more ludicrously overlooked) talent since the advent of ethereal popular music. If you wonder where Enya got her ideas, just listen to Virginia.....she was there first! An absolute visionary....every note of her songs sounds fresh and wonderful; like it could have been produced last week, not twenty years ago. Breathtaking and heavenly in every respect, Virginia Astley is a call from lost summers, her harmonies are gentle and her intensions feels like they come from an unspoiled heart. All Shall Be Well.

Virginia Astley - Had I The Heavens  (flac  224mb)

01 It's Over Now 3:38
02 Over The Edge Of The World 3:38
03 Nothing Is As It Seems 4:10
04 Broken 4:47
05 Where I Belong (A Thousand Nights) 5:00
06 I Can't Say Goodbye 4:11
07 Had I The Heavens 2:52
08 Another Road 3:24
09 How Can I Do This To You 3:07
10 I Know A Tune We Could Sing 4:24
11 A Long Long Year 2:43.


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