Rho-Xs

Gil with former President of Brazil Luiz Inácio Lula da Silva

Gil describes his attitude towards politics thus: "I'd rather see my position in the government as that of an administrator or manager. But politics is a necessary ingredient." His political career began in 1987, when he was elected to a local post in Bahia and became the Salvador secretary of culture. In 1988, he was elected to the city council and subsequently became city commissioner for environmental protection. However, he left the office after one term and declined to run for the National Congress of Brazil. In 1990, Gil left the Brazilian Democratic Movement Party and joined the Green Party. During this period, Gil founded the environmental protection organization Onda Azul (Blue Wave), which worked to protect Brazilian waters. He maintained a full-time musical career at the same time, and withdrew temporarily from politics in 1992, following the release Parabolicamará, considered to be one of his most successful efforts. On October 16, 2001 Gil accepted his nomination to be a Goodwill Ambassador for the Food and Agriculture Organization (FAO) of the United Nations, having promoted the organization before his appointment.

When President Luiz Inácio Lula da Silva took office in January 2003, he chose Gil as Brazil's new Minister of Culture, only the second black person to serve in the country's cabinet. The appointment was controversial among political and artistic figures and the Brazilian press; a remark Gil made about difficulties with his salary received particular criticism. Gil is not a member of Lula's Workers' Party and did not participate in creating its cultural program. Shortly after becoming Minister, Gil began a partnership between Brazil and Creative Commons. As Minister, he has sponsored a program called Culture Points, which gives grants to provide music technology and education to people living in poor areas of the country's cities. Gil has since asserted that "You've now got young people who are becoming designers, who are making it into media and being used more and more by television and samba schools and revitalizing degraded neighborhoods. It's a different vision of the role of government, a new role." Gil has also expressed interest in a program that will establish an Internet repository of freely downloadable Brazilian music. Since Gil's appointment, the department's expenditures have increased by over 50 percent. In November 2007 Gil announced his intention to resign from his post due to a vocal cord polyp. Lula rejected Gil's first two attempts to resign, but accepted another request in July 2008. Lula said on this occasion that Gil was "going back to being a great artist, going back to giving priority to what is most important" to him.

Gil has been married four times. His fourth wife is Flora Nair Giordano Gil Moreira. The couple has five children, four of whom are still living. The fifth child – Pedro Gil, Egotrip's drummer – died in a car accident in 1990. Preta Gil, an actress and singer, is his daughter. Gil's religious beliefs have changed significantly over his lifetime. Originally, he was a Christian, but was later influenced by Eastern philosophy and religion, and, later still, explored African spirituality. He is now an agnostic. He practices yoga and is a vegetarian. Gil has been open about the fact that he has smoked marijuana for much of his life. He has said he believes "that drugs should be treated like pharmaceuticals, legalized, although under the same regulations and monitoring as medicines"

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Gilberto Gil's world tour in 1997 was a startling revelation for North American audiences who had not heard from him live in several years, if at all. Quanta Live was recorded in Rio not long before his appearance at the Hollywood Bowl -- and unlike the latter concert, which was strongly rooted in the samba, this CD more fully reflects Gil's role as a pioneer of Brazil's cosmopolitan "tropicalismo" music movement. The CD reveals Gil as a truly captivating performer, still in possession of a quicksilver voice with a beautiful falsetto, a staccato guitar style that makes his electric model sound like an acoustic, and strikingly original, even quirky tunes (including one, though sung in Portuguese, which is obviously about the Internet!). His tricky syncopated vocals and scatting must have been an inspiration for Al Jarreau, and his supple feeling for Brazilian rhythms, energy and quickness can be felt on this recording even without the visual element. Yet Gil and his band could also suddenly break into completely comfortable renditions of two Bob Marley songs ("Is This Love,""Stir It Up") in full reggae regalia. He doesn't need to do this, but it makes sense because Marley fits right into Gil's crusading, humanistic world view. In all, an outstanding addition to your world music shelf.

Gilberto Gil - Quanta Gente Veio Ver (flac 577mb)

01 Introducão 2:34
02 Palco 3:58
03 Is This Love 4:55
04 Stir It Up 4:42
05 Refavela 3:56
06 Vendedor de Caranguejo 4:08
07 Quanta 5:57
08 Estrela 4:45
09 Pela Internet 4:23
10 Cérebro Eletrônico 3:51
11 Opachorô 4:19
12 Copacabana 4:49
13 A Novidade 5:16
14 O Gandhi 3:42
15 De Ouro E Marfim 3:54
bonus cd
16 Doce De Carnaval (Candy All) 5:56
17 Lamento De Carnaval 4:54
18 Pretinha 4:25

Gilberto Gil - Quanta Gente Veio Ver (ogg 211mb)

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Perhaps no one in the world outside Jamaica is better equipped to perform a Bob Marley tribute than Gilberto Gil. The two are very nearly equals; Gil meant as much to residents of Brazil as Marley did to Jamaicans -- even though popularity in Brazil means competing in a very crowded field. Gil is also an exact contemporary of Marley's (he is three years older, but began recording at the same time) and, like Marley, arrived at a distinctive sound only after years of working in the local vernacular. (For Marley it was ska and rocksteady, while for Gil it was bossa nova and samba.) He does owe a debt of gratitude to Bob Marley, however, for it was Marley's global stardom during the '70s that enabled Gil to begin making an impact overseas (especially in Africa). For Kaya N'Gan Daya, his second tribute album in two years (after the Luiz Gonzaga songbook Me, You, Them), Gil astonishingly supplants the formidable personality of Bob Marley and interprets his songs with a strength and vitality that would've found any of his contemporaries lacking. Though he traveled to Tuff Gong studios and worked with the seminal backing vocal group the I-Threes (including Marley's wife, Rita), Gil kept his own band, and they prove their resilience by never deserting their Brazilian focus. Bassist Arthur Maia has a command of the low frequencies that certainly evokes the rocksteady rhythms of reggae, but there isn't much else that sounds Jamaican, besides a sense of space and swing to the arrangements common to many South American forms. The only caveat to Kaya N'Gan Daya is Gil's inability to summon the rebel authority necessary for the classic protest songs "One Drop,""Them Belly Full (But We Hungry)," and "Rebel Music." He certainly makes up for it, though, on his versions of lighter material like "Positive Vibration,""Three Little Birds," and the title track (each of which could easily be a Gil composition). In the end, it's largely because Gilberto Gil and Bob Marley meet as equals that Gil is able to take on the difficult task of paying tribute to one of the most important artists of the 20th century.

Gilberto Gil - Kaya N'gan Daya (flac 441mb)

01 Buffalo Soldier 6:08
02 One Drop 5:03
03 Waiting In Vain 4:19
04 Table Tennis Table 4:30
05 Three Little Birds 3:09
06 Não Chore Mais (No Woman, No Cry) 4:36
07 Positive Vibration 4:26
08 Could You Be Loved 5:16
09 Kaya N'gan Daya (Kaya) 3:58
10 Rebel Music (3 O'Clock Road Block) 5:10
11 Them Belly Full (But We Hungry) 4:02
12 Tempo Só (Time Will Tell) 3:47
13 Easy Skankin' 3:50
14 Turn Your Lights Down Low 4:11
15 Eleve-Se Alto Ao Céu (Lively Up Yourself) 4:24
16 Lick Samba 3:12

Gilberto Gil - Kaya N'gan Daya (ogg 170mb)

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Eletracústico is a live recording from Gilberto Gil's 2004 world tour of the same name. It is also the first album that Gil has released since he was named the culture minister of Brazil in 2002. There are already several live recordings with Gil on the market -- most of which have added very little, in terms of quality, to his rich album catalog. Typically, the live albums repeat the songs from his most recent studio album, together with some of Gil's older hits -- all with an inferior sound quality compared to the studio versions. Eletracústico, however, is different. Although it doesn't present any new compositions, it still has a vitality and crispness that make it the best live album Gil has released to date. Apart from nice versions of some of Gil's own hits, such as "Refavela,""Andar Com Fé," and "Aquele Abraço," there are fine interpretations of songs by other artists, such as John Lennon's "Imagine," Bob Marley's "Three Little Birds," and Chico Buarque's "A Rita." Gil's studio efforts are more often than not a bit too uneven to be entirely enjoyable, and Eletracústico therefore works especially well as a kind of "best-of" collection, recorded live.

Gilberto Gil - Eletracustico (flac 418mb)

01 Refavela 5:56
02 Andar Com Fé 4:19
03 Chuck Berry Fields Forever 4:40
04 Cambalache 4:52
05 Imagine 5:46
06 A Rita 3:15
07 A Linha E O Linho 5:16
08 Aquele Abraço 5:46
09 Maracatu Atômico 6:41
10 Se Eu Quiser Falar Com Deus 4:16
11 La Lune de Gorée 4:06
12 Three Little Birds 3:09
13 Guerra Santa 3:59
14 Soy Loco Por Ti America 7:38

Gilberto Gil - Eletracustico (ogg 164mb)

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A 1977 sampler of rare and previously unreleased material, rereleased in 1998 as part of the Ensaio Geral Box, the artist at work without any pretence and here a nice way to close Gil postings, however he will show up elsewhere as the brazilian music scene intermingles a lot.

Gilberto Gil - Satisfação(Raras & Inéditas) (flac 320mb)

01 Ninguéem Segura Este Paãs 2:41
02 Satisfação 3:14
03 Sentimentos/Ladeira da Preguica 7:40
04 Ha, Ha, Ha 2:28
05 Tiu, Ru, Ru 2:52
06 A Bruxa de Mentira 3:18
07 Chuckberry Fields Forever 4:34
08 Sarará Miolo 3:31
09 E 3:31
10 Músico Simples 3:08
11 Sala Do Som 3:57
12 Brazil Very Happy Band 3:41
13 Tipo Africa 3:22
14 Oju Obá 3:43

Gilberto Gil - Satisfação(Raras & Inéditas) (ogg 129mb)

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Hello,

Today's artists an industrial group whose members prefer to be known as a collective rather than reveal individual names; they've been seen as fascists and of practicing Germanophilia because of their music's Wagnerian thunder and their military attire. According to them, "We are fascists as much as Hitler was a painter." Since fascism needs a scapegoat to flourish, the members mocked it by becoming their own scapegoat and willingly sought alienation. Showing a ridiculous lust for authority, their releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the group's live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character... ..N'Joy

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continued from week

During 1991, Slovenia became an independent state. In 1992, the group released Kapital an album featuring their own vision of materialism. The following year, Mute Records released the Ljubljana–Zagreb–Beograd live album, recorded at performances in the three cities in 1982, presenting a document of politically active rock from the group's early career, especially in the songs "Tito-Tito", "Država" ("The State"), and "Rdeči molk" ("Red Silence"). In 1994, they released the album NATO, which commented on the current political events in Eastern Europe, former Yugoslavia and the actions of the NATO pact, filtered through their vision of techno and pop. The album featured cover versions of Europe's "The Final Countdown", Status Quo "In the Army Now", Don Fardon's "Indian Reservation" (renamed to "National Reservation"), and the Stanislav Binički composition "Marš na Drinu" ("March on the Drina").

Following the album release, the group went on the Occupied Europe NATO Tour 1994-95, resulting in the live and video album of the same name, which featured a selection of recordings from the two-year tour, including the performance in Sarajevo on the date of the signing of the Dayton Agreement. In 1995, the group for a while considered splitting into several simultaneous lineups so that they could perform in different places at the same time, but the idea was abandoned. The following year, the group released Jesus Christ Superstars, a reference to the Andrew Lloyd Webber's rock opera Jesus Christ Superstar. The group promoted the album in the USA with an eighteen-date tour, as well as a German tour.

On May 15, 1997, the group performed with the Slovenian symphony orchestra, conducted by Marko Letonja, and the "Tone Tomšić" choir, for the opening ceremony of the Ljubljana European Month of Culture, presenting orchestral versions of their earliest material, which they rarely performed live, arranged by Uroš Rojko and Aldo Kumar with the members of the group. During the same year, the live album M.B. December 21, 1984 was released, featuring recordings of the forbidden concert in the Ljubljana Malci Belić Hall, a February 1985 concert at the Berlin Atonal festival, and the April 1985 performance at the Zagreb club Kulušić. The performances had featured a guest appearance by Jože Pegam on clarinet and trumpet, and recordings of Tito's speeches. On November 14, 1997 at a concert in Belgrade, another Peter Mlakar speech received a decidedly mixed audience reaction (in sharp contrast to the 1989 speech), in which he asked the audience to "eat the pig and digest it once and for all", referring to the then president Slobodan Milošević.

In 2003, the group released the album WAT (an acronym for We Are Time), which, as well as new material, featured the song "Tanz mit Laibach" (German for "Dance with Laibach"), inspired by the German band D.A.F. The song lyrics were co-written with Peter Mlakar, and the music was co-written with the producer Iztok Turk (former member of Videosex) and the DJs Umek, Bizzy and Dojaja. The following year, the group released a double compilation album Anthems, featuring a career spanning selection of material as well as the previously unreleased song "Mama Leone", a Drafi Deutscher cover, and remixes by Random Logic, Umek, Octex, Iztok Turk and others. The compilation also features a thorough group biography written by Alexei Monroe. The group also released two DVD's: the first, Laibach, featured music videos, including a new music video for the song "Das Spiel is aus", and A film about WAT directed by Sašo Podgoršek. The second DVD was 2 with a recording from the Occupied Europe NATO Tour concert in Ljubljana on October 26, 1995 and A Film from Slovenia, directed by Daniel Landin and Peter Vezjak.

In 2004, the group recorded The Divided States of America - Laibach 2004 Tour, released on DVD in 2006 and directed by Sašo Podgoršek during the group's fourth USA tour. During 2006, the group released the album Volk (German for People), featuring cover versions of national anthems, including the NSK state anthem "Das Lied der Deutschen", originally written in 1797 and used during the Weimar Republic. Each cover featured a guest vocalist singing the anthem in their own language. During the same year, on June 1, the group performed J. S. Bach's "The Art of Fugue" in his hometown Leipzig, and their interpretation of the work was released on the album Laibachkunstderfuge BWV in 2008.

On 15 October 2013 Laibach announced new album "Spectre" to be released February 2014 and released new EP record S featuring three songs from the album and one from a 2012 live album. The songs from the new album are also downloadable for limited time for subscribers of their new mailing list.[6] The first single Resistance is Futile was published on 8 January 2014. In July 2014 Laibach released an EP to coincide with the 70th anniversary of the outbreak of the Warsaw Uprising. The project was commissioned by Poland's National Cultural Centre and includes a reworking of one of the classic songs of the insurgency; "Warszawskie Dzieci" ("Children of Warsaw").

On 11 June 2015 Laibach announced that they would be performing a show in Pyongyang, North Korea sometime in August 2015. The band later confirmed through their website and the website of their record label, Mute Records, that they will be performing two concerts on 19 and 20 August 2015 at Kim Won Gyun Musical Conservatory in Nampo-dong, Pyongyang, to coincide with the 70th anniversary of the end of Japanese colonial rule in Korea. The concerts will also be the subject of a documentary film scheduled for premiere in 2016.

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As Laibach took on more and more of a direct musical identity outside Slovenia, as opposed to being seen as simply part of the Neue Slowenische Kunst, the group's music gained a similar focus, though admittedly one still aimed specifically at an avant-garde level. Nova Akropola readily captures the band's stone-faced fascination with propaganda, fascism, and the implications of rallying and control, while the music was so perfectly on the money with stentorian rhythms, rough chants, and unnerving textures and samples that it almost beggars description. The title track is a perfect example, string-synths and horns slowly, creepily wafting up through the mix before a distorted, strangled voice starts howling over the slowest death-march beat around. There are signs at many points that the group is starting to explore the perversely accessible styles of later years, but it's still early days yet -- the appropriate comparison wouldn't be industrial/dance so much as the first albums by the Swans. "Die Liebe," though, is very much the stomping, riff-heavy semi-dance hit from hell, something of a dry run for the later demolitions of Queen and other groups. "Vade Retro" takes a calmer but not less haunting approach, a mix of keyboards and drums providing rhythms while vocals swirl like disembodied choirs from the mountaintop. The clipped, commanding vocals throughout may only be understandable to those who know Slovenian, but a handily provided translation increases the extreme irony even further -- sample lyric, from "War Poem": "The stronger one will wash our faces and moisten our lips with a rag/and the night with a cold knife will cut us black bread." A couple of older cuts make return appearances on the American issue, including the marvelous "Drzava," Tito sample fully intact.

Laibach - Nova Akropola (flac 270mb)

01 Vier Personen 5:26
02 Nova Akropola 6:55
03 Krvava Gruda - Plodna Zemlja 4:07
04 Vojna Poema 3:12
05 Ti, Ki Izzivaš (Outro) 1:20
06 Die Liebe 4:23
07 Država 4:19
08 Vade Retro 4:33
09 Panorama 4:52
10 Decree 6:41

Laibach - Nova Akropola (ogg 104mb)

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This record is a document of time; It was originally compiled and realised on vinyl in 1987 for the Slovene and Yugoslav territories only. A very well produced album with bombastic (almost anthemic / anthem-styled) tracks that just beg you, as the listener, to lace up your polished black military boots, don WWII German -or- Italian -or- Japanese Axis military uniforms (of your choice), and strap on a Laibach N.S.K. cog armband and head out into the world (or down to the local nightclub) as a Laibachian "shock trooper" of dance. This album and the ones preceeding it, would be considered to be the "forefathers" of what is known or classified today as "Martial Industrial" / "Martial" music. Highly recommend it to any "old school" fans of Laibach or to those wanting a bit of a contrast to Laibach's more modern / techno sound which they became associated with in the wake of 1992's "Kapital" album

Tracks 4, 7 and 8 were originally written in 1986 for the NSK Selpion Nasice Sisters theatre production "Baptism under Triglav", tracks 10 and 11 written in 1992 for the NSK Cosmokinetic Ballet Noordung Prayer Machine.

Laibach - Slovenska Akropola (flac 293mb)

01 Nova Akropola 5:24
02 Krvava Gruda - Plodna Zemlja 4:28
03 Vade Retro Satanas 4:32
04 Raus! (Herzfelde) 4:48
05 Die Liebe 3:52
06 Vojna Poema 3:11
07 Apologija Laibach 6:35
08 Krst Pod Triglavom 4:39
09 Die Grösste Kraft 4:20
10 Noordung 3:12
11 Kapital 7:42

Laibach - Slovenska Akropola (ogg 120mb)

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Having gained a fair amount of underground attention throughout Europe, particularly in both Germany and England, Laibach made its first attempt at crossing over -- in a way -- with Opus Dei. An alliance with Mute records led to Rico Conning handling the production, while the group decided to spell out the connections between mega-arena rock & roll and fascist spectacle all the more directly. Two brilliant singles were the end result, the first being "Geburt Einer Nation," a German-language cover of Queen's then-recent smash hit "One Vision," transformed into a Wagner-ian stompalong that remained as catchy as the original but with far more disturbing overtones. Hearing guttural voices talking about "one world, one people" over stomping drums and dramatic horns makes for pure Big Brother nightmares -- undoubtedly the point. Arguably even more fascinating was "Life Is Life," a hippie-ish song by the German group Opus that was reworked by Laibach into two different versions -- the German-language "Leben Heisst Leben" and the English "Opus Dei." Both are amazing, dramatic, and, thanks to some soft keyboards, even beautiful -- imagining a strutting, face-to-the-sun group of party members sweeping over the globe with these as accompaniment takes no effort at all. The dumbass metal soloing on the German-language version is especially hilarious. The other tracks on Opus Dei are a mixed but worthy bunch, showing the group trashing stylistic boundaries with more classical/hard rock/martial/dancefloor combinations. The results can be weirdly sweet like the start of "F.I.A.T." or explosive like "Leben-Tod" or the quick, nervous bombast of "Trans-National," but they're all good in their own ways. The CD includes four selections from Baptism as a bonus, that particular recording having not yet been released at the time of Opus Dei's appearance.

Laibach - Opus Dei (flac 340mb)

01 Leben Heißt Leben 5:29
02 Geburt Einer Nation 4:22
03 Leben - Tod 3:58
04 F.I.A.T.5:13
05 Opus Dei 5:04
06 Trans-National 4:28
07 How The West Was Won 4:26
08 The Great Seal 4:16
09 Herz-Felde 4:46
10 Jägerspiel 7:23
11 Koža (Skin) 3:51
12 Krst (Baptism) 5:39

Laibach - Opus Dei (ogg 136mb)

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Hello, the return of weekly re-ups here and once again i need to stress that requests need to be posted on the original page, posting requests elsewhere will be ignored by me. This blog hasn't got thousands of visitors that keep downloads live in a time where hosts are quick to delete and with re-ups the live time is considerably shorter, it can't be helped. That said regular visitors should have plenty of time to get what they want.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 18 re-ups, requests fullfilled up to April 8th ...N' Joy

7x Roots Back In Flac (VA - Under African Skies II, Mandingo - Watto Sitta, Zani Diabate and the Super Djata band - I, Khaled - Khaled, Ali Farka Toure ft Ry Cooder - Talking Timbuktu, VA - RAI, VA - Passion Sources)

3x Roots Back In Flac (Rough Guide To Music of South Africa, Ladysmith Black Mambazo - Liph'iqiniso, Ladysmith Black Mambazo - The Star & Wiseman)

3x Aetix Back In Flac (Everything But The Girl - Eden, Everything But The Girl - Baby, The Stars Shine Bright, Everything But The Girl - The Language Of Life)

3x Aetix Back In Flac ( Thick Pigeon - Too Crazy Cowboys, Thick Pigeon - Miranda Dali , C Burwell-Raising Arizona&Blood Simple)

1x Eight-X Now in flac ( Siouxsie And The Banshees - Kaleidoscope now expanded)

1x Roots Back in Flac ( Bim Sherman - Crazy World )

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Hello, divine grooves here today to cleanse your soul from the negatives projected on you by weapons of mass destruction like that black opps energy weapon that turned the WTC towers to dust. Meanwhile the refugee crises in Europe remains a miserey.

Today's music is from a gospel singer, who throughout her celebrated career, used her rich, forceful voice and inspiring interpretations of spirituals to move audiences around the world to tears of joy. In the early days, as a soloist and member of church choirs, she recognized the power of song as a means of gloriously reaffirming the faith of her flock. And later, as a world figure, her natural gift brought people of different religious and political convictions together to revel in the beauty of the gospels and to appreciate the warm spirit that underscored the way she lived her life. ... N'joy

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General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists who follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever. Born in one of the poorest sections of New Orleans on October 16, 1911, Jackson made her debut in the children's choir of the Plymouth Rock Baptist Church at the age of four, and within a few years was a prominent member of the Mt. Moriah Baptist's junior choir. Raised next door to a sanctified church, she was heavily influenced by their brand of gospel, with its reliance on drums and percussion over piano; another major inspiration was the blues of Bessie Smith and Ma Rainey.

By the time she reached her mid-teens, then, Jackson's unique vocal style was fully formed, combining the full-throated tones and propulsive rhythms of the sanctified church and the deep expressiveness of the blues with the note-bending phrasing of her Baptist upbringing. After quitting school during the eighth grade, Jackson relocated to Chicago in 1927, where she worked as a maid and laundress; within months of her arrival, she was singing leads with the choir at the Greater Salem Baptist Church, where she joined the three sons of her pastor in their group the Johnson Brothers. Although other small choir groups had cut records in the past, the Johnson Brothers might have been the first professional gospel unit ever; the first organized group to play the Chicago church circuit, they even produced a series of self-written musical dramas in which Jackson assumed the lead role. Her provocative performing style -- influenced by the Southern sanctified style of keeping time with the body and distinguished by jerks and steps for physical emphasis -- enraged many of the more conservative Northern preachers, but few could deny her fierce talent.

After the members of the Johnson Brothers went their separate ways during the mid-'30s, Jackson began her solo career accompanied by pianist Evelyn Gay, who herself later went on to major fame as one half of gospel's Gay Sisters. During the week, Jackson also went to beauty school, and soon opened her own salon. As her reputation as a singer grew throughout the Midwest, in 1937 she made her first recordings for Decca, becoming the first gospel artist signed to the label; curiously, none of the tracks she recorded during her May 21 session was by Thomas A. Dorsey, the legendary composer for whom she began working as a song demonstrator around that same time. (He even wrote "Peace in the Valley" with her in mind.) While her Decca single "God's Gonna Separate the Wheat from the Tares" sold only modestly, prompting a lengthy studio hiatus, Jackson's career continued on the upswing -- she soon began performing live in cities as far away as Buffalo, New Orleans, and Birmingham, becoming famous in churches throughout the country for not only her inimitable voice but also her flirtatious stage presence and spiritual intensity.

In 1939, Jackson started touring with renowned composer Thomas A. Dorsey. Together they visited churches and "gospel tents" around the country, and Jackson's reputation as a singer and interpreter of spirituals blossomed. She returned to Chicago after five years on the road and opened a beauty salon and a flower shop, both of which drew customers from the gospel and church communities. She continued to make records that brought her fairly little monetary reward. In 1946, while she was practicing in a recording studio, a representative from Decca Records overheard her sing an old spiritual she had learned as a child. He advised her to record it, and a few weeks later she did. "Move On Up a Little Higher" became her signature song. The recording sold 100,000 copies overnight and soon passed the two million dollar mark. "It sold like wildfire," Alex Haley wrote in Reader's Digest. "Negro disk jockeys played it; Negro ministers praised it from their pulpits. When sales passed one million, the Negro press hailed Mahalia Jackson as 'the only Negro whom Negroes have made famous."'

Beginning in 1950, she became a regular guest on journalist Studs Terkel's Chicago television series, and among White intellectuals and jazz critics, she acquired a major cult following based in large part on her eerie similarities to Bessie Smith. In 1952, her recording of "I Can Put My Trust in Jesus" even won a prize from the French Academy, resulting in a successful tour of Europe -- her rendition of "Silent Night" even became one of the all-time best-selling records in Norway's history.

Jackson's success soon reached such dramatic proportions that in 1954 she began hosting her own weekly radio series on CBS, the first program of its kind to broadcast the pure, sanctified gospel style over national airwaves. The show surrounded her with a supporting cast which included not only pianist Mildred Falls and organist Ralph Jones, but also a White quartet led by musical director Jack Halloran; although her performances with Halloran's group moved Jackson far away from traditional gospel towards an odd hybrid which crossed the line into barbershop quartet singing, they proved extremely popular with White audiences, and her transformation into a true crossover star was complete. Also in 1954 she signed to Columbia, scoring a Top 40 hit with the single "Rusty Old Halo," and two years later made her debut on The Ed Sullivan Show. However, with Jackson's success came the inevitable backlash -- purists decried her music's turn toward more pop-friendly production, and as her fame soared, so did her asking price, so much so that by the late '50s, virtually no Black churches could afford to pay her performance fee.

A triumphant appearance at the 1958 Newport Jazz Festival solidified Jackson's standing among critics, but her records continued moving her further away from her core audience -- when an LP with Percy Faith became a smash, Columbia insisted on more recordings with orchestras and choirs; she even cut a rendition of "Guardian Angels" backed by comic Harpo Marx. In 1959, she appeared in the film Imitation of Life, and two years later sang at John F. Kennedy's Presidential inauguration. During the '60s, Jackson was also a confidant and supporter of Dr. Martin Luther King, and at his funeral sang his last request, "Precious Lord"; throughout the decade she was a force in the civil rights movement, but after 1968, with King and the brothers Kennedy all assassinated, she retired from the political front. At much the same time, Jackson went through a messy and very public divorce, prompting a series of heart attacks and the rapid loss of over a hundred pounds; in her last years, however, she recaptured much of her former glory, concluding her career with a farewell concert in Germany in 1971. She died January 27, 1972.

Jackson considered herself a simple woman: she enjoyed cooking for friends as much as marveling at landmarks around the world. But it was in her music that she found her spirit most eloquently expressed. She wrote in her autobiography: "Gospel music is nothing but singing of good tidings-spreading the good news. It will last as long as any music because it is sung straight from the human heart. Join with me sometime-whether you're white or colored-and you will feel it for yourself. Its future is brighter than a daisy."

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Live at Newport is a wonderful reissue of the Newport 1958 album, containing all 15 songs that were on the original record. Jackson was at the peak of her career, and she gave a stunning performance at this show, lifting such songs as "He's Got the Whole World In His Hands,""Lord's Prayer,""Evening Prayer,""I'm on My Way,""Walk over God's Heaven" and "His Eye is on the Sparrow" to glorious heights. Epiphany, is the word that describes this album best. The power, energy, and the conviction that Mahalia possesses has never been duplicated. If while listening to such outstanding cuts like, "The lord's Prayer, Didn't It Rain, When The Saints Go Marching In, On My Way, An Evening's Prayer, and A walk In Heaven, you are not moved, then may I suggest to check for a pulse. It's not only one of the great live gospel albums, it's simply one of the great gospel albums.

Mahalia Jackson - Newport 1958 (flac 230mb)

01 An Evening Prayer 2:30
02 I'm On My Way 3:00
03 A City Called Heaven 3:40
04 It Don't Cost Very Much 3:10
05 Walk Over God's Heaven 2:55
06 The Lord's Prayer 3:42
07 Didn't It Rain 2:35
08 My God Is Real (Yes, God Is Real) 3:35
09 He's Got The Whole World In His Hands 2:25
10 I'm Going To Live The Life I Sing About In My Song 3:48
11 Joshua Fit The Battle Of Jericho 2:20
12 His Eye Is On The Sparrow 4:20

Mahalia Jackson - Newport 1958 (ogg 98mb)

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Jackson wasn't just gospel music's first international superstar--she was among its earliest adherents and inventors. Working with the great composer and former blues singer Thomas A. Dorsey in the late 1930s, Jackson gave a distinctly blues-trained, jazzy sass and grace to Dorsey's material and the other hymns and spirituals she sang. More than any other performer, she helped to define gospel music itself as a transcendent, rootsy, melismatic, and heady spiritual sound. Culled from her sides for Columbia between 1954 and 1969, some of the arrangements in the set are not ideal and may sound quite a bit dated, but that voice shines and soars and dives straight to the center of your heart. Whether backed by a simple organ or piano or with full studio accompaniment, Jackson's booming, instantly recognizable contralto is indescribable, exciting, and forever a wonder to behold. And if you think that's an exaggeration, you have a thing coming.

Mahalia Jackson - Gospels, Spirituals, & Hymns 1 (flac 296mb)

01 Didn't It Rain 2:37
02 My God Is Real (Yes, God Is Real) 3:37
03 Walk Over God's Heaven 2:14
04 If I Can Help Somebody 3:46
05 Come On Children, Let's Sing 1:55
06 What A Friend We Have In Jesus 4:06
07 I Found The Answer 4:18
08 It Is Well With My Soul 5:32
09 Great Gettin' Up In The Morning 3:41
10 You Must Be Born Again 1:59
11 Elijah Rock 5:03
12 Jesus Met The Woman At The Well 2:25
13 A Satisfied Mind 3:08
14 Keep Your Hand On The Plow 2:29
15 Roll, Jordan, Roll 3:57
16 Calvary 3:44
17 In My Home Over There 3:22
18I Will Move On Up A Little Higher 5:25

Mahalia Jackson - Gospels, Spirituals, & Hymns 1 (ogg 129mb)

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Mahalia Jackson - Gospels, Spirituals, & Hymns 2 (flac 315mb)

01 In The Upper Room 7:10
02 The Christian's Testimony 2:32
03 If We Never Needed The Lord Before (We Sure Do Need Him Now) 4:19
04 A City Called Heaven 2:48
05 Trouble Of The World 4:44
06 Without God I Could Do Nothing 4:39
07 Take My Hand, Precious Lord 4:12
08 Joshua Fit The Battle Of Jericho 2:04
09 His Eye Is On The Sparrow 4:21
10 God Put A Rainbow In The Sky 3:09
11 He's Got The Whole World In His Hands 2:35
12 A Rusty Old Halo 2:18
13 Nobody Knows The Trouble I've Seen 3:45
14 Dear Lord, Forgive 2:27
15 I'm Going To Live The Life I Sing About In My Song 4:01
16 Search Me Lord 3:24
17 If I Could Hear My Mother Pray Again 3:21
18 Walk On By Faith 3:52

Mahalia Jackson - Gospels, Spirituals, & Hymns 2 (ogg 132mb)

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Around 1970, she created her first synthesizer-based music in a studio she shared with Laurie Spiegel on a Buchla synthesizer installed by Morton Subotnick at NYU. Her goal at that point was to create a slow, purposeful "unfolding" of sound, which she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies. After the premiere of Adnos I in 1974 at Mills College at the invitation of Robert Ashley, a group of visiting French music students suggested that her music was deeply related to meditation and that she should look into Tibetan Buddhism, two things she was not familiar with.

After investigating Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Pawo Rinpoche, who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same working methods and goals as before, finishing Adnos II in 1979 and Adnos III in 1980. Then came a series of works dedicated to Milarepa,[2] the great Tibetan yogi, known for his Hundred Thousand Songs representing the basis of his teaching. First she composed the Songs of Milarepa, followed by Jetsun Mila, an evocation of the life of this great master; the creation of these works was sponsored by the French government.

In the late 1980s and early 1990s, she devoted herself to a singular three-hour work, perhaps her masterpiece, the Trilogie de la Mort, of which the first part kyema Intermediate states follows the path of the continuum of the six states of consciousness. The work was influenced as much by the Tibetan Book of the Dead Bardo Thodol and her meditation practice, as by the death of Pawo Rinpoche and her son Yves Arman (fr). The first third of the Trilogie, "Kyema", was her first recording, released by Phill Niblock's XI label.

In 2000, she made her last electronic work in Paris, l'Ile Re-sonante, for which she received the Golden Nica Award at the festival Ars Electronica in 2006. In 2001, on request from the electric bass and composer Kasper T. Toeplitz, she created her first instrumental work, Elemental II, which she took up again with the laptop improvisation group The Lappetites. She participated in their first album Before the Libretto on the Quecksilber label in 2005.

Since 2004 she has dedicated herself to works for acoustic instruments. First with the American cellist Charles Curtis, the first part of Naldjorlak was premiered in December 2005 in New York and later played in 25 concerts across the U.S. and Europe. The second part of Naldjorlak for the two basset horn players

Carol Robinson and Bruno Martinez, was created in September 2007 at the Aarau Festival (Switzerland). The three musicians completed the third part of Naldjorlak with Radigue and premiered the complete work, "Naldjorlak I,II,III", in Bordeaux on January 24, 2009. In June 2011 her composition for solo harp Occam I, written for the harpist Rhodri Davies, was premiered in London. Numerous solos and ensemble pieces in the OCCAM cycle have followed.

Performances of her music have taken place at galleries and museums such as the Salon des Artistes Decorateurs (Paris), Foundation Maeght (St. Paul de Vence), Albany Museum of the Arts (New York), Galerie Rive Droite (Paris), Gallery Sonnabend (New York), Galerie Yvon Lambert (Paris), and Galerie Shandar (Paris); at festivals including the Festival de Como (Italy), the Festival d'Automne a Paris, Festival Estival (Paris), International Festival of Music (Bourges, France); and at the New York Cultural Center, Experimental Intermedia Foundation (New York), The Kitchen (New York), Columbia University (New York), Vanguard Theatre (Los Angeles), LACE (Los Angeles), Mills College (Oakland), University of Iowa, Bennington School of Music, the San Francisco Art Institute, and the NEMO Festival (Chicago 1996). She has appeared on many broadcast programs including France Culture, France Musique, distribution via satellite covering over 50 stations in the U.S. including special programs on KPFK (Los Angeles) and KPFA (San Francisco).

Radigue currently lives in France, where she continues to compose electronic music and study the teachings of the Tibetan lamas. She returns to the United States periodically to present programs of her electronic works.

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Here today the reissue of eliane radigue’s 1971 piece “chry-ptus” :: presented here in two iterations: eliane’s own 1971 realization utilizing the buchla music box at nyu, and a contemporary recording/performance jointly realized by radigue herself (ca. 2001 @ ccmix in paris, assisted by stefano bassanese) and giuseppe ielasi (in 2006). Eeach realization contains two parts (the first track on each disc forming one pair; the second track the other...); these are intended to be played simultaneously but work just as well as individual halves... musically, the introduction of continuous-pulse rhythms (the mid-register twittering) into the purely synthesized/flowing timbres is something i haven’t heard from radigue (outside of “e=a=b=a+b” - another piece with two distinct parts intended for simultaneously/non-sync’ed play...)
As will all of radigue’s long-form electronic music, this is something you’ll want to immerse yourself in for extended durations... highly recommended for the lover of pure analogue sound & those patient enough to let this music in...

“chry-ptus” (1971) :
originally two tapes which are to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. three variations on this piece were performed at the new york cultural center in 1971, with variations of amplitude and location modulation as well as synchronisation. realised on the buchla synthesizer at the new york university. the booklet contains a text by painter paul jenkins, who also realised the watercolor on the front cover, written on occasion of radigue’s first concert in new york, april 6th, 1971.

Eliane Radigue - Chry-Ptus (flac 325mb)

01 Chry-ptus I (1971)23:40
02 Chry-ptus I (Version 2001) 24:47
03 Chry-ptus II (1971)20:28
04 Chry-ptus II (Version 2006) 23:40

Eliane Radigue - Chry-Ptus (ogg 189 mb)

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These three magisterial compositions were realized between 1973 and 1980 by Paris-based composer Eliane Radigue, who was formerly a student of musique concrète guru Pierre Henry, until he uncharitably dismissed her immaculate slow-motion minimalism out of hand. Time has happily proved him quite mistaken. Describing Radigue's work with the simple (and these days overused) epithet "drone" is somewhat misleading, for unlike classic examples of the genre, from La Monte Young and his erstwhile violinist Tony Conrad, Radigue's music is almost constantly on the move. But very, very slowly, putting ARP synthesizer to use in ways Herbie Hancock never even dreamed of, Radigue builds the sonic geology of her works in strata. Tuning in to the upper frequencies of "Adnos I" (1973 -- 74) is like lying on your back in a field and watching clouds drift by overhead, while the slow heartbeat of her music recalls Morton Feldman's celebrated observations on duration: "Up to one hour you think about form, but after an hour and a half it's scale." Not surprisingly perhaps, given the unique meditational quality of the music, Radigue eventually became a Tibetan Buddhist, but there's no question here of tuning in and dropping out. "Adnos II" is thicker and more physically present, compelling the listener to focus on what Karlheinz Stockhausen once referred to as "the rhythm of your smallest particles," while the ghostly pendulum ostinati of "Adnos III," which swing in and out of focus from the 11-minute mark, are utterly compelling. There's a lot of "drone" music around these days, because people misguidedly think it's easy to do, but when confronted with authentic masterpieces such as these, the difference between the wheat and the chaff is abundantly clear. Hopefully, Pierre Henry, if he's still wearing a hat, will doff it in reverence.

Eliane Radigue - Adnos I (flac 380mb)

01 Adnos I 71:26

Eliane Radigue - Adnos I (ogg 144mb)

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Eliane Radigue - Adnos II (flac 358mb)

01 Adnos II 72:44

Eliane Radigue - Adnos II (ogg 150mb)

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Eliane Radigue - Adnos III (flac 386mb)

01 Adnos III 72:40

Eliane Radigue - Adnos III (ogg 157mb)

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Hello, the F1 was in Shanghai this weekend winner Rosberg had a leisurely win but then behind him the competition had a tough ride, Vettel made the most of it and came 2nd ahead of 'kamikaze' Kvyat who finished before Ricciardo who had led the race before having a tire went flat and off, luckily not far from the pit. Raaikonen went off thanks to Vettel reacting to Kamikaze Kvyat but did manage to get to 5th. Meanwhile Hamilton went from last to crashing into the bunch but in the end came in 7th just before Verstappen who had come up from 18th after the safety car left in round 10. In short plenty of action in China's entertaining grand prix.

Meanwhile football arbiters showed their incompetence at the highest level ridiculously sending of hero of the season Vardy for a supposed dive (2nd yellow), on top of that giving WestHam a soft penalty and not giving Leicester one, clearly in fear of being investigated (corruption) he did give one in order to let the game end in a draw. The powers that be rearing their ugly heads in the FA. In the Netherlands Ajax got gifted a 89th minute penalty which saved their lead in the Eredivisie on goal difference with 3 games to go. Professional football needs video referees the game is too fast for thirty something blokes and the money involved too much let alone the potential for corruption. Today these games clearly would have had a different final score were it not for the referees failings.

And now the final episode of..

Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground. Watchmen illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the book's strikingly drawn panels. All 12 chapters of the story are here, nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With Watchmen: The Complete Motion Comic.... N'Joy

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A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel. In time, the series has also become one of the best-selling graphic novels ever published. Watchmen was the only graphic novel to appear on Time's 2005 "All-Time 100 Greatest Novels" list, where Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." It later appeared on Time's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn.

The Watchmen: Motion Comic is a 2008 American animated short film series of motion comics for web and television based on the DC comic book series Watchmen, written by Alan Moore and illustrated by Dave Gibbons. The series consists of twelve abridged 25–30 minute segments, each based on and sharing a name with one of the twelve chapters of the book. Both male and female characters are voiced by actor Tom Stechschulte. It was released on DVD in March 2009 to coincide with the Watchmen movie’s release.

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In October 1985, during the Soviet invasion of Afghanistan and on the eve of nuclear war, a depressed Rorschach, one of several outlawed vigilante superheroes, begins to investigate why all former masked superheroes are either dead or have declined. When another one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future.

Watchmen 12 A Stronger Loving World...... (avi 233mb)

Watchmen 12 A Stronger Loving World... 25:31

Doctor Manhattan and Silk Spectre head to Veidt's base. Veidt convinces everyone there that his fake alien has led to world peace and revealing the hoax will undermine it and make the deaths for naught. All agree except for Rorschach, who storms out, but Doctor Manhattan vaporizes him. In the end, Manhattan decides to leave Earth and Dan and Laurie assume fake identities.

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previously

Watchmen 01 At Midnight, All the Agents... (avi 233mb)
Watchmen 02 Absent Friends... (avi 233mb)
Watchmen 03 The Judge of All the Earth... (avi 233mb)
Watchmen 04 Watchmaker... (avi 233mb)
Watchmen 05 Fearful Symmetry... (avi 233mb)
Watchmen 06 The Abyss Gazes Also... (avi 233mb)
Watchmen 07 A Brother to Dragons... (avi 233mb)
Watchmen 08 Old Ghosts... (avi 233mb)
Watchmen 09 The Darkness of Mere Being... (avi 233mb)
Watchmen 10 Two Riders Were Approaching... (avi 233mb)
Watchmen 11 Look on My Works, Ye Mighty...... (avi 233mb)

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Hello, how did things go so wrong in Brazil? The answer is variously to be found in global economic change, the personality of the president, the PT’s embrace of a corrupt system of party finance, the scandal that exploded as that system was exposed, and the dysfunctional relationship of the Brazilian executive and legislature. The PT itself, once the country’s least corrupt party, chose to solve its financial problems by dipping into a trough of money diverted from Petrobras, the national oil company. Its coalition allies, and other parties, joined in.

The PT was a real party, with a mass base across the country, a coherent ideology, an apparently strong moral sense – characteristics that other political formations largely lacked. Lula’s social policies brought him and the PT immense popularity, re-election for a second term, and helped his successor, Dilma Rousseff, to convincing victories in 2010 and 2014. Since then the story has grown darker and darker until it reached a dismal low point on Sunday when the lower house of Congress voted to impeach her. The president herself has not been implicated in the Petrobras scandal. The grounds for her impeachment are that she manipulated state funds ahead of the last election – not much more than a misdemeanour by Brazilian standards. But almost all those involved in impeaching her are suspected of corruption, including Eduardo Cunha, the speaker of the lower house. Meanwhile radicalisation and intolerance in the country have reached a very dangerous point.

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

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

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

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

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her

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

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

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

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

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This early 60s recording captures the 17 year old Porto Alegre-city singer Elis Regina making her second trip north into the studios of Rio De Janeiro after her first successful recording, "Viva a Brotolândia" (Long Live Teenage Land) and she is AWESOME. Clearly the producers and the singer were on the verge of something big, since she was showing great potential. Indeed two songs show she was musically mature well beyond her years. Four years later at age 21, Elis Regina, after singing Edu Lobo's legendary "Arrastão" at a nationally broadcast songwriting contest and co-hosting a popular show with Jair Rodrigues, would become the biggest singing star in Brazil, smashing Carmen Miranda's best-selling song record, and becoming a dominant force in helping create "Música Popular Brasileira" (MPB), a mixture of popular, folk, and jazzy elements that was new and is still going strong in 2014. She also elevated the careers of many composers during her lifespan, cut short by a tragic accident. But this is a big part of where it started, before she became "O Furacão" (The Hurricane).

In front of various musical groups ranging from small combos to orchestras with full strings and vocal choruses, a youthful, daring Elis delivers powerhouse, captivating performances, over and over. From sambas, cha chas, bossa novas, tangos, waltzes, and mambos, to familiar American rock ballads of the 60's, she rises gloriously above each song. The producers spared no expense on lavish arrangements and excellent musicians. High points are "Poema" and "Confissao", among others. But the 'piece d'resistance' is the stunningly gorgeous tango-like "Cancao De Enganar Despedida" with it's breathtaking violin background

Elis Regina - Poema De Amor (flac 205mb)

01 Poema 3:12
02 Pororó-Popó1:55
03 Dá-me Um Beijo (É Per Sempre) 3:20
04 Nos Teus Lábios 2:24
05 Vou Comprar Um Coração 1:50
06 Meu Pequeno Mundo De Ilusão (My Little Corner Of The World) 2:34
07 Las Secretarias 2:50
08 Saudade É Recordar 2:17
09 Pizzicati Pizzicato 3:11
10 Canção De Enganar Despedida 3:25
11 Confissão 2:00
12 Podes Voltar 3:29

Elis Regina - Poema De Amor (ogg 72mb)

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Arguably Elis Regina's best early album, 1968's Elis Especial has her accompanied by an uncredited, relentlessly swinging piano trio. The sound quality could be better, but by the end of the first song "Samba do Perado," you won't care anymore -- you'll be blissfully tapping your foot. Also included are two lengthy tributes, one to Tom Jobim and the second to the Rio neighborhood of Mangueira.

Elis Regina - Elis Especial (flac 172mb)

01 Samba Do Perdão 3:26
02 Tributo A Tom Jobim 5:00
(Vou Te Contar-Fotografia-Outra Vez-Vou Te Contar)
03 De Onde Vens 2:45
04 Bom Tempo 2:42
05 Da Cor Do Pecado 2:50
06 Corrida De Jangada 2:15
07 Carta Ao Mar 4:00
08 Vira-Mundo 1:33
09 Upa, Neguinho 2:23
10 Tributo À Mangueira 5:21
(Mangueira-Fala, Mangueira-Exaltação À Mangueira-Levanta, Mangueira-Despedida De Mangueira-Pra Machucar Meu Coração)

(ogg mb)

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Here the legendary Brazilian vocalist's stunning 1969 landmark London album. An amazing, unique and highly successful mix of bossa nova, MPB, swinging funky orchestral grooves and more. Elis Regina hits the London studio scene, with UK musical direction by Peter Knight (arranger for Scott Walker). Elis in London is a stunning and unique album mixing Brazilian and late 1960s British music sensibilities, from the queen of Brazilian music. Featuring definitive versions of classic tunes such as Edu Lobo's 'Upa Neguinho' as well as songs by Jorge Ben, Tom Jobim and Menescal. Elis Regina is the greatest talent ever to come out of Brazil - and this unique album was recorded at the height of her career. Brazilian musician legends Wilson das Neve's, Meirelles and Antonio Adolfo alongside an absolutely on-fire set of Britain's studio musicians creates one of the most successful meetings of musical worlds.

Elis Regina - In London (flac 212mb)

01 Corrida De Jangada 2:00
02 A Time For Love 2:15
03 Se Võce Pensa 2:54
04 Giro 2:19
05 A Volta 4:06
06 Zazueira 2:42
07 Upa Negrinho 2:17
08 Watch What Happens 2:54
09 Wave 3:17
10 How Insensitive 2:21
11 You 2:23
12 Barquinho 2:26

Elis Regina - In London (ogg 71mb)

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Aquarela Do Brasil is a 1969 bossa nova-style jazz LP album by Elis Regina and Toots Thielemans on the Fontana Special sublabel of Philips Records. It features the Elis Cinque quintet, in a lineup with Toots Thielemans (guitar and harmonica), Elis Regina (vocals), Antonio Adolfo (piano), Roberto Menescal (guitar) and Wilson das Neves (percussion).

Recorded in 1969, during a "howling snowstorm" in Stockholm Sweden of all places, the Brazilian Super-Diva, Elis Regina, and the acclaimed jazz master, Toots Thielemans, conjured up a steaming, mid-summer Brazilian beach in the studio. Elis is on fire throughout and clearly having alot of fun! Her musical quintet, Elis Cinco, is brilliant and audibly enthusiastic. Singing with a wide range of emotions and tossing off gymnastic phrases with ease, Elis is incredible! She wields her voice like a knief, cutting quickly and deeply into each song. Toots is equally brilliant and the entire ensemble plays like old musical friends. I speak no Portuguese but this music is as clear as a crystal.

This album is so uniformly brilliant that there are too many outstanding performances by both artists to pick one. The sensuous, sultry "Barquinho" (Little Boat) is cast as an overpowering ballad performance that will slow your breathing. "Voce", the tongue twisting "Corrida de Jangada", and the sizzling "Wave" (with Elis' patented "sozinho" Afro-Brazilian tagline at the end) are new again. She totally personalizes "Aquarela Do Brasil" using the 'bridge' only and then adds the batucada "Nega do Cabelo Duro" to it, infusing it with humor and the sound of "crickets": very unique performance. And the octave-jumping tour de force of "Cantu de Ossanha" is spine-tingling great singing like no one else can do it

Toots Thielemans & Elis Regina - Aquarela Do Brasil (flac 177mb)

01 Wave 3:08
02 Aquarela Do Brasil 2:59
03 Visão 2:52
04 Corrida De Jangada 2:02
05 Wilsamba 2:08
06 Voce (You) 2:23
07 Barquinho 2:43
08 O Sonho 2:12
09 Five For Elis 1:57
10 Canto De Ossanha (Chi Dice Non De) 3:12
11 Honeysuckle Rose 2:51
12 Volta 4:28

(ogg mb)

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Hello, on the presidential race,Trump takes New York by a landslide, looks like all delegates go to him (winners takes all if above 50%) After telling us too close to call in exitpoll (50-48) within 45min after some 60-40 results the Clinton News Network (CNN) declared a rich cow the winner (Hindu's rejoice !). Morally Sanders who had been completely ! ignored in 2015 is off cause the winner, by the time voting started in February his numbers were low and Clinton easily won every 'black' state (being told what to do by mama was always gonna win it over daddy). Looking at Clinton now giving her victory speech, she's clearly delighted, a happy little princess. Many tens of thousands of Sanders supporters were no so happy as they didn't get to vote because they hadn't re-registered 6 months in advance (when Sanders was still largely unknown) and there was hardly any real choice besides Clinton. The people have once again been misled. Had Sanders and Clinton had the same MSN exposure Sanders nomination would have been secured by now. Looks like 8 more years for Bill Clinton in the White House, but this time without easy interns, he''ll have to make do with the wives of foreign heads of state.....

Today's artists an industrial group whose members prefer to be known as a collective rather than reveal individual names; they've been seen as fascists and of practicing Germanophilia because of their music's Wagnerian thunder and their military attire. According to them, "We are fascists as much as Hitler was a painter." Since fascism needs a scapegoat to flourish, the members mocked it by becoming their own scapegoat and willingly sought alienation. Showing a ridiculous lust for authority, their releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the group's live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character... ..N'Joy

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Some early Laibach albums were pure industrial, with hard industrial percussion, heavy rhythms, and roaring vocals. Later in the mid-80s, the Laibach sound became more richly layered with samples from classical music including from Gustav Holst’s The Planets. The band began their tradition of cover songs in 1987 with the album Opus Dei, where their sound changed again.

Laibach's cover versions are often used to subvert the original message or intention of the song — a notable example being their version of the song "Live is Life" by Opus, an Austrian arena rock band. Laibach recorded two new interpretations of the song, which they titled Leben Heißt Leben, and Opus Dei. The first of these, the opening song on the Laibach album Opus Dei (1987), was sung in German. The second was promoted as a single, and its promotional video (which used the title "Live is Life") was played extensively on American cable channel MTV. Opus Dei retained some of the original song's English lyrics, but was delivered in a musical style that left the meaning of the lyrics open to further interpretation. Whereas the original is a feel-good pop anthem, Laibach's subversive interpretation twists the melody into a triumphant military march. With the exception of the promotional video, the refrain is at one point translated into German, giving an example of the sensitivity of lyrics to their context. The Opus Dei album also features a cover of Queen's "One Vision" with lyrics translated into German under the title '"Geburt einer Nation" ("Birth of a Nation"), revealing the ambiguity of lines like "One race one hope/One real decision". In NATO (1994), Laibach also memorably re-worked Europe's glam metal anthem "The Final Countdown" as a bombastic disco epic.

Other notable covers include the Beatles album Let It Be (1988), and their maxi-single Sympathy for the Devil (1988) which deconstructs the Rolling Stones song of the same name with seven different interpretations.In 2004, Laibach covered the song Ohne Dich by Rammstein in a significantly altered version. Unlike the solo male vocals in the Rammstein original, this cover features both male and female vocals (supplied by Laibach's Milan Fras and Mina Špiler from the band Melodrom), and the orchestral sound of the original has been supplemented — and in some sections even replaced — by a more electronic element. The lyrics of the song were also subtly altered, most noticeably in the chorus: the original version was "Ohne dich kann ich nicht sein" (roughly: "without you I cannot exist"), whereas Laibach's reworked chorus declares "Ohne mich kannst du nicht sein" (roughly: "Without me you cannot exist").

Laibach not only reference modern artists through reinterpretation, but also sample or reinvent older musical pieces. For example, their song "Anglia" is based on the national anthem of the United Kingdom, God Save the Queen. This song, and other based on national anthems are released on Volk album, which is a collection of Laibach's versions of national anthems of countries such as the United States and Russia. On this album they also included an anthem for their NSK State in Time, which is based on their song The Great Seal from the Opus Dei album.

They have also toured with an audio-visual performance centered on Johann Sebastian Bach's Die Kunst der Fuge. Since this work has no specifications of acquired instruments and is furthermore based on mathematical principles, Laibach has argued that the music can be seen as proto-techno. Therefore, the band found Die Kunst der Fuge to be ideal for an interpretation using computers and software.

In 2009 Laibach also reworked Richard Wagner's Overture to Tannhäuser, Siegfried-Idyll and The Ride Of The Valkyries in collaboration with the symphonic orchestra RTV Slovenia, conducted by Izidor Leitinger. Laibach's version is titled "VolksWagner". In addition to cover songs, Laibach has remixed songs by other bands. These include two songs by the Florida death metal band Morbid Angel that appear on the Morbid Angel EP Laibach Re-mixes. In 2009 Laibach made new versions of their own songs from the early 1980s such as Brat moj, Boji and Smrt za smrt. They have been performed live and will be released on the album Laibach Revisited.

Although primarily a musical group, Laibach have sometimes worked in other media. In their early years, especially before the founding of Neue Slowenische Kunst (NSK), Laibach produced several works of visual art. A notable example was MB 84 Memorandum (1984) an image of a black cross that served as a way to advertise Laibach's appearances during a period in the 1980s when the government of Yugoslavia banned the name "Laibach". Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications.

The visual imagery of Laibach's art (or 'Laibach Kunst', as it calls itself) has been described as "radically ambiguous". An early example of this ambiguity would be the woodcut entitled The Thrower, also known as Metalec (The Metal Worker). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word 'LAIBACH', evoking memories of the Nazi occupation of Slovenia (when the capital city was briefly known by its original German language name of Laibach). This piece was featured prominently during a TV interview of Laibach in 1983, during which the interviewer Jure Pengov called Laibach "enemies of the people."

Laibach has frequently been accused of both far left and far right political stances due to their use of uniforms and totalitarian-style aesthetics. They were also accused of being members of the neo-nationalism movement, which reincarnates modern ideas of nationalism. When confronted with such accusations, Laibach are quoted as replying with the ambiguous response "We are fascists as much as Hitler was a painter". The members of Laibach are notorious for rarely stepping out of character. Some releases feature artwork by the Communist and early Dada artist/satirist John Heartfield. Laibach concerts have sometimes aesthetically appeared as political rallies. When interviewed, they answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.

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Probably the band's most famous release in the English-speaking world, Laibach's Let It Be -- unlike the Replacements' album -- didn't just name itself after the Beatles' swan song, it full-on covered every last bit of it, with the notable exception of the title track ("Maggie Mae" gets a Slovenian folk tune substituted for it). Having spent some time beforehand drawing any number of parallels of right-wing extremism with their home country's government and the West alike, especially when it came to the resemblance of big rock concerts to totalitarian rallies, all Laibach had to do was tackle what they felt was the Beatles' worst album. In some respects, Let It Be wasn't that hard of an effort -- songs like "Get Back,""I Me Mine," and "One After 909" simply had to have the Laibach elements applied (growled vocals, martial drums, chanting choirs, overpowering orchestrations, insanely over-the-top guitar solos) to be turned into bizarre doppelgängers. The sheer creepiness of hearing such well-known songs transformed, though, is more than enough reason to listen in -- "Dig It" in particular becomes a full-on Third Reich chant, only to be trumped by the meta-metal fake-live recording blast of "I've Got a Feeling." In a more subtle way, "Across the Universe" easily trumps the original, only a female choir, harpsichord, and organ turning it into a disturbed anthem of acquiescence. Meanwhile, other efforts like "Two of Us" have a smooth, strong passion to their arrangements -- the sheer appeal of the commanding delivery in its own way helps explain the appeal of stage-managed demonstrations and performance. It's a joke endlessly folded in on itself, a killing joke and then some. Happily, it's just as funny as it is disturbing, and points for the hilariously unsettling cover art as well.

Laibach - Let It Be (flac 262mb)

01 Get Back 4:25
02 Two Of Us 4:05
03 Dig A Pony 4:40
04 I Me Mine 4:41
05 Across The Universe 4:15
06 Dig It 1:30
07 I've Got A Feeling 4:30
08 The Long And Winding Road 1:53
09 One After 909 3:20
10 For You Blue 5:24
11 Maggie Mae (Auf Der Luneburger Heide & Was Gleicht Wohl Auf Erden) 3:42

Laibach - Let It Be (ogg 98mb)

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Part of Laibach's two-pronged attack on rock & roll via two of its most omnipresent icons -- the Beatles' Let It Be being the other source of ire -- Sympathy for the Devil is indeed a collection of versions of the Rolling Stones song. The weirdly ecstatic shimmer and shake of the original gets demolished and reconstructed thoroughly, Laibach's by-now trademark approach of Wagner-ian stomp and bombast and growled vocals turning the tune into something else again. If the alternate versions were just remixes of a core take, Sympathy for the Devil wouldn't be half as interesting as it is, but Laibach demonstrates their abilities with a range of approaches throughout, always seeming like they're laughing with and at their potential audience at the same time. Some are more straight-up industrial/electronic body music takes for clubs -- spiked with the de rigueur samples expected for such things, including song subject John Kennedy and spoken bits from the Stones themselves -- while others have the hints of psychedelia from the original's era, including bits of sitar and the like. Sometimes the lyrics are delivered in harrowing, strained German, other times in guttural English, the "woo-woos" turn into wordless invocations of marching doom. Hilariously and presumably intentionally cheesed-out corp rock guitar crops up here, weirdly creeped-out female vocals take the lead there, and the end result all seems perfectly calculated to make classic rock fans die several times over of coronaries. There is one near-instrumental non-cover, the dramatic swirling-string and vocalless-choir electronic rhythm assault of "Anastasia," but that also takes a fair amount of inspiration as the title indicates. In the end, seven versions of the same song are more than a little overwhelming, but as an extended experiment Sympathy for the Devil stands up more or less on its own two feet -- and the cover art is some of the most grimly hilarious stuff Laibach ever used.

Laibach - Sympathy for the Devil (flac 312mb)

1 Sympathy For The Devil (Time For A Change)5:33
2 Sympathy For The Devil (Dem Teufel Zugeneigt) 5"00
3 Anastasia by Dreihunderttausend Verschiedene Krawalle 5"29
4 Sympathy For The Devil (Who Killed The Kennedys - Instrumental) by Germania5:51
5 Sympathy For The Devil (Who Killed The Kennedys) by Germania 7:00
6 Sympathy For The Devil (Soul To Waste) by Dreihunderttausend Verschiedene Krawalle4:50
7 Sympathy For The Devil 4:50
8 Sympathy For The Devil (Soul To Waste - Instrumental)by Dreihunderttausend Verschiedene Krawalle 7:52

Laibach - Sympathy for the Devil (ogg 116mb)

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Shortly before the Sympathy for the Devil/Let It Be phase of the band's existence, another group of Laibach members was pursuing more explicitly high-art goals, specifically in following up Baptism by providing the soundtrack to another experimental theater production. Said production, an adaptation of Shakespeare's Macbeth, featured two members of the band performing the music directly on-stage with the actors. The resulting album couldn't feature that aspect, obviously, but there's just over 30 minutes of music that makes for an interesting experience on its own, if a somewhat forbidding one even for Laibach. As a soundtrack, Macbeth is much more strident and high impact than Baptism -- more than once it seems unclear as to how the actors could deliver any lines over the music. Alternating in an irregular fashion between quieter and much more overbearing sections, Macbeth in many ways feels like one endless march forward, however occasionally punctuated by string/horn-only parts or by sample collages featuring everything from crying babies to hoarse chants to screeching metal. Those who appreciate the collapsing chaos of such groups as Nurse With Wound and earlier Krautrock luminaries like Faust may well enjoy such parts, as well as when the tape audibly speeds up and makes everything even more of an edgy, live-wire mess. On balance, only those fans who enjoyed Baptism should consider getting Macbeth, and even then many will find it fairly impenetrable, but it's still a grand, large enough listen. In a slightly annoying mastering note, the whole disc is mastered as one track; individual track listings are provided on the back cover, but it's anyone's guess as to what goes where.

Laibach - Macbeth (flac 222mb)

[NJC 11]
01 Preludium 1:02
02 Agnus Dei (Acropolis) 4:33
03 Wutach Schlucht 4:27
04 Die Zeit 1:14
05 Ohne Geld 3:52
06 U.S.A. 0:50
NJ-Oö]
07 10.5.1941 0:31
08 Expectans Expectavos 5:13
09 Coincidentia Oppositorum 4:21
10 Wolf1:03
11 Agnus Dei (Exil Und Tod) 4:54

Laibach - Macbeth (ogg 68mb)

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Compared to the 2004 compilation Anthems (which was a two disc set, but with one disc given up to remixes) this 2012 overview of Laibach has eight extra years to cover, and with one bonafide career highlight occurring during that time, the absolutely epic "B Mashina", which was a key feature of the Nazis-on-the-moon, dark comedy film Iron Sky. If getting "B Mashina" is a "pro", then losing the jackbooted techno monster called "Tanz Mit Laibach" from the tracklist is certainly a "con", but true to their titles, the older Anthems focused on the "greatest hits" of the group, while this one goes for the full, avant-garde Laibach picture. At least as much as can fit on a one disc overview, since this group that some see as Rammstein in fascist garb are much more than a Germanic techno band who do absurd cover versions. For one, they're Slovenian, and their cover versions ironically twist pop and rock, often into totalitarian anthems, like morphing Queen's "One Vision" into the industrial propaganda hit "Geburt Einer Nation". Opus' positive Euro-hit "Live Is Life" becomes the stern work song "Leben Heißt Leben" and Europe's hair metal standard "Final Countdown" becomes a Kraftwerk-meets-KMFDM-styled embrace of the New World Order and military strength, all of it fun or funny at face value, but they are wry and snide stabs at the politics of the Western world as well. An art collective rather than a traditional band, Laibach were formed before the Yugoslavian breakup and had considered themselves Slovenian the whole time, but with that collective state issue settled to some degree, their commenting on the one world empire and its cultural invasion of the world continued with a disc of national anthems done Laibach-style ("Germania" and "Anglia" are included here), while pop icons like Bob Dylan (their sinister "Ballad Of A Thin Man" gets at the grimness of the song) and Nana Mouskouri/Bino (the version "Mama Leone" is angelic and cold, all at once) were also explored. An Introduction To gives a taste of it all, and adds to it a great "Tanz Mit Laibach" alternative with "Warme Lederhaut", a razor-sharp cover of the Normal's "Warm Leatherette", a conceptional move in itself since it was written by their record company's (Mute Records) label boss (Daniel Miller). As to the "why?" of it all, "Laibach doesn't function as an answer, but a question", so it is fitting that this Introduction is less satisfying and sharp, but more enlightening than the crowd-pleasing Anthems.

Laibach - An Introduction To.. (flac 455mb)

01 Warme Lederhaut 2:55
02 Ballad Of A Thin Man 5:33
03 Germania 4:02
04 Anglia 3:38
05 Mama Leone 4:51
06 B Mashina 3:52
07 Bruderschaft 4:13
08 God Is God 3:43
09 Final Countdown 5:40
10 Alle Gegen Alle 3:53
11 Across The Universe 4:00
12 Get Back 4:24
13 Leben Heißt Leben 5:29
14 Geburt Einer Nation 4:21
15 Opus Dei 5:03

Laibach - An Introduction To.. (ogg 158mb)

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Hello, Mozart died today, again decades early, clearly an intensely creative life with lots of live performances whilst giving it all takes its toll on the body, even if the mind keeps firing on all cylinders. He was a brilliant multi instrumentalist as well as an obsessive perfectionist. You may find it odd that I considered Prince a reincarnation of Mozart but i've felt this way for a long time and the fact that he too died young is almost confirming my thoughts. It's currently unclear what has been the cause of his death, he was briefly hospitalized last week for a flu emergency but gave a playing 'acte de presance' last Saturday at a party at his Paisley Park estate. Like Mozart he was a relatively small man with a body that showed nothing much in reserve. He's released 5 albums the last 2 years. In the end I'm afraid his fire burnt too bright.(4 hours sleep a night) and today his flame was extinguished. He leaves the world his wonderful music and apparently there's lots in his vault that hasn't been released, it will be interesting to see who gets to curate all that. Meanwhile his memoirs were planned to be released next year that will likely be sooner know. Feeling rather emotional now, tributes going on, this guy really meant something to me, and not just because he occupies the largest section for one artist in my collection. All of us have been blessed living when he was there for us.

As it happens there was a timely request for a re-up of Prince-go figure

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 17 re-ups, requests fullfilled up to April 17th ...N' Joy

3x Grooves Now In Flac (Prince - Black Album, Prince - I Wish You Heaven - Scandelous, Prince & The Revolution - Twelves)

4x Aetix Back In Flac (Hüsker Dü - Land Speed Record+Metal circus, Hüsker Dü - Everything Falls Apart And More, Hüsker Dü - Zen Arcade, Hüsker Dü - New Day Rising)

3x Aetix Back In Flac (Pere Ubu - 390° Of Simulated Stereo, Vol. 2, Pere Ubu - Cloudland, Pere Ubu - Terminal Drive (Cleveland Rarities) )

3x Alphabet-Q 1x Now In Flac 2x Back in ogg( Quintessence - Oceans of Bliss, Quando Quango - Pigs And Battleships, Queens Of The Stoneage - Id )

3x Into BPM NOW in flac ( Transglobal Underground - Dream of a Nations, Dubnology; Journeys Into Outer Bass 1 & 2)

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Hello, divine grooves here today to cleanse your purple pain..

Today's music is from male gospel singer groups, who performed in many lineups over these past 50 years. ... N'joy

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Five Blind Boys Of Alabama are an American gospel group, from Alabama, United States. They first sang together in 1944. Since then, the group's output has spanned seven decades of tours and appearances, and produced a successful discography including winning five Grammy Awards. The performing core of the group consists of eight musicians, including four blind singers, original founding member Jimmy Carter, Ben Moore, Eric "Ricky" McKinnie, and Paul Beasley, the guitarist and musical director, Joey Williams, and a keyboard player, a bass player, and a drummer. One of the surviving founding members of the group, Clarence Fountain, is unable to tour with the band due to health concerns.

The band had its genesis when long-time Statesmen Quartet member Jake Hess retired from that group on December 7, 1963. Hess wanted to start a new group recognized as "king" of the Southern gospel field and thought the "Imperials" would be a good moniker. After getting the go-ahead from Marion Snider for permission to use the name, (Snider had previously operated an Imperial Quartet named after its sponsor Imperial Sugar), he gathered together pianist Henry Slaughter from the Weatherford Quartet, ex-Oak Ridge Boys baritone Gary McSpadden, the Weatherford Quartet's bass singer Armond Morales and Speer Family tenor Sherrill (Shaun) Neilsen to join him. After signing with Benson Records in 1964, the group recorded their first of many albums on the Heart Warming Records label. The following year, the quartet organization moved from Atlanta to Nashville, Tennessee. After 2 years with the group, tenor Nielsen was first to go and Jim Murray would replace him. Murray's past included stints with the Stamps Trio, Inspirationals, and Orrell Quartet. About this time, Slaughter also departed with Joe Moscheo of the Harmoneers replacing him at the keyboard. Health issues also forced Hess to retire and McSpadden chose to leave as well.

Since their formation, Blind Boys of Alabama have made it their self-proclaimed goal to "spiritually uplift audiences". The gospel group has been a source of inspiration for those with disabilities. In the words of one of the group’s blind members, Ricky McKinnie, “Our disability doesn’t have to be a handicap. It's not about what you can't do. It's about what you do. And what we do is sing good gospel music."

Five Blind Boys Of Alabama - Platinum Gospel (flac 191mb)

01 Hold Me In The Heart Of Your Hand
02 Alone And Motherless
03 A Great Camp Meeting
04 So Sweet To Be Saved
05 Running For My Life
06 Lord Search My Heart
07 Reach Out & Touch Somebody's Hand
08 It's Alright
09 Oh Happy Day
10 Motherless Child
11 I'm Willing To Run

(ogg mb)

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The Swan Silvertones are an American gospel music group that first achieved popularity in the 1940s and 1950s under the leadership of Claude Jeter. Jeter formed the group in 1938 as the "Four Harmony Kings" while he working as a coal miner in West Virginia. After moving to Knoxville, Tennessee and obtaining their own radio show, the group changed its name to the "Silvertone Singers" in order to avoid confusion with another ensemble known as the "Four Kings of Harmony." They added the name Swan shortly thereafter, since Swan Bakeries sponsored their show. Their wide exposure through radio brought them a contract with King Records.

At this early stage, the Silvertones already embodied an amalgam of two styles: the close barbershop harmonies that they had featured when starting out in West Virginia, and virtuoso leads supplied by Jeter and Solomon Womack. The group later lost Womack, but added Paul Owens in 1952 and Louis Johnson in 1955. The three singers with their sharply contrasting styles — Jeter a tenor who could sing falsetto without losing his lyric control, Owens a crooner, and Johnson a hard shouter — played off each other to great effect in songs such as "Mary Don't You Weep."

The group recorded for Specialty Records from 1951 to 1955, when it switched to Vee-Jay Records. They recorded one album with Hob Records after Vee-Jay shut down in 1965, at which point Jeter left the group for the ministry. When interviewed by Dick Cavett in April 1970, Paul Simon credited the group with inspiring him to write the song "Bridge Over Troubled Water." The Swan Silvertones were inducted into the Vocal Group Hall of Fame in 2002.

The Swan Silvertones - Love Lifted Me My Rock (flac 287mb)

Love Lifted Me
01 Trouble In My Way 2:33
02 How I Got Over 2:51
03 After Awhile 2:46
04 Prayer In My Mouth 2:57
05 Glory To His Name 3:00
06 I'm A-Rollin' 2:10
07 Let's Go 2:07
08 Jesus Changed This Heart Of Mine 2:52
09 I'm Coming Home 2:58
10 Love Lifted Me 2:41
11 Heavenly Light Shine On Me 2:55
12 The Day Will Surely Come 2:52
My Rock
13 My Rock 2:57
14 Since Jesus Came Into My Heart 2:32
15 I Cried 2:19
16 What Do You Know About Jesus? 2:39
17 Milky White Way 2:58
18 He Won't Deny Me 2:23
19 Jesus Is A Friend 2:27
20 Motherless Child 3:07
21 Man In Jerusalem 2:39
22 Keep My Heart 2:52
23 Oh, How I Love Jesus 2:34
24 This Little Light Of Mine 3:01

The Swan Silvertones - Love Lifted Me My Rock (ogg 114mb)

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The Imperials are an American Christian music group that has been active for over 50 years. Originating as a southern gospel quartet, the innovative group would become pioneers of contemporary Christian music in the 1960s. There have been many changes for the band in membership and musical styles over the years. They would go on to win four Grammys, and be inducted into the Gospel Music Hall of Fame.

Little Anthony And The Imperials - 25 (flac 344mb)

01 Tears on My Pillow (2:18)
02 Two People in the World (2:36)
03 So Much (2:25)
04 The Diary (2:33)
05 It's Not for Me (2:18)
06 Wishful Thinking (2:42)
07 A Prayer and a Jukebox (2:28)
08 I'm Alright (2:26)
09 Shimmy Shimmy Ko Ko Bop (2:09)
10 My Empty Room (2:31)
11 I'm Taking a Vacation From Love (2:04)
12 Please Say You Want Me (2:48)
13 Traveling Stranger (2:04)
14 I'm on the Outside Looking In (3:02)
15 Goin' Out of My Head (2:28)
16 Hurt So Bad (2:18)
17 Take Me Back (2:40)
18 I Miss You So (2:36)
19 Out of Sight, Out of Mind (2:41)
20 Hurt (2:09)
21 The Ten Commandments of Love (3:05)
22 Better Use Your Head (2:49)
23 Gonna Fix You Good (Every Time You're Bad) (2:31)
24 I'm Hypnotized (2:57)
25 Yesterday Has Gone (2:46)

Little Anthony And The Imperials - 25 (ogg 137mb)

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Hello,

Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy

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According to a blessing Milarepa uttered towards the end of his life, anyone who but hears the name Milarepa even once attracts an instant blessing and will not take rebirth in a lower state of existence during seven consecutive lifetimes. This was prophesied by Saints and Buddhas of the past even before his lifetime.

Milarepa of Tibet
Milarepa is one of the most widely known Tibetan Saints. In a superhuman effort, he rose above the miseries of his younger life and with the help of his Guru, Marpa the Translator, took to a solitary life of meditation until he had achieved the pinnacle of the enlightened state, never to be born again into the Samsara (whirlpool of life and death) of worldly existence. Out of compassion for humanity, he undertook the most rigid asceticism to reach the Buddhic state of enlightenment and to pass his accomplishments on to the rest of humanity. His spiritual lineage was passed along to his chief disciples, Gambopa and Rechung. It was Rechung who recorded in detail the incidents of Milarepa's life for posterity. The narrative of his life has thus been passed down through almost a millennium of time and has become an integral part of Tibetan culture. In addition to Rechung's narrative of his life, summarized below, Milarepa extemporaneously composed innumerable songs throughout his life relevant to the dramatic turns of events of himself and his disciples in accordance with an art form that was in practice at the time. These songs have been widely sung and studied in Tibet ever since and have been recorded as the Hundred Thousand Songs of Milarepa. His faithful devotion, boundless religious zeal, monumental forbearance, superhuman perseverance, and ultimate final attainment are a great inspiration today for all. His auspicious life illumined the Buddhist faith and brought the light of wisdom to sentient beings everywhere.

Milarepa was born into the family of Mila-Dorje-Senge in the year 1052. His father was a trader in wool and had become wealthy by the standards of the time when his wife bore a son. The son was named Thopaga which means delightful to hear, and Thopaga, later known as Mila-repa (Mila, the cotton clad), lived up to his name as he had a beautiful voice and charmed his companions with his singing. The family lived in a large stone house that consisted of three stories held in place by a large central pillar and supporting columns - a mansion in comparison to the modest homes of his neighbors. During this period the family enjoyed the admiration and attention of their neighbors, ate only the finest food and wore nothing but fancy clothes and jewelry.

About this time the father, Mila-Dorje-Senge, became gravely ill and accepting his impending death, called together the extended family and made known to all that he wanted his entire estate and all possessions put into the care of his brother and sister until such time as Milarepa had grown and married Zesay, one of the neighboring girls who had been betrothed to him in childhood according to the tradition of the times.

When his father died, Milarepa's uncle and aunt took all of the family's wealth. At his mother's demand, Milarepa left home and studied sorcery. While his aunt and uncle were having a party to celebrate the impending marriage of their son, he took his revenge by summoning an earthquake to demolish their house, killing 35 people, although the uncle and aunt are supposed to have survived. The villagers were angry and set off to look for Milarepa, but his mother got word to him, and he sent a hailstorm to destroy their crops.

Milarepa later lamented his evil ways in his older years in conversation with Rechungpa: "In my youth I committed black deeds. In maturity I practised innocence. Now, released from both good and evil, I have destroyed the root of karmic action and shall have no reason for action in the future. To say more than this would only cause weeping and laughter.

"If you do not acquire contentment in yourselves,

Heaped-up accumulations will only enrich others.

If you do not obtain the light of Inner Peace,

Mere external ease and pleasure will become a source of pain.

If you do not suppress the Demon of Ambition,

Desire for fame will lead to ruin and to lawsuits"

Milarepa

Milarepa's lama was Marpa Lotsāwa, whose guru was Naropa, whose guru in turn was Tilopa. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness.[citation needed]

Milarepa's life represented the ideal bodhisattva, and is a testament to the unity and interdependency of all Buddhist teachings – Theravada, Mahayana and Vajrayana. He showed that poverty is not a deprivation, but rather a component of emancipating oneself from the constrictions of material possessions; that Tantric practice entails discipline and steadfast perseverance; that without resolute renunciation and uncompromising discipline, as Gautama Buddha Himself stressed, all the sublime ideas and dazzling images depicted in Mahayana and Tantric Buddhism are no better than magnificent illusions. He also had many disciples, male and female, including Rechung Dorje Drakpa and Gampopa His female disciples include Rechungma, Padarbum, Sahle Aui and Tsheringma. It was Gampopa who became Milarepa's spiritual successor, continued his lineage, and became one of the main lineage masters in Milarepa's tradition.

Nyanang Phelgyeling Monastery, also known as Sonam Gompa later in Nepal, which later became very famous in Nepal, is a Tibetan Buddhist monastery in a tiny village called Nyanang in Tibet near the border of Nepal. Fortunately Nyanang Phelgyeling Monastery has the rare statue of Milerapa which was created by his own disciple (Bhu Rechung Pa ). The statue was created in the life time of Milarepa. The cave is consecrated to Milarepa. It is built around the cave where he once lived. "It was destroyed but has now been rebuilt and decorated by Nepali artisans. This is one of many caves associated with Milarepa between Langtang and Jomolungma."

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Double album of all 5 of Radigue's songs in tribute to the Tibetan saint and poet from the eleventh century. Two of the tracks date from an 1983 LP (Radigue's first release), two are previously unreleased and the final 62-minute track was previously issued as Mila's Journey Inspired By A Dream in 1987. The material is performed by Radigue (synthesizer and recording), Robert Ashley (English voice) and Lama Kunga Rinpoche (Tibetan voice). Deeply meditative and compassionate.

Milarepa is a great saint and poet of Tibet who lived in the 11th Century. Through years dedicated to meditation and related practices in the solitude of the mountains, Milarepa achieved the highest attainable illumination and the mental power that enabled him to guide innumerable disciples. His ability to present complex teachings in a simple, lucid style is astonishing. He had a fine voice and loved to sing. When his patrons and disciples made a request or asked him a question, he answered in spontaneously composed free-flowing poems or lyric songs. It is said that he composed 100,000 songs to communicate his ideas in his teachings and conversations.

Eliane Radigue - Songs of Milarepa I (flac 275mb)

01 Mila's Song In The Rain 19:10
02 Song Of The Path Guides 21:00
03 Elimination Of Desires 17:21
04 Symbols For Yogic Experience 19:27

Eliane Radigue - Songs of Milarepa I (ogg 164 mb)

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Eliane Radigue - Songs of Milarepa II (flac 252mb)

05 Mila's Journey Inspired By A Dream 62:21

Eliane Radigue - Songs of Milarepa II (ogg 136 mb)

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Jetsun Mila is inspired by the life of Milarepa, a great yogi and poet of Tibet who lived in the 11th Century. The story of his life as told to his closest disciple, Rechungpa, represents one of the most famous works within Tibetan culture. The Mila Kabum, or Namthar, has been translated into several Western languages, including English and French. Eliane Radigue's 84-minute musical evocation of Milarepa's life is in nine sections, with prelude, which correspond to major periods of the life of this famous yogi. The sections flow from one to the other without breaks, one giving birth naturally to the next.

Jetsun Mila eschews text in favor of a purely electronic treating of his storied life via nine passages that slowly and seamlessly flow into one another. Radigue is one of the most perceptually disorienting composers I've ever heard, her exploration of inaudible subharmonics and overtones has a way of physically changing the landscape of the room her music inhabits, and it becomes difficult to sort out what the reality is between what you're perceiving and actually hearing. Jetsun Mila is deeply meditative, with some passages conjuring the random patterns of bells blowing in the stark mountains and valleys of Tibet, while others have the sustained power and near violence of Tibetan ritual horns. Her genius is that she achieves those effects through allusion rather than mimicry, trusting in the listener's ability to pursue the truth just as Milarepa did with his inscrutable words of wisdom. The sections flow from one to the other without breaks, one giving birth naturally to the other.

Eliane Radigue - Jetsun Mila (flac 287mb)

Jetsun Mila 1 44:24
Prelude
Birth And Youth
Misdeeds
Meeting The Guru
Ordeals
Jetsun Mila 2 39:56
Practice
Visiting The Homeland
Retreat
Realization / Meditation
Death / Nirvana

Eliane Radigue - Jetsun Mila (ogg 167mb)

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Hello, at this moment season six of Game Of Thrones is running, was it just a vision, will he live, is the red witch capable of bringing John Snow back and has she all she needs for that (royal blood). Some say he's the halfbrother of the Kaleeshi (dragonblood) then there are those that believe there's a relation to the king of the white walkers (likely as his nemesis). In short he cannot die. I can see a 'failed' attempt by Melissandre and him rising from the funeral pyre, that would have those stuck up nightwatch traitors pissing their pants. (i should write scripts). Meanwhile there's plenty of other issues in the realm.
I expect first downloads come available in an hour

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

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

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

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

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

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

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

Asimov presents the Prime Radiant, a device designed by Hari Seldon and built by Yugo Amaryl, as storing the psychohistorical equations showing the future development of humanity. The Prime Radiant projects the equations onto walls in some unexplained manner, but it does not cast shadows, thus allowing workers easy interaction. Control operates through the power of the mind, allowing the user to zoom in to details of the equations, and to change them. One can make annotations, but by convention all amendments remain anonymous.

A student destined for speakerhood has to present an amendment to the plan. Five different boards then check the mathematics rigorously. Students have to defend their proposals against concerted and merciless attacks. After two years the change gets reviewed again. If after the second examination it still passes muster the contribution becomes part of the Seldon Plan.

The Radiant, as well as being interactive, employs a type of colour-coding to equations within itself for ready comprehension by Psychohistorians.
Seldon Black are the original Seldon Plan equations developed by Seldon and Amaryl during the first four decades of Seldon's work at the University of Streeling, and define Seldon Crises, the Plan's duration, and the eventuation of the Second Galactic Empire.
Speaker Red are additions to the plan by Speakers (Senior Mentalic Psychohistorians of the Second Foundation) since the time of Seldon.
Deviation Blue are observed deviations away from Psychohistorical projections with a deviation in excess of 1.5 standard deviation of predicted outcomes (1.5 σ). The Era of Deviations, at the rise of the Mule, produced deviations in the Seldon Plan in excess of .5 through 10 sigmas, and the resolution of this period required a full century of labour on the part of the Second Foundation to return the Galaxy to the Plan.

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

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

The Foundation Trilogy 1 - Psychohistory and Encyclopedia ... 56:34

The opening episode begins on Trantor, capital of the Galactic Empire, with the meeting of Hari Seldon and Gaal Dornick, their trial, and their exile to Terminus. The action then jumps forward fifty years, to the first Seldon Crisis, where the repercussions of the recent independence of the Four Kingdoms of the Periphery are being felt on Terminus, and are handled by the first Mayor, Salvor Hardin.

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previously

Watchmen 01 At Midnight, All the Agents... (avi 233mb)
Watchmen 02 Absent Friends... (avi 233mb)
Watchmen 03 The Judge of All the Earth... (avi 233mb)
Watchmen 04 Watchmaker... (avi 233mb)
Watchmen 05 Fearful Symmetry... (avi 233mb)
Watchmen 06 The Abyss Gazes Also... (avi 233mb)
Watchmen 07 A Brother to Dragons... (avi 233mb)
Watchmen 08 Old Ghosts... (avi 233mb)
Watchmen 09 The Darkness of Mere Being... (avi 233mb)
Watchmen 10 Two Riders Were Approaching... (avi 233mb)
Watchmen 11 Look on My Works, Ye Mighty...... (avi 233mb)
Watchmen 12 A Stronger Loving World...... (avi 233mb)

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

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

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

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

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

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

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

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

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"..Em Pleno Verao" (At The Height of Summer) is another Big Performance from Elis Regina. One year after the amazing "Aquarela do Brasil", Elis is caught at the top of her game as Brazil's pre-eminent female singer in a series of big band and live perfomances that captivated Brazil and showcased her supreme abilities as a 'singer's singer'. Not only that but she, in turn, showcases several already/soon-to-be famous songwriters, such as Baden Powell, Jorge Ben, Gilberto Gil, AC Jobim, and Caetano Veloso, among others.

Powell's "Vou Deitar E Rolar" with it's now famous "quaquaraquaqua" refrain starts off the album in a joyous manner (musically, at least, subject matter aside), with Elis having a lot of fun with the refrain and expertly surfing over the big band arrangement. Note how she runs the song through several nuances, including a dead stop in mid-song, and a wild riff. Also note her 'time management', how she plays with it, stretches it: it's impeccable. Jorge Ben's "Bicho Do Mato" is likewise upbeat and downright raucous with Elis' distinctive 'vamp' stamp.

The most outstanding 'Pieces D'Resistance' on this album begin with the mysterious "Verao Vermelho" (Red Summer), with Elis literally joining the orchestra in a wordless tour de force that ends much too soon. Those who eschew the fact that Elis was a jazz singer at heart, note this performance (and any of her performances of "Wave"). Jazz plays a major part in Musica Popular Brasilera. On Veloso's "Nao Tenha Medo" (Have No Fear), Elis grabs us immediately and pulls us into the song. "These Are The Songs", a rare and wonderful performance by Elis in English/Portuguese, is a 'Do Wop' tribute sung individually and in duet with platinum-selling Tim Maia (using a wild but poignant vibrato). This song grows on one with each hearing. "Comunicacao" is one of the best performances, with the jazzy walking bass, tuba/piano unison, flutes, and soaring violins all playing an integral role in the proceedings: a fabulous performance. And the final 'Piece D'Resistance' is the airy "Copacabana Velha De Guerra" musically ending on an up note. Score another wonderful album for Elis Regina.

Elis Regina - Em Pleno Verao (flac 192mb)

01 Vou Deitar E Rolar (Quaquaraquada)3:24
02 Bicho Do Mato 3:25
03 Verão Vermelho 1:38
04 Até Aí Morreu Neves 2:16
05 Frevo 2:31
06 As Curvas Da Estrada De Santos 3:41
07 Fechado Pra Balanço 2:40
08 Não Tenha Medo 2:46
09 These Are The Songs 3:09
10 Comunicação 2:46
11 Copacabana Velha De Guerra 2:59

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When Ella Fitzgerald came to Rio de Janeiro in 1971, she got impressed by a track she listened to from a cassette tape someone had presented her. It was the smash hit of the moment - "Madalena" by composer Ivan Lins as sung by Elis Regina. It was 1971 and Ella has recorded it live in 1972 in her Jazz the Philharmonica concert at the Santa Monica Civic. The master Elis Regina counted on the great Chiquinho de Morais as her arranger for this album. Another smash hit from this album was Marcos Valle's "Black is Beautiful".

Elis Regina - Ela (flac 200mb)

01 Ih! Meu Deus Do Céu 3:08
02 Black Is Beautiful 5:22
03 Cinema Olympia 2:53
04 Golden Slumbers 2:35
05 Falei E Disse 3:06
06 Aviso Aos Navegantes 2:33
07 Mundo Deserto 2:36
08 Ela 4:50
09 Madalena 2:37
10 Os Argonautas 3:08
11 Estrada Do Sol 2:14

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The Brazilian diva Elis Regina was considered to be the representative singer of MPB (Musica Popular Brasileira) throughout the '70s. Elis, from 1972, is one of her best albums, the smooth production values never spilling over into the ersatz disco sound which marred too much of Brazilian pop during the MPB period of the '70s and especially '80s. It's worth comparing Regina's version of Tom Jobim's masterpiece "Aguas de Marco" with João Gilberto's on his spare 1991 album João Gilberto. Though both interpretations are superb, Regina just might have the edge on the great bossa nova master. She later got to do yet another with the composer himself on the classic Elis & Tom, recorded in Los Angeles in 1979.

Elis Regina - Elis-20 Anos (flac 172mb)

01 20 Anos Blue 3:13
02 Bala Com Bala 3:15
03 Nada Será Como Antes 2:44
04 Mucuripe 2:30
05 Olhos Abertos 2:36
06 Vida de Bailarina 2:29
07 Aguas de Março 3:08
08 Atrás Da Porta 2:51
09 Cais 3:19
10 Me Deixa Em Paz 2:11
11 Casa No Campo 2:53
12 Boa Noite, Amor 2:30
13 Entrudo 2:50

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This solid 1974 studio session has great songs, at least three of her smash hits come from this album: "Dois pra La, Dois pra Ca" and "Mestre-Sala dos Mares" both by composer Joao Bosco and "Amor ate o Fim" by Gilberto Gil. She also sings Milton Nascimento's "Travessia" (aka 'Bridges'). plus a rare recording of "Na Batucada da Vida" by Ary Barroso. It includes complete Portuguese lyrics. Arrangements by the master Cesar Camargo Mariano.

Elis Regina - Elis-Na Batucada (flac 194mb)

01 Na Batucada da Vida 3:23
02 Travessia 5:30
03 Conversando No Bar 4:14
04 Ponta de Areia 2:57
05 O Mestre-Sala Dos Mares 3:08
06 Amor Até O Fim 3:49
07 Dois Pra lá, Dois Pra Cá 4:27
08 Maria Rosa 3:56
09 Caça À Raposa 3:34
10 O Compositor Me Disse 1:51

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Hello, well another landslide for Trump 5 more states in the bag and should the GOP be so stupid to nominate another candidate, he will undoubtely run as an independent. Clinton picked up 3 states but in that rigged democrate party primary system Sanders was chance less from the start.

Meanwhile over in Sheffield UK the worldchampionship snooker reached the quarterfinal state, of the top 7 seated players just # 2 is left. It could be an all Chinese final this year Ding already dispatched former worldchampion Williams with 13-2 and Fu is making mincemeat of his opponent 7-1 thusfar, looks like they've ingested a wonder drug which sees the pickets like lasers and steady the hands, some amazing potting by these guys, when in the past nerves often took the better of them. Viewing figures in China will rocket for the semis, that's for sure.

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

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

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

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

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

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

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

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Ein Produkt der Deutsch-Amerikanischen Freundschaft (A Product of German-American Friendship) is the first album by the German electronic music group Deutsch Amerikanische Freundschaft. It was the second release, and first album, on Kurt Dahlke's Ata Tak label (then called Warning) in 1979. The album consists of 22 untitled instrumental experimental pieces, in styles from punk rock to industrial music, simultaneously repellent and compelling. Singer Gabi Delgado had temporarily left the band after early recordings had not worked out, so the other members recorded the album as instrumentals between February and April 1979. Members on the recording were Kurt Dahlke (keyboards), Robert Görl (drums), Michael Kemner (bass) and Wolfgang Spelman (guitar). Shortly after the album's release, Dahlke left D.A.F. to pursue personal projects (Pyrolator). He was replaced by Chrislo Haas. The album was reissued on Mute Records in 1999 and on Bureau B/Ata Tak in 2012.

Deutsch Amerikanische Freundschaft - Produkt Der Deutsch-Amerikanischen Freundschaft (flac 210mb)

01 Bild Nr. 01 0:44
02 Bild Nr. 02 1:03
03 Bild Nr. 03 0:19
04 Bild Nr. 04 2:35
05 Bild Nr. 05 1:07
06 Bild Nr. 06 0:45
07 Bild Nr. 07 0:43
08 Bild Nr. 08 1:48
09 Bild Nr. 09 0:55
10 Bild Nr. 10 3:17
11 Bild Nr. 11 1:01
12 Bild Nr. 12 1:20
13 Bild Nr. 13 0:36
14 Bild Nr. 14 1:41
15 Bild Nr. 15 0:25
16 Bild Nr. 16 1:47
17 Bild Nr. 17 1:24
18 Bild Nr. 18 2:08
19 Bild Nr. 19 1:32
20 Bild Nr. 20 1:13
21 Bild Nr. 21 0:31
22 Bild Nr. 22 3:07

Deutsch Amerikanische Freundschaft - Produkt Der Deutsch-Amerikanischen Freundschaft (ogg 81mb)

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After the near-apocalyptic shrieks of Ein Produkt, DAF toned down just a touch, but only just, for Kleinen und die Bösen. Coming out on Mute as the album did, it helped not merely in establishing the group's cachet, but the label's and, in turn, the whole genre of experimental electronic music in the '80s and beyond. The cover art alone, with the group's name boldly printed white-on-black in all capitals, next to part of a Soviet propaganda poster, practically invented a rapidly overused industrial music design cliché. At the time, though, the group was ironically the most rock they would ever get, with bassist Chrislo Haas and guitarist W. Spelmans joining Robert Görl and Gabi Delgado (aka Gabi Delgado-Lopez). The first half of Kleinen was a studio recording with Krautrock-producing legend Conrad Plank, who did his usual fantastic job throughout. The beats are sometimes hollow and always ominous, treated with studio touches to make them even more so, while the squalling, clipped guitar sounds often make nails-on-chalkboards sound sweet in comparison. Delgado's husky vocals and Görl's spare-but-every-hit-counts drumming on "Osten Währt Am Längsten" are particularly strong, while the electronic rhythms of "Co Co Pino" (Delgado's vocal trills are a scream) and all-out slam of "Nacht Arbeit" can't be resisted. The live side, recorded at London's Electric Ballroom, is even more all-out most of the time, starting with the complete noise fest "Gewalt," and then shifting into a series of short, brusque tracks. Delgado pulls off some blood-curdling screams (and Görl some fairly nutty harmonies as well -- check the opening to "Das Ist Liebe") over the din. The musicians themselves sound like they decided to borrow Wire's sense of quick songs while cranking the amps to ten; the resultant combination of feedback crunch and electronic brutality is, at times, awesome to behold.

Deutsch Amerikanische Freundschaft ‎- Die Kleinen Und Die Bösen (flac 219mb)

01 Osten Währt Am Längsten 5:45
02 Essen Dann Schlafen 1:06
03 Co Co Pino 3:25
04 Kinderfunk 3:02
05 Nacht Arbeit 1:53
06 Ich Gebe Dir Ein Stück Von Mir 1:41
07 De Panne 2:34
08 Gewalt 1:24
09 Gib's Mir 1:01
10 Auf Wiedersehen 2:03
11 Das Ist Liebe 1:18
12 Was Ist Eine Welle 1:15
13 Anzufassen Und Anzufassen 1:44
14 Volkstanz 0:48
15 Die Lustigen Stiefel 1:49
16 Die Kleinen Und Die Bösen 1:05
17 Die Fesche Lola 1:41
18 El Basilon 2:52
19 Y La Gracia 2:03

Deutsch Amerikanische Freundschaft - Die Kleinen Und Die Bösen (ogg 98mb)

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Stripped down to the core duo of Robert Görl and Gabi Delgado and with Conny Plank again behind the boards with crisp, focused production, with Alles Ist Gut (Everything Is Fine) DAF turned into an honest-to-goodness German hit machine, as detailed in the 1998 Mute reissue's liner notes by Biba Kopf. Even more important and impressive was how they did it -- keeping the electronic brutality that characterized them, but stripped down to nothing but Görl's massive drumming, electronic bass and synth tones, and Delgado's deep, commanding singing. The result was and remains massively influential -- Nitzer Ebb, to mention one later industrial disciple, would be nothing without this album as a template, while the genre of electronic body music, or EBM, got its undisputed start with the doom-laden death disco here. It isn't all just because of machines and politics, either. Delgado's lyrical fascination seems to be as much with sex as with power, thus the grunting sounds throughout "Mein Herz Macht Bum" (My Heart Goes Boom), to pick one point. Add to that the striking, simple cover design -- Delgado on the front, Görl on the back, stripped to the skin and covered in sweat -- and maybe Wax Trax never needed to exist in the first place. "Der Mussolini," DAF's breakthrough hit, still sounds fantastic years later. A perfect case could be made for it as the ultimate industrial music song, with Delgado's at once insistent and sensual singing, lyrics referencing not just Mussolini but any number of fascist figures (as titles of dance crazes, no less!), and Görl's astonishing percussion crunch and bassline. DAF wisely vary things at points, thus the slow, deliberate pulse of "Rote Lippen" or the twinkly keyboard line throughout "Der Räuber und der Prinz." With songs like "Als Wär's das Letzte Mal" and "Alle Gegen Alle" leading the way, though, DAF mainly concentrate on head-on assaults to brilliant effect.

D.A.F. - Alles Ist Gut (flac 211mb)

01 Sato-Sato (Sato-Sato) 2:49
02 Der Mussolini (The Mussolini) 3:54
03 Rote Lippen (Red Lips) 2:42
04 Mein Herz Macht Bum (My Heart Goes Boom) 4:28
05 Der Räuber Und Der Prinz (The Robber And The Prince) 3:29
06 Ich Und Die Wirklichkeit (Me And Reality) 3:05
07 Als Wär's Das Letzte Mal (As If It Were The Last Time) 3:23
08 Verlier Nicht Den Kopf (Don't Lose Your Head) 3:17
09 Alle Gegen Alle (Everybody Fights Everybody) 3:56
10 Alles Ist Gut (Everything Is Good) 3:26

D.A.F. - Alles Ist Gut (ogg 86mb)

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Hello, well I reached the point where requests have dried up, that is, some groove requests are still outstanding, as my groove partition has spontaneously decided that it no longer is in NTFS thereby making it unreadable a state that looks more stable alas. Doing something about it takes a lot of time and i need to expand my back up system, an extra HD is easy enough, but i need to add 3.0 USB connections. A lot of work, disconnecting everything and i have a solid state drive that needs installing thats even more work, i should upgrade my OS aswell. Daunting stuff as i am no expert and if things go wrong there's no help, no internet as I ain't got a tablet (currently looking for one, but without perceived great need apart as a back up pc)

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 14 re-ups, requests fullfilled up to April 27th ...N' Joy

8x Wavetrain, 7-7-7 avanti NOW in Flac (A Certain Ratio - To Each And Everyone, Rip Rig & Panic - Attitude, This Heat - Deceit, Thomas Leer - Contradictions, Bill Nelson - Quit Dreaming And Get On The Beam ) back in ogg (Hector Zazou - La Perversità, 400 Blows - '.....If I Kissed Her I'd Have To Kill Her First, Bill Nelson - Sounding The Ritual Echo (Atmospheres For Dreaming))

3x Roots Back In Flac (J. Clegg & Savuka - Third World Child, J. Clegg & Savuka - Anthology, Clegg & Savuka - Heat, Dust & Dreams)

3x Aetix Back In Flac (Camper V Beethoven - Key Lime Pie, Camper V Beethoven - Beloved Revolutionary Sweetheart , Camper V Beethoven - Camper Vantiquities )

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

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

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The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie

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

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

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

In New York, Holiday helped her mother with domestic work, but soon began moonlighting as a prostitute

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

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

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

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

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

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

Unfortunately, Holiday's troubles only continued after her release. The drug charge made it impossible for her

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

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

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

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

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Billie Holiday's first recordings for Norman Granz' Clef Records present a vocalist truly at the top of her craft, although she would begin a rapid decline soon thereafter. This 1952 recording (originally issued as a 10" LP, Billie Holiday Sings) places Holiday in front of small piano and tenor saxophone-led groups including jazz luminaries such as Oscar Peterson and Charlie Shavers, where her gentle phrasing sets the tone for the sessions, evoking lazy evenings and dreamy afternoons. The alcoholism and heroin use that would be her downfall by the end of this decade seems to be almost unfathomable during these recordings since Holiday is in as fine a voice as her work in the '30s, and the musical environment seems ideal for these slow torch songs. Solitude runs as the common theme throughout these 16 tracks; the idle breathiness of "These Foolish Things (Remind Me of You)" finds the vocalist casually reminiscing, and Barney Kessel's warm guitar lines frame the title track beautifully. Several of Holiday's best-known recordings came from this session, including outstanding versions of "I Only Have Eyes for You" and a darkly emotional "Love for Sale," making this album far and away the best work of her later years, and certainly a noteworthy moment of her entire career.

Billie Holiday - Solitude (flac 111mb)

01 East Of The Sun (West Of The Moon) 2:56
02 Blue Moon 3:30
03 You Go To My Head 2:56
04 You Turned The Tables On Me 3:28
05 Easy To Love 3:01
06 These Foolish Things (Remind Me Of You) 3:35
07 I Only Have Eyes For You 2:54
08 Solitude 3:31
09 Everything I Have Is Yours 3:45
10 Love For Sale 2:58
11 Moonglow 3:00
12 Tenderly 3:25

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Long out-of-print, Billie Holiday’s brilliant 1956 LP, Velvet Mood, released on Clef (soon-to-be Verve) Records, captures the 41-year-old Holiday backed by a sextet that featured Benny Carter on alto sax and Harry “Sweets” Edison on trumpet. Although hard living had already begun to take its toll on Holiday (who died just three years later), she was still a huge international star at this time, giving sold out concerts at Carnegie hall and touring Europe. 1956 also marked the year that her legendary biography, Lady Sings the Blues was released.

Billie Holiday - Velvet Mood (flac 226mb)

01 Prelude To A Kiss 5:36
02 When Your Lover Has Gone 4:59
03 Please Don't Talk About Me When I'm Gone 4:22
04 Nice Work If You Can Get It 3:52
05 I've Got A Right To Sing The Blues 5:53
06 What's New 4:19
07 I Hadn't Anyone Till You 4:05
08 Everything I Have Is Yours 4:32

Billie Holiday - Velvet Mood (ogg 77mb)

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Taken from a pair of sessions taped during 1955-1956, Lady Sings the Blues finds Holiday in top form and backed by the sympathetic likes of tenor saxophonist Paul Quinichette, trumpeters Charlie Shavers and Harry Edison, pianist Wynton Kelly, and guitarists Kenny Burrell and Barney Kessel. And while these autumnal sides bear some of the frayed vocal moments often heard on Holiday's '50s Verve sides, the majority here still ranks with her best material. This is especially true of the cuts from the June 1956 date, which produced unparalleled versions of "No Good Man,""Some Other Spring," and "Lady Sings the Blues." See why many fans prefer the "worn out" Holiday heard here to the more chipper singer featured on those classic Columbia records from the '30s.

Billie Holiday - Lady Sings The Blues (flac 146mb)

01 Lady Sings The Blues 3:45
02 Trav'lin' Light 3:08
03 I Must Have That Man 3:03
04 Some Other Spring 3:35
05 Strange Fruit 3:02
06 No Good Man 3:18
07 God Bless The Child 3:57
08 Good Morning Heartache 3:27
09 Love Me Or Leave Me 2:33
10 Too Marvelous For Words 2:11
11 Willow Weep For Me 3:06
12 I Thought About You 2:46
bonus
Lady Sings The Blues (Billie Holiday auto bio).epub

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This was Billie Holiday's penultimate album, recorded when her body was telling her enough was enough. During the sessions with arranger Ray Ellis she was drinking vodka neat, as if it were tap water. Despite her ravaged voice (the sweetness had long gone), she was still an incredible singer. The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. "You've Changed" and "I Get Along Without You Very Well" are high art performances from the singer who saw life from the bottom up.

Billie Holiday - Lady In Satin (flac 315mb)

01 I'm A Fool To Want You 3:24
02 For Heaven's Sake 3:26
03 You Don't Know What Love Is 3:48
04 I Get Along Without You Very Well 2:59
05 For All We Know 2:52
06 Violets For Your Furs 3:24
07 You've Changed 3:17
08 It's Easy To Remember 4:04
09 But Beautiful 4:29
10 Glad To Be Unhappy 4:07
11 I'll Be Around 3:23
12 The End Of A Love Affair 4:47
13 I'm A Fool To Want You 3:24
14 The End Of A Love Affair 4:51
15 Fine And Mellow 6:20

Billie Holiday - Lady In Satin (ogg 125mb)

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Hello, Ding Junhui played some brilliant snooker again, 7 centuries in his semi final match with an in form McManus 17-11, the other semi was a struggle, en route they recorded the longest frame ever played during a worldchampionship 77 minutes, in the end it was the current world #1, Mark Selby who prevented an all Chinese final by beating Marco Fu 17-15. Tens of million Chinese will be watching the final, the pressure on Ding will be huge, hopefully he'll handle it. He's really been the best player by far this year and Selby, well for once he won't be the favorite.

Meanwhile over at Sochi's olympic park Hamilton is makig a habit of breaking down on qualification day, luckily he had no trouble on racing day thusfar. He can start to overtake from 10th, his teammate Rosberg proved how superior Mercedes is by an unpressured qualifing, almost a second faster as Vettel who after penalty starts 7th, could be interesting tomorrow behind Rosberg..

Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy

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According to a blessing Milarepa uttered towards the end of his life, anyone who but hears the name Milarepa even once attracts an instant blessing and will not take rebirth in a lower state of existence during seven consecutive lifetimes. This was prophesied by Saints and Buddhas of the past even before his lifetime.

Milarepa of Tibet
Milarepa is one of the most widely known Tibetan Saints. In a superhuman effort, he rose above the miseries of his younger life and with the help of his Guru, Marpa the Translator, took to a solitary life of meditation until he had achieved the pinnacle of the enlightened state, never to be born again into the Samsara (whirlpool of life and death) of worldly existence. Out of compassion for humanity, he undertook the most rigid asceticism to reach the Buddhic state of enlightenment and to pass his accomplishments on to the rest of humanity. His spiritual lineage was passed along to his chief disciples, Gambopa and Rechung. It was Rechung who recorded in detail the incidents of Milarepa's life for posterity. The narrative of his life has thus been passed down through almost a millennium of time and has become an integral part of Tibetan culture. In addition to Rechung's narrative of his life, summarized below, Milarepa extemporaneously composed innumerable songs throughout his life relevant to the dramatic turns of events of himself and his disciples in accordance with an art form that was in practice at the time. These songs have been widely sung and studied in Tibet ever since and have been recorded as the Hundred Thousand Songs of Milarepa. His faithful devotion, boundless religious zeal, monumental forbearance, superhuman perseverance, and ultimate final attainment are a great inspiration today for all. His auspicious life illumined the Buddhist faith and brought the light of wisdom to sentient beings everywhere.

Milarepa was born into the family of Mila-Dorje-Senge in the year 1052. His father was a trader in wool and had become wealthy by the standards of the time when his wife bore a son. The son was named Thopaga which means delightful to hear, and Thopaga, later known as Mila-repa (Mila, the cotton clad), lived up to his name as he had a beautiful voice and charmed his companions with his singing. The family lived in a large stone house that consisted of three stories held in place by a large central pillar and supporting columns - a mansion in comparison to the modest homes of his neighbors. The brother and sister of Milarepa's father had also settled in the area along with their families, and the clan would often congregate at the great stone house of Mila-Dorje-Senge. The family was well to do and generous and became the darling of all the relatives and neighbors in the area. They would often gather at the house to enjoy feasts. The gathering of friends and neighbors would often fawn over the small children - the young son Milarepa (then called Thopaga), and his sister, Peta who was four years younger. During this period the family enjoyed the admiration and attention of their neighbors, ate only the finest food and wore nothing but fancy clothes and jewelry.

About this time the father, Mila-Dorje-Senge, became gravely ill and accepting his impending death, called together the extended family and made known to all that he wanted his entire estate and all possessions put into the care of his brother and sister until such time as Milarepa had grown and married Zesay, one of the neighboring girls who had been betrothed to him in childhood according to the tradition of the times.

When his father died, Milarepa's uncle and aunt took all of the family's wealth. At his mother's demand, Milarepa left home and studied sorcery. While his aunt and uncle were having a party to celebrate the impending marriage of their son, he took his revenge by summoning an earthquake to demolish their house, killing 35 people, although the uncle and aunt are supposed to have survived. The villagers were angry and set off to look for Milarepa, but his mother got word to him, and he sent a hailstorm to destroy their crops.

Milarepa later lamented his evil ways in his older years in conversation with Rechungpa: "In my youth I committed black deeds. In maturity I practised innocence. Now, released from both good and evil, I have destroyed the root of karmic action and shall have no reason for action in the future. To say more than this would only cause weeping and laughter.

"If you do not acquire contentment in yourselves,
Heaped-up accumulations will only enrich others.

If you do not obtain the light of Inner Peace,
Mere external ease and pleasure will become a source of pain.

If you do not suppress the Demon of Ambition,
Desire for fame will lead to ruin and to lawsuits"

Milarepa

Milarepa's lama was Marpa Lotsāwa, whose guru was Naropa, whose guru in turn was Tilopa. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness.[citation needed]

Milarepa's life represented the ideal bodhisattva, and is a testament to the unity and interdependency of all Buddhist teachings – Theravada, Mahayana and Vajrayana. He showed that poverty is not a deprivation, but rather a component of emancipating oneself from the constrictions of material possessions; that Tantric practice entails discipline and steadfast perseverance; that without resolute renunciation and uncompromising discipline, as Gautama Buddha Himself stressed, all the sublime ideas and dazzling images depicted in Mahayana and Tantric Buddhism are no better than magnificent illusions. He also had many disciples, male and female, including Rechung Dorje Drakpa and Gampopa His female disciples include Rechungma, Padarbum, Sahle Aui and Tsheringma. It was Gampopa who became Milarepa's spiritual successor, continued his lineage, and became one of the main lineage masters in Milarepa's tradition.

Nyanang Phelgyeling Monastery, also known as Sonam Gompa later in Nepal, which later became very famous in Nepal, is a Tibetan Buddhist monastery in a tiny village called Nyanang in Tibet near the border of Nepal. Fortunately Nyanang Phelgyeling Monastery has the rare statue of Milerapa which was created by his own disciple (Bhu Rechung Pa ). The statue was created in the life time of Milarepa. The cave is consecrated to Milarepa. It is built around the cave where he once lived. "It was destroyed but has now been rebuilt and decorated by Nepali artisans. This is one of many caves associated with Milarepa between Langtang and Jomolungma."

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This profound work of electronic music on three CDs is based on the composer's complete immersion in Tibetan Buddhist teaching, and takes its title from Thomas Merton's Trilogy on Death: "Going beyond death in this life, beyond the dichotomy of life and death, and so to become a witness to life itself." The first "chapter" is "Kyema," composed during the years 1985-1988. It was inspired by texts of the Bardo-Thödol (a book of the dead) and "evokes the six intermediate states which constitute the 'existential continuity' of being: Kyene (birth), Milam (dream), Samtem (contemplation and meditation), Chikai (death), Chönye (clear light), and Sippai (crossing and return)." The slowly changing timbres create quite physical resonances and density modulations, suggesting encounters with traveling personalities, some comforting, some evoking deep and strange spirits. "Kyema" is dedicated to the composer's son Yves Arman, who passed away in a car accident shortly before its completion. . "Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."

Profound and serenely meditative electronic music inspired by the Bardo Thodol (Tibetan Book of the Dead). Six states: Kyene (Birth), Milam (Dream), Samten (Contemplation), Chikai (Death), Chonye (Clear Light), Sippai (Becoming). This is the real thing.

Eliane Radigue - Kyema, Intermediate States (flac 263mb)

01 Kyema, Intermediate States 61:22

Eliane Radigue - Kyema, Intermediate States (ogg 147mb)

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The second chapter, "Kailasha" (1988-1991), is "an imaginary journey around the most sacred of the Himalayan mountains, Mount Kailash," but since the mountain is considered a "natural mandala," the work also attempts to recreate the illusion found in works of visual artists Albers and Escher, where one perspective overlaps and flips over into another, involuntarily. The composer considers "Kailasha" to be "the most chaotic part of the trilogy" and deeply unnerving

Eliane Radigue - Kailasha (flac 213mb)

02 Kailasha 56:08

Eliane Radigue - Kailasha (ogg 109mb)

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"Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."

Eliane Radigue - Koumé (flac 227mb)

03 Koumé 51:17

Eliane Radigue - Koumé (ogg 108mb)

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Eliane Radigue - June 20, 1973
“Before the greatest achievement
Before the greatest detachment.
At the limit of the frontier space of the unconscious - tuned waves - "consonant things vibrate together".
Where does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.
"And time is no longer an obstacle, but the means by which the possible is achieved".

"Transamorem - Transmortem" was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, "Transamorem - Transmortem" was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.

In their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.

During this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90's, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the "Song of Milarepa" LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70's to the 90's.

It was in 2004, when she accepted aid in digitizing her archives, . "Transamoren - Transmorten" is recognizable as one of the most radical of Radigue's compositions, comparable to the first "Adnos," the work that follows "Transamoren - Transmortem" chronologically. Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space. Moving through zones of specific frequencies, the listener's body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space. As Radigue wrote of "Adnos": "to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows." Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose "Transamoren - Transmortem."

Eliane Radigue - Transamorem - Transmortem (flac 330mb)

01 Transamorem - Transmortem 67:03

Eliane Radigue - Transamorem - Transmortem (ogg 133mb)

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

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

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

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

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

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

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

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

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

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

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

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

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

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previously

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

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

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

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

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

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

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

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

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

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

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

Elis Regina - Falso Brilhante (flac 188mb)

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

(ogg mb)

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

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

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

Elis Regina - Elis (flac 205mb)

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

Elis Regina - Elis (ogg 88mb)

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

Elis Regina - Elis Ao Vivo (flac 353mb)

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

Elis Regina - Elis Ao Vivo (ogg 145mb)

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

Elis Regina - Transversal do Tempo (flac 226mb)

01 Fascinação (Fascination) 3:26
02 Sinal Fechado 3:26
03 Deus Lhe Pague 3:28
04 O Rancho Da Goiabada / Construção5:39
05 Saudosa Maloca 4:36
06 Boto 3:29
07 Cão Sem Dono 2:36
08 Meio Termo / Corpos 6:19
09 Querelas Do Brasil 3:49
10 Cartomante 4:10

Elis Regina - Transversal do Tempo (ogg mb)

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

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

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

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

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

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

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

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

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

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

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

(ogg mb)

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

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

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

D.A.F. - Fur Immer (ogg 81mb)

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

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

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

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

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RhoDeo 1615 Roots

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