Rho-Xs

Hello,

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

Looka here another batch of 31 re-ups, requests fullfilled up to October 20th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search ...N' Joy

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7x Into BPM Back in Flac ( The Prodigy - The Jilted Generation, The Crystal Method - Vegas, Youngsters - Lemonorange, Fischerspooner - #1, ADULT. - Anxiety Always, Vector Lovers - Vector Lovers, Sex In Dallas - Around The War)

3x Aetix NOW in Flac ( D.A.F - Die Kleinen und Die Bösen, Liaisons Dangereuses - Liaisons D, Pyrolator - Ausland)

3x Sundaze Back in Flac (Klaus Schulze & Pete Namlook - Evolution of DSOTM, Move D & Namlook - V, Wired, Move D & Namlook - X, Let The Circle Not Be Broken)

3x Roots Back In Flac (Lee Scratch Perry - Arkology Reel 1, Dub Organiser, Lee Scratch Perry - Arkology Reel 2, Dub Sheperd, Lee Scratch Perry - Arkology Reel 3, Dub Adventurer)

3x Roots Back in Flac (Big Youth - Screaming Target, Dennis Alcapone - Musical Liquidator, U Roy - Serious Matter)

3x Sundaze Back in Flac (Cluster - Cluster 71, Cluster - II, Cluster - Sowiesoso)

6x Aetix Back in Flac (Public Image Limited - First Issue, Public Image Limited - Live In Tokyo, Public Image Limited - Happy, Public Image Ltd - The Flowers Of Romance, Public Image Ltd. - Compact Disc, Public Image Ltd. - Metal Box)

3x Aetix Back in flac ( Martin Rev - Martin Rev, Martin Rev - Clouds of Glory, Martin Rev - Cheyenne )

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Hello,

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

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

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

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

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

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

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

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The big single on Cameosis, the stimulating "Shake Your Pants," provokes body moves from the animated group vocals to the rump-shakin' groove. The vivacious number "We're Going out Tonight" is a man's salute to his lady. Larry Blackmon and Tomi Jenkins sing in unison throughout the body of the song, with first tenor Wayne Cooper soaring in the vamp. The group puts a different twist on a remake of their own "Why Have I Lost You." Tomi Jenkins imparts a compassionate rap in the intro before crooning his way through the imaginative lyric, where Wayne Cooper reaches one climax after another. Like the original version, it, too, never graced the charts but found a home on radio. The sleeper on this album is "I Care for You." Anthony Lockett took the vocal lead on this tear-jerking ballad, in which a man tolerates his woman's questionable behavior. From Lockett's execution to the song's overall arrangement, this is a must-listen.

Cameo - Cameosis (flac 216mb)

01 Cameosis 4:09
02 Shake Your Pants 6:21
03 Please You 4:15
04 We're Goin' Out Tonight 4:40
05 I Care For You 4:34
06 On The One 4:59
07 Why Have I Lost You 5:14

Cameo - Cameosis (ogg 84mb)

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Cameo has been known for so many funk grooves -- like this album's featured single, "Keep It Hot" -- that their plush ballads are seldom recognized. The title track, "Feel Me," was one of those classic gems. Guitarist Anthony Lockett assumes lead vocal duties on this charming number. As Lockett patiently and gently caresses the lyric, his wholesome, amplifying tenor exudes a plea for that elusive intimacy. (Anthony Lockett would soon exit the group for gospel music.) "Better Days," also a ballad, has less musical attire; it's trimmed with primarily a rhythm section and Cameo's trademark horn arrangement and cooing background vocals. Preceded by an improvising piano solo, "Is This the Way" finds its stride with a rapid, percussive groove and a socially conscious message.

Cameo - Feel Me (flac 229mb)

01 Throw It Down 5:44
02 Your Love Takes Me Out 6:39
03 Keep It Hot 4:42
04 Feel Me 5:56
05 Is This The Way 5:58
06 Roller Skates 4:40
07 Better Days 4:12

Cameo - Feel Me (ogg 81mb)

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As Cameo continued to hone their sound, they found themselves in the position not only of having to bridge a musical gap, but also needing to follow up a smash album. Following on the heels of 1980's massive Cameosis, which created a signature vibe and set the band up for truly massive early success, it's surprising that Knights of the Sound Table would lose strength. But it did. The band was exhausted, only coming off the road long enough to record the album before heading straight back out again. Knights of the Sound Table plays through like a transitional album -- and it falters at times because of it. Even though the band remained bound to their funk roots, they were tweaking them within a very different framework -- a 1980s pre-wave wave. The set is divided into two very distinct camps, then, booty shaking funk and saccharine ballads. When it's good, it's tremendous. "Knights by Night" is strong and very typically Cameo, while "Don't Be So Cool" leans more into an '80s frame of mind. The marvelous "Freaky Dancin'" pulled out ahead of the pack and was rewarded with a number three spot on the R&B charts for its efforts, while two other tracks, the funky "I Like It" and "Feel Me," would also chart. Where the band weakened was across their ballads. "I'll Always Stay" and "I Never Knew" feel more like filler than anything else, while "The Sound Table" is a poke at disco -- too long after the genre left the dancefloor. Despite such serious wobbles, though, the set is cohesive enough to forgive its failings, the sound of a band keeping their past alive while stretching their wings toward the future.

Cameo - Knights Of The Sound Table (flac 191mb)

01 Knights By Knights 3:31
02 Freaky Dancin' 5:23
03 I Never Knew 4:40
04 Use It Or Lose It 4:11
05 The Sound Table 3:41
06 Don't Be So Cool 4:14
07 I'll Always Stay 3:54
08 I Like It 4:12

(ogg mb)

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Dropping the Parliament-esque, Mothership-era theatrics, and the multitude of bandmembers that comprised 1981's Knights of the Sound Table tour, Cameo's Larry Blackmon scaled the band back to a less financially prohibitive number and returned to the studio to record what would be the band's last effort for longtime label Chocolate City. The mighty Alligator Woman, released in spring 1982, marked the quintet's final foray into the annals of the deep funk that had signposted much of their material so far. A continuation, but extension of the otherworldly synthesis which blended old-school sounds with new technology, the LP emerged a peerless hybrid, giving Cameo another Top Ten hit for their collection. Both "Be Yourself" and "Soul Army" are deep slabs of funk, heavily steeped in the band's own past, with the former driven by harmonized vocals and groovy guitar, and the latter dominated by Blackmon's distinctive vocals. Elsewhere, the lively "Flirt," a Top Ten hit, is a sassy exercise in tricky pop, while the title track proves a heady mix of all of the above. Included, too, are the less interesting ballads "Secrets of Time" and "For You" but, despite such occasional stumbles, Alligator Woman was a remarkably cohesive and energetic outing for the new-look band. It also proved a perfect bridge for the gap between the antics of Knights and Cameo's forthcoming exploits, later in the decade.

Cameo - Alligator Woman (flac 182mb)

01 Be Yourself 4:09
02 Soul Army 4:14
03 Flirt 4:17
04 Enjoy Your Life 4:36
05 Alligator Woman/Secrets Of Time 6:37
06 I Owe It All To You 2:54
07 For You 3:41

(ogg mb)

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Hello, F1 is back on track , this time on the phenomenal racetrack at Austin, Texas. Hamilton took a clear pole with the fastest time ever recorded there. Behind him Rosberg and Ricciardo with Verstappen fourth with a clear margin on Raikonnen and Vettel. A rumour was spread that drivers had complained about Verstappen's driving style, strangely the riders named never get to see the back of Verstappens car, it was clear that these rumours came from Ferrari who are in a battle with Red Bull for second place in the constructors championship trying to intimidate the youngster...we'll see how that pans out.

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

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

Yokota’s family released a statement:

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

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The Boy and the Tree pulses with a consistent timbre that lulles one into a state of relaxation. Not a foam-mat, twisted-limbs, pilates-class kind of relaxation, but more of a well-rested glow. The panning, reverberating electric guitar lines and bird chirping forest sounds of the opening “The Colour of Pomegranates” struck me differently than expected. The album borrows heavily from various “nature” sounds, combining them with stringed instruments and percussion, and is always one step from delving into Nature channel stock footage or “Relaxing Sounds of Slumber.” A testament to Yokota is that, although these moods are suggested, he explores the details of their character as to not veer into focus group-tested hyperbole. Careful never to overplay his artistic hand, Yokota creates his own musical dialect, one that has been methodically filtered through various aesthetic inputs. This practice results in music that achieves its intended aims of tranquility and contemplation, but without all of the new age baggage that could accompany it. “Thread Leads to Heaven” features a blended melody doubled, overlapped and (as per the title) threaded together. “Rose Necklace” adds an angelic vocal that speaks through an evaporating echo before descending into an incomprehensible synthesized spray. These water-based adjectives are intentional – Yokota’s continual shape-shifting evidence a real musical liquidity. Expertly manipulating sound sources and extracting their elemental qualities, Yokota creates compositions that are equally restrained and expressive.

Susumu Yokota - The Boy and the Tree (flac 297mb)

01 The Colour Of Pomegranates 5:13
02 Live Echo 5:31
03 Fairy Link 4:33
04 Grass,Tree And Stone 4:39
05 Secret Garden 6:10
06 Rose Necklace 2:44
07 Beans 1:20
08 Plateau On Plateau 5:50
09 Red Swan 4:27
10 Thread Leads To Heaven 3:42
11 Future Tiger 5:26
12 Blood And Snow 5:01

Susumu Yokota - The Boy and the Tree (ogg 124mb)

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Susumu Yokota makes albums that increasingly worry the boundaries of IDM, ambient and sound collage. This is his most abstract and foreboding-sounding release yet. By now, the concept of the "parallel universe" probably rivals the theory of relativity as the best-known scientific/metaphysical concept of the 20th Century. The idea, of course, is that at any point in time, all available choices and possibilities are realized in an ever-blooming flower of multiverses. Susumu Yokota makes albums that increasingly worry the boundaries of IDM, ambient and sound collage. Yokota has come at abstract music from the origin of being a house DJ in his native Japan, meaning that his sensibilities are not always aligned with those who balk at the cheesy tropes of techno (warm synth tones playing major seventh chords, heavily reverbed female vocal samples, etc), yet too unconventional and complex for the trance crowd. Laputa is Yokota's most abstract and foreboding-sounding release yet. Almost entirely beatless, its pieces float quietly in and out of existence, operating according to their own logic and leaving the same faint, surreal impressions as dreams upon waking.

As the record's proclamatory title suggests, Yokota attempts to create a world in itself. His aim is not to transform your external environment, but to form one in your head-- if Eno's Another Green World presents a universe not unlike our own, where they still have swimming little fishes and bouncy pop music, Laputa presents an abstract and entirely unfamiliar space. Against various droney and spacious backdrops, Yokota presents independently floating and interacting bits of sound that suggest geometric patterns and shapes, such as the woman's voice at the beginning of "Trip Eden" that rises and reverses upon itself like a sleek symmetrical object.

Susumu Yokota - LaPuta (flac 278mb)

01 Rising Sun 4:47
02 Lost Ring 3:42
03 Gong Gong Gong 4:25
04 Iconic Air 4:52
05 Light Of The Sun 4:08
06 Grey Piano 1:12
07 23 Degrees Dream 3:00
08 Hidden Love 3:50
09 Trip Eden 4:48
10 True Story 2:52
11 Dragon Place 3:51
12 I Am Flying 3:42
13 Dizzy Echo 2:19
14 Heart By Heart 4:04
15 Hyper On Hyper 4:04

Susumu Yokota - LaPuta (ogg 113mb)

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Susumu Yokota known as the most prolific supplier of high precision stylized electronic mood music. His albums typically fall into the ambient area, but on Over Head Yokota shows himself to have a more robust side. The albums has ten tracks are fall under the breakbeat techno moniker, notably as exactly produced as we are used to on his more subdued work. Overhead neatly bridges these two seemingly contradictory bodies of work, a downtempo set of deep house tracks that draws heavily on Middle Eastern (“Wheel Tower”), African (“Aerial Chamber”) and flamenco (“Bridgehead”) rhythms.Need ear plugs? It's not as bad that, though the programmed beats can sometimes sound strange with the ghost of Certain Ratio looming round from time to time..

Susumu Yokota - Over Head (flac 362mb)

01 Aerial Chateau 5:24
02 Wheel Tower 6:03
03 Play Act Circuit 5:58
04 Rainbow Flag 6:18
05 Soul Cry 5:06
06 Blackout 6:25
07 Bridgehead 5:37
08 Area B 5:51
09 Golden Mountain 5:59
10 Open Door 5:53

Susumu Yokota - Over Head (ogg 132mb)

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Musical styles come and go, but Yokota reigns supreme in a universe of his own making. ‘Dreamer’ is instantly familiar and yet full of surprises and like all of yokota’s best music, it leaves the listener in a state of wonder. This is meditative music but miles away from new age wallpaper. Eastern flavours permeate many of the tracks, often mixed with free electronic noise, to create what John Hassell called ‘Fourth World Music’, capable of transporting the listener to a brand new world. Sounds that in other hands could have a disturbing effect are transformed into tools for opening the mind. Within ‘popular’ music there are dew that make music with Yokota’s depth and ease. His music never sounds forced, fake or phoney, never trite or tentative, always fully formed and wholesome. So it comes as no surprise that his fans include Thom Yorke, Brian Eno and Philip Glass and that ‘Dreamer’ is another superb addition to the Yokota.

Susumu Yokota - Dreamer (flac 334mb)

01 Human Memory 5:52
02 Flitting Ray 4:02
03 Subconscious Globe 5:42
04 Inception 6:13
05 Double Spot Image 3:32
06 Quiet Room 5:20
07 Animation Of The Airy 6:04
08 Renounce The World 5:17
09 Brainwashing And Senses 5:27
10 A Day At The Planet 4:25
11 Legendary Stream 6:25

Susumu Yokota - Dreamer (ogg 132mb)

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

did U know

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

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In a motif established on their first long-player, Monty Python's Flying Circus (1970), much of the material incorporated into Another Monty Python Record (1971) was derived from the less visually oriented surrealistic sketches from their BBC television program. More importantly, this disc was the first to be issued throughout North America -- although the show was initially aired only in major markets on PBS stations. The quintet of writer/actors Michael Palin, Graham Chapman, John Cleese, Eric Idle, Terry Jones, and the distinctly American Terry Gilliam revolutionized comedy from slapstick physical humor into an exceedingly more cerebral space, where the satire could be directed squarely at "serious" works of art, literature, or historical figures as easily as it could be a series of Dadaist non sequiturs. They take siege of the vinyl LP medium, as Palin's sincere opening "Apologies" establishes that listeners should immediately suspend their disbelief and, in the words of the Beatles, "Turn off your mind, relax and float downstream." However, between the Viking-led tributes to "Spam" or Palin's abrupt interjections as Cardinal Ximinez during the "Spanish Inquisition" entries, there is the thoughtful madness of "World Forum," where Idle quizzes the likes of Karl Marx, Vladimir Ilich Ulyanov, Che Guevara, and Mao Tse-tung on the subject of British football. One of the longer pieces is the somewhat involved story of "The Piranha Brothers," Doug and Dinsdale, and a giant hedgehog named Spiny Norman.

According to a female-impersonating character played by Cleese, "Norman was wont to be about 12 feet from snout to tail, but when Dinsdale was depressed, Norman could be anything up to eight hundred yards long."'Nuf said. In addition to the aforementioned "Spam" skit, another of the scenes that Python would keep in their live act features cross-dressing Palin and Idle as a pair of high court and highly camp "Judges."
Whereas their debut album may have seemed like a bunt to the comparative home run of Another Monty Python Record, the troupe would score a grand slam their next time up at bat with the follow-up, Monty Python's Previous Record (1972).

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with

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

101 Another Monty Python Record (mp4 212mb)

101 Another Monty Python Record (Part 1) 25:51

Apologies
Spanish Inquisition
World Forum
Gumby Theatre/Contradiction
The Architect/Spanish Inquisition Continues
The Piranha Brothers

102 Another Monty Python Record (Part 2) 27:55

Death Of Mary, Queen Of Scots
Penguin On The TV
Comfy Chair/Sound Quiz
Be A Great Actor/Theatre Critic
Royal Festival Hall Concert
Spam
The Judges/Stake Your Claim
Still No Sign Of Land (Lifeboat)/Undertaker

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Previously their Young Ones

The Young Ones 01 Demolition (mp4 266mb)
The Young Ones 02 Oil (mp4 264mb)
The Young Ones 03 Bored (mp4 284mb)
The Young Ones 04 Bomb (mp4 285mb)
The Young Ones 05 Intresting (mp4 258mb)
The Young Ones 06 Flood (mp4 247mb)
The Young Ones 07 Bambi (mp4 282mb)
The Young Ones 08 Cash (mp4 275mb)
The Young Ones 09 Nasty (mp4 283mb)
The Young Ones 10 Time (mp4 278mb)
The Young Ones 11 Sick (mp4 280mb)
The Young Ones 12 Summer Holiday (mp4 283mb)

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Hello,

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

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

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

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

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

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

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

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

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

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

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Released two years after her romantic and a little bit cheesy album "As canções que você fez pra mim", which covered Roberto Carlos' repertoire, "Ao vivo" sounds so much greater! Here she is much more passionate, powerful and compelling! To know Bethânia deeply, it is just essential to listen her live. In "Ao vivo" she sings, among many others, several songs from the Roberto Carlos album, and most of them, especially "Fera ferida", "Costumes" and "Você não sabe" become much more touching, just wonderful. Chico Buarque's "Mar e Lua" is also thrilling, the best cover of this song I've ever heard. Other very nice tunes include Caetano Veloso's samba "Tudo de novo" and the ballads "Lua" and "Todo o sentimento". Highly recommended.

Maria Bethania - Ao Vivo (flac 400mb)

01 Introdução: Cristal 0:27
02 Fera Ferida 3:45
03 Fé Cega, Faca Amolada 2:16
04 Eu E Água 3:02
05 Genipapo Absoluto 2:13
06 Mané Fogueteiro/Genipapo Absoluto 3:07
07 Tudo de Novo 2:27
08 As Canções Que Você Fez Pra Mim 3:53
09 Ronda 1:54
10 Atrás da Verde E Rosa Só Não Vai Quem Já Morreu/Onde O Rio É Mais ..2:42
11 Faixa de Cetim 1:19
12 Lua 1:09
13 Lua Branca 2:38
14 Detalhes 4:23
15 Costumes 2:47
16 Meu Primeiro Amor (Lejania) 2:43
17 Você Não Sabe 3:00
18 Nao Dá Mais Pra Segurar 1:54
19 Bárbara 2:01
20 Mar E Lua 2:02
21 Você 2:25
22 Reconvexo 3:23
23 Todo O Sentimento 2:35
24 Emoções 2:56
25 Todo O Sentimento 1:18

Maria Bethania - Ao Vivo (ogg 146mb)

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This album and homonymous show were Maria Betânia's commemoration of her 50 years of age, 35 years of her career, and 35 albums. Differently than in other recent albums, where she has permitted herself the luxury of including cheesy songs in the "breganejo" style (which is in the top charts in Brazil), in this one the repertory is excellent, consisting of all-time classics and songs by new composers such as Adriana Calcanhoto and Carlinhos Brown. An acoustic album with sensitive violão (Jaime Além) punctuation, the world touch was given by special guests Zap Mama, Sabine Kabongo, and Angelique Wilkie. The general tone is romantic (but not corny), with excellent orchestral touches here and there, but Paulinho da Costa brings his percussive talents to the swinging "Invocação" and the subtle samba rendition for Ary Barroso's "Quando Penso Na Bahia" has a wonderful trombone (non-credited) in the best gafieira style. The album also has the special guest Chico Buarque. Attention also for the beautiful "Brisa," divided in an a cappella introduction and Brazilian viola backing.

Maria Bethania - Ambar (flac 281mb)

01 Âmbar 4:36
02 Chão De Estrelas 3:38
03 Iluminada 2:14
04 Onde Estará O Meu Amor 3:33
05 Lua Vermelha 3:35
06 O Circo 3:23
07 Uns Versos 3:00
08 Allez Y 3:19
09 Todos Os Lugares 3:31
10 Quando Eu Penso Na Bahia 2:51
11 Ave Maria 3:24
12 Eterno Em Mim 2:12
13 Brisa 1:57

Maria Bethania - Ambar (ogg 113mb)

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This is Bethania's most misunderstood work.It starts off with Tremzinho which tells the story of a little boy travelling throughout the countryside of Brazil.Any clues? This album was intended to be her sort of country. However,since it's somewhat fragmented,some listeners might find it inconsistent.I find it interesting.And as usual,I find Bethania's vocals at its best.And there's the controversy surrounding E O Amor song included in the soap opera Suave Veneno.To me, it's a beautiful ballad which shows her unmatched vocal talent.It took her to # 2 that year in the Brazilian hit parade.The album revisited Espere Por Mim Morena penned by Gonzaguinha and also Eu Queria Que Voce Viesse written by Marisa Monte.My favorite is her tribute to actress Cacilda Becker, Cacilda which reminds me of her early work in Passaro Da Manha and Alibi. The album's flaws notwithstanding, it remains a good representation of Bethania's work.

Maria Bethania - A Forca Que Nunca Seca (flac 248mb)

01 Trenzinho Caipira 3:37
02 Luar Do Sertao/Azulao 3:22
03 É O Amor 4:20
04 Nao Tenha Medo 3:27
05 Eu Queria Que Voce Viesse 2:57
06 Espere Por Mim Morena 3:05
07 Resto de Mim 2:59
08 Gema 2:52
09 Cacilda 2:22
10 Agradecer E Abracar 3:31
11 As Flores Do Jardim da Nossa Casa 3:25
12 Romaria 3:16
13 A Forca Que Nunca Seca 2:17
14 Vila Do Adeus 3:07

Maria Bethania - A Forca Que Nunca Seca (ogg 103 mb)

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Maria Bethânia, sister of Caetano Veloso, was the first of the Tropicália Bahian innovators to become a star in Brazil. Her strong, mezzo voice, and interpretations immediately attracted an audience in the 1960s, and she has remained a leading, beloved vocalist. She furthered Brazilian poet-songwriters and modern, different ballad styles without become politically radical. This 2-disc album is of a concert in São Paulo in December 2001 featuring many of her hit recordings. Songs came from the pens of Edu Lobo and Chico Buarque, Chico César, Tom Jobim, Veloso, Fernando Pessoa, Dorival Caymmi, Giberto Gil, Djavan, Roberto Mendes, Beto Guedes, and many others, including her own works. Package credits and notes are in Portuguese only; her spoken introductions to songs are for those who understand the language. She has a large group of supporting musicians on stage, including violins, bass, and cello as well as electric and acoustic guitars, 7-string violão, 10-string viola (guitar), piano, drums, and percussion, among them her long-time collaborator guitarist Jaime Alem. Nicely engineered, the album has the magic of audience interaction, and Bethânia's emotional, precise renditions are moving. If you desire but one representative album of hers, then this is the one

Maria Bethania - Maricotinha Ao Vivo (avi 704mb)

01 Abertura: Dionisia Número 1
02 A Moça Do Sonho
03 Texto: Sou Eu Mesmo O Trocado
04 O Quereres
05 Pau-de-arara
06 Dona Do Dom
07 Festa
08 Trecho: A Moça Do Sonho
09 Texto: Eu Não Sabia, Tu Não Sabias
10 Fotografia
11 Anos Dourados
12 Todo O Amor Que Houver Nessa Vida
13 De Todas As Maneiras
14 Texto: Eu Quero Ser Possuida Por Você
15 Seu Jeito De Amar
16 Negue
17 Sob Medida
18 Fera Ferida
19 Casinha Branca
20 O Canto De Dona Sinhá (Toda Beleza Que Há)
21 O Tempo E O Rio
22 Menininha
23 Texto: Poema Do Menino Jesus
24 O Doce Mistério Da Vida (Ah! Sweet Mystery Of Life)
25 Maricotinha
26 Baila Comigo/Shangrilá
27 Cantada (Depois De Ter Você)
28 Nossa Canção
29 Sábado Em Copacabana
30 Texto: Boates
31 Se Eu Morresse De Saudades
32 Álibi
33 Nem Sol, Nem Luã, Nem Eu
34 Texto: Quando O Amor Vacila
35 Noite De Estrelas
36 Texto: Quem É Essa Agora
37 Pra Rua Me Levar
38 Texto: Senhores, Sou Um Poeta
39 Apesar De Você
40 Tercho: A Moça Do Sonho
41 Opinião
42 Rosa Dos Ventos
43 Texto: E Depois De Uma Tarde
44 Amor De Indio
45 Texto: Agradecimentos
46 Explode Coração

Maria Bethania - Maricotinha Ao Vivo (U Tube)

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Hello, well it's Halloween week, time to honor/remember the dead, sadly the US has turned it into a horrorfest, in Europe there's still more awareness of the true nature of it, but it's mixed with old superstitions (witches etc). Here we keep it to Autumnlike gloom at Aetix and later this week at Sundaze

Today's artists iare a rock band from Watford, England which formed in 1980. Their sound blends post-punk, gothic, atmospheric keyboards and psychedelia. .....N'Joy

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Sad Lovers and Giants are a British post-punk band influenced by psychedelia and folk music. Their clean-sounding but not over-produced recordings blend chiming guitars, atmospheric keyboards, urgent rhythms, and acerbic lyrics. Their music tips toward gloominess, but it avoids the melodramatic clichés of some of the more theatrical bands associated with '80s goth rock and new wave. Often likened to bands such as the Chameleons UK and the Cure's earliest work, they've gained a cult following, often referred to as a well-kept secret. The group have disbanded and re-formed several times since forming in the early '80s.

Sad Lovers and Giants began in Watford, England in 1980, originally consisting of vocalist Garçe Allard, bassist Cliff Silver, guitarist Tristan Garel-Funk, drummer Nigel Pollard, and keyboardist/saxophonist David Wood. They made their debut in 1981 with two tense yet breezy 7"s released by Last Movement: the Clé EP and the single "Colourless Dream." They recorded a session for influential BBC DJ John Peel, and signed with Midnight Music, who issued their debut full-length Epic Garden Music and unrelated single "Lost in a Moment" in 1982. The band opened for the Sound at a major venue in London shortly after the album's release, and when sophomore album Feeding the Flame appeared in 1983, they toured Germany and the Netherlands, gaining a significant fan base in those countries. They disbanded due to tensions within the group, however, and Garel-Funk and Pollard subsequently formed a harder-edged band called the Snake Corps. In 1984, Midnight Music issued In the Breeze, a collection of previously unreleased songs and demos. Total Sound, a recording of a 1983 session recorded for Dutch radio station VPRO, was issued in 1986.

That same year, Allard and Pollard formed a new lineup of Sad Lovers and Giants, including guitarist Tony McGuinness, keyboardist Juliet Sainsbury, and bassist Ian Gibson. The full-length The Mirror Test appeared in 1987, and the group toured Europe to an increasing fan base. A compilation titled Les Années Vertes was issued in 1988. Original bassist Silver replaced Gibson, and the group released Headland in 1990, followed by Treehouse Poetry in 1991. Midnight Music went out of business, however, and the group broke up again, although they occasionally re-formed for gigs, opening for similar-minded post-punk group And Also the Trees.

Cherry Red issued a Sad Lovers and Giants retrospective titled E-Mail from Eternity in 1996, after it had acquired the Midnight Music catalog. In 1999, Voight-Kampff Records issued La Dolca Vita, a live album recorded in 1988, and the label reissued Headland and Treehouse Poetry on a single disc in 2001. Sad Lovers and Giants re-formed again in 2002, releasing the full-length Melting in the Fullness of Time on Voight-Kampff. After a few live dates in Italy, the group went on hiatus again, and McGuinness concentrated on his successful progressive trance group Above & Beyond and labels Anjunabeats and Anjunadeep.

As Cherry Red reissued the first two Sad Lovers and Giants albums in 2009, the group (consisting of Allard, Pollard, McGuinness, and Gibson) performed concerts in Italy and Greece. Keyboardist Will Hicks joined the group later in the year. More European gigs followed in 2010, along with a reissue of The Mirror Test and new single "Himalaya." More U.K. and European dates followed, and the group began writing material for a new album. Allard's book Things We Never Did – The Story of Sad Lovers & Giants was published in 2014. In March of 2016, Dark Entries released Lost in a Sea Full of Sighs, a compilation of Sad Lovers and Giants' early singles, and the group toured the United States for the first time.

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Working hard to further their penchant for hashing together paisley underground psychedelia and classic post-punk, Sad Lovers and Giants followed their first two acclaimed singles with the hefty EP Epic Garden Music in fall 1982. With a delicious blend of gloomy guitar and bass infused with punch and verve that recalls early Cure, and a sophisticated wordplay that was uniquely their own, the quintet split the songs between seaside and countryside, between earth and air, and inflected a little of each into the music. Absolutely cohesive and completely on track, the songs on this set are slick and smooth. From the opening "Echoplay" and the foggy "Clocktower Lodge," which walk a quiet edge, to the pure pop of "Alice (Isn't Playing)" and the ominous closer "Far From the Sea," which sounds as if vocalist Garce Allard sang his part through a window outside the studio, each moment is a masterpiece. And, though most of the songs maintain similar a tempo and intensity, "Clint" snaps heads around, while "Lope" features a sublimely off-kilter sax solo from David Wood. It's an addition that brings the closing dregs of a traveling circus to mind -- or, perhaps in a nod to the side's vibe, a closing seaside town that has turned a woolen shoulder to November wind and rain. Sorely overlooked outside of England, Sad Lovers and Giants may have been lost in the wake of the post-punk generation's heroes, but they haven't been forgotten. They remain a small pearl -- a gem of the ocean that birthed them.

Sad Lovers and Giants - Epic Garden Music (flac 355mb)

01 Imagination 5:40
02 Landslide 3:00
03 When I See You 3:16
04 Colourless Dream 4:44
05 Things We Never Did 4:07
06 Lost In A Moment 4:18
07 The Tightrope Touch 5:18
08 Echoplay 2:55
09 Clocktower Lodge 4:17
10 Clint 3:27
11 Lope 3:28
12 Cloud 9 3:21
13 ART (By Me) 3:04
14 Alice (Isn't Playing) 3:44
15 Far From The Sea 4:45

Sad Lovers and Giants - Epic Garden Music (ogg 132mb)

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Working hard to further their penchant for hashing together paisley underground psychedelia and classic post-punk, Sad Lovers and Giants followed their first two acclaimed singles with the hefty EP Epic Garden Music in fall 1982. With a delicious blend of gloomy guitar and bass infused with punch and verve that recalls early Cure, and a sophisticated wordplay that was uniquely their own, the quintet split the songs between seaside and countryside, between earth and air, and inflected a little of each into the music. Absolutely cohesive and completely on track, the songs on this set are slick and smooth. From the opening "Echoplay" and the foggy "Clocktower Lodge," which walk a quiet edge, to the pure pop of "Alice (Isn't Playing)" and the ominous closer "Far From the Sea," which sounds as if vocalist Garce Allard sang his part through a window outside the studio, each moment is a masterpiece. And, though most of the songs maintain similar a tempo and intensity, "Clint" snaps heads around, while "Lope" features a sublimely off-kilter sax solo from David Wood. It's an addition that brings the closing dregs of a traveling circus to mind -- or, perhaps in a nod to the side's vibe, a closing seaside town that has turned a woolen shoulder to November wind and rain. Sorely overlooked outside of England, Sad Lovers and Giants may have been lost in the wake of the post-punk generation's heroes, but they haven't been forgotten. They remain a small pearl -- a gem of the ocean that birthed them.

Sad Lovers and Giants - Feeding the Flame (flac 360mb)

01 Imagination 7:22
02 Cow Boys 5:34
03 3 Lines 3:13
04 Big Tracks Little Tracks 3:31
05 On Another Day 5:01
06 Sleep (Is For Everyone) 5:04
07 Vendetta 4:37
08 Man Of Straw 6:18
09 Close To The Sea 4:44
10 Strange Orchard 6:11
11 Burning Beaches 4:12
12 Your Skin And Mine 5:21
13 In Flux 5:57

Sad Lovers and Giants - Feeding the Flame (ogg 148mb)

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By the time this was released Sad Lovers and Giants had gone through a break up and then reformed with a radically changed line-up. The result was a very different outlook of the band to the one which had put out two albums earlier in the eighties and produced some fine, edgy, dark post-punk music. In many ways, The Mirror Test marked a complete change in style . It's a brilliant atmospheric Post Punk album, elements of Joy Division and The Chameleons and more tellingly of bands that followed. The Mirror Test marked the return of Sad Lovers And Giants, who were enthusiastically embraced by their fanbase and a whole new legion of fans.
So, if you've got the first two albums, this one definitely deserves your attention. Easily recommendable to anyone who digs moody post-punk of the Chameleons UK, Joy Division, And Also The Trees, and Cure ilk.

Sad Lovers and Giants - The Mirror Test (flac 313mb)

01 Ours To Kill 4:41
02 White Russians 5:16
03 Take Seven 1:17
04 Seven Kinds Of Sin 5:05
05 The Green Years 4:27
06 A Map Of My World 3:31
07 The Outsider 4:03
08 Cuckooland 4:07
09 Return To Clocktower Lodge 4:04
10 Wire Lawn 4:01
11 House Of Clouds 6:11
12 Summer And Smoke 4:45
13 Life Under Glass 6:20

Sad Lovers and Giants - The Mirror Test (ogg 128mb)

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Recorded in London during late 1989 and early 1990, Headland captures the band at a time when UK interest was waning but their popularity in Europe was on the increase. This, combined with record company problems, meant that the album's release was delayed and, when it did eventually surface, little promotion was offered. As such it disappeared fairly quickly and thus remains a great lost gem within the band's catalog. Headland offers an immaculate example of epic, ambitious late 1980s pop, laced with synthesizer washes, reverb drenched guitars, huge drums and grandiose, emotive vocal performances. The four bonus tracks, which constitute the Clocks Go Backwards EP offer a more direct, stripped back sound, and, as such, further insight into the band's position around this time, making this package a concise, complete take on this era of the band's career.

Sad Lovers and Giants - Headland (flac 228mb)

01 Godless Soul 6:21
02 Like Thieves 5:51
03 One Man's Hell 5:08
04 Restless 2:41
05 Alaska 6:57
06 It's Snowing 4:54
07 My Heart's On Fire 3:35
08 Life Will Kill Us 5:48

Sad Lovers and Giants - Headland (ogg 88mb)

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Hello, unfortunately I had 2 re-up requests for 'recent' postings, apparently the message of at least 12 months old still hasn't come through enough......

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

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

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4x Aetix NOW in Flac ( Grauzone - Die Sunrise Tapes, Altered Images - Happy Birthday..plus, The Cult - Dreamtime , The Cult - Live At The Lyceum)

4x Aetix NOW in Flac ( The Human League - Reproduction, The Human League - Dare/Love And Dancing, The Human League - Remixes & Rarities, The Human League Versus YMO)

4x Aetix Back in Flac (James Chance & The Contortions - Buy, James White & the Blacks - Off White, James White & The Blacks - Sax Maniac, James Chance - Soul Exorcism Redux)

3x Roots Back In Flac (King Tubby - Dub The Roots, King Tubby's - In Fine Style I, King Tubby's - In Fine Style II)

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Hello,

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

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

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

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

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

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

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

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

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

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

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

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R&B was experiencing a year of transition in 1983. Soul music was evolving into urban contemporary, R&B producers were becoming increasingly high tech, and horn funk was losing ground to synth-funk and electro-funk. Also, the hip-hop factor could not be overlooked -- some old-timers insisted that hip-hop was a passing fad, but younger R&B producers realized that rap was becoming the music of choice for many young African Americans and paid close attention to hip-hop production techniques. Inevitably, all of these things affected Cameo. Released in 1983, Style is more high-tech than 1979's Secret Omen or 1980's Cameosis but not as high-tech as 1985's Single Life or 1986's Word Up! It is also an LP that finds singer/producer Larry Blackmon leading a downsized Cameo -- while the band had ten members at the start of the 1980s, it only has four on Style: Tomi Jenkins, Charles Singleton, Nathan Leftenant, and Blackmon himself. (And by Single Life in 1985, Cameo would only be a trio.) Having cut way back on the horns on Style, Blackmon makes sure that keyboards and synthesizers play a major role on snappy funk items like "Cameo's Dance,""Aphrodisiac,""Slow Movin'," and the hit title song. On Cameo's late-'70s albums, keyboards took a back seat to horns -- on Style, it's just the opposite. Even on a remake of the standard "Can't Help Falling in Love" (a ballad that had been recorded by everyone from Elvis Presley to Doris Day), Cameo is more technology-minded. Style isn't among Cameo's essential albums, but it's an enjoyable effort that will appeal to the fans.

Cameo - Style (flac 209mb)

01 Aphrodisiac 4:47
02 This Life Is Not For Me 3:33
03 You're A Winner 3:32
04 Can't Help Falling In Love 3:03
05 Interlude (Serenity) 1:31
06 Style 5:13
07 Cameo's Dance 3:23
08 Let's Not Talk Slot 3:34
09 Slow Movin' 3:26
10 Heaven Only Knows 3:42

Cameo - Style (ogg 73mb)

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By 1984, African-American popular music had become extremely high tech. The horn-powered funk bands that were huge in the 1970s were out of style, and young audiences were demanding hip-hop, electro-funk, and urban contemporary -- not horn bands that sounded like the Ohio Players or Tower of Power circa 1975. Horn bands were still in vogue only in the home of the go-go explosion: Washington, DC. But these changes in the marketplace didn't hurt Cameo; both commercially and creatively, 1984's She's Strange was a winner. Thankfully, Cameo leader Larry Blackmon isn't afraid to try different things on this excellent album. The mysterious title song (a major hit) and the sociopolitical "Talking Out the Side of Your Neck" find Cameo responding to hip-hop's popularity by including a lot of rapping, while "Lé Ve Toi!" is very rock-minded -- it's still funk, but funk laced with lots of rock. "Tribute to Bob Marley" is a reggae gem that salutes the Jamaican legend, and "Hangin' Downtown" is a smooth, jazzy number with a definite quiet storm appeal. When She's Strange soared up Billboard's R&B albums chart, one had to admire Cameo's durability. Other bands that had emerged in the 1970s were hurting, but with She's Strange, Cameo had no problem maintaining both its freshness and its popularity.

Cameo - She's Strange (flac 199mb)

01 She's Strange 7:12
02 Love You Anyway 4:48
03 Talking Out The Side Of Your Neck 4:05
04 Tribute To Bob Marley 5:01
05 Groove With You 4:24
06 Hangin' Downtown 5:07
07 Lève Toi ! 4:04

(ogg mb)

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Many of the funk bands that were big in the 1970s had a hard time surviving in the 1980s, especially if they were horn bands. Having a killer horn section was something that a lot of 1970s funk outfits prided themselves on, and it was no fun when, in the 1980s, they were told that their horns sound dated and that urban contemporary audiences only wanted to hear synthesizers, sequencers, and drum machines. But Cameo, unlike many funk bands that emerged in the late '70s, really thrived in the 1980s. Lead singer/producer Larry Blackmon insisted on changing with the times, and he did so by making Cameo more high-tech and seeing to it that albums like 1985's Single Life and 1986's Word Up! were relevant to the urban contemporary and hip-hop scenes. Nonetheless, Cameo still sounded like Cameo; Word Up!, in fact, is one of its best albums. The wildly infectious title song was a major hit, and Cameo is equally captivating on other funk treasures that include "Fast, Fierce and Funny,""Back and Forth," and "Candy." To the young urban contemporary and hip-hop fans who bought Word Up! in 1986, Cameo's funk was fresh and cutting edge; and at the same time, slightly older fans that Cameo had won over in the late '70s were still buying its records. Both commercially and creatively, Word Up! was a major triumph for Cameo.

Cameo - Word Up ! (flac 208mb)

01 Word Up 4:21
02 Candy 5:40
03 Back And Forth 6:34
04 Don't Be Lonely 5:20
05 She's Mine 4:38
06 Fast, Fierce & Funny 4:09
07 You Can Have The World 4:39

Cameo - Word Up ! (ogg 83mb)

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Nasty, Cameo's first live recording, showcases Larry Blackmon's musical creativity and futuristic-sounding love songs. Everything is on time -- the horns, the sometimes hokey vocals -- and that cool New York-flavored lead bass struts on every cut. Guitarist Charlie Singleton's slicker-than-butter falsetto shines on the crowd favorite "Why Have I Lost You." Tomi Jenkins' tenor is steady on the moving and romantic "Sparkle.""Skin I'm In," with its staccato vocals and socially significant lyrics, makes you think. Delight at Larry Blackmon's Sugar Foot Bonner-sounding vocal on the heavily sampled "Candy." Two studio cuts augment the live songs: "Come Fly With Me" and "Nasty." Nasty's caboose is a 6:27 mega-mix of the live sides.

Cameo - Nasty (flac 443mb)

01 Intro 1:03
02 Flirt 1:37
03 She's Strange 2:38
04 Back & Forth 5:54
05 Skin I'm In 5:10
06 Why Have I Lost You 6:11
07 Sparkle 4:23
08 Candy 4:45
09 Shake Your Pants (Intro) 0:42
10 Shake Your Pants 4:00
11 I Just Want To Be 1:39
12 Keep It Hot 5:13
13 Word Up 6:44
14 Come Fly With Me 3:57
15 Nasty 3:45
16 Mega-Mix 6:27

Cameo - Nasty (ogg 163mb)

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Hello, back to back F1 weekend this time at Mexico city which lies 2.200 meters above sea level, this altitude influences the engine but it didn't matter much to the Mercedes drivers Hamilton and Rosberg upfront again, third was Verstappen just 3 tenth behind. Ferrari didn't get it's act together, but then on Sunday...

Today's artists are an English neoclassical dark wave/martial industrial band, known for their cinematic sound. The duo has provided soundtracks to a variety of TV programmes and films, and is known for its rescoring of silent films..... N'Joy

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Formed in Sheffield, England by brothers Klive and Nigel Humberstone in 1981, In the Nursery explored a strange fusion of industrialized military rhythms and classical and film soundtrack music. Devoted more to the former in their early years, the band debuted in 1983 with the mini-album When Cherished Dreams Come True, also contributing to several compilations over the next two years. After the 1985 Temper EP, the group's initial lineup had evaporated, leaving only the Humberstone brothers to record their first full-length effort, 1986's Twins, which began to explore classical influences in greater depth. Percussionist Q and French bilingual vocalist Dolores Marguerite C were added for 1987's Stormhorse, which was intended to resemble the soundtrack to an imaginary film. 1988's Koda continued in this vein; in 1989, Wax Trax! released a compilation of the band's early work entitled Counterpoint.

Following the collapse of Sweatbox, the band moved to Third Mind Records to complete the delicate L'Esprit. In the Nursery altered its approach somewhat for the more graceful, refined L'Esprit, on which Dolores Marguerite C's vocals played a prominent role for the first time. The album was recorded with engineer Steve Harris who had contributed to Köda and would feature on all the band's subsequent releases. Sense and Duality were followed by a logical progression to real soundtrack work on 1993's psychological drama An Ambush of Ghosts. Their music has also featured in Interview with the Vampire, Street Fighter II: The Animated Movie, and The Rainmaker. In the late 90s the band was commissioned, as part of the Optical Music Series, to provide new scores for the silent classics The Cabinet of Dr. Caligari, Asphalt, and Man with a Movie Camera. Anatomy of a Poet, a concept album about the creative psyche, featured author Colin Wilson reciting romantic poetry against a lush backdrop of strings, and also included a cover version of Scott Walker's "Seventh Seal".

A retrospective compilation of their work was the first release on their own ITN Corporation label. Further concept albums have included Deco (inspired by the Art Deco movement) and the ambitious Lingua, an exploration of language featuring vocal contributions from around the world. The Humberstones also record more dance-oriented material under the Les Jumeaux moniker, and as such were involved in pre-production work on Sabres of Paradise's classic techno anthem "Smokebelch".

The 2011 release Blind Sound is a more consistently dark album from the Humberstone brothers and features more real percussion than previous releases. It was followed a year later by The Calling which featered Simon Beckett. In 2015 they scored a 1928 silent movie about Edger Poe's tale The Fall Of The House Of The Usher.

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The Humberstone brothers' first out and out masterpiece, L'Esprit remains as compelling and lovely an album as it did upon initial release. Taking their love of the dramatic, romantic, and theatrical to even greater heights, their musical complexity was never so involved before, their sense of creating soul-tugging beauty never so fully realized. Right from the opener -- "To the Faithful," featuring a now-rare but all the more effective-for-it vocal from the Humberstones over a forceful but never strident string line accentuated by horns and Q's excellent drumming -- L'Esprit is truly a soundtrack to an non-existent film. The potential to dream up any amount of climactic scenes or meaningful visual passages to go with such solid pieces as the choral-accompanied "Azure Wings," or the storm-cloud-laden "Retaliation," with its rolling beginning and stately pace, reveals itself time and again. Wisely, ITN step back from creating solely epic pieces here, allowing for the slightly jazz/French pop feel of "Sesudient," with appropriate vocals from Dolores Marguerite, as well as other slight changes from the norm. The big change here, though, is an increasing allowance for the subtlest of touches to help drive many of the pieces, as with a series of harp flourishes on "Soeurette," as well as simply toning things down in general. Far from weakening the effect of the music, it makes L'Esprit that much more enjoyable by means of variety. One piece always seems to especially stand out per album; here "Scenes of Childhood" is the clear winner, with a low pulse heralding a simply beautiful string line that gently develops throughout the song.

In The Nursery - L'Esprit (flac 360mb)

01 To The Faithful 4:46
02 At First Sight 4:46
03 Sesudient 4:20
04 Azure Wings 3:03
05 Sœurette 3:28
06 Inamorata 0:54
07 Retaliation 4:42
08 Träumerei 3:51
09 Scenes Of Childhood 4:48
10 The Pearl 5:01
11 L'Esprit 3:46
12 Reverie 1:46
13 Alluvion 4:53
14 Across The Ruins 4:01
15 To The Faithful (Reprise) 2:21
16 Archaic Torso 3:04
17 Blade 3:35
18 Incidential Guilt 3:39

In The Nursery - L'Esprit (ogg 136mb)

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In the same way Koda built upon Stormhorse, Sense very much leads on from Esprit; having achieved a striking new mastery with their ability to create lush, detailed neo-classical electronic compositions on the previous record, Nigel and Klive Humberstone here consolidated their gains with an accomplished if not quite as grand album. Accompanied as always by drummer Q and vocalist Dolores C. Marguerite, along with a guest narrator on "Epigraph," ITN's apparent goal with Sense, to quote the album art as well as the album's title track, is "to cure the soul by the means of the senses and the senses by means of the soul" -- perhaps an overly ambitious brief, but one which the brothers grapple with in their by-now-unique way. One of the notable developments is an increasing percussive elaborateness -- the opening two tracks, "Blue Religion" and "A Rebours," both exhibit more detailed work than before, whether it's the echo drum rolls backing up Q's snare drum work on the former, or the almost-vibe-like pattern anchoring the latter. Most interesting in light of Nigel and Klive Humberstone's eventual dance side project, Les Jumeaux would have to be "Temporis," where a low-key but definite techno pulse helps drive the number along, as well as the similarly propulsive "Angelchrome." Another continuing theme from Esprit, with the focus on piano-led pieces as opposed to orchestral, appears most notably here with "Syntonic," which before a sudden increase in general instrumentation at the end consists mostly of piano accompanied by woodwind. In all, Sense is duly tasteful and quite fine to listen to, to be sure, but there is nonetheless something a little lacking here; not as much in the way of absolutely gripping musical rapture as Esprit accomplished.

In The Nursery - Sense (flac 223mb)

01 Blue Religion 4:24
02 A Rebours 4:11
03 Boy Behind The Curtain 4:14
04 Temporis 4:22
05 Syntonic 3:58
06 Sense 4:12
07 Epigraph 4:04
08 Memoirs 1:40
09 Angelchrome 5:02
10 Sinistral 3:06
11 Sense Datum 3:13
12 Contre-Cœur 3:15

In The Nursery - Sense (ogg 93mb)

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Perhaps ITN's most carefully composed and performed release up to this point, Duality builds on the various strengths of earlier works -- the basic performance style established on Stormhorse, the sweep and range of L'Esprit, and the increasing subtlety provided by both that and Sense, resulting in an album that is not simply pleasant but truly inspiring and evocative. "Belle Epoque" begins Duality with a mix of piano, strings, horns, chorus effects, and Q's snare drumming, here a little more restrained and all the more effective for it, that is instantly memorable. Very much in line with the "filmic" nature of earlier releases, it practically begs to be the musical backdrop of some lush romantic drama. The hints of dancefloor-based experimentation crop up again as well, with "Always" providing a particularly sharp example, as shuddering bass and a low-key funk beat underpin a dramatic narrative piece and another lovely orchestral arrangement, while "Pulse" lives up to its title, with the beat lurking at the base of the piece. String arrangements here often take on quite a rhythmic approach as well, continuing in the line of experimental percussion touches from before. More so than most of their releases, Duality also contains a lot of poetry and recitation within the various songs. Unlike, say, the somewhat overripe efforts of the Moody Blues in past years, ITN's selections and performances match together perfectly; whoever the uncredited male narrator is on "Corruption," he brings a commanding voice to some quite Romantic with a capital "R" lyrics in concert with Dolores Marguerite, as a strong, exquisite musical piece unfolds and builds behind them. In all, another fine album indeed from the brothers Humberstone.

In The Nursery - Duality (flac 252mb)

01 Belle Époque 5:33
02 Always 6:06
03 Red Harvest 4:39
04 Duality 5:15
05 Corruption 4:57
06 I Thorns 4:52
07 II Pulse 2:57
08 III A Valediction 2:08
09 Universe 2:45
10 The Engraver 3:25
11 Mecciano 5:32

In The Nursery - Duality (ogg 102mb)

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In perhaps the only logical development, after years of having their music described as imaginary soundtracks, the Humberstones were approached by a film crew that wanted them to create the music for the titular product. Quite ironically, the film itself, a psychological thriller starring such now well-known names as Stephen Dorff, Anne Heche, and David Arquette, has never in fact been released, even on video. Thankfully, the soundtrack is another matter. As it happens, the album is not in fact a wholly original composition, but at the request of the filmmakers, reworks a number of pieces from Sense and Duality under new titles. The most striking change made by the Humberstones here, originally suggested by the film's music coordinator, was to include trained classical musicians -- Jill Crowther on oboe and Catherine Bassill on cello -- to add to the otherwise all-electronic arrangements. While the effect is subtle -- a tribute to how sophisticated ITN's technology has grown over time -- the blending still adds a certain warmth to many tracks that is quite welcome. On the whole, Ambush is quite subdued at many points, quite possibly reflecting a real need to accentuate a scene instead of dominating it (and without the original film to compare it to, who can say?). Pieces like "Cop Shed" are actually quite un-ITN like, favoring drones instead of the crisp lushness normally expected; unsurprisingly, many songs are carried solely by piano and backing sonic textures, with many low rumbling tones and samples from the film's dialogue accentuating the dark beauty of the soundtrack. The shuffling hip-hop beat and gently haunting keyboards of "Hallucinations?" end this quite fine album well, also look to future projects as Les Jumeaux.

In The Nursery - An Ambush of Ghosts (flac 275mb)

01 After Great Pain 6:37
02 Sedation 4:23
03 Lipstick 2:17
04 Disoriented 2:27
05 Archaize 2:22
06 White Robe 3:53
07 Cop Shed 2:38
08 Running Scene 4:14
09 Christian Returns 4:56
10 Christian Decides 2:47
11 Silk Robe 0:59
12 Sedation 2 3:03
13 Cop House 0:37
14 Funeral Pt 1 5:58
15 Funeral Pt 2 1:28
16 Dear Grover 2:52
17 Casus Belli 5:14
18 Syntonic 3:03
19 The Hidden Fortress 5:36
20 'Hallucinations?' 3:11

In The Nursery - An Ambush of Ghosts (ogg 130mb)

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Hello, F1 got an entertaining end with 3 cars battling for third, upfront Hamilton had an easy race win Rosberg got hasselt by Verstappen one time and the latter finished third only to get demoted (5 sec penalty) for missing the first corner whilst under pressure by Vettel, latter was over the top angry but calmed down after he got to go to the podium after the jury felt pressured by Ferrari to immediately punish Verstappen. Meanwhile Verstappen had blocked Vettel-during the race so that Ricciardo could catch up being sandwiched by the Red Bulls Vettel made an illegal move on Ricciardo, result after the race a 10 sec penalty. A yes when 2 fight over a bone the third will take it home...even if Ricciardo was the least deserving in my eyes. Two more races to go and Rosberg still leading Hamilton with 19 points.....

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

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

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

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

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

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

did U know

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

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Monty Python's Previous Record, the comedy troupe's third studio album, is essentially the best bits from season three of their BBC TV show, re-recorded with extra material specifically designed for vinyl. Released in 1972 on the small Charisma label, the album contains such beloved spoofs as "Pepperpots" and "Dennis Moore," which are undoubtedly best served through a visual medium. The skits made specifically for this album -- "Eclipse of the Sun,""Wonderful World of Sound,""Silly Noises," and "Are You Embarrassed Easily?" -- are genuinely funny at first but tend to sound a bit forced on repeated listening. The troupe would successfully apply a flow similar to that of the television show on its next album, Matching Tie and Handkerchief, which comes close to the audio cut-and-paste lunacy of the Firesign Theatre.

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with

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

201 Monty Python's Previous Record (mp4 194mb)

201 Monty Python's Previous Record (Part 1) 25:24
Embarrassment/A Book At Bedtime
Dennis Moore
Money Programme/Money Song
Dennis Moore Continues
Australian Table Wines/Dennis Moore Song
Argument Clinic
How-To-Do-It Lessons
Putting Budgies Down/Dennis Dum
Fish License/Eric The Half-A-Bee
Radio Quiz Game
Travel Agency

202 Monty Python's Previous Record (Side 2) 20:03
A Massage/Silly Noises Quiz
Miss Anne Elk
We Love The Yangtse/Yangtse Song
A Minute Passed
Eclipse Of The Sun
Alistair Cooke
Wonderful World Of Sounds
A Fairy Tale

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Previously

101 Another Monty Python Record (mp4 212mb)

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Hello,

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

Today's artist is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. He began his career together with Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. As a composer, he influenced Caetano and many others and delivered an expressive body of work through his own discography. A restless thinker, he was adept at modern erudite music experimentations, yet he was always ignored by both industry and audiences until he was discovered by David Byrne. He can be better understood through his self-coined definition: "I don't make art, I make spoken and sung journalism."... ........N'Joy

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Tom Zé, born Antônio José Santana Martins, 11 October 1936 in Irará, Bahia, Brazil. Tom Zé grew up in the small town of Irará, Bahia in the dry sertão region of the country's Northeast. He would later claim that his hometown was "pre-Gutenbergian", as information was primarily transferred through oral communication. As a child, he was influenced by Brazilian musicians such as Luiz Gonzaga and Jackson do Pandeiro. Zé became interested in music by listening to the radio, and moved to the state capital of Salvador to pursue a degree. He later relocated to São Paulo and began his career in popular music there.

Much of his early work involved his wry impressions of the massive metropolitan area, coming as he did, from a small town in the relatively poor northeast. Influential in the Tropicália movement, Zé contributed, along with Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Nara Leão, to the watershed Tropicália album/manifesto Tropicália: ou Panis et Circenses (1968). He also participated in a series of concerts with the musicians. After the Brazilian military government of the 1960s began to crack down on the musicians of Tropicália, Zé moved out of the public eye and began to experiment with novel instruments and composition styles. While the other major figures of Tropicália would go on to great commercial and critical success in later decades, Zé slipped into obscurity in the 1970s and 1980s.

In 1969, he performed in Rio and São Paulo with Gal Costa in the show O Som Livre de Tom Zé e Gal Costa. In 1970, he recorded Tom Zé through RGE. The next year, he opened a music course in São Paulo, Sofist Balacobaco -- Muito Som e Pouco Papo. In 1972, he recorded Tom Zé through Continental, followed by 1973's Todos os Olhos, 1976's Estudando o Samba, and 1977's Correio da Estação do Brás, all for the same label. In 1974, he gave a concert with the band Capote in São Paulo. In 1975, he worked on the Brazilian staging of The Rocky Horror Picture Show as an actor. In 1976, he toured the university circuit with Vicente Barreto. In 1984, he went to RGE, where he released Nave Maria, and Continental re-released 1972's Tom Zé as Se o Caso é Chorar. In all this time, he continued to make sporadic appearances, but was still almost completely ignored by the masses due to his unusual approach to music with plenty of irony, erudite music references, and utilization of self-made instruments. Zé was so depressed that he decided to return to his small hometown to work at his nephew's gas station.

In the early 1990s, Zé's work experienced a revival when American musician David Byrne discovered one of his albums, Estudando o Samba (1975), on a visit to Rio de Janeiro. Zé was the first artist signed to the Luaka Bop label and has so far released a compilation and two albums.His releases there would get favorable reviews in The New York Times, The Village Voice, Rolling Stone, Billboard, and Le Monde, and win a Creativity Award in Telluride, CO. In 1991, his album The Best of Tom Zé was voted the third best album by critics and fourth by the readers of Down Beat. In 1992, he recorded The Hips of Tradition (also on Luaka Bop) and participated in the Zurich Jazz Festival in Switzerland. He then departed for a successful series of tours in Europe and the U.S.

He is the first Brazilian musician to be presented at New York's Museum of Modern Art (1993), and the first Latin American composer to be presented at the Walker Art Center in Minneapolis, MN. He also opened a concert at the London International Festival of Theatre at Queen Elizabeth Hall in London, England. He appeared in concert and at festivals in Canada (Vancouver, Montreal, Edmonton, Saskatoon) and New York, and received 20th Century Artist honors and performed at Summerstage in New York's Central Park. Com Defeito de Fabricacao (Fabrication Defect) In 1994, he worked on the film Sábado (Ugo Giorgetti) and toured through Europe including the Netherlands, Germany, Switzerland, and France.

In 1995 and 1996, he toured the biggest capitals of Brazil. In the same year, he wrote (together with José Miguel Wisnik) the Parabelo soundtrack for Grupo Corpo (a modern ballet company), which brought them the APCA award. In 1998, Com Defecto de Fabricacao (Fabrication Defect) was released by Luaka Bop, followed by Postmodern Platos Remixes to close out the decade in 1999. To begin the new millennium, Warner Music Brazil released one compilation entitled Enciclopédia Musical Brasileira, which was followed by Jogos de Armar in 2000. Grupo Corpo: Sanaugustin, a collaboration with Gilberto Assis, followed in 2002. In 2006 the pair teamed up again for the confusingly titled Santagustin. In 2005, Zé released Estudando o Pagode, and in 2006, Danc-Eh-Sa: Danca dos Herderieros do Sacrificio. Imprensa Cantada 2003 was finally issued in 2007, and in 2010 Luaka Bop released a new album in Estudando a Bossa, as well as a limited-edition 180-gram LP box set containing the albums Massive Hits (Estudando o Samba), Estudando o Pagode, and Estudando a Bossa, as well as a 7" collaborative single with Tortoise and a CD containing a conversation between Zé and David Byrne.

Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter. He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart.

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For those that aren’t familiar with Tom Zé, this is the perfect album to be introduced to his amazing work. Zé is a songwriter, multi-instrumentalist, innovator and composer who was hugely influential in the Tropicália movement of 1960s Brazil. You may hear him described as Brazil’s answer to Zappa or Captain Beefheart; as like them Zé is a true innovator and a true artist.

This, Tom's self-titled second solo album, was originally released by RGE Discos in 1970. Continuing in a similar musical vein to Grande Liquidicao, ‘Tom Ze’ is a wonderful combination of guitars, layered percussion and tough rock ’n’ roll, underpinned by Ze’s instantly recognizable vocal. Ze is infact one of Brazil’s most sampled artists. ‘Jimmy, renda-se’ has one of the most recognisable intro’s you will hear so it was no great surprise that Ameriie sampled it for her smash ‘Take Control’. All in all, another essential record from a true legend of Brazilian music.

Tom Ze - Tom Ze (flac 235mb)

01 Lá Vem A Onda 3:05
02 Guindaste À Rigor 2:46
03 Distância 3:06
04 Dulcineia, Popular Brasileira 2:24
05 Qualquer Bobagem 2:52
06 O Riso E A Faca 4:27
07 Jymmy Renda-Se 3:41
08 Me Dá Me Dê Me Diz 3:12
09 Passageiro 3:09
10 Escolinha De Robôt 2:33
11 Jeitinho Dela 3:57
12 A Gravata 3:43

Tom Ze - Tom Ze (ogg 86mb)

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A surrealistic 1972 album from one of the greatest overlooked geniuses of Brazilian music. Tom Zé is one of the most shining examples of avant-garde invention in Latin music, next to Caetano Veloso and Jorge Ben. This album is more on the downbeat folk singer/songwriter tip than the rigorous avant-garde experimentation of his late-'70s period or his '90s revival. This self-titled album remains, in its own right, an exquisite collection of lyrical twists and delicate bossa nova tunes that should be tracked down by collectors of Tropicalia. Numerous tracks from this album were anthologized on David Byrne's excellent Brazil Classics series, but the album in particular didn't get reissued officially until 2002. The album displays a different side to his quirky genius, with more attention given to the text than to the idiosyncratic rhythm structures which are the signature of his work.

Tom Ze - Se O Caso É Chorar (flac 206mb)

01 Âmbar 4:36
02 Chão De Estrelas 3:38
03 Iluminada 2:14
04 Onde Estará O Meu Amor 3:33
05 Lua Vermelha 3:35
06 O Circo 3:23
07 Uns Versos 3:00
08 Allez Y 3:19
09 Todos Os Lugares 3:31
10 Quando Eu Penso Na Bahia 2:51
11 Ave Maria 3:24
12 Eterno Em Mim 2:12
13 Brisa 1:57

Tom Ze - Se O Caso É Chorar (ogg 86mb)

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The joke with this one is that the album art, which looks like an eyeball, is actually a photo of a marble shoved up someone's anus - a little jab at the Brazilian dictatorship's office of censorship, which apparently didn't recognize a mirror when they saw one. Ze's nutty side comes dancing to the fore here, with some of his more playful, deliberately challenging arrangements. Lots of clinky, clattering percussion, dangling guitar notes and a spiritedly goofy vocal chorus. You may recognize several of these songs from the Luaka Bop collections, but if you like Ze's stuff, the album itself is a must-have, since a lot of this is not collected on the Byrne comps.

Tom Ze - Todos Os Olhos (flac 214mb)

01 Complexo de Epico 1:19
02 A Noite Do Meu Bem 3:06
03 Cademar 0:45
04 Todos os Olhos 3:31
05 Dodo E Zezé 3:59
06 Quando Eu Era Sem Ninguem 3:19
07 Brigitte Bardot 2:57
08 Augusta, Angélica E Consolação 3:45
09 Botaram Tanta Fumaca 2:46
10 O Riso E a Faca 2:43
11 Um Oh E Um Ah 1:02
12 Complexo de Épico 6:46

Tom Ze - Todos Os Olhos (ogg 98 mb)

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Estudando o Samba is a concept album by Brazilian singer Tom Zé, recorded in 1976. Released in 1976, the album didn't receive much attention from the Brazilian press. Estudando o Samba surveys Brazilian music's largest genre, the samba, while approaching the music with the same creativity Zé had shown with his previous album, "Todos os Olhos". Quote ''I don't make art, I make spoken and sung journalism.'

It was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history.

Tom Ze - Estudando o Samba (avi 234mb)

01 Mã 3:56
02 A Felicidade 3:19
03 Toc 2:59
04 Tô 2:50
05 Vai (Menina Amenhâ De Manhâ) 2:19
06 Ui! (Você Inventa) 3:02
07 Doi 3:33
08 Mâe (Mâe Solteira) 3:43
09 Hein? 3:42
10 Só (Solidâo) 4:27
11 Se 2:30
12 Índice 1:26

Tom Ze - Estudando o Samba (ogg 101mb)

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Hello,

Today's artists were a Scottish post-punk band founded in the Glasgow suburb of Bearsden as the Nu-Sonics in 1976. Edwyn Collins formed the Nu-Sonics (named after a cheap brand of guitar) with his school-mate Alan Duncan and was subsequently joined by James Kirk and Steven Daly. The quartet renamed itself Orange Juice in 1979, adopting the new moniker as well as an aura of romantic innocence as a direct reaction to the increasingly macho aggression of punk.
......N'Joy

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The leaders of the Scottish neo-pop uprising Orange Juice formed in Glasgow in late 1976. Originally dubbed the Nu-Sonics, the group comprised vocalist/guitarist Edwyn Collins, guitarist James Kirk, bassist David McClymont, and drummer Steven Daly; following the formation of the Postcard label by Collins protégé Alan Horne, the quartet renamed itself Orange Juice in 1979, adopting the new moniker as well as an aura of romantic innocence as a direct reaction to the increasingly macho aggression of punk.

You Can't Hide Your Love Forever As Postcard's flagship band, Orange Juice quickly distinguished the label as a leading proponent of independent pop music; their 1980 debut single "Falling and Laughing," recorded for less than 100 pounds, garnered massive critical acclaim, and subsequent releases like "Blueboy,""Simply Thrilled Honey," and "Poor Old Soul" further established the group as a major new talent. Soon, sessions began for a full-length album; however, in the midst of recording, Orange Juice left Postcard to sign to Polydor, which funded the LP's completion. After the 1982 release of the album, titled You Can't Hide Your Love Forever, ex-Josef K guitarist Malcolm Ross joined the group, hastening the exit of Kirk and Daly (who went on to form Memphis) and paving the way for Zimbabwe-born drummer Zeke Manyika.

The addition of Manyika gave Collins the new capability of exploring a more complex fusion of pop and blue-eyed soul; consequently, 1982's Rip It Up was a more ambitious affair than its predecessor, veering from the buoyant Motown tribute "I Can't Help Myself" to the energetic pop of the title track, Orange Juice's lone Top Ten single. However, subsequent releases failed to chart, and relations between the group and Polydor began to disintegrate; amid these tensions, both Ross and McClymont quit, with Ross later resurfacing in Aztec Camera. Reduced to the duo of Collins and Manyika, Orange Juice enlisted reggae producer Dennis Bovell to record the 1984 EP Texas Fever.

After a makeshift tour, Collins and Manyika returned to the studio to record a dark, ambitious full-length effort; released in 1984, neither The Orange Juice nor its singles "What Presence?!" and "Lean Period" charted, and Collins was dropped from his contract, although Polydor kept Manyika on as a solo act. Only in 1995 did the stunning single "A Girl Like You" finally win Collins the commercial respect that had so long eluded him and his former bandmates. Later on, throughout the late '90s and early 2000s, the rise of Scottish bands as disparate as Belle & Sebastian and Franz Ferdinand won Orange Juice a younger set of fans, helped in part by the 2005 early work compilation The Glasgow School. Then in 2010 the Coals To Newcastle boxset (a 6cd last word) was released.

In a BBC 6 Music radio interview on 18 February 2005, Collins said he felt unwell, but ascribed the nausea and vertigo to food poisoning. Two days later, he was admitted to intensive care in London's Royal Free Hospital after apparently suffering a major cerebral haemorrhage. After suffering a second haemorrhage he had an operation on 25 February 2005, which was followed by a lengthy programme of neurological rehabilitation owing to right-sided weakness and difficulty with speech. The aphasia he suffered allowed him to repeat only four phrases, over and over again: "yes", "no", "Grace Maxwell" (his wife's name) and "the possibilities are endless". Collins released his sixth solo album, entitled Home Again, in September 2007 on Heavenly Records. The album was recorded before his illness but mixed after his discharge from hospital. While still recovering, Collins returned to singing live, including playing a gig at The Arts Theatre in London, UK.

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After leaving Postcard Records and convincing Rough Trade to finance the sessions, Orange Juice ended up signing to Polydor for their 1982 debut album, You Can't Hide Your Love Forever. Made up of a couple re-recordings of brilliant songs from early singles ("Falling and Laughing,""Felicity"), cleaned-up versions of songs from the demo, and a few new tracks, the album is a slick, tuneful slice of early-'80s pop that's catchy and bright, and only slightly overcooked. Both Edwyn Collins and James Kirk could have retired after this album and been secure in the history books as two of the finest songwriters of the era. Kirk's "Three Cheers for Our Side" and "Felicity" are brilliantly odd and hooky songs that sound unlike anything anyone else was doing at the time; Collins' songs are reliably witty, cutting, and romantic with lovely choruses. "Falling and Laughing" is timeless pop, "Tender Object" is rippingly good dance-punk, his ballads are heartbreaking ("Untitled Melody,""In a Nutshell"), and "Consolation Prize" takes the prize for hilarity ("I wore my fringe like Roger McGuinn's/I was hoping to impress/So frightfully camp it made you laugh/Tomorrow I'll buy myself a dress"). Not too many other folks were writing songs like these, either. Add some excellent guitar interplay between Kirk and Collins and a strong rhythm section to the mix and you've got something that seems hard to mess up. Unfortunately, some of the production choices come close to wrecking things, as the tinkling pianos and backing vocalist can come on a little strong at times. The glossy finish given to the album is also a giant leap from the scrappiness of their early sound, though its effects are lessened by the exuberant energy the band plays and sings with at all times. These criticisms aside, once one accepts that the arty punks Orange Juice started off having fully embraced the sophisticated pop side of the world, then it's easy to see that You Can't Hide Your Love Forever is one of the best examples of early-'80s pop there is. That it's the one and only album the team of Collins and Kirk made before splitting only makes it all the more essential to own.

Orange Juice - You Can't Hide Your Love Forever (flac 421mb)

01 Falling And Laughing 3:51
02 Untitled Melody 2:07
03 Wan Light 2:24
04 Tender Object 4:25
05 Dying Day 3:00
06 L.O.V.E. Love 3:34
07 Intuition Told Me, Pt. 1 1:10
08 Upwards And Onwards 2:28
09 Satellite City 2:41
10 Three Cheers For Our Side 2:50
11 Consolation Prize 2:53
12 Felicity 2:35
13 In A Nutshell 4:20
14 Intuition Told Me, Pt. 2 3:18
15 Moscow 2:03
16 You Old Eccentric 2:42
17 Two Hearts Together (10" Version) 4:06
18 I Can't Help Myself (7" Version) 3:31
19 Tongues Begin To Wag 4:15
20 Barbeque 4:51

Orange Juice - You Can't Hide Your Love Forever (ogg 149mb)

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After releasing their first album in February of 1982, Orange Juice were struck with their usual batch of bad luck. First drummer Steven Daly and guitarist James Kirk, whose songwriting efforts were crucial to the band, left; then the label pressed them to follow up with a new album as soon as possible in order to cash in on their fading buzz. After adding ex-Josef K guitarist Malcolm Ross and drummer Zeke Manyika, they headed back to the studio and Rip It Up was released a mere ten months later. The album reflected the lineup change and quick turnaround quite a bit. In the search for material, Manyika contributed two songs with an Afro-pop influence ("A Million Pleading Faces" and "Hokoyo") and Ross brought a sprightly song he wrote while in Josef K ("Turn Away"), and while they are all good efforts, they don't measure up to Kirk's contributions. Edwyn Collins went back to a couple old songs and revamped them for the album, turning "Breakfast Time" into a weirdly reggae-influenced ballad and "Louise Louise" into a jaunty, jazz-influenced trifle. He also took a song from the very earliest incarnation of the band as the Nu-Sonics and stretched it out into the overly long "Tenterhook." So far not the makings of a great album, but the rest of the songs turn the tables almost completely. "Mud in Your Eye" is a sweet little soul crooner with heartfelt guest vocals from Paul Quinn, "Flesh of My Flesh" is a bouncy tropical pop song that shows Haircut 100 how it really should be done, and "I Can't Help Myself" gives the Four Tops a run for their money in the hooks department. Best of all is the title track, a timeless indie dance classic that rode an impossibly catchy synth bassline, infectious handclaps, and one of Collins' best lyric/melody combos right to the top of the charts. Despite these moments of genius, the album is an uneven and frustrating listen that proves you can't rush a band into making great art. And despite the frustrating nature of the album, Rip It Up is definitely still worth checking out for the moments of brilliance and the overall sound Orange Juice deliver even in their weakest moments.

Orange Juice - Rip It Up (flac 491mb)

01 Rip It Up 5:20
02 A Million Pleading Faces 3:16
03 Mud In Your Eye 3:48
04 Turn Away 3:29
05 Breakfast Time 5:11
06 I Can't Help Myself 5:07
07 Flesh Of My Flesh 3:13
08 Louise Louise 2:56
09 Hokoyo 5:07
10 Tenterhook 5:05
11 Rip It Up (12" Version) 3:54
12 Snake Charmer 4:46
13 Lovesick (Re-recording) 2:15
14 Flesh Of My Flesh (7" Version) 3:16
15 Lord John White And The Bottleneck Train (12" Version) 4:43
16 Flesh Of My Flesh (12" Version) 4:19
17 All That Ever Mattered 7:26

Orange Juice - Rip It Up (ogg 183mb)

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By the time Orange Juice headed into the studio to record their third album, they were coming off the biggest hit of their career (the "Rip It Up" single), but also in classic OJ timing, splintering into two parts as well. When they left the studio some time later, the album had become an EP and two of the members (guitarist Malcolm Ross and original bassist David McClymont) had flown the coop. Despite the tumult, the resulting music is textbook OJ guitar pop that brims with shiny hooks, snarkily sophisticated lyrics, and bubbling rhythms. Edwyn Collins turns in the usual clutch of witty, impossibly catchy songs that really sound like hits, but somehow ended up misses instead. "Bridge" should have ridden its highly danceable grooves, raging guitar leads, and corny handclaps to the top of the charts; "Craziest Feeling" has wonderfully peppy verses that should have endeared it to the masses; and "The Day I Went Down to Texas" is a typically classy track with a brilliantly placed double-time chorus that simply screams Motown in the best non-copycat way. The other three songs aren't far off the pace either, with a lovely Hi Records-inspired ballad ("A Place in My Heart"), a little jittery disco-punk ("Punch Drunk"), and a downcast yet still wonderfully melodic and romantic track ("A Sad Lament") all sounding great. Texas Fever may have been born of discord and frustration, but no matter. It's still classic Orange Juice, and that means it's right up there with the best music the post-punk era had to offer.

Orange Juice - Texas Fever (flac 406mb)

01 Bridge 3:39
02 Craziest Feeling 3:02
03 Punch Drunk 3:34
04 The Day I Went Down To Texas 2:42
05 A Place In My Heart 3:02
06 A Sad Lament 4:45
07 Out For The Count 4:45
08 Bridge (Summer '83 Version) 3:28
09 Poor Old Soul (Re-recording) 3:14
10 Leaner Period 3:47
11 Move Yourself 3:14
12 The Day I Went Down To Texas (Flexi Version) 2:54
13 Craziest Feeling 3:03
14 Bridge 3:36
15 The Day I Went Down To Texas 2:44
16 A Place In My Heart 3:00
17 Out For The Count 3:56
18 Punch Drunk 3:33

Orange Juice - Texas Fever (ogg 145mb)

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After the group splintered yet again during the recording of what turned out to be the Texas Fever EP, Orange Juice returned as the duo of Edwyn Collins and Zeke Manyika to craft maybe the most satisfying album of their too-short career. Working with producer Dennis Bovell for the most part, the record sounds great from start to finish. Highly polished mid-'80s pop with plenty of dubby bass (provided by Clare Kenny), inventive rhythms, and some of Collins' best vocal work, the record is a sophisticated, diverse, and mature work that easily stands the test of time, even if it was somewhat dismissed at the time of release. Collins also managed to craft an incredible batch of songs that range from the laid-back grooves of tracks like the self-effacing "I Guess I'm Just a Little Too Sensitive" and the guitar-heavy and determined-sounding "What Presence?!" to charging rockers like "The Artisans" and "Salmon Fishing in New York," with plenty of introspective ballads that suggest Collins was doing a bit of soul-searching at the time. Indeed, his decision to pack up the band and head out as a solo act soon after the album's less-than-heralded release seems to bear this out. Titles like "Lean Period" and "Get While the Gettings Good" make it clear, so does the elegiac "All That Ever Mattered," which sounds like nothing less than a lovesick ode to bandmembers come and gone. Orange Juice may be the group's swan song that came too soon; it's also an excellent example of why people still care about the band years later.

Orange Juice - The Orange Juice (flac 469mb)

01 Lean Period 3:20
02 I Guess I'm Just A Little Too Sensitive 3:51
03 Burning Desire 3:35
04 Scaremonger 3:41
05 The Artisans 2:24
06 What Presence? 3:57
07 Out For The Count 3:54
08 Get While The Gettings Good 3:35
09 All That Ever Mattered 4:19
10 Salmon Fishing In New York 3:05
11 What Presence?! (12" Version) 4:07
12 A Place In My Heart (12" Dub Version) 3:09
13 In A Nutshell (Live) 4:00
14 Simply Thrilled Honey (Live) 3:31
15 Dying Day (Live) 3:17
16 Bury My Head In My Hands 3:12
17 Lean Period (12" Dub Version) 4:08
18 Rip It Up (Live) 3:26
19 What Presence?! (Live) 4:10
20 Burning Desire (''Alexis'' Mix) 3:30
21 All That Ever Mattered (Alternative Version) 4:21

Orange Juice - The Orange Juice (ogg 173mb)

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Hello,

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

Looka here another batch of 26 re-ups, requests fullfilled up to October 27th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search ...N' Joy

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4x Sunbdaze Back in Flac ( Boards Of Canada - Closes Volume 1, Boards Of Canada - Twoism (Original), Boards Of Canada - Hi Scores, Boards Of Canada ‎- Music Has The Right To Children)

3x Sundaze Back in Flac ( Bark Psychosis - Scum, Bark Psychosis - Hex, Bark Psychosis - Codename:Dustsucker)

1x Aetix NOW in Flac (Eno/Byrne - My Life In The Bush Of Ghosts)

3x Beats Back In Flac (Transwave - Hypnorhythm, Transwave - Helium, Transwave - Phototropic)

3x Beats Back in Flac (Hallucinogen - Twisted Target, Hallucinogen - The Lone Deranger, Hallucinogen - In Dub)

5x Groove NOW in Flac (Was (Not Was) - Was (Not Was), Was (Not Was) - Woodwork Squeekes, Kid Creole - Tropical Gangsters still in ogg Cristina - Cristina, VA - Mutant Disco vol 1)

2x Roots Back in Flac (Toots & The Maytals - In The Dark, The Abyssinians - Satta Massagana )

5x Sundaze NOW in flac ( Hector Zazou - Songs from the Cold Seas, Biosphere - Substrata - Man With A Movie Camera , Mari Boine - Eight Seasons, Huun-Huur-Tu - Best-Live)

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Hello,

Today's artists are one of the most commercially successful funk groups of the '70s, the multi-racial band are today best remembered for launching the career of soul diva Chaka Khan, whose fiery lead vocals were easily the band's focal point. Powered by Khan -- who was eventually billed in addition to the group -- and an unerring sense of groove, the band scored an impressive string of hit singles on both the pop and R&B charts, which lasted through the '70s and up to Khan's official departure in 1983... ..... N'joy

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In 1968, The American Breed (Gary Loizzo, Al Ciner, Charles (Chuck) Colbert and Lee Graziano) had a top ten hit with the classic rock single, "Bend Me, Shape Me". After much success, Colbert and Graziano (without Loizzo who pursued a successful production career) created a new group, adding latter day "Breed" members Kevin Murphy on (keyboards) and Paulette McWilliams (vocals), plus James Stella (vocals) and Vern Pilder (guitar) from the bar band "Circus". They re-emerged in 1969 under the name "Smoke". In 1970, after switching their management to Bob Monaco and Bill Traut, the group's name changed again to "Ask Rufus", the name taken from the title of the advice column in Mechanics Illustrated. At this point, Ciner came back to replace Pilder and Willie Weeks was added on bass after Colbert left.

In 1971 the band signed a contract with Epic Records recording an album that wasn't released after which Epic dropped their contract in early 1972. Willie Weeks was in turn replaced by Dennis Belfield, James Stella by keyboardist/vocalist Ron Stockert and Lee Graziano by Andre Fischer (former drummer with Curtis Mayfield and Jerry Butler). Paulette McWilliams and Chaka Khan had met and became the best of friends through their spouses Howard Towles and Hassan Khan. Chaka would come to most of Ask Rufus gigs when they were performing in Chicago. When Paulette decided she was leaving Ask Rufus, she went to the band and told them she had the perfect singer to replace her; she had also asked Chaka if she was interested. After the band members hesitantly submitted, Paulette remained with Ask Rufus for a few more weeks to teach Chaka all of their material. Paulette also got Chaka a gig with the group formed by Chicago's Cash McCall called Lyfe. Chaka had been performing at the Pumpkin Room on the south side of Chicago, with a local Chicago group called Lock and Chain, led by drummer Scotty Harris.

Bob Monaco was part of a booking company known as Ashley Famous with Jim Golden, they booked Ask Rufus, with Paulette McWilliams and also The Rotary Connection with Minnie Riperton. Monaco was also responsible for helping to get Ask Rufus their deal on ABC Dunhill. Monaco returned to Los Angeles, convinced the label to give him a demo budget and then quickly returned to Chicago where the group recorded eleven songs in two days at Marty Feldman's Paragon Studios. After taking the demo tapes back to ABC Dunhill the group was immediately asked to sign a long term recording contract.

Khan, who at eighteen was still a minor, had to have her mother sign along with her, even though as a married woman (newly wed to Hassan Khan, a bassist of one of her former bands), she could have done the deed herself. The group then drove to Los Angeles and recorded their first "Rufus" album at Quantum Recording Studios in Torrance, California, released in 1973. While the songs "Whoever's Thrilling You (Is Killing Me)" and "Feel Good" (both featuring Khan) brought the group some attention from R&B radio stations, the album itself had minimal sales, and the Stockert-led "Slip & Slide" failed to catch major attention from pop radio.

The group quickly re-entered the same studio to record their follow-up album Rags to Rufus that included the Stevie Wonder song "Tell Me Something Good", Ray Parker Jr.'s and Khan's "You Got The Love" and Dennis Belfield's "In Love We Grow", along with "Smokin' Room". Ciner and Belfield would leave the group shortly thereafter along with Stockert, who was replaced by Los Angeles-based keyboardist Nate Morgan. Additionally, Tony Maiden and bassist Bobby Watson, also from Los Angeles, were recruited by drummer Andre Fischer and asked to join the group as well. Maiden's, Watson's and Morgan's addition to Rufus added a unique sound to the group, bringing a stronger funk and jazz influence to complement Chaka's now emerging powerful lead vocals.

Rags to Rufus was released in 1974 and two of its singles — the Stevie Wonder-penned "Tell Me Something Good" and the Parker-Khan composition, "You Got the Love"— became smash hits leading to Rags to Rufus going platinum and also landed them opening spots for the tours of several top stars including Stevie Wonder, Cheech and Chong and the Hues Corporation. "Tell Me Something Good" also brought Rufus their first Grammy Award. In addition, it sold over one million copies, and was awarded a gold disc by the RIAA on August 9, 1974.[1] Due to Khan's increasing popularity Rufus and ABC started calling the group Rufus Featuring Chaka Khan. With this new billing, the band recorded and quickly released their next album, Rufusized in 1974. Another platinum success, the group entered the top ten again with the funk singles, "Once You Get Started", (penned by Gavin Christopher), "Stop on By", "I'm a Woman", and "Pack'd My Bags" (later sampled for Jody Watley's "Lovin' You So") and "Please Pardon Me (You Remind Me of a Friend)", penned by their friend Brenda Russell.

Heading into 1975, the group headlined their first major tour, with Khan attracting attention in concert reviews for her powerhouse vocals and sexy attire — so much so that when it came to do photo sets, Khan was often the only artist chosen to be featured on covers, mainly on magazines such as Jet, which Khan would be heavily featured on throughout her long career. Also due to her off-stage antics that added to her on-stage persona, the media billed Khan as "the wild child". Due to Khan's vocal power and sex appeal, she was often compared to Tina Turner, with some rock and soul press labeling her a "pint-sized Tina", and also to Aretha Franklin (her friends called her "little Aretha"). Attention to Khan began to make things difficult for some of the group's members as they felt Khan's presence had overshadowed the entire band's output. The group's fourth release, and the third major release where Khan was dominant lead singer, Rufus Featuring Chaka Khan, was released in 1975. The major hit off the album was a compositon by Khan and Tony Maiden titled "Sweet Thing" which reached the top five of the charts[3] and became their fourth record to reach gold.

Despite the album's success as well as a second successful major tour that followed, it still didn't stop growing tensions within the group, particularly between Khan and longtime Rufus drummer Andre Fischer. During recording sessions of Ask Rufus, Khan had married Richard Holland (she had divorced her first husband Hassan Khan in 1974 prior to the birth of their child Milini), and the presence of Holland only made things worse between Khan and Fischer. During one session of Ask Rufus, Fischer engaged in a fight with Holland, who received help from a counter-attacking Khan. Ask Rufus would be released in 1977 and include the hits "At Midnight (My Love Will Lift You Up)", "Hollywood" and "Everlasting Love". Following a tour to promote Ask Rufus, Fischer finally left the group. He was followed out of the group by Nate Morgan. They were replaced by Richard "Moon" Calhoun and David "Hawk" Wolinski, respectively. The new lineup recorded the album, Street Player, which featured the Khan-composed ballad, "Stay". After first putting it off as a rumor, Khan confirmed to media reports that she was going solo, signing a deal with Warner Bros. Records. The decision strained relations between Khan and the other Rufus members. Khan released her self-titled debut later in 1978. The album sold more than Street Player, going platinum, thanks to the international Ashford & Simpson-composed single, "I'm Every Woman". Khan continued to promote the album into 1979. In early 1979, Calhoun would be replaced by John "J.R." Robinson as the group's drummer in 1979.

Following the Calhoun replacement, another change came when ABC Records got absorbed by MCA, bringing the group to MCA as a result. While Khan promoted Chaka, Rufus put out a less favorably received Khan-less album, Numbers, which tanked. Khan returned to record with the band for the Quincy Jones-produced Masterjam. By now, Rufus and Khan were split in two, both acts being treated separately. Khan's superstardom helped Masterjam go gold thanks to the funk-laden disco recording, "Do You Love What You Feel".

Though Khan would later say that she was ready to leave Rufus upon the time she released Chaka in 1978, she discovered that she had two more albums left in her ABC/MCA contract with the band and agreed to fulfill her obligations. Following Masterjam, one of the contractual albums, and another Khan-less album, Party 'Til You're Broke, which bombed, the factions of Rufus and Khan reunited for their last MCA album, Camouflage in 1981. The feelings of long overdrawn bad tensions were felt during album sessions. This resulted in situations where Khan would either record her vocals alone to a click track prior to the band's instrumentation being added later, or vice versa.

Unfortunately, the album failed to garner attention, mainly due to Khan's solo obligations, which now included two more gold-certified studio albums, Naughty and What Cha' Gonna Do for Me. With the release of Camouflage, Khan was free to leave the group, and following her exit in early 1982, the remaining members of Rufus released what became their final studio album, Seal in Red in 1983 which, like their previous albums, went unnoticed.

Rufus band members sensed that their tenure was over and agreed to split on the terms they release one last live album to commemorate the occasion. The band asked Khan to contribute to their final concert performance which would be filmed by Warner Bros., and she obliged, reuniting with the group for what was to be later released as a documentary film titled Stompin' At the Savoy. For some reason, Warner Bros. refused to release the film at that time and released only the live album instead. However the concert has since been released to home-video with remastered picture and remixed 5.1 Dolby Surround sound.

The album included four Khan-led studio songs, including a Dave Wolinski composition titled "Ain't Nobody", which got attention when a producer for the film, Breakin' heard it while screening songs for the movie's soundtrack. Warner eventually released the song (with the billing Rufus and Chaka Khan) and the song became a top 30 Billboard Hot 100 hit, reaching number-one on the R&B chart and hitting number eight on the UK singles chart. The success of the track led to the band receiving its second Grammy Award for Best R&B Performance by a Duo or Group with Vocals.

Following this success, Rufus went their separate ways for good with Khan continuing her solo career, becoming one of the most revered R&B artists of her generation with the release of the single "I Feel for You" cementing her reputation.

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In many respects the group seems to be feeling their way through this. Luckily, Rags to Rufus does feature some can't-miss propositions. The great rock and funk mix of "You've Got the Love" all but sums up what Chaka Khan was going to be doing for the long haul. The biggest hit here, "Tell Me Something Good," is a rare instance of an artist like Stevie Wonder giving away a tune that he could have had a big hit with himself. That being said, it was Khan's playful and sensual vocal that put it over the top. The songs that veer from the formula suffer the most on Rags to Rufus. The cutesy "I Got the Wrong Street" and the saccharine "Walkin' the Sun" are duds. Even early on, Khan needed songs that were complicated either lyrically or musically. On Ashford & Simpson's "Ain't Nothin' but a Maybe," Khan displays the maturity and knowing that it took to make the song have that much more emotional weight. Rags to Rufus ends on a relaxing note with the tracks, "Look Through My Eyes,""In Love We Grow," and the sultry "Smoking Room." This album is far from perfect, but it's certainly representative of the band's gifts and Khan's vocal power.

Rufus Feat Chaka Khan - Rags To Rufus (flac 263mb)

01 You Got The Love 4:38
02 I Got The Right Street (But The Wrong Direction) 3:14
03 Walkin' In The Sun 2:59
04 Rags To Rufus (Instrumental) 4:02
05 Swing Down Chariot 4:21
06 Sideways (Instrumental) 1:44
07 Ain't Nothin' But A Maybe 3:33
08 Tell Me Something Good 4:36
09 Look Through My Eyes 3:07
10 In Love We Grow 2:36
11 Smokin' Room 4:20

Rufus Feat Chaka Khan - Rags To Rufus (ogg 97mb)

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In the early '70s, Rufus was one of the most popular and interesting bands in R&B and rock. Of course, the reason was Chaka Khan, who possessed an amazing voice that was well versed in rock and jazz every bit as much as R&B. Their debut went nowhere, Rags to Rufus offered two instant classics, and Rufusized displayed their skill as album artists. Truth be told, this version of Rufus was nearly a brand-new band, as three members exited and guitarist Tony Maiden and bassist Bobby Watson joined up. The result was a funkier and more talented band who would give Khan the needed earthy and ethereal mix that would make her soar. The sexy and danceable "Once You Started" proves that this version of the band gave off immediate sparks and results. The sneaky and funky "Somebody's Watching You" has Khan displaying even more confidence. After great album cuts like the soothing "Your Smile" and "Pack'd My Bags," Rufusized ends on a strong note. The poignant and sophisticated "Please Pardon Me (You Remind Me)" leads into the Maiden and Khan duet cover of Bobby Womack's "Stop on By," which nearly matches the steaminess and wry nature of the original. Often forgotten due to the bigger hits on Rags to Rufus, this easily outstrips that album and became of one the band's most-loved efforts.

Rufus Feat Chaka Khan - Rufusized (flac 223mb)

01 Once You Get Started 4:28
02 Somebody's Watching You 3:12
03 Pack'd My Bags 5:06
04 Your Smile 3:23
05 Rufusized 3:13
06 I'm A Woman (I'm A Backbone) 3:17
07 Right Is Right 3:13
08 Half Moon 3:15
09 Please Pardon Me (You Remind Me Of A Friend) 3:00
10 Stop On By 4:53

Rufus Feat Chaka Khan - Rufusized (ogg 89 mb)

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Although this effort doesn't have the epiphanies of 1974's Rufusized, Rufus Featuring Chaka Khan has them becoming more established as one of the best bands in R&B and pop. The first track, Gavin Christopher's "Fool's Paradise" displays Khan's skill at screaming notes and making complex ideas sound simple, and vice versa. That art is put to work throughout Rufus Featuring Chaka Khan. "Everybody's Got an Aura" surely could be dismissed as babble but Khan gives the sentiments a ring of truth even as she shouts, "Everybody's got karma!" The lilting yet propulsive "Circle" has great bass work from Bobby Watson as Khan sings likeable and spacy lines, the best being, "My love is like a zero/It is nothing and everything." The albums biggest track, the smoldering "Sweet Thing," has Tony Maiden's gentle guitar and Kevin Murphy's economical electric piano chords. The song is arguably the group's best as Khan's bittersweet vocal provided a standard many singers have attempted to approximate to no avail. The party starters "Have a Good Time" and "Dance Wit Me" both tread familiar ground and pale in comparison to the classic "Once You Get Started." The last track, a cover of "Jive Talking," is inexplicably slowed to a crawl, therefore, diminishing its appeal. Rufus Featuring Chaka Khan perfectly captures their unconventional sound and features Tower of Power on horns and Clare Fischer's string arrangements. This album is one of their best and is recommended.

Rufus Featuring Chaka Khan - Rufus (flac 239mb)

01 Fool's Paradise 4:40
02 Have A Good Time 3:20
03 Ooh I Like Your Loving 3:39
04 Everybody Has An Aura 3:46
05 Circles 3:56
06 Sweet Thing 3:19
07 Dance Wit Me 3:57
08 Little Boy Blue 5:04
09 On Time 3:31
10 Jive Talkin' 3:34

Rufus Featuring Chaka Khan - Rufus (ogg 83mb)

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Rufus was one of the most respected groups in the '70s and '80s. Although lead singer Chaka Khan's charismatic vocals were their drawing card, few outfits boasted the skill as Rufus as a band. Songs like "Please Pardon Me,""Sweet Thing," and "Fool's Paradise" are a few of the tracks that displayed the perfect marriage. This 1977 effort is the follow-up to 1975's Rufus Featuring Chaka Khan. Ask Rufus has the group doing more sophisticated and constantly challenging work with an accent on evocative ballads. The effort's lone dance track "At Midnight (My Love Will Lift You Up) has the band going for more subtlety. The jazzy "Close the Door" has a confident and gentle vocal from Khan and a beautiful string arrangement from Clare Fischer who offered them throughout this effort. The well-arranged "Earth Song" could be called botched poesy with lyrics like, "Stars what a mystical woman that you've made me," but Khan's charm keeps it from being an overstatement. The best track, the evocative and sensual "Everlasting Love" has great bass and guitar interplay from Bobby Watson and Tony Maiden, respectively, and an appealing earthy and ethereal vocal from Khan. The much loved "Hollywood" has just gotten stronger, with lines like, "Fixed expressions/Smiles worn thin" exhibiting a surprising and apropos world-weary view. The most ambitious song, the evocative "Egyptian Song," has Middle Eastern motifs and a compelling vocal from Khan that pulls it all together. With great keyboard signatures from Kevin Murphy and David "Hawk" Wolinski and Andre Fischer's steady and judicious drumming, Ask Rufus is one of their best albums.

Rufus Featuring Chaka Khan - Ask Rufus (flac 196mb)

01 At Midnight (My Love Will Lift You Up) 4:20
02 Close The Door 3:24
03 Slow Screw Against The Wall - A Fry 2:17
04 Earth Song 5:23
05 Everlasting Love 4:45
06 Hollywood 4:09
07 Magic In Your Eyes 3:52
08 Better Days 4:16
09 Egyptian Song 5:09.

(ogg mb)

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Hello,

Today's artists are an English neoclassical dark wave/martial industrial band, known for their cinematic sound. The duo has provided soundtracks to a variety of TV programmes and films, and is known for its rescoring of silent films..... N'Joy

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Formed in Sheffield, England by brothers Klive and Nigel Humberstone in 1981, In the Nursery explored a strange fusion of industrialized military rhythms and classical and film soundtrack music. Devoted more to the former in their early years, the band debuted in 1983 with the mini-album When Cherished Dreams Come True, also contributing to several compilations over the next two years. After the 1985 Temper EP, the group's initial lineup had evaporated, leaving only the Humberstone brothers to record their first full-length effort, 1986's Twins, which began to explore classical influences in greater depth. Percussionist Q and French bilingual vocalist Dolores Marguerite C were added for 1987's Stormhorse, which was intended to resemble the soundtrack to an imaginary film. 1988's Koda continued in this vein; in 1989, Wax Trax! released a compilation of the band's early work entitled Counterpoint.

Following the collapse of Sweatbox, the band moved to Third Mind Records to complete the delicate L'Esprit. In the Nursery altered its approach somewhat for the more graceful, refined L'Esprit, on which Dolores Marguerite C's vocals played a prominent role for the first time. The album was recorded with engineer Steve Harris who had contributed to Köda and would feature on all the band's subsequent releases. Sense and Duality were followed by a logical progression to real soundtrack work on 1993's psychological drama An Ambush of Ghosts. Their music has also featured in Interview with the Vampire, Street Fighter II: The Animated Movie, and The Rainmaker. In the late 90s the band was commissioned, as part of the Optical Music Series, to provide new scores for the silent classics The Cabinet of Dr. Caligari, Asphalt, and Man with a Movie Camera. Anatomy of a Poet, a concept album about the creative psyche, featured author Colin Wilson reciting romantic poetry against a lush backdrop of strings, and also included a cover version of Scott Walker's "Seventh Seal".

A retrospective compilation of their work was the first release on their own ITN Corporation label. Further concept albums have included Deco (inspired by the Art Deco movement) and the ambitious Lingua, an exploration of language featuring vocal contributions from around the world. The Humberstones also record more dance-oriented material under the Les Jumeaux moniker, and as such were involved in pre-production work on Sabres of Paradise's classic techno anthem "Smokebelch".

The 2011 release Blind Sound is a more consistently dark album from the Humberstone brothers and features more real percussion than previous releases. It was followed a year later by The Calling which featered Simon Beckett. In 2015 they scored a 1928 silent movie about Edger Poe's tale The Fall Of The House Of The Usher.

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A striking new phase in In the Nursery's career began with this album, first in what the band terms the "Optical Music Series," commissions to create new soundtracks for silent films. Allowing brother Klive and Nigel Humberstone the further chance to create cinematic music -- something they always seemed destined to do -- was an inspired touch on the part of the British film society who placed the request, and which the brothers fulfilled in spades. Working here without any of the their regular side players, the Humberstones create a rich, lovely soundtrack that fits in well with their other work while still being distinctly different. The film itself is regarded as one of the classics of early cinema, and has had a number of soundtrack interpretations over the years; ITN's entry begins with a nice touch -- the sound of a film threading through its projector -- before beginning the seamless series of pieces making up the album as a whole. Much like the soundtrack for Ambush, The Cabinet of Dr. Caligari has few songs that specifically stand out on their own, instead providing a general mood-setting ambiance which carries through the album. Predominantly consisting of explicitly electronic as opposed to symphonic synth compositions (though such elements do crop up throughout), the soundtrack carefully suggests the action without being explicit or overwrought, as with the distorted samples of carnival music on "Fairground." Gentle basslines and echoed percussion sounds come to the fore as well, with a bell-like chime acting as a running motif throughout to tie everything together, and atonal or grating tones are worked into the mix at times to suggest the growing unease and nightmarish quality of the film as it progresses (and which at times seem to slightly echo another classic electronic soundtrack to a dark film, Vangelis' work for Blade Runner). In sum, quite a fine start to ITN's new line of work.

In The Nursery - The Cabinet of Doctor Caligari (flac 258mb)

01 Opening 1:44
02 Act I 3:08
03 Town Hall 2:49
04 Fairground 2:46
05 Act II 3:51
06 Das Kabinet 4:38
07 Holstenwall 5:36
08 Somnambulist's Prophecy 3:20
09 Doctor's House 3:16
10 After The Funeral 6:25
11 Police Station 5:58
12 Caligari Sleeps 7:40
13 Sanitarium 4:28
14 Ende 2:24

In The Nursery - The Cabinet of Doctor Caligari (ogg 110mb)

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This album is limited release for the Brazilian to introduce ITN work from Stormhorse to Scatter period. They play their trademark classically influenced sound for imagine movie soundtrack. The atmosphere is really wonderful and excellent soundtrack-like music but not boring. If you are the first time know In the nursery. This album can give you partial musical introduction of ITN.

In The Nursery - Composite (The Brazilian Issue) (flac 373mb)

01 Libertaire 4:32
02 Belle Epoque (Scatter Mix) 5:40
03 The Pearl 5:02
04 Harmonia 2:46
05 A Rebours 4:13
06 To The Faithful 4:47
07 Te Deum 3:11
08 Retaliation 4:44
09 Judgement Of Paris 4:34
10 Miracle Of The Rose II 2:33
11 Triumph 1:16
12 Burnished Days 2:24
13 Sesudient 4:21
14 Elegy 6:41
15 Always (Strive To Be) 6:01
16 Anatomy Of A Poet (Instrumental) 4:33

In The Nursery - Composite (The Brazilian Issue) (ogg 141mb)

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Embracing rhythms as the key sonic signature for this album (thus the title in part), on Groundloop, In the Nursery bring over a bit of their more experimental side from Les Jumeaux to a set of eight songs, nearly all of which have more active, complex drumming and drum patterns than the band has tried before. In many ways Groundloop is one of the most poppy things the Humberstones have ever created, with the trademarks of their work together -- classical arrangements, a cinematic, mysterious mood, and more -- informed by a newer accessibility. The album is also one of the shorter ones they've done in a long while -- eight songs, 45 minutes -- while Dolores Marguerite C.'s singing is similarly focused and straightforward, as can be heard on "Groundloop" itself and "Hymn Noir." The latter is a charging track in particular; not quite a dancefloor number along the line of some Les Jumeaux songs, but still close to it, as the pulsing synth bass work indicates ("Chronicle," delivered in some very lovely Spanish, and other songs use that as well). For all this, the band's sense of artistic reach isn't compromised, and some of the songs easily rank among In the Nursery's most powerful and passionate. "Allegory" in particular is astonishing, rolling drums and Henrik Linnemann's flute backing a soaring, ever-strengthening surge of strings while Dolores Marguerite C. beautifully recites extracts from the Rubaiyat of Omar Khayyam. Once or twice things get a touch draggy, with some of the instrumentals being listenable enough but not as compelling as the band at its absolute best. But as is generally the case with In the Nursery, the pluses far outweigh the minuses, resulting in another fine album from the Humberstones.

In The Nursery - Groundloop (flac 253mb)

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

In The Nursery - Groundloop (ogg 98mb)

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While the Humberstones have been creating soundtracks for some years, Engel finds In the Nursery taking a more modern twist on that approach -- along the lines of numerous other darkwave bands, the group's work here is the soundtrack to a computer game created in Germany. Set years in the future and envisioning a post-apocalyptic landscape crossed with a dramatic spiritual setting ("engel" itself is German for "angel"), the game certainly has the sound of an intriguing project, and In the Nursery live up to their own high standards. In the same way that An Ambush of Ghosts reworked songs from Trust and Duality, Engel also revisits some past material. "Blue Religion" gets retitled "New Religion" and leads off the album with a roughly energetic take, almost sounding conventionally rock at points thanks to the bass and background yelps. Q's snare drum work and the usual mix of strings and other classical instrumentation, though, easily confirm who's behind the music. Elsewhere, the brilliant lead track from L'Esprit, "To the Faithful," is reworked into "Engel -- To the Faithful," with a new, slower string-led introduction leading into a new arrangement of the familiar melody that sounds even more breathtaking and heart wrenching than before. As for the album as a whole, in some ways it arguably combines many strands of In the Nursery's career in one place. There's the soundtrack element, of course, but there's also the experimental electronics familiar from the Les Jumeaux albums and the sweep of the band's standalone work as well. Dolores Marguerite C. takes a great lead vocal turn on "Angelorum," while the participation of oboeist James Watts and flautist Henrik Linnemann helps continue the tradition of evocative, beautiful In the Nursery music. Secret highlight: the reflective, quietly soaring "Aftermath."

In The Nursery - Engel (flac 287mb)

01 New Religion 4:33
02 Beutereiter 4:51
03 Angelorum 5:01
04 Pandoramicum 4:00
05 Cathedral Of Thoughts 4:58
06 Gabrielites 4:35
07 Engel - To The Faithful 5:09
08 Aftermath 6:21
09 Sigils 5:08
10 Brandland 4:15
11 The Circling Sky 4:07

In The Nursery - Engel (ogg 109mb)

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Hello,

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

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

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

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

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

did U know

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

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The group's third studio album in its original packaging is a find for fans of vinyl trickery: the B-side contains two continuous tracks, leaving the stylus a 50-50 chance at playing the track you want. The group reprises several skits from the show ("Bruces,""Cheese Shop") without the hindrance of playing to a live audience: in essence, it's lightning fast and witty to boot. Most of the Pythons came from a tradition of radio skit comedy, so they are not out of their depth, and are as liable to play with the conventions of recorded sound as the Firesign Theatre, their American contemporaries (though the Pythons never attempted on record anything like the concept albums of Firesign). Of the originals, "Novel Writing" (literature broadcast as sport) and "Word Association Football" (John Cleese at his densest) are winners. Ex-Bonzo Dog Band member Neil Innes also provides music on the bizarre "Background to History" in which dissertations on Medieval English farming are sung in the style of Bob Marley, Gary Glitter, and Joe Cocker.

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with

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

301 Matching Tie and Handkerchief (mp4 159mb)

301 Matching Tie And Handkerchief (Side 1) 21:20
Q&A/Salvation Fuzz
Elephantoplasty
Novel Writing
Word Association
Bruces/Philosophers Song
The Adventures Of Ralph Mellish
Cheese Shop
Wasp Club/Tiger Talk

302 Matching Tie And Handkerchief (Side 2) 19:55
Great Actors
The Background To History
First World War Noises
Boxing Tonight (Fight Of The Century)
Minister For Overseas Development
Oscar Wilde And Friends
Buying A Cat
Phone-In

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Previously

101 Another Monty Python Record (mp4 212mb)
201 Monty Python's Previous Record (mp4 194mb)

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Hello, tomorrow the US votes in a new president, yes it's that time again when the woodwork squeeks and out come...the freaks. There's no bigger freak on offer than Donald Trump, he represents everything that is wrong with the US, a tasteless narcissistic bully who leads a bunch of frustrated me me me people that messed up the country in the first place by their selfish voting behavior. The sad thing is that millions will vote for this horror-clown that belongs in an insane asylum. Hillary would be a shoe-in were it not for the fact that's she's been around in Washington politics, relentlessly attacked by the rightwing nutjobs who's job it is to keep America ignorant and happy with the right to kill anyone that trespasses or just looks threathening. The right to buy a judge, the right to be a person even if you are a miltibillion company. Anyway understandably she's become somewhat secretive (doubt very much any of her emails weren't logged by the NSA-and she would know that) meanwhile the backroom dealing boys scream foul just to distract the US public from what is really troublesome.

About 40% of my visitors are from the US, most of them have a vote, I hope they use it.....wisely.

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

Today's artist is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. He began his career together with Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. As a composer, he influenced Caetano and many others and delivered an expressive body of work through his own discography. A restless thinker, he was adept at modern erudite music experimentations, yet he was always ignored by both industry and audiences until he was discovered by David Byrne. He can be better understood through his self-coined definition: "I don't make art, I make spoken and sung journalism."... ........N'Joy

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Tom Zé, born Antônio José Santana Martins, 11 October 1936 in Irará, Bahia, Brazil. Tom Zé grew up in the small town of Irará, Bahia in the dry sertão region of the country's Northeast. He would later claim that his hometown was "pre-Gutenbergian", as information was primarily transferred through oral communication. As a child, he was influenced by Brazilian musicians such as Luiz Gonzaga and Jackson do Pandeiro. Zé became interested in music by listening to the radio, and moved to the state capital of Salvador to pursue a degree. He later relocated to São Paulo and began his career in popular music there.

Much of his early work involved his wry impressions of the massive metropolitan area, coming as he did, from a small town in the relatively poor northeast. Influential in the Tropicália movement, Zé contributed, along with Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Nara Leão, to the watershed Tropicália album/manifesto Tropicália: ou Panis et Circenses (1968). He also participated in a series of concerts with the musicians. After the Brazilian military government of the 1960s began to crack down on the musicians of Tropicália, Zé moved out of the public eye and began to experiment with novel instruments and composition styles. While the other major figures of Tropicália would go on to great commercial and critical success in later decades, Zé slipped into obscurity in the 1970s and 1980s.

In 1969, he performed in Rio and São Paulo with Gal Costa in the show O Som Livre de Tom Zé e Gal Costa. In 1970, he recorded Tom Zé through RGE. The next year, he opened a music course in São Paulo, Sofist Balacobaco -- Muito Som e Pouco Papo. In 1972, he recorded Tom Zé through Continental, followed by 1973's Todos os Olhos, 1976's Estudando o Samba, and 1977's Correio da Estação do Brás, all for the same label. In 1974, he gave a concert with the band Capote in São Paulo. In 1975, he worked on the Brazilian staging of The Rocky Horror Picture Show as an actor. In 1976, he toured the university circuit with Vicente Barreto. In 1984, he went to RGE, where he released Nave Maria, and Continental re-released 1972's Tom Zé as Se o Caso é Chorar. In all this time, he continued to make sporadic appearances, but was still almost completely ignored by the masses due to his unusual approach to music with plenty of irony, erudite music references, and utilization of self-made instruments. Zé was so depressed that he decided to return to his small hometown to work at his nephew's gas station.

In the early 1990s, Zé's work experienced a revival when American musician David Byrne discovered one of his albums, Estudando o Samba (1975), on a visit to Rio de Janeiro. Zé was the first artist signed to the Luaka Bop label and has so far released a compilation and two albums.His releases there would get favorable reviews in The New York Times, The Village Voice, Rolling Stone, Billboard, and Le Monde, and win a Creativity Award in Telluride, CO. In 1991, his album The Best of Tom Zé was voted the third best album by critics and fourth by the readers of Down Beat. In 1992, he recorded The Hips of Tradition (also on Luaka Bop) and participated in the Zurich Jazz Festival in Switzerland. He then departed for a successful series of tours in Europe and the U.S.

He is the first Brazilian musician to be presented at New York's Museum of Modern Art (1993), and the first Latin American composer to be presented at the Walker Art Center in Minneapolis, MN. He also opened a concert at the London International Festival of Theatre at Queen Elizabeth Hall in London, England. He appeared in concert and at festivals in Canada (Vancouver, Montreal, Edmonton, Saskatoon) and New York, and received 20th Century Artist honors and performed at Summerstage in New York's Central Park. Com Defeito de Fabricacao (Fabrication Defect) In 1994, he worked on the film Sábado (Ugo Giorgetti) and toured through Europe including the Netherlands, Germany, Switzerland, and France.

In 1995 and 1996, he toured the biggest capitals of Brazil. In the same year, he wrote (together with José Miguel Wisnik) the Parabelo soundtrack for Grupo Corpo (a modern ballet company), which brought them the APCA award. In 1998, Com Defecto de Fabricacao (Fabrication Defect) was released by Luaka Bop, followed by Postmodern Platos Remixes to close out the decade in 1999. To begin the new millennium, Warner Music Brazil released one compilation entitled Enciclopédia Musical Brasileira, which was followed by Jogos de Armar in 2000. Grupo Corpo: Sanaugustin, a collaboration with Gilberto Assis, followed in 2002. In 2006 the pair teamed up again for the confusingly titled Santagustin. In 2005, Zé released Estudando o Pagode, and in 2006, Danc-Eh-Sa: Danca dos Herderieros do Sacrificio. Imprensa Cantada 2003 was finally issued in 2007, and in 2010 Luaka Bop released a new album in Estudando a Bossa, as well as a limited-edition 180-gram LP box set containing the albums Massive Hits (Estudando o Samba), Estudando o Pagode, and Estudando a Bossa, as well as a 7" collaborative single with Tortoise and a CD containing a conversation between Zé and David Byrne.

Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter. He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart.

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One of Tom's best, most unique and most underrated albums. It's easy to see why it's overlooked- though it does contain the classic Tom Ze insanity with synths gurgling and frenetic rhythms giving way to musical mantras, this is generally a more introspective affair, especially at the beginning.

Standout tracks can be found in the first side, tracks such "Menina Jesus" which uses a bloopy synths with great supplicating vocal tones. "Morena" is a Novos Baianos influenced track, being both simultaneously sweet yet highly distinctive. "Correio de Estacao" uses a tricky drum machine pattern coupled with what sounds like a funk bass to intone a mantraic-like vocal delivery which verges on becoming capoeira no-wave funk. "Carta" is my personal fave... because it's truly something uniquely Brazilian yet totally forward thinking, Tom Ze takes a slow forro guitar rhythm and vocal take then adds tasteful art-rock asides which increase the tempo like a ramp that threatens to explode until he brings it back down with a somber vocal breath and synth parachute (capturing what Mr. Jobim calls "saudade" in a new form).

Tracks like "Pecado Original" through "Pecado, Rifa e Revista" blend a bit together but they're more concise versions of the songs he was structuring in Estudando o samba. I can imagine that with a track like "A volta de Xanduzinha (Maria Mariô)" he was glossing over his edges a bit more in the second half of the album but the track still moves because the tuneship is there and more memorable than before. Tom Ze touches on some genuine gold here in this release that he hadn't before. Neat!

Tom Ze - Correio da Estacao do Bras (flac 234mb)

01 Menina Jesus 3:36
02 Morena 2:43
03 Correio da Estação do Brás 4:23
04 Carta 3:38
05 Pecado original 3:46
06 Lavagem da Igreja do Irará 3:27
07 Pecado, rifa e revista 2:29
08 A volta de Xanduzinha (Maria Mariô) 3:15
09 Amor de estrada 3:17
10 Lá vem cuíca 2:36
11 Na praia do sucesso 3:01

Tom Ze - Correio da Estacao do Bras (ogg 91mb)

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Nave Maria is the seventh album by Brazilian experimental composer Tom Zé. Maria was released a full six years after his previous album (Zé was 48 years old at the time) and languished in obscurity almost immediately upon release. Disheartened by his commercial and popular failure, Zé moved on to work at his brother’s gas station. However, in 1990, David Byrne discovered his music in a Brazilian record store and introduced him to the world at large with Brazil Classics 4: The Best of Tom Zé. His comeback began shortly thereafter and he’s been recording again ever since. Nave Maria (its title track especially) has since been considered a true experimental pop classic, if a very well-hidden one.

Tom Ze - Nave Maria (flac 247mb)

01 Nave Maria 3:33
02 Mamar No Mundo 3:53
03 Su Su Menino Mandu 2:00
04 Cilindrada 4:11
05 Identificação4:14
06 Neném Gravidez 4:58
07 Acalanto Nuclear 3:13
08 Conto De Fraldas 3:41
09 Mestre Sala 4:15
10 Teu Olhar 3:35

Tom Ze - Nave Maria (ogg 94mb)

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A concept album by Brazilian experimentalist Tom Zé, 1998's Com Defecto de Fabricacao (Fabrication Defect) is strikingly akin to some early Funkadelic albums philosophically, although not at all musically. (The bold, cartoony graphics are more than a little like Funkadelic's early sleeves as well, come to think of it.) The album's overall theme is that creativity, art, love, and music are "defects" that those in charge (in Zé's case, the often-oppressive Brazilian government) would love to suppress, an idea that's not all that far removed from Free Your Mind...and Your Ass Will Follow. Lyrically, Zé makes his points both directly and through sly, witty metaphors like "Defect 6: Esteticar," a cockeyed defense of plagiarism as an artistic tool puckishly set to the most blandly commercial example of '60s vintage bossa nova imaginable. Musically, the album is a fragmented blend of skittish acoustic guitars, booming electronic rhythms, shouted slogans, bizarre found-sound tape loops, and near-psychedelic production tricks, resulting in songs as varied as the almost tribal vocal and hand-percussion grooves of "Defect 4: Emere" and the percolating closer, "Defect 14: Xiquexique." Those who discovered Tom Zé through his earlier U.S. compilation releases may find this album a more satisfying and solid listen.

Tom Ze - Com Defeito de Fabricação (flac 281mb)

01 Defeito 01: O Gene 2:00
02 Defeito 02: Curiosidade 4:12
03 Defeito 03: Politicar 2:37
04 Defeito 04: Emerê 3:09
05 Defeito 05: O Olho Do Lago 2:04
06 Defeito 06: Esteticar 2:53
07 Defeito 07: Dançar 2:18
08 Defeito 08: Onu, Arma Mortal 1:04
09 Defeito 09: Juventude Javali 2:47
10 Defeito 10: Cedotardar 1:10
11 Defeito 11: Tangolomango 2:51
12 Defeito 12: Valsar 1:12
13 Defeito 13: Burrice 2:33
14 Defeito 14: Xiquezique5:25
15 Curiosidade (Amon Tobin Remix) 6:39
16 O Olho Do Lago (Sean Lennon Remix) 3:31

Tom Ze - Com Defeito de Fabricação (ogg 108mb)

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Tom Ze is turning 70 and fighting the good fight, asking the difficult questions, providing his own complex answers. He is doing the job that composers in Brazil much younger than he is give up before even trying. This time he tackles the difficult task of answering a question posed by Chico Buarque: "is the song format dead?". He also is concerned and curious about technology and how it invades current music produced there. This is his way of answering this question: the album has voices but no lyrics, electronic sounds invade the entire record, the songs do not follow common radio formats, they have different moods and moments, are aggressive at times, tender and lyrical at times. In short, this album is amazing. Danc-Eh-Sa is as weird and fun as the best of Zé's catalog, only this time he gets to mess with the the latest and greatest toys the computer age has to offer. Who said you can't teach an old dog new tricks? Zé is twice as innovative as others half his age.

Tom Ze - Danç-Êh-Sá (avi 218mb)

01 Uai-Uai (Revolta Queto-Xambá 1832) 3:43
02 Atchim (Revolta Paiaiá 1673) 6:06
03 Triú-Triii... (Revolta Malè 1835) 5:22
04 Cara-Cuá (Revolta Nagô-Oió 1830) 4:53
05 Acum-Mahá (Revolta Jege-Mina-Fon 1834) 4:19
06 Taka-Tá (Revolta Banta 1910) 3:36
07 Abrindo As Urnas (Encourados de Pedrão 1823) 4:33

Danç-Êh-Sá (ogg 80mb)

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Hello, looks like rural USA has decided their dislike of Clinton has put Trump in the White House, these nincompoops obviously are only Christian on paper they clearly haven't understood the message Jezus tried to convey. I'm looking at CNN's results board and everything is red, except where there are urban areas. The US is divided alright. Let the nightmare begin...

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

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

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

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

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Where My Aim Is True implied punk rock with its lyrics and stripped-down production, This Year's Model sounds like punk. Not that Elvis Costello's songwriting has changed -- This Year's Model is comprised largely of leftovers from My Aim Is True and songs written on the road. It's the music that changed. After releasing My Aim Is True, Costello assembled a backing band called the Attractions, which were considerably tougher and wilder than Clover, who played on his debut. The Attractions were a rock & roll band, which gives This Year's Model a reckless, careening feel. It's nervous, amphetamine-fueled, nearly paranoid music -- the group sounds like they're spinning out of control as soon as they crash in on the brief opener, "No Action," and they never get completely back on track, even on the slower numbers. Costello and the Attractions speed through This Year's Model at a blinding pace, which gives his songs -- which were already meaner than the set on My Aim Is True -- a nastier edge. "Lipstick Vogue,""Pump It Up," and "(I Don't Want to Go To) Chelsea" are all underscored with sexual menace, while "Night Rally" touches on a bizarre fascination with fascism that would blossom on his next album, Armed Forces. Even the songs that sound relatively lighthearted -- "Hand in Hand,""Little Triggers,""Lip Service,""Living in Paradise" -- are all edgy, thanks to Costello's breathless vocals, Steve Nieve's carnival-esque organ riffs, and Nick Lowe's bare-bones production. Of course, the songs on This Year's Model are typically catchy and help the vicious sentiments sink into your skin, but the most remarkable thing about the album is the sound -- Costello and the Attractions never rocked this hard, or this vengefully, ever again.

Elvis Costello And The Attractions - This Year's Model (flac 489mb)

01 No Action 2:01
02 This Year's Girl 3:20
03 The Beat 3:48
04 Pump It Up 3:16
05 Little Triggers 2:43
06 You Belong To Me 2:23
07 Hand In Hand 2:36
08 (If I Don't Want To Go To) Chelsea 3:10
09 Lip Service 2:39
10 Living In Paradise 3:47
11 Lipstick Vogue 3:33
12 Night Rally 2:42
13 Radio, Radio3:06 3:11
Bonus
14 Big Tears 3:12
15 Crawling To The USA2:54
16 Running Out Of Angels (Demo Version) 2:03
17 Greenshirt (Demo Version) 2:20
18 Big Boys (Demo Version) 3:01
19 You Belong to Me (Capital Radio version) 1:55
20 Radio, Radio (Capital Radio version) 3:01
21 Neat, Neat, Neat (Live) 3:17
22 Roadette Song (Live) 5:38
23 This Year's Girl (Alternate, Eden Studios Version) 2:09
24 (I Don't Want To Go To) Chelsea (Alternate, Basing Street Studios Version) 2:57
25 Stranger In The House (BBC version) 4:15

Elvis Costello And The Attractions - This Year's Model (ogg 183mb)

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Elvis Costello's "country record" is usually written off as a vanity project, but Almost Blue is quite a bit more than that. It's one of the most entertaining cover records in rock & roll, simply because of its enthusiasm. The album begins with a roaring version of Hank Williams'"Why Don't You Love Me" and doesn't stop. Costello sings with conviction on the tear-jerking ballads, as well as on barn burners like "Tonight the Bottle Let Me Down." It's clear that Costello knows this music, and it's also clear who he learned it from: Gram Parsons. Costello covers Parsons'"Hot Burrito No. 1" and "How Much I Lied," and all of the music on Almost Blue recalls Parsons' taste for hardcore honky tonk and weepy ballads. It's to Costello's credit that he made a record relying on emotion to pay tribute.

Elvis Costello & The Attractions - Almost Blue (flac 385mb)

01 Why Don't You Love Me (LIke You Used To) 1:30
02 Sweet Dreams 3:00
03 Success 2:41
04 I'm Your Toy 3:23
05 Tonight The Bottle Let Me Down 2:10
06 Brown To Blue 2:39
07 Good Year For The Roses 3:09
08 Sittin' And Thinkin' 3:03
09 Colour Of The Blues 2:21
10 Too Far Gone 3:27
11 Honey Hush 2:16
12 How Much I Lied 2:47
Live In Aberdeen
13 He's Got You 4:17
14 Cry, Cry, Cry 2:45
15 There Won't Be Anymore 2:33
16 Sittin' And Thinkin' 2:55
17 Honey Hush 2:22
Bonus Tracks
18 Psycho 3:43
19 Your Angel Steps Out Of Heaven 2:00
20 Darling, You Know I Wouldn't Lie 3:32
21 My Shoes Keep Walking Back To You 2:04
22 Tears Before Bedtime 2:24
Live With The RPO At The Albert Hall
23 I'm Your Toy 3:49

Elvis Costello & The Attractions - Almost Blue (ogg 153mb)

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Following the frenzied pop-soul of Get Happy!!, Elvis Costello & the Attractions quickly returned to the studio and recorded Trust, their most ambitious and eclectic album to date. As if he were proving his stylistic diversity and sophistication after the concentrated genre experiment of Get Happy!!, Costello assembled Trust as a stylistic tour de force, packing the record with a wild array of material. "Clubland" has jazzy flourishes, "Lovers' Walk" rolls to a Bo Diddley beat, "Luxembourg" is rockabilly redux, "Watch Your Step" is soul-pop, "From a Whisper to a Scream" rocks as hard as anything since This Year's Model, "Shot with His Own Gun" is Tin Pan Alley pop, "Different Finger" is the first country song he put on an official album, and that's not even counting highlights like "New Lace Sleeves" and "White Knuckles," which essentially stick to Costello's signature pop, but offer more complex arrangements and musicianship than before. In fact, both "complexity" and "sophistication" are keywords to the success of Trust -- without delving into the minutely textured arrangements that would dominate his next pop album, Imperial Bedroom -- Costello & the Attractions demonstrate their musical skill and savvy by essentially sticking to the direct sound of their four-piece band. In the process, they recorded, arguably, their most impressive album, one that demonstrates all sides of Costello's songwriting and performing personality without succumbing to pretentiousness.

Elvis Costello & the Attractions - Trust (flac 274mb)

01 Clubland 3:43
02 Lovers Walk 2:18
03 You'll Never Be A Man 2:58
04 Pretty Words 3:12
05 Strict Time 2:42
06 Luxembourg 2:28
07 Watch Your Step 3:00
08 New Lace Sleeves 3:47
09 From A Whisper To A Scream 2:56
10 Different Finger 1:59
11 White Knuckles 3:49
12 Shot With His Own Gun 3:41
13 Fish 'N' Chip Paper 2:59
14 Big Sister's Clothes 2:12

Elvis Costello & the Attractions - Trust (ogg 98mb)

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Elvis Costello & the Attractions - Trust Bonus (flac 312mb)

01 Black Sails In The Sunset 3:09
02 Big Sister 2:17
03 Twenty-Five To Twelve 4:05
04 Sad About Girls 2:49
05 From A Whisper To A Scream (Alternate Version) 3:27
06 Watch Your Step (Alternate Version) 2:47
07 Clubland (Alternate Take) 4:03
08 You'll Never Be A Man (Alternate Take) 3:10
09 Slow Down 2:24
10 Big Sister (Alternate Version) 5:07
11 Black Sails In The Sunset (Alternate Version) 3:07
12 Hoover Factory (Alternate Version) 1:47
13 Love For Sale 3:04
14 Boy With A Problem 2:33
15 Weeper's Dream 1:07
16 Gloomy Sunday 3:15
17 The Long Honeymoon (Instrumental Piano Demo) 1:41

Elvis Costello & the Attractions - Trust Bonus (ogg 115mb)

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Hello, no re-ups today I got just one valid request, but i do have something special today in light of the American Presidential elections. Urban America couldn't believe what happened last Tuesday, the people at CNN showed increased desperation as results came in looking for uncounted Clinton votes in Wisconsin, Michigan it wasn't enough, the talking heads were incredelous, after pushing Hillary ever since the primaries started, this was a big defeat for CNN too. I had seen it 5 months ago in the BBC studio when the votes came in and it slowly became clear the UK voted for Brexit, the media, the pollsters had been wrong how could it be that the non-urbanites were so foolish. Even though the UK and the USA are very different countries there are similarities regarding the anti-urban vote, run down factories and it's impact on local society and being ignored by politics causes a lot of anger and distrust, it makes sense that they vote anti establishment, the almost 40 year old punk credo NO FUTURE comes to mind.

So why did Hillary fail, well being pounded for decades didn't help, furthermore the Democratic establishment lost sight of the people, preoccupied as they are to reel in money from the 1%, and being the first woman candidate just wasn't enough. But let's face it they grossly underestimated Trump, like the Republican establishment had done before. And now Trump is president when we could have had Sanders if not for the fact that the media and the Democratic establishment did everything to deny him the nomination, this angers me the most. Trump will be a puppet, because he's vain and those kind of people are easily manipulated, his is a life of glitz and glamour. Will he build a wall ? Nah a deep ditch makes much more sense, it doesn't pollute the horizon, and is possibly cheaper. I see a profit for those selling sacks of removed earth :). Will the relationship with Russia thaw ?. I'm sure it will, the Kremlin has some wonderful rooms full of glitz and glamour Trump will be overwhelmed there. Seriously, i'm not afraid of Trump but i doubt the American Joe Public will feel better off after 4 years of Trump, unfortunately by that time Sanders is 76, hopefully a new Candidate will rise up and take back what is being stolen from the 99% by the 1 %, that won't be easy, this battle has been lost for decades now.

This documentary was released by Noam Chomsky last year

Somehow, conservatives have awoke from their slumber and become aware that we have severe economic problems in this country and the American middle class has seen their economic power erode while the "masters of the universe" just become richer and richer and exert more power and money to ensure that legislation is written that will continue to benefit the 1%. Donald Trump acknowledges this in his stump speeches while Bernie Sanders has made it a cornerstone of his campaign. Clinton tries to avoid the subject lest her opponents bring up Goldman Sach's yet again. Choamsky puts the intellectual underpinnings on why the American Dream is fast becoming a nightmare. His ten principles are pretty easy to understand as he invokes the Founding Fathers and Adam Smith to buttress his intellectual arguments that income inequality in the U.S. is not only a problem but a huge problem that not only affects us in the pocketbook but undermines our democratic processes that have stood us so well over the last 200+ years. We have a professional class in the U.S. that has become immune to the globalization issues facing blue collar workers and both political parties have turned a blind eye to helping American's who have borne the brunt of trade policies that benefit corporate America at the expense of working people. Also the constant drumbeat of the elites against labor unions in our country, an organizing group that once had immense power to protect American wages. In the new "sharing" economy there are vicious fights to keep the sharing workforce from unionizing. Also massive attacks mounted against public sector workers including teachers because they belong to a union. These attacks are not random events but carefully orchestrated events with an end in mind: the continued growth of the 1% that even Adam Smith warned us about. The big fear among the enormously wealthy is that the majority of American's will get too much democracy and start pushing for rights that have long been denied them. They rely on law enforcement and even the military if necessary to protect their property rights and right to govern or manipulate the legislators who supposedly represent their constituents but in reality only represent the interests of the !%. Chomsky lays this all out in his documentary. You may not agree with everything he lays out, but he makes an awful lot of common sense. Many American's are finally waking up to this reality. Watch this documentary and it will provide a good insight into how this country arrived at this economic state.

Requiem for the American Dream (72 min mkv 637mb)

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Hello,

Today's artists are one of the most commercially successful funk groups of the '70s, the multi-racial band are today best remembered for launching the career of soul diva Chaka Khan, whose fiery lead vocals were easily the band's focal point. Powered by Khan -- who was eventually billed in addition to the group -- and an unerring sense of groove, the band scored an impressive string of hit singles on both the pop and R&B charts, which lasted through the '70s and up to Khan's official departure in 1983... ..... N'joy

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In 1968, The American Breed (Gary Loizzo, Al Ciner, Charles (Chuck) Colbert and Lee Graziano) had a top ten hit with the classic rock single, "Bend Me, Shape Me". After much success, Colbert and Graziano (without Loizzo who pursued a successful production career) created a new group, adding latter day "Breed" members Kevin Murphy on (keyboards) and Paulette McWilliams (vocals), plus James Stella (vocals) and Vern Pilder (guitar) from the bar band "Circus". They re-emerged in 1969 under the name "Smoke". In 1970, after switching their management to Bob Monaco and Bill Traut, the group's name changed again to "Ask Rufus", the name taken from the title of the advice column in Mechanics Illustrated. At this point, Ciner came back to replace Pilder and Willie Weeks was added on bass after Colbert left.

In 1971 the band signed a contract with Epic Records recording an album that wasn't released after which Epic dropped their contract in early 1972. Willie Weeks was in turn replaced by Dennis Belfield, James Stella by keyboardist/vocalist Ron Stockert and Lee Graziano by Andre Fischer (former drummer with Curtis Mayfield and Jerry Butler). Paulette McWilliams and Chaka Khan had met and became the best of friends through their spouses Howard Towles and Hassan Khan. Chaka would come to most of Ask Rufus gigs when they were performing in Chicago. When Paulette decided she was leaving Ask Rufus, she went to the band and told them she had the perfect singer to replace her; she had also asked Chaka if she was interested. After the band members hesitantly submitted, Paulette remained with Ask Rufus for a few more weeks to teach Chaka all of their material. Paulette also got Chaka a gig with the group formed by Chicago's Cash McCall called Lyfe. Chaka had been performing at the Pumpkin Room on the south side of Chicago, with a local Chicago group called Lock and Chain, led by drummer Scotty Harris.

Bob Monaco was part of a booking company known as Ashley Famous with Jim Golden, they booked Ask Rufus, with Paulette McWilliams and also The Rotary Connection with Minnie Riperton. Monaco was also responsible for helping to get Ask Rufus their deal on ABC Dunhill. Monaco returned to Los Angeles, convinced the label to give him a demo budget and then quickly returned to Chicago where the group recorded eleven songs in two days at Marty Feldman's Paragon Studios. After taking the demo tapes back to ABC Dunhill the group was immediately asked to sign a long term recording contract.

Khan, who at eighteen was still a minor, had to have her mother sign along with her, even though as a married woman (newly wed to Hassan Khan, a bassist of one of her former bands), she could have done the deed herself. The group then drove to Los Angeles and recorded their first "Rufus" album at Quantum Recording Studios in Torrance, California, released in 1973. While the songs "Whoever's Thrilling You (Is Killing Me)" and "Feel Good" (both featuring Khan) brought the group some attention from R&B radio stations, the album itself had minimal sales, and the Stockert-led "Slip & Slide" failed to catch major attention from pop radio.

The group quickly re-entered the same studio to record their follow-up album Rags to Rufus that included the Stevie Wonder song "Tell Me Something Good", Ray Parker Jr.'s and Khan's "You Got The Love" and Dennis Belfield's "In Love We Grow", along with "Smokin' Room". Ciner and Belfield would leave the group shortly thereafter along with Stockert, who was replaced by Los Angeles-based keyboardist Nate Morgan. Additionally, Tony Maiden and bassist Bobby Watson, also from Los Angeles, were recruited by drummer Andre Fischer and asked to join the group as well. Maiden's, Watson's and Morgan's addition to Rufus added a unique sound to the group, bringing a stronger funk and jazz influence to complement Chaka's now emerging powerful lead vocals.

Rags to Rufus was released in 1974 and two of its singles — the Stevie Wonder-penned "Tell Me Something Good" and the Parker-Khan composition, "You Got the Love"— became smash hits leading to Rags to Rufus going platinum and also landed them opening spots for the tours of several top stars including Stevie Wonder, Cheech and Chong and the Hues Corporation. "Tell Me Something Good" also brought Rufus their first Grammy Award. In addition, it sold over one million copies, and was awarded a gold disc by the RIAA on August 9, 1974. Due to Khan's increasing popularity Rufus and ABC started calling the group Rufus Featuring Chaka Khan. With this new billing, the band recorded and quickly released their next album, Rufusized in 1974. Another platinum success, the group entered the top ten again with the funk singles, "Once You Get Started", (penned by Gavin Christopher), "Stop on By", "I'm a Woman", and "Pack'd My Bags" (later sampled for Jody Watley's "Lovin' You So") and "Please Pardon Me (You Remind Me of a Friend)", penned by their friend Brenda Russell.

Heading into 1975, the group headlined their first major tour, with Khan attracting attention in concert reviews for her powerhouse vocals and sexy attire — so much so that when it came to do photo sets, Khan was often the only artist chosen to be featured on covers, mainly on magazines such as Jet, which Khan would be heavily featured on throughout her long career. Also due to her off-stage antics that added to her on-stage persona, the media billed Khan as "the wild child". Due to Khan's vocal power and sex appeal, she was often compared to Tina Turner, with some rock and soul press labeling her a "pint-sized Tina", and also to Aretha Franklin (her friends called her "little Aretha"). Attention to Khan began to make things difficult for some of the group's members as they felt Khan's presence had overshadowed the entire band's output. The group's fourth release, and the third major release where Khan was dominant lead singer, Rufus Featuring Chaka Khan, was released in 1975. The major hit off the album was a compositon by Khan and Tony Maiden titled "Sweet Thing" which reached the top five of the charts[3] and became their fourth record to reach gold.

Despite the album's success as well as a second successful major tour that followed, it still didn't stop growing tensions within the group, particularly between Khan and longtime Rufus drummer Andre Fischer. During recording sessions of Ask Rufus, Khan had married Richard Holland (she had divorced her first husband Hassan Khan in 1974 prior to the birth of their child Milini), and the presence of Holland only made things worse between Khan and Fischer. During one session of Ask Rufus, Fischer engaged in a fight with Holland, who received help from a counter-attacking Khan. Ask Rufus would be released in 1977 and include the hits "At Midnight (My Love Will Lift You Up)", "Hollywood" and "Everlasting Love". Following a tour to promote Ask Rufus, Fischer finally left the group. He was followed out of the group by Nate Morgan. They were replaced by Richard "Moon" Calhoun and David "Hawk" Wolinski, respectively. The new lineup recorded the album, Street Player, which featured the Khan-composed ballad, "Stay". After first putting it off as a rumor, Khan confirmed to media reports that she was going solo, signing a deal with Warner Bros. Records. The decision strained relations between Khan and the other Rufus members. Khan released her self-titled debut later in 1978. The album sold more than Street Player, going platinum, thanks to the international Ashford & Simpson-composed single, "I'm Every Woman". Khan continued to promote the album into 1979. In early 1979, Calhoun would be replaced by John "J.R." Robinson as the group's drummer in 1979.

Following the Calhoun replacement, another change came when ABC Records got absorbed by MCA, bringing the group to MCA as a result. While Khan promoted Chaka, Rufus put out a less favorably received Khan-less album, Numbers, which tanked. Khan returned to record with the band for the Quincy Jones-produced Masterjam. By now, Rufus and Khan were split in two, both acts being treated separately. Khan's superstardom helped Masterjam go gold thanks to the funk-laden disco recording, "Do You Love What You Feel".

Though Khan would later say that she was ready to leave Rufus upon the time she released Chaka in 1978, she discovered that she had two more albums left in her ABC/MCA contract with the band and agreed to fulfill her obligations. Following Masterjam, one of the contractual albums, and another Khan-less album, Party 'Til You're Broke, which bombed, the factions of Rufus and Khan reunited for their last MCA album, Camouflage in 1981. The feelings of long overdrawn bad tensions were felt during album sessions. This resulted in situations where Khan would either record her vocals alone to a click track prior to the band's instrumentation being added later, or vice versa.

Unfortunately, the album failed to garner attention, mainly due to Khan's solo obligations, which now included two more gold-certified studio albums, Naughty and What Cha' Gonna Do for Me. With the release of Camouflage, Khan was free to leave the group, and following her exit in early 1982, the remaining members of Rufus released what became their final studio album, Seal in Red in 1983 which, like their previous albums, went unnoticed.

Rufus band members sensed that their tenure was over and agreed to split on the terms they release one last live album to commemorate the occasion. The band asked Khan to contribute to their final concert performance which would be filmed by Warner Bros., and she obliged, reuniting with the group for what was to be later released as a documentary film titled Stompin' At the Savoy. For some reason, Warner Bros. refused to release the film at that time and released only the live album instead. However the concert has since been released to home-video with remastered picture and remixed 5.1 Dolby Surround sound.

The album included four Khan-led studio songs, including a Dave Wolinski composition titled "Ain't Nobody", which got attention when a producer for the film, Breakin' heard it while screening songs for the movie's soundtrack. Warner eventually released the song (with the billing Rufus and Chaka Khan) and the song became a top 30 Billboard Hot 100 hit, reaching number-one on the R&B chart and hitting number eight on the UK singles chart. The success of the track led to the band receiving its second Grammy Award for Best R&B Performance by a Duo or Group with Vocals.

Following this success, Rufus went their separate ways for good with Khan continuing her solo career, becoming one of the most revered R&B artists of her generation with the release of the single "I Feel for You" cementing her reputation.

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Rufus and Chaka Khan went through three name changes as a group: Rufus, Rufus featuring Chaka Khan and Rufus and Chaka Khan. It doesn't really matter what name is used because the result is the same: solid grooves, arresting melodies and the overwhelming vocals of Chaka Khan. This album spawned a Top Five Billboard R&B hit with "Stay," a song with a moderate tempo and a very humble beginning that bows to an explosive plea from Khan. It reached number three on the charts after 18 weeks. "Blue Love" has that seesaw rhythm that swings from midtempo to uptempo but is controlled by Khan's delivery. It slipped into the Top 40 at number 34 in a short nine weeks. This project could have easily supported additional releases with songs like the engaging "Stranger to Love," the jazzy "Destiny" and "Best of Your Heart." That's just for starters. Tony Maiden steps in vocally on "Change Your Ways." Khan's vocals are so dynamic and have so much range that it's hard to find challenging material. This album comes close to that challenge.

Rufus & Chaka Khan - Street Player (flac 231mb)

01 Street Player 4:54
02 Stay 5:41
03 Turn 4:43
04 Best Of Your Heart 3:45
05 Finale 2:10
06 Blue Love 3:18
07 Stranger To Love 3:33
08 Take Time (Instrumental) 4:16
09 Destiny 4:25
10 Change Your Ways 3:27

Rufus & Chaka Khan - Street Player (ogg 97mb)

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The story of Chicago-based R&B and funk outfit Rufus’s success can be clearly tied to one name: Chaka Khan. While at first, relegated to role of “clean-up” vocalist, the band’s fortunes started to rise once they realized the gift they had in her voice. This is not to say that the band was just there while Chaka sang — over the years, Rufus had developed into a tight, accomplished instrumental and songwriting outfit in its own right, as personnel changed. This was certainly the case by 1979, when Rufus was left without its signature voice following the release of their album Street Player (named for the song member “Hawk” Wolinski and Chicago drummer Danny Seraphine had written first for the latter’s band) and Chaka’s first, eponymous solo album.

The burning question was clear: could Rufus hack it without Chaka’s mighty voice? In this listener’s estimation, the answer is a confident “Yes”. Avoiding many of the trendy traps of the late 1970s, but yet, carrying a distinct “1979” sound of merged AM Rock, R&B, and Funk, Numbers ended up being a valiant effort from the band, looking for an identity in the wake of Chaka’s departure. Though, this is not to say Chaka’s departure was not felt. Helen Lowe’s voice sounds eerily similar on the opening track “Ain’t Nobody Like You”, providing a well-woven duet with guitarist Tony Maiden, whose voice up until this point was largely unheard, but is much appreciated. Maxayn (Lewis), well traveled session and lead vocalist in her own right, fills a similar role on the sublime “Are We?”, paired with David “Hawk” Wolinski (whose voice sounds rather close to Maiden’s). The similiarity often begs the question, “Why isn’t Chaka singing any of this?”

Songwriting was very much more in line with 1977’s excellent Ask Rufus, though not quite as eclectic and certainly without the home runs that the album provided. In particular, Bobby Watson’s instrumental “Red Hot Poker” is among one of the best songs that the band ever recorded. Famed jazz trumpeter Freddie Hubbard provides color to the nighttime cruiser, “Bet My Dreams”, an example of the band’s attention to detail. The closer, “Life In The City” is equally hard-edged — overall, this album brings to mind the nightly playlist of one Venus Flytrap on WKRP In Cincinnati — which is ultimately a good thing.

Rufus - Numbers (flac 268mb)

01 Ain't Nobody Like You 4:28
02 You're To Blame 3:51
03 Keep It Together (Declaration Of Love) 4:16
04 Dancin' Mood 3:52
05 Red Hot Poker 4:30
06 Don't You Sit Alone 4:41
07 Bet My Dreams 5:04
08 Pleasure Dome 4:11
09 Are We? 3:32
10 Life In The City 4:54

Rufus - Numbers (ogg 105mb)

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As Khan released her first solo album, I'm Every Woman, the band released 1978's Numbers, sans Khan, and it went absolutely nowhere. Masterjam finds them back together, renamed Rufus and Chaka, with Quincy Jones producing the effort. Khan had worked with Jones on his 1978 album, Sounds...And Stuff Like That. The most striking thing about Masterjam is that is doesn't sound like a trademark Rufus effort. Jones' production style is so strong that the band's individual sound is all but lost. It's nothing to cry about, since Jones was at his R&B/pop peak and Rufus couldn't do it any better on their own. The album's first track is "Do What You Love What You Feel," with its subtle horn riffs arranged by Jerry Hey and vocals from guitarist Tony Maiden and Khan. On a track somewhat close to a ballad, the brilliantly arranged "Heaven Bound," Jones gets a good raw vocal from Khan. A frequent Jones collaborator, Rod Temperton, offers the title track and the even better "Live in Me." The album's only low point was a cover of Jones' own "Body Heat." On this version the pace is quickened, inexplicably turned into disco which revealed the lyrics to be paper-thin. Although Masterjam was just more of a Quincy Jones album than a Rufus effort, this ended up being one of the groups' last successful full-studio endeavors.

Rufus & Chaka - Masterjam (flac 277mb)

01 Do You Love What You Feel 4:28
02 Any Love 4:50
03 Heaven Bound 3:45
04 Walk The Rockway 4:04
05 Live In Me 3:54
06 Body Heat 5:45
07 I'm Dancing For Your Love 4:32
08 What Am I Missing? 4:03
09 Masterjam 3:34

Rufus & Chaka - Masterjam (ogg 94mb)

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Although the record company pulled the distribution shortly after the release, they wiped it out as if it never existed. This was clearly a band at the end of its road. The songs are pedestrian at best and though the band generates some heat on a few cuts, "Music Man", "Better Together" and "Highlight" are as close as this set gets to the old Rufus we knew and loved. Chaka is her usual powerhouse self, especially on "Losers in Love". You can hear the desperation in her vocals, clearly she is singing from experience on this one.The band is good but sound a little too polished, not unlike Earth, Wind and Fire and Kool and the Gang began to sound around the same time. Infectious grooves, thumpin' bass, catchy melodic hooks and Khan's unique and soulful vocals are what saves this project from complete oblivion. The title Camouflage almost plays up to it's prophetic name for it truly was hidden due to lack of proper promotion, airplay and sales back in 1981.The 80's and early 90's were not kind to funk bands who seemed to be afflicted with "solo-itis". Everybody wanted their cake, and lots of them fell apart during those years.

Rufus & Chaka Khan - Camouflage (flac 253mb)

01 Better Together 3:37
02Jigsaw 3:54
03 Secret Friend 3:57
04 Music Man (The D.J. Song) 3:50
05 True Love 3:15
06 Sharing The Love 3:37
07 Quandary 4:50
08 Lilah 4:14
09 Losers In Love 3:04
10 Highlight 3:14

Rufus & Chaka Khan - Camouflage (ogg 90mb)

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