Mp3 music: Empire

Artist: Empire: mp3 download    Genre(s):  Metal Other     Empire's discography:      Chasing Shadows    Year: 2007    Tracks: 10      Leeches    Year: 2004    Tracks: 10 Empire had its origins in the demise of the dance band Flash -- in fact, for a short patch its name was just Flash Mk. II. Guitarist Peter Banks, once of Yes, emerged from management disputes of Flash to pull together a band of jam-mates in the loosely integrated ZOX and the Radar Boys. These jams had featured Phil Collins in arrears the drums, though his dedication to Genesis meant that he could only baby-sit in on a few tracks of the 1974 transcription roger Huntington Sessions for the new named Empire. The sound of Empire had trenchant progressive elements, as unitary power gestate with both Banks and Collins close to. Their recordings, though, were marked by a willingness to dip into a wide change of musical genres, from blues to area blues. The band was also unusual among reform-minded bands in existence fronted by a woman. Although Renaissance had the ethereal vocalization of Annie Haslam, Empire's Sydney Foxx provided a notable counterpoint to the band's complexness by with her hard bluesy vocals, not unlike Lydia Pense or regular Janis Joplin at times. Empire's put to work brought small success, though. Despite some expectancy among the pop music squeeze, Banks and Foxx were unable to ground statistical distribution for their work either in Britain or the U.S. Still clinging to hope, the mathematical group recorded deuce more albums in the '70s only to no avail. It was to be two decades in front One Way released them on CD; and piece non precisely lost classics, the albums are of a high sufficiency quality that it's unfortunate that the striation was unable to aim whatsoever footing in front its separation in 1980.

Caetano Veloso

   
Artist: Caetano Veloso

   Genre(s): 
Latin
   Other
   

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Discography:


   
 Joia

   Year: 2004   
Tracks: 13


   
 A Foreign Sound

   Year: 2004   
Tracks: 22


   
 Eu N o Pelo Desculpa

   Year: 2002   
Tracks: 14


   
 O Maggio a Federico e Giulietta

   Year: 2001   
Tracks: 18


   
 Noites do Norte ao Vivo (cd2)

   Year: 2001   
Tracks: 16


   
 Noites do Norte ao Vivo (cd1)

   Year: 2001   
Tracks: 16


   
 Noites do Norte

   Year: 2001   
Tracks: 12


   
 Prenda Minha

   Year: 1999   
Tracks: 20


   
 Livro

   Year: 1997   
Tracks: 14


   
 Fina Estampa (Live)

   Year: 1996   
Tracks: 17


   
 Fina Estampa Ao Vivo

   Year: 1995   
Tracks: 17


   
 Fina Estampa

   Year: 1994   
Tracks: 15


   
 Tropicalia 2

   Year: 1993   
Tracks: 12


   
 Circulado Vivo

   Year: 1992   
Tracks: 19


   
 Circuladt

   Year: 1991   
Tracks: 11


   
 Estrangeiro

   Year: 1989   
Tracks: 10


   
 Caetano (Jose)

   Year: 1987   
Tracks: 11


   
 Totalmente Demais

   Year: 1986   
Tracks: 16


   
 Caetano Veloso

   Year: 1986   
Tracks: 13


   
 Velo

   Year: 1984   
Tracks: 11


   
 Uns

   Year: 1983   
Tracks: 11


   
 Cores, Nomes

   Year: 1982   
Tracks: 12


   
 Outras Palavras

   Year: 1981   
Tracks: 13


   
 Cinema Transcendental

   Year: 1979   
Tracks: 12


   
 Muito

   Year: 1978   
Tracks: 12


   
 Maria Bethania and Caetano Veloso ao Vivo

   Year: 1978   
Tracks: 12


   
 Muitos Carnavais

   Year: 1977   
Tracks: 12


   
 Bicho

   Year: 1977   
Tracks: 9


   
 Doces Barbaros (cd2)

   Year: 1976   
Tracks: 7


   
 Doces Barbaros (cd1)

   Year: 1976   
Tracks: 10


   
 Qualquer Coisa

   Year: 1975   
Tracks: 12


   
 Temporada De Ver o Ao Vivo Na Bahia

   Year: 1974   
Tracks: 9


   
 Araka azul

   Year: 1973   
Tracks: 10


   
 Transa

   Year: 1972   
Tracks: 7


   
 Caetano Veloso (A Little More Blue)

   Year: 1971   
Tracks: 7


   
 Caetano Veloso (1969)

   Year: 1969   
Tracks: 12


   
 Tropicalia ou Panis Et Circensis

   Year: 1968   
Tracks: 12


   
 Caetano Veloso (Tropicalia)

   Year: 1968   
Tracks: 12

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A true heavyweight, Caetano Veloso is a pop Bob Dylan, Bob Marley, and Lennon/McCartney. And even the to the highest degree passing listen to his recorded output over the terminal few decades proves that this is no overstatement.


Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso wrapped the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, just it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian star in the fifties) that formed the cornerstone of Veloso's intensely eclectic pour down. Following his baby Maria Bethânia (a identical successful singer in her possess right) to Rio in the early '60s, the 23-year-old Veloso north Korean won a lyric-writing contest with his sung "Um Dia" and was promptly signed to the Phillips label. It wasn't prospicient earlier Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) delineated the modern wave of MPB (i.e., musica popular brasileira), the general-purpose term victimised by Brazilians to distinguish their pop music. Bright, ambitious, creative, and tending to an unapologetically left-winger political expectation, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new pattern of pour down music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and fine art rock candy to a grudge of loud electric guitars, poetic spoken parole sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of old fans similar to the choler provoked by Dylan upon expiration electric), Tropicalia was a breathless stylistic deductive reasoning that signaled a novel genesis of daring, provocative, and politically outspoken musicians wHO would remaking the face of MPB.


This was a cultural stir not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a regime that would principle for 20 long time) that did non expect good-hearted upon such radical medicine made by such group musicians. Almost immediately on that point were government-sanctioned attempts to circumscribe the recordings and live performances of many tropicalistas. Censorship of song lyrics as considerably as radio set and television system play lists (Veloso was a regular TV performer on Brazilian multifariousness shows) was common. Just as common was the persecution of performers openly decisive of the government, and Veloso and Gil were at the top of the hit numeral. Both men exhausted 2 months in prison house for "anti-government natural process" and some other 4 months under house become back. After a defiant 1968 performance in concert, Veloso and Gil were constrained into exile in London. Veloso continued to record overseas and compose songs for other Tropicalia stars, merely he would not be allowed to return to Brazil for good until 1972.


Although his commitment to politicized artistic creation ne'er wavered, Veloso, over the side by side 20 days, went from existence a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop. For decades he unbroken up a grueling yard of transcription, producing, and acting and, in the mid-'70s, added authorship to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first clock time. (He sold out trey nights at the Public Theater in New York with shows that were ecstatically reviewed by then-New York Times pop critic Robert Palmer.) This firm increase in popularity occurred despite the fact that Veloso's records were extremely hard to recover in American record stores, and when one could situate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in section to Palmer, Robert Christgau, and former critics writing near pop music outside of the neighboring 48 states. But Veloso ne'er seemed daunted by his depressed profile outside of Brazil, and his put to work over the years, even later on he became a more well-known international belt down figure, remained thought-provoking and intriguing without beingness modified for American (or anyone else's) tastes -- that is, Veloso sang in English (almost of his recorded work is song in Portuguese) when he matte up like it, not because he had to sell more than records in America. He hung out with fair trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), only never made a big deal about it. Veloso was one of the rare musicians world Health Organization was popular, sold a draw of records (at least in Brazil), was a certified superstar, simply was never self-aggrandising, narcissistic, or too concerned with how hip he was.


Regular when he approached the age of normal retirement, Veloso showed no signs of slowing depressed. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his outset nonimport outlet in America, Veloso's stateside profile increased significantly, reach its highest power point with the acquittance of 1993's Tropicália 2, recorded with Gilberto Gil. A glorious record book that made a curve ball of American ten-best lists, Tropicália 2 proven once once more that Veloso's gift (as well as Gil's) had non vitiated a spot. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Dark and White" and Dylan's "Jokerman"), were uniformly antic, and in the summertime of 1997 Veloso embarked on his largest American hitch to date.


Deuce long time later, Veloso was the subject of an extensive, flattering portrayal in Spin on the eve of the American release of his acclaimed 1998 album Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his married woman, actress Giulietta Masina. He likewise south Korean won a Grammy for the Best MPB Album for 1998's Livro at the outset annual Latin Grammy Awards. After the end of the millennium, Veloso delivered a bossa nova album, the enlivened Noites do Norte, a live record book from Bahia, a coaction with poet Jorge Mautner, and the songbook album A Foreign Sound. In 2006 Veloso returned with Cê, a typically divers and interesting album co-produced by his boy Moreno.





Klaus Kruger