BITRATE MISTAKE, please re-download

Several recent uploads were listed as 320/kbs, the bitrate that I INTENDED to encode at. Somehow, these were ctually somewhere around 160-170 — a horribly and very lossy-sounding bit depth indeed. Conversion was done with dbPoweramp set at 320/kbs Average Bit Rate (ABR), and somehow all files converted at this setting ended up at about half that!

PLEASE for the love of God, redownload these. The following links have been replaced and if you grabbed these shares before the afternoon of August 25, I recommend replacing them with these:

Trio Mocotó (1973)

Jorge Ben – Força Bruta (1970)
Jorge Ben – Jorge Ben (1969)
My apologies for the inconvenience!

Gil Scott-Heron – From South Africa to South Carolina (1976)

In honor of true friends

One of my dearest friends left town yesterday for greener pastures. We may or may not ever share the same geographic space again, but our friendship has a closeness that can bridge the gap of distance. I admire Anneeth as I always have for her commitment to social justice; to uncovering the silences at the intersections of race, gender, and capital; her attention to the everyday violences, to the harm wrought with words of which we are all capable, the injustice we commit against ourselves when we internalize the brutality.

We live in a world that is increasingly fickle when it comes to spatial boundaries, an era of time-space compression where borders are obliterated in the service of power and reconstituted again in nativistic reflex. Sometimes our own boundaries become blurred. Sometimes we grow distant from those we care about, and who care about us; sometimes we have the good fortune to find them again. She was the first friend I made in this town. Together we shared many struggles adjusting to a social milieu much smaller than that to which we were accustomed, our nostalgia and longing for Chicago, our frustrations with the petty gossip, the performativity, and the drama that engulfs this privileged college town.

Anneeth helped me to remember that respect for all life and commitment to equity and justice begins with remembering to be gentle with ourselves, with an acknowledgement of our own right to be. She has inspired me to filter out the toxic and surround myself with the positive energy of solid, reliable people. For her courage, for her good humor in the face of uncertainty, and for her compassion toward me and many, many others — I dedicate this album of Gil Scott-Heron and Brian Jackson, words written in blood and fire and sung with a commitment to change worthy of her. For your friendship.
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Gil Scott-Heron & Brian Jackson
From South Africa to South Carolina

1. Johannesburg 4:52
2. A Toast To The People 5:47
3. The Summer Of ’42 4:42
4. Beginnings (The First Minute Of A New Day) 6:23
5. South Carolina (Barnwell) 3:45
6. Essex 9:17
7. Fell Together 4:30
8. A Lovely Day 3:29
9. South Carolina (Barnwell) (Live) 6:29
10. Save The Children (Live) 4:23
11. Johannesburg (Live) 11:14
12. Let Me See Your I.D.

* note: The sound quality on this TVT “remaster” is, unfortunately, an abomination. It doesn’t take an engineer’s ear to notice the life has been sucked out of a lot of this wonderful music — listen to drummer Bob Adam’s cymbal work on the song ‘Beginnings.’ Notice how his cymbal hits have no sustain whatsover? That’s not natural. Notice the weird sounding digital artifacts and distortion. That’s not natural either. Both are the result of sloppy analog-to-digital conversion and indiscriminate use of Dolby noise reduction to the analog tapes. Somebody got paid to fuck up the music like that. Thankfully the content of this record is strong enough to help you not notice so much.

Review by Ron Wynn

The collaboration between Gil Scott-Heron and Brian Jackson was now a formal one, as they were issuing albums as a team. This was their second duo project to make the pop charts, and it included anti-nuclear and anti-apartheid themes, plus less political, more autobiographical/reflective material like “Summer of ’42,” “Beginnings (The First Minute of a New Day),” and “Fell Together.” Scott-Heron was now a campus and movement hero, and Jackson’s production and arranging savvy helped make his albums as arresting musically as they were lyrically.

Gil-Scott Heron pulled few punches on this powerful 1975 release, his second effort with the Midnight Band. The jazz here (“Summer of ’42,” “Essex”) is hard, flint-edged stuff, dipped in funk and Latin percussion. The ballads (“Beginnings,” “A Lovely Day”) are pretty, and the lyrics (especially on “A Toast to the People”) are potent. The Clash’s Mick Jones, a fan of Scott-Heron’s, once told Rolling Stone that “people would rather dance than fight wars,” but “Johannesburg” and the nuclear-power-protesting “South Carolina (Barnwell)” prove you can do both at the same time. Bonus tracks include live versions of the latter as well as the in-your-face anthem “Let Me See Your I.D.” from the 1985 Sun City project. –Michael Ruby

Jorge Ben – Força Bruta (1970) 320kbs ABR

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JORGE BEN
Força Bruta
Original release 1970
Dusty Groove America reissue 2007

This is a fantastic record. I was wrong with crediting the 1969 to Trio Mocotó yesterday — I believe the partnership actually began with this record. Formerly very difficult to track down, Dusty Groove has done us all a public service by making it available again!! BUY A COPY today

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Jorge Ben “Forca Bruta” (Philips, 1970)
A dreamy, relaxed album made with the Trio Mocoto (see below for more info about them…) A couple of the songs on here are regularly included on anthologies (“O Telefone Tocou Novamente,” “Charles, Jr.”) but most of this album is material that tragically has been on the backshelf for decades… I suppose this is the sort of album that you have to settle into — it’s very pretty and very laid back, cloaking a funky undercurrent in an acoustic samba wash, and intensely seductive. Why this album remains out of print is a real mystery

review from DGA
A fantastically soulful album from Jorge Ben — one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge — a sound that’s still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom — thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There’s still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound — leaving the main force of the music to come from Jorge’s guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too — slightly raspy, and with a bit more feeling than we ever remember Jorge having on record — sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year — with tracks that include “Oba La Vem Ela”, “Ze Canjica”, “Pulo Pulo”, “Apareceu Aparecida”, “Terezinha”, “Mulher Brasileira”, “Forca Bruta”, “O Telefone Tocou Novamente”, and “Charles Junior”.

TECHNICAL NOTE about playlists

Dear readers.. I refuse to use I-Tunes to play or organize music (until they have native support for FLAC, i.e. never, I will continue to use Foobar2000 or, in a pinch, WinAmp). But since many people do, including my friends who regularly visit this blog, I thought I would mention something technical. Some of you may be experiencing the phenomenon of ending up with 2 copies of every song in your I-Tunes. This is most likely because you are importing the entire folder, and that folder contains an m3u playlist. The way to prevent this is to import ONLY the m3u file — it’s the file that only contains the name of the artist and album. This will result in importing only one copy of each track. The inverse way to do this is to exclude the m3u file and import all the rest, but I think the first option is easier. m3u playlists are probably used more widely with other players besides I-tunes, but I’m afraid I won’t be making any concessions to Itunes users — you’ll just have to deal with it. 😉

Jorge Ben – Jorge Ben (1969) 320 kbs ABR

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Jorge Ben
‘JORGE BEN’
1969 Philips

1. Criola
2. Domingas
3. Cade Tereza
4. Barbarella
5. Pais Tropical
6. Take It Easy My Brother Charles
7. Descobri Que Eu Sou Um Anjo
8. Bebete Vaobora
9. Quem Foi Que Roubou A Sopeira De Porcelana Chinesa Que A Vovo Ganhou Da Baronesa?
10. Que Pena
11. Charles, Anjo 45

This is an essential album from Jorge Ben and (until just this year!) has been rather scarce to track down. NOTE ** This rip comes from the original Philips CD pressing and not from the one on Dusty Groove’s label. ** I will probably get the latter in the near future and I could post it here, but I recommend everyone give their money to Dusty Groove America anyway because they are the GREATEST RECORD STORE OF ALL TIME and deserve it. They’ve been very picky about what music they reissue, exercising their world-famous exquisite taste — but I’d love to see them reissue more goodies so give them your $$ and help ’em out!

All of Jorge Ben’s material up through the late 70s is golden, but this period of 1969-1976 was especially fruitful. This album marks a new chapter in his discography, considerably broadening out his sound pallete. His records of the mid-70s (A Tábua de Esmeralda especially) would get slightly more experimental than this one, but this album contains the track “Descobri que eu sou um anjo” (I discovered that I am an angel), which surely ranks as Ben’s strangest composition yet still manages to groove. Incidentally, I saw Caetano Veloso perform this track as an encore during his last tour — it was the highlight of the show for me, since his new record was rather lackluster and he was being backed the Brazilian equivalent of U2 in 1990 (this is not a compliment, FYI). But to come back on stage and play this “deep cut” for an American audience 95% of which wouldn’t recognize it — well, I forgave Caetano for the misguided ‘rocker’ persona he’s been flauting lately. This Jorge Ben record ought to be as famous and ubiquitous as Caetano’s 1969 “white album”, or other gems from 69 like Abbey Road. It’s a milestone and always a pleasure.

(from Dusty Groove dot com)

A samba soul masterpiece from Jorge Ben — one of the most brilliant records to come out the fertile late 60s Brazilian scene — and an incredible album that works with the psychedelic flourishes of Ben’s contemporaries and a deeper undercurrent of soul & funk! This is one of the most amazing early Jorge Ben LPs, recorded at the end of the 60s, when Jorge was singing with a stone-cold soul sound. The sharp, tight arrangements by Rogerio Duprat & Jose Briamonte made tracks like “Pais Tropical”, “Take It Easy My Brother Charles”, and “Que Pena” immediate classics — while the percussion and rhythms of Trio Mocoto provide a good part of the unique backdrop. The album is a mix of funky samba, soaring Brazilian soul, and sweeping orchestrations that give the whole thing a jazzy finish — and it’s some of the best work that Jorge Ben ever recorded! Other tracks include “Criola”, Cade Tereza”, “Domingas”, “Barbarella”, “Quem Foi Que Roubou A Sopeira” and more.

(From Wikiepedia)

“In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for “País Tropical,” one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song “Charles, Anjo 45″, also from the self-titled album, would become Ben’s biggest self-performed chart hit of the year.”

(From Slipcue dot com… Incidentally I think he’s wrong in his interpretation of the manacles but that’s neither here nor there…)

Jorge Ben “Jorge Ben” (Philips, 1969)
An excellent album, with some of his catchiest songs, many of which often make it onto best-of compilations. Wildly inventive, syncretic, experimental pop music, ranging from San Francisco-sound psychedelia to spaghetti western schmaltz, and deep, heavy samba-soul. The album is both soulful and playful, as when he sings the last half of one song in a funny voice, with his nose pinched shut, or when the string section veers into bent-note atonality. The album art shows Ben with the emblem of the Flamengo futbol team on his guitar, and broken manacles on his wrists — the latter presumably a powerful statement about the military dictatorship which was running the country at the time, and actively trying to repress the tropicalia movement. One of his best records… definitely worth tracking down!

Jorge Ben – Africa Brasil (1976) [320]

 

 

 

 

 

 

 

Some great funk here and a classic still going strong! I´ve enjoyed this album so many times and I was thinking there might be some not listened to it yet. Now´s your chance!

Review by Phil Jandovsky, All Music Guide
This 1976 album is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil. The album kicks off with the raw, energetic “Ponta de Lança Africano,” and from there on it never slows down, but continues to pile up one fiery, funky gem after the other. The samba soul and samba funk scenes of the ’70s in Brazil produced many great artists and many great recordings, fully comparable with the best soul and funk music recorded in the U.S. during the same period. Jorge Ben was the most prominent figure of this scene and África Brasil is probably the most famous of his ’70s recordings. For any person who is interested in the music of Jorge Ben, or indeed Brazilian funk in general, there is no better sample of it than África Brasil.

1 Ponta de Lanca Africano (Umbabarauma)
2 Hermes Trimegisto Escreveu
3 O Filosofo
4 Meus Filhos, Meu Tesouro
5 O Plebeu
6 Taj Mahal
7 Xica da Silva
8 Historia de Jorge
9 Camisa 10 da Gavea
10 Cavaleiro Do Cavalo Imaculado
11 África Brasil (Zumbi)

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