320 kbps / 202 MB / RG / DF
December 11th, 2016 at London’s O2 Arena, ‘last ever’ electric live tour from Francis Rossi, Andrew Bown, John ‘Rhino’ Edwards & Leon Cave,
Tracklist:
01. Caroline (Live in London 2016) 05:27
02. The Wanderer (Live in London 2016) 02:46
03. Something ’bout You Baby I Like (Live in London 2016) 02:17
04. Rain (Live in London 2016) 04:35
05. Softer Ride (Live in London 2016) 04:02
06. Beginning of the End (Live in London 2016) 03:57
07. Hold You Back (Live in London 2016) 04:45
08. Proposing Medley (Live in London 2016) 07:25
09. Paper Plane (Live in London 2016) 03:30
10. The Oriental (Live in London 2016) 05:14
11. Creepin’ Up On You (Live in London 2016) 04:58
12. Gerdundula (Live in London 2016) 05:02
13. In the Army Now (Live in London 2016) 04:08
14. Drum Solo (The Caveman) (Live in London 2016) 03:10
15. Roll Over Lay Down (Live in London 2016) 05:59
16. Down Down (Live in London 2016) 07:17
17. Whatever You Want (Live in London 2016) 05:03
18. Rockin’ All Over the World (Live in London 2016) 04:03
19. Burning Bridges (Live in London 2016) 03:52
20. Rock ‘N’ Roll / Bye Bye Johnny (Live in London 2016) 06:29
n a world that is as fast-paced and crazy as our world is these days, it is nice to be able to hear some genuine country music songs sung by two of the very best country singers on the planet. With American Grandstand, Rhonda Vincent and Daryle Singletary have brought 12 songs to the table to give us all one of the very best classic country albums .
The singers, quite simply, bring out the best in each other with Daryle Singletary and Rhonda Vincent both hitting notes that I’ve never heard them quite master before. “One” is one such case. They deliver strong tempo-filled duets on opener “Above And Beyond” and “Louisiana Woman, Mississippi Man” while tenderly singing of life, love and everything in between on tracks like “After The Fire Is Gone,” “We Must Have Been Out Of Our Minds” and “Up This Hill And Down.” As stated before, there are interesting blends of vocal harmony and lyric bending on display here, on nearly every track, with both not only trying to pay homage to their heroes but to also make the songs their very own.
The project’s lone new song, the title track, is a special moment in that it doesn’t feel outta place at all on the record and there’s quite an Oak Ridge Boys-like flavor to the harmony vocals on the track (which is is all Daryle Singletary). It gives us a glimpse in the kind of musical direction these talented artists can take any follow-up projects, especially if they’re as ear-pleasing as American Grandstand.
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320 kbps / 172 MB / RG /
Tracklist:
1. I Don’t Even Try (4:52)
2. Radio Girl (3:12)
3. Death By Misadventure (4:32)
4. Girl On A String (3:28)
5. You May Already Be A Winner) (5:16)
6. Say It With Flowers (3:53)
7. The Crush (5:35)
8. Something Happened (4:52)
9. Doll Hospital (3:42)
10. Since His Penis Came Between Us (4:05)
11. Lovers Will (4:40)
12. Falling Up (4:06)
13. Spy Boy (5:10)
14. Riding With The King (8:46)
15. Love Like Blood (4:54)
16. Zero House ( (5:43)
320 kbps / 159 MB / RG /
Tracks:
01 – Funny How Time Slips Away
02 – Hello Walls
03 – Crazy
04 – Shelter of Your Arms
05 – Night Life
06 – The Storm Has Just Begun
07 – A New Way to Cry
08 – Let’s Pretend
09 – I’m Going to Lose a Lot of Teardrops
10 – Face of a Fighter
11 – Pride Wins Again
12 – Building Heartaches
13 – If You Can’t Undo the Wrongs, Undo the Rights
14 – A Moment Isn’t Very Long
15 – Suffering in Silence
16 – I Just Don’t Understand
17 – Happiness Lives Next Door
18 – Both Ends of the Candle
19 – Home Is Where You’re Happy
20 – Go Away
21 – The Ghost
22 – No Tomorrow in Sight
23 – Blame It on the Times
24 – Right from Wrong
25 – You Wouldn’t Cross the Street to Say Goodbye
26 – Some Other Time
27 – One Step Beyond
28 – The Part Where I Cry
29 – Slow Down Old World
30 – Wake Me When It’s Over
When Brazilian singer/songwriter Flavia Coelho took the stage at Club Soda at the Festival de Jazz de Montreal last week it was a homecoming, a big homecoming. She had not performed anywhere in the Western Hemisphere since she moved to Paris almost a decade ago.
Photo: Youri Lenquette
Born in 1988 in the favelas of Rio, Coelho’s family moved around a lot, often between Ceará and São Luis, Maranhão, where her parents had come from. She ingested all the music that surrounded her during those formative years, though her biggest influence was reggae, which she first heard at the age of 8 via sound system trucks parked on the streets of Maranhão. By the age of 14, she had started singing with various groups.
“My history with my music is that it’s me,” Coelho says. “You see, I’m two girls. I’m a black girl and I’m a white girl. My father’s family, they are black. My mother, she came from Portugal, and also Brazilian Indians. My father lived in Ceará which has a lot of different styles of music—forrò, repente and xote. My mother came from São Luis, Maranhão, the home of reggae in Brazil. I lived between those two parts of Brazil. I was born in Rio—rap, hip-hop, samba, pagode. How could I not have mixed all these sounds? It was impossible for me to have a choice to do just one style. But the music in me is also metal, punk, rock, funk—Tim Maia was the king of funk from Rio de Janiero.”
“I was also born at a very special moment in Brazil,” she adds. “The dictatorship ended in 1986, I was born in ’88, in this moment of transition. I grew up with all the music from around the world, television, cars. People were coming to Brazil from all over the world.”
When Coelho takes the stage, you immediately know you’re witnessing a show. She is not one to simply stand in front of the microphone strumming her guitar, but rather takes over the whole stage, prancing and dancing, in that way only Brazilians can get away with, and inviting the audience to join with her. Her ability to command a stage and the importance of developing a stage presence was also something she learned as a child, though from a somewhat unconventional source for a youngster.
“Yes, it’s very true that my mother was a hairdresser for drag queens in Rio,” she admits with a laugh. “My mother, she taught me music, cabaret—because I grew up in those cabarets. I saw them perform and they taught me how to put on the dresses, the heels, the makeup. I was a little young, you know—between four and nine. My mother also taught me tolerance and love. It was in the ‘80s and ‘90s when AIDS started in Brazil. It was very hard for her because all the neighborhood were saying: ‘She works with the drag queens! She’s dangerous, this woman!’ You can imagine the time when AIDS started, they were all afraid.”
At 18, she first visited Paris as a member of a vocal group. Experiencing the City of Light, which had played host to artists and writers she loved—from Hemingway to Gilberto Gil—cast its spell on her. She also saw in the city’s rich ex-pat pan-African community an opportunity to get in touch with her own African roots. There was nothing else for her to do but move there.
One of the first people she met was Cameroonian guitarist/bassist Pierre Bika Bika, who schooled her in African rhythms as the two began playing in the Paris Metro, as well as local bars. In 2010, mutual friends introduced her to producer/musician Victor-Attila Vagh, who had a recording studio in town.
“They came to me,” Vagh, who also plays multiple instruments in her band, recalls. “At this time she was already singing in a bar near my recording studio. She said, ‘Can I just record one song in your studio?’ And that’s how we started. At the beginning, she was actually paying for the recording. But then, the first track was really good. So I think after the third track, I said I wanted to go further and deeper,” adding, with a laugh, “and she doesn’t have to pay me any more.”
Those recordings became her first album, Bossa Muffin, released in 2011. The album was very successful and led to Coelho becoming a regular fixture on the European festival circuit. In 2014, she released her second album, Mundo Meu, or “My World.”
How one track, “People Dansa,” on that album, or what she likes to call her “little Afrobeat,” came about is a story she gets all excited to share. As she explains it, Vagh, who was again producing her, decided to play the demo track to his friend, Afrobeat drummer Tony Allen. Allen not only liked it, he volunteered to play drums on the track, and more.
“Working with Tony Allen was an incredible day for me,” Coelho says, jumping up and down on the couch. “I composed this song in my room, this Afrobeat thing like that with my little guitar… my little Afrobeat. You see, I had crossed paths with Tony because sometimes he goes into the studio for recording with Victor. I would say ‘Hi, Tony! How are you? Thank you so much for living!’ So Victor showed to him the song and Tony said: ‘It’s great! It’s great! I want to play! Let’s go!’ So Tony played the song, but also made arrangements for the horn section. Normally, he just comes in to play the drums, but by the end of the day he was producing the whole thing! It was incredible! And it started in my room, you know, like that? And now, Tony, the father of Afrobeat, he played on this song! Every time I think about this story, it’s crazy!”
Over the ensuing years, she has also lent her voice to recordings by a select group of artists, which, as she explains, have to be friends. “I don’t like to sing with people I don’t know,” she says. What’s nice is that her friends include musicians such as Cheikh Lô, Paris-based South African DJ Mo Laudi and the French/Chilean group Sidi Wacho.
When she hears the name Cheikh Lô, Coelho immediately starts praising him passionately. “How many kings are there in Senegal?” she asks. “We have Youssou N’Dour, Ismaël Lô . . . and Cheikh Lô. He is a monument of music from Africa. He plays with so many people. He started a different form of music in Senegal. He’s a very, very important musician and a very, very good friend. It’s an honor for me to play with him.”
Then, she adds with a giggle: “He’s also so cute.”
Coelho likes to say her philosophy is to “dance through difficult things” and that we must “smile through suffering.”
“This is very Brazilian,” she says, “because you don’t have to pay for dancing and you don’t have to pay for smiling. When you are born and grow up in the favela, life is very hard. It is the only exit, the only choice for us. And this was very cool for me, finally, because today I have no problems in my life.
“A true problem for me,” she continues, “is a problem with the health, with my brain. These are true problems. Because when you grow up in a moment in such a hard life, of course, today is a dream. That is why my new album is called Sonho Real—the ‘Real Dream’—because this is a real dream for me to play my music, live the sonho real, play with my friends, travel around the world, doing interviews like this! It’s f**kin’ crazy! It’s f**kin’ good!”
She and Vagh wrote the songs while they were touring last year. But while Coelho doesn’t see problems in her own life, the songs on the album speak to many problems we face in the world today—problems of women, race and immigration, she explains.
“On this album and in my concerts, I want to talk about the condition of women,” she says, “because it’s very important for me, of course. I know very well how many singers need to work very hard to get a good position. When we see the festivals, for example, there is not a lot women singers in the festivals. There are the groups, mostly guys, but not a lot of girls. I want to talk about immigration. I know this being an immigrant myself. The real message is: ‘Don’t worry.’ We will be passing through this difficult moment—but you work, you want, you do it, you will have. It’s just all inside the brain. And sometimes we need to pass through different difficult moments, but we have the light at the end.
“I also talk about Brazil a lot on this album too,” she continues. “The bourgeoisie. Because in Brazil now, after 10 years, we started to become rich. And when the people become rich and they don’t have a good education, they become bête, you know, foolish, silly. In Brazil now, finally, they have completely forgotten they were very poor, like the former president, Lula, for example. And of course, I cannot close my eyes for the situation of my country. I don’t know if I can change something, but I want to try with my words. I cannot close my eyes. It’s impossible.”
Coelho dreams of returning and touring, not just in North America, but most importantly, playing for her own people back in Brazil. “I so want to go back to my country,” she concludes. “Because I started my albums in Europe and it all came very fast. We played a lot in France and Europe like this, but we didn’t have time to come to the Americas. I write my songs in Portuguese, to speak with my people, but I’ve never performed in Brazil with my albums. So of course, this is the first time now and I want to come back with my guys and go to Brazil. I hope today I am planting seeds and praying for rain for this.”
Pierre Thiam, a master Senegalese chef, is doing a cooking and tasting demo at the James Cohan Gallery. He is preparing a mango salad using fonio, an ancient, healthy and wildly popular grain with origins in West Africa. He has prepped all the ingredients for the salad, and prepares it on the spot. Made with olive oil, garlic, ginger, lime, chili pepper, lalo, (baobab leaf), and cooked fonio, we sample and enjoy this delicious dish.
Fonio and Mango Salad. ©javierchavarria
The James Cohan Gallery, a gorgeous art space in Chelsea, has the work of Ethiopian artist Elias Sime adorning the walls. The gallery hosted a fundraiser on June 14 for African Services Committee’s Community Kitchen, a division of African Services Committee, a nonprofit organization based in Harlem. Dedicated to improving the health and self-sufficiency of the African immigrant community, the organization provides health, housing, legal, educational and social services to newcomers in New York City. They have also opened five clinics in Ethiopia, the country of origin of the founder, Asfaha Hadera.
Arriving in the U. S. as a political refugee, Asfaha came with the help of the International Rescue Committee (IRC) in 1979. Fleeing the Red Terror campaign in Ethiopia, Asfaha made his way to Sudan, and organized the Ethiopian refugee community there. After two years, when the situation got worse in Sudan, he sought asylum in France, and then came to “my dream country, the United States of America.” After receiving help upon his arrival, and realizing that there were no advocates on behalf of African refugees here in the U.S., he saw an opportunity to give back to his community, and started the Committee to Aid Ethiopian Refugees. (The name changed to African Services Committee in 1994.)
He has been quite busy these past few weeks, lobbying congressmen and senators in Washington, D.C. He met with a couple of representatives, both Republicans and Democrats, to advocate for the ASC Ethiopia programs. He likes the saying, “If you save one life, you are saving the world.” He also told me that he “loves my fellow human beings–we have to care for one another.” Now in its 36th year, and with the political climate such as it is, funding is crucial to help maintain and expand services for African immigrants coming to America. Together with a dynamic board of directors, Mr. Hadera is working to expand his mission.
Ilfenesh Hadera and guests. ©javierchavarria
Chef Thiam’s earliest memories of being interested in food date back to his childhood, when he would leaf through his mom’s cookbooks, and drool over pictures of the food. Pierre came to the U.S. in 1989 to study physics and chemistry, and while visiting a friend in New York, he “had all his money stolen in Times Square, and ended up staying. It was an accident, really” is how he describes events that eventually led him to become a chef. When he started working with Richard Garvins at his restaurant, he knew he had found his calling. “I could completely connect with cooking,” he tells me.
Pierre traveled around Senegal to do research for his first book, entitled Senegal: Modern Senegalese Recipes from the Source to the Bowl, which has helped educate and introduce New Yorkers and others to the richness and variety of the cuisine. Senegal’s history is intertwined with its food, and the link with French colonizers. Rice, for instance, took a path from Indochina under French rule to West Africa, and back. Pierre tells these and other interesting stories in his book.
With upcoming trips planned to Boston with Christopher Kimball, a food world personality; a TED Global Conference in Tanzania; and a pop-up restaurant in Johannesburg, South Africa, Chef Thiam is on the move.
The guests sit down to dinner, which is served family style. We enjoy bluefish with spiced parsley stuffing and jollof rice with spring vegetables. There is also grilled chicken with lemon onion confit, and collard greens and ground peanut sauce feuilles. For dessert, we enjoy coconut rice pudding with hibiscus coulis. Delicious and satisfying, the meal was perfect.
We joined everyone at the after party, and the diverse crowd enjoyed music from DJ Yoossouph, as well as appetizers prepared by Chef Thiam. Hailing from Lagos, Nigeria, and working by day on Wall Street, Yoossouph has been deejaying since 2007. Originally agreeing to play until 11, the crowd enjoyed his music so much that he agreed to play music until 1 a.m.
DJ Yoossouph.©javierchavarria
Yoossouph played Afrotechno, Congolese, Electronic Dance Music (EDM), and South African music. There was also Nigerian music: P-Square, and Wizkid Kofi Olomide. Classics from Miriam Makeba and Brenda Fassie from South Africa, Anjelique Kidjo from Benin, and Diamond Platnumz from Tanzania were also played.
Be sure to catch him this summer…as he is headed to Wharton this fall for his M.B.A. All told, it was a fabulous evening.
