Converted By Soundiiz.com, Rdio To Soundcloud

TT Mix

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil ́s oldest bands, founded in 1874. 

At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band "Jazz Orquestra os Azes do Ritmo" with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: "Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing."

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela", included on this record, became instant hits. A year later, "Mingau de Açai", one of Cupijo ́s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created "Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, "Musicolor", to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó........ Segura!!!

Mingau de Açai - Mestre Cupijo (OUT NOW)

Mastered version of a mix I did for DigiTrax Entertainment.

"Ramblin Man" The Allman Brothers Band (karaoke Version)

Two Door Cinema Club - Something Good Can Work (RAC Mix)

Hear the entire RAC discography by subscribing to this Spotify playlist: http://found.ee/RACdiscog

Additional vocals by Liz Anjos. 
Thanks to Troupe Gammage for some string programming.
http://rac.fm

Support us by purchasing this track as part of the compilation “CHAPTER ONE”.

iTunes:
US & CAN: http://smarturl.it/RACChapterOne
Rest of The World: http://smarturl.it/RACChapterOne_Int
Amazon: 
http://www.amazon.com/gp/product/B009U266A2/
Beatport: 
http://www.beatport.com/label/rac-records/26777

Intro To RAC: http://smarturl.it/RACINTRO
RAC Discography: http://smarturl.it/RACDISCOGRAPHY

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RAC ON TOUR - smarturl.it/RACTOUR
SEP15 - Neumos, Seattle, WA
SEP16 - Wonder Ballroom, Portland, OR
SEP17 - The Imperial, Vancouver, BC
SEP20 - The Fonda, Los Angeles, CA
SEP22 - Life Is Beautiful Festival, Las Vegas, NV
SEP24 - Bluebird Theater, Denver, CO
SEP26 - Trees, Dallas, TX
SEP27 - Mohawk, Austin, TX
SEP29 - The Republic, New Orleans, LA
SEP30 - The Basement East, Nashville, TN
OCT1 - Terminal West, Atlanta, GA
OCT2 - Cat’s Cradle, Carrboro, NC
OCT4 - Paradise Rock Club, Boston, MA
OCT5 - Black Cat, Washington DC
OCT7 - Coda, Philadelphia, PA
OCT8 - Brooklyn Steel, Brooklyn, NY
OCT11 - Mod Club, Toronto, ON
OCT12 - Newport Music Hall, Columbus, OH
OCT13 - Metro, Chicago, IL

RAC MERCH - smarturl.it/RACSTORE

Two Door Cinema Club - Something Good Can Work (RAC Mix)

PEEK! - Eu Sou Do Mundo (Its Gonna Crash Remix)

PEEK! - Agora Ou Nunca (Bizzartech's Dub Edit)

PEEK! - Agora Ou Nunca (Bizzartech Remix)

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil ́s oldest bands, founded in 1874.

At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band "Jazz Orquestra os Azes do Ritmo" with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: "Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing."

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela", included on this record, became instant hits. A year later, "Mingau de Açai", one of Cupijo ́s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created "Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, "Musicolor", to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó........ Segura!!!



Caboclinha Do Igapo - Mestre Cupijó e Seu Ritmo (OUT NOW)

Out now on @half-ass-pop   Beatport, iTunes, Juno, Trackitdown, Amazon, etc etc

PEEK! - Agora Ou Nunca (Its Gonna Crash remix)

The twelfth record in our Brazil 45s series - http://www.mrbongo.com/products/elza-soares-mas-que-nada-elizabeth-vou-falar-lhe-francamente-7

A. Elza Soares - Mas Que Nada
AA. Elizabeth - Vou Falar-Lhe Francamente

Elizabeth - Vou Falar-Lhe Francamente

From the album Super Class, available now: http://geni.us/superclass

"While the original has a heavy-handed, layered structure, this CSS remake is lighter on its feet with a nimble bass line, a little brass, and a breezy vibe." - Pigeons and Planes

FALL TOUR DATES
Nov 02, 2014 - Seattle, WA - The Sunset
Nov 04, 2014 - Portland, OR - Doug Fir Lounge 
Nov 05, 2014 - San Francisco, CA - Brick & Mortar
Nov 07, 2014 - Los Angeles, CA - The Satellite
Nov 09, 2014 - Denver, CO - Lost Lake
Nov 10, 2014 - Omaha, NE - Reverb Lounge
Nov 11, 2014 - Chicago, IL - Schubas
Nov 13, 2014 - Brooklyn, NY - Cameo Gallery 
Nov 14, 2014 - New York City, NY - Pianos
Nov 15, 2014 - Philadelphia, PA - Kung Fu Necktie
Nov 16, 2014 - Boston, MA - Great Scott
Nov 18, 2014 - Toronto, ON - The Garrison
Nov 19, 2014 - Ottawa, ON - Mavericks
More tour info: bit.ly/HighEndsShows

Follow High Ends online:
facebook.com/highendsmusic
twitter.com/High_Ends
instagram.com/high_ends

Buy on iTunes

High Ends - Intoxicated (CSS Remix)

Let The Drummer Kick - Citizen Cope - cover by Kat-Juan

A song about domestic abuse and one woman's solution. Words and music by Alice Bag.

Happy Accident 

Please believe me, I didn’t mean it
All I saw was the look in his eyes
And I feared for my life once again
I didn’t know what was coming
All I know was he’d done it before
Sent me crashing to the floor
But no more…
Chorus
I can’t say that I regret it
I had tried to leave every other way
And if I had the chance to do it all again
I don’t think it would have a different end
I’m quite happy with this accident
How could I know it was loaded?
Yes I knew where he kept all his guns
And I just grabbed the one that was closest
Now you ask why I’m smiling
You may think that a prison cell’s tough
But I’m much better off than before
Chorus
I can’t say that I regret it
Cause after all, it’d be him or me 
You’d be talking to
And if I had the chance to do it all again
I don’t think it would have a different end
I’m quite happy with this accident

Happy Accident

*** This is a CSS cover folks... Bossa Nova style!
Featuring Marcie Flores from L.A. band PATSY sharing vocals with me ***

Only available on CD version

11. Alcohol (CSS cover)

03. Deixa o Vento Levar Seus Problemas

Full lenght album "Cometa" now available for download on iTunes, Amazon...etc...!!!!!!!


PEEK! is the first solo effort from Los Angeles artist PK (Patricia Klein). 
A Brazilian born musician who spent many years involved in the L.A. indie scene, playing guitar and singing in bands that ranged from punk rock, riot girrl, metal and pop. Bands like, Quiver, Bobsled, PATSY, The Circuit Side and Sid Brown. 
PEEK!'s first record actually illustrates Patricia Klein's strong brazilian influence...mixing sounds from the tropicalia and bossa era with rock and indie styles. The result, a very original and exciting collection of sounds guaranteed to please any audience.
PEEK! hand picked amazing L.A. talent to join her in the studio and live. 
Gomez Comes Alive (Bass : Beck, Longstocking, Slowrider)
Bryan Lee Brown (Drums : Bluebird, Dick Dale, Holloys), Alfredo Ortiz (Percussion : Beastie Boys, Ozomatli, Tito & Tarantula, Yeska, Offspring ), Sherri Solinger (Drums : Longstocking, The Murmurs). 


11. Alcohol (CSS cover)

PEEK!

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