An interracial English funk and soul group, Hot Chocolate scored a pair of huge hits in the '70s but were otherwise more enthusiastic than skilled. Lead singer Erroll Brown, guitarist Harvey Hinsley, keyboardist Larry Ferguson, bassist Tony Wilson, drummer Tony Connor, and conga player Pat Olive were the original lineup. They recorded for Big Tree from 1975 to 1978, scoring a Top Ten R&B and pop hit with "You Sexy Thing" in 1975, which also was a gold single. They repeated the trick in 1978 with "Every 1's a Winner," once more earning a gold single in the process. No other Hot Chocolate song ever made it beyond number 40 on the R&B chart, and their albums never packed much commercial punch either. Wilson departed in 1975, and Olive switched to bass in his place.

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19-12-2006 1:00 pm “Water for Life” was the theme UNESCO Goodwill Ambassador Jean Michel Jarre chose for an exceptional concert among the sand dunes in Merzouga in Morocco on 16 December 2006, organized with the support of the Kingdom of Morocco and held under the auspices of UNESCO.Water-for-Life.jpg
The Modern Arab Orchestra of Casablanca, the Morocco Philharmonic Orchestra and a number of eminent soloists joined Jean Michel Jarre on stage for this unique concert. It was also one of the highlights of the part of the UN Water for Life Decade (2005-2015) and marked the end of the United Nations International Year of Deserts and Desertification.
Using his hallmark state-of-the-art visual and sound technology, the French musician stressed the importance of protecting and properly managing the planet’s limited freshwater resources and halting the advance of desertification: “We want this concert to be a wake up call. We want to make people more aware of just how precious water is and the critical need to look after what we have. If everybody understood just how little water the earth has, or how many people are going without it – and dying as a result – or how much of it is being wasted, we might be able to find better ways of managing and sharing it. The problem of desertification is intimately linked to this situation and also requires urgent action.” Jean Michel Jarre said.
Desertification affects the lives of more than 250 million people and threatens another 1.2 billion people in 110 countries. An estimated 60 million of those affected in sub-Saharan Africa are expected to move towards northern Africa and Europe by 2020, according to the Secretariat of the United Nations Convention to Combat Desertification (UNCCD).
About 6,000 spectators attended the spectacular concert in the Moroccan Sahara, which was also broadcast live across the region by Moroccan public television and to the rest of the world via the internet and on High Defi nition channels.

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Mariza, born Marisa dos Reis Nunes (16 December 1973, Lourenço Marques, Portuguese Mozambique) is a popular fado singer.
Mariza was born to a Portuguese father and a mother of partial African heritage. At age three, her family moved to Metropolitan Portugal, and she was raised in Lisbon's historic quarters of Mouraria and Alfama. While very young she began singing in a wide variety of musical styles, including gospel, soul and jazz. Her father strongly encouraged her to adopt fado; he felt that participating in the traditional music would grant her greater acceptance in the Portuguese community. Mariza has sold over 1,000,000 records worldwide.

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Still young at 67, Rod Stewart could register his mellow, raspy voice, his hair colour, but also his trademark songs. With countless hits like «Sailing», «Baby Jane» or «Da Ya Think I’m Sexy» the mega star has sold well over 150 million records. In 1999, he was diagnosed with thyroid cancer. He was operated and his legendary voice was damaged. Rod had to learn how to sing all over again and he proved that he had succeeded when he released his Great American Songbook album series, which established him as an extraordinary crooner. Today he is still a naughty boy – and «forever young»: And last year he became a father once again! For his concert in Basel, he brings along ballads for the ladies and cool riffs for the gents.

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- Metallica, Slayer, Megadeth, Anthrax, Slipknot, Opeth, House Of Pain, Sum 41, Cavalera Conspiracy, Mastodon, Motorhead ... -

Sonisphere Festival 2011:
Accusations will always follow Sonisphere festival – usually aimed from those most preposterously pretentious metal fans who frequent supposedly non-mainstream festivals like Bloodstock – that Sonisphere is little more than a sell-out event, aimed at watered-down metal fans of pop-edged bands who have long since let go their grip on creative integrity in favour of the almighty dollar.

But 2011's fest boasted one of the most impressive line-ups rock festivals have seen for a good long while, thanks largely to the promise of the Big Four playing together on one stage in one glorious night, as well as talent from across almost every sub-genre of rock from pop-punk (Weezer, YouMeAtSix), to comedy-tinged re-imaginings (Hayseed Dixie, Richard Cheese) and the bona-fide megastars of Slipknot, Biffy Clyro

And no matter what pigeon-hole those bands might fall into, a festival experience that includes so much breadth, and so much inclusive passion for music in general is a far better one than the incestuous claustrophobia of more self-consciously liminal festivals. So I say long live the touring festival, because what I experienced a couple of weekends ago – despite the rain, the mud and the occasionally moronic wankers – was a magical thing indeed.

So, pull up a camping chair, pop a can of Tuborg and join us as we revisit the highs and lows of Sonisphere 2011.

Friday: The Big Four

A three o’clock start for the bands meant another morning of heavy preparation, mostly out of plastic cups or directly from the can, which numbed the pain of the abysmal weather for a while at least until Diamond Head opened the festival on the Apollo Stage, in a slot that suggests as much about their importance to the formation of Thrash Metal’s elite as it does about Metallica’s personal fondness for the NWOBHM band. Without them, none of this would have been possible – as Lars Ulrich himself proclaimed later – but, this is no mere ceremonial inclusion, as the band ploughed through song after song, sounding better and more energetic than Megadeth for the most part, and rousing the crowd perfectly with the day’s first appearance of iconic track “Am I Evil?”

Without much of a pause, we were into Anthrax, the start-line proper for the Big Four event, and a fitting beginning, thanks to a focus on the 80s heyday material that reminds the gathered mega-crowd of their thrash metal royalty status in sublime fashion. The band – and Joey Belladonna in particular are in barn-storming form, despite the absence of talisman Scott Ian who is usually such a focal point, but who was necessarily otherwise detained by the birth of his first child with wife Pearl Aday, and proved a standard-setting opening for the historic reunion.

Next up came Megadeth, who I personally would have put in the opening slot, because following an amped-up Anthrax was always going to be a Herculean task for a band who can blow hot and cold within the space of one gig. But, despite not being a fan, I was eventually silenced by Megadeth’s technical prowess and Dave Mustaine‘s undeniable presence (even if I always feel he could step up his animation a little more to suit his reputation). What puts me off about them is usually Mustaine’s vocals, which are usually the problem when things go wrong, but he offered a pretty strong showing that will probably be unfairly forgotten thanks to being sandwiched between two superior showings from Anthrax and the ever-blistering Slayer.

And third out of four they came – fan favourites, and the pick of the three acts so far by some distance, Slayer don’t know how to play a reserved gig. Their manifesto is coronary-bursting, bone-shattering brutality, even if their lead singer has just got over massive surgery and can’t quite head-bang the way he used to, and they didn’t disappoint, turning heads with their energy and stage-presence like few other bands can muster.

Others may argue, but it was always going to be about Metallica, and the heavy-weights didn’t disappoint at all, swaggering through an extended, pyrotechnic-punctuated set; the air pregnant with insistent helicopter drumbeats, cut with screeching jaguar-snarl guitars to distract from the earlier rain. And as ever, they had the crowd on their side, the response buoyed by the familiarity of so many songs, and the band’s decision to stick to largely pre-1990 material. That decision might have pissed off more modern fans, but it knitted them closer to the Big Four spirit when many might have expected them to consciously set themselves apart.

One thing the band can never be accused of is laziness – they know, after years of successful tours, exactly how to play to a crowd, to make the sweating, heaving mass before them feel part of the experience beyond merely observing. It’s for good reason they repeatedly called out the Metallica Family, because even those who were there for other bands – the hugely vocal, occasionally sneering Slayer fans who feel their bands position in the Big Four hierarchy belies their importance for instance – are quickly enveloped in.

The moment that many (okay, maybe all) were waiting for arrived when Metallica were joined on stage by members of the other three bands, plus Diamond Head founder Brian Tatler (and fill-ins Andreas Kisser of Sepultura and Gary Holt of Exodus). Unsurprisingly, the invasion was met with roars from the crowd, which swelled when Mustaine and James Hetfield embraced enthusiastically (cynics might call it no more than showmanship of course), and which peaked during the Big Four Collective’s version of “Am I Evil?” This was what we all signed up for, and it didn’t disappoint – the footage of that song from the rest of the tour is already highly viewed, but it in no way devalues the experience, nor the bragging rights of being present at one of the historical moments of Heavy Metal.

If Metallica brought the house down, it was left to a far less auspicious talent to pick it up. And in the shape of Hayseed Dixie, the festival organisers found the perfect antidote to the occasional and wholly acceptable self-important, po-faced grandeur of Metallica, who not only picked the house back up, but also dusted it off and handed it an over-flowing jug of the finest moonshine.

The boys in dungarees who sing about ale, women, and ale blew the lid off the packed tent in their late-night slot (a feature of Sonisphere I love), introducing some of their own material – the beautifully odd love-song “Keeping Your Poop in a Jar” – with classic covers that got everyone singing back in response between bouts of chaotic, and obviously drunken barn-dancing. My own personal highlights were the ridiculously impressive version of “Duelling Banjos” and a spine-tingling re-imagining of “Bohemian Rhapsody”. And for anyone who dismisses the band as no more than a comedy act, I’d urge you to reconsider, or at least go and see them live – their technical prowess is unbelievable and their on-stage enthusiasm breeds a massive, warm reaction from all audiences I’ve so far seen them gather.

Saturday: Biffy Clyro

In comparison to the night before, Saturday’s line-up was something of a commercial venture – but unlike those accusing sorts, I won’t say the line-up suffered as a result. Far from it in fact, as it was great to see radio-friendly acts like Sum 41, YouMeAtSix, All Time Low, Weezer and the mighty Biffy Clyro enjoying the opportunity to show their stuff alongside heavier, more fan-driven acts. Sadly, not everyone felt the same way, and the arena felt a damn-sight quieter than the night before, and there’s only so much of that you can blame on the rain. Which is a huge shame, as it meant comparatively few people were present for the hilarious re-arrangements of Richard Cheese & Lounge Against the Machine, who surprised and delighted in equal measure in their early slot.

The pick of the early day’s more poppy bunch were Sum 41, who we caught the final few songs of (and in all honesty that’s the only ones I’d have wanted to see anyway), thanks to missing out on seeing Steve-O‘s debut set in the Bohemia tent, as originally intended, who captured a massive crowd and did manfully well to entertain every last one of them. Aside from them Weezer stuck out a mile, reeling out their classics (old and new), as well as offering two outstanding covers in the shape of Wheatus’ “Teenage Dirtbag” and a flawless version of Radio Head’s excellent “Paranoid Android”. They would perhaps have been better suited to a Leeds/Reading near-top-bill slot, but the crowd were obviously game and the set went down a storm.

Not everyone did so well – I have to say I’m a sometime fan of YouMeAtSix: I find their particular brand of British poppy “punk” to be quietly entertaining – but this is the second time I’ve seen them play a festival that perhaps didn’t suit their more tender sensibilities and the second time I’ve watched front man Josh Franceschi foolishly try and whip up the crowd into some mosh-filled maelstrom. Which would be a lot easier if he wasn’t fronting YouMeAtSix and facing a growling mass of metallers who think he’s a petulant clown. At one point I thought he was going to stamp his foot and swan off stage because he wasn’t getting his own way, but at the end of the day a front-man should know his audience, and his place. And sometimes they should just shut the fuck up and accept that they aren’t a world-beating heavy metal band.

Between the radio-friendly stuff, and in the oddest of all the line-up decisions were Cavalera Conspiracy, given a mere thirty five minute set that defied their status and their subsequent performance, and Gallows, playing their last gig with erstwhile flame-haired frontman Frank Carter who’s now left for pastures new. Both formed heavy punctuations to the rest of play, and both brought generous responses from the crowd, particularly Gallows, whose circle-pit baiting almost threatened to engulf the entire (impressively massive) audience. And while Carter’s announcement, and his odd decision to wear a T-shirt emblazoned with the name of his new band Pure Love (fucking awful name that) could have derailed the whole affair, the band responded defiantly, playing one of the best gigs of their careers.

Saturday was about one band and one band only for me – Biffy Clyro – the reason I bought my ticket. This was the seventh time I’ve seen the Kilmarnock boys live, and the seventh time I’ve been blown away by their live show and generally huge talent. They might not quite subscribe to the opinion (Simon was particularly humble in his thanks for being accepted at a metal festival) but the band pack an unbelievably heavy punch that is far more visible in earlier material, but still adds a steel-toed kick to even their most radio-friendly newer material.

Every time I see Biffy, they match their impeccably staged sound with a visual show that would put most to shame, and it was only the presence of Metallica on the day before’s bill that meant they didn’t walk away with best light and pyrotechnic show, which is some achievement. The addition of smoke filled bubbles to an immaculate “Bubbles” was a particularly charming touch.

If I had one criticism, I’d suggest the set-list was a little uneven, with three early “slow” songs in a row sending an audible wave of unease through my section of the crowd, before later choices had even the most vociferously anti-Biffy fans (and there were some vocal ones dotted around – who had particular fun with their Matt Cardle jokes) admitting their conversion to the band’s army of fans. But it’s a small matter, and one that is more about the expectations of others at the festival than my own, as I can safely proclaim to be a fan of their material across the broad spectrum that it plays.

Mon the biff!

Sunday: Slipknot

Another day, another soggy wash-out, with the promising early sunshine that left a fair few pink faces around the fields making way for biblical torrents in the late afternoon.

The day’s line-up again was something of a mixed bag, meshing the technical insanity of Mastodon (which they actually toned down in favour of more generally crowd-pleasing fare) and Slipknot, the old school teeth-rattling heavy metal of Motorhead, the tub-thumping ACDC apeing of Airbourne, the rap infused Americana of Limp Bizkit and the madcap surrealism of a comedy set by the wonderful Bill Bailey.

Each act’s show fit their reputation – though Mastodon did resist the urge to bring out their more complex material, and Motorhead were somewhat muted to begin with after announcing the death of former guitarist Wurzel the day before, but both got into their strides quickly and blew any cobwebs away mercilessly. Airbourne meanwhile once again advanced their own reputation as one of the most energetic (and slightly insane) live bands currently on the tour circuit, with leading man Joel O’Keefe again showing off his Fathers For Justice skills and climbing to the top of the second stage to belt out some riff-heavy metal goodness to a wave of horned hands below. These Antipodean wonders certainly know how to rouse an audience, playing the kind of material that it’s impossible not to want to join in on, even if it’s not wholly familiar – it’s just that infectious.

Aside from that little lot, the main stages line-up was made-up of an eclectic mix including Volbeat, House of Pain (still trading on that one song), In Flames, Black Tide (universally panned by all I spoke to), Opeth and the angry boys of Parkway Drive, all of whom I missed, with only the latter registering as a disappointing miss (I was upside down in the camping field at that point).

But then there was Limp Bizkit, who I did see (for the second year in a row following last year’s Welcome Back apperance at Download), an opportunity most other fans won’t get this year thanks to their limited appearances. They’re definitely not a current band at all, and their act is firmly rooted in their 2002 heyday, but like Motorhead, Fred Durst and the boys don’t feel the need to adapt to survive, nor will they ever pay any notice to critics other than to flick them a casual, menacing middle digit. And based on the amount of fans and casual watchers visibly singing along to Faith and air-wheeling their way through Rollin’ the band can still infect an audience with their own brand of nu-metal, even long after the genre went belly up.

Despite Limp Bizkit’s refusal to acknowledge his existence, Bill Bailey was on fine form, relying mostly on his musical based comedy to fit the spirit of the big stages, and while the majority of the material was drawn from previous and current tours (all of which I have seen), the fine-tuning of certain bits and the majesty of the event made for a brilliant set. The comedian’s rendition of “Scarborough Fair” in the style of Rammstein, his familiar (though rearranged) techno parody of the BBC News theme and in particular his car-horn based version of Metallica’s “Enter Sandman” drew the biggest response from a willing, but drenched crowd (the largest for a comedy set in history apparently). Fair play to him, he tailored the material well, and was able to brush aside the considerable obstacle of the gig’s sheer size with admirable ease – what price now on other comedy acts following suite and venturing out from the tents onto the bigger stages in future?

Even from the earliest hours of the day, it was obvious that there was definitely something going on, and a cursory glance around confirmed that as many people who had turned up to see the historic appearance of the Big Four had turned up to see Slipknot‘s tribute to sadly departed bassist and founding member Paul “The Pig” Gray. Corey Taylor, the charismatic, huge-necked had already dedicated the band’s European schedule to Gray and heartily encouraged fans to get into the spirit and make it a special event. And the fans turned up in their boiler-suited droves, buoyed no doubt by YouTube footage of the band’s high-octane appearances at other European legs of the Sonisphere tour, to pay their own respects.

But for me, Slipknot was never the biggest draw of the day (that accolade went to the delightful Bailey). There is something about the band that I just don’t fully invest in, and though I admire the technical ability involved, and can pick out a number of songs from the back catalogue that I enjoy as much as the most ardent of fans, I would never class myself as an out and out fan. Which is why I took the decision, propelled considerably by the miserable weather I might add to leave as the first bars of opener cut through the air and miss the traffic. Very unrock and roll of me, I know, but the advantage of festivals is that you can pick and choose which acts to see and which to swerve, and the draw of the homeward journey overbalanced my desire to get even more wet.

Every year I come to a festival intent on experiencing the off-big-stage experience, and yet aside from a few exceptions I once again failed miserably, with exceptional reviews for Periphery, Lower Than Atlantic, Killing Joke, Hammer of the Gods and Cerebral Ballzy making a mockery of my decision. But then, there’s always next year. I just have to make sure I don’t drink so much…

This year’s Sonisphere was my first, thanks to my resistance for the two years previous in favour of the familiarity of Download, but I can say assuredly that if I get my own way I’ll be landing on both festivals every year for the foreseeable future. Sell out or no sell out.

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https://uploaded.net/file/fa92c12d/Sonisphere_2011_1080i.part01.rar
https://uploaded.net/file/cv40zfxw/Sonisphere_2011_1080i.part02.rar
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https://cloudzer.net/file/yiil0tc1/Sonisphere_2011_1080i.part01.rar
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https://cloudzer.net/file/vos9jxlc/Sonisphere_2011_1080i.part11.rar
https://cloudzer.net/file/eirawmai/Sonisphere_2011_1080i.part12.rar
https://cloudzer.net/file/ajqzdhvc/Sonisphere_2011_1080i.part13.rar

Soul era-inspired U.K. vocalist Alice Russell, if anything a child of Chaka Khan, became increasingly known throughout the early 2000s with her contributions to recordings from Bah Samba, Quantic, TM Juke, and Nostalgia 77, and she also released some ambitious albums for the Tru Thoughts label. Under the Munka Moon (2004) and My Favourite Letters (2005) jumped over several pigeonholes from track to track, at various times falling in line with later 4hero (à la Creating Patterns and Play with the Changes), throwback funk, folk-soul, and modern organic R&B. Under the Munka Moon II (2006) was a hodgepodge set including the Bugz in the Attic mix of her collaboration with Susumu Yokota, a cover of Idris Muhammad's blissed-out Paradise Garage classic "Could Heaven Ever Be Like This." Pot of Gold, produced by TM Juke and released during the tail end of 2008, came out through the Six Degrees label and was firmly rooted in late-'60s soul. Russell collaborated with Quantic for 2012's co-billed Look Around the Corner in 2012. Despite undertaking a tour that year, she found time to record her next studio effort, To Dust, which was released in the late winter of 2013.

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https://uploaded.net/file/y11wr9ty/AliRuseLPais.part13.rar
https://uploaded.net/file/t5zpqw7z/AliRuseLPais.part12.rar
https://uploaded.net/file/cga71w5u/AliRuseLPais.part11.rar
https://uploaded.net/file/1bf7os4v/AliRuseLPais.part10.rar
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https://uploaded.net/file/m1taenp2/AliRuseLPais.part02.rar
https://uploaded.net/file/2ad5rpyn/AliRuseLPais.part01.rar

https://cloudzer.net/file/3fadr9is/AliRuseLPais.part05.rar
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https://cloudzer.net/file/l6suswec/AliRuseLPais.part11.rar
https://cloudzer.net/file/yfj2wrvp/AliRuseLPais.part13.rar

Belinda Carlisle - Runaway Live movie was released Nov 01, 2001 by the BMG Special Products studio. Runaway Live is the live version of Belinda's widely praised and successful album Running Horses and features stirring performances of hits like "Summer Rain" and "Leave A Light On."

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https://uploaded.net/file/rsv4l4sm/VIDEO_TS.part7.rar
https://uploaded.net/file/28vvhbn3/VIDEO_TS.part6.rar
https://uploaded.net/file/oiftte3j/VIDEO_TS.part5.rar
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https://uploaded.net/file/8zq089nb/VIDEO_TS.part3.rar
https://uploaded.net/file/aqbnog1i/VIDEO_TS.part2.rar
https://uploaded.net/file/prh38xm7/VIDEO_TS.part1.rar

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https://cloudzer.net/file/tg5dkwwv/VIDEO_TS.part7.rar

A collection of 80s/ first 90s music videos from AOR band Chicago. The promos of their best known hits and ballads are here included, coming both from the Peter Cetera and the Jason Scheff eras. Among them: 'Hard to Say I'm Sorry', 'Love MeTomorrow', '25 or 6 to 4', 'Will you still love me?', 'You're Not Alone' and 'Chasin' the Wind'.
According to Billboard chart statistics, Chicago is second only to the Beach Boys as the most successful American rock band of all time, in terms of both albums and singles. Judged by album sales alone, as certified by the R.I.A.A., the band does not rank quite so high, but it is still among the Top Ten best-selling U.S. groups ever. If such statements of fact surprise, that's because Chicago has been singularly underrated since the beginning of its long career, both because of its musical ambitions (to the musicians, rock is only one of several styles of music to be used and blended, along with classical, jazz, R&B, and pop) and because of its refusal to emphasize celebrity over the music. The result has been that many critics have consistently failed to appreciate its music and that its media profile has always been low. At the same time, however, Chicago has succeeded in the ways it intended to. From the beginning of its emergence as a national act, it has been able to fill arenas with satisfied fans. And beyond the impressive sales and chart statistics, its music has endured, played constantly on the radio and instantly familiar to tens of millions.
Chicago marked the confluence of two distinct, but intermingling musical strains in Chicago, Illinois, in the mid-'60s: an academic approach and one coming from the streets. Reed player Walter Parazaider (born March 14, 1945, in Chicago), trumpeter Lee Loughnane (born October 21, 1946, in Chicago), and trombonist James Pankow (born August 20, 1947, in St. Louis, Missouri) were all music students at DePaul University. But they moonlighted in the city's clubs, playing everything from R&B to Irish music, and there they encountered less formally educated but no less talented players like guitarist Terry Kath (born January 31, 1946, in Chicago; died January 23, 1978, in Los Angeles, California) and drummer Danny Seraphine (born August 28, 1948, in Chicago). In the mid-'60s, most rock groups followed the instrumentation of the Beatles two guitars, bass, and drums and horn sections were heard only in R&B. But in the summer of 1966, the Beatles used horns on "Got to Get You Into My Life" on their Revolver album and, as usual, pop music began to follow their lead. At the end of the year, the Buckinghams, a Chicago band guided by a friend of Parazaider's, James William Guercio, scored a national hit with the horn-filled "Kind of a Drag," which went on to hit number one in February 1967. That was all the encouragement Parazaider and his friends needed. Parazaider called a meeting of the band-to-be at his apartment on February 15, 1967, inviting along a talented organist and singer he had run across, Robert Lamm (born October 13, 1944, in Brooklyn, New York). Lamm agreed to join and also said he could supply the missing bass sounds to the ensemble using the organ's foot pedals (a skill he had not actually acquired at the time).
Developing a repertoire of James Brown and Wilson Pickett material, the new band rehearsed in Parazaider's parents' basement before beginning to get gigs around town under the name the Big Thing. Soon, they were playing around the Midwest. By this time, Guercio had become a staff producer at Columbia Records, and he encouraged the band to begin developing original songs. Kath, and especially Lamm, took up the suggestion. (Soon, Pankow also became a major writer for the band.) Meanwhile, the sextet became a septet when Peter Cetera (born September 13, 1944, in Chicago), singer and bassist for a rival Midwest band, the Exceptions, agreed to defect and join the Big Thing. This gave the group the unusual versatility of having three lead singers, the smooth baritone Lamm, the gruff baritone Kath, and Cetera, who was an elastic tenor. When Guercio came back to see the group in the late winter of 1968, he deemed them ready for the next step. In June 1968, he financed their move to Los Angeles. Guercio exerted a powerful influence on the band as its manager and producer, which would become a problem over time. At first, the bandmembers were willing to live together in a two-bedroom house, practice all the time, and change the group's name to one of Guercio's choosing, Chicago Transit Authority. Guercio's growing power at Columbia Records enabled him to get the band signed there and to set in place the unusual image the band would have. He convinced the label to let this neophyte band release a double album as its debut (that is, when they agreed to a cut in their royalties), and he decided the group would be represented on the cover by a logo instead of a photograph. Chicago Transit Authority, released in April 1969, debuted on the charts in May as the band began touring nationally. By July, the album had reached the Top 20, without benefit of a hit single. It had been taken up by the free-form FM rock stations and become an underground hit. It was certified gold by the end of the year and eventually went on to sell more than two million copies. (In September 1969, the band played the Toronto Rock 'n' Roll Festival, and somehow the promoter obtained the right to tape the show. That same low-fidelity tape has turned up in an endless series of albums ever since. Examples include: Anthology, Beat the Bootleggers: Live 1967, Beginnings, Beginnings Live, Chicago [Classic World], Chicago Live, Chicago Transit Authority: Live in Concert [Magnum], Chicago Transit Authority: Live in Concert [Onyx], Great Chicago in Concert, I'm a Man, In Concert [Digmode], In Concert [Pilz], Live! [Columbia River], Live [LaserLight], Live Chicago, Live in Concert, Live in Toronto, Live '69, Live 25 or 6 to 4, The Masters, Rock in Toronto, and Toronto Rock 'n' Roll Revival.) To Guercio's surprise, he was contacted by the real Chicago Transit Authority, which objected to the band's use of the name; he responded by shortening the name to simply "Chicago." When he and the group finished the second album (another double) for release at the start of 1970, it was called Chicago, though it has since become known as Chicago II.
Chicago II vaulted into the Top Ten in its second week on the Billboard chart, even before its first single, "Make Me Smile," hit the Hot 100. The single was an excerpt from a musical suite, and the band at first objected to the editing considered necessary to prepare it for AM radio play. But it went on to reach the Top Ten, as did its successor, "25 or 6 to 4." The album quickly went gold and eventually platinum. In the fall of 1970, Columbia released "Does Anybody Really Know What Time It Is?," drawn from the group's first album, as its next single; it gave them their third consecutive Top Ten hit.
Chicago III, another double album, was ready for release at the start of 1971, and it just missed hitting number one while giving the band a third gold (and later platinum) LP. Its singles did not reach the Top Ten, however, and Columbia again reached back, releasing "Beginnings" (from the first album) backed with "Colour My World" (from the second) to give Chicago its fourth Top Ten single. Next up was a live album, the four-disc box set Chicago at Carnegie Hall, which, despite its size, crested in the Top Five and sold over a million copies. (The band itself preferred Live in Japan, an album recorded in February 1972 and initially released only in Japan.) Chicago V, a one-LP set, released in July 1972, spent nine weeks at number one on its way to selling over two million copies, spurred by its gold-selling Top Ten hit "Saturday in the Park." Chicago VI followed a year later and repeated the same success, launching the Top Ten singles "Feelin' Stronger Every Day" and "Just You 'n' Me."
The next Top Ten hit, "(I've Been) Searchin' So Long," was released in advance of Chicago VII in the late winter of 1974. The album was the band's third consecutive chart-topper and another million-seller. "Call On Me" became its second Top Ten single. Chicago VIII, which marked the promotion of sideman percussionist Laudir de Oliveira as a full-fledged bandmember, appeared in the spring of 1975, spawned the Top Ten hit "Old Days," and became the band's fourth consecutive number one LP. After the profit-taking Chicago IX: Chicago's Greatest Hits in the fall of 1975 came Chicago X, which missed hitting number one but eventually sold over two million copies, in part because of the inclusion of the Grammy-winning number one single "If You Leave Me Now." Chicago XI, released in the late summer of 1977, continued the seemingly endless string of success, reaching the Top Ten, selling a million copies, and generating the Top Five hit "Baby, What a Big Surprise."
But there was trouble beneath the surface. The band's big hits were starting to be solely ballads sung by Cetera, which frustrated the musicians' musical ambitions. They had failed to attract critical notice, and what press attention they were given often alluded to Guercio's Svengali-like control as manager and producer. Chicago determined to fire Guercio and demonstrate that they could succeed without him. Shortly afterward, they were struck by a crushing blow. Kath, a gun enthusiast, accidentally shot and killed himself on January 23, 1978. Though he, like most of the other members of the band, was not readily recognizable outside the group, he had actually had a large say in its direction, and his loss was incalculable. Nevertheless, the band closed ranks and went on. Guitarist Donnie Dacus was chosen from auditions and joined the band in time for its 12th LP release, which was given a non-numerical title, Hot Streets, and which put prominent pictures of the bandmembers on the cover for the first time. The sound, as indicated by the first single, the Top 20 hit "Alive Again," was harder rock, and the band's core following responded, but Hot Streets was Chicago's first album since 1969 to miss the Top Ten. Chicago 13 then missed the Top 20. (At this point, Dacus left the band, and Chicago hired guitarist Chris Pinnick as a sideman, eventually upping him to full-fledged group-member status.) Released in 1980, Chicago XIV, the last album to feature de Oliveira, didn't go gold. By 1981, with the release of the 15th album, the poor-selling Greatest Hits, Vol. 2, the band parted ways with Columbia Records and began looking for a new approach.
They found it in writer/producer David Foster, who returned to an emphasis on the band's talent for power ballads as sung by Cetera. They also brought in one of Foster's favorite session musicians, Bill Champlin (born May 21, 1947, in Oakland, California), as a full-fledged bandmember. Champlin, formerly the leader of the Sons of Champlin, was a multi-instrumentalist with a gruff voice that allowed him to sing the parts previously taken by Kath. With these additions, the band signed with Full Moon Records, an imprint of Warner Bros., and released Chicago 16 in the spring of 1982, prefaced by the single "Hard to Say I'm Sorry," which topped the charts, leading to a major comeback. The album returned Chicago to million-selling Top Ten status. Chicago 17, released in the spring of 1984, was even more successful in fact, the biggest-selling album of the band's career with platinum certifications for six million copies as of 1997. It spawned two Top Five hits, "Hard Habit to Break" and "You're the Inspiration." The renewed success, however, changed the long-established group dynamics, thrusting Cetera out as a star. He left the band for a solo career in 1985. (Pinnick also left at about this time, and the band did not immediately bring in a new guitarist.) As Cetera's replacement, Chicago found Jason Scheff, the 23-year-old bass-playing son of famed bassist Jerry Scheff, a longtime sideman with Elvis Presley. Scheff boasted a tenor voice that allowed him to re-create Cetera's singing on many Chicago hits. The split with Cetera had a negative commercial impact, however. Despite boasting a Top Five hit single in "Will You Still Love Me?," 1986's Chicago 18 only went gold. The band recovered, however, with Chicago 19, released in the spring of 1988. Among its singles, "I Don't Want to Live Without Your Love" made the Top Five, "Look Away" topped the charts, and "You're Not Alone" made the Top Ten as the album went platinum. Another single, "What Kind of Man Would I Be?," originally found on the album, was included as part of the 1989 compilation Greatest Hits 1982-1989 (which counted as the 20th album) and became a Top Five hit, while the album sold five million copies by 1997.
At the turn of the decade, Chicago underwent two more personnel changes, with guitarist DaWayne Bailey joining and original drummer Danny Seraphine departing, to be replaced by Tris Imboden. Chicago Twenty 1, released at the start of 1991, sold disappointingly, and Warner rejected the band's next offering (though tracks from it did turn up on compilations). Chicago, however, maintained a loyal following that enabled them to tour successfully every summer. In 1995, Keith Howland replaced Bailey as Chicago's guitarist. The same year, the band regained rights to its Columbia catalog and established its own Chicago Records label to reissue the albums. They also signed to Giant Records, another Warner imprint, to release their 22nd album, Night & Day, a collection of big-band standards that made the Top 100. They were then able to combine hits from their Columbia and Warner years, resulting in the release of the gold-selling The Heart of Chicago 1967-1997 and its follow-up, The Heart of Chicago, Vol. 2 1967-1998 (their 23rd and 24th albums, respectively). In 1998, they released Chicago 25: The Christmas Album on Chicago Records, and they followed it in 1999 with Chicago XXVI: The Live Album. In 2002, Chicago began leasing its early albums to Rhino Records for deluxe repackagings, often with bonus tracks. And the success of The Very Best of Chicago: Only the Beginning demonstrated that their music continued to appeal to fans. Feeding off the renewed interest, the band reappeared in 2006 with the new album Chicago XXX on Rhino. The rejected Warner album from 1993 was finally released by Rhino in 2008 as Stone of Sisyphus: XXXII. Chicago toured regularly during the final years of the 2000s and returned to the recording studio with producer Phil Ramone for the 2011 album Chicago XXXIII: O Christmas Tree.

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https://uploaded.net/file/ycr5jojx/ChiTeHeVid1.part10.rar
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Collection of clips from DJ VJ Magrao (real name-Luis Eduardo), the famous Brazilian DJ. Magrao - one of the pioneers
videomiks-direction. A distinctive feature is the presence of his mixes humor and a sense of rhythm.
Enjoy watching videomiksov from Magrao! Country: Brazil
Duration: 00:48:21 - 1:29:59

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https://uploaded.net/file/veii6dqr/MagraoVideomix2003_2013.part8.rar
https://uploaded.net/file/kscnpax2/MagraoVideomix2003_2013.part7.rar
https://uploaded.net/file/gqoqthc7/MagraoVideomix2003_2013.part6.rar
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https://uploaded.net/file/g9qfzbbo/MagraoVideomix2003_2013.part1.rar

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https://cloudzer.net/file/lu9hzdlu/MagraoVideomix2003_2013.part7.rar
https://cloudzer.net/file/3ofpoyvr/MagraoVideomix2003_2013.part8.rar