Missionaria Protectiva

        Astrud Gilberto was born Astrud Evangelina Weinert – to a Brazilian mother and a German father – in Brazil in March 1940.       She married João Gilberto in 1959 and had a son, João Marcelo Gilberto, who later joined her band. Astrud and João divorced in the mid-1960s. She later began a relationship with American jazz saxophone player Stan Getz and immigrated to the US in 1963.       Astrud sang on two tracks on the 1963 album  Getz/Gilberto . Her “beguiling, whispery voice” played a significant role in popularising  The Girl from Ipanema , earning a Grammy Award for Song of the Year and a nomination for Best Vocal Performance by a female.        From 1965 to 1971, she made eight solo albums, including  The Shadow of Your Smile ,  Look to the Rainbow ,  Beach Samba ,  A Certain Smile, a Certain Sadness ,  Windy,  and  I Haven’t Got Anything Better To Do .   ...

        Doom luminaries Candlemass are largely the product of founding member Leif Edling. The bassist and chief songwriter took Black Sabbath’s riffing blueprint and applied it to his gloomy vision. The classic material is steeped heavily in fantasy with the operatic vocals of Messiah Marcolin on top, making Candlemass one of the earliest and most iconic bands in doom metal. It’s all about the riff and Edling is one of the elite riff writers. CANDLEMASS Live Music For Nations,1990 https://www.sendspace.com/file/zja9zb

        Neither bluesman, entertainer nor country boy, Charles Edward Anderson Berry fused all three personas into a rip-snorting style that formed the very language of rock guitar as we know it today. It’d be easy to see Chuck Berry simply as a flamboyant character from the early rock ’n’ roll days – the duck walk, the chunky boogie rhythm and those signature doublestop introductions.        But there was much more to it. We often view players from that era in terms of being a ‘beginning’. Without Chuck Berry or Duane Eddy, there could never have been a Jimi Hendrix or Eddie Van Halen, and so on. As it turned out, Chuck was particular about his gear too. Of all the guitars he used in his lifetime, two are predominant: the Gibson ES-350T and ES-335.        In 1955, coinciding with the release of Chuck’s first single, Maybellene, a thinline version of the 350 – the ES-350T – was born into the new age of rock ’n’ roll (although i...