Jul 19, 2018

RhoDeo 1828 Re-Up 147

Hello,  the Tour today saw once again Sky leading in slowmotion, dozens of 2nd order riders got a free pass to lead away and cross the first 2 HC mountains with a 6 minute lead, the socalled big shots sheepishly obeyed their coward team leaders sitting in the car and cruised behind the Sky tram. That was until Valverde decided he had enough and went on the move later followed by Dumoulin but it became clear that after Tom reached Valverde all Alejandro could do was stick on his wheel until he got dropped, and then it was Tom against the Sky team and after their hands extolled themselves to keep Dumoulin within reach for Froome and Thomas, it was the latter that went after Tom only to stick to his wheel once he reached him 2 km from the finish refusing to share the burden, only as is usual in these cases to break free 400 meters before the finsh and win the stage, Tom got Froome for company, who had dislodged himself from the other socalled favorites, but managed a very deserved 2nd place. Thomas is now GC leader followed by Froome and Dumoulin. Some bizarre moves Nibali doing Sky's work and Martin helping Froome to get to Dumoulin, latter had had no help at all day and should have gotten driver of the day, but the French organisation already proved they don't like Tom, i suppose his team Sunweb has too lttle standing. Tomorrow Alpe D'Huez



9 correct requests for this week, alas 3 that ignored my 12 months limit and 1 that ignored the correct location, whatever another batch of 35 re-ups (10 gig)


These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to July 17th.... N'Joy

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4x Aetix Back In Flac (Felt – Crumbling The Antiseptic Beauty, Felt - The Splendour Of Fear, Felt – The Strange Idols Pattern And Other Short Stories, Felt – Ignite The Seven Cannons)


6x Japan Now In Flac (Masami Tsuchiya - Rice Music, Yukihori Takahashi - Neuromantic, still in ogg Snakeman Show - Bootleg, We Are Frank Chickens - I, Miharu Koshi - Tutu, Beatniks - Existentialism )


4x Aetix Back in Flac (Nikki Sudden - Waiting On Egypt, Nikki Sudden - The Bible Belt, Nikki Sudden & Revolution - Groove, Nikki Sudden ‎- The Last Bandit )


3x Alphabet Soup Back In Flac (Iggy Pop - Lust For Life, Into Paradise - Churchtown, Interpol - Turn On The Bright Lights)


4x Beats NOW in Flac (Liz Torres & C & J - Can't Get Enough, Simon Harris - Bass (greatest hits), VA - Hip House (Deepest Beats In Town), VA - Turn Up The Bass 5 )


5x AetixBack in Flac (The Style Council - Introducing, The Style Council - Cafe Bleu, The Style Council - Our Favourite Shop, The Style Council - Confessions Of A Popgroup, The Style Council - Here's Some That Got Away )


4x Aetix   Back in Flac ( The Human League - Reproduction, The Human League - Dare/Love And Dancing, The Human League - Remixes & Rarities, The Human League Versus YMO )


2x Beats Back in Flac (Terre Thaemlitz - You ? Again ?, DJ Sprinkles – Midtown 120 Blues   )


3x Roots Back in Flac ( VA - Sounds of Sudan, Sudan, Music Of The Blue Nile Province, VA - The Rough Guide to Sudan  )


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.

Jul 18, 2018

RhoDeo 1828 Aetix

Hello, the Tour saw it's first mountains today, as expected a large group broke free and distanced themselves 7 minutes with to his own surprise yellow jersey leader Van Avermaet between them and ended up 4th extending his lead almost 2 minutes, winner was Alaphilippe who took the mountain jersey too. The Sky peloton came in 3,5 min later with most of the favorites. Tomorrow a short but sharp stage with 2 HC (highest category) mountains will stir up the general classification (GC), and show us who will challenge Froome in the 2018 Tour.


Today's artist is a Japanese synthpop band that collaborated from 1979 until the 1990s. The Sunsetz, led by Makoto Kubota, and Sandii started as separate artists, and each have a separate discography. However, their collaboration provided a particular body of work that is representative of the period, and which successfully blended Eastern, Western and pop influences.... ..............N'Joy

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Though they garnered the most attention in the early 1980s under the name Sandii and The Sunsetz, this Japanese Pop band had already been recording together with similar lineups and under similar monikers for nearly a decade prior. Backed by band leader and guitarist Makoto Kubota, guitarist Kenichi Inoue, bassist King Champ Onzo and percussionist Hideo Inoura, and fronted by lead singer Sandii, born Sandy O'Neale, the band found moderate success throughout the 1980s .

The group's roots trace back to Jan Jan, a Shibuya club where Kubota, Onzo, Inoue and Inoura recorded their first album, 1973's "Sunset Gang," released under the name Makoto Kubota and The Sunset Gang 2. The following year, Sandii cut her first record in Hawaii, an EP on Pineapple Records titled "Sandy I," and she decided to return to her native Japan to pursue a career in the music industry 2. After returning to Japan, Sandii became friends with singer Kyu Sakamoto (known for his early 60s hit "Sukiyaki"), who helped her land a DJ job with public television broadcaster Nippon Hoso Kyokai (NHK) .

In 1975, under the name Sandy Ai, Sandii released a pair of 7" singles for Toho records. That same year, she met Makoto Kubota and The Sunset Gang when they appeared on her NHK television show to promote their album, "Hawaii Champroo" 2. Sandii hit it off with the group, who were already established enough to be supporting Eric Clapton on Japanese tour dates, and joined Kubota and The Sunset Gang as a back up singer 4. She continued to work on her own material, including the single "Goodbye Morning," which won the Grand Prix at the 7th World Popular Song Festival (Japanese equivalent to the Eurovision Song Contest) in 1976 .

The group released their third album, "Dixie Fever," produced by Haruomi Hosono, in 1977 and they shortened their name to The Sunset Gang. 1978 saw the relase of "Mystery Nile," a collection of pop/disco covers, released under the name Sandy O'Neil. Though no credits are given in the liner notes, "Mystery Nile's" musicians include Sandii, Kubota and other members of The Sunset Gang .

After making a guest appearance on Yellow Magic Orchestra's 1979 LP "Solid State Survivor,"  Sandi began working with YMO's Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto on her "debut" LP, 1980's "Eating Pleasure" . Hosono apparently convinced Sandii, who was still going by Sandy, to add the two i's to her name to reflect her Hawaiian influences . The Sunset Gang hopped on board the recording sessions of "Eating Pleasure," and thus Sandii and The Sunsetz was born. Lyricist Chris Mosdell, who previously wrote English language material for YMO, also worked on the album .

The group's first gig as Sandii and The Sunsetz was, rather amazingly, opening for YMO at the Budokan in . They followed "Eating Pleasure," with another Hosono produced album, "Heat Scale," in 1981. During this time the band gained the attention of Japan, and Sandii and The Sunsetz were brought on as the opening act for Japan's Sons of Pioneers tour. Sandii and The Sunsetz got on well with Japan, and David Sylvian wrote material for and performed on their 1982 album, "Immigrants." "Immigrants" managed a fair deal of attention on its release, getting praise from Melody Maker, Steve Scales (of Talking Heads), Dave Jordan (of Fun Boy Three) and even David Bowie 1. The band followed up "Immigrants" with the 1982 single "Sticky Music," which reached number three on Austrailian charts .

David Sylvian's connection to The Sunsetz lasted through the mid 80s, and he wrote and sang on the track "This is Not Enogh," off of their 1986 album "La La La La Love" (released as "Banzai Baby" in the West). One of the stronger songs on the album, the track is an interesting counterpoint to the much more minimal material Sylvian was working on around that time.

Sandii and The Sunsetz delved into reggae territory for their final full albums, "Rhythm Chemistry" and "One Love," the former of which featured Sly Dunbar and Robbie Shakespeare. The Sunsetz split in 1990, leaving Sandii to further pursue her solo career and Makoto Kubota to focus attention on prodction work. Sandii began extensive study of Hula dance in the 90s and has since reached the rank of Kumu Hula (Hula Master) and owns a hula dance school .

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Sandii’s first album, Eating Pleasure (1980), was sung entirely in English, and received much critical attention.
It's another Hosono production featuring YMO on most (if not all) tracks. Alive and Love Sick sound more like The Sunsetz on their own. Drip Dry Eyes was later re-recorded by Takahashi and in 1993 was re-issued in an "unplugged" man ner as a duet with Sandii. The cut here is a long version with an extra verse. Another duet version appeared on Takahashi's Time & Place live album. An edit appears on Sandii's Viva Liva Lava compilation LP. Zoot Kook is the real cracker here - a real indic ation of the YMO sound on BGM. Shantith and Oinori are experimental numbers using ethnic music, pointing towards the sound of the Sunsetz on Heat Scale and Immigrants. This originally had a sleeve showing Sandii wearing a basqu e made from vegetables, but was replaced with a photo of her in a leopardskin swimsuit. According to the lady herself, Hosono gave Sandii the extra "i" in her name to suggest her Hawaiian connections."



Sandii - Eating Pleasure (flac  298mb)

01 Idol Era 5:05
02 Love Sick 3:59
03 Drip Dry Eyes 6:14
04 Shantih 2:35
05 Alive 4:32
06 Hey Rock-A La La 4:18
07 Eating Pleasure 3:20
08 Jimmy Mack 3:13
09 Zoot Kook 6:16
10 Oinori 2:45

Sandii - Eating Pleasure     (ogg  110mb)

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Heat Scale (1981), was recorded in Ibiza, Spain, and released in a total of 17 countries. "Released under the name Sunsetz.There are some differences in packaging too - the Japanese album has a gatefold insert and a colour glossy print, the UK pressing has nothing and the Euro pressing has a different font on the outer sleeve and an inner sleeve with lyrics. Hosono plays on and produces this album. This was issued under the name Sandii & The Sunsetz in the West and the name stuck.



Sandii & The Sunsetz - Heat Scale  (flac  265mb)
 
01 Heat Scale (Words And Dances) 5:21
02 The Great Wall 3:51
03 Bongazuna 3:46
04 Tohmei Ningen 3:23
05 El Puzzlo 4:53
06 An Antenna 4:53
07 The Eve Of Adam 4:53
08 Gong Loop 2:36
09 Kingdoms Without Corners 5:19
10 Dhyana Pura 5:05

Sandii & The Sunsetz - Heat Scale     (ogg  100mb)

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Executive produced by Haruomi Hosono and Yukihiro Takahashi. David Sylvian writes lyrics for 3 tracks and sings on. YT sings and plays on a track HH and Matsutake appear also. By this time the group had garnered quite a following from overseas, such as Melody Maker's (UK music paper) Adam Sweeting and David Bowie and as such featured other admirers such as David Sylvian of Japan, Talking Head Steve Scales and Dave Jordan of Fun Boy Three as well as Haruomi Hosono and Yukihiro Takahashi of YMO. Both Sandii and Makoto Kubota share lead vocal duties in Japanese and English. Their music by this time was a mixture of rock and techno-pop with some Okinawan traditional elements.



 Sandii & The Sunsetz - Immigrants   (flac  287mb)

01 Overture 0:45
02 Orient Express 4:15
03 Simoon 4:13
04 Armistice 4:30
05 In A Persian Market 5:45
06 Karelia 2:47
07 Wagons-Lits 4:00
08 Sofia 4:20
09 Classical Gas 3:49
10 Georges Nagelmackers 4:29

 Sandii & The Sunsetz - Immigrants    (ogg   105mb)

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Hiromi Moritani, Japanese avant-garde vocalist who started out as a member of the legendary punk band Aunt Sally. In 1980 she collaborated with Ryuichi Sakamoto on the single Shukyoku. In '81 she and the members of Can made the album Phew. After taking some time off, Phew made a recording with former members of DAF and Neubauten. She subsequently released two albums with Anton Fier, Bill Laswell and others. She is currently active in a wide range of projects, including Novo Tono, Phew Unit, a duo with Seiichi Yamamoto, and Big Picture.

This is a superb, virtually unknown album by the Japanese vocalist Phew, formerly of the punk/no wave band Aunt Sally. Backed by members of Can -- Holger Czukay and Jaki Liebezeit -- and recorded at Conny Plank's studios in Germany, it has the earmarks of an album Can could have made, had they taken a different path after Ege Bamyasi. Phew's vocals are not by any formal standards very expressive, but they fit the icy urgency her compatriots create, and pitch the song-oriented cycle towards a more approachable form even for the casual listener. The mostly minimalistic landscape of the record is repetitive, rhythmic, and spacious. "Doze" adds an eerie child-like keyboard melody to a wonderful effect, and "P-Adic" is a disjointed, unlikely pop song, with an insistent beat and an off-kilter synth solo. "Signal" come closest to popular music, with Phew's insistent vocals chanting in Japanese over the expansive backbone Czukay and Liebezeit effortlessly create. With small variations in the beat, enhanced by subtle keyboard flourishes and echoey production, the sound manages to capture both the wide surrounding expanse as well as the tight clarity necessary to distinguish even the smallest nuance in the music. The crispness of the production creates a hypnotic loop that insists you pay attention. The mood varies from song to song, most of which are around the three-minute mark, and when the 35-minute record is over you're eager to repeat the experience. Phew's future albums would add more elements to her sound with some success, but the precise organic cohesiveness of her self-titled debut is difficult top.



Phew - Phew (flac  171mb)

01 Closed 3:15
02 Signal 4:32
03 Doze 5:18
04 Dream 3:11
05 Mapping 3:45
06 Aqua 3:49
07 A-Adic 3:36
08 Fragment 4:01
09 Circuit 1:40

      (ogg   mb)

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Though no Can folks are present here, this album is every bit as appealingly kooky and curious as her others. This album navigates a strange and uneasy balance between pop sheen and wayward weirdity with a knowing touch that'll keep you gripped even during the passages where you're scratching your head.



Phew - View   (flac  212mb)

01 Dirge 2:46
02 May 3:08
03 Act 1:56
04 Bloom 4:22
05 Spot 1:13
06 Bay 4:05
07 Flood 2:32
08 Vision 2:42
09 Youth 1:56
10 Past 3:46
11 H-Stag 1:59
12 Fall 2:51

Phew - View     (ogg   77mb)

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Jul 17, 2018

RhoDeo 1828 Roots

Hello, more music from the Colombian coast, clearly a fertile place for musicians.... N'Joy

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Totó La Momposina exemplifies the living tradition of Colombian folk music, having carefully studied and performed her native song and dance for several decades. Colombia's indigenous music is a heavily rhythmic hybrid of Spanish, native South American, and Afro-Cuban influences, and La Momposina mastered its different styles and rhythmic variations so well that she was invited to perform at the 1982 Nobel Prize ceremony for Colombian novelist Gabriel Garcia Marquez. La Momposina was born in the village of Talaigua, on the island of Mompos, located in the Magdalena River near Colombia's northern coast. Not only was her family musical (her parents were fourth-generation musicians, her father a drummer, her mother a singer and dancer), but her village was blessed with the presence of Ramona Ruiz, a skilled, veteran cantadora (female peasant singer) who helped train La Momposina in her teenage years. La Momposina traveled up and down the Colombian coast, learning as much music and dance as she could -- from village celebrations to the common, everyday songs sung as accompaniment to daily labor. During this extended research period, La Momposina was honing her vocal and performance skills as well, discovering a rich power in her voice that soon made her extremely popular locally. In 1968 (sometime in her twenties), La Momposina formed her own band, continuing to perform at smaller local functions but also expanding her horizons in the hopes of building a professional career. Word of her vocal prowess spread quickly, and by the '70s, she had begun making international appearances, touring Europe and most of the Western Hemisphere. In 1982, she performed at a ceremony honoring Garcia Marquez with the Nobel Prize in Literature, and subsequently spent four years in Paris studying the history of dance at the Sorbonne. During this time, La Momposina recorded her first album, 1985's Totó La Momposina y Sus Tambores (released on Auvidis). She returned to Colombia in 1987, reconnecting with her roots by touring in the more immediate region and also traveling to Cuba for further musical study. In 1991, La Momposina was invited to join Peter Gabriel's WOMAD concert festival; she toured the world once again, and subsequently recorded a second album for Gabriel's Real World label. La Candela Viva was released in 1993 to much acclaim, and made La Momposina in great demand at music festivals around the world. Carmelina appeared in Europe in 1996, and La Momposina moved to England, traveling between the U.K., Europe, and South America. She continued to perform across the globe, incorporating her children, and grandchildren, into her large performing troupe and elaborate stage show. Her fourth album, Pacanto, was released in 2001. It garnered her a Latin Grammy nomination for Best Traditional Tropical Album.

She spent the next eight years touring the globe before returning to live in and work Colombia. In 2006, she received a lifetime achievement award from Womex. She also resumed recording in 2009 and issued La Bodega on Astar Artes. In 2013, she was awarded a Latin Grammy for lifetime achievement as well, and released an album for Sony Columbia in 2014's El Asunto.

Back in 2009, Swiss producer and DJ Michel Cleis had issued a house track called "La Mezcla," which contained two samples off La Momposina's classic La Candela Viva; the tune became a European dance club smash and the response prompted Cleis' label, Cadenza, to request access to the multi-track tapes for the purpose of creating remixes. Producer John Hollis -- who had been at the original 1991 and 1992 sessions -- with Real World's project manager Amanda Jones and other production associates, listened to the complete session masters anew. There were 20 tracks and 40 takes in all. They subsequently remastered both released and unreleased cuts from the sessions and assembled Tambolero -- a revisioned version of La Candela Viva -- in celebration of La Mamposina's 60th anniversary as a recording and touring artist. It was released globally in the summer of 2015.


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Tóto La Momposina is more than a name. It's a place, a people, and way a life, exemplified in the music created by one woman and her group -- many of whom are members of her family. They come from Talaigua, a village on the island of Mompos in the northern Colombian river of Magdalena, and the music they make comes from their ancestors. Much of it, like the cumbias "Dos de Febrero" and "El Pescador," is driven by voices and percussion, with Tóto in particular displaying a powerful vocal strength. However, the musical crossover becomes more interesting with the sextet piece "La Sombra Negra," which was brought over to Colombia by black Cubans, and shows its origins in the guitar and tiple playing and rhythms, as well as the style of harmonies in the voices. You can think of this music as folkloric, preserving a tradition that's in danger of extinction, and in many ways you'd be right -- the gaita playing of "Dáme la Mano Juancho," for example, is redolent of that. But when the rhythm of "Mapale" explodes from the speakers, it's impossible to think of this as anything but living, breathing, and right now. That's reinforced by the title track, where the drums sizzle under the voices, with Tóto once again in the center, with the kind of lungs that come across all too rarely, and a tone to die for. Tóto La Momposina is a singular talent. Though the centerpiece of this record, she's happy to sit back and let the spotlight shine on others, as on "La Acabación," a surprisingly sprightly funeral tune from San Basilio de Palenque. But her presence is always commanding, and the music she makes is wonderful indeed.



Toto La Momposina y Sus Tambores - La Candela Viva     (flac  275mb)

01 Dos De Febrero 4:17
02 Adiós Fulana 5:28
03 El Pescador 4:04
04 La Sombra Negra 3:22
05 Dáme La Mano Juancho 3:58
06 Malanga 4:05
07 Mapale 2:31
08 Curura 4:56
09 Chi Chi Mani 2:41
10 La Candela Viva 4:15
11 La Acabación 3:41

Toto La Momposina y Sus Tambores - La Candela Viva   (ogg   100mb )

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Since the 1970s, Colombian singer and dancer Toto La Momposina has been dancing and singing the music of Colombia’s Caribbean coastline on stages and in music halls across the globe. She comes from the village of Talaigua on an island in the great Magdalena River. Her 1993 album, La Candela Viva, issued on Real World, was produced by Phil Ramone and John Hollis, and is an enduring classic of Colombian, South American, and Afro-Latin traditional sources. It has been sampled by everyone from Timbaland to Michel Cleis. In 2009, after a request from the latter, Hollis (by then Momposina's son-in-law) sought the masters at Real World Studios and discovered a wealth of forgotten material, some 20 songs and 40 takes. In December of 2014, he remixed, re-imagined, and re-created the album with support and assistance from Real World's Amanda Jones. He and Momposina added new unreleased songs, scraped down some mixes to the core, and used alternate takes. He added backing vocals and handclaps from Momposina's granddaughters Maria del Mar -- who was a toddler at the original sessions -- and Orianna Melissa. In Bogota the following February, Momposina's son Marco Vinicio and Nestor Vanegas added bass and guitar tracks to emphasize the groove quotient, and came up with what amounts to an entirely different album; it's sparser and rawer, more immediate. The percussion on Jose Barros' cumbia "El Pescador" is more up front, as is the backing chorus; this take is slightly slower, adding to the celebratory feel in a narrative that celebrates returning fishermen. On "Chi Chi Mana," a guitar has been added to the tipple, creating an interplay that underscores its Afro-Latin heritage. "Gallacinto" is a traditional chant from Talaigua that didn't make La Candela Viva. In call-and-response, Mamposina directs the changing rhythms (it's a dance). She is accompanied by handclaps, percussion, and the vociferous chorus. "Curara" finds the gaita flutes mixed to the very front of the song. They flesh out the dimension of the tale's lovers and dialogue with the chorus, while Momposina is the poet who narrates their unresolved desire. The closing title track is a funeral dirge that contains several rhythms -- from cumbia to negro, mapale to Afro. The bomba and tambor drums hypnotically engage with the chorale as Momposina simultaneously moans in grief and offers tribute to the song's absent subject. It gathers in dynamic force until it explodes in celebration. The handsome package contains three sets of liner notes (one an essay from Momposina), many wonderful photos, an English translation of the lyrics, and track by track annotations. It doesn't matter if one has heard La Candela Viva, Tambolero is an inspired, masterful re-interpretation from an artist who has learned much more about these songs and their origins since the '90s. It is an exercise in pure joy.



Toto La Momposina y Sus Tambores - Tambolero   (flac  329mb)

01 Adios Fulana 4:59
02 El Pescador 4:15
03 Chi Chi Mani 2:43
04 Curura 5:22
05 Gallinacito 4:25
06 La Sombra Negro 4:03
07 Dame La Mano Juancho 4:01
08 La Candela Viva 4:23
09 Dos de Febrero 3:48
10 Malanga 3:34
11 La Acabacion 4:08
12 Tambolero 6:46

Toto La Momposina y Sus Tambores - Tambolero   (ogg  130mb)

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ChocQuibTown (sometimes written as Choc Quib Town) is a Colombian hip-hop group. Although the band formed in Cali, the members are originally from the Colombian department of Chocó. The group consists of Carlos "Tostao" Valencia (rapping), his wife Gloria "Goyo" Martínez (singing and rapping), and Gloria's brother Miguel "Slow" Martínez (production and rapping). The band's music draws influence from a wide variety of modern genres including hip-hop and more recently electronica, combined with traditional Colombian genres including salsa, Latin jazz, and Afro-Latin rhythms, utilizing instruments such as congas, timbales, bongos, and trumpets.

After growing up in Chocó and forming in Cali, the ChocQuibTown relocated to Bogotá and gained popularity performing in the city's bars. The group's first two albums, Somos Pacífico (2006) and Oro (2010) were bolstered by the singles "Somos Pacífico" and "De Donde Vengo Yo", with the latter song winning a Latin Grammy in 2011. The band's third album, Eso Es Lo Que Hay (2011) experienced further success, featuring the single "Hasta el Techo", followed by El Mismo (2015). In November 2017, the band signed with Sony Music Latin during a ceremony in Miami, and plans to release a new album entitled Sin Miedo in 2018

The band released El Mismo in 2015, led by the reggae-tinged love song "Cuando Te Veo". The single reached number 13 on the Billboard US Tropical Songs chart, number 16 on the Billboard Latin Rhythm Airplay chart, and number 29 on the Billboard US Latin Pop chart. Leila Cobo of Billboard noted a more commercial sound on El Mismo, viewing the album as an effort to transform the group from "critical curio to commercial star" that "appends pop song structure and stickier hooks to the band's eclecticism." The group shot the music video for "Nuquí (Te Quiero Para Mí)" on the beaches of Nuquí in Chocó as a way to pay tribute to their home department and to encourage tourism to the area.



 ChocQuibTown - El Mismo ( flac  437mb)

01 El Mismo 3:30
02 Cuando Te Veo 3:51
03 Nadie Dijo 4:01
04 Desde el Día en Que Te Fuiste 3:57
05 El Arriendo 3:21
06 Salsa & Choque 4:08
07 No Te Espero Más 4:07
08 Una Raza Llamada Sabor 3:35
09 Tú 3:44
10 Rítmo Violento 3:50
11 Nuqui (Te Quiero Para Mi) 3:43
12 Fiesta Animal 3:25
13 Nadie Nos Quita lo Baila'o 3:30
Bonus
14 Cuando Te Veo (Urban Version) 3:28
15 Cuando Te Veo (Pop Version) 4:11
16 Cuando Te Veo (Salsa Version) 3:44

  ChocQuibTown - El Mismo (ogg  151mb)

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