Apr 27, 2015

RhoDeo 1517 Empire Strikes 07

Hello, missed most of the sports action today, watched some snooker but have to say matches that could take 25 frames aren't very interesting mainly because once the score reaches 9-4 these pro's will win the match even if it takes 2 more hours. Anyway most top acts are through to the quarter finals apart from last years winner..Anyway i predict a Robertson-O'Sullivan final. Meanwhile black men from west Africa keep on coming this way lured by the many dumb blondes in Europe, the social security (free money /housing) you really can't blame them, and after all back home momma has enough sons left.. Another case are the war refugees or Islam breeders as all they seem to do is breed more kids they can't feed or school and meanwhile Allah this and that, yeah right but your socalled muslim brothers don't care if you live or die. No those leftwing bleeding hearts are trying to tell is we must help, yeah right raise more snakes. but hey we've seen the EU in action sevral times now in this past decade and eveytime those amateurs managed to make a bigger mess i'd say away with Brussels !


This week the Empire will Strike Back !

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. The success of the first series led to a 10-part, four hour 15 minute series based on the 1980 film The Empire Strikes Back, again written by Daley and directed by Madden. The series debuted on NPR on February 14, 1983.

Like the preceding series, The Empire Strikes Back expands on the movie's story by incorporating new scenes. Examples include an Imperial attack on a Rebel convoy set before the film's opening scene and a tense conversation between Solo and Skywalker while the two are stranded in the Hoth wastelands.

National Public Radio's promoted the series in part by getting Craig Claiborne to create his version of Yoda's rootleaf recipe, which the Jedi Master serves Luke in the hut on Dagobah. The recipe ran in magazines and newspapers across the country.
Billy Dee Williams reprised Lando Calrissian, and John Lithgow played Yoda at the same time Madden was directing Lithgow in the play Beyond Therapy. Hamill and Daniels returned to voice Skywalker and C-3PO.

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It was recorded in 1982 at A&R Studios, New York City

With among others:
Mark Hamill as Luke Skywalker
Perry King as Han Solo
Ann Sachs as Princess Leia Organa
Billy Dee Williams as Lando Calrissian
Bernard Behrens as Obi-Wan Kenobi
Brock Peters as Lord Darth Vader
John Lithgow as Yoda
Anthony Daniels as C-3PO
James Eckhouse as Beta
Peter Friedman as Dak
Ron Frazier as Deck Officer
Merwin Goldsmith as General Rieekan
Peter Michael Goetz as Ozzel
Gordon Gould as Veers
Paul Hecht as The Emperor
Russell Horton as 2-1B
James Hurdle as Controller
Nicholas Kepros as Needa
David Rasche as Piett
Alan Rosenberg as Boba Fett
Jay O. Sanders as Imperial Pilot
Don Scarino as Wedge
Ken Hiller as Narrator


The Empire Strikes Back 07 New Allies (mp3  25mb)

207 New Allies 27:38


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previously

The Empire Strikes Back 06 Way Of The Jedi (mp3  25mb)
The Empire Strikes Back 05 Millennium Falcon Pursuit (mp3  24mb)
The Empire Strikes Back 04 Fire And Ice (mp3  24mb)
The Empire Strikes Back 03 A Question Of Survival (mp3  23mb)
The Empire Strikes Back 02 The Coming Storm (mp3  24mb)
The Empire Strikes Back 01 Freedom's Winter (mp3  24mb)

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)
A New Hope 102 Points of Origin (mp3 25mb)
A New Hope 103 Black Knight, White Princess (mp3 25mb)
A New Hope 104 While Giants Mark Time (mp3 25mb)
A New Hope 105 Jedi That Was Jedi To Be (mp3 25mb)
A New Hope 106 The Millenium Falcon Deal (mp3 25mb)
A New Hope 107 The Han Solo Solution (mp3 25mb)
A New Hope 108 Death Star's Transit (mp3 26mb)
A New Hope 109 Rogues, Rebels And Robots (mp3  26mb)
A New Hope 110 The Luke Skywalker Initiative (mp3  26mb)
A New Hope 111 The Jedi Nexus (mp3  25mb)
A New Hope 112 The Case For Rebellion (mp3  25mb)
A New Hope 113 Force And Counter Force (mp3  25mb)

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Apr 26, 2015

Sundaze 1517

Hello, ok so Sundaze isn't just easy listening as the coming weeks will show, when it's all about the voice....

Today's scene is set for an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, she has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records.... N'joy

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Meredith Monk (b. November 20, 1942, New York, NY) is a composer, singer, director/choreographer and creator of new opera, music-theater works, films and installations. A pioneer in what is now called "extended vocal technique" and "interdisciplinary performance," Monk creates works that thrive at the intersection of music and movement, image and object, light and sound in an effort to discover and weave together new modes of perception. Her groundbreaking exploration of the voice as an instrument, as an eloquent language in and of itself, expands the boundaries of musical composition, creating landscapes of sound that unearth feelings, energies, and memories for which there are no words. Over the last fifty years, she has been hailed as "a magician of the voice" and "one of America’s coolest composers". Celebrated internationally, Monk’s work has been presented by BAM, Lincoln Center Festival, Houston Grand Opera, London’s Barbican Centre, and at major venues in countries from Brazil to Syria. Among her many accolades, she was recently named an Officer of the Order of Arts and Letters by the Republic of France, and the 2012 Composer of the Year by Musical America. Monk is also one of NPR’s 50 Great Voices, and has received a 2012 Doris Duke Artist Award and a 2011 Yoko Ono Lennon Courage Award for the Arts.

In 1968 Ms. Monk founded The House, a company dedicated to an interdisciplinary approach to performance. In 1978 she founded Meredith Monk & Vocal Ensemble to expand her musical textures and forms. As a pioneer in site-specific performance, she has created such works as Juice: A Theatre Cantata In 3 Installments (1969) and Ascension Variations (2009) for the Guggenheim Museum, and American Archeology #1: Roosevelt Island (1994). Monk’s award-winning films, including Ellis Island (1981) and her first feature, Book of Days (1988), have been seen throughout the world. Her music can also be heard in films by such directors as Jean-Luc Godard and the Coen Brothers, and in the recent HBO series, True Detective. In addition to her numerous vocal pieces, music-theater works and operas, Monk has created vital new repertoire for orchestra, chamber ensembles, and solo instruments, with commissions from Michael Tilson Thomas/San Francisco Symphony and New World Symphony, Kronos Quartet, Saint Louis Symphony Orchestra and Los Angeles Master Chorale, among others.

Since graduating Sarah Lawrence College in 1964, Monk has received numerous honors including the prestigious MacArthur "Genius" Award, two Guggenheim Fellowships, three "Obies" (including an award for Sustained Achievement), and two "Bessie" awards for Sustained Creative Achievement. She holds honorary Doctor of Arts degrees from Bard College, the University of the Arts, The Juilliard School, the San Francisco Art Institute and the Boston Conservatory. Monk has made more than a dozen recordings, most of which are on the ECM New Series label, including the 2008 Grammy-nominated impermanence and the highly acclaimed Songs of Ascension. She has also been working with the publisher Boosey & Hawkes since 2001.

In October 1999 Monk performed A Vocal Offering for His Holiness, the Dalai Lama as part of the World Festival of Sacred Music in Los Angeles. Her 40th year of performing and creating new music was celebrated in 2005 by a four-hour marathon at Carnegie’s Zankel Hall, with additional performances throughout New York City. In February 2012 she was honored with a remix and interpretations cd, MONK MIX, featuring 25 artists from the jazz, pop, dj and new music worlds. In March 2012, she premiered Realm Variations for six voices and small ensemble, commissioned by the San Francisco Symphony, and performed in John Cage’s Song Books as part of the Symphony’s American Mavericks Festival. Monk’s newest music-theater piece, On Behalf of Nature, premiered in January 2013 at UCLA and is currently touring internationally. This fall, Meredith Monk will mark her 50th season as a creator and performer. Recognized as one of the most unique and influential artists of her generation, she has been appointed the 2014-2015 Richard and Barbara Debs Composer’s Chair at Carnegie Hall.


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Meredith Monk’s third album marks a massive leap forward in terms of quality and creates a sanctuary where her eccentric vocalism becomes harmonious and impressive enough to be approachable in a less unconventional sense. Our introduction comes in the form of an appropriately named track called Lullaby. Completely unobscured by instrumentation or eccentric vocal play, this is the first time we hear Monk’s voice in serene and captivating solitude to fully realize its beauty.

The subsequent tracks bring back the underlying theatricality of Monk’s debut album; her morose, desperate laments are re-invented with a more pleasing and emotionally effective result. Although these songs seem obviously centered around characters and narratives conjured by their creator, the lack of words allows the listener to interpret Monk’s imagined language in any way deemed appropriate based on the moods and emotions conveyed. For the first time the universal and timeless quality of her work is revealed in its entirety; a person from any era and any country could listen to her singing and draw his own conclusions hindered by neither time nor geography, which is doubtlessly the most persuasive appeal of her creativity.

Another exposed virtue in Monk’s artistry is the sheer diversity that found its way into the record. The theatrical songs are followed by the charming and playful Wa-Lie-Oh which in turn is replaced by a track where the repeated sounds of an insect are mimicked thoroughly. Imitations of nature return later on in Prarie Ghost which is preceded by one of the few tracks featuring an instrument besides the human voice: Jew’s harp.

Everything fades in comparison, however, to the massive and almost overwhelming finale. Tablet begins in a disorientating and bizarre attack on your eardrums before soothing piano-play conquers the scene. Eventually Monk’s trademark wailing enters the mix, albeit more composed and subdued than usual. Her voice expands and retracts between different sounds whilst a sporadic flute adds to the unusually prominent instrumentation. The pattern remains more or less unchanged until Monk’s voice is abandoned by all accompaniments and left to reign in complete solitude. Once the piano returns Monk is joined by a set of other voices that harmonize in unity, respond to each other and evolve back and forth from enhancing one another to desperately competing for attention. Monk’s enigmatic language, her theatrical way of conjuring images as well as emotions and the full capacity and range of her vocalism; all of the admirable traits that originally made her a force to be reckoned with are fully captured and perfectly accentuated throughout this beautiful and choral masterpiece.



Meredith Monk - Songs From The Hill/Tablet (flac 193mb)

Songs From The Hill
01 Lullaby 1:39
02 Mesa 2:05
03 Jade (Old Woman's Song) 2:25
04 Wa-lie-oh 3:45
05 Insect 1:51
06 Descending 1:45
07 Silo 2:13
08 Bird Code 1:49
09 Jew's Harp 2:26
10 Prairie Ghost 5:36
 Tablet
11 Tablet 23:05

Meredith Monk - Songs From The Hill/Tablet  (ogg 98mb)

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Meredith Monk has such a wonderful and unique vocal style that she is able to sing in complete abstraction (no known words or language for much of the album) yet maintain a very emotional and even sentimental quality in these abstractions, at times. Listeners who can get past just how unique and abstract her approach is will find immense joy and sadness deep within her pieces. On Dolmen Music, Monk wavers from being sad to the point of being quite morose (such as the tracks "Gotham Lullaby" and "The Tale") to being happy to the point of hysteria (as on "Traveling" and "Biography") without skipping a beat. Most of the musical accompaniment is minimalist (mainly piano with occasional, sparse percussion, guest vocalists also being prominent on the final six-part track "Dolmen Music"). This minimalist support only furthers Monk's vast vocal language as the prominent focus in the recordings. Listeners will also be very pleased to find that her wonderful voice is not crowded or overshadowed. A true original, Monk's work should be sought by anyone with an interest in vocal exploration.



Meredith Monk - Dolmen Music  (ogg 224mb)

01 Gotham Lullaby 4:15
02 Travelling 6:15
03 The Tale 2:47
04 Biography 9:24
05  Dolmen Music 23:39
5a Overture And Men's Conclave
5b Wa-Ohs
5c Rain
5d One Tree Lullaby
5e Calls
5f Conclusion

Meredith Monk - Dolmen Music  (ogg 100mb)

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A daring display of vocal gymnastics and a journey back to childhood when all sounds were wondrous, Turtle Dreams includes the title track composition for four voices (two men, two women) and four organs as well as shorter pieces featuring various combinations of voice, Casio, piano, miniMoog, and didgeridoo. Monk's work raises smiles as well as the hair on the back of the neck. Here she seems tapped into some primordial force -- humming, babbling, chattering, all set to looping, funereal organ works of chromatic simplicity. Mesmerizing yet never mechanical, the side-long "Turtle Dreams" and "View 1" derive their pleasures from the infinite sounds of the human voice. The entire album accompanied a multimedia work where Monk and three other singer/dancers were intercut with shots of a turtle walking over various terrains (including miniature cities, looking like a monster movie). Comforting thoughts during any listen.



Monk Meredith - Turtle Dreams  (flac  159mb)

01 Turtle Dreams (Waltz) 17:52
02 View 1 10:13
03 Engine Steps 2:03
04 Ester's Song 1:14
05 View 2 6:02

Monk Meredith - Turtle Dreams  (ogg 75mb)

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This release features song excerpts from various long-form theater pieces, the first four coming from Meredith Monk's theater piece Acts From Under and Above, and these are the most jarring on the record. "Scared Song" features English lyrics, minimal accompaniment, and Monk singing harsh, abrasive "scared" sounds. Very unsettling -- and perhaps that is the intention. "Do You Be," a selection from her opera Vessel, features Monk solo on piano and voice with a shrill, piercing wail. Very satisfying. Additional selections from Vessel appear on Monk's 1992 recording Facing North. With one exception, the remaining tracks come from a Monk/Ping Chong science fiction epic opera called The Games, and these more diverse, more exploratory pieces really make the collection work as a recording. A casual listener unfamiliar with the theater pieces may well be put off by the abrasiveness of the first four tracks, which may unfortunately be enough to deter them from the remainder of the recording. But beyond some questionable programming choices, fans of her work will be delighted to see her continuing development as a recording artist.



Meredith Monk - Do You Be  (flac  176mb)

01 Scared Song 6:04
02 I Don't Know 3:31
03 Window In 7's 2:12
04 Double Fiesta 5:21
05 Do You Be 4:02
06 Panda Chant I 1:56
07 Memory Song 6:40
08 Panda Chant II 1:35
09 Quarry Lullaby 2:00
10 Shadow Song 1:57
11 Astronaut Anthem 4:56
12 Wheel 3:40

Meredith Monk - Do You Be     (ogg 86mb)

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Apr 25, 2015

RhoDeo 1516 Grooves

Hello, well today's post was brought forward somewhat as the artist in question "kicked the bucket" last week, his megahit that overshadowed all his other work was a song about a man that looses it after falling in love, and although this sounds fine, it really isn't and guys in that mode are extremely irritating....

Today.an African American R&B, soul, gospel, and traditional pop singer. He is best known for the song "When a Man Loves a Woman", a No. 1 hit on both the Billboard Hot 100 and R&B singles charts in 1966. Having previously worked as a hospital orderly in the early 1960s, Sledge achieved his strongest success in the late 1960s and early 1970s with a series of emotional soul songs. In later years, Sledge received the Rhythm and Blues Foundation's Career Achievement Award. He was inducted into the Rock & Roll Hall of Fame in 2005.. Here to,,,,,N'joy

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Percy Sledge will forever be associated with "When a Man Loves a Woman," a pleading, soulful ballad he sang with wrenching, convincing anguish and passion. Sledge sang all of his songs that way, delivering them in a powerful rush where he quickly changed from soulful belting to quavering, tearful pleas. It was a voice that made him one of the key figures of deep Southern soul. Sledge recorded at Muscle Shoals studios in Alabama, where he frequently sang songs written by Spooner Oldham and Dan Penn. Not only did he sing deep soul, but Sledge was among the pioneers of country-soul, singing songs by Charlie Rich and Kris Kristofferson in a gritty, passionate style. During the '70s, his commercial success faded away, but Sledge continued to tour and record into the '90s.

While he worked as a hospital nurse in the early '60s, Sledge began his professional music career as a member of the Southern soul vocal group the Esquires Combo. On the advice of local disc jockey Quin Ivy, he went solo in 1966. Ivy fancied himself a record producer and he agreed to help shape Sledge's song "When a Man Loves a Woman" into a full-fledged single, hiring Spooner Oldham to play a distinctive, legato organ phrase. Ivy released the single independently and quickly licensed it to Atlantic Records, who quickly bought out Sledge's contract. "When a Man Loves a Woman" became a huge hit in the summer of 1966, topping both the pop and R&B charts. It was quickly followed that year by two Top Ten R&B hits, "Warm and Tender Love" and "It Tears Me Up," which were both in the vein of his first hit. Although few of his subsequent singles were hits -- only "Take Time to Know Her" reached the R&B Top Ten in 1968 -- many of the songs, which were often written by Dan Penn and/or Oldham, were acknowledged as classics among soul aficionados.

Despite his strong reputation among deep soul fans, Sledge's sales had declined considerably by the early '70s, and he headed out on the club circuit in America and England. In 1974, he left Atlantic for Capricorn Records, where he returned to the R&B Top 20 with "I'll Be Your Everything." Instead of re-igniting his career, the single was a last gasp, as far as chart success was concerned. Over the next two decades he continued to tour, and in the late '80s "When a Man Loves a Woman" experienced a resurgence in popularity, due to its inclusion in movie soundtracks and in television commercials. Following its appearance in a 1987 Levi's commercial in the U.K., the single was re-released and climbed to number two. Two years later, he won the Rhythm and Blues Foundation's Career Achievement Award. Sledge was able to turn this revived popularity into a successful career by touring constantly, playing over 100 shows a year into the '90s. In 1994, he released Blue Night, his first collection of new material in over a decade, to uniformly positive reviews. It featured Bobby Womack, Steve Cropper, and Mick Taylor among others. Blue Night received a Grammy nomination for Best Contemporary Blues Album, Vocal or Instrumental, and in 1996 it won the W.C. Handy Award for best soul or blues album, after the turn of the millennium he returned with Shining Through the Rain in 2004. The following year, he was inducted into the Rock and Roll Hall of Fame.

Sledge married twice and was survived by his second wife, Rosa Sledge, whom he married in 1980. He had 12 children, two of whom became singers. He died of liver cancer at his home in Baton Rouge on April 14, 2015 at the age of 74.His interment was in Baton Rouge's Heavenly Gates Cemetery.

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A country-soul masterpiece. The title track remains among the most beloved, anthemic explanations of love's impact and travails ever written or performed. Had Sledge never made another song, he would still deserve kudos just for that one. But he continued to score with more simple, heartfelt, unsophisticated stories about disappointment, pain, rejection, and perseverance.



Percy Sledge - When A Man Loves A Woman  (flac  181mb)

01 When A Man Loves A Woman 2:55
02 My Adorable One 2:42
03 Put A Little Lovin' On Me 2:43
04 Love Me All The Way 2:30
05 When She Touches Me (Nothing Else Matters) 2:32
06 You're Pouring Water On A Drowning Man 2:22
07 Thief In The Night 2:27
08 You Fooled Me 2:34
09 Love Makes The World Go Round 2:40
10 Success 3:00
11 Love Me Like You Mean It 2:26

Percy Sledge - When A Man Loves A Woman  (ogg  56mb)

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After "When a Man Loves a Woman," "Take Time to Know Her" was Percy Sledge's biggest hit, and it leads off this 1968 album from the great Southern soul singer. Like "When a Man Loves a Woman," "Take Time to Know Her" was a mid-tempo soul ballad in which Sledge tells a tale of love that hasn't gone quite the way one might wish, and this musical template dominates much of the album, though to his credit Sledge had a gift for bending songs to his style with such skill that he finds new paths even when he seems to be going in the same direction. Sledge does offer a few interesting change-ups on this album -- there's an insouciant edge to his cover of "Spooky," he edges into his falsetto register on "Come Softly to Me," sounds downright jaunty on "I Love Everything About You," and revels in a rare opportunity to rock the house on "Baby Help Me." But most of Take Time to Know Her is classic Percy Sledge, with the singer pouring out loss, hurt and pleas for mercy while a crack organ-led and horn-enhanced studio band stirs the soup behind him, and the results are a blessing to anyone who loves classic soul of the '60s. Sledge didn't have the broadest range, but it's hard to imagine anyone not being affected by the skill and emotional potency of his work, and this album captures him in excellent form.



Percy Sledge - Take Time To Know Her (flac 219mb)

01 Take Time To Know Her 2:55
02 Feed The Flame 2:20
03 Sudden Stop 2:45
04 Come Softly To Me 2:55
05 Spooky 2:50
06 Out Of Left Field 3:09
07 Cover Me 2:56
08 Baby Help Me 2:30
09 It's All Wrong But It's Alright 2:53
10 High Cost Of Leaving 3:00
11 Between These Arms 2:40
12 I Love Everything About You 2:15

Percy Sledge - Take Time To Know Her (ogg 161mb)

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Percy Sledge's first single, "When a Man Loves a Woman," was an instant masterpiece of deep Southern soul, so powerful and so distinctive it made him a star overnight and helped to quickly establish Muscle Shoals, AL, as one of the major recording centers in the Southern music scene. However, "When a Man Loves a Woman" was such a big hit that it tended to overshadow everything else Percy Sledge did from that point onward; while he had a handful of smaller hits and still records and tours, few people outside of soul obsessives are aware of the full scope of his recording career. It Tears Me Up, a typically well-assembled compilation album from Rhino Records, features 23 songs Sledge cut for Atlantic during the 1960s and makes an excellent case for the consistent strength of Sledge's Atlantic catalog. While Sledge specialized in sad songs of love gone wrong, he certainly knew how to make the most of such material, and his stellar, heart-tugging performances of "Take Time to Know Her," "Warm and Tender Love," "It's All Wrong but It's Alright," and the title tune prove that Sledge had more than one brilliant performance in his repertoire. Great stuff, and certainly the best Percy Sledge collection available.



Percy Sledge - It Tears Me Up (flac 434mb)

01 When A Man Loves A Woman 2:53
02 I'm Hanging Up My Heart For You 2:38
03 Put A Little Lovin' On Me 2:43
04 Love Me Like You Mean It 2:27
05 It Tears Me Up 2:48
06 Warm And Tender Love 3:20
07 Love Me Tender 3:05
08 The Dark End Of The Street 2:45
09 Take Time To Know Her 3:02
10 Try A Little Tenderness 2:48
11 Bless Your Sweet Little Soul 3:01
12 True Love Travels On A Gravel Road 2:48
13 Sudden Stop 2:45
14 Stop The World Tonight 3:14
15 It's All Wrong But It's Alright 2:57
16 Drown In My Own Tears 4:01
17 Out Of Left Field 3:15
18 Kind Woman 4:40
19 Cover Me 3:00
20 That's The Way I Want To Live My Life 2:55
21 Push Mr. Pride Aside 3:23
22 It Can't Be Stopped 3:13
23 Rainbow Road 2:51

Percy Sledge - It Tears Me Up  (ogg 144mb)

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