Feb 17, 2020

RhoDeo 2007 Re Up 226

Hello, a huge re up of 52 titles today, phew.

11 correct requests for this week, one too early, one at the wrong place, one double (shifted to next time)  whatever another batch of 52re-ups (16.1gig)

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 February  16th... N'Joy

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5x Aetix Back in Flac ( Colourbox - EP1 + Live, Colourbox - Colourbox,  Colourbox - 7 inchers, Colourbox - 12 inchers, M.A.R.R.S. - Pump Up The Volume )

6x Aetix Back in Flac (Danielle Dax - Pop-Eyes, Danielle Dax - The BBC Sessions, Danielle Dax - Blast The Human Flower, Danielle Dax - Jesus Egg That Wept, Danielle Dax - Inky Bloaters, Danielle Dax - Dark Adapted Eye )

3x Aetix Back in Flac ( Bauhaus - Mask ,  Bauhaus - The Sky's Gone Out, Bauhaus - Swing The Heartache)

4x Sundaze  Back in Flac (Monade - Socialisme Ou Barbarie , Monade - A Few Steps Move, Monade - Monstre Cosmic, Little Tornados - We Are Divine)

4x Grooves Back in Flac ( Solomon Burke - Homeland, Solomon Burke - Soul Of The Blues, Solomon Burke - Live At The House Of The Blues, Solomon Burke - The Definition of Soul )

2x Grooves Back In Flac (Trouble Funk - Drop The Bomb, E.U. - Livin' Large)

4xSundaze  Back In Flac (VA - Space Night Vol. 07 alpha,  VA - Space Night Vol. 07 beta, VA - Space Night Vol. 08 alpha, VA - Space Night Vol. 08 beta)

3x Sundaze Back in Flac ( Neu! - Neu!,  Cluster - Grosses Wasser, Cluster - Curiosum)

9x Aetix Back in Flac ( Wire - Pink Flag,  Wire - Chairs Missing,  Wire - 154,  Wire - Document  & Eyewitness, Gilbert & G Lewis - 8 Time, He Said - Take+Care, Colin Newman - A-Z, Wire - A Bell Is A Cup, still in ogg P'o -Whilst Climbing Thieves Vie)

4x Sundaze Back in Flac (  Higher Intelligence Agency - Colourform, Higher Intelligence Agency - Freefloater , HIA Meets Deep Space Network, System Error - Nothing)

8x Beats Back in Flac (Fischerspooner - #1, ADULT. - Anxiety Always, Vector Lovers - Vector Lovers, Sex In Dallas - Around The War, The Prodigy - The Jilted Generation , The Crystal Method - Vegas , The Youngsters - Lemonorange)

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Feb 16, 2020

Sundaze 2007

Hello, there's a huge storm unleashing everything that isn't stuck, come monday morning the world will look different outside all over north western Europe, this week the storm is called Dennis, yes the Brexiteers are tested again .  Usually my sundaze posts are well planned in advance, not so today. Too my own amazement i hadn't posted much of today's artists, yet i remember being as stunned by their free napster download album Ágætis Byrjun as most that got it, a remarkable gift that kept on giving back. In the years that followed i kept with them, so now it's high time i posted some of their work here.

Today's artist excels over pretty much all other (heavy) rock music is that while many have looked across space for inspiration and atmosphere, our boys instead went into the earth. and who knows what impossible number of variables had to come together just so in order to create that magic (yes) that they have, regardless of explanation. that these musicians have gone on to tour and sell-out shows in europe, the americas, and the pacific (something relatively few musicians do) speaks quite a bit considering their unique sound. or vice-versa, because they don't really sound like anyone else, right? They're as much slowcore as they are post-rock, and they certainly have their orchestral, operatic, and minimalistic moments as well, in short ' Victory Rose ' evokes (strong) emotions.  .......N-Joy

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Jón Þór "Jónsi" Birgisson (guitar and vocals), Georg Hólm (bass) and Ágúst Ævar Gunnarsson (drums) formed the group in Reykjavík in January 1994. The band's name is Icelandic wordplay: while the individual words Sigur and Rós mean, respectively, Victory and Rose, "Victory Rose" wouldn't be grammatically correct; the name is actually borrowed from Jónsi's younger sister Sigurrós, who was born a few days before the band was formed, and then split into two words. They soon won a record deal with the local Sugarcubes-owned record label Bad Taste, because they thought the falsetto vocals were very cute and would appeal to teenage girls. In 1997, they released Von  meaning "hope") and in 1998 a remix collection named Von brigði . This name is also Icelandic wordplay: Vonbrigði means "disappointment", but Von brigði means "variations on Von". The band was joined by Kjartan Sveinsson on keyboards in 1998. He is the only member of Sigur Rós with musical training, and has contributed most of the orchestral and string arrangements for their later work

International acclaim came with 1999's Ágætis byrjun (A Good Beginning"). The band attracted a huge critical acclaim throughout the world in the second half of 2000, particularly in america, after they made the move to offer it as a free download on Napster, who impressed by it, really brought them into the picture. Tens of thousands downloads later and the musiclabels were in a franctic hunt to sign them, they ended up with MCA who let them retain the most artistic freedom. The band toured north america for the first time in april and may 2001, and the vast majority of the dates sold out straight away. perhaps due to the hype in the american media, the shows were attended by many big name celebrities, somewhat to the band's bemusement.The album's reputation spread by word of mouth over the following two years. Soon critics worldwide were praising it effusively, and the band was playing support to established acts such as Radiohead. Three songs, "Ágætis byrjun", "Svefn-g-englar", and a live take, from a summer 2000 concert in Denmark, of the then-unreleased "Njósnavélin" (later 'unnamed' "Untitled #4") appeared in the Cameron Crowe film Vanilla Sky. Sigur Rós spent the first three months of 2001 off the road, setting up their own studio and making their third album. Meanwhile, Ágætis Byrjun found a label in the U.S. and worldwide press became increasingly positive and varied; both Entertainment Weekly and The Wire ran features on the band. The group began touring again in April, playing more shows in Europe, a handful in the States, and several more in Japan throughout the remainder of the year. By the end of the year, Ágætis Byrjun had won the Shortlist Prize for Artistic Achievement in Music; it was also declared Iceland's Best Album of the Century.

In 2001, Sigur Rós christened their newly completed studio by recording an EP titled Rímur with an Icelandic fisherman named Steindór Andersen. The EP contains six songs, all of which feature Steindór Andersen reciting traditional Icelandic rímur poetry. Sigur Rós accompany him on three songs. Two songs feature Steindór alone. The last song on the EP, "Lækurinn", is a duet with Sigurður Sigurðarson. A thousand copies of the EP were printed and sold during the spring tour of 2001. The EP was sold in a blank-white-paper case. In 2001 the band toured in Canada, performing at Massey Hall in Toronto in September. Drummer Ágúst left the band after the recording of Ágætis byrjun and was replaced by Orri Páll Dýrason. In 2002, their highly anticipated follow-up album ( ) was released. Upon release all tracks on the album were untitled, though the band later published song names on their website. All of the lyrics on ( ) are sung in Vonlenska, also known as Hopelandic, a language without semantic meaning, which resembles the phonology of the Icelandic language. It has also been said that the listener is supposed to interpret their own meanings of the lyrics which can then be written in the blank pages in the album booklet.

In 2002, the band also wrote an original score for the Bodyscript dance production by Wayne McGregor Random Dance in collaboration with Sadler's Wells Theatre and the Arts Council England. Sigur Rós collaborated with Radiohead in October 2003 to compose music for Merce Cunningham's dance piece Split Sides; Sigur Rós's three tracks were released on the March 2004 EP Ba Ba Ti Ki Di Do.

Their fourth album, Takk... (["Thanks...") employs the distinctive sound of their second album in a more rock oriented structure with greater use of the guitar, and was released in September 2005. "Hoppípolla" "Hopping into puddles"), the second official single from Takk..., was released in November alongside a new studio remake of "Hafsól" ("Ocean Sun"), a song that was previously released on the band's 1997 debut, Von. "Hoppípolla" was used in the trailers for the BBC's natural history series Planet Earth in 2006, as well as the closing credits for the 2006 FA Cup final, ITV's coverage of the 2006 Oxford and Cambridge Boat Race, advertisements for the BBC's coverage of England games during the 2006 FIFA World Cup, on television advertisements for RTÉ's Gaelic games coverage in Ireland, and on an advertisement for Oxfam. It was also used in the final scene of the movie Penelope, for the trailer of the film Children of Men and for the trailer of the film Slumdog Millionaire.

An extended Sæglópur EP was released in July 2006 in most parts of the world and in August in the United States. Its original release was scheduled in May, but because of the sudden demand of "Hoppípolla" it was pushed back from that date. Sigur Rós recorded three new songs to appear on the EP ("Refur", "Ó friður", and "Kafari"). In July 2006, Sigur Rós finished a major world tour with stops in Europe, the United States (where they played a headline show at the Hollywood Bowl), Canada, Australia, New Zealand, Hong Kong and Japan. Upon return to their homeland, Sigur Rós provided a series of free surprise outdoor concerts throughout Iceland in July and August, playing in various venues such as abandoned bunkers and community coffee shops, all of which were included in the 2007 documentary film Heima. They also performed twice in the United States in February.

In August 2007, a limited DVD+CD edition of the 2002 soundtrack to the documentary Hlemmur was released. Hvarf/Heim was released on 5 November (6 November in the U.S.), a double compilation album containing studio versions of previously unreleased songs — "Salka" [ˈsalka], "Hljómalind" (formerly known as "Rokklagið"), "Í Gær" [i ˈcaɪ̯r] and "Von" on Hvarf, and acoustic studio versions of the songs: "Samskeyti" "Starálfur""Vaka" "Ágætis Byrjun", "Heysátan" and "Von", on Heim. On the same day (20 November in the U.S.) Heima, a live DVD of the previous summer's Iceland tour, was released. Just prior to the release of Hvarf/Heim, on 29 October, a single named "Hljómalind" was released.

The band's fifth regular studio album Með Suð Í Eyrum Við Spilum Endalaust ("with a buzz in our ears we play endlessly"), recorded with producer Flood in downtown Reykjavík, was released in June 2008 to generally positive reviews. Stylistically different from their earlier releases, it featured fewer strings and more guitar, and had more pop-oriented songs, making it "the group's most accessible effort" while maintaining the "majestic beauty that defines the band's music. The final track "All Alright" is the band's first to be sung in English, though all the other lyrics are in Icelandic.

The band were announced as a headlining act for the 2008 Splendour in the Grass Festival in Byron Bay, Australia, Latitude Festival 2008, and the 2008 La Route du Rock Festival in St Malo, France. In addition, the band performed a late-night set at the 2008 Bonnaroo Music Festival in Manchester, Tennessee, where they blew a speaker at the end of their second song. Jónsi Birgisson commented, "The piano is exploding, I think," one of the few things spoken in English. The band released the first song from the album titled "Gobbledigook" for free on their website, along with a music video. On 8 June, the whole album was made available for free streaming on their website and Last.fm.

In autumn 2008 Sigur Rós embarked on a world tour supporting their newly released album. The band played as a four-piece without Amiina and the brass band, the first time the band had played as a four-piece in seven years. The tour started on 17 September 2008 in the United States, at the United Palace Theater in New York City, and finished with a concert in Reykjavík at Laugardalshöll on 23 November 2008. The majority of the tour was European with the exception of concerts in the United States, Australia, Canada and Japan.

The group ended its hiatus in April of 2010, playing a set at the Coachella Festival. In October of 2011, they released their first live album, Inni, a document of their 2008 tour. Their understated sixth studio album, Valtari (Steamroller), was issued in May of the following year. Quickly returning, Sigur Rós took their sound in a darker, more aggressive direction with their seventh album, 2013's Kveikur, which found them pushing their sound into unsettling areas. After the album's release the band stayed busy touring. They also branched out, making appearances on both the animated series The Simpsons and HBO's Game of Thrones. In 2017, they collaborated with Somers on two instrumental recordings for a season four episode of Black Mirror. Also that year, to coincide with their own Norður og Niður Festival in Iceland, they released the soundtrack/film production Route One, as well as the Jónsi and Somers EP All Animals. Both albums were also reissued on vinyl for Record Store Day, and released to digital platforms in 2018.

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Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. It's remarkable that such a young band would be this experimental at this stage in their lifespan, but the sheer breadth gets to be an albatross. Poking fun at '70s prog rock is just as easy as shooting at cement gargoyles on a suburban rooftop, especially when you're an indie kid or a fan of post-rock. But Sigur Rós makes Yes look like the Minutemen. Whittled down to 40 minutes, Von would be considerably more effective than it already is.Von opens up with "Sigur Rós", a near 10-minute ambient piece that immediately displays the album's ominous nature. Triumphant? Not at all. Uplifting? Far from it. In fact, "Sigur Rós" is probably one of the scariest songs ever put to tape. This dark ambient epic sounds like a journey through the scorching infernos of Hell; the mysterious windchimes and shakers, dissonant synthesizer chords, thunder, and bone-chilling, high-pitched screams provide the listener with some absolutely terrifying timbres. Do not listen to this track alone in a dark room; you will probably regret it. Though it might be a rather aimless track compared to some other songs on Von, "Sigur Rós" succeeds at trying to establish the album's dark mood, and is quite literally unlike anything else that the band has ever done. It's an atmospheric masterwork., and a few other spots seem to drag on for the sake of sucking time. That doesn't prevent Von from being impressive, veering from Gavin Bryars-style aquatic minimalism to My Bloody Valentine-style dream pop. Varying states of isolationist ambience run throughout, whether evoking unrest or tranquil rest. You can practically envision a stray headboard floating through the Sinking of the Titanic-type passages, and the lush "Myrkur" comes from a planet where MBV's Kevin Shields and Kitchens of Distinction's Julian Swales are accorded the level or worship that Earth gives to Hendrix and Clapton. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.

Sigur Rós - Von (flac 395mb)

01 Sigur Rós 9:47
02 Dögun 5:50
03 Hún Jörð... 7:18
04 Leit að lífi 2:34
05 Myrkur 6:14
06 18 sekúndur fyrir sólarupprás 0:18
07 Hafssól 12:25
08 Veröld ný og óð 3:29
09 Von 5:12
10 Mistur 2:16
11 Syndir Guðs (Opinberun frelsarans) 7:42
12 Rukrym 8:59

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First of all, one should mention that if the listener expects 1998's "Von Brigði" to be another high quality Sigur Rós work measured upon their standards, he or she is only partially right. Other than most reviews for this album, up to now I cannot find a loss in quality here. Since many listeners long for genres they can put music into... well, maybe think of it as well-crafted and intelligent electronic or drum and bass music that creates some kind of forest in whose branches the tunes from the very first phase of Sigur Rós hide like elves. The whole concept is worked out by electronica artists mostly hailing from Iceland, including Múm, Gus Gus, Hassbræður, and on the final track, Leit af lifi, the album's highlight in my opinion, even Sigur Rós themselves re-invent one of their songs originally entitled Leit að lifi as found on their 1997 masterpiece debut "Von".

Recycle Bin puts songs from the group's debut LP in the hands of Gus Gus, Biogen, and an assorted cast of unfamiliars. As with most full-length remix affairs, the results are hit-and-miss. Somewhat disappointingly, only a handful of Von's tracks are retooled: two are handled twice, and one is thrice reconstructed. Despite the overlap and mostly minor-league remixing, it's still lightly pleasurable. The primary hope for future Sigur Rós remixers would be to mess around more with the vocals. One can imagine that there must be a million and one things that can be done to the elfin, siren-like hymns. All in all, Von Brigði is excellent for fans of Sigur Rós who are opened for the band's music in a fairly new perspective - you are going to listen to some great pieces although it may for sure appear unusual to some at first.

Sigur Ros - Von Brigi ( Recycle Bin) (flac 334mb)

01 Syndir Guðs (Endurunnið af Biogen) 6:58
02 Syndir Guðs (Endurunnið af múm) 4:54
03 Leit af lífi (Endurunnið af Plasmic) 5:28
04 Myrkur (Endurunnið af Ilo) 5:32
05 Myrkur (Endurunnið af Dirty-Bix) 5:04
06 180 sekúndur fyrir sólarupprás (Endurunnið af Curver) 3:00
07 Hún jörð (Endurunnið af Hassbræður) 5:20
08 Leit af lífi (Endurunnið af Thor) 5:35
09 Von (Endurunnið af gus gus) 7:25
10 Leit af lífi (Endurunnið af Sigur Rós) 5:02

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Their first album is called Von (hope). frequently unrecognisable from the bulk of their subsequent work, Von is an experimental and ambient work.The band really found their feet with their second album, Ágætis Byrjun (a good beginning). the album was originally released only in Iceland, but was discovered by brighton's fatcat records, who snapped the band up and released the album in the uk in august 2000. The band attracted a huge critical acclaim throughout the world in the second half of 2000, particularly in america, after they made the move to offer it as a free download on Napster, who impressed by it, really brought them into the picture. Tens of thousands downloads later and the musiclabels were in a franctic hunt to sign them, they ended up with MCA who let them retain the most artistic freedom. The band toured north america for the first time in april and may 2001, and the vast majority of the dates sold out straight away. perhaps due to the hype in the american media, the shows were attended by many big name celebrities, somewhat to the band's bemusement.

Two years had passed since Sigur Rós' debut. By this time, the band recruited in a new keyboardist by the name of Kjartan Sveinsson and it seems to have done nothing but take the band to an even higher state of self-awareness. Even on aesthetic matters, Sigur Rós entitle their sophomore effort not in a manner to play up the irony of high expectations, but in a modest realization. This second album -- Ágætis Byrjun -- translates roughly to Good Start. So as talented as Von might have been, this time out is probably even more worthy of dramatic debut expectations. Indeed, Ágætis Byrjun pulls no punches from the start. After an introduction just this side of one of the aforementioned Stone Roses' backward beauties, the album pumps in the morning mist with "Sven-G-Englar" -- a song of such accomplished gorgeousness that one wonders why such a tiny country as Iceland can musically outperform entire continents in just a few short minutes. The rest of this full-length follows such similar quality. Extremely deep strings underpin falsetto wails from the mournfully epic ("Viðar Vel Tl Loftárasa") to the unreservedly cinematic ("Avalon"). One will constantly be waiting to hear what fascinating turns such complex musicianship will take at a moment's notice. At its best, the album seems to accomplish everything lagging post-shoegazers like Spiritualized or Chapterhouse once promised.

Sigur Rós - Ágætis Byrjun ( flac   358mb)

01 Intro (1:36)
02 Svefn-g-englar (10:04)
03 Starálfur (6:47)
04 Flugufrelsarinn (7:47)
05 Ný Batterí (8:11)
06 Hjartað Hamast (Bamm Bamm Bamm) (7:10)
07 Viðrar Vel Til Loftárása (10:18)
08 Olsen Olsen (8:03)
09 Ágætis Byrjun (7:56)
10 Avalon (4:00)

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Classic songs given the dignified treatment they deserve by one of the best. I would have preferred a variety of singers, but Steindor does a great job. Turn down the lights and imagine yourself huddled in an old Icelandic loft on a rainy autumn night! Worth it alone for track five which is absolutely stunning. I would have liked to have heard them do some more stuff with Steindor Anderson - I love his voice, the quality of his voice is stunning--deep yet melodic.Kind of Ingmar Bergman imagery it creates.

Sigur Ros feat Steindor Andersen - Rimur EP (flac   105mb)

01 Kem ég enn af köldum Heiðum 6:19
02 Til ei ltur tíðin Mér 1:00
03 Fjöll í austri Fagurblá 6:00
04 Slær á hafið Himinblæ 1:29
05 Hugann seiða svalli Frá 6:02
06 Lækurinn 5:50

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Sigur Rós released their third album in october 2002, entitled ( ). the lyricless and titleless album was a darker, rawer and less accessible follow up to ágætis byrjun and came out to favourable reviews around the world, the album sold well and even reached #52 on the american billboard chart. Set the controls for the heart of the sun: Sigur Rós had another baby and they named it ( ). It's just as excessive in length as its elder siblings, it's just as precious and almost as over-the-top sounding, and it's artfully packaged with next to no information provided -- no photo collage from the triumphant world tour, no acknowledgments of the supportive Reykjavik massive. No track titles are present, either -- the band has made them known, but obviously not through the traditional route. Whatever the issues with this record, musical or not, ( ) will only further repel the detractors. Despite the fact that it arrives three years after Ágaetis Byrjun's original release, there are only adjustments -- no significant developments -- in the group's sound. The relentlessly funereal tempos, the elegant arrangements, and the high-pitched warbling/cooing remain in abundance. The overall mood of the album is subdued in relation to its predecessor. This is particularly true for the second half of the album, which is cleaved by a half-minute gap of silence. The sudden stratospheric crescendos resorted to previously are smoothed out, riding subtle gradients that allow for somber, elongated passages of drones and minimal instrumental interplay. The orchestral nuances, contributed by the string quartet Amina, take on a more background role. The fact that the emotional extremes are few and far between makes the album difficult to wade through -- its impact would've been tripled with about half an hour lopped off, but where to begin? None of these eight songs deserve to be left on the cutting-room floor. So perhaps it's most effective when digested in halves. Are Sigur Rós pretentious somnambulists bearing gimmicks, or are they Nordic gods bearing musical bliss? Regardless of the side you're on, ( ) is further proof that this group does what it does very well.

Sigur Ros - ( ) (flac 324mb)

01 [untitled] 6:38
02 [untitled] 7:33
03 [untitled] 6:33
04 [untitled] 7:32
05 [untitled] 9:57
06 [untitled] 8:48
07 [untitled] 12:59
08 [untitled] 11:45

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Feb 15, 2020

RhoDeo 2006 Grooves


Today's Artist is Dana Elaine Owens (born March 18, 1970), she is an American rapper, singer, songwriter, actress, and producer. Born in Newark, New Jersey, she signed with Tommy Boy Records in 1989 and released her debut album All Hail the Queen on November 28, 1989, In her music career, Dana has sold nearly 2 million records worldwide. She has been dubbed as the "Queen of Jazz-Rap". She became the first female hip-hop recording artist to get nominated for an Oscar. she is a recipient of a Grammy Award, with six nominations, a Golden Globe Award, two Screen Actors Guild Awards, with two nominations, two NAACP Image Awards, including thirteen nominations, one Emmy Award, with three nominations and an Academy Award nomination. She was the first hip-hop artist to receive a star on the Hollywood Walk of Fame. . ....... N Joy

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Queen Latifah was certainly not the first female rapper, but she was the first one to become a bona fide star. She had more charisma than her predecessors, and her strong, intelligent, no-nonsense persona made her arguably the first MC who could properly be described as feminist. Her third album, Black Reign, was the first album by a female MC ever to go gold, a commercial breakthrough that paved the way for a talented crew of women rappers to make their own way onto the charts as the '90s progressed. Latifah herself soon branched out into other media, appearing in movies and sitcoms and even hosting her own talk show. Yet even with all the time she spent away from recording, she remained perhaps the most recognizable woman in hip-hop, with a level of respect that bordered on iconic status.

Queen Latifah was born Dana Owens in Newark, NJ, on March 18, 1970; her Muslim cousin gave her the nickname Latifah -- an Arabic word meaning "delicate" or "sensitive" -- when she was eight. As a youngster, she starred in her high school's production of The Wiz, and began rapping in high school with a group called Ladies Fresh, in which she also served as a human beatbox. In college, she adopted the name Queen Latifah and hooked up with Afrika Bambaataa's Native Tongues collective, which sought to bring a more positive, Afrocentric consciousness to hip-hop. She recorded a demo that landed her a record deal with Tommy Boy, and released her first single, "Wrath of My Madness," in 1988; it was followed by "Dance for Me." In 1989, Latifah's full-length debut, All Hail the Queen, was released to strongly favorable reviews, and the classic single "Ladies First" broke her to the hip-hop audience. In addition to tough-minded hip-hop, the album also found Latifah dabbling in R&B, reggae, and house, and duetting with KRS-One and De La Soul. It sold very well, climbing into the Top Ten of the R&B album charts. Latifah quickly started a management company, Flavor Unit Entertainment, and was responsible for discovering Naughty by Nature. Her 1991 sophomore album, the lighter Nature of a Sista, wasn't quite as popular, and when her contract with Tommy Boy was up, the label elected not to re-sign her. Unfortunately, things got worse from there -- she was the victim of a carjacking, and her brother Lance perished in a motorcycle accident.

Latifah emerged with a new sense of purpose and secured a deal with Motown, which issued Black Reign in 1993. Dedicated to her brother, it became her most popular album, eventually going gold; it also featured her biggest hit single, "U.N.I.T.Y.," which hit the R&B Top Ten and won a Grammy for Best Solo Rap Performance. By this point, Latifah had already begun her acting career, appearing in Jungle Fever, House Party 2, and Juice, as well as the TV series The Fresh Prince of Bel Air. In 1993, she was tabbed to co-star in the Fox comedy series Living Single, which ran until 1997; during that period, acting was her primary focus, and she also co-starred as a bank robber in the 1996 film Set It Off. That same year, Latifah was pulled over for speeding and was arrested when a loaded gun and marijuana were discovered in her vehicle; she pled guilty to the charges and was fined.

Order in the Court
After Living Single was canceled in 1997, Latifah returned to the recording studio and finally began work on her fourth album. Order in the Court was released in 1998 and found her playing up the R&B elements of her sound in a manner that led some critics to draw comparisons to Missy Elliott; she took more sung vocals, and also duetted with Faith Evans and the Fugees' Pras. The album sold respectably well on the strength of the singles "Bananas (Who You Gonna Call?)" and "Paper." The same year, she appeared in the films Sphere and Living Out Loud, singing several jazz standards in the latter. The Queen Latifah Show, a daytime talk show, debuted in 1999 and ran in syndication until 2001. In November 2002, Latifah ran afoul of the law again; she was pulled over by police and failed a sobriety test, and was placed on three years' probation after pleading guilty to DUI charges. However, this mishap was somewhat overshadowed by her performance in the acclaimed movie musical Chicago, which garnered her Best Supporting Actress nominations from both the Screen Actors Guild and the Golden Globes.

In 2004, she released The Dana Owens Album, a diverse collection of covers and interpretations -- from Dr. Buzzard's Original Savannah Band's "Hard Times" to Billy Strayhorn's "Lush Life" -- that highlighted her singing skills rather than her rapping. Trav'lin' Light followed with a similar format in 2007, ranging from the Pointer Sisters to Shirley Horn, with guest appearances from Joe Sample, George Duke, Erykah Badu, and Jill Scott. During the years between the releases, she acted in several movies, including Taxi, Beauty Shop, Last Holiday, and Hairspray. In 2009, she released the star-studded Persona, a pop-flavored album produced by Cool & Dre.

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Not flawless, no, but pretty damn great anyway and ca. 1989 let me tell you it was a breath of fresh air just to hear a female rapper who not only could hold her own - she wasn't the first by any means - but who also didn't feel the need to stoop down to the guys' level. Nothing like "The Showstopper" or "Roxanne's Revenge" here where Latifah takes one of theirs and flips it around, she just rolls her eyes at the knuckleheads and moves along to do her own thing. And don't get me wrong, it's a fine thing in a battle of the sexes to use the enemy's own weapons against him, but in some ways it's even better just to sneak around the side and flank them outright, not allowing the sexists to define the terms of the battle.

As strong a buzz as Queen Latifah created with her debut single of 1988, "Wrath of My Madness" and its reggae-influenced B-side "Princess of the Posse," one would have expected the North Jersey rapper/actress' first album, All Hail the Queen, to be much stronger. Though not a bad album by any means, it doesn't live up to Latifah's enormous potential. The CD's strongest material includes "Evil That Men Do," a hardhitting duet with KRS-One addressing Black-on-Black crime and other social ills; the infectious hip-house number "Come Into My House"; the rap/reggae duet with Stetsasonic's Daddy-O "The Pros"; and the aforementioned songs. Unfortunately, boasting numbers like "A King and Queen Creation" and "Queen of Royal Badness" aren't terribly memorable. Especially disappointing is "Mama Gave Birth to the Soul Children," a duet with De La Soul that surprisingly, is both musically and lyrically generic. To be sure, Latifah's rapping skills are top-notch -- which is why All Hail the Queen should have been consistently excellent instead of merely good.

 Queen Latifah - All Hail The Queen  (flac   385mb)

01 Dance for Me 3:46
02 Mama Gave Birth to the Soul Children (feat. De La Soul) 4:29
03 Come Into My House 4:18
04 Latifah's Law 3:53
05 Wrath of My Madness 4:17
06 The Pros (feat. Daddy-O) 5:47
07 Ladies First (feat. Monie Love) 3:58
08 A King and Queen Creation (feat. DJ Mark The 45 King) 3:39
09 Queen of Royal Badness 3:29
10 Evil That Men Do 4:07
11 Princess of the Posse 3:54
12 Inside Out 4:16
13 Dance for Me (Ultimatum Remix) 4:09
14 Wrath of My Madness (Soulshock Remix) 5:34
15 Princess of the Posse (DJ Mark The 45 King Remix) 4:06

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Nature of a Sista isn't the outstanding album Queen Latifah is quite capable of recording. But even so, it's a decent sophomore effort that has more strengths than weaknesses. The North Jersey native tends to spend too much time boasting about her microphone skills -- something that can wear thin in a hurry -- but there's no denying the fact that she has considerable technique. As on her first album, Latifah indicates that she could hold her own in a battle with just about any rapper, male or female. And the positive image she projects is certainly commendable. But as likeable as much of this album is, it's obvious that she is capable of a lot more.  Her use of Jamaican dialect and her ability to ride rhythms is just amazing.Her voice is a charm.This album reveals her intellect through her lyrics.It led m to get atleast one other of her albums - no regrets.She does not call herself QUEEN for nothing.Listen to this album and you will see for yourself.

 Queen Latifah - Nature Of A Sista'  (flac   286mb)

01 Latifah's Had It Up 2 Here 4:26
02 Nuff of the Ruff' Stuff' 3:50
03 One Mo' Time 4:49
04 Give Me Your Love 3:49
05 Love Again 3:40
06 Bad As a Mutha 4:00
07 Fly Girl 4:01
08 Sexy Fancy 3:55
09 Nature of a Sista' 3:19
10 That's the Way We Flow 3:22
11 If You Don't Know 4:58
12 How Do I Love Thee 4:59

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Latifah's best album and one of the definitive (and most significant) female Hip-Hop albums and albums in general. Nearly every track is nothing less than spectacular, an amazing soundtrack. Latifah proved once again why she's just as good as any of the males out there. Black Reign marked Latifah's move to Motown, and was also a return to the tough-talking, lyrically frank, frequently controversial material that established her as arguably the finest female rapper. "Coochie Bang" and "Weekend Love" were harsh and explicit attacks on would-be hit-and-run lovers, while "Just Another Day" and "I Can't Understand" examined the continuing inequities plaguing inner-city youth, and "Superstar" took a pointedly unglamorous view of her situation and the perils of hip-hop supremacy. The singles "Black Hand Side", "UNITY" and "Just Another Day" are early '90s classics that everybody knows and loves, but the rest of the record benefits from this combination of Dirty Jerz grit & grime, mixed with beautiful jazz chords, and an all around East Coast sensibility that is reminiscent of Black Moon and early Wu-Tang. The best thing about this record is how Queen manages to execute the difficult task of educating the masses, and getting her much deserved props, all the while maintaining her femininity, which is something female MC's have always had trouble doing. This record is REAL Hip-Hop with class, dignity, respect, great singing, and beautiful production.

Queen Latifah - Black Reign (flac   324mb)

01 Black Hand Side 3:22
02 Listen 2 Me 4:42
03 I Can't Understand 3:49
04 Rough... 5:03
05 4 the DJ's (Interlude) 1:37
06 Bring tha Flava 3:25
07 Coochie Bang... 3:46
08 Superstar 3:56
09 No Work 2:51
10 Just a Flow (Interlude) 1:30
11 Just Another Day... 4:27
12 U.N.I.T.Y. 4:11
13 Weekend Love 4:09
14 Mood Is Right 3:27
15 Winki's Theme 5:29

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Feb 12, 2020

RhoDeo 2006 Fingerprints

Hello, a day later as I was completely knackered yesterday. To today's post, since i started this blog 13+ years ago it states my interest in (pre)history a book that set me on a trip to Egypt was Fingerprintz of the Gods authored by Graham Hancock who's book Sign and the Seal (about the lost ark) i read before. The establishment vehemently describes Graham as a crank, a pseudo this or that, it's really embarrassing that these self described sane people who know what is right or wrong (for now), apparently never seen any of the many talks he has given and that are available on Youtube and watch a madman ranting about scientists afraid to be scientific and break the 19th century deadlock on what is true. I'm joking here but i find Graham Hancock to be a great and eloquent speaker, who knows full well he takes on the full ire of the Archaeological society, that have a vested interest in keeping their past, the past for all. They will stop at nothing like preventing diggs at places that could upset their fantasy of the past. Oh how they wished they could have stopped the dig at Göbekli Tepe a giant complex with giant smooth slabs with exquisite imagery protruding from the slab, and all this when according to the archaeological charts only some simple pottery existed in Syria and nothing like it anywhere else, we're talking 10.000 BC here. A boon too, for those that claim the Sfinx-complex was build 11,600 years ago, who were always told, why aren't there other remnants of these smart guys. One would think those Archaeological elite tone down a little but these sorry guys see their sandcastle crumble and cry foul, and that nasty Mr.Hancock should be locked up for daring to expose our failures and shortsightedness. In that light it should be seen how Wikipedia let's itself be used by the powers that be in defaming Graham Hancock . A serious researcher always careful to provide booknotes but who has the big advantage not being tied down by a school of thought and more importantly can take multidisciplinary work into account. And whilst the scientific American tries to debunk his work, over in N.E. Brazil 100,000 year traces are found of humans, which is of cause strictly forbidden, but then once again these are German archeologists (like at Göbekli Tepe), they don't get sacked when returning with the 'wrong' results.

Anyway Fingerprints of the Gods stirred up a hornets nest where even the BBC was called in to debunk and show of their skill in selective reporting, meanwhile millions have learned about the unexplained Piri Reis map which proved without doubt that serious skilled mapmaking went on when Antartica was icefree, way before the official fairytale starts of the human race. Really i don't understand why the powers that be are so against the idea that this planet had an earlier high civilization, i'm fine with it. The coming weeks Graham reads his book, ok it lacks the odd map and picture but you can listen to it at your leisure in bed, on the road or in the train.

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Founder and president of Brain Sync, Kelly Howell is internationally acclaimed for her pioneering work in mind expansion. The author of over 60 best-selling audio programs, Kelly is the creator of Brain Sync's Brain Wave Audio Technology. "Kelly Howell is a masterful guide in helping to integrate body, mind, and spirit. In an age where life is becoming increasingly hectic, her instruction is invaluable." Her 20 years of research into spiritual practices and meditation, combined with her work with physicians and biofeedback therapists, have enabled Brain Sync to refine its extraordinary audio technology into the exceptionally powerful, life-enhancing audio programs so many have come to rely on.

Brain Massage

You're thrashed. It's been a hard day and you feel the pressure of mental overload. No worries. Simply slip on your headphones and listen to Brain Massage meditaiton music with binaural beats. At the end of thirty minutes you will feel cleansed and refreshed at the deepest levels.

Completely free of spoken words or guidance, this program harmonically layers Gamma (40Hz) and Delta waves to massage your brain into relaxation. As your brainwaves entrain to Gamma binaural and Delta binaural beats, you'll tingle all over with a rush of cleansing energy swirling through your mind and body. A revitalizing flood of positive energy is released as your autonomic nervous system relaxes into deep states of reverie.

    Meditation music to refresh your brain
    Wash away stress and tension
    Relieve headaches
    Overcome stressful feelings

Brain Sync - Brain Massage ( 58min mp3   77mb).

01 Brain Sync - Brain Massage - 1 - Music + Brainwaves 29:41
02 Brain Sync - Brain Massage - 2 - Ambiance + Brainwaves 28:59

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This episode marks the beginning of a special 10-part series, "Top 10 Reasons the Universe is Electric." In this first chapter, we explore the significance of the astrophysical enigma of pervasive cosmic magnetic fields. Basic physics classes teach that electric currents produce magnetic fields. But why is this law of physics almost nowhere evident in the standard astrophysical literature? Plasma physics and electrical engineering hold the key to explaining the origins of powerful magnetic fields throughout the cosmos.


In Number 4 of our ongoing series, "The Top Ten Reasons the Universe is Electric," we explore an ongoing astrophysical enigma -- the Fermi Bubbles, giant gamma-ray structures which scientists have dubbed "incandescent bulbs screwed into the center of the galaxy." In this episode, we explore why such a feature is both explicable and predictable in the Electric Universe.

If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop down box. Then click on the subtitle that you would like.

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On 6th July 1960 Lt Colonel Harold Ohlmeyer, a United States Airforce Commander, sent a reply to a letter from one Professor Charles Hapgood who had requested his opinion on a feature found on a map of 1513 AD called the Piri Reis Map. Lt Colonel Ohlmeyer’s reply was a bombshell. The map, showing the coastline of the east coast of the Americas and the west coast of Africa, the Colonel remarked, also seemed to show the coastline of Queen Maud Land in Antarctica free of ice – a condition it had not been in for some 9000 years!

In fact, it is only in recent times that modern man has been able to map this coastline using sub-surface surveying techniques that can penetrate the ice sheet that lies on top of it.

Ohlmeyer had no idea how a map existing in the 16th century could have got hold of such knowledge.

This was one of the many mysteries that lead Graham to begin his epic journey into man’s past that is Fingerprints of the Gods – and it is a mystery whose solution is mindblowing.

Travelling first to South and Meso-America, Graham finds evidence of myths of a white-skinned ‘god’ named Quetzalcoatl or ‘Viracocha’ who came from a drowned land bringing knowledge of farming and culture after a great flood. Tied in with these myths Graham begins to crack an ancient code imprinted in these ancient tales that refer to the ‘great mill’ of the heavens.

It is an astronomical code that deals with the position of the stars over vast periods of time – a code that reveals the ancients knew far, far more than they are generally credited with. Traces of the same code appear in Egyptian myth, and it is to this desert land that Graham and Santha travel, finding there haunting parallels in architecture and ritual to the New World sites they have just left behind.

Moreover, the whole layout of the Giza plateau seems to point to a date many thousands of years earlier than the date of its supposed construction – a date revealed in the astronomical alignments of the Pyramids, the ‘mansions of a million years’, home of the god Osiris, the bringer of agriculture to the Egyptians, like Quetzalcoatl, after a flood.

Could the Piri Reis maps be evidence for a previously unknown complex maritime civilisation, capable of mapping the globe? A global culture, cataclysmically destroyed at the end of the ice age, remnants of which survived the devastation to pass on their knowledge to the shaken world?

Were the figures of Osiris and Quetzalcoatl survivors of this lost race – passing down not only advanced geographical knowledge, but a secret astronomical code veiled in myth that pointed to the devastation in the past, and warned of that which is to come?

From the mysterious sites of Tiahuanaco and Teotihuacan, to the enduring enigmatic Sphinx and pyramids of Egypt, the grandiose Nazca lines of Peru to the stark primal beauty of the Osireion at Abydos, this is a journey both around the globe and into the heart of the true prehistoric origins of man. Part adventure, part detective story, this book will force you to revaluate your beliefs of the past.

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Could the story of mankind be far older than we have previously believed? Using tools as varied as archaeo-astronomy, geology, and computer analysis of ancient myths, Graham Hancock presents a compelling case to suggest that it is.In Fingerprints of the Gods, Hancock embarks on a worldwide quest to put together all the pieces of the vast and fascinating jigsaw of mankind’s hidden past. In ancient monuments as far apart as Egypt’s Great Sphinx, the strange Andean ruins of Tihuanaco, and Mexico’s awe-inspiring Temples of the Sun and Moon, he reveals not only the clear fingerprints of an as-yet-unidentified civilization of remote antiquity, but also startling evidence of its vast sophistication, technological advancement, and evolved scientific knowledge. A record-breaking number one bestseller in Britain, Fingerprints of the Gods contains the makings of an intellectual revolution, a dramatic and irreversible change in the way that we understand our past—and so our future.

Graham Hancock - 'Fingerprints of the Gods The Quest Continues 0-6 ( 102min  48mb)

narrated by the man himself, Graham Hancock

00 Introduction in 2016 - 'Fingerprints of the Gods The Quest Continues (New Updated Edition)' 3:35
01 Chapter 1 A Map of Hidden Places 18:09
02 Chapter 2 Rivers in the Southern Continent 20:12
03 Chapter 3 Fingerprints of a Lost Science 17:44
04 Chapter 4 Flight of the Condor 17:01
05 Chapter 5 The Inca Trail to the Past 9:29
06 Chapter 6 He Came in a Time of Chaos 15:52

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Feb 10, 2020

RhoDeo 2006 Re Up 225

Hello, Ciara didn't make victims, i guess the explicite weather warnings worked with a public already glued to the news, following the Corona crises, which causes Aldi to run out of bami, because the feeble minded stay away from Chinese restaurants, and buy their bami at Aldi i joked at the till when for a third week running they were out of stock. More worriesome Chinese people feel unwanted sometimes in a very explicite way, clearly a lot of people really don't understand what is going on.

12 correct requests for this week, one too early, one at the wrong place, one double (shifted to next time)  whatever another batch of 43re-ups (13.5gig)

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 February  09th... N'Joy

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4x Sundaze Back in Flac (Steve Roach n Robert Rich - Strata, Steve Roach - Forgotten Gods, Steve Roach n Robert Rich - Soma, Steve Roach - World's Edge )

4x Grooves  Back in Flac (Solomon Burke - Don't Give Up On Me, Solomon Burke - Make Do With What You Got, Solomon Burke - Nothing's Impossible, Solomon Burke & De Dijk - Hold On Tight)

3x Sundaze Back in Flac ( The Edge & Michael Brook - OST Captive , Michael Brook & Pieter Nooten - Sleeps With The Fishes, Bill Laswell & Terre Thaemlitz - WEB)

3x Aetix Back In Flac (The Go-Betweens - Send Me a Lullaby, The Go-Betweens - Before Hollywood, The Go-Betweens - Tallulah)

3x Aetix Back in Flac ( Buggles - The Age Of Plastic, T. Dolby - The Golden Age Of Wireless, The Passions - Michael & Miranda )

4xSundaze  Back In Flac (VA - Space Night Vol. 05 alpha,  VA - Space Night Vol. 05 beta, VA - Space Night Vol. 06 alpha, VA - Space Night Vol. 06 beta)

1x Around Back in Flac ( Rhythm 'n Sound feat Tikiman - Showcase)

5x Sundaze Back in Flac ( Michael Rother- Flammende Herzen,  Phantom Band - I,  Phantom Band - Freedom Of Speech, Czukay, Wobble, Liebezeit - Full Circle, Jah Wobble's Solaris - Live In Concert)

4x Aetix Back in Flac (  Throbbing Gristle ‎– Kreeme Horn, Throbbing Gristle - 2nd Annual Report , Throbbing Gristle - 20 Jazz Funk Greats, Throbbing Gristle - 3rd Annual Report )

3x Sundaze Back in Flac (  VA - Dub Backups One, VA - Dub Backups Two-1, VA - Dub Backups Two-2)

3x Sundaze Back in Flac  (FSOL - From The Archives Vol. 2, FSOL - From The Archives Vol. 3, Yage (FSOL) - The Woodlands Of Old )

1x Aetix NOW in Flac (  Bauhaus - Burning From The Inside )

A New adennum,

please return if you have it

Danielle Dax - The BBC Sessions

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Feb 9, 2020

Sundaze 2006

Hello, there's a huge storm brewing that will unleash everything that isn't stuck, come monday morning the world will look different outside all over north western Europe, an odd thing however the storm is called Ciara, but Sabine in Germany. Not that it matters much it will flatten forests anyway and cause black outs, floods and all kind of mayhem. The emergency services will have one heck of a day in front of them great men and women will risk their lives to save the day. Great respect is due.

Today's artist is an English guitarist and singer-songwriter, originally from Bristol, England and now based in France, who plays dark folk music. He also produced and recorded electronic music under the name The Third Eye Foundation.. .......N-Joy

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Guitarist, vocalist, and electronic musician Matt Elliott has been making dark, haunting, and sometimes apocalyptic music since the mid-'90s. He began playing with several space rock bands from his native Bristol, England, including Flying Saucer Attack, AMP, and Movietone. In 1996, he began releasing a torrent of albums and EPs under his groundbreaking Third Eye Foundation project. The Foundation blended claustrophobic jungle and hip-hop breakbeats with noisy collages of guitars and found samples, resulting in some of the most jarring, unsettling electronic music of its time. 3EF and V/Vm shared the first installment of FatCat's lauded Split Series in 1997. The project released four well-regarded albums on Domino (in the U.K.) and Merge (in the United States), which also issued the 2001 collection I Poo Poo on Your Juju, compiling remixes for Blonde Redhead, Tarwater, Yann Tiersen, and others.

 Matt Elliott's work as the Third Eye Foundation melds layers of droning noise with clattering drums and harrowing samples, resulting in disturbing yet captivating reflections of a life plagued by fear and hopelessness. Elliott originated from Bristol, England, and his work has combined influences from the city's space rock, drum'n'bass, and trip-hop scenes. He'll often combine supremely fast, chopped-to-smithereens breaks with other drums or samples that are heavily slowed down or stretched out, producing an extremely disorienting effect. Following a burst of activity resulting in several acclaimed albums, singles, and remixes from 1996 to the beginning of the 21st century, Elliott put the Foundation on hold and focused on writing downcast, experimental folk-influenced songs under his own name, but he's revived the project on occasion.

During the early '90s, Elliott played in a group called the Secret Garden along with Richard Walker, who left in 1992 and founded the experimental group Amp. Elliott contributed to early releases by Amp and Flying Saucer Attack, two groups from Bristol that blended harsh noise with ethereal elements, and were often referred to as space rock. Semtex, the Third Eye Foundation's debut full-length, appeared on Linda's Strange Vacation in 1996, and pushed these elements further, with vocals and guitars by Debbie Parsons (aka Foehn) trapped under a maelstrom of relentless distorted drums. Three other singles appeared during the same year, including an unrelated EP on Domino that also bore the title Semtex, and featured overdriven breakbeats similar to the work Alec Empire was producing at the time. Another release, In Version, featured remixes of tracks by Amp, Flying Saucer Attack, and Crescent.

In 1997, 3EF shared a split 12" with V/Vm, kicking off FatCat Records' split series. The Foundation remained with Domino in the U.K., while signing to Merge in the United States for second full-length Ghost, which appeared in 1997, as did the Sound of Violence EP. Pan Odyssey, a collaborative EP with Bump & Grind, was released by Sub Rosa in 1998. Shortly following the Fear of a Wack Planet single, the full-length You Guys Kill Me appeared by the end of the year. Little Lost Soul, a slightly more restrained full-length, was released in 2000, and 3EF's remixes for artists including Yann Tiersen, Tarwater, and Blonde Redhead were rounded up on 2001's I Poo Poo on Your Juju.

In 2003, Elliott began releasing music under his own name, drifting away from electronic music and closer to dark, dreamlike experimental indie folk. He also moved to France and began recording for the Ici d'Ailleurs label. A 2004 mix CD, OuMuPo 1, was credited to the Third Eye Foundation, but the project was put on ice until the politically motivated full-length The Dark was released in 2010. Following three more albums credited to Matt Elliott, the Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

The Mess We Made
The Mess We Made, Elliott's debut solo album under his own name, was released in 2003. The name change also marked the shift in his work from electronic music to dark, dreamlike experimental folk. Following the album, he moved to France and signed with French label Ici D'Ailleurs. His subsequent albums were far more influenced by chansons and Eastern European music, but they continued the dark themes of his previous work, as evidenced by titles such as Drinking Songs and Failing Songs. In 2009, Elliott participated in This Immortal Coil, a tribute to Coil's Jhonn Balance that also included contributions from Tiersen, DAAU, and Bonnie "Prince" Billy. The project's full-length The Dark Age of Love was issued by Ici D'Ailleurs. Elliott also toured with Tiersen that year, opening for the composer as well as playing in his band. In 2010, Elliott made a surprising return to the Third Eye Foundation moniker for the release of the politically motivated The Dark. He returned to his given name in 2012 for The Broken Man. Only Myocardial Infarction Can Break Your Heart followed in 2013, and The Calm Before arrived three years later.

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This would be Matt Elliott's lone outing that really bears that much resemblance to his former bands. The feedback drenched guitar assault of Flying Saucer Attack is the main form of sound here, however, Mr Elliott decided to add vaguely electronic beats to the proceedings and tone down the noise to just above "hypnoticly ambient" (they have settings like that on amps now, you should really check it out.). So the result is something intriguing if not frequently enjoyable. See, while the main pattern of each song is interesting and even in some cases catchy, thats really all each song amounts to. Thus we are left with a repeating motif of feedback, percussion and occasional intruders in the mix. This leads to something that would work insanely well as background music yet the minute you tune in for a more involved listen you wind up bored shitless. Right? Well actually, it's not as boring as you'd imagine. Heck I'd go as far as to say that it deserves a deeper listen, that way the seeming endless repetition reveals itself to be more evocative than it has any right to be. At least on the first side. Side 2 is nowhere near as effective, terrible and beautiful at the same time.

The Third Eye Foundation - Semtex (flac 311mb)

01 Sleep 7:03
02 Still-Life 11:24
03 Dreams on His Fingers 5:45
04 Next of Kin 6:06
05 Once When I Was an Indian 12:29
06 Rain 5:23

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Excellent moody, ethereal yet monolithic experimental electronic music from the mind of Matt Elliot. Brilliant tunes that shift from ethereal (What To Do But Cry), to atmospheric (Corpses As Bedmates, Ghosts...) to dark monolithic textures (The Star's Gone Out) to sorrowful (Donald Crowhurst).
Lush, morbid, expansive, dark electronica instrumentals that sound like nothing else in music. It's a shame this style didn't catch on, too, because despite having a penchant for sampling Metal Machine Music, the sounds here are both addictive and repulsive, having the strange effect of making you come back to listen to it again and again whether you want to or not. It's almost like decayed music: you can hear the rust, the creaks and screeches that make you cringe, but there's a beauty in it, as well. Really one of the best records in it's genre.

The Third Eye Foundation - Ghost   (flac 271mb)

01 What to Do but Cry? 6:59
02 Corpses as Bedmates 8:52
03 The Star's Gone Out 6:05
04 The Out Sound From Way In 5:57
05 I've Seen the Light and It's Dark 8:01
06 Ghosts... 7:21
07 Donald Crowhurst 4:18

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If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions' "Bridge Is Over," along with various effects including howling dogs, dark crackly strings and metallic), but the slice-and-dice production, along with creative processing, transforms them into revelatory darkside symphonies. Elliott sounds as though he's Ed Rush's indie-rockin' sibling, fooling around with big brother's equipment and crafting a very twisted version of post-rock tech-step reminiscent of Amon Tobin as well as Rome. Strangely, it works.

The Third Eye Foundation - You Guys Kill Me   ( flac   260mb)

01Galaxy of Scars 6:56
02 For All the Brothers and Sisters 4:14
03 There's a Fight at the End of the Tunnel 4:40
04 An Even Harder Shade of Dark 8:35
05 Lions Writing the Bible 1:59
06 No Dove No Covenant 4:55
07 I'm Sick and Tired of Being Sick and Tired 4:40
08 That Would Be Exhibiting the Same Weak Traits 6:07
09 In Bristol With a Pistol 3:03

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Little Lost Soul is the Third Eye Foundation's first album of the 21st century and the most consistent to date. TEF uses the drum'n'bass elements of u-ziq and Squarepusher but leaves the trip-over-yourself aspects behind. Combined with swelling synths and angelic vocals, this album is a ride through the dark side of a genre appropriately labeled "drill'n'bass." The percussion is meticulously constructed; each beat is placed for a purpose and new rhythms are exposed upon repeated listens. Vague tinges of jazz are also present, mostly in the tappy snare drum and fretless upright bass sounds. All parts combine and build chaotically, most notably halfway through the album on "Half a Tiger." Little Lost Soul does have its calmer moments, too, where strings and slower trip-hoppish beats gel into a truly melodic package, as in "Lost." A clever use of dynamics and note placement, along with a knowledge of when not to play, prove Matt Elliot's progress as a modern electronic composer. In the end, Little Lost Soul is what many electronic albums aren't. It is tasteful.

The Third Eye Foundation - Little Lost Soul (flac   257mb)

01 I've Lost That Loving Feline 4:31
02 What Is It With You 4:22
03 Stone Cold Said So 6:07
04 Half a Tiger 7:10
05 Lost 10:55
06 Are You Still a Cliché? 1:57
07 Goddamit You've Got to Be Kind 8:40  

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I Poo Poo on Your Juju -- surely a more meaningful or attractive title could have been generated? -- assembled hard-to-find Third Eye Foundation remixes, along with one new track. To its credit, it doesn't sound like an odds-and-ends collection of reworkings, but strong enough to hold up on its own merits. The Third Eye Foundation, the project of Matt Elliott, has sometimes been portrayed as a drum'n'bass act. But actually this would be more aptly characterized as intelligent and eclectic electronica, only sometimes using drum'n'bass elements. It's a diverse grouping, including a treatment of a work by French composer Yann Tiersen and a remix of a cover of Jonathan Richman's "When I Dance." It's best when it crafts hauntingly attractive yet somewhat disquieting moods with its blend of misty and wobbly textures, as on the Tiersen piece. The ones employing more common electronic percussive elements are less distinctive, and the range is wide enough that it may be hard to find many listeners who like everything here. Throughout, Elliott is adept at painting upon or adding a wealth of sounds -- jungle noises, electronic tones, classical piano, spooky special effects, a female voice, wavering bell rings -- into his craft. Dark, elemental and startlingly beautiful, these eight tracks, stark, Nyman-ish piano, hum and static, swelling string, syncopated, distressed beats, otherworldly voices and myriad alien noises are merged in a contrastingly sheer/muted world, which owes much to the depth and space of good dub.

The Third Eye Foundation - I Poo Poo On Your Juju (flac 283mb)

01 Yann Tiersen - La Dispute (3rd Eye Foundation Remix) 6:30
02 Tarwater - To Describe You (3rd Eye Foundation Remix) 4:46
03 Urchin - Snuffed Candles (3rd Eye Foundation Remix) 7:57
04 The Remote Viewer - All Of The WCKW Want To Be Abstract (3ef Version) 5:43
05 Matt Elliott Vs. Chris Morris - Push Off My Wire 5:42
06 Blonde Redhead - Four Damaged Lemons 5:08
07 Faultline - Mute (3rd Eye Foundation Remix) 6:25
08 Glänta Vs. Third Eye Foundation - When I Dance 7:55

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Feb 7, 2020

RhoDeo 2005 Grooves

Hello,  it's all about shambles these days, in China the party proved once again that keeping the truth can be haunting as the truth turned out to be a lie just to save face, the corona virus had triggered the alarm weeks before it was made public and acted upon. The doctor that issued a warning got told to shut up, and today died of the corona virus after he contracted it looking after patients. This is very worriesome a 34 old healthy male, likely overworked/stressed, but expected to survive the virus, but he didn't. This doesn't bode well for the many healthcare workers currently trying to help their landsmen. It's beginning to look like a slowmotion car crash, talking of slow motion what about that democratic causus in Iowa, it still hasn't been fully counted, last results are awaited in the post. So what happened, an untested app made by Shadow.inc (couple of ex Clinton guys) didn't work, the telephone infrastructure collapsed, when 2000 destricts tried to phone in the results. Yes Iowa is a backwater and yes the Democratic party is still fearful of Sanders who clearly won the popular vote, but then this guy has unamerican ideas like sharing, affordable healthcare and education for all, unacceptable to the elite and the socalled real Americans. The US calls itself a Christian country but its lost the track of Jesus a long time ago, and instead follows the track of the devil. Just look at how they treated Donald T., his accusers were denied to speak by the jury, who subsequently concluded that are was no case against Donald T. and aquitted him, that's justice in a fascist state.

Few artists have had the cultural impact that today's artist has, her visionary presence as both a producer and an artist reshaping the entirety of rap and R&B that followed her. From worldwide breakthrough-producing hits for artists like Aaliyah and Tweet to Grammy Award-winning solo albums, Elliott put her stamp on the music industry at large throughout the late '90s and 2000s. Even when slowing down on her solo output in the 2010s, She continued working as a producer, and her watershed albums like 1997's Supa Dupa Fly and 2002's Under Construction changed the course of commercial rap and R&B for years to come.  . ....... N Joy

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Melissa Arnette Elliott was born on July 1, 1971, at Portsmouth Naval Hospital in Portsmouth, Virginia. She is the only child of mother Patricia Elliott, a power-company dispatcher, and father Ronnie, a U.S. Marine no longer on active duty, working as a shipyard welder. Elliott grew up in an active church choir family, and singing was a normal part of her youth. At the age of four, she wanted to be a performer, and, as biographer Veronica A. Davis writes, she "would sing and perform for her family". In later years, she feared no one would take her seriously, because she was always the class clown. While her father was an active Marine, the family lived in Jacksonville, North Carolina, in a manufactured home community. Elliott blossomed during this part of her life. She enjoyed school for the friendships that she formed even though she had little interest in schoolwork. She would later get well above average marks on intelligence tests, and she was advanced two years ahead of her former class. Her move in grades caused isolation, and she purposely failed, eventually returning to her previous class. When her father returned from the Marines, they moved back to Virginia, where they lived in extreme poverty.

Life in Virginia saw many hardships. Elliott talks about domestic abuse by her father. She refused to stay over at friends homes out of fear that on her return home she would find her mother dead. When Elliott was eight, she was molested by a cousin. In one violent incident, Ronnie Elliott dislocated his wife's shoulders and during another, Elliott herself was threatened with a gun. At the age of fourteen, Elliott's mother decided to end the situation and fled with her daughter on the pretext of taking a joyride on a local bus. In reality, the pair had found refuge at a family member's home where their possessions were stored in a loaded U-Haul truck. Elliott tells her that she feared her father would kill them both for leaving. In 1991, Elliott formed an all female R&B group, called Fayze (later renamed Sista), with friends La'Shawn Shellman, Chonita Coleman, and Radiah Scott. She recruited her neighborhood friend Timothy Mosley (Timbaland) as the group's producer and began making demo tracks, among them included the 1991 promo "First Move". Later in 1991, Fayze caught the attention of Jodeci member and producer DeVante Swing by performing Jodeci songs a cappella for him backstage after one of his group's concerts. In short order, Fayze moved to New York City and signed to Elektra Records through DeVante's Swing Mob imprint and also renaming the group Sista. Sista's debut song was titled "Brand New", which was released in 1993 Elliott took Mosley—whom DeVante re-christened Timbaland—and their friend Melvin "Magoo" Barcliff along with her.

All 20-plus members of the Swing Mob—among them future stars such as Ginuwine, Playa, and Tweet—lived in a single two-story house in New York and were often at work on material both for Jodeci and their own projects. While Elliott wrote and rapped on Raven-Symoné's 1993 debut single, "That's What Little Girls Are Made Of", she also contributed, credited and uncredited, to the Jodeci albums Diary of a Mad Band (1993) and The Show, the After Party, the Hotel (1995). Timbaland and DeVante jointly produced a Sista album, entitled 4 All the Sistas Around da World (1994). Elliott met R&B artist Mary J. Blige while Blige was in sessions for her second album My Life. Though videos were released for the original and remix versions of the single "Brand New", the album was shelved and never released. One of the group's tracks, "It's Alright" featuring Craig Mack did however make the cut on the soundtrack of the 1995 motion picture Dangerous Minds but by the end of 1995, Swing Mob had folded and many of its members dispersed. Elliott, Timbaland, Magoo, Ginuwine, and Playa remained together and collaborated on each other's records for the rest of the decade as the musical collective The Superfriends.

After leaving Swing Mob, Elliott and Timbaland worked together as a songwriting/production team, crafting tracks for acts including SWV, 702, and most notable Aaliyah. The pair wrote and produced nine tracks for Aaliyah's second album, One in a Million (1996), among them the hit singles "If Your Girl Only Knew", "One in a Million", "Hot Like Fire", and "4 Page Letter". Elliott contributed background vocals and/or guest raps to nearly all of the tracks on which she and Timbaland worked. One in a Million went double platinum and made stars out of the production duo. Elliott and Timbaland continued to work together for other artists, later creating hits for artists such as Total; "What About Us?" (1997), Nicole Wray; "Make It Hot" (1998), and Destiny's Child; "Get on the Bus" (1998), as well as one final hit for Aaliyah, "I Care 4 U", before her death in 2001. Elliott also wrote the bulk of Total's second and final album Kima, Keisha, and Pam and Nicole Wray's debut Make It Hot (both released in 1998). Elliott began her career as a featured vocalist rapping on Sean "Puffy" Combs's Bad Boy remixes to Gina Thompson's "The Things That You Do", (which had a video featuring cameo appearances by Notorious B.I.G and Puff Daddy), MC Lyte's 1996 hit single "Cold Rock a Party" (backup vocals by Gina Thompson), and New Edition's 1996 single "You Don't Have to Worry". In 1996, Elliott also appeared on the Men of Vizion's remix of "Do Thangz" which was produced by Rodney Jerkins (coincidentally the producer of the original version of "The Things That You Do").

Combs had hoped to sign Elliott to his Bad Boy record label. Instead, she signed a deal in 1996 to create her own imprint, The Goldmind Inc., with East West Records, which at that time was a division of Elektra Entertainment Group, for which she would record as a solo artist. Timbaland was again recruited as her production partner, a role he would hold on most of Elliott's solo releases. Missy continued to work with other artists and appeared on LSG's song "All the Time" with Gerald Levert, Keith Sweat, Johnny Gill, Faith Evans, and Coko in 1997 on Levert Sweat Gill classic album. The same year, she rapped in "Keys To My House" with old friends group LeVert. In the center of a busy period of making guest appearances and writing for other artists, Elliott's debut album, Supa Dupa Fly, was released in mid-1997; the success of its lead single "The Rain" led the album to be certified platinum. The success was also a result of the music videos of her single releases, which were directed by Harold "Hype" Williams, who created many groundbreaking hip hop, Afro-futuristic videos at the time. The album was nominated for Best Rap Album at the 1998 Grammy Awards, but lost to Puff Daddy's No Way Out. The year also saw Elliott perform live at the MTV Video Music Awards show on a remix to Lil' Kim's "Ladies Night" with fellow rappers Da Brat, Angie Martinez and TLC-rapper Left Eye. Elliott continued her successful career in the background as a producer and writer on Total's single "Trippin'", as well as working with several others in the hip-hop and R&B communities. Elliott co-wrote and co-produced two tracks on Whitney Houston's 1998 album My Love Is Your Love, providing vocal cameos for "In My Business" and "Oh Yes". Elliott also produced and made a guest appearance on Spice Girl Melanie Brown's debut solo single, "I Want You Back", which topped the UK Singles Chart.
1999–2001: Da Real World and Miss E… So Addictive. Although a much darker album than her debut, Elliott's second album was just as successful as the first, selling 1.5 million copies and 3 million copies worldwide. She remarked, "I can't even explain the pressure. The last album took me a week to record. This one took almost two months…I couldn't rush it the second time because people expect more." Da Real World (1999) included the singles "All n My Grill", a collaboration with Nicole Wray and Big Boi (from OutKast), a remix to "Hot Boyz" and "She's a Bitch". Also in 1999, Elliott was featured, alongside Da Brat, on the official remix to a Mariah Carey single "Heartbreaker".

Missy Elliott next released Miss E... So Addictive on May 15, 2001. The album spawned the massive pop and urban hits "One Minute Man", featuring Ludacris and Trina, and "Get Ur Freak On", as well as the international club hit "4 My People" and the less commercially successful single "Take Away". The double music video for "Take Away/4 My People" was released in the fall of 2001, shortly after the 9/11 terrorist attacks and the death of Elliott's friend Aaliyah in August. The "Take Away" video contained images of and words about Aaliyah, and the slow ballad acted as a tribute to her memory. The remainder of the video was the more upbeat "4 My People", contained scenes of people dancing happily in front of American flags and Elliott dressed in red, white and blue. Though "Take Away" was not a success on radio, "4 My People" went on to become an American and European club hit due to a popular remix by house music duo Basement Jaxx in 2002. Tweet's appearance on Elliott's "Take Away" as well as her cameo at Elliott's house on MTV Cribs helped to create a buzz about the new R&B singer. Tweet's own debut single, "Oops (Oh My)", was co-written by Elliott and released through Goldmind in February 2002. The single was a top ten hit, thanks partially to Elliott's songwriting and guest rap, and to Timbaland's unusual production on the track. Elliott co-produced the Christina Aguilera, Lil' Kim, Mýa and Pink cover of "Lady Marmalade" for the album Moulin Rouge! Music from Baz Luhrmann's Film,[27] which went to number one on the Billboard Hot 100 in 2001.
2002–2004: Under Construction and This Is Not a Test!

For her next outing, Elliott and Timbaland focused on an old school sound, utilizing many old school rap and funk samples, such as Run–D.M.C.'s "Peter Piper" and Frankie Smith's "Double Dutch Bus." Elliott's fourth album, 2002's Under Construction (see 2002 in music) is known as the best selling female rap album with 2.1 million copies sold in the United States. In 2002, Elliott won a Grammy Award for Best Rap Solo Performance for "Get Ur Freak On". In 2003, Under Construction received Grammy nominations for Best Rap Album and Album of the Year. The New York Times designated Under Construction "this year's best hip-hop album." Elliott released two singles off of Under Construction. The lead single, "Work It" reached #2 on Billboard's Hot 100 chart and won the "Video of the Year" award at MTV's Video Music Awards. The second single, "Gossip Folks" featuring Ludacris, became a Top 10 hit on Billboard's Hot 100 chart, was one of the most-played music videos on MTV, MTV2, MTV Jams, and BET in 2003 and was embraced by the dance community, as well as the mainstream, due to a Fatboy Slim remix. A third single was never released, though a video was shot for "Back In The Day" featuring Jay-Z and Elliott was.

In between albums, Elliott produced the "American Dream Remix" (featuring Tweet's additional vocals) of
Madonna's single "American Life," was featured rapper on Timbaland & Magoo's return single, "Cop That Shit", and produced "Fighting Temptation" (featuring herself, Beyoncé, Free and MC Lyte) for the soundtrack to the Cuba Gooding Jr. and Beyoncé Knowles movie of the same name. The track reached #1 in Japan but failed to chart in the U.S. Hot 100. Elliott was also featured on Wyclef Jean's "Party to Damascus" and Ghostface Killah's "Tush" singles, the latter of which became a minor 2004 dance hit, and had a pivotal role in the film Honey. Gap approached Elliott later in the year to co-star in a commercial with Madonna, which received much media attention. Elliott furthered her relationship with Madonna by performing the controversial 2003 MTV Video Music Awards show opening alongside Madonna, Britney Spears and Christina Aguilera. A year after Elliott's most successful album to date was released, Elliott felt pressured by her label to release another album hoping to capitalize on her recent success. Elliott's singles, "Pass That Dutch" and "I'm Really Hot", from her fifth album, This Is Not a Test! (released November 2003), both rose the urban charts. However, both were not as successful at pop radio in comparison to many of her previous efforts. This Is Not A Test sold 690,000 copies in the United States and has been certified Platinum by the Recording Industry Association of America (RIAA). Elliott has since stated that "the album This Is Not A Test came out extremely too quickly for me. I didn't want it to come out when it did." In 2004, Elliott was featured on Ciara's hit single "1, 2 Step", with her verse interpolating Teena Marie's single, "Square Biz". Elliott premiered her own reality show on the UPN Network, The Road to Stardom with Missy Elliott in 2005 even though it was not renewed for a second season.

Elliott wanted to "give people the unexpected" by utilizing producers other than Timbaland and a "more to the
center" sound not as far left as her other music. Her sixth solo album, The Cookbook was released on July 4, 2005, debuted at number two on the U.S. charts and was certified gold by the Recording Industry Association of America (RIAA), selling 645,000 copies in the United States. Elliott's work during The Cookbook era was heavily recognized. Elliott received 5 Grammy nominations in 2005, including one for Best Rap Album for The Cookbook. The album's first single, "Lose Control," won a Grammy for Best Short Form Video and was nominated for Best Rap Song. "Lose Control" also garnered Elliott six 2005 MTV VMA award nominations (winning Best Dance Video and Best Hip-Hop Video). Elliott won Best Female Hip Hop Artist at the 2005 American Music Awards, and was nominated for Best International Female Artist at the 2006 BRIT Awards. "Lose Control" featuring Ciara and Fatman Scoop, became a Top 5 hit in the midyear (peaking at number three on the Billboard Hot 100). The second single, Teary Eyed, did not chart, although the video charted on MTV's TRL for a few weeks, and BET's 106 & Park for a few days. The third single, "We Run This", was released with heavy airplay on VH1, MTV, and BET. It served as the lead single for the soundtrack to the gymnastics-themed film Stick It. The song was also nominated for a Grammy Award in the Best Rap Solo Performance category in 2006. Respect M.E., Elliott's first greatest hits album, was released outside the United States and Canada on September 4, 2006, only in South Africa, Australia, Europe, Japan, and Brazil. The collection became her second top ten album in the UK and her highest charting album to date, peaking at number seven there.

Elliott was an honoree of the 2007 VH1 Hip Hop Honors. In honor of her career, many artists performed some of her biggest hits. Timbaland and Tweet performed "The Rain (Supa Dupa Fly)", Eve and Keyshia Cole performed "Hot Boyz" and "Work It", Fatman Scoop and Ciara performed "Lose Control", and Nelly Furtado performed "Get Ur Freak On (The Remix)." Since 2007, Elliott's seventh studio album has had several different forms with extensive delays. In 2007, she worked with Timbaland, Swizz Beatz, Danja, T-Pain and DJ Toomp and planned to release an album at the beginning of 2008. In January 2008, "Ching-a-Ling" was released as the lead single for the Step Up 2: The Streets soundtrack, which also featured "Shake Your Pom Pom" produced by Timbaland. Elliott released the song "Best, Best" in the same year and renamed the albums previous title FANomenal to its current tentative title Block Party. She later decided against Block Party and four years later, in 2012, Elliott released two Timbaland-produced singles ("9th Inning" and "Triple Threat") exclusively to iTunes. Though the songs managed to chart on Billboard Hot Digital Songs, in an interview with Yahoo's The Yo Show, Missy talked about her hiatus from making records: "Your brain needs time to refresh! Things happen in your life where you can then write something else instead of the same three topics. Like, how many times we gonna talk about the club? I gotta feel like what I'm giving the fans is 100 percent and that it's game-changing. I don't just throw out microwave records."

In between the recording of her seventh album, Missy Elliott found success behind the scenes. Elliott's writing and production helped her reach #1 on Billboard's Hot R&B/Hip-Hop Songs with Keyshia Cole's "Let It Go" (2007), Jazmine Sullivan's "Need U Bad" (2008), and Monica's "Everything to Me" (2010). Since 2008, songs written and/or produced by Elliott for Fantasia ("Free Yourself"), Jennifer Hudson ("I'm His Only Woman"), Monica ("Everything to Me"), Keyshia Cole ("Let It Go"), and Jazmine Sullivan ("Need U Bad" and "Holding You Down (Goin' in Circles)") have all received Grammy nominations. Both Fantasia's "Free Yourself" (2005) and Sullivan's "Holding You Down (Goin' In Circles)" reached #3 on Billboard's Hot R&B/Hip-Hop Songs. In mid-2010, Elliott embarked on a two-part tour with stops in Europe, Asia, Africa and Australia,[44] while she also performed at VH1's "Hip Hop Honors: The Dirty South" in a tribute to Timbaland, performing "Get Ur Freak On" and "Work It". In 2008 she made an appearance in "Whatcha Think About That" by The Pussycat Dolls, and performed live in different places with them. In 2011 and 2012, Elliott made guest appearances on "All Night Long" by Demi Lovato, "Nobody's Perfect" by J. Cole, the remix of "Why Stop Now" by Busta Rhymes with Chris Brown and Lil Wayne, and a remix of Katy Perry's "Last Friday Night (T.G.I.F.)" that helped catapult "T.G.I.F." to #1 on the Billboard Hot 100. She also produced Monica's singles "Anything (To Find You)" and "Until It's Gone".

Throughout 2013, Missy Elliott was featured on Eve's album cut "Wanna Be," as well as international artists singles, Little Mix's "How Ya Doin'?" and "NiLiria" with K-pop musician G-Dragon, which was named by Complex magazine as one of the "50 Best Songs of 2013". Elliott also contributed to her protégée Sharaya J's two releases, "Banji" and "Smash Up The Place/Snatch Yo Wigs". In December 2013, Elliott received a Grammy nomination with Fantasia and Kelly Rowland for their song "Without Me". As early as July 2013, Missy Elliott and Timbaland held recording sessions for Kat Dahlia's debut, My Garden (2015). In August 2013, R&B singer Faith Evans revealed that Missy Elliott would be featured on her sixth studio album, tentatively titled Incomparable. In March 2014, Evans revealed one of the tracks was named "I Deserve It", featuring Missy and her protégée Sharaya J, in which Evans cited it as a "banger" and "feel good" record. Evans also revealed that in total Elliott contributed three tracks to her album. On July 7, 2014, fellow R&B singer Monica confirmed that Elliott would be a feature on her upcoming eighth studio album. On July 29, 2014, a snippet of a Missy Elliott–produced song, nickname "I Love Him", premiered on Monica's official Instagram account.

In 2015, Missy Elliott performed at the Super Bowl XLIX halftime show with Katy Perry. Elliott performed a medley of "Get Ur Freak On", "Work It", and "Lose Control". The performance was well-received, and boosted digital sales of Elliott's work that week, with a twenty-five-fold increase in album sales (to 2,000 units) and a ten-fold increase in sales of the three songs she performed (to 71,000 units) compared to the week before. It also became the most watched Super Bowl halftime show in NFL history, receiving 118.5 million viewers in the United States. On February 3, 2015, it was confirmed that Elliott would be a feature on the upcoming remix to Diplo and Skrillex's "Take Ü There". On February 11, Elliott stated that she was still in the process of recording her seventh studio album, Block Party, with Timbaland. On April 2, 2015, Pharrell Williams confirmed that he was working on Elliott's album during an episode of The Tonight Show with Jimmy Fallon. On November 12, 2015, "WTF (Where They From)" and its music video were simultaneously released to digital outlets. By November 19, the song and its video had been streamed 6.1 million times in the US alone, with an additional count of 16 million views per YouTube viewing. On February 7, 2016, the day of the fiftieth Super Bowl, Missy Elliott released a promotional single, "Pep Rally". Later that month, Elliott reunited with former protégée Tweet and frequent collaborator Timbaland on the cut "Somebody Else Will" taken from the former's third studio album, Charlene. By March 15, 2016, First Lady Michelle Obama proclaimed that she had assembled a collaborative track featuring vocals from Missy Elliott, Kelly Clarkson, Janelle Monáe and Zendaya alongside production credit from pop songwriter Diane Warren and Elliott titled "This Is for My Girls". The iTunes-exclusive record will be used to both coincide with Ms. Obama's SXSW speech and to promote her third-world educational initiative Let Girls Learn. Following a surprise appearance with TLC on the 2016 televised special Taraji's White Hot Holidays, Elliott announced plans to release a documentary chronicling her impact on the production scene in both audio and video. The midnight of January 27, 2017, saw the full-length release to a new Elliott single titled "I'm Better", featuring production and vocal assistance from recurring sideman Lamb and shared directing credit by Elliott and longtime colleague Dave Meyers.

In July 2018, Missy Elliott teased fans by appearing on a snippet nicknamed "ID" by Skrillex, a release date for the single has yet to be announced. One month later, Elliott appeared on the Ariana Grande number "Borderline", taken from the singer's fourth studio album Sweetener (2018). In October 2018, Elliott announced that she is working on her new album, which would be released in 2019. On March 20, 2019, Lizzo released a collaboration with Elliott titled "Tempo". In April 2019 Elliott took to Instagram stating "I just finished a long project I been working on since last year & this my mood 'Keep On Moving' I'm about to show y'all I'm on some next ish."  She announced Iconology on August 22, several hours before its release.

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For her 4th album Missy Elliott really got everything right and released the best album of her career. Of course this wouldn't have been possible without her partner in crime Timbaland, on which he also shines as one of the best moments of his career. Under Construction features some of her most famous singles, and is also a pretty fresh hip hop album that doesn't sound like nothing else.

The fact that Missy Elliott still considers her work to be "under construction" should, justifiably, send everyone else in the rap world scurrying back to the drawing board. No other commercial rapper sounded more in command of her production and flow than Elliott during 2002, and it's no surprise that Under Construction ranks as one of the best rap LPs of the year (granted, it came against relatively weak competition). While Timbaland's stark digital soul girds these tracks, Missy herself continues her artistic progression, trying to push hip-hop forward with an almost pleading intro and neatly emphasizing her differences from other rappers by writing tracks for nearly every facet of the female side of relationships. The hit single "Work It" turns the tables on male rappers, taking charge of the sex game, matching their lewdest, rudest rhymes, and also featuring the most notorious backmasked vocal of the year. Elliott more than keeps up with a dirty-minded Method Man as well on "Bring the Pain," strikes back at haters on the self-explanatory "Gossip Folks," and produced her own duet with Beyoncé Knowles, "Nothing Out There for Me," a track that finds her trying to lure Knowles out to a party (using her best Timbaland impression) over the wishes of the diva's home-bound man. She also recognizes the constantly changing aspects of sexuality, admitting how dependent she is on a man during "Play That Beat" but ruminating on the curious power of the female persuasion on "P***ycat." Elliott goes on a refreshing old-school tear with "Back in the Day," featuring Jay-Z having more fun than he's had in a while and Missy crooning, "What happened to those good old days, when hip-hop was so much fun/those parties in the summer y'all, and no one came through with a gun." The album closes with the TLC duet "Can You Hear Me," a tribute to Aaliyah and Lisa "Left Eye" Lopes. Missy Elliott obviously understands how important hip-hop can be when rappers concentrate on the music instead of the violent lifestyle; fortunately, her talents are just as strong as her vision.

 Missy Elliott - Under Construction  (flac   437mb)

01 Go to the Floor 5:23
02 Bring the Pain 2:59
03 Gossip Folks 3:54
04 Work It 4:52
05 Back in the Day 4:56
06 Funky Fresh Dressed 3:56
07 Pussycat 4:38
08 Nothing Out There for Me 3:05
09 Slide 3:43
10 Play That Beat 3:02
11 Ain't That Funny 2:48
12 Hot 4:08
13 Can You Hear Me 4:26
14 Work It (Remix) 5:06

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Listeners shouldn't blame Missy Elliott for slipping into a holding pattern for her fifth album, This Is Not a Test! Early on she arrived at a distinctive sound -- the confident, clubbed-up jam with little melodic power but endless reserves of kinetic energy, courtesy of Timbaland's rubbery productions -- and she refined it well with hits like 2001's "Get Ur Freak On" and the following year's "Work It" and "Gossip Folks." Still, although she remains by far the most interesting figure in hip-hop, This Is Not a Test! has more filler than Elliott's allowed on a record since 1999's Da Real World. (Little surprise considering it appeared just over a year after 2002's Under Construction.) Granted, listeners and club fans looking for hit material will certainly find plenty on display. While the single "Pass That Dutch" is little more than a warmed-up "Work It" rewrite (albeit one studded with auditory change-ups from alarm clocks to car alarms to audience noise to the whinnying of a horse), she compensates nicely with the blazing electro shock of "I'm Really Hot" and the down-and-dirty moaning of her Nelly duet, "Pump It Up." And Timbaland's productions are still above and beyond any others on earth, with a dizzying roster of next-generation beats -- conceived in ring modulators, echo chambers, torpedo tubes, rusty pipes; anywhere except a standard drumkit -- matched to dark, technoid effects capable of raising the eyebrows of even the most experimental laptop programmers. However, most of the guest features fall flat: Fabolous wastes an excellent opportunity to match wits with Missy, giving her the shy-guy routine on "Is This Our Last Time," while Jay-Z is uninvolved on his feature, "Wake Up." Elephant Man's bounce track, "Keep It Movin," works well, but the R. Kelly duet, "Dats What I'm Talkin About," has Elliott playing -- perhaps too agreeably -- the inexperienced young girl to Kelly's mature lover. There's no need to blame Missy for not making a record that's tight all the way through, especially since few artists in the R&B world are held to such scrutiny. Still, an album like This Is Not a Test! is an effective argument for song-by-song downloads.

 Missy Elliott - This Is Not a Test!  (flac   351mb)

01 Baby Girl Interlude / Intro 2:13
02 Bomb Intro / Pass That Dutch 3:37
03 Wake Up 4:05
04 Keep It Movin 3:39
05 IIs This Is Our Last Time 5:26
06 Ragtime Interlude / I'm Really Hot 3:31
07 Dat's What I'm Talking About 4:49
08 Don't Be Cruel 4:33
09 Toyz Interlude / Toyz 2:52
10 Let It Bump 2:49
11 Pump It Up 3:06
12 It's Real 2:52
13 Let Me Fix My Weave 3:59
14 Spelling Bee Interlude / Spelling Bee 3:34
15 I'm Not Perfect 3:50
16 Outro 1:19

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Critics and fans were praising Missy Elliott and Timbaland so much during 2002-2003 that the hottest production combo in hip-hop may have started believing that a great production is synonomous with a great song. This Is Not a Test!, her first major mistake, featured cutting-edge tracks in abundance, but virtually nothing in the way of heavyweight material. Its follow-up, The Cookbook, brings the focus back to Missy the rapper and songwriter, wisely (in most cases) leaving the productions to a more varied cast than any of her previous records. Ironically though, Elliott herself produced the lead single, "Lose Control," giving it a tight electro feel (courtesy of some vintage '80s samples from Cybotron and Hot Streak). It's only the first nod to the type of old-school party jam that Elliott does better than ever here; "We Run This" resurrects the "Apache" break and a classic Sugarhill Gang track for one of the best club tunes of the year, Rich Harrison gives a bright, brassy production to another party song, "Can't Stop," and "Irresistible Delicious" featuring Slick Rick sounds at least 15 years removed from contemporary rap (yes, that's a good thing). In a few spots The Cookbook isn't too far removed from This Is Not a Test! -- Elliott forces a few rhymes, plays to type with her themes, and uses those outside producers to follow trends in hip-hop (she could have easily accompanied a 12-track record of her usual solid material with a watered-down "New Sounds in Hip-Hop & R&B EP" that would kick off with the syrupy Houston retread "Click Clack," the Neptunes' tired "On & On," and the bland pop-idol duet "My Man" featuring Fantasia). What's different here is how relaxed Elliott is, how willing she seems to simply go with what comes naturally and sounds best. "My Struggles" isn't the myopic confessional suggested by the title, but an East Coast all-stars jam that features one of her best raps ever and deftly switches in midstream to allow Mary J. Blige to reprise her "What's the 411?" classic (to say nothing of Grand Puba's verse). And the final track, "Bad Man," sees one of the most welcome collaborations seen in rap for some time, as Elliott joins dancehall heroes M.I.A. and Vybz Kartel (plus a drumline from Atlanta A&T).

Missy Elliott - The Cookbook (flac   392mb)

01 Joy 4:49
02 Partytime 3:04
03 Irresistible Delicious 4:15
04 Lose Control 3:47
05 My Struggles 2:52
06 Meltdown 4:16
07 On & On 4:45
08 We Run This 3:25
09 Remember When 4:18
10 4 My Man 5:10
11 Can't Stop 3:49
12 Teary Eyed 3:49
13 Mommy 2:58
14 Click Clack 2:54
15 Time and Time Again 3:49
16 Bad Man 5:14

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