May 10, 2021

RhoDeo 2119 Expanse 41



Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

xxxxx xxxxx xxxxx xxxxx xxxxx

Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.

    If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.

— Nikola Tesla


An X-ray image of Saturn and its rings.

Both Saturn’s body and its rings are so electrically active that they shine in X-ray light.

“Saturn is more like the Sun than the Earth.”
— Wal Thornhill

Almost everyone knows that one should not look directly into the flame of an arc welder, since the plasma at the tip is so hot that it emits extreme ultraviolet light, which can damage the retina. Whenever X-rays are used to look inside the body, sensitive areas are shielded because the wavelengths are so energetic that they can ionize soft tissues, possibly destroying them.

It seems that a visit to Saturn might require one to don not only a spacesuit, but one able to withstand fairly hard radiation.The plasmasphere of Saturn is an electrical environment, causing everything from dark-mode plasma discharges, to gigantic lighting bolts that flash across the ring plane. When the  Cassini-Huygens spacecraft got close enough to finally start observing Saturn, planetary scientists were shocked to discover lightning of immense power, up to a million times more powerful than anything on Earth.

However, the 90 megawatts of X-rays coming from the planet were not attributed to its electrical nature. Instead, Saturn’s atmosphere is said to reflect X-rays from the Sun, although the science team admitted when the discovery was made that the intensity of the “reflections” was “surprising.” The reason it was so surprising is that they ignored the fact that planets with magnetic fields can capture ionized particles to form a giant electrified magnetosphere. In the past, NASA scientists reported that Enceladus, a small moon that orbits within Saturn’s ring plane, causes Saturn’s magnetosphere to bend. According to the report, the effect is due to a flow of electric charge that occurs when particles from Enceladus interact with the magnetosphere of Saturn. A demonstrable electrical effect is occurring between Saturn and Enceladus.Once conventional science sees the question in electrical terms, the many puzzles with which they are confronted will become clear. The “electric Sun” is what drives the energetic phenomena on Saturn, as well as on its moon Enceladus and the other planets.

Saturn emits more energy than it receives: 2.3 times more, so it is being powered by another source. It is also probable that the interior of the planet has its own heat. There is good evidence that Saturn once existed as an independent body from the Sun. As such, it would have received more energy in the recent past, its power source having since been usurped by the Sun. Jupiter is similar to Saturn, discharging more energy than it receives from the Sun, although Saturn’s output is greater. One speculation is that super-cooled helium fell out of the atmosphere during Saturn’s formation. The resulting kinetic energy might have warmed up the core. However, the evidence suggests that Saturn was once of greater stature, but has subsequently been dethroned. According to ancient legends, Saturn occupied a position of prominence in the sky. It was not the tiny pinprick of light that can be seen on dark nights. Rather, it was worshipped as the central luminary, the all-powerful Sun. If that was the case, then its current position in the Solar System is far removed from what it was. Without going into details that are elaborated elsewhere, that disturbance and rearrangement of planets means that Saturn is the way it is not because of how it was conventionally formed, but because it is closer to being a star than it is to being a planet. Indeed, as our ancestors tell us, it was a star.

Stephen Smith

xxxx xxxxx xxxxx xxxxx xxxxx

A new scientific paper provides stunning affirmation of one of the most striking predictions of the Electric Universe/catastrophist hypothesis. The paper, published in the Journal Icarus, reports that the water on Saturn’s moons and in its rings is remarkably similar to water on our own planet, a completely unexpected finding for planetary scientists.

As surprising as this connection between Saturn and Earth is for planetary scientists, the connection was in fact explicitly predicted by one of the great scientific heretics of the 20th century. Nearly three-quarters of a century ago, Dr. Immanuel Velikovsky proposed that within human memory, a period of chaos reigned in the inner solar system. In this scenario, one of the migrating planets was Saturn, and it was Velikovsky’s seemingly outrageous thesis that the water in Earth’s oceans came from the gas giant.

xxxx xxxxx xxxxx xxxxx xxxxx

The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.

The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

#     Title             Pages     Audio     
1     Leviathan Wakes     592     20h 56m
2     Caliban's War         595     21h     
3     Abaddon's Gate     539     19h 42m
4     Cibola Burn         583     20h 7m
5     Nemesis Games     544     16h 44m
6     Babylon's Ashes     608     19h 58m
7     Persepolis Rising     560     20h 34m
8     Tiamat's Wrath         544     19h 8m
9     Unnamed final novel


Nemesis Games is a 2015 science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the fifth book in their The Expanse series. It is the sequel to Cibola Burn. The cover art is by Daniel Dociu.[Nemesis Games received positive reviews. Andrew Liptak of io9 called the novel "Corey’s 'Empire Strikes Back'".


The Rocinante is down for long-term maintenance after the events of Cibola Burn. Three crew members decide to take care of some personal business during the down time. Amos Burton heads to Earth when he learns someone important from his past there has died, to pay his respects and to make sure no foul play was involved. Alex Kamal heads to Mars in the hopes of getting closure with his ex-wife and to see Bobbie while there. Naomi Nagata heads to Ceres station, when she receives a message that her son Filip is in trouble. While Jim Holden supervises repairs to the Rocinante, he is enlisted by Monica Stuart to investigate disappearing colony ships.

Facing collapse by the exodus of colony ships through the rings, militant factions of the OPA coalesce into a Free Navy and simultaneously wreak havoc on Earth as they try to kill the Martian Prime Minister and Fred Johnson. Amos survives the attacks on Earth, frees Clarissa Mao and escapes to Luna with her help and the help of Baltimore organized crime acquaintances from his old life. Alex meets Bobbie on Mars and they investigate missing Martian military equipment and ships, which leads them into the middle of the assassination attempt on the Prime Minister. Naomi is kidnapped by her ex-lover Marco, leader of the Free Navy, but manages to escape; Alex and Bobbie rescue her.

The crew reunites on the Rocinante. What's left of the Earth, Mars and the non-militant OPA government meet on Luna. Naomi finally tells Jim about her violent past. Amos asks that Clarissa stay as his apprentice. The Free Navy has encamped past the belt and is preventing anyone from going through the rings. It is revealed that the Free Navy was sold most of its equipment by a rogue faction of the Martian Navy led by Admiral Winston Duarte and that the disappearing colony ships are being consumed by a force within the gates.

<a href="">James S.A. Corey - The Expanse .Nemesis Games 36-42  </a> ( 136min  61mb)

James S.A. Corey - The Expanse .Nemesis Games 36-42   136min

xxxxx xxxxx xxxxx xxxxx xxxxx


<a href="">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min  59mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min  59mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min  62mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min  62mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min  58mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min  70mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (49-56)  </a> ( 161min  74mb)
<a href="">James S.A. Corey - The Expanse Cibola Burn (57-64)  </a> ( 154min  71mb)
<a href="">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min  57mb)
<a href="">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min  64mb)
<a href="">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min  64mb)
<a href="">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min  64mb)
<a href="">James S.A. Corey - The Expanse .Nemesis Games 29-35  </a> ( 130min  60mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

May 9, 2021

RhoDeo 2119 Sundaze

Hello, posting has become difficult with my current connection is going crazy it connects and disconnects constantly, meanwhile I managed to post my final visit to Alva Noto , Carsten Nicolai's main alter ego N'Joy

Carsten Nicolai (18 September 1965), also known as Alva Noto, is a German musician and visual artist. He is a member of the music groups Diamond Version with Olaf Bender (Byetone), Signal with Frank Bretschneider and Olaf Bender, Cyclo with Ryoji Ikeda, ANBB with Blixa Bargeld, ALPHABET with Anne-James Chaton. Opto with Thomas Knak, and Alva Noto + Ryuichi Sakamoto with whom he composed the score for the 2015 film The Revenant.

Carsten Nicolai, born 1965 in Karl-Marx-Stadt, is a German artist and musician based in Berlin. He is part of an artist generation who works intensively in the transitional area between music, art and science. In his work he seeks to overcome the separation of the sensory perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. Influenced by scientific reference systems, Nicolai often engages mathematic patterns such as grids and codes, as well as error, random and self-organizing structures. His installations have a minimalistic aesthetic that by its elegance and consistency is highly intriguing. After his participation in important international exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

His artistic œuvre echoes in his work as a musician. For his musical outputs he uses the pseudonym Alva Noto. With a strong adherence to reductionism he leads his sound experiments into the field of electronic music creating his own code of signs, acoustics and visual symbols. Together with Olaf Bender and Frank Bretschneider he is co-founder of the label 'raster-noton. archiv für ton und nichtton'. Diverse musical projects include remarkable collaborations with Ryuichi Sakamoto, Ryoji Ikeda (cyclo.), Blixa Bargeld or Mika Vainio. Nicolai toured extensively as Alva Noto through Europe, Asia, South America and the US. Among others, he performed at the Solomon R. Guggenheim Museum in New York, the San Francisco Museum of Modern Art, Centre Pompidou in Paris and Tate Modern in London. Most recently Nicolai scored the music for Alejandro González Iñárritu’s newest film, 'The Revenant' which has been nominated for a Golden Globe, BAFTA, and Critics Choice Award.

lives and works in Berlin and Chemnitz, Germany
1965    born in Karl-Marx-Stadt, GDR
1985-90    Study of landscape architecture. Dresden, Germany
1992    Co-founder of the project Voxxx-Kultur- und Kommunikationszentrum, Chemnitz, Germany
1994    Foundation of noton.archiv für ton und nichtton
1999    Label fusion to raster-noton
2015    Professorship in art with focus on digital and time-based media, Dresden Academy of Fine Arts
Prizes / Scholarships
2014    17th Japan Media Arts Festival, Grand Prize (Art Division), Japan (crt mgn installation)
2012    Giga-Hertz-Award, ZKM Karlsruhe, Germany (cyclo. id publication with ryoji ikeda)
2007    Villa Massimo, Rome, Italy
     Zurich Prize, Zurich, Switzerland
2003    Villa Aurora, Los Angeles, USA
2001    prize ars electronica, golden nica, Linz, Austria (polar installation with marko peljhan)
2000    f6-philip morris, graphic prize, Dresden, Germany
     prize ars electronica, golden nica, Linz, Austria (20' to 2000 project)
1990    Jürgen Ponto prize, Frankfurt/Main, Germany
Artworks in Public Space
2015    chroma actor, Seibu Shibuya, Tokyo, Japan
2011    lfo spectrum, Olympic Park, London, UK
2010    monitor, Siobhan Davies Studios, London, UK
     autor, Temporäre Kunsthalle, Berlin, Germany (temporary)
2009    poly stella, Kasumigaseki Building Plaza, Chiyoda-ku, Tokyo, Japan
     pionier ll, Piazza Plebiscito, Naples, Italy (temporary)
2006    polylit, Kleiner Schlossplatz, Kunstmuseum Stuttgart, Germany
2005    frequenz (milch), Tramhaltestelle, Hauptbahnhof Leipzig, Germany

xxxxx xxxxx xxxxx xxxxx xxxxx

Alva Noto and French poet and sound artist Anne-James Chaton have teamed up as ALPHABET.

The duo will release a self-titled LP through Noton, the label Alva Noto, real name Carsten Nicolai, has been running since Raster-Noton split in 2017. The album, which pairs Chaton's vocals with Nicolai's techno and experimental beats, is inspired by Etymologiae, an etymological encyclopedia compiled by the Spanish scholar Isidore Of Seville in the seventh century. ALPHABET spans 13 tracks, it explores the combinatorics between signs on one side and signals on the other. The performance, inspired by the Etymologies of Isidore of Seville twisting the scientific rigor to privilege phonetic acquaintances, revisits the strategies of representation invented by the man to tell the world around him in the digital age. Alphabet invites the spectator to immerse themselves in the multiple relationships that, through language and its digital translations, maintain words and things.
After many collaborations this new record by Anne-James Chaton and Carsten Nicolai aka Alva Noto speaks a new language, generated by the fusion of objective poetry and minimal music. From the dialogue of the graph and the glitch a poetics of the code is born from which arises a representation of the contemporary world.

<a href="">  Alva Noto & Anne-James Chaton -  Alphabet   .</a> (281mb)

01 A-Bu -> Bug -> Bu-Cr 5:57
02 Crime 2:38
03 Cr-Fo 4:22
04 Fou 2:11
05 Fo-Lu 4:14
06 Lune 2:22
07 Lu-No 3:13
08 Note 3:16
09 No-Qu 5:45
10 Quellie partie! 2:49
11 Qu-So 3:44
12 Sonnet 4:40
13 So-Zou 6:43

xxxxx xxxxx xxxxx xxxxx xxxxx

Alva Noto & Ryuichi Sakamoto share recordings of their show at Sydney Opera House in 2018, yielding 80 minutes of sublime, glassy electronics; minimal but full of that light-handed emotive brilliance Sakamoto seems to always supply so generously, and with such little effort. Gorgeous, moving music.“Last year the duo undertook a series of live events entitled ‘TWO’ at Berlin’s Funkhaus, Barcelona’s Theatre Grec (closing Sonar Festival’s 25th Anniversary), London’s Barbican Centre and Melbourne’s Hammer Hall, before culminating at Sydney Opera House, where their two hour set was recorded and edited down, forming this album.

“Sharing a deep simpatico synergy, Alva Noto’s abstract electronic formalism contrasts and compliments Sakamoto’s exquisitely elegant piano finesse, which incorporates an individualistic take on classical, contemporary, minimalism and even a touch of jazz. At points melodic, atmospheric, gently rhythmic, textural and spatial, audio headspaces range from intimate and serene womb-like flotation, infinite fathoms of dark metaphysical expanse and moments of devastatingly poignant beauty. The sparing, subtle use of parts populating the mix belies a deceptively effective whole, which indicates two masters’ skill and confidence in being able to say something profound with an intentionally restricted sonic vocabulary. At all times the album maintains a calm poise, and despite its improvised nature withholds an innate harmony and graceful order. Like two aural architects free-drawing, this is sound design for better living.”

<a href="">   Alva Noto and Ryuichi Sakamoto - TWO. Live at Sydney Opera House   </a> ( flac 416mb)

01 Inosc 7:16
02 Propho 5:49
03 Trioon II (Live) 5:43
04 Scape I 2:52
05 Berlin (Live) 5:28
06 Scape II 1:54
07 Morning (Live) 4:15
08 Iano (Live) 4:28
09 Emspac 4:45
10 Kizuna (Live) 4:30
11 Gitrac 3:54
12 Monomom 6:44
13 Panois 2:45
14 Naono (Live) 11:07
15 The Revenant Theme (Live)

xxxxx xxxxx xxxxx xxxxx xxxxx

Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent fallacy of the procedure involving the making of copies made from other copies, everyday’s sounds become so altered that they can be hardly associated with the source material. As a result, entirely new sounds are created: copies of originals become originals themselves.

Following Xerrox Vol. 1 (2007), Vol. 2 (2009) and Vol. 3 (2015), Carsten Nicolai continues the pentalogy eluding the accuracy and precise sound design for which he’s renowned, and turning to a more harmony-driven composition technique.
Unlike the previous Xerrox albums, whose starting point is a set of samples extracted from external sources and fragments of recordings, Vol. 4 compounds under a unified cinematic soundscape, warm chords, thrumming digital ambiences, liquified electronics, drones, and noise sustained by floods of strings. The tension between the organic warmth and static curves, broads tones into distant roars and electronic cascade of sounds. While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, Xerrox holds more intimate gestures and emotional sensibility. This fourth volume shuns further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.

<a href="">  Alva Noto - Xerrox Vol. 4    </a> ( flac 340mb)

01 Xerrox Kirlian 6:12
02 Xerrox neige 4:55
03 Xerrox voyage 3:50
04 Xerrox plongée 5:36
05 Xerrox Cosmos 3:52
06 Xerrox île 6:24
07 Xerrox Argo 5:32
08 Xerrox Calypsoid 1 4:32
09 Xerrox canaux 4:13
10 Xerrox Utopia 3:06
11 Xerrox sans retour 4:23
12 Xerrox Calypsoid 2 11:06
13 Xerrox apesanteur 4:32
14 Xerrox néant 2:54

xxxxx xxxxx xxxxx xxxxx xxxxx

Featuring reworks by Fatima Al Qadiri, Ben Frost, JASSS, Florian Kupfer, Luis Da Silva, the EP includes 5 remixes of Uni Blue, Uni Sub, Uni Normal, taken from Alva Noto’s last solo-album released in March last year.

A new edition in the Uni series – started when Alva Noto was booked to play live at the club UNIT in Tokyo – UNIEQAV is an outlet for his more rhythmic and dancefloor-oriented work. Enlisting friends and collaborators, such as Fatima Al Qadiri, Ben Frost, JASSS, Florian Kupfer and Luis for remix duties, “Uni Blue” has been given a unique, new spin.

<a href=""> Alva Noto - Unieqav (Remixes)</a> ( flac 224mb)

01 Uni Sub (Fatima Al Qadiri Remix) 4:13
02 Uni Normal (Ben Frost Remix) 6:57
03 Uni Blue (JASSS Remix) 9:05
04 Uni Blue (Florian Kupfer Remix Version 1) 6:32
05 Uni Blue (Luis Da Silva Remix) 7:47

xxxxx xxxxx xxxxx xxxxx xxxxx

Alva Noto has covered "A Forest" by The Cure.

The new version, which has been approved by the band's frontman Robert Smith, is beatless and ten minutes long.

"I was 15 years old when the song was released," Nicolai says. "At the time my desire for good music started to grow, and, of course, I would look for sounds that reflected the time and age I was living. 'A Forest' is now a classic, and I can't think of another song which could be more representative of the band than this single—40 years after its release, I still bow to it and feel grateful that it exists."

<a href="">  Alva Noto - Modul 4 + A Forest.+ Uni Normal</a> ( flac 178mb)

01 Modul 4 20:23
02 A Forest.9:59
03 Uni Normal (Ben Frost Remix) 6:55

xxxxx xxxxx xxxxx xxxxx xxxxx

May 7, 2021

RhoDeo 2118 Grooves


Today's Artists One of the most prolific rap groups, were also among the most progressive acts in contemporary music, from their 1993 debut through their conceptual 2010s releases. Despite the seemingly archaic practice of functioning as a rap band with several instrumentalists -- from 2007 onward, their lineup even featured a sousaphonist -- they were ceaselessly creative, whether with their own material or through their varied assortment of collaborations. They went platinum and gold with successive studio releases and won a handful of Grammy Awards. After they gained a nightly nationwide audience through a close partnership with television host Jimmy Fallon, they continued to challenge listeners with works free of genre restrictions..  N Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Black Thought (vocals), ?uestlove (drums), Malik B (vocals, 1987-99), Joshua Abrams (bass, 1988-90), Leonard Hubbard (bass, 1992-2007), Kid Crumbs (vocals, 1993), Scott Storch (keyboards, 1995), Kamal Gray (keyboards, 1995-present), Dice Raw (vocals, 1995-2000), Rahzel (human beatbox, 1995-99), Scratch (human beatbox, 1998-2003), Ben Kenney (guitar, 2000-03), Frank Walker (percussion, 2002-present), Martin Luther (vocals, 2003-04), Kirk Douglas (guitar, 2003-present), Damon Bryson (sousaphone, 2007-present), Owen Biddle (bass, 2007-11), Mark Kelley (bass, 2011-present), Stro Elliot (producer, sampling, 2017-present)

Organix The Roots' focus on live music began back in 1987, when rapper Black Thought (Tariq Trotter) and drummer ?uestlove (Ahmir Khalib Thompson) became friends at the Philadelphia High School for Creative Performing Arts. Playing around school, on the sidewalk, and later at talent shows (with ?uestlove's drum kit backing Black Thought's rhymes), the pair began to earn money and hooked up with bassist Hub (Leon Hubbard) and rapper Malik B. Moving from the street to local clubs, the Roots became a highly tipped underground act around Philadelphia and New York. When they were invited to represent stateside hip-hop at a concert in Germany, the Roots recorded an album to sell at shows; the result, Organix, was released in May 1993 on Remedy Records. With a music industry buzz surrounding their activities, the Roots entertained offers from several labels before signing with DGC that same year.

Do You Want More?!!!??! The Roots' first major-label album, Do You Want More?!!!??!, was released in January 1995. Forsaking usual hip-hop protocol, the record was produced without any samples or previously recorded material. It peaked just outside the Top 100 of the Billboard 200 and made more tracks in alternative circles, partly due to the Roots playing the second stage at Lollapalooza that summer. The band also journeyed to the Montreux Jazz Festival in Switzerland. Two of the guests on the album who had toured around with the band, human beatbox Rahzel the Godfather of Noyze -- previously a performer with Grandmaster Flash and LL Cool J -- and Scott Storch (later replaced by Kamal Gray), became permanent members of the group.

Illadelph Halflife Early in 1996, the Roots released "Clones," the trailer single for their second album. It hit the rap Top Five, and created a good buzz. That September, Illadelph Halflife appeared and made number 21 on the Billboard 200. Much like its predecessor, though, the Roots' second LP was a difficult listen. It made several very small concessions to mainstream rap -- the bandmembers sampled material that they had recorded earlier at jam sessions -- but failed to make a hit of their unique sound. Their third album, February 1999's Things Fall Apart, was easily their biggest critical and commercial success. Released on MCA, it went platinum, and "You Got Me" -- a collaboration with Erykah Badu -- peaked within the Top 40 and subsequently won a Grammy in the category of Best Rap Performance by a Duo or Group.

Phrenology The long-awaited Phrenology was released in November 2002 amid rumors of the Roots losing interest in their label arrangements with MCA. In 2004, the band remedied the situation by creating the Okayplayer company. Named after their website, Okayplayer included a record label and a production/promotion company. The same year, the band held a series of jam sessions to give their next album a looser feel. The results were edited down to ten tracks and released in July 2004 as The Tipping Point, supported by Geffen. A 2004 concert from Manhattan's Webster Hall with special guests like Mobb Deep, Young Gunz, and Jean Grae was issued in February 2005 as The Roots Present in both CD and DVD formats. Two volumes of the rarities-collecting Home Grown! The Beginner's Guide to Understanding the Roots appeared at the end of the year.

Game Theory A subsequent deal with Def Jam fostered a series of riveting, often grim sets, beginning with Game Theory (August 2006) and Rising Down (April 2008). In 2009, the group expanded their reach as the exceptionally versatile house band on Late Night with Jimmy Fallon. The new gig didn't slow their recording schedule; in 2010 alone, they released the sharp How I Got Over (June), as well as Wake Up! (September), where they backed John Legend on covers of socially relevant soul classics like Harold Melvin & the Blue Notes' "Wake Up Everybody" and Donny Hathaway's "Little Ghetto Boy." It earned Grammy Awards for Best R&B Album and Best Traditional R&B Vocal Performance. As they remained with Fallon, the Roots worked with Miami soul legend Betty Wright on November 2011's Betty Wright: The Movie, and followed it the next month with their 13th studio long-player, Undun, an ambitious concept album whose main character dies in the first track and then follows his life backward.

Wise Up Ghost and Other Songs Work on the group's next studio LP was postponed as an unexpected duet album with Elvis Costello took priority for the group in 2013. Originally planned as a reinterpretation of Costello's songbook, the record Wise Up Ghost turned into a full-fledged collaboration and was greeted by positive reviews upon its September 2013 release on Blue Note. Within six months, the band joined Jimmy Fallon in his new late-night slot, the high-profile Tonight Show program. Another concept album, the brief but deep ...And Then You Shoot Your Cousin, was released in May 2014. Rapper Malik B., a fixture on the Roots' early albums, died on July 29, 2020, at the age of 47.

xxxxx xxxxx xxxxx xxxxx xxxxx

It would've been easy for the Roots to sell out. Already one of the few groups whose fans extend beyond the typical alternative rap base, tacking on the acoustic-guitary pop-rap song "Birthday Girl" -- which leaked the month before Rising Down's release and features Patrick Stump crooning "What is it we want to do, now that I'm allowed to be alone with you?" -- could've been a natural, and maybe even excusable move. Excusable as a way to show that the Roots can be lighthearted, fun, and tongue-in-cheek (though anyone who's heard any of their interviews or has frequented ?uestlove's blog already knows this to be true); not excusable, however, as the crossover track the label wanted it to be (and in fact, in Japan and Europe, as well as digitally, it remains as such). Fortunately, the Roots were smart and thoughtful enough -- the very qualities of whose criticism led to the creation of "Birthday Girl" -- to realize that its inclusion, even as an afterthought, a bonus track, was detrimental to the effect of the entire album, dumbing down their thoughts on poverty and race and politics with poppy melodies and creepy (albeit ironic) jokes about statutory rape and predatory old men.

Because as it stands, Rising Down acts as a powerful statement on contemporary society, a society in which even though the specific issues may have changed (global warming, BET, new technologies), the problems remain the same. For this reason the album begins and ends with a discussion from 1994, where Black Thought and ?uestlove are arguing about then-label Geffen with their managers, and other bits of the past are also spread throughout -- the 1987 freestyle "@15," which complements "75 Bars (Black's Reconstruction)," the reflection found in "Unwritten" and especially in the cover itself, which nods to the crude caricatures from early America, the black devil wreaking havoc on the white pilgrims below. But it is these very reminders that make the Roots and their message in 2008 so much more relevant: they give context. So when Black Thought says "It is what it is, because of what it was/I did what I did 'cause it does what it does" in "Criminal," he's not just looking as his character's current situation, he's drawing from history, and his conclusions are based upon lifetimes of "it being it" and "doing what it does," of struggling and fighting and trying to get by, to make it however he can.

These same thoughts are echoed by the Roots' MC and the myriad talented guests who add their own equally hard-hitting verses to the album's tracks. "My life is on a flight that's going down/My mother had an abortion for the wrong child/...I felt love, that's gone now" Porn rhymes in the disquieting "I Can't Help It" (the other rappers on the song tackle ideas of chemical and monetary addictions), while on "Singing Man," the dark, reticent production gurgles with the pain and anger heard and stated more overtly in the three MCs' voices (Porn, Black Thought, and Truck North) as they present the sympathetic -- but not condoning -- perspectives of suicide bombers and campus shooters and child soldiers. It's dark and serious and intense, but Rising Down does offer hope, too, mostly in the form of the closing track, "Rising Up," which features Def Jam backing vocals queen Chrisette Michele, D.C. upstart Wale, and a Jay-Z-friendly beat. "We 'bout to dominate the world like Oprah did it," Black Thought says to end the song, an optimism that's far more powerful than anything "Birthday Girl" can provide. Those words, confident but not cocky, are the final punctuation -- an ellipsis, though, leading to a yet-completed thought -- on an album that's both revelatory and full of questions, an album that understands its spot in the Roots' history and American history, and an album that continues to place the group as one of the country's most talented and relevant in any genre, no calculated crossover necessary.

<a href=""> The Roots - Rising Down</a> (flac   352mb)

01 The Pow Wow 1:15
02 Rising Down 3:40
03 Get Busy 3:29
04 @ 15 0:51
05 75 Bars (Black’s Reconstruction) 3:15
06 Becoming Unwritten 0:36
07 Criminal 4:08
08 I Will Not Apologize 4:34
09 I Can’t Help It 4:39
10 Singing Man 4:07
11 Unwritten 1:22
12 Lost Desire 3:58
13 The Show 3:44
14 Rising Up 4:19
15 Birthday Girl (ft. Patrick Stump) 4;05
16 The Grand Return (ft. Dice Raw & Wadud Ahmad) 2;24
17 Live @ WPFW, 1994 3:18

xxxxx xxxxx xxxxx xxxxx xxxxx

To describe How I Got Over as the polar opposite of Game Theory or Rising Down would be very, very inaccurate. There's nothing light, happy, or chipper about How I Got Over. Actually, the subject matter is here is quite depressing. Black Thought and company talk about the adversity they are going through in life and their strive to rise above it. The first part of the album has Black Thought at rock bottom and he climbs further and further up as the album goes on. By the end of the album, he has found a new sense of determination and a refusal to surrender to his demons. See, he got over....get it? Hyuck hyuck hyuck.....uhhh, let's move on. The criticism that Black Thought sounds lazy here doesn't make a whole lot of sense to me. Considering the depressing concept and subject matter of this album, Black Thought's energy here is a perfect fit. Black Thought in Phrenology or Illadelph Halflife mode on an album like this would sound fucked up in twenty different ways and just wouldn't make any sense. I wouldn't call this my favorite Black Thought performance, but there's absolutely nothing wrong with his rapping here. I also really enjoyed the guests here too. After listening to Phonte's verses, I have to ask why the hell he wants to give up rapping. Peedi Peedi was excellent as well. This Sugar Tongue Slim dude is new to me, but I enjoyed him here. For me though, the standout guest is Blu. He was incredibly nice here. And finally, Dice Raw's singing. Unsurprisingly, he doesn't sing as good as he raps. They made his singing kinda work, but he shouldn't give up rapping anytime soon.

The sound that ?uestlove and crew decided to go with for How I Got Over is a much more mellow sound (especially compared to Rising Down) that's really easy to digest. This is the most mellow that the Roots have ever been. But in order to keep things from getting too mellow, ?uestlove hits you with super crisp drumming throughout the album. Again, on the kind of album they strived to make this, production like this fits perfectly. And besides that, the production in its own right is damn good. The kind of production the Roots cooked up is really pleasant and made me feel good by the end of the album. And finally, those sung hooks. When it comes to hooks, I'm indifferent to them 80% of the time. I admit that hooks sometimes make or break songs for me, but more often than not I take them as a break between verse than as a super important part of a song (whether sung, scratched, chanted, or whatever). As far as these hooks are concerned, not only did they not break the songs, they added to the pleasant feeling I got from this album. I wouldn't want How I Got Over without those hooks, despite Dice Raw's less than pefect singing and Joanna Newsom's weird ass voice.

There's pretty much nothing wrong with How I Got Over. It's a very pleasant album that's beautifully conceived/sequenced that doesn't demand a lot of your time. However, it doesn't get a perfect score because it lacks that certain punch (and by punch I don't mean energy) that almost every other Roots album has that propels them into classic territory. Besides Roots fans, I don't know which other hip-hop demographic this would appeal to. The mellow sound of this album isn't comparable to any other "mellow" or "smooth" hip-hop album I can think of. Yet another excellent album from the best hip-hop group in existance (yeah yeah, I'm jockin' these guys real bad, but I don't care!). Can't wait to see what they do for album #10!

<a href="">   The Roots - How I Got Over </a> 276mb (flac   10)

01 A Peace of Light 1:50
02 Walk Alone 3:54
03 Dear God 2.0 3:51
04 Radio Daze 4:16
05 Now or Never 4:34
06 How I Got Over 3:33
07 DillaTUDE: The Flight of Titus 0:42
08 The Day 3:44
09 Right On 3:36
10 Doin' It Again 2:23
11 The Fire 3:41
12 Tunnel Vision 0:40
13 Web 20/20 2:46
14 Hustla [bonus track] 2:56

xxxxx xxxxx xxxxx xxxxx xxxxx

Wake Up!’s success comes from its reinterpretation of politically-charged soul songs throughout the 1960s and 1970s. If any band in the world is going to take up a project like this and succeed beyond anyone’s expectations, it is going be the Roots. And they do succeed. Oh yeah, and having John Legend’s voice on-hand only helps recreate a neo-soul album for the 21st century.

The album begins with a demand to do exactly that—announcing the “Hard Times” we live in today, just as we lived in when Baby Huey and the Babysitters included it on their 1971 album. John Legend and the Roots forces us to pay attention, through the aid of the aggressive horns and the incredibly catchy drum-snaps by ?uestlove. Legend plays to his soulful, emotive vocal strengths in the second track, “Compared to What.” The Roots add fantastic descending horns and a sick rhythm section led by a sick bass line (via Owen Biddle I assume) that tie the song together neatly. “Wake Up Everybody” sounds time-appropriate in its instrumentation—less of a reinterpretation and less of an attempt to make contemporary—but works well as a reminder of the album’s intent, of looking back to remember the fire we felt in the 1960s and 1970s when soul was at its heyday and people in music were more interested in making a difference than making a paycheck.

Black Thought’s lack of inclusion on the album hurts it a bit. Even though I enjoy John Legend on this record, the Roots would have played more to their strengths if they had Black Thought giving us a few more of his verses. His political lyrics fit the project like a glove[ii] and Wake Up!’s ambition could have been fulfilled more completely if Black Thought added his own ideas to these classic soul covers, making them feel even more 21st century hip-hop than they already are on Wake Up! More hip-hop would have worked well—it does on “Little Ghetto Boy,” “Hard Times,” and Common’s verse on “Wake Up Everybody.” Songs like the Marvin Gaye cover “Wholly Holy” might have been more exciting listens with Black Thought manning some vocal duties. At the very least, when Black Thought is on the album, he is on. ?uestlove’s hip-hop style drumming also really invigorates the album with the neo-soul it has when it is at its best.

John Legend’s best vocal performance comes on the incredibly funky “Hang on in There,” which provides a fantastic-in-its-repetition string section harkening the old styles of song-writing. I’m surprised when John Legend throws the falsetto in on the reggae-style of “Humanity (Love the Way it Should Be)” and it works—it works very well! None of us should be surprised because Legend is an incredibly talented singer, but the aesthetic is different on this song than it is on the rest of the album. “Humanity” contains less soul and more Caribbean, though no less soul when it comes to feeling on this Lincoln Thompson cover.

The duo of Bill Withers’ “I Can’t Write Left Handed” and Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” are an interesting one-two punch of epic-length guitar solos and guitar gospel-flavored pop. Captain Kirk Douglass plays the best guitar of his career thus far on the prior track, while the latter has Legend playing to his strengths in the Nina Simone cover. These two songs are the strongest tracks on the entire album, and should be considered for many musiczines’ end-year list for best covers, or better yet, best songs. They fell true, and contain that punch political songs should have.

“Shine,” a John Legend original, ends the album. The song is fairly strong, but it acts as-is as more of a second epilogue after the upbeat and stronger track in “I Wish I knew How It Would Feel to Be Free.” Maybe “Shine” would have been better somewhere in the middle of the track listing, kind of how Bob Dylan snuck original material in his cover-heavy debut album. This suggestion comes because though “Shine” is a strong song, it doesn’t necessarily end things on a high point, which “I Wish I Knew How It Would Feel to be Free.”

<a href=""> John Legend & The Roots - Wake Up! </a> (flac min 437mb)

01 Hard Times 5:16
02 Compared to What 6:27
03 Wake Up Everybody 4:25
04 Our Generation (The Hope of the World) 3:16
05 Little Ghetto Boy (Prelude) 1:59
06 Little Ghetto Boy 5:26
07 Hang on in There 7:15
08 Humanity (Love the Way It Should Be) 3:49
09 Wholy Holy 5:50
10 I Can't Write Left Handed 11:54
11I Wish I Knew How It Would Feel to Be Free 2:43
12 Shine 4:44

xxxxx xxxxx xxxxx xxxxx xxxxx  

The Roots' umpteenth album is titled after a Guess Who song mutilated by countless lounge bands since 1969. It incorporates a Sufjan Stevens recording, mixtape-style, for the purpose of starting a four-part instrumental suite that closes a program lasting only 40 minutes. Based on those details, it would not be irrational to think that the band’s well of inspiration might be dry or tainted. While the well might be slightly tainted, it is full. Undun is based on the life of Redford Stephens, a fictional product of inner-city New York who was born in the mid-‘70s and tragically passed in 1999, the point at which the album begins -- with a quiet EKG flatline. Appearances from MCs Big K.R.I.T., Dice Raw, Phonte, Greg Porn, and Truck North, as well as contributions by singers Aaron Earl Livingston and Bilal, flank principal voice Black Thought, yet this is no hip-hop opera or anything close to a typical concept album. The existential rhymes, seemingly created with a shared vision, avoid outlining specific events and focus on ruminations that are grave and penetrating, as if each vocalist saw elements of himself and those he has known in Redford. What’s more, Undun probably shatters the record for fewest proper nouns on a rap album, with the likes of Hammurabi, Santa Muerte, and Walter Cronkite mentioned rather than the names of those who are physically involved in Stephens’ life. (The album’s app, filled with video clips and interviews with Stephens’ aunt, teachers, and peers, provides much more typical biographical information.) Musically, Undun flows easier and slower than any other Roots album. The backdrops ramp up with slight gradations, from soft collisions of percussion and keys (“Sleep”), to balmy gospel-soul (“Make My”), to Sunday boom-bap (“One Time”). There's a slight drop into sinewy funk (“Kool On”) that leads into a sustained stretch of stern, hunched-shoulder productions, highlighted by the crisply roiling “Lighthouse,” that match the cold realism of the lyrics. The strings in the slightly wistful “I Remember” and completely grim “Tip the Scale” are a setup for the Redford suite, which is nothing like padding. It glides through the movements, involving mournful strings, a violent duel between drummer ?uestlove and guest pianist D.D. Jackson, and a lone death note that fades 37 seconds prior to silence.

<a href=""> The Roots - Undun </a> (flac  242mb)

1 Dun 1:17
2 Sleep 2:16
3 Make My 4:27
4 One Time 3:56
5 Kool On 3:49
6 The OtherSide 4:03
7 Stomp 2:23
8 Lighthouse 3:44
9 I Remember 3:15
10 Tip the Scale 4:18
Redford Suite
11 Redford (For Yia-Yia & Pappou) 1:52
12 Possibility (2nd Movement) 0:55
13 Will to Power (3rd Movement) 1:04
14 Finality (4th Movement) 1:31

xxxxx xxxxx xxxxx xxxxx xxxxx

The Roots album graced by a Romare Bearden collage is less than half the length of each studio set the group released from 1995 through 2002. It might be the one that requires the most deep listening to absorb. Part of that can be attributed to the array of voices, or characters -- the widest variety of Roots guests yet. Given that, as well as the collage-like insertion of three preexisting recordings, Framed as conceptual, it's an examination of self-destructive cycles with materialism, god, and the devil all factors as much as any of the instrumentalists. In a way, it's one facet of the Roots in severely concentrated form. Black Thought, as ever, sharply portrays a man trying to make the most out of suffocating circumstances. He enters on the creeping dread of "Never," a song that also features Patty Crash in singing Talky Tina mode, with "I was born faceless in a oasis/Folks disappear here and leave no traces." On the following "When the People Cheer," he's even more penetrating and provocative, "Searchin' for physical pleasure if I don't go mental first." Those songs, along with the harder-hitting "Black Rock" and "Understand," are child's play relative to what follows. The album pivots on a jarring minute-length extract from experimental composer Michel Chion's "Requiem." Then, a chilling piano-and-strings ballad fronted by Mercedes Martinez stammers and slips into chaos. Over casually tense drums and piano, "The Dark (Trinity)" involves Black Thought, Dice Raw, and Greg Porn, who blur the line between boastful and despondent; Dice Raw's verse, where he wonders how he went from lusting after Jordans to wanting one of his "bitches" to get an abortion, is coldest of all. "The Unraveling" is a dejected shuffle -- proper support for Raheem DeVaughn's conflicting thoughts of rebirth and emptiness -- with a lullaby break. DeVaughn continues to lead on the finale, "Tomorrow," a sonically sprightly number that can be taken as sarcastic, from the whistled intro to the singer's "I'm thankful to be alive, 'cause you sleep from eleven to seven, and work hard from nine to five." When it seems like the simple and chipper rhythm is about to fade away, the piano switches course and shifts into one of the most gorgeous melodies heard on any Roots album. It crash-lands, abruptly ending an album that, depending on the amount of time spent with it, will seem either fragmentary and hollow or fathoms deep -- either a trifle or among the group's most remarkable work.

<a href=""> The Roots - ...And Then You Shoot Your Cousin </a> (flac  169mb)

01 Theme From the Middle of the Night 1:27
02 Never 3:54
03 When the People Cheer 3:01
04 The Devil 0:38
05 Black Rock 2:41
06 Understand 2:50
07 Dies Irae 1:07
08 The Coming 3:01
09 The Dark (Trinity) 5:17
10 The Unraveling 4:20
11 Tomorrow 5:06

xxxxx xxxxx xxxxx xxxxx xxxxx