Oct 29, 2019

RhoDeo 1943 Light 2

Hello,

 “If you want to find
the Secrets of the Universe,
think in terms of
Energy, Frequency and Vibration.”
– Nicola Tesla

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Sound healing is the process in which a practitioner uses music — including the emotional, psychological, spiritual, physical, social, mental, and superficial — to improve the health of their patient. It improves many facets of the patient’s life, including emotional and social development, cognitive and motor functioning, and psychological and psychiatric health.

Healing with sound happens in a number of ways. Patients listen or sing along, improvise musical acts, meditate, chant, and play musical instruments. Some practitioners subject the patient to specifically crafted sounds to induce positive brainwaves.Almost everything we experience in the universe is simply our perception of waves. When sound waves reach our ears, they are converted into electrical signals that travel up the auditory nerve into the auditory cortex, the part of the brain that processes sound. Once sound waves reach our brains, they trigger responses in our bodies. This process alters our emotions, releases hormones, and triggers certain impulses. Although research on how music changes our brains is lacking, there is evidence to suggest that musicians have different brains than those who are not musically inclined.

Research has shown that the brains of musicians are more symmetrical. And that the parts of the brain responsible for motor and cognitive functioning, coordination, and reasoning, are significantly larger. And thanks to an enlarged corpus callosum, the two hemispheres of the brain have better communication. In neurological studies, it has been proven that listening to music makes us more productive and creative. It can relieve stress and improves our moods. This is because listening to music floods our brains with dopamine. It also releases oxytocin, a natural painkiller, and hormone that allows us to bond with others. In fact, oxytocin is most commonly found in mothers during labor. Music also helps language development and improves communication. It’s even been shown to increase our IQs, so it’s safe to say that music makes us smarter. It improves our memory too, warding off brain disorders such as Alzheimer’s. Music is powerful. It can change our brains, and so it changes our bodies.

What Are The Benefits Of Sound Healing?  When listening to upbeat or cheery music, or when listening to deep, melancholy songs, our emotions flare and we can better process our feelings. The difference is that we only care to listen to sad songs when we are feeling sad because (and here’s the kicker) we know it makes us feel better. A 2006 study done by the Journal of Advanced Nursing discovered that those who listen to music feel less pain and experiences less anxiety than those who don’t. Since sounds come at different frequencies and we too emit our own waves, healing with sound happens by matching frequencies to those that are conducive to healing and relaxation. A study in the 1970s proposed that when one tone is played to one ear, and a different tone is played to the other, the two hemispheres of the brain connect and create a third (internal) tone called a binaural beat. Binaural beats synchronize the brain, providing clarity, alertness, and greater concentration. It’s solid evidence that our brains and bodies respond to sound in both a cognitive and physical way. There are a number of methods, instruments, and techniques for using sound therapy. But at its foundation is the premise of entrainment, a method of synchronizing our brainwaves by producing a stable, solid frequency that our brains adjust to and then match.

Healing with sound can improve or cure many ailments including:

    Depression
    Learning disabilities
    Anxiety disorder
    Stress
    PTSD
    Pain

It can also bring about:

    Clarity and balance
    Relaxation
    Improved memory and concentration
    Improved sleep
    A stronger immune system
    Improved creativity
    Heightened awareness, both of the self and the environment



Deep Sound Healing ~ 432Hz Theta Binaural Meditation ( 119min flac     540mb).

Deep Sound Healing ~ 432Hz Theta Binaural Meditation ( 119min flac     540mb).

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Produced in 1996, Remembering the End of the World was the first documentary covering David Talbott's labors to reconstruct celestial events in ancient times. The Ben Ged Low film traces Talbott's work back to its beginning in the early 70s.
By following an original inspiration in the work of Immanuel Velikovsky, Talbott discovered a massive ancient story focused on the remote planet Saturn, a celestial power remembered as the "primeval sun." This documentary is the first production dealing with the mythic imagery of the "Polar Configuration". In the years that followed, the presentation helped to inspire other dedicated researchers, several of whom are still pursuing the subject today.






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 the 2nd part of the 2nd sc-world tale Light Fantastic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).


03 Light Fantastic 1  34min
04 Light Fantastic 2  34min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).




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Oct 28, 2019

RhoDeo 1943 Re Up 211

Hello,



9 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  1 double (same artist) , whatever another batch of 29 re-ups (10.5 gig)


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

Looka here , requests fulfilled up to October 26th... N'Joy

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3x Sundaze Back in Flac  (Chrome - Box 1 ,  Chrome & Damon Edge - Red Exposure, Chrome & Damon Edge - 3rd From The Sun)



3x Beats Back in Flac (Stephane Pompougnac - Hotel Costes, Vol. 01, Stephane Pompougnac - Hotel Costes, Vol. 02, Stephane Pompougnac - Hotel Costes, Vol. 03)


4x Grooves Back in Flac ( Philadelphia International Records - 40th Ann. 02, Philadelphia International Records - 40th Ann. 03, Philadelphia International Records - 40th Ann. 04 , Philadelphia International Records - 40th Ann. 05 )



3x Aetix Back In Flac (Gary Numan - I, Assassin, Gary Numan - Berserker , Gary Numan - The Fury)



3x Aetix Back in Flac (Sonic Youth - Evol,  Sonic Youth - Sister, Sonic Youth - Daydream Nation)



2x Burroughs  Back in Flac (William S. Burroughs - Spare Ass Annie, William S. Burroughs & K.Cobain - The Priest)



3x Sundaze Back in Flac ( Drøn - Parsec , Drøn - Xenologix, Drøn - Homeworld)



3x Sundaze NOW in Flac (Ruxpin - Avalon, Ruxpin - Elysium, Ruxpin - Where Do We Float From Here )



4x Sundaze Back in Flac ( Ash Ra Tempel - Ash Ra Tempel, AshRa Temple - Schwingungen,  Ash Ra Tempel - Seven Up, Ashra Temple - Join In)



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Oct 27, 2019

Sundaze 1943

Hello, The FIA found a stick to beat Max Verstappen with...and deliver the front row to Ferrari, Max is allowed to start 4th, he will be livid! This could get ugly later today, Hamilton better get out of the way and let Max ravage the Ferraris, he will win or not finish,  i'm sure Lewis will cruise to a podium place and collect his 6th Worldtitle.


Today's artist is the recording alias of Magnus Birgersson, an electronic musician, composer, and sound designer from Gothenburg, Sweden. Birgersson's music spans the genres of ambient, IDM, downtempo, and psy-trance, and he has also composed numerous video game soundtracks, the Swedish electronic music artist is better known by his stage name Solar Fields, As of 2019, he has released eighteen albums, and has also scored all interactive in-game music for the Electronic Arts game Mirror's Edge as well as its sequel, Mirror's Edge Catalyst. His latest album, Origin#03, was released on 1 June 2019.......N-Joy

I expected much more interest in Magnus' work he deserves it, hence i post this Discogs comment here "Wow, I definitely missed the bus on this guy, but in the last couple months, I have become well familiar with his material, and I have to say, it is just epic. Lots of percussive ambient, but with enough atmospheric pads to really flesh out the tracks and give his music a spacey but also emotional quality. Seriously, track after track after track, Solar Fields is just a joy to listen to."

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Gothenburg-based Swedish composer, sound designer, and multi-instrumentalist Magnus Birgersson created Solar Fields in the late 1990s. Birgersson was raised in a musical family and began playing piano and synthesizers in the 1970s. In the mid-1980s he began combining synthesizers with computers. In addition to his ambient work, he has also been a guitar player in rock bands, a pianist in jazz funk bands, and keyboard player in drum and bass bands."

Under the moniker Solar Fields he composed 15 albums and appeared on over 60 various compilations. His first solo release was an ambient album named Reflective Frequencies, released on Ultimae in 2001. This was followed two years later by Blue Moon Station , which also included downtempo and trance, and was designed as a single fluid story.In late 2005, Solar Fields composed Leaving Home and Extended, the latter being a limited edition. His fifth album EarthShine, launched in 2007, featured more upbeat soundscapes blending morning trance, progressive, psychedelic, tribal and ambient music. This up-tempo album was warmly received by the progressive and psytrance scenes. This led to Electronic Arts and DICE commissioning Solar Fields for the in-game score for Mirror's Edge, a first-person action adventure video game released worldwide on November 14, 2008. The soundtrack was included in the VGC's "Top 20 Original Soundtracks in Gaming".

The following year, Solar Fields composed Movements. The album was ranked in the top 10 of best albums by Echoes listeners. The album Movements was also used as the soundtrack for the indie game Capsized from the small Canadian studio Alientrap in 2011. It remains his most popular album to date. In 2010, he used the harmonies and melodies of Movements in a remix album titled Altered - Second Movements and started the Origin series, four albums which aim to present archives and unreleased songs. Until We Meet the Sky and Random Friday were composed in parallel. In 2013, he released the second album in the Origin series, Origin #02.
He released his demo song "Cluster" later that year. His song "Pulse", along with a remix of it by Airwave, was released on June 30, 2014 by Joof Recordings;

 In 2014 Birgersson started his own label, Droneform Records, and released a series of digital compilations featuring updated, remixed, and remastered tracks from his catalog; the albums were titled Red, Green, and Blue. On September 30, 2015, it was confirmed by DICE and Birgersson that he was creating the in-game score of Mirror's Edge: Catalyst, and that he had been working on said score for twelve months as of the aforementioned date. More releases on his own label now Ourdom (2018) followed by a third edition of Origens, Origin#03 (2019)

Magnus has collaborated with Vincent Villuis, a.k.a. AES Dana, on H.U.V.A. Network and T.S.R. in the company of Daniel Segerstad and Johannes Hedberg from Carbon Based Lifeforms.



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 "Altered" is not as much a remix but a reinterpretation of "Movements", an "alteration" of the original tracks. still gladly surprised with Altered-Second Movements, cause I didn't know what to expect. I love SF music in all senses, and I think Altered is a very mature and interesting piece of music. SF sound has evolved a lot since his first album Reflective Frequencies to something more and more melodic, less and less experimental or destructured. Altered reaches a nice balance between the "Movements" melodies and a spacey ambient approach. The tracks are not remixes, they are reinterpretations of the original pieces. It's like this is a dream, and each track is a reminisence of the original, like in a dream, when you remember something from reality, but in a distant way, like an old memory. Each track is telling you: "remember this song? listen to it again, but its playing somewhere very very far away, and you only get small pieces of it, embeded in new sounds from space". This album is in fact very VERY nostalgic. and I think it's great.



. Solar Fields - Altered - Second Movements ( 374mb)

01 Insolate 9:15
02 eMotion of Circles 7:23
03 Rediscover 9:45
04 Closing the Sky 6:34
05 Our Blue Stones 6:23
06 Universal Dust 6:25
07 Bngl.w 7:20
08 Feel 8:42
09 Changing Patterns 4:10
10 Staring Into the Nothingness 7:30
11 A Breeze Through Life 5:42

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With "Until we meet the sky" SF has really changed his style, and the least we could say would be "challenging", especially to SF fans that are a lot in the "movements" kinda sound.
But going back to this CD, it is challenging for 3 main reasons:- there is an intention of mixing a very cinematic - beatless sound, with moments of melodic intensity.- the visible intention of building continuity -continuously seamlessly mixed transitions between each track- yet trying to "surprise" the listener by blurrying the boundaries of each track, as if the artist didn't want us to really identify each track.- the new type of sound: here's a very interesting novelty... piano (almost?) never heard before in SF's music, this is particularly interesting. Overall, it is as if SF was trying to give a new flavour to his sound, less "electronic", like less "sounds from outer space" - yeah definitevely less "spacey", and more earthly melodic. Definitely an album that is worth listening to many times, to give it a change to grow on you, as it is challenging and demanding in terms of attention. Yes, it is a complex and beautiful work of art.
You have to listen to this album as a whole and not a collection of tracks. This is its strength and weakness at the same time  : it makes the whole album more interesting yet less striking, because it is harder to identify great moments of the album to great tracks.



Solar Fields - Until We Meet The Sky (flac 402mb)

01 From The Next End 9:18
02 Broken Radio Echo 3:55
03 Singing Machine 6:55
04 After Midnight, They Speak 3:40
05 When The Worlds Collide 6:33
06 Dialogue With A River 10:06
07 Forgotten 3:15
08 Night Traffic City 9:53
09 Sombrero 5:45
10 Last Step In Vacuum 9:11
11 Until We Meet The Sky 5:01
12 Epilogue 5:15

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Principally, Solar Fields is an ambient producer. His first attempt at beat-based progressive trance was 2007's EarthShine LP; an stunning effort which is classed by many as one of the best '00s trance albums. As you'd expect from something released five years later, there are key points of difference when compared to its predecessor. For one thing, Random Friday feels a lot more "new school", for lack of a better term; both compositionally and sound-design-wise. That's a somewhat nebulous term, of course. Let me explain: Birgersson clearly takes a lot of influence from the progressive psy-trance scene. Post 2005 (maybe a little earlier or later), there seemed a real shift in the way melodies were composed in the field. Rather than employing a single synth sound to create a single, coherent, evolving melody, a lot of producers began to use multiple synths or samples for their leads, skipping rapidly between these separate timbres with one-off note stabs to form a kind of ragged, incoherent patchwork, so many random sounds are felt to give a more "psychedelic" effect. Bigersson is an incredible composer, and even with touches of this more "new school" method, his pieces barely suffer. The latter half of the album feels less afflicted than does the first half. Random Friday is very much worth your time. It has all the same ingredients: beautiful, unique timbres, euphoric, patience-rewarding progressions, solid percussion and bass lines. In the world of shit that constitutes the current trance scene, it's a shining beacon of hope.



Solar Fields - Random Friday   (flac 445mb)

01 Light Control 4:57
02 Random Friday 6:16
03 Cobalt 2.5 7:32
04 In Motion 8:15
05 Daydreaming 10:42
06 Swoosh 7:40
07 Landing Party 9:37
08 Lift Off 9:31
09 Perception 10:35
10 Polarity 2:56

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Contrary to the first edition, here we find a lot more uplifting tracks from Magnus which seem more inspired and, in my opinion, better produced. Even the tracks from 2003 sound fresh today. Of course, you won't find real masterpieces here. But after all, there are reasons why they were not released during their year of production. Compare Lifeform (2005) to Insum, for instance, and you can see why the latter made the cut. Similar examples can be made for the other tracks as well.However, though they are not better, they aren't bad at all. The second Origin delivers only consistent quality which will please any ambient listener. Grab it and enjoy it!



Solar Fields - Origin # 02   ( flac   418mb)

01 Landform 9:17
02 Mystic Science 8:42
03 Active Sky 6:55
04 Echo 7:09
05 Unknown Presence 5:50
06 Surface 6:30
07 Lifebook 8:12
08 The Missing 9:36
09 Falling Shadows 6:55
10 Asteroid (Time Machine Lullaby) 8:28

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Oct 25, 2019

RhoDeo 1942 Grooves

Hello,

Today's Artists are arguably one of the most critically acclaimed and influential groups of all time, they brought their own brand of politics and sonic innovation into hip-hop in the 80s, and some would say, changed it forever.Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn in 1998, "the most acclaimed body of work ever by a hip hop act  ...... N Joy

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 Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade. While Public Enemy's early Def Jam albums, produced with the Bomb Squad, earned them a place in the Rock and Roll Hall of Fame, they continued to release relevant material up to and beyond their 2013 induction.

Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil, Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album It Takes a Nation of Millions to Hold Us Back made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJ'ing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.
Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, who performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly become a force for social change. As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Times that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group was trying to consolidate its white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but Public Enemy began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy were on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to rethink Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91...The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999.

After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hour-long video of the band live in London in 1987 and a CD with rare remixes. The studio album New Whirl Odor also appeared in 2005. The "special projects" album Rebirth of a Nation -- an album with all rhymes written by Bay Area rapper Paris -- was supposed to be released right along with it, but didn't appear until early the next year. The odds-and-ends collection Beats and Places appeared before the end of 2006.

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy's single from the album was "Harder Than You Think". Four years after How You Sell Soul ... , in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and "lost" tracks. On July 13, 2012, Most of My Heroes Still Don't Appear on No Stamp was released and was exclusively available on iTunes. In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song "Harder Than You Think". The advert caused the song to reach No. 4[ in the UK Singles Chart on September 2, 2012. On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid 'n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series. On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London. On October 1, 2012 The Evil Empire of Everything was released. On June 29, 2013, they performed at Glastonbury Festival 2013. On September 14, 2013 they performed at Riot Fest & Carnival 2013 in Chicago, Illinois. On September 20, 2013 they performed at Riot Fest & Side Show in Byers, Colorado.

In 2014 Chuck D launched PE 2.0 with Oakland rapper Jahi as a spiritual successor and "next generation" of Public Enemy. Jahi met Chuck D backstage during a soundcheck at the 1999 Rock & Roll Hall of Fame and later appeared as a support act on Public Enemy's 20th Anniversary Tour in 2007. PE 2.0's task is twofold, Jahi says, to "take select songs from the PE catalog and cover or revisit them" as well as new material with members of the original Public Enemy including DJ Lord, Davy DMX, Professor Griff and Chuck D. PE 2.0's first album People Get Ready was released on October 7, 2014. InsPirEd PE 2.0's second album and part two of a proposed trilogy was released a year later on October 11, 2015. Man Plans God Laughs, Public Enemy's thirteenth album, was released in July 2015. On June 29, 2017, Public Enemy released their fourteenth album, Nothing Is Quick in the Desert. The album was available for free download through Bandcamp until July 4, 2017

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Greatest Misses is of reasonably high quality considering it's outtake material. Chuck hasn't fallen off as an emcee, and the beats hit nicely. The fact that this was widely considered the point where Public Enemy was falling off and the album still turned out awesome practically says all that needs to be said. Although I wasn't dumb enough to think an album titled "Greatest Misses" was going to be as impressive as the group's masterpieces, both the new cuts and the remixes deliver the goods, climaxing with one heck of a bang with a live version of "Shut Em Down" that manages to be even better than the original. Just throw on a nice pair of headphones and be prepared for some uncontrollable head-banging action.



Public Enemy - Greatest Misses    (flac   368mb)

01 Tie Goes To The Runner 4:17
02 Hit Da Road Jack 4:01
03 Gett Off My Back 4:52
04 Gotta Do What I Gotta Do 4:44
05 Air Hoodlum 3:44
06 Hazy Shade Of Criminal 4:54
07 Megablast (The Madd Skillz Bass Pipe Gett Off Remixx) 3:00
08 Louder Than A Bomb (JMJ Telephone Tap Groove) 3:36
09 You're Gonna Get Yours (Reanimated TX Getaway Version) 4:10
10 How To Kill A Radio Consultant (The DJ Chuck Chillout Mega Murder Boom) 4:03
11 Who Stole The Soul? (Sir Jinx Stolen Souled Out Reparation Mixx) 3:38
12 Party For Your Right To Fight (Blak Wax Metromixx) 5:52
13 Shut Em Down (Live In The UK) 4:46


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With this album, Public Enemy set out to send a message to those perpetuating stereotypes in hip-hop, and this was essentially an anti-gangsta album; released at the time when gangsta rap was pretty much the norm. It also served as a statement that Public Enemy was going nowhere anytime soon. People expected the group to fall off and sell out, but they did the exact opposite here. They likely had many other intentions making it, but all I know is that it's one of their very best; angry, righteous, musically satisfying, relevant, and even fairly complex. Definitely the type of album that must be heard more than once. It's a shame so many fans misunderstood it. Well, it's aged like fine wine.



Public Enemy - Muse Sick-N-Hour Mess Age .  (flac   512mb)

01 Whole Lotta Love Goin on in the Middle of Hell 3:12
02 Theatrical Parts 0:28
03 Give It Up 4:31
04 What Side You On? 4:07
05 Bedlam 13:13 4:06
06 Stop in the Name... 1:21
07 What Kind of Power We Got? 5:30
08 So Whatcha Gonna Do Now? 4:41
09 White Heaven/Black Hell 1:06
10 Race Against Time 3:21
11 They Used to Call It Dope 0:29
12 Aintnuttin Buttersong 4:23
13 Live and Undrugged Pt. 1 & 2 5:54
14 Thin Line Between Law & Rape 4:45
15 I Ain't Mad at All 3:24
16 Death of a Carjacka 2:00
17 I Stand Accused 3:56
18 Godd Complexx 3:40
19 Hitler Day 4:27
20 Harry Allen's Interactive Super Highway Phone Call to Chuck D 2:55
21 Living in a Zoo (Remix) 3:37

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Nominally a soundtrack to Spike Lee's basketball drama, but in reality more of an individual album, He Got Game appeared in 1998, just the second Public Enemy album since 1991's Apocalypse 91. Even though Chuck D was pushing 40, the late '90s were friendlier to PE's noisy, claustrophobic hip-hop than the mid-'90s, largely because hip-hop terrorists like the Wu-Tang Clan, Jeru the Damaja, and DJ Shadow were bringing the music back to its roots. PE followed in their path, stripping away the sonic blitzkrieg that was the Bomb Squad's trademark and leaving behind skeletal rhythm tracks, simple loops, and basslines. Taking on the Wu at their own game -- and, if you think about it, Puff Daddy as well, since the simple, repetitive loop of Buffalo Springfield's "For What It's Worth" on the title track was nothing more than a brazenly successful one-upmanship of Puff's shameless thievery -- didn't hurt the group's credibility, since they did it well. Listen to the circular, menacing synth lines of the opening "Resurrection" or the scratching strings on "Unstoppable" and it's clear that Public Enemy could compete with the most innovative artists in the younger generation, while "Is Your God a Dog" and "Politics of the Sneaker Pimps" proved that they could draw their own rules. That said, He Got Game simply lacked the excitement and thrill of prime period PE -- Chuck D, Terminator X, and the Bomb Squad were seasoned, experienced craftsmen, and it showed, for better and worse. They could craft a solid comeback like He Got Game, but no matter how enjoyable and even thought-provoking the album was, that doesn't mean it's where you'll turn when you want to hear Public Enemy.



Public Enemy - He Got Game Age (OST)  (flac   322mb)

01 Resurrection 4:20
02 He Got Game 4:46
03 Unstoppable 3:14
04 Shake Your Booty 3:46
05 Is Your God A Dog 5:09
06 House Of The Rising Son 3:16
07 Revelation 33 1/3 Revolutions 4:11
08 Game Face 3:18
09 Politics Of The Sneaker Pimps 3:17
10 What You Need Is Jesus 3:30
11 Super Agent 3:36
12 Go Cat Go 3:48
13 Sudden Death (Interlude) 2:05

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Opening with a sonic collage straight out of Fear of a Black Planet, There's a Poison Goin' On.... comes out of the gates sounding like classic Public Enemy, which is exactly what Public Enemy intended, since their slight sonic change-up on He Got Game didn't result in a hit. In a way, PE's feud with Def Jam over downloadable MP3 music was a good thing, since it brought them media attention, which is rare for a veteran hip-hop band. Such increased exposure also brought a minor controversy over "Swindlers Lust," which some perceived as anti-Semitic, but this outrage was isolated because Public Enemy was now at the margins of hip-hop. They were no longer considered cutting-edge, and younger kids never picked up their records, so the only place for this controversy to reside was among the rock critics and aging fans who remembered when It Takes a Nation of Millions changed the world ten years prior. Chuck D must have known that they would be the only ones paying attention to the album, since it consciously copies PE's past and never really breaks from that blueprint. In some respects, that's a disappointment, since He Got Game showed that PE could subtly incorporate modern hip-hop and do it better than some modern acts. But There's a Poison Goin' On.... is nevertheless a strong album, even if it is doggedly classicist. It's also dogmatic, with Chuck preaching to the converted about the evils of the record industry and conformity in hip-hop, which does become a little trying by the end of the record. But he delivers lyrically and PE delivers musically, in a manner that's entirely familiar to fans of Public Enemy, offering a solid continuation of Apocalypse 91. Ultimately, it's their most satisfying record in several years -- which is a subtle difference that only the converted will notice.



Public Enemy - There's A Poison Goin On... (flac   346mb)

01 Dark Side of the Wall: 2000 1:35
02 Do You Wanna Go Our Way??? 3:54
03 LSD 3:27
04 Here I Go 3:03
05 41:19 3:55
06 Crash 3:46
07 Crayola 3:27
08 First the Sheep Next the Shepherd? 3:15
09 World Tour Sessions 4:25
10 Last Mass of the Caballeros 3:54
11 I 4:28
12 What What 5:00
13 Kevorkian 2:35
14 Swindlers' Lust 5:13

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Oct 22, 2019

RhoDeo 1942 Light Fantastic

Hello,

 “If you want to find
the Secrets of the Universe,
think in terms of
Energy, Frequency and Vibration.”
– Nicola Tesla

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Sound Healing, through various techniques and technologies, is the educated and conscious use of the energy of sound to reach identified goals and promote wellness in the human system – including the expansion of consciousness. Sound Healing is founded on the premise that all matter is vibrating at specific frequencies. Science has proven that sound, or vibration, has a strong impact upon substance. For example, the study of Cymatics has shown how sound creates geometric patterns in matter. Dr. Emoto has proven that sound changes the molecular structure of water. However, more importantly, sound changes consciousness. Many ancient civilizations and modern indigenous cultures have used sound to heal and access higher levels of consciousness for thousands of years.

There are a wide range of techniques that utilize sound as a tool for change. The most common and basic use of sound is for meditation and relaxation. Chanting, toning and overtone singing are some of the most powerful methods for resonating sound throughout the body. The use of nature sounds and natural instruments, such as crystal bowls and tuning forks, have specific healing frequencies and harmonics. Drumming and rhythm are now used by corporations to release stress and build team consciousness. Shamanic drumming takes people into altered states of consciousness. Sound is now being using by clinical psychologists to help children with certain learning disabilities. Binaural beat frequencies are used to entrain people into very specific states of consciousness. Sound is used to alter brainwave states to help people with sleep disorders and facilitate creative expression. Listening to one’s own root frequency enables an individual to create a more centered and grounded awareness within their life. The technique called Bio-Tuning uses root frequencies and binaural beats, played back through a sound table, to entrain people into specific brainwave states. Sound and music are also used to help with difficult life transitions, including birth and death. The medical community also uses sound and music in a variety of applications such as: during surgery to relieve pain, to break up gall stones and to relax muscles using ultrasound. Doctors are now finding the resonant frequency of organs in order to help vibrate them back into a healthy state. Perhaps most exciting is cutting-edge research that shows how sound might be used to disintegrate diseases such as cancer.

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Produced by Scott Tuttle (Sound Healing Institute graduate) . This is an extremely relaxing meditation with waves of male voices mixed with Tingshas and other ancient instruments.
This flac works really well as background music. You could leave it on all day (even when you aren’t home to cleanse your place). With full attention it puts you in the zone.



Monks Sound Healing Meditation ( 25min flac     150mb).

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An important component of every scientific theory is that it must be falsifiable: if it disagrees with observations, it's wrong, no matter how elegant or beautiful it is, to paraphrase great physicist and Nobel laureate Richard Feynman. Unfortunately, it's not the way how contemporary cosmology, astrophysics and fundamental physics work for decades. Instead, every time the existing theories disagree with observations, the scientists make up more and more exotic explanations, instead of questioning the theory.

The Electric Sky poses valid questions about observed phenomena and official explanations in contemporary astrophysics and cosmology conflicting Maxwell's Theory of Electromagnetism. It offers alternative and straight forward interpretations, based on a very solid body of knowledge confirmed by observations and experiments without resorting to any exotic explanations impossible to confirm or falsify.

The Electric Sun, a lecture by Donald E. Scott PH.D., retired professor of Electrical Engineering at the University of Massachusetts-Amherst.






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 the 1st part of the 2nd sc-world tale Light Fantastic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).


01 Light Fantastic 1  34min
02 Light Fantastic 2  34min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).
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Oct 21, 2019

RhoDeo 1942 Re Up 210

Hello,


8 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  1 double (same artist) , whatever another batch of 33 re-ups (10.5 gig)


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

Looka here , requests fulfilled up to Octoberr 20th... N'Joy

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5x Sundaze Back in Flac  (Muslimgauze - Abu Nidal-Coup D'Etat ,  Muslimgauze - Intifaxa, Muslimgauze - Zul'm, Muslimgauze - Veiled Sisters sis 1, Muslimgauze - Veiled Sisters sis 2)



5x Sundaze Back in Flac (Steve Roach n Vir Unis - Body Electric, Steve Roach - Light Fantastic, Steve Roach n Metcalf-Serpent's Lair, Steve Roach n Metcalf - Offerings From The Underworld, Steve Roach - The Dream Circle)


3x Aetix Back in Flac ( Dinosaur Jr. - Dinosaur, Dinosaur Jr. - You're Living All Over Me, Dinosaur Jr. - Bug )



4x Aetix Back In Flac (Godley & Creme - Consequences,  Godley & Creme - Consequences 2 , Godley & Creme - L , Godley & Creme - Freeze Frame)



4x Grooves Back in Flac (Gil Scott-Heron & B.Jackson - It's Your World,  Gil Scott-Heron & B.Jackson - Bridges, Gil Scott-Heron & Jackson - Secrets, Gil Scott-Heron & Brian Jackson - 1980)



5x Friedman & Friends  Back in Flac (Drome - Corporate , Nonplace urban field - Nuf Said, Friedman - Cant Cool, Yello - Remastermix, still in ogg Xao Seffcheque - Ja-Nein-Vieleicht)



3x Sundaze Back in Flac ( VA - The Future Is My Melody Vol.1 , VA - The Future Is My Melody Vol.2, VA - The Future Is My Melody Vol.3)



4x Grooves NOW in Flac (MFSB - Gamble Huff Orchestra, MFSB - Mysteries Of The World, VA - Philadelphia Roots, Philadelphia Int Records - 40th Ann. 01 )


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Oct 20, 2019

Sundaze 1942

Hello, Brexitus be blessed, he giveth the populus ludere sine fine., however the bread could run out...



Today's artist is the recording alias of Magnus Birgersson, an electronic musician, composer, and sound designer from Gothenburg, Sweden. Birgersson's music spans the genres of ambient, IDM, downtempo, and psy-trance, and he has also composed numerous video game soundtracks, the Swedish electronic music artist is better known by his stage name Solar Fields, As of 2019, he has released eighteen albums, and has also scored all interactive in-game music for the Electronic Arts game Mirror's Edge as well as its sequel, Mirror's Edge Catalyst. His latest album, Origin#03, was released on 1 June 2019.......N-Joy

I expected much more interest in Magnus' work he deserves it, hence i post this Discogs comment here "Wow, I definitely missed the bus on this guy, but in the last couple months, I have become well familiar with his material, and I have to say, it is just epic. Lots of percussive ambient, but with enough atmospheric pads to really flesh out the tracks and give his music a spacey but also emotional quality. Seriously, track after track after track, Solar Fields is just a joy to listen to."

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Gothenburg-based Swedish composer, sound designer, and multi-instrumentalist Magnus Birgersson created Solar Fields in the late 1990s. Birgersson was raised in a musical family and began playing piano and synthesizers in the 1970s. In the mid-1980s he began combining synthesizers with computers. In addition to his ambient work, he has also been a guitar player in rock bands, a pianist in jazz funk bands, and keyboard player in drum and bass bands."

Under the moniker Solar Fields he composed 15 albums and appeared on over 60 various compilations. His first solo release was an ambient album named Reflective Frequencies, released on Ultimae in 2001. This was followed two years later by Blue Moon Station , which also included downtempo and trance, and was designed as a single fluid story.In late 2005, Solar Fields composed Leaving Home and Extended, the latter being a limited edition. His fifth album EarthShine, launched in 2007, featured more upbeat soundscapes blending morning trance, progressive, psychedelic, tribal and ambient music. This up-tempo album was warmly received by the progressive and psytrance scenes. This led to Electronic Arts and DICE commissioning Solar Fields for the in-game score for Mirror's Edge, a first-person action adventure video game released worldwide on November 14, 2008. The soundtrack was included in the VGC's "Top 20 Original Soundtracks in Gaming".

The following year, Solar Fields composed Movements. The album was ranked in the top 10 of best albums by Echoes listeners. The album Movements was also used as the soundtrack for the indie game Capsized from the small Canadian studio Alientrap in 2011. It remains his most popular album to date. In 2010, he used the harmonies and melodies of Movements in a remix album titled Altered - Second Movements and started the Origin series, four albums which aim to present archives and unreleased songs. Until We Meet the Sky and Random Friday were composed in parallel. In 2013, he released the second album in the Origin series, Origin #02.
He released his demo song "Cluster" later that year. His song "Pulse", along with a remix of it by Airwave, was released on June 30, 2014 by Joof Recordings;

 In 2014 Birgersson started his own label, Droneform Records, and released a series of digital compilations featuring updated, remixed, and remastered tracks from his catalog; the albums were titled Red, Green, and Blue. On September 30, 2015, it was confirmed by DICE and Birgersson that he was creating the in-game score of Mirror's Edge: Catalyst, and that he had been working on said score for twelve months as of the aforementioned date. More releases on his own label now Ourdom (2018) followed by a third edition of Origens, Origin#03 (2019)

Magnus has collaborated with Vincent Villuis, a.k.a. AES Dana, on H.U.V.A. Network and T.S.R. in the company of Daniel Segerstad and Johannes Hedberg from Carbon Based Lifeforms.



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EarthShine is definitely that EarthShattering, revolutionary trance album you would barely find anything similar to. There is nothing like it, neither before, nor after was released. It's in the league of its own. It's been 10+ years after the release, but even still you can barely come up with a trance music like this. Regular trance is clubby, has that common, generic patterns of build-up->breakdown->climax->folding scheme. Earthshine is not clubby in that particular sense. It's musical, and that's what makes it particularly amazing. You don't listen to 'trance' music here when you listen to this album. You listen to Music, which stylistically falls some where around – and embraces – Trance, Ambient and any other possible technical terms. It's not about generic sonic structures peculiar to generic trance, Magnus has definitely laced his soul in here which resulted in musical Stories. Each track has character, original and expressive in its own way.
This is what Profound trance sounds like. Trance with lush atmospheres, straight-out, sober and powerful. After more than 10 years after the release, these two are eternal classics of the genre for me – and I've had plenty to pick from. Needless to say that first listens upon revealing this album back in the days days nearly got me astonished and shocked. This is not an ordinary Trance album. It stands out. A true trance and true musical album.



.Solar Fields - EarthShine ( 535mb)

01 Summer 8:31
02 Kick Back 8:53
03 Black Arrow 10:02
04 Brainbow 11:22
05 Spectral Nation 12:02
06 Adjustment 9:49
07 February 9:42
08 Cruise 9:05

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This is another cornucopia of soundscapes and dreamworlds inside the minds eye. He maintains the chord progression archetypes that have given him his sound, while expounding in new and unique ways with how the tracks are layered and fuse. The detail and direction in every track is unparalleled. In Movements Solar Fields has one-upped himself; who'd have imagined he could blow Leaving Home out of the water like this?. Overall this album is another knockout



Solar Fields - Movements (flac 458mb)

01 Sol 7:44
02 Circles of Motion 8:09
03 Discovering 11:04
04 Sky Trees 7:05
05 The Stones are Not Too Busy 9:21
06 Dust 5:01
07 Das Bungalow 5:33
08 Feelings (Album Edit) 7:12
09 Patterns 4:08
10 The Road to Nothingness 6:46
11 Breeze 7:35

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The menu music titled "Introduction" on of the most sublime pieces of electronic music ever put to track. While its more or less an instrumental remix of the pop song "Still Alive" Lisa Miskovsky (which the soundtrack is more well known for), Solar Field's instrumental version exemplifies their prestigious sense in production, arranging, and synthesis. Hard to put into words but the moment that bass line drops, it all just makes sense and the whole piece revolving around that simple but indescribably tasteful melody makes every moment of this track pure bliss. The biggest portion of the album is of course the the music for each of the levels in the game. Rhythmically its uptempo DrumN'Bass-like music but with Solar Field's smooth psybient timbrel palette at play and it works magnificently in matching the pace of the game while also matching the clean futuristic metropolis aesthetic of the visual style. In game its effective background music, outside the game its just good background music. I personally like Kate and Shard the most out of these tracks. If the whole album was as exquisite as the Introduction track, this would be an easy 5/5. Still a very good soundtrack that well compliments an extremely creative and visually enriching game.



Solar Fields - Mirror's Edge (Original Videogame Score)   (flac 507mb)

01 Introduction 5:34
02 Edge & Flight 6:55
03 Jacknife 6:25
04 Heat 7:01
05 Ropeburn 7:15
06 New Eden 7:52
07 Pirandello Kruger 7:08
08 Boat 7:30
09 Kate 7:13
10 Shard 7:16
11 Lisa Miskovsky - Still Alive 4:34
12 Still Alive (Instrumental) 4:29

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Origin #1 is a superb collection of Magnus's music. It shows and evolution of his taste and talents, and his ability to always deliver textures and soundscapes that transport the listener. Automatic Sun is by far my favorite track from Origin #1. My only complaint is that it is too short... I have everyone of Solar Fields discs, and though some take some time to get to know, the more I listen to them the more I come to realize Magnus may just be a genius. Origing #1 took no time to get comfortable with. From the moment I heard Silent Walking, through Unite to the punctuation of that statement in Bigger Stream I was hooked. Almost There, Next Waiting, Embraced and Going In, to me, all serve as a preamble to Automatic Sun. The previous four tracks completely stand on their own merits, but when taken collectively with Automatic Sun as the conclusion to the sentence, it is nearly perfect in my mind. Reborn and OCT then finish the journey and it all ends up nicely at a point where if you start the music over again from the beginning, you can listen to Origin #1 for weeks on end.



Solar Fields - Origin # 01   ( flac   431mb)

01 Silent Walking 6:39
02 Unite 9:23
03 Bigger Stream 6:15
04 Almost There 7:16
05 Next Waiting 7:40
06 Embraced 7:25
07 Going In 7:48
08 Automatic Sun 3:30
09 Reborn 9:09
10 OCT 15:50

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Oct 18, 2019

RhoDeo 1941 Grooves

Hello, first the most amazing breakthrough in bioscience this century Bacteria contradict Darwin New microbial research at the University of Copenhagen suggests that 'survival of the friendliest' outweighs 'survival of the fittest' for groups of bacteria. Bacteria make space for one another and sacrifice properties if it benefits the bacterial community as a whole. The discovery is a major step towards understanding complex bacteria interactions and the development of new treatment models for a wide range of human diseases and new green technologies. Humans are colonized by many microorganisms; the traditional estimate is that the average human body is inhabited by ten times as many non-human cells as human cells, but more recent estimates have lowered that ratio to 3:1 Some microorganisms that colonize humans are commensal, meaning they co-exist without harming humans; others have a mutualistic relationship with their human hosts. Fact is without bacteria we and all other life on earth wouldn't exist, but we are human animals that thinks they know better..winner takes it all. Ah yes it's like the EU vs UK with the latters survival strategy not very promising for most of its inhabitants but then they have been conditioned to worship their winners for a 1000 years.....



Today's Artists are arguably one of the most critically acclaimed and influential groups of all time, they brought their own brand of politics and sonic innovation into hip-hop in the 80s, and some would say, changed it forever.Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn in 1998, "the most acclaimed body of work ever by a hip hop act  ...... N Joy

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 Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade. While Public Enemy's early Def Jam albums, produced with the Bomb Squad, earned them a place in the Rock and Roll Hall of Fame, they continued to release relevant material up to and beyond their 2013 induction.

Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil, Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album It Takes a Nation of Millions to Hold Us Back made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJ'ing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.
Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, who performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly become a force for social change. As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Times that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group was trying to consolidate its white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but Public Enemy began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy were on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to rethink Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91...The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999.

After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hour-long video of the band live in London in 1987 and a CD with rare remixes. The studio album New Whirl Odor also appeared in 2005. The "special projects" album Rebirth of a Nation -- an album with all rhymes written by Bay Area rapper Paris -- was supposed to be released right along with it, but didn't appear until early the next year. The odds-and-ends collection Beats and Places appeared before the end of 2006.

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy's single from the album was "Harder Than You Think". Four years after How You Sell Soul ... , in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and "lost" tracks. On July 13, 2012, Most of My Heroes Still Don't Appear on No Stamp was released and was exclusively available on iTunes. In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song "Harder Than You Think". The advert caused the song to reach No. 4[ in the UK Singles Chart on September 2, 2012. On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid 'n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series. On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London. On October 1, 2012 The Evil Empire of Everything was released. On June 29, 2013, they performed at Glastonbury Festival 2013. On September 14, 2013 they performed at Riot Fest & Carnival 2013 in Chicago, Illinois. On September 20, 2013 they performed at Riot Fest & Side Show in Byers, Colorado.

In 2014 Chuck D launched PE 2.0 with Oakland rapper Jahi as a spiritual successor and "next generation" of Public Enemy. Jahi met Chuck D backstage during a soundcheck at the 1999 Rock & Roll Hall of Fame and later appeared as a support act on Public Enemy's 20th Anniversary Tour in 2007. PE 2.0's task is twofold, Jahi says, to "take select songs from the PE catalog and cover or revisit them" as well as new material with members of the original Public Enemy including DJ Lord, Davy DMX, Professor Griff and Chuck D. PE 2.0's first album People Get Ready was released on October 7, 2014. InsPirEd PE 2.0's second album and part two of a proposed trilogy was released a year later on October 11, 2015. Man Plans God Laughs, Public Enemy's thirteenth album, was released in July 2015. On June 29, 2017, Public Enemy released their fourteenth album, Nothing Is Quick in the Desert. The album was available for free download through Bandcamp until July 4, 2017

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Sometimes, debut albums present an artist in full bloom, with an assured grasp on their sound and message. Sometimes, debut albums are nothing but promise, pointing toward what the artist could do. Public Enemy's gripping first album, Yo! Bum Rush the Show, manages to fill both categories: it's an expert, fully realized record of extraordinary power, but it pales in comparison with what came merely a year later. This is very much a Rick Rubin-directed production, kicking heavy guitars toward the front, honing the loops, rhythms, and samples into a roar with as much in common with rock as rap. The Bomb Squad are apparent, but they're in nascent stage -- certain sounds and ideas that would later become trademarks bubble underneath the surface. And the same thing could be said for Chuck D, whose searing, structured rhymes and revolutionary ideas are still being formed. This is still the sound of a group comfortable rocking the neighborhood, but not yet ready to enter the larger national stage. But, damn if they don't sound like they've already conquered the world! Already, there is a tangible, physical excitement to the music, something that hits the gut with relentless force, as the mind races to keep up with Chuck's relentless rhymes or Flavor Flav's spastic outbursts. And if there doesn't seem to be as many classics here -- "You're Gonna Get Yours," "Miuzi Weighs a Ton," "Public Enemy No. 1" -- that's only in comparison to what came later, since by any other artist an album this furious, visceral, and exciting would unquestionably be heralded as a classic. From Public Enemy, this is simply a shade under classic status.



Public Enemy - Yo! Bum Rush The Show  (flac   299mb)

01 You're Gonna Get Yours 4:05
02 Sophisticated Bitch 4:30
03 Miuzi Weighs a Ton 5:44
04 Timebomb 2:55
05 Too Much Posse 2:25
06 Rightstarter (Message to a Black Man) 3:49
07 Public Enemy No. 1 4:41
08 M.P.E. 3:44
09 Yo! Bum Rush the Show 4:26
10 Raise the Roof 5:19
11 Megablast 2:51
12 Terminator X Speaks With His Hands 2:13


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Yo! Bum Rush the Show was an invigorating record, but it looks like child's play compared to its monumental sequel, It Takes a Nation of Millions to Hold Us Back, a record that rewrote the rules of what hip-hop could do. That's not to say the album is without precedent, since what's particularly ingenious about the album is how it reconfigures things that came before into a startling, fresh, modern sound. Public Enemy used the template Run-D.M.C. created of a rap crew as a rock band, then brought in elements of free jazz, hard funk, even musique concrète, via their producing team, the Bomb Squad, creating a dense, ferocious sound unlike anything that came before. This coincided with a breakthrough in Chuck D's writing, both in his themes and lyrics. It's not that Chuck D was smarter or more ambitious than his contemporaries -- certainly, KRS-One tackled many similar sociopolitical tracts, while Rakim had a greater flow -- but he marshaled considerable revolutionary force, clear vision, and a boundless vocabulary to create galvanizing, logical arguments that were undeniable in their strength. They only gained strength from Flavor Flav's frenzied jokes, which provided a needed contrast. What's amazing is how the words and music become intertwined, gaining strength from each other. Though this music is certainly a representation of its time, it hasn't dated at all. It set a standard that few could touch then, and even fewer have attempted to meet since. "Don't believe the hype, it's just a sequel". And that's what made Public Enemy such a valuable listen in their early era. It was a group that understood it never mattered what the media said, it was all about the streets and the idea of "being real". Public Enemy was the idea of an MC deconstructing the idea of what rap should be, and a production team deconstructing the idea of what rap could sound like. Ironically, or perhaps appropriately, the factors of media would begin to dilute this group's performance going forward - especially once Flavor Flav and Professor Griff were disseminated from the group, or at least circumcised - but this is an album worth it's own hype (excuse the term) in gold. And that's really all that needs to be said



Public Enemy - It Takes A Nation Of Millions To Hold Us Back .  (flac   404mb)

Side Silver
01 Countdown to Armageddon 1:41
02 Bring the Noise 3:47
03 Don't Believe the Hype 5:20
04 Cold Lampin With Flavor 4:13
05 Terminator X to the Edge of Panic 4:30
06 Mind Terrorist 1:18
07 Louder Than a Bomb 3:37
08 Caught, Can We Get a Witness? 5:03
Side Black
09 Show Em Whatcha Got 1:57
10 She Watch Channel Zero?! 3:50
11 Night of the Living Baseheads 3:16
12 Black Steel in the Hour of Chaos 6:25
13 Security of the First World 1:22
14 Rebel Without a Pause 5:05
15 Prophets of Rage 3:15
16 Party for Your Right to Fight 3:27


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At the time of its release in March 1990 -- just a mere two years after It Takes a Nation of Millions -- nearly all of the attention spent on Public Enemy's third album, Fear of a Black Planet, was concentrated on the dying controversy over Professor Griff's anti-Semitic statements of 1989, and how leader Chuck D bungled the public relations regarding his dismissal. References to the controversy are scattered throughout the album -- and it fueled the incendiary lead single, "Welcome to the Terrordome" -- but years later, after the furor has died down, what remains is a remarkable piece of modern art, a record that ushered in the '90s in a hail of multiculturalism and kaleidoscopic confusion. It also easily stands as the Bomb Squad's finest musical moment. Where Millions was all about aggression -- layered aggression, but aggression nonetheless -- Fear of a Black Planet encompasses everything, touching on seductive grooves, relentless beats, hard funk, and dub reggae without blinking an eye. All the more impressive is that this is one of the records made during the golden age of sampling, before legal limits were set on sampling, so this is a wild, endlessly layered record filled with familiar sounds you can't place; it's nearly as heady as the Beastie Boys' magnum opus, Paul's Boutique, in how it pulls from anonymous and familiar sources to create something totally original and modern. While the Bomb Squad were casting a wider net, Chuck D's writing was tighter than ever, with each track tackling a specific topic (apart from the aforementioned "Welcome to the Terrordome," whose careening rhymes and paranoid confusion are all the more effective when surrounded by such detailed arguments), a sentiment that spills over to Flavor Flav, who delivers the pungent black humor of "911 Is a Joke," perhaps the best-known song here. Chuck gets himself into trouble here and there -- most notoriously on "Meet the G That Killed Me," where he skirts with homophobia -- but by and large, he's never been so eloquent, angry, or persuasive as he is here. This isn't as revolutionary or as potent as Millions, but it holds together better, and as a piece of music, this is the best hip-hop has ever had to offer.



Public Enemy - Fear Of A Black Planet  (flac   394mb)

01 Contract on the World Love Jam 1:49
02 Brothers Gonna Work It Out 5:03
03 911 Is a Joke 3:17
04 Incident at 66.6 FM 1:37
05 Welcome to the Terrordome 5:25
06 Meet the G That Killed Me 0:44
07 Pollywanacraka 4:13
08 Anti-Nigger Machine 2:39
09 Burn Hollywood Burn 3:04
10 Power to the People 3:48
11 Who Stole the Soul? 3:52
12 Fear of a Black Planet 3:42
13 Revolutionary Generation 5:43
14 Can't Do Nuttin' for Ya Man 2:46
15 Reggie Jax 1:35
16 Leave This Off Your Fuckin Charts 2:31
17 B. Side Wins Again 3:45
18 War at 33 1/3 2:07
19 Final Count of the Collision Between Us and the Damned 0:48
20 Fight the Power 4:42

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Apocalypse 91...The Enemy Strikes Black has traditionally been Public Enemy's under-rated classic, the one that the fans love but nobody ever talks about.  It's a weird situation, because there is no reason why this shouldn't be famous - it comes straight after two classics, Professor Griff's sacking gives it a backstory worthy of both tabloid scandal and broadsheet debate, it sold well, and it's got at least one song, in the Anthrax-featuring reworking of "Bring tha Noize", that has enjoyed regular airplay and exposure since release. If there is an explanation, it's that Apocalypse 91 is a different beast to either Fear of a Black Planet or It Take a Nation of Millions to Hold Us Back.  The production has changed hands, with The Bomb Squad moving into an executive role and newcomers The Imperial Grand Ministers of Funk handling the bulk of the work - their sound is less dense and less harsh than The Bomb Squad's, moving instead to something more basic and more obviously indebted to soul and funk.  That means that the one thing that was most obviously special and unique about P.E. is gone; the music on Apocalypse 91...The Enemy Strikes Black, while pretty great, is music that could concievably have been made by any number of producers. No matter, though - Chuck makes up for it by bringing his usual fire, while even Flava Flav sounds pissed off.  Public Enemy were always an angry group, but Apocalypse 91 may well be the album where they were most direct about it, raging at racist language ("I Don't Wanna Be Called Yo Nigga"), slavery ("Can't Truss It"), the media's hypocrisy when it comes to alcoholism ("1 Million Bottlebags"), and even finding time to take potshots at targets as seemingly harmless as De La Soul ('that nigger over there, who try to keep it yesteryear, the good old days - the same old ways that kept us dying?  Yes you, "My Myself & I" indeed, what you need is a nosebleed').  The song that last lyric comes from, "By the Time I Get to Arizona", is the greatest song they ever released - it's an absolute monster.



Public Enemy - Apocalypse 91... The Enemy Strikes Black (flac   381mb)

01 Lost at Birth 3:49
02 Rebirth 0:59
03 Nighttrain 3:27
04 Can't Truss It 5:21
05 I Don't Wanna Be Called Yo Niga 4:23
06 How to Kill a Radio Consultant 3:09
07 By the Time I Get to Arizona 4:48
08 Move! feat. Sister Souljah 4:59
09 1 Million Bottlebags 4:06
10 More News at 11 2:39
11 Shut Em Down 5:04
12 A Letter to the New York Post 2:45
13 Get the Fuck Outta Dodge feat. True Mathematics 2:38
14 Bring Tha Noize with Anthrax 3:47
   

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