RhoDeo 2013 Fingerprints 8

Hello,


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


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Dr. Jeffrey Thompson began experimenting with sound and its effects on the body and brain in 1981 at his Holistic Health Center in Virginia. His experiments involved using exact sound frequencies to make chiropractic spinal and cranial adjustments, to stimulate and normalize organ function, and to balance acupuncture meridians. His clinical research with thousands of patients and volunteers led to groundbreaking discoveries in how sound frequency patterns, built into musical soundtracks, can entrain brainwaves and trigger numerous health benefits.Dr. Thompson continued his scientific clinical research at a graduate school and research center in Encinitas, California, for many years. A member of the faculty, he taught behavioral psycho-acoustics and clinical neuroacoustic therapy courses, recognized by the state of California as part of the core curriculum for the clinical psychotherapy and human science master's and PhD programs. Dr. Thompson currently teaches at various institutions and through sponsored seminars, workshops, and certification courses.

The booklet that accompanies this set refers to Christiaan Huygens, a 17th-century Dutch scientist who observed that the pendulums of clocks that were mounted side-by-side would, over time, acquire identical rhythms. The human brain, asserts musician and researcher Dr. Jeffrey Thompson, is receptive to similar patterns of "entrainment" and "frequency following responses." His Brainwave Suite, one in a series of such packages, endeavors to elicit specific responses from the brain by taking sounds from nature (rain, birds, crickets, surf) and his own modest electronic music (call him a poor man's Vangelis), and strategically fortifying them with inaudible pulses and frequencies. (Subliminal messaging, we're assured, is not used here.) If successful, the listener's brain will become attuned to the good doctor's subsonic vibe, and generate waveforms that are conducive to creativity (the Theta disc), "emotional openness" (the Alpha-Theta disc), relaxation (the Alpha disc), and sleep (the Delta disc). Is this science or snake oil? No independent corroboration is cited in the booklet, and your response likely will be proportionate to your receptiveness to the concept. As for what you can hear on the four discs (each of which is about 40 minutes in length), the nature sounds are mostly peaceful and pleasant. Alpha-Theta is quite good (check out Bernie Krause, however, for the gold standard in natural sounds), and Delta, with its rumbling thunder, is not much of a sleep inducer. Thompson's music occasionally gleams and, at other times, resembles tunes in a can.

Dr. Jeffrey Thompson - Brainwave Alpha + Theta ( 83min flac   383mb).:


ALPHA - Relaxation and Meditation
01 Alert Relaxation (Light-Mid Alpha) 20:58
02 Meditation (Mid-Deep Alpha) 21:24

ALPHA-THETA - Awakened Mind Combined
03 Emotional Openess 20:26
04 Intimate Communication 20:32

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In this Discourse, we pause to review ground previously covered, with an emphasis on predictive ability.  How well does the proposed history of the Polar Configuration predict and explain the multitude of mythic archetypes?  Among the many dozens of archetypes we’ve reviewed in recent years, how many would be expected under our familiar sky today? We can find none.  The heart of our historical argument is that the known archetypes become fully predictable in the light of the reconstruction offered here.




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

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

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

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

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

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

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

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

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

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

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

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




Graham Hancock - 'Fingerprints of the Gods The Quest Continues 43-48 ( 139min  54mb)

narrated by the man himself, Graham Hancock

43 Chapter 43 Looking for the First Time 18:59
44 Chapter 44 Gods of the First Time 19:00
45 Chapter 45 The Works of Men and Gods 31:47
46 Chapter 46 The Eleventh Millennium BC 12:32
47 Chapter 47 Sphinx 28:48
48 Chapter 48  Earth Measurers 30:33


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previously

Graham Hancock - 'Fingerprints of the Gods The Quest Continues 0-6 ( 102min  48mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 7-13 ( 98min  37mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 14-20 ( 116min  44mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 21-25 ( 115min  53mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 26-31 ( 139min  53mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 32-37 ( 128min  59mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 38-42 ( 122min  46mb)


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RhoDeo 2013 Re Up 232

Hello, best place to be to lead a normal life these days...Sweden. There everything is 'normal' but then they had no carnival and citizens skying in the Alps as they have good skying facilities at home, Sweden has corona under control thusfar. And as to be expected first voices can be heard that the lives saved with the current policies aren't worth the huge toll taken on societies economies and a depression will cause many more deaths and loss of quality of life for billions of people and for years. I for one (whilst in the higher risk category) believe countries should go back to normal asap. Yes hospitals won't be able to cope, but palliative care could be scaled up quickly with family being able to take some of the burden . We know now this virus doesn't kill everyone, most hardly noticed they had it only 5 % needed intensive care, alas they need it for 3 weeks and thus the capacity in most countries is lacking, so why not accept the inevitable, many will die outside the hospital, we should prepare to give them a painless and worthy death surrounded by friends and family. We need steps in that direction because many poorer countries that have very little hospital facilities have nothing to protect and simply copy what the West is doing and thereby ruining what little economy they have. Mr Modi (India's president) is currently busy infecting his whole country with his idiot policy, instead of making sure what medical personal they have has adequate protection. Corona will be with us for years even after we in the West have created a vaccine, but that's a year away and in the meantime we shouldn't ruin our economies but accommodate fast testing and compulsory quarantine.



Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is deminishing day by day. I'm doing my best to fulfil requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.


13 correct requests for this week + 2 at the wrong place, one double and 1 too early,  whatever another batch of 52 re-ups (16.3 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 March 29th... N'Joy

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5x Austria NOW in Flac ( VA - Kruder & Dorfmeister - G-Stone , Sofa Surfers - Encounters , Dargaard - Innomine Aeternitatis, G.D. Luxxe - 21st Door, Peace Orchestra - Reset)



3x Sundaze Back in Flac ( Iasos - Inter-Dimensional Music, Iasos - Angelic Music, Iasos - Elixir  )



4x Grooves NOW in Flac(Gwen Guthrie - Padlock, Imagination - Night Dubbing, Louise Ciccone - Madonna , Jellybean - Wotupski)



3x Grooves Back in Flac 1434 ( Isaac Hayes - To Be Continued, Isaac Hayes - Shaft, Isaac Hayes - Black Moses)




4x Sundaze  Back in Flac (All India Radio - A Low High+Ambient, All India Radio - Piano and Ambience,.All India Radio - The Silent Surf + The Silent , All India Radio - Red Shadow Landing)



3x Sundaze Back in Flac  (Vladislav Delay - Anima, Vladislav Delay - Naima, Vladislav Delay - Whistleblower)




3x Sundaze Back In Flac (Aural Float - Introspectives, Aural Float - Freefloat, Aural Float - Beautiful Someday)




4x Roots  Back In Flac (Congos - Heart of the Congos remixed 78, Congos - Heart of the Congos dubs-disvomixes, Congos - Heart of the Congos original mix, Bunny Wailer - Blackheart Man )



9x Jumbo Day Back in Flac ( Violent Femmes - Id, Suicide - II, Romeo Void - Warm In Coat,  J.Richman - best of, Defunkt - Avoid the Funk, Comateens - Comateens, still in ogg Human Sexual Response - Fig14, James White - Second Chance, Units - Digital Stimulation)




3x Roots Back in Flac (  Manu Dibango - Africadelic,  Manu Dibango - Soul Makossa, Manu Dibango - Wakafrika)



3x Grooves Back in Flac ( Bar-Kays - Soul Finger,  Bar Kays - Gotta Groove, Bar-Kays - Black Rock)



3x Sundaze Back in Flac (  Klaus Schulze • Pete Namlook - Evolution of DSOTM, Move D / Namlook V - Wired, Move D / Namlook - X - Let The Circle Not Be Broken)



5x Aetix Back in Flac (The Damned - Strawberries, The Damned - Phantasmagoria, The Damned - Phantasmagoria Bonus, The Damned - Anything, The Damned - Sessions Of The Damned)


As announced please return if you have it

Maya Dread - Kaya Dub

you can do this by uploading at https://bayfiles.com/   no need to fill in anything there, just copy the result as a comment at Rho-Xs



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Sundaze 2013

Hello, today the first posting in the 3rd series of Steve Roach's impressive discography we've reached 2001 and all things going well expect a 4th series in years to come. On the corona front there's no good news, things are getting worse and I wonder how long the medical personal can cope with what looks like increasing pressures, after all this is over they will need a lot of support and not just financial. So today we start with a prayer to the protector...


Today's Artist is a longstanding leader in contemporary electronic music, composer and multi-instrumentalist,a onetime professional motorbike racer born 1955 in La Mesa, California,  drew on the beauty and power of the earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Drawing from a vast, unique, deeply personal authenticity, his releases cover a wide range of dynamic styles all of which bear his signature voice. For 35 years the boundaries are constantly challenged in his work, ranging in style from pure floating spaces, analog sequencer music, primordial tribal, rhythmic ambient, dark ambient, long-form 'drift ambient,' and avant garde atonal ambient.....N'Joy

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A longstanding leader in contemporary electronic music, composer and multi-instrumentalist Steve Roach drew on the beauty and power of the Earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Born in California in 1955, Roach -- inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis -- taught himself to play synthesizer at the age of 20. Debuting in 1982 with the album Now, his early work was quite reminiscent of his inspirations, but with 1984's Structures from Silence, his music began taking enormous strides. The album's expansive and mysterious atmosphere was partly inspired by the natural beauty of the southwestern U.S. Subsequent works, including 1986's three-volume Quiet Music series honed Roach's approach, his dense, swirling textures and hypnotic rhythms akin to environmental sound sculptures.

In 1988, inspired by the Peter Weir film The Last Wave, Roach journeyed to the Australian outback, with field recordings of aboriginal life inspiring his acknowledged masterpiece, the double-album Dreamtime Return. A year later, he teamed with percussionist Michael Shrieve and guitarist David Torn for The Leaving Time, an experiment in ambient jazz. After relocating to the desert outskirts of Tucson, Arizona, Roach established his own recording studio, Timeroom. In the years to follow, he grew increasingly prolific, creating both as a solo artist and in tandem with acts including Robert Rich, Michael Stearns, Jorge Reyes, and Kevin Braheny -- in all, he recorded close to two-dozen major works in the '90s alone, all of them located at different points on the space-time continuum separating modern technology and primitive music.

His album roster from that decade includes Strata (1991), Artifacts (1994), Well of Souls (1995), Amplexus (1997), and Dust to Dust (1998). Early Man was released on Projekt in early 2001, followed by one of his many collaborations with Vidna Obmana, Innerzone. Throughout the remainder of the 2000s, Roach remained extremely prolific. His release schedule included the Projekt titles Trance Spirits (with Jeffrey Fayman) and the quadruple-disc Mystic Chords & Sacred Spaces, Spirit Dome and Somewhere Else (with Obmana), Fever Dreams, Mantram, and Nada Terma (with Byron Metcalf and Mark Seelig), and the ongoing Immersion series, Arc of Passion, and Stream of Thought (with Erik Wøllo). He also self-released several titles on his own through Timeroom Editions.

Over the next decade, Roach would show no signs of slowing as he continued with a non-stop slew of new material under his own name, as well as collaborations and soundtrack work. Though new volumes of work appeared at a clip of more than three albums per year, standouts included more collaborations with Byron Metcalf, 2013's Future Flows, 2014's disparate releases of arid road trip music on The Desert Collection and ambient explorations of mortality and humanity on The Delicate Forever. Roach began constructing an extensive analog modular synthesizer system in 2014, and in 2015, the album Skeleton Keys was composed entirely using this setup. In 2016, Roach released two full-lengths with Robert Logan (the more rhythmic Biosonic and the serene drone album Second Nature), as well as solo efforts This Place to Be and Shadow of Time.

In concert, Steve creates transcendent electronic music emerging from an elemental instinctual mode. These events bring together an audience from around the country and as far away as Europe, all looking to experience the on-the-edge experience that erupts in the live setting. This makes Steve's concerts an entirely different experience from the recorded medium. With months of preparation absorbed into his system, evocative soundscapes blend with ecstatic rhythmic sections born from hands-on analog sound creation and sonic shapeshifting. The result is a direct transference of creative energy from the artist through his instruments out to the listener. Live performances are the place where Steve's music thrives, created at the leading edge of now.

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The relationship between Thupten Nyandak Pema Lama and Celestial Harmonies goes back to the mid-eighties when producer David Parsons recorded the first album by the monks of the Dip Tse Chok Ling Monastery in Dharamsala, India, for Fortuna Records, Sacred Ceremonies. At the time of this writing, there are three volumes in the Sacred Ceremonies series, with more in various planning stages. The recordings have been well received by a wide audience in many countries, from lay people interested in Buddhist culture to followers of the religion to listeners like director Bernardo Bertolucci who used some of their chants in 'Little Buddha'. Likewise, Steve Roach's relationship with Fortuna Records and thus Celestial Harmonies goes back to the mid-eighties, and Roach has since assembled a veritable catalogue of recordings in his inimitable style of electronic and acoustic/electronic music.

It therefore came as no surprise that Thupten thought of visiting Tucson, Arizona, and spending the night at Steve's house (cum recording studio) on the outskirts of Tucson. During that visit in 1996 the chant portion of the present recording was made, having been inspired by Thupten's daily chanting of prayers from the Lama Chöpa, (also known as Guru Puja in sanskrit), and essential compendium of daily prayers for Tibetan buddhists.

"In Paris, I heard a recording of Tibetan singing with this more modern music, and I thought someday I would like to do this myself," Thupten said almost immediately. Steve set up a microphone and Thupten proceeded to sing from the Lama Chöpa that he carries with him wherever he goes. Some of these chants are devotions to the gurus and deities who assist seekers on the path to enlightenment. Others are PRAYERS TO THE PROTECTORs who deflect evil influences and cleanse the world of imbalances, negative emotions and ego-driven states of mind. The chants, which are sung formally at the monastery by all the monks twice a month, are an integral part of the individual's practice. Thupten told us that he recites these prayers alone at least once a day, sometimes letting them flow silently through his mind, other times feeling the compassion and strength they provide rising from his own voice. He sang his favorites during that impromptu session in the Timeroom. An hour later, after he closed his prayer book and recorded a brief interview, it was time for him to go. While there is an enduring quality of great power and comfort in these age-old chants, Thupten Pema Lama felt that Westerners and young monks taking the tradition into the 21st century would benefit from hearing them in an updated setting.

For Steve, it was an unexpected challenge: from the afternoon of December 31, 1999 through the first 18 days of 2000, he held vigil in the Timeroom, creating a sacred sonic space worthy of supporting, and at certain moments amplifying, the feelings of devotion, compassion, protection and unfathomable mystery resonating throughout Thupten's recitations. "When the chants were originally recorded, Thupten and I talked about how we could bring them to the West in a context of clear and direct understatement," Steve remembers. "I waited for the right moment to bring my own soundworlds into the picture, for a time when I was ready to devote myself to the task with the reverence it deserved. During those first weeks of a most auspicious new year, I absorbed Thupten's chants from day into night, adding sounds from the deep well of inspiration these ancient chants inspired in me, stripping away what was unecessary until finally the circle was complete. Considering the way in which the initial idea practically came knocking on my door, and the place I had to go in myself to contribute to the project, Prayers to the Protector is for me a very special release."

Steve Roach - Prayers to the Protector (flac 242mb)

01 Gyab Do (Refuge Prayer For All Sentient Beings) / Ganden Lhagya (Prayer For Tsonkhapa, The Founder Of The Gelugpa Sect) 2:08
02 Dechen Ngangle Rangnyi Lama Le (Blessing Of The Place Of Meditation) 15:01
03 Djew Takgya Lingchee Lhunbur Dje (Prayer For The World Or Planet) 8:48
04 Tokme Dune Meeke Dikbeele (Purification Prayer To Dissolve All Sins Committed In Past Lives) 8:32
05 Prayer To The Protector (Instrumental) 4:58
06 Yonden Jungne Tsultrim Gyatso Dje (Prayer To Wisdom, To Knowledge And Religious Vows) 13:57

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This second Timeroom Editions release flows with a prime collection of lost pieces from the Dreamtime Return period up to 1998. Some of the pieces have appeared on multi-artist samplers, while others have been gathered for this special release. Truth & Beauty creates a connected story line, which seems to fit together like the soundtrack to an imaginary film.

Steve Roach - Truth & Beauty (The Lost Pieces Vol.2)  (flac 349mb)

01 Aftermath 9:11
02 The Majestic Void 5:36
03 Fall of the Moai 1:53
04 Earthman 9:44
05 Fate Awaits 8:29
06 Beyond the Blood 5:15
07 Before the Sacrifice 6:51
08 The Unreachable Place (Again) 9:38
09 The Unbroken Promise 7:50
10 This and the Other 11:20

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Core is dynamic convergence of Steve's most essential organic, electronic, rhythmic and atmospheric elements, making this a stand-out solo release. The Summer of 2001 was a time of renewal as Roach turned away from all concerts, collaborations and other offers, directing his focus deep into the heart of this powerful journey, back to the core. 100% pure Steve Roach music. Created at the crossroads blending his various genre-bending phases of elegant futurism, tribal-ambient, classic sequencer trance and modern electronica. Rhythmically activated and spatially charged, Core is a seductively original work of art. Richly textured with imaginative sounds, samples and dynamics from crunchingly intense rhythms to ethereal images, Roach continues to tear down the style barriers with this eclectic masterpiece. "Core Meditation" as well as the other eleven compositions on Core fuse elements of shamanic ritual, electronic, experimental, and ethno-ambient into an engaging ecstatic matrix.

Steve Roach - Core (flac  412mb)

01 Way of Now 3:50
02 Wings of Icarus 7:40
03 Train of Thought 5:52
04 Resonation Revelation 6:55
05 Core Meditation 4:24
06 So It Goes... 10:06
07 Endorphine Dreamtime 8:50
08 Hyperportal 11:57
09 Indigo Yearning 4:25

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Streams and Currents creates a sanctuary that is rarely found in today's music. The perfect atmosphere for contemplation and dreaming with eyes open, imbued with an ephemeral quality that seems to linger at the edge of conscious perception, creating an introspective, enveloping flow of mood-altering pieces. The album progresses into deeper, darker, warmer, and quieter zones, towards a beautiful submerged ending. Do not expect jangly chords or ripping riffs, however, for Roach has filtered this guitarwork through a series of sound processors, rendering the strings into languid soundscapes that undulate timelessly through the air. These delicate tonalities drift like somber dust motes on aerial currents, guided into elongated harmonies by Roach's masterful ability to derive structure from sounds that teeter on the brink of silence.

For all its passive qualities, this music possesses an undercurrent of vitality. These calming aural moods are dense with seemingly endless textures and soothing drones, but their softness is subtly alive with a subdued agitation accountable to their guitar origins. While "pure" electronics display an unearthly resonance, in Roach's expert hands the guitar proves itself to be just as capable of filling the air with ethereal sound. Where others may be satisfied to compile passages of raw scrapings and dreamy strumming, Roach treats the output of his guitars like an assortment of airborne mists, guiding these sonic vapors into introspective currents whose elegant contortions smoothly traverse space and time to generate a timeless zone of infinite expanse. For the album's epic piece, "Spirit Moves", a mantra beat has been added to the haunting strains, delivering the composition from higher atmospherics into realms that exhibit more humanity and substance. This quasi-tribal percussive presence is utilized only for the beginning of this 28 minute track, allowing moodiness to resume control of the patient flow.

Steve Roach - Streams and Currents (flac 230mb)

01 Present Moment 7:52
02 Spirit Moves 28:37
03 Slow Rising 14:38
04 Almost Touching 13:56
05 Ebb 4:52
06 Flow 4:00

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RhoDeo 2012 Grooves

Hello,  things are getting serious now and societies will be tested on their resilience this crises could last a year and i think football competitions should plan for finishing the 19/20 competition a year later, including the championsleague. According to the headclown of the US things should be back to business coming Easter, but then his prime adviser in this is the Easter bunny. It is worrisome because the world has been dependent on the purchasing power of the US, but if this economy tanks things could go from bad to disastrous and hyperinflation of the dollar a serious possibility, thusfar it's value has been kept up because other valuta are seen as riskier-at this moment- but these traders are a pack of wolves and they will tear up the hand that's fed them without any remorse. Meanwhile Europeans are worried whether their IC capabilities are sufficient to keep corona sufferers breathing, clearly Italy and Spain already have been overwhelmed, Germany on the other hand looks capable to handle the crises whilst the UK is preparing itself for the worst. One thing is certain the next 4 weeks will shock the westernworld.


Today's Artists are an industrial hip-hop group that was most active during the 1980s and early 1990s, and briefly reformed in 2004 for a tour. Their music occupies the territory where funk, dub, industrial music and electronica intersect. The core members are Doug Wimbish (bass), Keith Leblanc (percussion) and Skip McDonald (guitar) and producer (sometimes credited as "mixologist") Adrian Sherwood. Despite being short-lived as band proper, the legacy and output of these groups of musicians has been prodigious.......N Joy

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Delivering a powerful mix of taut funk, hip-hop-style grooves, and dub-wise electro-industrial menace, Tackhead was an inspired collaboration between the rhythm section of Keith LeBlanc, Skip McDonald, and Doug Wimbish and maverick producer Adrian Sherwood. LeBlanc, McDonald, and Wimbish first gained a reputation as the studio musicians behind a handful of early rap classics. When Sherwood hired them to work on one of his On-U Sound production projects, it initiated a series of collaborations that culminated in the first proper Tackhead album, 1989's Friendly as a Hand Grenade. The trio's original run ended in 1991, but various permutations of the band continued to work together, and they reunited for the 2014 album For the Love of Money.

Guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc began working together in the late '70s, serving as the backing band for many of Sugar Hill Records' early rap releases, generating the grooves behind such classics as the Sugarhill Gang's "Rapper's Delight" and Grandmaster Flash's "The Message" and "White Lines." In October 1983, LeBlanc scored a minor hit and international press attention with "No Sell Out," a single in which he layered samples from a speech by Malcolm X over a powerful hip-hop backing track. Adrian Sherwood, an innovative British producer and dub remixer who founded the On-U Sound label, crossed paths with LeBlanc during a visit to New York, and the producer invited LeBlanc to work with him. LeBlanc, McDonald, and Wimbish relocated to England, and soon became Sherwood's backing group of choice for his On-U projects, including albums by Mark Stewart & Maffia and Gary Clail. One of their earlier collaborations was as "Mark Stewart and the Maffia", which featured Stewart, former member of The Pop Group on vocals. Their first LP produced under that name As the Veneer of Democracy Starts to Fade was amongst the most industrial, noise-oriented and uncompromising of the group's output, described by John Leland as "a scary mess of random sounds, spoken words, and tiny snippets of music, processed and distorted to a grating electric edge In 1985, LeBlanc, McDonald, and Wimbish cut the first of a handful of singles under the rubric Fats Comet, and they began using the name Tackhead with the single "What's My Mission Now," with Sherwood adding found voices and electronics to the rhythm section's hard-edged performances. The trio and Sherwood worked together on LeBlanc's 1986 solo album Major Malfunction, and sessions backing Gary Clail emerged on the 1987 album Tackhead Tape Time, credited to Gary Clail's Tackhead Sound System.

Later to join forces with Tackhead, was Gary Clail, who as MC for the touring version of the On-U sound system would shout and rant over Tackhead's live playing, and both were then mixed live by Sherwood to produce a wall of sound effect that was highly novel for the mid-1980s. They released one LP Tackhead Tape Time in 1987 as "Gary Clail's Tackhead Sound System" and some of the most distinctive and well-known Tackhead tracks (some were released as 12-inch singles) date from this period particularly: "What's My Mission Now?", "Mind at the End of the Tether" and "Hard Left". These tracks combined funk basslines, hammerblow percussion and Sherwood's trademark sample-laden dub production and represent the defining Tackhead sound.

During this period Leblanc also produced two solo LPs: the highly inventive Major Malfunction (1986) (inspired by the Space Shuttle Challenger disaster) and Stranger Than Fiction (1989), which although credited to Leblanc, featured all the rest of members of Tackhead. Around this time the group began to gell as a band, and started adding vocalists to what had been up until then a largely instrumental affair. On the first Tackhead LP, proper, Friendly as a Hand Grenade, vocalist Bernard Fowler joined the line-up and many older instrumental tracks re-appeared with lyrics. In 1990 Tackhead mounted a world tour which probably marked the zenith of the band's commercial success.

In 1989, the same year LeBlanc dropped his second solo set, Stranger Than Fiction, Tackhead finally released their first proper album, Friendly as a Hand Grenade, issued by TVT Records. The LP debuted a fifth member, Bernard Fowler, who contributed vocals, rather than relying on the vocal samples Sherwood often added to the tracks. In 1990, Tackhead moved to the EMI-distributed SBK label and delivered Strange Things, a more rock-oriented effort that included guest appearances from rapper Melle Mel and Mick Jagger on harmonica. The album didn't live up to commercial expectations, and while LeBlanc, McDonald, and Wimbish continued to play on various On-U Sound System projects, it represented the last new Tackhead material for many years. Between 1994 and 1997, Tackhead brought out three volumes of rarities, outtakes, and live material under the title Power, Inc. In 2004, they reunited for a tour of the United States and Europe, and in 2006, Sherwood assembled a collection of highlights from the group's recording career, Tackhead Sound Crash: Slash & Mix Adrian Sherwood. Tackhead staged another reunion in 2013, recording a collection of covers titled For the Love of Money for the German label Dude Records. 2016 brought The Message, a limited-edition collection of Tackhead and Fats Comet material remixed by Robo Bass Hifi (aka German producer Markus Kammann). Another collection of rare Tackhead material, The Lost Tapes 1 & Remixes, appeared on the Echo Beach label in 2018.


Despite not recording any new material as Tackhead since, group members continued to record as the backing band or along with various Sherwood-led On-U Sound productions artists such as Gary Clail's solo efforts, African Head Charge, Dub Syndicate, New Age Steppers and others. Subsets of the group have also appeared in various guises such as the Strange Parcels, Barmy Army and the blues-oriented Little Axe.

In addition to continuing to collaborate with Sherwood and the On-U Sound record label, each of the other members continues to lead active solo careers. McDonald leads the Little Axe project, and Leblanc runs a record label and plays with two jazz outfits, Noah Ground and Nikki Yeoh's Infinitum. As well as remaining much in demand as a session bass player, Wimbish later became the bass player for Living Colour and has recorded solo material as well as forming the short-lived Jungle Funk (later Head>>Fake), a live drum and bass outfit also featuring Living Colour drummer Will Calhoun.

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It is more than a little disingenuous to refer to this as a Keith LeBlanc album. While his considerable drumming skills and compositional abilities are major parts of why this record is good, there are many other similarly important contributions made by Adrian Sherwood's Tackhead gang (including Sherwood himself). That said, Major Malfunction is a wild, multifaceted piece of contemporary music that welds hard rock onto reggae onto musique concrete. With vocal sampling including everything from Apollo control to Margaret Thatcher, this is a complex, but extremely satisfying work. Avoid if your taste in music (or in Tackhead recordings) doesn't run to the extreme end of experimental.

  Keith LeBlanc - Major Malfunction  (flac   378mb)

01 Get This 2:43
02 Major Malfunction 4:47
03 Heaven On Earth 4:31
04 Object-Subject (Break Down's Not Enough) 5:13
05 I'll Come Up With Something 3:27
06 Move 0:48
07 Technology Works Dub 5:42
08 You Drummers Listen Good 4:41
09 Ending 1:00
Bonus
10 Einstein Mad Dub 3:41
11 Mechanical Movements Dub 4:55
12 Old Beat Master Mix 11:03
13 Tick Of Time Instrumental 3:30
extra Bonus Keith LeBlanc's 12-inch dance mix that featured snippets of speeches by Malcolm X set to a churning mass of funk-dub supervised by Adrian Sherwood. A great record, No Sell Out, oddly enough, became a demi-hit because of its popularity in dance clubs. Early postmodern rock/funk/dub'n'roll at its best.
14 No Sell Out 4:00

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On this album, the Dancehall Demagogue meets the kings of cut-and-paste funk pastiche. By the time this album was released, Gary Clail's stern political imprecations had become an integral part of Tackhead's live shows; he would sit at the mixing desk and intone radical exhortations while the band ripped things up onstage. With Tackhead Tape Time they take it to the studio, and the result is taut, tough, and funky. Clail isn't much of a singer (though he makes an admirable attempt on "Reality"), and the content of some of his pronouncements can be a bit eye-rolling, but he and Tackhead certainly seem to bring the best out in each other -- the samples of Margaret Thatcher, military officers, and news reporters (as well as the occasional snippet of reggae toaster Prince Far I and someone who sounds suspiciously like Andy Fairley) combine perfectly with Tackhead's robotic and yet strangely passionate electro-funk to create something eerie, exciting, and booty-moving. Highly recommended.

 Gary Clail's Tackhead Sound System - Tackhead Tape Time    (flac   232mb)

01 Mind At The End Of The Tether 6:38
02 Half Cut Again 0:28
03 Reality 7:07
04 M.O.V.E. 2:23
05 Hard Left 5:07
06 Get This 4:27
07 Man In A Suitcase 4:10
08 What's My Mission Now? (Fight The Devil) 5:51

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Starting off with a Prince Buster cover and progressing through ten tracks of surprisingly slick funk-rock, Friendly as a Hand Grenade is a bit of a surprise after the harder studio effects of Tackhead-related projects like Major Malfunction and Tackhead Tape Time. The addition of vocalist Bernard Fowler (formerly of the Peech Boys) provides much of the soul. The first listen in a long while leaves a favourable impression.  It's far more funk than anything else and bangs along pretty nicely.

Tackhead - Friendly as a Hand Grenade (flac   221mb)

01 Ska Trek 0:46
02 Tell Me The Hurt 5:19
03 Mind And Movement 5:23
04 Stealing 6:30
05 Airborn Ranger 5:02
06 Body To Burn 1:04
07 Demolition House 4:08
08 Free South Africa 1:57
09 Ticking Time Bomb 4:23
10 Ska Trek 1:34

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Another record with LeBlanc taking top billing, this is yet another exercise in Sherwood's wildly original Tackhead "empire." Unlike Major Malfunction, this is a little more restrained, but with people like Gary Clail and Sherwood involved, easy listening this ain't. LeBlanc gets all the writing credits, and he's done a great job of coming up with a challenging assortment of material. At times fiery and polemical, at others unhinged and dadaesque, Stranger than Fiction is another interesting, at times compelling work from this unique musical collective.

  Keith LeBlanc - Stranger Than Fiction  (flac   257mb)

01 But Whitey 1:37
02 Einstein 3:55
03 Taxcider 3:54
04 Here's Looking At You 3:34
05 Steps 5:50
06 Count This 4:02
07 Whatever 1:49
08 Men In Capsules 2:50
09 Dreamworld 4:43
10 These Sounds 1:06
11 Mechanical Movements 4:54
12 Comedy Of Errors 6:01

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RhoDeo 2012 Fingerprintz 7

Hello, so yesterday one of my uploaded pages didn't register i noticed today even after trying again...nothing, well i have found the reason, missing quotation marks- " oh dear, well it's all there now, so Cassius fans N Joy



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


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Dr. Jeffrey Thompson began experimenting with sound and its effects on the body and brain in 1981 at his Holistic Health Center in Virginia. His experiments involved using exact sound frequencies to make chiropractic spinal and cranial adjustments, to stimulate and normalize organ function, and to balance acupuncture meridians. His clinical research with thousands of patients and volunteers led to groundbreaking discoveries in how sound frequency patterns, built into musical soundtracks, can entrain brainwaves and trigger numerous health benefits.Dr. Thompson continued his scientific clinical research at a graduate school and research center in Encinitas, California, for many years. A member of the faculty, he taught behavioral psycho-acoustics and clinical neuroacoustic therapy courses, recognized by the state of California as part of the core curriculum for the clinical psychotherapy and human science master's and PhD programs. Dr. Thompson currently teaches at various institutions and through sponsored seminars, workshops, and certification courses.

By combining soothing music with sophisticated sound technology, Music for Brainwave Massage has been shown to effect profound changes in brainwave patterns and states of consciousness-changes discernable on brain mapping EEG equipment. Throughout the flowing, peaceful melodies, Dr. Thompson has incorporated specific audio signals to create a sympathetic response in the two hemispheres of the brain. This coordination of right and left brains in associated with deep relaxation, stress reduction, creativity, insight, and enhanced problem solving.

This file does what it says it does: it balances the right and left hemispheres of the brain. I've always been extremely right-brained, and have found it difficult to feel part of the world of the more predominant left-brainers. Listening to it everyday, and from the very first time, I noticed a huge difference in my thinking. It was a big adjustment, but I kept going. Now, I'm using my right and left hands together, and seem to be more balanced all the way around. I used to grimace when faced with simple math and logic, and now it comes so easily. I'm glad to have become more acquainted with the left side of my brain, thanks to this file.fileve shared it with others who are more left-brain dominant, and they enjoy it, too. They report feeling more intuitive and creative in their thinking after listening, so it appears that it really does do exactly what it says it does.

Absolutely the best, most restorative experience you will ever have, that I have ever had in my years of listening to various CDs. You will notice the effects and affects of this wonderful musical journey from the very first track--- there are 2 wonderfully lengthy ones --- and enjoy the depth of relaxation you discover during the playing-time. So, get this Brain Massage 2.0 files and experience it for yourself. Your brain will thank you each and every time!!!

Dr J Thompson - Music for Brainwave Massage 2.0 ( 59min flac   276mb).:

01 Awakened Focus 29:40
02 Tranquil Awareness 29:47
+PDF




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Special Feature: HOW STARS ARE FORMED

This is a brief excerpt from The SAFIRE Project presentation at the November 2019 GlobalBEM Conference in the Netherlands. Dr. Michael Clarage presents a simple overview of two possible models for the formation of stars.




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

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

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

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

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

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

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

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

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

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

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

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




Graham Hancock - 'Fingerprints of the Gods The Quest Continues 38-42 ( 122min  46mb)

narrated by the man himself, Graham Hancock

38 Chapter 38 Interactive Three-Dimensional Game 28:37
39 Chapter 39 Place of the Beginning 26:34
40 Chapter 40 Are There Any Secrets Left in Egypt 14:40
41 Chapter 41 City of the Sun, Chamber of the Jackal 17:11
42 Chapter 42 Anachronisms and Enigmas 34:40



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previously

Graham Hancock - 'Fingerprints of the Gods The Quest Continues 0-6 ( 102min  48mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 7-13 ( 98min  37mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 14-20 ( 116min  44mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 21-25 ( 115min  53mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 26-31 ( 139min  53mb)
Graham Hancock - 'Fingerprints of the Gods The Quest Continues 32-37 ( 128min  59mb)

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RhoDeo 2012 Re Up 231

Hello, as Italy saw it's first drop in victims, most of you are advised to stay at home and or keep 1.5m distance when going out, obviously many can't or won't comply as they seem unable to grasp what is going on. In the Netherlands roads to beachresorts were closed down to prevent people to enjoy a very sunny sunday at the sea, parks were full, to my surprise these still haven't been closed but then the Dutch government is trying to balance the need for some normality and keep the economy going and control the tempo of the spread of the virus to a manageable level for the health care sector . Neighbors Belgium are angry because they decided to go in lockdown which obviously seems a good response but isn't because this virus isn't going away, it's only just started on it's global triumph tour. The populace need to buildup resistance and this can only come through people having survived the infection which is going on now, and with a vaccine which will take many months minimal to develop. After just 2 weeks these Belgians are spewing hateful remarks in the direction of the Dutch i expect them to go completely mental in a month or two, certainly if they see the Dutch live less oppressed, and in the knowledge when all this is over their country is ruined, and the Dutch who were in a much stronger financial position and who immediately assured those that got layed off 90% of their income, yes the reality check has been limited in the Netherlands. Alas the great worry now are what will happen to the UK and USA, countries not known for their collective institutions and with lot's of poor people. As for the rest of the world hmmm too many of them have bigger worries.


Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is deminishing day by day. I'm doing my best to fulfil requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.


13 correct requests for this week, 2 too early,  whatever another batch of 52 re-ups (16.2 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 March 19th... N'Joy

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3x Beats Back in Flac ( Étienne de Crécy - Super Discount, Etienne De Crecy - Tempovision , Étienne de Crécy - Super Discount 2)



3x Grooves Back in Flac ( Sly & The Family Stone - Greatest Hits , Sly & The Family Stone - Stand, Sly & Family - There's A Riot Goin' On )


3x Beats Back in Flac(Cassius - 1999 , Cassius - Au Reve, Cassius -15 Again)



1x Beats Back in Flac ( Akufen - My Way)



3x Roots)  Back in Flac (New Age Steppers ‎- New Age Steppers,.New Age Steppers ‎- Action Battlefield, New Age Steppers ‎- Foundation Step)



9x Kraft works Back in Flac  (Kraftwerk - Trans-Europe Express, Kraftwerk - Computerwelt, Elektric Music - Esperanto, Yamo - Time Pie, Senor Coconut - El Baile Alemán, Terre Thaemlitz - Die Roboter Rubato,  VA - Trans Slovenia Express still in ogg Kraftwerk - R emi X e S, Various plastic surgery on The Model )




3x Roots Back In Flac (Prince Far I & The Arabs - Message From The King, Prince Far I n The Arabs - Dub To Africa, U-Roy - Dread In A Babylon)



3x Roots  Back In Flac (Singers & Players - Revenge of the Underdog, Singers & Players - Staggering Heights,  Singers & Players - Golden Greats 2)



4x Roots Back in Flac ( Joe Gibbs &  - State Of Emergency, Joe Gibbs - Majestic Dub, Joe Gibbs & - African Dub Chapter 5,  Sly & Robbie - Syncopation)



4x Aetix NOW in Flac (  Mark Stewart - Learning To Cope With Cowardice,  Mark Stewart - As The Veneer Of Democracy Starts To Fade, Mark Stewart - Mark Stewart, Mark Stewart - Metatron)



4x Beats NOW in Flac ( Jam & Spoon - Tripomatic Fairytales 01,  Jam & Spoon - BeatTrax, Dance 2 Trance - Revival, DJ Tiësto - In Search Of Sunrise)



6x Aetix Back in Flac (  The Smiths - The Smiths, The Smiths - Meat Is Murder, The Smiths - The Queen Is Dead, Smiths - Strangeways, Here We Come, The Smiths - Singles Box 1-6, The Smiths - Singles Box 7-12)


5x Aetix Back in Flac (Killing Joke- id., Skinny Puppy - Greater Wrong, Primal Scream - Dirty Works, Golden Earring - The Devil Made Me Do It, Kevin Ayers - The Confessions of dr.Dream)

Sundaze 2012

Hello, you may have heard of the six degrees of separation theory, the idea that all people are six, or fewer, social connections away from each other. Also known as the 6 Handshakes rule. As a result, a chain of "a friend of a friend" statements can be made to connect any two people in a maximum of six steps. It sort of explains how the world could be infected with Covid 19 and governments are well aware of it, their actions are geered to slow it down, to stop the Public Health services becoming overwhelmed. The infection is spread from one person to others via respiratory droplets, often produced during coughing and sneezing.[ Time from exposure to onset of symptoms is generally between 2 and 14 days, with an average of 5 days. The standard method of diagnosis is by reverse transcription polymerase chain reaction (rRT-PCR) from a nasopharyngeal swab or throat swab. The use of masks is recommended for those who suspect they have the virus and their caregivers but not ! the general public. Meanwhile Italy despairs, whilst New York wonders if that army hospitalship is enough for the coming onslaught of critical corona patients, at the testing side it looks things are moving fast.but far from global.


Today's artist is an Iranian musical ambassador between the Orient and the West.......N-Joy

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Talk of ‘us’ and ‘them’ has long dominated Iran-related politics in the West. At the same time, Christianity has frequently been used to define the identity and values of the US and Europe, as well as to contrast those values with those of a Middle Eastern ‘other’. Yet, a brief glance at an ancient religion – still being practised today – suggests that what many take for granted as wholesome Western ideals, beliefs and culture may in fact have Iranian roots.
Even the idea of Satan is a fundamentally Zoroastrian one. It is generally believed by scholars that the ancient Iranian prophet Zarathustra (known in Persian as Zartosht and Greek as Zoroaster) lived sometime between 1500 and 1000 BC. Prior to Zarathustra, the ancient Persians worshipped the deities of the old Irano-Aryan religion, a counterpart to the Indo-Aryan religion that would come to be known as Hinduism. Zarathustra, however, condemned this practice, and preached that God alone – Ahura Mazda, the Lord of Wisdom – should be worshipped. In doing so, he not only contributed to the great divide between the Iranian and Indian Aryans, but arguably introduced to mankind its first monotheistic faith.

Zoroaster likely lived between 1500 and 1000 BC, but some scholarship suggests he may have been a contemporary of Persian emperors Cyrus the Great and Darius I . The idea of a single god was not the only essentially Zoroastrian tenet to find its way into other major faiths, most notably the ‘big three’: Judaism, Christianity and Islam. The concepts of Heaven and Hell, Judgment Day and the final revelation of the world, and angels and demons all originated in the teachings of Zarathustra, as well as the later canon of Zoroastrian literature they inspired. Even the idea of Satan is a fundamentally Zoroastrian one; in fact, the entire faith of Zoroastrianism is predicated on the struggle between God and the forces of goodness and light (represented by the Holy Spirit, Spenta Manyu) and Ahriman, who presides over the forces of darkness and evil. While man has to choose to which side he belongs, the religion teaches that ultimately, God will prevail, and even those condemned to hellfire will enjoy the blessings of Paradise (an Old Persian word).

Zoroastrianism may have been the first monotheistic religion, and its emphasis on dualities, such as heaven and hell, appear in Judaism, Christianity and Islam
How did Zoroastrian ideas find their way into the Abrahamic faiths and elsewhere? According to scholars, many of these concepts were introduced to the Jews of Babylon upon being liberated by the Persian emperor Cyrus the Great. They trickled into mainstream Jewish thought, and figures like Beelzebub emerged. And after Persia’s conquests of Greek lands during the heyday of the Achaemenid Empire, Greek philosophy took a different course. The Greeks had previously believed humans had little agency, and that their fates were at the mercy of their many gods, who often acted according to whim and fancy. After their acquaintance with Iranian religion and philosophy, however, they began to feel more as if they were the masters of their destinies, and that their decisions were in their own hands.

Though it was once the state religion of Iran and widely practised in other regions inhabited by Persian peoples (eg Afghanistan, Tajikistan and much of Central Asia), Zoroastrianism is today a minority religion in Iran, and boasts few adherents worldwide. The religion’s cultural legacy, however, is another matter. Many Zoroastrian traditions continue to underpin and distinguish Iranian culture, and outside the country, it has also had a noted impact, particularly in Western Europe.
Zoroastrian rhapsody. Centuries before Dante’s Divine Comedy, the Book of Arda Viraf described in vivid detail a journey to Heaven and Hell. Could Dante have possibly heard about the cosmic Zoroastrian traveller’s report, which assumed its final form around the 10th Century AD? The similarity of the two works is uncanny, but one can only offer hypotheses.

Elsewhere, however, the Zoroastrian ‘connection’ is less murky. The Iranian prophet appears holding a sparkling globe in Raphael’s 16th Century School of Athens. Likewise, the Clavis Artis, a late 17th/early 18th-Century German work on alchemy was dedicated to Zarathustra, and featured numerous Christian-themed depictions of him. Zoroaster “came to be regarded [in Christian Europe] as a master of magic, a philosopher and an astrologer, especially after the Renaissance," says Ursula Sims-Williams of the School of Oriental and African Studies at the University of London.

Today, mention of the name Zadig immediately brings to mind the French fashion label Zadig & Voltaire. While the clothes may not be Zoroastrian, the story behind the name certainly is. Written in the mid-18th Century by none other than Voltaire, Zadig tells the tale of its eponymous Persian Zoroastrian hero, who, after a series of trials and tribulations, ultimately weds a Babylonian princess. Although flippant at times and not rooted in history, Voltaire’s philosophical tale sprouted from a genuine interest in Iran also shared by other leaders of the Enlightenment. So enamoured with Iranian culture was Voltaire that he was known in his circles as ‘Sa’di’. In the same spirit, Goethe’s West-East Divan, dedicated to the Persian poet Hafez, featured a Zoroastrian-themed chapter, while Thomas Moore lamented the fate of Iran’s Zoroastrians in Lalla Rookh. Freddie Mercury was intensely proud of his Persian Zoroastrian heritage

It wasn’t only in Western art and literature that Zoroastrianism made its mark; indeed, the ancient faith also made a number of musical appearances on the European stage.
In addition to the priestly character Sarastro, the libretto of Mozart’s The Magic Flute is laden with Zoroastrian themes, such as light versus darkness, trials by fire and water, and the pursuit of wisdom and goodness above all else. And the late Farrokh Bulsara – aka Freddie Mercury – was intensely proud of his Persian Zoroastrian heritage. “I’ll always walk around like a Persian popinjay,” he once remarked in an interview, “and no one’s gonna stop me, honey!” Likewise, his sister Kashmira Cooke in a 2014 interview reflected on the role of Zoroastrianism in the family. “We as a family were very proud of being Zoroastrian,” she said. “I think what [Freddie’s] Zoroastrian faith gave him was to work hard, to persevere, and to follow your dreams.”

When it comes to music, though, perhaps no single example best reflects the influence of Zoroastrianism’s legacy than Richard Strauss’ Thus Spoke Zarathustra, which famously provided the booming backbone to much of Stanley Kubrick’s 2001: A Space Odyssey. The score owes its inspiration to Nietzsche’s magnum opus of the same name, which follows a prophet named Zarathustra, although many of the ideas Nietzsche proposes are, in fact, anti-Zoroastrian. The German philosopher rejects the dichotomy of good and evil so characteristic of Zoroastrianism – and, as an avowed atheist, he had no use for monotheism at all.

Freddie Mercury and Zadig & Voltaire aside, there are other overt examples of Zoroastrianism’s impact on contemporary popular culture in the West. Ahura Mazda served as the namesake for the Mazda car company, as well as the inspiration for the legend of Azor Ahai – a demigod who triumphs over darkness – in George RR Martin’s Game of Thrones, as many of its fans discovered last year. As well, one could well argue that the cosmic battle between the Light and Dark sides of the Force in Star Wars has, quite ostensibly, Zoroastrianism written all over it.

For all its contributions to Western thought, religion and culture, relatively little is known about the world’s first monotheistic faith and its Iranian founder. In the mainstream, and to many US and European politicians, Iran is assumed to be the polar opposite of everything the free world stands for and champions. Iran’s many other legacies and influences aside, the all but forgotten religion of Zoroastrianism just might provide the key to understanding how similar ‘we’ are to ‘them’.

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Sina Vodjani, son of a French mother and Persian father. He is an ambassador of music between east and west. Born in 1954 in Iran and raised in Tehran, San Francisco, and Paris.
As a child he began to take singing and guitar classes to later continue his piano studies in Germany. He is deeply introduced to mysticism practicing Qi Gong (traditional Chinese medicine), yoga and shamanism. He is also a professional photographer who has exhibited in various galleries in Paris and Hamburg. He has traveled seeking knowledge in India, Nepal, Tibet and Iran. In his albums he sometimes collaborates with international artists such as Choying Drolma, Sojiro, Eiko Yamashita ... mixing everything in his studio in Hamburg.

This album is a tribute to the music and spirituality of India. An almost intoxicating mix of songs, sitar, tabla and synthesizers. And Sina especially dedicates it to Mātā Amritanandamayī Devi (a kind of Teresa of Calcutta) to spread his messages of peace throughout the world.This album brings concentration and peace , it is hamonious and beautiful.

Sina Vodjani - Indian Colours or Om Shanti   (flac 268mb)

01 Om Shanti 4:03
02 Indian Colours 6:29
03 Emaho 5:59
04 Alap 3:19
05 Feeling Of Love 10:34
06 Blue Sky 4:34
07 Mohabat 7:59
08 Dosa 6:58

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The search for new musical forms led Sina Vodjani to India, Nepal and Tibet, where he was closely engaged in the study of various musical sources and traditions, as well as mastered sitar. He received answers to his questions by combining contrasting musical elements, mixing Eastern and Western motifs with flamenco, French and Indian speech, and from this harmony, this musical cosmopolitanism, drew his inspiration and spiritual strength. 

Almost all the songs on this album are singing Tibetan prayers to the accompaniment of traditional oriental instruments. The light weaving of electronics, in my opinion, only supplements the overall harmony of sound. "Many thanks to Geshe Tubten Ngawang, head of the Tibetan Center in Hamburg, for honoring me by participating in the creation of this album and allowing me to use the recording of my prayers" - Sina Vodjani. 

Sina Vodjani - Healing the Heart (flac 419mb)

01 Request To My Root Lama Lobsang Jampa Khedrunp 6:02
02 Praise To Tara In 21 Homages, Mantra And Praises 5:23
03 Prayer And Mantras Of The Three Long Life Deities 4:23
04 Tea Offering Prayers 2:30
05 Heart Sutra 8:17
06 Offering One's Virtues 2:40
07 Inviting Padmasambhava, Mantra And Reqest To Him 4:57
08 Reqest To Tsongkhapa 5:12
09 Blessing Of The Ground 4:54
10 Prayer For The Practice Of Lamrim 6:39
11 Taking Refuge In The Three Jewels 2:32
12 Prayer To Be Able To Complete One's Practice 5:34
13 Dedication 4:03
14 Prayer For The Longlife Of H.H. The Dalai Lama 4:35
15 Reqest And Prayer To Avalokitesvara 6:04

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It presents a short overview of Zarathustra’s teachings and says something of his significance. It stresses the idea that "Zoroaster did not need to provide evidence of miracles or similar mystic events to spread his message; he appealed directly to the intellect, logic and common sense of his listeners". Emphasis is also placed on the role of ‘Asha’ in Zoroaster’s thought, defined here "that which conforms", a kind of universal law of creation, the principle which unites all things in harmony. Human understanding of ‘Asha’ can be approached through meditation and imagination, but also through obedience to the code of good thoughts, good works, good deeds" – the code which Vodjani’s book carries as its subtitle.

Just who was Zoroaster? The search for the answer to this question took the Hamburg musician Sina Vodjani back to the land of his birth, Iran. Following in the tracks of the ancient Persian founder of Zoroastrianism, Sina crossed deserts and mountain regions, wandered through fertile valleys, travelled wonderful coastal regions and visited towns and cities steeped in history. He met priests and local musicians and captured the sights and sounds with microphone, camcorder and camera – creating a fascinating illustrated book beyond the “Also sprach Zarathustra” of Nietzsche and Strauss. About Vodjani’s music, at times it is little more than mood music and sometimes the insistent sounds of synthesiser and (politely) rockish beats rather overwhelm any very fully Iranian feeling. Yet there are some lovely passages played on the ney (the traditional Iranian flute) and the oud (ancestor of the lute). There are passages from the gathas (the Zoroastrian hymns). As is evidently Vodjani’s method all are fused and laid on top of one another; there are moments when Persian words and English words are sung almost simultaneously – so that neither is fully audible. Vodjani is obviously a musician of considerable talent – but for my tastes I would have preferred to have heard his musical ideas, his musical impressions, separate from the traditional sounds and elements, rather than fused in this way. Still, I have no wish to deny that there are some beautiful and attractive moments. The music works especially well as soundtrack to the DVD. The musicians involved should certainly be credited. They are: Mobed Mehraban Firouzgary, Mobed Sirus Hormazdi (Avesta Prayer Recitation); Roma Majumdar (bansouri flute); Pasha Hanjani (ney flute); Ali Pajuheshgar (oud); Shahriar Monazami (komancheh); Hamid Saeik Bahai (daf); Sina Vodjani (guitars, sitar, tar, setar, piano, bass). The whole was mixed and engineered by Vodjani, also using Persian vocals from samples provided by the Iran Music association.

Sina Vodjani - Zarathustra ( flac   441mb)

01 Prelude 1:33
02 Choupan 6:58
03 Ashem Vohu 6:46
04 Dear Friend 4:57
05 Sacred Fire 5:04
06 Don’t Sleep 6:11
07 Persepolis 6:07
08 Chak Chak 8:09
09 Dashti 5:24
10 Wings of Love 6:45
11 Be the One 1:56
12 Emptiness 1:39
13 Zarathustra 3:04
14 Ahura & The Rising Sun 4:14
15 Asha 3:15

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In the Gathas (these are 17 Avestan hymns believed to have been composed by Zarathushtra (Zoroaster) himself. They form the core of the Zoroastrian liturgy (the Yasna)., Zoroaster sees the human condition as the mental struggle between aša and druj. The cardinal concept of aša—which is highly nuanced and only vaguely translatable—is at the foundation of all Zoroastrian doctrine, including that of Ahura Mazda (Lord of Wisdom) (who is aša), creation (that is aša), existence (that is aša), and as the condition for free will.)

The purpose of humankind, like that of all other creation, is to sustain and align itself to aša. For humankind, this occurs through active ethical participation in life, ritual, and the exercise of constructive/good thoughts, words and deeds.Elements of Zoroastrian philosophy entered the West through their influence on Judaism and Platonism and have been identified as one of the key early events in the development of philosophy. Among the classic Greek philosophers, Heraclitus is often referred to as inspired by Zoroaster's thinking.

In 2005, the Oxford Dictionary of Philosophy ranked Zarathustra as first in the chronology of philosophers. Zarathustra's impact lingers today due in part to the system of religious ethics he founded called Mazdayasna. The word Mazdayasna is Avestan and is translated as "Worship of Wisdom/Mazda" in English. The encyclopedia Natural History (Pliny) claims that Zoroastrians later educated the Greeks who, starting with Pythagoras, used a similar term, philosophy, or "love of wisdom" to describe the search for ultimate truth.

Zoroaster emphasized the freedom of the individual to choose right or wrong and individual responsibility for one's deeds. This personal choice to accept aša and shun druj is one's own decision and not a dictate of Ahura Mazda. For Zoroaster, by thinking good thoughts, saying good words, and doing good deeds (e.g. assisting the needy, doing good works, or conducting good rituals) we increase aša in the world and in ourselves, celebrate the divine order, and we come a step closer on the everlasting road to Frashokereti. Thus, we are not the slaves or servants of Ahura Mazda, but we can make a personal choice to be co-workers, thereby perfecting the world as saoshyants ("world-perfecters") and ourselves and eventually achieve the status of an Ashavan ("master of Asha")

Strauss named the sections after selected chapters of Friedrich Nietzsche's novel Thus Spoke Zarathustra: These selected chapters from Nietzsche's novel highlight major moments of the character Zarathustra's philosophical journey in the novel. The general storylines and ideas in these chapters were the inspiration used to build the tone poem's structure.

 Richard Strauss - Also sprach Zarathustra by Berliner Philharmoniker, Herbert von Karajan (flac   159mb)

Also sprach Zarathustra, Op.30
1 Prelude (Sonnenaufgang) [1:50]
2 Von den Hinterweltlern [3:29]
3 Von der großen Sehnsucht [2:07]
4 Von den Freuden und Leidenschaften [1:59]
5 Das Grablied [2:49]
6 Von der Wissenschaft [4:32]
7 Der Genesende [5:15]

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RhoDeo 2011 Grooves

Hello,  as societies get tested on their resistance to the current destabilizing environment, the future is very uncertain because countries like UK and USA so important for global economics are unable to change their laissez faire attitude, these countries that once were the leading lights in the world are now losing the respect and see Asia rise, today China delivered a lot of support goods to Italy, Italians will remember. Other countries will probably follow and should find it easier to trust the Chinese. Currently California governor issues statewide 'stay at home' order , New York has closed restaurants and bars but the rest of America seems to believe they can kill the virus by shooting at it. It could become a huge disaster, beyond Italy. In the end the best prepared/organised countries will survive this mostly unscathed, but as this world is so economically connected it looks this world is in for a serious depression. One good thing that might spring from it is a revaluation of the value to society of what now are called essential services not just nurses and doctors but teachers, drivers , supermarket staff, police, local government yes in general the underpaid in Western Society...



Today's Artists never had a mainstream hit of their own, but during rap's so-called golden age in the late '80s, they were almost universally recognized as the premier DJ/MC team in all of hip-hop. Not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Eric B. was a hugely influential DJ and beatmaker whose taste for hard-hitting James Brown samples touched off a stampede through the Godfather of Soul's back catalog that continues up to the present day. Rakim, meanwhile, still tops fan polls as the greatest MC of all time. He crafted his rhymes like poetry, filling his lines with elaborate metaphors and complex internal rhymes, and he played with the beat like a jazzman, earning a reputation as the smoothest-flowing MC ever to pick up a mic. His articulation was clear, his delivery seemingly effortless, and his influence on subsequent MCs incalculable. Together, their peerless technique on the microphone and turntables upped the ante for all who followed them, and their advancement of hip-hop as an art form has been acknowledged by everyone from Gang Starr to the Wu-Tang Clan to Eminem......N Joy

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Eric Barrier was born and raised in the East Elmhurst section of Queens, New York. He played trumpet and drums throughout high school, and later switched to experimenting with turntables prior to graduation. The newly dubbed "Eric B." soon began DJing for radio station WBLS in New York City, including WBLS' promotional events around the city. Barrier wound up meeting Alvin Toney, a promoter based in Queens. Eric B. had been looking for rappers and Toney recommended he use Freddie Foxxx, a Long Island MC. Toney took Eric B. to Foxxx's home, but Foxxx was not there, so Toney suggested another option: William Griffin, a.k.a. Rakim. Eric B. & Rakim began their critically acclaimed partnership in 1986 with the release of "Eric B. is President" / "My Melody". Griffin had begun writing rhymes as a teenager in Wyandanch and had taken the name "Rakim" as a result of his conversion to The Nation of Gods and Earths. Eric B. borrowed records from Rakim's brother, Stevie Blass Griffin (who worked at a plant pressing bootleg albums) and began cutting them in the basement for Rakim, who was down there drinking a beer and relaxing. Said Eric B., "I took Fonda Rae's "Over Like A Fat Rat" and said 'This is the bass line I'm going to use for this record.' Rakim spit the beer all over the wall and thought it was the funniest shit in the world. I told Rakim, just like you laughing now you going to be laughing all the way to the bank and be a millionaire one day because of this record.".Eric B. & Rakim decided to record together and came under the tutelage of Marley Marl. Stories vary over who actually produced their first single, 1986s "Eric B. Is President" (often cited as "Eric B For President" because of a mistake made when licensing the recording). Built on the Fonda Rea bass line sample, Eric B. later told AllHipHop, "I took the records to Marley Marl's house in Queensbridge and paid Marley Marl to be the engineer. Marley got paid. That's why he's not a producer; that's why he is not getting publishing. I brought the music. I just couldn't work the equipment because that's not what I did..."

The duo recorded its debut album, Paid in Full, at Power Play Studios in New York. The album was named in part after the Paid in Full posse, a notorious New York collective of gangsters and rappers: including the original 50 Cent, Killer Ben, Kool G Rap and Freddie Foxxx. The Paid in Full posse are featured on the back cover of the album. In 1987, 4th & B'way Records issued the album. After the success of "Eric B. is President", the album climbed into the Top Ten on the US Billboard Top R&B/Hip-Hop Albums chart. Eric B. would later admit that the album was rushed. "The reason Paid In Full is so short is because we stood in the studio for damn-near a week. The whole album came together in a week. Listen to the lyrics on it and listen to how short they are. That's because Rakim wrote it right there and we'd been in the studio like for a whole forty-eight hours trying to get the album finished." Rakim agrees: " I used to write my rhymes in the studio and go right into the booth and read them. When I hear my first album today I hear myself reading my rhymes - but I'm my worst critic. That's what I hear, though - because that's what it was. I'd go into the studio, put the beat down, write the song in like an hour, and go into the booth and read it from the paper..." Marley Marl stated that his cousin MC Shan was an assistant engineer on some tracks, including the single "My Melody," though Eric B. denies this. MTV listed the album as the greatest in hip hop history: 'When Paid in Full was released in 1987, Eric B. and Rakim left a mushroom cloud over the hip-hop community. The album was captivating, profound, innovative and instantly influential. MCs like Run-DMC, Chuck D and KRS-One had been leaping on the mic shouting with energy and irreverence, but Rakim took a methodical approach to his microphone fiending. He had a slow flow, and every line was blunt, mesmeric. And Eric B. had an ear for picking out loops and samples drenched with soul and turned out to be a trailblazer for producers in the coming years.' The record has sold over a million copies and the Recording Industry Association of America (RIAA) certified it platinum in 1995. On the heels of the albums' success, the duo signed a deal with MCA.

Follow the Leader, the duo's follow-up to Paid In Full; saw their production move away from the blunt minimalism of their debut. The title track and "Lyrics of Fury" were two of Rakim's most acclaimed lyrical performances. In 2003, comedian Chris Rock referred to Rakim's rhymes on the "...Fury" as 'lyrically, the best rapping anyone's ever done...' Rock also listed Follow the Leader as 12th on his Vibe magazine's list of the Top 25 Hip Hop Albums of All-Time. At the time, the record went largely unnoticed by the mainstream music industry.In 1989, the pair teamed up with Jody Watley on her single "Friends" from the album Larger Than Life. The song would reach the Top Ten on the Billboard Hot 100 chart and was one of the first notable collaborations between hip hop and dance pop. Eric B. & Rakim rarely collaborated with other rappers. This was evident in early 1990, when KRS-One's Stop the Violence Movement put together the charity single "Self-Destruction". The song featured numerous notable rappers, but Rakim was noticeably absent from the proceedings. He told HalftimeOnline.net years later, "I don't think they hollered at me or they hollered at Eric B. and he didn't say anything to me. I was a little bitter with that shit because I felt I had something to do with bringing consciousness in hip hop to the table. I came out and did what I did in '86 and then you know people started running with it. Then when it comes time to do something they didn't holler at me so I was a little bitter. At the same time a lot of reasons I didn't do records with people is because I never wanted their light to reflect on me. I don't have a problem with it but everybody who knows at that time knows they were trying to say I was responsible for gangsta rap, too. They thought I was that dude in the hood so maybe they didn't holler at me for a reason. I love Kris, though — he definitely contributed a lot to hip hop. I've been on tour with him and I know him as a person. He's a good dude. I like Kris, but they definitely didn't holler at me for that man because I would have definitely did it."

Their 1990 album Let the Rhythm Hit 'Em was not as successful commercially as their first two LPs. Rakim referenced his enigmatic reputation on the song "Set 'Em Straight": "Here's the inside scoop on the fiend/They want to know why I'm seldom seen/'Cause who needs the TV screens and magazines/Or shooting through the city in fly limousines/'Cause one thing I don't need is a spotlight/'Cause I already got light..." He later said about his relative lack of commercial success: "You could sell a couple records and keep your integrity or you could go pop and sell a bunch of records and be gone tomorrow. I was trying to stick to my guns at that point." The album was one of the first to receive the honor of a 5 mic rating in The Source. But, much like their debut album, there exists controversy over the production credit. The duo made an appearance on the soundtrack for the 1991 comedy House Party 2, ("What's On Your Mind") and also recorded the theme for the film, Juice. Both singles were included on what would become the duo's last album together. Don't Sweat the Technique was released in 1992. The album was not supposed to be the last; but their contract with MCA was due to expire. During the recording of the album, both members expressed an interest in recording solo albums. However, Eric B. refused to sign the label's release contract, fearful that Rakim would abandon him. This led to a court case involving the two musicians and their former label. The legal wrangling eventually led to the duo dissolving completely. Eric B. has clarified that the monetary problems stemmed from labels like Island and others claiming ownership of the masters — not from any financial disputes between him and Rakim:

    "The money got split 50 /50 from the door, because I remember people would try to keep shit going. When we first came out, people were saying 'Eric was getting all the money' and 'he was trying to shine more than Rakim,' but that's not true.[I would go to all the interviews, [because] Rakim didn't want to go to the interviews. He didn't like that part of the business. [But] we split all the money from dime one. I don't care what money I spent in the past, that money is never coming back. Whatever money we made, we split 50/50. Even up until now, we split every dime 50/50."

Post-breakup and legacy

Eric B. released a self-titled solo album in 1995 on the independent label 95th Street Recordings. Legal issues continued to delay Rakim's solo career, but he finally released The 18th Letter in 1997. In 1999, Rakim's second solo album The Master was released to less favorable reviews. By the turn of the millennium, Eric B. was pursuing other business interests outside of music. Rakim signed with Dr. Dre's Aftermath label in 2000, but the expected album never materialized. Since then, Rakim has made guest appearances with numerous other artists such as Jay-Z ("The Watcher, Part 2"), Truth Hurts ("Addictive"), Nas, KRS-One and Kanye West ("Classic"). In 2002, "Don't Sweat The Technique" appeared in the video game Aggressive Inline. In 2004 "I Know You Got Soul" appeared on the video game Grand Theft Auto: San Andreas, playing on Playback FM. In November 2009, Rakim released The Seventh Seal.


Reunion

On October 20, 2016, Eric B. announced via Twitter that he and Rakim have reunited as a duo after 23 years and would tour in 2017. This was confirmed by Eric B's business representative Uncle Louie during an interview with Rolling Stone.
The duo's first reunion concert was held at the Apollo Theater in New York City on July 7, 2017.[16] In 2018, they announced a 17-date American tour for that spring. On June 25, 2019, The New York Times Magazine listed Eric B. & Rakim among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire

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Yup.  This is the most influential hip hop album of all time.  Hip hop would never be the same.  Rakim's lyrics on this album are out of this world.  He is just SO GREAT.  At the time, no rapper could even touch Rakim's lyrical abilities.  He came out with a whole new multi-syllabic flow and the most complex, impressive lyrics that had ever been written in the history of hip hop.  I mean, how could anyone listen to this album without being blown away by several lines!?

"I start to think and then I sink
Into the paper like I was ink
When I'm writing, I'm trapped in between the lines
I escape when I finish the rhyme"

The production on Paid In Full was also better than any production before it.  These beats still sound fresh 25 years later.  Who doesn't love the funky "I Know You Got Soul" and "Move the Crowd," the horns on "I Ain't No Joke," and the killer bass lines on "Paid In Full" and "As the Rhythm Goes On"?

The only "weak points" that this album has are the instrumentals and they aren't really even weak points.  They're actually good instrumentals, especially "Extended Beat."  Basically, I have no criticisms of this album.  It's hip hop perfection.  Every hip hop fan should listen to this and love it.  If you don't love it at first, you're just not ready for it's amazingness yet.  Give it time and you'll come around.

Eric B n Rakim - Paid In Full: The Platinum Edition    (flac   449mb)

01 I Ain't No Joke 3:54
02 Eric B. Is on the Cut 3:44
03 My Melody 6:47
04 I Know You Got Soul 4:46
05 Move the Crowd 3:47
06 Paid In Full 3:49
0.7 As the Rhyme Goes On 4:01
08 Chinese Arithmetic 4:08
09 Eric B. Is President 6:18
10 Extended Beat 3:51

Eric B n Rakim - Paid In Full The Remixes  (flac   449mb)

11 Paid In Full (Seven Minutes of Madness - The Coldcut Remix) 7:10
12 I Know You Got Soul (The Richie Rich Megamix) 4:56
13 Move the Crowd (The Wild Bunch Remix) 4:24
14 Paid In Full (Derek B's Urban Respray) 5:13
15 As the Rhyme Goes On (Pumpin' the Turbo - Chad Jay in Effect) 6:11
16 Move the Crowd (Beatmix by The Democratic 3 featuring DJ Slack) 7:10
17 My Melody (Original Mix) 5:57
18 I Know You Got Soul (A Cappella) 4:42
19 I Know You Got Soul (Dub) 4:45
20 Eric B. Is President (Dub) 4:05
21 My Melody (Dub) 6:31

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So Rakim! You just revolutionized hip-hop lyricism and delivery forever! What'll you do next! Not gonna change a damn thing baby. Rakim leaps right back into the game only a year later and blows away any concept of sophomore slump without even trying. Making an album that's pretty much the equal of their debut, superior to it in some ways. Rakim himself hasn't changed a note, his MO is exactly as it was, razor sharp lines and breathless assured low key delivery that just cuts in and leaves no room to survive. He sounds even more confident here too, there's a hint of satisfaction in his voice this time that comes from the triumph of the last album no doubt. What has changed is the production style, for the better. The beats on the original, the standouts, were little masterpieces but they lacked a truly cohesive and fitting sound mostly. This is battle rap! Shouldn't the beats be hard? Here we get that in spades, the new sound is deep and heavy as hell for the time, smoldering and sparce. The duo really studied exactly what it was they were doing and tailored a new sound to best fit Rakim's style, so well they kept it up until 92', and influenced people from Ice T, Kool G Rap, and Paris with it. Sure there's still some questionable instrumentals from Eric, but when stuff comes together? When it all aligns? Fuck. Microphone Fiend is one of the dopest tracks ever made period. This album defines the term "victory lap", and made clear that Rakim wasn't just the guy who made golden age emceeing possible, but a guy who could emcee among the best within the age itself.

 Eric B & Rakim - Follow The Leader  (flac   245mb)

01 Follow the Leader 5:36
02 Microphone Fiend 5:17
03 Lyrics of Fury 4:15
04 Eric B. Never Scared 5:21
05 Just a Beat 2:07
06 Put Your Hands Together 5:15
07 To the Listeners 4:32
08 No Competition 3:52
09 The R 3:55
10 Musical Massacre 4:29
11 Beats for the Listeners 4:08

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Let the Rhythm Hit 'Em - title track aside - is not a hit-laden record, but that's in keeping with every non-Paid in Full Rakim release, honestly, so that's not really the issue. And all the ways in which Rakim refuses to accept the challenge of those rappers orbiting him while continuing to hone his craft in a very specific way is admirable. Jonathan Gold of the LA Times wrote a markedly self-aware review in which he backhandedly noted the album's "old school" style (in 1990!) while comparing Rakim's voice to infamous jazz instruments like Miles' trumpet and Coltrane's sax; also, as I shrug, attributing each and every production to Eric B. because he couldn't have known any better all the way over there in Los Angeles with a deadline to meet.

Rakim's imagery is still as potent as ever, and when he brags he's still better at it than most anyone else who was kicking brag raps. It's just hard to find him as purely engaging (fka "exciting") as other rappers who were beginning to put more of their personal lives out there for public consumption, or at least finding ways to do more with rap than merely talk about how good they were at it.

For better and worse, Rakim's best rhymes still have to do with how he leaves his mark on people, places and things with a mic in his hand - this is the same year Q-Tip gave "Bonita Applebum" the cold holler; KRS-One made a full album about health topics, gang violence, and hood-raised archetypes; Ice Cube explicitly called white and Korean men the devil; Flavor Flav declared 911 a fallacy in black neighborhoods while Chuck D turned a movie theme song into a political anthem for generations to follow; Shock G invented the Humpty Dance.

None of this is to say Let the Rhythm Hit 'Em is a bad record or anywhere near it; I'm even underplaying the moments when Rakim does do more conceptually work, like the grown man lady track "Mahogany", intellectualism appraisal of "In the Ghetto" or most direct addressing of his Five Percenter beliefs yet on "No Omega"

Eric B & Rakim - Let The Rhythm Hit 'Em (flac   292mb)

01 Let the Rhythm Hit 'Em 5:30
02 No Omega 4:45
03 In the Ghetto 5:22
04 Step Back 4:24
05 Eric B. Made My Day 5:05
06 Run for Cover 4:46
07 Untouchables 4:15
08 Mahogany 4:41
09 Keep 'Em Eager to Listen 4:40
10 Set 'Em Straight 4:25
11 Let the Rhythm Hit 'Em (12" Vocal Version Remix) 6:23

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Starting with their 1986 debut, Paid in Full, Eric B. and Rakim earned raves for Eric B.'s often flawless, judicious productions and Rakim's serious yet relentlessly rhythmic rhyming style. This 1992 album finds the duo picking up from where they left off of 1990's Let the Rhythm Hit 'Em. "What's on Your Mind" has Rakim with intents to woo under a bubbling track. That track aside, Don't Sweat the Technique has Rakim in bleak spirits as thoughts of combat, revenge, and unfortunate "accidents" are not far from his mind. "Casualties of War" has Rakim as an all-purpose psycho with the unsettling hook, "I get a rush when I see blood and dead bodies on the floor." Although it's supposed to be gripping, the thought of a war-ravaged Rakim with his pistols blazing after hearing a truck backfiring is hilarious. All of Don't Sweat the Technique would be more disturbing if it wasn't for the brilliant ear of Eric B. who can cut the tension and exact magic out of a going-nowhere track. Although the lyrics and premise of "What's Going On" aren't extremely sharp, the cracking snare drums and low bass riffs are a perfect compliment to Rakim's delivery. The title track is also jazz influenced, but not as potent as the Simon Law and Mr. Lee's Funky Ginger remixes that don't appear here. Like many albums of this type, Don't Sweat the Technique ends on tracks of little distinction but it is another strong effort from one of rap's most respected acts.

Eric B and Rakim - Don't Sweat the Technique (flac   282mb)

01 What's On Your Mind 5:30
02 Teach The Children 2:59
03 Pass The Hand Grenade 3:12
04 Casualties Of War 4:01
05 Rest Assured 3:38
06 The Punisher 4:06
07 Relax With Pep 3:59
08 Keep The Beat 4:16
09 What's Going On 3:49
10 Know The Ledge 4:00
11 Don't Sweat The Technique 4:22
12 Kick Along 3:29

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