RhoDeo 2043 Grooves

 Hello, as Corona proofs to be nastier and more difficult to get rid of, without ruining the economy and in a free society, and with scientists making blatantly wrong judgement calls considering aerosols largely irrelevant, when it turns out to be the main infection route only hindered by fresh air conditioning and masks the only form of personal protection as well as preventing sharing your own germs, somehow these experts didn't get it, in fact their doubts caused a widespread resistance against waring a mask, well no longer, that is if president Nincompoop doesn't get re elected....



Today's Artists had a partnership that produced some of the most unimaginably wonderful, melodic rock-pop and unabashed blue-eyed soul music it was the '70s and '80s fortune to experience. They may be thought of today as nerdy and radio-friendly, baby boomer, mullet head icons, but their strongly crafted songwriting talent, tight musicianship and Daryl's sweet and powerful vocals are a true listening joy.
.........N Joy

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From their first hit in 1974 through their heyday in the '80s, Daryl Hall and John Oates' smooth, catchy take on Philly soul brought them enormous commercial success -- including six number one singles and six platinum albums. Hall & Oates' music was remarkably well constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them, incorporating elements of new wave and hard rock.
Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured Gamble, Leon Huff, and Thom Bell, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late '60s before disbanding.


After Gulliver's breakup, Hall concentrated on session work again, appearing as a backup vocalist for the Stylistics, the Delfonics, and the Intruders, among others. Oates returned to Philadelphia in 1969, and he and Hall began writing folk-oriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records. On their first records -- Whole Oates (1972), Abandoned Luncheonette (1973), War Babies (1974) -- the duo were establishing their sound, working with producers like Arif Mardin and Todd Rundgren and removing much of their folk influences. At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit -- the number 60 "She's Gone" in the spring of 1974.

After they moved to RCA in 1975, the duo landed on its successful mixture of soul, pop, and rock, scoring a Top Ten single with "Sara Smile." The success of "Sara Smile" prompted the re-release of "She's Gone," which rocketed into the Top Ten as well. Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The record took off in early 1977, when "Rich Girl" became the duo's first number one single.


Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-'70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul. The combination would finally pay off in late 1980, when the duo released the self-produced Voices, the album that marked the beginning of Hall & Oates' greatest commercial and artistic success. The first single from Voices, a cover of the Righteous Brothers' "You've Lost That Lovin' Feeling," reached number 12, yet it was the second single, "Kiss on My List" that confirmed their commercial potential by becoming the duo's second number one single; its follow-up, "You Make My Dreams" hit number five. They quickly released Private Eyes in the summer of 1981; the record featured two number one hits, "Private Eyes" and "I Can't Go for That (No Can Do)," as well as the Top Ten hit "Did It in a Minute." "I Can't Go for That (No Can Do)" also spent a week at the top of the R&B charts -- a rare accomplishment for a white act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, "Maneater," as well as the Top Ten hits "One on One" and "Family Man." The following year, the duo released a greatest-hits compilation, Rock 'N Soul, Pt. 1, that featured two new Top Ten hits -- the number two "Say It Isn't So" and "Adult Education."


In April of 1984, the Recording Industry Association of America announced that Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one "Out of Touch." Following their contract-fulfilling gold album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & Oates went on hiatus. After the lukewarm reception for Daryl Hall's 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988's Ooh Yeah!, their first record for Arista. The first single, "Everything Your Heart Desires," went to number three and helped propel the album to platinum status.


However, none of the album's other singles broke the Top 20, indicating that their era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it featured only one Top 40 hit -- the number 11 single "So Close." The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful; far better was 2003's Do It for Love and the following year's soul covers record Our Kind of Soul.


The issuing of "greatest-hits" albums reached a fever pitch during the 2000s, with no fewer than 15 different collections seeing the light by 2008. Live records proliferated as well, with the A&E Live by Request release Live in Concert hitting stores in 2003, a reissue of their Ecstasy on the Edge 1979 concert (titled simply In Concert this time around) in 2006, and the Live at the Troubadour two-CD/one-DVD set in 2008. As far as proper studio albums go, the 2000s were lean, with only three releases -- the aforementioned Do It for Love and Our Kind of Soul, topped off by Home for Christmas in 2006. A career-spanning box set appeared in 2009, titled Do What You Want, Be What You Are: The Music of Daryl Hall and John Oates.


During the 2010s, the duo were very active, both together and separately. Several Hall & Oates tours were mounted, and they performed together on American Idol and The Voice. In 2011, Hall released his fifth solo album, Laughing Down Crying, on Verve Forecast, and that same year Oates released a blues tribute album titled Mississippi Mile. Three years later, Oates drafted contemporary pop stars including Ryan Tedder and Hot Chelle Rae for Good Road to Follow. Also in 2014, the duo were inducted into the Rock & Roll Hall of Fame.



you'll find the links beween the quotations

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Private Eyes solidified Hall & Oates' status as one of the most popular acts in America in the early '80s, and with 1982's H2O, they capitalized on its success, delivering an album that turned out to be bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with "Maneater," "One on One," and "Family Man." Bigger isn't necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too serious, with its ambitions just being a little too evident. Take the claustrophobic, paranoid "Family Man" -- covering an art rocker like Mike Oldfield suggests a far different agenda than crafting a tribute to the Temptations, and while "Family Man" isn't as key to the album as "Looking for a Good Sign" was to Private Eyes, it does indicate the relatively somber tone of H2O. Not that the album is a tortured dark night of the soul -- how could it be, when John Oates kicks off the second side with the proudly silly "Italian Girls"? -- but the production and performances are precise and deliberate, effectively muting the pop thrills that spilled over on its predecessor. Even if the album was recorded with Hall & Oates' touring band -- something that the duo and their co-producer Neil Kernon confirm in the excellent liner notes by Ken Sharp in the 2004 reissue -- H2O feels as if most songs were cut to a click track, and are just slightly too polished for their own good; when the productions open up a bit, the band still sounds terrific, but they never are given the opportunity to sound as big and bold as they do on Private Eyes. This, coupled with a few drawn-out duds (such as the vaguely atmospheric "At Tension") means H2O isn't quite as sharp and bracing as anything the duo had released since X-Static, and the fact that two of the best moments are huge hits -- the prowling "Maneater" and "One on One," perhaps the most seductive song Daryl Hall ever wrote -- may suggest that this is closer to singles-plus-filler than it really is. The best of the rest of H2O reveals that Hall & Oates are at a near-peak in their creativity, writing tuneful, soulful fusions of pop, soul, and new wave. "Crime Pays" has an appealing robotic synth pop groove, "Art of Heartbreak" rides a tense guitar line to a great horn line on the chorus, the jealous anthem "Open All Night" slinks by on a stylized late-night groove, "Go Solo" hails back to Hall's arty Sacred Songs, and "Delayed Reaction" is a sterling piece of propulsive near-power pop. Even if they don't gel into an album as strong as Voices or Private Eyes, they're pretty terrific pop in their own right. They're not just evidence that Hall & Oates' popularity in the early '80s was earned and well deserved, they hold up very well decades after H2O ruled the charts.



<a href="https://multiup.org/3898c98dbaa03109d08780cf66d1a428"> Daryl Hall n John Oates - H2O(</a>  (flac   437mb)

01 Maneater 4:34
02 Crime Pays 4:32
03 Art of Heartbreak 3:43
04 One on One 4:16
05 Open All Night 4:34
06 Family Man 3:25
07 Italian Girls 3:18
08 Guessing Games 3:15
09 Delayed Reaction 3:59
10 At Tension 6:16
11 Go Solo 4:34
Bonus
12 Family Man [12" Version / Rock Mix] 5:47
13 Maneater [12" Version / Special Extended Club Mix] 6:00
14 One on One [12" Version / Club Mix] 5:31

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Released at the peak of Hall & Oates' popularity in the early '80s, 1983's Rock 'n Soul, Pt. 1: Greatest Hits effectively chronicles the time when the duo could do no wrong -- namely, the period between 1980's Voices and 1982's H2O, which includes only one other album, 1981's excellent Private Eyes. While this reaches back to their early-'70s work for Atlantic for "She's Gone," the only big hit they had at the label, and also has their two other big hits from that decade, "Sara Smile" and "Rich Girl," the bulk of Rock 'n Soul, Pt. 1 derives from those three albums: "Kiss on My List," "You Make My Dreams," "Private Eyes," "I Can't Go for That (No Can Do)," "Maneater," and "One on One." That's a long list of singles, but it still misses some terrific singles from this era, including "How Does It Feel to Be Back," "Did It in a Minute," "Family Man," and "You've Lost That Lovin' Feeling" (the latter two were included as bonus tracks on RCA/Legacy's 2006 reissue). As good as those songs may be, Rock 'n Soul, Pt. 1 doesn't necessarily miss them: with the exception of a live version of "Wait for Me" (good, but not essential), this is the cream of the crop of Hall & Oates' best period, and it makes for a tight, excellent listen, and it's bolstered by the sublime "Say It Isn't So" and the good rocker "Adult Education." Latter-day compilations like 2001's Very Best of Daryl Hall & John Oates and 2004's Ultimate (which was reissued a year later under the title Essential) may cover their entire career in more detail -- and the duo certainly made great music before and after this era -- but as a snapshot of Hall & Oates at their finest, Rock 'n Soul, Pt. 1: Greatest Hits can't be beat.



<a href="http://www.imagenetz.de/imr5t"> Daryl Hall n John Oates - Rock 'N Soul Part 1  </a> (flac   324mb)

01 Say It Isn't So 4:16
02 Sara Smile 3:08
03 She's Gone 3:26
04 Rich Girl 2:24
05 Kiss on My List 3:52
06 You Make My Dreams 3:07
07 Private Eyes 3:27
08 Adult Education 5:23
09 I Can't Go for That (No Can Do) 3:45
10 Maneater 4:31
11 One on One 3:56
12 Wait for Me (Live Version) 6:03

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Big Bam Boom is the last of the big Hall & Oates albums, the one that closed their period of greatest commercial success and artistic achievement. Parting from Neil Kernon, their engineer/co-producer for Voices, Private Eyes, and H20, the duo hired Bob Clearmountain as a co-producer and engineer, bringing in hip-hop pioneer Arthur Baker for additional mixing and production, and the change behind the boards is evident on the record. As the title none too subtly implies, this is a bigger, noisier record than its predecessors, with its rhythms smacking around in an echo chamber and each track built on layers of synthesizers and studio effects. Hall & Oates' crack touring band are credited in the liner notes as playing on each track, but this is one of the first mainstream records of the '80s records where it sounds as everything was sequenced and run through a computer -- the sound that came to define the latter half of the decade. There's undeniably interesting things going on in the mix on each of the nine tracks -- frankly, there's too much going on, and the production weighs down many of the songs on this sprawling, diffuse album; it also obscures the dark undercurrent to many of the tunes, several of which seem to foreshadow the duo's long hiatus following this record. Some songs cut through on the strength of their craft, and these are usually the singles: the excellent "Out of Touch," which rivals anything on Private Eyes or Voices; the silly yet engaging "Method of Modern Love"; the haunting "Some Things Are Better Left Unsaid," easily the best ballad on the record; then, the exception to the rule, the hard-rocking "Bank on Your Love," which is one time the production works in the favor of the song, adding muscle instead of diluting its impact. These songs, matched with the ambition of the rest of the record, makes Big Bam Boom an interesting, worthwhile listen, but coming after a trio of records that had very few flaws, it feels like a disappointment, and it was no great surprise that Hall & Oates took a lengthy break a year or so after its release.
 


<a href="https://bayfiles.com/H6R1T1kfp2/Drl_Hll_n_Jhn_Ots_Bg_Bm_Bm_zip"> Daryl Hall n John Oates - Big Bam Boom</a>  (flac   480mb)


01 Dance on Your Knees 1:27
02 Out of Touch 4:22
03 Method of Modern Love 5:34
04 Bank on Your Love 4:17
05 Some Things Are Better Left Unsaid 5:27
06 Going Thru the Motions 5:40
07 Cold Dark and Yesterday 4:41
08 All American Girl 4:29
09 Possession Obsession 4:40
Bonus
10 Out of Touch (12" Version) 7:39
11 Method of Modern Love (12" Version) 7:50
12 Possession Obsession (12" Version) 6:31
13 Dance on Your Knees (12" Version) 6:39


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This 14th album, a live set released in 1986 is probably the best live recording on that year. With Daryl in his prime singing with all the soulfulness you could ever imagine, this is a can't miss for anyone wanting to hear masterful vocals all around. Hall & Oates resurrected the fading careers of ex-Temptations stars David Ruffin and Eddie Kendricks. H&O took them on tour, paid them regularly, and arranged a record deal for them with RCA, but the relationship soured for unknown reasons. It's been rumored that Kendricks thought they were being used to boost H&O's career, which couldn't be true because H&O were already hot; it was Ruffin and Kendricks who had been reduced to playing bucket-of-blood, inner-city nightspots. Or perhaps Kendricks just tired of singing "Get Ready" so often. His voice sounded like it would tear when he sang "Ready" with H&O, while David Ruffin tempted in the background. Ruffin sounded better, much better; he still had some voice, but the electricity had gone out of it. Kendricks sounded better on the rollicking "The Way You Do the Things You Do," and acted like he enjoyed singing Smokey Robinson's metaphoric gem. An ordinary performance of "My Girl" ended the Temptations segment of the H&O show. Things really picked up, though, when Hall & Oates stood alone with band and did their current chart-toppers. Daryl Hall shows his blue-eyed soul roots by biting into "When Something Is Wrong With My Baby"; not to be denied, John Oates rips off a stinging guitar solo, helping Hall polish off Sam & Dave's classic in style. Their performances of "I Can't Go for That," "One on One," "Possession Obsession," and "Adult Education" have to be heard to be believed. They work a crowd like few can, and their harmonies are impeccable. It's truly a masterful recording and great live performance, not to be missed by any Hall & Oates fan!



<a href="https://mir.cr/OHHHGGRY ">  Daryl Hall n John Oates - Live at the Apollo: With David Ruffin & Eddie Kendrick </a> (flac   370mb)

 01 Apollo Medley ( with Eddie Kendricks (vocals) & David Ruffin (vocals)) 12:33
- Get Ready
- Aint Too Proud to Beg
- The Way You Do the Things You Do
- My Girl
02 When Something Is Wrong with My Baby 4:50
03 Everytime You Go Away 7:08
04 I Can't Go for That (No Can Do) 7:24
05 One on One 5:13
06 Possession Obsession 5:33
07 Adult Education 6:05


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RhoDeo 2043 Re Up 261

 Hello, tonight Ziggo gave me the speed i'm used to, this after a week of disappointment. For those still confused , the links find themselves between the quotations which will lead you to the updated pages.



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 diminishing day by day. I'm doing my best to fulfill 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.


14 correct requests for this week , 2 too early,  2  double, 1 very confused=people requesting at the wrong place, whatever another batch of 54re-ups (18.1 gig)


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

Looka here , requests fulfilled up to October 24th... N'Joy

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<a href="http://rho-xs.blogspot.com/2019/05/rhodeo-1917-aetix.html">4x Aetix</a> Back in Flac (Deacon Blue - Raintown + Riches,  Deacon Blue - The B-Sides, Deacon Blue - Legacy Bonus Album, Deacon Blue - When The World Knows Your Name )


<a href="https://rho-xs.blogspot.com/2015/03/rhodeo-1509-aetix.html">4x Grooves </a> Back in Flac (Johnny Thunders & The Heartbreakers - L.A.M.F.- The Lost '77  , Johnny Thunders & The Heartbreakers - L.A.M.F 2, Johnny Thunders - Hurt Me. Johnny Thunders - So Alone)



<a href="https://rho-xs.blogspot.com/2019/02/rhodeo-1907-aetix.html">3x Aetix</a>  Back in Flac (Josef K - Young And Stupid , Josef K - Endless Soul ,  Boots for Dancing - Undisco Kidds )



<a href="https://rho-xs.blogspot.com/2019/06/rhodeo-1924-aetix.html">5x Aetix</a>  NOW in Flac (New Model Army - Vengeance, New Model Army - No Rest For The Wicked, New Model Army - The Ghost Of Cain, New Model .Army - Thunder And Consolation 2)



<a href="https://rho-xs.blogspot.com/2013/03/sundaze-1309.html">3x Sundaze</a>  Back in Flac (Deuter - Silence is the Answer , Deuter - Nada Himalaya, Deuter - Reiki-Hands of Light)



<a href="https://rho-xs.blogspot.com/2014/08/rhodeo-1431-aetix.html">4x Aetix</a>  Back in Flac (Sonic Youth - Evol, Sonic Youth - Sister , Sonic Youth - Daydream Nation )



<a href="https://rho-xs.blogspot.com/2015/07/rhodeo-1526-aetix.html">4x Aetix</a>  Back in Flac (Suicide - Suicide, Suicide - Live At CBGB'S 1978, Suicide -1/2 Alive, Suicide - A Way Of life)




<a href="https://rho-xs.blogspot.com/2015/09/rhodeo-1537-grooves.html">4x Grooves</a>  Back in Flac (The Temptations - Meet The Temptations, The Temptations - Sing Smokey, The Temptations - Cloud Nine, The Temptations - Puzzle People)




<a href="https://rho-xs.blogspot.com/2019/02/sundaze-1905.html">4x Sundaze</a>  Back in Flac (Popol Vuh - Das Hohelied Salomos, Popol Vuh - Aguirre, Popol Vuh - Letzte Tage-Letzte Nachte , Popol Vuh - Herz Aus Glas )



<a href="https://rho-xs.blogspot.com/2008/05/alphabet-soup-ii-g.html">4x Aetix</a>  Back in Flac (Genesis - The Lamb Lies Down On , Genesis - The Lamb Lies Down On 2 , Martin L Gore - Counterfeit 1 & 2 , Godspeed You Black Emperor - Yanqui   )



<a href="https://rho-xs.blogspot.com/2011/05/rhodeo-1118-aetix.html">3x Aetix</a>  Back in Flac (XTC - English Settlement, XTC=Dukes Of Stratosphear - An Anthology, XTC - Oranges and Lemons)




<a href="https://rho-xs.blogspot.com/2013/07/rhodeo-1326-aetix.html">3x Aetix</a>  Back in Flac (All About Eve - All About Eve, Sugarcubes - Life's Too Good! , Sugarcubes - Here Today, Tomorrow  )




<a href="https://rho-xs.blogspot.com/2012/02/rhodeo-1209-aetix.html">3x Aetix</a>  Back in Flac (Bow Wow Wow - See Jungle! , Rip Rig & Panic - God, X-Ray Spex - Germ Free Adolescents )



<a href="https://rho-xs.blogspot.com/2017/03/sundaze-1713.html">6x Sundaze</a>  Back in Flac (VA - Ambient Soho Vol I 1, VA - Ambient Soho Vol I 2, VA - Ambient Soho Vol II 1,VA - Ambient Soho Vol II 2, VA - Ambient Soho Vol III 1,VA - Ambient Soho Vol III 2)




As announced please return if you have it

Tom Ze - Tom Ze , 

Tom Ze - Se O Caso É Chorar, 

Tom Ze - Todos Os Olhos 

 

 

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RhoDeo 2043 Expanse 14

 Hello, so the Giro finished to day with 2 riders ex equo battling it out one, Jai Hindley not very good at timetrial the other Tao Geoghegan Hart only needed to stay upright and that he did, to win this years race. Over in Spain Roglic lost his red jersey in a stage drenched in rain, once again slipping in a rainjacket proved too difficult forcing Primoz to loose valuable time and internal temperture and in the end loose 40 sec on his direct competitors..amateurish.. In Portugal there was a F1 Grand Prix again the top 3 as usual Hamilton, Bottas and Verstappen they're in a league of their own.



Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile The Expanse's Calibans War continues today.

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FRBs are not gravity bombs.

About ten years ago, astronomers discovered what they call a “Fast Radio Burst”, or FRB. It was estimated that the event released more energy in five milliseconds than the Sun puts out in a month. The source was said to be a billion light-years away, and was speculated to come from the death of a black hole.

According to a recent press release, there appear to be three FRBs that repeat their blasts of energy over time. This is a conundrum: FRBs are supposed to occur only once, since they are thought to derive from explosions that destroy their sources, evaporating black holes, neutron star collisions, or hypernovae.

In an Electric Universe, extreme celestial objects, emitting radio waves of such magnitude, can not and do not exist. Computer simulations demonstrate that plasma phenomena are scalable over several orders of magnitude: they behave in the same way and illustrate basic premises whether in atoms or galaxies. When charged particles accelerate in electric fields, they emit synchrotron radiation, creating X-rays, gamma-rays and radio waves.

Plasma formations in space can be modeled in the laboratory due to that scalability factor. Plasma discharges produce the same formations independent of size. Since duration is proportional to size, an electric spark that lasts for microseconds in the laboratory might last for years at the stellar scale, or for millions of years at the galactic scale. Or, they might suddenly erupt and then dim again.

Electric Universe advocates propose that FRBs are most likely occurring in nearby galactic neighborhoods, so they are not unimaginably powerful, and not coming from the edge the Universe. Since plasma discharges in the form of exploding double layers can accelerate particles in ways that are confirmed with laboratory experiments, then it is there that the source for powerful energy bursts should be explored.

Plasma physicist and Nobel laureate, Dr. Hannes Alfvén thought that “exploding double layers” should be considered a new class of celestial object. Z-pinches in plasma filaments create plasmoids that evolve into stars and galaxies. Electricity is responsible for stellar behavior, and when the current density gets too high, double layers in the circuit catastrophically release their excess energy, appearing as FRBs, X-rays, or flares of ultraviolet light.

As mentioned, FRBs are probably nearby. Plasma more correctly explains them, and it is exploding double layers that impel them. Rather than relying on mathematical phantoms like black holes in tandem with overweight neutron stars, why not create real, testable hypotheses and work them up with real, physical models? FRBs are flashes of cosmic lightning erupting from electrified clouds of plasma on an immense scale.

Stephen Smith

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Today, in mainstream astronomical literature we hear more and more about the "Magnetic Universe." Thanks to great technological leaps, scientists have learned that vast magnetic fields pervade the cosmos, and increasingly, cosmologists view magnetism as important in the formation and evolution of structures at all cosmic scales.

However, gravity-centric cosmology did NOT predict such a critical role of magnetism. In this episode, we explore why the so-called "Magnetic Universe" is in fact the clearest possible affirmation that the Universe actually is electric.




a direct youtube link https://youtu.be/QBsBUypc1VE incase google still refuses to to post their own youtube content because i'm still on XP, bit autistic having trouble with change specially of the enforced kind

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

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

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

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

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


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

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

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Caliban's War
Eighteen months after the events of Leviathan Wakes, the solar system is in a precarious balance while they watch unknowable events unfold on the planet Venus. Earth and Mars are still poised for battle, and someone didn't recognize the warning that the Eros Incident held for humanity.

Major character arcs

James Holden is the captain of the salvaged Martian warship Rocinante. He and his crew have worked for the Outer Planets Alliance for 18 months since what’s become known as the Eros Incident, and the job just doesn’t feel right. While assisting a botanist in the search for his daughter, Holden comes across signs that people are still trying to tame the protomolecule, and the threat comes very close to home. Breaking his OPA ties, he becomes an ever-more-important piece in the four-way chess game for who will run the solar system.

Chrisjen Avasarala is a high-ranking UN official who knows how to get things done. Plugged in to all sources of information, she’s simultaneously monitoring events on Earth, Mars, Ganymede and Venus, though the last one is the toughest to predict what will happen next. Seeing shifts coming but not able to completely grasp what they mean, she accepts a post that takes her away from the action knowing she is playing her expected part until it is time to do the unexpected. Then, she meets James Holden for the first time aboard his ship, trying to defuse a solar-system-wide war.

Bobbie Draper is a Martian Marine stationed on Ganymede, one of Jupiter’s largest moons and known as the breadbasket of the outer planets. After she witnesses the brutal defeat and destruction of military forces on both sides of a conflict by a third party, she is taken to Earth to participate in peace talks, but doesn’t follow the party line and gets in trouble with her leaders. Now helping Chrisjen Avasarala, she must quickly adapt to interplanetary politics and office intrigue. Later moving her duties to space, her military training comes in handy once again.

Praxidike Meng is a botanist working on Ganymede when tensions erupt. His daughter is lost in the chaos, and he finds information that she was actually taken from her daycare before the action. He tries to find her in the decaying conditions of his home, but latches on to James Holden as a source of hope. Eventually becoming the face of the crisis at Ganymede, his efforts to find his daughter’s abductors have interstellar ramifications.

Plot summary

On Ganymede, Mei Meng is kidnapped from her preschool by her doctor. Several hours later, Earth and Martian space marines are attacked and effortlessly killed by a super soldier, with Bobbie Draper, a Martian marine, the only survivor. Earth and Mars begin a shooting war which throws Ganymede into chaos. In the aftermath, Mei's father Praxidike Meng fruitlessly searches for his daughter in the midst of the societal breakdown in the Ganymede colony.

Several months later, the crew of the Rocinante are tasked with delivering emergency aid to Ganymede. Meng spots James Holden during a food riot and asks the crew to help find his daughter. They agree and are able to trace her kidnappers to unused tunnels on the moon. Holden, Meng, and ship mechanic Amos Burton discover a secret lab. In the midst of a shootout with lab security, they inadvertently release another super soldier who kills some of the lab personnel. In the wake of the battle, the crew find remnants of the protomolecule and the corpse of Mei's friend, who was being treated by Mei's doctor for immunodeficiency. The crew rush to escape the station as more chaos erupts around them, and are able to make it back aboard the Rocinante.

Draper is brought to the peace talks between Earth and Mars occurring on Earth, giving testimony regarding the super soldier attack on Ganymede. She violates diplomatic protocol and is dismissed by the Martian delegation, but is then hired by Chrisjen Avasarala, who is leading the UN negotiations. Draper discovers that Avasarala's assistant is betraying her, leading Avasarala to conclude that her UN superiors are trying to get rid of her, from which she deduces that a group within the UN is responsible for the super soldier attack. Avasarala allows Draper to be brought along as her bodyguard on a slow-moving yacht headed to Ganymede on an ostensible relief mission.

On their way to Tycho station, the Rocinante crew discovers a super soldier stowed away in their cargo hold. They are able to lure out the creature using radioactive bait before vaporizing it with the ship's exhaust. The Rocinante is damaged during the encounter, but the crew learn more about the super soldiers. Holden confronts Fred Johnson, who he believes controls the only other sample of the protomolecule. Johnson denies involvement with the Ganymede incident and fires Holden's crew. They help Meng release a video asking for help searching for Mei, raising enough money to continue the search. Upon receiving information about Mei's doctor, Meng deduces that the super soldiers are being created on a base on Io. With the Rocinante repaired, they set out to recover Mei.

On board the yacht, Avasarala sees Meng's video appeal and learns that a UN detachment is heading to intercept the Rocinante. The crew of the yacht prevent her from warning Holden, claiming that their communication systems are broken. When they refuse her demands to get the yacht repaired, Avasarala has Draper take control of the vessel. Avasarala sends a warning to Holden, and she and Draper board a racing pinnace to rendezvous with the Rocinante. After meeting Holden's crew, Avasarala and Draper share notes of the super soldiers. Realizing that they are several days away from being destroyed by the UN detachment, Avasarala convinces the crew to let her send this information to her contacts within the UN to prevent an all-out war.

Draper and Avasarala convince the Martian fleet to help protect the Rocinante. This culminates in a space battle between the UN detachment, the Martian forces, and a second UN fleet loyal to Avasarala. With the UN Secretary General recalling the admiral hostile to the Rocinante, the battle ends in victory for the Martians and Avasarala's faction. The crew lands on Io, where Amos and Meng rescue Mei along with other immunodeficient children. Draper kills a super soldier using knowledge about its capabilities. The crew heads back to Luna, where the people responsible for the super soldier project are brought to justice. Avasarala is promoted, Meng is hired to oversee efforts to restore Ganymede, Draper returns to Mars, and the Rocinante takes a contract escorting a supply ship. Throughout the story, the solar system had been watching changes on Venus, which culminate with the launch of something unknown as the book ends.

<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-35 </a> ( 167min  67mb)

James Corey The Expanse Caliban's War 30-36 167min



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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)

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RhoDeo 2043 Sundaze

 Hello,  


Today's Artist is one of the founders of the US's electronic music scene ..... N'Joy

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 Richard Bone
(born February 3, 1952 - Atlanta, GA)

     Interest in creating music began very early in Richard's life. By his early teens he was already creating experimental sound compositions. Several years later he discovered electronic music and the album The United States of America where he first heard cutting edge electronics used in a rock format. He was greatly influenced by that LP and the solo works of Joseph Byrd, which eventually led him to start creating music using primitive synthesizers. Formal training in the arts began in the seventies when he studied drama for four years at the New York Academy of Theatrical Arts. His passion for sound design led him to create soundtracks and scores for several off-Broadway companies working in experimental theater. His atmospheric musical soundscapes were used by the New York Conservatory in several of their plays and videos.

     Richard's first official foray into the music business was with a demo that was produced by Patti Smith's legendary guitarist, Lenny Kaye. Driving forces behind the demo were Lenny and Danny Fields, both well known in the rock field. For the next few years Richard performed at locations along the East Coast while continuing with his theater studies. His first American single was the 45-rpm Pirate the Islands/Headlines Have It released with his band Bone on his own Rumble Records in 1979. The B-side Headlines went on to be covered by the Dutch band Urban Heroes as their first worldwide single. Their second LP also included another song written by Richard entitled When Worlds Collide that would have been one of four tracks featured on the double 45 called Nobody Discos on Pluto. However, that follow up was never released. His next releases were two abstract works, Life in Video City and Quiz Party, both released on very limited cassette by the Los Angeles based Eurock label.

     In 1981 he joined the legendary band Shox Lumania whose Live at the Peppermint Lounge became one of the first releases on the visionary RIOR label. Shox Lumania featured Stephanie Kaye (Lenny Kaye's wife), Anton Sanko (who went on to record Solitude Standing with Suzanne Vega) and Richard on synthesizers. They were a very theatrical band with as much emphasis on choreography and costume as music. It was the best of both worlds for Richard. The darlings of NYC, it was not uncommon to find everyone from Klaus Nomi, Souixie Souix to David Bowie & Devo in their dressing rooms.

     During that same time period Richard recorded and released a solo 7" called Digital Days/Alien Girl on his own Rumble Records that was quickly picked up by Survival Records in the UK. While with Survival Records he released two LPs - Brave Tales and Exspectacle; four EPs - The Beat is Elite, Joy of Radiation, The Real Swing, Living in Partytown; two 45s - Digital Days/Alien Girl and Joy/Do Angels Dance; and singles for the Mind & Matter, Dance Report and Art of Survival compilation. His single of Joy... reached #1 on the dance charts in Hong Kong. From 1981 to 1983 he also produced the 7" Jolene/Who's on Top? for the band Rubber Rodeo as well as contributing musically on two of their other releases. In 1983 Richard's video for his single "Alien Girl" was included on Danspak, an experimental Sony video. In 1984 he was asked to contribute to the double cassette called Film Noir - American/European Style released on Ding Dong Records. His track was entitled "Far From Yesterday (parts 1&2)" on that limited edition compilation cassette. By this time Richard was firmly placed in the British alternative charts and was even referred to as the American version of Howard Jones by the British press.

     As Survival Records continued to move in a dance oriented direction, Richard began to find his musical interests shifting away from the 80's New Wave club scene so on his own he recorded several experimental works. Emerging Melodies (Rumble Records) was the soundtrack to a video art project that aired on award-winning cable and broadcast television in America (USA Cable & Co-Directions in NYC). "Alternate Music for the Hindenberg Lounge" was included on the American Music Compilation released by the Eurock label in 1982. That same year Richard also recorded an experimental concept album called Grey Hideaway that was never released. One track from that work however, was used in 1986 on an early AIDS awareness music video also entitled "Grey Hideaway" - part of a longer video called "Chance of a Lifetime". Around the mid to late 80's Survival Records folded and Richard decided to take a break from music for a few years.

     In 1991 Richard started his own label, Quirkworks Laboratory Discs, allowing him the freedom to create music of a more experimental nature and remain in control of his musical direction. His first two releases, Quirkwork in 1993 and X Considers Y  in 1994, were somewhat similar to the synth-pop style of his Survival days and were also the last full-length recordings that featured Richard's vocal work. The release of the instrumental Ambiento in 1994 introduced a new ambient direction for Richard's music.

     Next came Vox Orbita in 1995, an upbeat ambient work full of samples, rhythms and a bit of a Laurie Anderson influence. The Grace Pro disc Media Works followed featuring six tracks of Richard's; two from Vox Orbita, two from Ambiento and two tracks that were previously unreleased - "Mi Mundo" and "The Deluxe Set". Richard also contributed tracks in 1995 on two benefit CD's - "Etherea Arriving" on the Maine Vocals compilation and "Overstated Papers" (Richard's very last vocal work) on the Anon compilation. That same year he also contributed tracks on two Alternative Press Samplers; #5 contained "X Considers Y" from X Considers Y and an alternate mix of "El Gato Negro" from Vox Orbita . Sampler #7 contained "Vox 9" from Vox Orbita and the previously unreleased "Illicit Behavior".

     By the time his next disc The Eternal Now was released in 1996, Richard had decided to pursue instrumental music exclusively. The Eternal Now , containing the two separate suites "Zone" and "The Millennium Pages", was recorded only after sunset, by candlelight. His most personal recording, the creation of The Eternal Now was the beginning of Richard's journey into the mystic. While recording The Eternal Now , he simultaneously recorded another CD, Metaphysic Mambo - an upbeat work similar in style to Ambiento and Vox Orbita , released on the Reversing Recordings label. That same year "In the Shadow of Rain", a track from Vox Orbita was used on the Russian compilation Back to the Universe and an untitled track was used on the Staalplaat compilation called The Answering Machine Solution.

     His next project was to be an EP length recording of electronically structured pieces entitled Solo Cog . Although the work was completed, it was never released. In 1997 the mini-compilation A Survey of Remembered Things was released containing five tracks of Richard's and four by electronic percussionist John Orsi. The compilation entitled em:t 1197 from t:me Recording LTD was also released in 1997 and included "Vox 2.5", an alternate mix of "Vox 2" from Vox Orbita. Also that year, Headcandy Productions released their first video entitled Sidney's Psychedelic Adventure that included "Komarov's Fire" from A Survey of Remembered Things.

     In 1998 Richard released the highly acclaimed Electropica, his homage to Bossa Nova masters Antonio Carlos Jobim, Luiz Bonfa and Joao Gilberto. The rhythmic Electropica came about from a rather mystical occurrence at a record store in 1996 causing Richard to devote a year of his life to the study of 60's bossa nova and the music of Antonio Carlos Jobim in particular. Also in 1998 Richard began working with Mike Griffin at Hypnos Recordings. He recorded the track "Via Mycropia" for the first Hypnos compilation, The Other World and his next disc, the atmospheric The Spectral Ships was released on Hypnos near the end of 1998. That same year he recorded the track "Murmurio" for the Halcyon Recordings compilation Oscillations and co-produced and contributed musically to Mary Zema's Songs of Early Paradise that was released on the Quirkworks label.

     Early in 1999 Richard released the rhythmic Coxa, his follow-up to Electropica. This work however, was more influenced by the 60's jazz masters Creed Taylor, Rudy Van Gelder, Cal Tjader and Dave Pike. Later that year he released his next atmospheric disc, Ether Dome, on the Hypnos label. The compilation Distillation, featuring tracks from earlier Quirkworks releases plus two unreleased ambient works was also released in 1999 on the Halcyon Recordings label. The Electroshock compilation Electroacoustic Music V 3 was released that year as well and included a track by Richard entitled "Elusia, I Can See!"

      Ascensionism, influenced by the Ascension Schools and the beat poets, was released August 15, 2000 concluding the trilogy that began in 1998 with Electropica. Well received by fans and radio alike, Ascensionism quickly reached and held the #1 spot on the New Age Voice Top 100 charts for two months, remaining in the Top 10 for 4 consecutive months. The November 2000 issue of New Age Voice magazine included an interview with Richard as their featured artist and Ambient Visions conducted an in depth interview with Richard that was released November 30, 2000.

      Richard's next ambient project Tales from the Incantina, inspired by ancient Toltec philosophy and travels to the Mayan/Toltec ruins in Mexico was released April 3, 2001. This recording made its debut at #6 on the New Age Voice Top 100 for April 2001 airplay and remained in the Top 10 for two months. Tales from the Incantina marks the first release for INDIUM, an ambient division of Quirkworks Laboratory Discs. In May of 2001, Richard released his first D.A.M. CD, Alternate Worlds Vol. 1 which included previously unreleased tracks from Tales from the Incantina and Ascensionism as well as several other unreleased tracks exclusively at MP3.com.

      Richard's next rhythmic recording Disorient, was released March 5, 2002 on the Quirkworks label. Shortly after its release, Disorient made its debut at #1 on the New Age Voice Top 100 charts and remained there for two consecutive months. In April 2002 Richard completed the re-recording of "Joy of Radiation", a vocal track he first recorded in 1983. This track was going to be featured on a tribute site devoted to the Survival artists of the early eighties, but the project never materialized. In June of 2002 an agreement was reached between Richard and Lyra Studios making available twenty-two downloadable tracks as background music for the multiplayer online role-playing game Underlight. Richard's latest ambient CD Indium, was released by Electroshock Records on Dec. 10, 2002. In addition to several previously unreleased tracks, this CD also contains a thirty minute piece Richard included on a limited release ambient video also entitled Indium.

      Harmony with Ambience, a multi-artist compilation organized by the Japanese label Windfarm Records, was released June 1, 2003. This disc included Richard's track "Dzibana" from his CD Tales from the Incantina. On August 10, 2003 Alternate Realities was released on the Spiralight label featuring nine alternate mixes and unreleased tracks of Richard's work. This CD made the #11 position on the New Age Reporter charts for September airplay, the Backroad's Music and Wind and Wire lists of Top Recordings for 2003 and the Star's End list of significant releases of 2003 among other honors.

      Richard's next rhythmic recording was The Reality Temples that released June 30, 2004 on the Spiralight label. This disc debuted at the #6 position on the New Age Reporter Top 100 chart for August airplay and was nominated for the 2004 NAR Lifestyle Music Awards' Best Electronic Album. Orlandomaniac Music released Untold Tales  on April 15th -- a CD of nineteen previously unheard vocal demo tracks Richard recorded during his early Survival years of 1979 - 85. Other 2004 projects included a various artist compilation CD from Spiralight Recordings called Ambienism Vol. One featuring a new track by Richard entitled "Stillness Repeating" that was released March 15, 04.

      On September 20, 2005 Richard released Saiyuji, the final recording of the trilogy begun with Disorient and The Reality Temples. Saiyuji quickly climbed the New Age Reporter Top 10 charts and was nominated for the 2005 NAR Lifestyle Music Awards' Best Ambient Album.

      Richard released Vesperia (Music for Vespers at the First Congregational Church of Holliston, Massachusetts) on May 2, 2006 and a limited edition DVD entitled The Vesperia Videos shortly thereafter. His ambient recording Serene Life of Microbes was released October 17, 2006 on the AD Music label.

      In March of 2007 Richard released Via Poetica, a collaboration with poet/vocalist Lisa Indish, and Experiments '80-'82, a limited edition CD featuring selected tracks from his cassette only 1980 recordings Life in Video City and Quiz Party along with three tracks he contributed to the 1982 American Music Compilation LP. Richard also completed a recording of new material entitled Infinite Plastic Creation that released September 10, 2007 and was awarded  the 2007 NAR Lifestyle Music Awards' Best Electronic Album. Two additional recordings, Connection Failed - a collection of previously unreleased ambient tracks created as backing tracks for collaborations and Songs From The Analog Attic - a collection of unreleased vocal works recorded between 1992 and 1998, were also made available just before the end of 2007.

    Projects of 2008 included a DVD & soundtrack CD release entitled Short Waves - Brief Excursions in Surreal Video that released March 20, 2008 and an ambient recording entitled Sudden Departure that was released September 16, 2008. Sudden Departure has just been nominated the 2008 NAR Lifestyle Music Awards' Best Ambient and Best Electronic Album.

    Richard released the ambient work The Ghosts of Hanton Village on September 15, 2009. His next recording was in March 2010 when he released his first iTunes application Mind Environs and a 3-track EP of the same name. On October 19, 2010 a CD of archival tracks entitled Beleaguered Blossoms (selected artifacts 1993-2009) was released. Late October 2010 also saw the release of the Christmas album ChristmasAD - The First Snow that included two of Richard's holiday tracks.

     More recent projects have included a May 2011 release that featured remixes of selected tracks of Richard's music assembled by Daniele Baldelli & Marco Dionigi entitled Adaptors, and a July 2011 release of new material entitled XesseX.

     A collection entitled Anthology was released as a download only on March 25, 2013 and a recording of all new material, Images From A Parallel World released April 24, 2013 -- both on the AD Music label. A vinyl EP entitled Cranium Fizz became available September 2013.

     Releases for 2014 included a recording of all new matierial entitled Vertical Life that released in March, and a boxed-set of long out-of-print material from the years 1979 - 1985 entitled Vaulted Visions from Vinyl-on-Demand.

    In 2015 there were three releases: Brave Sketches - a double LP set released by Orlandomaniac Music, Obtuse Tantrums, a 7" vinyl EP from AttractiveCO, and the CD Involution Vol. 1 that was released by Quirkworks on September 23, 2015.

    Richard completed a dark ambient project entitled Nibiru (jan 2018), a CD recording on the Mega Dodo Label - Age of Falconry (july 2017), and issued a very limited-edition USB only recording entitled AERA (may, 2016).

    Most recently Richard created Empyrean Castles and A Garden of Invited Flowers in 2019. In 2020, he's already working on an excellent album.


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The 18 ambient loops created for the Mind Environs iTunes application are of varying length, each with a different loop point and, therefore, allow the user of the app to create nearly endless permutations. The mixes on this CD are merely 3 of those variations. For what it is - this is a great meditative/contemplative/chill out/zone out CD with 3 tracks that total around 30mins. It's not really meant to be a music album to groove so don't expect anything dynamic the style & pace of the tracks a bit reminiscent of Brain Eno's Ambient 1 Music For Airports. The tracks (loops) were created with an application that can be purchased on itunes. If you are feeling stressed/tense out play this at a low volume in a quiet area and zone out.



<a href="http://depositfiles.com/files/slbk076py">Richard Bone - Mind Environs EP </a> ( flac 128mb)

01 The Theta Loops 10:12
02 The Delta Loops 10:08
03 The Alpha Loops 09:56


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The tracks on XesseX are the result of a lifelong fascination with directional sound. Not the direction from which it emanates but rather the direction in which it flows. The depth and density within a reversed sound is totally different than when it is played forward. A gong, for instance, will build to a climax in reverse. Forward, it states it's case immediately and then slowly fades to black. With magnetic tape it was simply a matter of taking a reel and playing it 'tails' first. Over the years I've had quite a bit of experience with this procedure and I think I became fairly adept at it. But when I switched my studio from analog to digital it was another matter. I must admit it took me a long time to figure out how to do it. So, for the past couple of years I played with the concept in between other projects. The resulting music was never really intended for release. I made it just to amuse myself. However, the gentle encouragement of Marleen Kingsley, webmistress extraordinaire, led me to assemble these works and issue them in this limited edition. Portions of each track were recorded forward as well as backward so that the same piece of music would have two unique versions. On this CD tracks 1-4 are the forward mixes while tracks 5-8 are their mirrored or reverse mixes. I hope you will enjoy them. Headphones, as always, are highly recommended.



<a href="http://www.imagenetz.de/RA4Pp">Richard Bone - Xessex - The Palindrome Project</a> ( flac 335mb)

01 OgopogO (Fwd) 9:41
02 Drawn Onward (Fwd)     8:03
03 In Words, Alas, Drown I (Fwd) 6:31
04 Loops At A Spool (Fwd) 9:11
05 OgopogO (Bkwd) 9:41
06 Drawn Onward (Bkwd) 8:03
07 In Words, Alas, Drown I (Bkwd) 6:31
08 Loops At A Spool (Bkwd) 9:11

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"A Deeper Shade of Sleep" starts this Richard Bone's musical adventure on AD Music with a concerto for angelic voices. Chords in to tones of harpsichord or of baroque guitars waddle in the harmonious furrows of those choruses, drawing two lines of parallel harmonies which melt in the ear with a surprising musical poetry. While the voices begin to hum, percussions are flavouring the absent rhythm. The soft strikings give to the track a form of cerebral trance that layers of synth caress of their vampiric veils. And "A Deeper Shade of Sleep" drinks of fanciful sitar, plunging slowly into a phase of electronic rock skilfully manipulated by a meshing of percussions, as much handily as by drum sticks, and sequences which shake a rhythm trapped in its astral waves.

Down from its 6 minutes, "A Deeper Shade of Sleep" is the reflection of “Images from a Parallel World”. Like a musical anaconda, the music of the Richard Bone's last opus changes of skins, allying eclecticism and melody in structures which maintain alive their embryonic forms. If at the beginning we get lost in this strange electronic folklore, we are rather easily seduced by this carousel of harmonies which turns constantly on structures as much hard to seize than a snake. If there are a few simplistic tracks, I think in particular of "Eucalyptico", "Lithographic Lines Love" and "Of Flowers and Fools" with light rhythms full of drive, synths with catchy harmonies and nice orchestrations, the rest is my faith as convincing than impressive with a pleiad of tracks which deserve a more ample investigation of the hearing.
"Dadaelia" is a beautiful ambient track where the ends of chords are splitting up into multiple shimmering mirrors fragments which twinkle and resound in a space as dark as the pulsations of a bass line of, drawing so the slow agony of 6 great minutes of ambient music. "Trans Mutual Sunshine" pours its sorrow into the morphic ashes of "Dadaelia" before mutating into a beautiful lunar down-tempo where the chords of glasses, and their shadows, forge the shroud of a beautiful ballad for agitated nights. More fragile, "Cathedral Spires" is a very good lunar melody which hangs on to a meshing of drummed percussions. "System Wide Slumber" is a great monument of ambience which caresses juvenile dreams. The synth strata are smooth and float with such a weightlessness that it nails us in our waking dreams. And the seraphic choruses… Oh this is so beautiful. "Simple Sirius" is a sweet melody brightened up by some percussions sounding like xylophone hits which give a freshness of the Carib bean Islands to this track which could have been a great one for a documentary about penguins. It's a little bit like "Eucalyptico", except that there is a little something that hooks the hearing.

"Eight Sufis Swinging" is a macabre procession which changes finely its skin before falling in a kind of a rather suggestive blues. That's the kind of track that we don't expect, that we don't see coming, in particular with some brilliant Arabian orchestrations, and which eventually charm, otherwise disturb. The same goes for "Lavacicles" whose intro is also sinister but of which the evolution amazes with its rhythms and its harmonies which follow the contiguity of the intro. "Atma Is" surprises us with its approach of organic hip-hop, demonstrating so all the eclecticism and Richard Bone's versatility on “Images from a Parallel World”. “Images from a Parallel World”. is an album of a stunning diversity where all the facets of EM are visited, except those of the Berlin School style. We find some synth-pop, down-tempo, black and cosmic ambiences mounting of beautiful lunar harmonies. Richard delivers a beautiful album with embedded some nice pearls.



<a href="https://multiup.org/52606dac38d6c881f36fc87d46e86b87">   Richard Bone - Images From A Parallel World</a> ( flac 378mb)

01 A Deeper Shade Of Sleep 6:29
02 Eucalyptico 6:16
03 Dadaelia 6:07
04 Trans Mutual Sunshine 6:47
05 Cathedral In Spires 4:58
06 System Wide Slumber 5:57
07 Simple Sirius 4:17
08 Eight Sufis Swinging 6:35
09 Lavacicles 5:31
10 Lithographic Love Lines 5:02
11 Of Flowers And Fools 4:48
12 Atma Is 4:24

    
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Featuring ten new meticulously crafted works of 'Surreality', Vertical Life is melodic ambience for contemplation and flying carpets. Without becoming mired in the heavy handed approach so prevalent in the ambient genre, Vertical Life is inspired by the early (the 1960's) and current exploration into the expansion of human consciousness. We stand at the doorway of a new era of infinite possibility, majik and alchemy. Vertical Life is the soundtrack to one of these exploratory journeys. It is best enjoyed under a galaxy of planets and stars, be they real or imagined. And maybe, just maybe, on a flying carpet of your own design!



<a href="https://mir.cr/1TDJHUXU">Richard Bone - Vertical Life </a> ( flac 276mb)

01 Fractured Faith Redeemer 5:13
02 Vertical Life 4:20
03 December Drone 5:23     
04 Heydon's Children 5:41
05 Jungalu 4:50
06 Malaise & Tea 3:44
07 Resplendent Lavender Loom 5:20
08 Divine Winds of Benevolent Gods 5:48       
09 Sulayman's Flower 3:22
10 On The Wings Of Ancient Dragons 5:55     

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RhoDeo 2042 Grooves

 Hello, as Trump really made an effort to behave tonight he did allright, i suspect he's already thinking of a dynasty but first a re-election...


Today's Artists had a partnership that produced some of the most unimaginably wonderful, melodic rock-pop and unabashed blue-eyed soul music it was the '70s and '80s fortune to experience. They may be thought of today as nerdy and radio-friendly, baby boomer, mullet head icons, but their strongly crafted songwriting talent, tight musicianship and Daryl's sweet and powerful vocals are a true listening joy.
.........N Joy

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From their first hit in 1974 through their heyday in the '80s, Daryl Hall and John Oates' smooth, catchy take on Philly soul brought them enormous commercial success -- including six number one singles and six platinum albums. Hall & Oates' music was remarkably well constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them, incorporating elements of new wave and hard rock.
Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured Gamble, Leon Huff, and Thom Bell, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late '60s before disbanding.


After Gulliver's breakup, Hall concentrated on session work again, appearing as a backup vocalist for the Stylistics, the Delfonics, and the Intruders, among others. Oates returned to Philadelphia in 1969, and he and Hall began writing folk-oriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records. On their first records -- Whole Oates (1972), Abandoned Luncheonette (1973), War Babies (1974) -- the duo were establishing their sound, working with producers like Arif Mardin and Todd Rundgren and removing much of their folk influences. At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit -- the number 60 "She's Gone" in the spring of 1974.

After they moved to RCA in 1975, the duo landed on its successful mixture of soul, pop, and rock, scoring a Top Ten single with "Sara Smile." The success of "Sara Smile" prompted the re-release of "She's Gone," which rocketed into the Top Ten as well. Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The record took off in early 1977, when "Rich Girl" became the duo's first number one single.


Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-'70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul. The combination would finally pay off in late 1980, when the duo released the self-produced Voices, the album that marked the beginning of Hall & Oates' greatest commercial and artistic success. The first single from Voices, a cover of the Righteous Brothers' "You've Lost That Lovin' Feeling," reached number 12, yet it was the second single, "Kiss on My List" that confirmed their commercial potential by becoming the duo's second number one single; its follow-up, "You Make My Dreams" hit number five. They quickly released Private Eyes in the summer of 1981; the record featured two number one hits, "Private Eyes" and "I Can't Go for That (No Can Do)," as well as the Top Ten hit "Did It in a Minute." "I Can't Go for That (No Can Do)" also spent a week at the top of the R&B charts -- a rare accomplishment for a white act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, "Maneater," as well as the Top Ten hits "One on One" and "Family Man." The following year, the duo released a greatest-hits compilation, Rock 'N Soul, Pt. 1, that featured two new Top Ten hits -- the number two "Say It Isn't So" and "Adult Education."


In April of 1984, the Recording Industry Association of America announced that Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one "Out of Touch." Following their contract-fulfilling gold album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & Oates went on hiatus. After the lukewarm reception for Daryl Hall's 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988's Ooh Yeah!, their first record for Arista. The first single, "Everything Your Heart Desires," went to number three and helped propel the album to platinum status.


However, none of the album's other singles broke the Top 20, indicating that their era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it featured only one Top 40 hit -- the number 11 single "So Close." The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful; far better was 2003's Do It for Love and the following year's soul covers record Our Kind of Soul.


The issuing of "greatest-hits" albums reached a fever pitch during the 2000s, with no fewer than 15 different collections seeing the light by 2008. Live records proliferated as well, with the A&E Live by Request release Live in Concert hitting stores in 2003, a reissue of their Ecstasy on the Edge 1979 concert (titled simply In Concert this time around) in 2006, and the Live at the Troubadour two-CD/one-DVD set in 2008. As far as proper studio albums go, the 2000s were lean, with only three releases -- the aforementioned Do It for Love and Our Kind of Soul, topped off by Home for Christmas in 2006. A career-spanning box set appeared in 2009, titled Do What You Want, Be What You Are: The Music of Daryl Hall and John Oates.


During the 2010s, the duo were very active, both together and separately. Several Hall & Oates tours were mounted, and they performed together on American Idol and The Voice. In 2011, Hall released his fifth solo album, Laughing Down Crying, on Verve Forecast, and that same year Oates released a blues tribute album titled Mississippi Mile. Three years later, Oates drafted contemporary pop stars including Ryan Tedder and Hot Chelle Rae for Good Road to Follow. Also in 2014, the duo were inducted into the Rock & Roll Hall of Fame.



you'll find the links beween the quotations

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X-Static finds Daryl Hall n John Oates at a stylistic crossroads. The folk and soul sounds that made up their early records vanish here as they try to keep up with recent trends. 1979 finds them caught in the crosshairs of new wave and disco. As such, these are the guiding styles of the album, save for the very minor hit "Wait for Me," which was representative of their radio-friendly fare (a diluted kind of R&B) at this juncture. For X-Static, they enlisted the services of upstart producer David Foster, who would later become a master of Cheez Whiz in the 1980s, resurrecting the godawful band Chicago and making them adult contemporary superstars. Here, Foster turns up the grooves. The bass is especially prominent, and funky. Foster's production is actually a saving grace for the album, as it is ultimately the duo's best sounding album.

The strange musical tension on the album is what makes it stand out from the rest of the pack when considering Hall & Oates albums. Let's face it: albums have never really been their strong suit. They get close, though, on Abandoned Luncheonette (1972) and Daryl Hall & John Oates (1975). Add X-Static, their most critically derided album from this phase of their career, to the list! By fusing their eclectic musical direction with new wave and disco, they churn out shit here that is so goofy that not only is it endearing but it kinda swings. Things don't get started in this direction until "Portable Radio," a song given new life in the second episode of the Yacht Rock web series. It doesn't really work as a hard rock song or as a disco tune. However, its goofy energy manages to work all on its own. Side One ends with their most direct take on disco in "Who Said the World Was Fair." While not great, it's certainly not embarrassing like so many rock acts' attempts at the disco sound in the late 1970s (see Rod Stewart's "Do Ya Think I"m Sexy"). Side Two opens with the slap bass odyssey "Running from Paradise." "Number One" is the only straight-up derivative track on the album, owing its sound to The Police. "Bebop / Drop" adopts a similarly approach to "Portable Radio." While not quite as successful, it still manages to capture an awkward but relatively infectious pose, edging a little closer to hard rock than "Portable Radio." The album closes with its two silliest, damn near avant-garde numbers in "Hallofon" and "IntraVino." Yes, "IntraVino," the album's best stab at new wave, is about somebody who loves wine so much they shoot it up.

While X-Static is no masterpiece by any stretch of the imagination, it gets credit for attempting to capture the sounds of contemporary popular relevance but missing by so wide a gap that it actually produces its own momentary aesthetic. It is kitschy, certainly, but it's the kind of kitsch that rewards multiple listens. In fact, the album's saving grace is that it constantly surprises the listener. It never quite gives you what you're expecting, and, unlike many albums, actually seems to get better as it goes along. In John Oates' forthcoming memoir, he actually singles this album out from among the duo's pre-"Kiss On My List" RCA albums as a noteworthy one despite the fact that it was basically a total flop when it was issued and its critical reception has never been positive. It makes sense why he would single out X-Static. It is probably their quirkiest album.



<a href="https://1fichier.com/?jqoq38isp07502c214y9"> Daryl Hall n John Oates - X Static(</a>  (flac   325mb)

01 The Woman Comes and Goes 3:48
02 Wait for Me 4:06
03 Portable Radio 4:44
04 All You Want Is Heaven 4:00
05 Who Said the World Was Fair 4:08
06 Running from Paradise 6:35
07 Number One 3:43
08 Bebop / Drop 3:56
09 Hallofon 1:17
10 IntraVino 3:33


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In what must be the most bizarre coupling ever, Hall is accompanied by none other than King Crimson figurehead Robert Fripp on production and, of course, on guitar. This record suffered at the hands of record company mismanagement. Originally recorded in 1977, Sacred Songs wasn't granted a release until 1980. RCA worried about Hall's lack of commercial vision. However Hall and Fripp's creativity strangely works. Sure, there are pieces that wouldn't do as singles, but for an album regarded as being so uncommercial, there are plenty that could have been: the wacky title song, "Something in 4/4 Time," "Farther Away," and "Why Was It So Easy" (the latter being one of Hall's best ballads). Most bonkers of all is "Babs and Babs," a straight-ahead Daryl Hall track until a Fripp soundscape kicks in from nowhere! Fripp's own "Urban Landscape" shows him having withdrawal symptoms from Bowie's infamous Heroes sessions. The onward march of studio technology means that the sound here is slightly dated. Still, it's a must-have purchase, ending with another killer ballad "Without Tears" -- Earth magic indeed.




<a href="https://multiup.org/659ccc0f1a5b7d4e52edb7a9f0158003"> Daryl Hall - Sacred Songs  </a> (flac   395mb)

01 Sacred Songs 3:18
02 Something in 4/4 Time 4:26
03 Babs and Babs 7:50
04 Urban Landscape 2:23
05 NYCNY 4:35
06 The Farther Away I Am 2:53
07 Why Was It So Easy 5:31
08 Don't Leave Me Alone With Her 6:25
09 Survive 6:41
10 Without Tears 2:54
11 You Burn Me Up I'm a Cigarette [bonus track] 2:20
12 North Star [bonus track] 3:10

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At the close of the '70s, Hall & Oates began inching toward a sleek, modern sound, partially inspired by the thriving punk and new wave scene and partially inspired by Daryl Hall's solo debut, Sacred Songs, a surprising and successful collaboration with art rock legend Robert Fripp. While 1979's X-Static found the duo sketching out this pop/soul/new wave fusion, it didn't come into fruition until 1980's Voices, which was their creative and commercial breakthrough. Essentially, Voices unveils the version of Hall & Oates that made them the most successful duo in pop history, the version that ruled the charts for the first half of the '80s. During the '70s, Hall & Oates drifted from folky singer/songwriters to blue-eyed soulmen, with the emphasis shifting on each record. On Voices, they place their pop craftsmanship front and center, and their production (assisted by engineer/mixer Neil Kernon) is clean, spacious, sleek, and stylish, clearly inspired by new wave yet melodic and polished enough for the mainstream. Thanks to the singles "Kiss on My List" and "You Make My Dreams" (and, to a lesser extent, their remake of the Righteous Brothers' "You've Lost That Lovin' Feeling" and the original version of the heartbreaking ballad "Everytime You Go Away," later popularized by Paul Young), the mainstream enthusiastically embraced Hall & Oates, and the ubiquitousness of these hits obscures the odder, edgier elements of Voices, whether it's the rushed, paranoid "United State," tense "Gotta Lotta Nerve (Perfect Perfect)," the superb Elvis Costello-styled "Big Kids," the postmodern doo wop tribute "Diddy Doo Wop (I Hear the Voices)," or even John Oates' goofy "Africa." Apart from the latter, these are the foundation of the album, the proof that the duo wasn't merely a stellar singles act, but expert craftsmen as writers and record-makers. The next few albums were bigger hits, but they topped the charts on the momentum created by Voices, and it still stands as one of their great records.
 



<a href="http://www.imagenetz.de/3n4D4"> Daryl Hall n John Oates - Voices</a>  (flac   366mb)

01 How Does It Feel to Be Back 4:35
02 Big Kids 3:38
03 United State 3:09
04 Hard to Be in Love With You 3:38
05 Kiss on My List 4:24
06 Gotta Lotta Nerve (Perfect Perfect) 3:34
07 You've Lost That Lovin' Feeling 4:36
08You Make My Dreams 3:10
09 Everytime You Go Away 5:22
10 Africa 3:38
11 Diddy Doo Wop (I Hear the


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Hall & Oates were in the middle of recording Private Eyes when Voices suddenly, unexpectedly broke big, with "Kiss on My List" reaching number one not just on the Billboard charts, but in Cashbox and Record World. As the album's producer, Neil Kernon, admits in Ken Sharp's liner notes to the 2004 reissue of the album, everybody knew that the new record would have to do better than Voices, but even if Hall & Oates were under a lot of pressure, they were in the fortunate position of not just having reintroduced their modernized, new wave-influenced blue-eyed soul on their previous record, but they already had much of the material nailed down. In other words, the sound and songs on Private Eyes were essentially conceived when the group was confident of the artistic breakthrough of Voices but not swaggering with the overconfidence of being the biggest pop act in America, and the result is one of their best albums and one of the great mainstream pop albums of the early '80s. Hall & Oates don't repeat the formula of Voices; they expand it, staying grounded in pop-soul but opening up the stylized production, so it sounds both cinematic and sharp. Lots of subtle effects are layered on the voices, guitars, and pianos as they mingle with synthesized instruments, from the keyboard loops that give "Head Above Water" a restless momentum to the drum machine that lends "I Can't Go for That (No Can Do)" a sexy, seductive groove.

Though the production is state of the art for 1981, what keeps Private Eyes from sounding robotic is that it never gets in the way of the kinetic energy of Hall & Oates' touring band, who give the music muscle; they are what keeps the album sounding vibrant 20-plus years after its release, since while elements of the production have dated, it still captures a real band working at a peak. These are the elements that make Private Eyes a sterling example of the sound of mainstream pop circa 1981, but the record was a hit, and has aged well, because both Hall & Oates, along with regular songwriting collaborators Sara and Janna Allen, were at a peak as writers. Yes, Oates' "Mano a Mano" is dorky (arguably in an appealing way), but apart from that there are no duds on the record. "Private Eyes," with its sleek surfaces, widescreen hooks, and unforgettable, handclap-propelled chorus, and "I Can't Go for That (No Can Do)" were the number one hits and the best-known songs here, but the insistent smaller hit "Did It in a Minute" deserved to reach the Top Ten too, as did the album tracks "Head Above Water" and "Looking for a Good Sign," a tribute to the Temptations that is the great forgotten Hall & Oates song. But it isn't just the hits and should-have-been singles; the rest of Private Eyes is filled with strong tunes, such as the reggae-tinged "Tell Me What You Want" and the paranoid vibe of "Some Men," making this a record that improves on Voices in every way, from its sound to its songs. Though they continued their streak of excellent hit singles, Private Eyes was the culmination of the sound they'd been developing since Along the Red Ledge, and it stands as the pinnacle of their time as the biggest pop act in the U.S.A.



<a href="https://mir.cr/PS6GEVFC ">  Daryl Hall n John Oates - Prrivate Eyes</a> (flac   378mb)

01 Private Eyes 3:29
02 Looking for a Good Sign 3:55
03 I Can't Go for That (No Can Do) 5:07
04 Mano a Mano 3:53
05 Did It in a Minute 3:37
06 Head Above Water 3:34
07 Tell Me What You Want 3:50
08 Friday Let Me Down 3:33
09 Unguarded Minute 4:08
Bonus
10 Your Imagination 3:32
11 Some Men 4:15
12 Your Imagination (12" Version) 5:46
13 I Can't Go For That (No Can Do) (12" Version) 6:05
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RhoDeo 2042 Re Up 260

 Hello, a full house on links today, all requests are older then one week and currently next week is allready full as is it where, and asking twice doesn't speed up the fulfilling, in fact i find it irritating.Meanwhile enjoy the 55 updates...



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 diminishing day by day. I'm doing my best to fulfill 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.


15 correct requests for this week , 3 too early,  2  double, 1 very confused=people requesting at the wrong place, whatever another batch of 55re-ups (18.1 gig)


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

Looka here , requests fulfilled up to October 12th... N'Joy

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<a href="https://rho-xs.blogspot.com/2016/03/rhodeo-1612-roots.html">4x Roots </a> Back in Flac (Gilberto Gil - Louvação, Gilberto Gil - 1968 (with Os Mutantes) , Gilberto Gil - Cérebro Eletrónico, Gilberto Gil - Copacabana Mon Amour)



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As announced please return if you have it

New Model Army - Vengeance

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