RhoDeo 2122 Sundaze

 Hello,




Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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 Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.

In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.

In 1995, Pärt was recognized for his many artistic achievements by being elected to the American Academy of Arts and Letters. His 2008 Symphony No. 4 was nominated for a Grammy for Best Comtemporary Classical Composition. He remains among the most popular serious composers of the late twentieth and early twenty-first centuries.


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The title track, the 34 minute "Miserere" really holds the disc on its own and is all you really need to hear, yet the other two tracks are not without their merits, and are most likely simply beyond what I can understand. Some might find all of the works here superb just from within their own worlds of sound, some will find them confusing and boring, and some will need a pairing of the ideas behind the composition and lyrics in order to get the full appreciation."Miserere" is the most listenable on its own, with a wide, rich dynamic and timbral range (holy s##t at 30:02-30:20--deep organ note and vocal suspension over it), along with a real sense of travel and dramatic tension--even if you don't know or care about the Latin text or its religious meaning. Part also achieves as much emotional leverage with his sparse opening minutes as he does with the climactic full ensemble moments. The lonely clarinet, oboe, and bassoon notes echoing in the hall in conjunction with the flowing vocal line is haunting and gives a sense of the immensity of space, both inner and physical.

"Festina Lente" starts busy and stays busy for its relatively short five minutes, and feels more like a time-filler or an exercise that Part might have written just to get ideas out of his head. It feels like a work he could have just as easily unraveled and stretched into a 54-minute study in intervals and layers.

"Sarah Was Ninety Years Old" is aptly titled since it feels like it takes ninety years to play out AMIRITE?
Kidding aside, what starts as near-comedy with a lone drummer playing a four-note, two-pitch motif in a steady journey that recalls the logic and work of an elementary student, turns into some absorbing, thought-provoking, and ultimately intense patterns of growth. The work has deeper religious meaning and context, but to me it sounds like someone at the end of life, lying still, waiting for death, which approaches in the gradual growth of the drum patterns. The vocal interludes in between representing reflection on the life lived, and the ending representing the passage to the afterlife. Since I have no connection and find little meaning in the biblical implications of the work, it's a testament to the writing that it still communicates to me, as does a majority of Part's music thus far.



<a href="https://multiup.org/8b293391663e253d9e878e6536d7afbe">  Arvo Part - Miserere   .</a> (187) mb)

01 Miserere 34:34
02 Festina lente 5:24
03 Sarah Was Ninety Years Old 25:28

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Like a multi-decker sandwich, this record alternates thick slices of Arvo Part's early work with the refined elegance of his later music, on which Part's currently high reputation rests. The three later pieces included here (Summa, Fratres and Festina lente) have all been recorded before. Of the four older works, three are not otherwise available on record (Collage teemal BACH, If Bach had been a Beekeeper and Credo); the Second Symphony has been championed once before by Neeme Jarvi, in the company of the Cello Concerto, Perpetuum mobile and the other two symphonies (BIS).
Tastes will differ, but I find myself enjoying the filling far more than the bread. Festina lente, for string orchestra, is one of Part's most exquisitely bell-like scores, and the Philharmonia here play it beautifully. On ECM, however, it's more strongly coupled with the Miserere and Sarah was ninety years old to form one of the most appealing Part records on the market. The short Summa is properly a setting of the Creed for four voices, and it has been sung perfectly by The Hilliard Ensemble (ECM, 9/87); Jarvi's new version is an arrangement for strings. Fratres also exists in more than one incarnation. Two other realizations, respectively for 12 cellos or for violin and piano, are available on ECM ((CD) 817 764-2). Now we have a third arrangement, for string orchestra. To my mind this is the most effective yet, and it has the advantage of including all nine of the intended variations. This track is probably the record's best selling-point.
Set beside these gentle delicacies, the four early pieces seem garrulous, confrontational and bewilderingly eclectic, with their uncomfortable mix of high modernism and variously digested quotation—largely of Bach, but also of Tchaikovsky in the Symphony No. 2. It's instructive to hear them, if only to learn more about the context from which Part's later music emerged. In their own right, however, I doubt if these scores would have earned the composer a fraction of the international acclaim he now enjoys.'



<a href="https://mir.cr/01RMEHKS">   Arvo Part - Collage </a> ( flac 216mb)

Collage Sur B-A-C-H (7:45)
01 I Toccata. Preciso 2:43
02 II Sarabande. Lento 3:31
03 III Ricercar. Deciso 1:26
04 Summa (1991 Version) 4:14
05 Wenn Bach Bienen Gezüchtet Hätte    7:28
06 Fratres (1983 Version) 9:51
Symphony No. 2  (14:37)
07 I    6:48
08  II    3:07
09 III    4:37
Festina Lente    
10 In Einem Ruhigen Zeitmaß. Molto Legato 5:44
11 Credo 12:38


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Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Pärt, commissioned by the Westdeutscher Rundfunk in Cologne, Germany, in 1984. Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice). In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.

The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for "as large a concert grand as possible" and "amplified". The wind harp is similar to the Aeolian harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records "recorded this 'wind music' on tape and processed it acoustically." The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling "a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch."

On an ECM records leaflet, Pärt wrote that the Te Deum text has "immutable truths", reminding him of the "immeasurable serenity imparted by a mountain panorama." His composition sought to communicate a mood "that could be infinite in time—out of the flow of infinity. I had to draw this music gently out of silence and emptiness."



<a href="https://www.imagenetz.de/JXQEd">  Arvo Pärt - Te Deum </a> ( flac 230mb)

01 Te Deum 28:43
02 Silouans Song ("My Soul Yearns After The Lord ...") 5:35
03 Magnificat 6:38
Berliner Messe   
04 Kyrie    3:09
05 Gloria    3:42
06 Erster Alleluiavers    0:52
07 Zweiter Alleluiavers    1:10
08 Veni Sancte Spiritus    4:57
09 Credo    3:56
10 Sanctus    4:04
11 Agnus Dei    2:41
 
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Drawing from the writings of St. John Chrysostum (c. 349-407), whose prayers for daily hours comprise the font from which Arvo Pärt anoints this musical setting, the Estonian composer spins a soft thread of light with limited information. Like the equally visceral settings of Tchaikovsky and Rachmaninoff before him, Pärt’s is utterly moving and uniquely colored by the sensitivity of his instrumental writing, such as listeners have encountered in his Miserere and Passio. The voices of Litany seem to arise out of their orchestral surroundings as if they have been hiding within it and are only now choosing to reveal themselves. Such is the effect of the Hilliard Ensemble’s unity throughout. Tubular bells and horns make their presence known. Subtle clues from orchestra and choir announce the hours as women’s voices pour their glorious shine like starlight from an alabaster jar. Philip Glassean punctuations of winds enhance the spell. The volume builds, only to subside, returning to the silence of a head bowed in contemplation. Under the guidance of Tõnu Kaljuste, the Tallinn Chamber Orchestra and Estonian Philharmonic Chamber Choir, along with the Hilliard Ensemble, have given us a most selfless reading of this masterful composition.

Following this are two pieces performed by the Lithuanian Chamber Orchestra at the baton of Saulius Sondeckis, under whose direction the world at large was first introduced to the music of Arvo Pärt through ECM’s Tabula Rasa. Originally conceived as a string quartet, Psalom emerges here as one of the composer’s most heartrending pieces for strings, second perhaps only to Silouans Song. Each phrase is lifted before it fades, blurring “vocal” lines like breath in winter air. Trisagion also takes its inspiration from St. John Chrysostum. Like a landmass over time, it falls into the inevitability of erosion, so that only the abstract remains untouched by the limits of tangibility. It ends on a repeated proclamation that would be overbearing in its insistence, if not for its decline in volume and number, mathematically reduced to zero.

Pacing is absolutely essential to the mood and architecture of the entire album, and this the musicians accomplish with uncanny immediacy. One of the more powerful post-Te Deum releases, Litany is sung and performed with unparalleled dedication. Countertenor David James is the perfect foil for Pärt’s anti-dualism, and emerges as the voice of reason in an unreasonable era.

<a href="http://depositfiles.com/files/jhfi1fz94">  Arvo Part - Litany</a> ( flac 141mb)

01 Litany 22:45
02 Psalom 6:45
03 Trisagion 11:53

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Sacred minimalism at its best.Beautiful, quiet and epic, just perfect.....



<a href="https://multiup.org/cfd874e1ce8be4ab554bb3b3de6f2ddd">   Arvo Pärt - Theatre Of Voices, Paul Hillier - De Profundis</a> ( flac 261mb)

01 De profundis (Psalm 129) 8:19
Missa sillabica
02 Kyrie 2:21
03 Gloria 2:16
04 Credo 3:44
05 Sanctus 1:20
06 Agnus Dei 2:35
07 Ite missa est 0:28
08 Solfeggio 5:14
09 "And One of the Pharisees" 10:05
10 Cantate Domino (Psalm 95) 2:50
11 Summa (Credo) 6:24
Seven Magnificat Antiphons
12 O Weisheit 1:50
13 O Adonai 2:52
14 O Sproß aus Isais Wurzel 1:07
15 O Schlüssel 1:57
16 O Morgenstern 2:21
17 O König 1:29
18 O Immanuel 3:26
19 The Beatitudes 8:08
20 Magnificat 6:47

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RhoDeo 2121 Grooves

 Hello,  


Today's Artists consisted of singers Sunshine Jones and Moonbeam Jones, but also included many sit in and on-tour musicians over the years. Born in a rent party, Dubtribe Sound System distinguished itself as performers by performing live for many hours, rather than replaying their recordings from DAT tapes or portable computers, and touring without stopping, often bringing their own sound, lights, and traveling family with them. But unlike its few counterparts in North America, Dubtribe would depart from the warehouse movement and establish itself in the mid-1990s as a grass-roots tour de force, refusing help, press, or money from any outside interests.  ..  N Joy

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Throughout the 1990s, Dubtribe Sound System established a devoted following amid the West Coast house scene because of its live performances, record releases, and self-operated label, Imperial Dub Recordings. After Sunshine spent a summer on the Spanish party isle of Ibiza in 1989, "it started to make sense. All shapes and sizes getting together to dance", he says. "I wanted to share that. It changed me forever".Back in San Francisco, Sunshine had been leading an acid jazz band. When it needed a vocalist, he took on Moonbeam in 1990 ("I didn't want to meet anybody named Moonbeam," Sunshine says. "I had the shit beaten out of me for my name"). Inspired by Ibiza, he tried to transform his group into a live house-music act. Many of the band members bailed, leaving just Sunshine and Moonbeam to go it alone as Dubtribe. At first, it was a grind trying to get booked in a DJ-centric world, but the duo's DIY Come Unity events at the Bryant Street pad (the first event was a rent party) were a hit, and soon Dubtribe was making records
Comprised of Sunshine and Moonbeam Jones, the male-female duo met in San Francisco's thriving early-'90s house scene and soon after began making music together as Dubtribe. The duo's debut full-length, Sound System (1994), became a huge success, particularly the tracks "Sunshine's Theme" and "Mother Earth." The latter especially became a success, expanding Dubtribe's following beyond the West Coast. The duo began touring extensively, making its name more as a touring act than a recording one, in fact. Despite the relentless touring, Dubtribe did continue to release a steady output of music, mostly 12" EPs on its self-operated label, Imperial Dub Recordings. In 1999 the duo approached mainstream crossover success with Bryant Street, a high-profile album for Jive Electro released during the height of the late-'90s electronica boom. Following the hype, Dubtribe quietly compiled two double-disc archival releases in 2000 -- Archive, Vol. 1: Rare and Deleted, a collection of dancefloor tracks, and Archive, Vol. 2: Ambient 1994, a collection of tracks from the duo's Selene Songs era. The duo released these collections on Imperial Dub and hoped to attract the legion of new fans drawn in by Bryant Street. A year later, in 2001, Dubtribe released "Do It Now," its most popular dancefloor track to date. The track became so popular that the duo released an EP of remixes and one of versions. In the wake of this success the duo mixed Dubtribe Sound System vs. Chillifunk Records: Heavyweight Soundclash (2002), a 15-track mix showcasing the British house label.


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Part of this Archives double-disc set is the defacto complete  remastered debut album, Sound System


                                            
<a href="https://multiup.org/eaef1a2367421369daec05efcc0e3e3a"> Dubtribe Sound System - Sound System (Archive vol 1)</a> (flac  504mb)

01 Intro    :07
02 A Little Sun 2:03
03 Sunshine’s Theme 7:40
04 So Much Love 5:54
05 Deep Soul 6:07
06 Hold Your Head Up High 10:28
07 The Love Theme From Dubtribe Sound System 4:04
08 80 East 7:50
09 Acceleration 12:06
10 Mother Earth    7:36
11 Exit 0:55
12 So Much For Love 4:36

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This double-disc set compiles most of the early to mid-'90s tracks that made Dubtribe Sound System such a widely acknowledged group in the North American electronic dance music scene. While the group may be more recognized for their remarkable live performances, tracks such as "Mother Earth" and "Sunshine's Theme" make a strong argument that their productions were just as vital to their popularity. Relative to their highly organic later '90s work on Bryant Street, these recordings retain a certain degree of nostalgic sound to them, utilizing fairly traditional percussive rhythms with accentuating synth melodies modeled after the timeless 303 acid riff. Fortunately, their sounds are warmer than acid techno, often incorporating small spoken word mantras and plenty of catchy melodies. Since this album also compiles several remixes on the second disc, it's arguably the best place to discover this group's sound, even if later albums featured a much more evolved sound.

<a href="https://www.imagenetz.de/dGvYe"> Dubtribe Sound System - Archive vol 1 remixes </a> (flac  361mb)

01 Mother Earth (Ragga Earth Remix) 7:42
02 Mother Earth (Ammunition Mix) 4:52
03 Reclaim Your House Nation 6:29
04 Sunshine’s Theme (1/2 Tab Remix) 10:15
05 Scat 1:25
06 Dubstylee 8:12
07 Beat Like Sheep 5:35
08 Dub Like Sheep 6:34
09 Deep Like Sheep 3:40

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Dub tribe can only be described in one word, indescribable. They are a rare part of what makes music real, yet again proving it in their record, bryant street.sunshine and moonbeam are like twin flames that ignight the soul of the brilliantlly combined patterns of percussion, dub, electronic and.....i can't even think of words that come close to matching the beauty and love that their music creates and sends out to us who are searching for meaning, togetherness and love. i only feel sorrow for those who havn't dicovered these amazing artists. those who can appreciate true talent and passion for music should be exposed to the fine funk of dub tribe.

 This disc is not a frisbee, but whirlng dirvish of beat! It aint techno! Its a flavorful blend of congas, d'jembe's, beats, (cleverly mixed by mark farina!) into some of the finest house IVE EVER HEARD. I can't get enough of this stuff. I loved this groove so much that I named my dance after what it made want to do, "GROOVE". (groovejam in northampton mass). This disc is well worth the purchase......first heard this disc at DanceJam in berkley and it TOTALLY rocked the house, had the room groovin for a solid 10 minutes! You be the judge...get it and be prepaired to MOVE!

<a href="https://mir.cr/SZ7W9YME"> Dubtribe Sound System - Bryant Street </a> (flac  495mb)

01 Hasta Luego Mi Hermano 6:36
02 Samba Dub 6:46
03 No Puedo Estar Despierto 5:10
04 El Regalo De Amor 5:24
05 Wednesday Night 7:07
06 Feelin' Allright Now 4:05
07 Equitoreal 5:29
08 Loneliness In Dub 5:03
09 Ain't Gonna Do You No Good    5:51
10 Holler! 7:17
11 Breeze... 7:13
12 If Your Not Coming Back To Me 6:20

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RhoDeo 2121 Expanse 43

Hello, Nemesis Games  came to an end not to worry today, now Babylon's in Ashes but we humans don't loose our hubris that easy after all we are used to celebrate ignorance..Anyway the story continues here this week.

 

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

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

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

— Nikola Tesla

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Ring around Fomalhaut. ESA/Herschel/

Rings around stars confirm Electric Universe theory.

A recent press release from the European Space Agency announces that a ring around the star Fomalhaut (Fo-mal-HOUT) demonstrates “the glow from dust in the debris disc – a structure resembling the Kuiper Belt in the primordial Solar System – around the young star Fomalhaut. Detailed studies suggest that the dust in this debris disc consists of “fluffy” aggregates of grains, which are produced by the frequent collisions taking place between comets within the disc.”

“Combining both Herschel and Hubble data, we figured out that dust in Fomalhaut’s debris disc must behave like small grains in terms of emission and absorption, but it must scatter light like large grains do,” explains co-author Michiel Min from Utrecht University and the University of Amsterdam. “A form of dust that combines all these properties together consists of “fluffy” aggregates: large conglomerates of small dust grains with lots of empty space in the structure,” adds Min.

Astronomers believe that fluffy dust aggregates in the Solar System arise from collisions between comets, so they assume that the fluffy dust observed in the debris disc of Fomalhaut derives from cometary collisions, too. However, radiation pressure from the star should effectively blow such fluffy particles away: “this blow-out effect must be compensated by a steady production of dust particles via comet collisions,” notes co-author Carsten Dominik from the University of Amsterdam and Radboud Universiteit Nijmegen, which means the dust particles are being replenished by cometary impacts.

But this requires a phenomenal number of comets, “between 1011 and 1013, depending on their sizes” and an incredible rate of collisions between these widely separated bodies. “We estimate that the required amount of dust can be produced by an average rate of 2000 daily collisions between comets with a size of one kilometre across,” Dominik adds. It should also be noted that this requires faith in the hypothetical Oort cloud and Kuiper belt of comets, which must be disturbed by a passing star to provide the meager cometary display in our own Solar System.

The ring around Fomalhaut is 140 Astronomical Units (AU—the distance of Earth from the Sun) from the star. By comparison, Pluto is only 40 AU from the Sun. The disk is calculated to be 16 AU wide and about 2 AU thick. Distributing 1013 comets in this volume produces a density of one comet for each 1016 cubic kilometers of empty space. If the one-kilometer-diameter comets are represented by marbles one inch in diameter, the “marble comets” would be separated by about 4 miles. The chance of a collision is indistinguishable from zero.

At the distance of 140 AU, the comets’ orbital velocities will be miniscule, and they will all be orbiting in the same direction. Should any two approach each other on anything but a direct center-to-center path, their gravitational acceleration toward each other will increase their energies and serve to push them into wider orbits around each other, effectively preventing a collision. (For a similar interaction, consider the Moon around the Earth from a heliocentric point of view.)

Furthermore, these hypothetical structures are not restricted to a plane, so the ring should be diffuse and thick. However, an ESO report remarks that “both the inner and outer edges of the thin, dusty disc have very sharp edges.” “The ring is even more narrow and thinner than previously thought.” Shepherding planets were originally invoked, but this more recent finding has created ever more problems for theoreticians.

Once again, a desperate, ad hoc hypothesis involving collisions and unseen objects is invoked to explain excess radiant energy from a structure around a star. The EU model has a much simpler answer. Various ring structures, like supernova 1987A, are witness to cylindrical current sheets passing vertically through a thin equatorial disk of gas and dust. The cylindrical current sheet tends to form one or more particle beam “hot spots” around the ring, as plasma laboratory experiments reveal and the IBEX mission has recently discovered about our own Sun.

Rather than collisions from an unbelievable cloud of comets causing “fluffy” dust to reflect radiant energy from the star Fomalhaut, a dust ring is simply intercepting some of the electrical energy that powers the star, causing a glowing ring to appear.

Wal Thornhill, Mel Acheson

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Scientists generally use the term "crisis in cosmology" to describe the numerous and growing evidences that contradict or undermine the Big Bang theory. For decades, numerous scientific papers have been published on the discordancy between the so-called expansion rate in the “early universe,” and the expansion rate in the “later Universe.”

In fact, recently the Keck Observatory issued a press release on the reported most reliable verification to date that the discordancy is real. And as we've reported ad nauseam on this series, the cosmological crisis runs much deeper and includes "surprising" discoveries at all scales throughout the cosmos.

In part one of this two-part presentation, physicist Wal Thornhill discusses some of the foundational problems with the standard cosmological model, and the real alternatives that the Electric Universe offers.

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. 

https://youtu.be/rZspAmawIpc

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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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Babylon's Ashes is a science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the sixth book in their The Expanse series. The title of the novel was announced in early July 2015[1] and the cover and brief synopsis were revealed on September 14, 2015

Synopsis

Following the events of Nemesis Games, the so-called Free Navy, made up of Belters using stolen military ships, has been growing ever bolder. After the crippling attacks on Earth and the Martian Navy, the Free Navy turns its attention to the colony ships headed for the ring gates and the worlds beyond. The relatively defenseless ships are left to fend for themselves, as neither Earth nor Mars are powerful enough to protect them. James Holden and the crew of the Rocinante are called upon once again by what remains of the UN and Martian governments to go to Medina Station, now in the hands of the Free Navy, in the ring station. On the other side of the rings an alien threat is growing; the Free Navy may be the least of humanity's problems.



<a href="https://multiup.org/eb74cd576967f7dc224c554860e8f940">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 01-06  </a> ( 134min  62mb)

James S.A. Corey - The Expanse Babylon's Ashes 01-06  134min



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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)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min  59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min  59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min  62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min  62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min  58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min  70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56)  </a> ( 161min  74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64)  </a> ( 154min  71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min  57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min  64mb)
<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min  64mb)
<a href="https://multiup.org/ce2df9efe1d9a4371fe8f9507755644e">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min  64mb)
<a href="https://multiup.org/790127f58516fd066de7ff5212e87543">James S.A. Corey - The Expanse .Nemesis Games 29-35  </a> ( 130min  60mb)
<a href="https://multiup.org/758da9c4e04ad980dd8b6ee7d9f48d94">James S.A. Corey - The Expanse .Nemesis Games 36-42  </a> ( 136min  61mb)
<a href="https://multiup.org/a3cddf1625d64fb651d011bec20c55b9">James S.A. Corey - The Expanse .Nemesis Games 43-53  </a> ( 188min  78mb)


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RhoDeo 2121 Sundaze

Hello, that was a superb Eurovision show from my hometown tonight, the UK managed to get 0 points, the song wasn't that bad but it shows the UK doesn't have many friends left in Europe.. Winner was Italy with Måneskin thanks to a huge score from the popular vote with their bare-chested, punk-funk rock which they sang in Italian They beat the french chanson a great contrast. third came in Switzerland with a clone of sorts from last time's winner Duncan Lawrence



Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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 Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.

In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.

In 1995, Pärt was recognized for his many artistic achievements by being elected to the American Academy of Arts and Letters. His 2008 Symphony No. 4 was nominated for a Grammy for Best Comtemporary Classical Composition. He remains among the most popular serious composers of the late twentieth and early twenty-first centuries.


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The 1984 ECM album Tabula Rasa was the vehicle that introduced the revolutionary music of Arvo Pärt to audiences outside Eastern Europe and initiated what was to become one of the most extraordinary musical careers of the late 20th century. Like many of the first generation American minimalists, he limited himself to diatonic harmonies and generated pieces by setting processes in motion, but the radical simplicity he achieved was the result of religious contemplation that was at least as, if not more, formative than his quest for a new musical aesthetic. The result was music suffused by an unhurried, luminous serenity, and while it was distinctly contemporary, it had an archaic quality that tied it to the music of the very distant past.

The three instrumental pieces recorded here (one of which appears in two versions) were among the first Pärt wrote in his newly developed style, which came to be known popularly as holy minimalism. (The composer prefers the term tintinnabulation, because in his words, "The three notes of the triad are like bells.") Fratres, originally for chamber orchestra, is undeniably Pärt's most popular work and exists in well over a dozen versions, two of which are included here. Gidon Kremer and Keith Jarrett bring great nuance and sensitivity to the version for violin and piano. They play somewhat loosely with details of the score, but they are entirely in sync with the spirit of the piece, and it's a gripping performance. The violin part is hugely virtuosic and Kremer is breathtaking, particularly in the crystalline purity of the outrageously high harmonics that end the piece. The arrangement of Fratres for 12 cellos is an altogether more lyrical and meditative version, and the cellists of the Berlin Philharmonic Orchestra play it with gorgeous tone and depth. Cantus in Memory of Benjamin Britten for string orchestra and bell is at once one of the composer's most brilliantly simple and profound pieces. The first violins repeat a mournful descending figure, and each of the other sections then doubles the length of the note values of the part above it so that the note that opens the piece is held two beats by the first violins, but it is sustained for 32 beats by the double basses. There's nothing mechanical sounding about the piece, though, and by its ending, it has created a mood of devastating loss and grief. The first movement of Tabula Rasa, for two violins, prepared piano, and chamber orchestra, is the most enigmatic selection, full of unexpected long silences and flurries of frenzied activity, while the lovely, meditative second movement is more characteristic of the composer. Kremer is joined by violinist Tatjana Grindenko and composer/pianist Alfred Schnittke in a beautifully expressive performance, accompanied by Saulius Sondeckis leading the Lithuanian Chamber Orchestra. Produced by Manfred Eicher, the visionary who "discovered" Pärt and made it his mission to introduce him to Western audiences, the sound of the album is admirably clear and clean, except that there are some room noises in Tabula Rasa.



<a href="https://www.imagenetz.de/43Tau">  Arvo Part - Tabula Rasa   .</a> (281mb)

01 Fratres 11:26
02 Cantus In Memory Of Benjamin Britten 5:00
03 Fratres 11:51
04 Tabula Rasa 26:08


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Pärt's 1987 release, Arbos, shows the composer working within his medium, bringing forth a body of music sacred in sound and message and presenting new compositional techniques. Utilizing a limited palette of tones, arranged in repeating patterns, these works are often (understandably) categorized with the works of Glass, Reich, and Riley. The tonal palette is often borrowed from European medieval styles, and this, in conjunction with the liturgical subject matter, make these new compositions feel centuries old. His Pari Intervello, originally scored in 1978 for wind instruments, is here recorded for solo organ. One of his more famous pieces, Stabat Mater, is presented here -- an airy piece that floats just on the threshold of awareness. Scored for vocal trio and string trio, this is a simply beautiful piece -- very expressive and lilting.



<a href="http://depositfiles.com/files/k5i6fsaoz">   Arvo Part - Arbos   </a> ( flac 216mb)

01 Arbos 2:25
02 An Den Wassern Zu Babel 6:30
03 Pari Intervallo 5:42
04 De Profundis 6:50
05 Es Sang Vor Langen Jahren 5:51
06 Summa 5:16
07 Arbos 2:25
08 Stabat Mater 23:53

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Never one to dress up his religious work in ostentatious garb, Arvo Part has selected the most severe, detached and economical musical style for this Passion according to St John. More a liturgical act than a concert piece, it makes no concessions whatever to modern conventions of Passion music. Stubbornly repetitive and monochrome, deliberately anti-dramatic and neutral, it achieves its extraordinary and noble effect through the simplest of means: measured recitative, piquant chanted choruses and the clear, bright timbres of a small instrumental ensemble.
The work plays for 70 minutes without a break.



<a href="https://mir.cr/0N4XP5XM">  Arvo Part - Passio </a> ( flac 238mb)

01 Passio Domini Nostri Jesu Christi Secundum Joannem 70:52

 
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A fine new disc in celebration of Pärt’s 75th birthday, with world premiere recordings of the Stabat mater in choral-orchestral guise and the Cantique des degrès, and the Third Symphony, a work that marked the beginning of a sea-change in the composer’s compositional style, back in 1971. The Stabat mater receives a performance that misses no nuance of its new, more dramatic trappings, but I’d urge anyone also to experience the original chamber version (the Hilliard Ensemble, ECM, 9/87). The Cantique is much more recent (1999/2002), and an intriguing example of what happens to Pärt’s music when he sets different languages, in this case French. There’s a sprightliness to the work that seems to correspond directly to that language (Poulenc?), but which frequently turns out to have Mozartian intentions. If the work sounds difficult to describe, it is.

As for the Symphony No 3, the work’s dedicatee Neeme Jäarvi has a sure feel for the music’s disconcerting contrasts, of almost academic bicinia and heart-on-sleeve pseudo-Tchaikovsky, but I detect overall a little more warmth, a touch more flexibility and a more legato sound in this new recording. Most remarkable is the second movement, which in the Berliners’ performance runs to just over nine minutes, whereas Neeme Järvi brings it in at 6'22". I’m more convinced by the latter; the slower speed stretches it to just beyond that point at which the innate tension and relaxation of the long melodic lines is broken. But the orchestral sound is luscious and no subtlety missed: an important disc for any admirer of the composer.



<a href="https://multiup.org/d613ca3e9d1483f014fb8dbcc502d16e">  Arvo Part -  Cello concerto, Symphonies 1-3</a> ( flac 296mb)

Concerto for Violoncello and Orchestra «Pro et contra» (1966)
(Neeme Jarvi, Mstislav Rostropovich)
01 – I Maestoso
02 - II Largo
03 –III Allegro

04 Perpetuum Mobile, Op. 10 (1963) –
Frans Helmerson – cello

Simphony No.1 (1964)
05 – I Canons
06 – II Prelude and fugue

Simphony No.2 (1966)
07 First Movement
08 Second Movement
09 Third Movement

Simphony No.3 (1971)
10 First Movement
11 Second Movement
12 Third Movement

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RhoDeo 2120 Grooves

 Hello,  


Today's Artists were an Italian Disco-Soul group, based in Bologna, founded by songwriters-producers Jacques Fred Petrus and Mauro Malavasi.Initially they started with guest vocalist Luther Vandross but soon after James Robinson replaced him regularly.In the same mode, Jocelyn Brown was replaced by Deborah Cooper as a main lead vocalist. ..  N Joy

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Change was a studio project, masterminded by Guadaloupean business man, Jacques Fred Petrus. Petrus emerged on the late-70s disco scene with several successful outfits such as Macho, Revanche and Peter Jacques Band, all recorded with Italian musicians and New York session singers. With the arrival of the 80s, Petrus and his musical partner Mauro Malavasi moved away from the pounding disco sound into a more soulful pop-R&B-oriented sound. Together with bassist Davide Romani and guitar player Paolo Gianolio, they laid down a number of Chic-inspired grooves in Bologna, Italy, in December 1979, and took the tapes to New York to look out for suitable vocalists. They found Jocelyn Brown (at the time known as Jocelyn Shaw), already a hot session singer and lead vocalist of disco group Inner Life, and equally in-demand singer Luther Vandross. Released in April 1980, The Glow of Love soared to the Top 10 on the Billboard Disco Charts, yielding the hit singles "A Lover's Holiday / The End", "The Glow of Love / Searching". It even became Billboard's #1 Disco Album of 1980.

The second album Miracles emerged in March 1981. Jocelyn Brown chose to focus on Inner Life, and Vandross - intended to become the official lead singer - disagreed on the fee offered by Petrus. Yet both of them continued as backing vocalists on the project alongside Ullanda McCullough, Fonzi Thornton and Kristal Davis. Vandross soon after enjoyed his first solo hit with "Never Too Much". Instead, Diva Gray and James Robinson took over the lead vocals. With the singles "Paradise" and "Hold Tight" becoming big club hits, Miracles was another smash and topped the Billboard Disco Charts while Chic - as Change was constantly compared to - ironically was far from the same heights, struggling commercially at the same time.

When demands came in for the group to tour, Jacques Fred Petrus was unable to gather the original musicians since all of them were too busy with other projects so he assembled a tour line-up to go on the road. While James Crabs Robinson remained the male lead singer, Deborah (Debra) Cooper was brought in to do the female lead vocals, and by the third album, a real line-up for Change was finally assembled, and for the first time pictured on the album cover. Being less dance-oriented, Sharing Your Love came out in 1982 - while still yielding hit singles with "The Very Best in You" and "Hard Times", the success wasn't as overwhelming, same for This Is Your Time (1983) which also saw key songwriter Davide Romani's departure, due to financial disagreements with Petrus.

When Malavasi and lead singer James Robinson went solo, Petrus was forced to look for new musical partners to keep Change going. The salvation came with Jam & Lewis, already with hits such as S.O.S. Band's "Just Be Good To Me" to their credit. Change of Heart was the resulting fifth album, 1984, which yielded a Top 10 R&B hit single with the title track. Unfortunately, the lucky strike didn't continue in 1985 with Turn On Your Radio, mainly written & produced by Timmy Allen. It didn't perform well, and when Petrus himself was murdered by the mafia in 1986, Change ceased to be.

Compilations and selected CD-reissues of the original albums revived the music in the late 90s. Janet Jackson also sampled "The Glow of Love" for her 2001 hit single "All for You". Most recently, Italian Fonte Records released a 5CD box in November 2005, omitting the Change of Heart album but seeing the first CD re-issues of This Is Your Time and Turn On Your Radio.



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On This Is Your Time Change had shown the integration of the latest synths and styles of R&B / funk. The crew from start to finish are on good form with a heavy dose of angular funk, smooth R&B, and a great exchange of male and female vocals from James Robinson and Debra Cooper along with a host of talented backing vocals. Surely for those familiar with the soul and R&B of those years can hear the influence of technology and contemporaries. While not ground breaking Change can lay down the groove and tug at the heart strings every time out and This Is Your Time is no exception.


                                            
<a href="https://mir.cr/DJIZHXE6"> Change - This Is Your Time</a> (flac  373mb)

01 Got to Get Up 5:56
02 This Is Your Time 5:49
03 Angel 4:31
04 Magical Night 6:12
05 Stay'n Fit 5:30
06 Tell Me Why 5:15
07 You'll Never Realize 5:46
08 Don't Wait Another Night 5:51
09 Magical Night (Single Edit) [bonus track] 4:06
10 Got to Get Up (Extended Version) [bonus track] 6:13

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Music maestros Jimmy Jam and Terry Lewis were responsible for this release, and what a wonderful one! Recorded in Modena, Italy and with vocals added at Media Sound Studios, NYC and at Jam & Lewis' own studio Creation Audio, Minneapolis. A classic album and a timeless effort from start to finish. _Change Of Heart_ being the first single and it managed to reach all the way to the top of the charts in May 1984. Followed by the equally impressive _You Are My Melody_ which also charted. The 3rd single was _It Burns Me Up_ also a highly regarded track and written by Timmy Allen of the group. The album was engineered by Michael H Brauer who had engineered on previous Change albums in 1980, 1981 and 1982. Jam & Lewis thought this was a good move to use him, to capture that old Change sound. And they were right of course! The album was a huge success. It's also one of the group's most loved and cherished records which does say a lot. Here in the 2011 remastered and extended version



<a href="https://multiup.org/7416cd02ea91bcaf5c6d09aa5ded376b"> Change - Change Of Heart </a> (flac  410mb)

01 Say You'll Love Me Again
02 Change of Heart
03 Warm
04 True Love
05 You Are My Melody
06 Lovely Lady
07 Got My Eyes on You
08 It Burns Me Up
Bonus Tracks
09 Change of Heart (Single Version)
10 It Burns Me Up (Edit)
11 You Are My Melody (Edit)
12 Change of Heart (12" Alternate Dance Mix)

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Change's sixth and final album, released as a twin album together with Dancing in the Street by Peter Jacques Band. Often described as a weak effort, both albums are in fact better than their reputation although neither rivals the glory days of Jacques Fred Petrus' productions. Still, "Let's Go Together" ("All Right Let's Go" borrowed from the Peter Jacques Band album) is a strong selection, and ditto for "Mutual Attraction". "Oh What a Feeling" sounds a bit too much of a rip-off of their 1984 hit "Change of Heart", yet the Chic-like repetitious chant makes it work. Had these three titles, and "Turn On Your Radio", been put back to back on one album with Peter Jacques Band's "This Night", "Going Dancing Down the Street"


 

<a href="https://www.imagenetz.de/q8SuW"> Change - Turn On Your Radio </a> (flac  385mb)

01 Turn On Your Radio 5:15
02 Let's Go Together 6:06
03 Examination 5:34
04 You'll Always Be a Part of Me 5:25
05 Oh What a Feeling 5:42
06 Mutual Attraction 6:00
07 Love the Way You Love Me 5:39
08 If You Want My Love 5:24
09 Turn On Your Radio (Single Edit) [bonus track] 3:24
10 Let's Go Together (Single Edit) [bonus track] 4:10

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Assembled by Guadaloupean producer Jacques Fred Petrus, Peter Jacques Band emerged on the disco scene early 1979, hot on the heels of another Petrus' act, Macho, who had just enjoyed a Top 10 hit on the Billboard Dance Charts with an energetic version of The Spencer Davis Group's 60's "I'm a Man". Released on Prelude Records, Peter Jacques Band's Fire Night Dance album consisted of only four extended cuts - including the single "Walking on Music / Fly With the Wind" - and proved a club hit. While singer Leroy Burgess had sung the lead vocals on the record, it was typically of the disco era that it was a lip-sync group of nameless models who performed on TV.

The second Peter Jacques Band album Welcome Back and the single "Is It It?" were released in the spring of 1980 and launched an all-new band line-up: Jacob Wheeler and Dianne Washington (later married to each other), Sandi Bass and Von Gretchen Shepard. Jacques Fred Petrus had cleverly taken notice of the dying disco market, and the new album focussed much more on the pop / R&B market than the club scene. While Petrus' simultaneous album with Change went straight to the top of the Billboard Dance Chart, Welcome Back went quite unnoticed and even failed to gain a release in the United States, and Petrus dropped the band.

Surprisingly, Peter Jacques Band emerged after a five year hiatus, for the third time with an all-new personnel. Recorded simultaneously with Change's sixth (and final) album Turn On Your Radio, Dancing in the Street featured the same musical crew and was a moderate success with its italo-pop tunes ""This Night", "Going Dancin' Down the Street" and "Mexico".

The following year, Jacques Fred Petrus was brutally murdered by the mafia.




<a href="http://depositfiles.com/files/n1kpmu34h"> Peter Jacques Band - Dancing In The Street </a> (flac  259mb)

01 All Right Let's Go 6:27
02 This Night 5:43
03 Mexico 4:35
04 Everybody Have a Party 4:00
05 Going Dancing Down the Street 5:49
06 Drives Me Crazy 4:16
07 High Time 4:57
08 Don't Say You've Gotta Go 3:57

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RhoDeo 2120 Expanse 42

 Hello, Nemesis Games  come to an end here today, oh well the Gods had their fun and now Babylon's in Ashes not to worry we humans don't loose our hubris that easy after all we are used to celebrate ignorance..Anyway the story continues here next week.

 

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

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

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

— Nikola Tesla

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Asteroid Lutetia: a 100-mile-diameter enstatite chondrite

The key to modern knowledge is the exclusion of disproof and other possibilities.

From the press release

Data from [five instruments] were combined to create the most complete spectrum of an asteroid ever assembled.

This spectrum of Lutetia was then compared with that of meteorites found on Earth that have been extensively studied in the laboratory. Only one type of meteorite — enstatite chondrites— was found to have properties that matched Lutetia over the full range of colours. Enstatite chondrites are known to be material that dates from the early Solar System. They are thought to have formed close to the young Sun and to have been a major building block in the formation of the rocky planets…. Lutetia seems to have originated not in the main belt of asteroids, where it is now, but much closer to the Sun. The astronomers are off and running: there are papers to be written and cited, grants to be applied for, more observation programs to be proposed, students to be taught, and … yes, press releases to be issued proclaiming the indefeasibly known. The balloon of knowledge expands; no one stops to notice that it’s full of hot air (not to be confused with plasma).

Only ignorance (or denial) of alternative theories enables the fraud of the “known” to be passed off at the start of the race. Enstatite chondrites date “from the early Solar System” if the nebular hypothesis is true—which it isn’t—and if such ideas as the Exploded Planet Hypothesis, recent planetary catastrophism, and the existence of plasma aren’t.

The nebular hypothesis was proposed in the late 1700s, discarded because it didn’t work, and then resurrected for lack of anything better. Diffuse clouds of gas and dust, especially if they have any net angular momentum, won’t collapse much: the increasing centrifugal force soon counteracts gravity. If the cloud is admitted to be plasma, standard theory assumes (but wrongly) that magnetic fields are “frozen” into it—and that prevents collapse. As the cloud collapses, it heats up—which tends to make it evaporate.

But perhaps a miracle occurs and the cloud somehow collapses all the way down to Solar System dimensions. The young Sun will spin off a disk of material from which different elements and compounds will condense at different distances. This is the material from which the planets will accrete—if all the problems with getting a cloud to collapse can be overcome with another miracle in the disk.

Since objects moving in the same or nearby orbits don’t collide (as demonstrated by the Earth-Moon system and many moons of the Jupiter and Saturn systems), another miracle is required to push them together. Perhaps something sticky coats the particles and makes them agglutinate when the impossible collisions occur.

By making appropriate assumptions about conditions in the disk, one can prove that the inner planets formed from similar material. (Of course, with that methodology, one can prove anything one wishes.) But even that exercise in circular confirmation comes back around to bite: A footnote to the press release admits that “although they all formed from similar material, it remains a mystery why the inner three planets are so different.”

Among other possibilities is that Lutetia is right where it was left by the explosion of or ejection from a larger body. The Solar System may not have collapsed from a cloud long ago in a theory far away from evidence; it may have assembled itself over time from processes that have a history…and may still have a future. Ejections, plasma pinches, electromagnetic captures, rearrangements of orbits, even Herbig-Haro like axial alignments may be intermittent phenomena that modern humans have overlooked because of the short time of their experience—or because they deny the testimonies of their ancient ancestors.

Enstatite chrondites are “known” to be primordial material only if one’s knowledge is restricted to the ambit of conceit.

Mel Acheson

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In recent years, an incredible development has transpired in the space sciences — mainstream astronomical literature now rather routinely acknowledges the existence of electric currents in space. But the question is, how significant a role do these electric currents play in the dynamics of the Universe? In our most recent Space News, we reported on the discovery of a radio-emitting plasma filament which connects two galaxy clusters across the unfathomable distance of 10,000,000 light-years. If electric currents connect celestial objects at such vast cosmic distances, as plasma cosmologists have proposed for decades, then how might we also detect electric currents in our own celestial neighborhood?

Today, physicist Eugene Bagashov and several colleagues are attempting to answer this question through a detailed analysis of the conditions near our solar system. In part three of this four-part presentation, Eugene continues his discussion on the evidence for plasma currents connecting our solar system with the nearby interstellar environment.

 

https://youtu.be/U0z7YRgBgrw

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

Synopsis

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

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

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



<a href="https://multiup.org/a3cddf1625d64fb651d011bec20c55b9">James S.A. Corey - The Expanse .Nemesis Games 43-53  </a> ( 188min  61mb)

James S.A. Corey - The Expanse .Nemesis Games 43-53  188min



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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)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min  59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min  59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min  62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min  62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min  58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min  70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56)  </a> ( 161min  74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64)  </a> ( 154min  71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min  57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min  64mb)
<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min  64mb)
<a href="https://multiup.org/ce2df9efe1d9a4371fe8f9507755644e">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min  64mb)
<a href="https://multiup.org/790127f58516fd066de7ff5212e87543">James S.A. Corey - The Expanse .Nemesis Games 29-35  </a> ( 130min  60mb)
<a href="https://multiup.org/758da9c4e04ad980dd8b6ee7d9f48d94">James S.A. Corey - The Expanse .Nemesis Games 36-42  </a> ( 136min  61mb)



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RhoDeo 2119 Grooves

 Hello,  my current physical ailments were equaled by my internet connection, alas my body demands more attention therefore i just noticed that my latest post was still in draft, not anymore...


Today's Artists were an Italian Disco-Soul group, based in Bologna, founded by songwriters-producers Jacques Fred Petrus and Mauro Malavasi.Initially they started with guest vocalist Luther Vandross but soon after James Robinson replaced him regularly.In the same mode, Jocelyn Brown was replaced by Deborah Cooper as a main lead vocalist. ..  N Joy

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Change was a studio project, masterminded by Guadaloupean business man, Jacques Fred Petrus. Petrus emerged on the late-70s disco scene with several successful outfits such as Macho, Revanche and Peter Jacques Band, all recorded with Italian musicians and New York session singers. With the arrival of the 80s, Petrus and his musical partner Mauro Malavasi moved away from the pounding disco sound into a more soulful pop-R&B-oriented sound. Together with bassist Davide Romani and guitar player Paolo Gianolio, they laid down a number of Chic-inspired grooves in Bologna, Italy, in December 1979, and took the tapes to New York to look out for suitable vocalists. They found Jocelyn Brown (at the time known as Jocelyn Shaw), already a hot session singer and lead vocalist of disco group Inner Life, and equally in-demand singer Luther Vandross. Released in April 1980, The Glow of Love soared to the Top 10 on the Billboard Disco Charts, yielding the hit singles "A Lover's Holiday / The End", "The Glow of Love / Searching". It even became Billboard's #1 Disco Album of 1980.

The second album Miracles emerged in March 1981. Jocelyn Brown chose to focus on Inner Life, and Vandross - intended to become the official lead singer - disagreed on the fee offered by Petrus. Yet both of them continued as backing vocalists on the project alongside Ullanda McCullough, Fonzi Thornton and Kristal Davis. Vandross soon after enjoyed his first solo hit with "Never Too Much". Instead, Diva Gray and James Robinson took over the lead vocals. With the singles "Paradise" and "Hold Tight" becoming big club hits, Miracles was another smash and topped the Billboard Disco Charts while Chic - as Change was constantly compared to - ironically was far from the same heights, struggling commercially at the same time.

When demands came in for the group to tour, Jacques Fred Petrus was unable to gather the original musicians since all of them were too busy with other projects so he assembled a tour line-up to go on the road. While James Crabs Robinson remained the male lead singer, Deborah (Debra) Cooper was brought in to do the female lead vocals, and by the third album, a real line-up for Change was finally assembled, and for the first time pictured on the album cover. Being less dance-oriented, Sharing Your Love came out in 1982 - while still yielding hit singles with "The Very Best in You" and "Hard Times", the success wasn't as overwhelming, same for This Is Your Time (1983) which also saw key songwriter Davide Romani's departure, due to financial disagreements with Petrus.

When Malavasi and lead singer James Robinson went solo, Petrus was forced to look for new musical partners to keep Change going. The salvation came with Jam & Lewis, already with hits such as S.O.S. Band's "Just Be Good To Me" to their credit. Change of Heart was the resulting fifth album, 1984, which yielded a Top 10 R&B hit single with the title track. Unfortunately, the lucky strike didn't continue in 1985 with Turn On Your Radio, mainly written & produced by Timmy Allen. It didn't perform well, and when Petrus himself was murdered by the mafia in 1986, Change ceased to be.

Compilations and selected CD-reissues of the original albums revived the music in the late 90s. Janet Jackson also sampled "The Glow of Love" for her 2001 hit single "All for You". Most recently, Italian Fonte Records released a 5CD box in November 2005, omitting the Change of Heart album but seeing the first CD re-issues of This Is Your Time and Turn On Your Radio.


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To Change's detractors, the studio group was nothing more than a poor man's Chic. But knowledgeable disco and R&B enthusiasts knew better; Change wasn't a carbon copy of Chic any more than jazz great Chet Baker was a clone of Miles Davis. Without question, Change was heavily influenced by the Nile Rodgers/Bernard Edwards sound; nonetheless, Change had an energy of its own, and anyone who seriously listened to its first album, The Glow of Love, could easily tell the difference between Chic and Change (just as serious jazz fans can tell the difference between Baker's trumpet playing and Davis'). Produced by Jacques Fred Petrus and arranged by David Romani and Paolo Gianolio, this 1980 debut is a disco/R&B masterpiece. The playful opener "A Lover's Holiday" is Change's best-known song, but the group is just as captivating on the sassy "It's a Girl's Affair" and the passionate "Angel in My Pocket." Meanwhile, Luther Vandross is featured on "Searching" and the dreamy, laid-back title song, which became a quiet storm favorite and demonstrates that not everything Change recorded was aimed at the dancefloor. In 1980, Vandross had yet to provide his first solo album, although many of the people who heard his performances on those two gems agreed that a solo career was inevitable; and sure enough, his first big solo hit, "Never Too Much," came out the following year. Excellent from start to finish, The Glow of Love is Change's most essential album

<a href="https://multiup.org/5ebfc4e61ef898aab28182753ff7f317"> Change - The Glow Of Love</a> (flac   410mb)

01 A Lover's Holiday (A Jim Burgess Mix) 6:30
02 It's a Girl's Affair 5:32
03 Angel in My Pocket 6:11
04 The Glow of Love 6:15
05 Searching 8:04
06 The End 5:54
07 A Lover's Holiday (Single Edit) [bonus track] 4:14
08 Searchin' (Single Edit) [bonus track] 4:43
09 The Glow of Love (Single Edit) [bonus track] 4:35
10 Angel in My Pocket (Extended Version) [bonus track] 7:10

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Miracles was Italian dance band Change's first album without lead vocals by a pre-stardom Luther Vandross. Much ado was made about James Robinson taking over the lead vocal duties, including unfair comparisons. Lost in the discussion was the fact that Miracles is a very good album. Of course,there are strong Chic influences (they were one of the hottest acts around at the time), but taken on their own merit, Change could jam with the best of them. The chugging, thumpin' "Paradise" went to number seven R&B in spring 1981.The soul-tugging "Heaven of My Life" was the third single. Its flip side was the mellow "Miracles," a loving ode from a father to his daughter. Other highlights are the dreamy second single "Hold Tight," the smooth radio-aired "Your Move," and the sweet ballad "Stop for Love." Some 20 years later, hip-hop and rap acts Tamia sampled several cuts. Some of the LP's tracks can be found on Very Best of Change.





<a href="https://www.imagenetz.de/SX2Pa">   Change - Miracles </a> (flac  355mb)

01 Paradise 5:14
02 Hold Tight 4:32
03 Your Move 4:23
04 Stop for Love 4:12
05 On Top 5:13
06 Heaven of My Life 5:34
07 Miracles 5:17
08 Paradise (UK Single Mix) [bonus track] 5:14
09 On Top (Extended Version) [bonus track] 6:00
10 Paradise (Single Edit) [bonus track] 3:12

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Despite the album's cover being used as the group's image on many sites, Sharing Your Love breaks the run of geometric design covers for the two albums before it and the two albums after it. It serves as a bridge between the instrument-focused Italian-American boogie, disco, and R&B of The Glow of Love and Miracles and the urban synth funk / R&B of This Is Your Time and Change of Heart. James "Crab" Robinson has a voice and delivery I have appreciated from the Petrus / Malavasi releases. He does not disappoint here. Deborah Cooper replaces Diva Grey as the primary singer. Her best is a Diana Ross-type duet with Robinson, "Everything and More". The top 2 tracks are the opener, "The Very Best in You", which is very much in the vein of previous up-tempo tracks from Miracles and the deep, bass heavy soul of the title track, "Sharing Your Love" - it's right up there with the best of Change and Petrus/Malavasi - so for me an absolute platinum track.

<a href="https://mir.cr/ZBOYFM51"> Change - Sharing Your Love</a> (flac min 408mb)

01 The Very Best in You 5:41
02 Hard Times (It's Gonna Be Alright) 5:23
03 Oh What a Night 5:23
04 Promise Your Love 4:27
05 Everything and More 4:23
06 Sharing Your Love 6:03
07 Take You to Heaven 5:26
08 Keep on It 5:36
09 You're My Number 1 4:21
10 You're My Girl 4:08
11 The Very Best in You (Single Edit) [bonus track] 4:12
12 Hard Times (Extended Version) [bonus track] 6:12

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