RhoDeo 1827 Roots

Hello,


Today's artist is a Colombian singer, songwriter, and dancer. Born and raised in Barranquilla, she began performing in school, demonstrating Latin American, Arabic, and rock and roll influences and belly dancing abilities. She rose to prominence in Latin America with her major-label debut, Pies Descalzos (1996), and her fourth album, Dónde Están los Ladrones? (1998). As of 2001, she had sold over 10 million albums alone in Latin America, A self made artist that really puts Madonna in the shade, a woman that has known what she wants and has gotten it, respect  .... N'Joy

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Born on 2 February 1977 in Barranquilla, Colombia, Shakira Isabel Mebarak Ripoll  is the only child of William Mebarak Chadid and Nidia Ripoll Torrado. Her paternal grandparents emigrated from Lebanon to New York City, where her father was born Her father then emigrated to Colombia at age 5. The name Shakira is Arabic for "grateful", From her mother, she has Spanish  and Italian ancestry. She was raised Catholic and attended Catholic schools. She has eight older half-siblings from her father's previous marriage. Shakira spent much of her youth in Barranquilla, a city located on the northern Caribbean coast of Colombia, and wrote her first poem, titled "La Rosa De Cristal/The Crystal Rose", when she was only four years old. As she was growing up, she was fascinated watching her father writing stories on a typewriter, and asked for one as a Christmas gift. She got that typewriter at the age of seven, and has continued writing poetry since then. These poems eventually evolved into songs. When Shakira was two years old, an older half-brother was killed in a motorcycle accident; six years later, at the age of eight, Shakira wrote her first song, titled "Tus gafas oscuras/Your dark glasses", which was inspired by her father, who for years wore dark glasses to hide his grief.

When Shakira was four, her father took her to a local Middle Eastern restaurant, where Shakira first heard the doumbek, a traditional drum used in Arabic music and which typically accompanied belly dancing. She started dancing on the table, and the experience made her realize that she wanted to be a performer. She enjoyed singing for schoolmates and teachers (and even the nuns) at her Catholic school, she was often sent out of the class because of her hyperactivity (ADHD). Between the ages of 10 and 13, Shakira was invited to various events in Barranquilla and gained some recognition in the area. It was at this approximate time that she met local theater producer Monica Ariza, who was impressed with her and as a result tried to help her career. He arranged for Sony Colombia executives with the idea of surprising them with Shakira's performance. She performed three songs for the executives and impressed them enough for her to be signed to record three albums. Her 1991 debut album, Magia, comprised songs she'd written over the past five or six years, including some of her earliest efforts. Although it didn't break internationally, the record started to make a name for her in her home country. Dissatisfied with the pop inclinations of the follow-up, 1993's Peligro, Shakira changed direction for a time, joining the cast of the Colombian soap opera El Oasis in 1994.

When Shakira returned to recording in 1995, she asserted more control over the direction of her music and worked more rock & roll rhythms -- as well as occasional Arabic tinges -- into her Latin pop material. The first results were Pies Descalzos, which was initially released in 1995; a slow seller at first, the album gradually caught on thanks to "Estoy Aqui," which became a hit all over Latin America, as well as Spain. After that breakthrough, Pies Descalzos just kept spinning off singles: "Dónde Estás Corazón?," "Antología," "Pienso en Ti," "Un Poco de Amor," "Se Quiere, Se Mata." The album hit number one in eight different countries and eventually went platinum in the U.S. as well; Shakira toured for nearly two years promoting it (she finally left El Oasis in 1997).

Seeking to build on her success, Shakira signed Emilio Estefan -- Gloria's husband and a highly successful music-biz insider -- as her manager and producer. The move paid off when her follow-up album, 1998's Dónde Están los Ladrones? (Where Are the Thieves?), became an even bigger worldwide hit than its predecessor. What was more, it cracked the lucrative U.S. market wide open, spending 11 weeks at number one on Billboard's Latin album chart and producing two U.S. number ones (on the Latin chart) with "Ciega, Sordomuda" and "Tu." The album's signature track, however, was the worldwide hit "Ojos Así," her most explicit nod yet to the Arabic music she'd picked up from her father (not to mention its latent belly dancing connotations). Dónde Están los Ladrones? was also the most effective presentation yet of Shakira's strong-willed persona; her self-analysis made her even more popular among female fans, while her anger over love gone wrong drew comparisons to Alanis Morissette.

Mainstream pop stardom beckoned. Shakira dyed her long brown hair blonde, romanced Antonio de la Rua (son of the former president of Argentina), and went to work on her first (mostly) English-language album, Laundry Service. The single/video "Whenever, Wherever" was released in advance of the album in late 2001, and made her a star in the English-speaking world almost overnight. Laundry Service entered the American pop charts at number three, and "Whenever, Wherever" climbed into the Top Ten of the singles chart, peaking at number six. The follow-up, "Underneath Your Clothes," also hit the Top Ten, halting at number nine; less than a year after its release, Laundry Service had gone triple platinum. Reviews of Laundry Service were divided as to the effectiveness of Shakira's English lyrics, but nearly all agreed on her unique poetic imagery.

Extensive touring to support Laundry Service led to a long break for the singer, so a remix collection (2002's Laundry Service: Washed and Dried) and a live album (2004's Live & Off the Record) appeared in lieu of a new album. Revitalized, Shakira began the writing process for her next release and soon had 60 songs ready to go, some in English, some in Spanish; 20 of those songs were selected and divided up by language to make two different albums. Both appeared in 2005 and both hit the Top Ten, with the Spanish-language album Fijacion Oral, Vol. 1 leading the way in June with a number four placing and the English-language album, Oral Fixation, Vol. 2, following in November at number five. As sales of Oral Fixation began to slow in early 2006, Epic reissued the album in March with a bonus track, "Hips Don't Lie." The newly recorded song went on to top the Billboard Hot 100 chart in June, becoming one of the summer's biggest hits and reviving sales of Oral Fixation, as well as Shakira's entire back catalog.

Shakira signed a ten-year contract with Live Nation in 2008, prompting Forbes to deem her the fourth top-earning female musician in history. She also worked heavily on another album, traveling to multiple cities while collaborating with such producers as RedOne, Wyclef Jean, and Luis F. Ochoa. She Wolf was completed in 2009 and readied for release in October, marking her third English-language album. The electro-disco-heavy She Wolf didn't make many commercial waves, performing well in Europe, Colombia, and Mexico but not in the U.S., yet Shakira quickly bounced back in 2010 with "Waka Waka (This Time for Africa)," the official song of the 2010 FIFA World Cup that became an international smash hit. On the heels of its success came Sale el Sol in the fall of 2010, an album largely recorded in Spanish that continued her remarkable worldwide success. A live album from Sale el Sol's supporting tour, Shakira: Live from Paris, appeared in time for the 2011 Christmas season.

In 2012, Shakira replaced Christina Aguilera as a coach on the American hit musical talent show The Voice. She initially served for only one season, leaving in 2013, and after her departure she finalized her tenth album. Called Shakira, the record saw release in March 2014, preceded by the hit Rihanna duet "Can't Remember to Forget You." Shakira also served on The Voice again for season six of the series. In 2016, she voiced the character Gazelle in the animated film Zootopia. The movie's soundtrack generated a new Shakira single in "Try Everything," a song co-written by Sia and Stargate. Early in 2017, Shakira appeared on "Deja Vu," a hit single by Prince Royce, who returned the favor by appearing on El Dorado, the album Shakira released in May of 2017. El Dorado was preceded by the single "Me Enamore" and featured appearances by Maluma, Carlos Vivas, and MAGIC! Shakira took home a Latin Grammy that year for Best Contemporary Pop Vocal Album. El Dorado was also nominated for an Anglo Grammy in the best Latin Pop Album category. Teaming up again with reggaeton singer Maluma, Shakira issued the collaborative single "Clandestino" in 2018.

Shakira began a relationship with Argentine lawyer Antonio de la Rúa in 2000. In a 2009 interview, Shakira stated their relationship already worked as a married couple, and that "they don't need papers for that". After 11 years together, Shakira and de la Rúa separated in August 2010 in what she described as "a mutual decision to take time apart from our romantic relationship". She wrote that the couple "view this period of separation as temporary", with de la Rúa overseeing Shakira's "business and career interests as he has always done". As first reported in September 2012, de la Rúa sued Shakira in April 2013, asking for $100 million he believed he was owed after Shakira suddenly terminated her business partnership with him in October 2011. His lawsuit was dismissed by a Los Angeles County Superior Court judge in August 2013.

Shakira entered a relationship with the Spanish football player Gerard Piqué, centre back for FC Barcelona and the Spanish national team in 2011. Piqué, who is exactly ten years her junior, first met Shakira in the spring of 2010, when Piqué appeared in the music video for Shakira's song "Waka Waka (This Time for Africa)", the official song of the 2010 FIFA World Cup. Shakira gave birth to the couple's first son, Milan Piqué Mebarak, on 22 January 2013 in Barcelona, Spain, where the family had taken up residence. Shakira gave birth to their second son, Sasha Piqué Mebarak, on 29 January 2015.

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The acoustic-oriented performances one hears on the show MTV Unplugged have a nice way of separating the men from the boys and the women from the girls. When artists go acoustic -- or at least semi-acoustic -- on that program, they can't hide behind decibels and amps or try to win you over with volume for the sake of volume. They become exposed and vulnerable, which is a good thing if they have solid material, strong vocals, and genuine talent to offer -- although it isn't so good if they are lacking in those areas. Shakira, not surprisingly, emerged triumphant when she appeared on MTV Unplugged, and this 2000 release is a fine document of that appearance. Mainly performing songs from 1999's Dónde Están los Ladrones?, Shakira demonstrates that she doesn't need studio gloss to sound great. Are her studio albums full of slickness and studio gloss? Absolutely. But ultimately, the thing that does the most to enrich Dónde Están los Ladrones? and 2001's Laundry Service isn't the albums' shiny, attractive production -- it is great vocals and great songwriting. "Si Te Vas," "Moscas en la Casa," "No Creo," and other Latin pop/rock gems lose nothing when Shakira unplugs; in fact, the Columbian vocalist really shines in an intimate, acoustic-oriented live setting. This more intimate environment tends to isolate the lyrics, which is certainly a plus when Shakira is performing something as poetic as the Arabic-influenced "Ojos Así." Of course, those who don't speak Spanish won't be discussing the lyrics of "Ojos Así" or any of the other tracks; this album preceded Shakira's first English-language effort, Laundry Service, and came at a time when she was still recording in Spanish exclusively. But regardless of whether or not one understands Spanish, MTV Unplugged is an excellent live album.

Shakira - MTV Unplugged     (flac  326mb)

01 Octavo Día 6:21
02 Si Te Vas 3:38
03 Dónde Están Los Ladrones 3:32
04 Moscas En La Casa 3:52
05 Ciega, Sordomuda 4:09
06 Inevitable 3:39
07 Estoy Aquí 4:58
08 Tú 5:22
09 Sombra De Ti 4:07
10 No Creo 4:08
11 Ojos Asi 6:49

Shakira - MTV Unplugged   (ogg   126mb )

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The Latin pop and rock en español fields are full of talented artists who would probably be huge in the English-language market if they didn't sing in Spanish exclusively. Some non-Spanish-speaking listeners don't mind listening to lyrics they don't understand -- the beat and the melody are enough for them -- but many others insist on understanding every word that is coming out of an artist's mouth. Thus, Latin stars usually don't cross over to English-speaking audiences until they start singing in English, which is what Shakira does on 2001's Laundry Service. "Whenever, Wherever," this album's infectious lead single, is to Shakira what "Livin' la Vida Loca" was to Ricky Martin: the major hit that brought her to English-speaking audiences in a big way. For Shakira, singing and writing in mostly English was no doubt a challenge -- Spanish, after all, is the Colombian star's primary language. But it's a challenge that she handles impressively well. Shakira, it turns out, sings quite convincingly in English -- and her creativity is at a high level on melodic, hooky pop/rock like "Rules" and "Ready for the Good Times." Like Shakira's Spanish-language albums, this self-produced album is enjoyably eclectic; she successfully combines pop/rock with everything from tango on "Objection" and Andean music on "Whenever, Wherever" to Middle Eastern music on "Eyes Like Yours" (which contains lyrics by Gloria Estefan and is an English translation of Shakira's late-'90s smash, "Ojos Así"). While nine of Laundry Service's 13 tracks are in English, four are in Spanish (including Spanish translations of "Whenever, Wherever" and "Objection"). And by including these four tracks, Shakira seems to be assuring her Spanish-speaking fans that she hasn't abandoned them. Dónde Están los Ladrones? remains Shakira's most essential album, but Laundry Service is an excellent English-language debut for the South American vocalist.

Shakira - Laundry Service   (flac  411mb)

01 Objection (Tango) 3:44
02 Underneath Your Clothes 3:45
03 Whenever, Wherever 3:16
04 Rules 3:40
05 The One 3:43
06 Ready For The Good Times 4:14
07 Fool 3:51
08 Te Dejo Madrid 3:07
09 Poem To A Horse 4:09
10 Que Me Quedes Tú 4:48
11 Eyes Like Yours (Ojos Así) 3:58
12 Suerte (Whenever, Wherever) 3:16
13 Te Aviso, Te Anuncio (Tango) 3:43
Bonus
14 Whenever, Wherever (Sahara Mix) 3:57
15 Underneath Your Clothes (Acoustic Version) 3:57
16 Objection (Tango) (Afro-Punk Version) 3:53

Shakira - Laundry Service   (ogg  116mb)

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Laundry Service gave Shakira her long-anticipated English-language breakthrough, turning her into a global superstar in the process. A hit of that magnitude is hard to follow, so it shouldn't be a great surprise that she toiled on its sequel for upward of four years. What is surprising is that the subsequent album was split in two -- à la Kill Bill -- with the first being devoted to Spanish tunes and the second consisting entirely of English songs; the teasing titles Fijacion Oral, Vol. 1 and Oral Fixation, Vol. 2 indicate which is which and which hit the market first. It's kind of a sharp move to release Fijacion Oral first, since it not only satisfies her longtime fans who have been waiting a long time for a collection of brand-new Spanish material (she hasn't delivered one since 1998's Dónde Están los Ladrones?), it also subtly signals that she won't be placing American success above anything else. Similarly, Fijacion Oral smartly straddles the line between traditional Latin pop and the sexy, splashy dance-pop and bombastic adult contemporary pop that made Laundry Service a big hit in the U.S.: its heart is in the former, but the production -- the omnipresent Rick Rubin serves as the executive producer -- is slick and bright, enough to make the first single, "La Tortura," sound like a natural for American radio (even if it will never be played because it's sung in Spanish). Despite the surface sheen, Fijacion Oral is proudly a Latin pop record, and it conforms to the conventions of its genre, alternating between melodramatic ballads and insistent dance tunes, sometimes working a sleek bossa nova number into the equation for good measure (the terrific "Obtener un Sí," which sounds like it could have been a big hit in the late '60s). Even if it doesn't break convention, it nevertheless does its job extremely well, with an ample amount of style and flair, as well as more songcraft than Shakira is usually given credit for. She's written each song here, sometimes in collaboration with either Luis F. Ochoa or Lester Mendez, and these ten originals (the 12-track album includes two alternate versions) have a combination of commercial savvy and smart writing, making this album a small triumph, proof that Shakira can not only return to her roots, but expand upon them. Since this is a Latin pop record through and through, it will not cross over the way that Laundry Service did, but that's by design: Fijacion Oral, Vol. 1 will conquer half of the world, and the other half will follow with Oral Fixation, Vol. 2 in six months' time. Given the strength of this album, it's hard to wait for the second part to arrive.

 Shakira - Fijación Oral, Vol. 1 ( flac  257mb)

01 En Tus Pupilas 4:24
02 La Pared 3:20
03 La Tortura 3:35
04 Obtener Un Sí 3:21
05 Dia Especial 4:25
06 Escondite Inglés 3:10
07 No 4:47
08 Las De La Intuición 3:42
09 Dia De Enero 2:55
10 Lo Imprescindible 3:58
11 La Pared (Versión Acústica) 2:41
12 La Tortura (Shaketon Remix) 3:12

   Shakira - Fijación Oral, Vol. 1 (ogg  102mb)

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Shakira delights in confounding expectations, and nowhere is that better seen than in how she secured a massive crossover audience on her own terms. She blended Latin pop and American mainstream pop, on both the dance and easy listening sides of the equation, on her 2001 breakthrough, Laundry Service, but it was no crass cash grab -- she eased herself into the transition, balancing songs in Spanish and English on the record while crafting tunes in both languages to appeal to both longtime fans and new listeners. That set the stage for her magnum opus of 2005, the two-part album Fijación Oral/Oral Fixation. Volume one was her first Spanish-language Latin pop album since 1998 and the second was her first ever all-English crossover album, and if anybody was expecting the latter to be a continuation of Laundry Service, consisting of nothing but sexy dance tunes and power ballads, Oral Fixation, Vol. 2 will be a bit of a surprise: it's a deadly serious, ambitious pop/rock album, most assuredly not frivolous dance-pop. Even when the album dives into pulsating neo-disco, it's in the form of a protest song in the closer, "Timor," which isn't exactly by-the-numbers pop. And that's a pretty good description of Oral Fixation, Vol. 2 in general -- it's pop, but it's unconventional. Even when she alludes to pop divas past, whether it's with the foreboding gospel choir on "How Do You Do" that brings to mind "Like a Prayer" or how she cribs from Alanis Morissette on "Illegal" ("You said you would love me until you died/And as far as I know you're still alive" is very close to "You Oughta Know"), Shakira twists these references to her own purposes, taking the music in unexpected directions. All these turns and detours lead to the same general destination: the sound is grandly theatrical, darkly sultry, and unapologetically lurid, a place where Madonna and U2 exist not as peers, but as collaborators. For if this album is anything, it's a global pop/rock album with each of those modifiers carrying equal weight: these are pop songs performed as arena rock, belonging not to a single country but to the world as a whole. As such, the album touches on everything from the expected Latin rhythms to glitzy Euro-disco, trashy American rock & roll, and stomping Britpop, all punctuated by some stark confessionals, as Shakira sings about everything from love to religion, stopping along the way to reveal that women with 24 inch waists may indeed be heartbroken. If some of these ideas don't necessarily gel, at least Oral Fixation, Vol. 2 is alive with ambition and, more often than not, Shakira winds up with music that is distinctive as both songs and recordings. And that means that Oral Fixation, Vol. 2 is not only a markedly different album from Fijación Oral, but from every other record in her catalog -- or, most importantly, from any other pop album in 2005. Other artists may be bigger than Shakira while others may make more fully realized albums, but as of 2005, no other pop artist attempts as much and achieves as much as Shakira, as this often enthralling album proves.

 Shakira - Oral Fixation, Vol. 2   (flac  321mb)

01 How Do You Do 3:47
02 Don't Bother 4:19
03 Illegal 3:56
04 The Day And The Time 4:25
05 Animal City 3:18
06 Dreams For Plans 4:04
07 Hey You 4:11
08 Your Embrace 3:34
09 Costume Makes The Clown 3:13
10 Something 4:24
11 Timor 3:33

Shakira - Oral Fixation, Vol. 2 (ogg  112mb)

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RhoDeo 1827 Teachings 1

Hello, Hamilton sabotaged his own start, seconds later a small kiss from Raikonen saw him end up at the back, luckily Silverstone is a rare F1 track where overtaking posits no problem , so by lap 10 he was up to place 6 but 25 sec behind Vettel. The british race control did everything they could to help Hamilton by having the safety car on in a situation where the virtual safety car would have met the requirements, only that way Hammy couldn't catch up. In the end it delivered a final 8 lap sprint race with Bottas, Vettel, Hamilton, Raikonen latters battles with Verstappen caused Max to ask too much from his clearly slower car, it broke down in 5th leaving Ricciardo the points. In front Vettel overtook Bottas who ended up 4th, superficial spectators declared Hamilton driver of the day despite him never having had one difficult overtake....

Tour news, Peter Sagan was denied a victory yesterday, not today and the yellow jersey too boot, alas a team time trail tomorrow sees him losing it again, could be for Tom Dumoulin tomorrow.

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Essential reading for any deep thinker and open-minded person who has experienced "non-ordinary realities.".

The Teachings of Don Juan: A Yaqui Way of Knowledge was published by the University of California Press in 1968 as a work of anthropology, though many critics contend that it is a work of fiction. It was written by Carlos Castaneda and submitted as his Master’s thesis in the school of Anthropology. It purports to document the events that took place during an apprenticeship with a self-proclaimed Yaqui Indian Sorcerer, don Juan Matus from Sonora, Mexico between 1960 and 1965.

The book is divided into two sections. The first section, The Teachings, is a first person narrative that documents Castaneda's initial interactions with don Juan. He speaks of his encounters with Mescalito (a teaching spirit inhabiting all peyote plants), divination with lizards and flying using the "yerba del diablo" (lit. "Devil's Weed"; Jimson weed), and turning into a blackbird using "humito" (lit. "Little smoke"; a smoked powder containing Psilocybe mexicana). The second, A Structural Analysis, is an attempt, Castaneda says, at "disclos[ing] the internal cohesion and the cogency of don Juan’s Teachings."......'N Joy

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"Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. I warn you. Look at every path closely and deliberately. Try it as many times as you think necessary.

This question is one that only a very old man asks. Does this path have a heart? All paths are the same: they lead nowhere. They are paths going through the bush, or into the bush. In my own life I could say I have traversed long long paths, but I am not anywhere. Does this path have a heart? If it does, the path is good; if it doesn't, it is of no use. Both paths lead nowhere; but one has a heart, the other doesn't. One makes for a joyful journey; as long as you follow it, you are one with it. The other will make you curse your life. One makes you strong; the other weakens you.


Before you embark on any path ask the question: Does this path have a heart? If the answer is no, you will know it, and then you must choose another path. The trouble is nobody asks the question; and when a man finally realizes that he has taken a path without a heart, the path is ready to kill him. At that point very few men can stop to deliberate, and leave the path. A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it."





Carlos Castaneda - The Teachings of Don Juan (mp3  46mb)

1 The Teachings of Don Juan part 1-6  50 :01


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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)
Space Force 9 (mp3  25mb)
Space Force 10 (mp3  25mb)
Space Force 11 (mp3  25mb)
Space Force 12 (mp3  25mb)

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Sundaze 1827

Hello, huge quality difference (as expected) in the two sets of 1/4 finals on Friday the A list battled it out with Belgium and France meeting in the semi finals, today's matches were rather poor with England scoring first the Swedes were left impotent, Russia and Croatia made a battle of it which ended with a victory for Croatia after their 2nd penalty shoot-out, it means England will meet them extra depleted, should be another walkover into the finals...

Hamilton was shaking from his out of body qualifying lap which saw him 4 hundredths faster as Vettel, pole for Britain in England however the Ferrari's look strong, Red Bulls in no man's land 5th and 6th, Verstappen will have  depend on something going wrong in front i he wants to continue in podium finishes.

The Tour start saw 3 topriders loose time Richie Porte, Chris Froome lost 51 sec and a stupid mistake (changing a flat at 3.4 km) by Nairo Quintana cost him 1:15.A strong Quickstep team made sure their sprinter Gavrilia won  his first ever Tour stage well in front of Peter Sagan



Today's artist is an American composer of space music, a genre of ambient electronic music, and New Age music.  Jonn soars and glides with his hands on the controls of analog and digital synthesizers. His rhythmic outings often have an understated heroic feel, although he has also done some more pop-oriented instrumentals
....N'joy

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Serrie has been composing and performing music for planetariums since the early 1980s. His first widely available album, And the Stars Go With You, was in memory of the astronauts lost in the Space Shuttle Challenger disaster in 1986. The following album, Flightpath, contains six songs that commemorate the pre-space-age test pilots of Edwards Air Force Base in the 1950s. Jonn is a pilot with advanced instrument and commercial ratings and flies for the Civil Air Patrol as a search-and-rescue pilot.

Serrie's next album, Tingri, was based on a remote village in Tibet. It was his way of infusing more spiritual and romantic emotion into his music. In so doing, he strayed a bit from his space music roots but without sacrificing his trademark sound. In 1992 and 1994, he made two albums in which he put his earlier planetarium work from the 1980s on CD, on Planetary Chronicles, Volume 1 and Planetary Chronicles, Volume 2. In between, in 1993 and 1995, Serrie composed his own musical science fiction story based on a fictional Century Princess in Midsummer Century and Ixlandia. In 1993, he submitted a song from his planetarium collection called "Soft Landing" to a Various Artists album sponsored largely by Steve Roach, another prominent new age musician. This song is only available on this recording. In 1997, Serrie's first Christmas album Upon a Midnight Clear was released; he rearranged known and less-known Christmas songs from around the world in his unique style. Due to its popularity, Serrie released two more Christmas albums, Yuletides in 2001 and Merrily on High in 2004.

In 1998, Serrie collaborated with David Carradine on his tai chi video series and released a CD soundtrack based on the videos, called "Dream Journeys". Also in 1998, he took a trip to shamanic America, which resulted in his musical collaboration with several Native American elders on "Spirit Keepers". In 1999, Serrie appeared as a special guest of honor at the 30th anniversary of the Apollo 11 moon landing mission, which was held in Cape Canaveral. As the final act of the after-dinner entertainment, he played a specially composed song "Out of the Blue", which has not been officially released.

The year 2000 brought Serrie's "best of" space music compilation, Century Seasons. On this album two new songs appeared, although "Deep Mystery" reappeared on "Lumia Nights" two years later in a slightly shorter version. The other bonus track, "Andromeda Dream", appeared on this album. In 2000 Serrie collaborated with flutist Gary Stroutsos on the Narada label, on an album called Hidden World. Since 2000, several of Serrie's albums have appeared on independent labels. 2002 brought Lumia Nights, a space romance release on Valley Entertainment, composed in the style of Ixlandia and Midsummer Century. In 2003, he signed a contract with New World Music, a major label in England, which included the reissue of his earlier Miramar releases. 2003 also brought The Stargazer's Journey with liner notes from famed astronomer David H. Levy. This was a return to form in Serrie's more traditional space music style.

Serrie took an interesting musical turn in 2005 with Epiphany, Meditations on Sacred Hymns, featuring his arrangement of traditional hymns and psalms, which he dedicated to his grandmother, his primary childhood church organ and piano teacher. He followed this up in 2006 with Sunday Morning, an independent release for autistic children and their parents. A portion of the profits from this album goes to support for autism organizations in the United States. Also in 2006, music from one of his albums was used in the hit Hollywood movie What the Bleep Do We Know!? Serrie scored the award winning IMAX short film Hubble: Galaxies Across Space and Time as well as the popular astronomy software program Starry Nights and Space.com's Eyes on Mars DVD. In 2009, Serrie released the album Thousand Star.

In 2011 the album Sunday Morning was expected be released, available worldwide. In 2014 the album "Day Star" was released available worldwide on New World Music In 2017 the album "The Sentinel" was released available worldwide on New World Music. Jonn Serrie founded the Galaxy Music Scholarship in 2001, a US$1000 annual scholarship for graduating high school seniors desiring a career in new age and space music composition. He lives in Atlanta, Georgia.

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Dream Journeys is an electronic new age masterwork by veteran artist Jonn Serrie. It is, in many ways, the middle album of an unofficial trilogy. It shares cross-cultural textures with Spirit Keepers and Dream World. While those discs have distinct Native American timbres, the ethnic influences on this album are more global. Serrie performs all of the music on this disc and he does so quite capably. The music was designed to accompany David Carradine's Tai Chi workout videos. It has qualitative healing powers and is a relaxing and meditative experience.

Jonn Serrie - Dream Journeys  (flac  307mb)

01 Native Seasons 6:10
02 Summer Dreamer 11:03
03 The Winds Of Change 18:56
04 Messengers 15:24
05 The Power Of Chi 7:50

Jonn Serrie - Dream Journeys  (ogg   129mb)

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Jonn Serrie is one of the leading space music artists in the U.S. His commissioned work for planetariums is legendary. Gary Stroutsos is one of the world's leading flutists. He excels particularly on Native American flutes. These two virtuosos got together and collaborated on Hidden World, a cross-cultural hybrid. Serrie says, "(Music) exists to help us explore a sense of ourselves and our place in the universe." According to Stroutsos: "...Music creates unity among peoples, cultures and nations. (It) can touch the soul, making it our universal means of communication." Taken out of context, such philosophies can -- and often do -- seem maudlin. However, listening to this album with those words fresh in mind clarifies and validates the philosophies. This music transcends hypocrisy and conflict -- both internal and external. Serrie and Stroutsos do indeed touch the soul with their large and gentle atmospheres. The soundscapes are warm and comfortable.

Jonn Serrie n Gary Stroutsos - Hidden World  (flac 275mb)

01 Hidden World 4:33
02 The Ocean Of Night 7:01
03 Mystery Of Falcon Cove 7:02
04 The Rain Maiden 4:40
05 Sunrise Song 6:13
06 Earth Sky 5:26
07 Bird Canyons 4:41
08 Rhapsody 3:44
09 Tuptim's Garden 5:24
10 Vision Lake 3:16

Jonn Serrie n Gary Stroutsos - Hidden World  (ogg  115mb)

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Jonn Serrie is one of the great space music composers of the 20th and 21st centuries. He is also an expert composer of electronic new age romance music. Lumia Nights features some of the best of both worlds. Serrie runs the gamut but does not go to the dark side to capture his space elements. His music is timeless as he generates good will, solid vibes, and positive karma at every level.

Jonn Serrie - Lumia Nights  (flac 362mb)

01 Lumia Nights 5:25
02 Lovers In Motion 5:10
03 Tidepools 5:48
04 Autumn Leaves 5:13
05 Starshower 7:34
06 Evening Shade 6:05
07 Deep Mystery 6:39
08 Lumahai 7:57
09 From Here To Eternity 8:53

Jonn Serrie - Lumia Nights  (ogg   129mb)

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David Levy, a world-renowned astronomer, called The Stargazer's Journey by Jonn Serrie, a "collection of cosmic musical poetry." That is an accurate description. Serrie is one of the world's foremost space music composers and a romantic at heart. This album, obviously on the space music side, gives several nods and winks to his romantic minimalism. Serrie stands in an elite zone with his ability to create pastoral space music. These atmospheres and soundscapes are full of joy, radiance, and vivid colors. Serrie does not go to the dark side for inspiration, it comes from his heart and soul. He embraces the stargazer's joy of exploration and discovery.

Jonn Serrie - The Stargazer's Journey (flac 329mb)

01 The Stargazer's Journey 8:47
02 Eye Of The Beholder 9:34
03 Goldstone 8:32
04 Pan Galactic 9:27
05 The Stars, Like Dust 15:35
06 Radiant Dawn's Whisper 7:58

Jonn Serrie - The Stargazer's Journey (ogg 124mb)

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RhoDeo 1826 Grooves

Hello,


Today's artist is an American singer-songwriter, musician, and composer. Among friends and fellow musicians he preferred being called "Brother Ray". He was often referred to as "The Genius". Charles was blind from the age of seven. He pioneered the soul music genre during the 1950s by combining blues, rhythm and blues, and gospel styles into the music he recorded for Atlantic Records. He also contributed to the integration of country music, rhythm and blues, and pop music during the 1960s with his crossover success on ABC Records.In 2002, Rolling Stone ranked Charles number ten on its list of the "100 Greatest Artists of All Time", and number two on their November 2008 list of the "100 Greatest Singers of All Time".... 'N Joy

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Ray Charles Robinson was the son of Bailey Robinson, a laborer, and Aretha (or Reatha) Williams. At the time, his mother was a teenage orphan making a living as a sharecropper. They lived in Greenville, Florida with Robinson's father and his wife, Mary Jane Robinson. The Robinson family had informally adopted Aretha (or Reatha), and she took the surname Robinson. When she became pregnant by Bailey, incurring scandal, she left Greenville late in the summer of 1930 to be with family members in Albany, Georgia for the baby's birth, after which mother and child returned to Greenville. She and Mary Jane then shared in Ray's upbringing. He was deeply devoted to his mother and later recalled her perseverance, self-sufficiency, and pride as guiding lights in his life. His father abandoned the family, left Greenville, and disappearedinto obvlivion

In his early years, Charles showed an interest in mechanical objects and would often watch his neighbors working on their cars and farm machinery. His musical curiosity was sparked at Wylie Pitman's Red Wing Cafe, at the age of three, when Pitman played boogie woogie on an old upright piano; Pitman subsequently taught Charles how to play the piano. Charles and his mother were always welcome at the Red Wing Cafe and even lived there when they were in financial distress. Pitman would also care for Ray's younger brother George, to take some of the burden off their mother. George drowned in his mother's laundry tub when he was four years old. Charles started to lose his sight at the age of four, and was completely blind by the age of seven, apparently as a result of glaucoma. Destitute, uneducated, and still mourning the loss of her younger son, Aretha used her connections in the local community to find a school that would accept a blind African-American pupil. Despite his initial protest, Charles attended school at the Florida School for the Deaf and the Blind in St. Augustine from 1937 to 1945.

Charles further developed his musical talent at school and was taught to play the classical piano music of J.S. Bach, Mozart and Beethoven. His teacher, Mrs. Lawrence, taught him how to use braille music which was a difficult process that requires learning the left hand movements by reading braille with the right hand and learning the right hand movements by reading braille with the left hand, and then combining the two parts. While Charles was happy to play classical music, he was more interested in the jazz, blues, and country music he heard on the radio. When Charles was 14 years old in the spring of 1945, his mother died. Her death came as a shock to him; he later said that the deaths of his brother and mother were "the two great tragedies" of his life. Charles returned to school after the funeral but was expelled in October for playing a prank on his teacher

After leaving school, Charles moved to Jacksonville with a couple who had been friends with his late mother. He played the piano for bands at the Ritz Theatre in LaVilla for over a year, earning $4 a night (US$50 in 2017 dollars. He joined the musicians' union in the hope that it would help him get work. He started to build a reputation as a talented musician in Jacksonville, but the jobs did not come fast enough for him to construct a strong identity. He decided to leave Jacksonville and move to a bigger city with more opportunities. At age 16, Charles moved to Orlando, where he lived in borderline poverty and went without food for days. Charles eventually started to write arrangements for a pop music band, and in the summer of 1947 he unsuccessfully auditioned to play piano for Lucky Millinder and his sixteen-piece band.

In 1947, Charles moved to Tampa, where he had two jobs: one as a pianist for Charles Brantley's Honeydippers, a seven-piece band. This is when he began his habit of always wearing sunglasses, made by designer Billy Stickles. In his early career, he modeled himself on Nat "King" Cole. Charles had always played piano for other people, but he was keen to have his own band. He decided to leave Florida for a large city, and, considering Chicago and New York City too big, followed his friend Gossie McKee to Seattle, Washington, in March 1948, knowing that the biggest radio hits came from northern cities. Here he met and befriended, under the tutelage of Robert Blackwell, a 15-year-old Quincy Jones

He started playing the one-to-five A.M. shift at the Rocking Chair with his band McSon Trio, which featured McKee on guitar and Milton Garrett on bass. Publicity photos of the trio are some of the earliest known photographs of Charles. In April 1949, he and his band recorded "Confession Blues", which became his first national hit, soaring to the second spot on the Billboard R&B chart. While still working at the Rocking Chair, he also arranged songs for other artists, including Cole Porter's "Ghost of a Chance" and Dizzy Gillespie's "Emanon". After the success of his first two singles, Charles moved to Los Angeles in 1950, and spent the next few years touring with the blues musician Lowell Fulson as his musical director.

After joining Swing Time Records, he recorded two more R&B hits under the name Ray Charles: "Baby, Let Me Hold Your Hand" (1951), which reached number five, and "Kissa Me Baby"(1952), which reached number eight. Swing Time folded the following year, and Ahmet Ertegün signed him to Atlantic Records. In June 1952, Atlantic Records bought Charles's contract for $2,500. His first recording session for Atlantic ("The Midnight Hour"/"Roll with My Baby") took place in September 1952, although his last Swingtime release ("Misery in My Heart"/"The Snow Is Falling") would not appear until February 1953. In 1953, "Mess Around" became Charles's first small hit for Atlantic; the following year he had hits with "It Should've Been Me" and "Don't You Know". He also recorded the songs "Midnight Hour" and "Sinner's Prayer".

Late in 1954, Charles recorded "I've Got a Woman". The lyrics were written by Ray's bandleader, Renald Richard. Ray claimed the composition. They later openly admitted that the song went back to The Southern Tones' "It Must Be Jesus" (1954, Duke 205). It became one of his most notable hits, reaching number two on the R&B chart. "I've Got a Woman" included a mixture of gospel, jazz and blues elements that would later prove to be seminal in the development of soul music. In 1955, he had hits with "This Little Girl of Mine" and "A Fool for You". In upcoming years, he scored with "Drown in My Own Tears" and "Hallelujah I Love Her So". In 1959, "What'd I Say" reached the #6 position on the Billboard Pop chart (and #1 on the Billboard R&B chart).

During his career, Charles also recorded instrumental jazz albums, such as The Great Ray Charles (1957). During this time, he also worked with the jazz vibraphonist Milt Jackson, releasing Soul Brothers in 1958 and Soul Meeting in 1961. By 1958, Charles was not only headlining black venues such as the Apollo Theater, in New York, but also bigger venues, such as Carnegie Hall and the Newport Jazz Festival (where his first live album was recorded in 1958). At this time, Charles recruited a young all-female singing group, The Cookies, and reshaped them as the Raelettes

Charles reached the pinnacle of his success at Atlantic with the release of "What'd I Say", a complex song that combined gospel, jazz, blues and Latin music, which Charles would later claim he had composed spontaneously as he was performing in clubs and dances with his small band. Despite some radio stations banning the song because of its sexually suggestive lyrics, the song became Charles's first crossover top-ten pop record. Later in 1959, he released his first country song (a cover of Hank Snow's "I'm Movin' On") and also recorded three more albums for the label: a jazz record (released in 1961 as The Genius After Hours); a blues record (released in 1961 as The Genius Sings the Blues); and a traditional pop–big band record (The Genius of Ray Charles). The Genius of Ray Charles was his first top-40 album, peaking at number 17, and was later viewed as a landmark record in his career.

Charles's Atlantic contract expired in the fall of 1959, with several big labels offered him record deals; choosing not to renegotiate his contract with Atlantic, he signed with ABC-Paramount Records in November 1959. He obtained a more liberal contract than other artists had at the time, with ABC offering him a $50,000 (US$419,749 in 2017 dollars) annual advance, higher royalties than before and eventual ownership of his master tapes—a very valuable and lucrative deal at the time. During his Atlantic years, Charles had been heralded for his own inventive compositions, but by the time of the release of the instrumental jazz album Genius + Soul = Jazz (1960) for ABC's subsidiary label Impulse!, he had virtually given up on writing original material, instead following his eclectic impulses as an interpreter.

With "Georgia on My Mind", his first hit single for ABC-Paramount in 1960, Charles received national acclaim and four Grammy Awards, including two for "Georgia on My Mind" (Best Vocal Performance Single Record or Track, Male, and Best Performance by a Pop Single Artist). Written by the composers Stuart Gorrell and Hoagy Carmichael, the song was Charles's first work with Sid Feller, who produced, arranged and conducted the recording. Charles earned another Grammy for the follow-up "Hit the Road Jack", written by the R&B singer and songwriter Percy Mayfield.

bio will be continued next week

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One of the first handful of LPs issued by Atlantic, Ray Charles (later retitled Hallelujah I Love Her So) is a bona fide classic of its genre. Weighted about three to one in favor of Charles' own compositions, its raison d'etre was the hits "Hallelujah I Love Her So" and the pounding, soaring "Ain't That Love," which opens the LP. As with other Atlantic albums of the period, its content was determined more by Charles' recent singles than by a real plan for the LP, but even within those limitations it's an amazingly subtle record. Charles does just as well with his interpretations of others' work, most notably the ominous, gospel-focused rendition of "Sinner's Prayer" (which offers a virtuoso piano performance, and comes courtesy of the pen of Charles' former mentor Lowell Fulson) and Henry Glover's wrenching ballad "Drown in My Own Tears," which is topped out on each verse by a gorgeous chorus. "Funny (But I Still Love You)" offers a guitar break played in such an understated fashion that it almost doesn't seem so much a part of R&B as it was usually being offered in 1957 as it does a part of Charles' early career output. The second side of the LP is even better, opening with the title track, a number that is almost too ubiquitous in its various cover versions -- the original has a mix of urgency and playfulness that's absolutely bracing, and the album carries this mood forward with "Mess Around," an Ahmet Ertegun-authored piano- and sax-driven romp with Charles at his most ebullient as a singer. "This Little Girl of Mine" offers him in a surprisingly light, almost acrobatic vocal mode, while "Greenbacks" is a knowing, clever cautionary narrative that is almost a throwback to 1940s-style R&B. "Don't You Know" is as salacious a piece of R&B as one was likely to hear in 1957, and "I Got a Woman" closes the record out on a pounding, driving note. The original album suffered from deficient sound and most reissues left a lot to be desired, but in 2003 WEA International reissued it (as Hallelujah I Love Her So) in a 24-bit remastered version in a gatefold format that is a treat to the ear and runs circles around prior reissues.

Ray Charles - Rock n Roll (Hallelujah I Love Her So)   (flac 157mb)

01 Ain't That Love 2:50
02 Drown In My Own Tears 3:15
03 Come Back Baby 3:00
04 Sinner's Prayer 3:15
05 Funny (But I Still Love You) 3:05
06 Losing Hand 3:07
07 A Fool For You 2:59
08 Hallelujah I Love Her So 2:35
09 Mess Around 2:39
10 This Little Girl Of Mine 2:30
11 Mary Ann 2:41
12 Greenbacks 2:49
13 Don't You Know 2:36
14 I Got A Woman 2:48

  (ogg  mb)

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The first-ever album of new Ray Charles music was also the first time he released straight-up jazz: Atlantic released The Great Ray Charles, modest title and all, just two months after the Ray Charles R&B compilation. It introduced a completely different Ray to the world. Because Ray’s fame rested on those R&B singles, The Great Ray Charles became a way for the master to explore his heretofore hidden love of modern jazz. Art for art’s sake, with no commercial pressure. It was also a sign of the times in that nobody quite knew how singles and albums fit into the record-buying world; full-length LPs were still kind of new and it made perfect sense to use their generous expanses for longer instrumental pieces. In this spirit, no singles were released to promote the album, which hasn’t prevented it from becoming a jazz classic.

Ray Charles - The Great Ray Charles    (flac  215mb)

01 The Ray 3:56
02 My Melancholy Baby 4:19
03 Black Coffee 5:28
04 There's No You 4:44
05 Doodlin' 5:49
06 Sweet Sixteen Bars 4:04
07 I Surrender Dear 5:04
08 Undecided 3:36

Ray Charles - The Great Ray Charles  (ogg  149mb)

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All jazzers are familiar with the 12 bar blues. It is, after all, a staple of American music. In the wrong hands, it can sound artificial, sometimes mundane. In the right ones, though, it can be succulent, sweet, and profoundly beautiful. Ladies and gentlemen: I have never in my life heard a better jazz/blues album (actually two in one) than this one right here. From the first grinding minute of the opening "How Long Blues," to the soul-infused, uptempo "Hallelujah, Got to Love Her So," Ray Charles and Milt Jackson deliver us a plethora of approaches to the blues, all stunners in their own way. And unlike many collaborations, Charles and Jackson are good foils for eachother. Charles, drenched as he was in gospel/soul, solos in a slower, more mournful style, while the veteran jazzer Milt Jackson takes a more meandering 'be-bop' approach. Put them together, and you get a fusion most electric.

While I happen to think that Charles is the 'scene-stealer' on these two albums (witness the 5 minute piano solo in "The Genius After Hours" for a great example) another reviewer below gives that title to Jackson. Both soloists are certainly in top form. But that is what makes this record so great to listen to: despite their different approaches to blues soloing, both players bring everything they have to the table, and the result is a sweet delight. In closing, if you like a more straight ahead bop style, this disc might come off as too slow for you. Most of the tracks are in mid and slow tempos (a few of which are out-and-out grinders)! The tracks are more about soul than chops. This is fine by me, but might not be to some jazzers tasts (especially if you know Milt Jackson primarily from the Modern Jazz Quartet's recordings.) But if you want soul drenched blues, this is one of the best albums you can get!

Ray Charles & Milt Jackson - 'Soul Brothers, Soul Meeting''    (flac 496mb)

01 How Long Blues 9:15
02 Cosmic Ray 5:21
03 The Genius After Hours 4:53
04 Charlesville 4:53
05 Bags of Blues 8:49
06 'Deed I Do 5:51
07 Blue Funk 8:09
08 Soul Brothers 9:34
09 Bag's Guitar Blues 6:23
10 Soul Meeting 6:03
11 Hallelujah I Love Her So 5:27
12 Blue Genius 6:38
13 X-Ray Blues 7:01
14 Love on my Mind 3:45

Ray Charles & Milt Jackson - 'Soul Brothers, Soul Meeting''  (ogg  220mb )

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On July 5, 1958, Ray Charles and his band played a set at the Newport Jazz Festival in Newport, Rhode Island. The performance shows Ray at ease on stage, jumping in and out of musical styles at will, and casting a spell over the appreciative audience. Part of the small-venue show was released in October 1958 as Ray Charles At Newport. The Newport Jazz Festival had begun in 1954, and while already well-known and well-loved by jazz fans, the yearly event caused significant tension in Newport: this unfamiliar new black music attracted not only black audiences to white Newport, but also white college kids who descended on the town and had an easygoing, hedonistic bent that made many uncomfortable. This tension could often propel the performers to greater heights, and several performances from the festival’s early years are now legendary. Ray Charles’ At Newport album is one such document.

Ray Charles - Ray Charles at Newport    (flac  266mb)

01 The Right Time 4:06
02 In A Little Spanish Town 3:47
03 I Got A Woman 6:24
04 Blues Waltz 6:29
05 Hot Rod 3:43
06 Talkin' About You 4:26
07 Sherry 4:18
08 A Fool For You 7:15

Ray Charles - Ray Charles at Newport  (ogg  98mb)

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When it became clear that the music market wasn’t interested in 7″ singles only, and that releasing full-length LPs was going to be worth record companies’ time, Atlantic started compiling its artists’ previous singles onto 12″ albums. Ray Charles’ very first album (Ray Charles) was one such disc, and Yes Indeed!, released in October 1958, was the second installment. Yes Indeed! was in fact the fifth Ray Charles album to be released in sixteen months, and his second of October 1958. After Ray Charles, he released two instrumental jazz albums (The Great Ray Charles and, with Milt Jackson, Soul Brothers) and the live At Newport album. The juxtaposition of these releases showed what a wide range of talents and interests Ray had. Yes Indeed!, being a compilation of singles, shows his more popular, R&B hitmaking side.

Ray Charles - Yes Indeed!!    (flac  112mb)

01 What Would I Do Without You 2:33
02 It's All Right 2:15
03 I Want To Know 3:08
04 Yes Indeed! 2:12
05 Get On The Right Track Baby 2:20
06 Talkin' 'Bout You 2:47
07 Swanee River Rock (Talkin' 'Bout That River) 2:18
08 Lonely Avenue 2:42
09 Blackjack 2:15
10 The Sun's Gonna Shine Again 2:35
11 I Had A Dream 2:54
12 I Want A Little Girl 2:54
13 Heartbreaker 2:51
14 Leave My Woman Alone 2:36

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RhoDeo 1826 Aetix

Hello, two 1/8 finals saw 4 largely impotent teams battle it out, the Swedes, with their run of luck that started 2 years ago against the Dutch, were always the favorite against the Swiss and so a shot that was deviated decided the match 1-0. Harry Kane scored another corner tussle penalty and that was all th english managed in 2 hours, extra time was needed after a late equalizer from Columbia's first corner in the 93rd minute. Unsurprisingly nothing much happened in 30 extra minutes so it was penalties, the format the English dread as they always loose these shoot outs, they missed first this time but at 3-2, the Colombians missed their remaining 2 and the English ..didn't 4-3 for the queens boys.

What's left is a rather uneven quarterfinal draw with on the one side Brazil-Belgium and France-Uruguay and on the other 'light weight' side Russia-Croatia and Sweden-England


Today's artist is a Japanese musician, singer, record producer and actor, who is best known internationally as the drummer and lead vocalist of the Yellow Magic Orchestra, and as the former drummer of the Sadistic Mika Band .. ..............N'Joy

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Yukihiro Takahashi first came to prominence as the drummer of the Sadistic Mika Band in the early 1970s, and became known to western audiences after this band (led by Kazuhiko Kato, formerly of The Folk Crusaders) toured and recorded in the United Kingdom. After the Sadistic Mika Band disbanded, some of the members (including Takahashi) formed another band called The Sadistics, who released several albums. Takahashi recorded his first solo album, Saravah, in 1977. In 1978, Takahashi joined Ryuichi Sakamoto and Haruomi Hosono to form the Yellow Magic Orchestra.

After the Yellow Magic Orchestra disbanded in the mid 1980s, Takahashi went solo and released a large number of solo albums, primarily intended for the Japanese market. Takahashi has collaborated extensively with other musicians, including Bill Nelson, Iva Davies of Icehouse,[2] Keiichi Suzuki of the Moonriders (often as a duo dubbed "The Beatniks", although Suzuki essentially functioned as a member of Takahashi's backing band during the Moonriders' brief hiatus) and in particular Steve Jansen. Takahashi has released a single Stay Close and an EP Pulse as a duo with Jansen.

Takahashi helped compose the soundtrack to the anime series Nadia: Secret of the Blue Water in 1989, including the song "Families".[3] Takahashi participated in temporary reunions of both the Sadistic Mika Band (missing the lead vocalist Mika who was replaced by Kaela Kimura), and The Yellow Magic Orchestra (YMO). Both of these reunions included tours of Japan, and an album of new material.

In the early 2000s, Takahashi became a member of the duo Sketch Show, with Haruomi Hosono. Sketch Show has released two albums, one of which, Loophole, has been released in the UK. Both Takahashi and Hosono have recently reunited with Sakamoto as HASYMO – a combination of Human Audio Sponge and Yellow Magic Orchestra. This collaboration produced a new single "Rescue" in 2007 and a new album looks to be in the pipeline in the near future. Takahashi's latest solo album Life Anew will be released on July 17, 2013.
Discography


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Yukihiro's works can be classified into English-centered and Japanese-centered. I think "Once A Fool  ..." is the latter's best masterpiece. It is difficult to say the impression of music, but feeling something that sticks to the pin while being a light, soft and good quality pops.  As usual guests are luxurious, Ryuichi Sakamoto, Haruka Hosono as well as Akiko Yano, Minako Yoshida, Hirofumi Suzuki, Peter Barakan etc participate. A masterpiece full of pop feeling in total.  Last "Today's Sky" and Todd. "I Saw The Light" which is the cover of Langrene is especially recommended. In addition, the EP "Stay Close" is included on this album, By the way, "Betsu Ni " seems to be the title that Jansen got interested in the word "Separately" that Yukihiro casually said.

Yukihiro Takahashi - Once A Fool (flac  358mb)

01 Harukanaru Omoi 2:29
02 Fuyu No Silhouette 4:17
03 Providence (Subarashiki Gensou) 4:21
04 Shigoto Wo Oeta Bokutachi Wa 3:40
05 One More Chance 4:10
06 Sailor 4:23
07 I Saw The Light 3:48
08 Konchu-ki4:34
09 Nakitai Kimochi 4:14
10 Kyou No Sora 3:46
Bonus Takahashi/Jansen
11 Stay Close (12" Version) 8:12
12 Betsu Ni 5:08
13 Stay Close (Wierder World) 2:58

Yukihiro Takahashi - Once A Fool   (ogg  127mb)

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It was remarkable and puzzled that the sound of Yukihiro changed from European to American sound.  The jacket shows a miserable face .This is Yukihiro Takahashi;s 2nd album of the Tent era and it's drawing the same flow as the previous work "Once A Fool"  A unique world that can not be shown to others by the Japanese lyrics "Weekend" and "From now I am ..." Because of that, impression that the introspection in Japanese songs pulled the legs of other songs.  Especially "Life Like A River " is a masterpiece. The album finishes with a strong cover Moonlight Feels Right

Yukihiro Takahashi - Only When I Laugh  (flac  248mb)
 
01 Weekend 4:32
02 Solution 4:56
03 Life Like A River 4:12
04 Ima No Boku Kara... 4:50
05 Episode 87 4:24
06 Camp 3:49
07 Ie Ni Kaeritai 3:33
08 Yume Kara Sametara... (Tenshi Wa Sugu Soko Ni Ita) 5:02
09 Moonlight Feels Right 4:22

Yukihiro Takahashi - Only When I Laugh   (ogg  91mb)

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EGO starts of in a great way the beatles 'TomorrowNeverKnows' cover (and moreover George Ismballlike arrangement). There are some songs reminiscent of "Yukihi Kaeda" until a while until "LookOfLove", but songs that make you feel hommage to Hosono, such as "Sigh of the Morning Color" "SeaChange" Dance Of Life ""Yes" with a simple moisture system that uses two kinds of snare drums. Although the number of tracks is limited the quality isn't, I mean, if you introduce this album it may be enough to keep all the lyrics of "left bank". The strongest enemy is in me, the best God should also be inside of you

 Yukihiro Takahashi - EGO   (flac  287mb)

01 Tomorrow Never Knows 3:41
02 Look Of Love 4:48
03 Erotic 4:03
04 Adele's Favourite (Asairo No Tameiki) 3:41
05 Sea Change 4:42
06 Dance Of Life 4:37
07 Yes 5:12
08 Left Bank 4:41
09 Only The Heart Has Heard 6:49

 Yukihiro Takahashi - EGO    (ogg  102mb)

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It is a feeling that I take it to heaven in the development of 1st and 2nd songs. The 2nd and 4th and 5th songs are totally beat works by beatniks. Although it is a solid title, "1% relationship" is also a very good song. (Jake is Yokoo Tadanori.) It is a five star.

Yukihiro Takahashi - Broadcast From Heaven (flac  231mb)

01 Tengoku Kara No Chuukei 1:38
02 6,000,000,000 No Tengoku 4:34
03 Fait Accompli 3:30
04 4:30am No Yeti :51
05 1% No Kankei 4:07
06 The Sensual Object Dance 4:15
07 Sabishisa No Sentaku 4:16
08 Forever Bursting Into Flame 4:34
09 Rehabilitation 6:19
10 What The World Needs Now Is Love 2:37

Yukihiro Takahashi - Broadcast From Heaven     (ogg  89mb)

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RhoDeo 1826 Roots

Hello, i noticed i was more interested in Wawrinka picking himself up after loosing the first set 6-1 and subsequently winning the next 3 sets, then in brazilian theatrics on the field. Next up for them are the Belgiums who were expected to overrun the Japanese-that didn't happen Japan played well and when they went 2-0 in the lead in the 55th minute after a second excellent goal and leaving Belgium confused. With a coach on the bench who simply is 2nd tier, it took him another 15 minutes to react.  A somewhat lucky header by Vertonghen saw him make amends for his mistake that set up Japan's first goal, Fellaini and Chadli got substituted for failing attackers and they got Belgium over the line a wonderful fast break from a Japanese corner saw Chadli score in the 94th minute, there was no time for another kick off. They'll need to get their act together quickly or they won't get passed Brazil, alas it's too late to sack that nincompoop coach of theirs.


Today's artist is a Colombian singer, songwriter, and dancer. Born and raised in Barranquilla, she began performing in school, demonstrating Latin American, Arabic, and rock and roll influences and belly dancing abilities. She rose to prominence in Latin America with her major-label debut, Pies Descalzos (1996), and her fourth album, Dónde Están los Ladrones? (1998). As of 2001, she had sold over 10 million albums alone in Latin America, A self made artist that really puts Madonna in the shade, a woman that has known what she wants and has gotten it, respect  .... N'Joy

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Born on 2 February 1977 in Barranquilla, Colombia, Shakira Isabel Mebarak Ripoll  is the only child of William Mebarak Chadid and Nidia Ripoll Torrado. Her paternal grandparents emigrated from Lebanon to New York City, where her father was born Her father then emigrated to Colombia at age 5. The name Shakira is Arabic for "grateful", From her mother, she has Spanish  and Italian ancestry. She was raised Catholic and attended Catholic schools. She has eight older half-siblings from her father's previous marriage. Shakira spent much of her youth in Barranquilla, a city located on the northern Caribbean coast of Colombia, and wrote her first poem, titled "La Rosa De Cristal/The Crystal Rose", when she was only four years old. As she was growing up, she was fascinated watching her father writing stories on a typewriter, and asked for one as a Christmas gift. She got that typewriter at the age of seven, and has continued writing poetry since then. These poems eventually evolved into songs. When Shakira was two years old, an older half-brother was killed in a motorcycle accident; six years later, at the age of eight, Shakira wrote her first song, titled "Tus gafas oscuras/Your dark glasses", which was inspired by her father, who for years wore dark glasses to hide his grief.

When Shakira was four, her father took her to a local Middle Eastern restaurant, where Shakira first heard the doumbek, a traditional drum used in Arabic music and which typically accompanied belly dancing. She started dancing on the table, and the experience made her realize that she wanted to be a performer. She enjoyed singing for schoolmates and teachers (and even the nuns) at her Catholic school, she was often sent out of the class because of her hyperactivity (ADHD). Between the ages of 10 and 13, Shakira was invited to various events in Barranquilla and gained some recognition in the area. It was at this approximate time that she met local theater producer Monica Ariza, who was impressed with her and as a result tried to help her career. He arranged for Sony Colombia executives with the idea of surprising them with Shakira's performance. She performed three songs for the executives and impressed them enough for her to be signed to record three albums. Her 1991 debut album, Magia, comprised songs she'd written over the past five or six years, including some of her earliest efforts. Although it didn't break internationally, the record started to make a name for her in her home country. Dissatisfied with the pop inclinations of the follow-up, 1993's Peligro, Shakira changed direction for a time, joining the cast of the Colombian soap opera El Oasis in 1994.

When Shakira returned to recording in 1995, she asserted more control over the direction of her music and worked more rock & roll rhythms -- as well as occasional Arabic tinges -- into her Latin pop material. The first results were Pies Descalzos, which was initially released in 1995; a slow seller at first, the album gradually caught on thanks to "Estoy Aqui," which became a hit all over Latin America, as well as Spain. After that breakthrough, Pies Descalzos just kept spinning off singles: "Dónde Estás Corazón?," "Antología," "Pienso en Ti," "Un Poco de Amor," "Se Quiere, Se Mata." The album hit number one in eight different countries and eventually went platinum in the U.S. as well; Shakira toured for nearly two years promoting it (she finally left El Oasis in 1997).

Seeking to build on her success, Shakira signed Emilio Estefan -- Gloria's husband and a highly successful music-biz insider -- as her manager and producer. The move paid off when her follow-up album, 1998's Dónde Están los Ladrones? (Where Are the Thieves?), became an even bigger worldwide hit than its predecessor. What was more, it cracked the lucrative U.S. market wide open, spending 11 weeks at number one on Billboard's Latin album chart and producing two U.S. number ones (on the Latin chart) with "Ciega, Sordomuda" and "Tu." The album's signature track, however, was the worldwide hit "Ojos Así," her most explicit nod yet to the Arabic music she'd picked up from her father (not to mention its latent belly dancing connotations). Dónde Están los Ladrones? was also the most effective presentation yet of Shakira's strong-willed persona; her self-analysis made her even more popular among female fans, while her anger over love gone wrong drew comparisons to Alanis Morissette.

Mainstream pop stardom beckoned. Shakira dyed her long brown hair blonde, romanced Antonio de la Rua (son of the former president of Argentina), and went to work on her first (mostly) English-language album, Laundry Service. The single/video "Whenever, Wherever" was released in advance of the album in late 2001, and made her a star in the English-speaking world almost overnight. Laundry Service entered the American pop charts at number three, and "Whenever, Wherever" climbed into the Top Ten of the singles chart, peaking at number six. The follow-up, "Underneath Your Clothes," also hit the Top Ten, halting at number nine; less than a year after its release, Laundry Service had gone triple platinum. Reviews of Laundry Service were divided as to the effectiveness of Shakira's English lyrics, but nearly all agreed on her unique poetic imagery.

Extensive touring to support Laundry Service led to a long break for the singer, so a remix collection (2002's Laundry Service: Washed and Dried) and a live album (2004's Live & Off the Record) appeared in lieu of a new album. Revitalized, Shakira began the writing process for her next release and soon had 60 songs ready to go, some in English, some in Spanish; 20 of those songs were selected and divided up by language to make two different albums. Both appeared in 2005 and both hit the Top Ten, with the Spanish-language album Fijacion Oral, Vol. 1 leading the way in June with a number four placing and the English-language album, Oral Fixation, Vol. 2, following in November at number five. As sales of Oral Fixation began to slow in early 2006, Epic reissued the album in March with a bonus track, "Hips Don't Lie." The newly recorded song went on to top the Billboard Hot 100 chart in June, becoming one of the summer's biggest hits and reviving sales of Oral Fixation, as well as Shakira's entire back catalog.

Shakira signed a ten-year contract with Live Nation in 2008, prompting Forbes to deem her the fourth top-earning female musician in history. She also worked heavily on another album, traveling to multiple cities while collaborating with such producers as RedOne, Wyclef Jean, and Luis F. Ochoa. She Wolf was completed in 2009 and readied for release in October, marking her third English-language album. The electro-disco-heavy She Wolf didn't make many commercial waves, performing well in Europe, Colombia, and Mexico but not in the U.S., yet Shakira quickly bounced back in 2010 with "Waka Waka (This Time for Africa)," the official song of the 2010 FIFA World Cup that became an international smash hit. On the heels of its success came Sale el Sol in the fall of 2010, an album largely recorded in Spanish that continued her remarkable worldwide success. A live album from Sale el Sol's supporting tour, Shakira: Live from Paris, appeared in time for the 2011 Christmas season.

In 2012, Shakira replaced Christina Aguilera as a coach on the American hit musical talent show The Voice. She initially served for only one season, leaving in 2013, and after her departure she finalized her tenth album. Called Shakira, the record saw release in March 2014, preceded by the hit Rihanna duet "Can't Remember to Forget You." Shakira also served on The Voice again for season six of the series. In 2016, she voiced the character Gazelle in the animated film Zootopia. The movie's soundtrack generated a new Shakira single in "Try Everything," a song co-written by Sia and Stargate. Early in 2017, Shakira appeared on "Deja Vu," a hit single by Prince Royce, who returned the favor by appearing on El Dorado, the album Shakira released in May of 2017. El Dorado was preceded by the single "Me Enamore" and featured appearances by Maluma, Carlos Vivas, and MAGIC! Shakira took home a Latin Grammy that year for Best Contemporary Pop Vocal Album. El Dorado was also nominated for an Anglo Grammy in the best Latin Pop Album category. Teaming up again with reggaeton singer Maluma, Shakira issued the collaborative single "Clandestino" in 2018.

Shakira began a relationship with Argentine lawyer Antonio de la Rúa in 2000. In a 2009 interview, Shakira stated their relationship already worked as a married couple, and that "they don't need papers for that". After 11 years together, Shakira and de la Rúa separated in August 2010 in what she described as "a mutual decision to take time apart from our romantic relationship". She wrote that the couple "view this period of separation as temporary", with de la Rúa overseeing Shakira's "business and career interests as he has always done". As first reported in September 2012, de la Rúa sued Shakira in April 2013, asking for $100 million he believed he was owed after Shakira suddenly terminated her business partnership with him in October 2011. His lawsuit was dismissed by a Los Angeles County Superior Court judge in August 2013.

Shakira entered a relationship with the Spanish football player Gerard Piqué, centre back for FC Barcelona and the Spanish national team in 2011. Piqué, who is exactly ten years her junior, first met Shakira in the spring of 2010, when Piqué appeared in the music video for Shakira's song "Waka Waka (This Time for Africa)", the official song of the 2010 FIFA World Cup. Shakira gave birth to the couple's first son, Milan Piqué Mebarak, on 22 January 2013 in Barcelona, Spain, where the family had taken up residence. Shakira gave birth to their second son, Sasha Piqué Mebarak, on 29 January 2015.

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Shakira began writing songs at the age of eight years, her first one being "Tus Gafas Oscuras". Her performances at local competitions led to a meeting with local theater producer Monica Ariza, who later held an audition for her in Bogotá. She performed three songs for executives of Sony Music Columbia, who were impressed enough to sign her, at the age of 13, to record three albums, which were Magia, Peligro and Pies Descalzos.

The low-budget Magia was put in almost three months of pre-production, which involved choreography of live performances for the album, singing lessons for Shakira, and arranging the songs. The concept of the music still reflected her personality, despite the fact that it was managed by the record label. The tracks deal with emotions of a person's first time falling in love, and range from a love poem ("Sueños") to a celebration of dance ("Esta noche voy contigo"). The album was produced by Miguel E. Cubillos and Pablo Tedeschi, and recorded at Aga Studios in Bogotá, when Shakira was 13. Notably for Shakira, the process was problematic, as she had no ability to decide which tracks would be included and no input into the rhythmic structure or artistic production of the songs.

Shakira - Magia   (flac  207mb)

01 Sueños 3:47
02 Esta Noche Voy Contigo 3:53
03 Lejos De Tu Amor 3:09
04 Magia 4:43
05 Cuentas Conmigo 4:01
06 Cazador De Amor 3:07
07 Gafas Oscuras 3:13
08 Necesito De Ti 3:41
09 Lejos De Tu Amor (Versión Remix) 3:13

Shakira - Magia (ogg   78mb )

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Despite Magia's lack of sales, Sony Colombia had higher expectations for Shakira's second album, hoping that it would heighten the small popularity she was already having. Diego wrote, however, that the time during the production and release of Peligro would prove to the 16 year old that "the road of the artist was not an easy one." The several months of producing Peligro was one of Shakira's most frustrating periods in her career, resulting in an "odd album" that did not fare well with the singer. The album features songs written by Shakira and other composers,  Shakira was not pleased with the final result of Peligro, so much so that she decided not to promote the record. Initially, Shakira refused to allow the re-release of both Magia and her next album, Peligro, because of their "immaturity". However, both this album and the previous one (Magia) were then digitally released for the first time on different platforms as a compilation album entitled La Magia y el Peligro de Mis Primeros Éxitos

Shakira - Peligro (Danger)     (flac  254mb)

01 Eres (You're) 5:02
02 Último Momento 4:56
03 Tú Serás La Historia De Mi Vida 4:52
04 Peligro 4:39
05 Quince Años 3:30
06 Brujería (Witchcraft) 4:12
07 Eterno Amor 4:47
08 Controlas Mi Destino 4:36
09 Este Amor Es Lo Más Bello Del Mundo 4:20
10 1968 4:44

Shakira - Peligro   (ogg  116mb)

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Shakira's 1996 album, Pies Descalzos set the stage for one of the international community's most celebrated and exciting stars. The album took a while to gain momentum, but once it did, the young chanteuse ascended to dizzying commercial heights that were only magnified with her more electrifying later releases. The more tranquil Pies Descalzos, however, finds the young singer/songwriter balancing heartfelt, earnest ballads (such as "Te Necesito") with catchy, jangly pop/rock. The album opens with the infectious and melodic pop/rocker "Estoy Aqui" and continues with the ballad "Antologia" before breaking into the dancehall-lite of "Un Poco de Amor." As can be seen from the diversity of the material, Shakira seems to still be finding her own voice, but the results are nonetheless engaging. Other highlights include the catchy "Se Quiere Se Mata," "Donde Estas Corazon," and the cool, jazzy "Te Espero Sentada," which unfortunately loses momentum during the chorus. All in all, Pies Descalzos is a solid album from a young artist who was still evolving and would later further fulfill her artistic potential.

 Shakira - Pies Descalzos ( flac  273mb)

01 Estoy Aquí 3:55
02 Antología 4:18
03 Un Poco De Amor 4:05
04 Quiero 4:13
05 Te Necesito 4:02
06 Vuelve 3:57
07 Te Espero Sentada 3:29
08 Pies Descalzos, Sueños Blancos 3:28
09 Pienso En Ti 2:29
10 Dónde Estás Corazón 3:54
11 Se Quiere, Se Mata 3:39

   Shakira - Pies Descalzos (ogg  102mb)

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1996's Pies Descalzos was Shakira's big commercial breakthrough; it was that album that established the Colombian singer as a superstar in Latin America. But Shakira's next album, Dónde Están los Ladrones? (which means "Where Are the Thieves?" in Spanish) is arguably the finest and most essential album that she recorded in the 1990s. This superb album isn't just Latin pop -- it's also rock en español. Dónde Están los Ladrones? inspired some reviewers to compare Shakira to Alanis Morissette, but that comparison is only valid up to a point. The Colombiana sings with a bit of a cackle (something Morissette is known for) on pop/rock jewels like "Si Te Vas" and "No Creo," but Shakira is a very different kind of lyricist her lyrics tend to be poetic and are, at times, unapologetically romantic -- even if Morissette sang in Spanish, it would be hard to imagine her coming up with something as poetic as the Middle Eastern fantasy that Shakira vividly describes on her Arabic-influenced mega-hit "Ojos Así." Alas only those who have some knowledge of Spanish will be impressed by Shakira's lyrics; Columbia doesn't provide English translations. What will impress non-Spanish-speaking listeners are the album's attractive melodies and the emotion that the artist brings to her songs; you don't have to speak a word of Spanish to find Dónde Están los Ladrones? musically exciting.

 Shakira - Dónde Están los Ladrones   (flac  282mb)

01 Ciega, Sordomuda 4:29
02 Si Te Vas 3:30
03 Moscas En La Casa 3:33
04 No Creo 3:54
05 Inevitable 3:14
06 Octavo Día 4:32
07 Que Vuelvas 3:51
08 Tú 3:36
09 Dónde Están Los Ladrones? 3:15
10 Sombra De Ti 3:36
11 Ojos Así 3:58

Shakira - Dónde Están los Ladrones (ogg  103mb)

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RhoDeo 1826 Space F 12

Hello, the Grand Prix at Austria threw up an unexpected result because both Mercs didn't finish after starting 1-2 on pole, first Bottas gearbox broke down causing a virtual safetycar which was immediately used by Red Bull and Ferrari to change tires, undercutting Hamilton when he had to come in later at full race pace. When he returned he got snubbed by Vettel by a great overtake this angered him so much that he ate his tires, and another tire change was needed, it didn't matter the car didn't make it to the finish. Vettel cruised to 3rd and was the last car not lapped as he was just 5 seconds behind winner Verstappen with Raikonen in-between. Verstappen won deservedly as after his bold overtake on Raikonen in the beginning, he managed his tires superbly teammate Ricciardo on the same tire strategy had to come in 20 laps earlier but his car broke down too.


At the Worldcup two 1-1 results after extra time had the nerves tested of the players taking the penalties, Russians 80,000 crowd had already applauded the draw and probably convinced they could influence the Spanish players to miss, well it was Akinfejev he held 2 penalties whilst the Russians scored all 4, spare a thought for the fifth Russian denied the chance to become a hero because his penalty was no longer needed not even his name was noted. The Danes started brightly scoring in the first minute only to be pegged back 2 minutes later, after that the match was reasonably balanced though Croatia slightly stronger they got a penalty minutes before the end of extra time but Schmeichel stopped Modric' penalty, he stopped another two in the shoot out, alas his landsmen missed 3, exit Danemark. Tomorrow Brazil and Belgium are expected to advance to their quarter final, outcome very uncertain unlike France who's clear favorite to go to the semis as are Croatia as they should be able to outsmart the Russian wall, meanwhile England's path to the semi's seems to be strewn with roses as neither Columbia, Sweden or Switzerland should pose that much of an obstacle. My prediction for the final England vs France....

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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy



Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.




Space Force 12 (mp3  25mb)

12 Unto Death and Beyond 27:51

Stranded on the Golden Planet, the crew must find a way to return to Mars. Conclusion of the sci-fi adventure by Charles Chilton

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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)
Space Force 9 (mp3  25mb)
Space Force 10 (mp3  25mb)
Space Force 11 (mp3  25mb)


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Sundaze 1826

Hello, the 2 greatest players in the world currently, got their marching orders today as their countries lost. France overran Argentina and the final score 4-3 didn't really reflect what was going on on the field, 2 wonderful goals and Mbappe did the rest, Messi delivered a wonderful assist to Aguero in injury time but that was it. Next opponents are Uruguay who's sturdy defense coupled with two top strikers delivered 2 great goals for Cavani assisted by Suarez, Ronaldo didn't make an impression as he got blocked whenever he tried....



Today's artist is an American composer of space music, a genre of ambient electronic music, and New Age music.  Jonn soars and glides with his hands on the controls of analog and digital synthesizers. His rhythmic outings often have an understated heroic feel, although he has also done some more pop-oriented instrumentals
....N'joy

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Serrie has been composing and performing music for planetariums since the early 1980s. His first widely available album, And the Stars Go With You, was in memory of the astronauts lost in the Space Shuttle Challenger disaster in 1986. The following album, Flightpath, contains six songs that commemorate the pre-space-age test pilots of Edwards Air Force Base in the 1950s. Jonn is a pilot with advanced instrument and commercial ratings and flies for the Civil Air Patrol as a search-and-rescue pilot.

Serrie's next album, Tingri, was based on a remote village in Tibet. It was his way of infusing more spiritual and romantic emotion into his music. In so doing, he strayed a bit from his space music roots but without sacrificing his trademark sound. In 1992 and 1994, he made two albums in which he put his earlier planetarium work from the 1980s on CD, on Planetary Chronicles, Volume 1 and Planetary Chronicles, Volume 2. In between, in 1993 and 1995, Serrie composed his own musical science fiction story based on a fictional Century Princess in Midsummer Century and Ixlandia. In 1993, he submitted a song from his planetarium collection called "Soft Landing" to a Various Artists album sponsored largely by Steve Roach, another prominent new age musician. This song is only available on this recording. In 1997, Serrie's first Christmas album Upon a Midnight Clear was released; he rearranged known and less-known Christmas songs from around the world in his unique style. Due to its popularity, Serrie released two more Christmas albums, Yuletides in 2001 and Merrily on High in 2004.

In 1998, Serrie collaborated with David Carradine on his tai chi video series and released a CD soundtrack based on the videos, called "Dream Journeys". Also in 1998, he took a trip to shamanic America, which resulted in his musical collaboration with several Native American elders on "Spirit Keepers". In 1999, Serrie appeared as a special guest of honor at the 30th anniversary of the Apollo 11 moon landing mission, which was held in Cape Canaveral. As the final act of the after-dinner entertainment, he played a specially composed song "Out of the Blue", which has not been officially released.

The year 2000 brought Serrie's "best of" space music compilation, Century Seasons. On this album two new songs appeared, although "Deep Mystery" reappeared on "Lumia Nights" two years later in a slightly shorter version. The other bonus track, "Andromeda Dream", appeared on this album. In 2000 Serrie collaborated with flutist Gary Stroutsos on the Narada label, on an album called Hidden World. Since 2000, several of Serrie's albums have appeared on independent labels. 2002 brought Lumia Nights, a space romance release on Valley Entertainment, composed in the style of Ixlandia and Midsummer Century. In 2003, he signed a contract with New World Music, a major label in England, which included the reissue of his earlier Miramar releases. 2003 also brought The Stargazer's Journey with liner notes from famed astronomer David H. Levy. This was a return to form in Serrie's more traditional space music style.

Serrie took an interesting musical turn in 2005 with Epiphany, Meditations on Sacred Hymns, featuring his arrangement of traditional hymns and psalms, which he dedicated to his grandmother, his primary childhood church organ and piano teacher. He followed this up in 2006 with Sunday Morning, an independent release for autistic children and their parents. A portion of the profits from this album goes to support for autism organizations in the United States. Also in 2006, music from one of his albums was used in the hit Hollywood movie What the Bleep Do We Know!? Serrie scored the award winning IMAX short film Hubble: Galaxies Across Space and Time as well as the popular astronomy software program Starry Nights and Space.com's Eyes on Mars DVD. In 2009, Serrie released the album Thousand Star.

In 2011 the album Sunday Morning was expected be released, available worldwide. In 2014 the album "Day Star" was released available worldwide on New World Music In 2017 the album "The Sentinel" was released available worldwide on New World Music. Jonn Serrie founded the Galaxy Music Scholarship in 2001, a US$1000 annual scholarship for graduating high school seniors desiring a career in new age and space music composition. He lives in Atlanta, Georgia.

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Jonn Serrie proves on Planetary Chronicles, Vol. II a second time that in the genre of space music there are no limits to the imagination. Exploring the universe with Serrie--inner or outer--is like watching a plume of smoke twist and turn in currents of air then gradually disappear. This innovator of space music achieves an otherworldliness on Planetary Chronicles, Vol. II by discovering the uncharted possibilities of the synthesizer. This is not Big Bang Music; rather, it's the quiet exploration of the invisible matter of whatever universe you choose.

Jonn Serrie - Planetary Chronicles Vol. II  (flac 215mb)

01 First Night Out 7:49
02 Vista Range 6:40
03 Aftervisions 5:51
04 Continuum 5:26
05 On A Frontier Of Fables 21:32

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Jonn Serrie made his initial impact in the music world as a composer and performer of planetarium soundtracks. To that repertoire, he added his knack for capturing romantic moments in musical journeys. Ixlandia presents Serrie in the best of both worlds. He combines deep space music with romantic melodies and gentle ballads. The compositions come in three derivations -- deep space, gentle romance, and/or both. The deep space minimalism does not go to the dark side. Serrie stays on the gentler pastoral side of e-music.

Jonn Serrie - Ixlandia  (flac 247mb)

01 Ixlandia 5:11
02 Blue Lumia 4:13
03 Night Orchid 4:52
04 Le Trésor 4:40
05 The Century Princess 9:14
06 Starport Indra 7:43
07 The Tachyon Directive 7:59
08 Welcome Home 9:03

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Upon a Midnight Clear is Jonn Serrie's delightful interpretation of some classic and some obscure Christmas carols. He augments and surrounds the melodies with ambient atmospheres and organic textures. His transcriptions enhance the spirituality of the original compositions while taking nothing away from these master works. In the strictly electronic style, this ranks with Meg Bowles' Solstice Dreams as the best of the lot.

Jonn Serrie - Upon a Midnight Clear  (flac 310mb)

01 Holly And The Ivy 3:01
02 The First Noel 4:26
03 What Child Is This? 4:43
04 Pat-A-Pan 3:15
05 O' Come, O' Come Emmanuel 4:19
06 Do You Hear What I Hear? 4:48
07 It Came Upon A Midnight Clear 4:23
08 Little Drummer Boy 5:32
09 Away In A Manger 5:02
10 O Holy Night 5:10
11 Midnight Medley (8:53)
11.a Slumber Song (French Carol)
11.b Between The Ox And The Lamb (French Carol)
11.c Rocking (Czech Carol)
11.d Lo, How A Rose E'er Blooming (14th Century German Melody)

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On July 4, 1996, Jonn Serrie journeyed to the Nacoochee Valley in the North Georgia Mountains. He staged a concert with John Winterhawk Johnson and Tom Walk in Dreams Goodman. Thus, the concept for Spirit Keepers was born. This is a very deep and inspirational hybrid that bridges two cultures. The project joins Serrie's electronic devices with Goodman and Johnson's acoustics and mysticism. The atmospheres are expansive, the sound design is intense, and the soundscapes are spiritual. This highly emotional set evokes healing powers and cleansing imagery. Deep listeners will enter the shamanic zones of this trio, it is essential Native American music.

Jonn Serrie - Spirit Keepers (flac 329mb)

01 Vision Quest 4:10
02 Great Plains 7:18
03 Wind Walker 4:34
04 Morning Song 6:45
05 The Lovers 6:05
06 Valley Of The Nacoochee 6:11
07 Grandfather Speaks 6:57
08 Heart Of The Mothership 3:15
09 Mother Spirit 6:18
10 The Legacy 9:17

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