Sundaze 1951

Hello,  more soundtracks by Max.......


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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Susan (Eva Green, Cracks, Casino Royale) is a scientist whose research has caused her to neglect virtually everything else in her life, including love. That is until she meets Michael (Ewan McGregor, The Ghost Writer, Angels & Demons), a talented chef, and suddenly everything starts to change not just in Susan s life, but in the entire world. While Susan and Michael are experiencing new and unforeseen depths of feeling, all around the globe a new epidemic is causing people to lose their sensory perceptions. Are Susan and Michael s increasingly intense feelings for each other in spite of the epidemic, or because of it? A life-affirming look at what it means to love and be loved in turbulent times, director David Mackenzie s PERFECT SENSE is equal parts touching romance and chilling thriller.  The film premiered at the 2011 Sundance Film Festival. Max pushed the movie to another level here by this beautiful work Upon re-watching Perfect Sense it became clear that the music was a big part of what made the movie so powerful. Outstanding tracks Sorrow Atoms and Luminous.

Max Richter - Perfect Sense (O.S.T.) (flac 225mb)

01 On A Turning World 2:40
02 Faint Pulse 0:49
03 Sorrow Atoms 3:14
04 Frequencies, Detectors 0:50
05 Tenderly The Light 1:46
06 Monologue 1:33
07 The Dark Abysm Of Time 1:19
08 Love Song (Cascade) 1:03
09 Overlooked 2:10
10 Retinal 2:44
11 Fictions And Data 2:05
12 A Place We Were 1:09
13 Something Under Her Skin 3:02
14 All Around Us 2:44
15 A Lovers Complaint 3:35
16 Overload 2:33
17 Things Left Behind 3:22
18 Love Song (Nocturnal) 1:51
19 Eternal Flowers Question Stars 2:26
20 Requeim 1:46
21 Luminous 5:06

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One of the most beautiful and definitive tracks in Max Richter's ever-growing body of work is "On the Nature of Daylight" from The Blue Notebooks, the album that brought him to the attention of many critics and fans. Since that breakthrough, he's developed a niche as a composer ready and willing to revamp the classics, as he did with Vivaldi's The Four Seasons, as well as a sensitive and versatile composer of scores for films ranging from looks at the not-so-tame secret lives of domesticated animals (Die Fremde) to dystopian sci-fi (Perfect Sense). Richter's music for Disconnect is an intersection of those career paths: the score uses "Daylight" as its emotional and musical focus, surrounding it with pieces that echo and complement it. While Martin Scorsese's brain-twisting thriller Shutter Island also featured the piece prominently, here it's fundamental to the film and its exploration of how technology brings people together and (more often) pulls them apart. Cues like "The Swimmer" reprise "On the Nature of Daylight"'s beautifully somber violin melodies, while "Confrontation" pits them against pummeling electronic beats in a way that could be heavy-handed but maintains a dignified poignancy in Richter's hands. Elsewhere, the score borrows from other Blue Notebooks pieces like the lovely "Written on the Sky," or evokes them as on the mournful organ pieces "Hospital" and "The Gun." Given the film's tech fixation, most of the rest of Disconnect's music is more electronic and makes the most of Richter's minimalism, whether on brief, wash-like tracks such as "The Report" or more elaborate ones like "Zero Balance," which moves from delicate tones to more ominous ones as it progresses. Many of these tracks aren't as attention-getting as the ones that draw from Richter's classical roots, but his cues for Disconnect's action scenes are as tense as they are restrained; "Pursuit" and "Running" are just as taut, but far subtler, than a typical climactic score piece. Disconnect is of a piece with scores like Cliff Martinez's Traffic, where the music seems to just faintly tint the air with the proper mood. It may not be among Richter's richest works, but he provides what the film needs from its music with more depth and restraint than many other composers could have managed.

Max Richter - Disconnect (O.S.T.) (flac 232mb)

01 On the Nature of Daylight 6:14
02 Find Schumaker 0:47
03 Love Slave 2:49
04 Zero Balance 4:00
05 Clone the Hard Drive 1:20
06 Pursuit 1:35
07 Hospital 1:41
08 Running 7:04
09 The Report 0:58
10 Written on the Sky 1:38
11 Arrival 2:10
12 Drycleaner 1:46
13 Break In 3:29
14 Confrontation 11:01
15 Afghanistan 1:33
16 I Will Come and Get You 2:05
17 The Gun 2:07
18 Derek to El Paso 1:39
19 Unwritten 1:49
20 The Swimmer 2:07
21 Ni su nave (Bonus Track) 2:57


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Great score. Came up on a Pandora playlist a few times before I had even heard of the movie (which is a trip-fest, by the way). Never knew Robin Wright was a singer, but she nails the two songs she does on this. Drops a star for a few of the higher tempo songs, but if I was being honest, that's mostly because they remind me that I was pretty confused by what the hell was happening in the movie!
Heartachingly beautiful music and Robin Wright continues to surprise and delight with her talents. Fair warning though, a few of the pieces will bring tears to your eyes because they are just such pure aural bliss.

Max Richter - Le Congrès (O.S.T.)   (flac 246mb)

1 Beginning and Ending 4:54
Piano Trio No. 2 in E flat major
2 Andante con Moto from Trio in E-flat major, D.929 4:17
3 Winterreise 2:09
4 On the Road to Abrahama 1 4:14
5 In Her Reflection 1:18
6 On the Road to Abrahama 2 1:15
7 All Your Joys, All Your Pain 4:52
8 In the Cosmic Lobby 2:19
9 Out of the Dark 5:03
10 The Rebel Attack 3:14
11 Still Dreaming, Still Travelling 1:30
12 Forever Young 4:03

Nocturnes
13 Nocturne Op. 27, No. 1 in C# minor 1:15
14 In the Garden of Cosmic Speculation 3:55
15 Badass Agent Robin 1:03
16 She Finds the Child 3:39
17 If it Be Your Will 4:10

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The first 6 tracks from the score do a great job of creating this musical atmosphere of space. "Stormy Weather", track 1, introduces a theme that you'll hear throughout various points in the score. It's very ominous but also captures a sense of vastness. High pitched strings slowly moving back and forth over two notes repeatedly are joined like an echo by the low brass. You can't help but to imagine that you are looking over the strange landscape of the planet mars. The second track continues this same theme but adds twinkling flutes and violins to give you that classic "space" feel in the score. These opening three tracks are somewhat minimalistic but yet very effective in setting up this atmosphere for the story. Richter does an exceptionable job at being able to maintain this "space vibe" while tangling it with the feeling that something bad is going to happen. The composer begins to add tension building electronic pulse rhythms in "Final Briefing" (track 6) and occasionally toys around with other such sounds in the following tracks. The composer manages to fit everything together without losing sight of the already established tone of the score. The increasing "strangeness" of the instrumentation only heightens the effect of things growing more and more out of control within the story. "Dalby and Marko" (track 8) is a great example of this development within the music. It's a rather long piece running nearly 9 minutes but it gives plenty of time to evolve the music into new areas and becomes almost like a new chapter in the events to come. "They are still moving" (track 10), has a static fluttering effect that conveys the sense of movement and Richter continues to throw in other unique sounds throughout the following tracks that gives you the sense that events are spiraling out of control and getting more horrible by the minute. The composer also manages to find moments to sneak in some of the earlier themes in this escalating horror and I appreciate the reminders.

There are times when the score dips down into some excessively long sequences of almost silent ambience however. Cues like "Runaway" (track 17) are slow to develop and become less interesting until they are nearly over. Fortunately, we are rewarded with great tracks like "Ascent" (track 22) that is a very climatic piece that gradually "ascends" into a growing and powerful piece that suddenly and somewhat unexpectedly stops. The final track, "Its Full of Stars", is a more robust version of the theme that was introduced in the first track. It's a great sounding piece that becomes a great way to close the score.

Max Richter - The Last Days On Mars (O.S.T.) ( flac   282mb)

01 Stormy Weather 1:33
02 Aurora Mars Mission 2 1:06
03 Lost in Space 3:11
04 Airlock 1:12
05 Secret Plan 1:26
06 Final Briefing 1:15
07 After the Collapse 0:49
08 Dalby and Marko 8:50
09 The Return of Dalby and Marko 4:43
10 They Are Still Moving 2:36
11 Escape 0:30
12 The Plan 2:10
13 The Tunnel 4:09
14 Return to Base 5:31
15 We Got an Emergency Down Here 4:01
16 There Is No Escaping Out of Here 2:58
17 Runaway 4:01
18 Do You Think They Still Feel? 1:31
19 Please Respond 1:01
20 Lane 2:57
21 Do Not Open the Doors 2:20
22 Ascent 2:54
23 Its Full of Stars 5:34

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Testament Of Youth is a British drama telling the true story of Vera Brittan who served as a voluntary aid detachment nurse in London, Malta and France during World War I who later became a writer and a pacifist. It is based on the First World War memoir of the same name written by Vera Brittain. It’s directed by James Kent and the music is composed by Max Richter, whowrote a beautiful and engaging score to the film.
‘No More Fear’ somewhat puts me at ease. Fear no more. This is very nice. It’s a minimalistic cue with only a guitar like instrument and a solo violin underneath. Simple and nice. Pretty good start to hopefully another great score. ‘Prelude’ ups the tempo a little bit with a nice harp motif at the start. A lovely complementary violin adds so much to this cue. From 1:27 it takes off with some piano. This is the first goose bump moment of the score. Love it! ‘Love And Imagination’ is yet another winner in my book. It’s so simple, yet so beautiful. The first part of the score has been really good, mostly a bit dark, but good. There’s been quite a few highlights, in fact most of the cues are highlights of this great score. ‘Realities’ despite it’s name is quite uplifting, not unlike ‘The Rising Of The Sun’. It seems like it could take a positive turn musically now with ‘A Duet For Three’ which feels like a dance, a classical dance. It’s lightweight and quite catchy. I like it. More dance with ‘These I Send To You’, but a more slower experience. Max Richter is awesome, he is the composer who says the most with the least amount of music these days. This is another minimalistic score that appeals. There’s just no need to be very complex to get access to emotions. All you need it to hit that right note, the right motif and Richter has done it again. .

Max Richter - Testament of Youth (O.S.T.)   (flac   177mb)

01 No More Fear 1:05
02 Prelude 1:54
03 Love and Imagination 2:42
04 Pools of Gold 1:42
05 Never Did Run Smooth 1:40
06 The Triumph of Time 1:27
07 Each Others Minds 1:59
08 The Rising of the Sun 2:37
09 Anathemata 1:38
10 Departed 1:27
11 Action at a Distance 1:07
12 Realities 1:08
13 A Duet for Three 1:41
14 These I Send to You 2:33
15 Before the Ending of the Day 1:18
16 The Chambers of the Heart 0:56
17 Vergissmeinnicht 5:11
18 Mantegna / Entropy 0:55
19 Returning Over the Nightmare Ground 2:53
20 Et in Terra Pax 2:03
21 I Will Not Forget You 3:55

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RhoDeo 1950 Grooves

Hello,


Today's Artist is Andre Romelle Young 1 (born February 18, 1965), known professionally as Dr. Dre, is an American rapper, record producer, entrepreneur, record executive, actor, and audio engineer. He is the founder and CEO of Aftermath Entertainment and Beats Electronics, and was previously co-owner of Death Row Records. Dr. Dre began his career as a member of the World Class Wreckin' Cru in 1985, but found fame with the influential gangsta rap group N.W.A, which popularized explicit lyrics in rap to detail the violence of street life. He is credited as a key figure in the crafting and popularization of West Coast G-funk, a hip hop subgenre characterized as synthesizer-based with slow, heavy beats. As of 2018, he is the third richest figure in hip hop, with a net worth of US$770 million.. ....... N Joy

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Dr. Dre was born as Andre Romelle Young in Compton, California on February 18, 1965, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur rhythm and blues singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried to Curtis Crayon and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Dr. Dre began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. The family moved often, and they lived in apartments and houses in Compton, Carson, Long Beach and in the Watts and South Central neighborhoods in Los Angeles. Dr. Dre has said that he was mostly raised by his grandmother in New Wilmington Arms housing project in Compton. His mother later married Warren Griffin,[which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G. Dr. Dre is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. He attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Dr. Dre fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.

Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", Dr. Dre often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under Kru-Cut in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.

Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website AllMusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only". His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.

In 1986, Dr. Dre met rapper O'Shea Jackson—known as Ice Cube—who collaborated with him to record songs for Ruthless Records, a hip hop record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content. After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self-titled debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness.

After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G.[13] Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.

On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.

Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts. In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.

The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre, was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas' "Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".

The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability;

Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Suge Knight Represents: Chronic 2000 in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.

During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. French jazz musician Jacques Loussier sued Aftermath for $10 million in March 2002, claiming that the Dr. Dre-produced Eminem track "Kill You" plagiarized his composition "Pulsion". The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.

Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem's landmark Marshall Mathers LP, including the Grammy-winning lead single, "The Real Slim Shady". The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001.He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem's 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for "Without Me". He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".

Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.

Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful second album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xxplosive" as where he "got (his) whole sound from".In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.

In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine.After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties.In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.

Dre dipped back into rapping by dropping two singles: "Kush" featuring Snoop Dogg and Akon and "I Need a Doctor" with Eminem and Skylar Grey. He continued to tease Detox, but ended up returning to the studio to focus on his next big breakout act, Compton's own Kendrick Lamar. At the start of 2014, Beats launched a streaming music service, Beats Music. Beats was acquired by Apple Inc. later in the year, as Dre announced he was the "first billionaire in hip-hop." In 2015, the Academy Award-nominated N.W.A. biographical drama Straight Outta Compton was released in theaters and influenced the producer to scrap Detox in favor of an LP inspired by the film. The album Compton: A Soundtrack by Dr. Dre landed that same year with Kendrick Lamar, Anderson. Paak, Ice Cube, the Game, Eminem, and many more on the guest list.With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor for their contribution to music with their induction into the Rock 'N Roll Hall of Fame in 2016.

In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. After sports figures and other celebrities adopted the headphones en masse, Beats' success skyrocketed. By 2010, the company was valued at just under a billion dollars. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple purchased the Beats brand for $3 billion, Apple's most expensive purchase by far. The deal made Dr. Dre the "richest man in hip hop", surpassing Diddy.

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The Slim Shady LP announced not only Eminem's arrival, but it established that his producer Dr. Dre was anything but passé, thereby raising expectations for 2001, the long-anticipated sequel to The Chronic. It suggested that 2001 wouldn't simply be recycled Chronic, and, musically speaking, that's more or less true. He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations. Padded out to 22 tracks, 2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character. If only the same could be said about the rappers! Why does a producer as original as Dre work with such pedestrian rappers? Perhaps it's to ensure his control over the project, or to mask his own shortcomings as an MC, but the album suffers considerably as a result. Out of all the other rappers on 2001, only Snoop and Eminem -- Dre's two great protégés -- have character and while Eminem's jokiness still is unpredictable, Snoop sounds nearly as tired as the second-rate rappers. The only difference is, there's pleasure in hearing Snoop's style, while the rest sound staid. That's the major problem with 2001: lyrically and thematically, it's nothing but gangsta clichés. Scratch that, it's über-gangsta, blown up so large that it feels like a parody. Song after song, there's a never-ending litany of violence, drugs, pussy, bitches, dope, guns, and gangsters. After a full decade of this, it takes real effort to get outraged at this stuff, so chances are, you'll shut out the words and groove along since, sonically, this is first-rate, straight-up gangsta. Still, no matter how much fun you may have, it's hard not to shake the feeling that this is cheap, not lasting, fun.

 Dr. Dre - 2001  (flac   444mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Car Bomb 1:01
15 Murder Ink 2:28
16 Ed-Ucation 1:32
17 Some L.A. Niggaz 4:25
18 Pause 4 Porno 1:33
19 Housewife 4:03
20 Ackrite 3:40
21 Bang Bang 3:42
22 The Message/Outro 5:11

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Pretty good mixtape. It's mostly a compilation of songs Dre has produced for other people, and leftovers from when he worked with people such as Rakim and King T. There isn't much quality control here and there's lots of average tracks, but there's also a few gems here and the production is, of course, consistently good. A bit long too, but I'm pretty sure this wasn't even authorized by Dre so you can't blame the lack of quality control, because Dre's perfectionism wouldn't allow him to output a mixtape like this. Best Tracks: Mind Made Up, Hard Liquor, Where I'm From, After U Die, My Life, Not Today, Gorilla Pimpin, It's a Shame, Get Your Money Right, Da Kron

 Dr Dre ‎– Dretox    (flac   487mb)

01 Intro 0:24
02 Mind Made Up 3:11
03 Hard Liquor 3:50
04 We Up To No Good 3:22
05 The Way We Came Up 2:43
06 Take The Heat 3:13
07 Numb Encore 4:25
08 Where I'm From 4:04
09 After U Die 2:29
10 My Life 2:38
11 Not Today 4:06
12 Push Play 1:35
13 It's You I Adore 5:28
14 Gorilla Pimpin 4:53
15 Finger Thangzzz 3:33
16 It's A Shame 3:39
17 Get You Money Right 3:09
18 Murder 1:47
19 Judgement Day 3:55
20 Da Kron 4:14
21 Here We Go Again 3:17
22 There They Go 3:08
23 The Future 4:53

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For 16 years, the third Dr. Dre album was supposed to be The Detox, but that once-mythical, canceled LP was replaced by Compton: A Soundtrack by Dr. Dre, a supposedly final effort that was "inspired" by the N.W.A. biopic Straight Outta Compton. When Dre says "inspired" he likely means the film gave him a reason to consider his history, and how he went from local gangsta to national threat, and on to billionaire businessman extraordinaire. Still, the most pleasing element of Compton is that it touches on all of the above but lives in the present. This brilliant kaleidoscopic LP, which was recorded in under a year, focuses on the veteran producer's connection to the modern world as it references Eric Garner, frames it with N.W.A.'s history, and decides that little has changed. It also celebrates the new breed, taking the busy, jazz-inspired structure of Kendrick Lamar's masterpiece release To Pimp a Butterfly, and adds grooves that are entirely Dre, playing it steady, swaying, and locking listeners in. Early highlight "Genocide" puts it all in one cut as robotic funk finds Kendrick in full rage, while Marsha Ambrosius and Candice Pillay provide the soul before the track exits with some wild dubstep doo wop, as the more developed Compton still has all the quirks and smart-ass humor of The Chronic. The music is crooked enough to put Snoop Dogg into the groove for the swaggering "Satisfaction," and remains raw enough to drive Eminem into dangerous territory on "Medicine Man," while fellow N.W.A. member Ice Cube is offered a challenging, compressed loop for the straight talking and rightfully agitated "Issues." Quotes from past albums and past productions are all over this album, and the Aftermath roster comes alive again with Jon Connor and Justus shining in their spotlights, and after an angelic Jill Scott feature dubbed "For the Love of Money" paints this former Death Row artist as more serene than anyone ever thought, the closing "Talking to My Diary" ties up the loose ends as Dre professes a belief that Eazy-E is smiling at him from above. It's an excellent end to an attractive and rich LP, and as the man returns to icon status with this stoic and stern stance, the most unfortunate thing about this "final" effort is that this unproductive gangsta perfectionist who moves at a Golem's pace has now flourished under a tight timetable. Since Compton crackles with life and spirit, it seems a shame to shut that door.

Dr. Dre - Compton (flac   463mb)

01 Intro 1:15
02 Talk About It 3:15
03 Genocide 4:26
04 It’s All On Me 3:47
05 All In A Day’s Work 5:13
06 Darkside / Gone 3:53
07 Loose Cannons 4:13
08 Issues 3:42
09 Deep Water 5:11
10 One Shot One Kill 3:25
11 Just Another Day 2:21
12 For The Love Of Money 4:08
13 Satisfiction 4:24
14 Animals 3:47
15 Medicine Man 4:14
16 Talking To My Diary 4:23

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2001 Instrumentals is easily the better of the two albums. Even though it is purely instrumental tracks of the album counterpart this slays.The beats are top quality, they sound fresh, modern and that overwhelming factor there catchy!. Not to stale the album but the lyrics do spoil this album purely for the beats are so much better. Dr. Dre has never been a great rapper. I don't care for his voice and his lines were/are ghost written by someone else anyway. That said, he has always been a standout producer and beatmaker, even going back to albums like No One Can Do It Better.

Without the vocals, which are really just a distraction at best anyway, you can hear how well produced this album actually was. The beats are very carefully crafted, with little slivers of melody here and there. They are almost minimalistic in approach, but I don't get bored listening to them. This album, in its instrumental form, manages to be very engaging yet relaxing at the same time. I like the fact that these are true instrumentals - they didn't leave the hook/chorus parts in at all.
Songs such as Still D.R.E., What's the Difference and The Next Episode are probably the more famous songs with some the the best hip hop beats I've heard in the mainstream stuff. Great for various videos and parties, to be fair this is the party album for those gangstas among us.

Dr. Dre - 2001 Instrumentals  (flac   367mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Murder Ink 2:28
15 Some L.A. Niggaz 4:25
16 Pause 4 Porno 1:33
17 Housewife 4:03
18 Ackrite 3:40
19 Bang Bang 3:42
20 The Message  5:11

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RhoDeo 1950 Vendetta 2

Hello, in the unlikely case that Max Rixchter's Sleep kept you awake, why not give Dr Thompson a try...


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Musical System to Help you Fall Asleep, Stay Asleep and Wake up Rejuvenated
Sleep is vital to your health and well-being. Yet millions of us don’t get the sleep we need to live healthy and productive lives. Dr. Jeffrey Thompson’s breakthrough musical system, developed over 15 years of clinical research, is proven to lead you to deep and restful sleep. You simply listen to the soothing ambient music at bedtime and specific inaudible sound frequencies, embedded into the soundtrack, help you to fall asleep easily and naturally. Free floating, ethereal soundtrack composed by Dr. Thompson. Safe and natural process proven to lead you to rejuvenating states of deep sleep.  Easy to use with light headphones or ordinary speakers Contains no spoken words or subliminal messages
Dr. Jeffrey Thompson’s clinical research with thousands of patients over the years has led to groundbreaking discoveries in how sound frequency patterns built into musical soundtracks can alter states of consciousness and induce states of mind-body healing. His therapeutic audio programs are used by psychotherapists, hypnotherapists, M.D.'s, chiropractors, and bodywork professionals in 26 countries. Dr. Thompson currently teaches core curriculum for the Clinical Psychotherapy and Human Science Masters and Ph.D. Programs at the California Institute for Human Science in Encinatas, CA., where he also maintains his research and clinical offices.

Dr. Jeffrey Thompson - Ambient Music for Sleep ( flac   202mb)

01 Ambience 30:10
02 Ethereal Dreams 30:25


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A new scientific discovery provides stunning confirmation of a foundational tenet of the Electric Universe and plasma cosmology. A team of scientists has discovered a vast radio-emitting filament of plasma which stretches across 10 million light-years, connecting two clusters of galaxies, called Abell 0399 and 0401.





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In our discussion with physicist Wal Thornhill, we continue to explore the ongoing "crisis in cosmology." We ask Wal for his thoughts on a number of recent discoveries which stunningly affirm a core tenet of the electric cosmology – no "islands" exist in a Universe where the predominant organizational force is electromagnetism




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V for Vendetta is a dystopian political thriller based on the 1988 DC/Vertigo Comics limited series of the same name by Alan Moore and David Lloyd. Set in an alternative future where a Nordic supremacist and neo-fascist totalitarian regime has subjugated the United Kingdom, the book centers on V, an anarchist and masked freedom fighter who attempts to ignite a revolution through elaborate terrorist acts, Evey, a young, working-class woman caught up in V's mission and then there's a detective leading a desperate quest to stop V.

V for Vendetta has been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. David Lloyd stated: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way.

V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language, and appearance. For example, the names Rookwood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas's The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.) The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the official website, "V's use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself.

As a tale about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich, the Soviet Union under Stalin and George Orwell's Nineteen Eighty-Four. For example, Adam Sutler primarily appears on large video screens and on portraits in people's homes, both common features among modern totalitarian regimes and reminiscent of the image of Big Brother. The slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. The name Adam Sutler is intentionally similar to Adolf Hitler. Like the so-called Führer, Sutler is given to hysterical speech. Also like Hitler, Sutler is a racial purist, although Jews have been replaced by Arabs and Muslims as the focus of Norsefire ethnoreligious propaganda and persecution.

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In 2032, the world is in turmoil. The United Kingdom is ruled as a fascist police state by the Norsefire Party, under the all-powerful High Chancellor Adam Sutler.

On November 4, a vigilante in a Guy Fawkes mask identifying himself as "V" rescues Evey Hammond, an employee of the state-run British Television Network, from members of the "Fingermen" secret police while she is out past curfew. They watch his demolition of London's main criminal court, the Old Bailey, accompanied by fireworks and the "1812 Overture". Inspector Finch of Scotland Yard investigates V's activities. The BTN declares the Bailey's destruction an "emergency demolition", but V interrupts the broadcast to claim responsibility, encouraging the people of Britain to rise up against their government and meet him on next year's Guy Fawkes Night outside the Houses of Parliament. The police attempt to capture V. Evey helps him escape, but is knocked unconscious.

V takes Evey to his home, where she is told she must remain for one year. V kills Lewis Prothero, Norsefire's chief propagandist, and Anthony Lilliman, the Bishop of London. Evey offers to help, using the opportunity to escape to the home of her boss, talk show host Gordon Deitrich. In return for Evey trusting him, Gordon reveals prohibited materials, including subversive paintings, an antique Quran, and homoerotic photographs. V confronts Dr. Delia Surridge, who had experimented on him and other "undesirables" at Larkhill concentration camp; seeing her remorse, he kills her painlessly.

After Gordon performs a satire of the government on his show, his home is raided and Evey is captured. She is imprisoned and tortured for information about V, with her only solace being a note written by Valerie Page, a former prisoner tortured and killed for being lesbian. Evey is to be executed unless she reveals V's location. When she says she would rather die, she is released, only to find herself in V's home. V was the one who captured her at Gordon's home, and staged her imprisonment to free her from her fears. The note was real, passed from Valerie to V when he was imprisoned. He informs her that Gordon was executed when the Quran was found in his home. While Evey initially hates V for what he did to her, she realizes she has become a stronger person. She leaves him, promising to return before November 5.

V For Vendetta 2 ( 75min mp3  34mb).


A novelisation of the film, written by Steve Moore and based on the Wachowskis' script, was published by Pocket Star on January 31, 2006 , and read here by Simon Vance.


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previously

V For Vendetta 1 ( 75min mp3  34mb).



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RhoDeo 1950 Re Up 217

Hello, " Let's Get Brexit Down" a slogan that those 'bright' minds at Liberal Democrats headquarters just couldn't come up with, it might have made a serious difference and at least save the seat of the party leader.


Only 7 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  whatever another batch of 22 re-ups (8.2 gig)


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

Looka here , requests fulfilled up to Decemberrrr   15th... N'Joy

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3x Beats Back In Flac (S Pompougnac - Hello Mademoiselle , S Pompougnac - 1999 - 2009 A Decade, S Pompougnac - 1999 - 2009 Bonus Mix)



1x Around The World still in ogg (Fania All-Stars - Fania All-Stars )



24x Sundaze  Back in Flac (Angelo Badalamenti - Very Long Engagement, Angelo Badalamenti - OST Wicker Man, David Lynch - The Air Is On Fire, Badalamenti & Lynch Archive part 7 )



5x Sundaze Back In Flac (Tripswitch - Circuit Breaker, Tripswitch - Circuit Breaker Rewired,  Tripswitch - Geometry,  Tripswitch - Strange Parallels, Tripswitch - Stereogram(Hemispheres) )



3x Beats Back in Flac ( System 7 - System Express, Electronica Gainsbourg - VA, I ♥ Serge, DJ Cam - Revisited By  ) = 28



3x Grooves Back in Flac (Minnie Riperton - Come To My Garden, Minnie Riperton - Perfect Angel+Adventures in Paradise, Minnie Riperton - The Minnie Riperton Anthology)



3x Beats NOW in Flac ( Roni Size / Reprazent - New Forms 1, Roni Size / Reprazent - New Forms 2, Squarepusher - Feed Me Weird Things)




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Sundaze 1950

Hello,  still 5 hours of sleep left from last week...


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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It seems that the regiment of sleeping concerts has arrived - meet the neoclassical interpretation of the concept of sleeping music from the British maestro of keys and strings.In fact, the public has heard such things many times already, so the idea, by itself, is far (and not at all) new, but it was most often static ambient things, and here the instrumental version is presented exactly the same as, at least, original at most - it sounds very intriguing.

In 2015, Max Richter released his most ambitious project to date, Sleep, an 8.5 hour listening experience targeted to fit a full night's rest. The album itself contains 31 compositions, some reaching 20-30 minutes in duration, all based around variations of 4-5 themes. The music is calm, slow, mellow and composed for Piano, Cello, 2 Violas, 2 Violins, Organ, Soprano vocals, Synthesisers and Electronics. As the album's liner notes, Strings are played by the American Contemporary Music Ensemble (Ben Russell, Yuki Numata Resnik, Caleb Burhans, Clarice Jensen and Brian Snow), Vocals are provided by Grace Davidson and the Piano, Synthesisers and Electronics are played by Richter himself.

According to Richter, as described in the album's credits, Sleep is "an eight-hour lullaby", "a piece that is meant to be listened to at night ... structured as a large set of variations." Richter conferred with American neuroscientist David Eagleman while working on the album's piece to learn about how the brain functions during sleep. Richter stated, "Sleeping is one of the most important things we all do ... We spend a third of our lives asleep and it's always been one of my favourite things, ever since I was a child. ... For me, Sleep is an attempt to see how that space when your conscious mind is on holiday can be a place for music to live."

The album was performed in its entirety as one compositional piece at the Reading Room at Wellcome Collection in London, England, on September 27, 2015 from midnight to 8:00 AM as the climax of the BBC Radio 3 "Science and Music" weekend.The performance broke several records, including the longest live broadcast of a single piece of music in BBC Radio 3's station's history. The performance also set Guinness World Records for longest broadcast of a single piece of music and longest live broadcast of a single piece of music.Instead of chairs to sit in and watch the performance, audience members were given beds to sleep in

Sleep was performed for its first outdoor performance and largest performance to-date in Los Angeles, CA on July 27-28th and July 28-29th, 2018, starting shortly after 10:30pm. It was performed in Grand Park, across from the Los Angeles Music Center. Each performance had 560 beds and was timed so the final movement, "Dream 0 (till break of day)" would occur at dawn. Richter played along with members of the American Contemporary Music Ensemble, Clarice Jensen (cello), Ben Russell, Andrew Tholl (violin), Isabel Hagen (viola), Emily Brausa (cello), and Grace Davidson (soprano).

Max Richter - Sleep IV (flac 234mb)

401 Constellation 1 6:56
402 Constellation 2 15:20
403 Space 2 (Slow Waves) 7:42
404 Chorale / Glow 25:45

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Max Richter - Sleep V (flac 274mb)

501 Dream 19 (Pulse) 18:53
502 Cassiopeia 19:36
503 Non-eternal 23:50
504 Song / Echo 5:13

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Max Richter - Sleep VI (flac 278mb)

601 Aria 2 11:02
602 Never Fade Into Nothingness 9:41
603 Return 16 (Time Capsule) 24:25
604 If You Came This Way 14:37

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Max Richter - Sleep VII+VIII ( flac   448mb)

701 Space 17 (Chains) 18:03
702 Sublunar 25:36

801 Dream 17 (Alpha) 28:47
802 Dream 0 (Till Break Of Day) 33:47


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The release of Sleep was accompanied by a one-hour album, From Sleep, with seven additional tracks, not present on the eight-hour release, recorded during the same sessions. From Sleep was promoted by music videos for three tracks: "Dream 13 (Minus Even),"  "Path 5 (Delta)" and "Dream 3 (In the Midst of My Life) If you're listening to From Sleep for the full benefits of Sleep (relaxtion, sleeping aid, metaphysical experience), I don't think it works as well in abridged form.  I found the changes from one piece to the next to be too drastic to tune out.  That being said, From Sleep is still a gorgeous collection of ambient pieces and, if you haven't the financial or mental wherewithal for Sleep, a worthy summation of its themes.

Max Richter - From Sleep + Bonus (flac   303mb)

01 Dream 3 (In The Midst Of My Life)10:04
02 Path 5 (Delta)11:14
03 Space 11 (Invisible Pages Over) 5:16
04 Dream 13 (Minus Even) 8:53
05 Space 21 (Petrichor) 4:48
06 Path 19 (Yet Frailest) 7:51
07 Dream 8 (Late And Soon) 11:53
Rough Trade Shops Special Edition
08 Selene 11:39
09 Diffraction Sequence 4:21
10 Origins (ursa major) 16:02

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RhoDeo 1949 Grooves

Hello, well it looks like the UK has been torn apart by Brexit today with the Scottish Nationalist independence party (SNP) taking most of the 59 Scottish seats, yet bully Boris who had just one thing to say during the elections "get Brexit done" seems to have won a big majority thanks to the UK simpletons being used to simplistic one-liners from their rabid right wing press, maybe its the fact that these people have been cowed for a 1000 years by the haves, they dare not vote for themselves, The Welsh, the Midlands and North East, should we pity them..not really, by now they are responsible enough for the mess they'll find themselves in. Mr Corbyn was never going to win, most of his parliamentary party wanted remain, he himself never was a big fan of the EU (seeing it as a multinationals construct) in short his heart wasn't in the whole Brexit thing, then again his grand ideas of redistributing the UK wealth sounded too unbelievable for the cowed UK voters. And thus the BBC will produce many more hours about those grand old days when Great Britain ruled the world, whilst the country sinks into the mud.




Today's Artist is Andre Romelle Young 1 (born February 18, 1965), known professionally as Dr. Dre, is an American rapper, record producer, entrepreneur, record executive, actor, and audio engineer. He is the founder and CEO of Aftermath Entertainment and Beats Electronics, and was previously co-owner of Death Row Records. Dr. Dre began his career as a member of the World Class Wreckin' Cru in 1985, but found fame with the influential gangsta rap group N.W.A, which popularized explicit lyrics in rap to detail the violence of street life. He is credited as a key figure in the crafting and popularization of West Coast G-funk, a hip hop subgenre characterized as synthesizer-based with slow, heavy beats. As of 2018, he is the third richest figure in hip hop, with a net worth of US$770 million.. ....... N Joy

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Dr. Dre was born as Andre Romelle Young in Compton, California on February 18, 1965, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur rhythm and blues singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried to Curtis Crayon and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Dr. Dre began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. The family moved often, and they lived in apartments and houses in Compton, Carson, Long Beach and in the Watts and South Central neighborhoods in Los Angeles. Dr. Dre has said that he was mostly raised by his grandmother in New Wilmington Arms housing project in Compton. His mother later married Warren Griffin,[which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G. Dr. Dre is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. He attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Dr. Dre fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.

Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", Dr. Dre often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under Kru-Cut in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.

Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website AllMusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only". His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.

In 1986, Dr. Dre met rapper O'Shea Jackson—known as Ice Cube—who collaborated with him to record songs for Ruthless Records, a hip hop record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content. After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self-titled debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness.

After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G.[13] Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.

On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.

Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts. In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.

The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre, was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas' "Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".

The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability;

Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Suge Knight Represents: Chronic 2000 in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.

During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. French jazz musician Jacques Loussier sued Aftermath for $10 million in March 2002, claiming that the Dr. Dre-produced Eminem track "Kill You" plagiarized his composition "Pulsion". The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.

Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem's landmark Marshall Mathers LP, including the Grammy-winning lead single, "The Real Slim Shady". The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001.He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem's 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for "Without Me". He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".

Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.

Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful second album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xxplosive" as where he "got (his) whole sound from".In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.

In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine.After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties.In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.

Dre dipped back into rapping by dropping two singles: "Kush" featuring Snoop Dogg and Akon and "I Need a Doctor" with Eminem and Skylar Grey. He continued to tease Detox, but ended up returning to the studio to focus on his next big breakout act, Compton's own Kendrick Lamar. At the start of 2014, Beats launched a streaming music service, Beats Music. Beats was acquired by Apple Inc. later in the year, as Dre announced he was the "first billionaire in hip-hop." In 2015, the Academy Award-nominated N.W.A. biographical drama Straight Outta Compton was released in theaters and influenced the producer to scrap Detox in favor of an LP inspired by the film. The album Compton: A Soundtrack by Dr. Dre landed that same year with Kendrick Lamar, Anderson. Paak, Ice Cube, the Game, Eminem, and many more on the guest list.With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor for their contribution to music with their induction into the Rock 'N Roll Hall of Fame in 2016.

In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. After sports figures and other celebrities adopted the headphones en masse, Beats' success skyrocketed. By 2010, the company was valued at just under a billion dollars. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple purchased the Beats brand for $3 billion, Apple's most expensive purchase by far. The deal made Dr. Dre the "richest man in hip hop", surpassing Diddy.

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World Class Wreckin' Cru recorded some solid West Coast electro with Dr. Dre in the production chair and hit the Billboard Hot 100 with the smooth love jam "Turn Off the Lights" during 1988 -- the same year Dre's N.W.A delivered the gangsta rap landmark Straight Outta Compton. The group was formed by Lonzo (Alonzo Williams), owner of the Compton club Eve After Dark, who recruited a pair of popular local DJs, Dr. Dre and DJ Yella, along with Dre's high school friend Cli-N-Tel. Early singles like "Surgery" and "Juice" -- many of them recorded at a four-track studio that was part of the Eve After Dark complex -- stood alongside work by the Egyptian Lover and L.A. Dream Team as stellar examples of the fast-moving fusion of old-school rap and electro. But even as the World Class Wreckin' Cru became one of southern California's most popular rap acts, Dr. Dre and DJ Yella were pursuing other production opportunities, one of which came from a new label (Ruthless) formed by Eazy-E. Along with Ice Cube, they wrote a single named "Boyz-n-the Hood" that was initially offered to the Ruthless act HBO, but later prompted the entire crew to form as N.W.A. After street-level singles like "Dopeman" and "8 Ball" became huge local hits for N.W.A, World Class Wreckin' Cru became less of a priority for both Dr. Dre and Yella. Even after "Turn Off the Lights" entered the R&B Top 40 in 1988, they continued with N.W.A, and Dre also produced tracks for Wreckin' Cru member Michel'le. Phases in Life, a World Class Wreckin' Cru LP released in 1990, was basically a solo release by Lonzo.

Did rappers look like that in 1985? Really and Doctor Dre is the one at far left? Daaaaamn, and Yella standing right next to him. Well one went on to become probably the most important hip hop producer of all time, and the other? He started doing porno films. The soon "niggaz wit attitude" were pretty glossy only two years before "Dopeman" was recorded and put on wax, but one could say WCWC was doing the vintage West Coast sound of the moment, just like Dre has been doing all the time. The album is a dope debut, electro is a difficult genre and without good beats you're nothing. The lyrics here are, once again, forgettable, but the beats are pretty good. So it doesn't shine dead amongst other electro "classics"... World Class Wreckin Cru was quite a short story and their 2nd album turned out to be wack... not last, but I'm not gonna dig into the later ones. So yeah, Dr. Dre purists may find this extra appealing, for me this album is just a fine dose of electro.

 World Class Wreckin Cru - World Class  (flac   251mb)

01 Planet 8:15
02 World Class 5:02
03 Surgery (Remixed) 5:14
04 Juice (Edited Version) 3:59
05 (Horney) Computer 7:19
06 Gang Bang You're Dead 6:34
06 Lovers feat. Mona Lisa 7:02


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It's funny. There's nothing at all separating the World Class Wreckin' Crew from all the rest of the more or less middle of the road early/mid-80's rap acts that only piddled out a couple albums before vanishing. Nothing. And yet half the act went on to absolutely change not only rap, but music forever. Look at Dre up there in the red leather jacket. Forget everything you know about him and tell me that you would think any more of him then say the guys on the Whistle album cover. It's amazing in a way. I'm sure Dr. Dre and Yella were already focusing their energy to N.W.A plans, they weren't going to change the world with World Class even if the first album was dope. Rapped in Romance is not any of that, does anyone actually give a flying Eff that this was released at all?

World Class Wreckin Cru - Rapped In Romance  (flac   273mbmb)

01 Mission Possible 5:32
02 He's Bionic 4:04
03 B.S. 5:08
04 Love Letter 5:22
05 The Fly 5:06
06 World Class Freak 4:06
07 Wreckin Cru Blues 6:58
08 Masters Of Romance 6:36

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With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in '70s funk and soul, but also that era's blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dre's terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time.

The Chronic is widely regarded as the album that re-defined West Coast hip hop, demonstrated gangsta rap's commercial potential as a multi-platinum commodity, and established G-funk as the most popular sound in hip hop music for several years after its release, with Dr. Dre producing major albums that drew heavily on his production style.

Dr. Dre - The Chronic Re-Lit And From The Vault   (flac   445mb)

01 The Chronic [Intro] 1:58
02 Fuck With Dre Day [And Everybody's Celebratin'] 4:51
03 Let Me Ride 4:21
04 The Day The Niggaz Took Over 4:32
05 Nuthin' But A "G" Thang 3:58
06 Deeez Nuuuts 5:06
07 Lil' Ghetto Boy 5:27
08 A Nigga Witta Gun 3:52
09 Rat-Tat-Tat-Tat 3:48
10 The $20 Sack Pyramid 2:53
11 Lyrical Gangbang 4:04
12 High Powered 2:44
13 The Doctor's Office 1:03
14 Stranded On Death Row 4:46
15 The Roach [The Chronic Outro] 4:36
16 Bitches Ain't Shit [Bonus Track] 4:48

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At one point in the rap/hip-hop world, Dre was simply unstoppable. His productions would skyrocket to the top of the charts and establish a legion of new talent that owed their success to his signature sound. This Death Row-issued compilation is an obvious attempt to cash in on back catalog, but it is a fairly comprehensive look at Dre's productions while serving as ringleader of the controversial label. All of the massive chart hits are here, along with a few lesser-known ones to balance things out. It's the most comprehensive look at his productions and their evolution during this critical time in the rap world, and it's also an amazing blueprint/textbook that aspiring producers are still learning from to this day.

Dr. Dre - The Chronicle  (flac   383mb)

01 Dr. Dre - Nuthin' But a "G" Thang feat. Snoop Dogg3:58
02 Snoop Dogg - Gin and Juice 3:33
03 Lady of Rage - Afro Puffs feat. Snoop Dogg 4:49
04 Dr. Dre - Natural Born Killaz feat. Ice Cube 4:51
05 Snoop Dogg - Murder Was the Case 4:20
06 Dr. Dre - Lil' Ghetto Boy feat. Snoop Dogg & Daz Dillinger 5:29
07 Dr. Dre - Let Me Ride feat. Ruben & Jewell 4:22
08 2Pac - California Love feat. Dr. Dre 4:01
09 Dr. Dre - Fuck Wit Dre Day (And Everybody's Celebratin') feat. Snoop Dogg, Jewell, RBX 4:53
10 Snoop Dogg - Serial Killa feat. RBX, The D.O.C., Tha Dogg Pound 3:32
11 Bushwick Bill - Stranded on Death Row feat. Snoop Dogg, RBX, Kurupt, Lady of Rage 4:48
12 Dr. Dre - Nuthin' But a "G" Thang (Remix) feat. Snoop Dogg 4:35

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Dr. Dre shifted directions drastically halfway through 1996, leaving Death Row Records and abandoning gangsta rap, claiming that he had "Been There, Done That." So, Dre founded a new record label, Aftermath, and built an artist roster consisting entirely of new, unproven talent. He also decided not to concentrate on rap, signing urban R&B acts as well as hip-hop. Aftermath's initial release was the various-artists compilation Dr. Dre Presents...The Aftermath and one listen proves that Dre wasn't kidding when he said he wasn't interested in gangsta anymore. There are a number of rappers on The Aftermath, even a handful of hardcore rappers, but nothing fits into the standard G-funk template. The true revelation of the album is Dre's skill for urban R&B and soul, all of which sounds fresh and exciting compared to several of the fairly pedestrian hip-hop tracks. Despite the success of these urban productions, none of the actual performers make much of an impact -- the tracks are impressive only because they demonstrate Dre's musical versatility and skill. In fact, the two tracks that really stand out -- Dre's stately, sexy "Been There Done That" and the powerful "East Coast/West Coast Killas," which features cameos by B-Real, KRS-One, Nas, and RBX -- are a combination of terrific production and personality, which is usually what results in great singles. But that doesn't mean that The Aftermath is a washout. Instead, it's a promising fresh start for Dre that is full of potential and enough great music to make it a vital listen.

VA - Dr. Dre Presents... The Aftermath  (flac   495mb)

01 RC & Sid McCoy - Aftermath (The Intro) 2:51
02 Group Therapy - East Coast/West Coast Killas 4:54
03 Mel-Man - Shittin' On The World 4:58
04 RBX - Blunt Time 4:24
05 Dr. Dre - Been There Done That 5:11
06 Kim Summerson - Choices 4:46
07 Miscellaneous - As The World Keeps Turning 4:44
08 Hands-On - Got Me Open 4:20
09 King T - Str-8 Gone 4:34
10 Maurice Wilcher - Please 4:22
11 Jheryl Lockhart - Do 4 Love 3:24
12 RC - Sexy Dance 4:55
13 Whoz Who - No Second Chance 4:50
14 Sharief - L.A.W. (Lyrical Assault Weapon) 4:26
15 Nowl - Nationowl 4:07
16 RC - Fame 4:28

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